Future Plan Essay Example for Free

Future Plan Essay Hi, my name is Alberto Bazan. I am eighteen years of age. This year, two-thousand-thirteen Im going tom graduate from Alief Hastings High School. Im going to enroll in a community college in fall for my basic course, and later transfer into a university. My majoring plan is to become a Petroleum engineer. Now that I have some type of experience in the oil field, where I started working after I turned eighteen. The important question is : why am I deciding to go to college? First of all, like some people in this world; love making. So I decided to first choose a career I would like, and would make good amount of money. Second reason is because without knowledge, Im not going to have open opportunities for high-payed jobs. Last but not least; I comprehend that college is very important at this point of our lifetime, because it would help my future in where I can live life without worries of not having the knowledge and skills to get a job. Now in days it is not easy obtaining any job where you can live without worries. From my point of view, I personally think Im not a person to be in school. So therefor, my experience in college can be very harsh at times. I might have ups and downs though out my future career. I know for sure Im going to struggle throughout college, but Im not going to give up in achieving my goals, and to finish my major. Thats why Im going to college!

mariah carey :: essays research papers

Mariah Carey is diva. Her hits have spanned two decades and have broken records long held by music heavyweights like the Beatles and one Elvis Presley. Her concerts have grown exponentially and she consistenly sells out venues across the globe. Her success has allowed her to throw millions and millions of dollars around as if it were petty cash. But she insists, she's still just a girl from New York. Mariah grew up on Long Island, daughter to hard working parents. Her father Alfred Roy, half Venezuelan, and her mother Patricia, Irish, instilled strong values in their baby Mariah. Life was tough for Mariah, but she kept her chin up. She worked her way through Oldfield Middle School and graduated Harborfield High School at 17, and one day later she moved to New York City. Mariah had stars in her eyes and an astounding voice backing up those dreams. She is known for an eight octave voice level, something nearly unparallel in the music industry. But, as anyone who's worked in the industry knows, talent doesn't always equal superstardom. But Mariah had a few other things going for her as well. She was able to grab a gig working as a backup singer for Brenda K. Starr, who was so impressed with Mariah's voice that she volunteered to pass along her demo tape. Starr passed it to Tommy Mottola, a musical mastermind, the man behind Sony Music and Columbia Records. Tommy loved it; and apparently loved her as well. The two wed in 1993. But before the couple exchanged nupitals, Mariah released her first album, a self-titled, heavily played smash success. The album would set into motion a number of the records Mariah was able to shatter during her career (most consecutive #1 singles, first female soloist to go straight to #1, a #1 hit in each year during the 90s). Her success was cemented with Grammys for Best New Artist and Best Female Vocalist. Mariah's ever-important sophomore album (which seems to make or break a number of artist - see Hootie & The Blowfish) failed to disappoint. "Emotions" had three big hits and sold quite well. "Music Box" would follow, along with "Daydream", "Butterfly", and "Heartbreaker." Apparently, the record companies are just as pleased as the American public.

“Gentlemen Prefer Blondes” Comedy Essay

â€Å"Gentlemen Prefer Blondes† is a 1953 Musical-Comedy released by 20th Century Fox, directed by Howard Hawks and starring Marilyn Munroe and Jane Russell; the two greatest sex symbols of the era. The camera’s point of view is that of the ‘male gaze’, where women are regarded as objects of fascination and the men are assumed to have a position of power. Hawks shows how it can be easily hijacked by females smart enough to control, manipulate and ultimately blur the ‘male gaze’. As much as this film is shot for the ‘male gaze’ it is as much for a female audience as it is for males. In the song-and-dance sequence, â€Å"When Love Goes Wrong†, the two female protagonist had just been expelled from the hotel by Gus. Though the situation for Lorelei and Dorothy should be one where they are left helpless and powerless the scene however displays the opposite. In the entire scene both female protagonist are captured front and center with close ups and the lighting on their faces is well defined which gives them a sense of importance and power. At the same time the men gather around them captivated, giving their undivided attention to the females as they sing and dance; giving them a position of control over the men. Their position of power is so prominent that they even get the admiration of young boys who seem to be gypsy’s. Gypsy’s are known to be quick, sharp and in control when it comes to stealing but in this scene their heads are turned by the sensual Lorelei and they are totally distracted. Bothe females are well aware of their manipulative powers as Dorothy encourages Lorelei to use her charms, saying, â€Å"Do it now, do it!† What appears to be submissive to the ‘male gaze’, in this scene however they put on a chow in exchange to negotiate their presence and have their voices heard in a dominantly male world. When the females are seated they appear to be two damsels in distress, however the movement of standing up represents liberty and the space they command when dancing communicates freedom and power. A melancholy moment turns to a vibrant and fun sing-and-dance where they reject the actions of men to have power over their emotions. Though the scene is shot in the view of the ‘male gaze’ the line is blurred when Lorelei and Dorothy use their sensual and attractive appearance to control, manipulate and command power in a dominantly male world. By this the scene takes a turn to cater to the female sight giving a sense of empowerment and independence in a situation where they should be the damsels in distress.

Speech At Passion By Christine Caine - 1657 Words

Christine Caine’s speech at Passion is geared toward ending modern-day slavery and sex trafficking, and she makes her argument through the rhetorical development of the Christian Identity. Caine seeks to encourage her audience to adopt Christian values to change communities around the world. In positioning herself as a Christian, Caine works to establish credibility by using the Bible, assuming her audience will find the embodiment of truth within her speech. Caine makes her argument without using any statistical information to center the focus of her argument on scripture. Through referencing this scripture and offering anecdotes, Caine’s position then becomes powerful by equipping her audience with the ability to become directly involved†¦show more content†¦This argument of an eternal presence working through people to generate change where there once was destruction is why Caine feels the Samaritan had compassion and so he went† to signify that someon e (Jesus) had once done the same act of compassion for him (Samaritan) (Caine, 8). This movement of showing compassion for those caught in the midst of destruction gives the Bible credibility in society today. Additionally, in assuming her audience will respond to her call to action, Caine uses a hypothetical response to her own argument. Through showing that â€Å"I m gonna take my little bit of light, and you re gonna take your light† Caine works to reassure her audience that this movement is all encompassing (Caine, 24). In constructing her argument, Caine uses scripture to appeal that this is not only herself making a call to action, but rather the church and man of Jesus himself making this argument to show â€Å"we are saved by grace for a purpose† to be disciples who make other disciples (Caine, 14). Using this scripture gives Caine more credibility towards her audience by assuring them of the principles of change she is presenting before them. This ideological tactic works to further establish the audience’s need to align themselves with the movement. Caine explains that â€Å"if we, together, would raise our voice, if we, together, would do something now† the audience would no longer feel that they do not have