(3662,84,'2013-11-25 13:17:04','2013-11-25 19:17:04','<!--[if gte mso 9]&gt;-->\r\n \r\n  \r\n  \r\n \r\n\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n \r\n  Normal\r\n  0\r\n  \r\n  \r\n  \r\n  \r\n  false\r\n  false\r\n  false\r\n  \r\n  EN-US\r\n  X-NONE\r\n  X-NONE\r\n  \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n  \r\n  \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n   \r\n  \r\n<!--[if gte mso 9]&gt;-->\r\n \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n  \r\n \r\n<!--[if gte mso 10]&gt;-->\r\n\r\n /* Style Definitions */\r\n table.MsoNormalTable\r\n	{mso-style-name:\"Table Normal\";\r\n	mso-tstyle-rowband-size:0;\r\n	mso-tstyle-colband-size:0;\r\n	mso-style-noshow:yes;\r\n	mso-style-priority:99;\r\n	mso-style-parent:\"\";\r\n	mso-padding-alt:0in 5.4pt 0in 5.4pt;\r\n	mso-para-margin-top:0in;\r\n	mso-para-margin-right:0in;\r\n	mso-para-margin-bottom:10.0pt;\r\n	mso-para-margin-left:0in;\r\n	line-height:115%;\r\n	mso-pagination:widow-orphan;\r\n	font-size:11.0pt;\r\n	font-family:\"Calibri\",\"sans-serif\";\r\n	mso-ascii-font-family:Calibri;\r\n	mso-ascii-theme-font:minor-latin;\r\n	mso-hansi-font-family:Calibri;\r\n	mso-hansi-theme-font:minor-latin;}\r\n\r\n\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">The discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">Standing out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China. (Columbia Electronic Encyclopedia)\r\n</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">The Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">In the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">I really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">Wright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">One thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\"><span style=\"font-size: 12.0pt;line-height: 200%;font-family: \'Times New Roman\',\'serif\'\">Including other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-25 13:17:04','2013-11-25 19:17:04','',3660,'http://jeanatacc.com/2011/?p=3662',0,'revision','',0),(3664,75,'2013-11-25 13:21:26','2013-11-25 19:21:26','<p style=\"text-align: center\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"614\" height=\"461\" /></p>\r\n<p style=\"text-align: center\"><a href=\"http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA\">http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA</a></p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground”.\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”.\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today.\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing.\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”.\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation”.\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Cited Work:</strong>\r\n<ol>\r\n	<li><strong>“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print.(https://www.britannica.com/blackhistory/article-215415)</strong></li>\r\n	<li><strong>http://www.jazz.com.</strong></li>\r\n	<li><strong>http://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that</strong></li>\r\n</ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','','','inherit','open','open','','3643-revision-v1','','','2013-11-25 13:21:26','2013-11-25 19:21:26','',3643,'http://jeanatacc.com/2011/?p=3664',0,'revision','',0),(3665,75,'2013-11-25 13:29:27','2013-11-25 19:29:27','<p style=\"text-align: center\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"614\" height=\"461\" /></p>\r\n<p style=\"text-align: center\"><a href=\"http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA\">http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA</a></p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground”.\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”.\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today.\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing.\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”.\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation”.\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Cited Work:</strong>\r\n<ol>\r\n	<li><strong>“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print.(https://www.britannica.com/blackhistory/article-215415)</strong></li>\r\n	<li><strong>http://www.jazz.com.</strong></li>\r\n	<li><strong>http://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that</strong></li>\r\n</ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-revision-v1','','','2013-11-25 13:29:27','2013-11-25 19:29:27','',3643,'http://jeanatacc.com/2011/?p=3665',0,'revision','',0),(3666,76,'2013-11-25 14:09:57','2013-11-25 20:09:57','On August 18<sup>th</sup>, 1969 at the Woodstock music festival in Bethel, New York, Jimi Hendrix performed his rendition of the Star Spangled Banner. The performance lasted roughly 4 minutes and was performed on a stage in front of an audience of thousands on the final day of the festival, Monday, since the weather postponed many shows. There were mixed reaction to his rendition of the national anthem. Some thought that he was purposely performing the anthem badly to send an anti-America message, but Hendrix would later describe the performance as necessary since he was an American in a positive sense. His use of guitar feedback and amplifier effects were received positively and negatively both by those attending the performance and those who caught the show via the documentary movie released shortly afterward. Hendrix\'s use of feedback to emulate sounds of bombs, guns, and screams also represent the progression of art into post-modernism, where music and other arts became increasingly abstracted for the sake of a more inherent meaning. Jimi Hendrix\'s performance of the Star-Spangled Banner should be preserved because of his innovative use of musical effects to portray real sounds to convey a message.\r\n\r\n<!--more-->\r\n\r\nOne of the most important historical event that occurred during Hendrix\'s time was the war between Vietnam and the United States. This is the war that many critics believe the performance is tied to as protest material. This war is tied to the United States\' policy of containment of the spread of Soviet “communism” throughout southeast Asia from China. In China at this time, the cultural revolution was in full effect under Mao\'s command and influence of his political practice was spreading south, hence the war in Vietnam. The counterculture movement in America fueled Woodstock and was wrought with anti-war sentiments and other ideologies attached to Hendrix and his performance, but not politicians nor spectators would arrive at Hendrix\'s true intentions for the work (Pareles).\r\n\r\nMusic of the 20<sup>th</sup> century is often analyzed in a different way than music of earlier centuries, stark differences and progressions of various music styles and techniques can be traces to decades during which certain genres and motifs in music were more popular than others. In the \'50s, rock and roll is said to have begun, in the \'60s, rock and roll was taken to a psychedelic direction and electrical instruments and effects were added in experimental fashion by musicians such as the Beatles, with punks bringing the new “punk rock” to the underground music scene (Pareles). Hendrix\'s work was as popular as it was in it\'s creation because of his guitar work and his innovations of the psychedelic side of guitars and drums (Wenner). He was a talented guitar player and a creative engine for his band “the Experience” and it showed in his live improvisations and recorded content that reached the top of the Billboard 200 for weeks at a time. The fact that he uses a guitar is typical, but what he does with it is certainly not.\r\n\r\nJimi Hendrix was one of few who began the rocker\'s archetype of guitar abuse on stage and live guitar solo improvisations. He stood out naturally as well, being one of few of early rock\'s left-handed guitarists and having guitars custom made for his unique playing style. On stage, Jimi stood out as well often improvising his use of feedback to enhance the song\'s message and sound, as he did for the Star-Spangled Banner. He is also well known for his eccentric presence; in one performance he was sexually touching an amplifier, lighting his guitar on fire, and smashing it to pieces on the stage to a mixed reaction from the crowd (DeCurtis). This is in stark contrast to the clean-dressed innovators of \'60s rock The Beatles, who were generally crowd pleasing performers with a style that had mass appeal.\r\n\r\nBefore the performance, The Jimi Hendrix Experience, his self-titled band, had excellent reception in the UK with their first release <i>Are You Experienced?</i> reaching #2 at its peak (Wenner). The Woodstock performance had mixed reactions. People in the crowd were said to be “pulling their hair out” in amazement and others were silent with confusion. Fellow artist Bob Dylan reflected on the work positively, describing it as unifying and powerful in the message Hendrix was conveying (Ventre). Critics saw the performance as an anti-American piece extending from the popular disapproval of the Vietnam War by many of the attendants of the Woodstock festival (Ventre). Hendrix disagrees with this interpretation, stating that to even play the piece live is to do what any American musician would do in a patriotic sense. However, his experience in the Army fostered an anti-war mentality that was more accurate to his message and unified those who appreciated their country but not their country\'s actions (Wadleigh).\r\n\r\nToday, Hendrix\'s Star-Spangled Banner is still revered and honored, the performance was inducted into the Grammy Hall of Fame for rock tracks in 2009 (DeCurtis). This award given retrospectively shows just how impacting his rendition was and still continues to be today. Despite the disapproval of his work by those outside the 1960\'s-\'70s American counterculture, Hendrix\'s performance has today garnered mainstream praise. There are still many who revere Hendrix\'s work in general as well as his performances at Woodstock, with Rolling Stone honoring his work in the list of greatest albums and the man himself in their list of greatest artists (Wenner). With the national anthem being performed at major sporting events in America constantly, it is rare that one performance is regarded as highly as this one was and continues to be.\r\n\r\nJimi Hendrix\'s rendition of the national anthem struck me as bizarre because of how far Hendrix pushed his equipment to produce the sounds he wanted. He was very daring with his guitar use and audio play, but I feel he was more open to do this given his setting. The Woodstock festival was notorious for its audience, who was largely made up of “hippies” experimenting with freedom in terms of sex, drugs, and societal critique. If Hendrix were playing for politicians at the White House, or any more formal setting, an average person in his position would formalize his or her own performance to fit the occasion, but given his style, some may argue that he would retain his message and play the same anthem he did at Woodstock. I thought his performance was incredible and his mastery of sound created from a single guitar flourishes in this piece.\r\n\r\nAnother contemporary group in Hendrix\'s time, the Beatles, achieved great acclaim during their time and are often regarded with Jimi Hendrix and other artists of the time as pioneers of rock\'s second generation. There is no known performance of the national anthem by the Beatles, but their work as a whole can easily be compared and contrasted to Hendrix\'s work as a whole considering both artist/artist group\'s guitar use and popular acclaim. Guitars were used by both as a prevailing source of rhythm and as the pivoting point of both artists. Hendrix emphasized during his career the prevalence of the “power trio”, taking on the rhythm duties and guitar solos during performances and on their records. Hendrix\'s band “the Experience” and later “Band of Gypsies” often had following members that aided to fill out their sound on tour, whereas the Beatles generally kept to their quartet with each member trading vocal duties, with John and Paul taking the lead, and one rhythm guitar and one lead guitar.\r\n\r\nPopularity came on both artists quickly as Hendrix\'s band\'s first album fell 2<sup>nd</sup> only to the Beatles\' White Album on the UK charts (Wenner). Both artists also came with their fair share of controversies, the Beatles\' John Lennon made a statement in the height of their success that they were “more popular than Jesus” which didn\'t sit well with the generally conservative countries where the Beatles were popular. Hendrix shocked spectators on a crowd-by-crowd basis with his on-stage antics that birthed many archetypes of rock music. After a performance of “Wild Thing” caught on video, Hendrix, as mentioned earlier, sets his guitar on fire and destroys it on stage just before walking off, finishing the set. The Beatles never destroyed their equipment on stage, or elicited mixed responses from their audiences as frequently as Hendrix, but, as human beings, they had blunders that are often overlooked in current reflections on their influence on music today.\r\n\r\nHendrix\'s Star-Spangled Banner should be preserved as a piece of art in all respects. He communicates a message that is clear to those who understood him and his ideas and from his subjective perspective as an American that had a passion for rock music. He created what no body had before him, taking a medium that was previously viewed as undesirable and reforming it into a representation of sounds that moved people and sent a message. Future generations should know that this piece sends a message from an individual, one that is specific to his time and place which he knows and can comment on through his work. His piece of time is played though this performance and should be preserved both for the man\'s skill and the message he sends.\r\n\r\n&nbsp;\r\n<p align=\"CENTER\">Work Cited</p>\r\nDeCurtis, Anthony. \"Beyond The Jimi Hendrix Experience.\" (Feb 28, 2010), p. AR.21.(n.d.): Web. 20 Nov. 2013.\r\n\r\n-Gave insights on Hendrix\'s band\'s story and experiences before and after the performance.\r\n\r\n&nbsp;\r\n\r\nPareles, Jon. \"POP VIEW; Caution: Now Entering The War Zone.\" (Feb 24, 1991), p. A.25.(n.d.): Web. 20 Nov. 2013.\r\n\r\n-Allowed insights on war themes in music during the 20th century.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Ventre, Michael. N.p.. Web. 25 Nov 2013. &lt;http://www.today.com/id/32175232</span></span></span>\r\n\r\n-Detailed  description of reactions to the performance and a good source for today\'s opinions on the work.\r\n\r\n&nbsp;\r\n<p align=\"LEFT\">Wadleigh, Michael. \"Land Of The Free. (Cover Story).\"Newsweek133.26 (1999): 60. MAS Ultra - School Edition. Web. 20 Nov. 2013.</p>\r\n<p align=\"LEFT\">-Looks at anthem performances and controversies surrounding performances throughout the 20th century and American responses to them.</p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Wenner, Jann S., . N.p.. Web. 25 Nov 2013. &lt;http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531&gt;.</span></span></span></p>\r\n<p align=\"LEFT\">-The list of greatest albums offered a modern perspective on both Hendrix and the Beatles in their greater works of which multiple of both are on the list.</p>','Hendrix\'s Star-Spangled Banner','','publish','open','open','','hendrixs-star-spangled-banner','','','2013-12-02 12:02:16','2013-12-02 18:02:16','',0,'http://jeanatacc.com/2011/?p=3666',0,'post','',9),(3667,76,'2013-11-25 14:09:57','2013-11-25 20:09:57','On August 18<sup>th</sup>, 1969 at the Woodstock music festival in Bethel, New York, Jimi Hendrix performed his rendition of the Star Spangled Banner. The performance lasted roughly 4 minutes and was performed on a stage in front of an audience of thousands on the final day of the festival, Monday, since the weather postponed many shows. There were mixed reaction to his rendition of the national anthem. Some thought that he was purposely performing the anthem badly to send an anti-America message, but Hendrix would later describe the performance as necessary since he was an American in a positive sense. His use of guitar feedback and amplifier effects were received positively and negatively both by those attending the performance and those who caught the show via the documentary movie released shortly afterward. Hendrix\'s use of feedback to emulate sounds of bombs, guns, and screams also represent the progression of art into post-modernism, where music and other arts became increasingly abstracted for the sake of a more inherent meaning. Jimi Hendrix\'s performance of the Star-Spangled Banner should be preserved because of his innovative use of musical effects to portray real sounds to convey a message.\r\n\r\n<!--more-->\r\n\r\nOne of the most important historical event that occurred during Hendrix\'s time was the war between Vietnam and the United States. This is the war that many critics believe the performance is tied to as protest material. This war is tied to the United States\' policy of containment of the spread of Soviet “communism” throughout southeast Asia from China. In China at this time, the cultural revolution was in full effect under Mao\'s command and influence of his political practice was spreading south, hence the war in Vietnam. The counterculture movement in America fueled Woodstock and was wrought with anti-war sentiments and other ideologies attached to Hendrix and his performance, but not politicians nor spectators would arrive at Hendrix\'s true intentions for the work.\r\n\r\nMusic of the 20<sup>th</sup> century is often analyzed in a different way than music of earlier centuries, stark differences and progressions of various music styles and techniques can be traces to decades during which certain genres and motifs in music were more popular than others. In the \'50s, rock and roll is said to have begun, in the \'60s, rock and roll was taken to a psychedelic direction and electrical instruments and effects were added in experimental fashion by musicians such as the Beatles, with punks bringing the new “punk rock” to the underground music scene. Hendrix\'s work was as popular as it was in it\'s creation because of his guitar work and his innovations of the psychedelic side of guitars and drums. He was a talented guitar player and a creative engine for his band “the Experience” and it showed in his live improvisations and recorded content that reached the top of the Billboard 200 for weeks at a time. The fact that he uses a guitar is typical, but what he does with it is certainly not.\r\n\r\nJimi Hendrix was one of few who began the rocker\'s archetype of guitar abuse on stage and live guitar solo improvisations. He stood out naturally as well, being one of few of early rock\'s left-handed guitarists and having guitars custom made for his unique playing style. On stage, Jimi stood out as well often improvising his use of feedback to enhance the song\'s message and sound, as he did for the Star-Spangled Banner. He is also well known for his eccentric presence; in one performance he was sexually touching an amplifier, lighting his guitar on fire, and smashing it to pieces on the stage to a mixed reaction from the crowd. This is in stark contrast to the clean-dressed innovators of \'60s rock The Beatles, who were generally crowd pleasing performers with a style that had mass appeal.\r\n\r\nBefore the performance, The Jimi Hendrix Experience, his self-titled band, had excellent reception in the UK with their first release <i>Are You Experienced?</i> reaching #2 at its peak. The Woodstock performance had mixed reactions. People in the crowd were said to be “pulling their hair out” in amazement and others were silent with confusion. Fellow artist Bob Dylan reflected on the work positively, describing it as unifying and powerful in the message Hendrix was conveying. Critics saw the performance as an anti-American piece extending from the popular disapproval of the Vietnam War by many of the attendants of the Woodstock festival. Hendrix disagrees with this interpretation, stating that to even play the piece live is to do what any American musician would do in a patriotic sense. However, his experience in the Army fostered an anti-war mentality that was more accurate to his message and unified those who appreciated their country but not their country\'s actions.\r\n\r\nToday, Hendrix\'s Star-Spangled Banner is still revered and honored, the performance was inducted into the Grammy Hall of Fame for rock tracks in 2009. This award given retrospectively shows just how impacting his rendition was and still continues to be today. Despite the disapproval of his work by those outside the 1960\'s-\'70s American counterculture, Hendrix\'s performance has today garnered mainstream praise. There are still many who revere Hendrix\'s work in general as well as his performances at Woodstock, with Rolling Stone honoring his work in the list of greatest albums and the man himself in their list of greatest artists. With the national anthem being performed at major sporting events in America constantly, it is rare that one performance is regarded as highly as this one was and continues to be.\r\n\r\nJimi Hendrix\'s rendition of the national anthem struck me as bizarre because of how far Hendrix pushed his equipment to produce the sounds he wanted. He was very daring with his guitar use and audio play, but I feel he was more open to do this given his setting. The Woodstock festival was notorious for its audience, who was largely made up of “hippies” experimenting with freedom in terms of sex, drugs, and societal critique. If Hendrix were playing for politicians at the White House, or any more formal setting, an average person in his position would formalize his or her own performance to fit the occasion, but given his style, some may argue that he would retain his message and play the same anthem he did at Woodstock. I thought his performance was incredible and his mastery of sound created from a single guitar flourishes in this piece.\r\n\r\nAnother contemporary group in Hendrix\'s time, the Beatles, achieved great acclaim during their time and are often regarded with Jimi Hendrix and other artists of the time as pioneers of rock\'s second generation. There is no known performance of the national anthem by the Beatles, but their work as a whole can easily be compared and contrasted to Hendrix\'s work as a whole considering both artist/artist group\'s guitar use and popular acclaim. Guitars were used by both as a prevailing source of rhythm and as the pivoting point of both artists. Hendrix emphasized during his career the prevalence of the “power trio”, taking on the rhythm duties and guitar solos during performances and on their records. Hendrix\'s band “the Experience” and later “Band of Gypsies” often had following members that aided to fill out their sound on tour, whereas the Beatles generally kept to their quartet with each member trading vocal duties, with John and Paul taking the lead, and one rhythm guitar and one lead guitar.\r\n\r\nPopularity came on both artists quickly as Hendrix\'s band\'s first album fell 2<sup>nd</sup> only to the Beatles\' White Album on the UK charts. Both artists also came with their fair share of controversies, the Beatles\' John Lennon made a statement in the height of their success that they were “more popular than Jesus” which didn\'t sit well with the generally conservative countries where the Beatles were popular. Hendrix shocked spectators on a crowd-by-crowd basis with his on-stage antics that birthed many archetypes of rock music. After a performance of “Wild Thing” caught on video, Hendrix, as mentioned earlier, sets his guitar on fire and destroys it on stage just before walking off, finishing the set. The Beatles never destroyed their equipment on stage, or elicited mixed responses from their audiences as frequently as Hendrix, but, as human beings, they had blunders that are often overlooked in current reflections on their influence on music today.\r\n\r\nHendrix\'s Star-Spangled Banner should be preserved as a piece of art in all respects. He communicates a message that is clear to those who understood him and his ideas and from his subjective perspective as an American that had a passion for rock music. He created what no body had before him, taking a medium that was previously viewed as undesirable and reforming it into a representation of sounds that moved people and sent a message. Future generations should know that this piece sends a message from an individual, one that is specific to his time and place which he knows and can comment on through his work. His piece of time is played though this performance and should be preserved both for the man\'s skill and the message he sends.\r\n\r\n&nbsp;\r\n<p align=\"CENTER\">Work Cited</p>\r\n<p align=\"CENTER\"></p>\r\nDeCurtis, Anthony. \"Beyond The Jimi Hendrix Experience.\" (Feb 28, 2010), p. AR.21.(n.d.): Web. 20 Nov. 2013.\r\n\r\n-Gave insights on Hendrix\'s band\'s story and experiences before and after the performance.\r\n<p align=\"CENTER\"></p>\r\nPareles, Jon. \"POP VIEW; Caution: Now Entering The War Zone.\" (Feb 24, 1991), p. A.25.(n.d.): Web. 20 Nov. 2013.\r\n\r\n-Allowed insights on war themes in music during the 20th century.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Ventre, Michael. N.p.. Web. 25 Nov 2013. &lt;http://www.today.com/id/32175232</span></span></span>\r\n\r\n-Detailed  description of reactions to the performance and a good source for today\'s opinions on the work.\r\n\r\n&nbsp;\r\n<p align=\"LEFT\">Wadleigh, Michael. \"Land Of The Free. (Cover Story).\"Newsweek133.26 (1999): 60. MAS Ultra - School Edition. Web. 20 Nov. 2013.</p>\r\n<p align=\"LEFT\">-Looks at anthem performances and controversies surrounding performances throughout the 20th century and American responses to them.</p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Wenner, Jann S., . N.p.. Web. 25 Nov 2013. &lt;http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531&gt;.</span></span></span></p>\r\n<p align=\"LEFT\">-The list of greatest albums offered a modern perspective on both Hendrix and the Beatles in their greater works of which multiple of both are on the list.</p>','Hendrix\'s Star-Spangled Banner','','inherit','open','open','','3666-revision-v1','','','2013-11-25 14:09:57','2013-11-25 20:09:57','',3666,'http://jeanatacc.com/2011/?p=3667',0,'revision','',0),(3668,1,'2013-11-25 14:11:28','2013-11-25 20:11:28','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">The discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">Standing out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China. (Columbia Electronic Encyclopedia)\r\n</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">The Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">In the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">I really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">Wright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">One thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">Including other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-25 14:11:28','2013-11-25 20:11:28','',3660,'http://jeanatacc.com/2011/?p=3668',0,'revision','',0),(3671,1,'2013-11-25 14:30:20','2013-11-25 20:30:20','<p style=\"text-align: center;\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"539\" height=\"404\" /></p>\r\n<p style=\"text-align: center;\"><a href=\"http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA\">http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA</a></p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.<!--more-->\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground”.\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”.\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today.\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing.\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”.\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation”.\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Cited Work:</strong>\r\n<ol>\r\n	<li><strong>“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print.(https://www.britannica.com/blackhistory/article-215415)</strong></li>\r\n	<li><strong>http://www.jazz.com.</strong></li>\r\n	<li><strong>http://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that</strong></li>\r\n</ol>\r\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-revision-v1','','','2013-11-25 14:30:20','2013-11-25 20:30:20','',3643,'http://jeanatacc.com/2011/?p=3671',0,'revision','',0),(3669,1,'2013-11-25 14:28:42','2013-11-25 20:28:42','<p style=\"text-align: center;\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"539\" height=\"404\" /></p>\r\n<p style=\"text-align: center;\"><a href=\"http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA\">http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA</a></p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.<!--more-->\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground”.\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”.\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today.\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing.\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”.\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation”.\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<strong>Cited Work:</strong>\r\n<ol>\r\n	<li><strong>“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print.(https://www.britannica.com/blackhistory/article-215415)</strong></li>\r\n	<li><strong>http://www.jazz.com.</strong></li>\r\n	<li><strong>http://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that</strong></li>\r\n</ol>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-revision-v1','','','2013-11-25 14:28:42','2013-11-25 20:28:42','',3643,'http://jeanatacc.com/2011/?p=3669',0,'revision','',0),(3674,84,'2013-11-25 19:08:09','2013-11-26 01:08:09','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\"><img class=\"size-full wp-image-3673\" alt=\"guggenheim03_t\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\" width=\"374\" height=\"239\" /></a></p>\r\n<p style=\"text-align: center\"></p>\r\n<p align=\"center\">(The Solomon R. Guggenheim Museum in 1959. Source: <a href=\"http://www.bc.edu\">www.bc.edu</a>)</p>\r\n&nbsp;\r\n\r\nThe discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.\r\n\r\nStanding out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China.\r\n\r\nThe Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.\r\n\r\nIn the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.\r\n\r\nI really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum.\r\n\r\nWright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.\r\n\r\nOne thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.\r\n\r\nIncluding other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-25 19:08:09','2013-11-26 01:08:09','',3660,'http://jeanatacc.com/2011/?p=3674',0,'revision','',0),(3670,1,'2013-11-25 14:29:46','2013-11-25 20:29:46','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n&nbsp;\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">The discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.<!--more--></span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">Standing out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China. (Columbia Electronic Encyclopedia)\r\n</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">The Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">In the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">I really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum. </span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">Wright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">One thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\"><span style=\"font-size: 12.0pt; line-height: 200%; font-family: \'Times New Roman\',\'serif\';\">Including other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.</span></p>\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-25 14:29:46','2013-11-25 20:29:46','',3660,'http://jeanatacc.com/2011/?p=3670',0,'revision','',0),(3672,84,'2013-11-30 18:48:27','2013-12-01 00:48:27','<!--[if gte mso 9]&gt;-->\n\n<!--[if gte mso 9]&gt;-->\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\">                   </a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\"><img class=\"size-full wp-image-3673\" alt=\"guggenheim03_t\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\" width=\"436\" height=\"277\" /></a></p>\n<p align=\"center\">(The Solomon R. Guggenheim Museum in 1959. Source: <a href=\"http://www.bc.edu\">www.bc.edu</a>)</p>\n&nbsp;\n\nThe discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum. (Fiero 20)<!--more-->\n\nStanding out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China. (Fiero 20)\n\nThe Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. (Fier0 92) This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum.  In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century. (Fiero 92)\n\nIn the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork. (Partial Wikipedia)\n\nI really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum.\n\nWright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures. (Fier0 91-92)\n\nOne thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism. (Fiero 91-92)\n\nIncluding other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.\n<p class=\"MsoNormal\" style=\"line-height: 200%\">Citation Sources:</p>\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\n\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\n\n&nbsp;\n\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\n\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\n\n<i> </i>\n\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\n\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\n\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-autosave-v1','','','2013-11-30 18:48:27','2013-12-01 00:48:27','',3660,'http://jeanatacc.com/2011/?p=3672',0,'revision','',0),(3675,84,'2013-11-25 19:08:50','2013-11-26 01:08:50','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\">                   <img class=\"size-full wp-image-3673\" alt=\"guggenheim03_t\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\" width=\"374\" height=\"239\" /></a></p>\r\n<p align=\"center\">(The Solomon R. Guggenheim Museum in 1959. Source: <a href=\"http://www.bc.edu\">www.bc.edu</a>)</p>\r\n&nbsp;\r\n\r\nThe discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.\r\n\r\nStanding out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China.\r\n\r\nThe Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.\r\n\r\nIn the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.\r\n\r\nI really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum.\r\n\r\nWright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.\r\n\r\nOne thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.\r\n\r\nIncluding other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-25 19:08:50','2013-11-26 01:08:50','',3660,'http://jeanatacc.com/2011/?p=3675',0,'revision','',0);
INSERT INTO `wp_posts` VALUES (3676,84,'2013-11-25 19:10:03','2013-11-26 01:10:03','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\">                   </a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\"><img class=\"size-full wp-image-3673\" alt=\"guggenheim03_t\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\" width=\"436\" height=\"277\" /></a></p>\r\n<p align=\"center\">(The Solomon R. Guggenheim Museum in 1959. Source: <a href=\"http://www.bc.edu\">www.bc.edu</a>)</p>\r\n&nbsp;\r\n\r\nThe discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.\r\n\r\nStanding out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China.\r\n\r\nThe Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.\r\n\r\nIn the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.\r\n\r\nI really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum.\r\n\r\nWright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.\r\n\r\nOne thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.\r\n\r\nIncluding other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-25 19:10:03','2013-11-26 01:10:03','',3660,'http://jeanatacc.com/2011/?p=3676',0,'revision','',0),(3677,1,'2013-11-25 19:38:32','2013-11-26 01:38:32','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\">                   </a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\"><img class=\"size-full wp-image-3673\" alt=\"guggenheim03_t\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\" width=\"436\" height=\"277\" /></a></p>\r\n<p align=\"center\">(The Solomon R. Guggenheim Museum in 1959. Source: <a href=\"http://www.bc.edu\">www.bc.edu</a>)</p>\r\n&nbsp;\r\n\r\nThe discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.<!--more-->\r\n\r\nStanding out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China.\r\n\r\nThe Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.\r\n\r\nIn the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.\r\n\r\nI really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum.\r\n\r\nWright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.\r\n\r\nOne thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.\r\n\r\nIncluding other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.\r\n<p class=\"MsoNormal\" style=\"line-height: 200%;\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-25 19:38:32','2013-11-26 01:38:32','',3660,'http://jeanatacc.com/2011/?p=3677',0,'revision','',0),(3678,77,'2013-11-25 23:00:18','2013-11-26 05:00:18','<p style=\"text-align: center;\"><b id=\"docs-internal-guid-13fb2fd5-92c7-d870-d602-ac0a3a08ee4a\"><img class=\"aligncenter\" alt=\"\" src=\"https://lh3.googleusercontent.com/DgQWcsD5CoAktGkJzk998-cANGT4-T4otqQQvNwWcxopQ8l8pSmK8_QSlXs5l3iAAfqSQvvXDoUj4Luo2eiHQKo6JeWPdPImdxQ_84t5UEYa30FD5zPlBPMirA\" width=\"249px;\" height=\"362px;\" />\r\n</b></p>\r\n<p style=\"text-align: center;\"><b>James Cameron’s <i>Terminator 2: Judgement Day</i></b></p>\r\n<p style=\"text-align: center;\">http://en.wikipedia.org/wiki/Terminator_2:_Judgment_Day</p>\r\n&nbsp;\r\n\r\nFamous and inspiring director James Cameron (1954) is known for his action packed, imaginative and also romantic films such as <i>Avatar</i>, <i>Aliens</i>, <i>Titanic</i>, and the classic and one of his most famous films yet, <i>The Terminator</i> (1984) and <i>The Terminator 2: Judgement Day </i>(1991). Cameron’s attention getting ideas was incorporated into this sequel making it one of the most mind boggling movies of the decade. According to a web source, James Cameron is a critically acclaimed film director known for some of the biggest box-office hits of all time. He has received numerous Academy Awards and nominations for his often large-scale, expensive productions” (websourceBiographyChannel). Sci-fi film, <i>The Terminator 2 </i>(sequel of the classic film, The Terminator) is about a more advanced liquid metal Terminator from the far future that was sent back to the year 1995 in order to command and terminate the entire human existence. Leading and well-known actor Arnold Schwarzenegger, a less advanced Terminator is also sent back into time from the future to protect the son of Sarah Conor, John Conor in this classic film. James Cameron is well applauded for his masterpiece and a major classic during it’s time and today, 1997 film, <i>Titanic. </i>Cameron’s imagination and patience landed him to make <i>Titanic</i>, and “<i>Titanic</i> became the first film to earn more than $1 billion” (websourceBiographyChannel). James Cameron’s brilliant and notorious imaginative ideas allowed him to be one of the most distinguished director/writer ever; and due to his much-publicized, dynamic, and major monumental pieces of work, <i>The Terminator 2: Judgement Day</i> should be preserved for it’s daring and radical storyline for future generations to come.<!--more-->\r\n\r\n<i>Terminator 2 </i>was definitely typical of its era. The boom of artistic and visionary films during the 1990’s was massive. During this time period, sci-fi movies similar to the Terminator masterpiece, such as the <i>Matrix</i>, <i>Star Wars</i>, and <i>Independence Day</i> were fantastic box office hits sweeping the nation’s attention. <i>Terminator 2 </i>was no surprise after these major works that created this big science fiction sensation. This time period was the beginning of the new world introducing films full of creative writing and imagination that marked the beginning of the 1900 to the year 2000. Sci-fi movies during this time were beyond ordinary thoughts. They were full of suspense, action, drama, and romance all tied into one movie. The dark themes, and futuristic effects of these science fictional sensations brought more and more people to become interested in the Sci-fi category. The sound effects behind these chiller movies were full of suspense and dilemma making viewers terrified but interested at the same time.\r\n\r\nThis work is unusual unusual of its time in many different ways and aspects. <i>Terminator 2</i> brought new futuristic thoughts during this time period by the entire storyline. The idea of traveling through time is mind-boggling for one, but the almost perfect makeup of the figure of Arnold Schwarzenegger as a Terminator was exquisite. Terminator 2 was one of the first movies to ever show a live robot inside of a human body, displaying the figure perfectly. Even though the lightening effects were a bit computerized (which was a bit unusual since everything else in the movie seemed completely real), this suspenseful movie completely demolished every powerful sound and visual effect showed in this movie. This movie definitely stands out from others such as the Matrix and Star Wars because of the aspect of time traveling and the romantic, action pact story line.\r\n\r\n<i>Terminator 2: Judgement Day</i> was received surprisingly tremendous during this time period. Critics and reviewers and even viewers were stunned of how amazing this scientifical movie came out to be. “Terminator 2: Judgment Day (1991), which won four Oscars in technical categories for its groundbreaking effects” (Rovi). Critics were fascinated with the detailed effects and “In short, Cameron has done an honourable and undoubtedly skilful job of tailoring his new film to the tastes of the times without too much sloppy compromise. He\'s made a science fiction film with verve, imagination and even a little wit, proving that the original, made for Dollars 6.5 million, wasn\'t a fluke and was certainly cheap” (Malcolm). Movie critics during this time were extremely satisfied with this classic not only because it was one of the movies that introduced futuristic ideas, but also because it introduced an entirely new concept on science fiction movies.\r\n\r\nThe perception of the movie today compared to back then are perfectly similar in comparison. Despite the fact that some people felt there was nothing more than special effect after effect, with no true story behind it; majority of critics and viewers became fans of this futuristic film. “Terminator 2” has one, along with an intriguing hero and fierce heroine, and a young boy who is played by Furlong with guts and energy. The movie responds to criticisms of excessive movie violence by tempering the Terminator’s blood lust, but nobody, I think, will complain that it doesn\'t have enough action” (Elbert). There are barely any differences in opinions about this film between the time period it was made until now. <i>Terminator 2</i> is definitely a classic that was a favorite among many people over the course of its existence.\r\n\r\nI absolutely love this film. The introduction to new innovative ideas about time travel, and major sound effects, not forgetting the amazing performance by Arnold Schwarzenegger and makeup and effects of the two Terminator figures. Terminator 2 definitely beats the first of its sequel. The suspense and drama, and beautiful acting in this movie was surely on point with its time. Because there are many movies in this sequel, it brought me to watch one after another, after another. The thrill and the chills and also the dramatic ending was brilliant. Cameron nearly perfected this film, and progressed from this point forward during his lifetime of film making.\r\n\r\n<i>Terminator 2 </i>specifically compares to many of its sequels, and also the film <i>Star Wars. </i>Both films executed sound effects, brilliant visionary details, and innovative ideas during this time period. “As revolutionary as the effects in \"Star Wars\" were, Lucas and his crew at ILM (Industrial Light &amp; Magic) have upped the ante so high in their search for realism in the intervening years, they\'ve become dissatisfied with the limitations of their earlier work and were confident they could make significant improvements” (websource). Both films were both introducing a new world of light and dramatic effects, giving so much realism with a modern twist.\r\n\r\nIn contrast, <i>Titanic</i> was a classic directed by James Cameron and is completely the opposite of <i>Terminator 2</i>. The romantic journey a young couple endures and also is faces with their fate, death, is a remarkable story that was based on a true story of the grand and magnificent ship, the Titanic. The romance and love that was poured into this storyline captured America’s heart and became a classic of it’s genre. In difference, <i>Terminator 2</i> was completely filled with dramatic effects and loud background sound effects, but it’s action packed story also became a classic of it’s science fiction genre. Both movies have become a sensational classic that has been forever marked as one of the top movies watched of that decade. Critic analysis expert stated her own testimony with the brilliant <i>Titanic</i> stating, “I went into Titanic with trepidation: it is being hailed as one of the best love stories depicted on film. Cynical as I am, I don\'t think much of movies with a romantic theme to them. However, I was curious to see the spectacle that director James Cameron had created. Fortunately for me, Titanic is not only great in terms of action, effects, and visuals, but also provides excellent commentary on the issue of the class struggle”(Samudrala). Both storylines are completely different in each film, however; the response of the viewers to both films makes these two films complete classics.\r\n\r\nTerminator 2: Judgement Day is one of the most famous and brilliant movies of its decade and genre. The tremendous acting and visual effects surely lures viewers into watching sequel after sequel. This film introduced many detailed effects that were just now being used during this time, and also, was executed well in this film. This movie is worth its preservation because it marked a new era of future and imaginary ideas also including its realism and amazing performance.\r\n\r\n&nbsp;\r\n\r\n<b>Works Cited</b>\r\n\r\nElbert, Roger. \"Terminator 2: Judgement Day.\" (1991). Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me with the details of the movie. Its sound and visual effects and also the details of each character.</b>\r\n\r\n\"James Cameron.\" 2013. <i>The Biography Channel website</i>. Nov 25 2013, 08:52\r\n\r\n<b>This website was helpful about the history of the director. It showed me many of Cameron’s famous works.</b>\r\n\r\nMalcolm, Derek. \"The Guardian.\" N.p.: n.p., 1991. N. pag. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand how much of a classic Terminator 2 really was. It gave me many details about the history of the movie.</b>\r\n\r\n&nbsp;\r\n\r\nSamudrala, Ram. . N.p., n.d. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand from a critical viewer. Her testimony to the film, Titanic helped me see the compare and contrasts between both films.</b>\r\n\r\n<i>Star Wars Returns</i>. N.p., 31 Jan. 1997. Web. 25 Nov. 2013\r\n\r\n<b>This website was very helpful. It helped me compare Star Wars and Terminator 2.</b>\r\n\r\n&nbsp;','DaveGargi-TCP4 ','','publish','open','open','','davegargi-tcp4','','','2013-11-27 14:51:28','2013-11-27 20:51:28','',0,'http://jeanatacc.com/2011/?p=3678',0,'post','',13),(3680,77,'2013-11-25 23:01:42','2013-11-26 05:01:42','&nbsp;\r\n\r\n<b id=\"docs-internal-guid-13fb2fd5-92c7-d870-d602-ac0a3a08ee4a\"><img alt=\"\" src=\"https://lh3.googleusercontent.com/DgQWcsD5CoAktGkJzk998-cANGT4-T4otqQQvNwWcxopQ8l8pSmK8_QSlXs5l3iAAfqSQvvXDoUj4Luo2eiHQKo6JeWPdPImdxQ_84t5UEYa30FD5zPlBPMirA\" width=\"249px;\" height=\"362px;\" />\r\n</b>\r\n\r\n&nbsp;\r\n\r\n<b>James Cameron’s <i>Terminator 2: Judgement Day</i></b>\r\n\r\nhttp://en.wikipedia.org/wiki/Terminator_2:_Judgment_Day\r\n\r\n&nbsp;\r\n\r\nFamous and inspiring director James Cameron (1954) is known for his action packed, imaginative and also romantic films such as <i>Avatar</i>, <i>Aliens</i>, <i>Titanic</i>, and the classic and one of his most famous films yet, <i>The Terminator</i> (1984) and <i>The Terminator 2: Judgement Day </i>(1991). Cameron’s attention getting ideas was incorporated into this sequel making it one of the most mind boggling movies of the decade. According to a web source, James Cameron is a critically acclaimed film director known for some of the biggest box-office hits of all time. He has received numerous Academy Awards and nominations for his often large-scale, expensive productions” (websourceBiographyChannel). Sci-fi film, <i>The Terminator 2 </i>(sequel of the classic film, The Terminator) is about a more advanced liquid metal Terminator from the far future that was sent back to the year 1995 in order to command and terminate the entire human existence. Leading and well-known actor Arnold Schwarzenegger, a less advanced Terminator is also sent back into time from the future to protect the son of Sarah Conor, John Conor in this classic film. James Cameron is well applauded for his masterpiece and a major classic during it’s time and today, 1997 film, <i>Titanic. </i>Cameron’s imagination and patience landed him to make <i>Titanic</i>, and “<i>Titanic</i> became the first film to earn more than $1 billion” (websourceBiographyChannel). James Cameron’s brilliant and notorious imaginative ideas allowed him to be one of the most distinguished director/writer ever; and due to his much-publicized, dynamic, and major monumental pieces of work, <i>The Terminator 2: Judgement Day</i> should be preserved for it’s daring and radical storyline for future generations to come.\r\n\r\n<i>Terminator 2 </i>was definitely typical of its era. The boom of artistic and visionary films during the 1990’s was massive. During this time period, sci-fi movies similar to the Terminator masterpiece, such as the <i>Matrix</i>, <i>Star Wars</i>, and <i>Independence Day</i> were fantastic box office hits sweeping the nation’s attention. <i>Terminator 2 </i>was no surprise after these major works that created this big science fiction sensation. This time period was the beginning of the new world introducing films full of creative writing and imagination that marked the beginning of the 1900 to the year 2000. Sci-fi movies during this time were beyond ordinary thoughts. They were full of suspense, action, drama, and romance all tied into one movie. The dark themes, and futuristic effects of these science fictional sensations brought more and more people to become interested in the Sci-fi category. The sound effects behind these chiller movies were full of suspense and dilemma making viewers terrified but interested at the same time.\r\n\r\nThis work is unusual unusual of its time in many different ways and aspects. <i>Terminator 2</i> brought new futuristic thoughts during this time period by the entire storyline. The idea of traveling through time is mind-boggling for one, but the almost perfect makeup of the figure of Arnold Schwarzenegger as a Terminator was exquisite. Terminator 2 was one of the first movies to ever show a live robot inside of a human body, displaying the figure perfectly. Even though the lightening effects were a bit computerized (which was a bit unusual since everything else in the movie seemed completely real), this suspenseful movie completely demolished every powerful sound and visual effect showed in this movie. This movie definitely stands out from others such as the Matrix and Star Wars because of the aspect of time traveling and the romantic, action pact story line.\r\n\r\n<i>Terminator 2: Judgement Day</i> was received surprisingly tremendous during this time period. Critics and reviewers and even viewers were stunned of how amazing this scientifical movie came out to be. “Terminator 2: Judgment Day (1991), which won four Oscars in technical categories for its groundbreaking effects” (Rovi). Critics were fascinated with the detailed effects and “In short, Cameron has done an honourable and undoubtedly skilful job of tailoring his new film to the tastes of the times without too much sloppy compromise. He\'s made a science fiction film with verve, imagination and even a little wit, proving that the original, made for Dollars 6.5 million, wasn\'t a fluke and was certainly cheap” (Malcolm). Movie critics during this time were extremely satisfied with this classic not only because it was one of the movies that introduced futuristic ideas, but also because it introduced an entirely new concept on science fiction movies.\r\n\r\nThe perception of the movie today compared to back then are perfectly similar in comparison. Despite the fact that some people felt there was nothing more than special effect after effect, with no true story behind it; majority of critics and viewers became fans of this futuristic film. “Terminator 2” has one, along with an intriguing hero and fierce heroine, and a young boy who is played by Furlong with guts and energy. The movie responds to criticisms of excessive movie violence by tempering the Terminator’s blood lust, but nobody, I think, will complain that it doesn\'t have enough action” (Elbert). There are barely any differences in opinions about this film between the time period it was made until now. <i>Terminator 2</i> is definitely a classic that was a favorite among many people over the course of its existence.\r\n\r\nI absolutely love this film. The introduction to new innovative ideas about time travel, and major sound effects, not forgetting the amazing performance by Arnold Schwarzenegger and makeup and effects of the two Terminator figures. Terminator 2 definitely beats the first of its sequel. The suspense and drama, and beautiful acting in this movie was surely on point with its time. Because there are many movies in this sequel, it brought me to watch one after another, after another. The thrill and the chills and also the dramatic ending was brilliant. Cameron nearly perfected this film, and progressed from this point forward during his lifetime of film making.\r\n\r\n<i>Terminator 2 </i>specifically compares to many of its sequels, and also the film <i>Star Wars. </i>Both films executed sound effects, brilliant visionary details, and innovative ideas during this time period. “As revolutionary as the effects in \"Star Wars\" were, Lucas and his crew at ILM (Industrial Light &amp; Magic) have upped the ante so high in their search for realism in the intervening years, they\'ve become dissatisfied with the limitations of their earlier work and were confident they could make significant improvements” (websource). Both films were both introducing a new world of light and dramatic effects, giving so much realism with a modern twist.\r\n\r\nIn contrast, <i>Titanic</i> was a classic directed by James Cameron and is completely the opposite of <i>Terminator 2</i>. The romantic journey a young couple endures and also is faces with their fate, death, is a remarkable story that was based on a true story of the grand and magnificent ship, the Titanic. The romance and love that was poured into this storyline captured America’s heart and became a classic of it’s genre. In difference, <i>Terminator 2</i> was completely filled with dramatic effects and loud background sound effects, but it’s action packed story also became a classic of it’s science fiction genre. Both movies have become a sensational classic that has been forever marked as one of the top movies watched of that decade. Critic analysis expert stated her own testimony with the brilliant <i>Titanic</i> stating, “I went into Titanic with trepidation: it is being hailed as one of the best love stories depicted on film. Cynical as I am, I don\'t think much of movies with a romantic theme to them. However, I was curious to see the spectacle that director James Cameron had created. Fortunately for me, Titanic is not only great in terms of action, effects, and visuals, but also provides excellent commentary on the issue of the class struggle”(Samudrala). Both storylines are completely different in each film, however; the response of the viewers to both films makes these two films complete classics.\r\n\r\nTerminator 2: Judgement Day is one of the most famous and brilliant movies of its decade and genre. The tremendous acting and visual effects surely lures viewers into watching sequel after sequel. This film introduced many detailed effects that were just now being used during this time, and also, was executed well in this film. This movie is worth its preservation because it marked a new era of future and imaginary ideas also including its realism and amazing performance.\r\n\r\n&nbsp;\r\n\r\n<b>Works Cited</b>\r\n\r\nElbert, Roger. \"Terminator 2: Judgement Day.\" (1991). Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me with the details of the movie. Its sound and visual effects and also the details of each character.</b>\r\n\r\n\"James Cameron.\" 2013. <i>The Biography Channel website</i>. Nov 25 2013, 08:52\r\n\r\n<b>This website was helpful about the history of the director. It showed me many of Cameron’s famous works.</b>\r\n\r\nMalcolm, Derek. \"The Guardian.\" N.p.: n.p., 1991. N. pag. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand how much of a classic Terminator 2 really was. It gave me many details about the history of the movie.</b>\r\n\r\n&nbsp;\r\n\r\nSamudrala, Ram. . N.p., n.d. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand from a critical viewer. Her testimony to the film, Titanic helped me see the compare and contrasts between both films.</b>\r\n\r\n<i>Star Wars Returns</i>. N.p., 31 Jan. 1997. Web. 25 Nov. 2013\r\n\r\n<b>This website was very helpful. It helped me compare Star Wars and Terminator 2.</b>\r\n\r\n&nbsp;','DaveGargi-TCP4 ','','inherit','open','open','','3678-revision-v1','','','2013-11-25 23:01:42','2013-11-26 05:01:42','',3678,'http://jeanatacc.com/2011/?p=3680',0,'revision','',0),(3679,77,'2013-11-25 23:00:18','2013-11-26 05:00:18','&nbsp;\r\n\r\n<b id=\"docs-internal-guid-13fb2fd5-92c7-d870-d602-ac0a3a08ee4a\"><img alt=\"\" src=\"https://lh3.googleusercontent.com/DgQWcsD5CoAktGkJzk998-cANGT4-T4otqQQvNwWcxopQ8l8pSmK8_QSlXs5l3iAAfqSQvvXDoUj4Luo2eiHQKo6JeWPdPImdxQ_84t5UEYa30FD5zPlBPMirA\" width=\"249px;\" height=\"362px;\" />\r\n</b>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<b>James Cameron’s <i>Terminator 2: Judgement Day</i></b>\r\n\r\nhttp://en.wikipedia.org/wiki/Terminator_2:_Judgment_Day\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nFamous and inspiring director James Cameron (1954) is known for his action packed, imaginative and also romantic films such as <i>Avatar</i>, <i>Aliens</i>, <i>Titanic</i>, and the classic and one of his most famous films yet, <i>The Terminator</i> (1984) and <i>The Terminator 2: Judgement Day </i>(1991). Cameron’s attention getting ideas was incorporated into this sequel making it one of the most mind boggling movies of the decade. According to a web source, James Cameron is a critically acclaimed film director known for some of the biggest box-office hits of all time. He has received numerous Academy Awards and nominations for his often large-scale, expensive productions” (websourceBiographyChannel). Sci-fi film, <i>The Terminator 2 </i>(sequel of the classic film, The Terminator) is about a more advanced liquid metal Terminator from the far future that was sent back to the year 1995 in order to command and terminate the entire human existence. Leading and well-known actor Arnold Schwarzenegger, a less advanced Terminator is also sent back into time from the future to protect the son of Sarah Conor, John Conor in this classic film. James Cameron is well applauded for his masterpiece and a major classic during it’s time and today, 1997 film, <i>Titanic. </i>Cameron’s imagination and patience landed him to make <i>Titanic</i>, and “<i>Titanic</i> became the first film to earn more than $1 billion” (websourceBiographyChannel). James Cameron’s brilliant and notorious imaginative ideas allowed him to be one of the most distinguished director/writer ever; and due to his much-publicized, dynamic, and major monumental pieces of work, <i>The Terminator 2: Judgement Day</i> should be preserved for it’s daring and radical storyline for future generations to come.\r\n\r\n<i>Terminator 2 </i>was definitely typical of its era. The boom of artistic and visionary films during the 1990’s was massive. During this time period, sci-fi movies similar to the Terminator masterpiece, such as the <i>Matrix</i>, <i>Star Wars</i>, and <i>Independence Day</i> were fantastic box office hits sweeping the nation’s attention. <i>Terminator 2 </i>was no surprise after these major works that created this big science fiction sensation. This time period was the beginning of the new world introducing films full of creative writing and imagination that marked the beginning of the 1900 to the year 2000. Sci-fi movies during this time were beyond ordinary thoughts. They were full of suspense, action, drama, and romance all tied into one movie. The dark themes, and futuristic effects of these science fictional sensations brought more and more people to become interested in the Sci-fi category. The sound effects behind these chiller movies were full of suspense and dilemma making viewers terrified but interested at the same time.\r\n\r\nThis work is unusual unusual of its time in many different ways and aspects. <i>Terminator 2</i> brought new futuristic thoughts during this time period by the entire storyline. The idea of traveling through time is mind-boggling for one, but the almost perfect makeup of the figure of Arnold Schwarzenegger as a Terminator was exquisite. Terminator 2 was one of the first movies to ever show a live robot inside of a human body, displaying the figure perfectly. Even though the lightening effects were a bit computerized (which was a bit unusual since everything else in the movie seemed completely real), this suspenseful movie completely demolished every powerful sound and visual effect showed in this movie. This movie definitely stands out from others such as the Matrix and Star Wars because of the aspect of time traveling and the romantic, action pact story line.\r\n\r\n<i>Terminator 2: Judgement Day</i> was received surprisingly tremendous during this time period. Critics and reviewers and even viewers were stunned of how amazing this scientifical movie came out to be. “Terminator 2: Judgment Day (1991), which won four Oscars in technical categories for its groundbreaking effects” (Rovi). Critics were fascinated with the detailed effects and “In short, Cameron has done an honourable and undoubtedly skilful job of tailoring his new film to the tastes of the times without too much sloppy compromise. He\'s made a science fiction film with verve, imagination and even a little wit, proving that the original, made for Dollars 6.5 million, wasn\'t a fluke and was certainly cheap” (Malcolm). Movie critics during this time were extremely satisfied with this classic not only because it was one of the movies that introduced futuristic ideas, but also because it introduced an entirely new concept on science fiction movies.\r\n\r\nThe perception of the movie today compared to back then are perfectly similar in comparison. Despite the fact that some people felt there was nothing more than special effect after effect, with no true story behind it; majority of critics and viewers became fans of this futuristic film. “Terminator 2” has one, along with an intriguing hero and fierce heroine, and a young boy who is played by Furlong with guts and energy. The movie responds to criticisms of excessive movie violence by tempering the Terminator’s blood lust, but nobody, I think, will complain that it doesn\'t have enough action” (Elbert). There are barely any differences in opinions about this film between the time period it was made until now. <i>Terminator 2</i> is definitely a classic that was a favorite among many people over the course of its existence.\r\n\r\nI absolutely love this film. The introduction to new innovative ideas about time travel, and major sound effects, not forgetting the amazing performance by Arnold Schwarzenegger and makeup and effects of the two Terminator figures. Terminator 2 definitely beats the first of its sequel. The suspense and drama, and beautiful acting in this movie was surely on point with its time. Because there are many movies in this sequel, it brought me to watch one after another, after another. The thrill and the chills and also the dramatic ending was brilliant. Cameron nearly perfected this film, and progressed from this point forward during his lifetime of film making.\r\n\r\n<i>Terminator 2 </i>specifically compares to many of its sequels, and also the film <i>Star Wars. </i>Both films executed sound effects, brilliant visionary details, and innovative ideas during this time period. “As revolutionary as the effects in \"Star Wars\" were, Lucas and his crew at ILM (Industrial Light &amp; Magic) have upped the ante so high in their search for realism in the intervening years, they\'ve become dissatisfied with the limitations of their earlier work and were confident they could make significant improvements” (websource). Both films were both introducing a new world of light and dramatic effects, giving so much realism with a modern twist.\r\n\r\nIn contrast, <i>Titanic</i> was a classic directed by James Cameron and is completely the opposite of <i>Terminator 2</i>. The romantic journey a young couple endures and also is faces with their fate, death, is a remarkable story that was based on a true story of the grand and magnificent ship, the Titanic. The romance and love that was poured into this storyline captured America’s heart and became a classic of it’s genre. In difference, <i>Terminator 2</i> was completely filled with dramatic effects and loud background sound effects, but it’s action packed story also became a classic of it’s science fiction genre. Both movies have become a sensational classic that has been forever marked as one of the top movies watched of that decade. Critic analysis expert stated her own testimony with the brilliant <i>Titanic</i> stating, “I went into Titanic with trepidation: it is being hailed as one of the best love stories depicted on film. Cynical as I am, I don\'t think much of movies with a romantic theme to them. However, I was curious to see the spectacle that director James Cameron had created. Fortunately for me, Titanic is not only great in terms of action, effects, and visuals, but also provides excellent commentary on the issue of the class struggle”(Samudrala). Both storylines are completely different in each film, however; the response of the viewers to both films makes these two films complete classics.\r\n\r\nTerminator 2: Judgement Day is one of the most famous and brilliant movies of its decade and genre. The tremendous acting and visual effects surely lures viewers into watching sequel after sequel. This film introduced many detailed effects that were just now being used during this time, and also, was executed well in this film. This movie is worth its preservation because it marked a new era of future and imaginary ideas also including its realism and amazing performance.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<b>Works Cited</b>\r\n\r\nElbert, Roger. \"Terminator 2: Judgement Day.\" (1991). Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me with the details of the movie. Its sound and visual effects and also the details of each character.</b>\r\n\r\n\"James Cameron.\" 2013. <i>The Biography Channel website</i>. Nov 25 2013, 08:52\r\n\r\n<b>This website was helpful about the history of the director. It showed me many of Cameron’s famous works.</b>\r\n\r\nMalcolm, Derek. \"The Guardian.\" N.p.: n.p., 1991. N. pag. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand how much of a classic Terminator 2 really was. It gave me many details about the history of the movie.</b>\r\n\r\n&nbsp;\r\n\r\nSamudrala, Ram. . N.p., n.d. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand from a critical viewer. Her testimony to the film, Titanic helped me see the compare and contrasts between both films.</b>\r\n\r\n<i>Star Wars Returns</i>. N.p., 31 Jan. 1997. Web. 25 Nov. 2013\r\n\r\n<b>This website was very helpful. It helped me compare Star Wars and Terminator 2.</b>\r\n\r\n&nbsp;','DaveGargi-TCP4 ','','inherit','open','open','','3678-revision-v1','','','2013-11-25 23:00:18','2013-11-26 05:00:18','',3678,'http://jeanatacc.com/2011/?p=3679',0,'revision','',0),(3681,82,'2013-11-26 18:43:28','2013-11-27 00:43:28','June of 1980, the height of the Cold War – the consciousness of the American public remains on its recent victories in civil liberties and the consequences of these victories, as well as on the conclusion of the Vietnam five years later and the expanding purview of technology in the daily lives of the people – however, in the back of its mind, as has been there for the past thirty-five years, there is the looming threat of nuclear destruction from the Soviet Union. Much of the media of the past quarter-century has been centered around the concept of nuclear warfare and the growing destructive power of technology and human vice. In addition to this, technology is beginning to expand more and more into the realms of entertainment, and arcade games have reached their golden era. No two things in a system are independent of each other – thus, the looming subject of nuclear war finally finds its way into the circuit boards of the arcades – the game <i>Missile Command</i> is released.\r\n\r\nAtari’s <i>Missile Command</i> should be preserved because it is representative of early video games, and also because it is a reminder of the horrors of the Cold War and the ability of human beings to self-annihilate.\r\n\r\n<!--more-->\r\n\r\nIt was among the first video games ever created in the early decades of comparatively small, powerful computers. In the game, the player is defending six cities from a never-ending onslaught of different projectiles coming from overhead, firing missiles into the air that destroy the oncoming projectiles with explosions. There is no final goal to the game other than getting the high score – it continues until the player is annihilated. The first games were played on a coin-operated arcade machine, but later versions could be played on consoles, handheld devices or home computers. (ArcadeHistory)\r\n\r\n<i>Missile Command</i> was created at the height of the Cold War between the United States of America and the Soviet Union. The United States had entered into a period of rapid technological advancement, and the advent of nuclear weaponry 35 years earlier had encouraged an uneasy stalemate between the two superpowers, both of which were vying to protect their interests and expand their spheres of influence. (Arnold &amp; Wiener, xxxii)\r\n\r\nWith the creation of the first commercial video game 8 years earlier, Atari was riding the height of the second wave of video game creation, in which arcade games and consoles were at the height of their popularity. (Cohen) The popular conception of the era was heavily focused on the expansion of computer technology into daily life, as well as the looming concept that humankind now had the technology available to utterly destroy itself and its surroundings – movies such as Star Wars and Terminator, as well as the literature of Isaak Asimov years earlier, are examples of these memes in American culture.\r\n\r\nThe games of this era were unusual in that they were very limited in their scope, especially graphically but also with regards to the systematic concept of the games themselves. The computing capability of machines at the time was very limited, and programming was a practice still in its early years. This meant that programming video games was as much a practice in keeping things simple as it was a practice in pushing the limits – even with the limited scope of the game, the programmers had to be careful with what went into the program and what was stricken from it. This is as true of Missile Command as it is of any other game that was its contemporary.\r\n\r\nGames of the time were colorful, simple affairs that were largely directed toward young audiences who would spend evenings at the local arcade competing for high scores. Arcade games allowed for the creators to test unique controls, as with <i>Missile Command</i>’s track-ball(ArcadeHistory), where other games had joysticks or steering wheels or whatever else made sense – this freedom to change the control scheme is a special feature that is largely specific to arcade games.\r\n\r\nMissile Command was one of a very small group of games at the time that touched on the subject matter of mutually-assured destruction and nuclear warfare, even though movies and literature were largely focused on these subjects. The game initially was intended to contain the name of various American cities on the West coast, but these were removed in order to make any audience feel as if they were defending their own hometown (ArcadeHistory) – in this, the game attempts to capitalize on the fear of the destruction of nuclear warfare, something that other games, largely directed toward children, were not likely to broach.\r\n\r\nAnother unique aspect of the game was its clear expression of a complex narrative without dialogue – while other games had abstract or simple narratives and therefore had no need of text, <i>Missile Command</i> managed to tap into subjects that were on the mind of many at the time already, thus building a narrative of the world surrounding the player rather than relying solely on the mechanics within the game’s computer to convey these aspects of the game. The game was therefore built upon the player’s own conception of the Cold War rather than the imagination of the creator.\r\n\r\nIn its most fundamental message, <i>Missile Command</i> could be compared with the 1964 movie <i>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb</i>, a satirical film in which a U.S. Air Force Brigadier General goes mad and decides to order his bombing squadron to bomb Russia, and powers from both the East and West attempt to thwart him before he unleashes nuclear war upon the world. (IMDb) The core of the movie and the game are very similar – each is an entertaining piece on the horrifying subject of nuclear total annihilation. In each, the power – i.e. the player and the representatives of the world powers – cannot do anything to stop the action that initiated the war, and is stuck dealing with the horrifying consequences of its beginning. In each, the final message is clear – the hubris of mankind is such that it will eventually destroy itself.\r\n\r\nIt is said that the creators of the game had nightmares of nuclear annihilation during their time building it. Designer David Theurer has said \"It was pretty scary. During the project and for 6 months after the project, I\'d wake up in a cold sweat because I\'d have these dreams where I\'d see the missile streak coming in and I\'d see the impact. I would be up on top of a mountain and I\'d see the missiles coming in, and I\'d know it would be about 30 seconds until the blast hit and fried me to a crisp.\" This was echoed by Steve Calfee, saying \"Everybody I know who really got into the game had nightmares about nuclear war.\" (ArcadeHistory)\r\n\r\nDespite these fearful visions, the game achieved a great deal of popularity. Approximately 20,000 arcade units were produced, and cameos of the game exist in the 1991 movie Terminator 2 and other movies of the era, and the explosion and “The End” screen from the game is referenced in the music video for Judas Priest’s 1984 song “Freewheel Burning”. (ArcadeHistory)\r\n\r\nThe game is still significant in the mind of gaming culture in the US as a relic of the era, along with other games like <i>Pac-Man</i>, <i>Space Invaders</i> and <i>Frogger</i>. While the Cold War is over, it is still fresh in the minds of the generations that existed in its time and much of modern Western culture continues to react to the motifs and ideas that were popular at the time. In addition to this, in 2011 there was a pitch to create a Missile Command movie, which has not yet been put onto screens. (Ashcraft) It could be argued that this is part of a larger trend of revisiting the 1980’s, as many of the people who were raised at the time are still alive, and younger generations are interested in stories of the Cold War and its effect on modern life. This may also be part of a trend to revisit “retro gaming” – many players feel that modern games are too focused on money, and have returned to previous eras of gaming which are seen as being more original and pure of this motivation.\r\n\r\nThe game is a frightful reminder of an era that has largely not ended, and the precept that, as time presses onward, the Human Race becomes more and more capable of utterly annihilating itself. It gives a perspective to that person who knows its history – the first atomic bombs were dropped on cities in 1945, and the sheer power that they released was resonating in the minds of people around the world 35 years later in 1980, and even today, inching ever-closer to a century following the use of the most devastating type of single weapon to ever be unleashed upon the world. That message will resonate for as long as humankind possesses the ability to unleash utter destruction on itself or any other entity – the possibility of mutually-assured destruction is unfathomably devastating, and there should be nobody who is allowed to forget that fact.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\"><b><span style=\"text-decoration: underline\">Works Cited</span></b></p>\r\n\r\n<ol>\r\n	<li>Arnold, James R., and Roberta Wiener. <i>Cold War: The Essential Reference Guide</i>. Santa Barbara: ABC-CLIO, LLC, 2012. eBook.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn encyclopedia of references about the Cold War; Useful for pertinent cultural information regarding the late 1970’s and the year 1980\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Ashcraft, Brian. \"Missile Command Movie Ready To Blast Off.\" <i>Kotaku</i>. N.p., 1 Dec 2011. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article by a pop culture and technology blog on the announcement of plans to create a <i>Missile Command</i> movie\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Cohen, D.S. \"The History of Classic Video Games - The Second Generation.\" <i>About.Com</i>. N.p., 2013. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nPart of a series on the history of video games; Useful in obtaining information about video game technology and the other video games of those years\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>\"Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.\" <i>IMDb</i> n.pag. <i>IMDb</i>. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article about the movie <i>Dr. Strangelove</i>; provided pertinent information regarding its plot for comparison to the game.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>\"Missile Command.\" <i>ArcadeHistory</i>. N.p., 25 May 2013. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article about Missile Command from a video game conservatory; Provided information regarding the game’s systems as well as some trivia related to its creation.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Theurer, David, and Rich Adam. \"Atari Missile Command Design Document.\" <i>Atarigames.com</i>. N.p., n.d. Web. 26 Nov 2013. &lt;http://www.atarigames.com/pdffiles/missileproposal.pdf</li>\r\n</ol>\r\n&nbsp;\r\n\r\nThe original memo that was sent from David Theurer to the executive offices at Atari; helped me to confirm some of the statements made about the early development of the game\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Fiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. 2. New York: McGraw Hill, 2011. eBook.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nClass Textbook; Helped for references to the technological advances being made in and before 1980','TCP4: Missile Command','','publish','open','open','','tcp4-missile-command','','','2013-11-26 18:44:43','2013-11-27 00:44:43','',0,'http://jeanatacc.com/2011/?p=3681',0,'post','',10),(3682,82,'2013-11-26 18:43:28','2013-11-27 00:43:28','June of 1980, the height of the Cold War – the consciousness of the American public remains on its recent victories in civil liberties and the consequences of these victories, as well as on the conclusion of the Vietnam five years later and the expanding purview of technology in the daily lives of the people – however, in the back of its mind, as has been there for the past thirty-five years, there is the looming threat of nuclear destruction from the Soviet Union. Much of the media of the past quarter-century has been centered around the concept of nuclear warfare and the growing destructive power of technology and human vice. In addition to this, technology is beginning to expand more and more into the realms of entertainment, and arcade games have reached their golden era. No two things in a system are independent of each other – thus, the looming subject of nuclear war finally finds its way into the circuit boards of the arcades – the game <i>Missile Command</i> is released.\r\n\r\nAtari’s <i>Missile Command</i> should be preserved because it is representative of early video games, and also because it is a reminder of the horrors of the Cold War and the ability of human beings to self-annihilate.\r\n\r\n<!--more-->\r\n\r\nIt was among the first video games ever created in the early decades of comparatively small, powerful computers. In the game, the player is defending six cities from a never-ending onslaught of different projectiles coming from overhead, firing missiles into the air that destroy the oncoming projectiles with explosions. There is no final goal to the game other than getting the high score – it continues until the player is annihilated. The first games were played on a coin-operated arcade machine, but later versions could be played on consoles, handheld devices or home computers. (ArcadeHistory)\r\n\r\n<i>Missile Command</i> was created at the height of the Cold War between the United States of America and the Soviet Union. The United States had entered into a period of rapid technological advancement, and the advent of nuclear weaponry 35 years earlier had encouraged an uneasy stalemate between the two superpowers, both of which were vying to protect their interests and expand their spheres of influence. (Arnold &amp; Wiener, xxxii)\r\n\r\nWith the creation of the first commercial video game 8 years earlier, Atari was riding the height of the second wave of video game creation, in which arcade games and consoles were at the height of their popularity. (Cohen) The popular conception of the era was heavily focused on the expansion of computer technology into daily life, as well as the looming concept that humankind now had the technology available to utterly destroy itself and its surroundings – movies such as Star Wars and Terminator, as well as the literature of Isaak Asimov years earlier, are examples of these memes in American culture.\r\n\r\nThe games of this era were unusual in that they were very limited in their scope, especially graphically but also with regards to the systematic concept of the games themselves. The computing capability of machines at the time was very limited, and programming was a practice still in its early years. This meant that programming video games was as much a practice in keeping things simple as it was a practice in pushing the limits – even with the limited scope of the game, the programmers had to be careful with what went into the program and what was stricken from it. This is as true of Missile Command as it is of any other game that was its contemporary.\r\n\r\nGames of the time were colorful, simple affairs that were largely directed toward young audiences who would spend evenings at the local arcade competing for high scores. Arcade games allowed for the creators to test unique controls, as with <i>Missile Command</i>’s track-ball(ArcadeHistory), where other games had joysticks or steering wheels or whatever else made sense – this freedom to change the control scheme is a special feature that is largely specific to arcade games.\r\n\r\nMissile Command was one of a very small group of games at the time that touched on the subject matter of mutually-assured destruction and nuclear warfare, even though movies and literature were largely focused on these subjects. The game initially was intended to contain the name of various American cities on the West coast, but these were removed in order to make any audience feel as if they were defending their own hometown (ArcadeHistory) – in this, the game attempts to capitalize on the fear of the destruction of nuclear warfare, something that other games, largely directed toward children, were not likely to broach.\r\n\r\nAnother unique aspect of the game was its clear expression of a complex narrative without dialogue – while other games had abstract or simple narratives and therefore had no need of text, <i>Missile Command</i> managed to tap into subjects that were on the mind of many at the time already, thus building a narrative of the world surrounding the player rather than relying solely on the mechanics within the game’s computer to convey these aspects of the game. The game was therefore built upon the player’s own conception of the Cold War rather than the imagination of the creator.\r\n\r\nIn its most fundamental message, <i>Missile Command</i> could be compared with the 1964 movie <i>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb</i>, a satirical film in which a U.S. Air Force Brigadier General goes mad and decides to order his bombing squadron to bomb Russia, and powers from both the East and West attempt to thwart him before he unleashes nuclear war upon the world. (IMDb) The core of the movie and the game are very similar – each is an entertaining piece on the horrifying subject of nuclear total annihilation. In each, the power – i.e. the player and the representatives of the world powers – cannot do anything to stop the action that initiated the war, and is stuck dealing with the horrifying consequences of its beginning. In each, the final message is clear – the hubris of mankind is such that it will eventually destroy itself.\r\n\r\nIt is said that the creators of the game had nightmares of nuclear annihilation during their time building it. Designer David Theurer has said \"It was pretty scary. During the project and for 6 months after the project, I\'d wake up in a cold sweat because I\'d have these dreams where I\'d see the missile streak coming in and I\'d see the impact. I would be up on top of a mountain and I\'d see the missiles coming in, and I\'d know it would be about 30 seconds until the blast hit and fried me to a crisp.\" This was echoed by Steve Calfee, saying \"Everybody I know who really got into the game had nightmares about nuclear war.\" (ArcadeHistory)\r\n\r\nDespite these fearful visions, the game achieved a great deal of popularity. Approximately 20,000 arcade units were produced, and cameos of the game exist in the 1991 movie Terminator 2 and other movies of the era, and the explosion and “The End” screen from the game is referenced in the music video for Judas Priest’s 1984 song “Freewheel Burning”. (ArcadeHistory)\r\n\r\nThe game is still significant in the mind of gaming culture in the US as a relic of the era, along with other games like <i>Pac-Man</i>, <i>Space Invaders</i> and <i>Frogger</i>. While the Cold War is over, it is still fresh in the minds of the generations that existed in its time and much of modern Western culture continues to react to the motifs and ideas that were popular at the time. In addition to this, in 2011 there was a pitch to create a Missile Command movie, which has not yet been put onto screens. (Ashcraft) It could be argued that this is part of a larger trend of revisiting the 1980’s, as many of the people who were raised at the time are still alive, and younger generations are interested in stories of the Cold War and its effect on modern life. This may also be part of a trend to revisit “retro gaming” – many players feel that modern games are too focused on money, and have returned to previous eras of gaming which are seen as being more original and pure of this motivation.\r\n\r\nThe game is a frightful reminder of an era that has largely not ended, and the precept that, as time presses onward, the Human Race becomes more and more capable of utterly annihilating itself. It gives a perspective to that person who knows its history – the first atomic bombs were dropped on cities in 1945, and the sheer power that they released was resonating in the minds of people around the world 35 years later in 1980, and even today, inching ever-closer to a century following the use of the most devastating type of single weapon to ever be unleashed upon the world. That message will resonate for as long as humankind possesses the ability to unleash utter destruction on itself or any other entity – the possibility of mutually-assured unfathomably devastating, and there should be nobody who is allowed to forget that fact.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\"><b><span style=\"text-decoration: underline\">Works Cited</span></b></p>\r\n\r\n<ol>\r\n	<li>Arnold, James R., and Roberta Wiener. <i>Cold War: The Essential Reference Guide</i>. Santa Barbara: ABC-CLIO, LLC, 2012. eBook.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn encyclopedia of references about the Cold War; Useful for pertinent cultural information regarding the late 1970’s and the year 1980\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Ashcraft, Brian. \"Missile Command Movie Ready To Blast Off.\" <i>Kotaku</i>. N.p., 1 Dec 2011. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article by a pop culture and technology blog on the announcement of plans to create a <i>Missile Command</i> movie\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Cohen, D.S. \"The History of Classic Video Games - The Second Generation.\" <i>About.Com</i>. N.p., 2013. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nPart of a series on the history of video games; Useful in obtaining information about video game technology and the other video games of those years\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>\"Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.\" <i>IMDb</i> n.pag. <i>IMDb</i>. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article about the movie <i>Dr. Strangelove</i>; provided pertinent information regarding its plot for comparison to the game.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>\"Missile Command.\" <i>ArcadeHistory</i>. N.p., 25 May 2013. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article about Missile Command from a video game conservatory; Provided information regarding the game’s systems as well as some trivia related to its creation.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Theurer, David, and Rich Adam. \"Atari Missile Command Design Document.\" <i>Atarigames.com</i>. N.p., n.d. Web. 26 Nov 2013. &lt;http://www.atarigames.com/pdffiles/missileproposal.pdf</li>\r\n</ol>\r\n&nbsp;\r\n\r\nThe original memo that was sent from David Theurer to the executive offices at Atari; helped me to confirm some of the statements made about the early development of the game\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Fiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. 2. New York: McGraw Hill, 2011. eBook.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nClass Textbook; Helped for references to the technological advances being made in and before 1980','TCP4: Missile Command','','inherit','open','open','','3681-revision-v1','','','2013-11-26 18:43:28','2013-11-27 00:43:28','',3681,'http://jeanatacc.com/2011/?p=3682',0,'revision','',0),(3683,82,'2013-11-26 18:44:43','2013-11-27 00:44:43','June of 1980, the height of the Cold War – the consciousness of the American public remains on its recent victories in civil liberties and the consequences of these victories, as well as on the conclusion of the Vietnam five years later and the expanding purview of technology in the daily lives of the people – however, in the back of its mind, as has been there for the past thirty-five years, there is the looming threat of nuclear destruction from the Soviet Union. Much of the media of the past quarter-century has been centered around the concept of nuclear warfare and the growing destructive power of technology and human vice. In addition to this, technology is beginning to expand more and more into the realms of entertainment, and arcade games have reached their golden era. No two things in a system are independent of each other – thus, the looming subject of nuclear war finally finds its way into the circuit boards of the arcades – the game <i>Missile Command</i> is released.\r\n\r\nAtari’s <i>Missile Command</i> should be preserved because it is representative of early video games, and also because it is a reminder of the horrors of the Cold War and the ability of human beings to self-annihilate.\r\n\r\n<!--more-->\r\n\r\nIt was among the first video games ever created in the early decades of comparatively small, powerful computers. In the game, the player is defending six cities from a never-ending onslaught of different projectiles coming from overhead, firing missiles into the air that destroy the oncoming projectiles with explosions. There is no final goal to the game other than getting the high score – it continues until the player is annihilated. The first games were played on a coin-operated arcade machine, but later versions could be played on consoles, handheld devices or home computers. (ArcadeHistory)\r\n\r\n<i>Missile Command</i> was created at the height of the Cold War between the United States of America and the Soviet Union. The United States had entered into a period of rapid technological advancement, and the advent of nuclear weaponry 35 years earlier had encouraged an uneasy stalemate between the two superpowers, both of which were vying to protect their interests and expand their spheres of influence. (Arnold &amp; Wiener, xxxii)\r\n\r\nWith the creation of the first commercial video game 8 years earlier, Atari was riding the height of the second wave of video game creation, in which arcade games and consoles were at the height of their popularity. (Cohen) The popular conception of the era was heavily focused on the expansion of computer technology into daily life, as well as the looming concept that humankind now had the technology available to utterly destroy itself and its surroundings – movies such as Star Wars and Terminator, as well as the literature of Isaak Asimov years earlier, are examples of these memes in American culture.\r\n\r\nThe games of this era were unusual in that they were very limited in their scope, especially graphically but also with regards to the systematic concept of the games themselves. The computing capability of machines at the time was very limited, and programming was a practice still in its early years. This meant that programming video games was as much a practice in keeping things simple as it was a practice in pushing the limits – even with the limited scope of the game, the programmers had to be careful with what went into the program and what was stricken from it. This is as true of Missile Command as it is of any other game that was its contemporary.\r\n\r\nGames of the time were colorful, simple affairs that were largely directed toward young audiences who would spend evenings at the local arcade competing for high scores. Arcade games allowed for the creators to test unique controls, as with <i>Missile Command</i>’s track-ball(ArcadeHistory), where other games had joysticks or steering wheels or whatever else made sense – this freedom to change the control scheme is a special feature that is largely specific to arcade games.\r\n\r\nMissile Command was one of a very small group of games at the time that touched on the subject matter of mutually-assured destruction and nuclear warfare, even though movies and literature were largely focused on these subjects. The game initially was intended to contain the name of various American cities on the West coast, but these were removed in order to make any audience feel as if they were defending their own hometown (ArcadeHistory) – in this, the game attempts to capitalize on the fear of the destruction of nuclear warfare, something that other games, largely directed toward children, were not likely to broach.\r\n\r\nAnother unique aspect of the game was its clear expression of a complex narrative without dialogue – while other games had abstract or simple narratives and therefore had no need of text, <i>Missile Command</i> managed to tap into subjects that were on the mind of many at the time already, thus building a narrative of the world surrounding the player rather than relying solely on the mechanics within the game’s computer to convey these aspects of the game. The game was therefore built upon the player’s own conception of the Cold War rather than the imagination of the creator.\r\n\r\nIn its most fundamental message, <i>Missile Command</i> could be compared with the 1964 movie <i>Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb</i>, a satirical film in which a U.S. Air Force Brigadier General goes mad and decides to order his bombing squadron to bomb Russia, and powers from both the East and West attempt to thwart him before he unleashes nuclear war upon the world. (IMDb) The core of the movie and the game are very similar – each is an entertaining piece on the horrifying subject of nuclear total annihilation. In each, the power – i.e. the player and the representatives of the world powers – cannot do anything to stop the action that initiated the war, and is stuck dealing with the horrifying consequences of its beginning. In each, the final message is clear – the hubris of mankind is such that it will eventually destroy itself.\r\n\r\nIt is said that the creators of the game had nightmares of nuclear annihilation during their time building it. Designer David Theurer has said \"It was pretty scary. During the project and for 6 months after the project, I\'d wake up in a cold sweat because I\'d have these dreams where I\'d see the missile streak coming in and I\'d see the impact. I would be up on top of a mountain and I\'d see the missiles coming in, and I\'d know it would be about 30 seconds until the blast hit and fried me to a crisp.\" This was echoed by Steve Calfee, saying \"Everybody I know who really got into the game had nightmares about nuclear war.\" (ArcadeHistory)\r\n\r\nDespite these fearful visions, the game achieved a great deal of popularity. Approximately 20,000 arcade units were produced, and cameos of the game exist in the 1991 movie Terminator 2 and other movies of the era, and the explosion and “The End” screen from the game is referenced in the music video for Judas Priest’s 1984 song “Freewheel Burning”. (ArcadeHistory)\r\n\r\nThe game is still significant in the mind of gaming culture in the US as a relic of the era, along with other games like <i>Pac-Man</i>, <i>Space Invaders</i> and <i>Frogger</i>. While the Cold War is over, it is still fresh in the minds of the generations that existed in its time and much of modern Western culture continues to react to the motifs and ideas that were popular at the time. In addition to this, in 2011 there was a pitch to create a Missile Command movie, which has not yet been put onto screens. (Ashcraft) It could be argued that this is part of a larger trend of revisiting the 1980’s, as many of the people who were raised at the time are still alive, and younger generations are interested in stories of the Cold War and its effect on modern life. This may also be part of a trend to revisit “retro gaming” – many players feel that modern games are too focused on money, and have returned to previous eras of gaming which are seen as being more original and pure of this motivation.\r\n\r\nThe game is a frightful reminder of an era that has largely not ended, and the precept that, as time presses onward, the Human Race becomes more and more capable of utterly annihilating itself. It gives a perspective to that person who knows its history – the first atomic bombs were dropped on cities in 1945, and the sheer power that they released was resonating in the minds of people around the world 35 years later in 1980, and even today, inching ever-closer to a century following the use of the most devastating type of single weapon to ever be unleashed upon the world. That message will resonate for as long as humankind possesses the ability to unleash utter destruction on itself or any other entity – the possibility of mutually-assured destruction is unfathomably devastating, and there should be nobody who is allowed to forget that fact.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\"><b><span style=\"text-decoration: underline\">Works Cited</span></b></p>\r\n\r\n<ol>\r\n	<li>Arnold, James R., and Roberta Wiener. <i>Cold War: The Essential Reference Guide</i>. Santa Barbara: ABC-CLIO, LLC, 2012. eBook.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn encyclopedia of references about the Cold War; Useful for pertinent cultural information regarding the late 1970’s and the year 1980\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Ashcraft, Brian. \"Missile Command Movie Ready To Blast Off.\" <i>Kotaku</i>. N.p., 1 Dec 2011. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article by a pop culture and technology blog on the announcement of plans to create a <i>Missile Command</i> movie\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Cohen, D.S. \"The History of Classic Video Games - The Second Generation.\" <i>About.Com</i>. N.p., 2013. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nPart of a series on the history of video games; Useful in obtaining information about video game technology and the other video games of those years\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>\"Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb.\" <i>IMDb</i> n.pag. <i>IMDb</i>. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article about the movie <i>Dr. Strangelove</i>; provided pertinent information regarding its plot for comparison to the game.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>\"Missile Command.\" <i>ArcadeHistory</i>. N.p., 25 May 2013. Web. Web. 26 Nov 2013.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nAn article about Missile Command from a video game conservatory; Provided information regarding the game’s systems as well as some trivia related to its creation.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Theurer, David, and Rich Adam. \"Atari Missile Command Design Document.\" <i>Atarigames.com</i>. N.p., n.d. Web. 26 Nov 2013. &lt;http://www.atarigames.com/pdffiles/missileproposal.pdf</li>\r\n</ol>\r\n&nbsp;\r\n\r\nThe original memo that was sent from David Theurer to the executive offices at Atari; helped me to confirm some of the statements made about the early development of the game\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<ol>\r\n	<li>Fiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. 2. New York: McGraw Hill, 2011. eBook.</li>\r\n</ol>\r\n&nbsp;\r\n\r\nClass Textbook; Helped for references to the technological advances being made in and before 1980','TCP4: Missile Command','','inherit','open','open','','3681-revision-v1','','','2013-11-26 18:44:43','2013-11-27 00:44:43','',3681,'http://jeanatacc.com/2011/?p=3683',0,'revision','',0),(3684,58,'2013-11-26 20:43:31','2013-11-27 02:43:31','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\"><img class=\"aligncenter size-full wp-image-3687\" alt=\"images\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\" width=\"448\" height=\"197\" /></a>\r\n<p style=\"text-align: center;\">http://bloodymurder.wordpress.com/2012/02/07/touch-of-evil-1958-tuesdays-forgotten-film/</p>\r\n\r\nA Touch of Evil by Orson Welles was released to the public to view in 1958. This was a film that gave viewers a whole new view of what kind of corruption was going on around the border. In the movie A Touch of Evil “Mexicans supplies Vargas with a psychological rationale for aggressively pursuing [his investigation of Quinlan], Vargas does not accuse Quinlan of police corruption as an expression of his solidarity with the political efforts to right the history of injustices at the border.”(Welles) In exposing Quinlan’s illegal policing practices on the U.S. side of the border, Vargas struggles to persuade Susan of the higher standards to which the police are held on the Mexican side of the border. (83) This suspenseful thriller brings to light several touchy topics in a time people did not talk about such topics aloud. This is why I believe  A Touch of Evil should be persevered for future generations.\r\n\r\n<!--more-->How was this work typical for its era? It was like the elephant in the room that no one wanted to talk about. “Beyond subverting generic conventions and American-held stereotypes, Welles makes another interesting move by imbuing the American characters in Touch of Evil with homoeroticism while concretizing the heterosexuality of Vargas. For an audience of 1958, when the national rhetoric espoused homosexuality as deviant and un-American, Quinlan’s homosexuality can be seen as another mechanism that flips the U.S.-Mexico binary. In a rather lighthearted bit of discourse between Orson Welles (OW) and director Peter Bogdanovich (PB), Welles even admits to infusing the scene where Quinlan strangles Grandi with homosexual overtones.” (Welles and Bogdanovich 320–21)\r\nThis movie was very innovative for its time. “While no definitive history about how Welles came to direct Touch of Evil is available, the circumstances have generated three distinct legends that constrict Welles as a specific kind of Hollywood auteur. While Heston is a self-serving tale in which he functions as the protagonist, it emphasizes Welles vulnerability within the studio system and highlights that, though Welles was a forceful artist, he had little, if any, usable power in Hollywood” (Pease).\r\nThis work was not well received very well at first till the Orson rewrote it several times till Universal Studios liked the screen play. “Universal Studios would not have hired him at all were it not for the demands of the popular star it coveted. Welles version positions his status in the studio hierarchy similarly, but it makes more vibrant the portrait of an artist with an unflagging devotion to his craft, true to his creative vision even in the face of economic hardship”(Zugsmith). Zugsmith narrative, meanwhile, “constructs Welles as a brash genius, a man who sought out the difficult circumstances that, in the end, made his successes all the more grand. Where they may fail in their historical veracity, however, these narratives succeed in setting up a layer story of Orson Welles as a daredevil auteur who, because he could not be contained by it, was dismissed by the Hollywood studio machine.” (Zugsmith) “They also hint toward a kind of classical masculinity that is inherent to any rendering of the genius auteur”(Rollins).\r\nPeople today speak out against the stereotyping. All people have the right to be who they truly are without being judged and in fear of their life because of their life style. Which is very different from back then, they were topics that you did not talk about for the fear of being ridiculed. My personal reaction to this suspenseful movie was great. With all the drama and suspense you never knew what was going to happen next, it left you hanging on the edge of your seat waiting and wondering. I considered it to be an amazing movie not like the movies today that you can pretty much predict what is going to happen there’s no suspense in today’s movies anymore.\r\nCompared to other movies of its time “the historical moment of the late 1950s, while key in understanding prevailing attitudes toward homosexuality that would help hierarchize Mexico in the American imagination, is also key when discussing Touch of Evil in relation to (or as a response to) U.S. immigration policy.” (Wollen 22) “When postulating about Welles’s decision to rewrite the script, many critics suggest the idea came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).\r\n\r\nFuture generations should be aware of political people that have been around for a long time; usually they become corrupt, and will try and do anything to get away with dishonorable acts, legal or not, to preserve their status in the population. Also to stand their ground for what they believe in, and not be in fear of their life because of how they are and what they believe. This is why I believe this work should be preserved for future generations.\r\n\r\nWork Cited:\r\nBeckham II, Jack M. \"Placing Touch Of Evil, The Border, And Traffic In The American Imagination.\" Journal Of Popular Film &amp; Television 33.3 (2005): 130-141. Academic Search Complete. Web. 16 Nov. 2013.\r\n\r\nPease, Donald. “Borderline Justice/States of Emergency: Orson Welles’ Touch of Evil.” New Centennial Review 1.1 (2001): 75–105.\r\n\r\nRollins, Brooke. \"Some Kind Of A Man\": Orson Welles As Touch Of Evil\'s Masculine Auteur.\" Velvet Light Trap: A Critical Journal Of Film &amp; Television 57 (2006): 32-41. Literary Reference Center. Web. 16 Nov. 2013.\r\n\r\nTouch of Evil. Screenplay by Orson Welles. Dir. Orson Welles. Prod. Albert Zugsmith.\r\nPerf. Charlton Heston, Janet Leigh, Orson Welles. 1958. DVD. Universal, 2003.\r\n\r\nWollen, Peter. “Foreign Relations: Welles and Touch of Evil.” Sight and Sound 6\r\n(Oct. 1996): 20–23.','A Touch of Evil by Orson Welles','','publish','open','open','','a-touch-of-evil-by-orson-welles','','','2013-11-27 14:54:58','2013-11-27 20:54:58','',0,'http://jeanatacc.com/2011/?p=3684',0,'post','',8),(3714,1,'2013-11-28 14:05:58','2013-11-28 20:05:58','','composer1','http://www.leonardbernstein.com/composer.htm','inherit','open','open','','composer1','','','2013-11-28 14:05:58','2013-11-28 20:05:58','',3699,'http://jeanatacc.com/2011/wp-content/uploads/2013/11/composer1.jpg',0,'attachment','image/jpeg',0),(3688,58,'2013-11-26 20:30:59','2013-11-27 02:30:59','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<!--more-->\r\nA Touch of Evil by Orson Welles was released to the public to view in 1958. This was a film that gave viewers a whole new view of what kind of corruption was going on around the border. In the movie A Touch of Evil “Mexicans supplies Vargas with a psychological rationale for aggressively pursuing [his investigation of Quinlan], Vargas does not accuse Quinlan of police corruption as an expression of his solidarity with the political efforts to right the history of injustices at the border.”(Welles) In exposing Quinlan’s illegal policing practices on the U.S. side of the border, Vargas struggles to persuade Susan of the higher standards to which the police are held on the Mexican side of the border. (83)\r\nHow was this work typical for its era? It was like the elephant in the room that no one wanted to talk about. “Beyond subverting generic conventions and American-held stereotypes, Welles makes another interesting move by imbuing the American characters in Touch of Evil with homoeroticism while concretizing the heterosexuality of Vargas. For an audience of 1958, when the national rhetoric espoused homosexuality as deviant and un-American, Quinlan’s homosexuality can be seen as another mechanism that flips the U.S.-Mexico binary. In a rather lighthearted bit of discourse between Orson Welles (OW) and director Peter Bogdanovich (PB), Welles even admits to infusing the scene where Quinlan strangles Grandi with homosexual overtones.” (Welles and Bogdanovich 320–21)\r\nThis movie was very innovative for its time. “While no definitive history about how Welles came to direct Touch of Evil is available, the circumstances have generated three distinct legends that constrict Welles as a specific kind of Hollywood auteur. While Heston is a self-serving tale in which he functions as the protagonist, it emphasizes Welles vulnerability within the studio system and highlights that, though Welles was a forceful artist, he had little, if any, usable power in Hollywood” (Pease).\r\nThis work was not well received very well at first till the Orson rewrote it several times till Universal Studios liked the screen play. “Universal Studios would not have hired him at all were it not for the demands of the popular star it coveted. Welles version positions his status in the studio hierarchy similarly, but it makes more vibrant the portrait of an artist with an unflagging devotion to his craft, true to his creative vision even in the face of economic hardship”(Zugsmith). Zugsmith narrative, meanwhile, “constructs Welles as a brash genius, a man who sought out the difficult circumstances that, in the end, made his successes all the more grand. Where they may fail in their historical veracity, however, these narratives succeed in setting up a layer story of Orson Welles as a daredevil auteur who, because he could not be contained by it, was dismissed by the Hollywood studio machine.” (Zugsmith) “They also hint toward a kind of classical masculinity that is inherent to any rendering of the genius auteur”(Rollins).\r\nPeople today speak out against the stereotyping. All people have the right to be who they truly are without being judged and in fear of their life because of their life style. Which is very different from back then, they were topics that you did not talk about for the fear of being ridiculed. My personal reaction to this suspenseful movie was great. With all the drama and suspense you never knew what was going to happen next, it left you hanging on the edge of your seat waiting and wondering. I considered it to be an amazing movie not like the movies today that you can pretty much predict what is going to happen there’s no suspense in today’s movies anymore.\r\nCompared to other movies of its time “the historical moment of the late 1950s, while key in understanding prevailing attitudes toward homosexuality that would help hierarchize Mexico in the American imagination, is also key when discussing Touch of Evil in relation to (or as a response to) U.S. immigration policy.” (Wollen 22) “When postulating about Welles’s decision to rewrite the script, many critics suggest the idea came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).\r\nFuture generations should be aware of political people that have been around for a long time; usually they become corrupt, and will try and do anything to get away with dishonorable acts, legal or not, to preserve their status in the population. Also to stand their ground for what they believe in, and not be in fear of their life because of how they are and what they believe.\r\n\r\nWork Cited:\r\nBeckham II, Jack M. \"Placing Touch Of Evil, The Border, And Traffic In The American Imagination.\" Journal Of Popular Film &amp; Television 33.3 (2005): 130-141. Academic Search Complete. Web. 16 Nov. 2013.\r\n\r\nPease, Donald. “Borderline Justice/States of Emergency: Orson Welles’ Touch of Evil.” New Centennial Review 1.1 (2001): 75–105.\r\n\r\nRollins, Brooke. \"Some Kind Of A Man\": Orson Welles As Touch Of Evil\'s Masculine Auteur.\" Velvet Light Trap: A Critical Journal Of Film &amp; Television 57 (2006): 32-41. Literary Reference Center. Web. 16 Nov. 2013.\r\n\r\nTouch of Evil. Screenplay by Orson Welles. Dir. Orson Welles. Prod. Albert Zugsmith.\r\nPerf. Charlton Heston, Janet Leigh, Orson Welles. 1958. DVD. Universal, 2003.\r\n\r\nWollen, Peter. “Foreign Relations: Welles and Touch of Evil.” Sight and Sound 6\r\n(Oct. 1996): 20–23.','A Touch of Evil by Orson Welles','','inherit','open','open','','3684-revision-v1','','','2013-11-26 20:30:59','2013-11-27 02:30:59','',3684,'http://jeanatacc.com/2011/?p=3688',0,'revision','',0),(3686,58,'2013-11-26 20:23:04','2013-11-27 02:23:04','&nbsp;\r\n\r\n<!--more-->http://bloodymurder.wordpress.com/2012/02/07/touch-of-evil-1958-tuesdays-forgotten-film/\r\nA Touch of Evil by Orson Welles was released to the public to view in 1958. This was a film that gave viewers a whole new view of what kind of corruption was going on around the border. In the movie A Touch of Evil “Mexicans supplies Vargas with a psychological rationale for aggressively pursuing [his investigation of Quinlan], Vargas does not accuse Quinlan of police corruption as an expression of his solidarity with the political efforts to right the history of injustices at the border.”(Welles) In exposing Quinlan’s illegal policing practices on the U.S. side of the border, Vargas struggles to persuade Susan of the higher standards to which the police are held on the Mexican side of the border. (83)\r\nHow was this work typical for its era? It was like the elephant in the room that no one wanted to talk about. “Beyond subverting generic conventions and American-held stereotypes, Welles makes another interesting move by imbuing the American characters in Touch of Evil with homoeroticism while concretizing the heterosexuality of Vargas. For an audience of 1958, when the national rhetoric espoused homosexuality as deviant and un-American, Quinlan’s homosexuality can be seen as another mechanism that flips the U.S.-Mexico binary. In a rather lighthearted bit of discourse between Orson Welles (OW) and director Peter Bogdanovich (PB), Welles even admits to infusing the scene where Quinlan strangles Grandi with homosexual overtones.” (Welles and Bogdanovich 320–21)\r\nThis movie was very innovative for its time. “While no definitive history about how Welles came to direct Touch of Evil is available, the circumstances have generated three distinct legends that constrict Welles as a specific kind of Hollywood auteur. While Heston is a self-serving tale in which he functions as the protagonist, it emphasizes Welles vulnerability within the studio system and highlights that, though Welles was a forceful artist, he had little, if any, usable power in Hollywood” (Pease).\r\nThis work was not well received very well at first till the Orson rewrote it several times till Universal Studios liked the screen play. “Universal Studios would not have hired him at all were it not for the demands of the popular star it coveted. Welles version positions his status in the studio hierarchy similarly, but it makes more vibrant the portrait of an artist with an unflagging devotion to his craft, true to his creative vision even in the face of economic hardship”(Zugsmith). Zugsmith narrative, meanwhile, “constructs Welles as a brash genius, a man who sought out the difficult circumstances that, in the end, made his successes all the more grand. Where they may fail in their historical veracity, however, these narratives succeed in setting up a layer story of Orson Welles as a daredevil auteur who, because he could not be contained by it, was dismissed by the Hollywood studio machine.” (Zugsmith) “They also hint toward a kind of classical masculinity that is inherent to any rendering of the genius auteur”(Rollins).\r\nPeople today speak out against the stereotyping. All people have the right to be who they truly are without being judged and in fear of their life because of their life style. Which is very different from back then, they were topics that you did not talk about for the fear of being ridiculed. My personal reaction to this suspenseful movie was great. With all the drama and suspense you never knew what was going to happen next, it left you hanging on the edge of your seat waiting and wondering. I considered it to be an amazing movie not like the movies today that you can pretty much predict what is going to happen there’s no suspense in today’s movies anymore.\r\nCompared to other movies of its time “the historical moment of the late 1950s, while key in understanding prevailing attitudes toward homosexuality that would help hierarchize Mexico in the American imagination, is also key when discussing Touch of Evil in relation to (or as a response to) U.S. immigration policy.” (Wollen 22) “When postulating about Welles’s decision to rewrite the script, many critics suggest the idea came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).\r\nFuture generations should be aware of political people that have been around for a long time; usually they become corrupt, and will try and do anything to get away with dishonorable acts, legal or not, to preserve their status in the population. Also to stand their ground for what they believe in, and not be in fear of their life because of how they are and what they believe.\r\n\r\nWork Cited:\r\nBeckham II, Jack M. \"Placing Touch Of Evil, The Border, And Traffic In The American Imagination.\" Journal Of Popular Film &amp; Television 33.3 (2005): 130-141. Academic Search Complete. Web. 16 Nov. 2013.\r\n\r\nPease, Donald. “Borderline Justice/States of Emergency: Orson Welles’ Touch of Evil.” New Centennial Review 1.1 (2001): 75–105.\r\n\r\nRollins, Brooke. \"Some Kind Of A Man\": Orson Welles As Touch Of Evil\'s Masculine Auteur.\" Velvet Light Trap: A Critical Journal Of Film &amp; Television 57 (2006): 32-41. Literary Reference Center. Web. 16 Nov. 2013.\r\n\r\nTouch of Evil. Screenplay by Orson Welles. Dir. Orson Welles. Prod. Albert Zugsmith.\r\nPerf. Charlton Heston, Janet Leigh, Orson Welles. 1958. DVD. Universal, 2003.\r\n\r\nWollen, Peter. “Foreign Relations: Welles and Touch of Evil.” Sight and Sound 6\r\n(Oct. 1996): 20–23.','A Touch of Evil by Orson Welles','','inherit','open','open','','3684-revision-v1','','','2013-11-26 20:23:04','2013-11-27 02:23:04','',3684,'http://jeanatacc.com/2011/?p=3686',0,'revision','',0),(3687,58,'2013-11-26 20:28:18','2013-11-27 02:28:18','','images','','inherit','open','open','','images-6','','','2013-11-26 20:28:18','2013-11-27 02:28:18','',3684,'http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg',0,'attachment','image/jpeg',0),(3689,58,'2013-11-26 20:40:33','2013-11-27 02:40:33','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\"><img class=\"aligncenter size-full wp-image-3687\" alt=\"images\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\" width=\"515\" height=\"197\" /></a>\r\n\r\nhttp://bloodymurder.wordpress.com/2012/02/07/touch-of-evil-1958-tuesdays-forgotten-film/\r\nA Touch of Evil by Orson Welles was released to the public to view in 1958. This was a film that gave viewers a whole new view of what kind of corruption was going on around the border. In the movie A Touch of Evil “Mexicans supplies Vargas with a psychological rationale for aggressively pursuing [his investigation of Quinlan], Vargas does not accuse Quinlan of police corruption as an expression of his solidarity with the political efforts to right the history of injustices at the border.”(Welles) In exposing Quinlan’s illegal policing practices on the U.S. side of the border, Vargas struggles to persuade Susan of the higher standards to which the police are held on the Mexican side of the border. (83) This suspenseful thriller brings to light several touchy topics in a time people did not talk about such topics aloud. This is why I believe  A Touch of Evil should be persevered for future generations.\r\n\r\n<!--more-->How was this work typical for its era? It was like the elephant in the room that no one wanted to talk about. “Beyond subverting generic conventions and American-held stereotypes, Welles makes another interesting move by imbuing the American characters in Touch of Evil with homoeroticism while concretizing the heterosexuality of Vargas. For an audience of 1958, when the national rhetoric espoused homosexuality as deviant and un-American, Quinlan’s homosexuality can be seen as another mechanism that flips the U.S.-Mexico binary. In a rather lighthearted bit of discourse between Orson Welles (OW) and director Peter Bogdanovich (PB), Welles even admits to infusing the scene where Quinlan strangles Grandi with homosexual overtones.” (Welles and Bogdanovich 320–21)\r\nThis movie was very innovative for its time. “While no definitive history about how Welles came to direct Touch of Evil is available, the circumstances have generated three distinct legends that constrict Welles as a specific kind of Hollywood auteur. While Heston is a self-serving tale in which he functions as the protagonist, it emphasizes Welles vulnerability within the studio system and highlights that, though Welles was a forceful artist, he had little, if any, usable power in Hollywood” (Pease).\r\nThis work was not well received very well at first till the Orson rewrote it several times till Universal Studios liked the screen play. “Universal Studios would not have hired him at all were it not for the demands of the popular star it coveted. Welles version positions his status in the studio hierarchy similarly, but it makes more vibrant the portrait of an artist with an unflagging devotion to his craft, true to his creative vision even in the face of economic hardship”(Zugsmith). Zugsmith narrative, meanwhile, “constructs Welles as a brash genius, a man who sought out the difficult circumstances that, in the end, made his successes all the more grand. Where they may fail in their historical veracity, however, these narratives succeed in setting up a layer story of Orson Welles as a daredevil auteur who, because he could not be contained by it, was dismissed by the Hollywood studio machine.” (Zugsmith) “They also hint toward a kind of classical masculinity that is inherent to any rendering of the genius auteur”(Rollins).\r\nPeople today speak out against the stereotyping. All people have the right to be who they truly are without being judged and in fear of their life because of their life style. Which is very different from back then, they were topics that you did not talk about for the fear of being ridiculed. My personal reaction to this suspenseful movie was great. With all the drama and suspense you never knew what was going to happen next, it left you hanging on the edge of your seat waiting and wondering. I considered it to be an amazing movie not like the movies today that you can pretty much predict what is going to happen there’s no suspense in today’s movies anymore.\r\nCompared to other movies of its time “the historical moment of the late 1950s, while key in understanding prevailing attitudes toward homosexuality that would help hierarchize Mexico in the American imagination, is also key when discussing Touch of Evil in relation to (or as a response to) U.S. immigration policy.” (Wollen 22) “When postulating about Welles’s decision to rewrite the script, many critics suggest the idea came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).\r\n\r\nFuture generations should be aware of political people that have been around for a long time; usually they become corrupt, and will try and do anything to get away with dishonorable acts, legal or not, to preserve their status in the population. Also to stand their ground for what they believe in, and not be in fear of their life because of how they are and what they believe. This is why I believe this work should be preserved for future generations.\r\n\r\nWork Cited:\r\nBeckham II, Jack M. \"Placing Touch Of Evil, The Border, And Traffic In The American Imagination.\" Journal Of Popular Film &amp; Television 33.3 (2005): 130-141. Academic Search Complete. Web. 16 Nov. 2013.\r\n\r\nPease, Donald. “Borderline Justice/States of Emergency: Orson Welles’ Touch of Evil.” New Centennial Review 1.1 (2001): 75–105.\r\n\r\nRollins, Brooke. \"Some Kind Of A Man\": Orson Welles As Touch Of Evil\'s Masculine Auteur.\" Velvet Light Trap: A Critical Journal Of Film &amp; Television 57 (2006): 32-41. Literary Reference Center. Web. 16 Nov. 2013.\r\n\r\nTouch of Evil. Screenplay by Orson Welles. Dir. Orson Welles. Prod. Albert Zugsmith.\r\nPerf. Charlton Heston, Janet Leigh, Orson Welles. 1958. DVD. Universal, 2003.\r\n\r\nWollen, Peter. “Foreign Relations: Welles and Touch of Evil.” Sight and Sound 6\r\n(Oct. 1996): 20–23.','A Touch of Evil by Orson Welles','','inherit','open','open','','3684-revision-v1','','','2013-11-26 20:40:33','2013-11-27 02:40:33','',3684,'http://jeanatacc.com/2011/?p=3689',0,'revision','',0),(3690,58,'2013-11-26 20:40:53','2013-11-27 02:40:53','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\"><img class=\"aligncenter size-full wp-image-3687\" alt=\"images\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\" width=\"448\" height=\"197\" /></a>\r\n\r\nhttp://bloodymurder.wordpress.com/2012/02/07/touch-of-evil-1958-tuesdays-forgotten-film/\r\nA Touch of Evil by Orson Welles was released to the public to view in 1958. This was a film that gave viewers a whole new view of what kind of corruption was going on around the border. In the movie A Touch of Evil “Mexicans supplies Vargas with a psychological rationale for aggressively pursuing [his investigation of Quinlan], Vargas does not accuse Quinlan of police corruption as an expression of his solidarity with the political efforts to right the history of injustices at the border.”(Welles) In exposing Quinlan’s illegal policing practices on the U.S. side of the border, Vargas struggles to persuade Susan of the higher standards to which the police are held on the Mexican side of the border. (83) This suspenseful thriller brings to light several touchy topics in a time people did not talk about such topics aloud. This is why I believe  A Touch of Evil should be persevered for future generations.\r\n\r\n<!--more-->How was this work typical for its era? It was like the elephant in the room that no one wanted to talk about. “Beyond subverting generic conventions and American-held stereotypes, Welles makes another interesting move by imbuing the American characters in Touch of Evil with homoeroticism while concretizing the heterosexuality of Vargas. For an audience of 1958, when the national rhetoric espoused homosexuality as deviant and un-American, Quinlan’s homosexuality can be seen as another mechanism that flips the U.S.-Mexico binary. In a rather lighthearted bit of discourse between Orson Welles (OW) and director Peter Bogdanovich (PB), Welles even admits to infusing the scene where Quinlan strangles Grandi with homosexual overtones.” (Welles and Bogdanovich 320–21)\r\nThis movie was very innovative for its time. “While no definitive history about how Welles came to direct Touch of Evil is available, the circumstances have generated three distinct legends that constrict Welles as a specific kind of Hollywood auteur. While Heston is a self-serving tale in which he functions as the protagonist, it emphasizes Welles vulnerability within the studio system and highlights that, though Welles was a forceful artist, he had little, if any, usable power in Hollywood” (Pease).\r\nThis work was not well received very well at first till the Orson rewrote it several times till Universal Studios liked the screen play. “Universal Studios would not have hired him at all were it not for the demands of the popular star it coveted. Welles version positions his status in the studio hierarchy similarly, but it makes more vibrant the portrait of an artist with an unflagging devotion to his craft, true to his creative vision even in the face of economic hardship”(Zugsmith). Zugsmith narrative, meanwhile, “constructs Welles as a brash genius, a man who sought out the difficult circumstances that, in the end, made his successes all the more grand. Where they may fail in their historical veracity, however, these narratives succeed in setting up a layer story of Orson Welles as a daredevil auteur who, because he could not be contained by it, was dismissed by the Hollywood studio machine.” (Zugsmith) “They also hint toward a kind of classical masculinity that is inherent to any rendering of the genius auteur”(Rollins).\r\nPeople today speak out against the stereotyping. All people have the right to be who they truly are without being judged and in fear of their life because of their life style. Which is very different from back then, they were topics that you did not talk about for the fear of being ridiculed. My personal reaction to this suspenseful movie was great. With all the drama and suspense you never knew what was going to happen next, it left you hanging on the edge of your seat waiting and wondering. I considered it to be an amazing movie not like the movies today that you can pretty much predict what is going to happen there’s no suspense in today’s movies anymore.\r\nCompared to other movies of its time “the historical moment of the late 1950s, while key in understanding prevailing attitudes toward homosexuality that would help hierarchize Mexico in the American imagination, is also key when discussing Touch of Evil in relation to (or as a response to) U.S. immigration policy.” (Wollen 22) “When postulating about Welles’s decision to rewrite the script, many critics suggest the idea came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).\r\n\r\nFuture generations should be aware of political people that have been around for a long time; usually they become corrupt, and will try and do anything to get away with dishonorable acts, legal or not, to preserve their status in the population. Also to stand their ground for what they believe in, and not be in fear of their life because of how they are and what they believe. This is why I believe this work should be preserved for future generations.\r\n\r\nWork Cited:\r\nBeckham II, Jack M. \"Placing Touch Of Evil, The Border, And Traffic In The American Imagination.\" Journal Of Popular Film &amp; Television 33.3 (2005): 130-141. Academic Search Complete. Web. 16 Nov. 2013.\r\n\r\nPease, Donald. “Borderline Justice/States of Emergency: Orson Welles’ Touch of Evil.” New Centennial Review 1.1 (2001): 75–105.\r\n\r\nRollins, Brooke. \"Some Kind Of A Man\": Orson Welles As Touch Of Evil\'s Masculine Auteur.\" Velvet Light Trap: A Critical Journal Of Film &amp; Television 57 (2006): 32-41. Literary Reference Center. Web. 16 Nov. 2013.\r\n\r\nTouch of Evil. Screenplay by Orson Welles. Dir. Orson Welles. Prod. Albert Zugsmith.\r\nPerf. Charlton Heston, Janet Leigh, Orson Welles. 1958. DVD. Universal, 2003.\r\n\r\nWollen, Peter. “Foreign Relations: Welles and Touch of Evil.” Sight and Sound 6\r\n(Oct. 1996): 20–23.','A Touch of Evil by Orson Welles','','inherit','open','open','','3684-revision-v1','','','2013-11-26 20:40:53','2013-11-27 02:40:53','',3684,'http://jeanatacc.com/2011/?p=3690',0,'revision','',0),(3691,87,'2013-11-26 22:25:39','2013-11-27 04:25:39','Spirited Away by Hayao Miyazaki and Studio Ghibli is one of the most important films of all time, as well as a personal favorite of mine. In this amazing movie, Miyazaki manages to combine Eastern and Western Folklore, use classic tropes to explore various ideas, and employ symbols in a way that is both creative and thought provoking, all while creating an extraordinary piece of entertainment for children and adults. For these reasons, it must be preserved.\r\n\r\n<!--more-->\r\nReleased in July 20th, 2001, the story of Spirited Away centers on a ten-year old girl named Chihiro and is set in modern-day Japan, though only for a short while (Britannica). Chihiro and her parents are moving to a new town when they make a detour and end up in what initially appears to be an abandoned theme park. As the sun goes down, the parents are suddenly overcome by greed and gluttony and begin stealing food from an empty restaurant while Chihiro ends up meeting a boy named Haku in front of a bath house. He yells at her to leave, but before she can she finds herself trapped in the spirit world. Her parents were transformed into pigs by Yubaba, the witch who rules the bath house, and now Chihiro, aided by Haku, must work for her to ensure her family’s safety. However, in order to do so she must give up her name and live as Sen. Throughout the story, she encounters many spirits, including a River Spirit, the shadowy No-Face, and Zeniba, Yubaba’s twin sister. Each of them are central to a unique challenge Chihiro must overcome on her path to freedom. Eventually, she realizes she knows Haku and discovers the way to rescue him, herself, and her parents.\r\nThere were many influences that went into this movie. Chihiro herself, the spoiled, whiny, but also determined and loving protagonist, was based on the daughter of some of Miyazaki’s friends (Britannica). The primary reason why the movie was made was because he wanted to make a movie for kids to enjoy (Britannica). This was the reason it was set in a Bath House, because Miyazaki as a child thought of bath houses as places of wonder and mystery (Britannica). However, there were many folklore themes present in the movie as well. The film derived themes from the Shinto religion, such as the belief that everything has a spirit as visualized by every spirit being a spirit of a particular place or thing (Vega). However, it also was influenced by Western folk tales, specifically the story of Baba Yaga. In one of the renditions of this Russian tale, a girl leaves her father’s home to go to Baba Yaga, a witch who lives in the forest (Bilibin). Like Chihiro, the girl is primarily protected from the witch by her good heart (Bilibin). Its representation of both eastern and western themes is possibly one of the reasons it was able to appeal to such a wide audience.\r\nThe movie’s primary achievement was its expert use of symbolism and tropes. Many of the symbols used could represent multiple things, some of them being antithetical, but Miyazaki used both. For example, Old Women traditionally have fulfilled the role of hags, witches, and crones, but also wise women and loving grandmothers (Bilibin). They can be used as symbols of cynicism, treachery, and ancient evil, but also of wisdom and compassion (Nalvic). In Zeniba and Yubaba, all these are present. Another example is No-Face, the shadow being who befriends Chihiro and becomes one of her trials. Shadows have been used to represent unknown, ominous evils, but also hidden potential and shyness, which are both exhibited in No-Face (Vega). By having characters that have seemingly opposite qualities but still appear as whole people (as in not having a split personality), Miyazaki is able to fully flesh out the characters and illustrate how complicated people are. In all the characters of Spirited Away, though they all help and hinder Chihiro to varying degrees, there are no definite heroes or villains. Each ‘good’ character has a series of flaws and each ‘evil’ character has a series of good qualities. Miyazaki believes that the “idea that whenever something evil happens someone particular can be blamed and punished for it” is “rotten” and portrays that belief in the absence of absolutely good or evil characters (Miyazaki).\r\nIn this aspect, he portrayed a similar theme in the movie Princess Mononoke. One of the primary themes is the idea that in a battle, neither side is completely right or wrong and trying to find a peaceful solution instead of simply destroying the other side should be the highest priority. Princess Mononoke is also similar in that it featured spirits of nature and a theme of pollution and destruction of nature. In a way, Spirited Away can be seen as Princess Mononoke remade for children.\r\nSpirited Away was incredibly well received in its time, winning many awards and being named the Best Animated Feature at the 2003 Academy Awards, and remains one of Miyazaki’s most definitive works. It’s a timeless classic, makes expert use of symbols and tropes, crosses cultural barriers, and is highly entertaining. Spirited Away needs to be preserved not just for an audience, but for future artists to learn how to tell a story, how to build complex characters, and how to build a world.\r\n\r\nWorks Cited\r\nBilibin, Ivan. \"Baba Yaga.\" Baba Yaga. N.p., n.d. Web. 20 Nov. 2013.\r\nWhere I got information on Baba Yaga and the Old Woman as a symbol and trope.\r\nChandler, Otis. \"Hayao Miyazaki Quotes.\" Hayao Miyazaki Quotes (Author of NausicaÃ¤ of the Valley of the Wind, Vol. 1). N.p., n.d. Web. 18 Nov. 2013.\r\nHere was where I got some quotes from Miyazaki on his ideas of good and evil.\r\n\"Miyazaki Hayao (Japanese Director).\" Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 22 Nov. 2013.\r\nEncyclopedia Britannica page where I got information on Miyazaki.\r\nNalvic, Calvin. \"Nalvic\'s Reviews.\" Nalvics Reviews. N.p., n.d. Web. 17 Nov. 2013.\r\nPage where I got supplementary information on various themes of Spirited Away.\r\n\"Spirited Away (film by Miyazaki).\" Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 19 Nov. 2013.\r\nEncyclopedia Britannica article where I got information on the movie, its reception, its symbolism, and the tropes used.\r\nVega, Manuel. \"Spirited Away: An Interpretation of Its Symbolism.\" Circle of Meditation. N.p., n.d. Web. 20 Nov. 2013.\r\nHere was where I got some insight into Spirited Away’s symbolism.','Spirited Away by Hayao Miyazaki','','publish','open','open','','spirited-away-by-hayao-miyazaki','','','2013-11-27 14:55:41','2013-11-27 20:55:41','',0,'http://jeanatacc.com/2011/?p=3691',0,'post','',10),(3692,87,'2013-11-26 22:25:39','2013-11-27 04:25:39','Spirited Away by Hayao Miyazaki and Studio Ghibli is one of the most important films of all time, as well as a personal favorite of mine.  In this amazing movie, Miyazaki manages to combine Eastern and Western Folklore,  use classic tropes to explore various ideas, and employ symbols in a way that is both creative and thought provoking, all while creating an extraordinary piece of entertainment for children and adults.  For these reasons, it must be preserved.\r\n	Released in July 20th, 2001, the story of Spirited Away centers on a ten-year old girl named Chihiro and is set in modern-day Japan, though only for a short while (Britannica).  Chihiro and her parents are moving to a new town when they make a detour and end up in what initially appears to be an abandoned theme park.  As the sun goes down, the parents are suddenly overcome by greed and gluttony and begin stealing food from an empty restaurant while Chihiro ends up meeting a boy named Haku in front of a bath house.  He yells at her to leave, but before she can she finds herself trapped in the spirit world.  Her parents were transformed into pigs by Yubaba, the witch who rules the bath house, and now Chihiro, aided by Haku, must work for her to ensure her family’s safety.  However, in order to do so she must give up her name and live as Sen.  Throughout the story, she encounters many spirits, including a River Spirit, the shadowy No-Face, and Zeniba, Yubaba’s twin sister.  Each of them are central to a unique challenge Chihiro must overcome on her path to freedom.  Eventually, she realizes she knows Haku and discovers the way to rescue him, herself, and her parents.  \r\n	There were many influences that went into this movie.  Chihiro herself, the spoiled, whiny, but also determined and loving protagonist, was based on the daughter of some of Miyazaki’s friends (Britannica).  The primary reason why the movie was made was because he wanted to make a movie for kids to enjoy (Britannica).  This was the reason it was set in a Bath House, because Miyazaki as a child thought of bath houses as places of wonder and mystery (Britannica).  However, there were many folklore themes present in the movie as well.  The film derived themes from the Shinto religion, such as the belief that everything has a spirit as visualized by every spirit being a spirit of a particular place or thing (Vega).  However, it also was influenced by Western folk tales, specifically the story of Baba Yaga.  In one of the renditions of this Russian tale, a girl leaves her father’s home to go to Baba Yaga, a witch who lives in the forest (Bilibin).  Like Chihiro, the girl is primarily protected from the witch by her good heart (Bilibin).  Its representation of both eastern and western themes is possibly one of the reasons it was able to appeal to such a wide audience.\r\n	The movie’s primary achievement was its expert use of symbolism and tropes.  Many of the symbols used could represent multiple things, some of them being antithetical, but Miyazaki used both.  For example, Old Women traditionally have fulfilled the role of hags, witches, and crones, but also wise women and loving grandmothers (Bilibin).  They can be used as symbols of cynicism, treachery, and ancient evil, but also of wisdom and compassion (Nalvic).  In Zeniba and Yubaba, all these are present.  Another example is No-Face, the shadow being who befriends Chihiro and becomes one of her trials.  Shadows have been used to represent unknown, ominous evils, but also hidden potential and shyness, which are both exhibited in No-Face (Vega).  By having characters that have seemingly opposite qualities but still appear as whole people (as in not having a split personality), Miyazaki is able to fully flesh out the characters and illustrate how complicated people are.  In all the characters of Spirited Away, though they all help and hinder Chihiro to varying degrees, there are no definite heroes or villains.  Each ‘good’ character has a series of flaws and each ‘evil’ character has a series of good qualities.  Miyazaki believes that the “idea that whenever something evil happens someone particular can be blamed and punished for it” is “rotten” and portrays that belief in the absence of absolutely good or evil characters (Miyazaki).  \r\nIn this aspect, he portrayed a similar theme in the movie Princess Mononoke.  One of the primary themes is the idea that in a battle, neither side is completely right or wrong and trying to find a peaceful solution instead of simply destroying the other side should be the highest priority.  Princess Mononoke is also similar in that it featured spirits of nature and a theme of pollution and destruction of nature.  In a way, Spirited Away can be seen as Princess Mononoke remade for children.  \r\nSpirited Away was incredibly well received in its time, winning many awards and being named the Best Animated Feature at the 2003 Academy Awards, and remains one of Miyazaki’s most definitive works.   It’s a timeless classic, makes expert use of symbols and tropes, crosses cultural barriers, and is highly entertaining.  Spirited Away needs to be preserved not just for an audience, but for future artists to learn how to tell a story, how to build complex characters, and how to build a world.  \r\n\r\nWorks Cited\r\nBilibin, Ivan. \"Baba Yaga.\" Baba Yaga. N.p., n.d. Web. 20 Nov. 2013.\r\nWhere I got information on Baba Yaga and the Old Woman as a symbol and trope.\r\nChandler, Otis. \"Hayao Miyazaki Quotes.\" Hayao Miyazaki Quotes (Author of NausicaÃ¤ of the Valley of the Wind, Vol. 1). N.p., n.d. Web. 18 Nov. 2013.\r\nHere was where I got some quotes from Miyazaki on his ideas of good and evil.\r\n\"Miyazaki Hayao (Japanese Director).\" Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 22 Nov. 2013.\r\nEncyclopedia Britannica page where I got information on Miyazaki.\r\nNalvic, Calvin. \"Nalvic\'s Reviews.\" Nalvics Reviews. N.p., n.d. Web. 17 Nov. 2013.\r\nPage where I got supplementary information on various themes of Spirited Away.\r\n\"Spirited Away (film by Miyazaki).\" Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 19 Nov. 2013.\r\nEncyclopedia Britannica article where I got information on the movie, its reception, its symbolism, and the tropes used. \r\nVega, Manuel. \"Spirited Away: An Interpretation of Its Symbolism.\" Circle of Meditation. N.p., n.d. Web. 20 Nov. 2013.\r\nHere was where I got some insight into Spirited Away’s symbolism.\r\n','Spirited Away by Hayao Miyazaki','','inherit','open','open','','3691-revision-v1','','','2013-11-26 22:25:39','2013-11-27 04:25:39','',3691,'http://jeanatacc.com/2011/?p=3692',0,'revision','',0),(3693,1,'2013-11-27 14:51:28','2013-11-27 20:51:28','<p style=\"text-align: center;\"><b id=\"docs-internal-guid-13fb2fd5-92c7-d870-d602-ac0a3a08ee4a\"><img class=\"aligncenter\" alt=\"\" src=\"https://lh3.googleusercontent.com/DgQWcsD5CoAktGkJzk998-cANGT4-T4otqQQvNwWcxopQ8l8pSmK8_QSlXs5l3iAAfqSQvvXDoUj4Luo2eiHQKo6JeWPdPImdxQ_84t5UEYa30FD5zPlBPMirA\" width=\"249px;\" height=\"362px;\" />\r\n</b></p>\r\n<p style=\"text-align: center;\"><b>James Cameron’s <i>Terminator 2: Judgement Day</i></b></p>\r\n<p style=\"text-align: center;\">http://en.wikipedia.org/wiki/Terminator_2:_Judgment_Day</p>\r\n&nbsp;\r\n\r\nFamous and inspiring director James Cameron (1954) is known for his action packed, imaginative and also romantic films such as <i>Avatar</i>, <i>Aliens</i>, <i>Titanic</i>, and the classic and one of his most famous films yet, <i>The Terminator</i> (1984) and <i>The Terminator 2: Judgement Day </i>(1991). Cameron’s attention getting ideas was incorporated into this sequel making it one of the most mind boggling movies of the decade. According to a web source, James Cameron is a critically acclaimed film director known for some of the biggest box-office hits of all time. He has received numerous Academy Awards and nominations for his often large-scale, expensive productions” (websourceBiographyChannel). Sci-fi film, <i>The Terminator 2 </i>(sequel of the classic film, The Terminator) is about a more advanced liquid metal Terminator from the far future that was sent back to the year 1995 in order to command and terminate the entire human existence. Leading and well-known actor Arnold Schwarzenegger, a less advanced Terminator is also sent back into time from the future to protect the son of Sarah Conor, John Conor in this classic film. James Cameron is well applauded for his masterpiece and a major classic during it’s time and today, 1997 film, <i>Titanic. </i>Cameron’s imagination and patience landed him to make <i>Titanic</i>, and “<i>Titanic</i> became the first film to earn more than $1 billion” (websourceBiographyChannel). James Cameron’s brilliant and notorious imaginative ideas allowed him to be one of the most distinguished director/writer ever; and due to his much-publicized, dynamic, and major monumental pieces of work, <i>The Terminator 2: Judgement Day</i> should be preserved for it’s daring and radical storyline for future generations to come.<!--more-->\r\n\r\n<i>Terminator 2 </i>was definitely typical of its era. The boom of artistic and visionary films during the 1990’s was massive. During this time period, sci-fi movies similar to the Terminator masterpiece, such as the <i>Matrix</i>, <i>Star Wars</i>, and <i>Independence Day</i> were fantastic box office hits sweeping the nation’s attention. <i>Terminator 2 </i>was no surprise after these major works that created this big science fiction sensation. This time period was the beginning of the new world introducing films full of creative writing and imagination that marked the beginning of the 1900 to the year 2000. Sci-fi movies during this time were beyond ordinary thoughts. They were full of suspense, action, drama, and romance all tied into one movie. The dark themes, and futuristic effects of these science fictional sensations brought more and more people to become interested in the Sci-fi category. The sound effects behind these chiller movies were full of suspense and dilemma making viewers terrified but interested at the same time.\r\n\r\nThis work is unusual unusual of its time in many different ways and aspects. <i>Terminator 2</i> brought new futuristic thoughts during this time period by the entire storyline. The idea of traveling through time is mind-boggling for one, but the almost perfect makeup of the figure of Arnold Schwarzenegger as a Terminator was exquisite. Terminator 2 was one of the first movies to ever show a live robot inside of a human body, displaying the figure perfectly. Even though the lightening effects were a bit computerized (which was a bit unusual since everything else in the movie seemed completely real), this suspenseful movie completely demolished every powerful sound and visual effect showed in this movie. This movie definitely stands out from others such as the Matrix and Star Wars because of the aspect of time traveling and the romantic, action pact story line.\r\n\r\n<i>Terminator 2: Judgement Day</i> was received surprisingly tremendous during this time period. Critics and reviewers and even viewers were stunned of how amazing this scientifical movie came out to be. “Terminator 2: Judgment Day (1991), which won four Oscars in technical categories for its groundbreaking effects” (Rovi). Critics were fascinated with the detailed effects and “In short, Cameron has done an honourable and undoubtedly skilful job of tailoring his new film to the tastes of the times without too much sloppy compromise. He\'s made a science fiction film with verve, imagination and even a little wit, proving that the original, made for Dollars 6.5 million, wasn\'t a fluke and was certainly cheap” (Malcolm). Movie critics during this time were extremely satisfied with this classic not only because it was one of the movies that introduced futuristic ideas, but also because it introduced an entirely new concept on science fiction movies.\r\n\r\nThe perception of the movie today compared to back then are perfectly similar in comparison. Despite the fact that some people felt there was nothing more than special effect after effect, with no true story behind it; majority of critics and viewers became fans of this futuristic film. “Terminator 2” has one, along with an intriguing hero and fierce heroine, and a young boy who is played by Furlong with guts and energy. The movie responds to criticisms of excessive movie violence by tempering the Terminator’s blood lust, but nobody, I think, will complain that it doesn\'t have enough action” (Elbert). There are barely any differences in opinions about this film between the time period it was made until now. <i>Terminator 2</i> is definitely a classic that was a favorite among many people over the course of its existence.\r\n\r\nI absolutely love this film. The introduction to new innovative ideas about time travel, and major sound effects, not forgetting the amazing performance by Arnold Schwarzenegger and makeup and effects of the two Terminator figures. Terminator 2 definitely beats the first of its sequel. The suspense and drama, and beautiful acting in this movie was surely on point with its time. Because there are many movies in this sequel, it brought me to watch one after another, after another. The thrill and the chills and also the dramatic ending was brilliant. Cameron nearly perfected this film, and progressed from this point forward during his lifetime of film making.\r\n\r\n<i>Terminator 2 </i>specifically compares to many of its sequels, and also the film <i>Star Wars. </i>Both films executed sound effects, brilliant visionary details, and innovative ideas during this time period. “As revolutionary as the effects in \"Star Wars\" were, Lucas and his crew at ILM (Industrial Light &amp; Magic) have upped the ante so high in their search for realism in the intervening years, they\'ve become dissatisfied with the limitations of their earlier work and were confident they could make significant improvements” (websource). Both films were both introducing a new world of light and dramatic effects, giving so much realism with a modern twist.\r\n\r\nIn contrast, <i>Titanic</i> was a classic directed by James Cameron and is completely the opposite of <i>Terminator 2</i>. The romantic journey a young couple endures and also is faces with their fate, death, is a remarkable story that was based on a true story of the grand and magnificent ship, the Titanic. The romance and love that was poured into this storyline captured America’s heart and became a classic of it’s genre. In difference, <i>Terminator 2</i> was completely filled with dramatic effects and loud background sound effects, but it’s action packed story also became a classic of it’s science fiction genre. Both movies have become a sensational classic that has been forever marked as one of the top movies watched of that decade. Critic analysis expert stated her own testimony with the brilliant <i>Titanic</i> stating, “I went into Titanic with trepidation: it is being hailed as one of the best love stories depicted on film. Cynical as I am, I don\'t think much of movies with a romantic theme to them. However, I was curious to see the spectacle that director James Cameron had created. Fortunately for me, Titanic is not only great in terms of action, effects, and visuals, but also provides excellent commentary on the issue of the class struggle”(Samudrala). Both storylines are completely different in each film, however; the response of the viewers to both films makes these two films complete classics.\r\n\r\nTerminator 2: Judgement Day is one of the most famous and brilliant movies of its decade and genre. The tremendous acting and visual effects surely lures viewers into watching sequel after sequel. This film introduced many detailed effects that were just now being used during this time, and also, was executed well in this film. This movie is worth its preservation because it marked a new era of future and imaginary ideas also including its realism and amazing performance.\r\n\r\n&nbsp;\r\n\r\n<b>Works Cited</b>\r\n\r\nElbert, Roger. \"Terminator 2: Judgement Day.\" (1991). Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me with the details of the movie. Its sound and visual effects and also the details of each character.</b>\r\n\r\n\"James Cameron.\" 2013. <i>The Biography Channel website</i>. Nov 25 2013, 08:52\r\n\r\n<b>This website was helpful about the history of the director. It showed me many of Cameron’s famous works.</b>\r\n\r\nMalcolm, Derek. \"The Guardian.\" N.p.: n.p., 1991. N. pag. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand how much of a classic Terminator 2 really was. It gave me many details about the history of the movie.</b>\r\n\r\n&nbsp;\r\n\r\nSamudrala, Ram. . N.p., n.d. Web. 25 Nov. 2013.\r\n\r\n<b>This website helped me understand from a critical viewer. Her testimony to the film, Titanic helped me see the compare and contrasts between both films.</b>\r\n\r\n<i>Star Wars Returns</i>. N.p., 31 Jan. 1997. Web. 25 Nov. 2013\r\n\r\n<b>This website was very helpful. It helped me compare Star Wars and Terminator 2.</b>\r\n\r\n&nbsp;','DaveGargi-TCP4 ','','inherit','open','open','','3678-revision-v1','','','2013-11-27 14:51:28','2013-11-27 20:51:28','',3678,'http://jeanatacc.com/2011/?p=3693',0,'revision','',0),(3694,1,'2013-11-27 14:52:19','2013-11-27 20:52:19','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/ACO-1.jpg\"><img class=\"size-full wp-image-3645 aligncenter\" alt=\"ACO 1\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/ACO-1.jpg\" width=\"300\" height=\"287\" /></a>http://th08.deviantart.net/fs38/300W/i/2010/273/7/7/a_clockwork_orange_closeup_wip_by_applesaucemoss-d1qi6i4.jpg</p>\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/ACO-2.jpg\"><img class=\"size-medium wp-image-3646 aligncenter\" alt=\"ACO 2\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/ACO-2-207x300.jpg\" width=\"207\" height=\"300\" /></a>http://nonamemovieblog.files.wordpress.com/2012/04/clockwork-poster.jpg</p>\r\n<!--[if gte mso 9]&gt;-->\r\n<p style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><!--[if gte mso 9]&gt;--></p>\r\n&nbsp;\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">“ ‘as queer as a clockwork orange’…implying a queerness or madness so extreme as to subvert nature.” (www.newyorker.com) </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">A Clockwork Orange </span></i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">is a book written in 1962 and put to film by Stanley Kubrick and released to theaters in 1971.<span>  </span>Malcolm McDowell plays the role of Alex, the main character.<span>  </span>Alex is a punk type who is a huge fan of classical music most specifically Beethoven.<span>  </span>He spends his night with his group known as the Droogs getting high at the Korova Milkbar after which they go into the night to partake in what Rotten Tomatoes has called “a little of the old ultraviolence”.<span>  </span>They rape, terrorize, and beat their victims to death.<span>  </span>Eventually the ring leader, Alex, is jailed where he is volunteers as part of a behavior modification program using even his love of Beethoven to strip him of his violent ways.<span>  </span>After his release, Alex is powerless and his victims take full advantage of his weaknesses especially his most vengeful victim, Mr. Alexander.<span>  </span>A Clockwork Orange is worthy of preservation for its psychological approach, for Stanley Kubrick’s creative approach at addressing this, and the critical thinking spawned by the controversial topic of behavior modification/brainwashing.<span>  <!--more--></span></span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Stanley Kubrick was a cinematic genius who created a film from the book written by Anthony Burgess.<span>  </span>Kubrick takes apart the nature of the human mind and dark violence with his production of <i>A Clockwork Orange.<span>  </span></i>He puts imagery to Burgess’s novel and forces the public address the question of “eye for an eye”.<span>  </span>That is, does violence justify the use of violence?<span>  </span>For example, the state’s behavior modification program and/or Mr. Alexander’s revenge for the death of his wife.<span>  </span></span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Is brainwashing an acceptable form of discipline or moral reform?<span>  </span>Does it leave the subject weak and powerless as with Alex or does it put forth a newly reformed and socially acceptable individual as its proprietors would suggest?<span>  </span>These are questions also addressed by the subject matter within Kubrick’s movie as told Burgess’s book.<span>  </span>By creating this movie, Stanley Kubrick has forced the viewing public to address punishments and methods of rehabilitation previously thought to be justified yet now seen as morally reprehensible.<span>  </span>Did Alex’s sadistic behavior justify the methods of the state?</span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">From a cinematic standpoint, <i>A Clockwork Orange </i>was ahead of its time.<span>  </span>Kubrick , with the help of his production designer – John Barry, pooled aspects of the old world and the new world and was able to create what Rotten Tomatoes has dubbed “a world of high-tech cultural decay…”<span>  </span><i>A Clockwork Orange </i>is a movie that puts forth a twisted view of the then future with Kubrick’s mix of old and new and disturbing futuristic imagery.<i> </i><span>  </span>Stanley Kubrick’s creativity as a producer along with the design abilities of John Barry came together as one of the most popular and influential movies of the 1970s.<span>  </span>Compared to the likes of George Orwell’s <em>1984</em>, Kubrick’s film was something that held the power to change cinema.</span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">The entire world was rife with war and struggle. Countries were either plagued with violence or somehow connected to violence of their neighbors and allies.<span>  </span>On December 3, 1971, India invaded West Pakistan setting into action the Indo-Pakistani War of 1971 that would come to claim hundreds of lives.<span>  </span>Countries from all over the world were involved in the Vietnam War.<span>  </span>February 8, 1971, South Vietnamese troops invaded Laos.<span>  </span></span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n\r\n<div style=\"border: none; border-bottom: solid windowtext 3.0pt; padding: 0in 0in 1.0pt 0in; margin-left: .25in; margin-right: 0in;\">\r\n<p class=\"MsoNormal\" style=\"border: none; padding: 0in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Richard Milhous Nixon was president of the United States.<span>  </span>Despite initially promoting the US involvement in Vietnam, Nixon would eventually end the country’s involvement in 1973.<span>  </span>During his presidency, Nixon was able to begin innovative work in the fight against drugs, welfare and healthcare reform, and environmental reform.<span>  </span>He also launched the beginnings of shuttle missions to the moon, work which would come to replace manned space exploration.<span>  </span></span></p>\r\n<p class=\"MsoNormal\" style=\"border: none; padding: 0in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Movies of this type were not entirely uncommon in the 1970s.<span>  </span>Movies that explored the sci-fi aspect of ultraviolence like that seen in <i>A Clockwork Orange</i> were becoming increasingly common.<span>  </span>For example, <i>Murder in a Blue World </i>was released in 1973.<span>  </span>“In a futuristic world where armed gangs roam the streets, scientists are conducting mind-control experiments on ordinary citizens from secret labs. Amid the carnage, a beautiful nurse seems like an angel of mercy. But what are her true intentions?”<span>  </span>(Netflix.com) The two films are often compared. </span></p>\r\n\r\n</div>\r\n<p class=\"MsoListParagraphCxSpFirst\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">It was not uncommon for one to see a slew of sci-fi based films at the box office at the time of <i>A Clockwork Orange</i>’s release.<span>  </span>However, for a filmmaker to take an approach such as this was definitely not as common.<span>  </span>This being said, Kubrick was not alone in his approach.<span>  </span>Some came before and some after, but Stanley Kubrick was among others who took a look at the futuristic, psychological aspect.<span>  </span>For example, <i>Orange</i> was released only weeks apart from <i>Straw Dogs</i>-an equally violent and psychological film by Sam Peckinpah (Rotten Tomatoes).</span></p>\r\n<p class=\"MsoListParagraphCxSpLast\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">While movies of the sci-fi nature were very common and even psychological movie were gaining commonality, Kubrick and Barry created a mix of old school and futuristic that wasn’t a common thread.<span>  </span>Stanley Kubrick’s adaptation of Anthony Burgess’s novel was something that many directors were either unwilling or unable to create.<span>  </span>While many directors such as George Lucas were making movies like that of <i>Star Wars</i>, not many were brave enough to take the psychological approach.<span>  </span>Kubrick, with the help of John Barry, took a futuristic approach to brainwashing – less abrasively known as operant conditioning – and its possible repercussions.<span>  </span>Not only for its literary and psychological basis but also for the cinematic creativity surrounding it, <i>A Clockwork Orange </i>stands out among other movies of its time.<span>  </span></span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">According the movie review site, Rotten Tomatoes, when <i><span> </span>A Clockwork Orange</i> was released in 1971 it met a great deal of controversy.<span>  </span>This was largely due to its high level of extreme violence.<span>  </span>In fact, the movie was cited for causing a string of copy cats in England.<span>  </span>It was because of this that the moved was pulled from circulation until after Stanley Kubrick’s death in March of 1999.<span>  </span>It was re-released with a rating of “18” in the year 2000. (imdb.com)<span>  </span></span></p>\r\n<p class=\"MsoListParagraphCxSpFirst\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">In the United States, however, the movie became a great hit.<span>  </span>There were and still are disagreements as to what Kubrick’s interpretation of the book and its depiction of the future are supposed to have meant. (Rotten Tomatoes)<span>  </span>The movie and Kubrick would eventually be nominated for three Oscars:<span>  </span>Best Film, Best Director, and Best Screenplay.<span>  </span></span></p>\r\n<p class=\"MsoListParagraphCxSpLast\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span> </span></span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Today, Stanley Kubrick’s works are the source of an ever-growing fan base.<span>  </span><i>A Clockwork Orange </i>is most definitely at the top of that list.<span>  </span>The long list of blogs and reviews is good proof of this.<span>  </span>Today, many still take the movie as a good example of operant conditioning and its effects to be analyzed.<span>  </span>Also, despite having been controversial in its beginnings, it has gained quite the cult following over the years. (sites.google.com) </span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">The change in views regarding psychological conditioning could have a distinct effect on the reception of the film today.<span>  </span>While human rights and civil liberties tend to get more of a focus today, the realization that this is simply a movie and a good source of research could have helped ease its reception.<span>  </span>Also, after the release of<span>  </span><i>A Clockwork Orange</i> Kubrick made multiple other movies.<span>  </span>Among them were hits such as <i>Full Metal Jacket </i>and <i>The Shining </i>and <i>The Invisible Man. </i>(imdb.com)</span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">First and foremost I found this movie to be beyond disturbing.<span>  </span>However, I am a huge fan of anything made by Stanley Kubrick so I was quite excited to have the opportunity to argue for its preservation.<span>  </span><i>A Clockwork Orange</i> is a cinematic masterpiece.<span>  </span>With stellar acting from actors the likes of Malcom McDowell and Patrick Magee, this movie is thoroughly entertaining.</span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">From an analytical standpoint, this movie has taught me things I would have never even considered before this project.<span>  </span>For example, the operant conditioning involved in Alex’s rehabilitation brings up the question as to whether or not such severe brainwashing techniques are justifiable.<span>  </span>This also prompts the discussion as to whether violence justifies the use of violence.<span>  </span></span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">When many see this movie one of the first things that tends to cross their minds is that this is a sci-fi, psychological thriller.<span>  </span>There is so much more beyond the horror.<span>  </span>This movie provokes critical thinking and analytical skills not often seen in many movies.</span></p>\r\n<p class=\"MsoListParagraph\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Released in 1973, <i>Murder in a Blue World </i>by Eloy de la Iglesia was, at one point, called the Spanish <i>Clockwork Orange.</i><span>  </span>This movie is about a nurse who takes it upon herself to end the lives of her patients as she sees fit.<span>  </span>Over the years, as it has been translated, the title has changed a couple of times.<span>  </span>This film brings to mind the story of Dr. Kavorkian.<span>  </span></span></p>\r\n<p class=\"MsoListParagraph\"><b><span style=\"text-decoration: underline;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span style=\"text-decoration: none;\"> </span></span></span></b></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">A Clockwork Orange </span></i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">can also be compared to other works by Stanley Kubrick.<span>  </span>For example, take in to consideration <i>Full Metal Jacket</i>.<span>  </span>In this film, set in Vietnam, Vincent DiNafrio plays a newly enlisted Marine in boot camp who is continuously subjected to ridicule and abuse at the hands of his drill instructor as well as his fellow Marines.<span>  </span>After being put through seemingly endless physical and psychological abuse, the young private takes his own life.<span>  </span>Fast forward to the front lines, the field of combat in Vietnam.<span>  </span>The soldiers are all being forced to endure the unimaginable psychological and physical experiences of war time.<span>  </span>This goes to show how regardless of coming from a realistic approach or a creative futuristic approach, Stanley Kubrick creates incredibly intense movies with a seemingly common psychological basis.</span></p>\r\n<p class=\"MsoListParagraph\"><b><span style=\"text-decoration: underline;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span style=\"text-decoration: none;\"> </span></span></span></b></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">A Clockwork Orange </span></i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">is worthy of preservation for its psychological approach, for Stanley Kubrick’s creative approach at addressing this, and the critical thinking spawned by the controversial topic of behavior modification/brainwashing.<span>  </span>B.F. Skinner first introduced the idea of operant conditioning much like what Alex was subjected to.<span>  </span>In his book, <i>The Behavior of Organisms (1938), </i>Skinner suggested that behavior could modified by reinforcement or even a lack of it.<span>  </span>(</span><a href=\"http://www.minddisorders.com\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">www.minddisorders.com</span></a><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">)<span>  </span>B.F. Skinner “anticipated a society in which the behavior of human beings might be scientifically engineered for the benefit of both the individual and the community.” (Fiero)<span>  </span>It is this idea that prompted the use of the Ludovico treatment which Alex was subjected to.<span>  </span>This is/was the use of a drug that induces nausea.<span>  </span>When applied at the same time as Alex’s violent behavior or the playing of his prized Beethoven, Alex then begins to associate these behaviors or things with the feeling of nausea thus deeming them bad.<span>  </span>It is for this that the movie should be preserved.<span>  </span>While the movie was made from a fictional book, it is still great for encouraging the idea of use of behavior modification.</span></p>\r\n<p class=\"MsoListParagraph\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></i></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: 22.5pt;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">By applying the creative design of John Barry and his own cinematic genius, Stanley Kubrick was able to create a movie of high standards while simultaneously addressing the idea of whether or not the use of such behavior modification is justifiable.<span>  </span>There is a never-ending debate as to whether or not violence begets violence.<span>  </span>Is it okay to tell Alex his behavior is unacceptable only to subject him to the same wrong-doings?<span>  </span>Is it okay to create a victim, an individual who is weak and helpless to the outside world?<span>  </span>At what point does this become not okay?<span>  </span>These – and more – are all questions posed by Kubrick’s movie.<span>  </span>It is my view that it is important for this generation and those to come in the future should learn of this movie and come to know it.<span>  </span>Civil liberties and basic human rights can come into question thus tying in the critical thinking spawned by the controversial topic.<span>  </span>Posing questions like this the current and future generations could teach them and send them in the direction of becoming strong individuals intellectually.<span>  </span></span></p>\r\n<p class=\"MsoListParagraphCxSpFirst\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpLast\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in; text-align: center;\" align=\"center\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .25in; text-align: center;\" align=\"center\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> Works Cited</span></p>\r\n<p class=\"MsoListParagraphCxSpFirst\" style=\"text-align: center;\" align=\"center\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">A Clockwork Orange </span></i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">by Stanley Kubrick</span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"><span>            </span></span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">m.newyorker.com/reporting.2012/06/04/120604fa_fact_burgess</span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Ending the Vietnam War: The Vietnamese Communists’ Perspective </span></i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">by Ang Cheng Guan (found via Wikipedia)</span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\" style=\"margin-left: 1.0in;\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***</span></i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">This source was found via a Wikipedia article.<span>  </span>This book proved to be useful in establishing a historical context.<span>  </span>I used this to understand some of the historical and psychological issues of the time.</span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">The Space Shuttle Decision: NASA’s Search for a Reusable Space Vehicle </span></i><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">by T.A. Hepplewhite (found via Wikipedia)</span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\" style=\"margin-left: 1.0in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This source was also found via a Wikipedia article.<span>  </span>I used this book to also provide a basis for historical context.<span>  </span>This book helped to illustrate one of the many important things going on at the time.</span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><a href=\"http://www.rottentomatoes.com/mobile/m/clockwork_orange/\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">www.rottentomatoes.com/mobile/m/clockwork_orange/</span></a></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\" style=\"margin-left: 1.0in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***The Rotten Tomatoes website.<span>  </span>I used this for basic film information as well as insight into other avenues of information sources. <span> </span></span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">mhppsychology.files.wordpress.com </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\" style=\"margin-left: 1.0in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This addresses the question of operant questioning within the movie and whether or not it worked on Alex.<span>  </span></span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">www.psychologytoday.com/blog/psychologist-the-movies/2012505/classical-conditioning-in-clockwork-orange</span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\" style=\"margin-left: 1.0in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This website addressed the topic classical conditioning and aversion therapy both within and outside of film.<span>  </span>I used this article to aid in understanding of these topics as well as their application within the movie.<span>  </span></span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\"> </span></p>\r\n<p class=\"MsoListParagraphCxSpMiddle\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">Tommennaindustries.com/2011/05/19/Stanley-kubrick’s-a-clockwork-orange-an-analysis-conditioning/</span></p>\r\n<p class=\"MsoListParagraphCxSpLast\" style=\"margin-left: 1.0in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This article helped to define conditioning and the three types.<span>  </span>It also aided in understanding the psychology within the movie as well as the weaknesses left behind as a result of the conditioning.<span>  </span>It was with the help of this article that I was able to narrow down the area of the film I wanted to address within my argument for preservation.<span>  </span></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">psycnet.apa.org/psycinfo/1976-24489-001</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This site helped provide information about behavior modification.<span>  </span>I used tis to help better understand the topic and its possible ramifications.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">onlinelibrary.wiley.com/doi/10.2307/3560945/abstract</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This article provided information about behavior modification in total institutions.<span>  </span>While I did not use this for specific information within my argument, I was able to use it for ideas of alternative avenues of research.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">psycnet.apa.org/journals/amp/36/2/159/</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This article provided information regarding psychoanalytic therapy.<span>  </span>Again, this was used mainly in an effort to narrow down possible avenues of research and ideas for this argument.</span></p>\r\n<p class=\"MsoNormal\"><a href=\"http://www.psychologistworld.com/issues/behavioralapproach.php\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">www.psychologistworld.com/issues/behavioralapproach.php</span></a></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This provided information about the concept of the behavioral approach.<span>  </span>I utilized this website to better understand what could have or did motivate Stanley Kubrick and/or aid is his creating this movie.</span></p>\r\n<p class=\"MsoNormal\"><a href=\"http://sites.google.com/a/depauw.edu/a-clockwork-orange/burgess-a\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">http://sites.google.com/a/depauw.edu/a-clockwork-orange/burgess-a</span></a></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***This site provided information about the current reception of this movie.<span>  </span>I used this in understanding and analyzing the reception of this movie both then and now.</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">imdb.com</span></p>\r\n<p class=\"MsoNormal\" style=\"margin-left: .5in;\"><span style=\"font-size: 12.0pt; line-height: 115%; font-family: \'Times New Roman\',\'serif\';\">***Imdb is a website that provides information about various movies and actors/actresses across the world.<span>  </span>I used this for background information both on the movie and Kubrick himself.</span></p>','A Clockwork Orange by Stanley Kubrick','','inherit','open','open','','3644-revision-v1','','','2013-11-27 14:52:19','2013-11-27 20:52:19','',3644,'http://jeanatacc.com/2011/?p=3694',0,'revision','',0),(3695,1,'2013-11-27 14:54:58','2013-11-27 20:54:58','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\"><img class=\"aligncenter size-full wp-image-3687\" alt=\"images\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/images.jpg\" width=\"448\" height=\"197\" /></a>\r\n<p style=\"text-align: center;\">http://bloodymurder.wordpress.com/2012/02/07/touch-of-evil-1958-tuesdays-forgotten-film/</p>\r\n\r\nA Touch of Evil by Orson Welles was released to the public to view in 1958. This was a film that gave viewers a whole new view of what kind of corruption was going on around the border. In the movie A Touch of Evil “Mexicans supplies Vargas with a psychological rationale for aggressively pursuing [his investigation of Quinlan], Vargas does not accuse Quinlan of police corruption as an expression of his solidarity with the political efforts to right the history of injustices at the border.”(Welles) In exposing Quinlan’s illegal policing practices on the U.S. side of the border, Vargas struggles to persuade Susan of the higher standards to which the police are held on the Mexican side of the border. (83) This suspenseful thriller brings to light several touchy topics in a time people did not talk about such topics aloud. This is why I believe  A Touch of Evil should be persevered for future generations.\r\n\r\n<!--more-->How was this work typical for its era? It was like the elephant in the room that no one wanted to talk about. “Beyond subverting generic conventions and American-held stereotypes, Welles makes another interesting move by imbuing the American characters in Touch of Evil with homoeroticism while concretizing the heterosexuality of Vargas. For an audience of 1958, when the national rhetoric espoused homosexuality as deviant and un-American, Quinlan’s homosexuality can be seen as another mechanism that flips the U.S.-Mexico binary. In a rather lighthearted bit of discourse between Orson Welles (OW) and director Peter Bogdanovich (PB), Welles even admits to infusing the scene where Quinlan strangles Grandi with homosexual overtones.” (Welles and Bogdanovich 320–21)\r\nThis movie was very innovative for its time. “While no definitive history about how Welles came to direct Touch of Evil is available, the circumstances have generated three distinct legends that constrict Welles as a specific kind of Hollywood auteur. While Heston is a self-serving tale in which he functions as the protagonist, it emphasizes Welles vulnerability within the studio system and highlights that, though Welles was a forceful artist, he had little, if any, usable power in Hollywood” (Pease).\r\nThis work was not well received very well at first till the Orson rewrote it several times till Universal Studios liked the screen play. “Universal Studios would not have hired him at all were it not for the demands of the popular star it coveted. Welles version positions his status in the studio hierarchy similarly, but it makes more vibrant the portrait of an artist with an unflagging devotion to his craft, true to his creative vision even in the face of economic hardship”(Zugsmith). Zugsmith narrative, meanwhile, “constructs Welles as a brash genius, a man who sought out the difficult circumstances that, in the end, made his successes all the more grand. Where they may fail in their historical veracity, however, these narratives succeed in setting up a layer story of Orson Welles as a daredevil auteur who, because he could not be contained by it, was dismissed by the Hollywood studio machine.” (Zugsmith) “They also hint toward a kind of classical masculinity that is inherent to any rendering of the genius auteur”(Rollins).\r\nPeople today speak out against the stereotyping. All people have the right to be who they truly are without being judged and in fear of their life because of their life style. Which is very different from back then, they were topics that you did not talk about for the fear of being ridiculed. My personal reaction to this suspenseful movie was great. With all the drama and suspense you never knew what was going to happen next, it left you hanging on the edge of your seat waiting and wondering. I considered it to be an amazing movie not like the movies today that you can pretty much predict what is going to happen there’s no suspense in today’s movies anymore.\r\nCompared to other movies of its time “the historical moment of the late 1950s, while key in understanding prevailing attitudes toward homosexuality that would help hierarchize Mexico in the American imagination, is also key when discussing Touch of Evil in relation to (or as a response to) U.S. immigration policy.” (Wollen 22) “When postulating about Welles’s decision to rewrite the script, many critics suggest the idea came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).came from an incident at Sleepy Lagoon on August 2, 1942, when “a young Mexican-American named José Diaz was run down by an automobile and his body dumped in a mud-hole near Sleepy Lagoon, a water-filled gravel-pit that was a swimming place for young Mexican-Americans” (Wollen 22).\r\n\r\nFuture generations should be aware of political people that have been around for a long time; usually they become corrupt, and will try and do anything to get away with dishonorable acts, legal or not, to preserve their status in the population. Also to stand their ground for what they believe in, and not be in fear of their life because of how they are and what they believe. This is why I believe this work should be preserved for future generations.\r\n\r\nWork Cited:\r\nBeckham II, Jack M. \"Placing Touch Of Evil, The Border, And Traffic In The American Imagination.\" Journal Of Popular Film &amp; Television 33.3 (2005): 130-141. Academic Search Complete. Web. 16 Nov. 2013.\r\n\r\nPease, Donald. “Borderline Justice/States of Emergency: Orson Welles’ Touch of Evil.” New Centennial Review 1.1 (2001): 75–105.\r\n\r\nRollins, Brooke. \"Some Kind Of A Man\": Orson Welles As Touch Of Evil\'s Masculine Auteur.\" Velvet Light Trap: A Critical Journal Of Film &amp; Television 57 (2006): 32-41. Literary Reference Center. Web. 16 Nov. 2013.\r\n\r\nTouch of Evil. Screenplay by Orson Welles. Dir. Orson Welles. Prod. Albert Zugsmith.\r\nPerf. Charlton Heston, Janet Leigh, Orson Welles. 1958. DVD. Universal, 2003.\r\n\r\nWollen, Peter. “Foreign Relations: Welles and Touch of Evil.” Sight and Sound 6\r\n(Oct. 1996): 20–23.','A Touch of Evil by Orson Welles','','inherit','open','open','','3684-revision-v1','','','2013-11-27 14:54:58','2013-11-27 20:54:58','',3684,'http://jeanatacc.com/2011/?p=3695',0,'revision','',0),(3696,1,'2013-11-27 14:55:41','2013-11-27 20:55:41','Spirited Away by Hayao Miyazaki and Studio Ghibli is one of the most important films of all time, as well as a personal favorite of mine. In this amazing movie, Miyazaki manages to combine Eastern and Western Folklore, use classic tropes to explore various ideas, and employ symbols in a way that is both creative and thought provoking, all while creating an extraordinary piece of entertainment for children and adults. For these reasons, it must be preserved.\r\n\r\n<!--more-->\r\nReleased in July 20th, 2001, the story of Spirited Away centers on a ten-year old girl named Chihiro and is set in modern-day Japan, though only for a short while (Britannica). Chihiro and her parents are moving to a new town when they make a detour and end up in what initially appears to be an abandoned theme park. As the sun goes down, the parents are suddenly overcome by greed and gluttony and begin stealing food from an empty restaurant while Chihiro ends up meeting a boy named Haku in front of a bath house. He yells at her to leave, but before she can she finds herself trapped in the spirit world. Her parents were transformed into pigs by Yubaba, the witch who rules the bath house, and now Chihiro, aided by Haku, must work for her to ensure her family’s safety. However, in order to do so she must give up her name and live as Sen. Throughout the story, she encounters many spirits, including a River Spirit, the shadowy No-Face, and Zeniba, Yubaba’s twin sister. Each of them are central to a unique challenge Chihiro must overcome on her path to freedom. Eventually, she realizes she knows Haku and discovers the way to rescue him, herself, and her parents.\r\nThere were many influences that went into this movie. Chihiro herself, the spoiled, whiny, but also determined and loving protagonist, was based on the daughter of some of Miyazaki’s friends (Britannica). The primary reason why the movie was made was because he wanted to make a movie for kids to enjoy (Britannica). This was the reason it was set in a Bath House, because Miyazaki as a child thought of bath houses as places of wonder and mystery (Britannica). However, there were many folklore themes present in the movie as well. The film derived themes from the Shinto religion, such as the belief that everything has a spirit as visualized by every spirit being a spirit of a particular place or thing (Vega). However, it also was influenced by Western folk tales, specifically the story of Baba Yaga. In one of the renditions of this Russian tale, a girl leaves her father’s home to go to Baba Yaga, a witch who lives in the forest (Bilibin). Like Chihiro, the girl is primarily protected from the witch by her good heart (Bilibin). Its representation of both eastern and western themes is possibly one of the reasons it was able to appeal to such a wide audience.\r\nThe movie’s primary achievement was its expert use of symbolism and tropes. Many of the symbols used could represent multiple things, some of them being antithetical, but Miyazaki used both. For example, Old Women traditionally have fulfilled the role of hags, witches, and crones, but also wise women and loving grandmothers (Bilibin). They can be used as symbols of cynicism, treachery, and ancient evil, but also of wisdom and compassion (Nalvic). In Zeniba and Yubaba, all these are present. Another example is No-Face, the shadow being who befriends Chihiro and becomes one of her trials. Shadows have been used to represent unknown, ominous evils, but also hidden potential and shyness, which are both exhibited in No-Face (Vega). By having characters that have seemingly opposite qualities but still appear as whole people (as in not having a split personality), Miyazaki is able to fully flesh out the characters and illustrate how complicated people are. In all the characters of Spirited Away, though they all help and hinder Chihiro to varying degrees, there are no definite heroes or villains. Each ‘good’ character has a series of flaws and each ‘evil’ character has a series of good qualities. Miyazaki believes that the “idea that whenever something evil happens someone particular can be blamed and punished for it” is “rotten” and portrays that belief in the absence of absolutely good or evil characters (Miyazaki).\r\nIn this aspect, he portrayed a similar theme in the movie Princess Mononoke. One of the primary themes is the idea that in a battle, neither side is completely right or wrong and trying to find a peaceful solution instead of simply destroying the other side should be the highest priority. Princess Mononoke is also similar in that it featured spirits of nature and a theme of pollution and destruction of nature. In a way, Spirited Away can be seen as Princess Mononoke remade for children.\r\nSpirited Away was incredibly well received in its time, winning many awards and being named the Best Animated Feature at the 2003 Academy Awards, and remains one of Miyazaki’s most definitive works. It’s a timeless classic, makes expert use of symbols and tropes, crosses cultural barriers, and is highly entertaining. Spirited Away needs to be preserved not just for an audience, but for future artists to learn how to tell a story, how to build complex characters, and how to build a world.\r\n\r\nWorks Cited\r\nBilibin, Ivan. \"Baba Yaga.\" Baba Yaga. N.p., n.d. Web. 20 Nov. 2013.\r\nWhere I got information on Baba Yaga and the Old Woman as a symbol and trope.\r\nChandler, Otis. \"Hayao Miyazaki Quotes.\" Hayao Miyazaki Quotes (Author of NausicaÃ¤ of the Valley of the Wind, Vol. 1). N.p., n.d. Web. 18 Nov. 2013.\r\nHere was where I got some quotes from Miyazaki on his ideas of good and evil.\r\n\"Miyazaki Hayao (Japanese Director).\" Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 22 Nov. 2013.\r\nEncyclopedia Britannica page where I got information on Miyazaki.\r\nNalvic, Calvin. \"Nalvic\'s Reviews.\" Nalvics Reviews. N.p., n.d. Web. 17 Nov. 2013.\r\nPage where I got supplementary information on various themes of Spirited Away.\r\n\"Spirited Away (film by Miyazaki).\" Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 19 Nov. 2013.\r\nEncyclopedia Britannica article where I got information on the movie, its reception, its symbolism, and the tropes used.\r\nVega, Manuel. \"Spirited Away: An Interpretation of Its Symbolism.\" Circle of Meditation. N.p., n.d. Web. 20 Nov. 2013.\r\nHere was where I got some insight into Spirited Away’s symbolism.','Spirited Away by Hayao Miyazaki','','inherit','open','open','','3691-revision-v1','','','2013-11-27 14:55:41','2013-11-27 20:55:41','',3691,'http://jeanatacc.com/2011/?p=3696',0,'revision','',0),(3697,75,'2013-11-30 16:28:36','2013-11-30 22:28:36','<p style=\"text-align: center\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"539\" height=\"404\" /></p>\n<p style=\"text-align: center\">http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg</p>\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\n\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\n\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\n\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.(Encyclopedia Britannica’s Guide to Black History.2013. Print)\n\n.<!--more-->\n\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground” (Max Jones and John Chilton,1971, reprinted 1988).\n\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\n\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”(Gary Giddins, <i>Satchmo </i>(1988, reissued 1992).\n\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today. (Max Jones and John Chilton,1971, reprinted 1988).\n\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing..\n\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”(Encyclopedia Britannica’s Guide to Black History.2013. Print).\n\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation” ().\n\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\n\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\n\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\n\n&nbsp;\n\n&nbsp;\n\nCited Work:\n\nArmstrong: A Biography, 1984); Gary Giddins, <i>Satchmo </i>(1988, reissued 1992); Marc H. Miller (ed.),\n\n“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print. (https://www.britannica.com/blackhistory/article-215415).\n\nhttp://www.jazz.com.\n\nhttp://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that\n\nJames Lincoln Collier <i>Louis Armstrong: An American Genius </i>(1983, also published as <i>Louis</i>\n\nLouis Armstrong: A Cultural Legacy (1994)\n\nMax Jones and John Chilton, Louis<i><span style=\"font-family: TimesNewRoman,Italic\">: The Louis Armstrong Story, 1900-1971 </span></i><span style=\"font-family: TimesNewRoman\">(1971, reprinted 1988);</span>\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-autosave-v1','','','2013-11-30 16:28:36','2013-11-30 22:28:36','',3643,'http://jeanatacc.com/2011/?p=3697',0,'revision','',0),(3698,83,'2013-11-27 19:32:25','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-11-27 19:32:25','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3698',0,'post','',0),(3699,83,'2013-11-27 19:41:51','2013-11-28 01:41:51','[caption id=\"attachment_3714\" align=\"aligncenter\" width=\"234\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/composer1.jpg\"><img class=\"size-medium wp-image-3714\" alt=\"http://www.leonardbernstein.com/composer.htm\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/composer1-234x300.jpg\" width=\"234\" height=\"300\" /></a> http://www.leonardbernstein.com/composer.htm[/caption]\r\n\r\n“Few composers capture their time and become the iconic voice of their age.” (John Mauceri) It is safe to say Leonard Bernstein was one of those exceptions. Bernstein was a famous composer who wrote many different styles of music and one of his most famous works is West Side Story, “a musical first presented in 1957 on Broadway in New York City and later made into a film in 1961” (The Library of Congress).<!--more-->\r\n\r\n“Leonard Bernstein found his \"voice\" in the early 1940s and projected the sound of urban and urbane America from the period of World War II to the anti-war movements of the 1970s and the restoration of freedom in Europe, with the fall of the Berlin Wall and Soviet communism.” (John Mauceri)\r\n\r\n“In the 1950s, Broadway musicals were a major part of American popular culture. Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theater repertory. The best of these musicals integrated every element, offering recognizable characters singing in stories told with wit and genuine heart.” (John Kenrick) As for the music Bernstein composed, this was something new and being so cultured, he brought different styles together to compose the music for West Side Story.\r\n\r\nDuring this time period that the musical came out, interracial couples were not common and racism was high. There was a lot of tension because of the immigrants moving in and taking jobs. The musical portrays all of these feelings and the animosity between the Americans and the Puerto-Ricans. The music style was new and Bernstein tried many times to inform people of this new century type of music. “He wanted to persuade his enormous audience that twentieth-century music was as beautiful in its own way as that of earlier centuries.” (Humphrey Burton)\r\n\r\nBernstein had many projects going on at one time. Right before West Side Story he had just finished Candide which did not do so well, and he was so exhausted after the first opening he ran away for a few days and hid from the world. (Humphrey Burton) Some critics were already dooming the upcoming musical before it even came out, and assuming it would fail like Candide. But soon those critics were proved wronged, The Washington Post called West Side Story “a uniquely cohesive comment on life . . . . The violence is senseless but Leonard Bernstein\'s score makes us feel what we do not understand.” (Humphrey Burton)\r\n\r\nDuring the time this came out, the music style was new and people were not used to it. Bernstein had to explain to people that this was the new 20th century style. Today this work of art is still very popular. The musical is still being performed all across the country and it is still being watched in school. Eventually everyone learned to like the new style and people like John looked up to Bernstein, “He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity” (John Mauceri).\r\n\r\nI watched this musical in Middle school for choir and didn\'t pay attention to the music but now looking back I would love to download the soundtrack on iTunes and listen to it. I think the way he combined all the different styles of music into one is really awesome. I like the song “America” and the Spanish influence on it is beautiful.\r\n\r\nAs I mentioned earlier, right before West Side Story was put out, the release of Candide had just been released into theater and although it did not do so well, the people still loved the music. “Although Candide had been a box office flop, Bernstein\'s music for it had been widely praised.” This musical can be compared to West Side Story because it is similar in style and is the beginning to this new style of music.\r\n\r\nThis work of art is most significant because it was something new to those living in that time period and it gave Bernstein most of his fame. I believe it should be preserved because of its originality and so that other composers can look back and admire the beauty of the piece.\r\n\r\nWork Cited\r\nErin Allen, “West Side Story” Redux http://blogs.loc.gov/loc/2013/08/west-side-story-redux/\r\n\r\nhttp://en.wikipedia.org/wiki/West_Side_Story\r\nGeneral knowledge\r\n\r\nJohn Kenrick History of The Musical Stage 1950s I: “When Broadway Ruled”\r\nHumphrey Burton, “Leonard Bernstein” http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html\r\nhttp://www.americaslibrary.gov/aa/bernstein/aa_bernstein_influenc_2.html','Leonard Bernstein\'s \"A West Side Story\"','','publish','open','open','','leanoard-bernsteins-a-west-side-story','','','2013-11-28 14:06:32','2013-11-28 20:06:32','',0,'http://jeanatacc.com/2011/?p=3699',0,'post','',7),(3702,83,'2013-11-27 19:36:38','2013-11-28 01:36:38','  “Few composers capture their time and become the iconic voice of their age.” (John Mauceri) It is safe to say Leonard Bernstein was one of those exceptions. Bernstein was a famous composer who wrote many different styles of music and one of his most famous works is West Side Story, “a musical first presented in 1957 on Broadway in New York City and later made into a film in 1961” (The Library of Congress). \r\n   “Leonard Bernstein found his \"voice\" in the early 1940s and projected the sound of urban and urbane America from the period of World War II to the anti-war movements of the 1970s and the restoration of freedom in Europe, with the fall of the Berlin Wall and Soviet communism.” (John Mauceri)\r\n      “In the 1950s, Broadway musicals were a major part of American popular culture. Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theater repertory. The best of these musicals integrated every element, offering recognizable characters singing in stories told with wit and genuine heart.” (John Kenrick) As for the music Bernstein composed, this was something new and being so cultured, he brought different styles together to compose the music for West Side Story. \r\n   During this time period that the musical came out, interracial couples were not common and racism was high. There was a lot of tension because of the immigrants moving in and taking jobs. The musical portrays all of these feelings and the animosity between the Americans and the Puerto-Ricans. The music style was new and Bernstein tried many times to inform people of this new century type of music. “He wanted to persuade his enormous audience that twentieth-century music was as beautiful in its own way as that of earlier centuries.” (Humphrey Burton)\r\n    Bernstein had many projects going on at one time. Right before West Side Story he had just finished Candide which did not do so well, and he was so exhausted after the first opening he ran away for a few days and hid from the world. (Humphrey Burton) Some critics were already dooming the upcoming musical before it even came out, and assuming it would fail like Candide. But soon those critics were proved wronged, The Washington Post called West Side Story “a uniquely cohesive comment on life . . . . The violence is senseless but Leonard Bernstein\'s score makes us feel what we do not understand.” (Humphrey Burton) \r\n   During the time this came out, the music style was new and people were not used to it. Bernstein had to explain to people that this was the new 20th century style.  Today this work of art is still very popular. The musical is still being performed all across the country and it is still being watched in school. Eventually everyone learned to like the new style and people like John looked up to Bernstein,  “He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity” (John Mauceri).\r\n   I watched this musical in Middle school for choir and didn\'t pay attention to the music but now looking back I would love to download the soundtrack on iTunes and listen to it. I think the way he combined all the different styles of music into one is really awesome. I like the song “America” and the Spanish influence on it is beautiful. \r\n    As I mentioned earlier, right before West Side Story was put out, the release of Candide had just been released into theater and although it did not do so well, the people still loved the music. “Although Candide had been a box office flop, Bernstein\'s music for it had been widely praised.” This musical can be compared to West Side Story because it is similar in style and is the beginning to this new style of music. \r\n   This work of art is most significant because it was something new to those living in that time period and it gave Bernstein most of his fame. I believe it should be preserved because of its originality and so that other composers can look back and admire the beauty of the piece. \r\n\r\n\r\n				Work Cited\r\nErin Allen, “West Side Story” Redux http://blogs.loc.gov/loc/2013/08/west-side-story-redux/\r\n\r\nhttp://en.wikipedia.org/wiki/West_Side_Story\r\nGeneral knowledge \r\n\r\nJohn Kenrick History of The Musical Stage 1950s I: “When Broadway Ruled”\r\nHumphrey Burton,  “Leonard Bernstein” http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html\r\nhttp://www.americaslibrary.gov/aa/bernstein/aa_bernstein_influenc_2.html\r\n','Leanoard Bernstein\'s \"A West Side Story\"','','inherit','open','open','','3699-revision-v1','','','2013-11-27 19:36:38','2013-11-28 01:36:38','',3699,'http://jeanatacc.com/2011/?p=3702',0,'revision','',0),(3703,83,'2013-11-27 19:39:19','2013-11-28 01:39:19',' \r\n[gallery ids=\"3701\"]\r\n “Few composers capture their time and become the iconic voice of their age.” (John Mauceri) It is safe to say Leonard Bernstein was one of those exceptions. Bernstein was a famous composer who wrote many different styles of music and one of his most famous works is West Side Story, “a musical first presented in 1957 on Broadway in New York City and later made into a film in 1961” (The Library of Congress). \r\n\r\n   “Leonard Bernstein found his \"voice\" in the early 1940s and projected the sound of urban and urbane America from the period of World War II to the anti-war movements of the 1970s and the restoration of freedom in Europe, with the fall of the Berlin Wall and Soviet communism.” (John Mauceri)\r\n      “In the 1950s, Broadway musicals were a major part of American popular culture. Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theater repertory. The best of these musicals integrated every element, offering recognizable characters singing in stories told with wit and genuine heart.” (John Kenrick) As for the music Bernstein composed, this was something new and being so cultured, he brought different styles together to compose the music for West Side Story. \r\n\r\n   During this time period that the musical came out, interracial couples were not common and racism was high. There was a lot of tension because of the immigrants moving in and taking jobs. The musical portrays all of these feelings and the animosity between the Americans and the Puerto-Ricans. The music style was new and Bernstein tried many times to inform people of this new century type of music. “He wanted to persuade his enormous audience that twentieth-century music was as beautiful in its own way as that of earlier centuries.” (Humphrey Burton)\r\n\r\n    Bernstein had many projects going on at one time. Right before West Side Story he had just finished Candide which did not do so well, and he was so exhausted after the first opening he ran away for a few days and hid from the world. (Humphrey Burton) Some critics were already dooming the upcoming musical before it even came out, and assuming it would fail like Candide. But soon those critics were proved wronged, The Washington Post called West Side Story “a uniquely cohesive comment on life . . . . The violence is senseless but Leonard Bernstein\'s score makes us feel what we do not understand.” (Humphrey Burton) \r\n   During the time this came out, the music style was new and people were not used to it. Bernstein had to explain to people that this was the new 20th century style.  Today this work of art is still very popular. The musical is still being performed all across the country and it is still being watched in school. Eventually everyone learned to like the new style and people like John looked up to Bernstein,  “He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity” (John Mauceri).\r\n\r\n   I watched this musical in Middle school for choir and didn\'t pay attention to the music but now looking back I would love to download the soundtrack on iTunes and listen to it. I think the way he combined all the different styles of music into one is really awesome. I like the song “America” and the Spanish influence on it is beautiful. \r\n\r\n    As I mentioned earlier, right before West Side Story was put out, the release of Candide had just been released into theater and although it did not do so well, the people still loved the music. “Although Candide had been a box office flop, Bernstein\'s music for it had been widely praised.” This musical can be compared to West Side Story because it is similar in style and is the beginning to this new style of music. \r\n\r\n   This work of art is most significant because it was something new to those living in that time period and it gave Bernstein most of his fame. I believe it should be preserved because of its originality and so that other composers can look back and admire the beauty of the piece. \r\n\r\n\r\n				Work Cited\r\nErin Allen, “West Side Story” Redux http://blogs.loc.gov/loc/2013/08/west-side-story-redux/\r\n\r\nhttp://en.wikipedia.org/wiki/West_Side_Story\r\nGeneral knowledge \r\n\r\nJohn Kenrick History of The Musical Stage 1950s I: “When Broadway Ruled”\r\nHumphrey Burton,  “Leonard Bernstein” http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html\r\nhttp://www.americaslibrary.gov/aa/bernstein/aa_bernstein_influenc_2.html\r\n','Leanoard Bernstein\'s \"A West Side Story\"','','inherit','open','open','','3699-revision-v1','','','2013-11-27 19:39:19','2013-11-28 01:39:19','',3699,'http://jeanatacc.com/2011/?p=3703',0,'revision','',0),(3715,1,'2013-11-28 14:06:32','2013-11-28 20:06:32','[caption id=\"attachment_3714\" align=\"aligncenter\" width=\"234\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/composer1.jpg\"><img class=\"size-medium wp-image-3714\" alt=\"http://www.leonardbernstein.com/composer.htm\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/composer1-234x300.jpg\" width=\"234\" height=\"300\" /></a> http://www.leonardbernstein.com/composer.htm[/caption]\r\n\r\n“Few composers capture their time and become the iconic voice of their age.” (John Mauceri) It is safe to say Leonard Bernstein was one of those exceptions. Bernstein was a famous composer who wrote many different styles of music and one of his most famous works is West Side Story, “a musical first presented in 1957 on Broadway in New York City and later made into a film in 1961” (The Library of Congress).<!--more-->\r\n\r\n“Leonard Bernstein found his \"voice\" in the early 1940s and projected the sound of urban and urbane America from the period of World War II to the anti-war movements of the 1970s and the restoration of freedom in Europe, with the fall of the Berlin Wall and Soviet communism.” (John Mauceri)\r\n\r\n“In the 1950s, Broadway musicals were a major part of American popular culture. Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theater repertory. The best of these musicals integrated every element, offering recognizable characters singing in stories told with wit and genuine heart.” (John Kenrick) As for the music Bernstein composed, this was something new and being so cultured, he brought different styles together to compose the music for West Side Story.\r\n\r\nDuring this time period that the musical came out, interracial couples were not common and racism was high. There was a lot of tension because of the immigrants moving in and taking jobs. The musical portrays all of these feelings and the animosity between the Americans and the Puerto-Ricans. The music style was new and Bernstein tried many times to inform people of this new century type of music. “He wanted to persuade his enormous audience that twentieth-century music was as beautiful in its own way as that of earlier centuries.” (Humphrey Burton)\r\n\r\nBernstein had many projects going on at one time. Right before West Side Story he had just finished Candide which did not do so well, and he was so exhausted after the first opening he ran away for a few days and hid from the world. (Humphrey Burton) Some critics were already dooming the upcoming musical before it even came out, and assuming it would fail like Candide. But soon those critics were proved wronged, The Washington Post called West Side Story “a uniquely cohesive comment on life . . . . The violence is senseless but Leonard Bernstein\'s score makes us feel what we do not understand.” (Humphrey Burton)\r\n\r\nDuring the time this came out, the music style was new and people were not used to it. Bernstein had to explain to people that this was the new 20th century style. Today this work of art is still very popular. The musical is still being performed all across the country and it is still being watched in school. Eventually everyone learned to like the new style and people like John looked up to Bernstein, “He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity” (John Mauceri).\r\n\r\nI watched this musical in Middle school for choir and didn\'t pay attention to the music but now looking back I would love to download the soundtrack on iTunes and listen to it. I think the way he combined all the different styles of music into one is really awesome. I like the song “America” and the Spanish influence on it is beautiful.\r\n\r\nAs I mentioned earlier, right before West Side Story was put out, the release of Candide had just been released into theater and although it did not do so well, the people still loved the music. “Although Candide had been a box office flop, Bernstein\'s music for it had been widely praised.” This musical can be compared to West Side Story because it is similar in style and is the beginning to this new style of music.\r\n\r\nThis work of art is most significant because it was something new to those living in that time period and it gave Bernstein most of his fame. I believe it should be preserved because of its originality and so that other composers can look back and admire the beauty of the piece.\r\n\r\nWork Cited\r\nErin Allen, “West Side Story” Redux http://blogs.loc.gov/loc/2013/08/west-side-story-redux/\r\n\r\nhttp://en.wikipedia.org/wiki/West_Side_Story\r\nGeneral knowledge\r\n\r\nJohn Kenrick History of The Musical Stage 1950s I: “When Broadway Ruled”\r\nHumphrey Burton, “Leonard Bernstein” http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html\r\nhttp://www.americaslibrary.gov/aa/bernstein/aa_bernstein_influenc_2.html','Leonard Bernstein\'s \"A West Side Story\"','','inherit','open','open','','3699-revision-v1','','','2013-11-28 14:06:32','2013-11-28 20:06:32','',3699,'http://jeanatacc.com/2011/?p=3715',0,'revision','',0),(3713,1,'2013-11-28 14:02:14','2013-11-28 20:02:14','[gallery ids=\"3701\"]\r\n“Few composers capture their time and become the iconic voice of their age.” (John Mauceri) It is safe to say Leonard Bernstein was one of those exceptions. Bernstein was a famous composer who wrote many different styles of music and one of his most famous works is West Side Story, “a musical first presented in 1957 on Broadway in New York City and later made into a film in 1961” (The Library of Congress).<!--more-->\r\n\r\n“Leonard Bernstein found his \"voice\" in the early 1940s and projected the sound of urban and urbane America from the period of World War II to the anti-war movements of the 1970s and the restoration of freedom in Europe, with the fall of the Berlin Wall and Soviet communism.” (John Mauceri)\r\n\r\n“In the 1950s, Broadway musicals were a major part of American popular culture. Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theater repertory. The best of these musicals integrated every element, offering recognizable characters singing in stories told with wit and genuine heart.” (John Kenrick) As for the music Bernstein composed, this was something new and being so cultured, he brought different styles together to compose the music for West Side Story.\r\n\r\nDuring this time period that the musical came out, interracial couples were not common and racism was high. There was a lot of tension because of the immigrants moving in and taking jobs. The musical portrays all of these feelings and the animosity between the Americans and the Puerto-Ricans. The music style was new and Bernstein tried many times to inform people of this new century type of music. “He wanted to persuade his enormous audience that twentieth-century music was as beautiful in its own way as that of earlier centuries.” (Humphrey Burton)\r\n\r\nBernstein had many projects going on at one time. Right before West Side Story he had just finished Candide which did not do so well, and he was so exhausted after the first opening he ran away for a few days and hid from the world. (Humphrey Burton) Some critics were already dooming the upcoming musical before it even came out, and assuming it would fail like Candide. But soon those critics were proved wronged, The Washington Post called West Side Story “a uniquely cohesive comment on life . . . . The violence is senseless but Leonard Bernstein\'s score makes us feel what we do not understand.” (Humphrey Burton)\r\n\r\nDuring the time this came out, the music style was new and people were not used to it. Bernstein had to explain to people that this was the new 20th century style. Today this work of art is still very popular. The musical is still being performed all across the country and it is still being watched in school. Eventually everyone learned to like the new style and people like John looked up to Bernstein, “He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity” (John Mauceri).\r\n\r\nI watched this musical in Middle school for choir and didn\'t pay attention to the music but now looking back I would love to download the soundtrack on iTunes and listen to it. I think the way he combined all the different styles of music into one is really awesome. I like the song “America” and the Spanish influence on it is beautiful.\r\n\r\nAs I mentioned earlier, right before West Side Story was put out, the release of Candide had just been released into theater and although it did not do so well, the people still loved the music. “Although Candide had been a box office flop, Bernstein\'s music for it had been widely praised.” This musical can be compared to West Side Story because it is similar in style and is the beginning to this new style of music.\r\n\r\nThis work of art is most significant because it was something new to those living in that time period and it gave Bernstein most of his fame. I believe it should be preserved because of its originality and so that other composers can look back and admire the beauty of the piece.\r\n\r\nWork Cited\r\nErin Allen, “West Side Story” Redux http://blogs.loc.gov/loc/2013/08/west-side-story-redux/\r\n\r\nhttp://en.wikipedia.org/wiki/West_Side_Story\r\nGeneral knowledge\r\n\r\nJohn Kenrick History of The Musical Stage 1950s I: “When Broadway Ruled”\r\nHumphrey Burton, “Leonard Bernstein” http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html\r\nhttp://www.americaslibrary.gov/aa/bernstein/aa_bernstein_influenc_2.html','Leanoard Bernstein\'s \"A West Side Story\"','','inherit','open','open','','3699-revision-v1','','','2013-11-28 14:02:14','2013-11-28 20:02:14','',3699,'http://jeanatacc.com/2011/?p=3713',0,'revision','',0),(3704,83,'2013-11-27 19:41:51','2013-11-28 01:41:51',' \r\n[gallery ids=\"3701\"]\r\n “Few composers capture their time and become the iconic voice of their age.” (John Mauceri) It is safe to say Leonard Bernstein was one of those exceptions. Bernstein was a famous composer who wrote many different styles of music and one of his most famous works is West Side Story, “a musical first presented in 1957 on Broadway in New York City and later made into a film in 1961” (The Library of Congress). \r\n\r\n   “Leonard Bernstein found his \"voice\" in the early 1940s and projected the sound of urban and urbane America from the period of World War II to the anti-war movements of the 1970s and the restoration of freedom in Europe, with the fall of the Berlin Wall and Soviet communism.” (John Mauceri)\r\n\r\n      “In the 1950s, Broadway musicals were a major part of American popular culture. Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theater repertory. The best of these musicals integrated every element, offering recognizable characters singing in stories told with wit and genuine heart.” (John Kenrick) As for the music Bernstein composed, this was something new and being so cultured, he brought different styles together to compose the music for West Side Story. \r\n\r\n   During this time period that the musical came out, interracial couples were not common and racism was high. There was a lot of tension because of the immigrants moving in and taking jobs. The musical portrays all of these feelings and the animosity between the Americans and the Puerto-Ricans. The music style was new and Bernstein tried many times to inform people of this new century type of music. “He wanted to persuade his enormous audience that twentieth-century music was as beautiful in its own way as that of earlier centuries.” (Humphrey Burton)\r\n\r\n    Bernstein had many projects going on at one time. Right before West Side Story he had just finished Candide which did not do so well, and he was so exhausted after the first opening he ran away for a few days and hid from the world. (Humphrey Burton) Some critics were already dooming the upcoming musical before it even came out, and assuming it would fail like Candide. But soon those critics were proved wronged, The Washington Post called West Side Story “a uniquely cohesive comment on life . . . . The violence is senseless but Leonard Bernstein\'s score makes us feel what we do not understand.” (Humphrey Burton) \r\n   \r\n   During the time this came out, the music style was new and people were not used to it. Bernstein had to explain to people that this was the new 20th century style.  Today this work of art is still very popular. The musical is still being performed all across the country and it is still being watched in school. Eventually everyone learned to like the new style and people like John looked up to Bernstein,  “He has left us an aural image of his time and place and, at the same time, an eternal voice of humanity” (John Mauceri).\r\n\r\n   I watched this musical in Middle school for choir and didn\'t pay attention to the music but now looking back I would love to download the soundtrack on iTunes and listen to it. I think the way he combined all the different styles of music into one is really awesome. I like the song “America” and the Spanish influence on it is beautiful. \r\n\r\n    As I mentioned earlier, right before West Side Story was put out, the release of Candide had just been released into theater and although it did not do so well, the people still loved the music. “Although Candide had been a box office flop, Bernstein\'s music for it had been widely praised.” This musical can be compared to West Side Story because it is similar in style and is the beginning to this new style of music. \r\n\r\n   This work of art is most significant because it was something new to those living in that time period and it gave Bernstein most of his fame. I believe it should be preserved because of its originality and so that other composers can look back and admire the beauty of the piece. \r\n\r\n\r\n				Work Cited\r\nErin Allen, “West Side Story” Redux http://blogs.loc.gov/loc/2013/08/west-side-story-redux/\r\n\r\nhttp://en.wikipedia.org/wiki/West_Side_Story\r\nGeneral knowledge \r\n\r\nJohn Kenrick History of The Musical Stage 1950s I: “When Broadway Ruled”\r\nHumphrey Burton,  “Leonard Bernstein” http://www.westsidestory.com/site/level2/archives/bibliography/bibliography.html\r\nhttp://www.americaslibrary.gov/aa/bernstein/aa_bernstein_influenc_2.html\r\n','Leanoard Bernstein\'s \"A West Side Story\"','','inherit','open','open','','3699-revision-v1','','','2013-11-27 19:41:51','2013-11-28 01:41:51','',3699,'http://jeanatacc.com/2011/?p=3704',0,'revision','',0),(3705,75,'2013-11-27 19:45:18','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-11-27 19:45:18','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3705',0,'post','',0),(3706,75,'2013-11-27 19:46:53','2013-11-28 01:46:53','<p style=\"text-align: center\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"539\" height=\"404\" /></p>\r\n<p style=\"text-align: center\"><a href=\"http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA\">http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA</a></p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.(Encyclopedia Britannica’s Guide to Black History.2013. Print)\r\n\r\n.<!--more-->\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground” (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”(Gary Giddins, <i>Satchmo </i>(1988, reissued 1992).\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today. (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing..\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”.\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation”.\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nCited Work:\r\n\r\nArmstrong: A Biography, 1984); Gary Giddins, <i>Satchmo </i>(1988, reissued 1992); Marc H. Miller (ed.),\r\n\r\n“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print. (https://www.britannica.com/blackhistory/article-215415).\r\n\r\nhttp://www.jazz.com.\r\n\r\nhttp://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that\r\n\r\nJames Lincoln Collier <i>Louis Armstrong: An American Genius </i>(1983, also published as <i>Louis</i>\r\n\r\nLouis Armstrong: A Cultural Legacy (1994)\r\n\r\nMax Jones and John Chilton, Louis<i><span style=\"font-family: TimesNewRoman,Italic\">: The Louis Armstrong Story, 1900-1971 </span></i><span style=\"font-family: TimesNewRoman\">(1971, reprinted 1988);</span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"></p>\r\n\r\n\r\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-revision-v1','','','2013-11-27 19:46:53','2013-11-28 01:46:53','',3643,'http://jeanatacc.com/2011/?p=3706',0,'revision','',0),(3717,75,'2013-11-30 16:33:15','2013-11-30 22:33:15','<p style=\"text-align: center\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"539\" height=\"404\" /></p>\r\n<p style=\"text-align: center\">http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg</p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.(Encyclopedia Britannica’s Guide to Black History.2013. Print)\r\n\r\n.<!--more-->\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground” (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”(Gary Giddins, <i>Satchmo </i>(1988, reissued 1992).\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today. (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing..\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”(Encyclopedia Britannica’s Guide to Black History.2013. Print).\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation” (Encyclopedia Britannica’s Guide to Black History.2013. Print).\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nCited Work:\r\n\r\nArmstrong: A Biography, 1984); Gary Giddins, <i>Satchmo </i>(1988, reissued 1992); Marc H. Miller (ed.),\r\n\r\n“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print. (https://www.britannica.com/blackhistory/article-215415).\r\n\r\nhttp://www.jazz.com.\r\n\r\nhttp://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that\r\n\r\nJames Lincoln Collier <i>Louis Armstrong: An American Genius </i>(1983, also published as <i>Louis</i>\r\n\r\nLouis Armstrong: A Cultural Legacy (1994)\r\n\r\nMax Jones and John Chilton, Louis<i><span style=\"font-family: TimesNewRoman,Italic\">: The Louis Armstrong Story, 1900-1971 </span></i><span style=\"font-family: TimesNewRoman\">(1971, reprinted 1988);</span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-revision-v1','','','2013-11-30 16:33:15','2013-11-30 22:33:15','',3643,'http://jeanatacc.com/2011/?p=3717',0,'revision','',0),(3712,1,'2013-11-28 13:59:43','2013-11-28 19:59:43','<p style=\"text-align: center;\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"539\" height=\"404\" /></p>\r\n<p style=\"text-align: center;\">http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg</p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.(Encyclopedia Britannica’s Guide to Black History.2013. Print)\r\n\r\n.<!--more-->\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground” (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”(Gary Giddins, <i>Satchmo </i>(1988, reissued 1992).\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today. (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing..\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”(Encyclopedia Britannica’s Guide to Black History.2013. Print).\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation” (source).\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nCited Work:\r\n\r\nArmstrong: A Biography, 1984); Gary Giddins, <i>Satchmo </i>(1988, reissued 1992); Marc H. Miller (ed.),\r\n\r\n“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print. (https://www.britannica.com/blackhistory/article-215415).\r\n\r\nhttp://www.jazz.com.\r\n\r\nhttp://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that\r\n\r\nJames Lincoln Collier <i>Louis Armstrong: An American Genius </i>(1983, also published as <i>Louis</i>\r\n\r\nLouis Armstrong: A Cultural Legacy (1994)\r\n\r\nMax Jones and John Chilton, Louis<i><span style=\"font-family: TimesNewRoman,Italic;\">: The Louis Armstrong Story, 1900-1971 </span></i><span style=\"font-family: TimesNewRoman;\">(1971, reprinted 1988);</span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-revision-v1','','','2013-11-28 13:59:43','2013-11-28 19:59:43','',3643,'http://jeanatacc.com/2011/?p=3712',0,'revision','',0),(3707,75,'2013-11-27 19:48:27','2013-11-28 01:48:27','<p style=\"text-align: center\"><img class=\"aligncenter\" alt=\"\" src=\"http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg\" width=\"539\" height=\"404\" /></p>\r\n<p style=\"text-align: center\"><a href=\"http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA\">http://www.google.com/imgres?imgurl=http://onlytheblogknowsbrooklyn.com/wp-content/uploads/2013/05/louis-armstrong.jpeg&amp;imgrefurl=http://onlytheblogknowsbrooklyn.com/2013/05/&amp;h=768&amp;w=1024&amp;sz=88&amp;tbnid=jqlG5Lbfb6kQOM:&amp;tbnh=110&amp;tbnw=147&amp;zoom=1&amp;usg=__mlOfKBnWuAUxcImIgqT_DK0eZZ4=&amp;docid=0h_VLTVmrAGfVM&amp;sa=X&amp;ei=h5GTUo35OYjeoAScyoCYDQ&amp;ved=0CDcQ9QEwBA</a></p>\r\nThe name of the Jazz Music Masterpiece is: ♫Hotter Than That.\r\n\r\nCreator of work is “Louis Armstrong” and “Lil Hardin Armstrong”. Lil was Armstrong wife, and the piece of work was written by Lil Hardin.\r\n\r\nHotter Than That was recorded early December 13, 1927 and was among the Armstrong Hot Five and Hot Seven.\r\n\r\n“The fiery “Hotter Than That” is one of Louis Armstrong masterpieces. Played at a flying tempo,. The opening trumpet solo is a brilliant example of developing a melodic idea, all with a dynamic sound and sophistication swing”. Armstrong advanced rhythmic sense is in full display as he sings behind the beat and then intensifies the rhythm with a brilliant series of dotted quarter notes which get further and further off the beat.(Encyclopedia Britannica’s Guide to Black History.2013. Print)\r\n\r\n.<!--more-->\r\n\r\nThe work “Hotter Than That” one of Louis Armstrong masterpieces by the band: Hot Five and Hot Seven recordings made him a famous musician by 1925-28 by this Armstrong emerged as the first great jazz soloist, he single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called “Swing”. Armstrong was considered as the most influential jazz musician of all time when he taught the whole world about swing and also had a profound effect on the development of jazz. Armstrong was a great trumpeters not only a trumpeter but trombonists, saxophonists, singers (such as Billie Holiday) and even a pianists just like the wife lil Hardy who played the Piano in Hotter Than That. Armstrong soars while most of his band-mate can barely get off the ground” (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nLouis Armstrong trumpeter style of play brought a whole new dynamism to jazz band, in his era the work was typical because he was the” first great jazz soloist consider as most the influential jazz musician of all, trumpeter soloist, someone that single-handedly invented a compelling, propulsive, rhythmic inflection in his playing that came to be called the swing. He was the dominant influence on the swing era in 1900’s.\r\n\r\nArmstrong artistic and technical prowess to jazz music makes his work innovative and unusual, his technique was superior to that of all competitors, altogether his immensely compelling swing; his brilliant technique; his sophisticated, daring sense of harmony; his ever-mobile, expressive attack, timbre, and inflection; his gift for creating vital melodies; his dramatic, often complex sense of solo design; and his out sized musical energy and genius made these recordings major innovation in jazz”(Gary Giddins, <i>Satchmo </i>(1988, reissued 1992).\r\n\r\nArmstrong even when paired with other soloists or with orchestral exerted a wide-range of influence on all manners of players playing with him, “his method and technique of play, the dramatic, his gift of creating vital melodies, expressive attack and more uniquely Armstrong become popular through his ingenious ensemble lead and the second cornet lines, his cornet duet passages (“called breaks”) with olive, and his solos all these in introduced in masterpiece ‘Hotter Than That”. And also his immensely compelling swing he invented in the artistic world of jazz”. Makes his work received in his time and today. (Max Jones and John Chilton,1971, reprinted 1988).\r\n\r\nPeople today think of the artistic and technical work of jazz by Armstrong “Hotter Than That” as one of the best masterpiece of the Hot Five and Hot Seven jazz Band Group. And with this he taught the whole world about “Swing”. They think Armstrong as the most influential jazz musician of all time. Armstrong introduces jazz to the whole world; he popularized what came to be called “scat”, a universally comprehensive art form that needed no translation. The receptions then and today for Armstrong music was universally accepted, there was never a dull moment when listening to father of jazz music inventor of swing..\r\n\r\nThat Armstrong was a creative, an artistic genius, . That “Hotter Than That” was having no contemporaries, that with this work he invented the swing, introduced the scat style of play. “The art form that needed no translation, his unique singing style, his vocalization of his improvisatory trumpet playing, played a crucial role in hotter than that. What specifically meaningful about Armstrong, is that, first and foremost he is the first jazz soloist, the leading trumpeter soloist, the first to invent the “swing” method of play, the one that popularized what came to be called “scat” today, and above all else, his swing-style trumpet playing influenced virtually all jazz horn players who followed him, and the swing and rhythmic suppleness of his vocal style were important influences on singers from Billie Holiday to Bing Crosby”(Encyclopedia Britannica’s Guide to Black History.2013. Print).\r\n\r\nThe “Hotter Than That” masterpiece can be compared to Armstrong some other work style such as “the Struttin’ with Some Barbecue\", \"Wild Man Blues\", and \"Potato Head Blues”. Armstrong has no contemporaries rather his work was  improved upon by his followers, Armstrong unique way of trumpeting has no equals, he is the first superstar of jazz soloist of his kind, he is a jazz ambassador he introduce jazz to the world, he is the inventor of swing, in his era his own wife testify of that too that among those playing in her band non was as talented as Louis Armstrong, Louis Armstrong was a phenomenon. “He popularized what came to be called “scat” a method of singing without words or texts, a universally comprehensible art form that needed no translation”.\r\n\r\nThe innovation and creative style of play Armstrong introduced into the world of Jazz, the approach of playing the trumpet, trombone, saxophone, the swing method and the popularization of scat. And the way he uniquely play the cornet lines makes him outstanding, his expressive attack when playing the trumpet, his gift of creating vital melodies etc.\r\n\r\nWhen you listen to the music “Hotter Than That” you will agree with me that this work by Armstrong is highly technical and demands immerse strength.  He introduced the “swing” style and the “scat” method to this music that made him famous. He is the first Jazz soloist, famous on recordings and in theaters, he more than anyone else carried the message of jazz to America.\r\n\r\nThe “Hotter Than That” should be preserved due to unique style of play, background vocalization, introducing the “scat” method after trumpeting that needed no translation, and also the rhythmic inflection in his play that is called the “swing”.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nCited Work:\r\n\r\nArmstrong: A Biography, 1984); Gary Giddins, <i>Satchmo </i>(1988, reissued 1992); Marc H. Miller (ed.),\r\n\r\n“Hotter Than That”. Encyclopedia Britannica’s Guide to Black History.2013. Print. (https://www.britannica.com/blackhistory/article-215415).\r\n\r\nhttp://www.jazz.com.\r\n\r\nhttp://www.jazz.com/music/2009/8/6/louis-armstrong-hotter-than-that\r\n\r\nJames Lincoln Collier <i>Louis Armstrong: An American Genius </i>(1983, also published as <i>Louis</i>\r\n\r\nLouis Armstrong: A Cultural Legacy (1994)\r\n\r\nMax Jones and John Chilton, Louis<i><span style=\"font-family: TimesNewRoman,Italic\">: The Louis Armstrong Story, 1900-1971 </span></i><span style=\"font-family: TimesNewRoman\">(1971, reprinted 1988);</span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','Hardy/Armstrong:♫Hotter Than That','','inherit','open','open','','3643-revision-v1','','','2013-11-27 19:48:27','2013-11-28 01:48:27','',3643,'http://jeanatacc.com/2011/?p=3707',0,'revision','',0),(3708,93,'2013-11-27 22:33:38','2013-11-28 04:33:38','<p align=\"center\"> <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up.png\"><img class=\"alignnone size-medium wp-image-3709\" alt=\"Close-Up\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up-300x228.png\" width=\"300\" height=\"228\" /></a></p>\r\n<p align=\"center\"><a href=\"http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png\">http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png</a></p>\r\nPrior to the 1990s, Iran had a very different international image. Seen as a totalitarian state ruled by religious fanatics burning the American flag in effigy, many would think of it as a scary place, particularly after the Iranian revolution and subsequent hostage crisis that spanned a 444 day period from 1979 to 1981. It would not be until 1983 that the Iranian government would sponsor a revival of the country’s film industry that things would begin to turn around. (Rosenbaum &amp; Saeed-Vafa) While most of the films produced at this time were primarily child-centered, such as <i>The Runner</i> and <i>Bashu, the Little Stranger</i>, there was nevertheless a compassionate and humanistic voice in the films that represented a community wishing to heal and change their image. (Chesire) It was not until 1990 that filmmaker Abbas Kiarostami would begin an era of cinematic sophistication and adult complexity with his greatest film: <i>Close-Up</i>.<!--more-->\r\n\r\nIn 1989, Kiarostami learned of a truly bizarre criminal court case: a poor man named Sabzian had been arrested for impersonating Iranian filmmaker Mohsen Makhmalbaf, becoming friends with a local family and promising them roles in his next film after being mistaken for Makhmalbaf on a bus. It was only when he appeared unaware of having won an award at an Italian film festival that the Ahankhah family became suspicious of his true idenity, and promptly informed the authorities. Even though he was already in the middle of making another film, Kiarostami was so struck by the story that he immediately halted production and arranged for the opportunity to meet all the parties involved and make a film about the still-in-progress trial. What follows is a meditation on the nature of identity, truth, and the way cinema directs our lives, and the result is neither a work of fiction or documentary, but something far more transcendent, and it should absolutely be preserved for these reasons.\r\n\r\nReleased in 1990, the film was met with a rather mixed to indifferent response from the Iranian film community. However, it was immediately an international sensation, having gained traction at a number of film festivals, making its way all the way to Cannes. The film was considered to be the beginning of a new era of Iranian cinema, one that redefined the image of the nation and its people to a global audience not as war-torn radicals, but rather as people of unexpected sophistication and with a deep love of art and cinema.\r\n\r\nToday, the film has been deemed the greatest Iranian film ever made by <i>Film International</i>, and Iranian publication, and the writers of <i>Film Comment </i>voted Kiarostami as being the most important director of the 90s. (Film Comment) It was also ranked No.42 in the British Film Institute’s 2012 <i>Sight and Sound</i> critic survey of the 50 greatest films ever made, as well has having been restored and selected for preservation by the Criterion Collection.\r\n\r\nWatching the film, it’s not difficult to understand why it is so revered, along with its creator. The film presents a completely innovative mixture of truth and fiction, and never lets on which is which from scene to scene. The courtroom scenes are not passively observed by Kiarostami, but rather see him as an active participant, albeit an invisible one. Each of the films non-chronological flashbacks are reenactments of events, but played by the real people involved in the case. The script, like many works of adapted history, embellishes many monologues and moments of dialogue, but is often based on first-hand accounts of what was actually said. The key difference, of course, is that this was not entirely an after-the-fact account. The flashbacks are reenactments, but the courtroom scenes are being show to us as they are taking place, and many scenes use very precise manipulation of film elements to create a dramatic effect that otherwise were not actually present in the moment being filmed. (Chokrollahi and Mansouri) Indeed, this blurring of the lines between what is real and what is being manipulated within reality to achieve the cinematic effect desired. Trying to discern all the varying different levels of reality and meta-reality going on within the film is certainly a mind-bending task.\r\n\r\nWhile the film is certainly a cerebral work, I was also struck by just how moving it is. The film is a deeply empathetic portrayal of a man whose frustrations with his life led him to commit falsehoods, but not with money in mind. Sharing a deep love of cinema with the Ahankhah’s, he finds people who finally treat him like another human being, not just another anonymous poor man. The way Sabzian finds comfort within cinema as a means to express and contextualize his despair and anger struck a chord with me, and rung so true that I almost didn’t care what was or wasn’t real in the film anymore. What mattered was that the emotions it was conveying were very real indeed.\r\n\r\nIt’s easy to compare a film like this to Akira Kurosawa’s masterpiece, <i>Rashomon</i>. In fact, both films had similar reactions at the time of release. Kurosawa’s film was met with indifference and mixed reviews in Japan, but was heralded as the beginning of the world cinema movement in the United States, receiving rave reviews, winning awards, and going on to influence countless filmmakers and spark interest in foreign cinema. Japanese critics were baffled by the international reception of the film, initially chalking it up to a fascination with the exotic and foreign (Kurosawa). Hoewever, the film has endured as one of the great pieces of filmmaking, and has been studied for decades since. More importantly, however, is the way in which <i>Rashomon </i>dealt with ideas of the distortion of truth and justice through perception forty years prior to Kiarostami’s <i>Close-Up</i>. Like Kiarostami’s film, <i>Rashomon</i> deals with a trial of a crime as told by four key witnesses, each with a different version of the story. The film explores the nature of truth and justice through the frame of motivations and flashbacks. The key difference between the films is in how Kiarostami had 40 years of cinematic evolution to frame his film as being a self-aware metafilm, rather than just a straight philosophical meditation on truth in a postwar era.\r\n\r\nI hope that future generations continue to discover and preserve <i>Close-Up</i>, if only because of how truly great the film is. But more that that, the film is a dense, yet accessible look into the way cinema, and by extension, art, shapes and directs our lives. It is at once a riveting courtroom drama, a mind-bending mystery, and a complex look at how the humanities makes us feel like humans again, and for all these reasons, it should absolutely be preserved for all time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\"><b><span style=\"text-decoration: underline;\">Works Cited</span></b></p>\r\n<p align=\"center\"><b><span style=\"text-decoration: underline;\"> </span></b></p>\r\n Cheshire, Godfrey. \"Close-Up: Prison and Escape.\" <i>The Criterion Collection: Film Essays</i>(2010): n. pag. <i>The Criterion Collection</i>. 22 June 2010. Web. 15 Nov. 2013. &lt;<a href=\"http://www.criterion.com/current/posts/1492-close-up-prison-and-escape\">http://www.criterion.com/current/posts/1492-close-up-prison-and-escape</a>&gt;.\r\n\r\nA critical essay on the film. Analyzes the film\'s thematic impact from the historical perspective of both the events the film covers as well as the time period leading up to the film\'s release. Helped me to understand the unique point of view from an Iranian filmmaker post-Iranian revolution.\r\n\r\n&nbsp;\r\n\r\n<i>\"Close-Up\" Long Shot</i>. Dir. Mamhoud Chokrollahi and Moslem Mansouri. Perf. Hossein Sabzian. The Criterion Collection, 1996. DVD.\r\n\r\nA short documentary about the central character of Close-Up, Hossein Sabzian. The documentary takes place 6 years after the events of Close-Up and follows Sabzian to examine the effects the trial, and Kiarostami\'s film, had on him. Helpful by putting into perspective a post-release thought process about the film.\r\n\r\n&nbsp;\r\n\r\n<i>Close-Up (Audio Commentary)</i>. Dir. Abbas Kiarostami. Perf. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum. The Criterion Collection, 1990. DVD.The Criterion Collection. 2010.\r\n\r\nAudio commentary recorded in 1990 for the 2010 Blu-Ray and DVD release of Close-Up. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum, authors of \"Abbas Kiarostami\" contribute and not only provide insightful information about the events of the film, but also the socio-political climate of Iran at the time.\r\n\r\n&nbsp;\r\n\r\n\"Film Comment’s Best of the Nineties Poll: Part Three.\" <i>Film Comment</i>. N.p., n.d. Web. 21 Nov. 2013. &lt;http://www.filmcomment.com/article/film-comments-best-of-the-90s-poll-part-three&gt;.\r\n\r\nFilm Comment\'s Best of the 90s poll. Helped verify information.\r\n\r\n&nbsp;\r\n\r\nKurosawa, Akira. \"Akira Kurosawa on Rashomon.\" <i>Something like an Autobiography</i>. New York: Vintage, 1982. N. pag. <i>The Criterion Collection</i>. 06 Nov. 2012. Web. 22 Nov. 2013. &lt;http://www.criterion.com/current/posts/196-akira-kurosawa-on-rashomon&gt;.\r\n\r\nExcerpt from Akira Kurosawa\'s autobiography where he discusses the making of Rashomon. Helped me draw comparisons to the reception of Close-Up.\r\n\r\n&nbsp;','Close-Up: A film by Abbas Kiarostami','','publish','open','open','','close-up-a-film-by-abbas-kiarostami','','','2013-11-28 14:07:04','2013-11-28 20:07:04','',0,'http://jeanatacc.com/2011/?p=3708',0,'post','',8),(3709,93,'2013-11-27 22:32:31','2013-11-28 04:32:31','','Close-Up','','inherit','open','open','','close-up','','','2013-11-27 22:32:31','2013-11-28 04:32:31','',3708,'http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up.png',0,'attachment','image/png',0),(3710,93,'2013-11-27 22:32:48','2013-11-28 04:32:48','<p align=\"center\"> <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up.png\"><img class=\"alignnone size-medium wp-image-3709\" alt=\"Close-Up\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up-300x228.png\" width=\"300\" height=\"228\" /></a></p>\r\n<p align=\"center\"></p>\r\n<p align=\"center\"><a href=\"http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png\">http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png</a></p>\r\n<p align=\"center\"></p>\r\nPrior to the 1990s, Iran had a very different international image. Seen as a totalitarian state ruled by religious fanatics burning the American flag in effigy, many would think of it as a scary place, particularly after the Iranian revolution and subsequent hostage crisis that spanned a 444 day period from 1979 to 1981. It would not be until 1983 that the Iranian government would sponsor a revival of the country’s film industry that things would begin to turn around. (Rosenbaum &amp; Saeed-Vafa) While most of the films produced at this time were primarily child-centered, such as <i>The Runner</i> and <i>Bashu, the Little Stranger</i>, there was nevertheless a compassionate and humanistic voice in the films that represented a community wishing to heal and change their image. (Chesire) It was not until 1990 that filmmaker Abbas Kiarostami would begin an era of cinematic sophistication and adult complexity with his greatest film: <i>Close-Up</i>.\r\n\r\nIn 1989, Kiarostami learned of a truly bizarre criminal court case: a poor man named Sabzian had been arrested for impersonating Iranian filmmaker Mohsen Makhmalbaf, becoming friends with a local family and promising them roles in his next film after being mistaken for Makhmalbaf on a bus. It was only when he appeared unaware of having won an award at an Italian film festival that the Ahankhah family became suspicious of his true idenity, and promptly informed the authorities. Even though he was already in the middle of making another film, Kiarostami was so struck by the story that he immediately halted production and arranged for the opportunity to meet all the parties involved and make a film about the still-in-progress trial. What follows is a meditation on the nature of identity, truth, and the way cinema directs our lives, and the result is neither a work of fiction or documentary, but something far more transcendent, and it should absolutely be preserved for these reasons.\r\n\r\nReleased in 1990, the film was met with a rather mixed to indifferent response from the Iranian film community. However, it was immediately an international sensation, having gained traction at a number of film festivals, making its way all the way to Cannes. The film was considered to be the beginning of a new era of Iranian cinema, one that redefined the image of the nation and its people to a global audience not as war-torn radicals, but rather as people of unexpected sophistication and with a deep love of art and cinema.\r\n\r\nToday, the film has been deemed the greatest Iranian film ever made by <i>Film International</i>, and Iranian publication, and the writers of <i>Film Comment </i>voted Kiarostami as being the most important director of the 90s. (Film Comment) It was also ranked No.42 in the British Film Institute’s 2012 <i>Sight and Sound</i> critic survey of the 50 greatest films ever made, as well has having been restored and selected for preservation by the Criterion Collection.\r\n\r\nWatching the film, it’s not difficult to understand why it is so revered, along with its creator. The film presents a completely innovative mixture of truth and fiction, and never lets on which is which from scene to scene. The courtroom scenes are not passively observed by Kiarostami, but rather see him as an active participant, albeit an invisible one. Each of the films non-chronological flashbacks are reenactments of events, but played by the real people involved in the case. The script, like many works of adapted history, embellishes many monologues and moments of dialogue, but is often based on first-hand accounts of what was actually said. The key difference, of course, is that this was not entirely an after-the-fact account. The flashbacks are reenactments, but the courtroom scenes are being show to us as they are taking place, and many scenes use very precise manipulation of film elements to create a dramatic effect that otherwise were not actually present in the moment being filmed. (Chokrollahi and Mansouri) Indeed, this blurring of the lines between what is real and what is being manipulated within reality to achieve the cinematic effect desired. Trying to discern all the varying different levels of reality and meta-reality going on within the film is certainly a mind-bending task.\r\n\r\nWhile the film is certainly a cerebral work, I was also struck by just how moving it is. The film is a deeply empathetic portrayal of a man whose frustrations with his life led him to commit falsehoods, but not with money in mind. Sharing a deep love of cinema with the Ahankhah’s, he finds people who finally treat him like another human being, not just another anonymous poor man. The way Sabzian finds comfort within cinema as a means to express and contextualize his despair and anger struck a chord with me, and rung so true that I almost didn’t care what was or wasn’t real in the film anymore. What mattered was that the emotions it was conveying were very real indeed.\r\n\r\nIt’s easy to compare a film like this to Akira Kurosawa’s masterpiece, <i>Rashomon</i>. In fact, both films had similar reactions at the time of release. Kurosawa’s film was met with indifference and mixed reviews in Japan, but was heralded as the beginning of the world cinema movement in the United States, receiving rave reviews, winning awards, and going on to influence countless filmmakers and spark interest in foreign cinema. Japanese critics were baffled by the international reception of the film, initially chalking it up to a fascination with the exotic and foreign (Kurosawa). Hoewever, the film has endured as one of the great pieces of filmmaking, and has been studied for decades since. More importantly, however, is the way in which <i>Rashomon </i>dealt with ideas of the distortion of truth and justice through perception forty years prior to Kiarostami’s <i>Close-Up</i>. Like Kiarostami’s film, <i>Rashomon</i> deals with a trial of a crime as told by four key witnesses, each with a different version of the story. The film explores the nature of truth and justice through the frame of motivations and flashbacks. The key difference between the films is in how Kiarostami had 40 years of cinematic evolution to frame his film as being a self-aware metafilm, rather than just a straight philosophical meditation on truth in a postwar era.\r\n\r\nI hope that future generations continue to discover and preserve <i>Close-Up</i>, if only because of how truly great the film is. But more that that, the film is a dense, yet accessible look into the way cinema, and by extension, art, shapes and directs our lives. It is at once a riveting courtroom drama, a mind-bending mystery, and a complex look at how the humanities makes us feel like humans again, and for all these reasons, it should absolutely be preserved for all time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\"><b><span style=\"text-decoration: underline\">Works Cited</span></b></p>\r\n<p align=\"center\"><b><span style=\"text-decoration: underline\"> </span></b></p>\r\n Cheshire, Godfrey. \"Close-Up: Prison and Escape.\" <i>The Criterion Collection: Film Essays</i>(2010): n. pag. <i>The Criterion Collection</i>. 22 June 2010. Web. 15 Nov. 2013. &lt;<a href=\"http://www.criterion.com/current/posts/1492-close-up-prison-and-escape\">http://www.criterion.com/current/posts/1492-close-up-prison-and-escape</a>&gt;.\r\n\r\nA critical essay on the film. Analyzes the film\'s thematic impact from the historical perspective of both the events the film covers as well as the time period leading up to the film\'s release. Helped me to understand the unique point of view from an Iranian filmmaker post-Iranian revolution.\r\n\r\n&nbsp;\r\n\r\n<i>\"Close-Up\" Long Shot</i>. Dir. Mamhoud Chokrollahi and Moslem Mansouri. Perf. Hossein Sabzian. The Criterion Collection, 1996. DVD.\r\n\r\nA short documentary about the central character of Close-Up, Hossein Sabzian. The documentary takes place 6 years after the events of Close-Up and follows Sabzian to examine the effects the trial, and Kiarostami\'s film, had on him. Helpful by putting into perspective a post-release thought process about the film.\r\n\r\n&nbsp;\r\n\r\n<i>Close-Up (Audio Commentary)</i>. Dir. Abbas Kiarostami. Perf. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum. The Criterion Collection, 1990. DVD.The Criterion Collection. 2010.\r\n\r\nAudio commentary recorded in 1990 for the 2010 Blu-Ray and DVD release of Close-Up. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum, authors of \"Abbas Kiarostami\" contribute and not only provide insightful information about the events of the film, but also the socio-political climate of Iran at the time.\r\n\r\n&nbsp;\r\n\r\n\"Film Comment’s Best of the Nineties Poll: Part Three.\" <i>Film Comment</i>. N.p., n.d. Web. 21 Nov. 2013. &lt;http://www.filmcomment.com/article/film-comments-best-of-the-90s-poll-part-three&gt;.\r\n\r\nFilm Comment\'s Best of the 90s poll. Helped verify information.\r\n\r\n&nbsp;\r\n\r\nKurosawa, Akira. \"Akira Kurosawa on Rashomon.\" <i>Something like an Autobiography</i>. New York: Vintage, 1982. N. pag. <i>The Criterion Collection</i>. 06 Nov. 2012. Web. 22 Nov. 2013. &lt;http://www.criterion.com/current/posts/196-akira-kurosawa-on-rashomon&gt;.\r\n\r\nExcerpt from Akira Kurosawa\'s autobiography where he discusses the making of Rashomon. Helped me draw comparisons to the reception of Close-Up.\r\n\r\n&nbsp;','Close-Up: A film by Abbas Kiarostami','','inherit','open','open','','3708-revision-v1','','','2013-11-27 22:32:48','2013-11-28 04:32:48','',3708,'http://jeanatacc.com/2011/?p=3710',0,'revision','',0),(3711,93,'2013-11-27 22:33:38','2013-11-28 04:33:38','<p align=\"center\"> <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up.png\"><img class=\"alignnone size-medium wp-image-3709\" alt=\"Close-Up\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up-300x228.png\" width=\"300\" height=\"228\" /></a></p>\r\n<p align=\"center\"><a href=\"http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png\">http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png</a></p>\r\nPrior to the 1990s, Iran had a very different international image. Seen as a totalitarian state ruled by religious fanatics burning the American flag in effigy, many would think of it as a scary place, particularly after the Iranian revolution and subsequent hostage crisis that spanned a 444 day period from 1979 to 1981. It would not be until 1983 that the Iranian government would sponsor a revival of the country’s film industry that things would begin to turn around. (Rosenbaum &amp; Saeed-Vafa) While most of the films produced at this time were primarily child-centered, such as <i>The Runner</i> and <i>Bashu, the Little Stranger</i>, there was nevertheless a compassionate and humanistic voice in the films that represented a community wishing to heal and change their image. (Chesire) It was not until 1990 that filmmaker Abbas Kiarostami would begin an era of cinematic sophistication and adult complexity with his greatest film: <i>Close-Up</i>.\r\n\r\nIn 1989, Kiarostami learned of a truly bizarre criminal court case: a poor man named Sabzian had been arrested for impersonating Iranian filmmaker Mohsen Makhmalbaf, becoming friends with a local family and promising them roles in his next film after being mistaken for Makhmalbaf on a bus. It was only when he appeared unaware of having won an award at an Italian film festival that the Ahankhah family became suspicious of his true idenity, and promptly informed the authorities. Even though he was already in the middle of making another film, Kiarostami was so struck by the story that he immediately halted production and arranged for the opportunity to meet all the parties involved and make a film about the still-in-progress trial. What follows is a meditation on the nature of identity, truth, and the way cinema directs our lives, and the result is neither a work of fiction or documentary, but something far more transcendent, and it should absolutely be preserved for these reasons.\r\n\r\nReleased in 1990, the film was met with a rather mixed to indifferent response from the Iranian film community. However, it was immediately an international sensation, having gained traction at a number of film festivals, making its way all the way to Cannes. The film was considered to be the beginning of a new era of Iranian cinema, one that redefined the image of the nation and its people to a global audience not as war-torn radicals, but rather as people of unexpected sophistication and with a deep love of art and cinema.\r\n\r\nToday, the film has been deemed the greatest Iranian film ever made by <i>Film International</i>, and Iranian publication, and the writers of <i>Film Comment </i>voted Kiarostami as being the most important director of the 90s. (Film Comment) It was also ranked No.42 in the British Film Institute’s 2012 <i>Sight and Sound</i> critic survey of the 50 greatest films ever made, as well has having been restored and selected for preservation by the Criterion Collection.\r\n\r\nWatching the film, it’s not difficult to understand why it is so revered, along with its creator. The film presents a completely innovative mixture of truth and fiction, and never lets on which is which from scene to scene. The courtroom scenes are not passively observed by Kiarostami, but rather see him as an active participant, albeit an invisible one. Each of the films non-chronological flashbacks are reenactments of events, but played by the real people involved in the case. The script, like many works of adapted history, embellishes many monologues and moments of dialogue, but is often based on first-hand accounts of what was actually said. The key difference, of course, is that this was not entirely an after-the-fact account. The flashbacks are reenactments, but the courtroom scenes are being show to us as they are taking place, and many scenes use very precise manipulation of film elements to create a dramatic effect that otherwise were not actually present in the moment being filmed. (Chokrollahi and Mansouri) Indeed, this blurring of the lines between what is real and what is being manipulated within reality to achieve the cinematic effect desired. Trying to discern all the varying different levels of reality and meta-reality going on within the film is certainly a mind-bending task.\r\n\r\nWhile the film is certainly a cerebral work, I was also struck by just how moving it is. The film is a deeply empathetic portrayal of a man whose frustrations with his life led him to commit falsehoods, but not with money in mind. Sharing a deep love of cinema with the Ahankhah’s, he finds people who finally treat him like another human being, not just another anonymous poor man. The way Sabzian finds comfort within cinema as a means to express and contextualize his despair and anger struck a chord with me, and rung so true that I almost didn’t care what was or wasn’t real in the film anymore. What mattered was that the emotions it was conveying were very real indeed.\r\n\r\nIt’s easy to compare a film like this to Akira Kurosawa’s masterpiece, <i>Rashomon</i>. In fact, both films had similar reactions at the time of release. Kurosawa’s film was met with indifference and mixed reviews in Japan, but was heralded as the beginning of the world cinema movement in the United States, receiving rave reviews, winning awards, and going on to influence countless filmmakers and spark interest in foreign cinema. Japanese critics were baffled by the international reception of the film, initially chalking it up to a fascination with the exotic and foreign (Kurosawa). Hoewever, the film has endured as one of the great pieces of filmmaking, and has been studied for decades since. More importantly, however, is the way in which <i>Rashomon </i>dealt with ideas of the distortion of truth and justice through perception forty years prior to Kiarostami’s <i>Close-Up</i>. Like Kiarostami’s film, <i>Rashomon</i> deals with a trial of a crime as told by four key witnesses, each with a different version of the story. The film explores the nature of truth and justice through the frame of motivations and flashbacks. The key difference between the films is in how Kiarostami had 40 years of cinematic evolution to frame his film as being a self-aware metafilm, rather than just a straight philosophical meditation on truth in a postwar era.\r\n\r\nI hope that future generations continue to discover and preserve <i>Close-Up</i>, if only because of how truly great the film is. But more that that, the film is a dense, yet accessible look into the way cinema, and by extension, art, shapes and directs our lives. It is at once a riveting courtroom drama, a mind-bending mystery, and a complex look at how the humanities makes us feel like humans again, and for all these reasons, it should absolutely be preserved for all time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\"><b><span style=\"text-decoration: underline\">Works Cited</span></b></p>\r\n<p align=\"center\"><b><span style=\"text-decoration: underline\"> </span></b></p>\r\n Cheshire, Godfrey. \"Close-Up: Prison and Escape.\" <i>The Criterion Collection: Film Essays</i>(2010): n. pag. <i>The Criterion Collection</i>. 22 June 2010. Web. 15 Nov. 2013. &lt;<a href=\"http://www.criterion.com/current/posts/1492-close-up-prison-and-escape\">http://www.criterion.com/current/posts/1492-close-up-prison-and-escape</a>&gt;.\r\n\r\nA critical essay on the film. Analyzes the film\'s thematic impact from the historical perspective of both the events the film covers as well as the time period leading up to the film\'s release. Helped me to understand the unique point of view from an Iranian filmmaker post-Iranian revolution.\r\n\r\n&nbsp;\r\n\r\n<i>\"Close-Up\" Long Shot</i>. Dir. Mamhoud Chokrollahi and Moslem Mansouri. Perf. Hossein Sabzian. The Criterion Collection, 1996. DVD.\r\n\r\nA short documentary about the central character of Close-Up, Hossein Sabzian. The documentary takes place 6 years after the events of Close-Up and follows Sabzian to examine the effects the trial, and Kiarostami\'s film, had on him. Helpful by putting into perspective a post-release thought process about the film.\r\n\r\n&nbsp;\r\n\r\n<i>Close-Up (Audio Commentary)</i>. Dir. Abbas Kiarostami. Perf. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum. The Criterion Collection, 1990. DVD.The Criterion Collection. 2010.\r\n\r\nAudio commentary recorded in 1990 for the 2010 Blu-Ray and DVD release of Close-Up. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum, authors of \"Abbas Kiarostami\" contribute and not only provide insightful information about the events of the film, but also the socio-political climate of Iran at the time.\r\n\r\n&nbsp;\r\n\r\n\"Film Comment’s Best of the Nineties Poll: Part Three.\" <i>Film Comment</i>. N.p., n.d. Web. 21 Nov. 2013. &lt;http://www.filmcomment.com/article/film-comments-best-of-the-90s-poll-part-three&gt;.\r\n\r\nFilm Comment\'s Best of the 90s poll. Helped verify information.\r\n\r\n&nbsp;\r\n\r\nKurosawa, Akira. \"Akira Kurosawa on Rashomon.\" <i>Something like an Autobiography</i>. New York: Vintage, 1982. N. pag. <i>The Criterion Collection</i>. 06 Nov. 2012. Web. 22 Nov. 2013. &lt;http://www.criterion.com/current/posts/196-akira-kurosawa-on-rashomon&gt;.\r\n\r\nExcerpt from Akira Kurosawa\'s autobiography where he discusses the making of Rashomon. Helped me draw comparisons to the reception of Close-Up.\r\n\r\n&nbsp;','Close-Up: A film by Abbas Kiarostami','','inherit','open','open','','3708-revision-v1','','','2013-11-27 22:33:38','2013-11-28 04:33:38','',3708,'http://jeanatacc.com/2011/?p=3711',0,'revision','',0),(3716,1,'2013-11-28 14:07:04','2013-11-28 20:07:04','<p align=\"center\"> <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up.png\"><img class=\"alignnone size-medium wp-image-3709\" alt=\"Close-Up\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Close-Up-300x228.png\" width=\"300\" height=\"228\" /></a></p>\r\n<p align=\"center\"><a href=\"http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png\">http://31.media.tumblr.com/tumblr_lo7iaw8YYS1qcq43jo1_500.png</a></p>\r\nPrior to the 1990s, Iran had a very different international image. Seen as a totalitarian state ruled by religious fanatics burning the American flag in effigy, many would think of it as a scary place, particularly after the Iranian revolution and subsequent hostage crisis that spanned a 444 day period from 1979 to 1981. It would not be until 1983 that the Iranian government would sponsor a revival of the country’s film industry that things would begin to turn around. (Rosenbaum &amp; Saeed-Vafa) While most of the films produced at this time were primarily child-centered, such as <i>The Runner</i> and <i>Bashu, the Little Stranger</i>, there was nevertheless a compassionate and humanistic voice in the films that represented a community wishing to heal and change their image. (Chesire) It was not until 1990 that filmmaker Abbas Kiarostami would begin an era of cinematic sophistication and adult complexity with his greatest film: <i>Close-Up</i>.<!--more-->\r\n\r\nIn 1989, Kiarostami learned of a truly bizarre criminal court case: a poor man named Sabzian had been arrested for impersonating Iranian filmmaker Mohsen Makhmalbaf, becoming friends with a local family and promising them roles in his next film after being mistaken for Makhmalbaf on a bus. It was only when he appeared unaware of having won an award at an Italian film festival that the Ahankhah family became suspicious of his true idenity, and promptly informed the authorities. Even though he was already in the middle of making another film, Kiarostami was so struck by the story that he immediately halted production and arranged for the opportunity to meet all the parties involved and make a film about the still-in-progress trial. What follows is a meditation on the nature of identity, truth, and the way cinema directs our lives, and the result is neither a work of fiction or documentary, but something far more transcendent, and it should absolutely be preserved for these reasons.\r\n\r\nReleased in 1990, the film was met with a rather mixed to indifferent response from the Iranian film community. However, it was immediately an international sensation, having gained traction at a number of film festivals, making its way all the way to Cannes. The film was considered to be the beginning of a new era of Iranian cinema, one that redefined the image of the nation and its people to a global audience not as war-torn radicals, but rather as people of unexpected sophistication and with a deep love of art and cinema.\r\n\r\nToday, the film has been deemed the greatest Iranian film ever made by <i>Film International</i>, and Iranian publication, and the writers of <i>Film Comment </i>voted Kiarostami as being the most important director of the 90s. (Film Comment) It was also ranked No.42 in the British Film Institute’s 2012 <i>Sight and Sound</i> critic survey of the 50 greatest films ever made, as well has having been restored and selected for preservation by the Criterion Collection.\r\n\r\nWatching the film, it’s not difficult to understand why it is so revered, along with its creator. The film presents a completely innovative mixture of truth and fiction, and never lets on which is which from scene to scene. The courtroom scenes are not passively observed by Kiarostami, but rather see him as an active participant, albeit an invisible one. Each of the films non-chronological flashbacks are reenactments of events, but played by the real people involved in the case. The script, like many works of adapted history, embellishes many monologues and moments of dialogue, but is often based on first-hand accounts of what was actually said. The key difference, of course, is that this was not entirely an after-the-fact account. The flashbacks are reenactments, but the courtroom scenes are being show to us as they are taking place, and many scenes use very precise manipulation of film elements to create a dramatic effect that otherwise were not actually present in the moment being filmed. (Chokrollahi and Mansouri) Indeed, this blurring of the lines between what is real and what is being manipulated within reality to achieve the cinematic effect desired. Trying to discern all the varying different levels of reality and meta-reality going on within the film is certainly a mind-bending task.\r\n\r\nWhile the film is certainly a cerebral work, I was also struck by just how moving it is. The film is a deeply empathetic portrayal of a man whose frustrations with his life led him to commit falsehoods, but not with money in mind. Sharing a deep love of cinema with the Ahankhah’s, he finds people who finally treat him like another human being, not just another anonymous poor man. The way Sabzian finds comfort within cinema as a means to express and contextualize his despair and anger struck a chord with me, and rung so true that I almost didn’t care what was or wasn’t real in the film anymore. What mattered was that the emotions it was conveying were very real indeed.\r\n\r\nIt’s easy to compare a film like this to Akira Kurosawa’s masterpiece, <i>Rashomon</i>. In fact, both films had similar reactions at the time of release. Kurosawa’s film was met with indifference and mixed reviews in Japan, but was heralded as the beginning of the world cinema movement in the United States, receiving rave reviews, winning awards, and going on to influence countless filmmakers and spark interest in foreign cinema. Japanese critics were baffled by the international reception of the film, initially chalking it up to a fascination with the exotic and foreign (Kurosawa). Hoewever, the film has endured as one of the great pieces of filmmaking, and has been studied for decades since. More importantly, however, is the way in which <i>Rashomon </i>dealt with ideas of the distortion of truth and justice through perception forty years prior to Kiarostami’s <i>Close-Up</i>. Like Kiarostami’s film, <i>Rashomon</i> deals with a trial of a crime as told by four key witnesses, each with a different version of the story. The film explores the nature of truth and justice through the frame of motivations and flashbacks. The key difference between the films is in how Kiarostami had 40 years of cinematic evolution to frame his film as being a self-aware metafilm, rather than just a straight philosophical meditation on truth in a postwar era.\r\n\r\nI hope that future generations continue to discover and preserve <i>Close-Up</i>, if only because of how truly great the film is. But more that that, the film is a dense, yet accessible look into the way cinema, and by extension, art, shapes and directs our lives. It is at once a riveting courtroom drama, a mind-bending mystery, and a complex look at how the humanities makes us feel like humans again, and for all these reasons, it should absolutely be preserved for all time.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\"><b><span style=\"text-decoration: underline;\">Works Cited</span></b></p>\r\n<p align=\"center\"><b><span style=\"text-decoration: underline;\"> </span></b></p>\r\n Cheshire, Godfrey. \"Close-Up: Prison and Escape.\" <i>The Criterion Collection: Film Essays</i>(2010): n. pag. <i>The Criterion Collection</i>. 22 June 2010. Web. 15 Nov. 2013. &lt;<a href=\"http://www.criterion.com/current/posts/1492-close-up-prison-and-escape\">http://www.criterion.com/current/posts/1492-close-up-prison-and-escape</a>&gt;.\r\n\r\nA critical essay on the film. Analyzes the film\'s thematic impact from the historical perspective of both the events the film covers as well as the time period leading up to the film\'s release. Helped me to understand the unique point of view from an Iranian filmmaker post-Iranian revolution.\r\n\r\n&nbsp;\r\n\r\n<i>\"Close-Up\" Long Shot</i>. Dir. Mamhoud Chokrollahi and Moslem Mansouri. Perf. Hossein Sabzian. The Criterion Collection, 1996. DVD.\r\n\r\nA short documentary about the central character of Close-Up, Hossein Sabzian. The documentary takes place 6 years after the events of Close-Up and follows Sabzian to examine the effects the trial, and Kiarostami\'s film, had on him. Helpful by putting into perspective a post-release thought process about the film.\r\n\r\n&nbsp;\r\n\r\n<i>Close-Up (Audio Commentary)</i>. Dir. Abbas Kiarostami. Perf. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum. The Criterion Collection, 1990. DVD.The Criterion Collection. 2010.\r\n\r\nAudio commentary recorded in 1990 for the 2010 Blu-Ray and DVD release of Close-Up. Mehrnaz Saeed-Vafa and Jonathan Rosenbaum, authors of \"Abbas Kiarostami\" contribute and not only provide insightful information about the events of the film, but also the socio-political climate of Iran at the time.\r\n\r\n&nbsp;\r\n\r\n\"Film Comment’s Best of the Nineties Poll: Part Three.\" <i>Film Comment</i>. N.p., n.d. Web. 21 Nov. 2013. &lt;http://www.filmcomment.com/article/film-comments-best-of-the-90s-poll-part-three&gt;.\r\n\r\nFilm Comment\'s Best of the 90s poll. Helped verify information.\r\n\r\n&nbsp;\r\n\r\nKurosawa, Akira. \"Akira Kurosawa on Rashomon.\" <i>Something like an Autobiography</i>. New York: Vintage, 1982. N. pag. <i>The Criterion Collection</i>. 06 Nov. 2012. Web. 22 Nov. 2013. &lt;http://www.criterion.com/current/posts/196-akira-kurosawa-on-rashomon&gt;.\r\n\r\nExcerpt from Akira Kurosawa\'s autobiography where he discusses the making of Rashomon. Helped me draw comparisons to the reception of Close-Up.\r\n\r\n&nbsp;','Close-Up: A film by Abbas Kiarostami','','inherit','open','open','','3708-revision-v1','','','2013-11-28 14:07:04','2013-11-28 20:07:04','',3708,'http://jeanatacc.com/2011/?p=3716',0,'revision','',0),(3718,1,'2013-11-30 18:35:16','2013-12-01 00:35:16','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover.jpg\"><img class=\"aligncenter size-medium wp-image-3592\" alt=\"chopincover\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/chopincover-300x300.jpg\" width=\"300\" height=\"300\" /></a>\r\n<p style=\"text-align: center;\">thttp://www.aznapia.com/music/chopincover.jpg</p>\r\n<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358.jpg\"><img class=\"aligncenter size-medium wp-image-3594\" alt=\"79304140_131960966358\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/79304140_131960966358-215x300.jpg\" width=\"215\" height=\"300\" /></a>\r\nhttp://image2.findagrave.com/photos250/photos/2011/297/79304140_131960966358.jpg</p>\r\n<p style=\"text-align: center;\"></p>\r\nThe Nocturne Op.9 No.2 by Frederic Chopin pertaining to “Music Nocturne in E-flat major, Op. 9, No. 2 Chopin Nocturnes, Opus 9 Written 1830-1832 as a dedication to Madame Camille Pleyel” ( Prezi.com) Madame Camille Pleyel shown in the picture above. “Thanks to the more direct contact between the hammer and the string, the simple escapement action, constantly improved by Camille Pleyel and Kalkbrenner, assured a more exact control than the “double escapement” invented and patented (1822) by Erard” (Eigeldinger). Chopin created over 200 works of art in his life time. “The Nocturne in E flat major, though certainly not the most beautiful of Chopin’s nocturnes, is perhaps the most popular, ‘this charming bagatelle did more for the popularity of Chopin than all his other works”(Information center). Chopin’s work especially Nocturne Op.9 No.2 should be preserved for future generations because Chopin is without a doubt, one of a kind, and still to this day his music will move you.<!--more-->\r\n\r\n“Improvisational effects from piano figurations in the nocturnes; and episodic, vigorous writing in the larger works such as the scherzos, ballades, impromptus, and the Fantasy. Thus, in an era when the piano was becoming the preeminent solo instrument in both the home and the concert hall, Chopin devised new figurations, delicate traceries, and elaborate quasivocal fioriture and fashioned them for use at the keyboard. He wrote no symphonies, no operas, no string quartets, and only one trio (piano, violin, and cello).” (Encyclopedia)\r\n\r\nChopin’s work “If the nineteenth century was the age of Romantic individualism, it was also the age of the virtuoso: composers wrote music that might be performed gracefully and accurately only by individuals with extraordinary technical skills. The quintessential example of this phenomenon is the Polish-born composer Frédéric Chopin (1810–1849). At the age of seven, Chopin gave his first piano concert in Warsaw. Slight in build even as an adult, Chopin had small hands that nevertheless could reach across the keys of the piano like “the jaws of a snake”(Fiero, ch. 29)\r\n\r\nChopin’s work was received as a musical genius of the time. “In his brief lifetime—he died of tuberculosis at the age of thirty-nine—Chopin created an entirely personal musical idiom linked to the expressive potential of the modern piano. For the piano, Chopin wrote over 200 pieces, most of which were short keyboard works, such as dances, préludes, nocturnes (slow, songlike pieces), impromptus (pieces that sound improvised), and études (instrumental studies designed to improve a player\'s technique). His Etude in G-flat Major, Opus 10, No. 5, is a breathtaking piece that challenges the performer to play very rapidly on the black keys, which are less than half the width of the white ones.”(Fiero, ch. 29)\r\n\r\nPeople today still play his master pieces. Chopin is as well received today as he was during his time. “Of his dance forms, the polonaise and the mazurka preserve the robustness of the folk tunes of his native Poland, while the waltz mirrors the Romantic taste for a new type of dance, more sensuous and physically expressive than the courtly and formal minuet. Considered vulgar and lewd when it was introduced in the late eighteenth century, the waltz, with its freedom of movement and intoxicating rhythms, became the most popular of all nineteenth-century dances.”(Fiero, ch. 29)\r\n\r\nMy personal reaction to his work is that it is phenomenal. I personally have his collection that I listen to frequently. I find his work to be soothing; Chopin’s work is great to listen to while studying, for it has no words so you do not get distracted by catching yourself singing to the lyrics. His music I would say almost puts you in a calm trance.\r\n\r\nThe “Revolution of 1830 acted like a catalyst on French creative thought. Writers, painters, musicians and social reformers converged on Paris, which teemed with artistic and intellectual activity. Among the writers and poets were Sainte-Beuve, Victor Hugo, Balzac, George Sand and Heine. The painters included Delacroix, Devéria and Ary Scheffer”(Walker).\r\n\r\n“Much like Delacroix, Chopin was given to violent mood swings. And, as with Delacroix\'s paintings, which though carefully contrived give the impression of spontaneity, much of Chopin\'s music seems improvised—the impetuous record of fleeting feeling, rather than the studied product of diligent construction.”(Fiero, ch. 29) “The most engaging of his compositions are marked by fresh turns of harmony and free tempos and rhythms. Chopin might embellish a melodic line with unusual and flamboyant devices, such as a rolling arpeggio (the sounding of the notes of a chord in rapid succession).”(Fiero, ch. 29) Chopin was a genius.\r\n\r\nChopin’s life works should be remembered for the amazing ability that he had and the way he broke boundaries of his time. This is why; I strongly believe Chopin’s work should be preserved for future generations. Chopin is without a doubt, one of a kind, and still to this day his music will move you.\r\n\r\nWork Cited\r\nEigeldinger, Jean-Jacques. \"Chopin And Pleyel.\" Clavier Companion 2.3 (2010): 10-12. Academic Search Complete. Web. 4 Nov. 2013.\r\n\r\nFiero, Gloria K. The Humanistic Tradition. Sixth Edition ed. : McGraw-Hill, . . &lt;&gt;.\r\n\r\nFryderyk Chopin - Information Centre - Nocturne in E Flat Major, Op. 9 No. 2 - Compositions. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frederic Chopin: Nocturnes, Op. 9: No. 2 in E-Flat Major.\" Prezi.com. N.p., n.d. Web. 19 Oct. 2013.\r\n\"Frédéric François Chopin.\" Encyclopedia of World Biography. Detroit: Gale, 1998. Biography In Context. Web. 20 Oct. 2013.\r\nWalker, Alan. \"CHOPIN: The Voice Of The Piano.\" American Music Teacher 59.6 (2010): 19-26. Academic Search Complete. Web. 4 Nov. 2013.','Nocturne Op.9 No.2','','inherit','open','open','','3576-revision-v1','','','2013-11-30 18:35:16','2013-12-01 00:35:16','',3576,'http://jeanatacc.com/2011/?p=3718',0,'revision','',0),(3721,84,'2013-11-30 18:48:30','2013-12-01 00:48:30','<!--[if gte mso 9]&gt;-->\r\n\r\n<!--[if gte mso 9]&gt;-->\r\n<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\">                   </a><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\"><img class=\"size-full wp-image-3673\" alt=\"guggenheim03_t\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg\" width=\"436\" height=\"277\" /></a></p>\r\n<p align=\"center\">(The Solomon R. Guggenheim Museum in 1959. Source: <a href=\"http://www.bc.edu\">www.bc.edu</a>)</p>\r\n&nbsp;\r\n\r\nThe discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum. (Fiero 20)<!--more-->\r\n\r\nStanding out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China. (Fiero 20)\r\n\r\nThe Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. (Fier0 92) This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum.  In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century. (Fiero 92)\r\n\r\nIn the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork. (Partial Wikipedia)\r\n\r\nI really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum.\r\n\r\nWright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures. (Fier0 91-92)\r\n\r\nOne thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism. (Fiero 91-92)\r\n\r\nIncluding other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.\r\n<p class=\"MsoNormal\" style=\"line-height: 200%\">Citation Sources:</p>\r\nJiménez, Inmaculada. \"Frank Lloyd Wright.\" <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>\r\n\r\n&nbsp;\r\n\r\n\"Guggenheim Museum.\" <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.\r\n\r\n<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>\r\n\r\n<i> </i>\r\n\r\nFiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.\r\n\r\n<i>Our textbook helped me by providing background information about early twentieth-century art.</i>\r\n\r\n&nbsp;','The Guggenheim Museum by Frank Lloyd Wright','','inherit','open','open','','3660-revision-v1','','','2013-11-30 18:48:30','2013-12-01 00:48:30','',3660,'http://jeanatacc.com/2011/?p=3721',0,'revision','',0),(3722,1,'2013-11-30 19:21:14','2013-12-01 01:21:14','<p dir=\"ltr\"><em>“Where the hell are you from anyway, private?”</em></p>\r\n<p dir=\"ltr\"><em>“Holy dog shit! Texas? Only steers and queers come from Texas, Private Cowboy, and you don\'t look much like a steer to me, so that kinda narrows it down. Do you suck dicks?\"</em></p>\r\n<p dir=\"ltr\"><em>- Gunnery Sergeant Hartman</em></p>\r\n<p dir=\"ltr\">There are a not many film makers that are so easily recognized as Stanley Kubrick. Kubrick has graced us with unique practice and visualization on every film. With very little output, Kubrick has made so many great films in different genres, which no other film maker has probably ever done. Some of his films range from science fiction (A Space Odyssey) to historical drama (Barry Lyndon), to comedy (Dr. Strangelove), horror (The Shining) and war films (Full Metal Jacket).  Out all his movies Full Metal Jacket should be preserved for Kubrick two segment story which follows young men from basic training to the lethal fight of Vietnam.</p>\r\n<!--more-->\r\n<p dir=\"ltr\">In 1983 Kubrick obtained the rights to the novel The Short Timers which was written by author Gustuv Hasford in 1979 who was a combat correspondent in Vietnam. Kubrick felt he should change the title from the book The Short Timers to Full Metal Jacket, a term describing a bullet encased in a copper jacket which helps it feed through a rifle. With Kubrick wearing all three hats: director, producer, and screenplay he brought in help to get a better insight of how the military is and on the war itself. Michael Herr was asked to collaborate with him on the screenplay since he wrote Dispatches. Dispatches were one of the first pieces of American literature that allowed Americans to understand the experiences of soldiers in the Vietnam War.  Lee Ermey was hired as a technical advisor and to instruct the extras into the military-like atmosphere of the production for his 11 years in United States Marine Corps which he served 14 months in Vietnam should be enough. Kubrick was so impressed with Ermey’s presence and barrages of insults that he decided to cast him as the drill sergeant.  Kubrick wanted to enhance the realism of the boot camp scenes; he did not let Ermey rehearse with the other actors. He claimed this created strong, real emotions when the scenes were filmed. When Kubrick and Warner Bros were ready to cast for the film, they placed ads throughout the US for young aspiring actors, requesting them to send in videotapes of themselves performing a scene about Vietnam. The film takes place in Parris Island, SC and Hue, Vietnam, but the entire movie was shot in England. Boot camp was built on an industrial site in Enfield, while Parris Island was recreated at a British Army base in Bassingbourne, with Lee Ermey’s supervising. The battlefield scenes were a 1930s abandoned coke-smelting plant in Beckton, a suburb of East London. The buildings there were designed by the same French architects who had worked in Hue, Vietnam. While all the original music in the film was credited to \"Abigail Mead,\" a stage name for Vivian Kubrick, Stanley Kubrick’s daughter.</p>\r\n<p dir=\"ltr\">When the movie came out on June 26, 1987 it was another movie based in or on the Vietnam War. The 80’s seemed to be the decade of war movies. Some other notable movies are Platoon (1986), Hamburger Hill(1987), and Heartbreak Ridge .  Hamburger Hill “A brutal and realistic war film focuses on the lives of a squad of 14 U.S. Army soldiers of B Company, 3rd Battalion, 187th Infantry Regiment, 101st Airborne Division during the brutal 10 day (May 11-20, 1969) battle for Hill 937 in the A Shau Valley of Vietnam as they try again and again to take the fortified hill held by the North Vietnamese, and the faults and casualties they take every time in which the battle was later dubbed \"Hamburger Hill\" because enemy fire was so fierce that the fusillade of bullets turned assaulting troops into shredded hamburger meat.” As you can see a few difference about the two movies is Full Metal Jacket follows the Marines from boot camp all the way through their tenure in Vietnam as for Hamburger Hill it follows Army soldiers from B Company. With Hamburger Hill basing the storyline off a factual battle scene that is very popular in the Vietnam War history, the battle in Full Metal Jacket is unknown of and can’t be said to be accurate. Hamburger Hill was scripted by Vietnam War vet Jim Carabatsos, as Full Metal Jacket had Lee Ermey.  Both movies utilized a cast of unknowns, director John Irvin( Hamburger Hill) and Stanley Kubrick .</p>\r\n<p dir=\"ltr\">I really enjoy this movie and can relate to this movie being a veteran who has deployed to another country. I have to say when I saw this movie again after I joined the military; I think I laughed harder, just being able to relate to guys in boot camp. Those saying and actions of the drill instructor  are just same as when I went through boot camp, defiantly brought back some good memories.  It also goes to show that I wasn\'t the only one that enjoyed this movie. Full Metal Jacket earned an Academy Award nomination for Best Adapted Screenplay along with nine other awards. The average critic scores a 3.099 on Top Ten Reviews.com with Full Metal Jacket scoring a 3.071. When you look at all the different reviews from numerous people and sites you see that everyone still enjoys this movie now if not more than they did before.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Cited</p>\r\n<p dir=\"ltr\"><a href=\"http://www.britannica.com/EBchecked/topic/628478/Vietnam-War\">http://www.britannica.com/EBchecked/topic/628478/Vietnam-War</a></p>\r\n<p dir=\"ltr\"><a href=\"http://movies.toptenreviews.com/reviews/mr4353.htm\">http://movies.toptenreviews.com/reviews/mr4353.htm</a></p>\r\n<p dir=\"ltr\"><a href=\"http://www.imdb.com/title/tt0093137/plotsummary?ref_=tt_stry_pl\">http://www.imdb.com/title/tt0093137/plotsummary?ref_=tt_stry_pl</a></p>\r\n<p dir=\"ltr\"><a href=\"http://kubrickfilms.warnerbros.com/video_detail/fmj/\">http://kubrickfilms.warnerbros.com/video_detail/fmj/</a></p>','Full Metal Jacket','','inherit','open','open','','3635-revision-v1','','','2013-11-30 19:21:14','2013-12-01 01:21:14','',3635,'http://jeanatacc.com/2011/?p=3722',0,'revision','',0),(3724,1,'2013-11-30 19:41:25','2013-12-01 01:41:25','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/?attachment_id=3563\" rel=\"attachment wp-att-3563\"><img class=\"aligncenter size-full wp-image-3563\" alt=\"Lumiere Factory\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/11/Lumiere.jpg\" width=\"254\" height=\"200\" /></a>http://upload.wikimedia.org/wikipedia/en/0/05/SortiedesOuvriersdel1895-01.jpg</p>\r\n“Break at the Lumiere Factory” is a short black and white film created by the Lumiere brothers in 1895. The Lumiere brothers worked at the factory and “were inspired by Edison\'s work that they created their own combo movie camera and projector.” (Tim Dirks) The film shows workers coming out of the factory during their lunch break in France. This short film is said to be the start of early Cinema.\r\n\r\n<!--more-->\r\nIn this time period there was the Panic and depressions going on all over the world, workers were going on strike for better wages. Felix Faure was the president during this time and “metropolitan France was the third most populous country of Europe, behind Russia and Germany.” (Wikipedia) The Lumiere brothers were inspired by Edison’s work but wanted to improve it, they had both been sent to technical school by their father who owned a factory of his own. According to the article, An introduction to Early Cinema, when the brothers came back “He (father) presented his son Louis with a piece of Kinetoscope film, given to him by one of Edison’s concessionaires and said, \"This is what you have to make, because Edison sells this at crazy prices and the concessionaires are trying to make films here in France to have them cheaper\". The brothers worked on improving this and eventually made it smaller in size and lighter in weight.<br><br>\r\nAlthough it is argued that this was not the first film created, it was definitely the most popular. There was not any type of film going on at this time and people did not have the technology and entertainment we have today, and working those long boring hours you can imagine how happy workers were to be out for break!<br><br>\r\nAccording to the History of Film, the first public run was done in the brothers’ basement to a scientific conference and it was said to have caused a sensation. The people loved this new form of entertainment! The very first movie theatre was built and tickets were sold to see an assortment of short films they made. In an article titled, “The Lumiere Brothers Films-History, “Their film sequence of a train pulling into the station reportedly had audiences screaming and ducking for cover as they believed that the train itself was about to plow into the theater” That just shows how new this was to the people, but they still came back for more! “The Lumière Brothers were quick to patent the Cinematograph outside of their native France, applying for an English Patent on April 18th 1895.” (An Intro to Early Cinema) This was the start of Cinema.<br><br>\r\n“Ironically as we look back in retrospect in comparison to what film has developed into today, the Lumiere Brothers believed it to be a medium without a future” (The Lumiere Brothers Films) however that is definitely not the case as we all know. In schools all around the world, students are learning about this great work and how is has impacted our lives. I have found recent video versions on YouTube being posted just within the past year.<br><br>\r\nAfter watching the short film and researching the work, I was impressed at how these brothers created something like this and how greatly it has impacted so much of our lives today. Personally I gained an appreciation for film and how it came about. I liked seeing the way men women dressed, how they interacted with each other. I think it’s awesome to be able to look back and have a real insight to life and people back then as opposed to actors, and props, and costumes.<br><br>\r\nIf you wanted to see something similar to this type of work, you can take a look at Georges Melies, who was known as the first “Cinemagician” his earliest films were remakes of the Lumiere brothers but later he went on to create his own. The most popular in my opinion is “Cendrillon” aka Cinderella in 1899. This film was black and white like that of its time but it told a story. He got the idea from the play Cinderella but was the first to make it into a short film. This was different from “Break at the Factory” because it was the first short film with scenes.<br><br>\r\nThis short film is most important because it is the first official first film and was the start of our cinema that we still use today. This should definitely be preserved for years to come so that no matter how far along in technology we get, we can always look back at life in the 1900’s and appreciate these great works of our forefathers.\r\n\r\nWork Cited\r\n\r\nThe History of Film written by Tim Dirks. Film History before 1920 Part 2\r\n\r\nGeorges Méliès Trick Films 1899, by Scott Ashlin\r\n\r\n\"Lumière, Louis Jean and Auguste.\" World Encyclopedia. 2005.Encyclopedia.com. 29 Oct.2013 .\r\n\r\nhttp://www.filmsite.org/pre20sintro2.html\r\n\r\nhttp://www.earlycinema.com/pioneers/lumiere_bio.html\r\n\r\n“Lumiere Brothers Films- History” 11/25/2013 http://www.alchemists.com/visual_alchemy/lumiere.html\r\n\r\nhttp://en.wikipedia.org/wiki/F%C3%A9lix_Faur%C3%A9','\"Break at the Lumiere Factory\"','','inherit','open','open','','3559-revision-v1','','','2013-11-30 19:41:25','2013-12-01 01:41:25','',3559,'http://jeanatacc.com/2011/?p=3724',0,'revision','',0),(3725,80,'2013-12-02 11:11:18','2013-12-02 17:11:18','&nbsp;\n<p align=\"center\">“Listen. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their creator with certain unalienable rights that among these are life, liberty, and the pursuit of happiness.” Thomas Jefferson.</p>\nLiberty, what is Liberty? It is not a statue. Although that is what we picture when we say liberty. By definition, liberty is the state or condition of people who are able to act and speak freely. It is not a statue. The Statue is only a symbol. The statue is only copper, granite, steel, and iron. The statue speaks to us; what it makes us feel inside is what makes it so significant. Liberty is what we as Americans always wanted. It was what the country was founded on and what the Revolution was fought for. Therefore the Statue of Liberty should be preserved for individual reasons and beliefs, as well as the creative and artistic intellect of Frederic Augusta Bartholdi along with the architectural brilliance of Alexander Gustave Eiffel.<!--more-->\n\nIn 1861 the northern and southern United States had tensions over issues of state rights versus federal authority, westward expansion and how slavery blew up in the American Civil War (1861-1865). When Republican Abraham Lincoln was elected in 1860, he was known as the anti-slavery president that caused seven southern states to break away from the Union to form the Confederate States of America. Later four more joined them after the first shots of the Civil War were fired. Four years of vicious conflict of historic battles such as Bull Run (Manassas), Gettysburg and Vicksburg to just to name a few, the Civil War position neighbor against neighbor. The Confederate States surrender in 1865 with the Civil War being established as the most tragic war ever fought on American soil.  620,000 of 2.4 million soldiers were killed, millions more injured, and the population and territory of the South was devastated. Around the same time cross the ocean a French political intellectual and authority on the U.S. Constitution by the name Eduardo Laboulaye held a dinner party and proposed an idea to give a monument representing liberty to the U.S. independence by the centennial year. (1876) A sculptor by the name of Frederic Augusta Bartholdi was at the party and was very intrigued by the proposal of Laboulaye, he enthusiastically supports his proposed statue and becomes the sculptor. In 1867 Bartholdi proposed a huge statue of an Egyptian robed women holding a torch for the opening of the Suez Canal with a meaning of “Egypt bringing the light to Asia” Bartholdi said. However; Egypt denied his offer, nevertheless Bartholdi stayed undiscouraged and kept his drawings. In 1871 Laboulaye urged Bartholdi to take a trip to the United States to promote the statue. As he sails through the New York harbor he saw Bedloe’s Island and said to himself this is where I should erect my statue. This is what people should see when they view the new world. In 1872 Bartholdi returns to France to report interest in the statue and declares the ideal spot for Liberty (\"The Statue\").\n\nThe Statue of Liberty creators strongly felt that the project should be a joint effort, as the French would agree to fund the statue if the American’s fund the pedestal. The Franco-American Union committee approves Bartholdi’s plaster model of “Liberty enlightening the world “in 1875 and fundraised 600,000 Francs that Bartholdi claimed he would need.  Laboulaye presented a formal request to the President Ulysses S. Grant. The statue’s life began in Paris, France and the Statue\'s hand holding the torch was completed in 1876 and sent to Philadelphia on May 18<sup>th</sup> to be displayed at the Centennial Exposition. Then in 1877 the Statue\'s hand and torch was moved and displayed at Madison Square in New York City where it remained until 1882 (\"The Statue\"; National Park Service).\n\nFebruary 22, 1876 the U.S. Congress accepted the Statue of Liberty as a gift from the people of France. One week later on March 3<sup>rd</sup> 1876 President Ulysses S. Grant signed a bill designating Bedloe\'s Island as the Statue\'s site. The United States began fundraising for the construction of the pedestal through the American Committee for the Statue of Liberty which raised $125,000 between 1877 and 1884 (\"The Statue\"; National Park Service).\n\nWhen the arm and torch returned to Paris, Bartholdi was struck with a dilemma. Bartholdi was unsure on how a structure so big would be put together and transported across an ocean and kept stable on its pedestal. That is when Bartholdi enlisted in the help of Alexander Gustave Eiffel. Eiffel was well recognized for his bold bridges in France and later would go on to create the most famous tower in the world (\"Eiffel Tower\"). Over the course of a year, Eiffel devised framework that would be sturdy but elastic and not only carry the 80-ton copper skin, but also be protected from all the elements such as heat and cold. Eiffel began to build his master piece in the courtyard of Gaget and Gauthier. The base was a sturdy pylon assembled of crossed-braced iron post that stands 96 feet high. This supported the framework of light beams and the most resourceful of all, was the hundreds of short, thin iron bars fitted to the framework. This in turn would attach directly to the inside of the copper skin. They would act like spring and allow the statue to sway, swing, contract, and breath (\"Eiffel Tower\").\n\nYears later Alexander Gustave Eiffel put his thumb print in history architect when he designed the Eiffel Tower. The Eiffel Tower was built for the 1889 Exposition Universelle to celebrate the 100th year anniversary of the French Revolution. The tower stands at 1,063 ft tall surpassing the Statue of Liberty by an easy 758 ft. On March 30, 1885 Eiffel presented his project to the Société des Ingiénieurs Civils. The discussions was of technical problems and emphasizing the practical uses of the tower, Eiffel concluded the discussion by stating that the tower would symbolize \"not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France\'s gratitude\" (PBS Timeline; \"The Statue\").   The tower was attracting criticism from those who did not believe that it was reasonable and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about the relationship between architecture and engineering. At the time the tower was built, many people were stunned by its bold shape. Eiffel was criticized for the design and accused of trying to create something artistic, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind (\"The Statue\").\n\nOn July 4, 1884 Liberty was formally handed over to the Minister of the United States Levi P. Morton. Workers dismantled the statue and load it into 210 crates, 36 of them were just for nuts, bolts, and rivets and the statue was placed on a warship named Lsere to set sail on May 21, 1885. Half way through the trip a storm hit and for 72 hours Lsere struggled to stay up right from all the heavy cargo aboard. When Lsere reached New York it was greeted by nearly 100 ships. However; no one knew if the statue would ever be reassembled. The United States was unable to fund the work on the pedestal and work had to stop. After a year of fundraising and working on the pedestal, workman began prying open the crates in the spring of 1886, which had been sitting on Bedloe’s Island for a year. In just three months the Statue of Liberty stood tall again at an astonishing 305 feet and 1 inch from the ground up. Finally 21 years after the dinner at Laboulaye, just 15 years before Bartholdi first sailed to New York, 10 years after American centennial celebration for which the statue was originally intended for, just a mere 3 days before the official unavailing. Bartholdi inspected his finished work and said “I believe that it will last until eternity” (\"The Statue\").\n\nIn 1982, the statue was in substantial need of restoration. The right arm had been improperly attached to the main structure. When strong winds blew it would sway and there was cause for significant risk of structural failure. The head had been installed two feet off center, along with the right arm wearing a hole, this could be seen when the statue moved in the wind. The structure was so corroded that about two percent of the exterior plates needed to be replaced. Although problems with the framework had been recognized in 1936 when they replaced some of the cast iron bars, much of the corrosion had been hidden by the multiple layers of paint applied over the years. The torch was leaking water since the 1916 alterations were the torch was replaced with an exact replica of Bartholdi\'s unaltered torch. In 1984 the statue was closed to the public for the duration of the renovation. The entire skeleton designed by Alexander Gustave Eiffel was replaced with low-carbon corrosion-resistant stainless steel bars, which now hold the staples next to the skin that which are made of Ferralium. This is an alloy that bends slightly and returns to its original shape as the statue moves. The statue reopened on July 3-6, 1986 which was designated “Liberty Weekend” and marked the centennial. When President Reagan presided over the rededication, with French President Francois Mitterrand in attendance, Regan said in his speech “We are the keepers of the flame of liberty; we hold it high for the world to see.\".\n\nThe Statue of Liberty isn’t a warrior, she isn’t overbearing, domineering or threatening, and she isn’t a symbol of power. The Statue of Liberty is a symbol of freedom. As we are all the beneficiary of those who have come before us, who have worked, fought, cared vastly to the very depth of their soul and paid the ultimate sacrifice to achieve liberty.\n<p align=\"center\">“Give me your tired, your poor,</p>\n<p align=\"center\">Your huddled masses yearning to breathe free,</p>\n<p align=\"center\">The wretched refuse of your teeming shore.</p>\n<p align=\"center\">Send these, the homeless, tempest-tossed, to me:\nI lift my lamp beside the golden door.“</p>\n<p align=\"center\">Quote on the Statue of Liberty.</p>\n&nbsp;\n\n&nbsp;\n\nCited\n\n\"The Statue of Liberty? A Film by Ken Burns.\" Films On Demand. Films Media Group, 1985. Web. 23 Oct. 2013. &lt;http://digital.films.com/PortalPlaylists.aspx?aid=17517&amp;xtid=44164&gt;.\n\nPBS Timeline. <a href=\"http://www.pbs.org/kenburns/statueofliberty/timeline/\">http://www.pbs.org/kenburns/statueofliberty/timeline/</a>\n\nNational Park Service. <a href=\"http://www.nps.gov/stli/historyculture/liberty-island-a-chronology.htm\">http://www.nps.gov/stli/historyculture/liberty-island-a-chronology.htm</a>\n\n<a href=\"http://www.zyra.org.uk/liberty1.htm\">http://www.zyra.org.uk/liberty1.htm</a>\n\n\"Eiffel Tower\" <a href=\"http://www.tour-eiffel.fr/en/everything-about-the-tower/the-major-events.html\">http://www.tour-eiffel.fr/en/everything-about-the-tower/the-major-events.html</a>\n\n<a href=\"http://www.history.com/topics/american-civil-war\">http://www.history.com/topics/american-civil-war</a>','The Statue of Liberty','','inherit','open','open','','3533-autosave-v1','','','2013-12-02 11:11:18','2013-12-02 17:11:18','',3533,'http://jeanatacc.com/2011/?p=3725',0,'revision','',0),(3726,80,'2013-12-02 11:12:05','2013-12-02 17:12:05','&nbsp;\r\n<p align=\"center\">“Listen. We hold these truths to be self-evident, that all men are created equal, that they are endowed by their creator with certain unalienable rights that among these are life, liberty, and the pursuit of happiness.” Thomas Jefferson.</p>\r\nLiberty, what is Liberty? It is not a statue. Although that is what we picture when we say liberty. By definition, liberty is the state or condition of people who are able to act and speak freely. It is not a statue. The Statue is only a symbol. The statue is only copper, granite, steel, and iron. The statue speaks to us; what it makes us feel inside is what makes it so significant. Liberty is what we as Americans always wanted. It was what the country was founded on and what the Revolution was fought for. Therefore the Statue of Liberty should be preserved for individual reasons and beliefs, as well as the creative and artistic intellect of Frederic Augusta Bartholdi along with the architectural brilliance of Alexander Gustave Eiffel.<!--more-->\r\n\r\nIn 1861 the northern and southern United States had tensions over issues of state rights versus federal authority, westward expansion and how slavery blew up in the American Civil War (1861-1865). When Republican Abraham Lincoln was elected in 1860, he was known as the anti-slavery president that caused seven southern states to break away from the Union to form the Confederate States of America. Later four more joined them after the first shots of the Civil War were fired. Four years of vicious conflict of historic battles such as Bull Run (Manassas), Gettysburg and Vicksburg to just to name a few, the Civil War position neighbor against neighbor. The Confederate States surrender in 1865 with the Civil War being established as the most tragic war ever fought on American soil.  620,000 of 2.4 million soldiers were killed, millions more injured, and the population and territory of the South was devastated. Around the same time cross the ocean a French political intellectual and authority on the U.S. Constitution by the name Eduardo Laboulaye held a dinner party and proposed an idea to give a monument representing liberty to the U.S. independence by the centennial year. (1876) A sculptor by the name of Frederic Augusta Bartholdi was at the party and was very intrigued by the proposal of Laboulaye, he enthusiastically supports his proposed statue and becomes the sculptor. In 1867 Bartholdi proposed a huge statue of an Egyptian robed women holding a torch for the opening of the Suez Canal with a meaning of “Egypt bringing the light to Asia” Bartholdi said. However; Egypt denied his offer, nevertheless Bartholdi stayed undiscouraged and kept his drawings. In 1871 Laboulaye urged Bartholdi to take a trip to the United States to promote the statue. As he sails through the New York harbor he saw Bedloe’s Island and said to himself this is where I should erect my statue. This is what people should see when they view the new world. In 1872 Bartholdi returns to France to report interest in the statue and declares the ideal spot for Liberty (\"The Statue\").\r\n\r\nThe Statue of Liberty creators strongly felt that the project should be a joint effort, as the French would agree to fund the statue if the American’s fund the pedestal. The Franco-American Union committee approves Bartholdi’s plaster model of “Liberty enlightening the world “in 1875 and fundraised 600,000 Francs that Bartholdi claimed he would need.  Laboulaye presented a formal request to the President Ulysses S. Grant. The statue’s life began in Paris, France and the Statue\'s hand holding the torch was completed in 1876 and sent to Philadelphia on May 18<sup>th</sup> to be displayed at the Centennial Exposition. Then in 1877 the Statue\'s hand and torch was moved and displayed at Madison Square in New York City where it remained until 1882 (\"The Statue\"; National Park Service).\r\n\r\nFebruary 22, 1876 the U.S. Congress accepted the Statue of Liberty as a gift from the people of France. One week later on March 3<sup>rd</sup> 1876 President Ulysses S. Grant signed a bill designating Bedloe\'s Island as the Statue\'s site. The United States began fundraising for the construction of the pedestal through the American Committee for the Statue of Liberty which raised $125,000 between 1877 and 1884 (\"The Statue\"; National Park Service).\r\n\r\nWhen the arm and torch returned to Paris, Bartholdi was struck with a dilemma. Bartholdi was unsure on how a structure so big would be put together and transported across an ocean and kept stable on its pedestal. That is when Bartholdi enlisted in the help of Alexander Gustave Eiffel. Eiffel was well recognized for his bold bridges in France and later would go on to create the most famous tower in the world (\"Eiffel Tower\"). Over the course of a year, Eiffel devised framework that would be sturdy but elastic and not only carry the 80-ton copper skin, but also be protected from all the elements such as heat and cold. Eiffel began to build his master piece in the courtyard of Gaget and Gauthier. The base was a sturdy pylon assembled of crossed-braced iron post that stands 96 feet high. This supported the framework of light beams and the most resourceful of all, was the hundreds of short, thin iron bars fitted to the framework. This in turn would attach directly to the inside of the copper skin. They would act like spring and allow the statue to sway, swing, contract, and breath (\"Eiffel Tower\").\r\n\r\nYears later Alexander Gustave Eiffel put his thumb print in history architect when he designed the Eiffel Tower. The Eiffel Tower was built for the 1889 Exposition Universelle to celebrate the 100th year anniversary of the French Revolution. The tower stands at 1,063 ft tall surpassing the Statue of Liberty by an easy 758 ft. On March 30, 1885 Eiffel presented his project to the Société des Ingiénieurs Civils. The discussions was of technical problems and emphasizing the practical uses of the tower, Eiffel concluded the discussion by stating that the tower would symbolize \"not only the art of the modern engineer, but also the century of Industry and Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France\'s gratitude\" (PBS Timeline; \"The Statue\").   The tower was attracting criticism from those who did not believe that it was reasonable and also from those who objected on artistic grounds. Their objections were an expression of a longstanding debate about the relationship between architecture and engineering. At the time the tower was built, many people were stunned by its bold shape. Eiffel was criticized for the design and accused of trying to create something artistic, without regard to engineering. Eiffel and his engineers, however, as experienced bridge builders, understood the importance of wind forces and knew that if they were going to build the tallest structure in the world they had to be certain it would withstand the wind (\"The Statue\").\r\n\r\nOn July 4, 1884 Liberty was formally handed over to the Minister of the United States Levi P. Morton. Workers dismantled the statue and load it into 210 crates, 36 of them were just for nuts, bolts, and rivets and the statue was placed on a warship named Lsere to set sail on May 21, 1885. Half way through the trip a storm hit and for 72 hours Lsere struggled to stay up right from all the heavy cargo aboard. When Lsere reached New York it was greeted by nearly 100 ships. However; no one knew if the statue would ever be reassembled. The United States was unable to fund the work on the pedestal and work had to stop. After a year of fundraising and working on the pedestal, workman began prying open the crates in the spring of 1886, which had been sitting on Bedloe’s Island for a year. In just three months the Statue of Liberty stood tall again at an astonishing 305 feet and 1 inch from the ground up. Finally 21 years after the dinner at Laboulaye, just 15 years before Bartholdi first sailed to New York, 10 years after American centennial celebration for which the statue was originally intended for, just a mere 3 days before the official unavailing. Bartholdi inspected his finished work and said “I believe that it will last until eternity” (\"The Statue\").\r\n\r\nIn 1982, the statue was in substantial need of restoration. The right arm had been improperly attached to the main structure. When strong winds blew it would sway and there was cause for significant risk of structural failure. The head had been installed two feet off center, along with the right arm wearing a hole, this could be seen when the statue moved in the wind. The structure was so corroded that about two percent of the exterior plates needed to be replaced. Although problems with the framework had been recognized in 1936 when they replaced some of the cast iron bars, much of the corrosion had been hidden by the multiple layers of paint applied over the years. The torch was leaking water since the 1916 alterations were the torch was replaced with an exact replica of Bartholdi\'s unaltered torch. In 1984 the statue was closed to the public for the duration of the renovation. The entire skeleton designed by Alexander Gustave Eiffel was replaced with low-carbon corrosion-resistant stainless steel bars, which now hold the staples next to the skin that which are made of Ferralium. This is an alloy that bends slightly and returns to its original shape as the statue moves. The statue reopened on July 3-6, 1986 which was designated “Liberty Weekend” and marked the centennial. When President Reagan presided over the rededication, with French President Francois Mitterrand in attendance, Regan said in his speech “We are the keepers of the flame of liberty; we hold it high for the world to see\" (National Park Service).\r\n\r\nThe Statue of Liberty isn’t a warrior, she isn’t overbearing, domineering or threatening, and she isn’t a symbol of power. The Statue of Liberty is a symbol of freedom. As we are all the beneficiary of those who have come before us, who have worked, fought, cared vastly to the very depth of their soul and paid the ultimate sacrifice to achieve liberty.\r\n<p align=\"center\">“Give me your tired, your poor,</p>\r\n<p align=\"center\">Your huddled masses yearning to breathe free,</p>\r\n<p align=\"center\">The wretched refuse of your teeming shore.</p>\r\n<p align=\"center\">Send these, the homeless, tempest-tossed, to me:\r\nI lift my lamp beside the golden door.“</p>\r\n<p align=\"center\">Quote on the Statue of Liberty.</p>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nCited\r\n\r\n\"The Statue of Liberty? A Film by Ken Burns.\" Films On Demand. Films Media Group, 1985. Web. 23 Oct. 2013. &lt;http://digital.films.com/PortalPlaylists.aspx?aid=17517&amp;xtid=44164&gt;.\r\n\r\nPBS Timeline. <a href=\"http://www.pbs.org/kenburns/statueofliberty/timeline/\">http://www.pbs.org/kenburns/statueofliberty/timeline/</a>\r\n\r\nNational Park Service. <a href=\"http://www.nps.gov/stli/historyculture/liberty-island-a-chronology.htm\">http://www.nps.gov/stli/historyculture/liberty-island-a-chronology.htm</a>\r\n\r\n<a href=\"http://www.zyra.org.uk/liberty1.htm\">http://www.zyra.org.uk/liberty1.htm</a>\r\n\r\n\"Eiffel Tower\" <a href=\"http://www.tour-eiffel.fr/en/everything-about-the-tower/the-major-events.html\">http://www.tour-eiffel.fr/en/everything-about-the-tower/the-major-events.html</a>\r\n\r\n<a href=\"http://www.history.com/topics/american-civil-war\">http://www.history.com/topics/american-civil-war</a>','The Statue of Liberty','','inherit','open','open','','3533-revision-v1','','','2013-12-02 11:12:05','2013-12-02 17:12:05','',3533,'http://jeanatacc.com/2011/?p=3726',0,'revision','',0),(3727,80,'2013-12-02 11:16:18','2013-12-02 17:16:18','<p dir=\"ltr\"><em>“Where the hell are you from anyway, private?”</em></p>\n<p dir=\"ltr\"><em>“Holy dog shit! Texas? Only steers and queers come from Texas, Private Cowboy, and you don\'t look much like a steer to me, so that kinda narrows it down. Do you suck dicks?\"</em></p>\n<p dir=\"ltr\"><em>- Gunnery Sergeant Hartman</em></p>\n<p dir=\"ltr\">There are a not many film makers that are so easily recognized as Stanley Kubrick. Kubrick has graced us with unique practice and visualization on every film. With very little output, Kubrick has made so many great films in different genres, which no other film maker has probably ever done. Some of his films range from science fiction (A Space Odyssey) to historical drama (Barry Lyndon), to comedy (Dr. Strangelove), horror (The Shining) and war films (Full Metal Jacket).  Out all his movies Full Metal Jacket should be preserved for Kubrick two segment story which follows young men from basic training to the lethal fight of Vietnam.</p>\n<!--more-->\n<p dir=\"ltr\">In 1983 Kubrick obtained the rights to the novel The Short Timers which was written by author Gustuv Hasford in 1979 who was a combat correspondent in Vietnam. Kubrick felt he should change the title from the book The Short Timers to Full Metal Jacket, a term describing a bullet encased in a copper jacket which helps it feed through a rifle. With Kubrick wearing all three hats: director, producer, and screenplay he brought in help to get a better insight of how the military is and on the war itself. Michael Herr was asked to collaborate with him on the screenplay since he wrote Dispatches. Dispatches were one of the first pieces of American literature that allowed Americans to understand the experiences of soldiers in the Vietnam War.  Lee Ermey was hired as a technical advisor and to instruct the extras into the military-like atmosphere of the production for his 11 years in United States Marine Corps which he served 14 months in Vietnam should be enough. Kubrick was so impressed with Ermey’s presence and barrages of insults that he decided to cast him as the drill sergeant.  Kubrick wanted to enhance the realism of the boot camp scenes; he did not let Ermey rehearse with the other actors. He claimed this created strong, real emotions when the scenes were filmed. When Kubrick and Warner Bros were ready to cast for the film, they placed ads throughout the US for young aspiring actors, requesting them to send in videotapes of themselves performing a scene about Vietnam. The film takes place in Parris Island, SC and Hue, Vietnam, but the entire movie was shot in England. Boot camp was built on an industrial site in Enfield, while Parris Island was recreated at a British Army base in Bassingbourne, with Lee Ermey’s supervising. The battlefield scenes were a 1930s abandoned coke-smelting plant in Beckton, a suburb of East London. The buildings there were designed by the same French architects who had worked in Hue, Vietnam. While all the original music in the film was credited to \"Abigail Mead,\" a stage name for Vivian Kubrick, Stanley Kubrick’s daughter (WB Films).</p>\n<p dir=\"ltr\">When the movie came out on June 26, 1987 it was another movie based in or on the Vietnam War. The 80’s seemed to be the decade of war movies. Some other notable movies are Platoon (1986), Hamburger Hill(1987), and Heartbreak Ridge .  Hamburger Hill “A brutal and realistic war film focuses on the lives of a squad of 14 U.S. Army soldiers of B Company, 3rd Battalion, 187th Infantry Regiment, 101st Airborne Division during the brutal 10 day (May 11-20, 1969) battle for Hill 937 in the A Shau Valley of Vietnam as they try again and again to take the fortified hill held by the North Vietnamese, and the faults and casualties they take every time in which the battle was later dubbed \"Hamburger Hill\" because enemy fire was so fierce that the fusillade of bullets turned assaulting troops into shredded hamburger meat” (\"Summary Hamburger Hill\"). As you can see a few difference about the two movies is Full Metal Jacket follows the Marines from boot camp all the way through their tenure in Vietnam as for Hamburger Hill it follows Army soldiers from B Company. With Hamburger Hill basing the storyline off a factual battle scene that is very popular in the Vietnam War history, the battle in Full Metal Jacket is unknown of and can’t be said to be accurate. Hamburger Hill was scripted by Vietnam War vet Jim Carabatsos, as Full Metal Jacket had Lee Ermey.  Both movies utilized a cast of unknowns, director John Irvin( Hamburger Hill) and Stanley Kubrick .</p>\n<p dir=\"ltr\">I really enjoy this movie and can relate to this movie being a veteran who has deployed to another country. I have to say when I saw this movie again after I joined the military; I think I laughed harder, just being able to relate to guys in boot camp. Those saying and actions of the drill instructor  are just same as when I went through boot camp, defiantly brought back some good memories.  It also goes to show that I wasn\'t the only one that enjoyed this movie. Full Metal Jacket earned an Academy Award nomination for Best Adapted Screenplay along with nine other awards. The average critic scores a 3.099 on Top Ten Reviews.com with Full Metal Jacket scoring a 3.071. When you look at all the different reviews from numerous people and sites you see that everyone still enjoys this movie now if not more than they did before.</p>\n&nbsp;\n<p dir=\"ltr\">Cited</p>\n<p dir=\"ltr\">\"Vietnam War\" <a href=\"http://www.britannica.com/EBchecked/topic/628478/Vietnam-War\">http://www.britannica.com/EBchecked/topic/628478/Vietnam-War</a></p>\n<p dir=\"ltr\">Top Ten Reviews. <a href=\"http://movies.toptenreviews.com/reviews/mr4353.htm\">http://movies.toptenreviews.com/reviews/mr4353.htm</a></p>\n<p dir=\"ltr\">\"Summary Hamburger Hill\" <a href=\"http://www.imdb.com/title/tt0093137/plotsummary?ref_=tt_stry_pl\">http://www.imdb.com/title/tt0093137/plotsummary?ref_=tt_stry_pl</a></p>\n<p dir=\"ltr\">WB Films. <a href=\"http://kubrickfilms.warnerbros.com/video_detail/fmj/\">http://kubrickfilms.warnerbros.com/video_detail/fmj/</a></p>','Full Metal Jacket','','inherit','open','open','','3635-autosave-v1','','','2013-12-02 11:16:18','2013-12-02 17:16:18','',3635,'http://jeanatacc.com/2011/?p=3727',0,'revision','',0),(3728,80,'2013-12-02 11:16:28','2013-12-02 17:16:28','<p dir=\"ltr\"><em>“Where the hell are you from anyway, private?”</em></p>\r\n<p dir=\"ltr\"><em>“Holy dog shit! Texas? Only steers and queers come from Texas, Private Cowboy, and you don\'t look much like a steer to me, so that kinda narrows it down. Do you suck dicks?\"</em></p>\r\n<p dir=\"ltr\"><em>- Gunnery Sergeant Hartman</em></p>\r\n<p dir=\"ltr\">There are a not many film makers that are so easily recognized as Stanley Kubrick. Kubrick has graced us with unique practice and visualization on every film. With very little output, Kubrick has made so many great films in different genres, which no other film maker has probably ever done. Some of his films range from science fiction (A Space Odyssey) to historical drama (Barry Lyndon), to comedy (Dr. Strangelove), horror (The Shining) and war films (Full Metal Jacket).  Out all his movies Full Metal Jacket should be preserved for Kubrick two segment story which follows young men from basic training to the lethal fight of Vietnam.</p>\r\n<!--more-->\r\n<p dir=\"ltr\">In 1983 Kubrick obtained the rights to the novel The Short Timers which was written by author Gustuv Hasford in 1979 who was a combat correspondent in Vietnam. Kubrick felt he should change the title from the book The Short Timers to Full Metal Jacket, a term describing a bullet encased in a copper jacket which helps it feed through a rifle. With Kubrick wearing all three hats: director, producer, and screenplay he brought in help to get a better insight of how the military is and on the war itself. Michael Herr was asked to collaborate with him on the screenplay since he wrote Dispatches. Dispatches were one of the first pieces of American literature that allowed Americans to understand the experiences of soldiers in the Vietnam War.  Lee Ermey was hired as a technical advisor and to instruct the extras into the military-like atmosphere of the production for his 11 years in United States Marine Corps which he served 14 months in Vietnam should be enough. Kubrick was so impressed with Ermey’s presence and barrages of insults that he decided to cast him as the drill sergeant.  Kubrick wanted to enhance the realism of the boot camp scenes; he did not let Ermey rehearse with the other actors. He claimed this created strong, real emotions when the scenes were filmed. When Kubrick and Warner Bros were ready to cast for the film, they placed ads throughout the US for young aspiring actors, requesting them to send in videotapes of themselves performing a scene about Vietnam. The film takes place in Parris Island, SC and Hue, Vietnam, but the entire movie was shot in England. Boot camp was built on an industrial site in Enfield, while Parris Island was recreated at a British Army base in Bassingbourne, with Lee Ermey’s supervising. The battlefield scenes were a 1930s abandoned coke-smelting plant in Beckton, a suburb of East London. The buildings there were designed by the same French architects who had worked in Hue, Vietnam. While all the original music in the film was credited to \"Abigail Mead,\" a stage name for Vivian Kubrick, Stanley Kubrick’s daughter (WB Films).</p>\r\n<p dir=\"ltr\">When the movie came out on June 26, 1987 it was another movie based in or on the Vietnam War. The 80’s seemed to be the decade of war movies. Some other notable movies are Platoon (1986), Hamburger Hill(1987), and Heartbreak Ridge .  Hamburger Hill “A brutal and realistic war film focuses on the lives of a squad of 14 U.S. Army soldiers of B Company, 3rd Battalion, 187th Infantry Regiment, 101st Airborne Division during the brutal 10 day (May 11-20, 1969) battle for Hill 937 in the A Shau Valley of Vietnam as they try again and again to take the fortified hill held by the North Vietnamese, and the faults and casualties they take every time in which the battle was later dubbed \"Hamburger Hill\" because enemy fire was so fierce that the fusillade of bullets turned assaulting troops into shredded hamburger meat” (\"Summary Hamburger Hill\"). As you can see a few difference about the two movies is Full Metal Jacket follows the Marines from boot camp all the way through their tenure in Vietnam as for Hamburger Hill it follows Army soldiers from B Company. With Hamburger Hill basing the storyline off a factual battle scene that is very popular in the Vietnam War history, the battle in Full Metal Jacket is unknown of and can’t be said to be accurate. Hamburger Hill was scripted by Vietnam War vet Jim Carabatsos, as Full Metal Jacket had Lee Ermey.  Both movies utilized a cast of unknowns, director John Irvin( Hamburger Hill) and Stanley Kubrick .</p>\r\n<p dir=\"ltr\">I really enjoy this movie and can relate to this movie being a veteran who has deployed to another country. I have to say when I saw this movie again after I joined the military; I think I laughed harder, just being able to relate to guys in boot camp. Those saying and actions of the drill instructor  are just same as when I went through boot camp, defiantly brought back some good memories.  It also goes to show that I wasn\'t the only one that enjoyed this movie. Full Metal Jacket earned an Academy Award nomination for Best Adapted Screenplay along with nine other awards. The average critic scores a 3.099 on Top Ten Reviews.com with Full Metal Jacket scoring a 3.071 (Top Ten Reviews). When you look at all the different reviews from numerous people and sites you see that everyone still enjoys this movie now if not more than they did before.</p>\r\n&nbsp;\r\n<p dir=\"ltr\">Cited</p>\r\n<p dir=\"ltr\">\"Vietnam War\" <a href=\"http://www.britannica.com/EBchecked/topic/628478/Vietnam-War\">http://www.britannica.com/EBchecked/topic/628478/Vietnam-War</a></p>\r\n<p dir=\"ltr\">Top Ten Reviews. <a href=\"http://movies.toptenreviews.com/reviews/mr4353.htm\">http://movies.toptenreviews.com/reviews/mr4353.htm</a></p>\r\n<p dir=\"ltr\">\"Summary Hamburger Hill\" <a href=\"http://www.imdb.com/title/tt0093137/plotsummary?ref_=tt_stry_pl\">http://www.imdb.com/title/tt0093137/plotsummary?ref_=tt_stry_pl</a></p>\r\n<p dir=\"ltr\">WB Films. <a href=\"http://kubrickfilms.warnerbros.com/video_detail/fmj/\">http://kubrickfilms.warnerbros.com/video_detail/fmj/</a></p>','Full Metal Jacket','','inherit','open','open','','3635-revision-v1','','','2013-12-02 11:16:28','2013-12-02 17:16:28','',3635,'http://jeanatacc.com/2011/?p=3728',0,'revision','',0),(3729,76,'2013-12-02 12:01:10','2013-12-02 18:01:10','On August 18<sup>th</sup>, 1969 at the Woodstock music festival in Bethel, New York, Jimi Hendrix performed his rendition of the Star Spangled Banner. The performance lasted roughly 4 minutes and was performed on a stage in front of an audience of thousands on the final day of the festival, Monday, since the weather postponed many shows. There were mixed reaction to his rendition of the national anthem. Some thought that he was purposely performing the anthem badly to send an anti-America message, but Hendrix would later describe the performance as necessary since he was an American in a positive sense. His use of guitar feedback and amplifier effects were received positively and negatively both by those attending the performance and those who caught the show via the documentary movie released shortly afterward. Hendrix\'s use of feedback to emulate sounds of bombs, guns, and screams also represent the progression of art into post-modernism, where music and other arts became increasingly abstracted for the sake of a more inherent meaning. Jimi Hendrix\'s performance of the Star-Spangled Banner should be preserved because of his innovative use of musical effects to portray real sounds to convey a message.\n\n<!--more-->\n\nOne of the most important historical event that occurred during Hendrix\'s time was the war between Vietnam and the United States. This is the war that many critics believe the performance is tied to as protest material. This war is tied to the United States\' policy of containment of the spread of Soviet “communism” throughout southeast Asia from China. In China at this time, the cultural revolution was in full effect under Mao\'s command and influence of his political practice was spreading south, hence the war in Vietnam. The counterculture movement in America fueled Woodstock and was wrought with anti-war sentiments and other ideologies attached to Hendrix and his performance, but not politicians nor spectators would arrive at Hendrix\'s true intentions for the work (Pareles).\n\nMusic of the 20<sup>th</sup> century is often analyzed in a different way than music of earlier centuries, stark differences and progressions of various music styles and techniques can be traces to decades during which certain genres and motifs in music were more popular than others. In the \'50s, rock and roll is said to have begun, in the \'60s, rock and roll was taken to a psychedelic direction and electrical instruments and effects were added in experimental fashion by musicians such as the Beatles, with punks bringing the new “punk rock” to the underground music scene (Pareles). Hendrix\'s work was as popular as it was in it\'s creation because of his guitar work and his innovations of the psychedelic side of guitars and drums (Wenner). He was a talented guitar player and a creative engine for his band “the Experience” and it showed in his live improvisations and recorded content that reached the top of the Billboard 200 for weeks at a time. The fact that he uses a guitar is typical, but what he does with it is certainly not.\n\nJimi Hendrix was one of few who began the rocker\'s archetype of guitar abuse on stage and live guitar solo improvisations. He stood out naturally as well, being one of few of early rock\'s left-handed guitarists and having guitars custom made for his unique playing style. On stage, Jimi stood out as well often improvising his use of feedback to enhance the song\'s message and sound, as he did for the Star-Spangled Banner. He is also well known for his eccentric presence; in one performance he was sexually touching an amplifier, lighting his guitar on fire, and smashing it to pieces on the stage to a mixed reaction from the crowd (DeCurtis). This is in stark contrast to the clean-dressed innovators of \'60s rock The Beatles, who were generally crowd pleasing performers with a style that had mass appeal.\n\nBefore the performance, The Jimi Hendrix Experience, his self-titled band, had excellent reception in the UK with their first release <i>Are You Experienced?</i> reaching #2 at its peak (Wenner). The Woodstock performance had mixed reactions. People in the crowd were said to be “pulling their hair out” in amazement and others were silent with confusion. Fellow artist Bob Dylan reflected on the work positively, describing it as unifying and powerful in the message Hendrix was conveying (Ventre). Critics saw the performance as an anti-American piece extending from the popular disapproval of the Vietnam War by many of the attendants of the Woodstock festival (Ventre). Hendrix disagrees with this interpretation, stating that to even play the piece live is to do what any American musician would do in a patriotic sense. However, his experience in the Army fostered an anti-war mentality that was more accurate to his message and unified those who appreciated their country but not their country\'s actions (Wadleigh).\n\nToday, Hendrix\'s Star-Spangled Banner is still revered and honored, the performance was inducted into the Grammy Hall of Fame for rock tracks in 2009 (DeCurtis). This award given retrospectively shows just how impacting his rendition was and still continues to be today. Despite the disapproval of his work by those outside the 1960\'s-\'70s American counterculture, Hendrix\'s performance has today garnered mainstream praise. There are still many who revere Hendrix\'s work in general as well as his performances at Woodstock, with Rolling Stone honoring his work in the list of greatest albums and the man himself in their list of greatest artists (Wenner). With the national anthem being performed at major sporting events in America constantly, it is rare that one performance is regarded as highly as this one was and continues to be.\n\nJimi Hendrix\'s rendition of the national anthem struck me as bizarre because of how far Hendrix pushed his equipment to produce the sounds he wanted. He was very daring with his guitar use and audio play, but I feel he was more open to do this given his setting. The Woodstock festival was notorious for its audience, who was largely made up of “hippies” experimenting with freedom in terms of sex, drugs, and societal critique. If Hendrix were playing for politicians at the White House, or any more formal setting, an average person in his position would formalize his or her own performance to fit the occasion, but given his style, some may argue that he would retain his message and play the same anthem he did at Woodstock. I thought his performance was incredible and his mastery of sound created from a single guitar flourishes in this piece.\n\nAnother contemporary group in Hendrix\'s time, the Beatles, achieved great acclaim during their time and are often regarded with Jimi Hendrix and other artists of the time as pioneers of rock\'s second generation. There is no known performance of the national anthem by the Beatles, but their work as a whole can easily be compared and contrasted to Hendrix\'s work as a whole considering both artist/artist group\'s guitar use and popular acclaim. Guitars were used by both as a prevailing source of rhythm and as the pivoting point of both artists. Hendrix emphasized during his career the prevalence of the “power trio”, taking on the rhythm duties and guitar solos during performances and on their records. Hendrix\'s band “the Experience” and later “Band of Gypsies” often had following members that aided to fill out their sound on tour, whereas the Beatles generally kept to their quartet with each member trading vocal duties, with John and Paul taking the lead, and one rhythm guitar and one lead guitar.\n\nPopularity came on both artists quickly as Hendrix\'s band\'s first album fell 2<sup>nd</sup> only to the Beatles\' White Album on the UK charts (Wenner). Both artists also came with their fair share of controversies, the Beatles\' John Lennon made a statement in the height of their success that they were “more popular than Jesus” which didn\'t sit well with the generally conservative countries where the Beatles were popular. Hendrix shocked spectators on a crowd-by-crowd basis with his on-stage antics that birthed many archetypes of rock music. After a performance of “Wild Thing” caught on video, Hendrix, as mentioned earlier, sets his guitar on fire and destroys it on stage just before walking off, finishing the set. The Beatles never destroyed their equipment on stage, or elicited mixed responses from their audiences as frequently as Hendrix, but, as human beings, they had blunders that are often overlooked in current reflections on their influence on music today.\n\nHendrix\'s Star-Spangled Banner should be preserved as a piece of art in all respects. He communicates a message that is clear to those who understood him and his ideas and from his subjective perspective as an American that had a passion for rock music. He created what no body had before him, taking a medium that was previously viewed as undesirable and reforming it into a representation of sounds that moved people and sent a message. Future generations should know that this piece sends a message from an individual, one that is specific to his time and place which he knows and can comment on through his work. His piece of time is played though this performance and should be preserved both for the man\'s skill and the message he sends.\n\n&nbsp;\n<p align=\"CENTER\">Work Cited</p>\nDeCurtis, Anthony. \"Beyond The Jimi Hendrix Experience.\" (Feb 28, 2010), p. AR.21.(n.d.): Web. 20 Nov. 2013.\n\n-Gave insights on Hendrix\'s band\'s story and experiences before and after the performance.\n\n&nbsp;\n\nPareles, Jon. \"POP VIEW; Caution: Now Entering The War Zone.\" (Feb 24, 1991), p. A.25.(n.d.): Web. 20 Nov. 2013.\n\n-Allowed insights on war themes in music during the 20th century.\n\n&nbsp;\n\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Ventre, Michael. N.p.. Web. 25 Nov 2013. &lt;http://www.today.com/id/32175232</span></span></span>\n\n-Detailed  description of reactions to the performance and a good source for today\'s opinions on the work.\n\n&nbsp;\n<p align=\"LEFT\">Wadleigh, Michael. \"Land Of The Free. (Cover Story).\"Newsweek133.26 (1999): 60. MAS Ultra - School Edition. Web. 20 Nov. 2013.</p>\n<p align=\"LEFT\">-Looks at anthem performances and controversies surrounding performances throughout the 20th century and American responses to them.</p>\n<p align=\"LEFT\"></p>\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Wenner, Jann S., . N.p.. Web. 25 Nov 2013. &lt;http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531&gt;.</span></span></span></p>\n<p align=\"LEFT\">-The list of greatest albums offered a modern perspective on both Hendrix and the Beatles in their greater works of which multiple of both are on the list.</p>','Hendrix\'s Star-Spangled Banner','','inherit','open','open','','3666-autosave-v1','','','2013-12-02 12:01:10','2013-12-02 18:01:10','',3666,'http://jeanatacc.com/2011/?p=3729',0,'revision','',0),(3673,84,'2013-11-25 18:47:26','2013-11-26 00:47:26','','guggenheim03_t','','inherit','open','open','','guggenheim03_t','','','2013-11-25 18:47:26','2013-11-26 00:47:26','',3660,'http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg',0,'attachment','image/jpeg',0),(3730,76,'2013-12-02 12:02:16','2013-12-02 18:02:16','On August 18<sup>th</sup>, 1969 at the Woodstock music festival in Bethel, New York, Jimi Hendrix performed his rendition of the Star Spangled Banner. The performance lasted roughly 4 minutes and was performed on a stage in front of an audience of thousands on the final day of the festival, Monday, since the weather postponed many shows. There were mixed reaction to his rendition of the national anthem. Some thought that he was purposely performing the anthem badly to send an anti-America message, but Hendrix would later describe the performance as necessary since he was an American in a positive sense. His use of guitar feedback and amplifier effects were received positively and negatively both by those attending the performance and those who caught the show via the documentary movie released shortly afterward. Hendrix\'s use of feedback to emulate sounds of bombs, guns, and screams also represent the progression of art into post-modernism, where music and other arts became increasingly abstracted for the sake of a more inherent meaning. Jimi Hendrix\'s performance of the Star-Spangled Banner should be preserved because of his innovative use of musical effects to portray real sounds to convey a message.\r\n\r\n<!--more-->\r\n\r\nOne of the most important historical event that occurred during Hendrix\'s time was the war between Vietnam and the United States. This is the war that many critics believe the performance is tied to as protest material. This war is tied to the United States\' policy of containment of the spread of Soviet “communism” throughout southeast Asia from China. In China at this time, the cultural revolution was in full effect under Mao\'s command and influence of his political practice was spreading south, hence the war in Vietnam. The counterculture movement in America fueled Woodstock and was wrought with anti-war sentiments and other ideologies attached to Hendrix and his performance, but not politicians nor spectators would arrive at Hendrix\'s true intentions for the work (Pareles).\r\n\r\nMusic of the 20<sup>th</sup> century is often analyzed in a different way than music of earlier centuries, stark differences and progressions of various music styles and techniques can be traces to decades during which certain genres and motifs in music were more popular than others. In the \'50s, rock and roll is said to have begun, in the \'60s, rock and roll was taken to a psychedelic direction and electrical instruments and effects were added in experimental fashion by musicians such as the Beatles, with punks bringing the new “punk rock” to the underground music scene (Pareles). Hendrix\'s work was as popular as it was in it\'s creation because of his guitar work and his innovations of the psychedelic side of guitars and drums (Wenner). He was a talented guitar player and a creative engine for his band “the Experience” and it showed in his live improvisations and recorded content that reached the top of the Billboard 200 for weeks at a time. The fact that he uses a guitar is typical, but what he does with it is certainly not.\r\n\r\nJimi Hendrix was one of few who began the rocker\'s archetype of guitar abuse on stage and live guitar solo improvisations. He stood out naturally as well, being one of few of early rock\'s left-handed guitarists and having guitars custom made for his unique playing style. On stage, Jimi stood out as well often improvising his use of feedback to enhance the song\'s message and sound, as he did for the Star-Spangled Banner. He is also well known for his eccentric presence; in one performance he was sexually touching an amplifier, lighting his guitar on fire, and smashing it to pieces on the stage to a mixed reaction from the crowd (DeCurtis). This is in stark contrast to the clean-dressed innovators of \'60s rock The Beatles, who were generally crowd pleasing performers with a style that had mass appeal.\r\n\r\nBefore the performance, The Jimi Hendrix Experience, his self-titled band, had excellent reception in the UK with their first release <i>Are You Experienced?</i> reaching #2 at its peak (Wenner). The Woodstock performance had mixed reactions. People in the crowd were said to be “pulling their hair out” in amazement and others were silent with confusion. Fellow artist Bob Dylan reflected on the work positively, describing it as unifying and powerful in the message Hendrix was conveying (Ventre). Critics saw the performance as an anti-American piece extending from the popular disapproval of the Vietnam War by many of the attendants of the Woodstock festival (Ventre). Hendrix disagrees with this interpretation, stating that to even play the piece live is to do what any American musician would do in a patriotic sense. However, his experience in the Army fostered an anti-war mentality that was more accurate to his message and unified those who appreciated their country but not their country\'s actions (Wadleigh).\r\n\r\nToday, Hendrix\'s Star-Spangled Banner is still revered and honored, the performance was inducted into the Grammy Hall of Fame for rock tracks in 2009 (DeCurtis). This award given retrospectively shows just how impacting his rendition was and still continues to be today. Despite the disapproval of his work by those outside the 1960\'s-\'70s American counterculture, Hendrix\'s performance has today garnered mainstream praise. There are still many who revere Hendrix\'s work in general as well as his performances at Woodstock, with Rolling Stone honoring his work in the list of greatest albums and the man himself in their list of greatest artists (Wenner). With the national anthem being performed at major sporting events in America constantly, it is rare that one performance is regarded as highly as this one was and continues to be.\r\n\r\nJimi Hendrix\'s rendition of the national anthem struck me as bizarre because of how far Hendrix pushed his equipment to produce the sounds he wanted. He was very daring with his guitar use and audio play, but I feel he was more open to do this given his setting. The Woodstock festival was notorious for its audience, who was largely made up of “hippies” experimenting with freedom in terms of sex, drugs, and societal critique. If Hendrix were playing for politicians at the White House, or any more formal setting, an average person in his position would formalize his or her own performance to fit the occasion, but given his style, some may argue that he would retain his message and play the same anthem he did at Woodstock. I thought his performance was incredible and his mastery of sound created from a single guitar flourishes in this piece.\r\n\r\nAnother contemporary group in Hendrix\'s time, the Beatles, achieved great acclaim during their time and are often regarded with Jimi Hendrix and other artists of the time as pioneers of rock\'s second generation. There is no known performance of the national anthem by the Beatles, but their work as a whole can easily be compared and contrasted to Hendrix\'s work as a whole considering both artist/artist group\'s guitar use and popular acclaim. Guitars were used by both as a prevailing source of rhythm and as the pivoting point of both artists. Hendrix emphasized during his career the prevalence of the “power trio”, taking on the rhythm duties and guitar solos during performances and on their records. Hendrix\'s band “the Experience” and later “Band of Gypsies” often had following members that aided to fill out their sound on tour, whereas the Beatles generally kept to their quartet with each member trading vocal duties, with John and Paul taking the lead, and one rhythm guitar and one lead guitar.\r\n\r\nPopularity came on both artists quickly as Hendrix\'s band\'s first album fell 2<sup>nd</sup> only to the Beatles\' White Album on the UK charts (Wenner). Both artists also came with their fair share of controversies, the Beatles\' John Lennon made a statement in the height of their success that they were “more popular than Jesus” which didn\'t sit well with the generally conservative countries where the Beatles were popular. Hendrix shocked spectators on a crowd-by-crowd basis with his on-stage antics that birthed many archetypes of rock music. After a performance of “Wild Thing” caught on video, Hendrix, as mentioned earlier, sets his guitar on fire and destroys it on stage just before walking off, finishing the set. The Beatles never destroyed their equipment on stage, or elicited mixed responses from their audiences as frequently as Hendrix, but, as human beings, they had blunders that are often overlooked in current reflections on their influence on music today.\r\n\r\nHendrix\'s Star-Spangled Banner should be preserved as a piece of art in all respects. He communicates a message that is clear to those who understood him and his ideas and from his subjective perspective as an American that had a passion for rock music. He created what no body had before him, taking a medium that was previously viewed as undesirable and reforming it into a representation of sounds that moved people and sent a message. Future generations should know that this piece sends a message from an individual, one that is specific to his time and place which he knows and can comment on through his work. His piece of time is played though this performance and should be preserved both for the man\'s skill and the message he sends.\r\n\r\n&nbsp;\r\n<p align=\"CENTER\">Work Cited</p>\r\nDeCurtis, Anthony. \"Beyond The Jimi Hendrix Experience.\" (Feb 28, 2010), p. AR.21.(n.d.): Web. 20 Nov. 2013.\r\n\r\n-Gave insights on Hendrix\'s band\'s story and experiences before and after the performance.\r\n\r\n&nbsp;\r\n\r\nPareles, Jon. \"POP VIEW; Caution: Now Entering The War Zone.\" (Feb 24, 1991), p. A.25.(n.d.): Web. 20 Nov. 2013.\r\n\r\n-Allowed insights on war themes in music during the 20th century.\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Ventre, Michael. N.p.. Web. 25 Nov 2013. &lt;http://www.today.com/id/32175232</span></span></span>\r\n\r\n-Detailed  description of reactions to the performance and a good source for today\'s opinions on the work.\r\n\r\n&nbsp;\r\n<p align=\"LEFT\">Wadleigh, Michael. \"Land Of The Free. (Cover Story).\"Newsweek133.26 (1999): 60. MAS Ultra - School Edition. Web. 20 Nov. 2013.</p>\r\n<p align=\"LEFT\">-Looks at anthem performances and controversies surrounding performances throughout the 20th century and American responses to them.</p>\r\n<p align=\"LEFT\"></p>\r\n<p align=\"LEFT\"><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: medium\">Wenner, Jann S., . N.p.. Web. 25 Nov 2013. &lt;http://www.rollingstone.com/music/lists/500-greatest-albums-of-all-time-20120531&gt;.</span></span></span></p>\r\n<p align=\"LEFT\">-The list of greatest albums offered a modern perspective on both Hendrix and the Beatles in their greater works of which multiple of both are on the list.</p>','Hendrix\'s Star-Spangled Banner','','inherit','open','open','','3666-revision-v1','','','2013-12-02 12:02:16','2013-12-02 18:02:16','',3666,'http://jeanatacc.com/2011/?p=3730',0,'revision','',0),(3731,91,'2013-12-09 01:40:34','2013-12-09 07:40:34','<p align=\"center\"><b><i>Verdi’s Aida</i></b></p>\r\nAida the opera was written by Giuseppe Verdi in the Late 1871. This opera is mainly about a love triangle between Aida the Ethiopian princess who has been captured, Amneris Princess of Egypt and Radames Captain of the guard in Egypt.  The opera starts off with Egypt being challenged for power in war by Ethiopia. The king of Egypt choses Radames as the head captain to come up against the Ethiopians, who are crushed by Radames. Radames has also captured the king and his people, which include Aida. Radames victory request is to have their lives sparred which is allowed by the grateful king. Until king who didn’t know that the prisoners were of royalty is then sentenced to death, but are released by Radames, so the king sentences him to be buried alive. Aida and Amneris do everything in their power to try to save Radames but nothing works. In the end Aida runs to Radames side and is buried alive with Radames who die together in love.  This opera comes in the time of Egypt’s rule also Verdi’s rule in being a very famous opera composer.<!--more-->\r\n\r\nThis work is very typical of its era the three main things that describe Verdi’s Aida where big in the time of the opera’s release. That being Egypt, Opera and the composer Giuseppe Verdi I found this in a quote I read in an article written by Bruce Scott, “The history of Aida goes back to Ismail Pasha, who became the khedive of Egypt in 1863. Among his many dreams for the country was a new Cairo Opera House. It opened in 1869, with a performance of Verdi\'s Rigoletto. But Pasha thought his theater also deserved a brand new work by Verdi, who was arguably the most famous opera composer in the world.” So with Egypt being the main power and Verdi with his good status shows that this opera was destined to be written.\r\n\r\nVerdi’s Aida was created in the midst of war and was a rare occasion where it was used in the war to help create debt. The khedive had spent enormous amounts of money on a canal he had bought and on Giuseppe play Aida. Aida Was only sold to him to increase his debt to the Europeans. Even though aida played a huge impact in European and Egypt’s war the controversy started before Aida and is still continued today. “France’s revolution was fomented by Rousseau, Voltaire, Danton, Marat and others. Egypt’s revolution was fomented by Facebook. The drama continues to unfold as we read each day.”I forgive Verdi and his opera. They may have added to the Khedive Ismail\'s enormous bill owed to the Europeans which led to Europe’s domination of Egypt. But I have to admit that we are all the richer for that glorious music”(Hosni Murbarack).\r\n\r\nThis play was much loved in its time was scattered across the world quickly.” The premiere was postponed slightly, thanks in part to the Franco-Prussian War, and took place late in 1871, not quite a year behind schedule. Before long Aida was a hit all over the world. It premiered at La Scala in 1872. The next year, it reached Buenos Aires and New York City.”\r\n\r\nThe play as loved as much today as it was in its time it is shown all around the world. “The local premiere sold out all 3,000 seats. It was the social event of that fall.\r\n\r\nThough much has changed in the ensuing 54 years, Freedman’s words still ring true: “An opera company has a responsibility other than just staying in business. Its purpose is to broaden people’s scopes, to let them know something else exists” (Sally Vallongo).\r\n\r\nMy personal reaction to watching Verdi’s Aida was amazement the storyline and the personality given to Aida and Ramades are astounding. Following Ramades to the end where he has to make a tough decision between love and duty is a well thought out plot that leaves viewers guessing. Watching this opera can really get a mutual feeling that the actors on stage are trying to portray for the character.\r\n\r\nI like to compare this opera to West side story a musical created in 1957.  Like Aida it also has that love and war dynamic Maria who is a young Latino girl falls in love with a white boy named tony whose gangs are fierce rivals. This leads to death just like Aida, the two stories have a lot in common it shows how two completely different cultured people can come together and find love through the midst of hate, anger, and war.\r\n\r\nThe seriousness of how love war and duty is important for our future generations. This will show that one must follow their heart soul and mind versus just what there taught. This is how you can become truly happy and find true love.\r\n\r\nSources:\r\n\r\nhttps://www.toledoblade.com/Music-Theater-Dance/2013/09/29/Verdi-s-glorious-tale-of-Aida-opens-2013-2014-Toledo-Opera-season.html\r\n\r\nhttp://www.wqxr.org/#!/story/verdis-emaidaem-and-its-role-egyptian-revolution/\r\n\r\nhttp://classicalmusic.about.com/od/Opera-Synopses/qt/Aida-Synopsis.htm\r\n\r\nhttp://www.latimes.com/entertainment/arts/culture/la-et-cm-verdi-birth-bicentennial-italian-opera-festival-20131025,0,4466481.story#axzz2jgx6KUOY\r\n\r\nhttp://escholarship.org/uc/item/9tj7h4wv#page-1\r\n\r\nhttp://www.npr.org/2011/06/03/136888669/love-triangles-and-pyramids-verdis-aida\r\n\r\nhttp://schillerinstitute.org/educ/reviews/2013/aida-michigan_opera_theater.html','Verdi\'s Aida','','publish','open','open','','verdis-aida','','','2013-12-09 11:16:25','2013-12-09 17:16:25','',0,'http://jeanatacc.com/2011/?p=3731',0,'post','',1),(3732,91,'2013-12-02 13:57:20','2013-12-02 19:57:20','Aida the opera was written by Giuseppe Verdi in the Late 1871. This opera is mainly about a love triangle between Aida the Ethiopian princess who has been captured, Amneris Princess of Egypt and Radames Captain of the guard in Egypt.  The opera starts off with Egypt being challenged for power in war by Ethiopia. The king of Egypt choses Radames as the head captain to come up against the Ethiopians, who are crushed by Radames. Radames has also captured the king and his people, which include Aida. Radames victory request is to have their lives sparred which is allowed by the grateful king. Until king who didn’t know that the prisoners were of royalty is then sentenced to death, but are released by Radames, so the king sentences him to be buried alive. Aida and Amneris do everything in their power to try to save Radames but nothing works. In the end Aida runs to Radames side and is buried alive with Radames who die together in love.  This opera comes in the time of Egypt’s rule also Verdi’s rule in being a very famous opera composer.\r\n\r\nThis work is very typical of its era the three main things that describe Verdi’s Aida where big in the time of the opera’s release. That being Egypt, Opera and the composer Giuseppe Verdi I found this in a quote I read in an article written by Bruce Scott, “The history of Aida goes back to Ismail Pasha, who became the khedive of Egypt in 1863. Among his many dreams for the country was a new Cairo Opera House. It opened in 1869, with a performance of Verdi\'s Rigoletto. But Pasha thought his theater also deserved a brand new work by Verdi, who was arguably the most famous opera composer in the world.” So with Egypt being the main power and Verdi with his good status shows that this opera was destined to be written.\r\n\r\nThis play was much loved in its time was scattered across the world quickly.” The premiere was postponed slightly, thanks in part to the Franco-Prussian War, and took place late in 1871, not quite a year behind schedule. Before long Aida was a hit all over the world. It premiered at La Scala in 1872. The next year, it reached Buenos Aires and New York City.”\r\n\r\nSources:\r\n\r\nhttp://classicalmusic.about.com/od/Opera-Synopses/qt/Aida-Synopsis.htm\r\n\r\nhttp://www.latimes.com/entertainment/arts/culture/la-et-cm-verdi-birth-bicentennial-italian-opera-festival-20131025,0,4466481.story#axzz2jgx6KUOY\r\n\r\nhttp://escholarship.org/uc/item/9tj7h4wv#page-1\r\n\r\nhttp://www.npr.org/2011/06/03/136888669/love-triangles-and-pyramids-verdis-aida\r\n\r\nhttp://schillerinstitute.org/educ/reviews/2013/aida-michigan_opera_theater.html','Verdi\'s Aida','','inherit','open','open','','3731-revision-v1','','','2013-12-02 13:57:20','2013-12-02 19:57:20','',3731,'http://jeanatacc.com/2011/?p=3732',0,'revision','',0),(3733,91,'2013-12-02 13:58:33','2013-12-02 19:58:33','Aida the opera was written by Giuseppe Verdi in the Late 1871. This opera is mainly about a love triangle between Aida the Ethiopian princess who has been captured, Amneris Princess of Egypt and Radames Captain of the guard in Egypt. The opera starts off with Egypt being challenged for power in war by Ethiopia. The king of Egypt choses Radames as the head captain to come up against the Ethiopians, who are crushed by Radames. Radames has also captured the king and his people, which include Aida. Radames victory request is to have their lives sparred which is allowed by the grateful king. Until king who didn’t know that the prisoners were of royalty is then sentenced to death, but are released by Radames, so the king sentences him to be buried alive. Aida and Amneris do everything in their power to try to save Radames but nothing works. In the end Aida runs to Radames side and is buried alive with Radames who die together in love. This opera comes in the time of Egypt’s rule also Verdi’s rule in being a very famous opera composer.<!--more-->\r\n\r\nThis work is very typical of its era the three main things that describe Verdi’s Aida where big in the time of the opera’s release. That being Egypt, Opera and the composer Giuseppe Verdi I found this in a quote I read in an article written by Bruce Scott, “The history of Aida goes back to Ismail Pasha, who became the khedive of Egypt in 1863. Among his many dreams for the country was a new Cairo Opera House. It opened in 1869, with a performance of Verdi\'s Rigoletto. But Pasha thought his theater also deserved a brand new work by Verdi, who was arguably the most famous opera composer in the world.” So with Egypt being the main power and Verdi with his good status shows that this opera was destined to be written.\r\n\r\nThis play was much loved in its time was scattered across the world quickly.” The premiere was postponed slightly, thanks in part to the Franco-Prussian War, and took place late in 1871, not quite a year behind schedule. Before long Aida was a hit all over the world. It premiered at La Scala in 1872. The next year, it reached Buenos Aires and New York City.”\r\n\r\nSources:\r\n\r\nhttp://classicalmusic.about.com/od/Opera-Synopses/qt/Aida-Synopsis.htm\r\n\r\nhttp://www.latimes.com/entertainment/arts/culture/la-et-cm-verdi-birth-bicentennial-italian-opera-festival-20131025,0,4466481.story#axzz2jgx6KUOY\r\n\r\nhttp://escholarship.org/uc/item/9tj7h4wv#page-1\r\n\r\nhttp://www.npr.org/2011/06/03/136888669/love-triangles-and-pyramids-verdis-aida\r\n\r\nhttp://schillerinstitute.org/educ/reviews/2013/aida-michigan_opera_theater.html','Verdi\'s Aida','','inherit','open','open','','3731-revision-v1','','','2013-12-02 13:58:33','2013-12-02 19:58:33','',3731,'http://jeanatacc.com/2011/?p=3733',0,'revision','',0),