Abortion and the Aspects of Pro

Abortion and the Aspects of Pro The whole topic of abortion is a very complex issue that has continued to attract a lot of attention in today’s modern society. This can be explained from both perspectives where there are certain people who are opposed to abortion while there are others who are pro-abortion. As a matter of fact, different societies have their own approach to the whole issue of abortion (McMahan 12).Advertising We will write a custom essay sample on Abortion and the Aspects of Pro-abortion specifically for you for only $16.05 $11/page Learn More This is because abortion relates to life and that is why different stakeholders have been dragged in this issue. In this case, we are supposed to evaluate and look at abortion critically for long term sustainability in our society. This paper will therefore try to analyze the whole aspect of pro-abortion. In this case, there are people who are pro-abortion and they should be understood because they are right in their own makin g and understanding. As a matter of fact, abortion is prolife in a broad way and people should not demonize others because they are pro-abortion (Singer 32). Abortion revolves around reproduction and this is a personal issue that should not be interfered with by anybody. We all agree that women have a choice as per to when they should have children and this means that we are supposed to respect this fact. There has been an argument that abortion is the same as murder but this has been done while ignoring other realities that we are supposed to understand. It can not occur that every time a woman aborts we will always be saying that somebody has been killed. Abortion can help women and teenagers who might find themselves in very complex situations that they had not anticipated. For instance, it is quite obvious that through abortion, a teenager can continue with her school without necessarily drooping out and this is a fact that we can all agree to (Kearns 45). There are occasions wh ere somebody can have an untimely pregnancy that might end up enslaving her to the man and this can be sorted out through abortion A foetus is not a baby and there is no reason as per to why we should say that abortion is murder. There are occasions where abortion occurs naturally and it is undeniable that others are induced. Women can not decide to have babies then all over a sudden say that they want to abort.Advertising Looking for essay on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More This is a decision that is made after other aspects have been considered. We should therefore respect such decisions because they are made after various considerations have been made. Abortion saves lives in cases where they are medically supervised (McMahan 73). This means that it is safer than having a baby. In cases where we have a safe abortion, the whole society benefits in a broad way. Every girl or woman who makes a decisi on to go for a safe abortion in relation to an undesired pregnancy should be respected for making a bold move that others can not contemplate. We can not say that it is bad to abort a fetus because it is still dependent on the mother and is therefore not a separate entity. In this case, it can not exist outside the womb and this therefore disputes the argument that life will be lost. Abortion is a personhood issue and we can not say that it revolves around human life (Boonin 31). For instance, in vitro fertilization, eggs that have not been fertilized are thrown away yet nobody says that this is abortion. Different people have been saying that instead of abortion, we should advocate for adoption but this is not feasible. As a matter of fact, this is a woman’s choice and we can not say that they will be willing to give up their children for adoption. Instead of demonizing abortion, we should advocate for safe medical procedures (Singer 46). This is because medical abortions do not have any complications that can end up affecting the mothers’ health. As a matter of fact, the mothers’ future ability to have a baby will not be affected in any way. We live in a very dangerous society where there are many cases of incest and rape. These are occurrences that happen every now and then within our surroundings. In this case, a woman who has undergone such an act will be exposed to a lot of psychological problems if she is forced to keep the pregnancy. A woman who has been raped did not make the decision to have the pregnancy. Therefore, it will be wise for such a woman to go for a medically safe abortion instead of keeping the baby. This is because the presence of the baby will occasionally remind her of the ordeal that she went through (Kearns 63). Women who find themselves in such situations are always afraid and they can not imagine of taking morning after pills and this complicates the whole issue.Advertising We will write a custom essay sample on Abortion and the Aspects of Pro-abortion specifically for you for only $16.05 $11/page Learn More It should be known that abortion can not be used as contraception and that is why there are cases a woman can become pregnant even with proper use of contraceptives. In this case, such women should be allowed to have an abortion because they did not anticipate having a baby in the first place since this is a family matter that needs a lot of planning. Governments have been stepping up efforts to ensure that women keep their pregnancies but this is infringing on their own rights (Boonin 56). This is a civil right that every woman needs because they are supposed to be free in either keeping or terminating the pregnancy. This is a reproductive choice that can not be taken away from a human being and therefore women should be allowed to abort at their own pleasure instead of being demonized as murderers. Instead of opposing abortion, governments should come up w ith good measures to make it safe. In this case, there is need to increase funding to various medical institutions so that they can be in a position to conduct safe and medically recognized abortions (Singer 87). The main reason as per to why we should be pro-abortion is because of various teenagers who become pregnant at an early age. Such teenagers do not have the capacity to raise good children and they should therefore be allowed to abort. When they keep a pregnancy, it is quite obvious that they will drop out of school and this is not good as the baby might lack parental care. An under-age pregnancy can occur if the girl did not understand what she was doing. This is a mistake that should not be used to derail the girls’ education and career opportunity. Prior to an abortion, every woman is exposed to a lot of stress and this means the situation can only be sorted out through a safe abortion (Kearns 83). In this case, there has been no proven evidence that abortion leads to stress. As a matter of fact, women should be allowed to make a choice about abortion because this is a personal decision that can not be infringed upon. Abortion revolves around a woman’s body and she should therefore be allowed to make her own decision. It is undeniable that we have a lot of unwanted babies and this can be reflected from our overpopulation. In this case, it will be unwise for us to oppose abortion yet people should be allowed to do away with unwanted children.Advertising Looking for essay on social sciences? Let's see if we can help you! Get your first paper with 15% OFF Learn More There are occasion where we have poor families with many children. In this case, any other child will be a big burden and it is good for the woman to abort (McMahan 81). Abortion is not a big deal because we have cases of miscarriages and nobody has ever argued against such. As a matter of fact, abortion is moral in a broad way. Some people have argued that abortion is very important for gender equality. This is based on the fact that it is a right that can not be denied. In this case, the right to abortion should be included in pregnancy rights for a woman to decide when she wants to terminate the pregnancy. Women should be respected because they are human beings and we should not see them as a container for the fetus. This means that they should be given all their rights as far as pregnancy is concerned without any dictation (Boonin 74). As a matter of fact, they should be supported in all the decisions that they make instead of being seen as murderers when they decide to abort. Boonin, David. A Defense of Abortion. Boulder: University of Colorado, 2003. Print. Kearns, Thomas. History, Memory, and the Law. Michigan: University of Michigan Press, 2002. Print. McMahan, Jeff. The Ethics of Killing: Problems at the Margins of Life. New York: Oxford University Press, 2002. Print. Singer, Peter. Writings on an Ethical Life. New York: HarperCollins, 2000. Print.

thermohaline circulation essays

thermohaline circulation essays What is the oceans role in climate? The oceans play a vital and pivotal role in the distribution of life sustaining water throughout our planet. 86% of the evaporation that occurs on earth is over the oceans. The oceans are the planets largest reservoir of water transferring huge amounts of water around the hydrological cycle. In fact the oceans dominate the hydrological cycle, for they contain 97% of the global water inventory . The hydrological cycle can be disrupted by changes in ocean circulation that play such an important role on evaporation and precipitation. When the ocean circulation system changes it can change how much heat and rainfall is distributed around the world. Changes on a global scale can ultimately lead to flooding and long term drought in various regions. The big questions are can we monitor the oceans circulation and watch for climate changes? Can we predict what might happen if the ocean circulation changed dramatically? We have experienced major climate cha nges in the past; can we look for evidence of ocean change during these periods? The global ocean circulation system is called the thermohaline circulation. Often called the conveyor belt courtesy of Wallace Broecker who in an article for Natural History in 1987 had an artist draw a simplified version of the thermohaline circulation and called it the conveyor belt. Wallace Broecker is the Newberry Professor of Earth and Environmental Sciences at Columbia University. He has taught at Columbia since 1959, and his research interests include paleoclimatology, ocean chemistry, isotope dating and environmental science. He conducts much of his research in Columbia University's Lamont Doherty Earth Observatory. Broecker has received many awards for his scientific work, including Arthur L. Day Medal from the Geological Society of America (1984), the Alexander Agassiz Medal from the National Academy of Sciences (1986), the Wollaston Medal f...

Fashion analysis of louis vuitton Essay Example | Topics and Well Written Essays - 1250 words

Fashion analysis of louis vuitton - Essay Example The purpose of the paper "Fashion analysis of louis vuitton" is to analyse Louis Vuitton’s high fashion collections for Autumn Winter 2009 (AW09) and Spring Summer 2010 (SS10) and to investigate the supply chain and production processes of the company. Besides advertising through celebrity endorsement and sports sponsorship, Louis Vuitton’s success is attributed to the control it maintains over all its operations from creative design to distribution. This ensures not only a commitment to quality (New York Magazine 1985), but also its high operating margins of around 45 percent as compared to those of its closest competitors. Marc Jacobs is Louis Vuitton’s high profile designer. Summer 2010 (SS10) collections depicted designer Marc Jacobs’ blending of various influences. Olde world appeal was combined with â€Å"a little bit of French fancy, a sprinkling of 80s bad taste and a Playboy bunny† look . The fabrics used were mainly cashmere, wool, silk, s atin, lame velvet, fox fur, taffeta, embroidered panne velvet, re-embroidered printed fabrics, leather and diaphanous tulle. In Figure 1. above, the mixed influences are clearly visible, and the clothes range from the â€Å"sublimely wearable† to the â€Å"gorgeously unusual to the not so delightfully strange†. The collection is divided into groups based on different colours. The black apparel were most appealing, and the touches of colour at the sashes added to the beauty of the dresses. The oversized shoulders lent an unusual but attractive look.

Parts 3,4 and 5 Essay Example | Topics and Well Written Essays - 2250 words - 1

Parts 3,4 and 5 - Essay Example The organizational structure should be adjusted in order to facilitate the easier and freer flow of information within the different employees in each level. The top management should also take an effort to print out the company’s strategies, objectives, and goals and distribute them to every individual in the organization. One of the major changes which will also be implemented is the role of the human resource department within the business organization. Currently, Acico’s the human resource department is concerned only about the operational aspect of management specifically administrative issues but will be also be involved in the strategic aspect of management. This will be started through the appointment of new VP for Human Resource. Recognizing that the business organization’s human resources are strategic partners of Acico, it will only be logical to give the department a significant portion in the shaping the company’s vision, mission, goals, and strategies. The human resource department will be taking on an active role in shaping the strategic direction of the business organization. In the operational aspect, staffing and recruiting will be taken more seriously by setting a set of more stringent standards. Prospective employees will not only be admitted to the organization based on their credentials but most especially on their knowledge, skill, and personality type. This will ensure that the company hires competent individual to man the different positions. In order to keep up with the requirements, intensive training will also be conducted specifically on the management team. A comprehensive training program will be conducted regularly which will equip managers with the knowledge and skills for their positions. Acico will also be intensifying its effort in motivating its workforce through the installation of a reward system comprised

The advantages of living in the East Bay Essay Example | Topics and Well Written Essays - 750 words

The advantages of living in the East Bay - Essay Example ban areas becomes a great competitor for big city life with its constant noise, high level of pollution and fuss, as it is able to meet numerous demands of men seeking calm life free from numerous threats for physical and mental health. In this respect, the East Bay of the San Francisco Bay Area represents a vivid example of suburbs’ popularity among Americans due to the numerous advantages of living in its territory. For the beginning it must be mentioned that the East Bay is distinguished by its coastal living with every possible benefits of such an area. One way or another, the impact of a close proximity of the Pacific Ocean can be felt in all its contrasts being non-covered by muggy air of San Francisco. So, the residents of the bay area have a great opportunity to enjoy Mediterranean climate. Unpolluted air being mixed with favorable effect of the climate on humans’ health attribute to the general attractiveness of the region for families with children of any age. Adding to more or less safe conditions of county life, the quenching Mediterranean climate with its comfortable air temperature appears to be an extremely helpful for upbringing of healthy kids. Altogether, the East Bay climate alongside with remoteness from city pollutants turns to be a charming factor and one of the main advantages of the place. Comfortable houses of modern building design as well as diversity in their choice from ordinary, almost classical ones to penthouses with totally private area for spending vacations and leisure time in personal huge pools, roof-top patios and other facilities for outdoor activities. Anyway, the East Bay is a much more open space, so the life there is certainly more comfortable for a family and an individual than in urban areas. Furthermore, there are accompanying benefits of living not in a large city, namely: absence of problems with parking, neighbors’ placement at a sufficient distance, an opportunity to enjoy nature and communication with it in

The Work Of Stephen Sondheim Music Essay

The Work Of Stephen Sondheim Music Essay Born in New York in 1930, Stephen Sondheim is widely acknowledge as the most innovative and influential Broadway composer of the last fifty years. However, despite having some sixteen projects under his belt (not counting the numerous musical anthologies, revues or movie scores), Sondheims work still divides the critics; whilst some embrace his innovation, others lament over the loss of a more traditional form and lack of hummable melodies. Many seem to deem his work as clever and intelligent but missing the warmth that was generally considered the mark of a hit Broadway show. Yet despite not always meeting with landslide approval for his work, Sondheim has collected more than sixty individual or collaborative Tony Awards; most notably he has received the award for best Score/Music/Lyrics for Company, Follies, A Little Night Music, Sweeney Todd, Into The Woods and Passion, all of which won the New York Drama Circle Award for Outstanding/Best Musical as did Pacific Overtures and Sunday In The Park With George. Company Sondheims first collaboration with writer George Furth, marked his first major hit in 1970. Furth had come to Sondheim in early 1969 with a series of one-act plays he had written. Sondheim passed them on to now legendary producer Harold Prince who suggested the two should work together to transform the plays into a musical, promising to stage it once it was completed. The piece shook Broadway from the fantasy happy ending story it had come to expect and brought about a more provocative musical comedy. As Sondheim stated, Company does deal with upper middle-class people with upper middle-class problems. Broadway theatre has been for many years supported by these people. They really want to escape and were saying well bring it right back in their facesà ¢Ã¢â€š ¬Ã‚ ¦what they come to a musical to avoid, they suddenly find facing them on stage. This hard-edged, unromantic depiction of romantic relationships was revolutionary for the Broadway stage and managed to both humour and challenge audiences with its unsettling view of relationships. Some found fault with what they saw as an anti-marriage show that didnt stand up against the classic Broadway themes, however, mostly the show met with the kinds of intelligent accolades reserved for something new and exciting. After its opening, observers noted that the shows protagonist, Robert, showed a similarity to Sondheim own character a middle-class, single, professional, living in New York, commenting on the life of the other young professional couples around him. Sondheim has always denied that any of his work is autobiographical, but his next collaboration with George Furth in 1981, once again seemed very familiar territory for both writer and composer. As far as the new era of Broadway composers goes, Jason Robert Brown has been hailed by some as The next Stephen Sondheim. Brown, also Jewish and born and raised in New York, began his career as an arranger, conductor and pianist. His first major production came in 1995 with Songs For A New World, an off-Broadway revue directed by Daisy Prince, daughter of Hal Prince who later hired Brown to write the songs for the musical Parade after Sondheim turned down the show. The musical tells the controversial true story of the trail and hanging of Leo Frank, who was wrongly accused of the rape and murder of a young factory girl in early 20th century Georgia. The show dealt with the anti-Semitic tensions in the southern states at the time and did not shy away from the conclusion that the likely killer was the African-American factory worker, Jim Conley. . Browns score is full of riches, mixing period American styles with strong melodies, intricate counterpoint, selective dissonances, and natural lyrics which give their characters true, expressive voices. Despite the cool reception of the show by the critics and the feeling that the show took too many liberties in the use of racial slurs, Browns score was highly praised and he later won the Tony award in 1999 for Best Original Musical Score. The attention received by Brown marked him out as the hottest up and coming talent. He returned to work with Daisy Prince on his next piece, The Last Five Years for which he wrote both the book and the score. Literature It is strange that despite the wealth of artistry and innovation which musical theatre has produced throughout the 20th century, it has never really being given its rightful place amongst academia, always being seen as a more low brow art form than that of serious plays or music. It seems that if the likes of Sondheim and Jason Robert Brown were to work in the medium of non-musical drama, or doubled in the field of serious musical composition like Gershwin or Bernstein, perhaps their work might be viewed in more of our universities. Why must important pieces of musical theatre be limited to the destiny of popular artists, however richly deserving of serious attention on its own merits? That is not to say that there has not been much analysis and writing on musical theatre or Sondheim in particular; Martin and Gottfried and Meryl Secrest both present biographies of Sondheims career, life and works in sharp detail providing an in depth look at past and present influences which have shaped his artistic development throughout the years. Sondheim On Music by Mark Eden Horowitz focuses on three main areas: Firstly his interviews with Sondheim, particularly focusing on five of his main works (Passion, Assassins, Into The Woods, Sweeney Todd and Pacific Overtures). The second part is entitled songs I wish Id written (at least in part) providing a look at some of Sondheims major influences from a list compiled for his 70th birthday celebrations at the Library of Congress. Part three supplies a list of all works, complete discography of all recordings to date and publishing information for all songs and scores up until the release of the book (2003). Joanne Gordons Art Isnt Easy The Theatre of Stephen Sondheim focuses on content and themes of Sondheims stage works, highlighting his innovative use of form and how he manages to weave the music and lyrics into the fabric of the entire piece. It is almost a guide to the appreciation of Sondheims scripts and music and would be especially useful for those staging any of Sondheims musicals and provides an excellent basis of primary research material. With little literary focus on Sondheims use of music, Stephen Banfield takes a different route, examining much of Sondheims output from a musicological perspective, undertaking practical and theoretical treatment of the music. Despite these and other writings in the last decade which are taking a more serious treatment of the works of musical theatre, there is still an elitist treatment against the reading of musical theatre within the academy. It seems to be stuck on the view that musicals remain largely unsophisticated and lacking in high serious. Unfortunately, there are times when this is true. Recently, Broadway and the West End seem to have been plagued by film adaptations, Disney rehashes and juke-box musicals which, whilst they may have been commercially successful, are tarring other more worthy writers and composers with the low-brow brush. A collection of critical essays edited and with a foreword supplied by Sandor Goodhart makes moves to further the writing and critical analysis of the works of Sondheim, again pushing for the academy to take a closer look into the world of intelligent musical theatre. Hopefully the moves towards a more intellectual appreciation of the work of Sondheim within academia will allow the same to later happen for the new class of musical theatre composers like Brown. Merrily We Roll Along Merrily We Roll Along was one of Sondheim and writer George Furths most famous flops, running for just 16 performances after it opened on Broadway in 1981. It was based on a 1930s play by George Kaufmann and Moss Hart, and follows a group of hopeful young college graduates, from 1957 to 1976. But there is a twist the plot is stage in reverse linear motion so the show begins in 1976 and gradually works backwards in time. So we watch everything knowing how it ended up, with friendships broken, idealism betrayed and marriages on the rocks. The score is full of what sound like traditional musical comedy songs hailing from 50s and 60s Broadway. While the score is very clearly Sondheim and the songs are not parodies, there does seem to be hints of several of his contemporaries; Berstein, Bacharach, Styne and Kander. It seems somewhat ironic that this traditional book-musical which contains some of Sondheims most accessible songs, has had such a troubled professional history. After the failure of the original production, Sondheim later made several major revisions for the revival of the show at the LaJolla Theatre in 1985. The reworking created a score Sondheim now calls, definitive. The show is centred on Franklin Shepard a rich, famous and influential songwriter and film producer. But how did he get to be where he is today? (Merrily We Roll Along) The years begin to roll back. First stop is Franks swanky Bel Air pad in 1976, after the premiere of his latest movie. Frank is throwing a party filled with his friends; the hangers-on, people who make things happen in show business and the movers and shapers are all there, and lavish praise on him (That Frank). At the party we also meet Franks old friend and theatre critic, Mary, who is now an alcoholic. She is sickened by the superficiality of the people Frank has chosen to associate with and by his abandonment of music the one thing he was truly good at for the world of commercial film producing. As she gets progressively more and more drunk, she begins to loudly insult everyone, and is ordered to leave. Their friendship is over. However, Frank is hurt by Marys drunken remarks because he knows they are true. He has concentrated so completely on being a success that everything he most valued at the beginning of his career has long been left behind. The evening ends traumatically with the break down of Franks unhappy marriage to his wife Gussie, a former leading actress in one of his early musicals, when she viciously attacks Meg, his mistress. The years roll back to 1973 (First Transition). Frank and his long-time lyricist collaborator and friend, Charley Kringas, are about to be interviewed in a New York TV studio. In the make-up room, Charley greets Mary (Old Friends), and tells her that Frank is now so busy making deals that he never has time to write shows with him like they had always hoped. Mary laments over their strained friendship and wishes that it could be Like It Was. On-air the TV interviewer accidentally informs Charley of Franks plans to once again put off their long awaited politically idealistic show for another project. A nervous Charley launches into a demented rampage on the way his composer has transformed himself into a corporation (Franklin Shepard Inc). As Charley swings ferociously between bitterness and self-contempt, Frank walks out. Their friendship is over. Its now 1968, and Charley and Frank are in Franks apartment on Central Park West (Second Transition). He and Charley are arguing over his decision to do a movie version of one of their shows, Musical Husbands. Frank wants to do it for the money, but Charley says that it will get in the way of writing the idealistic show theyve always wanted to create. Mary looks on, and when the argument starts getting out of control reminds them that they are all still old friends (Old Friends Part II). Broadway producer Joe Josephson and his wife Gussie arrive. She and Frank have been having a long-term affair. Joe has learnt to live with it, but Mary, hopelessly in love with Frank, finds it much harder to accept. When the others leave, Gussie startles Frank by announcing she intends to divorce Joe to be with Frank, leaving him to decide on what he wants (Growing Up). The years rewind to 1966 (Third Transition). Frank is being sued for divorce by Beth, and they wrangle over the custody of their young son in a courthouse in Lower Manhattan. Beth tells him that Not A Day Goes By when he isnt a part of her life, but she cant live with him knowing he is cheating on her with Gussie. The marriage is over. Mary and Charley and Franks other collegues rally around him telling him that the best thing to do is to move on and start again (Now You Know). Act II opens on the opening night of Frank and Charleys first Broadway show, Musical Husbands. Gussie stars in the show, and the act opens with Gussies performance of Franks and Charleys big hit song(Act Two Opening). Although not exactly the kind of show the duo had always planned, as the curtain comes down on the show, the audience applauds wildly. Broadways latest words-and-music team, Charley and Frank, have just found themselves a hit. (Its A Hit!) The years roll back further to 1962 (Fourth Transition) at a party in Gussie and Joes apartment. Gussie has thrown a soirà ©e so that Frank and Charley, who are going to write a musical for Joe to produce, can meet all the richest and most influential people in town describes as The Blob. We see early signs of Gussies romantic interest in Frank (Growing Up). Gussie invites the collaborators to perform their latest song, Good Thing Going. The guests love it. Gussie simply fawns over the number and implores them to do it again. Charley urges Frank not to. You want to know what true greatness is? Its knowing when to get off, Charley says. But Frank insists. They play the song again, but the guests quickly lose interest and resume their cocktail chatter over Franks reprise (The Blob Part II). Back to 1960, the dawn of a new decade with new hopes (Fifth Transition). Charley, Frank and Beth are young and on the outset of their careers, playing Frank and Charleys music at a small nightclub in Greenwich Village. Trying to appear bright and sophisticated, they perform a cheeky number celebrating the accession of Americas new First Family (Bobby And Jackie And Jack). Joe is in the tiny audience and hes quite impressed, as is his wife Gussie. Afterwards, Frank explains that hes marrying Beth and pledges that a day doesnt go by when shes not a part of his life (Not A Day Goes By Part II). At an adjoining table, Mary echoes the sentiment; its how shell always feel about Frank. Its 1959 (Sixth Transition) and the young Frank, Charley and Mary are busy in New York, establishing their careers (Opening Doors). The boys audition for Joe, but he wants more hummable tunes. So they decide to do their own show and end up hiring Beth as a singer. The years finally take us back to October, 1957 (Seventh Transition). Its 5:30am, and Frank, Charley and Mary are on the roof of an old apartment house waiting for the first-ever earth-orbiting satellite. Suddenly, Sputnik is there in the sky, and for the three young friends, anything is possible (Our Time). The Last Five Years Jason Robert Browns one act musical The Last Five Years premiered in Chicago and was later produced off-Broadway in 2002. The story explores the five year relationship of Jamie Wellerstein and Cathy Hyatt. Like Merrily it also makes use of reverse-linear motion, but just for one character; so Jamies story moves chronologically through their relationship, but we begin at the end of Cathys story moving chronologically backwards. Their relationship begins in their early twenties; Jamie is an up and coming novelist, Jewish and intense. Cathy is a struggling actress, catholic and insecure. Browns score is diverse and he is not afraid of writing catchy melodies with much of the material being pop-driven and wedded to intelligent lyrics that explain who these characters are. The show was met with high acclaim, with critics praising the Browns genuine, smart, humorous and moving writing . The show begins with Cathy alone in her apartment as her marriage to Jamie has ended, and he has just moved out (Still Hurting). When the song finishes, Jamie appears. It is five years earlier and he is on their first date. We learn that Jamie is Jewish and Cathy is not. Despite this, Jamie is completely smitten with his Shiska Goddess The scene then switches to Cathy sitting on a pier in Ohio with Jamie, who has come to visit her for her birthday while she does summer stock theatre (See Im Smiling). It is clear that she is not happy about spending her time away from Jamie and is enthusiastic about fixing their marriage. She becomes very angry when Jamie announces that he has to return to New York. They argue, and Cathy claims that he spends all of his time thinking only of himself, singing you and you and nothing but you. During interludes in the music, Jamie, several years earlier, talks to a literary agent about the book he has just written. His future looks promising. The play moves away from their argument, and Jamie tells a friend that he is moving in with Cathy. Everything seems to be going right for him; his book is being published and the Atlantic monthly is printing the first chapter. Even though his work and his relationship with Cathy seem to have taken on lives of their own, hes too happy to get worried (Moving Too Fast). Cathy, meanwhile, is making a call to her agent. Though we only hear her side of the conversation, it is obvious that she is struggling with her career. Cathy sits at Jamies book signing party. She sings about her life with him, asserting that even though he often obsesses over his writing and ignores her, she is terribly in love with him (A Part of That). Cathy confesses that she does not act independently anymore, but instead follows in his footsteps. Jamie celebrates his first Christmas with Cathy. He tells her a fable (which he has written, new and unpublished) about an old tailor named Schmuel whose encounter with a magical clock gives him infinite time to realize the dress of his dreams. Jamie reveals the parallel between Schmuel and Cathy: she needs to take the time to unlock her dreams. He presents Cathy with her Christmas present: a watch (The Schmuel Song). Cathy sits in Ohio and writes a letter to Jamie. They have just been married and she is missing him dreadfully. She describes to Jamie her quirky life in Ohio among her eccentric cast members (A Summer in Ohio). Jamie is sitting with Cathy in a boat on the lake in Central Park. He proposes. Cathy enters and Jamie presents her with the engagement ring and, for the first and only time in the musical, their stories meet and they sing together (The Next Ten Minutes). They exchange vows and rings, promising to stay together for the next ten lifetimes. They kiss before Jamie escorts Cathy to the rowboat, where she has the other side of the conversation that Jamie had before her arrival. Jamie watches her go. The newly-wed Jamie is facing some temptation issues. He feels like he is constantly bombarded by attractive women, especially since his writing career has taken off (A Miracle Would Happen). Cathy, meanwhile, embarks on a series of audition for the job in Ohio (When You Come Home to Me). She is frustrated with the audition process and discusses her sense of inadequacy with her father (Climbing Uphill). Jamie, on the phone with Cathy, does his best to convince his wife that his relationship with his editor, Elise, is purely platonic. Cathy doesnt believe him. Jamie wants to celebrate a book review in The New Yorker, but Cathy isnt in the mood to go out. She sings passionately about her desire to be independent, refusing to trot along at the geniuss heels. Jamie is reading an excerpt of his book. It is obviously about his relationship with Cathy. In the next scene, Jamie is fighting passionately with Cathy. It is toward the end of their relationship and he is trying desperately to just get her to listen to him. He wonders aloud if they will ever get to the point where things are easy, where there arent so many obstacles facing their marriage. He accuses her of being unsupportive of his career just because hers is failing. Though his words are harsh, he promises her that he believes in her unconditionally, and that if he didnt he wouldnt love her (If I Didnt Believe in You). Some time into the relationship, Cathy drives Jamie to her parents house in the suburbs. As she drives, she babbles happily about her past relationships and her desire not to end up in the same small town life as her best friend from high school: married with children and living in a little cute house on a little cute street with a crucifix on the door (I Can Do Better Than That). At the climax of the song, she asks Jamie to move in with her. Towards the end of the marriage, Jamie wakes up in the apartment beside a woman who may or may not be his editor, Elise (Nobody Needs to Know). He tries to defend his actions and blames Cathy (who is away in Ohio) for destroying his privacy and their perfectly balanced relationship. Jamie promises not to lie to this woman and tells her, just as he told Cathy in Shiksa Goddess, that I could be in love with someone like you. Cathy is at the end of her first date with Jamie. She sings goodbye to him (Goodbye Until Tomorrow). She proclaims that she has been waiting for Jamie her whole life and is ready for this romance. Simultaneously but five years forward, Jamie sits in their shared apartment writing a farewell note (I Could Never Rescue You). As Cathy waves Jamie goodbye until tomorrow, Jamie wishes Cathy simply goodbye. So what do these two musicals have in common apart from the obvious manipulation of time used in each story? Well it becomes apparently clear on examination of both the shows and their creators that these stories are more than just something to be told, but in fact stay perilously close to home and stem from a more personal elements of the world of both Sondheim/Furth and Jason Robert Brown. In Merrily the character, composer Frank Shepherd, advises an aspiring writer Dont just write what you know Frank says as he points to his head. Instead, he encourages to write what you know, pointing to his heart. Despite Sondheim always being very avid that he never writes himself into any characters, there was a clear choice made to change the original Kaufman and Hart play from playwright and painter to composer and librettist who write musical comedies together. There are further similarities established by making the librettist a native of Chicago and graduate of Columbia University. Also we note that the theatre in which Frank and Charleys hit show is produced is The Alvin, which was home to Sondheim and Furths first great hit Company in 1970 and later Merrily itself in 1981. Where the characters and contemporary settings in Company were directly forcing the audiences to acknowledge and confront the themes presented, Merrily also challenges Sondheim and Furth themselves to acknowledge their own world, their own relationships and the industry they find themselves in. Putting the characters in the familar surroundings of Broadway productions allows Sondheim and Furth to make a real statement about the industry; What kind of people fill this world? What kind of pressures do writers and composers face throughout their careers? What do producers want? Can one walk the fine line between commercial success and artistic integrity? Perhaps it is this demystifying of the Broadway illusion was what led to the original production of Merrilys early closure? Jason Robert Brown is more open about his obvious personal link to the character of Jamie and the similarities of the Jamie/Cathy relationship to that of Brown and his failed marriage to actress Theresa ONeill. We see how the rise of Jamies career as a writer mirrors that of Brown as a composer and the troubles it gave in marriage. Indeed, ONeill even threatened legal action before the opening of the off-Broadway production, claiming the piece came too close to real life. Brown made some changes, disclosing them, he states, would violate the settlement but we know that one of the major changes was the inclusion of the Shiska Goddess instead of I Could Be In Love With Someone Like You. The fact that both shows deal with a certain type of person an artist, a creator, trying to make a professional career in New York dictates the musical and lyrical style of the show; In Merrily the fact that the show deals with two friends who write Broadway musicals leads to a traditional book musical with a score widely considered to be one of Sondheims most accessible scores with many ironically hummable melodies. With the characters of Frank and Mary, Sondheim and Furth have the chance to have some verbal fun as they enforce their characters abilities as writers. We see with that Mary has a habit of taking other peoples clichà ©d conversation and turning it into unexpected meanings, for example in the opening party seen: Ru: So what do you do? Mary: I drink. Ru: No, what do you really do? Mary: I really drink. Also, when Frank tells everyone that he and Mary go way back, she continues, but seldom forward, not only a comment on their stalling friendship but also a clever inside joke on the narrative structure of the piece. Verbally, Mary keeps taking people places they dont expect to go. Sondheims lyrics in That Frank show this ability to take the listener down one road and then take an unexpected turn in another direction. Singing about Franks guest she says: These are the movers, these are the shapers These are the people who give you vapors And in Now You Know she makes the surprising point that you should burn your bridges every now and then, turning around the conventional idea that burning bridges is a negative thing. Similarly there is some further beautiful wordplay highlighting her knack with words as she advises Frank that bricks can tumble from clear blue skies, and that people love you and tell you lies Charley sometimes plays a similar verbal trick. Whilst being interviewed on TV he is asked, What comes first, the words or the music? he replies, Generally the contract. Infact, the song Franklin Shepherd Inc is a complete show piece for Charley, highlighting both his talents with words and having only been introduced to the character, the audience are made aware of the dynamics of his character who seeks purity of purpose, dedication and the rewards of keeping it simple. On the other hand, composer Frank is inarticulate in comparison. We find that when he opens his mouth he tends to create some clichà © like the worst vice is advice or she is the raft that keeps me from drowning. Also, we note that he only sings one solo number in the show Growing Up, where we become aware of the characters ability to think he is rationalising his hopes and beliefs when he really means compromising. Both shows seem to have a sense of honesty with the creation of real, multi-layered storyline and flawed characters. Maybe it is the close relationship of creator(s) and story that manages to generate scenes and songs which capture a moment in time or an emotional snapshot which sets these shows apart. Furthermore, both shows also centre on the fragility of relationships, with the manipulation of time constantly conditioning and changing the audiences view of the relationships and where their sympathies lie. **

The String Around My Finger :: Essays Papers

The String Around My Finger I work in a restaurant as a waitress and several days ago a co-worker of mine had to leave work. His ex-wife had called to tell him that their daughter had been rushed to the hospital because of a bicycling accident. He wasn't sure quite what to do. He'd talked to me before he asked the manager for permission to leave. He doubted that it was serious enough to get permission and asked whether or not I thought he should try. I told him that he had to go, and that I thought it was very important that he and his ex-wife be by her side especially considering their recent divorce. From my own experience, I knew that simply having both of my parents come to my aide reinforced the idea that my parents were the ones that got divorced and that, even if they weren't living together, they both would always be there for me. My parents got divorced when I was two and my younger sister just six months. My sister and I lived with our mother would visit our father two weekends a month and over summer vacation the situation was reversed. As we grew older, our enthusiasm towards those visits with our father waned because, after all, all of our friends were in our neighborhood. We frequently missed friends' birthday parties to visit him. Inevitably however, we always had a great time and were sad when our visits were over and yet happy to come home. I'd be lying if I said that I never wished that they would get back together and that there were never any times I couldn't wait to show my father what I'd done in art class or a great math test I was particularly proud of. Maybe it was for that reason that as a child I couldn't help feeling slightly abandoned even though he never missed a visit. I thought I'd outgrown that feeling when I was seven and a big first grader. It wasn't until that feeling had vanished that I realized I'd still felt that way. I was in the fourth grade when that happened. My mother picked us up from our father's on Sunday evenings. On the ride home she told me she had a surprise for me. I knew that she'd rearranged our rooms (she did that all the time; she used to want to be an interior decorator), so I couldn't imagine what my surprise could be.