Judicial Inquiry Into Stephen Lawrence

Judicial Inquiry Into Stephen LawrenceIt is beseechd by Shiner (2010) that the judicial question into the events surrounding the death of Stephen Lawrence amounted to a common property declaration of law blameworthiness in not save the surrounding the particularized case of Stephen Lawrence unless if a wider concern with the maltreatment of black and pagan minority communities to a greater ex ext gener eithery. (Shiner 2010 935). The Macpherson Report identified that the combination of three mall deficiencies inwardly the constabulary which contributed to an environment fostering racism (1) professional incompetence, (2) institutional racism and (3) a failure by senior practice of law officers in exercising their human beings duty. (Macpherson 1999 46.1). The Report considered that their findings with regard to institutional racism were symptomatic with not only the Metropolitan patrol Service (MPS) but with other Police run and institutions countrywide. (Macpherson 1999 6.39). It is agreed by a proceeds of academics that the track in which the guard handled the Lawrence investigation were not particularly racist against the Lawrence family but rather it was symbolical of the way in which the jurisprudence were treating working class families with a real lack of determineing on the part of the police of the experiences and expectations of the black fellowship. (Chan 1996 115-119 and Phillips and roll 2007).The important aspect to emerge from the Report was the impact it would have on the police as an institution in that although Stephen Lawrence was not the first or last unresolved racist murder, it was toned by Reiner (2000) that it crystallised the blackened ebbing away of black confidence in the police. (Reiner 2000 79). It represented a turning point for policing in that it prompted the most signifi nookiet review of the kin amid policing and ethnic communities, questioning how policing could be contemplative of the community i t serves. (Bowling and Phillips 2007 546). The Macpherson report noted some 70 recommendations aimed at improving this relationship between the police and ethnic communities which were implemented in the aftermath of the delivery of the Report. (Home personal business Committee 2007). A key reforming recommendation was Recommendation 61 which inevit adequate to(p) police to keep records of all degree and search activities carried out by the police which would check out the information of ethnicity which in turn could be utilize to determine whether the police were stopping any particular ethnicity dis correspondenceately. (Macpherson 1999 47.61). The piece of requiring police officers to record the informal aspects of their map of stop and search was one way in which the police could be held to account state-supportedally if they disproportionately stop any ethnicity over another. Additionally, it had sought to reduce the arbitrariness of the subroutine of stop and search b y ensuring the police would only use the power fittingly when they had to record each time who they stopped. (Saunders and Young 2010 97 101). One of the core concerns of the Macpherson Report identified that the police in practice were in effect over-policing particular ethnic communities and by requiring the police to report on their use of discretionary police powers would create an accountability mechanism at heart which the state-supported could scrutinise the use of police powers. (Macpherson 1999 6.34). It held the potential of becoming the yardstick power of policing.However, it is important to note that whilst the Macpherson Report clearly set about to place policing within a raw(a) agenda of accountability and openness to the community in which they served, it has been argued by Savage that the police as an institution has been able to undermine, frustrate and withstand any external proposals for reform. (Savage 2003 171). In addition, it is important to understand th e internal police perception of the Macpherson Report in that their reaction was deeply divided between senior grossing officer and rank and bear down field officers. (Rowe 2004). The senior officers were more open to kind and accepted the findings of the Macpherson Report, however, the rank and file field officers protested that the Report was an affront to their professionalism in exercising their public duty. (McLaughlin 2007). Media reporting in 2009 from across a section of sources attempt to argue that the conundrums emerging from the Macpherson Report were now no long-lived relevant ten years after Macpherson due to the reforms implemented from the Report. In January 2009 the chair of the par and Human Rights Commission, Trevor Phillips wrote in the Daily Mail that the police were no longer institutionally racist. (19 January 2009). Additionally, Jack Straw who was the Secretary of State for Justice in like manner backed the claim that the police had moved on by addres sing the problems complete in the Macpherson Report. (The Guardian, 23 February 2009). At the tenth anniversary of the Macpherson Report, the Commissioner of the Metropolitan Police Service, Sir Paul Stephenson, besides told the media that the police had made significant progress in addressing the concerns of the Macpherson Report. (The Guardian, 24 February 2009).There a number of ways or indicators to judge how successful the Macpherson Report was at delivering a more open and responsible police force since its delivery over ten years ago. The capital of the United Kingdom School of Economics (LSE) through its Mannheim Centre for Criminology commissioned a gigantic number of national great deals of the police between 2002 and 2004 which could act as a good indicator of whether reform was successful. In their report the authors conclude that a number of successes can be claimed since the delivery of the Macpherson Report. (Foster et al 2005). In specific the LSE noted that th e Macpherson Reported represented an important mechanism for change which was certify through improvements in police responses to hate crimes and in the recording and observe of racist incidents. (Ibid vii ix). Policing structures now allowed for dedicated teams of officers for racial crimes who undertook specialist educational activity in developing specific skills for investigating and managing racial crimes. However, the LSE Report did note that some officers view these teams with scepticism and often marginalised the officers within them. (Ibid 92). This highlights that whilst efforts were made at reforming the institutional structure towards creating specialist teams for specific crimes affecting ethnic minorities many existing officers did not support this development. (Buchanan 2006 173-174). Additionally, the LSE Report noted considerable improvements in murder investigations with considerable improvements on communication between the police and topical anesthetic ethn ic communities. It was the creating of community liaison officers which represented a positive change towards creating and fostering an environment of respect between the police and local ethnic communities. These officers allowed the facilitation of police policy to be communicated to local ethnic minorities and also for the police to take account of any concerns within the local ethnicity minority community. Interestingly, all police forces across the UK have engaged training officers in union Race Relations to develop existing and new officers skills set in being aware of the diverse cultures and experiences of minority communities within the UK.An important loss raised by the LSE Report was that some police officers within the survey believed that the Macpherson Report was wrong in concluding on the racism within policing and tended to view the problems raised by the Report as being chiefly around incompetence. (Foster et al 2005 33). The danger here is that there is a riski ness that the real message surrounding the racism issue within policing can become lost within the institutional structure when some officers only focus on the actual incompetence findings within Macpherson. The LSE Report also found that the police use of language and their attempts to abolish the use of racist language amongst officers were becoming successful. (Ibid 43). This approach was achieved through continuous education of new recruits and retraining schemes for existing officers, the key to the success of this hinged upon the senior officers creating an environment within policing which did not accept the use of racist language.Although the Macpherson Report opened the possible action of effecting real change within policing there still exists a number of key concerns. The concerns revolve around two core issues, firstly police use of stop and search powers and secondly the unsuccessful recruitment of commensurate officers from ethnic communities in order to make the pol ice more reflective of the community it serves. The reporting structure recommended by Macpherson shows that a high proportion of people from the Black community are disproportionately stopped by the police under the stop and search powers. This represents that the database of all stop and searches contain 20% more black people than Asian or black-and-blue people. (Bennetto 2009 22). Whilst the Black community is over represented in the criminal umpire system for criminal offences it does not justify a disproportionate use of police stop and search power. Additionally, a core failing has been the problem with recruiting officers from within the ethnic communities. In an investigative journalism piece by the BBCs Mark Daly (2003) highlights that a significant problem is that there is a sedate underrepresentation within senior ranking positions of ethnic minorities which impact upon policy and public perception.

Portrayal Of Muslim Women In Western Media Cultural Studies Essay

Portrayal Of Islamic Wo custody In Hesperian Media Cultural Studies EssaySince the odd ment couple of decades, the subjects of Islam, the Moslem community and especially Islamic women seem to cast off dominated the westerly media. It started with the excessive reportage of September 11, the war in Afghanistan and Iraq, the banning of the inter in atomic number 63, to the terrorist attacks and suicide bombers in the Middle atomic number 99. These ar just a few images to name that the westbound societies and countries baffle been bewitching in their daily lives, eventually forming their attitudes, perceptions and suppositions to the highest degree the Moslem land.It all started with Samuel P. Huntington (1997) clangor of Civilizations, according to Macdonald (2006). It was Huntington who came within reach of this problematic relationship between the einsteinium and the western hemisphere. Clash of Civilizations is a part in his book that is called The Rest Vs. The We st. (Macdonald, 2006). by and by the Cold War ended, the desire to search for a new distant ideological threat has emerged to replace the collapse of Communism. Since then, it was predicted by the occidentals experts that the occidental land is facing a new enemy Islam. Macdonald (2006).Huntington notion pointed out that Islam has a noticeable contradictory vision and turningion to the westward ideology, ideas of liberty, and democracy. This phenomenon has been developed and riddle into a discourse and got fully attention of the occidentals (United States, the United Kingdom and its allies) perceptions and its relationships towards the world of the Middle East, the Islamics and Islam. As a result of much(prenominal)(prenominal) phenomenon and ideology, the stereotypical idea that Islam and its followers ar anti-democracy and anti- occidental has give-up the ghost fixed within the minds of the Western society. (Macdonald, 2006).The acts of stereotyping hold stack to respond and be take away in the same trend that is both(prenominal) damaging and prejudiced. The word Arabs is meant to outline a person from the Middle East, it also meant to confront this Arab as terrorist, ignorant, and a person that contradicts with the Western ideologies. In enkindle of the veritableity that these persons atomic number 18 from distinguishable countries, with varied cultures, attitudes, beliefs, and a diversity of religions, they ar typify by angiotensin-converting enzyme word Arabs. (Cheney, 1986).Several movies take up been misrepresenting Arabs men and women through the years. It is has been pointed out by Cheney (1986), that Jack Shaheen, (2003), stated that 900 films done by in the American cinema destineed how Arab men women and children shaped as different and threatening. Hollywood films from 1896 until today portraying Arabs as heartless, enemies, cruel, burglars, extremist in their religion, furious murderers, and ab aimrs of women. ( Cheney, 1986).History shows that since the beginning of cinema, Hollywoods movies have been misrepresenting Arab women. Clearly, film makers did not create these images scarcely inherited Europes pre-existing Arab stereotypes. These images have been created long ago in the eighteenth and 19th centuries, European artists and writers offered fictional versions of women as bathed and submissive exotic objects. As a result, through the time, the stereotype came to be accepted as valid, befitting a permanent part of European popular culture (Cheney, 1986).In his book Reel Bad Arabs, Shaheen noticed that In Arabian Nights fantasies such as The Sheik (1921), Slave Girl (1947), and John Goldfarb, Please flummox Home (1964), Arab women appear as leering out from thin veils, or as unsatisfied, disposable knick-knacks lounging on ornate cushions, scantily-clad harem maidens with bare midriffs, closeted in the palaces womens quarters and/or on dis renovate in slave markets (Shaheen, 200123, cited in Cheney, 1986). The stream tracks in the third millennium. In Disneys remake of Around the knowledge base in Eighty Days (2004), for example, Arnold Schwarzenegger portrays Prince Hapi, a Mideast sheikh with one deoxycytidine monophosphate or so wives. This means that films continue to show Arab adult female as a slave for sex, even though the image of a terrorist dominated after 9/11.A investigate paper aimed to analyze U.S. and international newspaper clauses on Arab and Islamic women from 9/11/01 till 9/11/05, in order to understand how women who wear the veil are represented in western media. It was found that Reporters rarely give women the out look for to speak to look beyond the stereotype and get to know Arab women. Whether oppressed, exploited or turned into a super adult female, that charwoman in the news is more often not caricature of the Arab and Moslem woman in real life. Readers have not yet able to receive a unchanging and accurate representation of the diverse personalities, lives and opinions of these women. (Sakr, 2004).Its been always known that TV shows regularize Western people perceptions and attitudes towards various issues, especially when it comes to issues related to the Middle East and Arabs. So, near of the misperceptions towards Arab women are caused by the flow of information through TV stations. (Kaufer Al Malki 2009)According to Kaufer Al Malki (2009), on the 28th of September 2009, Oprah Winfrey hosted the grace of God Ambassador for the UNICEF the famous Lebanese singer Nancy Ajram on her TV show on CBS station. In that show, Winfrey referred to Lebanon as being deeply conservative and presented a documentary that shows Lebanese women veil like the Afghani ones and compared these women with Nancys Ajram style and terpsichore moves. With no doubt, Oprahs documentary misrepresented Lebanese women and created misconception in the minds of Western people about Lebanese women who are the most modernized women in the region. In fact, Nancy Ajram style and fashion represent a large segment of Lebanese females. Statistics show that 75% of the Lebanese women are un hide and have license of dress they have their full education that exceeds that of men with 44 % compared to 40 % of men.The media is fascinated by the portrayal of Arab women and they way they dress. According to Ahmed (1992), when it comes to portraying Muslim woman, the media in the West seems to be attentive and obsessed by the way they dress which is the veil in particular which has resulted in a big(p) number of reactions and debates. These debates shows that the veil is perceive as a narrow of pagan difference in the Western world as it differentiate Arab women from Western ones. (Ahmed, 1992). Muslim Arab woman are always badly portrayed as the shapeless and ghost women in their Islamic dress .they are rattling confusing the western normal people as its not their good luck that what they are seeing on TV is th at its the fault of the western media.The contradict stereotyping and reactionary reporting have historically typeisationized coverage of Islam and Muslims and have been reflected intelligibly in the theory of Orientalism created by Edward Said in 1978 which states that the East and its populations are considered transposed, barbaric and outsiders to Western society. (Posetty, 2008). As a result, it seems that the media helps in creating the image of the Muslim women as the oppressed other, which will lead to imprecise conclusions, stereotypes and misperceptions of these women. (Macdonald,2006).According to the Orientalist theory, when women are portrayed, they are portrayed as being oppressed, exotic, mysterious, and shy. In addition, the Western media have always been portraying Arabs as violent, stupid, and cruel people that deal out women as objects and that they are marginalized in their own society, and that the East all alike in their image for the West. (Macdonald,2006 ).Therefore, when the Western media frames women as sexual slave and oppressed by men as they are abusing their women, beaten, and humiliated, they are being truthful as this is the image that has been always stuck in the Westerns minds. In fact, the West has been stereotyping Arab women since forever, and they didnt change their look for the Arab women till now. Photographs and French19th Century paintings represented Arab women as property, toy of men, submissive and still, underage on a man who is the only motive for their survival. (kaufer, 2009).Terms such as the veil, the harem, female circumcision helped in the formation of such misconceptions as surface as gave the impression to some of the associated images with the oppressed Muslim woman. The problem is that these perceptions have been incorrectly generalized with no differentiation. (Gwinn, 1997). This problem has made it harder for the veiled Muslim women living in the West, as they tend to suffer more from the bigotr y from the way they dress, in addition, they are hardly accepted in the Western communities. (Mohanty, 2005).Arab women in immigrant communities and who are living in Western societies, are victims of these negative stereotypes and gender based media representations. As Morin (2009), noted that these women face negative media coverage that is based on ethnical misconceptions and the recent political conflicts that have screw up Arab-Western relations. As a result, Arab women in immigrant communities cannot win the fight for better media learning while they continue to be viewed inside the limit of traditional Arab-Islamic stereotypes. (Morin, 2009).As Posetty (2008) stated in his article, in the portrayal of Muslim women, attention is oft focused on the way they dress, with their clothing seen as a symbol of their threatening, alien status. Images of Islamic dress are increasingly used in the media as visual shorthand for dangerous extremism, and Muslims all over Europe are suffe ring from the consequences of such associations. The main problem as Ahmed (1992) pointed out, is that the act of netting among Muslim women or the veil itself is often associated with the lack of traditionality and backwardness that does not fit into the modern society and among Western women who do not need to veil (Ahmed, 1992). This phenomenon suggests that we can reach the other cultural difference and how the West is fascinated with otherness and still continues within the Western media towards the Muslim world (Ahmed, 1992).Ayish (2010) pointed out in his paper that the Western media tends to portray Arab men as aggressive and abusers of women, and that they control women. Media portray that the women is always exhausting her veil, staying at home raising children and only obey her husband who she fears. Newspapers studies has showed that Western illustration of Muslim espousal issues is vague and this is because the lack of the knowledge of foreign cultures and religions One could disagree that the study issue is Islamophobia, many Western journalists, unknown with Islam religion, have a tendency to view the faith as cruel, backward and the contradictory of tolerance. (Ayish, 2010).Morin (2009) stated in his research that stories investigated about Muslim women have shown that Western news reports represents women as the oppressed, mistreated wife, who is obligated to a prearranged marriage by her parents or obligated out of a marriage, and that she is helpless and punishing in both situations.Another disproportionate as stated by Ayish (2010), Sometimes, the Arab Muslim women is represented as the money hunter, who does not think about who she marries as long as the man she is going to marry is mystifying enough to indulge her hunger for money. In these situations on the other hand, Arab Muslim men think with different greed, they are sexually deprived and tends to treat women as sexual objects. The men are also harsh and controlling, performin g with womens feelings and threats women through oral divorce. Women are thus represented by the Western media as weak and have no rights which permit men to lay claim superiority (Ayish, 2010).Dominant images of the veiled Muslim woman are always covered in the Western media to present the Muslim woman as a victim as well(p) as being oppressed. (Ahmed, 1992). The veiled of Arab Muslim women has always been misrepresented by the media as it has became a symbol of the oppression of the Muslim woman. This representation as stated by Ahmed (1992), has been super evoked since the event of the 9/11. As noted in Posetty (2008) research paper, Alison Donnell argues that the September 11 terrorist attacks resulted in media representations of veiling as an object of mystique, exoticness and eroticism and that the veil, or headscarf, is seen as a highly visible sign of a despised difference.The oppression of Muslim women has been regularly used in Western media as suggestive of the barbar ic and pre-modern characteristics of Islam. As Helen Watson comments in her article the image of the veiled Muslim woman seems to be one of the most popular Western ways of representing the problem of Islam. (Posetty, 2008).According to Ahmed (1992), the veil has become the typical symbol of womens oppression in Islam, and is perceived as it creates uncongeniality to Westerns. In fact, the Western media has ignored the fact that veiling as a practice existed before the rise of Islam, especially in Syria and Arabia. It was also a custom among Greeks, Romans, Jews and Assyrians, and not only to Islam. At that time, the veiled Arab woman was perceived as respectable and protected. (Ahmed, 1992).However, as Ahmed (1992) pointed out, the veiled woman is usually represented as having denied pleasure, fun, or bodily self-expression. In some of the Western conceptualizations veiling is used as a means of performing femininity self-exploration and play with identity.With these rising and co ntinuous prejudices against Muslims and, especially, Muslim women, it seems to demonstrate that there is still a huge gap, a barrier that appears to prevent a sense, approval and apprehensiveness towards the Muslim other. And by the other we mean the oppressed, the traditional-bound, the factory-worker, the poor, etc. (Macdonald,2006).As mentioned before, overly the veil, discussions of the circumcision, polygamy, the sharia (Islamic) law, the harem, forced marriages, etc, are just a few issues that have made this aggroup of women fit into the absolute, homogenous oppressed Muslim woman category. (Macdonald,2006).As noted in Falah Nagel (2005) paper, the problem lies when these visual images tend to portray Muslim women as a stereotypical physical body an oppressed figure suffering from a harsh culture. The veil especially is the major estimate that is associated with the limitations and the oppression of Muslim Arab women as it was constantly deployed and replayed again in ou r visually dominated culture. Falah Nagel (2005) argue that the veil is not only representing the oppressed Muslims and Muslim women world, but also the hidden assumption about the superiority of the West in relation to that world. In this case, the figure of the veiled Muslim woman that is being represented through the media, is tending to represent these women as nonoperational victims, muted, untraditional, and oppressed, which therefore creates a cultural-ideological barrier with the Western women. Thus, the problem is that the danger that is resulted from these representations of veiled Muslim women tends to create a division between Western women (as modern, liberated) and eastern women (as backward, oppressed), while also ignoring the diversity of practices, views and experiences of these women. As Falah Nagel (2005) pointed out, it seems important that the question on how to communicate with the other who is culturally and traditionally different has become one of the mo st urgent and immediate agendas within North-South/West-East relations and interactions. What is needed is an sense of this sense of urgency, gaps and barriers that links to the Westerns knowledge of the veiled Muslim woman (Falah Nagel, 2005). As a result, veiled Muslim women become muted and misrepresented.Another major feature found in the Western media especially in denote is the imagined perspectives such as the myths and fantasies Western culture has about Islam, the Muslims, and especially, veiled Muslim women. This means that not only misconceptions and misunderstandings towards Muslim women have been continuous in modern times, but it has also became widespread and universal by the advent of modern technology. (Falah Nagel, 2005).Miladi (2010) pointed out in his research paper that modern images of Muslim women in American advertisements, argues that Western advertisers tend to spread stereotypes and the wrong representations of the veil and Muslim women in order to ap peal to consumers. As a result, advertisers use certain images of Muslim women that have been historically fixed in the Western mind, such as the harem, the hammas (public baths), the mysterious veiled woman or the oppressed woman living under an oppressive ruler or men and use this to attract consumers.The veil especially is itself is considered as an enormous market tool, as marketers often use the veil in order to switch sex. (Miladi, 2010). The use of the oppressed women and the veil in advertisements will make the Western consumers think that by get the advertised product as well as buying the favors of the mysterious woman behind the veil. (Miladi, 2010).The problem as stated by Miladi (2010), is that Westerners are usually buying certain products for buying these imaginary images of the other. As a result, through the continuous and repetitive bodied exposition to the media, a larger collective imagination will continue to be created and produced about this image of the i maginary veiled Muslim woman other. As mentioned by Gwinn (1997), the oppressed veiled Muslim woman in the ads may also be connected to the rising prejudices and debates that surround Muslim women and the veil in the Western world.The oppressed stereotypes of Arab Muslim women as stated by Ahadi (2009), has negative impacts on those women that is very obvious. Stereotypes occur when individuals are classifieds by others as having something in common because they are members of a particular group or category of people. Media stereotyping of women as objects and helpless beings creates very low expectations for societys Arab women. As mentioned by Morin (2009), women living abroad face distinctive discriminations from the Western communities. Western women are always considered as superior to Arab Muslim women especially, the veiled ones. In fact, Arab Muslim women are being oppressed by the negative representations created by the Western media. In addition, these representations may impact on these women psychologically as Western populations perceive the veil as a barrier between them and the veiled women.

The Beatles: History, Political Environment Music Analysis

The Beatles History, Political Environment Music depth psychologyLiverpool, a urban center 202 miles northwest of London that earns down the right bank of the River Mersey, is the second largest appearance in the British Isles.1 Rock n buzz harmony do its way to England done the port of Liverpool. Liverpool was the entry point for cotton and an cutting(prenominal)(prenominal) imports, including the Statesn records, from the United States.2 As a outcome, compared to the rest of the people in Britain, the people in Liverpool had a stronger exposure to American medical specialty. An different chemical element that contri howevered to the Liverpudlians familiarity with American medicinal drug was the presence of RAF Burtonwood, a U.S. military base a few miles northeast of Liverpool. 2 It had the about United States Army duck soup Forces personnel and facilities in Europe during human war II. At the curio of the war, 18,000 servicemen were stati piffleled in this bas e, which was so large it was known as little America, and they brought to England things from home, including their favorite records.2History every(prenominal) four Beatles were born into the disciplineing assort, amid the rain down of German bombs and the wailing of stock-sirens during World war II.3 By the meter they were teenagers, in the 1950s, things were only starting to settle down Britain was crippled financi exclusivelyy, prov poleer rationing continued, and the terrain was appease jagged with blast marks and craters.4In the beforehand(predicate) on mid-sixties, Great Britain still had wide unemployment and stultifying class disjunction, while America, on the other hand, was devastated by the Kennedy assassination and the rattlingities of the Cold War.5 Britons were effective coming to terms with the shit surrounding Government Defense minister lav Profumos extramarital affair,6 which damage the credibility of the government and eventually led to the resig nation of Prime Minister Harold Macmillan.7The 1960s was a period demarcated by the Cold War and the relative economic prosperity of capitalism in the west.8 It was an era tag by flutter concerts, peace demonstrations, and local pockets of activism and residential area.9 The Beatles primeval success symbolized a break with the absence of innovation and quality of late 1950s medicine, and at the same season it was a continuation of the legacy of the 1950s, as the call option writing of Chuck Berry and the vocal style of the Everly Brothers, among many other contri excepting factors, were integral to the dustation of the Beatles own stylistic identity.10Popular market-gardening was non thought to play a role in semi governmental controversy or in society at large, but that was until the end of the Second World War. The Cold War suddenly made favourite culture controversial. Actor John Wayne was universal mostly because of the political positions with which he was associ ated. The need to compete with television led the movies to risk controversial subjects, much(prenominal) as anti-Semitism, homosexuality, and juvenile delinquency. Elvis Presleys introduction of gem n lock music to a fair, of importstream audience solidified the association between new and popular music. By the 1960s, the music religious serviceed to establish for teenagers a goodly adept of generational identity. The Beatles attracted a college-age audience to rock n drum roll, and so their vast popularity contributed to this new perception.11It was in this period that the callowness of the day began to break with the victims of friendly injustice. The Hippie culture made these wellspring-to-do young people purport that they could relate to the minority and the poor subpopulations. They p learned with predominant institutions, the so-called establishment, to rear(a) their impassiveness and offer relief, but they realized that the establishment would not trouble t heir moral call and that they had to take it upon themselves to organize as a political movement.12This period had burning issues that mobilized enormous segments of society. Dr. Martin Luther King, Jr. magnificently translated the Civil Rights movement, in general a minority issue, into a universal eliciting of consciousness regarding equal rights for all. The Vietnam War funneled the moral outrage of the younkerful secularists into a consciousness that is said to stupefy persisted into the present day. 12Bob Dylan, the central figure in the number of rock n rolls cultural importance, had established himself as the unfolding young folk music performer and as a writer of powerful topical forms.9 He helped politicize a vast segment of rock culture including the Beatles, inspiring the free radical to accept its popularity as an opportunity to define and speak to a vital youth constituency. The Beatles music, and rock music in general, became a medium for addressing the issues a nd events that affected that generation.13SocietyAs a result of the handle Boom and the tremendous expansion in opportunities for higher procreation initiated after World War II, to a greater extent individuals be massiveed to the intellectual community or were affected by it. The Baby Boomers were in addition raised with increasing leeway by parents. Children were encouraged not only to regard on their own, but to think well-nigh a wide localise of heretofore inhibit thoughts. It was in the 60s that the formerly stable institutions of Western societythe church, the family, and the local communitybegan to break down, and as the youth of the day, in increasing numbers, began to explore wide divergent socio-cultural milieus, they came into conflict with conditions of society far less comfortable than their own. They began to identify with the victims of social injustice and p pathed with what appeared to be massive and callous institutions to reverse their indifference and offe r relief. The Hippie culture was a result of this they were able to think of themselves as outlaws, which made them feel that they could relate to the minority.12 there appears to be a connection between the cultural revolution of the sixties and the Beatles music.14 Beat music, which is exemplified by the music of the Beatles, became popular in the 1960s, and at the same sequence, youth propagated more egalitarian and informal ways of communication as the new bill for social interaction.15 The communication code of the peer group is characterized by an indeterminate and almost permanent negotiation of hints and opinions.16 The Beatles strivings could articulate the phrase of the rising youth culture so well. The Beatles margin calls evoked a sense of awakening, as they were articulating and promoting the establish and reciprocal idiom of the peer group as a role model for civil conversation, giving a full voice to youth culture.14 government activity and EconomyBritain, in the 1950s, was recuperating from the aftermath of the war. The cost-of-living index continued to rise rapidly, create strikes among market workers and employees. Acute coal shortage brought about actual moment from the United States. but employment remained high, because industries began a rapid expansion. The supply of consumer goods in addition continued to increase, reversing the policy on rationing. The general picture of the economy was brightening.17 The 1960s was witness to the Cold War and the relative economic prosperity of capitalism in the west.8 The United States economys commodiousest peacetime expansion took place from 1961 to 1969.18 The period excessively saw the Civil Rights movement, the call for equal rights for all, and the Vietnam War, among other issues, which mobilized a spacious segment of society into civil disobedience.12 Rock music, which held the youth together,11 was one of the mediums in which they addressed these issues.13Artworld RelationsRock n roll is a music form that revolutionized in the United States in the late 1940s and early 1950s through a mixing together of conglomerate popular musical genres of the time. It is rooted mainly on rhythm and blues, country, folk, gospel, and jazz. The style readily propagate to the rest of the world and developed further, predateing eventually to red-brick rock music. At around the same time that rock and roll hit Britain in early 1956, a similar form of music came along which is popularly known as skiffle. It was really a league of American Jazz, blues and folk music. It too had been surfacing in various semblances for kind of a few years.19 From its inception in the early fifties, it had offered teenagers, at that time, a new way of taking in music. With its unmistakably intractable undertones, rock provides a musical score for the twilight universe that is adolescence. It was customaryly looked down by older music perceiveers but for the youth of that period, it s eemed manage a personalized declaration of independence.20 A thumbnail chronology of 1950s rock days is a thumbnail chronology of a war between young and old.20 Before a bunch of American records reached UK and stirred the Brits, the provepower started when Bill Haleys Rock Around the quantify reached number one both in the US and UK, and Chuck Berrys Maybellene began to utter on the radios.20By the late 1950s, rock raced across the pop charts which diverted a lot of teenagers. However, the success of the form by this time is counteracted by most adults and the music industry itself that still looks at rock disdainfully. The new sound is fighting a generational, musical, social, personal war with society.21 While around disturbing societys walls, rock n roll is imploding in the hearts of almost teenagers in an English seaport called Liverpool,21 including the young Beatles members, John, George, capital of Minnesota and Ringo.The first flourishes of rock n roll in the form o f Bill Haley and His Comets aligned music with rebellious youth. Particular rock and roll idols following after started the evening gown rolling for the Beatles. This is topped by none other than Elvis Presley whos dubbed as the guy who lit the Beatles fuse.22 The rock artists who had a major impact on the Beatles ranged from FatsDomino, Eddie Cochran, Carl Perkins, Gene Vincent, Buddy Holly, little Ric delicate, to Chuck Berry. The list goes on. To the Beatles, Elvis whitethorn have represented the music style that they wanted, but he wasnt quite the complete package. He sang brilliantly and looked fantastic. He had great songs but he didnt actually write them. However, there were other artists coming onto the shooting who besides wrote their own material, and this kind of self-sufficiency really appealed to the young Lennon and McCartney.23At the top of it was Chuck Berry. He was one of the few black performers whom white teenage audience consciously listened to during the 195 0s, and he did largely entertained them on the strength of charismatic stage character, his distinctive, rocking, and widely imitated guitar licks, and his ingenious songs. One shot of Chuck Berrys tremendous influence that should be highlighted, is the way he introduced a more sophisticated and disciplined form of lyricism to rock music. therefrom inspiring the interchangeables of Lennon and McCartney to compose their own songs.23All these musical influences were quickly spread to a mainstream audience of young people during the 1950s and 60s. Before TV took over as a multi-purpose medium for spreading this, radio was king. That long-familiar Beatle sense of humor came about partly because of the radio comedians they listened to as kids. At the same time, it was also via the airwaves that they first heard the strains of rock and roll. At their time, TV sets were a definite luxury, but one commodity that could probably be inside all of their homes was the radio.24 During the mid- 50s the only British channels that people could billet into were those of the government-controlled British Broadcasting Corporation. The BBC basically transmitted what the adults wanted to hear, easy listening, all the way from Vera Lynn to Frankie Laine. Rock n roll music was no way to be broadcasted then. Radio helped to shape the Beatles musical tastes and their sense of humor.25Sample/AnalysisLove Me DoWriter/s Lennon/McCartney producer George MartinCD magic mystery Tour, cut 11 (Parlophone CDP7 48062-2) yellow(a) hacek, undercut 6 (Parlophone CDP7 46445-2) icteric Submarine Songtrack, caterpillar tread 12 (EMI 5 21481-2)Released 7 July 1967 A genius / Baby Youre A Rich musical composition preserve 14 June 1967, majestic profound Studios 19 June 1967, Abbey channel 3 23-25 June 1967, Abbey thoroughfare 1 the song was visionary on the Eurovision program Our World on 25.06.1967Length 257 recognise G study prison term 4/4 (with daily 3/4)Form debut pen rhyme poesy chorus line rime (guitar solo) chorus poetry leave off give over Outro (fade-out) instrumentalityJohn Lennon vocals, harmonicaPaul McCartney vocals, bass voiceGeorge Harrison acoustic rhythm guitarRingo Starr drums, tambourineThe form is quite childly perhaps because Paul started report this when he was in truth young, probably around 15 or 16. In line with this is the artless plaintive melody and rhythm of the song. The group has started out with unanalyzable rhythms, innocent and straightforward lyrics, and themes that are very appealing to the teen audience. The very hit and remarkable have got in the song is the harmonica which John vie quite well. The harmonica also added that certain x-factor to the tune and to the song in general. The lyrics were just repeated all throughout the song, which makes it quite short. The vocal locution of the song appears to be apt for the theme of the song.The lyrics of the song is a simple dedication of a devoted pi ck outr to his loved one. The song is not as soft and mellow as Yesterday, but not as hard as Helter Skelter. Compared to the other hits of the Beatles after the release of Love Me Do, this song in particular carried a big significance to the band members because it just signaled that they are now in the recording industry, which they only used to dream of.I Saw Her Standing ThereWriter/s Lennon/McCartneymanufacturing business George MartinCD Magical Mystery Tour, fall into place 11 (Parlophone CDP7 48062-2)Yellow Submarine, overcompensate 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, cutting 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich Man saveLength 257Key G Major euphony 4/4 (with occasional 3/4)Form Intro verse euphony verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out) instrumentalityJohn Lennonlead vocals, harpsi agree, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snar e drum rollI Saw Her Standing There is one of the boys first fast, hard rockers. The arrangement of this song is filled with techniques and touches queer to the group that defined the early sound of the Beatles. The song narrates a simple boy-meets-girl story in the first person to which the pulsating music lends a by all odds hot connotation, in spite of the lack of any explicit honey in the lyrics. They also used a type of wordplay that also became a Beatles trademark. In terms of its form, the song has a comparatively long running time of 252 which consists of a 2 brace model with 2 verses intervening, one of which is for guitar solo. The fast pace of the song call down a general feeling of urgency. Also, the tune covers a broad range and consists of an entirely interesting mix of step-wise motion with dramatic long-jumps. Each of the members contributed to the over-all excitement in the arrangement of this song. This includes Pauls boogie-woogie bass lines, which outline t he accords, Ringos elaborately shorten drum fills that appear in the space between sections, the support work on rhythm and lead guitars that works in fine synergism with the bass and drum parts. Furthermore, the tight vocal harmonies of Paul and John feature a type of counterpoint that seems bracingly different from what was to be heard from their contemporaries. Lastly, the handclaps and the shout used for background punctuation are unessential yet however characteristic.The song evokes such a pleasurably exuberant inclination and an absence of romantic/emotional complications. Its more of a hip ditty bop noise, as Richard Price puts it, reminding us in perpetuity of the nowness and coolness of beingness 17 and hip, as well as falling for the first time in what a teenage thinks just might be real love. Although theres an eventually bitter and disappointing side to this experience, the song emphasizes that the sweeter part of it is worthy taking with several(prenominal)on e for the rest of his life. Just like any of their early period songs, this song contains no profundity in its lyrics. It just implies the usual situation that a teenager faces in terms of love and the diametrical sex. It appears to be somewhat a way of expressing a teen feeling about love and the common view of the youth about it at the time. Here, it seemed that the Beatles try to make an impression that they are like the other small fry as to how they view that certain aspect of the teen world.All my pleasingWriter/s Lennon/McCartney producer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich Man preserve 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G Major split second 4/4 (wi th occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennon backing vocals, rhythm guitarPaul McCartney vocals, bassGeorge Harrison backing vocals, lead guitarRingo Starr drumsThe song is one of the several Beatles songs with somehow superficial lyrics about love and affection. The melody is quite lively though its not as public assistance as I compulsion to contrive Your Hand and I Saw Her Standing There. There were also some stopgaps in between the stanzas in the song. Evidently, it is one of those songs that characterized the early songwriting and music makeup of the Beatles.I Want to Hold Your HandWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Ol ympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (with occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snare drum rollThe song is deceptively straightforward and unshakable in design. It starts with a falling melody. Also, it sounds closer to conservative pop than contumaciously hard rock. It has the non-intuitive two-part vocal harmony, falsetto screaming, an occasionally novel chord progression, frank rhythm even some elided phrasing and the overdubbed handclaps. The original song has no real lead singer or even a clearly defined melody, as Lennon and McCartney sing in harmony with each other. They sing in duet virtually the whole way through. Pau l plays quite a bit of double-stops in the bass part, Ringo throws in some of his structurally significant drum fills in between the second and third musical develop of each verse, and most subtle of all, George contributes a number of lead guitar fills.It was the youth who discovered the Beatles, and while young people can be comfortably manipulated through hype and image, in the case of the Beatles it was the music that drew them in. This song is undeniably one of the Beatles all-time hits and in several ways represents the integrative height of what could be called their Very Early period. In context of November 1963, I Want to Hold Your Hand was the best they could do, a kind of summing up of all they had through to-date. It also has a seemingly puppy-love simplicity that does hold up remarkably well like a classic. I Want to Hold Your Hand was not subject to numerous cover versions like other Beatles songs such as Yesterday or Something. Nonetheless, it was one of their sup erlative hits. Their early songs mostly consist of simple and uncomplicated meanings behind the lyrics that were well-kept for the young audience.A firm Days NightWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (with occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snare drum rollThe song has a long form, with two tide overs and an instrumental break. It has a deep si milarity with distinctive blues melodic structures which creates a combined style between traditional blues elements and those more recognizable as the Beatles own trademarks. A Hard Days Night is a particularly forward-looking song since it has numerous innovations in the area of harmony and arrangement. It has a generally energetic pother that appears on its surface. On a subtle level, the very casualness of the strife between the tunes and chords adds a characterizingly slang flavor to the songs over all music vocabulary. John takes most of the verse as solo and Paul with the bridge. In the chorus, Paul handles the high harmony and John the low harmony. The opening chord has its great effect because of the sudden, crisp attack of the song. The pause that follows the opening chord is an example of how suspense and a sense of rising expectations is created by a change of pace. The effect has a surprise factor that works well at the beginning of the film or album. The song is para llel in itself since it ends off inexplicably on practically the same chord with which the song began. This also provides some unity to the song generally. Furthermore, it closes with a fade-out which was new to the Beatles at that time since the prior songs had closed with a final chord such as She Loves You and I Want to Hold Your Hand.The lyrics are far from profound. Basically, the song speaks about ones undying devotion to his loved one and how he works hard so she can buy the things she fancies. The singer sings about his tiredness when he comes home from work. But when he sees the things that his lover does, these perk him up. The song was birdsong on an exuberant mood along with fast paced beats in it. It also incorporated new techniques that the Beatles have not yet done in their earlier songs like Harrisons arpeggio-playing during the fade-out. The simple lyrics cater to a larger audience of young people. This is due to the theme of the song which is about love that gets it across to a lot of young listeners. Furthermore, there is but a few meanings to this song which is usually the characteristic of their early period songs. Perhaps, because their main goal by then is to gain popularity through entertaining a larger portion of music listeners, the kids.HelpWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (with occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead gui tarRingo Starr drums, snare drum rollThe song Help has a two-part lead vocals and a speeded-up tempo. The final take in the recording session was the best, and onto this Ringo Starr overdubbed a tambourine, and George Harrison added the series of descending Chet Atkins-style guitar notes which close each chorus. One can listen to a couple of complicated, fast riffs in the song which added more pulse to the overall rhythm. The melody, somewhat, counteracted the message of the song of being depressed and disheartened. It was noticeably collected to satisfy their commercial instincts at this time. The lyrics, on the other hand, is somehow exigent that makes the song a bit short compared to their prior songs. The vocals were solid liberal to agree with the harmony of the instruments most notably the tambourine playing at the background. It still definitely has some blues elements incorporated in the song which is most common to the Beatles songs.The songs lyrics seem straightforward and superficial. The lyric that emerged was not simply a boy talking to a girl, but more of a uncomplaining to a psychotherapist or just someone seeking help from somebody else or from a mind-altering substance. The song was a mark departure from the boy-girl relationships that they have been talking about in their early songs. On the other hand, the song had commercial appeal, with its fast tempo and lively instrumentation. Here, the group is starting to develop emotional depth and weight in composing their songs.YesterdayWriter/s Lennon/McCartneyProducer George MartinCD Magical Mystery Tour, Track 11 (Parlophone CDP7 48062-2)Yellow Submarine, Track 6 (Parlophone CDP7 46445-2)Yellow Submarine Songtrack, Track 12 (EMI 5 21481-2)Released 7 July 1967 A Single / Baby Youre A Rich ManRecorded 14 June 1967, Olympic Sound Studios 19 June 1967, Abbey Road 3 23-25 June 1967, Abbey Road 1 the song was aired on the Eurovision program Our World on 25.06.1967Length 257Key G MajorMeter 4/4 (wi th occasional 3/4)Form Intro Verse Verse Verse Refrain Verse (guitar solo) Refrain Verse Refrain Refrain Outro (fade-out)InstrumentationJohn Lennonlead vocals, harpsichord, banjoPaul McCartney bassGeorge Harrison violin, lead guitarRingo Starr drums, snare drum rollYesterday has a unique arrangement, an attractive tune, even some irregular phrasing and a couple of off-beat chord progressions. It has a tempo that is uncharacteristically slow. The instrumental backing consists entirely of an acoustic guitar and a string four (two violins, a genus Viola and a cello) with the two elements mixed. The track is sung solo by Paul virtually all the way through with a particular exception for a short patch of double track to highlight the high notes at the end of the first bridge. As with Pauls other hymns, the bass line of this song is played with special emphasis whether through the hard-picked notes on the low-strings of the guitar or supported by the cello. The string arrange ment supplements the songs air of sadness, notably the moaning of the cello melody and its blue seventh that connects the two halves of the bridge as well as the descending line by the viola that shifts the chorus back unto the verses. There is an ironic tension between the cloy of what is played by the quartet and the restrained, spare nature of the medium in which it is played, adding an engaging level of depth to the performance. This is quite different from the fast paced, upbeat songs of the Beatles prior to this one especially because of its soothing, light melodic structure.Norwegian timber (This sibilation Has Flown)Writer/s Lennon/McCartneyProducer George MartinCD Rubber Soul, Track 2 (Parlophone CDP7 46440-2)Released 3 December 1965Recorded 12, 21 October 1965, Abbey Road 2Length 205Key E MajorMeter 3/4 (6/8)Form Verse (instrumental intro) Verse Bridge Verse Verse (instrumental solo) Bridge Verse Outro (with complete ending)InstrumentationJohn Lennon double intro duce lead vocal, 6 12 string acoustic rhythm guitarsPaul McCartney harmony vocal and bassGeorge Harrison doubletracked sitarRingo Starr finger cymbals, tambourine, maracasNorwegian Wood (This snort Has Flown) is a rhythmic acoustic ballad featuring signature Beatle harmonies in the nitty-gritty eight. Norwegian wood refers to the cheap pinewood that often finished the interiors of working class British flats. The lyrics speak of an encounter between the singer and an unnamed girl. They make happy wine and talk. The speaker may have been hoping to sleep with the girl, declaring its time for bed. But the girl leaves him to crawl off to sleep in the bath alone. Later, the singer finds that the girl has left him for another love, so the singer lights a energise and burns the girls house as an act of revenge. Lighting a fire may also be interpreted as smoking a cigarette or smoking some weed. The instrumental backing is acoustic in style approach.The intro is sixteen measures long. The presentation of the hook phrase consists of the solo acoustic guitar followed by the entrance of the sitar (which then carries the melody) and bass guitar. All the verses follow the pattern set up in the intro. The bridge is also sixteen measures long, and the slowness of the harmonic rhythm helps maintain the measured mood established earlier The outro provides one repeat of the hook.Norwegian Wood (This Bird Has Flown) is the first pop record ever released to feature a sitar (Newman 93). In direct contrast to earlier Beatles songs such as Love Me Do and I Want to Hold Your Hand, Norwegian Wood(This Bird Has Flown)provides a darker expected value towards romantic relationships. The exotic instrumentation and oblique lyrics are indications of the expanding musical vocabulary and experimental approach that the Beatles were rapidly adopting.Yellow SubmarineWriter/s Lennon/McCartneyProducer George MartinCD Revolver, Track 6 (Parlophone CDP7 46441-2)Yellow Submarine, Track 1 (Parlo phone CDP7 46445-2)Yellow Submarine Songtrack, Track 1 (EMI 5 21481-2)Released 5 majestic 1966 (Double-A Single / Eleanor Rigby and LP Revolver)Recorded 26 May 1966, Abbey Road 3 1 June 1966, Abbey Road 2Length 238Key G MajorMeter 4/4Form Verse Verse Refrain Verse Refrain Verse (instrumental) Verse RefrainInstrumentationJohn Lennon acoustic guitar, blowing bubblesPaul McCartney bass, acoustic guitarGeorge Harrison tambourineRingo Starr lead vocals, drums

Study of Rail Structure: Risk Analysis and Failure Mode

moot of discipline Structure hazard abstract and mishap ModeStudy of raceway StructureRisk synopsis and stroke Mode AvoidanceIn this case study, a shortened overview of vilifyway structure is discussed. Defects relate to racetrack failure ar considered requirement to frame extinct the correct bread and unlesster st straygy. As it is closely associated with resort of passenger and cargo transportation, hence it retains high endangerment in basis of serviceman lives and be of resources. There will always be nearly run a find associated with collisions and de civilisements but it poop be reduced by eradication of the reconcile causes. Exposure and amendment of quetch blurs are major(ip) issues for all discipline companies round the world.There are challenges to the infrastructure maintenance individuals to perform hard-hitting revue and cost effective rectification decisions. If addressed properly these potentiometer reduce likely risk of raceway b reaks and de groomments.Risk assessment and Failure panache avoidance has become a vital constraint for the organisations to settle a cost effective and improved solution that could meet the pecuniary constraints regarding inspection, renewal and re determinement of leaderships and wheels. This study aims to reduce costs and risks think to discipline operation by effective approaches. The issues and challenges think to vilify maintenance are forthlined. The maintenance strategy followed by most vilifyway companies is alike defined.Large kvetchways infrastructures are the prime manner of transportation in some(prenominal) countries. Improved and give out safety measurements are continuously presented but steady could non be considered as incidents proof. There will always be some risk related with de civilizements and other occurrences such as major disruption to services, which can furthered be minimised by detailed examination of the root causes. Some of the caus es require improvement in skill and efficiency, for example valet error, and some whitethorn be improved by optimization of inspection regularity. Therefore, a appropriate thorough study of the defects which develop both on the rolling stock and rail infrastructure is vital to frame out the correct maintenance approach. European Union spends around 2 cardinal ein truth year for maintenance and repairing of broken plain (European missionary station Cordis, 2017). It is mum that the consequential cost cod to derailment decreases with rise in inspection, lubrication and contriteness charges. Risk in railways could be expressed in terms of cost, loss of human lives, infrastructure unavailability, traffic delay and environmental impact which may be caused due to derailment of a train carrying hazardous stuff.In this report, varied kinds of rail defects and maintenance procedures followed aredescribed. Different risk assessment and failure mode avoidance methods and tools have been discussed briefly in this report. Some of the issues and challenges related to railmaintenance are withal addressed with an aim to reduce the radical cost and risks associated with rail operations. aims are longitudinal brace members that harbor wheel loads and distribute these loads over the sleepers or supports, point the train wheels evenly and continuously. It is one of the most classical components of the track structure. usually a flat bottom railis used in customary railway track, which can be separated into 3 parts rail head, rail weband rail foot. Many standards are used for rail profiles. (Kumar, 2007) go through 1 shows the 2 third estate rail profiles. anatomy 1 Flat bottom and Bullhead rail profilesThe rails must consume sufficient stiffness so that they can act as beams and exaltation the concentrated wheel loads to the spaced sleeper supports without excessive deviation between supports. (Ernest and John, 1994)Due to economic pressure, there is a worl d-wide trend to extend axle loads, traffic tightfistednessand speed to reduce the operating cost and append the efficiency of railways. Axle loadsaround the world have increase in general from 22.5 to 32.5 Tonnes in last ten years (Allen, 1999). This has led to increased rate of defect formation in rails. Some of the common defects are described in the following sections.4.1. ShellingShelling is a defect caused by loss of material initiated by sub progress fatigue. Shelling normally takes place at the gauge corner of high rails in curves. An elliptical shell like jibe propagates in the subsurface gibe to the rail surface. When these cracks emerge on the surface, they cause the metal to come out from the crack area. It is primarily eliminated by grinding. (Kumar, 2007) suppose 2 Shelling caused by brainiac Checks4.2. Head ChecksIn the crown area, the contact stresses are generally low as it has greater profile radius in similitude to the gauge side of rail. However, high conta ct stresses are produced on the high rails gauge corner, which usually has curve radius from 1000 to 1500 m. Headchecks are known to occur in tighter ((IHHA, 2001).If head checks are not controlled, they can cause a rail break. Grinding is the most common practice to remove head checks. blunt head checks need rail section replacement.4.3. SquatsUnlike shelling, gobs appear in crown area of refined rail sections. They are surfaceinitiated defects formed by RCF. A squat is formed by two cracks, a leading crack and atrailing crack. Both these cracks propagate in opposite direction. These defects could be bared by grinding. (Kumar, 2007)4.4. SpallingSpalling occurs, when the surface initiated crack development path is intersected by other standardized shallow cracks on the rail head area, a shallow act of rail material falls out. Spalling is more common in cold climates as rail stiffness increases. rule 3 Gauge coigne Spalling in rails 4.5. Tache OvaleTache Ovale is a subsurface defect formed around 10-15 mm below the rail head surface (see Figure 4). This is caused by hydrogen accumulation during manufacturing of rail or when poor welding is through in rails. Thermal and residual stresses in like manner contribute to form this defect.Figure 4 Tache Ovale 4.6. Plastic Flow and Tongue LippingPlastic flow occurs in rail head area, the depth of which may be up to 15 mm. Plastic flowoccurs on the field side of the low rail due to overloading. Tongue lipping is also a form of plastic deformation, but it is initiated by surface cracks. These cracks partially separate a layer of material from the bulk of rail. (IHHA, 2001)4.7. thunderbolt Hole Crack xerox holes appear in the rail web often starting from the fastening point of fishplates. scarcelythese become weak points to resist crack initiation. These cracks have a really high potential to cause rail break and needs pressing replacement.4.8. Longitudinal Vertical CrackThis is a manufacturing defect, which u sually appears in the rail web and may extend in railhead also. If this crack is intersected by some other crack, it may lead to an early railfracture. Odds of sudden fracture due to this become predominant in cold climate.Figure 5 Longitudinal vertical crack 4.9. crosswise CrackTransverse crack is mostly developed in the cross-sectional area of defective weld joints. Awelding defect may be due to variation in weld material or rail manufacturing defect. Figure 6 shows a Transverse crack develops from the magnetic core of the rail head or the rail foot. Use of clean steel and deeper hardening of rail head may avoid its formation. (Kumar, 2007)Figure 6 Transverse crack 4.10. BucklingLateral buckling in rails is a very common defect in which the rail bulges out on its any sidedue to expansion. As the temperature rises, longitudinal expansion in rail takes place.4.11. CorrugationCorrugation is a rail flaw consisting of the wave-like wearing of the rail tread visualize aspeaks and v alleys, in other words, it is a degreeic irregularity of the rail surface (IHHA, 2001),see Figure 7.Figure 7 Corrugation in railsRail corrugations are the result of a damage mechanism, such as wear etc. Rail corrugations do not pose risk of immediate derailment, but they may be responsible for loosening of rail fastenings, ballast deterioration, increase in noise and vibration level leading to passenger discomfort, etc.Two main types of corrugations which generally occur in rails areShort pitch corrugationsLong pitch corrugationTables below show the percentage and type of defect detection by different rail infrastructurecompanies. railwayFirstSecondThird poopRail track (1999/2000)Squats 21.7%Vertical/transverse 20.1%Horizontal/longitudinal 12.5%Bolt holes 9.6%SNCF (1999)Squats 23.4%Internal fatigue 11.5%Shells 8.4%Thermite welds 4.7%HSPC (1999)Thermite welds 31.5%Wheel fire 17.2%Horizontal cleave webs 13.3%Bolt holes 11.3%NS (1997)Insulated Joints 59.4%Transverse defects 18%Therm ite welds 15%Fatigue Failure5.2%DB (1996)Thermite welds 29%Sudden fracture 18%Fatigue Failure 16% galvanising bonds4.0 %Banverket(1998)Transverse fracture 55.1%Welded joint 32.7%Horizontal defect 6.1%Vertical split2.0%HH1 (1999)Vertical split heads 34.7%Thermite welds 20.3%Detail fractures 13.1%Bolt holes 12.2%HH2 (1999)Transverse defects 23.6%Thermite welds 15.5%Wheel burns 13.2%Shells 9.6%Table 1 Causes of defective rails (Source Kumar, 2007)Rail breaks and derailments can cost the rail players in terms of loss of revenue, property, environmental damage or even loss of life. Estimation of these costs and analysis of risks are all-important(a) in deciding effective maintenance strategies. In simple terms, risk can be defined as the chance or fortune of loss, damage or injury. (Reddy, 2004)5.1. Failure Mode and Effects Analysis (FMEA)FMEA is a step-by-step procedure for systematic evaluation of the severity of potential failure modes in a system. This process was originally develo ped in the 1960s, to go bad the safety of aircrafts, but has been since applied to several other fields, including nuclear advocator plants and the military. (Villemeur, 1992-A)Figure 8 Schematic representation of the FMEA. (Source Villemeur, 1992-A).5.2. Risk Priority name (RPN)Risk priority number (RPN) is a methodology for analysing the risk associated with potentialproblems identified during (FMEA) (for details refer Reliasoft, 2005).Assigning RPN requires the analysis team to rate each potential problem per three rating scalesSeverity occurrentDetectionAfter the ratings, have been assigned the RPN for each issue is metrical as mentioned below,RPN = Severity x Occurrence x DetectionRail maintenance issues can be broadly classified into watchfulness issuesIssues related to rail wear, RCF and rail weldingRectification and replacement issues6.1. Rail Inspection IssuesThe effectiveness of rail inspection depends on the efficiency and accuracy of the inspectingequipment. It also depends on the skill and experience of inspectors. Error in inspection is an important issue and its reduction is a big challenge. This mainly depends on the technological limitations of the inspection equipment and the skill level of the rail inspectors.Figure 9 Rail inspection issues (Source Kumar, 2007)6.2. Issues related to Rail Wear, RCF and Rail WeldingFigure 11 outlines the rail maintenance issues. The following sections briefly describe someof these issues.Figure 10 Rail maintenance issues (Source Kumar, 2007)6.2.1. Rail Wear IssuesWear occurs due to interaction of rail and wheel. It includes mild and severe wear. Mild wear takes place slowly but severe wear is often much faster. Severe wear is predominant in curves and occurs dry conditions. Lubrication techniques are used to prevent such wears.Four commonly used techniques which are followed for rail-wheel lubrication are take in of rail lubricatorsWheel flange lubricatorsWayside lubricatorsOn board lubricators6.2.2. rin glet Contact Fatigue (RCF) IssuesIn the late 1990s RCF accounted for nearly 60% of defects found by East Japan Railways, while in France (SNCF) and UK (Railtrack) the attends were about 25% and 15%,respectively. RCF is a major future concern as business demands for higher speed higher axle loads, higher traffic density and higher tractive forces increase (see Cannon et al, 2003).Rail grinding removes surface metal from the rail head. It is done mainly with intensions to control RCF defects and rail wear. Rail grinding became increasingly recognized for controlling RCF defects from 1980 onwards, prior to that it was mainly pore on corrugation removal.6.2.3. Rail Welding IssuesSmall imperfection in welds can cause cracks to initiate. A defect free weld requires consummateworkforce, fail weld material along with improved welding techniques and equipment.6.3. Other Issues touch on Rail Wear, RCF and Rail WeldingRisk and cost are analysed by rail infrastructure operators in mainten ance decisions. It covers rail lubrication, rail grinding and rail weld.Other important issues areRail materialRail traffic density and axle loadTrack geometryIn Conclusion, first a brief overview of rail structure is discussed. Then, diverse range of rail defects and abjection processes have been studied. From the literature analyses done, it is interpreted that there is a need for better ways to monitor and predict rail defects over a period based on operational conditions and maintenance tactics. A good experience of risk along with an idea of the methods used for risk analysis is also required. Hence, before improvement of any model or any falsifiable relationship associated with risk and failure, there should first be a familiarity with risk management tools and failure mode avoidance. This study focuses on some such tools.Also, the issues and challenges related to rail maintenance are discoursed. The aim is to reduce risks related to rail operation that leads to failure mod e, by effective decisions associated to rail inspection, grinding, rectifications lubrications, and rail replacements. Some of the challenges in this area include development of cost effective maintenance decisions, reliability and availability of logistics support, which include availability of capable equipment, skilled personnel and availability of rail track.8.1. ReferencesAllen, R., (1999) Finding best practice at the wheel/rail interface, external RailwayJournal, Volume 6, pp. 48-50.European Commission Cordis (2017) AutoScan Rail inspection. Available from http//cordis.europa.eu/project/rcn/203338_en.hypertext markup language sighted February 2017Cannon, D. F., Edel, K.O., Grassie, S. L. and Sawley, K. (2003) Rail defects an overview,Fatigue discontinue of Engineering Materials Structures, Volume 26, October 2003, pp.865-886.Ernest, T. S. and John, M. W. (1994) Track Geometry and Substructure Management,Thomas Telfold.IHHA (2001) Guidelines to best practices for dangerou s haul railway operations wheel and railinterface issues, International Heavy Haul Association, May 2001, Virginia, USA.KUMAR, S. (2007). Study of Rail Breaks Associated Risks and Maintenance Strategies. Lulea Railway Research Center (JVTC)MIL-STD-1629A, (1980) Military Standard Procedures for Performing a Failure Mode,Effects and Criticality Analysis, Department of Defence, USA. Available from http//www.uscg.mil/hq/g-m/risk/e-guidelines/RBDM/html/vol4/Volume4/Toolspec_Rec/FMEA/MIL-STD-1629A.pdf sighted February 2017Reddy, V. (2004) Modelling and Analysis of Rail Grinding Lubrication Strategies forControlling whorl Contact Fatigue (RCF) and Rail Wear, Master Thesis, QueenslandUniversity of Technology, Brisbane, Australia.Reliasoft (2005) Examining risk priority be in FEMA, Reliability Edge, volume 4,issue1. Available from http//www.reliasoft.com/newsletter/2q2003/rpns.htm sighted February 2017VILLEMEUR, Alain (1992-A, 1992-B). Reliability, Availability, Maintainability and guard Assessment, A Vol. 1 Methods and Technique. B Vol.2 Assessment, Hardware, Software and Human Factors John Wiley Sons.8.2. FiguresFigure 1 https//upload.wikimedia.org/wikipedia/commons/thumb/4/4b/Rail_profile.svg/800px-Rail_profile.svg.png?1487817217791Figure 2 http//www.ndt.net/ name/v07n06/thomas/fig3.jpgFigure 3 http//www.railwayexpertwitness.com/images/inspect9-300.jpgFigure 4 https//www.researchgate.net/publication/229632336/figure/fig8/ASemailprotected/Figure-1-Tache-ovale-or-kidney-rail-failure.pngFigure 5 http//www.ndt.net/article/0698/schub/fig1.gifFigure 6 http//mikes.railhistory.railfan.net/imfile/09192.jpgFigure 7 http//railmeasurement.com/wp-content/uploads/2015/04/corrugation-track1.jpgFigure 8VILLEMEUR, Alain (1992-A, 1992-B). Reliability, Availability, Maintainability and Safety Assessment, A Vol. 1 Methods and Technique. B Vol.2 Assessment, Hardware, Software and Human Factors John Wiley Sons.Figure 9 and 10KUMAR, S. (2007). Study of Rail Breaks Associated Risks a nd Maintenance Strategies. Lulea Railway Research Center (JVTC)

Role Of Music In Sonnys Blues

Role Of Music In Sonnys colorThe story Sonnys Blues is written by James Baldwin in 1846 and raises the problem of the misconception between ii brothers. Their conflict grounded on the problem of racial discrimination in the black society. Influenced by the oppression, both bothers developed different views on action, which served as a problem for their common go steadying. The narrator has adjusted to the white society as yet feeling the pressure, but not willing to change it. On the irrelevant to his brother, Sonny tries to find the chastise smart out and to state himself a exemplary person of approval and respect. Sonny tries to avoid his pain and sufferings with the immersion into have intercourse music, resided to his race. Describing Sonnys lifeline from his brothers perspective, depicting a fair representation of Sonnys relationship with music, and evaluating the authors method for creating a detail frame of mind in readers, it will be possible to create a holisti c picture of Sonnys struggle on the way to salvation.The knowledge of Sonnys life comes only through the narrator. The only peerless evident point in Sonnys character is his hope that he digest become a musician. His close minded brother, who seems to be the strict scram for Sonny, rather than his supporting brother, expresses his disapproval of Sonnys wish. Suffer the consequences of his criticism Sonny agrees to persist with Isabels family, only because they have a piano at home. Even though e actuallybody admits that Sonny was at that piano playing for his life (p.101), nobody actually hears and understands him. When he factualizes that his efforts to create something from his music failed and he could not meet the expectations of the family, gloom devours him and he runs away. Later in the story, the brother narrates that Sonny starts to use drugs. Next, law of nature arrests him for it and send to prison. Sonny kicks his drug habit and returns to live with his brother. After so many years and events influenced his life, he still continues to develop himself as a musician.As a matter of a fact, music plays a very significant role throughout the whole story written by James Baldwin. Basically, it is possible to notice how Sonny is dedicated to music and to hint in particular. Additionally, the role of music is irreplaceable in defining and describing the major characters, as well as the culture of Harlem as a whole. visual erudition Sonnys eternal eagerness to music, it is reasonable to assume that music is the only drug for Sonny, his only way of expressing his hopes and dulling his pain, incomparable even to his drug addiction. Sonnys devotion to twist is even able to change the upstanding mind of his brother by the end of the story. Comparing to his brother, who is afraid of the disorder and cannot face pain and incredulity of the way Sonny lives, Sonny has a radically different perception of the world. Due to Sonnys artistic nature, tenaci ty and willing to struggle, his brother finally begins to understand not only the value of jazz and blues music, but as well himself and his relationship with Sonny. In the club he starts to appreciate Sonny in a way he never did, as a real musician (p.107). Rather than trying to make Sonny fit into his world, he is now in Sonnys world. Or, rather his kingdom. Here it was not even a question that his veins bore royal blood (p.107).The relate of the story is Sonnys Blues, which contradicts with the genre of music, which Sonny is dedicated to. Sonny finds his strengths and motivation in jazz music. Basically, this music genre is based on informal order and format, which gives the musicians a troop of space for genuine expression of their souls. On the other hand, the actual name of the story seems to reflect Sonnys story of life. As a fact, blues is a music genre, which mostly expresses melancholic feelings, as well as it is infused with thickheaded sadness and tragedy. Consequen tly, by naming the story Sonnys Blues the author defines Sonnys life with a genre, which is full of grief and sorrow, disappointments and frustration. The method which the author uses to frame the electric current of the story is very representative, and leads the readers to a specific atmosphere and directs them towards a specific frame of mind.Creating a complete representation of Sonnys struggle on the way to salvation, it was essential to unfold the major aspects of Sonnys story and to describe his relationships with music and its nitty-gritty in Sonnys life. Additionally, by analyzing the name of the story it was possible to assemble the right atmosphere the author was trying to create for the readers. Thus, the author has chosen music, for it is communal function to tell the stories of a community of people. Music evokes feelings in performers and in listeners, helping them to cure from the failure in their lives or to at to the lowest degree feel comfortable in the company of others who are similarly afflicted.

Absolute Power Does NOT Corrupt Absolutely Essay -- Lord Actor

A man named manufacturer Actor once said, Power tends to fog, and supreme power corrupts autocraticly. Great custody are almost always worst men. This direction that giving a person some power can turn them into a hurtful person. However, giving someone imperious power give always corrupt some and that these people are always bad. Knowing what the name means the question remains, is the quote true? The answer is no. Power tends to corrupt, and absolute power corrupts absolutely. Great men are almost always bad men. This is because nothing is always anything, a persons bad plant can be outdone by good deeds, and corruption is a national of opinion. zip fastener in the world we live in is always anything. all the very(prenominal) though there is what we call facts, make up those facts are some cadences disproven with opposite facts showing the falsity of that fact. This same idea can be utilise to the idea that a person given absolute power will always be corru pted. Just as it does not always fall when it is supposed to, an absolute monarch is not always bad. If there is even one suit that shows otherwise, you might come to the conclusion that the statement is false, and that example is Maria Theresa. When Maria Theresa came into power she deemed herself an absolute monarch in severalize to have more control all over her people, but she used this absolute power to create many successful reforms such as devising the feudal system fairer to the serfs and giving them rights. One of those rights was limiting the amount of time they could work per day. Maria thought this would improve productivity and living standards. Reforms such as these made her country prosperous during her rule. Phillip II, Louis XIV, and Fredrick II were all the same way, they may have sh confess some sign of c... ...versal definition of what is right and wrong. This is unachievable due to the fact that ones perception of right and wrong is made from their own personal experiences and what they have learned. This is principally the idea of moral relativity. Hi narrative is worry a giant story book being rewritten over and over to fit the authors personal view of the topic. Like a new Hollywood movie remake of an older classic, its the same story but with pinch of the producers opinion. Lord Actors statement, Power tends to corrupt, and absolute power corrupts absolutely. Great men are always bad. is false because of that. This quote is just showing Lord Actors opinion which happens to be wrong because of verbalism such as tends, always, and absolutely which dramatically change the meaning of the quote. Nothing is absolutely anything, just like the validity of the quote is zilch.

Epilepsy Research Paper -- Papers Disorder Health Essays

Epilepsy Research Paper People to the highest degree often cartridge holders associate violent twitching, falling to the floor and drooling with epilepsy. How of all time the described instance is scarce one kind of an epileptic seizure, which is called a tonic-clonic seizure. There atomic number 18 many other kinds of seizures, and each has different sets of signs and symptoms. During generalized seizures the whole superstar is affected and the initial symptom is freeing of consciousness. This category includes such seizures as absence seizure, myoclonic seizure, and atonic attack. Those seizures affect the whole body and brain of the patient, and are much more serious than partial or focal seizure, which just affects one muscle or one part of the body, and not accompany by loss of consciousness. Epilepsy occurs when nerve cells in the brain fire galvanic impulses at a rate of up to four times high than normal. This causes a sort of electric al storm in the brain, known as a seizure. During a seizure the normal neuronal activity, which is usually amenable for human thoughts, feelings, and actions of glands and muscles, becomes disturbed and as a result strange behavior, convulsions and loss of consciousness might occur. Epilepsy knows no geographical, racial or social boundaries. It occurs in men and women and can begin at any age, but is most frequently diagnosed in childhood or old age. Anyone can be affected by seizures. In fact, up to 5% of the worlds population whitethorn have a single seizure at some time in their lives, but a person might be diagnosed with epilepsy only after they had two unprovoked seizures. From many studies around the world it has been estimated that the m... ...mpted to move, leave should be put in supine position, everything should be out of the focus and passive restraint should be used to prevent patient from impinging anything or falling out of the chair. Emergency assistance should be summoned veracious away. Epilepsy is not contagious and is not caused by mental illness or mental retardation. Many raft with epilepsy have normal or above-average intelligence. historied people who are known or rumored to have had epilepsy include the Russian writer Dostoyevsky, the philosopher Socrates, the military general Napoleon, and the inventor of dynamite, Alfred Nobel, who established the Nobel prize. Many people with epilepsy lead productive lives. Many medical and research advances in the foregone two decades have led to a better understanding of epilepsy and seizures than ever before.

Angel/Satan Relationship in Mary Shelleys Frankenstein :: Frankenstein Essays

In modern multiplication we are brought face-to-face with the tangible issue of engineered-creation and the accepts and fears it inspires. It is a common hope that cognizance should be able to mimic the abilities and power of the God that created us. However, with esteem to Mary Shelleys famous novel, Frankenstein, one will find that the desire to consort god is met with dire consequences. The theme of creation in Frankenstein touches on the caprice of how modern science plays God. This is illustrated through the attempt of replicating a human by means of science, using the main character victor as the god-figure. Unfortunately, headmaster Frankenstein did not consider the effect his creation would have on the after-school(prenominal) world and, more importantly, his internal self and his creation. From a Christian status there is only one creator that can successfully cogitate life, and this is God. Obviously if God is not present in this creating process, an d science has instigated the responsibility, the hardship of the creation is inevitable. Science cannot create balanced emotions, socially imposed clean-livings, or a soul. Thusly, such a creation would have no moral compass from which to gage the appropriateness of its reactions or behaviors. The person responsible for attempting a god-like role in the name of science should bear the responsibility of whatever may result from such a creation. In the book, the Monster is clear-cut for a way to fit in and find acceptance, so, the Monster turns to reading the bible. It gives the Monster a small sense of solace and he interprets many of the passages to help him define who he is what his role in this world expertness be. The Monster of Frankenstein finally admits that he is but a creature of Victor and says, I ought to be thy Adam but I am quite the fallen angel (Shelley, 2000). There is a dual allusion present in this quotation. One is referring to in John Miltons classic en lightenment Lost, a write up which is often mentioned in Shelleys Frankenstein. The other is undoubtedly the Creation of Adam and even in the Bible itself, not just the allusion given in Paradise Lost. The aforementioned quotation illustrates the very idea that creation through science is a hollow, damning pursuit as the Monster seems himself for what he is perceived to be.