Online Start-Up Plan (MAKING MONEY ONLINE) Essay

Online Start-Up Plan (MAKING MONEY ONLINE) - Essay Example Committed to customer service, the ABC Company will offer its clients the type of service that is courteous as well as punctual. Employees of the company will as well be treated in a proficient behaviour with a satisfying working atmosphere along with fair compensation. The ABC Company wants every customer to feel as though he or she has gotten a first class service at a bargain price. Objectives 1. To offer a extensive variety of commodities at affordable prices 2. To attain a good profit margin during the first year 3. To attain a modest net profit by the end of second year 4. To be a dynamic as well as vocal member of the society, and offer constant re-investment by means of contribution in community actions as well as monetary involvements Keys to Success In order to achieve something and to attract more customers in this business the ABC Company must: 1. Sell an extensive collection of products 2. Offer products and service in a manner that give 100% satisfaction to the customer s 3. Be an dynamic part of the society 4. Promote input from customers The E-Business Model The business model used by the company is affiliate marketing. Affiliate marketing (Lindahl & Rozek, p. 76, 2010) has been a very successful business model and there are many reasons for this. One does not have to have the personal product; there are little funds needed for getting started, and the vendor takes care of all the issues. Another positive part of affiliate marketing is that there are a lot of products and services you can pick from market.  For any interest, passion, or area in which someone has knowledge, there are products and services he can advertise, which makes it more appealing (Lindahl & Rozek, p. 109, 2010).  The first step company should take is to choose a suitable niche. By choosing a niche, it will be much convenient to write articles, web pages, blog posts, as well as other content essential to endorse the product. Therefore, in general it makes a great internet business model. The difficulty is that, like some other online business, it does need a large amount of time as well as dedication to make a start. However, once up and running the attempt is worth it. Nonetheless, as with any business, there is no such option of ‘getting rich quickly’. You are required to put in the time as well as effort in order to start getting benefits (Lindahl & Rozek, p. 76, 2010). Operational Issues Two significant chores facing risk managers are decisions regarding the assessment of loss and risk financing. In the quantification of risk or financial impact, sophisticated risk models can support if the correct efforts, as well as indicators are provided. Loss as well as denial of service will call for a business impact analysis in addition to the development of a network stability plan to correctly measure the potential for financial loss and lessen the severity of such a loss. Other risks will need significant evaluation if public records asso ciated to cybercrime and cyber attacks has been mainly subjective or based on unknown surveys. In addition, estimations of possible losses associated to Internet-based technologies must take into consideration the developing and indecisive universal legal and regulatory setting. Risk evaluations based only on direct revenues from

Sysytems and Operations Essay Example | Topics and Well Written Essays - 3000 words

Sysytems and Operations - Essay Example Sweden’s main focus is to have an increase in the information technology in order to have a stronger digital economy. Everyday life in Sweden is based completely on technology. Starting from waking up in the morning to sleeping at night every single activity by citizens involves technology. Transportation, medical, banking, educational sector all are concerned with having maximum technology so that best quality service can be provided to the citizens of the country. This is being done so that maximum number of people can be facilitated and the services provided would be equal for everyone. In this manner the quality of service being provided has also improved. This shows that the society has moved towards modernization along with innovation and good. The country has been changing and this can been shown in a manner that the three major sectors (individual, business and government) are benefitting from this shift to digital economy. The change can be seen in a example that at the grocery store in Sweden the shop keeper is selling medicine without prescription. All the customer need is their bank card and identity number in order to purchase the medicine. People in Sweden are working on everything through the touch screen from seeking advices of health experts to purchasing products everything is done through touch screens. The list of examples keep growing as Sweden is a digital economy and most of the things are now digital. The government is overwhelmed by the performance of this system as it has been providing services to people in medical sector that people are benefitting from it. This system is also helping them in banking, parking lots, paying bills, education facilities that there has been a boom in these sectors. Due to this the government is now having goals to export the medical system to different countries to gain from this system. By

Representation of Interests Matrix and Paper Essay Example for Free

Representation of Interests Matrix and Paper Essay Within Public Policy there are different interests that are affected once the issue has been brought forward to the government by citizens who are sending e-mails, or telephone calls advising of the issues that are affecting society, what the citizens do not know is that with every issue within public policy that has to be passed by the government and attempted to get resolved has a significant affect or groups and organizations. The identified groups and organizations represent my interests in a significant manner because due to my profession I am aware that crime has been a problem for society for quite a long time, I am aware that there has been multiple attempts to reduce crime, such as the hiring of more police officers, programs that protect victims and witnesses of a crime. Therefore I believe crime is a significant interest. As for education experiencing affects by public policy, I think this is by far the most important. I have a child and am extremely aware of the problems that have affected our education systems significantly due to the lack of financial support from the government and also the increase in college education, books, etc. I am aware of the government attempting to clear the tax deficit and financial problem that our country is currently facing, but education is not the way to do it. As for the other remaining identified groups such as Foreign policy, Health care, and Social Welfare, they also represent my interests in a significant manner. For example Health care, has affected me significant due to our president passed the new reform my employer checks have significantly dropped from what I used to gross monthly, due to the fact that we are taking a hit because we are assisting those with no medical health care and those who are receiving assistance from the government, such as parolees and prior drug addicts, or convicts. The groups represent my interest by all means, ultimately besides us taxpayers who are affected based off the government trying to accommodate all the citizens who continue to write emails requesting assistance for the interests that are affected by public policy. As for any instanc es in which my interests compete with one another, Yes they are significant. For example, Health care and Social Welfare go hand in hand for me. The reason that these two interests go hand in hand for me is because once gain based on my work and what I have been exposed to during the military and also being familiar with the cost of healthcare, I take it as an offense to provide for those who personally do not deserve Healthcare. I strongly believe that if your not physically incapable of working, or able to care for yourself, or gravely disabled I will be the first one to help these citizens. As for Social Welfare, I also believe that the government is to lenient on how they assist the needed. Some of the interest that I chose are significant to me and my family and loved ones, but I think that the most interest affected by public policy that is in conflict with those of the general public will have to be healthcare. I remember i was working the day when our president passed the new Healthcare reform, and how citizens were running outside the streets celebrating that they will now have medical assistance. At first I did not think anything of it until the following morning during Roll Call when we were advised by our lieutenant that it will affect us significantly especially financially. As the months went by I started to notice my checks to get smaller and smaller. I am aware that the general publics thinking is different than mine, but do not get me wrong I will be the first one to help someone I have been doing it for 13 years of my life, but when citizens take advantage that is when I have a problem. In conclusion I have provided my own personal opinions of how my identified groups represent my own personal interests, I also provided examples on what means do my groups use to represent my interests. I also debated on instances in that my interests compete with one another. Finally I was precise and straight forward on my interests and how some of them conflict with those of the general public. References http://en.wikipedia.org/wiki/Policy http://www.palgrave-journals.com/iga/journal/v1/n2/full/iga20129a.html

The Growth And Decline Of Bebop Media Essay

The Growth And Decline Of Bebop Media Essay Jazz music has existed for nearly 100 years producing many subgenres of music and evolving styles along the way; starting with Ragtime in the late 1890s early 1920s, moving on to the prominence of the big band, to the syncopated feel of Swing (that led to the mainstream popularity of Jazz); during the 1930s. These progressions in Jazz led to the formation of a new subgenre, Bebop. Swing music brought two main developments to the Jazz genre; firstly throwing Jazz into the limelight, and secondly becoming a popular type of Jazz music people could dance to. However, the conformity of Swing constrained Musicians freedom to experiment and gain personal acclaim through the opportunity to play solo passages. The frustration this led some Jazz musicians to branch out and develop a music genre known as Bebop. This new style of Jazz (named Bebop but often referred to as bop or Rebop); emerged in the main, from Swing bands around the 1940s. The music placed larger emphasis on technique, speed and complex harmonies than swing; making it almost impossible to dance to which was the intention of the musicians who wanted their music to be appreciated through listening. Despite this causing much controversy, musicians were content with the longer solo time and smaller band sizes this style offered. Historically, Bebop is referred to as the first modern Jazz style originating in New York, through such artists as Charlie Parker, Thelonious Monk, Dizzy Gillespie, Kenny Clarke and Charlie Christian. The freedom of this style soon attracted other musicians drawn to its complexity, lack of structure and very experimental style Musicians often used different types of ornamentation to aid the complex melodies and harmonies. Features such as comping, sliding, parallel octaves (often borrowed from piano by guitar), improvisation and emphasis on the 3rd and 7th notes of a chord, were all common features of Bebop. 2. The rise of Bebop Bebop music, whose roots are founded in Swing, began to emerge in the mid 1940s when musicians became frustrated with swing and began working on a new, more technical type of Jazz. Its growth and development continued until around 1955. Aimed at destabilising swing music and excluding the less talented, white musicians that had latched onto what had once been a black innovation; bebop was seen as a chaotic revolution in the Jazz genre. In his book, Jazz 101, Szwed states that, To non-jazz fans or swing devotees, bop was a musical affront, a deliberate provocation, a scandal.3 pg161 Another contributing factor to the rise of Bebop was the commercialisation of swing music and its increasing status as the Pop music of America4 pg162 when it had previously been seen as more ethnic, alternative type of music. This commercialisation led to Swing becoming more focussed on pleasing mainstream audiences and making money. Bop originated in New York as artists who were already playing large shows in the city would often find smaller venues to practice and refine the more technical aspects of the music. Bars and clubs that were often too small for the dancing encouraged by swing were perfect for the groups of 4-6 musicians needed for a Bebop combo. One of the more famous venues for the development of Bebop was Mintons playhouse; where many jam sessions took place involving renowned musicians and some of the most famous Bebop music was played. 3. The influences leading to the evolution of Bebop Political/Economic/Social During this time in history a number of political, social and economic factors can be seen as influential and relevant to the ways in which Jazz music evolved. Firstly, racism and a lack of civil rights had a significant impact on black African American communities and black musicians were no exception. The majority of black musicians struggled to profit in the music industry and White musicians were alleged to have frequently stolen black musicians ideas. Furthermore, many black musicians were prevented from performing concerts or recording their music. Secondly, World War II had a significant impact on Jazz as a whole due to musicians that played in big bands being drafted into the army. Thirdly, the economic depression during this time made life hard. Many families did not have enough money to live and feed themselves. There were frequent riots in major cities, led by black people revolting against their terrible living conditions and unjust treatment. In contrast, increasing industrialism and mass production significantly reduced prices of products such as radios and cars. Most households owned a radio which made Jazz Music more accessible to the mainstream including young, impressionable artists who were able to listen to their idols. Musician Preference As previously mentioned, one of the largest contributing factors to the growth of Bebop music was musicians frustration with swing and big bands. Despite the generic success of swing music through its easy melodies and dance like feel, many artists felt unfulfilled when playing it. There were constraints on what they could play with only a few musicians having the chance to solo for short periods. Many performers believed their music should be appreciated through listening rather than dancing. Skilled and experienced musicians wanted to exclude amateur musicians joining in with jam sessions and thus invented more elaborate, complex ways of playing that only professional musicians could accomplish. What changed? The developments from Swing to Bebop Band sizes Bebop was seen as a more collaborative and intimate type of music than Swing with bands consisting of only 4-6 musicians; thus allowing for greater cohesion between musicians and more time dedicated to individuals soloing. In addition, the musicians would often play off one another trading fourths, which involved the soloist exchanging a 4 bar progression with another musician or the drummer. This was very engaging to audiences. Bop became music for the elite rather than the masses and was associated with more accomplished and skilled musicians. Chances for soloing Due to smaller band sizes, Jazz musicians were given longer sections for soloing; including bassists and drummers which was very appealing to musicians who had previously been playing simple beats or chords in the background. The band would play a melody before individual musicians would solo over the songs chord progression, making the melody secondary, with a greater emphasis on solos. Instruments and Rhythm The rise of Bebop music saw the end of rhythm guitar and clarinet. The typical big band size of 10 or more musicians was reduced to 4-6, and often did not include more than one of each instrument. A typical Bop combo would consist of drums, double bass, piano and either a guitar, trumpet or saxophone. Rhythm guitar was only used for accompanying another instrument during its solo, when other musicians would be playing a complex melody or head in unison. Bassists would play a walking bass line that consists of a mixture of scale tones (arpeggios or chromatic runs) that outline the chord progression of the song. Drummers relied less on the kick drum and more on the cymbals to maintain the often complex and fast paced rhythm. For example Nicas Dream (a song played by many artists) switches between 4/4 Latin or Samba and 4/4 Swing, creating a complex rhythm. Above are the two different rhythms used during the song Nicas Dream There was significant emphasis placed on the 1st and 3rd beats of the bar by musicians during the swing era. However, during the Bebop period, the rhythmic prominence changed to the 2nd and 4th beats of the measure. These techniques created a feel of solos (characteristic of Bebop music) being more free and less rigidly tied into the song. This genre was characterised in part by its unpredictable rhythms. The scales, notation and approach to playing Although the approach to playing and soloing was different in Bebop in comparison to swing, most sections played were based on the melody of a song. Bop musicians employed chromatics and favoured the use of the 3rd, 5th, and flat 7th notes of the chords for improvisation. The faster tempo made the music more frantic and energetic which also led to a greater display of musicians technical talent. The use of harmony became significantly less fashionable for the greater part of the Bebop period and most melodies or heads were played in unison. Guitarists incorporated the use of unison octaves (made famous by Wes Montgomery) for solos. Song Analysis The following two songs are great examples of Bebop music, containing many of the features commonly associated with this genre: Billies Bounce Recorded in 1945, Billies bounce is a through composed Jazz-blues song written by Charlie Parker. The song was recorded by a quintet consisting of a young Miles Davis, Curley Russell on bass, Dizzy Gillespie on piano and Max Roach on drums. The song is in F major or D for alto sax and 4/4 time. The general chord progression of the song is in F blues, however the melodic tonality of the head and the solos are more characteristic of Jazz and the tempo, indicative of Bebop. It is described as a Bebop head over a variation of the 12-measure blues progression in which a I-VI-II-V7 substitutes for V7 V7- IV7, IV in the last six measure. The light, bubbly piano intro from Dizzy Gillespie outlines the beat and style of the song. This is followed by the head that is played in unison 3rds and octaves with both the saxophone and trumpet. In bars 11 and 12 we see a repeat of the earlier 2 note theme seen in bars 2 and 3 to end the head. Throughout the melody there are examples of chromatics and slurred triplet notes that are seen later during the solos. The first 7 bars of the song are in standard F blues; however in bar 8 there is an Am7, followed by an Abm7. This chromatically sets up the Gm7 in bar 9. A standard blues would see bar 9 and 10 contain the chords C7 and Bb7 respectively, but Billies bounce extends the C7 over 2 bars and then re-harmonizes it with a standard II-V7 progression that turns to F in the last 2 bars. The beginning of the first solo sees a chromatic passing note between the G and A and again between the Bb and C. At the end of the second bar the notes of the chord Dm7/C are played over the Bb7 chord. In the third bar, Charlie Parker uses the notes of the Eb Mixolydian scale. The movement of the whole song is highly arpeggiated in both directions and there is some trace of a stepwise movement. Parker used a licks-based approach to the solo; however he was also very adept at altering the licks already in his vocabulary and changing them in more creative ways. He had a very flexible sense of harmonic placement that allowed him to change the duration of chords by either hitting them early or prolonging them and even sometimes adding progressions that were not part of the accompaniment. Above is a list of the guide tone lines for measures 1-7 as notes in a staff. Above the staff are chord options implied by Parker occasionally. Four on Six Wes Montgomery Four on six is a Bebop Jazz piece written by Wes Montgomery. The song is in Bb major and 4/4 time. The Harmony is based around the intro made entirely of 5ths and played in unison with the bass and piano. The intro that precedes the solo sections, sees the drums playing a simple crotchet rhythm on alternate cymbals to create a 2/2 feel. Following the intro of 5ths, Wes plays a small break that consists of the four chords Bbmaj7, Gm7, G#m11, Am11 and D7(#9). The chords played in the break are similar to those that form the intro of 5ths, but are however played of a much smaller time frame. After the break there is a Small melody. This modal melody line moves around the notes of Gm9. The backing chords for the melody are the same as those seen in the first 2 bars of the song, however the Gm now includes the 7th note; a note often used in bebop scales and songs. The melody is followed by a II V chord sequence with strong accents. These II V chords follow the harmony of the intro. The ch ords used are Cm9, F7(#9b11), Bbm9, Eb7(#11b9), Am9, D7(#11b9), Ebm9 and Ab9(#11). The chord sequence is descending and contains many chromatic notes that are very characteristic of bebop music. After the melody and chord sequence the solo section of the song begins. The chord accompaniment for this section is very similar to that of the intro. The chords cycle through 4 bars of Gm7, then simplified version of the descending sequence. For improvisation over the solo section there are a few scales that Wes Montgomery generally used that fit his style and way of playing. Over the Gm7 part Wes would use a G Dorian scale consisting of the notes G, A, Bb, C, D, E and F. Wes made sure that he was ever confined to one position on the neck and therefore learned the scale across the whole guitar neck. An alternative to the Dorian scale is the G minor pentatonic scale with or without the blues notes. This scale consists of the notes G, Bb, C, Db (blues), D and F. The blues notes are used to s lide from the C to the D. The advantage of the pentatonic scale in this situation is that all of the notes are either the root notes of the chords or a note inside the chords of the song. Wes uses many of his signature licks during his solos and even throws different styles into the mix. Above is an example of simple melody that includes a big jump across the fret board of the guitar. It uses a Gm(7) arpeggio with extensions. Wes also uses other styles such as blues in his solos. Below are two examples of this. This is a unison-interval blues clichà © played over the Gm7/maj7 and C7 chords. There are two hammer-ons and pull-offs during the melody to make a faster, smoother transition between notes. Above is a series of four repeated II-Vs. In the theme the dominant chords contain a natural 9 and Sharp 11 (F9#11). The scale played over these chords is a melodic minor scale. Over the Cm7 and F7 a C melodic minor scale can be played, however the name of this scale over the F7 is the Lydian dominant scale (5th mode of the melodic minor). Wes Montgomery doesnt think in scales for this part but in melodic patterns. Because the tempo is so fast this is an advantage as fast tempos make scales difficult to play musically. He frequently plays a pattern on the first II V and transposes it down the neck for the rest of the II Vs. Features The evolution to Bebop music created many stylistic changes and new musical features, which not only livened up the music but made it more contemporary, and distinguished the more accomplished musicians. The melodies were different from those previously associated with Jazz and were the base for most improvisational solos. Scales Jazz musicians typically used complex scales for their solos. The generic Bebop scale was made by adding either a major 7 to a Mixolydian scale or a major 3 to a Dorian scale. For solos, musicians preferred to use the 1, 3, 5 and flat 7th notes of the scale. Illustration of a C Major Bebop Scale The freedom of the melodies and complex chords of Bop opened up new possibilities for soloing. Musicians could play over the whole register of their instruments and find notes in any range that fitted into the chord progression; aided through the use of chromatics. Musicians used other scales such as the blues or enclosed scales (which use the technique enclosure- taking a note and playing one note above it and one note below before arriving at the note you were targeting.) Comping Although Rhythm guitar had essentially been excluded from Bebop bands, it was still used when accompanying a soloist through the comping (staccato chord playing) technique. However, as Bebop did not often follow a simple time signature, comping was not used frequently. Furthermore, the rhythms used by musicians were commonly irregular and thus the regular strumming pattern of comping may have disturbed the soloist. Chord melody Some musicians played solo arrangements by simultaneously playing chords in the background and the melody over the top. This was most commonly associated with piano and guitar. Decline of Bebop Economic Although considered a significant musical achievement by many musicians, by the 1950s bop music had begun to decline; partly due to its lack of commercial viability and niche market appeal. Variety magazine, an entertainment trade magazine based in New York reported Bop is a flop in late 1949. Many musicians such as Charlie Barnet, Benny Goodman and Woody Herman (who was $175,000 in debt) had to break up their bands during this decline. Cool Jazz and Hard bop The decline of Bebop music served as a platform for 2 new subgenres in Jazz. Firstly, Cool Jazz which was developed by many bop musicians such as Chet Baker, John Coltrane, Miles Davis, Dizzy Gillespie and newer musicians such as Dave Brubeck and Gerry Mulligan; was a direct contrast to bop with its more relaxed tempo, lighter tone and more traditional harmonies. In response to this progression and to maintain some of the features of Bebop, another subgenre developed known as Hard bop. This music was less extreme than Bebop music, had a more soulful feel rooted in traditional African and Blues music but still incorporating many phrases and notes from Bebop. These differences made Hard bop more accessible to beginner musicians and brought back a rhythm section. Artists Many artists that had been prominent during the Bebop era such as John Coltrane, Dizzy Gillespie, Thelonious Monk and Charlie Parker; continued playing into the Hard bop and Cool Jazz period that subsequently followed. The most prominent cross-over artist of the two genres was Miles Davis who became very popular and well-known, especially with the release of his record Birth of Cool which was acclaimed within the Jazz world. Conclusion At the height of its popularity, Bebop introduced many innovations into the world of not only Jazz, but other genres of music. It changed the way musicians and listeners alike viewed Jazz and opened up many doorways to other styles, genres and artists. Bebop music has been an innovation and the ideas that have been created are still used to this day. In modern day jam sessions, Bebop is one of the most employed genres due to its small band sizes and simple structure (melody followed by solos). It gives many musicians the chance to improvise and explore different avenues of Jazz, allowing for the progression of new music in the modern industry. Even After its decline, bop music is still influencing instrumentalists and their music today Bibliography Websites http://library.thinkquest.org/18602/history/bop/bopstart.html http://www.scaruffi.com/history/jazz8.html http://en.wikipedia.org/wiki/Bebop http://www.jazzguitar.be/bebopscale.html http://www.jazzguitar.be/bebop.html http://www.jazzquotations.com/2010/05/brief-history-of-bebop.html (function() { var scribd = document.createElement("script"); scribd.type = "text/javascript"; scribd.async = true; scribd.src = "https://www.scribd.com/javascripts/embed_code/inject.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(scribd, s); })() http://leadsheetmusic.com/multifakebooks.brooklyn/01_Fake_and_Real_Books/Play_Along/Vol_62_Wes_Montgomery_v2.pdf http://www.hypermusic.ca/jazz/bop.html http://answers.yahoo.com/question/index?qid=20090202152858AAjScZJ http://www.mattwarnockguitar.com/bebop-scale-patterns-for-guitar http://www.wisegeek.com/what-is-bebop-music.htm http://www.kennedy-center.org/programs/jazz/ambassadors/Lesson6.html http://www.jazzguitar.com/lessons.html http://books.google.co.nz/books?id=hNTLZ3bpBFcCpg=PA447lpg=PA447dq=decline+of+bebopsource=blots=_GLiz0J9Zpsig=6xcoNDngRNtGHsXwTlJc81fek54hl=ensa=Xei=MdTFT9mfFcHYigeSs62hAwved=0CFkQ6AEwAw v=onepageq=decline%20of%20bebopf=false http://en.wikipedia.org/wiki/Wes_Montgomery http://www.jazzguitar.be/premium-issue-1.html http://en.wikipedia.org/wiki/Jazz_guitar http://www.jazzguitarlessons.net/jazz-improvisation-2.html http://en.wikipedia.org/wiki/Lead_guitar Creating_lead_guitar_lines http://www.guitarplayer.com/article/jazz-picking-and-phrasing/663 http://www.theguitarschool.com/CharlieParker.html http://airjudden.tripod.com/jazz/styles.html http://www.learning-charlie-parker.com/licks.php http://web.archive.org/web/20070812145101/http://www.vervemusicgroup.com/history.aspx?hid=20 http://teacher.scholastic.com/activities/bhistory/history_of_jazz.htm (function() { var scribd = document.createElement("script"); scribd.type = "text/javascript"; scribd.async = true; scribd.src = "https://www.scribd.com/javascripts/embed_code/inject.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(scribd, s); })() http://www.jazzinamerica.org/LessonPlan/5/5/230 http://en.wikipedia.org/wiki/Bassline Walking_bass http://en.wikipedia.org/wiki/Hard_bop http://www.timeisonourside.com/STBop.html http://en.wikipedia.org/wiki/Cool_jazz http://forums.allaboutjazz.com/showthread.php?t=37646 http://forum.saxontheweb.net/showthread.php?35319-BeBop-HardBop http://www.jazzinamerica.org/LessonPlan/8/6/211 http://www.bbc.co.uk/schools/gcsebitesize/music/popular_music/jazz3.shtml http://answers.yahoo.com/question/index?qid=20080228152849AAQMyaT http://xroads.virginia.edu/~asi/musi212/margaret/martist.html http://en.wikipedia.org/wiki/Ii-V-I_turnaround#Jazz http://en.wikipedia.org/wiki/Ii-V-I_turnaround#Jazz http://www.musicbanter.com/jazz-blues/58195-jazz-progression-2-5-1-a.html http://peterspitzer.blogspot.co.nz/2011/07/analysis-of-charlie-parkers-billies.html http://ebmusicman.blogspot.co.nz/2008/03/billies-bounce-part-1.html http://s130.photobucket.com/albums/p261/liquidtensionxpr/blog/?action=viewcurrent=billiesbounce-simplified-part1.jpg http://s130.photobucket.com/albums/p261/liquidtensionxpr/blog/?action=viewcurrent=reharm-04b.gif http://www.jazzguitar.be/billies_bounce_lesson.html Books Roads of Jazz Peter Bole Jazz: A history of Americas music Geoffrey C. Ward and Ken Burns The Chronicle of Jazz Mervyn Cooke Discography Song Played by Nicas Dream Wes Montgomery Tune up Miles Davis Airegin Sonny Rollins Four on Six Wes Montgomery Billies Bounce Charlie Parker

Women, Men And Competition :: essays research papers

Women, Men and Competition Loudly and often, women insist they don't like competition, and that competition is an act of aggression. Ironically, however, competition as aggression is inevitable in a society where men must compete for the attention of women. Women encourage this. Every time they passively wait for men to take the initiative, or reject nurturing men in deference to domineering men, they sustain the dynamic of dominance. Ignoring this, pop-feminists contend competition is the capitalization of aggression, and men do it to the detriment of all. Does this mean fighting for domination is the only way to compete? That competition is solely a product of masculine socialization and something we can do without? Masculine socialization has nothing to do with it. In one way or another, all living things compete, because wanting creates competition. You want to live, so you offer goods or services to others in exchange for the goods and services you need to survive. The better the goods and services you offer, the more you can get in exchange, and the better you will be able to live. To live well, you make your "stuff" as good as possible relative to what your "competition" offers. That is the essence of competition in a free market. It respects the rights of others, and everybody wins because it works through validation rather than domination. Competition as validation is the process by which the efficacy of ideas, knowledge, and products is validated by consumers. They choose what they value most. To the extent our economy encourages winning through validation, it works. Most women, however, encourage competition through domination by ignoring cooperative, nurturing men to give their love and sex to domineering, "virile" men. What's more, women compete, and they compete to win. This is especially evident in women's response to the invention of the rubber condom. Prior to the 1870's, prostitution in Europe was prevalent. Victorian ladies' distaste for sex encouraged "an explosive increase in prostitution" that caused "an epidemic spread of venereal disease, and a morbid taste for masochism." Then, women began to compete sexually, and prostitution had to go. They began to compete with prostitutes for their husbands' continuing attentions. What changed? Men started using rubber condoms. This gave women the option of enjoying sex without risking pregnancy, and that meant women now viewed prostitutes as sexual competitors. Subsequently, they demanded laws prohibiting prostitution, belying the myth that women don't compete. Women say this is men's fault. That men have forced the necessity of sexual competition upon women and that, left to themselves, women hearken to a more cooperative agenda. But the facts do not support this contention.

Milton and Cavendish: Faithful Realists :: Paradise lost Blazing World

Milton and Cavendish: Faithful Realists Inquiries regarding the nature and acquisition of knowledge, coupled with the monumental question of whether human beings are capable of accruing knowledge–the philosophical study of epistemology–has roots buried in antiquity: Genesis, to be exact. Great thinkers of the Western tradition have both accepted and rejected components of Old Testament lore; Platonic and Aristotelian philosophers have indeed battled for centuries over the way in which reality is understood. Following Aristotle’s teachings, the empiricists and Enlightenment thinkers regarded the processing of sense and experiential data as the surest way to unlock truth. Plato’s adherents, however, figures such as Immanuel Kant, deemed the human intellect a leaky and misguiding faculty, not quite efficient in comprehending truth. John Milton and Margaret Cavendish, the reigning theological epistemologists of the 17th century, pondered the nature of divine reality, the role of human rationality in understanding God’s master plan, and the means by which that plan is (and should be) grasped by the human race. Both Milton and Cavendish have declared in their works, Paradise Lost and The Blazing World, that reason as a means to arrive at ultimate truth is insufficient; in the end, faith is the only tool with which human beings acquire proper knowledge. After an initial reading of The Blazing World, one would assume Cavendish ranked reason above faith, parting ways with Milton; the Empress in the tale is nearly obsessed with scientific inquiry. Upon close analysis of the text, however, it becomes evident that Cavendish’s message is complementary to Milton’s. This is not to say that either Milton or Cavendish were pure theologians in their world view, placing no value on science or logic; rather, both found a measure of importance in the findings of contemporary science and consequently instilled in their literary protagonists curiosity about the laws of the universe. It was just such cosmic curiosity that plagued thinking individuals of the Renaissance period. As Europe slowly developed a flavor for scientific inquiry, well guarded theological dogmas were threatened; the mid 1600s was indeed a time of questioning long established religious and political doctrines. While grappling with the emerging debate of reason versus faith, Milton and Cavendish offered philosophical fictions heralding the supremacy of the latter. Characters in the authors’ works discover that reason, untempered by belief in divine truth, is dangerous. Cavendish’s Empress of the Blazing World, for example, is a tyrannical ruler who demands that her subjects uncover the secrets of the natural world.

Linen and Laundry Service in Off Premise

Different types of hotel in the Philippines Many people visit the Philippine Islands each year in order to enjoy its picture perfect views and Asian hospitality. Luckily, there are several types of hotels available in the Philippines that make it possible for anyone to afford a trip. Whether you're looking for student-budget type lodging, luxurious accommodations or something in between, the Philippines has got you covered. Luxury Hotels Luxury hotels are available across the Philippines and are an ideal type of hotel if you're looking for refined surroundings.They're a great option for honeymooners or anyone who wants to be treated like royalty for a while. This type of lodging facility will ensure that you are fully pampered and leave you feeling like your money was very well spent. Consider these top- rated luxury hotels located in the Philippines. Diamond Hotel, Manila This 27-story, five star hotel is located in Manila and radiates class and elegance. It's located in a great are a, Just minutes away from museums, parks, convention centers and shopping malls. Your accommodations, from the sheets on your bed to the towels in your bathroom, are guaranteed to be top-of-the-line quality.If you stay here, take advantage of the exquisite guestrooms, bars and restaurants. Location: Rosa Blvd. Core. Dry. J. Quintus SST. Manila 1000 Web: Demimondaine. Com Marimbas Blurter beach resort, Zebu Indulge yourself at the Marimbas Blurter Beach Resort in Zebu. Choose from rooms located on the beach wing (including bungalows), the garden wing, or the Mama Spa wing and enjoy authentic Filipino hospitality. This is the ideal hotel to book if you're looking for relaxation and deluxe accommodations. Location: Marimbas, Buying, McCann Island Zebu 601 5 Web: www. Blurter. Com. PH/marimbas/home. P Budget Hotels A budget hotel is ideal for business travelers and those who don't require frills and want to save some money. There is a variety to choose from across the Philippines and al l offer affordable rooms and Filipino hospitality. If you're looking for a comfortable bed and great bargain, opt for a budget hotel while in the Philippines. The Legend Hotels organization has hotels all across the Philippines, including the Legend Villas, Legend Palatal, Mayhap Manor, Cabana Cloacae, Cabana Cuba and Cabana Papas. Each one is owned and managed by Filipinos, which give them n authentic Filipino flavor.They offer value rates that make rooms affordable for many people and each room is different from the others. Location: 2650 A. Boniface SST. , Magmata City 1233 Web: Lighthouses. Com. PH SST. Alien's Inn, Magmata This boutique-style budget hotel in Magmata has a great sense of charm. It provides guests with basic amenities and is a practical choice for any traveler. Enjoy yourself in the inner courtyards and take in the classic architecture during your stay. Location: 7461 Scintilla Street, Poi del Pillar Magmata City 1230 web: Scintillating. M Hostels Hostels are the best solution for the budget traveler who likes to meet new people from all over the world. By staying at a hostel in the Philippines you can save a substantial amount of money each night, making the overall cost of your vacation much lower. Prices per person, per night, range anywhere from $5 to $50. Here are a few excellent hostels to choose from. Townhouse Manila You can't beat paying less than $10 for a bed. The Townhouse opened in 1986 and has served as a comfortable place to sleep for people from more than 85 countries.