#because that's a real psychological phenomenon that leads to a person *introducing* danger

[serial-unaliver]

so tired of seeing on social media people say "wait, why didn't any of those men step in to save the woman in xyz scenario???" like sorry you believe some random man will jump in and save a woman being held at gunpoint, but in reality the man will, like the woman, not want to be at risk of harm in a life-or-death situation. he may also have biases that lead him to view the woman as deserving of her fate--many such cases for cops it seems! overall positive traits assigned to men and women by patriarchy are as untrue and harmful as negative ones and a lot of people don't seem to pick up on that, which leads to the tradwife "embracing femininity" shit that ends in financial abuse

[sirescumbag]

AA7 thoughts

So I just finished Spirit of Justice and then I heard about Ace Attorney 7 apparently in the works, so my brain decided this is the time to make up potential plot twists to be excited about that don’t actually exist. I know this is divergent from my usual fanart posting but here’s a very long text dump of some new stuff I’d be interested in seeing but will probably not happen because it is all very specific and caters to my own desires, probably not the fandom’s in general:

Phoenix is still there, but not as active as an acting defense attorney, though he’s still key to the plot (as a mentor, or to be used as emotional blackmail). He’s not playable (or if he is, it’s not for long), but more there as a plot point in a Maya sort of way (oh the turntables). This time, he’s the one under threat or danger. Instead of switching around from lawyer to lawyer, I think that Athena should undergo some more development as a main character this time around since Phoenix and Apollo have had their time to shine. The removal of Phoenix and being all alone, I think, would also be interesting in her character development

On that note, bring on the major character angst!! Having a big tragedy occur, with a fairly major character. Usually the tragedy pulled is a murder/death, but how about a different sort of tragedy-- a fate worse than death/on par with it to someone who is still alive? Someone is severely incapacitated, a psychological injury (classic old memory loss, or perhaps a genius who is reduced to a very limited mental capacity), coma, or even a temporary death (like with Petenshy, Edgeworth), or perhaps a kidnapping (not Maya this time, please). If it happens to a major character, it’ll have greater impact, BUT there’ll be fan riots if it’s not reversible. So have the tragedy with the character get resolved, but not in a deus ex machina way-- recovery is slow and angsty but filled with hope.

There’s often a focus on the past haunting you-- let’s try shifting this to the present! Building suspense on a case that is happening in real time-- I am fond of the idea of a serial killer on the loose in the present and the dread of suspense in present time throughout trials as they continue to kill and hinder key advances in solving the mystery.

Very often, there are personal ties in court-- both the prosecution and defense are tied together in some way in the past, resolving their own personal backstory. Instead of oneself, maybe let’s have some focus on a client instead? It might be interesting to see a lawyer get so deep into protecting a single client-- instead of a new client for every case, protecting a single person over multiple cases-- that they get roped into an outsider’s story instead. A little idea in my head is of playing around with maybe witness protection, or say (off the serial killer idea) someone is expected to be the next target for a murder and you are tasked with trying to protect them in real time (and then a tragedy happens to them that moves plot forward, bonus if players gets to build an emotional connection between you and the client).

In SOJ and DGS, the stakes were big on “saving the masses” and government reform-- the stakes can still be high, but instead of something lofty like reforming the world or community, instead it could focus on the relationships with the people immediately around you, protecting them, or just some good old self-preservation.

Newer characters like Athena being really fleshed out! Whether there are new or old characters, really build and explore the depth of their character beyond that of a plot point. Not just slapping on relationship labels that immediately trigger emotion but have no context beyond it (like the killing off ���my best friend” Clay in DD, or the classic parental death). I thought the fleshing out of Dhurke and building an emotional relation to him in SOJ was a lot more effective in making it really feel like a tragedy than with Clay in DD.

For introducing any old characters, please show some personality changes due to age. Or, maybe! Even a 180 change from the personality from the original trilogy for intrigue-- what happened to the old person I knew (and have it be integral to the plot)? I know I griped about the old “ah That Event 5/7/10 years ago” past plot thing being used but I wouldn’t mind this being used as a part of plot development either

Maybe try to bridge the feeling of separation between the old trilogy and newer characters’ worlds by, instead of kind of sequestering them into their separate spheres of interaction to preserve nostalgia (like in Turnabout Time Traveler, where the old gang is all together in the same dynamic, Maya and Phoenix and Edgeworth, etc), have old trilogy characters interact with newer ones in significant ways and build their own unique bond. So, not just a passing mention where the old encounters the new, having the old interact with the new and build a bond through going through significant conflicts together (for example, this has already been mentioned but if Athena is the main focus of the next game, there could be an opportunity to explore this if she confronts Franziska in court!).

I know there’s already so many gimmicks added (Apollo’s perceive, Athena’s widget) but if there has to be something new added, instead of making it individual-specific, maybe have be similar to spirit channeling as a concept-- have it be a broad phenomenon in the world that plays a key part in causing a case, rather than a tool for discerning the truth of a case.

Or, if we’re sticking with the same gadgets/tricks, instead choosing to tamper more with the tools of the trade that were supposed to never lead you astray-- this has already been seen in DD, where Apollo’s bracelet led him to the wrong conclusion about Athena, and AA4, where evidence was tampered with. Perhaps instead of adding new gadgets, let’s manipulate, tamper with, lose, have it used against them in new ways!

The use of a civil case in SOJ was very much unexpected but in my opinion a very interesting one! Would be very interesting to see more in-fighting among the prosecutor group or within the defense attorney group and see how that moves the plot along. Messing more with the court system instead of adding new gadgets would also be interesting.

More threats during investigation, not just in court! Remember when von Karma tased you in the evidence room? Let’s have suspense in AND out of the courtroom.

I’m sure there’s plenty of interesting psychological phenomena that could be used to complicate court cases (for example, that use of Justice Minister Inga’s cognitive disorder in recognizing faces coming into play)!

Different approaches for moral ambiguity for clients using psychology-- we’ve seen this with defending clients who are actually guilty, or being blackmailed. I’d be interested in seeing a Jekyll and Hyde situation where 2 different sides of one person commit a crime, but one side is unaware of it-- and how a defense lawyer would handle this!

Exploring the plea for insanity in court! Double jeopardy! Escaped convicts! A murder whose trial to find a good jury has been delayed for a long time and is forced to find its resolution outside of court due to the murderer striking again!

Also, to pull in some stuff I read about elsewhere, after reading about moral psychology in Jonathan Haidt’s book The Righteous Mind and moral triggers that typically pull strong reactions (care, fairness, loyalty, authority, sanctity), I was also thinking about how ace attorney manages to build emotionally compelling cases in relation to this model. Ace Attorney imo so far has done pretty alright at hitting most of these triggers at some point to hype the emotion, but for the final case, it ends up being played in what I see as generally the same way (ex: character development starts from from my duty as a lawyer is my role as the defense/prosecutor into that of my duty is to find the truth, authority corrupt and that is bad, justice should be served fairly, I am loyal to my group of prosecutor/defense, also played with loyalty and betrayal in DD with Apollo and Athena splitting, also triggered sanctity a bit in SOJ with the religion, lots of other examples probably but that’s a few). I’d be interested in seeing these same moral triggers played upon in different manner for some variety! Maybe even pursuing some different themes than justice and truth and duty and all that jazz, but idk what else could be alright to explore cause the courts kinda embody all that and deviating to make a statement about other themes might not fit as well in the courts hmm

Also part 2, I wonder if there’ll be romantic undertone somewhere (or heavily implied) for any new or old major characters. Romantic love isn’t usually used with major characters as a plot point (usually platonic stuff, friendship, family, or duty to the truth is instead) but I’d think it’d be interesting if romance was used this time around as an emotional motivator to drive the plot

[shutterupp31]

Toxic masculinity-Whats wrong with our boys?

For centuries men have been condemned for acts of aggression, violence, and sexism, contributing to the ongoing popularity of the phrase ‘toxic masculinity’ which distinguishes these traits as toxic and unhealthy. The American psychological association have even recently introduced new guidelines for therapists working with both men and boys, indicating that early signs of extreme ‘traditional masculine behaviour’ can root themselves in personality traits that encourage outcomes of violence and misogyny, and must be disestablished early.

With the increase in male suicide rates and drug overdoses in the western world, combined with the rise of fourth wave feminism, as you can imagine, the debate on toxic masculinity is becoming all the more relevant amongst both genders. Mass media have blamed toxic masculinity for rape, mass shootings, online trolling, climate change and even the election of Donald Trump.

BUT is the phrase toxic masculinity actually helpful, accurate or universal? Let's discuss. 

Like any phrase or term regularly recycled within gender debate, the stereotypes it highlights have divided peoples opinions drastically, a predictable conflict that has most definitely contributed to the terms rise, (Yay politics). On the right we have many conservatives who allege that the charges of toxic masculinity is itself an attack on manhood. With mental health problems amongst males consistently rising, combined with the challenges the men's right movement already face, including paternity rights, homelessness, education to name a FEW, these people argue that it is dangerous and unfair to strip boys of what some would say is a necessity for them to discover their true selves as men in their time of need.

On the other side we see many ‘progressives’ who believe that the detoxification of masculinity is absolutely essential on the road to gender equality.

NOW, i'm sure (I mean I hope) we can all agree that issues including sexism, rape, violence and so on are obviously important and anyone male or female that possess these traits and/or actively defends them, needs help! Research consistently shows that those who hold sexist attitudes are more likely to perpetrate gendered violence. (DUH), but the potential biological and cultural contributions to why these figures are disproportionate amongst men and women is not something I wish to discuss at present, that's a whole other debate. 

What I do want to talk about (and what a lot of people aren't talking about) is this ‘painting every male with the same brush’ phenomenon and the extent to which this could be harmful.

My issue with the shift we have seen in which masculinity is rapidly becoming a dirty word, is that it genuinely encourages a narrative in which masculinity is fundamentally toxic. 

The assumption that the majority of what can be considered as male specific characteristics, as fundamentally harmful, is becoming increasingly worrying within socialist politics. Traits such as aggression, violence and dominance are more and more often being lumped in with those such as strength, confidence and independence and this is the problem. Yes masculinity can indeed be somewhat destructive, (AGAIN VIOLENCE IS BAD VERY BAD, NON VIOLENCE GOOD VERY GOOD) but both conservative and liberal stances on this issue commonly misunderstand how the term functions.

When people use it, they tend to diagnose the problem of masculine aggression and entitlement as a cultural or spiritual illness, something that has infected today’s men and leads them to reproachable acts. But toxic masculinity itself is not a cause. Over the past thirty years, as the concept has morphed and changed, it has served more as a barometer for the gender politics of its day and as an arrow toward the subtler, shifting causes of violence and sexism.

Acts of violence, aggression and sexism arise for a whole host of reasons, including socioeconomic factors such as education, class, and poverty, NEWSFLASH, not all men that celebrate the idea of being emotionally or physically strong intend to murder and rape the entire female population!

THOUGHT EXPERIMENT TIME

How often do you see women on social media celebrating what it means to be a woman? All the time right? Now, don't get me wrong, this rise of what I'm gonna call ‘girl power culture’ is phenomenally empowering.  

But how often do you see men innocently celebrate their manhood or say they are proud to be a man online in the same way?

Very rarely, and if they do they are often immediately attacked for being misogynistic and failing to recognise their privilege by Feminazi’s who fail to read context and get triggered by buzzwords. 

Ooooo Controversial? Perhaps, but AGAIN, I'm not failing to recognise that things like lad culture, and boys will be boys culture exist, and perhaps this obvious difference on social media has something to do with the years of oppression against women up until very recently, in fact it probably, most certainly is, however not acknowledging the multiplicity of reasons for these toxic behaviours, and not allowing men to celebrate that they like and may even enjoy being one, in the same way as its widely excepted amongst women, is well, kinda just dumb.

Don't believe me yet? Let's look at the evidence. 

First I think it is important to establish where the term originated. Despite the term’s recent popularity among feminists, toxic masculinity did not originate with the women’s movement. It was coined in the mythopoetic men's movement of the 1980s and ’90s, motivated in part as a reaction to second-wave feminism. Through male only workshops, wilderness retreats, and drumming circles, this movement promoted a masculine spirituality to rescue what it referred to as the ‘deep masculine’, a protective ‘warrior’ type masculinity, from toxic masculinity. Men’s aggression and frustration was, according to the movement, the result of a society that feminized boys by denying them the necessary rites and rituals to realise their true selves as men. 

The claim of a singular, real masculinity has now been roundly rejected by a new sociology of masculinity. Led by the sociologist Raewyn Connell, this school of thought presents gender as the product of relations and behaviours, rather than as a fixed set of identities and attributes. Connell’s work describes multiple masculinities shaped by class, race, culture, sexuality, and other factors, often in competition with one another as to which can claim to be more authentic. In this view, which is now the prevailing social scientific understanding of masculinity, the standards by which a “real man” is defined can vary dramatically across time and place.

Connell and others theorised that common masculine ideals such as social respect, physical strength, and sexual potency can of course become problematic when they set unattainable standards. Falling short can make boys and men insecure and anxious, which might prompt them to use force in order to feel, and be seen as, dominant and in control, HOWEVER Male violence in this scenario doesn’t emanate from something bad or toxic that has crept into the nature of masculinity itself. Rather, it comes from these men’s social and political settings, the particularities of which set them up for inner conflicts over social expectations and male entitlement.

The popular discussion of masculinity has often presumed there are fixed character types among men, and I think it's become increasingly more important to be skeptical of this in order to understand the situations in which groups of men act, the patterns, and the inevitable consequences, because without doing so ,YOU may be contributing to the reinforcement of the toxic masculinity in which you despise so much, which brings us on to….

The blame game-are you contributing to toxic masculinity?

Where do these sexist attitudes come from? Are men and boys just the victims of cultural brainwashing into misogyny and aggression, requiring reeducation into the ‘right’ beliefs? Or are these problems more deep rooted, and created by the myriad of insecurities and contradictions of men’s lives under gender inequality? The problem with a crusade against toxic masculinity is that in targeting culture as the enemy, it risks overlooking the real life conditions and forces that sustain culture.

It is more than likely that you have somewhat contributed to the reinforcement of toxic masculinity without even realising. Something I see so often is both men and women emasculating men for being emotionally vulnerable and this specific topic is something I personally find alarming. In the same way I defend a man's right to choose how and whether he verbally expresses emotions, I strongly believe that there is work to be done to deconstruct the stigma that is attached to this, when and if they choose to do so.

In similar fashion, in the way we have fought so hard to reject female beauty standards, it's really essential that we consider the male equivalent. Don't think there is one? Ask any man under 5 foot 8, ask any bald man under the age of 30, ask any man who has been shamed for the lack of, or excess of body hair. We have to start recognising that there is a double standard, and without too much speculation, could these expectations and lack of attention we are giving them in comparison to a lot of feminist issues in mass media, be somewhat contributing to the frustration and anger that manifests into these toxic traits we have been discussing. YEAH, FUCKING PROBABLY.

Anyway, in summary what I'm saying is, in the same way that the toxic traits we subscribe to masculinity are not universal amongst all males, the solutions to those issues that we have identified within this culture, are also not universal. Recognising differences in the lives of men and boys is crucial to the effectiveness of efforts to resolve gender violence and inequality once and for all, some food for thought. 

Stay kind always, Abbie x

[brain1230]

Free Write 2: A Reflection on Complexity Management Theory: Motivation For Ideological Rigidity And Social Conflict by Jordan B. Peterson and Joseph L. Flanders

Ideological rigidity, a tendency in people to denounce and discredit all competing belief systems other than his or her own, is engendered and maintained at large by our human aversion to unexpected and complex events happening in the physical world. This tendency is rooted deeply in human’s evolutionary instinct to survival. As in primitive societies of our ancestors, people were always under threats from predatory entities lurking in the forests and unexplored territories. As a consequence, the biological instinct to survival forced our ancestors to react strongly to emotions like fear or anxiety so that they could act in time to avoid dangers in the wilderness. Although the development of modern technology has eliminated most threats faced by ancient men, our fear for the unexplored possibilities in life still remains intact. Thus, “our essential existential problem [or existential anxiety] can thus be more accurately conceptualized as vulnerability to complexity” (Peterson & Flanders 431). As a desperate attempt to cope with the overwhelming magnitude of reality, simpler and low-resolution ideologies about the real world are developed by people of modern time. Although these belief systems help to shield us from the complexity of life, we put ourselves in a immensely dangerous situation if we just thoughtlessly and stubbornly rely on our oversimplified perception of the world. 

To trace the fundamental cause of ideological rigidity, we first need to bring our attention to how human perception actually operates. There is a general agreement in the limitations of our perceptual power and cognitive processes as we are only consciously aware of a small portion of all the information being constantly presented to us. For instance, when performing a simple task like the action of picking up a cup of tea, we seldom pay any attention to the reflection on the cup or even the set of mechanical motions required to lift up the cup from a surface. Information that is not essential or relevant to our task at hand goes entirely unnoticed unless we consciously direct our attention to them. This is essentially the “frame problem” encountered by many computer scientists who work in the field of artificial intelligence. It was a challenging task for AI researchers to teach the robot how to ignore irrelevant information to the task, as sensors on the robot will non-selectively pick up stimuli from the external environment. Human intelligence only primarily concerns with goal-oriented actions, and much of the reality is reduced and ignored in order for us to perform necessary tasks for our survival. Having goals can effectively reduce the complexity of life, as all components of life beyond the task at hand will be temporarily ignored. Since human life is really essentially goal-oriented, it is reasonable to conclude that a huge portion of an individual’s life operates without his or her conscious perception (Our actions reveal a lot more things about us than what we are consciously aware of, and this is also the reason why we have so many academic studies on sociology and human psychologies). Nonetheless, this ability to simplify the reality and to work with reduced model of the physical world is really a double-edged sword, which may either facilitates the development of our societies or leads to massive destruction of civilizations.

What is it about ideology that makes it so dangerous? and Why do people go so far and even resort to violence in order to defend their ideologies? What is the fundamental cause of a highly polarized society? In order to answer these questions, it may be beneficial to look beyond mere political phenomenon and locate their biological and psychological origin. Ideologies, as low-resolution and oversimplified models, help humans to reduce the complexity of life to a few tangible rules to follow so that we may live our life without being paralyzed by our constant anxiety and fear of unexpected irregularities. However, it is crucially important for us to realize that these ideological representations of the world are highly restricted due to the immense variability of life. When a truly unexpected and tragic event occurs in our life, the false sense of security derived from our oversimplified belief systems will collapse instantly and render us completely defenseless against the magnitude of life. It is not hard to imagine the level of anxiety one may experience when one loses all control of his or her life. These unpleasant feelings and emotions are the exact same kind of reactions our ancestors harbor against unpredictable threats in the forest. In this context, when an unfamiliar stimulus or a different belief system is introduced to our lives, it will inevitably raise our anxiety level due to the fact that our fundamental belief system is under direct attack. It is a lot easier for people to just reject other forms of perceived realities because the mere ackownlgedgment of the existence of “others” can dramatically expand the domain of life that people have to operate within. Thus, it is not surprising to see people who passionately seek to deny the validity and existence of opinions that oppose to their worldview. This point is so well demonstrated if you just listen to the verbal exchanges between people, who have different opinions, in any protests or public demonstrations. What people frequently do at these rallies is that they would demonize the opposite side and try to shut them down instead of creating an environment where different opinions can be shared and openly discussed. It is sad that so many people have become so obsessed with their ideologies and group identities that they would sacrifice opportunities for constructive dialogues just for the preservation of their illusory sense of security provided by their pitiful and insufficient understanding of the world. As a result, nothing meaningful is likely to emerge out these public demonstrations because they are, at its core, motivated by fear and cowardice. 

In order to prevent ourselves from being a puppet of our ill-informed belief structures, it is of paramount importance for us to take up our courage to willingly tread upon unknown territories and exam unfamiliar ideas. We must realize that both dangers and opportunities can co-exist in those possibilities that we have yet to explore. By stepping out of our comfort zone voluntarily, we empower ourselves as we realize that those serpents and dragons lurking in the darkness are simply creations of our mind. People will no doubt become a lot stronger and stable as they make voluntary and conscious effort to organize the chaos that surrounds each every one of us. Additionally, in order to combat ideological rigidity, I think it is also necessary for us to see people as individual beings instead of mere representations of their group identity or ideology. As I have mentioned in the previous paragraphs, ideologies are insufficient models created by people to deal with the complexity of the world. They will never be able to provide us a full and objective representation of our reality; therefore, we risk to neglect different possibilities that lie beyond our perception if we entrap ourselves in a particular way of seeing the world. People are more than their ideologies and group identities. We must listen people as if the speaker knows something that we don’t (and it is almost always the case) in order to start a constructive and meaningful conversation. The great person-centered psychologist Carl Rogers put forward the idea that, in order to develop a meaningful and growth-promoting relationship between individuals, people must try to accept the existence of multiple realities as perceived by different individuals. This is not an absurd idea and I do believe that any sensible people would agree with the fact that we all see and understand the world in our unique ways; however, in reality, it is so difficult for people to even want to  understand the reality as how others would see and feel about it. I think part of the reason that this is so hard for people is because, by fully accepting the experience of someone else, it is likely that changes will be made to ourselves and our perceptions of the world. Therefore, this process of opening up ourselves to other people directly provokes the existential fear in all of us. Nonetheless, we have to realize that those changes occurring in us can be constructive and beneficial. If we just give people a chance to be themselves and speak forward their beings, we can create a safe place where the opinion of every single individual is valued and appreciated. This sense of security, grounded in mutual understanding and respect, can elevate the spirit of every individual and truly unleash the hidden potential in each one of us. 

[millennicl]

HEADCANON POST 001.

          madison montgomery was undeniably one of the strongest witches           in the coven by the time the series ended  (  aside from the fact that           she ended up dead, of course  )  even though she wasn’t the supreme.             so why were madison’s powers growing so intensely?  and, maybe a           better question,  why does it matter to madison’s character?  what effect           does it have on my interpretation of show and the overall canon of the           witching world?

          i started considering this particular headcanon in relation to one quote           spoken by cordelia in episode 12, titled go to hell.  when speaking to           madison,  she says  “  you can manifest multiple powers without being           the supreme,  madison.  our powers spike in times of crisis  -  this is one           of those times.  ”  it can be inferred that she’s speaking about the crisis           the coven is in,  but this doesn’t necessarily mean that these times of           ‘  crisis  ’  must involve the entire coven.  in fact,  i would go so far as to           say that it would make sense if this crisis doesn’t involve the entire coven.

          the reason i say this is because a witch’s powers seem to be a largely           mental and perhaps psychological phenomenon.  this seems plausible           because,  when it seems that cordelia has lost her sight,  fiona tells her           “  you can not lose your power.  you never will.  it is inside of you.  ” in           episode 12,  go to hell.  assuming that fiona is correct,  which i’ll have to           trust in this case,  this proves rather plainly that a witch’s powers both           CAN BE AND ARE affected by their mental state at the time.

          if this is all true,  it wouldn’t be impossible for this crises to be           something that affects a witch PERSONALLY rather than the coven           as a group.  and this leads us onto the main part of this particular           headcanon and my point.  trust me,  the set-up IS necessary.

          of course,  that goes for the contents of the show,  too.

          this,  of course,  brings me to the events of the first episode,  where           we’re introduced to madison  -  a girl who’s undeniably horrible.  and           then,  later on,  she’s drugged and raped by a group of frat boys.  now           it’s incredibly possible that madison’s rape was used only to gain the           sympathy of viewers or for shock value,  but the way it’s shot makes           that seem unlikely  (  not that i make a habit of watching rape scenes           in film, honestly.  )

          the way the scene is shot  -  from camera angles to lighting  -  is all done           to unsettle the viewer but,  more importantly,  pull you in to make you            realize just what’s happening and help you put yourself in her place,  at           which i think it’s important to note that,  up until this point,  you only really           know madison as a HEARTLESS BITCH who’s killed a person for only           telling her to hit her set.  this makes it easy to dismiss the scene as something           to make you feel sympathy for her,  which it definitely seems to have done           and done well,  but this is when i want to point out that,  in a show like           american horror story,  there’s a good chance that everything happens for           a PLOT-RELEVANT REASON,  and sure,  that reason could be getting           kyle involved to act as a catalyst for misty’s appearance and the fights           and animosity between zoe and madison,  but i believe it’s something MORE           than that.

          another reason i believe this is true is because,  throughout the aftermath,           the camera makes sure to capture just how upset she is  -  the show even           going so far as to later show her crying in the shower.  they didn’t NEED to           add these shots if madison’s rape was only what they showed it to be  -           the show never directly referenced her suffering as a result of it in any           later episode.

          this,  of course,  begs the question of WHY they included it,  then.

          was it to gather sympathy for a  ‘  villain  ’  type character?  possibly,  but           again,  i like to think better of the writers.  in fact,  i think they included it           all because THAT was the crisis which led madison to gain so much power           over such a  (  presumably short  )  amount of time and,  eventually,  garner           fiona’s attention,  inevitably leading to her death.  this means that the scene           showing madison crying in the bathtub would merely be to ensure that the           AUDIENCE understands that madison isn’t as unaffected as she claims           to be.  there are also several smaller signs that she’s not entirely unaffected           throughout the rest of the series,  but for the sake of brevity  (  something i’m           obviously barely aware of myself  )  i’m going to assume that you understand           this.  if you have questions about when and where these moments occur,  you’re           always free to hop in my ask box and ask!

          now,  onto WHY i believe this rape caused madison’s power to spike as opposed           to the danger the coven was in.

          from when we first meet madison,  we learn that her power is telekinesis.             however, we’re not told exactly how strong this power is before her rape.             but, we are told by fiona in episode 1,  bitchcraft,  that flipping a bus the           way madison did isn’t easy.  so,  while it is possible that she was already           strong enough to do something like this beforehand,  the fact that the writers           specifically included THAT LINE makes it seem as if it could be the first signs           that her power was increasing.

          in fact,  in episode 2,  boy parts,  when madison sees the body bags full           of the various frat boys’ body parts,  she even says  “  i guess that crash           was worse than i thought,  ”  as if she didn’t realize her own power  -  and           though this line could merely there to make her seem even more unaffected           by the deaths of others,  i don’t think it’s something to be discounted when           combined with all the other evidence.

          though the time frame isn’t entirely clear in between the second and third           episode’s beginning,  we know that nan and madison visit the neighbor’s           house on a wednesday  -  this is because the neighbors refer to attending           church,  to which madison states that it’s not sunday.  though it may vary,           i assume this means it was a wednesday because in my experience,  most           churches seem to choose wednesday nights for bible study  (  however,            i DO NOT claim to be certain of this  -  if you have another thought,  please           tell me!  )  which means that,  if we assume that the party was on a thursday           or friday,  means at least a five says had passed.  (  i’m going to say friday,           since it being the weekend would make sense considering the fact that            coroners are on-call 24/7 and it wouldn’t be inconceivable that he would           be coming in mid-day on a sunday to work on a particularly difficult case.  )

          why does time-frame matter so much?  because very soon after the party           (  approximately five days  )  she discovered her ability to use pyrokinesis.           while this may not have been the exact moment that she manifested the           ability,  it WAS the first time she found out she could do it,  something           emphasized in the way she says not once but TWICE that she didn’t know           that she could do it before  -  first directly after setting the neighbors’ curtains           on fire and the next when talking to fiona later.

          this repetition is being used to make absolutely sure that the audience           realizes that this is something new that she wasn’t capable of before,  and           i don’t think that it’s a coincidence that it’s done so soon after her rape           when madison IS NOT AWARE of any real danger to the coven,  which           eliminates the possibility of her power spiking purely due to a coven-related           crisis.

          however,  it can be argued that she may have only just developed this new           power on her own naturally WITHOUT crisis,  but this seems even less likely           when combined with the fact that,  presumably later that same day or the next,           she presented her ability to control a person’s mind while at a cafe with fiona           when she makes a man stand in the middle of a busy intersection.

          this shows that,  over the course of about five days,  madison manifested           two new powers  -  enough so to intimidate fiona into believing that she           was the next supreme.

          in addition to this,  after attempting to resurrect kyle in episode 2,  boy parts            when misty is in the car with zoe,  she says that zoe drew her out,  and later           in the cabin says  “  something was calling to me and i knew i had to follow.           and it was you,  zoe.  your magic brought me there.  ”  however,  she didn’t           know that madison was also there and that it could have in part been her           growing power that she was feeling,  which would make sense since madison           was the main one PERFORMING the ritual and is undoubtedly the stronger           witch  (  at least,  at that point in time.  )

          in fact,  even madison herself admitted that she had felt her powers growing           “  like crazy  ”  to fiona in episode three,  the replacements.  this is very           telling because,  since we KNOW now that madison wasn’t the supreme,           there is no other reason that her powers should have been manifesting at           such a rate.  she still didn’t know the coven was in any more danger than           normal.  this leaves only one explanation  -  her increase in power was           caused by the trauma resulting from her rape in episode one.

          thank you so much if you managed to read through all of this and,  if you           have any questions about this headcanon,  other headcanons,  or have a           suggestion for another headcanon post,  please just send me an as and           i’d be happy to address it !!!

[angrycollectordaze-me-blog]

Paper代写：Fromm's free Thought

下面为大家整理一篇优秀的paper代写范文- Fromm's free Thought，供大家参考学习，这篇论文讨论了弗洛姆的自由思想。埃里希・弗洛姆是西方马克思主义学派的代表人物之一，他以马克思自由观为基础，提出了自己认为的自由的理想形式。他认为现代人真正实现自由的途径在于：通过经济、政治、以及文化等方面的改革来实现人们真正的自由。引导人们追求一种积极的自由，这才是人倡导的真正的自由。

Erich is one of the representative figures of the Western Marxist School, this paper analyzes the root of the free predicament of modern people through the study of Fromm's free thought. Based on Marx's view of freedom, Fromm put forward his ideal form of freedom. He argues that the real freedom of modern people is through economic, political, and cultural reforms to achieve the true freedoms.

In the modern society, although people in the pursuit of freedom, but in the process of pursuit of freedom can not bear the negative impact of freedom, thus began to evade freedom, give up freedom. What is the reason that modern people are pursuing freedom and escaping freedom? Fromm answered the above questions at the level of psychoanalysis.

First of all, he analyzed from the social root, that the development of man is restricted by social system. "Under the capitalist economic system, the increase of individualism and loneliness is an indefensible fact." "In the 20th century, with the development of productive forces, the employers and employees have gradually formed a plausible employment relationship in order to adapt to the changes in the market." People have been free in some ways, but they have gradually lost their independence and autonomy in order to adapt to the existing social development. Therefore, the personality characteristics of human beings in the 20th century lacked independence, and concentrated on the expression of a submissive attitude. Capitalism, for example, has promoted social development, but it has hindered the development of human individuality. Workers are willing to be squeezed by capitalists, who are passive individuals here. The oppression of human beings throughout the capitalist social system is bound to inspire people to revolt. "Heaven Is lost forever, and the individual alone faces the world ―― like a stranger into a world without Borders and danger." New freedoms bring uneasiness, power, suspicion, loneliness and anxiety. "This is not a good phenomenon, it means that people must pay a heavy price to survive, thus losing the true human nature."

Secondly, from the psychological root of human analysis, people in the dynamic process of adapting to society gradually formed a human character structure, it formed the basis of the existing system of society. The most direct is the impact of the economic system on the human character structure. The character structure formed in the special social system should not only provide the physical requirement to the human organism, but also provide the development condition for the more flexible part of human character structure, such as love, desire, emotion, etc. If some people need long time not to meet and development, the passage will evolve into a blockage and depression, that is, the formation of a person's abnormal mentality and abnormal personality. Therefore, when the alienation of society began to bind people's activities, people should be flexible development of the structure of the character is not realized, and the human desire is unlimited, finally will lead to people because they are not satisfied and feel depressed. Thus people begin to passively evade reality and give up the pursuit of true freedom.

The difference between Marx's view of freedom and the former concept of freedom is that it bases on scientific historical materialism and practice as a foothold for people to pursue freedom. Philosophers in the past in the discussion of human freedom, mostly in the areas of consciousness, ideas, God and other aspects of freedom to make a metaphysical judgment, Marx thought that the basis of freedom and the foothold should be practice, that his philosophy is to change the world. From this point of view, it can be seen that the realization of the true liberation of mankind must depend on the practical social and historical practice, rather than on the experience or ideology to explore the realization of freedom. Fromm thought that Marx regarded historical materialism as the understanding of the law of social development, and it has important enlightening meaning for people to solve the free predicament of reality.

On the basis of Marx's historical materialism, Fromm, after analyzing and criticizing the free status quo of the real society, puts forward his ideal form for human freedom. Fromm points out that positive freedom calls for people to freely and consciously dominate all of their actions, and to develop their own individuality and potentials, so that their own emotional and rational play. One day, human beings will be free and not alone, not only to give full play to their independence without losing the perfect connection with the outside world, and on this basis to make their own full use of the potential, this is what Fromm thought of the ultimate attribution of human freedom.

So what kind of society can achieve real freedom? In this regard, Fromm thinks, should through the sound person to establish the sound society. Here, a sound person is a person who is mentally and spiritually healthy. Sound society mainly refers to people-centered, the development of human beings in the first place. A healthy society can unite every member of society and help members of society to establish a relationship of mutual affection, so that the society can mobilize the individuals who are the main body of society to be active in life and work, and encourage them to use the collective art to express their real needs.

In actively exploring the path of human freedom, Fromm believes that people should rely on the creative practice of activities to achieve, but he also believes that only rely on creative practice of Labor is far from enough. He pointed out that people should use a healthy society to protect healthy people, only the personality structure and social industry, political and cultural integration, people can become a sound person, the society can become a healthy society.

On the economic side, Fromm believes that the reform of the economic system to achieve real democracy and freedom. In his view, Marx's conception of socialist society was based on two prerequisites: the socialization of the means of production and distribution, and the centrally planned economy. Therefore, Fromm advocated a kind of humanism public ownership. On the basis of the principle of public ownership proposed by Marx, form "a new labor situation where one can devote his life to what he thinks is meaningful, where people can know what he is doing, where people can control what he does, and where people feel the unity of others rather than separation." ”

On the political side, Fromm thought that democracy should be developed in political life. In order to change the democratic situation, Fromm proposed to introduce the principles of civic meeting into the political field of society, and to combine the highly decentralized democracy with the centralized form of democracy effectively. In his view, the specific measures were to reduce the current size of the electorate, such as by organizing people into small groups according to neighbourhood or duty stations, and that each group should be composed of different members of society, who would meet regularly to discuss important local and national issues. In Fromm's eyes, this kind of way can make every citizen's will be democratically expressed, and can improve the enthusiasm of citizen's political participation, and the alienation of human politics will be changed.

In terms of culture, Fromm mainly aims at education. In his view, the task of education would have been to extend the ideals and norms of human civilization, to cultivate students ' ability of critical thinking and to shape the character of students in order to realize their ideal, but "our educational system does not seem to make students have the ability of critical thinking, nor does it foster the character traits that we need for the open ideals of our civilization." "The students who have been nurtured through modern education do not have the spirit of cooperation, they only respect authority, they are isolated from others and the world, their theoretical knowledge and practical knowledge are divorced, and they are shown in their work as indifferent to the work they are doing." Modern education means the people who conform to the needs of the social machines, rather than the all-round development. Fromm thinks that education should cultivate creative talents with lofty ideals, critical thinking ability and all-round development of human nature, instead of cultivating alienated people who have the character of satisfying the market requirements, are competitive, pleasing authority, alienated from the world, theoretical knowledge and practical knowledge.

In addition, Fromm also put forward through love and creative labor to achieve people's true freedom, as well as the need for a sound political and economic system, appropriate social resources, social conditions and cultural system as a guarantee of self-realization, guarantee the realization of the freedom of an important condition. Guiding people to pursue a positive freedom is the true freedom advocated by man.

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[ismael37olson]

What's That Playing On the Radio?

It hurts me when people disparage Grease. Party because I love it dearly (and have done it three times!), and partly because almost everyone -- including people who love it -- underestimate both the show's authenticity and the writing craft. It's so much better and darker and smarter and subtler than you think. Many people scoff, but it's true -- the score of Grease is remarkable in its craft and authenticity, even referencing actual songs of the period. Many of the actual period songs that influenced the Grease score were not chart toppers, because the Grease kids didn’t always listen to the most popular music; they were more musically and culturally adventurous than that. They listened to songs you could only hear late night on Alan Freed’s radio show, “race songs,” dirty songs, songs that scared adults. But it’s important to note that the songs of Grease differ from real rock and roll songs in one significant way. The lyrics to real 50s rock and roll songs were the least important element of the song, often just dummy lyrics used as a vehicle for the artists’ personal vocal stylings, or for sophisticated harmonies or melodic ornaments. As in rhythm and blues, one of rock and roll’s parents, a song didn’t have to convey information, just style and emotion, most of which was delivered through the abstract language of music. But theatre songs have to convey a lot of information or the show won’t work (which is why it was such a mistake to put a real 50s song into the 1994 revival). Because sung lyrics take more time than spoken dialogue, musicals have to do a lot of storytelling in fewer words than a play. So in Grease, “Summer Nights” lays out the central backstory, as well as characterizing most of the two gangs through their pointed questions. “Magic Changes” and “Rock and Roll Party Queen” lay out and explore the show’s central themes: Sex; Drive-ins and Sex; and Rock and Roll and Sex; Most of the girls’ songs provide psychological character details – Marty and Rizzo’s cynical view of love in “Freddy My Love” and “Worse Things;” the friction between Rizzo and Sandy in “Sandra Dee” – but we also find commentary on 50s sexuality in “Greased Lightning,” “Mooning,” “Drive-In Movie,” and of course “Worse Things.” Every lyric contributes to the agenda of this deceptively sophisticated concept musical. Grease opens with an authentically and properly bland “Alma Mater,” the sound of the adult world, of authority, complete with archaic language (like foretell, hovel, and thou shalt) which then is ripped apart, deconstructed, unexpectedly exploding, invoking “Johnny B. Goode,” as well as that audacious rejection of adult culture, “Roll Over Beethoven.” Like Berry’s “School Day,” the raunchy parody “Alma Mater” is an assault, a declaration of culture war, a defiant fuck-you to the adult world, as the Greasers literally steal away the adults’ anthem, give it a driving beat, and twist it to suit their own purposes. And so Grease is off and running. This will not be a nice show, a tame show, a traditional show, the music tells us. This will be aggressive, even obnoxious. This will be rock and roll theatre. We move into the second scene and “Summer Nights,” the introduction of two of the leads and their central plotline, inspired by real rock songs like Huey “Piano” Smith’s “Don’t You Just Know It?”, a song released in 1958 as the Rydell kids were starting their senior year. “Summer Nights” introduces the ten main characters, allowing each of them to ask questions that reveal their characters. Marty wants to know if this guy has a car, while Frenchy only wants to know if Sandy’s in love. Kenickie wants to know if the sex was rough, while Sonny only wants to know if the girl could fix him up with a friend. We see here and in the scene leading up to the song who each of the ten leads are – Kenickie and Rizzo, both damaged, beaten down, angry young adults; Roger, the clown; Jan, the cynic; Doody and Frenchy, the innocents; Sonny, the “dangerous” one; and Marty, the Material Girl.

And the song also establishes the central conflict of Grease and of the 1950s, that Danny is comfortable with sexuality while Sandy is lost – trapped? – in the fantasy of Perfect Love, thanks to the likes of Sandra Dee, Dee's handlers, and the movie studios (which were losing all their previous power, due in part to the burgeoning teen market). Some sources report that Rizzo’s dismissal of Sandy’s tale, “Cause he sounds like a drag,” was originally written, “Cause he sounds like a fag.” It’s certainly plausible, since Sandy describes a boy who barely touches her all summer, and in Rizzo’s world, that might well mean the boy is gay (or at least it would be a solid, cynical put-down of Sandy’s romantic story). After "Summer Nights," Rizzo suggests Sandy’s summer lover may be “a fairy.” Now that the characters are established and the story is underway, Grease takes a moment with “Those Magic Changes” to explore the show’s central themes, to underline the importance and centrality of music in this story and also in the show’s social commentary. Closely based on Paul Anka’s “Diana” and its distinctive bass line (you can actually sing “Magic Changes” to “Diana”), it also includes those distinctive falsettos vocal ornaments that pay homage to songs like The Diamonds’ comic doo-wop hit, “Lil Darlin’.” Doody starts off solo, then the girls join in, then the boys join in, then two of the boys take off on those falsetto riffs, giving the whole song the tang of improvisation, as if these kids are just fooling around between classes. This is part of what gives Grease -- in its original incarnation -- such a unique feel as a musical. "Magic Changes" is a song that connects love – but also sex in the form of the “magic changes” of puberty – to rock and roll. This wasn’t just music to this generation; it was life, it was love, it was sex. They charted their lives to the songs on the radio, the song they fell in love to, the song they first had sex to. And as “Magic Changes” reminds us, every 50s song is every other 50s song, since so many of them used those exact same chord changes, a chord progression seemingly invented just for them (though really coming from rhythm and blues). At that early moment in rock's evolution, it seems that all of rock and roll is “those magic changes” that Doody dreams of returning to him every night. The idea that all you need is a guitar to be a rock and roll star (perhaps in tribute to Bobby Bare’s satirical 1958 Elvis song, “All-American Boy,” (which was also referenced in Bye Bye Birdie) was a deeply ingrained part of teen culture. The next song in Grease, “Freddy My Love” is the show’s female doo-wop number, with a lead melody and rich harmonic back-up, closely based on “Eddie My Love” by The Tea Queens, while also slyly parodying The Shirelles’ “I Met Him on a Sunday” and Ronnie Spector’s “Be My Baby,” reinforcing old female stereotypes while also undermining and revising them. The driving triplet accompaniment here was a common beat in early rock and roll, introduced by Fats Domino for “Every Night About This Time.” They’re living in the 1950s, but these are women of the 60s. The idea of the other girls becoming back up singers for Marty shows us how much they love the girl doo-wop groups, a new phenomenon at that moment, which would become huge in the 60s. The Ronettes were the first “slutty” girl group to make it big singing rock and roll. They were what these girls wanted to be (to get the guys) and what the guys dreamed about getting. “Freddy, My Love” is a song about early feminism, about women being sexual and aggressive. But it’s also about the materialism of the 1950s, a mindset in which money is as good as (better than?) sex, and gifts are the only true measure of love. The idea of Marty singing to a guy stationed in Korea references the fact that Elvis was still in the Army overseas at this point, a sad fact for many teenagers.

“Greased Lightning” combines two of the three major cultural forces of the 50s, cars and rock and roll. Possibly inspired by The Cadillacs’ cocky “Speedo,” or Chuck Berry’s “You Can’t Catch Me,” this is a companion piece to “Freddy My Love.” This is the guys’ perspective in the language of doo-wop: it’s all about sex, cars, and sex in cars. An article on Answers.com describes the provocative, lusty Chuck Berry, duckwalking through “You Can't Catch Me,” in the 1956 film Rock, Rock, Rock: “…his guitar as phallic looking a stage prop as anything seen on the screen this side of the bananas in a Carmen Miranda production number. Had a Black man ever before been permitted such a degree of sexual expression (and you can see the delightful, proud smugness on Berry's face, knowing what audience the movie was aimed at) in a movie intended for white audiences?” This is the unfettered sexuality that terrifies the 1950s adult world, and it does the same to Sandy. “Greased Lightning” is about America’s love affair with cars and teenagers’ love of speed. According to Rolling Stones’ excellent history Rock of Ages, “American automakers were asserting their products’ virtues of speed and power, turning the 1957 models into rocketship fantasies with nose cones, chrome grills, and razor sharp fins.” This song is not just a catalog of car accessories, but instead a real insight into the dreams of these guys. After all, this is not a real car Kenickie’s singing about, but an unreachable fantasy car (which is why it may be better if we don’t actually see the dream car onstage), the ultimate, luxury, high-performance, drag racing car, with high-priced accessories for speed and performance (lifters, fins, fuel injection), and also for automotive sex appeal (palomino dashboard, purple frenched tail lights, twin tail pipes). And it’s clear from the details that this will be a car intended for drag racing, the gladiator sport of 1950s teenagers, an extreme and dangerous sport pitting one man against one man, in what was sometimes a battle to actual death. (Kenickie acknowledges this danger, and even knows how to diminish it with a fuel-injection cut-off, which stops the flow of gasoline in the event of a crash, in order to lower the danger of an explosion.) Drag racing was illegal, sometimes deadly… and really sexy! Skill and success in drag racing could always get a guy laid, as Kenickie well knows (or at least imagines). But the song also tells us that Kenickie doesn’t really know much about drag racing or about customizing cars. A true drag racing enthusiast knows that the accessories Kenickie dreams of don’t all make sense together. For example, the “four-barrel quads” refers to a carburetor, but a car with fuel injection (as in his “fuel injection cut-off”) doesn’t have a carburetor – those two things would not be on the same car. And no one would chrome-plate connecting rods; chrome-plating was just for show and nobody can see connecting rods on a car. And though palomino leather was popular for car interiors, no one would put palomino leather on a dashboard. Finally, a kid in 1959 would either make his car look good or go fast; no kid had the money to do both (although you could argue that this is just a fantasy). In fact, a drag car that looked too good was the sure sign of a driver who wasn’t really serious about racing. It’s safe to assume that Kenickie probably knows very little about cars or drag racing, which gives this lyric far more complexity, humor, and character detail than it seems.

The last scene of Act I is set in a park late on a Friday night, where the kids have gathered to hang out, drink, smoke, and neck. Because the scene is one of the longest in the show, it’s also a prime example of the supreme, nearly invisible craft in the writing of the show’s dialogue. The script of Grease isn’t just a catalog of period references and influences; it’s also a carefully constructed ensemble character piece, revealing so much about all the main characters, usually subtextually. As an example, when Roger calls Jan “Petunia Pig,” she shoots back with “Oh yeah? Right here, Lardass!” This seemingly trivial throwaway line tells us so much about Jan: that she’s always been overweight (or at least for much of her life), that she’s regularly picked on, that she’s sensitive about her weight, and most importantly, that over time she has learned to defend herself, to give as good as she gets. A girl who is never mocked about her weight would not be that fierce in her comeback. All this is confirmed later in the scene when Roger asks Jan to the dance and she responds, “You kiddin’, Rog?” Her suspicious reply tells us that either guys never ask her out or maybe guys have asked her out in the past only as a cruel joke of some kind. She has to be reassured by Roger that he really wants to go out with her before she agrees. There’s lots going on with her under the surface, and the same is true of every one of the main characters. Roger and Jan’s song “Mooning” may have been inspired by The Mello-Kings’ “Tonight, Tonight” or The Skyliners’ “Since I Don’t Have You,” and though the other songs in Grease proclaim a new worldview of sex and love, this one also trashes the old worldview, reducing the tepid moon-spoon-June romance of the 30s and 40s to silly anachronism. It contrasts love today (1959) with love yesterday (their parents’), the physical versus the romantic, the play between the old definition of mooning as an over-sentimentalizing of young love, and the new definition of mooning as the act of baring one’s ass. Like “Summer Nights,” this is a song about the difference between chaste love and carnal love, the love Sandra Dee falls into versus the more physical love of naked, sweaty bodies. But this song goes further, into wickedly funny social satire; “Summer Nights” is about two kids, but “Mooning” is about the whole generation. And for Jan, this is safe sexuality, vaguely explicit, but also safely not serious.

As a companion piece to “Mooning,” Rizzo makes the comparison more personal with “Look at Me, I’m Sandra Dee,” an assault on Sandy’s false role models, a shot across the bow, making certain that Sandy knows that Rizzo knows that it’s all bullshit. The music is a classic, brilliantly imitative 1950s novelty song, with a meter and an introduction lovingly ripped off from David Seville’s “The Chipmunk Song,” the surprise hit of the 1958 Christmas season. But the laughs get even darker when you realize that every male movie star mentioned in the lyric was a closeted gay man, forced to live a lie by his studio. This is a song about sexual repression, false lives, and false role models, and it’s proof that Rizzo knows more than we thought, that she has genuine insight into the world around her. And this peek into her mind allows her to carry the weighty “There Are Worse Things I Could Do” later in Act II. The act ends with “We Go Together,” an archetypal Happy Teenager song, very closely modeled on The Kodaks’ “Oh Gee, Oh Gosh” and Lewis Lyman’s “I’m So Happy,” maybe with a little dash of Little Richard’s “Tutti Fruitti.” (You can actually sing “We Go Together” to both “I’m So Happy” and “Oh Gee, Oh Gosh.”) This is a song celebrating the nonsense syllables of early rock and roll, songs like “Gee” (The Crows), “Bip Bam” (The Drifters), “Oop Shoop,” (The Queens), “Sh-Boom” and “Zippity Zum” (both by The Chords). (Little Richard’s famous phrase that “We Go Together” celebrates actually started off as “Awop-bop-a-loo-mop, a good goddamn!”, followed by “Tutti Fruiti, good booty…” It was later cleaned up.) But the lyric of "We Go Together" succeeds as more than just send-up; it is also an articulation and celebration of this created family that nurtures and protects these kids, an artificial but also very real family that has through necessity replaced their dysfunctional, possibly abusive birth families. It is this family at the heart of the show’s plot which must survive the difficulties and obstacles of teenage life, and also which must be sustained even as its leader attempts to create a relationship outside the family for the first time. This lyric tells us – and these kids are telling each other – that these Ties That Bind are indeed strong enough to withstand the current conflicts, and the song’s reprise at the end of the show reminds us of the importance of that strength for these kids. Perhaps it was also telling audiences in 1972 that those ties will also get them through the cultural chaos of the 1970s, a theme picked up in the 1977 musical I Love My Wife. And that's just Act I. Act II picks up where Act I left off, with “Shakin’ at the High School Hop,” a loving tribute to Little Richard’s “Ready Teddy,” as well as many other legendary songs, like “Shake, Rattle, and Roll” (Big Joe Turner, then Elvis, and others), “Whole Lotta Shakin’ Goin’ On” (Jerry Lee Lewis), “High School Confidential” (Jerry Lee Lewis), and “At the Hop” (Danny and the Juniors). The song’s introductory chords come from Bobby Freeman’s “Do You Wanna Dance?” And “High School Confidential” actually contains the lyric, “Shakin’ at the high school hop…” There’s also be a touch of Bobby Darin’s “Splish Splash,” a song which references other early rock and roll songs, just as “High School Hop” catalogues the dances of the time, including The Chicken, The Stroll, The Shimmy, The Cha-Cha, The Walk, The Hully-Gully, The Hand Jive, The Stomp, The Calypso, The Slop, and The Bop. It also names several songs of the period, including “Alley Oop” and “Mr. Lee,” among others.

“It’s Raining on Prom Night” is a Connie Francis number, combining attributes from several of her “weeper” songs, including “Frankie” (with a spoken section), “Valentino,” “Carolina Moon,” and “Happy Days and Lonely Nights,” among others. The Latin beat recalls her fondness for recording Italian language ballads like the hit “Mama;” and “Frankie” even contains the idea of hiding tears, that later shows up in “Worse Things I Could Do.” "Prom Night" also has echoes of The Diamonds’ “Little Darlin’,” with its Latin beat and one spoken verse. According to some sources, this was the first Grease song Jacobs and Casey wrote, even before they had conceived the show, satirically putting the trivial and mundane at the center of a big, emotional lament. Far more than any other song in the score, this is parody more than tribute or invocation. And its sly reference to Maidenform bras recalls that brand’s long-standing ad campaigns that associated their bras with various female fantasy situations, like a romance novel in a magazine ad. Surely for the singer (or listener) of this song, the prom was a romantic fantasy as potent as any other. The Prom Scene is the centerpiece of Act II and, not surprisingly, almost the entire scene is accompanied by dance music. This is a scene that’s entirely about the rock and roll. And the centerpiece of the scene is “Born to Hand Jive,” with its now universally famous choreography. The Hand Jive was invented for the Johnny Otis song, “Willie and the Hand Jive,” which hit the charts in 1958 and stayed in the Top Ten for sixteen weeks. This “Hand Jive” also takes inspiration (and its bass line) from Bo Diddley’s self-titled song, “Bo Diddley,” with its famous beat (the “hambone”) that would accompany so many of Diddley’s songs. The beat is relentless, dangerous, wild abandon, the beat of sex. Once again, rock and roll is sex. Johnny Casino and the Gamblers are an example of the thousands of garage bands that appeared in the 50s. The lyric of “Hand Jive” clearly tells us that anyone can be a rock star if they’ve got the Beat in them, and the fact that everyone knows how to Hand Jive means everyone has the Beat. This was the beginning of the democratization of pop music that would continue into the 60s. Grace Palladino writes in her book, Teenagers: An American History, “If unremarkable kids like Dion Di Mucci and his group, the Belmonts, who hailed from the Bronx, could make it on American Bandstand, [teenagers] reasoned, then anyone with talent and determination had the same chance to succeed.” “Beauty School Dropout,” Frenchy’s wacky nightmare of the misogynist mainstream “real world,” was inspired (musically) by songs like The Penguins’ classic “Earth Angel.” But this scene also references the 1957 film Tammy and the Bachelor, with Debbie Reynolds. Just before “Beauty School Dropout” starts, Frenchy wishes for a guardian angel “like in that Debbie Reynolds movie.” In the film, Aunt Renie (Mildred Natwick) plays the role of Tammy's (merely metaphorical) fairy godmother, who transforms her into a captivating Southern belle, looking just like the portrait of an ancestor of this elite Southern family. She even gives Tammy the ancestor’s dress to wear, so she can win the heart of her love. This is the fantasy Frenchy wants. And of course, it’s what will eventually happen to Sandy, being taken under the wing of other women, given new clothes, and taught new manners, though all in a hard-core, rock-and-roll kinda way… And it’s also a smart parody of those psychological dream sequences in old-fashioned musical dramas like Oklahoma!, West Side Story, Lady in the Dark, and others, in which the leading lady works through her dilemma in the form of a dream. The joke here is that Frenchy doesn’t get the answer she wants from her dream, because Grease isn’t an old-fashioned musical.

Danny’s big character song (sadly replaced in the film), “Alone at a Drive-In Movie,” is a delicious tribute to and parody of the teen laments of early rock and roll, including The Penguins’ “Earth Angel” (you can sing “Drive-In Movie” to the original recording of “Earth Angel”), The Platters’ “The Great Pretender,” The Flamingos’ “Would I Be Cryin’?”, and Johnny Ray’s “Cry.” It is a classic male doo-wop song, with its independent bass line and falsetto tenor floating up above the lead melody. The song works both as a musical theatre “I Want” character song, and also as an authentic 50s rock lament. This moment couldn’t be clearer: Sandy may want acceptance, (self-)love, self-knowledge, but Danny just wants sex. These two worlds have to find an accommodation, and they will in the show’s finale. (The replacement song in the film, “Sandy,” isn’t a bad song, but it doesn’t achieve half of what “Alone at a Drive-In Move” does, textually, thematically, or musically, and it’s far too introspective for a kid like Danny Zuko.) But this song also works on a second level, as a cultural commentary on the power of drive-in movies in teen culture in the 50s. Cars had been changing sex since the 1920s, but by the 50s, more teenagers had more access to more cars than ever before, giving them the privacy they craved on a regular basis. Drive-in movies had been created as family entertainment, and between 1943 and 1953, more than 2,900 drive-in theatres opened in America, the total reaching nearly 5,000 by 1958. But once television stole the family audience, drive-in owners targeted their marketing exclusively at teens, while small, low-budget studios started cranking out material specifically for this new niche market, creating “teen exploitation” films that drastically changed and radicalized teenagers’ perception of themselves and each other. Drive-ins became a place to cruise for girls, hang with the “wrong crowd,” get drunk and get laid, awkwardly, in the back seat. These films opened teenaged eyes to sex, violence, and other various vices like never before, inadvertently creating a new, more sophisticated, more cynical teen market. The fake movie dialogue in the scene leading up to “Alone at the Drive-In Movie” lampoons the two most prevalent genres of drive-in films: horror movies (a comic mix of I Was a Teenage Werewolf and those paranoid 1950s “science run amok” flicks, like 1954’s Them!), crossed with drag racing movies. Strangely enough, television had also come close to killing radio, in ratings and advertising revenue, until radio did what the drive-ins did by targeting teenagers.

“Rock and Roll Party Queen” is another song (like “Magic Changes” and “Hand Jive”) that reminds us that Grease isn’t primarily about Danny and Sandy; it’s about rock and roll and how it impacted American sex. This is a tribute to the Everly Brothers and their perfect-thirds harmonies, modeled on “Wake Up, Little Susie” (a song about having sex at the drive-in) and other Everly Brothers hits, as well as songs like the Dell-Vikings’ “Come Go With Me.” The lyric says more than it seems, describing a party girl that all the kids “know” (in the Biblical sense?), that they talk about, who stays out late with boys, and who will soon be seventeen (the age of sexual consent, which of course means she’s currently under the age of consent), etc. The Party Queen is the fully sexual girl that Rizzo is and Sandy may become. Here, in this scene, the song both comments on Rizzo’s fears of pregnancy and foreshadows Sandy’s realization that she’s too repressed sexually. I told you there was more going on in Grease than you thought. This scene also shows us another aspect of 50s teen culture, the Basement Party. Grace Palladino writes, “If their parents could afford it, they followed the experts’ advice to fix up party rooms to keep young teenagers safe at home . . . complete with a television set, soft drink bar, and plenty of room for dancing.” Jan hosts this party and Marty hosts the pajama party in Act I – their parents clearly know this philosophy. But the scene is important dramatically because it’s the first time we see both Rizzo and Kenickie grapple with real, serious emotions, revealing a vulnerability that is both unfamiliar and uncomfortable for both of them. Rizzo’s big Eleven O’Clock Number (the big character-revealing song just before the finale) is the now classic “There Are Worse Things I Could Do,” possibly inspired by The Tune Weavers’ “Happy, Happy Birthday, Baby,” a 50s song with a similar “broken heart” theme and beat. Rizzo is (spiritually if not actually) one of the Beats (commonly – and derisively – called Beatniks by the mainstream to suggest that they were Communists), a group most famously represented by Jack Kerouac and Allen Ginsberg, who in the 1950s rejected mainstream values, morality, and art, trying to break through the façade of polite society to a more honest, more authentic way of living. “Worse Things” contains the entirety of 1950s youth (and Beat) morality in its lyric. Like everything else in Grease, Rizzo represents that transition from the 50s to the 60s. She’d like us to think she’s as authentic as they come, but she hides Kenickie’s paternity from him and she hides her hurt from her friends. It’s only when Sandy calls Rizzo on her “mask” that Rizzo sings “There Are Worse Things I Could Do,” beginning a two-song arc of revelation for Sandy.  In a weird way, Rizzo becomes a Wise Wizard figure to Sandy... Structurally,"Worst Things" links these two women. In each of the three verses, Rizzo attacks Sandy for her perceived sins – being a tease (leading Danny on but not delivering), being self-pitying (most notably in “Raining on Prom Night”), and being judgmental (in the scene leading up to the song). And as often happens in real life, the sins Rizzo sees in Sandy are also Rizzo’s sins as well. This is a song built on very real, raw emotions, a song that finally reveals the character of Rizzo late in Act II as vulnerable, insecure, easily hurt. The audience may not see this coming but it fills out and explains everything Rizzo has done over the course of the story. Almost at the end of the show, we see that she probably was in love with Zuko (only to see him taken away) and is now clearly in love with Kenickie (who she has just cut off from her). She sees no Happily Ever After for herself. All she thinks she can do is put up a brave front and hide her insecurity. But that also walls her off from any real emotional connection to anyone. If she won't allow herself to cry in front of anyone, how can she ever get close? And the payoff of the last line is the most telling: none of the normal “crimes” of dating are the worst crime; the worst crime is showing vulnerability. That's really good writing and a really good character song. It's so sad and it says so much in such seemingly simple language, without ever being simplistic.

“Worse Things” segues directly to its companion piece, Sandy's parallel self-evaluation, the reprise of "Look at Me, I'm Sandra Dee," in which Sandy finally sees and accepts the truth in Rizzo’s metaphor, finally recognizing that she must reject artificial values imposed by others, so she can find her own way. But Sandy only comes to this realization because “Worse Things” opened her up to the idea of authenticity as a fundamental value; now she can act on that newfound wisdom in her reprise (just like in all the ancient hero myths). Tim Riley argues in his book Fever that early rock and roll delivered a powerful message to its listeners: “The challenge of building an original identity, rather than accepting a received identity predicated on the values of their parents, became a necessary life passage.” Like all the best theatre songs, Sandy makes a decision in the “Sandra Dee” reprise, and the plot takes a turn toward its final destination. Sandy must decide who she is herself and what she values; she must embrace all of who she is, including her sexuality. She now realizes that only when she is true to herself can she be happy with Danny, and this final revelation will lead us to the show’s rowdy, playful finale “All Choked Up” (sadly replaced in the film by the less carnal disco number “You're the One That I Want”). And again, we can see Jacobs and Casey’s lyric writing craft here in their most conventional theatre song, as they effortlessly spin out multiple internal rhymes without ever disrupting a line or thought:

Look at me, There has to be Something more than what they see. Wholesome and pure, Also scared and unsure, A poor man’s Sandra Dee.

Poor even rhymes (unnoticed) with pure and unsure... The bridge is loaded with long e and long i sounds, with a close interior rhyme at the end, in has and last:

When they criticize And make fun of me, Can’t they see the tears in my smile? Don’t they realize There’s just one of me, And it has to last me a while?

And the rhyming accelerates in the last verse, giving the song real momentum as Sandy marches toward triumph (very similar to the end of "On the Steps of the Palace"):

Sandy, you Must start anew. Don’t you know what you Must do? Hold your head high, Take a deep breath and sigh, Goodbye To Sandra Dee.

Here again, some usually unnoticed treasure, in the powerful alliteration of Hold your head high, as each successive line climbs musically higher and higher to the climax. But this song isn’t just about Sandy saying goodbye to her false idols; it’s also about America saying goodbye to the false idols of the 1950s, saying goodbye to the turning of its collective blind eye away from the hidden horrors of the decade: rampant racism, sexism, homophobia, teen pregnancy and abortion, prescription drug abuse in the suburbs, and so much more. Sandy has to face herself and find her own authenticity, but so too does America.

The rowdy “All Choked Up,” the show’s finale, is clearly inspired by Jerry Lee Lewis’ “Great Balls of Fire” and perhaps also by Little Willie John’s “Fever” (later recorded by Peggy Lee in 1958), not only paying tribute to the music but also to the content of “Great Balls of Fire,” with the idea of love causing sickness. Here Grease shows us the turmoil ahead in the 1960s, as sexual roles are reversed. Now that Sandy is a sexual being, she can finally sing real rock and roll. Now Sandy is the aggressor, a lesson she learned from rock and roll, a social trend that would soon push boundaries further and further, from Tina Turner’s “A Fool in Love” well into the 1970s. This is the beginning of feminism. Now American women could be sexual too. Many of those who still object to the show’s ending miss the point of the show and may be unconsciously still caught up in gender stereotypes from the 50s that remain pervasive today. If a boy is sexually aggressive (as in “Greased Lightning”) he’s just a guy. If a girl is sexually aggressive, she’s a slut. Have we really come all that far since 1959? But notice that in the lyric, Sandy tells Danny (and us) that she is still not ready to sleep with him. Sandy may have changed the way she looks, she may now celebrate the curves of her body rather than hiding them behind poodle skirts, and she may now have a more progressive philosophy of sexuality, but no matter how dramatically Danny pleads, she’s still not “going all the way” just yet; that part of her has not changed fundamentally. She has not become a slut. But perhaps even more significant than Sandy’s new sexualized rock and roll persona in “All Choked Up” is her line after the song: Danny asks her if she’s still mad at him and she answers, “Nah, fuck it.” That this is the first time we’ve heard Sandy talk like that is certainly important, but even more so is what her answer means. The phrase is not just obscene; it’s also a universally recognized idiom with two related meanings. First, it says to the world that the speaker just doesn’t care anymore. Sandy’s not just cussing here; she’s publicly rejecting all the values of her past life, in particular the idea that sex is “dirty,” or that Danny is a "bad boy." She’s transitioning from the 50s to the 60s. The other, parallel meaning  of "fuck it" is that regardless of the consequences, the speaker is charging ahead, and that’s part of this moment as well.

But it goes even deeper than that. Fuck is the granddaddy of all cuss words, the word that draws a line in the moral sand. Especially in 1959 – but even still today – fuck is a word that separates the “nice” (i.e., conforming) people from the “bad” (i.e., less repressed) people. Here at the end of our story, Sandy has picked sides in one of America’s great Culture Wars, and so her journey moves out of the personal and into the political, as she utters this infamous word that will stand at the very center of the counterculture of the 1960s, a word Lenny Bruce will go to jail for. It’s a great way to end this story, and it’s also why a cleaned-up, sanitized Grease is worse than no Grease at all… All of this is why I love Grease so much, why I connect to the songs and the characters so powerfully. The whole thing has always struck me as extraordinarily truthful and honest. And so, it's always bummed me out when people dismiss the show as shallow crap. It's not. As I just proved. Long Live the Musical Scott This essay is a revised version of part of one chapter from my book Sex, Drugs, Rock & Roll, and Musicals. from The Bad Boy of Musical Theatre http://newlinetheatre.blogspot.com/2018/12/whats-that-playing-on-radio.html

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Challenges in Education in Today's Society - Globalization and Changes in Education

Recent investigations in the study of demographic trends at global level are currently making light on a very controversial aspect, although ignored by global institutions, like O.N.U., U.N.D.P., G 20, same  by  best shapewear organizations with attributions in the educational field (as UNESCO, Youth International Authorities and other). The so-called "demographic winter" phenomenon, which reveals the dramatic consequences of the "modern" life, marked by familial and moral decline, by miscarriage, vulgarization and the homosexuality "normalization", by the poisoning influence of the majority of mass-media and the "Hollywood culture" are inoculating egocentrism, frivolity and irresponsibility. Considering this demographic trend offers a new dimension to the way in which abundance and resource of the world are distributed and also gives a new vision on elementary educational issues.

The globalization of education is reflecting itself in the extension and unification of educational practices, used by all those public or private entities, involved as active social educators. Over time, the  public education systems in developed or emerging countries, which promote formal Maternity Shapewear education, are illustrating with consistency the practice of a classical education system. In the field of non-formal education there are used more innovating and diverse methods of education, but unfortunately few of this are oriented upon individual behaviour reshaping in the global context, and they are looking only to proliferate consumerist habits, by preparing youngsters for a successful professional career start. The presence of NGO's with international coverage and professional training companies has fixed the currently understood "development in education" in comfortable limits. This makes room for a reshape of educational fundamentals and, more obvious, for the ultimate purpose of learning.

Most people think that education should equip them with the proper exploitation instruments so that they can forever trample over the masses. Still other thinks that education should furnish them with noble ends rather than means to an end. The function of education, therefore, is to washer dryer clearance teach one to think intensively and to think critically. But education which stops with efficiency may prove the greatest menace to society. The most dangerous criminal may be the man gifted with reason, but with no morals.

Socially speacking, the technological revolution, the broaden access to information and the modern lifestyle  facilities have made possible the appearance of an irreversible phenomenon in the conflict between generations. In our present times, the children, "sons of globalization" have access to multiple sources of information, with the internet being most of the time an instrument of self-education. The balance is leaning in the favour of the power of informed youth, who become "the teachers", explaining the new world order to the eldest. This theory takes into consideration the acceleration of technology and the way of our lifestyle, but, beyond its observational character, it does not bring up the discussion on the relevance of educational systems, visible outmoded, which attempts to destroy the moral  appliances houston and statutory principles. The wisdom is transmitted from the old generation to the youth, and not backward.

Therefore we are raising the question regarding the way organisms responsible for educational issues should reconsider the basic fundamentals of this basic activity, which clearly has guided the evolution of our world so far. It isn't enough for organizations like U.N.E.S.C.O or U.N.D.P. to confront the absence of primary education and the discrimination regarding access to education in underdeveloped countries, to avoid resettling the educational needs inside an inappropriate system. It is necessary to deal with these aspects in proper time, because we consider education the key-element car dealerships in houston  which can slow down the process of planet and people self destruction.

The proposal regarding fundamentals reshaping  and reviewing the individual education, approached in all stages and cycles of life, starts with the assumption that "Man has to be educated to act responsible towards the environment and civilization, and not interfere in the harmony and balanced world development with his behaviour". This observation, not exactly recent, triggered a chain of initiatives in the educational system in countries like France, Italy, Germany, including Romania, but I consider that implementing a discipline of Civic Education, in the gymnasium module is not enough, neither convincing.

We feel that the new fundamentals and principals of education, which must be known, understood and applied by every teacher, through all the range of educational processes in the long life learning of individuals, and also in the non formal educational process, whereat luxury cars houston people have access during existence are:

1. Self-consciousness - is essential because it allows every individual to find his role in society, to know his weak points and to develop them according to his unique talents genetically inherited. A person aware of his/her self can easily act in choosing the occupation or the carrier to practice that he or she will be able to direct his energies to and recognize the real problems that the world and society faces. Consciousness-based education, introduced in 1971 by Maharishi Mahesh Yogi, is unique in its ability to effectively develop the total brain potential of every student.

2. Stimulating creativity - this special quality is reflected in the mental and social process of generating new ideas, concepts, associations, and permits individual adaptation to unpredictable contexts and situations. There are simple techniques, associated to lateral thinking that Houston SEO Expert  can promote this capacity, for example: improvisation, fiction as imaginary product, (Randomness, Improvisation, P.S.).

3. Communication - in the actual forms and methods used as learning practices, communication is not capitalized at being the supreme value, because mostly individual activity it's encouraged, which promotes inappropriate values like egoism, indifference, self-interest. Without communicating problems and discussing difficult situations, there is no way to claim solving the issues in optimal parameters of time, quality and accuracy. The man can not act in terms of social responsibility, as a "macro attitude", which I consider as being shallowly approached, especially in the economical environment.

4. Promoting a responsible role in society - education SEO Company Toronto  must train one for quick, resolute and effective thinking. To think incisively and to think for one's self is very difficult. We are prone to let our mental life become invaded by legions of half truths, prejudices, and propaganda. At this point, I often wonder whether or not education is fulfilling its purpose. A great majority of the so-called educated people do not think logically and scientifically. Even the press, the classroom, the platform, and the pulpit in many instances do not give us objective and unbiased truths. To save man from the morass of propaganda, in my opinion, is one of the chief aims of education. Education must enable one to sift and weigh evidence, to discern the true from the false, the real from the unreal, and the facts from the fiction. This is the way in which he or she could develop and exercise an active role in society.

5. Changing opening - in order to be able to intervene in the actual course of the life circle, accepting and promoting the changes is considered a healthy habit, which stimulates the flexibility and the disruption of existing corporately stereotypes, which are heading humanity to destruction, because of the ignorance or simply because of unknown problems that Terra is facing. From this perspective, the change tackling what career is right for me  implies a real transformation at psychological level and of human behaviour, therefore to satisfy those priorities needed to be handled immediately. Here we refer to: the necessity of a re-conversion of world economy from a military economy to civil one, immediate solutions for energetic and environmental problems, as well as for the underdevelopment and poverty aspects propagated into the world.

6. Global vision upon world - the actual educational system, as a whole, is constituted by a sum of operations (method -> evaluation -> communication), whose final objective must reflect a pragmatic and global view on the world. At present, the youth is informed regarding global problems through sources like mass media, not making possible a healthy analysis, not making possible a debate and a thoroughness facilitation that could lead to the understanding and building-up personal opinions regarding aspects like underdevelopment, global economical relations, international business analyst certification monetary system, etc.

7. The ability of solving problems - solving problems is the easiest way to re-create conditions and actions in an artificial manner, experience which allows pupils and students to deal with in a constructive way and to develop solutions for different problems. Learning systems which are basically constructed like this are superior because it helps individuals to recognise and adapt to specific economic, social, psychological, spiritual context and to detect real problems in any form, associating optimal alternatives of decision. For example, simulating a complex economical context for a start-up enterprise leads to the stimulation of individual creativeness and decision-making abilities.

8. Multidisciplinary teams - to permit the reshaping and the restructuring of scholar curricular in the needed form in order to develop these abilities and capacities, we are suggesting even some changes in the study of discipline, considering the logical and contextual relations between them, providing an understanding of all existing correlations at a certain point. For example, Public Finances should be studied in the International Monetary System context and not separately. At the same time this characteristic involves, according to those said before, the start point of collaborations between students coming from different specialization, in early childhood development  order to accomplish complex projects with a multidisciplinary approach. In this case, the elaboration of a business plan would unite students from different specializations in economical science discipline (services, marketing, management) and students from engineering, agriculture and others profile Universities.

In recent years, there have been promoters that recognise the importance of remodelling and updating the learning systems and they have introduced some of this principals through various pedagogic and psychology methods and ideas, which became guide-lines in Universities educational activities from regions around the world. A recent example at this point is the study made by Clay Shirky, author of "Here Comes Everybody", in which he proposed an innovating learning model, named Open Model of Education. In the Closed Model of Education or Classical System, education is limited because the ideas that a school or district can consider can come from only a limited number of sources, usually teachers, administrators, and consultants. A great deal of thought must be put into the consideration of ideas because the time and cost of failure are so high. Time spent with meetings, staff training, and materials, has a cost. This means the filter for  technical schools near me ideas is very high. Only those ideas that seem to have the most benefit will be implemented, though there is no way to know in advance that one of the ideas picked will bring the desired benefit, and one of the ideas left on the table could be the most effective and beneficial.

It is true that by putting into practice an educational system based on the same universal fundamentals it essentially means stimulating globalization through its universal optic itself. Although the manner in which this model contributes to the globalization phenomenon is clear, still we must consider the fact that the final purpose of education is no other then confronting globalization's effects and influences, as well as the global negative impact upon environment and, ultimately, upon the way people live everywhere. Education will allow us to know the actual estate of the world, with all its pluses and minuses, and also will increase the awareness of the impact of every A+ certification training individual upon the world and upon the next generations. In other words, we consider politics, economy or administrative sciences weapons of less importance in the process of global issues eradication, compared to education, as a social science.

To conclude, I would like to specify the way these ideas were generated and which were their fundamentals. This actual used appliances houston study is not a result a thorough research activity, neither a genius idea. I am myself a "product" of a classic, formal educational system, but also had some benefits form the non-formal educational system by involving myself in a volunteer organization that developed soft skills and hard skills both. I consider that these educational practices are not adapted enough to the global context that we are facing everyday, and that specialized literature is exposing, bringing up to light its pronounced effects of human existence on Terra. I am a person that does not hold sufficient information and power to be a voice and to be able to get involved in a sustainable and constant  plus size shapewear development of society, whose values are not profit, nepotism, indifference towards future generations, but responsibility to create and offer equal chances. I am an ambassador of a civilization which is plunging headfirst, shy daring to change the dissonant order and murderously world.

[chriscanwell]

New Post has been published on Develop Attraction

New Post has been published on https://www.developattraction.com/build-attraction-online-social-media/

How to Attract Women on Social Media & Online Dating

Do you want to know the best way to attract women on social media and online dating? This article will show you how to create and build real attraction with women online.

Used the right way, social media can stimulate attraction and build intrigue; used the wrong way, however, and social media has the potential to wreak havoc and make you look desperate and weak. It’s for this reason that we must examine social media—not just as a way to build attraction, but also as a way to avoid killing attraction altogether.

The dark side of social media is that so much of it is ego driven. When a woman posts a picture of herself online, men often assume that the best way to get her attention is to start liking all her posts and pictures in return. In other words, they inadvertently become just another “fanboy.”

A surprising number of men believe they can capture a woman’s interest and attract a woman on social media by liking all her posts and updates. If building attraction were that easy, every man would be having sex with the girl of his dreams. That’s not to say liking a woman’s posts doesn’t have its place.

Intermittently liking a woman’s posts lets her know that you’re aware of her presence and that you might be interested in her—might being the operative word here for doubt and uncertainty are key factors when it comes to attracting women on social media and online.

Case Study: The Dangers of Social Media

When Laura found Jordan’s profile on social media, she couldn’t believe it—Jordan had changed so much, she hardly recognized him. In high school, Jordan had been a skinny, little kid; now he was a strong, handsome man. After exchanging a couple of messages, Laura and Jordan both agreed they should meet up in person. It wasn’t long, however, before Laura found herself getting turned off by Jordan’s behavior.

Every time she posted a picture or comment, Jordan would always like it. It didn’t matter what she posted, Jordan would always comment or like her post straight away. Laura didn’t know why, but she began to feel like she was losing interest in Jordan. Why was he so responsive to everything she did? His availability and high level of interest reeked of desperation.

When Jordan tried to meet up with Laura the following weekend, Laura told him she was busy and would be unavailable for the next couple of weeks. And although Jordan was frustrated by Laura’s response, it didn’t stop him from liking all her posts and updates on social media. Jordan believed that if he continued to shower Laura with enough attention, she would soon realize what an amazing guy he was.

What Jordan didn’t know was that Laura had also been checking out the profile of another guy she’d met a couple of weeks ago (some guy called Nick). Nick wasn’t that active on social media, but whenever he did post a photo or comment, he was always doing something fun and interesting. Usually, he was taking a trip, riding a bike, or doing something adventurous like scuba diving. The more Laura looked at Nick’s profile, the more she liked him.

Over the next couple of weeks, Laura found herself thinking more and more about Nick. What kind of man was he? She had no idea. He only occasionally liked her posts and he only messaged her if she reached out and messaged him first. Nick was a complete mystery. But from what Laura could see, he was definitely a fun and attractive guy to be around. Maybe I should send him a message and ask him out on a date, Laura thought.

Researchers at the University of Alaska found that women are more attracted to men who take “hunter-gatherer” type risks as opposed to stupid risks. Hunter-gatherer type risks include outdoor physical activities like mountain biking, scuba diving, rock climbing, and extreme sports. The results of the study found that women are more attracted to men who take risks similar to those faced by our hunter-gatherer ancestors.

Men Who Take Risks are More Attractive

In contrast, men who performed what were considered “stupid risks” were found to be significantly less attractive. A good example of a stupid risk would be handling dangerous chemicals in an unsafe way, plagiarizing an academic paper, or stealing. Additional research published in CyberPsychology & Behavior revealed that social media is also most likely responsible for increased levels of jealousy and suspicion in relationships.

Because the nature of social media is often ambiguous and open to interpretation, it often leads to high levels of jealousy amongst both men and women. This knowledge, of course, can be used to your advantage.

Creating artificial jealousy is often an effective way to capture a woman’s interest and restore fading interest. If you want to introduce the element of jealousy into your relationship, however, you must refrain from being too overt and direct.

Posting pictures on social media of yourself being intimate with another woman will only instill resentment and throw up more problems and resistance. Instead, it’s better to be seen pictured with attractive women as opposed to being intimate with them.

One picture with an attractive woman is all you need to create a sense of anxiety and discomfort. A woman’s mind will naturally gravitate towards feelings of jealousy, which, in turn, will lead her to feel heightened levels of attraction for you.

It’s also worth noting that researchers at Texas Christian University discovered that women find men more attractive when the man is pictured with other attractive women (this can include attractive ex-girlfriends and even strangers).

This phenomenon, known as mate choice copying, builds on the theory that men become more attractive when they’re chosen by other attractive women. And even though attraction, in this case, is based on nothing more than a mental shortcut, the impact of mate choice copying on attraction mustn’t be overlooked.

Build Attraction Online by Projecting High-Value

If your goal is to attract women on social media, you should post as many high-status pictures on social media as possible. A study published in the British Journal of Psychology brought to light an interesting aspect of attraction. The study revealed that men who posted pictures of themselves sitting in a Bentley Continental were immediately seen as more attractive than men pictured in a Ford Fiesta. Okay, no real surprise there.

Yet another study published in the Journal of Evolutionary Psychology found that men who had their picture taken inside a luxury apartment were rated more attractive than the same men pictured outside on the street.

Women by nature are attracted to high-value men. The expensive car, the luxury apartment, the lavish lifestyle all indicate that a man is likely to possess high-value traits such as confidence, intelligence, strength, and persistence.

You mustn’t assume that you have to rely solely on ostentatious displays of wealth to build attraction on social media. You only need to make sure that the pictures you post reflect a lifestyle that’s both appealing and attractive.

Attract Women on Social Media

Pictures of physical activity, traveling, developing a business, and working on a hobby are all pictures that communicate high-value. Another study that explored the effect of social proof on attraction was carried out by researchers at the University of California at San Diego. The study found that men and women usually look better when photographed as part of a group.

When it comes to creating attraction, everything you post online should be geared towards building value and status. Because human beings are social creatures, you mustn’t forget the power of social proof and the role it plays in attraction. One excellent form of social proof is preselection. So how exactly does preselection work?

A man walks into a bar by himself. The women in the bar look at the man and think nothing of it—all they see is a man walking into the bar, he could be anyone. Now imagine the same man walks into the same bar and this time he has a beautiful woman on his arm.

The other women see the man and their reaction is now completely different. The man is no longer just a regular guy who walked in off the street. What is it about this man that enabled him to attract such a beautiful woman into his life? This is the power of social proof.

The man has already been preselected by a beautiful woman, the other women in the bar see this and automatically assume the man has high-value.

Use Social Proof When Online Dating

In a similar way, when you walk past a restaurant and see a crowd of people lined up outside, you are naturally inclined to wonder what’s so special about that restaurant in particular. Most people will assume the food is exceptional because so many people want to eat there. This is the power of social proof. The Royal Society published an interesting study that helps to explain the power of social proof in more detail. The study analyzed how female participants would react to different pictures of a man and woman (with the woman looking at the man with different facial expressions).

In the pictures, the woman’s facial expressions were either (a) smiling (b) bored, or (c) neutral. The results of the study showed that the female participants rated the man most attractive in those pictures where the woman was seen “smiling” at the man.

Other studies evaluating the effect of social proof on attraction found similar results. One such study published in the Journal of Social, Evolutionary and Cultural Psychology explained how women are more likely to be drawn to men who are already in a relationship, as opposed to men who are single.

Further research into this dark area of attraction revealed that women only find men attractive in this situation if the man is dating an attractive woman. In other words, if you’re seen walking around with plain Jane, you’ll do nothing to inspire interest or raise your value.

Social proof can be used to great effect on social media. And based on the body of scientific research that already exists in this field, it’s safe to say that men who are seen with attractive women immediately raise their value and become more attractive as a result.

Any time you raise your value to the point where you’ve acquired a certain level of prestige and recognition (for example, you’re seen with a beautiful woman, you’re a semi-celebrity, or you’ve achieved recognition in a particular field or industry), you exhibit social proof and value.

Even when you’re simply having a good time, hanging out with a group of friends, you have an opportunity to display positive social proof based on the fact that you’re socially aware and liked by your peers. Displaying social proof is a great way to build attraction for human beings are nothing if not social animals.

[manipulative-media]

Violence is ALWAYS the Answer: The Psychological Effects of Watching The Walking Dead

Broadcast media, primarily television, is a persuasively powerful storytelling method due to its ability to engage audiences with various representations of reality and fictitious narratives. Images portrayed in the mass media play a significant role in shaping the social frameworks of society as well as its cultural implications. Therefore, violent images on broadcast television send shock-waves of negative consequences throughout society. During the late 20th century and into the 2000’s, violence became a predominant form of entertainment in American popular culture. George Gerbner’s 1976 Cultural Indicators Project, “showed the prime-time dramatic world of television to be an exceedingly violent place” and “hypothesized that regular exposure to mediated violence made viewers develop an exaggerated view of real-life dangers in society” (Bryant, Thompson, & Finklea, 2013 p. 173). TV shows like The Walking Dead glorify fighting, killing and other displays of physical aggression by continually portraying such behaviors in their programming as acts of valiance. According to research Professor Rowell Huesmann, individuals who watch The Walking Dead (TWD) are inclined to become primed, aroused, desensitized, and cultivated by recurrent images of violence on television (Huesmann, 2009 p. 3-4). Consequently, viewers of the show develop an unrealistically mean view of the world Gerbner referred to as “Mean World Syndrome” (Bryant et al., 2013 p. 160). The Walking Dead cultivates violent acts of aggression by ennobling characters who use violence as a means to solve their problems and portraying such violent acts as inevitable. The series is set on a post-zombie apocalyptic planet earth and focuses on seemingly normal human-beings struggling to survive. Copious gruesome killings and mutilations of “human or human-like characters” (Huesmann, 2009 p. 2) are carried out in every episode. The unceasing violence displayed in the popular television series The Walking Dead allocates both short-term and long-term effects on viewer’s cognition's, sensations, and behaviors, while simultaneously influencing their discernment's of reality. 

https://www.commonsensemedia.org/tv-reviews/the-walking-dead

Common Sense Media’s rating for The Walking Dead’s level of violence. This aims to show how violent TWD really is according to a recognized rating company.  

Individuals who actively watch The Walking Dead experience short-term effects on their attitudes and intellects such as a spike in violent viewpoints and/or behaviors due to their consumption of the show. Physical aggression is frequently portrayed as a prevailing and compulsory act of righteousness in TWD. Characters who are most violent tend to engage in commanding roles. This type of characterization sends the message that physical strength and a willingness to fight are imperative qualities of a leader. TWD’s dramatic storyline stimulates viewer’s emotions and instincts which in turn contribute to the show’s deliverance of underlying messages. According to Huesmann, viewer’s emotions are activated by priming, arousal, and mimicry (Huesmann, 2009 p. 3). Priming refers to the concept that media consumers associate observed actions with the emotions they feel upon viewing that content. Thus, “making behaviors linked to them more likely” (Huesmann, 2009 p. 3). TV priming stimulates excitement in the minds of television viewers and aims to associate recurrent actions with feelings of arousal, envy, security, etc. TWD’s violent representation of reality causes destructive connections to take shape in the minds of its viewers. The show encourages these connections by correlating specific sensations with events that unfold within a given episode. For example, the show often associates feelings of fortification, anxiety, and impending doom with weapons, murder, and character valiance. This rendering of barbarity primes viewers for bloodshed and relays the message that guns are effective instruments of defense and vengeance. In The Walking Dead, main character Rick Grimes is commonly faced with hard decisions to which his solutions almost always involve some form of aggressively violent behavior. Since Rick is the shows protagonist and depicted as the top candidate to lead survivors in a zombie apocalypse, his behavior is easily cultivated in the minds of TWD viewers. Rick Grimes is the good guy, the hero, the captain of his team; his actions are received admirably by TWD fans. “When media violence primes aggressive concepts, aggression is more likely” (Huesmann, 2009 p. 3).

http://www.esquire.com/uk/culture/tv/news/a8553/all-hell-breaks-loose-in-the-walking-dead-s6-trailer/

TWD protagonist Rick Grimes resorts to violence to solve a disagreement between fellow survivors. 

A potentially detrimental short-term effect of violent television is imitation. Imitation, otherwise known as mimicry, is the most dangerous consequence that violent television can have on its audience. Mimicry is the reproduction of some harmful activity an individual has formerly observed. Though children are primarily inclined to identify with characters they see on the television, young and old people alike have attempted to mimic behaviors they’ve witnessed on broadcast television. The style of the televised content in addition to the total time spent viewing that content play significant roles in persuading imitation (Bryant et al., 2013). The greater majority of new TWD fans choose to binge watch multiple episodes of the highly violent programing in one sitting. The Guardian reports that a man from New Mexico beat his friend to death after the two had been watching The Walking Dead for days straight (The Guardian, 2015). Police told reporters that the killer had believed the victim was turning into a zombie (The Guardian, 2015). It’s very possible that the two friends were imitating the actions they had been overconsuming and became cultivated by the violent behaviors they were viewing.

https://www.theguardian.com/us-news/2015/oct/26/new-mexico-man-beats-friend-zombie-walking-dead

http://www.rollingstone.com/tv/features/the-rise-of-grossout-tv-20140918

The Rolling Stone acknowledges how gruesome and repulsive the television industry has become to keep up with audiences tolerance for violence and aggression.

While short-term effects of media violence are clearly damaging, long-term effects including desensitization, observational learning, and cultivation are just as likely to occur and may be even more damaging to audience’s cognitions, behaviors, and emotions. According to Patrick Jamieson and Daniel Romer, “the most important problem resulting from frequent exposure to TV violence is not the direct imitation of violence by viewers, but the gradual increase in fear and mistrust that promotes authoritarian governance” (Jamieson, & Romer, 2014, p. 39). The Walking Dead trivializes physical aggression by depicting such actions as necessary and are often dismissed with no consequence. The recurrent manifestation of violent behavior desensitizes TWD viewers and causes them to be less empathetic towards victims of violence, both on and off screen. Authors of Fundamentals of Media Effects assert that desensitization effects are depended on the amount of television a person consumes (Bryant, et al., 2013 p. 169). Over time, TWD viewers become “comfortably numb” (Hass, 2016) to the pain and suffering of fictional and non-fictional individuals. “The inherent issue with this numbness is that we’ll have to keep pushing the boundaries in entertainment, we’ll have to keep escalating to satisfy the world’s hunger for shock value” (Haas, 2016). The Walking Dead directly contributes to raising the imaginary ceiling of vulgarity that our society is accustomed to. Consequently,  society as a whole is progressively becoming less and less sympathetic.

https://www.youtube.com/watch?v=oxyTO-Q40u4&feature=youtu.be 

This video provides statistical evidence concerning the effects that media consumption including television viewing has on adolescents.

The Walking Dead paints an evil picture of the world and cultivates exaggerated levels of fear in the minds of their viewers. The show typifies an apocalyptic world inhabited by characters who are full of ferocity and delinquency. They embody a ‘kill or be killed’ mentality. Although TWD portrays a fictional world, viewers are led to believe that a zombie apocalypse could occur at any given moment in real life. George Gerbner’s examinations of violent media repeatedly found that the television world was mean and violent (Potter, 2014, p. 1018). This led Gerbner to construct a phenomenon known as “Mean World Syndrome.” The pattern causes television viewers to overestimate real world crime statistics and underestimate other facts such as the population of elderly sick people. TWD fits his theory because the shows biosphere is full of dangerous situations and evil people who attain authority through force. As viewers watch characters develop and are introduced to new characters, they are forced decide whether or not to trust them. “Heavy television exposure cultivates exaggerated perceptions of the prevalence of violence, which in turn heighten “Mean World” perceptions, leading to intentions to take protective measures against crime, and actually taking such measures” (Morgan & Shanahan, 2010, p. 342). While TWD does not portray real-life events, the series is grounded in reality and depicts hypothetical situations that could theoretically occur in the event of a zombie-apocalypse. Viewers must invest in the likelihood that this type of catastrophe could actually happen in order for the show to affect their engagement with reality. TWD fans who are invested in this idea could act upon on their cultivated cognition's by preparing themselves for an end of the world scenario.

Another speculative consequence of viewing violent programming is observational learning. Observational learning refers to the ongoing facilitated development of an individual’s understandings of the world which transpires over a long period of time. A person’s social behavior is partly determined by their interpretations of real and fictional events they’ve observed throughout their lives. Children who watch violent television have an increased risk of developing unfriendly discernment's of the world which cause them to attribute hostility to others’ actions (Huesmann, 2009). While a child’s parents and/or guardians tend deliver the majority of an adolescent’s observational education, television is a major supplier of negative reverberation. Individuals use resonance to call on lessons they’ve learned in the past. For example, children who grow up watching characters on The Walking Dead handle their problems with violence will be inclined to do the same when they are presented with a similar situation. According to communications professor W. James Potter, “the amount of television viewing is consistently related to all kinds of cultivation indicators across all kinds of people and across a wide variety of cultures and countries” (Potter, 2014).

The television industry is currently leading our society down a treacherous path of no return for the purpose of producing entertainment for profit. The unceasing violence exhibited by TWD as a means for survival and procurement of authority is just one case of the negative examples that violent television set for our society. Of course there are limitations to the research that has been done on televisions cultivation. Since it is currently impossible to determine how a person cultivates their violent behavior, it’s unclear exactly how effective television viewing is on its viewers cognitions. However, as technology advances along with the boundaries of television’s aggressiveness, it’s simply a matter of time until the world has proof of violent televisions negative effects on its audiences.

http://www.nytimes.com/interactive/2013/03/03/arts/critics-on-violence-in-media.html

A powerful image that symbolizes the dangers broadcast media can have on its audiences. The television industry needs to consider the consequences its programming has on the constructs of our society. 

[topreview2016]

Metabolic Cooking Full Exposed In This Review

Cooking is fun! I love cooking because it takes me into another world where I reconnect with the people I feel they are the real gurus when it cooking.

Am not an expert..but I feel I am!!!!

How awesome is that and completely out of nothing, you could rise up into somethingyes of course I would like to use the phrasefrom zero to hero.but I think, its out of FASHION. Do not get me wrong, I am just saying.

Enough with that, lets now get down into serious business..like I was saying, cooking should be fun, cooking should be interactive, cooking should be something that you want to do time and again.cooking is the epitome of healthy living and how you do it really matters a lot.

But wait.

You will find that a lot of people are doing whats not supposed to be done! That is the irony in this case and that has to change. On the long run, you want to be great. then train with the great and that is where I creep in

Now, you are in the verge of discovering why your diet is failing you and why most of the crappy…Creepy…cr**y materials you find in the internet are destroying your moods when it comes to cooking.

Many people think that what they do as cooks is the best and I am not blaming anybody for that after all, everybody is great in his/her own way, the only thing that matter is what makes you different and best. But you know so little as the best man when it comes to cookingI can sure prove you wrongstay here with me and see me proving you wrong!!!

Metabolic Cooking

Ever heard of that? Do you even know what is that?…..in case you have never heard of that or you even do not know what that is, then give yourself this title

AMATEUR COOK you are not yet in the professional league and that is why you need me so that you can earn this title

PROFESSIONAL COOK it all start by perusing through the Metabolic Cooking guide book where you get introduced to something that were so vague to you. It is still here that you get to know some techniques that are highly classified and that leads to very healthy living.

Metabolic Cooking helps to you more health wise and the product of it all is always so amazing. Therefore, you will need to stay keen as we go down the main benefits of this program. Ready? Then lets get started.

What the book is all about

The Metabolic Cooking is all about helping people like you burn more fat and reduce fat content in their body by eating selective foods that are gainful to the metabolisms and the body functioning capability.

You see a lot of people cook food just for the sake of doing it and therefore you will find that they end up messing than before and the product of their art is even worse because it causes them to add more fat and thus more health problem. This could be avoided ask me and I will tell you how

Why you need to trust this book

There are a lot of many things that have been highlighted in the guide that are so helpful and very gainful to you as a person. You see, the author has had a masters degree in the psychology field and has dealt with so many people having the weight loss problem and you are not an exception. You can also be helped.

Before coming up with the guide, the authors had to research on the cookbooks that are available in the market and in the process, they sure cam up three most dangerous ways through which a lot of the cooks go wrong. Now, what does this mean? It means that our product here, Metabolic Cooking, is a fine masterpiece of what all others have been doing.

It is a refined cookbook with the state of the art techniques that will make you go wild in the kitchen and that are the secret behind the making of the Metabolic Cooking.

Where most of the authors go wrong.

I am quite sure you are ready to hear where your guide that you have been faithfully using for all those years go wrong. Here is where;

Most of the cook books do not address about the metabolic adaptation phenomenon. This is usually the process where our body metabolism gets to slow down bit by bit because we are subjecting it to the same foods and spices over and over again.

Another reason to believe that this program is one of a kind and that you are now using the wrong cookbook, the authors of the Metabolic Cooking found out that most of the cookbooks out there are using the wrong ingredients for their cooking. Now what most of them use are the ingredients that encourage the formation of the fat in our bodies.

The other problem that the authors found out is that most of these cookbooks are not organized in a good manner that would give you a speedy approach to the right meal plans. What the cookbooks do is that they organize just a bunch of recipes for you to use. They are really not serious about what they advocate for and do you know the mistake of that, the meals will just be adding the calories and more fat in your body.

The cookbooks really do not show any progress, what they really do is that they will advocate for the same food over and over again. Therefore you will find that you will be eating the same kind of food day after day. And what is the benefit of that, you will find that you will be doing yourself more harm than benefits and on the long run, nothing best will come out of it.

Therefore, you will need somewhere you can lean on for better health results and that is none other but the Metabolic Cooking. This is the guide that has helped so many people fight of their problem and you are not even close to being an exception.

The 3-step guide towards a fulfilling life

The Metabolic Cooking takes into accounts three most important techniques to regain your health by speedily burning up your fat, reversing your body metabolism and helping you fix all what you have been eating which is

Boring and if not boring..close to it

Step one; here you will learn from the guide what is safe to eat and in what proportion and at what time of the day. That is what it takes to have a really nice and healthy body. Nothing less and nothing more. Metabolic Cooking helps to put up the right combinations in your body and this way, you will realize that you are burning a lot of fat at a particular instant.

Step two; here, you will learn about the metabolic adaptation phenomenon for the food cycling where the authors make a variety of the nutrient sourcing to make sure that they combat the body functioning slow down.

Step three; here you are introduced to the thermocharged fat burning ingredients where the author introduces you to ingredients that will work for you. These ingredients will help you burn down your calories and on the long run, you will have a good functioning body.

Conclusion

This is the guide that everybody should be aspiring to have. It is with proven technique that all work, the guide will help you conquer almost every detail that is bringing you ill health and adding fat to your system. If you want to live a healthy life, then you should embrace the Metabolic Cooking.

For Instant Access To Metabolic Cooking, Click Here

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