Should the united states end drug prohibition Essay Example For Students

Should the united states end drug prohibition Essay Should the United States End Drug Prohibition?The Federal Government, while trying to protect us from our human nature,developed harsh anti-drug policies with the hope of eradicating drugs. Atthe time, these policies seemed simple enough: we will impose penalties onthose who use substances illegally, we will intercept drugs coming fromother countries while ending all drug cultivation in the States, and we willeven try to prevent foreign governments from growing these substances. Theidea of the Drug Prohibition surely made sense: lower demand of drugs by lawenforcement, and reduce supply through domestic and international means. Unfortunately, the Drug Prohibition led to heavy costs, both financially andotherwise, while being ineffective, if not, at times, counterproductive. Today, we can see the unforeseen costs of the Drug Prohibition, and weshould consider these costs before expanding the War on Drugs.First, among the costs of the War on Drugs, the most obvious is monetarycost. The direct cost of purchasing drugs for private use is $100 billion ayear. The federal government spends at least $10 billion a year on drugenforcement programs and spends many billions more on drug-related crimesand punishment. The estimated cost to the United States for the War onDrugs is $200 billion a year or an outstanding $770 per person per year,and that figure does not include the money spent by state and localgovernment in this war (Evans and Berent, eds. xvii). The second cost of this war is something economist like to callopportunity costs. Here, we have two resources which are limited: prisoncells and law enforcement. When more drug crimes take up law enforcementstime and when more drug criminals take up cells, less ability to fight othercrime exists. This becomes significant when an estimated 35-40 millionAmericans use drugs per year. In 1994, law enforcement arrested some750,000 people on drug charges, and of those 750,000, 600,000 were chargedmerely with possession. Sixty percent of the prison population are drugoffenders (Wink). The police, therefore, most work to find these 35 millioncriminals, thereby exhausting their resources. Also, in major urbancenters, the number of drug offences brought to trial are outstanding. Forexample, in Washington in 1994, 52% of all indictments were drug related asopposed to 13% in 1981 (Evans and Berent, eds. 21). All aspects of ourlegal system are being exhausted on drugs when it could be used moreef fectively on other felonies or focused on preventing children from buyingdrugs. Another two legal aspects of Drug Prohibition are interesting since theyshow how the Prohibition is not only ineffective, but alsocounterproductive. The first of which is the fact that the illegality ofdrugs leads to huge profits for drug dealers and traffickers. Ironically,the Drug Prohibition benefits most the drug traffickers and dealers asprices are pushed well above cost (Evans and Berent, eds. 22). The secondaspect of the Drug Prohibition that undermines law enforcement is the needfor drug users to commit personal property crimes. One-third of the peoplearrested for burglary and robbery said that they stole only to support theirhabit, and about 75% of personal property crimes were committed by drugabusers. Studies also suggest that these people, when placed on outpatientdrug therapy or sold drugs at a lower price commit much less crime (Duke). Even the DEA admits that, Drug use was common among inmates serving timefor robbery, burglary, and drug offenses (Crime, Violence). Drug Prohibition has been very costly, detrimental to our relations withother countries, and harmful to users and society alike. All this whiletrying to battle an enemy who is not as dangerous as it is currentlybelieved by most of the American public. The unpleasantries of the historyof Drug Prohibition also show us how the public has been mislead throughProhibition. Many of these disagreeable acts were not circumstances of DrugProhibition, rather goals of it, whether it was understood or not. The United States image in Latin America has been precarious nearly fromits birth. The image of the American intent on dominating the New Worldplays in the minds of our neighbors. Recently, though, the situation isinteresting since the countries involved are growing less and lesscomplacent to deal with the losses of sovereignty that they are incurring. Drug Prohibition not only plays out on the American stage, but is a focalpoint of US relations with the countries of Latin America. So, as each ofthese countries has to pay the costs of Yankee Imperialism, the tensionbetween neighbors is increasing. The first of the tensions comes from Colombia. Unfortunately, our crusadeagainst drugs has caused the famous cartels of South America and,especially, those of Colombia. Many wonder if we are justified in puttingpressure on these countries just to slow the drug trade. The deaths ofthousands of innocent Colombians were the result of our actions in thesecountries (Evans and Berent, eds. 58). The growth of the cartels,especially the Cali cartel, has led to political corruption in that country. The President Ernesto Samper was said to have taken money from drugtraffickers so that the government would stop other groups from exportingcocaine. He promised in his campaign a fight against drugs, but nobody cantrust a President who took money from the cartels, said David Casas, aresident of Cali, Colombia. This unnecessary death and corruption in othercountries due to United States drug policy sometimes lead to hostilitytoward us (Casas). Because of the problems South American countries havefaced because of Drug Prohibition, Colombias Nobel Prize winning authorGabriel Garca Mrquez has written a manifesto declaring the drug war asuseless (15). Action abroad by the United States has also led to an increase insubversive organizations worldwide. Civil war is currently being threatenedin Bolivia by a coca-growing union. The group, which feels that theBolivian government has been too open to challenges in sovereignty, isfighting Yankee Imperialism and control by the DEA of a coca-growingregion (Epstein 1). In Colombia and Peru, groups like the communist FuerzasArmadas Revolucionarias de Colombia (Revolutionary Armed Forces of Colombia)and Sendero Luminoso (Shining Path), both Communist groups, that survive ondrug money lead such acts as kidnaping foreign visitors, leading bombings onAmerican buisnesses in the country, and attempting to destroy institutionsof governments friendly to the United States (Spiegel 480). This subversionof government can even reach our beauracracy as the CIA is rumored to haveallowed the Nicaraguan Contras to sell drugs in the US to fund theirrevolution against the Sandinistas (CIA 20). Therefore, in South America, our persistence on Drug Prohibition has notonly been unable to prevent the further imports of drugs, but also couldlead to the installation of Communist regimes in the area. Since the othercosts of Drug Prohibition has its base domestically, the conversation willturn to rights and liberties which help to explain why the drug war is notAmerican and why it might not be effective. This requires a discussion onthe role of government. The ultimate end of government is to protect our rights. Weve entered asocial contract with our governments: that we will give our obedience andtaxes in return for protection of our rights. The United Nations classifiesthese rights in three generations: civil, socioeconomic, and solidarityrights (Peterson). Shielding our people from the dangers of a threateningworld, therefore, seems to be an appropriate use of the states power undersocioeconomic rights. The danger in thinking in this manner is that itoverlooks the individuals contributions to the nation. Thesecontributions, either positive or negative, are generally difficult toregulate by broad legislation. In fact, at times, legislation can becounterproductive, trying zealously to protect one right by violating manyothers. We saw in the former U.S.S.R. what can happen when government begins toenforce positive liberty. Positive liberty is different from what weusually think of as liberty, which is negative liberty. A negative libertyis one like the First Amendment which keeps the government from doingsomething, namely limiting your rights to speech and religion. A positiveliberty is one which forces the government to provide some service to itscitizens. An example of a positive liberty is the governmentsresponsibility to protect our inalienable rights. The danger with expandingpositive liberties is that it gives government a more active role inpeoples rights. For that reason most would believe that government shouldnot give itself too many positive liberties as did the Soviet Union(Peterson). Drug Prohibition is an example of a positive liberty because itgives the government the go ahead to do what it must to give us a drug-freeAmerica. However, we should ask the question: is it worth keeping DrugProhib ition as a positive liberty when it infringes upon both our negativeand positive liberties, not the least of which are life and liberty? U. S. District Judge William W. Schwarzer helped explain this when he said endingdrug use is useless if in the process we lose our soul (Trebach andInciardi 29). Today he might say since instead of if since theinjustice and the cost on society of Prohibition is already well ingrainedinto our society. There could be two possible explanations for Drug Prohibition: we mustprotect people from harming themselves, or we want people to avoid drugsbecause extensive drug use harms society. Proponents of Drug Prohibitionthink one or both of these reasons is adequate for continuing Prohibition. The first is based on the peoples right to life, and the second is based onthe right for pursuit of happiness. However, there are fallacies in bothstatements, as will be shown. Before we can admit that our reasoning for Drug Prohibition is wrong, wemust find a better alternative. The solution proposed in this essay is oneof establishing free markets both internationally and domestically. Theproponents of drug decriminalization have basic assumptions about what wouldresult from a free market. For now, we will focus on what proponents ofdrug legalization think the implications of a free drug market would be forthe individual users. These assumptions are that illegal drugs are not asdangerous as currently legal drugs and that the decriminalization of drugswill not greatly increase the number of drug addicts. First, most illegal drugs are not as dangerous as believed, and those thatare truly dangerous will be avoided. This is essential to the argument fordecriminalization since we do not wish to have a large number of people diefrom a policy. However, if we compare the number of people who die annuallyfrom appropriate drugs to that of the number of people who die annuallyfrom illicit drugs, we would be inconsistent to think of the illicit drugsas dangerous. For example, 60 million Americans have tried marijuana and notone of these 60 million have died of an overdose. If this is compared tothe 10,000 people who die annually from overdosing on alcohol, one canassume that marijuana is much less dangerous than alcohol. Also, many drugshave minor side-effects when compared to acceptable drugs. One example,heroin, is highly addictive, but when used in a clean environment with cleanneedles, its worst side effect is constipation (Evans and Berent, eds. 24). To Kill a Mockingbird EssayTwo social problems people tie together are crime and racism. Therefore,Drug Prohibition must play a role in racism since it plays a key role incrime. Researchers can show that the more efficient the War on Drugsgets, the more racism that incurs. Black males 15- 24 had a homicide ratenine times higher than white males in the same group. This high rate ofblack-on-black crime has two unfortunate results: first, the black victims,of course, and second, the fear of blacks by many whites. A racist personwould point to this large discrepancy between black and white homicide ratesas some sort of an inferiority (Trebach and Inciardi 34). The sad realityis that Prohibition has created much of this discrepancy. The analogybetween selling drugs and stealing diamonds shows why this difference mightexist. If the death penalty were applied to people who stole diamonds, itwould discourage people from stealing diamonds since the value of thediamonds did not increase. How ever, if the death penalty were applied todrug dealers, there would still be an incentive to sell drugs since theability to receive profit from dealing drugs would increase. The differencewould then be that the people who had very little to lose have even moreincentive to deal drugs. These people who have little to lose aredisproportionally blacks or Hispanics. These forces drive many people intothe most despised positions of society (Trebach and Inciardi 35). Also, the drug laws in the past have been and continue to be tools ofracism. In 1930, before the government had implemented many of the tools ofDrug Prohibition, a Colorado newspaper editor wrote, I wish I could showyou what a small marihuana cigaret sic can do to one of our degenerateSpanish-speaking residents. However, more of the resentment of Mexicansseemed to be because Mexican labor was willing to work for lower wagesthereby producing fear in Anglos over their pocketbooks. The only tool theycould use to keep Mexican labor out of the market was the drug laws (Miller98-99). During the 1950s, many places had laws against addiction. Due tothe nature of addiction, police could and did use this as an excuse toharass African-Americans and Hispanics (Miller 101). This similarlyhappened to the Chinese and opium, a drug previously used by many Anglos(Miller 104). One could see how this could transfer into today as manyminorities complain about selective prosecution, which is understandab leconsidering the racial undertones of the original Drug Prohibition. Since the inner cities receive a far greater share of the crime and racisminvolved with Drug Prohibition, it is much more difficult for a ruralcitizen to understand what these regulations do to the cities, but oneaspect of the Drug Prohibition that does harm to all of us by violatingour civil liberties. A government which calls 35 million of its citizenscriminals for actions which are within the scope of civil liberties is,thereby, violating civil liberties. Government is supposed to allow us todo what we wish if we do not interfere with others (Evans and Berent, eds. 58). With drugs, many proponents of drug decriminalization claim that fewusers when allowed to use drugs in a free market would harm anyone. Thegovernment has also gone beyond this violation of civil liberties into theviolating the democratic process by silencing discussion of the issue. Forexample, no commission has ever been held on the issue. Since thegovernment does not investigate the issue, this suggests that the governmentwishes to remain unaware of the issue (Evans and Berent, eds. 202). Also,many pieces of legislation such as H.R. 135 are very undemocratic. The billasks that no department or agency of the United States Government shallconduct or finance, in whole or in part, any study or research involving thelegalization of drugs (H.R. 135). This kind of legislation banningresearch of the issue is, at least, scary. If the fact that enforcementbreeds poor international relations, undue cost on public health, crime, andracism is bad, the fact that the government is infringing our rights everyday because of Drug Prohibition is atrocious and threatens our freedom. Drug users are not the only ones crying out for their rights in this war. Even Supreme Court Justice Thurgood Marshall called many polices the drugexception to the Constitution. For example, one drug policy is thatcustoms officials can detain people for no less than 24 hours and notrelease them until they agree to deficate in the examiners presence, theyallow the feces to be examinated, and no traces of drug appear. Thesesearches can be done without reason to believe guilt even without anyevidence at all (Trebach and Inciardi 26). Enforcing Drug Prohibition requires invasions into the home since drug useis generally something done in the home (Trebach and Inciardi 26). Inanother case in Illinois, a couple was going on vacation to Florida. Aninformant told the police department that they were going to Florida to buydrugs. The problem was that this was not the usual informant that thepolice picks up from time to time. This informant was totally anonymous,even unknown to the detectives. The conviction was upheld though most theevidence sprouted from the anonymous, invisible informant we associated withthe Soviet Union (Trebach and Inciardi 28-29). Finally, the act offorfeiture is extremely heinous. If, for example, two kids were smokingmarijuana on your property, the police could take all your property. Evenif no charges are brought up against you, you must go to court and proveyour complete innocence (not just reasonable doubt) to reclaim your propertyfrom the government. In fact, half of all people who forfeit their propertynever get charged (Trebach and Inciardi 32). How Drug Prohibition has not been beneficial to society now having beendemonstrated completes the long string of problems that have stemmed fromDrug Prohibition in the realms of international relations and public healthshow where the costs appeared without any consideration having been given tobenefits. In contrast, when the benefits were considered, as was the caseon the issues concerning the drug user and society, the benefits did not panout or were not as important in the first place as the costs that haveresulted have been. Clearly, Drug Prohibition harms international relations. However, one maynot be so willing to accept that it has the profound effects on publichealth and societal problems. If we look back upon Alcohol Prohibition,alcohol was considered as the worst evil, as we think of drugs now. In bothcases, the fear about the denegration of society was not well founded. Thehealth of the users suffered as they would drink stronger and strongeralcohol as to keep the volume transported. Also, the unregulatedcontraband was more dangerous than it would have been. Alcohol Prohibitionalso created crime as Drug Prohibition does as we can see in the appearanceof the mafias like Al Capone which turned Chicago into a city troubled withcrime. The same cries for protection of rights were being heard as the FBIwas seen as invading our rights. Our history demonstrates the evils of prohibition. One should wonder whywe would be willing to fight the righteous fight again when it is neitherrighteous nor possible. Also, public opinion is peculiar given some facts. First, Alcohol Prohibition was dissolved by popular opinion because ofcrime, yet people continue to support Drug Prohibition although it createssimilar crime. Second, that we continue to support politicans who supportProhibition eventhough not one has given a creative solution, or at least,one we have not tried before. Finally, it is strange that people cannot seethrough the problems associated with drugs and not see they are due toProhibition and not use itself. If the drugs were sold at what would be themarket price, the people who steal and rob would not have any reason tosteal, or at least would have to steal less often to support their nowcheaper habit. The people who have become the evil welfare mothers whowaste all their government money on drugs instead of caring for theirchildren could not squander all their precious money on drugs because theywould be so cheap their would be no reason to. All of these terribleproblems Ive discussed, if not created by Prohibition, were great lyintensified by Prohibition. The end of drug laws would mark a never beforeseen improvement in the lives of every citizen. It is unfortunate that ourpoliticans, and even ourselves are too stuborn to even consider it. WORKS CITEDCasas Arcila, David. Student at Fairmont Senior High School. Personal Interview at his home, Fairmont, WV. 21 Sep. 1996. CIA, Contras, and Crack. The Christian Science Monitor. 1 Oct. 1996:20. Crime, Violence, and Drug Use Go Hand-in-Hand. Online. World Wide Web. http://www.usdoj.gov/dea/pubs/legaliz/claim1.html. 27 Aug. 1996. Duke, Steven B. How Legalization Would Cut Crime. Los Angeles Times. (21Dec. 1993). Online. World Wide Web.http://calyx.com/schaffer/misc/media2.html. 27 Aug. 1996. Epstein, Jack. Coca Czar Protests US War on Drugs. The Christian Science Monitor. 26 Sept. 1996: 1Evans, Rod L., and Berent, Irwin M., eds. Drug Legalization: For and Against. La Salle, Ill: Open Court publishing Company. 1992. Garca Mrquez, Gabriel. The Useless War. New York Times. 27 Feb. 1996:15. H.R. 135. 104th Congress. First Session. Introduced by Rep. Solomon. Online. World Wide Web. http://sunsite.unc.edu/warstop/hr135.html. Miller, Richard Lawrence. The Case for Legalizing Drugs. New York: Praeger Publisher, 1991. Myths of The Myths of Drug Legalization. Online. http://www.goldrush.com/tyedye/drugs.html. Oct. 10, 1996. Peterson, Sophia. Human Rights. West Virginia University. Morgantown, WV, 14 November 1996. Pulp Fiction. Dir. Quentin Tarantino. With John Travolta, Samuel L. Jackson, and Uma Thurman. Buena Vista Films. 1994. Spiegel, Steven L. World Politics in a New Era. Fort Worth: Harcourt Brace College Publishers. 1995. Trebach, Arnold S. and Inciardi, James A. Legalize It?: Debating American Drug Policy. Washington: The American University Press, 1993. Wink, Walter. Getting Off Drugs: The Legalization Option. Online. http://www.quaker.org/fj/wink.htmil#wink. Oct. 10, 1996. Words/ Pages : 5,352 / 24

Success in the Music Industry free essay sample

Modern music Is people who cant think signing artists who cant write songs to make records for people who cant hear. Frank Kappa Starting a career in the music industry is a difficult task. There are many Important steps that you need to take along the way, and the path Is often long and confusing. The people that you meet along the way will gulled you along this path, and hopefully help you become a music industry success story. The goal is to not let your message get Jumbled and distorted beyond your control and lead you to assister.The number one person in your path to success is yourself. You need to start the work required to become successful on your own. The first step for yourself is to decide that this is what you want to have as a career. There are many bumps and stumbling points along the way, and you have to be willing to take them in stride. Once you decide that this is indeed the path that you want to follow, you have to decide what success means to you. Are you happy playing In local venues to crowds of dozens of people, or do you want to play to arenas of thousands of people? You also have to be disciplined.You are responsible for knowing your instrument. Whether you are a vocalist or a guitarist, you have to know what you are doing. You should take music lessons, and If you already know your Instrument, you need to practice, practice, practice! Often people become advanced and forget to review the basics and start to slack on structure and form. It is also important to do your research and learn from other artists. What did they do to become successful? You dont want to make the same missteps that artists have made before you. (Rudeness, 2004) You need to do research and learn about the business aspect of the industry.You want to know the fundamentals of contracting for gigs, negotiating record deals, etc. You dont need to know everything, but you should know enough to spot potential problems and save yourself. You also need to start doing some of your own promotional work and creating your Image. Online networking Is one of the most important aspects of todays recording artists careers. Keep track of the activity on your Websites. Other things you want to keep track of are how many recordings you sell, you want to get your fans in on it and help you create a street team, sell your t-shirts. You also want to look the part of what you are trying to communicate. Do you wear jeans and a T-shirt? How do you wear your hair? You need to develop a look or else you will melt into a nothingness band and disappear, you wont be memorable. The more you do for yourself, and the more success you generate by yourself, the easier the future steps will be. It is impossible to have a successful career as and artist In the music Industry without assistance. This business Is complicate, and it is difficult for an artist to focus on his creative development and 1 OFF to want to involve in your career is a manager.In a nutshell, managers are in charge of running the business side of an artist or bands career, so that the band is free to focus on creating the music. You may start out with a friend or a family member as your manager. Since your friend wont have all of the knowledge youll need, you will eventually want to hire a professional. Record labels expect a professional presentation, and that is something that your manager will be responsible for. Manager for an unsigned band, or a band signed to a small label, may wear many different hats: promoter, agent, accountant, and any role that needs filling for the band.A manager for an artist signed to a larger label may act more as a supervisor of the other people working for the band. They will make sure the label is on their toes, that advertising and promotion is in place, that tours are being booked, and that the band is being paid. Your manager also helps you develop who you are as an artist; your personal image is being developed here. Do you begin to appear in public with other artists of the same level of success? Do you volunteer time and services for charitable purposes and do you begin to identify those charities whose interests you feel you can adv ance by your involvement?Total,2006) This image will develop and change overtime due to the music industry environment and the people you become associated with along the way. You manager will also help you create your promotional package. This package with be distributed to many people in the music industry, including people in AR. The AR department of a record label is often regarded as the gatekeepers of the record company. AR is the department of a record company that finds and or develops bands, songwriters, or musicians. More often than not AR reps help out with a bands artistic and commercial marketability.Think of the AR Department as the middleman between the band and record label. AR Department Responsibilities may include some or all of the following: locating bands, songwriters, and musicians for their record label, negotiating contracts for a band or artist, finding producers for recording the band, locating recording engineers, scheduling time to record the band, scouting songs for a band from music publishers with whom they have relationships, and listening to demos from bands. AR Reps from major or larger record companies usually only listen to solicited demo submissions from musicians.A solicited submission is one that a music company only accepts from known or reputable contacts with whom theyve networked in the past. Smaller record labels may accept both solicited and unsolicited (anyone can send demo) demo submissions. AR representatives are credited with having Good Ears, and finding hit artists. Whatever good ears are, they are a product of listening to lots of popular music, not only what is being recorded now, but to what is not being recorded yet. Ear training for AR people is going to clubs, and listening to demos from bands, personal managers, and publishing companies.It is recognizing social trends. (Hull 2004) It is also important to remember that when AR executives discover and promote a particular artist, they are putting their own name on the line. If the artist fails, an AR executives Job may be at stake. Once you meet with AR your path may follow a path similar to the one I describe below. Before artists can be signed, they have to be discovered. Imagine, for this example, that Band X is discovered after an AR representative from Big Record Label goes to see Band X at a source, most likely a manager, and did his research on the band.At the club, he likes hat he sees and now must convince the entire AR staff to sign the band. That is the hard part. He has to convince his boss and co-workers that your music is worth risking their time and money on. A label will usually be able to spend only a limited amount of money recording and promoting their artists. When they are in agreement, the band is signed and the wheels go into motion. Band X must now plan its album. The AR director and producer decide on the concept of the album and select the songs that will be on the album.Big Record Label gives Band Xa budget, which is used for studio musicians, studio engineers and studio time. The AR executive then coordinates a time for the band to begin recording the album. As this is going on, the other departments of the record company are in full swing. A budget is fixed for advertising, art, publicity and promotion. As graphic artists, designers and copy;rites begin their work, the AR department, as well as publicity, marketing and sales, decide on a release date for the album. The artist development department plans the live performances, promotional tour and radio and TV appearances.The record company must make sure that there is promotion for Band X on the national, congenial and local level. Near the time that the album will be released, the labels departments are working hard to secure press coverage and exposure for the band. All the machines parts are working together to make sure that Band Axs album will sell many copies, ensuring the success of everyone involved, from the artist to the radio stations to the CD stores. Once the artist has made a recording it is on to marketing and distribution. A marketing strategy will be developed for the record.Tasks within this plan should include: planning in which markets and in which cities r regions the recording will first hit the air; planning an extensive promotional campaign which could involve participation by the artist and as much coverage as possible by news media; designing promotional materials and advertisements, and planning how. When and where they are to be used; designing merchandising aids, such as point of purchase displays or give away items, and planning for their most effective use; and coordinating with the artists personal manager concerning engagements or a tour timed with the records release.As a marketing strategy is carried out, the success of the campaign is watched closely. The success of a marketing strategy is measured by signs such as radio NAS national TV exposure, international demand, and performance opportunities for the artist. The immediate targets of record promotion are radio broadcasters and broadcast programming services. Record companies consider radio airplay to be the most direct way of exposing a record to the buying public. Most promo records are mailed to stations together with suggestions for which songs to play.Promoting new or rising artists is a fiercely competitive business, since many stations broadcast, in rotation, very few current releases. Follow up phone calls to radio stations are standard procedure to get reactions to the record and to see how the record is performing in certain cities. The main function of publicity is to bring an artist and their newest release to the attention of the press and other media so that the public may be informed. There are three phases too publicity campaign, planning, execution, and follow up.In the planning phase all the tactics off campaign are worked out and all mage is beginning to be developed, and press releases are developed. Successful execution of the plan often depends on precise timing. The media are given press kits containing photographs, a biography, press releases and other important information. Often artists perform several engagements or an entire tour to publicize a new record. Performances are scheduled for radio, TV and possibly local stores. This is all done to make sure that the media has been saturated with publicity materials.Distribution also has to kick in. The typical flow of a distribution strategy goes something like this: salesperson visit each dealer account to show new catalogs, convey relevant information on current releases, and offer purchasing incentives; dealer orders are taken for merchandise and processed through the branch office; the pressing plant or warehouse facility ships the merchandise to the dealers; the dealer accounts are billed, displays and point of purchase tools are laid out; inventory specialists visit dealers to determine how well the products are selling . Ink, 1996) As you can tell, the music business is not Just parties and hanging out Ninth rock stars. A record label must do a great deal of work to discover, sign, produce, promote, distribute and sell an album.

Food Essay Topics - How To Write

Food Essay Topics - How To WriteFood essay topics are very important when it comes to writing. It has to be written in a proper way, so that you can make a convincing and impactful appeal to the reader. In fact, this kind of topic is not only a source of your study, but also an experience for writing.Readers may be uncertain about what to write about and it's because they don't know how to go about it. First of all, they should have an idea of what types of foods they like. It should also be possible to get an idea of their favorite food at least once in their life. By knowing your readers, you will be able to come up with food essay topics that would suit them. In case your readers already have food writing as their specialty, then they might be interested in reading about food written by a food writer.It is always advisable to avoid using your own opinion as food essay topics. One of the first tips in writing essay topics, is to take note of your readers' interests. A good essay to pic has to be well-researched to get an accurate assessment from the reader.The most important tip to follow is to choose food essay topics that are based on facts. You can make use of research and experience to get a wide range of information about the food that they are interested in. Hence, don't worry about giving them a really interesting recipe. Instead, it's better to show their how to prepare such a recipe so that they can understand better.A wide range of food essay topics could be given. However, the rule is to choose those that appeal more to the readers. For example, you can give advice on different kinds of cooking or recipes. However, you cannot give a recipe for cooking in the shape of a pizza. There are lots of things to consider when you write a good essay topic.It's also important to remember that some food essay topics should include both food and diet. As the name implies, a diet essay topic should talk about the foods that your readers can eat and should include a range of foods, from gourmet to healthy. Most of the food essay topics are targeted towards the writers who are busy writing articles for magazines, newspapers, websites, etc. In that case, they do not have much time to write essays. However, there are still plenty of people who love food and want to be writers.The most important tip is to pick a topic that would interest your readers. By doing so, you will be able to write well and share good information about food in an engaging manner.

How does J B Priestley create atmosphere and tension in Act I of An Inspector Calls Essay Example

How does J B Priestley create atmosphere and tension in Act I of An Inspector Calls Essay J. B Priestleys play, An Inspector Calls, includes many techniques to create tension. Written in 1945, but set before the first world war, irony is present as Priestley subtly mocks the audience, as he uses Birling to explore the faults of capitalism. In 1946, when the play was first performed, the stereotypical spectator to the post-war play would have been those typically of Birlings societal class. In contrast to his own personal beliefs, Priestley creates Birling to be a strict capitalist, common to the period in which the play was set. Dramatic irony is established as the audience know the outcomes of Birlings ignorant predictions in Act I Scene I. Priestley wrote the play to show the divisions between the classes before the war, and the general middle class persons disposition; ignorant, impatient, and selfish. Priestley manipulates stage directions, such as lighting, props and setting to create tension. As an example of this, in the primary scene, as the Inspector enters, the lighting is brighter, as though the family are under spot light interrogation. Characterisation, the integration between characters and how we perceive them, as well as the language they use, can create tensional suspense by revealing only elements of an individuals personality at a time. This is also aided by the actions and gestures performed by the specific character. Act I Scene I depicts the family having, what seems like, an ordinary family party. An Inspector visits them to enquire about a young girl that committed suicide, and it rapidly becomes evident that the entire family will be involved somehow. We will write a custom essay sample on How does J B Priestley create atmosphere and tension in Act I of An Inspector Calls specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on How does J B Priestley create atmosphere and tension in Act I of An Inspector Calls specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on How does J B Priestley create atmosphere and tension in Act I of An Inspector Calls specifically for you FOR ONLY $16.38 $13.9/page Hire Writer The interview stretches from Birling, to Sheila, and is about to commence on Gerald, when the act is left on a cliff hanger. In contrast to the reality of the Birlings family life, the initial lighting is intimate and soft. This also conflicts with the characterisation of the individuals, as Mrs Birling is described as a cold woman, and suggests that she doesnt assimilate with the surroundings. The lighting is stressed to be pink and intimate, as Sheila and Gerald are seemingly passionately in love. The celebration is kept to a minimum of family, and the lighting can reflect the care and affection shared between all on set. As the Inspector enters the room, the lighting becomes brighter and harder. This could suggest the Inspectors strong will and determination to succeed in his case. This seems to create an uneasy atmosphere, as Birlings selfishness contributes to his lack of enthusiasm in aiding the Inspector in his job. The opening stage directions and setting of the scene establishes the wealth of the family, but also uncovers the atmosphere of societal tension. The descriptions of the characters, Birling being a portentous man, provincial in his speech, Mrs Birling simply being a cold woman suggests that it is her that is the societal superior. The pressure of society on people of the Edwardian era is evident as the wealth of the family is constantly reinforced; the Birlings house is depicted as a large suburban house. The cigar box present in the opening settings is also an indication of wealth. The furnishings and general atmosphere of the house is described to be heavily comfortably, but not cosy and homelike. This is intimidating for any potential visitors like the Inspector, though he doesnt seem fazed, and tension is created through juxtaposition, as the words comfortable and cosy, typically used as synonyms of one another, are used in contrast with each other. The creation of Inspector Goole is mysterious from the beginning, as the name Goole is a homophone to the word ghoul. The audience instantaneously perceives the Inspector as fake or unreal. This use of language device could also initiate an air of secrecy about him, which is added to by the fact that the picture of Eva Smith is never shown to the audience, and is only visible to one character at a time. Through this, he adds pace and tension to the play, which creates intrigue for the audience. The stage directions of the moment that the Inspector enters say that he creates at once impression of massiveness and solidity. Although he is not especially tall or prominent, the Inspector has a sense of intensity about him, making him intimidating. The audience can tell from this that tension will be created between the characters of Birling and the Inspector, as they are, for different reasons, mutually intolerant of time-wasting; both the Inspector and Birling wish for the interrogation to be over quickly, as the Inspector wants his information and Birling wants to resume his celebratory evening. Tension is built up between the pair when Birling persists in cutting in to the Inspector. Additionally, whereas Birling is acquiring an angrier tone throughout the interview, the Inspector has a steady ambience all the way through. Birling has an entirely different relationship with his son-in law Gerald, though. Birling is almost sucking up to Gerald, as he and Geralds father are in the same business. He even states that Gerald could have done better for himself than Sheila. This shows some cracks in the family unit, and reveals Birlings desperation for success. Sheila and Geralds relationship also sparks some tension within the household. Its is obvious that their relationship lacks the bonding and trust it should possess, seeing as they are engaged. Sheila says Now I really feel engaged on receiving the ring, suggesting that she didnt feel like that before. This is also collaborated when Sheila mentions last summer, when she didnt see Gerald much. He says he was on business, to which she replies Thats what you say. Gerald goes on to admit his guilt near to the end of the act, but insists that that the Inspector doesnt have to know about it. The Inspectors intelligence goes further than he is currently letting on, which Sheila is aware of, so she replies (laughs ysterically) he knows Youll see. Youll see. The Inspector creates an atmosphere in the house, by simply doing his job, and exposing the faults of each individual character. He identifies Sheilas temper and jealousy when he reveals the story of Sheilas involvement in his case. He also uncovers Geralds infidelity, separating the fantasy from the reality in terms of the perfect, high class family. It seems as though the family members are exploring each others personalities as much as the Inspector is, which creates an uneasy atmosphere, as they all discover something about the others that they wish they hadnt. The timing of Inspector Gooles arrival is also atmospheric. Just as Birling is telling Gerald that a man has to look after himself and his own, the Inspector appears to show him the result of people living that way; a girl loses her job twice and kills herself. The audience can also perceive how the characters react to the photo, and to themselves, as a further indication of the personality of the character, and their involvement in the suicide of the girl. Subtle hints given by Priestley also play a part in producing atmosphere and tension. From early on in the play, the atmosphere seems slightly false or forced, just as when Birling informs Gerald that he is too good for his daughter. Gerald replies that both he and he parents are very happy with the engagement, therefore it is interesting for the audience that Lord and Lady Croft did not attend the engagement party. It is also obvious from the first act that Eric is nervous about something, as he is drinking quite heavily, and what little he does say, is irritable. The simile like bees in a hive is used to describe Birlings contempt for equality; the imagery symbolises everyone working together and being the same as one another. Bees also sting, so this is suggesting that he thinks equality and working together can have a negative effect. Birling continues by calling a socialist society nonsense, also proving his disdain for equality. This could create tension between the characters and the audience. Language devices are used to explore tension in Act 1. Dramatic irony is a dominant device, present throughout the act. It is established as the audience know the outcomes of Birlings ignorant predictions in Act I Scene I. Declarations that the Titanic was unsinkable and that in his opinion, there is no chance of war were dissimilar from the reality, as the audience would have already experienced. This gives the audience an advantage and gets them more involved. Structure of the play adds slight tension, but also realism, to the text, as people dont always wait for the other person to finish. Birling practises this frequently, for example, when he cuts off the Inspector to reinforce his innocence. Birlings monologue also tells the audience a lot about him, as he shows his stupidity and ignorance throughout. Birling attempts to show his knowledge in his speech, along with his importance, but the outcome has the completely opposite effect, as the audience merely think him ignorant. The climax aids the tension of the act by leaving a cliff hanger and creating suspense. The Inspector says Well? to Sheila and Gerald after they have had a discussion outside, and discovered Geralds deceitfulness. It was almost as if the Inspector knew what they were discussing, and was waiting for them to uncover it themselves. This adds to the atmosphere because it seems like the Inspector knows all that he needs to, he is simply trying to make the family realise that just because they have money, doesnt mean they are any different to anyone else of a lower class. In conclusion, J. B Priestley uses many techniques to create atmosphere and tension in Act I Scene I. Stage directions are used by, for instance, Birling, as he shows his true character by interrupting others and possessing an angry tone. Lighting is used to symbolise the change of mood and presence, adjusting to the new balance of characters onstage. The Inspector himself brings a number of unanswered questions with him, some unconnected to his case, with his name and manner. The language and actions also contribute to the shift of atmosphere in the scene, by revealing extensions of each character bit by bit. Subtle hints from Priestly, alongside the climax of the scene, bring additional tension and suspense, as the audience can get involved with whats going on. The details of the scene are what really consume the audience, enveloping them with interest and intrigue, so they can perceive events how they wish, to generate tension of their own.

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