Review of Portrait of America :: essays research papers

Review of Portrait of America During the process of reading this compilation of works, Portrait of America, many different point of views were aired. The opinion or attitude on the subject was too tainted. The authors were very biased to their perception of the "story". This book could have been much more beneficial if the facts would have stayed to the straight and narrow. Only the detrimental facts needed to be applied to these chapters. For a history class, as broad as this, this book opened too many doors that could not be explained in as much detail as would be liked. Many of the authors enjoyed mentioning the most scandalous moments of the people's lives then dropped the fact without much support or follow through as to what happened to cause or end these events. Brief summaries only tease the mind, and with the course load of most students, there is hardly extra time to investigate the matter further in detail. For a class such as History 152, biographies and/or documentary style books are m ore worth the while of the student. For instance make a list of a selection of novels that could be read for the class, so that every student can then explore in depth what that student thinks is interesting. Although the book was teasing in nature the chapters did flow well and were easy to read. The procession of the chapters had wonderful transition as to not loose the student. While proceeding through this book there were several different reoccurring topics that appeared. This paper will discuss these two reoccurring topics: the civil rights movement and former presidents. The civil rights movement, by many people, is though to have happened during the 1950's and 1960's. The truth of the matter is that civil right has and always will be an ongoing issue for anyone who is not of color. The civil rights movement started when the black slave started arriving in America centuries ago. The civil rights movement is one of the most known about issues in American history. Everyone at some point in their life has studied this movement. This movement is particularly interesting due to the massive amounts of different stories and occurrences through the course of the movement. Dr. Martin Luther King Jr. was a vital figurehead to this movement. He inspired many people who had lived their whole lives in the shadow of fear of change.

Chapter 17 Cat, Rat, and Dog

Harry's mind had gone blank with shock. The three of them stood transfixed with horror under the Invisibility Cloak. The very last rays of the setting sun were casting a bloody light over the long-shadowed grounds. Then, behind them, they heard a wild howling. â€Å"Hagrid,† Harry muttered. Without thinking about what he was doing, he made to turn back, but both Ron and Hermione seized his arms. â€Å"We can't,† said Ron, who was paper-white. â€Å"He'll be in worse trouble if they know we've been to see him†¦.† Hermione's breathing was shallow and uneven. â€Å"How — could — they?† she choked. â€Å"How could they?† â€Å"Come on,† said Ron, whose teeth seemed to be chattering. They set off back toward the castle, walking slowly to keep themselves hidden under the cloak. The light was fading fast now. By the time they reached open ground, darkness was settling like a spell around them. â€Å"Scabbers, keep still,† Ron hissed, clamping his hand over his chest. The rat was wriggling madly. Ron came to a sudden halt, trying to force Scabbers deeper into his pocket. â€Å"What's the matter with you, You stupid rat? Stay still — OUCH! He bit me!† â€Å"Ron, be quiet!† Hermione whispered urgently. â€Å"Fudge'll be out here in a minute –â€Å" â€Å"He won't — stay — put –â€Å" Scabbers was plainly terrified. He was writhing with all his might, trying to break free of Ron's grip. â€Å"What's the matter with him?† But Harry had just seen — stinking toward them, his body low to the ground, wide yellow eyes glinting eerily in the darkness — Crookshanks. Whether he could see them or was following the sound of Scabbers's squeaks, Harry couldn't tell. â€Å"Crookshanks!† Hermione moaned. â€Å"No, go away, Crookshanks! Go away!† But the cat was getting nearer — â€Å"Scabbers — NO!† Too late — the rat had slipped between Ron's clutching fingers, hit the ground, and scampered away. In one bound, Crookshanks sprang after him, and before Harry or Hermione could stop him, Ron had thrown the Invisibility Cloak off himself and pelted away into the darkness. â€Å"Ron!† Hermione moaned. She and Harry looked at each other, then followed at a sprint; it was impossible to run full out under the cloak; they pulled it off and it streamed behind them like a banner as they hurtled after Ron; they could hear his feet thundering along ahead and his shouts at Crookshanks. â€Å"Get away from him — get away — Scabbers, come here –â€Å" There was a loud thud. â€Å"Gotcha! Get off, you stinking cat –â€Å" Harry and Hermione almost fell over Ron; they skidded to a stop right in front of him. He was sprawled on the ground, but Scabbers was back in his pocket; he had both hands held tight over the quivering lump. â€Å"Ron — come on back under the cloak –† Hermione panted. â€Å"Dumbledore — the Minister — they'll be coming back out in a minute –â€Å" But before they could cover themselves again, before they could even catch their breath, they heard the soft pounding of gigantic paws†¦. Something was bounding toward them, quiet as a shadow — an enormous, pale-eyed, jet-black dog. Harry reached for his wand, but too late — the dog had made an enormous leap and the front paws hit him on the chest; he keeled over backward in a whirl of hair; he felt its hot breath, saw inch-long teeth – But the force of its leap had carried it too far; it rolled off him. Dazed, feeling as though his ribs were broken, Harry tried to stand up; he could hear it growling as it skidded around for a new attack. Ron was on his feet. As the dog sprang back toward them he pushed Harry aside; the dog's jaws fastened instead around Ron's outstretched arm. Harry lunged forward, he seized a handful of the brute's hair, but it was dragging Ron away as easily as though he were a rag doll — Then, out of nowhere, something hit Harry so hard across the face he was knocked off his feet again. He heard Hermione shriek with pain and fall too. Harry groped for his wand, blinking blood out of his eyes â€Å"Lumos!† he whispered. The wandlight showed him the trunk of a thick tree; they had chased Scabbers into the shadow of the Whomping Willow and its branches were creaking as though in a high wind, whipping backward and forward to stop them going nearer. And there, at the base of the trunk, was the dog, dragging Ron backward into a large gap in the roots — Ron was fighting furiously, but his head and torso were slipping out of sight — â€Å"Ron!† Harry shouted, trying to follow, but a heavy branch whipped lethally through the air and he was forced backward again. All they could see now was one of Ron's legs, which he had hooked around a root in an effort to stop the dog from pulling him farther underground — but a horrible crack cut the air like a gunshot; Ron's leg had broken, and a moment later, his foot vanished from sight. â€Å"Harry — we've got to go for help –† Hermione gasped; she was bleeding too; the Willow had cut her across the shoulder. â€Å"No! That thing's big enough to eat him; we haven't got time –â€Å" â€Å"Harry — we're never going to get through without help –â€Å" Another branch whipped down at them, twigs clenched like knuckles. â€Å"If that dog can get in, we can,† Harry panted, darting here and there, trying to find a way through the vicious, swishing branches, but he couldn't get an inch nearer to the tree roots without being in range of the tree's blows. â€Å"Oh, help, help,† Hermione whispered frantically, dancing uncertainly on the spot, â€Å"Please†¦Ã¢â‚¬  Crookshanks darted forward. He slithered between the battering branches like a snake and placed his front paws upon a knot on the trunk. Abruptly, as though the tree had been turned to marble, it stopped moving. Not a leaf twitched or shook. â€Å"Crookshanks!† Hermione whispered uncertainly. She now grasped Harry's arm painfully hard. â€Å"How did he know –?† â€Å"He's friends with that dog,† said Harry grimly. â€Å"I've seen them together. Come on — and keep your wand out –â€Å" They covered the distance to the trunk in seconds, but before they had reached the gap in the roots, Crookshanks had slid into it with a flick of his bottlebrush tail. Harry went next; he crawled forward, headfirst, and slid down an earthy slope to the bottom of a very low tunnel. Crookshanks was a little way along, his eyes flashing in the light from Harry's wand. Seconds later, Hermione slithered down beside him. â€Å"Where's Ron?† she whispered in a terrified voice. â€Å"This way,† said Harry, setting off, bent-backed, after Crookshanks. â€Å"Where does this tunnel come out?† Hermione asked breathlessly from behind him. â€Å"I don't know†¦It's marked on the Marauder's Map but Fred and George said no one's ever gotten into it†¦It goes off the edge of the map, but it looked like it was heading for Hogsmeade†¦Ã¢â‚¬  They moved as fast as they could, bent almost double; ahead of them, Crookshanks's tail bobbed in and out of view. On and on went the passage; it felt at least as long as the one to Honeydukes†¦ All Harry could think of was Ron and what the enormous dog might be doing to him†¦He was drawing breath in sharp, painful gasps, running at a crouch†¦. And then the tunnel began to rise; moments later it twisted, and Crookshanks had gone. Ahead Harry could see a patch of dim light through a small opening. He and Hermione paused, gasping for breath, edging forward. Both raised their wands to see what lay beyond. It was a room, a very disordered, dusty room. Paper was peeling from the walls; there were stains all over the floor; every piece of furniture was broken as though somebody had smashed it. The windows were all boarded up. Harry glanced at Hermione, who looked very frightened but nodded. Harry pulled himself out of the hole, staring around. The room was deserted, but a door to their right stood open, leading to a shadowy hallway. Hermione suddenly grabbed Harry's arm again. Her wide eyes were traveling around the boarded windows. â€Å"Harry,† she whispered, â€Å"I think we're in the Shrieking Shack.† Harry looked around. His eyes fell on a wooden chair near them. Large chunks had been torn out of it; one of the legs had been ripped off entirely. â€Å"Ghosts didn't do that,† he said slowly. At that moment, there was a creak overhead. Something had moved upstairs. Both of them looked up at the ceiling. Hermione's grip on Harry's arm was so tight he was losing feeling in his fingers. He raised his eyebrows at her; she nodded again and let go. Quietly as they could, they crept out into the hall and up the crumbling staircase. Everything was covered in a thick layer of dust except the floor, where a wide shiny stripe had been made by something being dragged upstairs. They reached the dark landing. â€Å"Nox,† they whispered together, and the lights at the end of their wands went out. Only one door was open. As they crept toward it, they heard movement from behind it; a low moan, and then a deep, loud purring. They exchanged a last look, a last nod. Wand held tightly before him, Harry kicked the door wide open. On a magnificent four-poster bed with dusty hangings lay Crookshanks, purring loudly at the sight of them. On the floor beside him, clutching his leg, which stuck out at a strange angle, was Ron. Harry and Hermione dashed across to him. â€Å"Ron — are you okay?† â€Å"Where's the dog?† â€Å"Not a dog,† Ron moaned. His teeth were gritted with pain. â€Å"Harry, it's a trap –â€Å" â€Å"What –â€Å" â€Å"He's the dog†¦he's an Animagus.† Ron was staring over Harry's shoulder. Harry wheeled around. With a snap, the man in the shadows closed the door behind them. A mass of filthy, matted hair hung to his elbows. If eyes hadn't been shining out of the deep, dark sockets, he might have been a corpse. The waxy skin was stretched so tightly over the bones of his face, it looked like a skull. His yellow teeth were bared in a grin. It was Sirius Black. â€Å"Expelliarmus!† he croaked, pointing Ron's wand at them. Harry's and Hermione's wands shot out of their hands, high in the air, and Black caught them. Then he took a step closer. His eyes were fixed on Harry. â€Å"I thought you'd come and help your friend,† he said hoarsely. His voice sounded as though he had long since lost the habit of using it. â€Å"Your father would have done the same for me. Brave of you not to run for a teacher. I'm grateful†¦it will make everything much easier†¦.† The taunt about his father rang in Harry's ears as though Black had bellowed it. A boiling hate erupted in Harry's chest, leaving no place for fear. For the first time in his life, he wanted his wand back in his hand, not to defend himself, but to attack†¦to kill. Without knowing what he was doing, he started forward, but there was a sudden movement on either side of him and two pairs of hands grabbed him and held him back†¦ â€Å"No, Harry!† Hermione gasped in a petrified whisper; Ron, however, spoke to Black. â€Å"If you want to kill Harry, you'll have to kill us too!† he said fiercely, though the effort of standing upright was draining him of still more color, and he swayed slightly as he spoke. Something flickered in Black's shadowed eyes. â€Å"Lie down,† he said quietly to Ron. â€Å"You will damage that leg even more.† â€Å"Did you hear me?† Ron said weakly, though he was clinging painfully to Harry to stay upright. â€Å"You'll have to kill all three of us!† â€Å"There'll be only one murder here tonight,† said Black, and his grin widened. â€Å"Why's that?† Harry spat, trying to wrench himself free of Ron, and Hermione. â€Å"Didn't care last time, did you? Didn't mind slaughtering all those Muggles to get at Pettigrew†¦What's the matter, gone soft in Azkaban?† â€Å"Harry!† Hermione whimpered. â€Å"Be quiet!† â€Å"HE KILLED MY MUM AND DAD!† Harry roared, and with a huge effort he broke free of Hermione's and Ron's restraint and lunged forward — He had forgotten about magic — he had forgotten that he was short and skinny and thirteen, whereas Black was a tall, full-grown man — all Harry knew was that he wanted to hurt Black as badly as he could and that he didn't care how much he got hurt in return — Perhaps it was the shock of Harry doing something so stupid, but Black didn't raise the wands in time — one of Harry's hands fastened over his wasted wrist, forcing the wand tips away; the knuckles of Harry's other hand collided with the side of Black's head and they fell, backward, into the wall — Hermione was screaming; Ron was yelling; there was a blinding flash as the wands in Black's hand sent a jet of sparks into the air that missed Harry's face by inches; Harry felt the shrunken arm under his fingers twisting madly, but he clung on, his other hand punching every part of Black it could find. But Black's free hand had found Harry's throat â€Å"No,† he hissed, â€Å"I've waited too long –â€Å" The fingers tightened, Harry choked, his glasses askew. Then he saw Hermione's foot swing out of nowhere. Black let go of Harry with a grunt of pain; Ron had thrown himself on Black's wand hand and Harry heard a faint clatter — He fought free of the tangle of bodies and saw his own wand rolling across the floor; he threw himself toward it but â€Å"Argh!† Crookshanks had joined the fray; both sets of front claws had sunk themselves deep into Harry's arm; Harry threw him off, but Crookshanks now darted toward Harry's wand — â€Å"NO YOU DON'T!† roared Harry, and he aimed a kick at Crookshanks that made the cat leap aside, spitting; Harry snatched up his wand and turned — â€Å"Get out of the way!† he shouted at Ron and Hermione. They didn't need telling twice. Hermione, gasping for breath, her lip bleeding, scrambled aside, snatching up her and Ron's wands. Ron crawled to the four-poster and collapsed onto it, panting, his white face now tinged with green, both hands clutching his broken leg. Black was sprawled at the bottom of the wall. His thin chest rose and fell rapidly as he watched Harry walking slowly nearer, his wand pointing straight at Black's heart. â€Å"Going to kill me, Harry?† he whispered. Harry stopped right above him, his wand still pointing at Black's chest, looking down at him. A livid bruise was rising around Black's left eye and his nose was bleeding. â€Å"You killed my parents,† said Harry, his voice shaking slightly, but his wand hand quite steady. Black stared up at him out of those sunken eyes. â€Å"I don't deny it,† he said very quietly. â€Å"But if you knew the whole story.† â€Å"The whole story?† Harry repeated, a furious pounding in his ears. â€Å"You sold them to Voldemort. That's all I need to know.† â€Å"You've got to listen to me,† Black said, and there was a note of urgency in his voice now. â€Å"You'll regret it if you don't†¦You don't understand†¦.† â€Å"I understand a lot better than you think,† said Harry, and his voice shook more than ever. â€Å"You never heard her, did you? My mum†¦trying to stop Voldemort killing me†¦and you did that†¦you did it†¦.† Before either of them could say another word, something ginger streaked past Harry; Crookshanks leapt onto Black's chest and settled himself there, right over Black's heart. Black blinked and looked down at the cat. â€Å"Get off,† he murmured, trying to push Crookshanks off him. But Crookshanks sank his claws into Black's robes and wouldn't shift. He turned his ugly, squashed face to Harry and looked up at him with those great yellow eyes. To his right, Hermione gave a dry sob. Harry stared down at Black and Crookshanks, his grip tightening on the wand. So what if he had to kill the cat too? It was in league with Black†¦If it was prepared to die, trying to protect Black, that wasn't Harry's business†¦ If Black wanted to save it, that only proved he cared more for Crookshanks than for Harry's parents†¦. Harry raised the wand. Now was the moment to do it. Now was the moment to avenge his mother and father. He was going to kill Black. He had to kill Black. This was his chance†¦. The seconds lengthened. And still Harry stood frozen there, wand poised, Black staring up at him, Crookshanks on his chest. Ron's ragged breathing came from near the bed; Hermione was quite silent. And then came a new sound — Muffled footsteps were echoing up through the floor — someone was moving downstairs. â€Å"WE'RE UP HERE!† Hermione screamed suddenly. â€Å"WE'RE UP HERE — SIRIUS BLACK — QUICK!† Black made a startled movement that almost dislodged Crookshanks; Harry gripped his wand convulsively — Do it now! said a voice in his head — but the footsteps were thundering up the stairs and Harry still hadn't done it. The door of the room burst open in a shower of red sparks and Harry wheeled around as Professor Lupin came hurtling into the room, his face bloodless, his wand raised and ready. His eyes flickered over Ron, lying on the floor, over Hermione, cowering next to the door, to Harry, standing there with his wand covering Black, and then to Black himself, crumpled and bleeding at Harry's feet. â€Å"Expelliarmus!† Lupin shouted. Harry's wand flew once more out of his hand; so did the two Hermione was holding. Lupin caught them all deftly, then moved into the room, staring at Black, who still had Crookshanks lying protectively across his chest. Harry stood there, feeling suddenly empty. He hadn't done it. His nerve had failed him. Black was going to be handed back to the Dementors. Then Lupin spoke, in a very tense voice. â€Å"Where is he, Sirius?† Harry looked quickly at Lupin. He didn't understand what Lupin meant. Who was Lupin talking about? He turned to look at Black again. Black's face was quite expressionless. For a few seconds, he didn't move at all. Then, very slowly, he raised his empty hand and pointed straight at Ron. Mystified, Harry glanced around at Ron, who looked bewildered. â€Å"But then†¦Ã¢â‚¬  Lupin muttered, staring at Black so intently it seemed he was trying to read his mind, â€Å"†¦why hasn't he shown himself before now? Unless† — Lupin's eyes suddenly widened, as though he was seeing something beyond Black, something none of the rest could see, â€Å"– unless he was the one†¦unless you switched†¦ without telling me?† Very slowly, his sunken gaze never leaving Lupin's face, Black nodded. â€Å"Professor,† Harry interrupted loudly, â€Å"what's going on –?† But he never finished the question, because what he saw made his voice die in his throat. Lupin was lowering his wand, gazing fixed at Black. The Professor walked to Black's side, seized his hand, pulled him to his feet so that Crookshanks fell to the floor, and embraced Black like a brother. Harry felt as though the bottom had dropped out of his stomach. â€Å"I DON'T BELIEVE IT!† Hermione screamed. Lupin let go of Black and turned to her. She had raised herself off the floor and was pointing at Lupin, wild-eyed. â€Å"You — you –â€Å" â€Å"Hermione –â€Å" â€Å"?C you and him!† â€Å"Hermione, calm down –â€Å" â€Å"I didn't tell anyone!† Hermione shrieked. â€Å"I've been covering up for you –â€Å" â€Å"Hermione, listen to me, please† Lupin shouted. â€Å"I can explain –â€Å" Harry could feel himself shaking, not with fear, but with a fresh wave of fury. â€Å"I trusted you,† he shouted at Lupin, his voice wavering, out of control, â€Å"and all the time you've been his friend!† â€Å"You're wrong,† said Lupin. â€Å"I haven't been Sirius's friend, but I am now — Let me explain†¦.† â€Å"NO!† Hermione screamed. â€Å"Harry, don't trust him, he's been helping Black get into the castle, he wants you dead too — he's a werewolf!† There was a ringing silence. Everyone's eyes were now on Lupin, who looked remarkably calm, though rather pale. â€Å"Not at all up to your usual standard, Hermione,† he said. â€Å"Only one out of three, I'm afraid. I have not been helping Sirius get into the castle and I certainly don't want Harry dead. An odd shiver passed over his face. â€Å"But I won't deny that I am a werewolf.† Ron made a valiant effort to get up again but fell back with a whimper of pain. Lupin made toward him, looking concerned, but Ron gasped, â€Å"Get away from me, werewolf!† Lupin stopped dead. Then, with an obvious effort, he turned to Hermione and said, â€Å"How long have you known?† â€Å"Ages,† Hermione whispered. â€Å"Since I did Professor Snape's essay†¦Ã¢â‚¬  â€Å"He'll be delighted,† said Lupin coolly. â€Å"He assigned that essay hoping someone would realize what my symptoms meant†¦ Did you check the lunar chart and realize that I was always ill at the full moon? Or did you realize that the Boggart changed into the moon when it saw me?† â€Å"Both,† Hermione said quietly. Lupin forced a laugh. â€Å"You're the cleverest witch of your age I've ever met, Hermione.† â€Å"I'm not,† Hermione whispered. â€Å"If I'd been a bit cleverer, I'd have told everyone what you are!† â€Å"But they already know,† said Lupin. â€Å"At least, the staff do.† â€Å"Dumbledore hired you when he knew you were a werewolf,† Ron gasped. â€Å"Is he mad?† â€Å"Some of the staff thought so,† said Lupin. â€Å"He had to work very hard to convince certain teachers that I'm trustworthy –â€Å" â€Å"AND HE WAS WRONG!† Harry yelled. â€Å"YOU'VE BEEN HELPING HIM ALL THE TIME!† He was pointing at Black, who suddenly crossed to the four-poster bed and sank onto it, his face hidden in one shaking hand. Crookshanks leapt up beside him and stepped onto his lap, purring. Ron edged away from both of them, dragging his leg. â€Å"I have not been helping Sirius,† said Lupin. â€Å"If you'll give me a chance, I'll explain. Look –â€Å" He separated Harry's, Ron's and Hermione's wands and threw each back to its owner; Harry caught his, stunned. â€Å"There,† said Lupin, sticking his own wand back into his belt â€Å"You're armed, we're not. Now will you listen?† Harry didn't know what to think. Was it a trick? â€Å"If you haven't been helping him,† he said, with a furious glance at Black, â€Å"how did you know he was here?† â€Å"The map,† said Lupin. â€Å"The Marauder's Map. I was in my office examining it –â€Å" â€Å"You know how to work it?† Harry said suspiciously. â€Å"Of course I know how to work it,† said Lupin, waving his hand impatiently. â€Å"I helped write it. I'm Moony — that was my friends' nickname for me at school.† â€Å"You wrote –?† â€Å"The important thing is, I was watching it carefully this evening, because I had an idea that you, Ron, and Hermione might try and sneak out of the castle to visit Hagrid before his Hippogriff was executed. And I was right, wasn't I?† He had started to pace up and down, looking at them. Little patches of dust rose at his feet. â€Å"You might have been wearing your father's old cloak, Harry–â€Å" â€Å"How d'you know about the cloak?† â€Å"The number of times I saw James disappearing under it†¦Ã¢â‚¬  said Lupin, waving an impatient hand again. â€Å"The point is, even if you're wearing an Invisibility Cloak, you still show up on the Marauder's Map. I watched you cross the grounds and enter Hagrid's hut. Twenty minutes later, you left Hagrid, and set off back toward the castle. But you were now accompanied by somebody else.† â€Å"What?† said Harry. â€Å"No, we weren't!† I couldn't believe my eyes,' said Lupin, still pacing, and ignoring Harry's interruption. â€Å"I thought the map must be malfunctioning. How could he be with you?† â€Å"No one was with us!† said Harry. â€Å"And then I saw another dot, moving fast toward you, labeled Sirius Black†¦I saw him collide with you; I watched as he pulled two of you into the Whomping Willow –â€Å" â€Å"One of us!† Ron said angrily. â€Å"No, Ron,† said Lupin. â€Å"Two of you.† He had stopped his pacing, his eyes moving over Ron. â€Å"Do you think I could have a look at the rat?† he said evenly. â€Å"What?† said Ron. â€Å"What's Scabbers got to do with it?† â€Å"Everything,† said Lupin. â€Å"Could I see him, please?† Ron hesitated, then put a hand inside his robes. Scabbers emerged, thrashing desperately; Ron had to seize his long bald tail to stop him escaping. Crookshanks stood up on Black's leg and made a soft hissing noise. Lupin moved closer to Ron. He seemed to be holding his breath as he gazed intently at Scabbers. â€Å"What?† Ron said again, holding Scabbers close to him, looking scared. â€Å"What's my rat got to do with anything?† â€Å"That's not a rat,† croaked Sirius Black suddenly. â€Å"What d'you mean — of course he's a rat –â€Å" â€Å"No, he's not,† said Lupin quietly. â€Å"He's a wizard.† â€Å"An Animagus,† said Black, â€Å"by the name of Peter Pettigrew.†

Film Music – Crash

CRITICAL STUDIES: Film Music Assessment 1: Research Essay Crash (2004) – Composer: Mark Isham Crash is a film directed by Paul Haggis and was released in 2004. The film depicts various social and political themes, the strongest being the issue of racism in the larger societies of the US. Mark Isham composed the score for the film; his work mostly consisting of smooth, ethereal and other-worldly sounds.The scene in analysis consists of a car crash in which Officer John Ryan, a racist white cop who tries to save a black woman from her upturned car, his attempt in rescuing her being delayed as he realises that she is the woman he had sexually abused the night before. Mark Isham was born in New York City, USA. He grew up learning to play classical piano, violin and trumpet. He played jazz trumpet whilst in high school and ventured on to electronic music in his early 20s.He had simultaneous careers as a classical, jazz and rock musician, performing with acts such as the San Fransis co Opera, The Beach Boys, the famous jazz saxophonist Pharaoh Sanders and co-lead Rubisa Patrol with pianist Art Lande. In 1979, he formed the Group 87 ensemble with Peter Mannu, Patrick O’Hearn and Terry Bozzio, in which they released a self-titled debut album a year later and A Career in Dada Processing four years after. He also recorded and toured with Van Morrison’s band, playing trumpet and flugelhorn. (Oxford Online)Mark Isham started to develop his compositional skills in the 80s, using brass, electronics and his own trumpet. His work is quite extensive and can be heard in films, documentaries and children’s fairytales. Some films in which he’s worked in are The Times of Harvey Milk, Made In America, The Net, Kiss the Girls, Blade, Rules of Engagement and many more†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Paul Haggis’s Crash is a film which delved into the ‘prejudices’ or racist attitudes that people have about others, in a larger society of the USA. The film’s foundation is the exploration of racism and how people’s cultural prejudices affects the lives of those around them.The film maintains its narrative around different characters, their lives, and these characters intertwining with the lives of the other characters. The main characters are: two young black car thieves, one of these young men is the missing brother of a black detective who’s partner is white; a black film director and his wife, his wife sexually abused by a white racist cop – his white partner having a problem with his unethical attitudes and behaviour; a white upper class lawyer and his wife; a Persian family who owns a store in which is robbed and vandalised and a Latino man, his wife and daughter.This film is set in a postmodern, post-civil rights, postracial, postfeminist, post-9/11 U. S. culture and so the various racial, social and cultural themes presented within Crash are a reflection of Haggis’ bold gesture to inform and challenge audiences about the ‘prejudices’ and cultural differences that everyone has. (Middleton, J. I, 2007) The scene in analysis is a scene in which a racist white cop Officer John Ryan gets to a crash scene and realises that the victim in the upturned car is Christine, the black woman he had wrongfully abused the night before.Her distress is heightened when she realises that he is the one who had abused her and his attempt in rescuing her is delayed and strived. The music in this excerpt is ethereal, haunting and ethereal, Isham’s use of electronics and ethnic sounds enables the audience to experience the emotions and journey of the characters on screen. The scene begins with the police car making its way towards the crash site. The cue in this instant consists of thick textured and ethereal string/ pad or electronic sounds which overall create an ambient and otherworldly atmosphere, which essentially remains consistent throughout the entire scen e.As they get to the crash scene and Officer John Ryan gets out of the car, the sustained string/ pad sound changes harmony and is played in a higher register, the piano being struck with sustain and repeats the same note, driving the action and momentum forward on screen and also mirrors what is happening on screen, that is, John running to the upturned car. This change in feel; this uplifting, bright and ethereal music can also be indicative of John’s expected values that he is to uphold as a police officer, that is, bringing justice, helping people and protecting the people within his society.Furthermore, the smooth and ethereal score also illustrates not only the nobility of the values he is to uphold as a police officer, but also foreshadows the nobility and strength of character he is about to portray in the upcoming moments of attempting to rescue Christine. One can also say that it foreshadows the potential change of heart and perspective he undergoes as he encounters Christine and saves her life. As he is running towards the car, the music is dominant; the sound effects are sparse and soft, and so the music directly illustrates John’s desperation in getting to the car and also outlines his strength of character.Sound effects are heard in full when he reaches the car and he is contact with Christine and engages with dialogue. Obviously, the sound effects and the dialogue are heard as well the score, to engage the audience and reinforce the gravity of the situation and allows for the audience to empathise with both of the characters’ situations. The female voice is heard as soon as he reaches the car and engages with Christine. The female voice is singing in a foreign language, and is smooth, soft, tender and ethereal in tone and timbre.The female voice, in a way, is a portrayal of the shared experience of John and Christine. A single bass drum sound, like a timpani, is struck when Christine looks up and realises that it’s Jo hn who’s attempting to rescue her. The single hit of the bass drum reinforces her distress when the realisation of John being there occurs. Rather than feeling relieved that someone’s there to help her, her distress and fear dramatically increases due to what he had done to her the night before.When he asks to reach across her lap to free her from the seatbelt and she agrees, the viewer can hear a change in tone and atmosphere in the music. The female voice is absent and it becomes gentler in dynamics and thinner in texture with only the sustained electronic sounds and the piano playing notes in the higher register, sounding almost bell-like. The tension is broken as she realises the magnitude of her situation and allows him to come closer to her.The music therefore parallels the softening of the tension and drama, also portraying the understanding between the two characters. The female voice being absent is significant as it allows the viewer to engage with the emotio ns and experiences of the characters, also allowing the viewer to appreciate the change of hearts in both characters. The repetition of the same chord which is created by the synths, forewarn the viewer of the coming danger as the shot of the gasoline travelling closer to the car is seen and the female voice comes back in.This creates a feeling of suspense, even amongst the ethereal sounds of the electronic sounds. The music is therefore fuller in texture, symbolising added elements of danger on the screen and brings the viewer back to the drama and action of what is happening around them. The fuller texture is contrasting to the thinner texture of the music played in the moment between John and Christine, the fuller texture illustrating the outside world and the thinner texture representing the change process within each character.In the following sequence, the gasoline alights and explodes around the car, and John is pulled out and Christine is left in the car. The viewer can see Christine screaming and John shouting as he is pulled out of the car, which is now surrounded by fire. All the dialogue and sound effects are muted in this instant, therefore the ethereal music and the female vocals are dominant, which serves to highlight the emotional aspects of the scene, that is, Christine’s distress and hysteria and John’s desperation in rescuing her.The repeated chords re-occur as John goes back in to pull Christine out, the dialogue suddenly heard as he says ‘Pull! ’ in which then, the sound effects are heard again. These repeated chords are indicative of moving action that is, moving nearer to the subject on the screen, first with the gasoline coming towards the car, and then with John coming towards Christine to rescue her. It helps drive the action and prompts momentum on screen. The repeated chords are then consistently played throughout the scenes where Christine is pulled out of the car and they’re safe from harm.However , these chords are played by the piano and are different in timbre – they’re softer, light and gentler in sound and blend in with the sustained electronic sounds in the background. It creates a layer of constant sound and represents the characters’ overall freedom, not only from the physical danger but from the ‘prejudices’ they had of each other. The female vocals are still heard once they’re free from the car, finally stopping just before John and Christine embrace, and John comforts her.The female vocals are important as it symbolises the two characters sharing the experience and also their need of each other at that particular time. The vocals end just before the embrace as it has completed its purpose, in that it helped the characters through the situation achieve self-realisation: John redeeming himself in his act of selflessness and finding his strength of character and Christine allowing herself to be vulnerable and accept help from o thers; the embrace representative of the end of their journey.Isham talks about the score and states that certain scenes can come off as truly horrendous, and I felt like the music had to help you through the movie and be like a shepherding hand†¦ A friend of mine described the  score  as being like a guardian angel and there was a sense we had that that was what the  score  needed to do. (Bond, 2005) In conclusion, from the above quote, it’s clear that the cue acted as a guide for the characters on screen.This particular excerpt of the film is rather serious and distressing, yet the underscore for these sequences is overall tender, smooth and ethereal. This contrast in music and action on screen is effective in that the marriage of these two things help tell the narrative, explore the emotions of the main characters and engage and evoke the emotions of the film’s viewers. Film Music – Crash CRITICAL STUDIES: Film Music Assessment 1: Research Essay Crash (2004) – Composer: Mark Isham Crash is a film directed by Paul Haggis and was released in 2004. The film depicts various social and political themes, the strongest being the issue of racism in the larger societies of the US. Mark Isham composed the score for the film; his work mostly consisting of smooth, ethereal and other-worldly sounds.The scene in analysis consists of a car crash in which Officer John Ryan, a racist white cop who tries to save a black woman from her upturned car, his attempt in rescuing her being delayed as he realises that she is the woman he had sexually abused the night before. Mark Isham was born in New York City, USA. He grew up learning to play classical piano, violin and trumpet. He played jazz trumpet whilst in high school and ventured on to electronic music in his early 20s.He had simultaneous careers as a classical, jazz and rock musician, performing with acts such as the San Fransis co Opera, The Beach Boys, the famous jazz saxophonist Pharaoh Sanders and co-lead Rubisa Patrol with pianist Art Lande. In 1979, he formed the Group 87 ensemble with Peter Mannu, Patrick O’Hearn and Terry Bozzio, in which they released a self-titled debut album a year later and A Career in Dada Processing four years after. He also recorded and toured with Van Morrison’s band, playing trumpet and flugelhorn. (Oxford Online)Mark Isham started to develop his compositional skills in the 80s, using brass, electronics and his own trumpet. His work is quite extensive and can be heard in films, documentaries and children’s fairytales. Some films in which he’s worked in are The Times of Harvey Milk, Made In America, The Net, Kiss the Girls, Blade, Rules of Engagement and many more†¦Ã¢â‚¬ ¦Ã¢â‚¬ ¦.. Paul Haggis’s Crash is a film which delved into the ‘prejudices’ or racist attitudes that people have about others, in a larger society of the USA. The film’s foundation is the exploration of racism and how people’s cultural prejudices affects the lives of those around them.The film maintains its narrative around different characters, their lives, and these characters intertwining with the lives of the other characters. The main characters are: two young black car thieves, one of these young men is the missing brother of a black detective who’s partner is white; a black film director and his wife, his wife sexually abused by a white racist cop – his white partner having a problem with his unethical attitudes and behaviour; a white upper class lawyer and his wife; a Persian family who owns a store in which is robbed and vandalised and a Latino man, his wife and daughter.This film is set in a postmodern, post-civil rights, postracial, postfeminist, post-9/11 U. S. culture and so the various racial, social and cultural themes presented within Crash are a reflection of Haggis’ bold gesture to inform and challenge audiences about the ‘prejudices’ and cultural differences that everyone has. (Middleton, J. I, 2007) The scene in analysis is a scene in which a racist white cop Officer John Ryan gets to a crash scene and realises that the victim in the upturned car is Christine, the black woman he had wrongfully abused the night before.Her distress is heightened when she realises that he is the one who had abused her and his attempt in rescuing her is delayed and strived. The music in this excerpt is ethereal, haunting and ethereal, Isham’s use of electronics and ethnic sounds enables the audience to experience the emotions and journey of the characters on screen. The scene begins with the police car making its way towards the crash site. The cue in this instant consists of thick textured and ethereal string/ pad or electronic sounds which overall create an ambient and otherworldly atmosphere, which essentially remains consistent throughout the entire scen e.As they get to the crash scene and Officer John Ryan gets out of the car, the sustained string/ pad sound changes harmony and is played in a higher register, the piano being struck with sustain and repeats the same note, driving the action and momentum forward on screen and also mirrors what is happening on screen, that is, John running to the upturned car. This change in feel; this uplifting, bright and ethereal music can also be indicative of John’s expected values that he is to uphold as a police officer, that is, bringing justice, helping people and protecting the people within his society.Furthermore, the smooth and ethereal score also illustrates not only the nobility of the values he is to uphold as a police officer, but also foreshadows the nobility and strength of character he is about to portray in the upcoming moments of attempting to rescue Christine. One can also say that it foreshadows the potential change of heart and perspective he undergoes as he encounters Christine and saves her life. As he is running towards the car, the music is dominant; the sound effects are sparse and soft, and so the music directly illustrates John’s desperation in getting to the car and also outlines his strength of character.Sound effects are heard in full when he reaches the car and he is contact with Christine and engages with dialogue. Obviously, the sound effects and the dialogue are heard as well the score, to engage the audience and reinforce the gravity of the situation and allows for the audience to empathise with both of the characters’ situations. The female voice is heard as soon as he reaches the car and engages with Christine. The female voice is singing in a foreign language, and is smooth, soft, tender and ethereal in tone and timbre.The female voice, in a way, is a portrayal of the shared experience of John and Christine. A single bass drum sound, like a timpani, is struck when Christine looks up and realises that it’s Jo hn who’s attempting to rescue her. The single hit of the bass drum reinforces her distress when the realisation of John being there occurs. Rather than feeling relieved that someone’s there to help her, her distress and fear dramatically increases due to what he had done to her the night before.When he asks to reach across her lap to free her from the seatbelt and she agrees, the viewer can hear a change in tone and atmosphere in the music. The female voice is absent and it becomes gentler in dynamics and thinner in texture with only the sustained electronic sounds and the piano playing notes in the higher register, sounding almost bell-like. The tension is broken as she realises the magnitude of her situation and allows him to come closer to her.The music therefore parallels the softening of the tension and drama, also portraying the understanding between the two characters. The female voice being absent is significant as it allows the viewer to engage with the emotio ns and experiences of the characters, also allowing the viewer to appreciate the change of hearts in both characters. The repetition of the same chord which is created by the synths, forewarn the viewer of the coming danger as the shot of the gasoline travelling closer to the car is seen and the female voice comes back in.This creates a feeling of suspense, even amongst the ethereal sounds of the electronic sounds. The music is therefore fuller in texture, symbolising added elements of danger on the screen and brings the viewer back to the drama and action of what is happening around them. The fuller texture is contrasting to the thinner texture of the music played in the moment between John and Christine, the fuller texture illustrating the outside world and the thinner texture representing the change process within each character.In the following sequence, the gasoline alights and explodes around the car, and John is pulled out and Christine is left in the car. The viewer can see Christine screaming and John shouting as he is pulled out of the car, which is now surrounded by fire. All the dialogue and sound effects are muted in this instant, therefore the ethereal music and the female vocals are dominant, which serves to highlight the emotional aspects of the scene, that is, Christine’s distress and hysteria and John’s desperation in rescuing her.The repeated chords re-occur as John goes back in to pull Christine out, the dialogue suddenly heard as he says ‘Pull! ’ in which then, the sound effects are heard again. These repeated chords are indicative of moving action that is, moving nearer to the subject on the screen, first with the gasoline coming towards the car, and then with John coming towards Christine to rescue her. It helps drive the action and prompts momentum on screen. The repeated chords are then consistently played throughout the scenes where Christine is pulled out of the car and they’re safe from harm.However , these chords are played by the piano and are different in timbre – they’re softer, light and gentler in sound and blend in with the sustained electronic sounds in the background. It creates a layer of constant sound and represents the characters’ overall freedom, not only from the physical danger but from the ‘prejudices’ they had of each other. The female vocals are still heard once they’re free from the car, finally stopping just before John and Christine embrace, and John comforts her.The female vocals are important as it symbolises the two characters sharing the experience and also their need of each other at that particular time. The vocals end just before the embrace as it has completed its purpose, in that it helped the characters through the situation achieve self-realisation: John redeeming himself in his act of selflessness and finding his strength of character and Christine allowing herself to be vulnerable and accept help from o thers; the embrace representative of the end of their journey.Isham talks about the score and states that certain scenes can come off as truly horrendous, and I felt like the music had to help you through the movie and be like a shepherding hand†¦ A friend of mine described the  score  as being like a guardian angel and there was a sense we had that that was what the  score  needed to do. (Bond, 2005) In conclusion, from the above quote, it’s clear that the cue acted as a guide for the characters on screen.This particular excerpt of the film is rather serious and distressing, yet the underscore for these sequences is overall tender, smooth and ethereal. This contrast in music and action on screen is effective in that the marriage of these two things help tell the narrative, explore the emotions of the main characters and engage and evoke the emotions of the film’s viewers.

Twist and Shout

The way companies are now packaging their products, makes me think, their ideas must have come straight from the mind of a second grade twelve year old. A senior with arthritis; the person for whom the drug was bottled, needs to have a pair of pliers, a flat head screwdriver, and plenty of muscle to open a bottle of pain medication. By the way, shouldn’t that be anti-pain medicine? But then why do we call the little candies that relief our cough, cough drops and not, anti-cough drops? Getting back to safety caps on medicine bottles, It is next to impossible to open one of those lids. One medicine bottle says, follow the arrows to open, press down and turn. This sounds easy enough if you are built like Arnold Schwarzenegger. The problem with easy open bottles is the person in need of the medication is probably built more like Kermit the frog with Typhoid Fever. It’s ridiculous when you need to purchase TNT to blow off the cap of the pain medication container. The â€Å"safety† cap is designed to keep kids from opening the bottle and swallowing the meds. The problem is a child can open them much easier than a senior citizen under the best of conditions. I can see it now. â€Å"Grampa, give me the bottle, I’ll open it for you. † â€Å"But, you are only five†¦ and this cap is attached to the bottle with super glue. † I guarantee you; the five year old will have that top off before you can pronounce the name of the medication. The list of side effects on some of these meds is multitudinous. These bottles site every contraindication known to man, including, the inability to move, or think clearly, which may provoke, one to think; maybe it would be better if I laid down and died. This medication, the label states, may cause dizziness, light headedness, Vertigo, cramps, diarrhea, constipation, headaches, ear aches, Gingivitis, Gout, fainting spells, stomach pains, thoughts of suicide, and even death. For goodness sake, I’m only taking it for a headache, not preparing for cremation. I guess we can’t blame the drug companies for listing everything that can happen to a person if they take their medicine. People today, through all media, are urged to sue for everything. The advent of television advertising has branched out in these last few years allowing lawyers to advertise their services. Television advertising has become a haven for ambulance chasers and their ilk. I heard the story of a man who sued a motor coach company for damages caused when his vehicle crashed. He claimed he was driving down a stretch of road, in his new motor coach, when he decided he’d go back to the kitchen area and brew a pot of coffee. He put the vehicle on cruise control. The coach crashed, and he was injured, the vehicle demolished. He sued the company for not writing in their brochures that you couldn’t leave the driver’s seat while the vehicle was in motion. He won the case and was awarded a sum of money and a new coach. You are advised to think before you buy any product, read the label; However, the print is so small, you need a magnifying glass the size of a manhole cover to read the instructions on the bottle. Some meds have the side effects written on four sheets of paper inside the box in which the medicine came. All of this inane nonsense is due to sue happy people looking to make a quick buck. Some people play the lottery while others sue companies; the odds in winning are about the same. If you do win in court, the attorney takes his share off the top, probably around sixty percent, and you get the rest after court costs and taxes. Don’t give up your day job. Oh, not you, I’m talking to you, the plaintiff, not your lawyer. Mr Attorney, you are doing just fine in the finance department. That ad on TV has really paid off, hasn’t it? Here’s my idea for packaging medicine. Put a paper seal on the medicine bottle with a written three number code (not in succession). Break the seal, dial the number and open the bottle. As for side effects simply write: Take at your own risk, may cause a myriad of diseases and possibly death. Talk to your physician. Don’t sue us, we told you what could happen. As for manufacturers of motor coaches, all they need to write is; â€Å"Hey stupid if you want a cup of coffee stop at a roadside diner. † This is one I love as I recall going to the drug store for my mother. She had, over the years, adopted a poor sleeping habit, and needed a medication to help her sleep. As the pharmacist passed me the bottle of sleeping medication, I read the label that had been attached to the little brown bottle. It read; ‘may cause dizziness, restlessness, insomnia and drowsiness. If it causes insomnia, why would anyone want to use the drug in the first place? And one can only hope it does cause drowsiness, after all, that’s why you bought it in the first place, isn’t it? There are other stumbling blocks to the senior population; with a skull and crossbones emblem emblazoned on the label; a universal sign denoting it is a dangerous material. We should look und er the emblem, there we will find, in small print, ‘for external use only. ’ What makes the manufacturer of a product with enough chemicals to start World War III write ‘for external use only’ on their bottle. Are they afraid someone is going to use it as a mixer at their cocktail party? If it’s ammonia, you won’t be able to get it past your nose in the first place. Speaking of dangerous things. How many of you have swallowed a capful of mouthwash? Did you know it is unhealthy? The label says do not swallow. Why on earth are you gargling with a product, that if you swallow it by mistake it could kill you, or at the very least make you sick? That’s like putting dynamite, on which is written, beware dangerous material, in your back pocket and then backing up to a campfire to warm your backsides. It’s the same thing you know†¦ too close for comfort either way. What makes a citizen a senior? Answer: age. Though some of us don’t want people to know we are getting along in years, the wrinkles belie our vanity. Face lifts make the recipient look like a monster out of a 1950’s horror movie. I am not ashamed I have made it to three quarters of a century. I thank God my eyes are still the same color as they were when I was twenty, only slightly dimmer. The hair on my head is moving south at a quickening pace, but it has only transferred from the top of my head to my ears and nose. I can’t run any more; my walking pace has slowed almost to a crawl, but inside I am still twenty years old. Until I was forty I didn’t know what a doctor was, or what they did for work. After I had reached fifty, I was asked to become an associate member of the American Medical Association’s Who’s Who of most frequent doctor’s visits list. My mind hasn’t grasped the fact my body has aged. It says to me at times; ‘get up†¦ go for a four mile run, come home take a shower, ride a bike for sixty minutes, eat lunch, skip rope and climb a small mountain. My body answers for me; ‘you have got to be kidding me. ’ There are two fellows whose job it is to see that I remain idle; The Ritis Brothers, of which Artha is the outspoken one, and then there is always Mr Meniere. Mr Meniere’s contribution affects my inner ear; my balance. I reel like a drunken pirate with a pine log peg leg†¦ teetering back and forth with a dizzying gait; But I guess old age is the better of the two alternatives; I always say. As long as you are able to get up in the morning and get out of bed; you are still this side of the dirt. I have God to thank for my being able to get up in the morning, for it is by His grace that I live and move, and have my being. Without His help, I would be nothing but dust and dirt, present, but useless to anyone or anything. These are the golden years, and gold does not tarnish; it is always bright and shiny. Our smiles should be the reflection of our souls. As the little girl said to the grumpy old church deacon. â€Å"Are you happy to be a Christian? † He replied, â€Å"yes I am. † â€Å"Then tell your face. †

Health and Social Care Management Essay

Mary Parker Follett (1868-1933), defined management as â€Å"the art of getting things done through people†. This may seem a very narrow angle for some, however, the philosophical concept of management, relies on results being obtained through people. The nature and role of managers has been an emerging concept since the early 19th century, often linked to  administration and being the middle ground in organisations allowing to filter objectives to employees and vice versa, filtering employee’s needs to senior staff within the organisation. In my view management is a set of hierarchy working to achieve a common objective. As a Patient Advise Liaison Service (PALS) and Stakeholder Engagement and Involvement Manger, my role is predominantly to manage the customer service role for the Care Trust. Up until recently the Care trust was specialist in Mental Health and Learning Disabilities. The Trust is now at the stage of applying to become a member of Foundation Trust Status, which involves recruiting members to help shape the future of the organisation (BDCT, 2013) My role can be viewed in favour of Mintzberg’s headings: Liaison, Monitor, disseminator and spokesperson. I am the Liaison between the organisation and the team, and also the wider service users. I monitor the team’s performance, activities and disseminate information from the organisation to many third sector organisations, such as BAMHAG and ACAS, both of which are advocacy services for Mental Health service users As cited in Mullins (2010) by Crainer, management is making things happen. My role can also fit in with Crainers model as I am heavily involved in making sure that the team can meet objectives. The difficulty with the statement of making things happen is dependent upon each individual’s motivation and their individual circumstances. I feel that as an individual I am in the infancy stages of my career and have motivation with clear defined, SMART, goals (Mullins, 2010). The manager’s role and activities have a different number of models and theories which are used to explain what a manager does, or should do. Some of these are explained by the following: Fayol’s model looks at: Planning, organising, command, co-ordinate and control. My management role does have a certain element of Fayol’s model, but I found this view to be quite restricted, my role involves a lot of motivation, or the fact that is how I manage. Drucker’s model looks at settings objectives, organising, motivating and communicating. I feel that this is the best fit for my style and role. The limitation of this model is that it has a less authoritarian approach to it, and as I have discovered in my experiences can lead to the team that is being managed almost abusing a level of candour. Stewart describes the management role as to say the activities and role dependant on demands, constraints, and choices. Again, this can also fit in with my role and management style but is demanding on some of the authority that is needed. The management style as described by Blake and Moulton in their grid looks at manager effectiveness versus efficiency. These are what I believe to be key qualities, attributes and skills of a successful manager. There is however room for a change in style dependant on circumstances. My role is to manage the Patient Advice and Liaison Service for the Trust – to ensure the service is visible and accessible to patients, their families and carers through analysis of contact information and evaluation of experience. To develop procedures to ensure effectiveness of core business of service. The implementation of a telephone rota and advertised business hours has been an issue. Service users that are known to the team through historical working practices often end up having adhoc meetings in the office. This is both disruptive to other staff and can also be deemed as unprofessional. However, the particular service users have a high level of dependency on the PALS officers. My initial reaction to this as a manager was that we needed to have a timetable for appointment, so that PALs officers are not severing a link with the service users but for an element of empowering o take place, as explained by Bandura’s self -efficacy service. If an individual is told they cannot look after themselves, eventually they believe that. However using empowerment can allow for service users to identify their own strengths. As a manager the challenge I face is that PALS officers have  different levels of motivation and different triggers for motivation. Mullins 2010 defines motivation as why people behave in a certain way, why people do what they do. This is explained further to say that the direction and persistence of action. It is concerned when people choose a particular course of action in preference to others, and why they continue with a chosen action, often over a long period of time and in the face of difficulties and problems. This is true of both in a positive and negative light. An example form the team that I manage is that PALS officers are often on the in-patient wards to promote the service of PALS and to ask those people that would otherwise not be able to raise a concern. My critique of this situation was that a service can only be promoted to a certain level, otherwise it can be over promoted and this is where we find the leaflets that are handed out, just thrown about. My view is that each interaction should make a difference to the PALS officers. They should be able to understand that unless they found a new way of working, they are offering a counselling service, for which they are not qualified to do or paid to do. Again the discussion around empowerment was quite useful in highlighting to PALS officers that they are not there to ‘nanny’ service users. I provide day to day management for PALS staff including provision of formal supervision; there is also need to provide ad hoc supervision, this may be in order to support staff in dealing with sensitive, upsetting, distressed cases / clients. I also receive and deal with complex cases or where cases require escalation from offices; dealing with sensitive, highly emotive issues and dealing with clients who may be extremely upset and / or distressed. My role is also that of a Stakeholder engagement and involvement manager, which has a very corporate approach. I am responsible for forging relationships with both internal and external stakeholders. As discussed, the roles of PALS manager and stakeholder engagement and involvement manager does occasionally cause conflict, they are not natural roles that would come together. My understanding is that my predecessor had an interest in this area and so the role became theirs, and as such has been handed over. Another challenge to the above is that my role is job-shared. My co-colleague also works to manage PALS and stakeholder engagement. The conflict in that situation is that this individual is also a PALS officers, this means balancing three work roles out of which the Since the Mid Staffordshire Enquiry (2012) a huge push has been taking place to ensure processes and procedures are in place for service users/patients, carers and communities to have their say. The Francis Report (2013) highlights 290 key recommendations for organisations providing care. As part of my role I had to identify the key areas for development which are most relevant to the PALS officers and stakeholder roles. Prior to my joining of the team, an internal consultation was underway and when I joined the deadline for the consultation period was looming, however, I was able to be a spokesperson for the team ( Mintzberg) by keeping up to date with PALS policy and guidance and develop local procedures for the Trust in relation to PALS. This had to be robust process which could iron out some of the concerns I also work with the Head of Involvement and Equality to develop the PALS service to ensure the service meets requirements for the transformation agenda. At the moment I do this by having monthly meetings and adhoc regular contact. Again fitting in with Maslow’s hierarchy of needs I need this regular contact to maintain and improve my effectiveness as a manager. One of the challenges that I face is to maintain an overview of the system used to record PALS cases. This is to ensure information related to quality of services including equality data and patient experiences are recorded and effectively used across the organisation. I also develop local and Trust wide reporting mechanisms to do this. The challenge is the operational side of getting staff to actually record. I will need to consider the barriers to this during the one to one supervision sessions. The involvement function of my role is quite wide but a lot of the work involved looks at developing systems using IT based programmes to support the equality and involvement agendas – including development of effective  stakeholder engagement mechanisms to record stakeholders and involvement activities. I also keep up to date with patient experience guidance and to work alongside the Patient Involvement and Experience Manager by ensuring that PALS contacts are recorded accurately and are reported in line with patient experience indicators and commissioning requirements. The NHS has undergone a huge change in the direction of strategies and financial decisions that are made. (DOH, 2013) The ‘failure’ of previous managing organisations such as the Primary Care Trust, has meant that a lot of the workload from there PCT has now moved over to the Care Trust. The experience of patients is very important in this process as it highlights that poor management can leave patients to have poor experience. (Patients Association, 2013) I MANAGE A TEAM, BUT ALSO HAVE TO WORK AS PART OF A TEAM. MY MAIN ROLE IS THE LEARNING CURVE FOR MYSELF AND TO OBTAIN THE LOCAL KNOWLEDGE HELD BY THE PALS OFFICERS. I DELIVER REGULAR TEAM BRIEFING SESSIONS, SHARE INFORMATION, SKILLS AND EXPERIENCES WITH COLLEAGUES LISTEN AND ARE OPEN TO THE VIEWS OF OTHERS. I ACTIVELY WORK TO DEVELOP AND MAINTAIN POSITIVE RELATIONSHIPS WITH PEOPLE AT ALL LEVELS. BY DEVELOPING AND MAINTAINING CONSTRUCTIVE WORKING RELATIONSHIPS WITH LOCAL SERVICE USER, CARER AND COMMUNITY LED ORGANISATIONS. (MULLINS, 2010) An effective team, as stated by Mullins and other literature surrounding management, is a group of people that work together to achieve outcomes. This is a multidisciplinary approach, using a matrix style of working. I am comfortable with this description as I also feel that a team is a group of individuals that work together to use skills and expertise and team working to complete tasks assigned to the group. The defined role of a team looks at defined roles, skills and expertise. An important part of the team is to maintain regular contact, collaboration, co-ordination. These regular and frequent interactions give the team a more defined purpose. I also feel that a team needs skills and knowledge to carry out capability. The challenges that I face in my role are that the role is of an evolving nature with and increased demand and support should be given by other colleagues in a matrix style of working. However, due to the lack of clarity from senior management and the fact that the job description is very new can lead to an impact on day to day management of the PALS team. Another significant challenge is to performance manage the PALS team. The team has been working together for approximately 8 years, with some of the newer members joining around 4 years ago. This has led to a culture of working to ‘our way’. The concern with this approach to team working is that it may not necessarily meet the objectives of the organisation. In the scenario of the PALS team we constantly seem to cover ground rules and not be able to get past that, this can be seen as a level of non- compliance. As a manager my role is to steer the team to meet the team’s objectives, but this can be difficult due to the complex dynamics and individual personalities. To combat this I arranged individual sessions with staff to generate discussion around what each member of staff feels that they have done well, what can they do better and what would help them to get to that stage. The challenge that I face with the team during this period of consultation is to maintain a positive working environment and culture which actively improves the performance of the department and teams within it in relation to involvement, patient experience and equality. This id due to the motivation levels within the team. As cited in Mullins 2010, ‘Team working is no more than a fashionable term used by management to give workers an exaggerated feeling of importance’ my view on this is that team working has to be used in the right context. There are times as a manager where you can be led by your team however, overall the manager has to set the scene and highlight the core areas for team working and independent work. My role in terms of the day to day management of PALS Team including objective setting for individuals and team; allocating work to staff, completing monthly sickness returns. I ensure PALS staff are up to date in terms of all mandatory and required training and development is up to date  at all times. It is imperative to my role to identify and arrange appropriate training and development for PALS staff, via the appraisal and KSF route, to ensure successful delivery of business and to keep staff motivated and engaged in their roles. This is also as described by Druckers management model, which asks the questions of what do managers do? The manager’s role according to Drucker: Sets objectives. The manager sets goals for the group, and decides what work needs to be done to meet those goals.I engage in this process by using supervision and team meetings, to set objectives but also to understand that the objectives are clear and clarified 2) Organizes. The manager divides the work into manageable activities, and selects people to accomplish the tasks that need to be done. I am in a job share situation, where my colleague is also a part time PALS officer. This has meant that I have had to revise the workload, so that both my skills and management tasks required are delegated appropriately between us and also to staff within the team that have the right skills. The challenge that I face in this situation is that I do not have a PALS background; however, it is important for me to be objective and put simple plans in place to have the team working effectively. I aim to pick up a lot of these conversations during the supervisions that I have with staff. 3) Motivates and communicates. The manager creates a team out of his people, through decisions on pay, placement, promotion, and through his communications with the team. Drucker also referred to this as the â€Å"integrating† function of the manager. My main style of working and management is to use motivation as a contributing factor, by looking at the motivators and demotivates and allowing staff to make their own decisions, using coaching and facilitation. Once aims and objectives are agreed, this allows me to measure the progress during meetings and one to ones 4) Measures. The manager establishes appropriate targets and yardsticks, and analyzes, appraises and interprets performance. This goes hand in hand with  motivation, my main role is to measure the outcomes and also to measure underperformance. I aim to try and do this in a facilitating manner and not punitive. My own experiences of being managed in a punitive manner led me to completely switch off. I believe that the right skills and appreciation is at the heart of trying to get a team or individuals to work together. By using reflective practice I can also measure the performance of the team. I recently asked for team to bring figures of complaints/ concerns and issues to team meetings, so that we can be measurable and auditable. 5) Develops people. With the rise of the knowledge worker, this task has taken on added importance. In a knowledge economy, people are the company’s most important asset, and it is up to the manager to develop that asset. During the one to one sessions, I have designed a template to ask staff what works well, how we can do it better, looking at ways of improving stakeholder work, raise the empowerment level of individuals to take on responsibilities once involved, i.e. chair meetings etc. Managers born or made, Mullins states a combination of both, my roles both professionally and personally have evolved through needs (Maslow’s Hierarchy of Needs). The need to bring a substantial income into our family home coupled with the determination of having a professional post. I also feel that as described above I am working using Druckers model for my personal development. One of the main aspects being that I am constantly setting measurable targets for myself and constantly reviewing progress and working to timescales. One of the constant reminders that I have to keep addressing in my role as a manager is that motivation is not linked to ability. As Mullins points that an individual can be motivated but not have the right skill set or resources to carry out their ability. This is quite fundamental to bear in mind as often motivation and ability can be seen as the same, in my view they are co-dependant but need to be addressed individually. Motivation means doing the best of ability, understanding what you can cope with and enjoy. Motivation is possibly the best way of doing something,  taking into account individual characteristics and drivers. What motivates one individual may not motivate another (Mullins 2010) The definition of motivation is to keep the momentum going, having the drive to achieve objectives, achieving and keeping a check on self-motivation. Motivation is linked to rewards which are individual to different people. Mullins (2010) states motivation is why people behave in a certain way, why people do what they do, the direction and persistence of it is concerned. Having a sense of achievement is important to all; Organisations are now buying into the fact that staff needs to be kept motivated and engaged. As a result of Staff surveys, (BDCT 2012) organisational aims as well as individual aims are driven by certain motivating factors. These as discussed previously are dependent on individual circumstances. In a team of staff the motivation will be at different levels as people are at different points in life. A lack of motivation has the effect of having a destabilised work environment and an impact on staff morale. â€Å"Motivation is not performance. Performance = motivation and ability levels† (UoB 2013) this phrase sums up for me what motivation means as a manager Within motivation there are different theories. Buchanan and Huczynski’s theory on goals looks at main motives for our behaviour, wealth status and power trigger. Our behaviour towards attainment is encapsulated as the Content theory. Mullins 2010 looks at content theories as the drive and need of motivation. Decisions: why do we choose to pursue certain goals is termed process theory, the focus is on how choices are made with respect to goals. Job enrichment theory looks at influence and how can we motivate you to work harder. According to Maslow’s Hierarchy of needs (Buchanan and Huczysnki) an individual, team or manager has the following needs: 1, physiological needs 2, safety needs 3, social needs 4, ego needs 5, self-actualisation Maslow states that the lower needs have to be satisfied first. My role as PALS Manager came as a result of national changes within the NHS. My previous role was in commissioning and due to move over to the Commissioning Board, however due to geographical challenges; I applied for a local job so that it could fit in with my need of being a carer to my family. In my role as Stakeholder Manager, I collaborate and facilitate corporate events, raise service user and carer profile both inward facing across the organisation and outward facing. The Care Trust has made a huge effort to recognize and reference to the Francis Report, patient experience is at the heart of patient care. As stakeholder manager I am constantly reviewing, what does this mean? To take a proactive approach I take the comments from the board to team meetings to raise awareness of issues and concerns that have a potential to take place, based on Mid Staffs Enquiry (Francis Report, 2013) and vice versa from stakeholder groups back to team meetings. It is critical in my role is to keep a balanced view between the organization and the stakeholders. I am able to agree with the rhetoric assumption of we have been here before in terms of making service better for people , but I believe that the catalyst for change is always evolving and by using reflective practice I am able to highlight the positive changes that have taken place. An example of this is that carers are invited to Board meetings to share their experiences so that the senior management has some idea of the situation at grassroots level. Historically this was not taking place, however due to the feedback received regarding involvement activities from service users and carers, the Trust Board invite Service users and carers on  a regularly basis. This allows service users to be an advocate for others but also with regular contact to become almost semi-professional and understand some of the concerns faced by large organisations. The history of service user movement groups is well documented (Everett 1994, Campbell 1996, Wallcraft J, Bryant M 2003) and awareness of this literature enables an understanding to develop of the gigantic steps that have been made in the area of user involvement. The past quarter of a century has witnessed a dramatic change in the way that those using mental health services are perceived, represented and valued, not least as contributors towards their own care as opposed to purely receivers of it. The role of service users in the 2007 mental health service is far removed from the role they played just decades previously (Campbell 2005) and the increasingly used term â€Å"experts by experience† highlights the value placed on service user contribution in all aspects of their care planning. This patient expertise is also fundamental to service user involvement, which not only takes many forms, but occurs on many varying levels. Involvement ranges from the macro level of service planning and evaluation through to involvement at the micro level of service user participation and decision making regarding their own care (Braye 2000). Recognised by the DoH (Department of Health, 2001b) in their Expert Patient document. In my role of team management I am faced with conflicting demands upon my time and within the members of staff. Conflict resolution has become an important part of the manager’s role, the questions can be asked as to why there can be conflict. One of the reasons that I have uncovered during my research is that individuals can make organisational objectives, become personal objectives, this may not be fitting to everyone, due to individual circumstances. Job purpose and job crafting is linked to my personal beliefs and motivation theory. There are two factors that motivate people in their jobs. These two factors are: Hygiene – factors affecting job dissatisfaction are qualities of supervision, pay, company, policies, physical working conditions, relations with others, and job security. Motivator – factors affects motivation are promotional opportunities, opportunities for personal growth, recognition, responsibility, and achievement. Herzberg argued that Hygiene factors do not contributes towards higher performance instead they are for prevention of dissatisfaction in jobs. True motivators are impacting motivation and hence organisational performance. In my view hygiene factors are not contributors to motivation is not entirely true. Based on individual factors like responsibility, economic situation, opportunities available, these factors may act as motivators to work. In evaluating the effectiveness of my role as a manager, I am not able to constructively measure my performance in this role as it too early to measure, however, in other areas of my life and on requesting regular feedback from my peers and previous colleagues, I would say that I am an effective manager in terms of motivation, objective setting and team working. I am able to synthesise and analyse my own development to better inform myself and the team that I manage. This role in particular is a short term contract and because of this I feel that my delivery of results is paramount to my reputation as an effective manager. Some of the challenges that I have faced include the spontaneous nature of the team. The embedded dynamics means that it was difficult for staff in overcoming the initial authority and assertiveness of my role. Staff were working to their own demands; they were working hard and trying to give all they can in their roles but not working as effectively as they possibly could. I detected certain levels of non-compliance and lack of respect towards me as a manager from colleague and staff. This may be due to the fact that they consider themselves to be local experts in their respective  roles. This became an apparent weakness; due to unclear nature of my role and lack of management support this had a knock on effect in my management role. Staff felt that because I was unclear they could also have become complacent in their roles and resisting much required change. I gained support from my manager to facilitate those discussions with my job-share and focussed on the need to work more effectively and efficiently. Following on from the Francis Report, the Trust have decided to conduct an external consultation of the department, this will have an impact on the PALS team, both positively and negatively. Positively the recognition and the importance of service user involvement in mental health care are possibly at a higher level now than it ever has been. The Care Trust was up until a couple of years ago a mental health and learning disabilities, specialist trust. Due to the many changes taking place in the NHS this has now changed and the Care Trust has taken on other responsibilities, the challenge that I am facing in my role is that the service users and carers are mostly from the mental health background, therefore the diversity of involvement from a wide range is restricted, however, this is critical to my role and to the wider role of the organisation. Personal development plan An analysis of my personal development plan will allow me to face some challenges constructively. One of the main concerns is that I have no clear definition of role and therefore unable to set objectives for my team. I aim to seek clarification from my manager and also from the organisation in terms of what the PALS team should be doing, especially in light of the Francis Report. I will be arranging staff supervision sessions and also identifying key areas for development of staff. Regular feedback and appraisals will help in setting the teams objectives. The workload will be reviewed and I will be reviewing time on activities so that a rota can be in place for manning the office and the telephones. I will be able to manage conflict regarding the workload, once the discussions around caseload management have taken place. This will allow cases to be appropriately handled and in a timely manner. References Blake, R. R. and Mouton, J. S. The Managerial Grid III, Gulf Publishing Company (1985) Buchanan, D. and Huczynski, A. Organizational Behaviour: An Introductory Text, Third edition, Prentice Hall (1997) Department of Health, DoH, https://www.gov.uk/government/publications/recognised-valued-and-supported-next-steps-for-the-carers-strategy accessed June 2013. Drucker, P. F. The Practice of Management, Heinemann Professional (1989) Everett 1994, Campbell 1996, Wallcraft J, Bryant M 2003 Fayol, H. General and Industrial Management, Pitman (1949). Francis Report and Mid Staffs enquiry: http://www.midstaffsinquiry.com/pressrelease.html accessed June 2013. Herzberg, F., Mausner, B. and Snyderman, B. B. The Motivation to Work, Second edition, Chapman and Hall (1959). Maslow, A. H. ‘A Theory of Human Motivation’, Psychological Review, 50, July 1943, pp. 370-96 and Maslow, A. H. Motivation and Personality, Third edition, Patients Association, http://www.patients-association.com/ accessed June 2013. Peters, G. ‘Creating the Modern Organization’, in Crainer, S. and Dearlove, D. (eds) Financial Times Handbook of Management, Second edition, Financial Times Prentice Hall (2001), Mullins (2010) Mary Parker Follett (1868-1933), http://en.wikipedia.org/wiki/Mary_Parker_Follett, accessed June 2013. Mintzberg, H. The Structuring of Organizations, Prentice-Hall (1979). Stewart, R. The Reality of Management, Third edition, Butterworth Heinemann (1999) WriteWork contributors. â€Å"Management, Partnership and User Involvement in Health and Social Care† WriteWork.com. WriteWork.com, 05 June, 2007. Web. 02 Jun. 2013.

Landlord and Tenant Law Essay Example | Topics and Well Written Essays - 2000 words

Landlord and Tenant Law - Essay Example In the beginning, Able began extensive work on the unit. But the directors of Able soon discovered that the turnover from trading was not going to be as profitable as they had hoped. Hence, the extensive work to the roof was never completed. Although watertight, the roof is unsightly and not up to modern standards. In 2002, Able discovered that the concrete used to form the basis of the floor of the unit was not of the correct type. As a result, the surface had become crumbly and difficult to walk on. The only way to solve this problem would be to excavate the floor and lay a new one at a cost of GBP 250,000. Instead of undertaking any work, when the problem first became acute, Able laid metal sheeting on the floor as a temporary measure. The extractor fans fixed to the walls of the unit have ceased to function and when Able obtained quotes for installing new ones, they discovered that the original manufacture had gone into liquidation and new ones would have to be sourced from a different supplier. The new fans would be larger and require extensive installation work estimated at GBP 20,000. A director of Able has discovered second-hand fans which could be installed at a fraction of this cost. But these are older models than those currently installed and only work at half efficiency. Recently, surveyors instructed by the landlord have inspected the unit. On the basis of their calculations, the landlord claims that the cost to Able of complying fully with the covenant at the end of the term will be GBP 360,000. This includes completion of the work on the roof, laying a new floor, installing new fans as opposed to second-hand ones, and carrying out other miscellaneous works. The directors of Able are furious, especially since they have discovered that the landlord has submitted a planning application to the local planning authority under which the present unit would be demolished. The Questions The rent details, that is the amount of rent payable, and if any deposit had been paid to the landlord, are not provided. Details regarding the manner in which the lease agreement was made are also not provided. Was the agreement made through lawyers Were lawyers engaged by the landlord when the agreement was made Did Able engage lawyers to make the agreement It is important to know the answers to these questions in order to pinpoint the correct answers. It is possible to surmise the consequences in the absence of these answers. The information pertaining to the circumstances that have led Able to seek legal position are there. On the basis of these information provided the solutions to the issues raised will be given. The Cost of Repairs It appears that the premise is not suitable place to work. The premise needs long-term repairs and fixtures for long-term, problem-free use. Nevertheless, Able has gone ahead and made an agreement with the landlord for use of the premise for 15 years. The place was thriving at that time. Therefore, the directors of Able might have felt compelled to take the place on long-term rental basis, even willing to go along with

'Students' learning and achievement increase substantially when Dissertation

'Students' learning and achievement increase substantially when teachers work in learning communities supported by school le - Dissertation Example In this assignment, I look forward to discussing how crucial collaborating with the other colleagues is in order to bring about a drastic change in the teaching and the development of the teaching resources. For a clear sense of understanding, this assignment is divided into the following sections. Firstly, I’ve tried to point out the various benefits and challenges that were presented to me during the course of my collaboration with the other professionals. Secondly, I’ve tried to point out how my planning abilities were strengthened by my on-going communication with these professionals, and how it helped me with my teaching. Lastly, I’ve discussed how this collaboration has benefitted my students and their learning abilities. In recent years, the shift from a perception of the teachers as solely responsible for educational outcomes to the perception of education as a process that includes collaboration colleagues (teachers and support staff) and other professio nals e.g. a speech and language therapist, etc. has change the way we think about team dimension and working with our colleagues. Team-work is highly important for the success of any activity. Be it a workplace, a football field, or the members of a certain community, teamwork can bring forth amazing results. However, working together as a part of the team is not always as easy as it sounds. Although the benefits that you can derive from the successful implementation are immense, it also requires a great deal of compromise as well as hard work. (Woloch, 2008) There are several ways in which professionals today work together within schools for e.g. in middle schools across the globe teachers usually collaborate in an informal way all the time. These interactions help build up more formal modes of professional collaboration which are directed towards improving teaching and learning. These collaborations are very important for effective learning in any educational institution because t he sum of parts is better than the parts itself. (Wheelock, 2000) Many schools are encouraging teacher collaboration. For example, peer coaching (Joyce & Showers, 1988) and interdisciplinary curriculum development (Brandt, 1991) are premised on teachers' collaborative relationships, as are current trends in the design and delivery of professional development programs (Barth, 1990). Many aspects of currently recommended school reforms call for greater collaboration among teachers (Goodlad, 1984). The trend toward school-based decision making is also consonant with the recognition that collaboration is becoming an essential ingredient in successful schools. Smith and Scott (1990) have asserted that the collaborative school is easier to describe than define. In my opinion, in order to educate children successfully it is very important to clearify your role in the process of collaboration, and also respect the roles of the others. This is important in order to use our input and knowledg e for the purpose of delivering the best quality of education to the children. This is the best gift that you can give to any child: quality education. As in the immortal words of Aristotle, ‘Those who educate children well are more to be honoured than parents, for these only gave life, those the art of living well.’ Hindrances in collaboration: The two major barriers that I