Inattentional Blindness: Cell Phone Use while Walking

Inattentional Blindness: Cell Phone Use while Walking Holly Schwartz How is walking affected by the use of cell phone created inattentional blindness? In a case study conducted on the campus of Western Washington University in 2009, cell phone use was compared to those students walking alone or in pairs, in order to compare their attention to their surrounding environments. Prior to the experiment, it was already noted that cell phone users were 21.3% more likely to weave and 29.8% more likely to change direction, then stay on a straight path across the chosen square on the campus (Hyman, Boss, Wise, McKenzie, Caggiano, 2009). The experiment took it further by incorporating a clown on a unicycle, adorned in purple clothing, large feet, and a red nose. As the students finished crossing the square, the interviewers asked two questions of them. First, if they had noticed anything out of the ordinary (Hyman, Boss, Wise, McKenzie, Caggiano, 2009). Second, if there had been a clown (Hyman, Boss, Wise, McKenzie, Caggiano, 2009). In this particular study, out of those using cell phones, only 25% had actually seen the gentleman on the un icycle (Hyman, Boss, Wise, McKenzie, Caggiano, 2009). That would mean that at least 75% of those users experienced inattentional blindness as an effect of their use of cell phones (Hyman, Boss, Wise, McKenzie, Caggiano, 2009). During their crossing, the weaving and changing of direction, as well as their slower gait, probably led to the blindness, as their attention was not focused in one direction. In fact, individuals who have divided their cognitive needs are generally unaware of their environmental stimuli. It is theorized that cell phone use drains attentional resources, which in turn leads to inattentional blindness (Hyman, Boss, Wise, McKenzie, Caggiano, 2009). Unicycling clown [Digital image]. (2013, July 3). Retrieved March 26, 2017, from https://westerntoday.wwu.edu/content/professor-to-discuss-cell-phone-use-and-inattentional-blindness-oct-24 What are the effects of cell phone use while driving in reference to inattentional blindness? Most people may agree on the fact that texting on a cell phone while driving is not conducive to a safe driving experience, either for the person driving or the general public around them. What is not generally agreed upon is the talking while driving, whether hands on or hands free. In American society, there is a common belief that a person can successfully multitask, when in reality this is not a successful endeavor if that person would like to accomplish all tasks at an optimal level. The brain cannot multitask well (National safety council, 2012). In the example of driving and talking on a cell phone, vision is greatly affected. While driving, the driver gathers most of their information through visual cues. Road signs, traffic signals, and other drivers, all give information to the person driving in order to make safe driving decisions. In recent studies of cell phone use and driving, statistics have shown that at least 50% of the visual information provided to drivers while un der the influence of cell phone use, are both looked at but remain unseen (National safety council, 2012). This indicates cognitive distracted inattentional blindness occurs regularly among these users. It is contributed to an attentional withdrawal from visual information where the compensation of too much information to the brain is shown by the brains decision to to send some of that information to memory (National safety council, 2012). Since the information is not there, then the drivers are unaware that there was any information to begin with. The distracted drivers may look forward through the windshield, but their view is narrowed from the entire environment (National safety council, 2012). Understanding the distracted brain [Digital image]. (2011, June 11). Retrieved March 26, 2017, from https://www.slideshare.net/kulkarniprasann/understanding-the-distracted-brain References: Â   Hyman, I.E., Boss, M., Wise, B.M., McKenzie, K.E., Caggiano, J.M. (2009, October). Did You See the Unicycling Clown? Inattentional Blindness while Walking and Talking on a Cell Phone. Applied cognitive psychology, 24(), 597-607. doi:10.1002/acp.1638 National safety council. (2012). Understanding the distracted brain. Retrieved from http://www.nsc.org/DistractedDrivingDocuments/Cognitive-Distraction-White-Paper.pdf

Biography of Martin Luther King Jr. :: Martin Luther King Civil Rights Movement Essays

Biography of Martin Luther King Jr. Martin Luther King, Jr., (January 15, 1929-April 4, 1968) was born Michael Luther King, Jr., but later had his name changed to Martin. His grandfather began the family's long tenure as pastors of the Ebenezer Baptist Church in Atlanta, serving from 1914 to 1931; his father has served from then until the present, and from 1960 until his death Martin Luther acted as co-pastor. Martin Luther attended segregated public schools in Georgia, graduating from high school at the age of fifteen; he received the B. A. degree in 1948 from Morehouse College, a distinguished Negro institution of Atlanta from which both his father and grandfather had been graduated. After three years of theological study at Crozer Theological Seminary in Pennsylvania where he was elected president of a predominantly white senior class, he was awarded the B.D. in 1951. With a fellowship won at Crozer, he enrolled in graduate studies at Boston University, completing his residence for the doctorate in 1953 and receivin g the degree in 1955 In Boston he met and married Coretta Scott, a young woman of uncommon intellectual and artistic attainments. Two sons and two daughters were born into the family. In 1954, Martin Luther King accepted the pastorale of the Dexter Avenue Baptist Church in Montgomery, Alabama. Always a strong worker for civil rights for members of his race, King was, by this time, a member of the executive committee of the National Association for the Advancement of Colored People, the leading organization of its kind in the nation. He was ready, then, early in December, 1955, to accept the leadership of the first great Negro nonviolent demonstration of contemporary times in the United States, the bus boycott described by Gunnar Jahn in his presentation speech in honor of the laureate. The boycott lasted 382 days. On December 21, 1956, after the Supreme Court of the United States had declared unconstitutional the laws requiring segregation on buses, Negroes and whites rode the buses as equals. During these days of boycott, King was arrested, his home was bombed, he was subjected to personal abuse, but at the same time he emerged as a Negro leader of the first rank . In 1957 he was elected president of the Southern Christian Leadership Conference, an organization formed to provide new leadership for the now burgeoning civil rights movement. The ideals for this organization he took from Christianity; its operational techniques from Gandhi.

The Jumping Frog :: Creative Writing Short Stories War Essays

The Jumping Frog Now that brings me by a natural and easy transition to Simon Wheeler of California; a pioneer he was, and in a small way a philosopher. Simon Wheeler's creed was that pretty nearly everything that happens to a man can be turned to moral account; every incident in his life, almost, can be made to assist him, to project him forward morally, if he knows how to make use of the lesson which that episode teaches, and he used -- well, he was a good deal of a talker. He was an inordinate talker; in fact, he wore out three sets of false teeth, and I told about a friend of his one day -- a man that he had known there formerly, and who he had a great admiration for, of one Jim Smiley, and he said it was worth a man's while to know Jim Smiley. Jim Smiley was a man of gift; he was a man of parts; he was a man of learning; he was -- well, he was the curiousest man about always betting on anything that turned up that you ever see, if he could get anybody to bet on the other side, and if he couldn't he would change sides. As soon as he got a bet he was satisfied. He prepared himself with all sorts of things -- tomcats, rat terriers and all such things, and one day he ketched a frog; said he calculated to educate him. And he took him home and never done nothing but set in his back yard and learn that frog how to jump. Yes, sir, and he did learn him to -- he did learn him to. When it came to jumping on a dead level there wasn't no frog that could touch him at all. Come to jump on the dead level, why, he could lay over any frog in the profession, and Smiley broke all the camps around there betting on that frog. Bye and bye he got a misfortune. He used to keep his frog in a little lattice box. The frog's name was Daniel Webster, and he would bring that box down town and lay for a bet. And one day a fellow came along, a stranger in the camp he was, he says, "What might it be that you have got in the box?" "Well," Smiley says, "It ain't anything particular, it's only just a frog," " Well," he says, "What is he good for?

History Coursework Essay

In this essay I will be explaining the main features of the New Deal, I will include Roosevelt’s main aims and alphabet agencies which helped America recover through the financial crisis. Emergency Banking Act – Roosevelt closed all banks for a four day â€Å"Bank Holiday†. Every bank was inspected only honest, reliable well run banks with enough money were allowed to re-open this was incredibly important because this was one of the major causes of the depression, the banks were giving large amounts of money to people who could not pay it back and so this caused a knock on effect. The Economy Act – Roosevelt cut the pay for everyone working for the government, army, navy and air force by 15% and saved a nearly 1billion dollars to be re-invested into the economy, these tough measures were needed for people who were unemployed or having financial crisis’s this money was extremely important so that the economy could make a slow but steady recovery. F.E.R.A – The Federal Emergency Relief Agency was given $500 million dollars to help the homeless or people who were struggling to make ends meet. They helped people with basic things such as food, clothes, mortgage payments, they gave great support for people who needed money for basic things. H.O.L.C – The Home Owners Loan Co-operation loaned money to people with very low rates of interest and people who could not keep up with their payments this was very important because it took the pressure of the home owner because they could rely on the government to help or support them with their finances. F.C.A – Farm Credit Administration helped farmers. They loaned money to farmers who were unable to meet their mortgage payments they loaned 100 million dollars in 18 months. A.A.A – Agricultural Adjustment Agency paid farmers to produce less food so that there was more demand for farmed products. The farms were overproducing and so they were losing a lot of money because there was no demand for those products. The AAA paid them to destroy their food and because there was more demand for the products there incomes increased, they nearly doubled! In conclusion Roosevelt was helping America’s economy unlike Hoover his aims of helping the economy were succeeding and the public began to lie him.

The Who Music Quiz

Short Disclaimer: You may or may not notice that I did not mention everything The Who have released, or all the people in their line-up at all times. Nor did I mention Tommy(the movie) or Quadrophenia (the movie). I wanted to focus on The Who's music in their prime years, rather than their various reunions and films. Band Members: Pete Townshend: Guitar, vocals Roger Daltrey: Vocals, harmonica John Entwistle: Bass, vocals, French horn Keith Moon (until 1978): Drums, vocals Kenney Jones (after 1978): Drums John Bundrick (after 1978): Keyboards Discography: 1964: Singles: I'm the Face 1965: Singles: I Can't Explain, My Generation 1965: The Who Sings My Generation 1966: Singles: Substitute, I'm a Boy, The Kids Are Alright, Happy Jack 1966: A Quick One 1967: Singles: Pictures of Lilly, I Can See For Miles 1967: The Who Sell Out 1968: Singles: I Can't Reach You, Dogs, Magic Bus. 1968: Magic Bus – The Who on Tour 1969: Singles: Pinball Wizard, I'm Free, The Acid Queen 1969: Tommy 1970: Singles: The Seeker, Summertime Blues 1970: Live at Leeds 1971: Singles: Behind Blue Eyes, Lets See Action 1971: Who's Next 1971: Meaty, Beaty, Big and Bouncy 1972: Singles: Join Together, Relay 1973: Singles: 5:15, Love Reign O'Er Me 1973: Quadrophenia 1974: Single: The Rael Me 1974: Odds and Sods 1975: Singles: Squeeze Box, Slip Kid 1975: The Who by the Numbers 1978: Who Are You? 1979: The Kids Are Alright (Soundtrack) 1981: Face Dances 1982: It's Hard 1991: Thirty Years of Maximum R&B (Box Set) 1996: My Generation – The Very Best of the Who 1996: Live at the Isle of Wight 2000: BBC Sessions 2002: Ultimate Collection 2002: Live at the Royal Albert Hall 2004: Then and Now: 1964-2004 Few bands in rock history have had the talent, ability, energy, and impact as The Who did from the mid 60's to the late 70's. Starting as an offshoot of the British Invasion, the Who evolved to become one of the most powerful and one of the greatest rock n' roll bands of all time. Though by definition they weren't a super-group (the members were not already established as premier musicians before The Who took off), they arguably had the talent to be one. Destroying equipment, blowing up bass drums, Townshend's windmill, Daltrey's tough guy attitude and rock vocal power, and Entwistle's â€Å"eye of the hurricane† approach to the stage show and lead bass-playing are all defining parts of The Who that make them a legend in their time and into today. Pete Townshend was the artistic leader of the band, and he constantly moved them in new directions to reach areas no rock bands had been and few have been since. Aside from his artistic creativity, his guitar playing was very good. He is often overlooked because he did not do many solos or much flashy guitar work, but he fit the band perfectly. Not only was Townshend a capable guitarist, but his song writing ability is up there with the best. Townshend also sang background vocals and occasionally lead vocals, making him even more valuable to the band. Roger Daltrey, the singer of the group, started as a great singer with solid range and glimpses of power. His versatility allowed him to progress into a power-rock front man, and his amazing stage presence propelled The Who's live shows throughout their career. But the real focus of The Who is usually on the rhythm section (or in The Who's case, the lead instrumental section). John Entwistle was a pioneer in bass playing, as he was one of first players to show that bass could be the lead instrument in rock music. He immediately made his presence known in The Who with his heavy sound and distorted bass, like the fills in My Generation . Entwistle also added solid backup vocals, which gave The Who more dimensions in their vocal harmonies. And then ,of course, there is Keith Moon. Moon was a defining aspect of The Who, and a key part of why they were so different from almost all other bands. His attacking drum style, blazing speed, and constant fills would become a trademark of The Who, especially in their live show. Although Keith is usually noted for being a crazy man on the drums, he tends to show a significant amount of control on their studio albums. There are more fills than other drummers, but enough restraint so as not to ruin the trac k. Instrumentally, Entwistle and Moon led the band. Townshend was a good guitar player, but he usually found himself pounding out power-chords and solid riffs in the role of a rhythm player while John and Keith took the role as lead players. That is not to say that Pete never played lead or that he could not solo, however. Townshend and Entwistle first met each other in high school, and initially played in a Dixieland band together (John was on trumpet and Pete was on banjo) in 1962. In 1963, Entwistle left to play bass for the newly formed Detours, with singer Roger Daltrey already in place. Soon, Townshend joined them band on guitar. Not long after, there was a drumming void, and Keith Moon was added to the band. They changed their name to The Who in 1964. After struggling for a few months to progress, the band met an interested manager in Pete Meaden. Under his direction, the band became known as the High Numbers and began wearing suits and playing more of an R&B style. Their first single contained I'm the Face/Zoot Suit , but it faired poorly. Meaden was cut, and they reformed as The Who. I Can't Explain was the band's next single, and it did much better. After the band played a TV performance that featured Moon and Townshend destroying their instruments, The Who starting gaining popularity. The band's dynamics in this time period are very interesting. Each member had vastly different personalities, which often led to disputes and arguments, sometimes even violence onstage. Instead of keeping these altercations private, The Who made them well-known. They became notorious for their violent demeanour and aggressive stage act, but instead of having a negative effect on the band, the result was that their popularity continually grew. It is important here to stress the Who's significance to the Mod movement in London at the time. The hundred of mods in the audience became a medium through which The Who could let out their pent-up aggression. In these years, The Who soon became the Mod band, the voice of the rebellious teenagers, soon to represent what rock and roll would become: a defiant escape from the previous generation and a defiant statement against it. As I Can't Explain had jumped to the British Top Ten, the band was now ready to record an album. The Who Sings My Generation was built around the title track, also released as a single. The album showcases the raw style of the band early in their career. There is noticeable influence of R&B, blues, and Motown, added into the Who's style of power rock. Its lasting legacy to music is undoubtedly My Generation . This song displays the defiant attitude of the band and Townshend's infamous, â€Å"hope I die before I get old† line. The rebellious nature of the song even became somewhat of an influence on the future punk movement, which would start to see its true beginnings in just a couple years. Also seen here are instrumental statements of Entwistle and Moon. As mentioned before, Entwistle's fills are remarkable. The end of the song features Moon all over the drums, producing a wall of sound that no other drummer of the time could even hope to emulate. The song would also become a key part of their live show for the upcoming years. The single Substitute was released shortly after that album, and met more British success. The song itself is a solid pop tune with great drumming and good vocals. The Band again prepared for more studio work. The Who's next record would prove to be an interesting one, to say the least. Titled A Quick One (in Britain) or Happy Jack (in America), it would expand on the base of The Who to showcase a wide variety of music. The tracks range from the circus type music of Cobwebs and Strange (which features amazing drumming from Moon, it's somewhat of a mini drum solo) to the ten minute mini-opera of the title track, A Quick One . This is Townshend's first experiment with a lengthy piece that centered on a theme. The plot concerns a woman who cheats on her husband while he is away for a long time. Musically, the song moves through six movements that run together successfully. Also on the album were the strange Happy Jack and even stranger Boris the Spider , both of which are solid and are now well known tracks. The most important parts of this album were the fact that the band was certainly showing signs of evolution (which were necessary to further develop and survive as the 60's died out), and the mini-opera concept Townshend was starting to create. This idea would become more important on the band's next album, and eventually reach a climax on Tommy. Their next record, The Who Sell Out (1967), is debatably a concept album that centers on a mock radio broadcast program. Between nearly every song, there is a short mock radio jingle. The album even includes the band advertising certain products in song form, as the title would suggest. There are some rather obvious examples of this, such as Heinz Baked Beans , and other examples that can actually stand alone as solid songs, like Odorono . There is even some dabbing in psychedelia (after all, it was 1967) like on Armenia, City In the Sky . The Who take full advantage of the studio to produce this record, though the music itself still has a bit of the raw essence of the early Who. These early albums do not tend to present the loud raucous Who that their live show represented; instead, there is a strong sense of melody and control. Moon shows remarkable constraint (for him, at least) on songs like Tattoo . Sunrise, I Can't Reach You, and Our Love Was showed Townshend's softer side as a songwriter. I Can See For Miles was the only the album's top ten hit and the only track that got radio play and it features great singing from Roger and typical Keith Moon drumming. However, the real climax of the album is Rael , and religious conceptual experiment. The Who even develops some of the instrumental themes for Tommy on this song (mostly from songs like Sparks or The Underture ). They were now only a short step away from a full-blown concept album. The Who's live show was growing in popularity, size, volume, etc, as they became a bigger band over the last few years. Destroying their equipment was now a standard part of their nightly show. In fact, The Who destroyed so much equipment and gear, that they were actually in debt for a few years, despite the success of their albums and singles. Ironically, the band had stopped smashing their instruments by the time they had enough funds to actually afford doing it. In 1967, The Who performed at the Monterey Pop Festival in front of 200,000 people. Two years before the legendary Woodstock, a festival of this magnitude was a great tool to help launch the band into their upcoming power rock years. In 1968, The Who continued to release singles, including the ever-popular Magic Bus . To help keep momentum, they also released Magic Bus -The Who on Tour , a collection of some early singles and some album cuts not available previously. Through the rest of 1968, Townshend worked on what would be considered by many the band's artistic peak. He developed an interesting concept and a complex plot that moved through the life of a deaf, dumb, and blind boy who plays pinball. Tommy , released 1969, is a double-album and a conceptual masterpiece. The album is known for being the first very successful rock-opera (and one of the first in general). Tommy was met with great commercial success, especially in America. The plot, though confusing at times, is generally easy to follow. An interesting aspect of Tommy is in the religious themes it develops. By the end Tommy becomes such a powerful figure for fans seeking salvation (Sally Simpson ). Musically, the album is unquestionably strong. The Who were able to use great vocal harmonies and soft melodies in combination with their naturally loud and upfront style to produce an ideal mix of the two. Moon is excellent without being over-powering, and Townshend's song writing may have peaked here with impressive lyrics throughout the whole album. There are also instrumental movements like Sparks and The Underture , both of which relate to a strong musical theme. Combined with unbelievable songs like Amazing Journey, The Overture, Acid Queen, Pinball Wizard, Christmas, I'm Free, We're Not Gonna Take It , and a great album structure, Tommy is an album that by itself would have made The Who's career great. Tommy was the peak of the early Who, and soon the band would undergo changes that would dominate their style in the 70's. Touring to support the album, their live show grew in magnitude. Often they would play the entire album all the way through, each night reproducing the epic plot. 1969 also brought about another event that would have lasting effects on The Who: Woodstock. The legendary music festival was the basis for further evolution in the band's sound. The power of their live show was now all but unmatched, and it thrived off performances of epic songs such as the See me, Feel me climax. Roger Daltrey especially evolved during this time. In these years, he became Tommy to the audience, a sex symbol and a leader of the band on stage. Not to say that he was outshining the other members, however. In 1970, The Who decided to d0cument their astounding show with their release of Live at Leeds . The original LP featured rousing versions of Summertime Blues and Young Man Blues , along with a 15-minute version of My Generation that experiments with the Tommy themes. This album is regarded as one of the best live albums ever released, and it's no wonder why. It is still widely considered one of the best live performances ever recorded. A two-disc Deluxe Edition of the album is now available, which features Tommy performed almost in its entirety. Later that same year, The Who also played at the gigantic Isle of Wight Festival. With over 600,000 fans in attendance, The Who delivered a spectacular set. The material is similar to that of Live at Leeds , with new songs like Water, I Don't Even Know Myself, Spoonful/Twist and Shout , and an abridged version of Tommy . The show is now available on DVD as well as CD. The Who's momentum in 1970 to 1971 was also supplemented by the release of Meaty Beaty Big and Bouncy , a collection of early singles, as well as the release of The Seeker as a new single. The new song gave audiences a feel for the type of sound that The Who would produce during the upcoming years. After the release of a record that stretched the idea of what was possible by four guys on a stage with just their instruments, The Who decided to use the studio to their full advantage on their next album. Synthesizers drive the album, and there use here was one of the first times a band used them so effectively. However, Pete was having difficulty with the album's concept. Townshend's original idea was a project titled Life house , which supposedly dealt with science fiction and a utopian society, but the idea was becoming increasingly complex and spiralled out of control. In response to the stress build up and complications, Townshend suffered a nervous breakdown. After his recovering, The Who picked up the pieces of Pete's failed work and came up with their 1971 release, Who's Next (this album is said jokingly by many to be the greatest failure in the history of rock music). The new album carried a much heavier sound than their previous studio work, and was very synthesizer-drive n. This is evident right from the start of the album. There are definite beginnings of The Who's â€Å"arena rock† era, which would last basically all of the 70's. Hard rock anthems like Baba O'Riley, Bargain, Behind Blue Eyes, and Won't Get Fooled Again all became very popular and received extensive play on FM radio. It also contains popular fan songs like My Wife and The Song is Over . Who's Next is usually thought of as the band's best album, and is probably their most popular. After more touring with the new material The Who were ready to go back into the studio. Determined to overcome his previous â€Å"failure† and do another Tommy so to speak, Townshend prepared to create another complex concept album. He moved through many possible ideas, each time getting involved in them for a period and then abandoning the concept. Eventually, Townshend settled on looking back at the time he knew best: the Mods. The double-album Quadrophenia was crafted together and released in 1973. The album's concept dealt with a youth, Jimmy, growing up in 60's and struggling to find himself in a mod society. Despite starting with a much stronger story than Tommy originally had, Quadrophenia's plot suffers from being underdeveloped. Townshend tried to incorporate four vastly different personalities into his central character, each of which reflected a member of the band, but this too was left underdeveloped and only weakened Quadrophenia as a thematic album. Ultimately, the record's attempted concept was too complex for the mass Who audience to understand. The album is also very studio heavy, meaning that its complexities (horn sections, various studio effects, overdubs, etc) made it very difficult for the band to replicate it live, unlike most of their earlier material. Despite these negative points about the album, the music overall is very well done. Standout tracks include The Real Me, The Punk and the Godfather, I've Had Enough, 5:15, and Love Reign O'Er Me. The Real Me features some amazing bass playing, even by Entwistle's standards, and Love Reign O'Er Me showcases Daltrey's undeniable power and the emotional climax of the album. Quadrophenia also features what may be Keith Moon's best studio drumming. However, the inability to reproduce the album's sound on a tour would prove costly for the group, and caused them to take a step back. After Quadrophenia , The Who began to drift apart slightly. Townshend and Entwistle were both interested in their own solo projects. Pete began to drink excessively, a habit that would plague him for the next several years. Moon was enjoying his rock star lifestyle of substance abuse and like Townshend, this would cause problems for him in the next few years. Regardless of this, Pete continued working on songs for The Who and for their next album. During their off year in 1974, The Who released Odds and Sods , another singles and album cuts collection spanning The Who's career to that point. The band goes back to the basics on The Who by the Numbers , released 1975. The complex arrangements of the last album were replaced by basically pure rock music. Townshend's lyrics were very emotional and personal. The album and its subsequent tour were both hits, but it did not stand up the level of their past four releases. The record's strongest tracks were Slip Kid and Squeeze Box , with a number of other expressive songs like They Are All in Love and How Many Friends . After the tour, The Who was exhausted and artistically worn-out and agreed to take an extended break. Very little would be heard from the band until they came back together in 1978 to work on their new album. The resulting record would be Who Are You , which was a relatively big success. However, the album is plagued with problems and inconsistencies. Alcoholism and substance abuse were taking their tolls on Townshend and Moon, and although their instrumental ability is still intact, there is the sense that the group is starting to fade. Moon especially during this time was very flakey. It was questionable whether he would turn up for sessions or not. Sometimes he would even forget parts of his drumming and have to relearn things in the studio. The album relied heavily on synthesizers and complex arrangements, and in some cases these are certainly overdone. The title track is the album's biggest accomplishment. The commercial success of the record may have triggered The Who's comeback, but it was not to be. On September 7, 1978, Keith Moon overdosed on a drug that was helping him get away from his alcoholism, and died. Losing a band member like Keith Moon almost immediately implies that the band would not continue. Moon was a defining aspect of The Who for nearly 14 years, and he was certainly not replaceable. Almost no drummers could bring to a band what he brought to The Who. However, the surviving members elected to continue playing. Later they would all agree that The Who in fact did end with Keith Moon's death. Kenney Jones, formerly of the Small Faces, was hired as Moon's replacement. Keyboardist John Bundrick was also added to the group, and they began working on new material and set up for a tour. They gained momentum through the release of The Kids Are Alright, a collection of video footage of the group's entire career. But their momentum and goodwill was crushed when they were informed about the deaths of 11 people after being trampled in a Cincinnati accident. Townshend fell deep into drug use now, and had an almost fatal encounter with heroin in 1981. Daltrey and Entwistle worked on their solo careers, but met limited success. The band reformed to release Face Dances (1981) and It's Hard (1982). Though with some standout material (namely Eminence Front ), the albums pale in comparison to The Who of ten years ago. Their 1982 Tour was supposedly a goodbye to fans, as they were basically packing it in. The remainder of the 80's saw numerous Who collections emerge, and finally in 1991 the band brought together a successful 4-disc box set. The three core members continued their solo careers, and have reunited a few times in the 90's for brief tours and various benefits. When it looked as though the group was gaining steam, John Entwistle died in June of 2002. The Who's lasting legacy to rock music is one of the greatest ever left. They did what no band had done and very few have done. Between the early mod Who, the guitar-smashing mid 60's Who, the concept/thematic album Who, and the unyielding arena-rock Who, few bands have changed as much as they did and covered so much area in music. Their legendary live show is still though off as one of the best rock has ever seen. With the super talented musicians they had, it is no wonder that The Who were able to produce so much good music and influence so many bands and artists of their time, and even now. Their music will indeed live on forever.

Into the wild character comparison

Into the wild character comparison essay Into the wild is a story about a man named Christopher Mishandles. In this story we learn that he gives up almost everything he owns to take a dangerous Journey and live off the land. Along the way we learn about a man named Gene Roseland who has a similar but deferent story to Christopher. Although these two men have a lot In common, they also have many differences. Christopher Mishandles was a very Intelligent guy. He graduated from Emory university with honors and was an excellent athlete. Many people saw Christopher as one of them students that would most likely succeed In life.Ditching the Idea of going to law school, he decided to take a Journey throughout Alaska and some other places. He burned most of his money and only had a ten pound bag of rice for food, and a rifle for whatever he caught on the way. Gene Reselling was almost just like Christopher. He also excelled in academics. Carrying a grade point average of 4. 0 throughout high lights and college. He did not receive a degree though because he didn't see a point in it, and only studied for the sake of learning. After college he decided to do an anthropological experiment. Gene believed that he could live off the grid just as Christopher did.He saw that people could do without modern day technology and live life like it was in the Older days. Unlike Christopher, Gene carried enough supplies to last him months or even longer. He also was dressed more properly for the harsh weather. When Christopher set offer his Journey, he didn't tell anyone where he would be going. He simply left everything behind him like it was nothing. Getting lucky, Christopher found people to stay with and work under the table for. These jobs were only temporary for him as he would go from place to place often. Since he didn't bring a lot of food or supplies, it made it really hard on him to manage.Because he chose to not be more prepared like Gene, Christopher died of starvation. Alth ough many people believed Chris had died from eating bad berries, this theory has not been yet proven. On the other hand, Gene Reselling experiment lasted for about 30 years. Soon after he realized that this Idea of his was absolutely Impossible, he decided to re-evaluate his goals. Out of complete shock, Roseland had committed suicide with a knife through his heart lying face down. These were both tragic deaths that sparked many people In Alaska and even attracted hate. These two men play a very Important role In travel history and the book â€Å"Into theWild†. With their very similar situations and stories, both men were very good people and had the Intentions of proving the same point. Neither one of these people are exactly the same but, they wanted to show people that going Into the wild and living off the land isn't always impossible. It just takes a lot of skills and and hard work. Into the wild character comparison By Raven_16 live off the land. Along the way we learn about a man named Gene Reselling who has a similar but different story to Christopher. Although these two men have a lot in Christopher Mishandles was a very intelligent guy.He graduated from Emory University with honors and was an excellent athlete. Many people saw Christopher as one of them students that would most likely succeed in life. Ditching the idea of Gene Reselling was almost Just like Christopher. He also excelled in academics, believed that he could live off the grid Just as Christopher did. He saw that people Unlike Christopher, Gene carried enough supplies to last him months or even longer. When Christopher set off for his Journey, he didn't tell anyone where he would be Christopher found people to stay with and work under the table for.These Jobs were about 30 years. Soon after he realized that this idea of his was absolutely impossible, he decided to re-evaluate his goals. Out of complete shock, Reselling had committed that sparked many people in Alaska and even at tracted hate. These two men play a very important role in travel history and the book â€Å"Into the and had the intentions of proving the same point. Neither one of these people are exactly the same but, they wanted to show people that going into the wild and living off the land isn't always impossible. It Just takes a lot of skills and and hard work.

Rubric for Written Response to Performance of Communicating Doors Essay

Rubric for Written Response to Performance of Communicating Doors - Essay Example The set is great, and cover the entire stage, from the balcony windows to a some feet close to the audience on the left side of the stage further to the door close to the door, and the posh time travel door, to the overt walled washroom, bedroom doorway that has a furnishing accompaniment and the antique additions that are throughout the stage. On stage the couch is tailored for the play, and the audience become perplexed that the exterior in the at time spunky play. The concept of tie travel is rather simple on stage, and during the play there is a door in which it frequently occurs. A mere walk through the door and the cast can land either twenty years in the future or twenty years in the past. The direction in time (future or past) depends on who the cast member might be. However, only a single individual can travel at any given time, further one can come to the present from either the past or the future. In the play the concept is wide and unlimited and the concept of time travelling is captured aptly within the play. The British accent filled the environment, and the players performing in different ages, and hence the need to change their wigs and posture to reflect the change in their ages over the flip sides. The 1978 periods is when some are young, then the age when the play was set as the present, and in the future, 2034 and 2018 is reflected by changes in the age manifested by wigs assuming different colors. The scenery is also frequently captured by the lighting to show different time periods, and the concept is achieved when this is achieved through shifting of the time changing room. To achieve this change seem to take quite a while to be realized, the change, time switch and for the audience to predict what is time, then change in time, and convince the audience that the time has changed and things like that takes time to be achieved. The characters put on very colorful costumes which do not betray the play as they are seem to be fully