The Growth And Decline Of Bebop Media Essay

The Growth And Decline Of Bebop Media Essay Jazz music has existed for nearly 100 years producing many subgenres of music and evolving styles along the way; starting with Ragtime in the late 1890s early 1920s, moving on to the prominence of the big band, to the syncopated feel of Swing (that led to the mainstream popularity of Jazz); during the 1930s. These progressions in Jazz led to the formation of a new subgenre, Bebop. Swing music brought two main developments to the Jazz genre; firstly throwing Jazz into the limelight, and secondly becoming a popular type of Jazz music people could dance to. However, the conformity of Swing constrained Musicians freedom to experiment and gain personal acclaim through the opportunity to play solo passages. The frustration this led some Jazz musicians to branch out and develop a music genre known as Bebop. This new style of Jazz (named Bebop but often referred to as bop or Rebop); emerged in the main, from Swing bands around the 1940s. The music placed larger emphasis on technique, speed and complex harmonies than swing; making it almost impossible to dance to which was the intention of the musicians who wanted their music to be appreciated through listening. Despite this causing much controversy, musicians were content with the longer solo time and smaller band sizes this style offered. Historically, Bebop is referred to as the first modern Jazz style originating in New York, through such artists as Charlie Parker, Thelonious Monk, Dizzy Gillespie, Kenny Clarke and Charlie Christian. The freedom of this style soon attracted other musicians drawn to its complexity, lack of structure and very experimental style Musicians often used different types of ornamentation to aid the complex melodies and harmonies. Features such as comping, sliding, parallel octaves (often borrowed from piano by guitar), improvisation and emphasis on the 3rd and 7th notes of a chord, were all common features of Bebop. 2. The rise of Bebop Bebop music, whose roots are founded in Swing, began to emerge in the mid 1940s when musicians became frustrated with swing and began working on a new, more technical type of Jazz. Its growth and development continued until around 1955. Aimed at destabilising swing music and excluding the less talented, white musicians that had latched onto what had once been a black innovation; bebop was seen as a chaotic revolution in the Jazz genre. In his book, Jazz 101, Szwed states that, To non-jazz fans or swing devotees, bop was a musical affront, a deliberate provocation, a scandal.3 pg161 Another contributing factor to the rise of Bebop was the commercialisation of swing music and its increasing status as the Pop music of America4 pg162 when it had previously been seen as more ethnic, alternative type of music. This commercialisation led to Swing becoming more focussed on pleasing mainstream audiences and making money. Bop originated in New York as artists who were already playing large shows in the city would often find smaller venues to practice and refine the more technical aspects of the music. Bars and clubs that were often too small for the dancing encouraged by swing were perfect for the groups of 4-6 musicians needed for a Bebop combo. One of the more famous venues for the development of Bebop was Mintons playhouse; where many jam sessions took place involving renowned musicians and some of the most famous Bebop music was played. 3. The influences leading to the evolution of Bebop Political/Economic/Social During this time in history a number of political, social and economic factors can be seen as influential and relevant to the ways in which Jazz music evolved. Firstly, racism and a lack of civil rights had a significant impact on black African American communities and black musicians were no exception. The majority of black musicians struggled to profit in the music industry and White musicians were alleged to have frequently stolen black musicians ideas. Furthermore, many black musicians were prevented from performing concerts or recording their music. Secondly, World War II had a significant impact on Jazz as a whole due to musicians that played in big bands being drafted into the army. Thirdly, the economic depression during this time made life hard. Many families did not have enough money to live and feed themselves. There were frequent riots in major cities, led by black people revolting against their terrible living conditions and unjust treatment. In contrast, increasing industrialism and mass production significantly reduced prices of products such as radios and cars. Most households owned a radio which made Jazz Music more accessible to the mainstream including young, impressionable artists who were able to listen to their idols. Musician Preference As previously mentioned, one of the largest contributing factors to the growth of Bebop music was musicians frustration with swing and big bands. Despite the generic success of swing music through its easy melodies and dance like feel, many artists felt unfulfilled when playing it. There were constraints on what they could play with only a few musicians having the chance to solo for short periods. Many performers believed their music should be appreciated through listening rather than dancing. Skilled and experienced musicians wanted to exclude amateur musicians joining in with jam sessions and thus invented more elaborate, complex ways of playing that only professional musicians could accomplish. What changed? The developments from Swing to Bebop Band sizes Bebop was seen as a more collaborative and intimate type of music than Swing with bands consisting of only 4-6 musicians; thus allowing for greater cohesion between musicians and more time dedicated to individuals soloing. In addition, the musicians would often play off one another trading fourths, which involved the soloist exchanging a 4 bar progression with another musician or the drummer. This was very engaging to audiences. Bop became music for the elite rather than the masses and was associated with more accomplished and skilled musicians. Chances for soloing Due to smaller band sizes, Jazz musicians were given longer sections for soloing; including bassists and drummers which was very appealing to musicians who had previously been playing simple beats or chords in the background. The band would play a melody before individual musicians would solo over the songs chord progression, making the melody secondary, with a greater emphasis on solos. Instruments and Rhythm The rise of Bebop music saw the end of rhythm guitar and clarinet. The typical big band size of 10 or more musicians was reduced to 4-6, and often did not include more than one of each instrument. A typical Bop combo would consist of drums, double bass, piano and either a guitar, trumpet or saxophone. Rhythm guitar was only used for accompanying another instrument during its solo, when other musicians would be playing a complex melody or head in unison. Bassists would play a walking bass line that consists of a mixture of scale tones (arpeggios or chromatic runs) that outline the chord progression of the song. Drummers relied less on the kick drum and more on the cymbals to maintain the often complex and fast paced rhythm. For example Nicas Dream (a song played by many artists) switches between 4/4 Latin or Samba and 4/4 Swing, creating a complex rhythm. Above are the two different rhythms used during the song Nicas Dream There was significant emphasis placed on the 1st and 3rd beats of the bar by musicians during the swing era. However, during the Bebop period, the rhythmic prominence changed to the 2nd and 4th beats of the measure. These techniques created a feel of solos (characteristic of Bebop music) being more free and less rigidly tied into the song. This genre was characterised in part by its unpredictable rhythms. The scales, notation and approach to playing Although the approach to playing and soloing was different in Bebop in comparison to swing, most sections played were based on the melody of a song. Bop musicians employed chromatics and favoured the use of the 3rd, 5th, and flat 7th notes of the chords for improvisation. The faster tempo made the music more frantic and energetic which also led to a greater display of musicians technical talent. The use of harmony became significantly less fashionable for the greater part of the Bebop period and most melodies or heads were played in unison. Guitarists incorporated the use of unison octaves (made famous by Wes Montgomery) for solos. Song Analysis The following two songs are great examples of Bebop music, containing many of the features commonly associated with this genre: Billies Bounce Recorded in 1945, Billies bounce is a through composed Jazz-blues song written by Charlie Parker. The song was recorded by a quintet consisting of a young Miles Davis, Curley Russell on bass, Dizzy Gillespie on piano and Max Roach on drums. The song is in F major or D for alto sax and 4/4 time. The general chord progression of the song is in F blues, however the melodic tonality of the head and the solos are more characteristic of Jazz and the tempo, indicative of Bebop. It is described as a Bebop head over a variation of the 12-measure blues progression in which a I-VI-II-V7 substitutes for V7 V7- IV7, IV in the last six measure. The light, bubbly piano intro from Dizzy Gillespie outlines the beat and style of the song. This is followed by the head that is played in unison 3rds and octaves with both the saxophone and trumpet. In bars 11 and 12 we see a repeat of the earlier 2 note theme seen in bars 2 and 3 to end the head. Throughout the melody there are examples of chromatics and slurred triplet notes that are seen later during the solos. The first 7 bars of the song are in standard F blues; however in bar 8 there is an Am7, followed by an Abm7. This chromatically sets up the Gm7 in bar 9. A standard blues would see bar 9 and 10 contain the chords C7 and Bb7 respectively, but Billies bounce extends the C7 over 2 bars and then re-harmonizes it with a standard II-V7 progression that turns to F in the last 2 bars. The beginning of the first solo sees a chromatic passing note between the G and A and again between the Bb and C. At the end of the second bar the notes of the chord Dm7/C are played over the Bb7 chord. In the third bar, Charlie Parker uses the notes of the Eb Mixolydian scale. The movement of the whole song is highly arpeggiated in both directions and there is some trace of a stepwise movement. Parker used a licks-based approach to the solo; however he was also very adept at altering the licks already in his vocabulary and changing them in more creative ways. He had a very flexible sense of harmonic placement that allowed him to change the duration of chords by either hitting them early or prolonging them and even sometimes adding progressions that were not part of the accompaniment. Above is a list of the guide tone lines for measures 1-7 as notes in a staff. Above the staff are chord options implied by Parker occasionally. Four on Six Wes Montgomery Four on six is a Bebop Jazz piece written by Wes Montgomery. The song is in Bb major and 4/4 time. The Harmony is based around the intro made entirely of 5ths and played in unison with the bass and piano. The intro that precedes the solo sections, sees the drums playing a simple crotchet rhythm on alternate cymbals to create a 2/2 feel. Following the intro of 5ths, Wes plays a small break that consists of the four chords Bbmaj7, Gm7, G#m11, Am11 and D7(#9). The chords played in the break are similar to those that form the intro of 5ths, but are however played of a much smaller time frame. After the break there is a Small melody. This modal melody line moves around the notes of Gm9. The backing chords for the melody are the same as those seen in the first 2 bars of the song, however the Gm now includes the 7th note; a note often used in bebop scales and songs. The melody is followed by a II V chord sequence with strong accents. These II V chords follow the harmony of the intro. The ch ords used are Cm9, F7(#9b11), Bbm9, Eb7(#11b9), Am9, D7(#11b9), Ebm9 and Ab9(#11). The chord sequence is descending and contains many chromatic notes that are very characteristic of bebop music. After the melody and chord sequence the solo section of the song begins. The chord accompaniment for this section is very similar to that of the intro. The chords cycle through 4 bars of Gm7, then simplified version of the descending sequence. For improvisation over the solo section there are a few scales that Wes Montgomery generally used that fit his style and way of playing. Over the Gm7 part Wes would use a G Dorian scale consisting of the notes G, A, Bb, C, D, E and F. Wes made sure that he was ever confined to one position on the neck and therefore learned the scale across the whole guitar neck. An alternative to the Dorian scale is the G minor pentatonic scale with or without the blues notes. This scale consists of the notes G, Bb, C, Db (blues), D and F. The blues notes are used to s lide from the C to the D. The advantage of the pentatonic scale in this situation is that all of the notes are either the root notes of the chords or a note inside the chords of the song. Wes uses many of his signature licks during his solos and even throws different styles into the mix. Above is an example of simple melody that includes a big jump across the fret board of the guitar. It uses a Gm(7) arpeggio with extensions. Wes also uses other styles such as blues in his solos. Below are two examples of this. This is a unison-interval blues clichà © played over the Gm7/maj7 and C7 chords. There are two hammer-ons and pull-offs during the melody to make a faster, smoother transition between notes. Above is a series of four repeated II-Vs. In the theme the dominant chords contain a natural 9 and Sharp 11 (F9#11). The scale played over these chords is a melodic minor scale. Over the Cm7 and F7 a C melodic minor scale can be played, however the name of this scale over the F7 is the Lydian dominant scale (5th mode of the melodic minor). Wes Montgomery doesnt think in scales for this part but in melodic patterns. Because the tempo is so fast this is an advantage as fast tempos make scales difficult to play musically. He frequently plays a pattern on the first II V and transposes it down the neck for the rest of the II Vs. Features The evolution to Bebop music created many stylistic changes and new musical features, which not only livened up the music but made it more contemporary, and distinguished the more accomplished musicians. The melodies were different from those previously associated with Jazz and were the base for most improvisational solos. Scales Jazz musicians typically used complex scales for their solos. The generic Bebop scale was made by adding either a major 7 to a Mixolydian scale or a major 3 to a Dorian scale. For solos, musicians preferred to use the 1, 3, 5 and flat 7th notes of the scale. Illustration of a C Major Bebop Scale The freedom of the melodies and complex chords of Bop opened up new possibilities for soloing. Musicians could play over the whole register of their instruments and find notes in any range that fitted into the chord progression; aided through the use of chromatics. Musicians used other scales such as the blues or enclosed scales (which use the technique enclosure- taking a note and playing one note above it and one note below before arriving at the note you were targeting.) Comping Although Rhythm guitar had essentially been excluded from Bebop bands, it was still used when accompanying a soloist through the comping (staccato chord playing) technique. However, as Bebop did not often follow a simple time signature, comping was not used frequently. Furthermore, the rhythms used by musicians were commonly irregular and thus the regular strumming pattern of comping may have disturbed the soloist. Chord melody Some musicians played solo arrangements by simultaneously playing chords in the background and the melody over the top. This was most commonly associated with piano and guitar. Decline of Bebop Economic Although considered a significant musical achievement by many musicians, by the 1950s bop music had begun to decline; partly due to its lack of commercial viability and niche market appeal. Variety magazine, an entertainment trade magazine based in New York reported Bop is a flop in late 1949. Many musicians such as Charlie Barnet, Benny Goodman and Woody Herman (who was $175,000 in debt) had to break up their bands during this decline. Cool Jazz and Hard bop The decline of Bebop music served as a platform for 2 new subgenres in Jazz. Firstly, Cool Jazz which was developed by many bop musicians such as Chet Baker, John Coltrane, Miles Davis, Dizzy Gillespie and newer musicians such as Dave Brubeck and Gerry Mulligan; was a direct contrast to bop with its more relaxed tempo, lighter tone and more traditional harmonies. In response to this progression and to maintain some of the features of Bebop, another subgenre developed known as Hard bop. This music was less extreme than Bebop music, had a more soulful feel rooted in traditional African and Blues music but still incorporating many phrases and notes from Bebop. These differences made Hard bop more accessible to beginner musicians and brought back a rhythm section. Artists Many artists that had been prominent during the Bebop era such as John Coltrane, Dizzy Gillespie, Thelonious Monk and Charlie Parker; continued playing into the Hard bop and Cool Jazz period that subsequently followed. The most prominent cross-over artist of the two genres was Miles Davis who became very popular and well-known, especially with the release of his record Birth of Cool which was acclaimed within the Jazz world. Conclusion At the height of its popularity, Bebop introduced many innovations into the world of not only Jazz, but other genres of music. It changed the way musicians and listeners alike viewed Jazz and opened up many doorways to other styles, genres and artists. Bebop music has been an innovation and the ideas that have been created are still used to this day. In modern day jam sessions, Bebop is one of the most employed genres due to its small band sizes and simple structure (melody followed by solos). It gives many musicians the chance to improvise and explore different avenues of Jazz, allowing for the progression of new music in the modern industry. Even After its decline, bop music is still influencing instrumentalists and their music today Bibliography Websites http://library.thinkquest.org/18602/history/bop/bopstart.html http://www.scaruffi.com/history/jazz8.html http://en.wikipedia.org/wiki/Bebop http://www.jazzguitar.be/bebopscale.html http://www.jazzguitar.be/bebop.html http://www.jazzquotations.com/2010/05/brief-history-of-bebop.html (function() { var scribd = document.createElement("script"); scribd.type = "text/javascript"; scribd.async = true; scribd.src = "https://www.scribd.com/javascripts/embed_code/inject.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(scribd, s); })() http://leadsheetmusic.com/multifakebooks.brooklyn/01_Fake_and_Real_Books/Play_Along/Vol_62_Wes_Montgomery_v2.pdf http://www.hypermusic.ca/jazz/bop.html http://answers.yahoo.com/question/index?qid=20090202152858AAjScZJ http://www.mattwarnockguitar.com/bebop-scale-patterns-for-guitar http://www.wisegeek.com/what-is-bebop-music.htm http://www.kennedy-center.org/programs/jazz/ambassadors/Lesson6.html http://www.jazzguitar.com/lessons.html http://books.google.co.nz/books?id=hNTLZ3bpBFcCpg=PA447lpg=PA447dq=decline+of+bebopsource=blots=_GLiz0J9Zpsig=6xcoNDngRNtGHsXwTlJc81fek54hl=ensa=Xei=MdTFT9mfFcHYigeSs62hAwved=0CFkQ6AEwAw v=onepageq=decline%20of%20bebopf=false http://en.wikipedia.org/wiki/Wes_Montgomery http://www.jazzguitar.be/premium-issue-1.html http://en.wikipedia.org/wiki/Jazz_guitar http://www.jazzguitarlessons.net/jazz-improvisation-2.html http://en.wikipedia.org/wiki/Lead_guitar Creating_lead_guitar_lines http://www.guitarplayer.com/article/jazz-picking-and-phrasing/663 http://www.theguitarschool.com/CharlieParker.html http://airjudden.tripod.com/jazz/styles.html http://www.learning-charlie-parker.com/licks.php http://web.archive.org/web/20070812145101/http://www.vervemusicgroup.com/history.aspx?hid=20 http://teacher.scholastic.com/activities/bhistory/history_of_jazz.htm (function() { var scribd = document.createElement("script"); scribd.type = "text/javascript"; scribd.async = true; scribd.src = "https://www.scribd.com/javascripts/embed_code/inject.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(scribd, s); })() http://www.jazzinamerica.org/LessonPlan/5/5/230 http://en.wikipedia.org/wiki/Bassline Walking_bass http://en.wikipedia.org/wiki/Hard_bop http://www.timeisonourside.com/STBop.html http://en.wikipedia.org/wiki/Cool_jazz http://forums.allaboutjazz.com/showthread.php?t=37646 http://forum.saxontheweb.net/showthread.php?35319-BeBop-HardBop http://www.jazzinamerica.org/LessonPlan/8/6/211 http://www.bbc.co.uk/schools/gcsebitesize/music/popular_music/jazz3.shtml http://answers.yahoo.com/question/index?qid=20080228152849AAQMyaT http://xroads.virginia.edu/~asi/musi212/margaret/martist.html http://en.wikipedia.org/wiki/Ii-V-I_turnaround#Jazz http://en.wikipedia.org/wiki/Ii-V-I_turnaround#Jazz http://www.musicbanter.com/jazz-blues/58195-jazz-progression-2-5-1-a.html http://peterspitzer.blogspot.co.nz/2011/07/analysis-of-charlie-parkers-billies.html http://ebmusicman.blogspot.co.nz/2008/03/billies-bounce-part-1.html http://s130.photobucket.com/albums/p261/liquidtensionxpr/blog/?action=viewcurrent=billiesbounce-simplified-part1.jpg http://s130.photobucket.com/albums/p261/liquidtensionxpr/blog/?action=viewcurrent=reharm-04b.gif http://www.jazzguitar.be/billies_bounce_lesson.html Books Roads of Jazz Peter Bole Jazz: A history of Americas music Geoffrey C. Ward and Ken Burns The Chronicle of Jazz Mervyn Cooke Discography Song Played by Nicas Dream Wes Montgomery Tune up Miles Davis Airegin Sonny Rollins Four on Six Wes Montgomery Billies Bounce Charlie Parker

Turmoil of Milton’s World Reflected in Milton’s Paradise Lost Essay

The Turmoil of Milton’s World Reflected in Paradise Lost "To explain the ways of God to men" (Invocation, 26) Milton loftily proclaims his goal in writing Paradise Lost. He will, he asserts, clarify many ambiguities of the Bible itself. Thereby begins one of the greatest epic poems in literary history – and the war of the sexes is raised to new heights. Milton claims to be the mouthpiece of God. If so, God was quite the rhetorician, not to mention misogynist. A being of absolute reason, he fails to understand how his reasonless creations can be devoid of allegiance to his person. A strict and orderly God, he brings a case against his own brain-children, and thus condemns himself. Allegiance is a key issue in untying the political knot fastened in Paradise Lost. Allegiance between creator and created, between king and subject, between man and woman. Adam and Eve owe God allegiance for their lives. Genesis doesn’t address this; the idea is implicit in the text. In Genesis, we are led to believe that God wished for his creations to be faithful and obedient in accordance with his wishes. Milton, in personifying God and the first human beings, takes this concept one step further. In bringing God down to man through the vehicle of the epic poem, Milton attributes to God the capacity for reason. God does not act arbitrarily: each action is planned with a specific end in mind. Loyalty is important because it can be used, in the field of reason, to prove innocence. Innocent beings have no understanding of inferiority, power, or debt; and therefore no grasp of even the necessity for loyalty. Milton’s God is a God of reason – but his creations, Milton asserts, were wholly innocent. The question, then, that Genesis poses and Milton a... ... New York: W.W. Norton & Company, 1993. Crossman, Robert. Reading Paradise Lost. Bloomington: Indiana University Press, 1980. This book is the experience of reading Paradise Lost as Robert Crossman reads it. It was helpful in that it offered a clear interpretation of the events and passages in the book. Crump, Galbraith M. Approaches to Teaching Milton's Paradise Lost. New York: The Modern Language Association of America, 1986. This book was meant as a guide for teachers trying to teach Paradise Lost, but in doing so contained some interesting ideas on the work and its purpose. Patrides, C.A. Milton's Epic Poetry. Baltimore: Penguin Books, 1967. This book is a collection of essays concerning Milton's Paradise Lost. The reading of it helped to expand my understanding of the scope of the book, and it also helped to thoroughly overwhelm me.

MITI and the Japanese Miracle

The book â€Å"MITI and the Japanese Miracle† by Chalmers Johnson should be considered the classic of contemporary historical and economic studies because it significantly contributes the fields by examining and analyzing developmental states. In particular, Johnson discusses economic development strategies of East Asian country – Japan. Nowadays Japan’s economy is swiftly developing and in future Japan is very likely to achieve leading positions on the world scale. Therefore, the author decided to provide detailed overview of Japan economic development – how undeveloped country managed to improve economic positions and become very influential. I think that book is very informative and analytic because the author doesn’t tend to be dry and technical. Actually, the book is a well-written and coherent novel. The book highlights past details with new expressiveness. It is necessary to outline that Johnson depicts the discourse of Japanese economy in terms of mercantilism. Johnson states that the Japanese economy is labeled as mercantilist after anti-trade economies of Spain and Portugal have been attacked by Adam Smith. Thus, Johnson developed more exact political-economic model of capitalist development state. Japanese economy was characterized by suppression of consumption, supervision of domestic industries, and funneling savings into business development. Johnson provides overview of the history of MITI stressing that it is central to political and economic history of Japan.   He argues that mercantilism seemed to be vanished long before the economics took shape. In other words, mercantilism can’t be defined as operating economic theory as it was simply pragmatic adaptation. Mercantilism is claimed to anticipate and even to contradict market concepts and signals. The goal of mercantilism is to channel the resources to selected sectors pursuing the interests of elite groups and powerful figures. Apparently, mercantilism resulted in income discrimination. Johnson cites economists who state that mercantilism is nothing more than death of market efficiency. Market should be more efficient that the wisdom of the state, Johnson assumes. Also mercantilism affects resource allocation leading to rent-seeking distortions. So, mercantilism is associated to do harm rather than to provide benefits for economic development and national wealth. The author asserts that resource allocation shouldn’t be guided by the state because its role is to provide overall good and to respond adequately to market threats and opportunities. This kind of role is labeled as regulatory state. For example, Great Britain and the United States of America are regulatory state. According to Johnson, the task of regulatory state is to set rule aimed at governing competition, investment opportunities, pricing policies, entries and exits, and many other market functions. This process is called economic regulation. It is noted that economic regulation should establish a framework for market operation and should respond to problems and failures of market. Johnson examines Japan as developmental states and says that economic regulation in the country goes beyond the market maintenance. In developmental state the primary mission is to ensure long-term national welfare. The state is very likely to intervene actively into all economic and financial activities with the purpose of improving international competitiveness of the country. Japan is very bureaucratic state and economic and business readers don’t accept the strategies of laissez-faire, open markets, and free trade. Japanese leaders viewed the mentioned concepts as protection of economically powerful and influential exporters. Therefore, Japan’s strategy as developmental state is to reject the extant hierarchy of competitive advantage, as far as high return sectors would ensure high growth rates. However, such sectors aren’t associated with developing countries. Also there is no need for developing countries to rest with labor-intensive industries and agriculture. As Chalmers Johnson claims, these sectors should be with low growth prospect or, in other words, they should be low value-added. Developmental states should pay more attention to such strategy. Japanese government tends to utilize activist policies to promote and practice competitive advantage strategy. In this respect, developmental state is the result of neo-mercantilism and economic nationalism. Japan is also driven by such motive as the country refers to economic regulation to intensify and enhance technological development, as well as competitiveness of country’s leading industries, and capacity growth. Competitiveness is considered to be very essential for national economy. The abovementioned models don’t reject the role of the state in economic activities. Nevertheless, they are different as far as they provide different perspectives on resource allocation. Neoclassical economists stress state efficiency, whereas the point of neo-mercantilism is state effectiveness. The author argues that there is no empirical criterion how to judge which model is valid because each model is supported by evidence. Everything depends on the trends which are constantly changing. Johnson captured public attention and interest for its timing rather than for theoretical superiority. The author describes 1980s when economy has lost its effectiveness. Johnson writes that the United States also failed to compete decently both at the world and domestic markets. In that period the economies of developed and developing countries weren’t on the peak of success. In those days states were interested in comparative advantage and competitiveness. Johnson claims both competitive advantage and competitiveness are rather effectiveness rather than efficiency. If economy is efficient, it may perform effectively at world and domestic markets. Japan was   a teacher rather than formidable competitor. That is why the book catches attention. Johnson appeared to be the only writer who discussed Japan’s economy in such terms. In his book Johnson challenges neoclassical economic theory. References Johnson, Ch. (2003). MITI and the Japanese Miracle: the Growth of Industrial Policy, 1925-1975. Stanford: Stanford University Press.   

The Journey Of Reconciliation And The Freedom Rides

In the books, A Nation Forged in War: How World War II Taught Americans to Get Along by Thomas Bruscino and Freedom’s Main Line: The Journey of Reconciliation and the Freedom Rides by Derek Charles Catsam, both focus on the subject of racism, religious tolerance, and segregation. Although both books deal with the same topic the authors have different opinions toward what was the cause of the beginning of bringing these matters to an end. These are a few of the reasons the authors give for their opinions on the subject. Throughout A Nation Forged in War Thomas Bruscino states his belief that the rise of ethnic tolerance was due to military service during World War II. His first piece of evidence he uses for this claim is that the†¦show more content†¦They listened to hearts, checked feet, examined buttocks, and took urine specimens.† Although many men felt this process was a horrible event that stripped them of their dignity it did have the positive outcome of b ringing these men of different ethnicities and religions together. In Freedom’s Main Line, Derek Catsam argues that the most important battle for civl rights was segregated transportation. The first piece of evidence Catsam provides for this statement is that segregated transportation sparked the beginning of the freedom riders. The Freedom Riders were a group of civil rights activists who would ride interstate buses into the segregated southern United States beginning in 1961. Their reason for beginning this act was to challenge the lack of enforcement of the United States Supreme Court’s decision that segregated buses were unconstitutional. Another piece of evidence he details is the numerous amounts of cases brought to the supreme court due to segregated transportation, some of the cases being Brown v. Board, Morgan v. Virginia, and Boynton v. Virginia. The Brown v. Board case was a landmark United States Supreme court case in which the court established state laws declaring that separate public schools for white and black students was unconstitutional. The Morgan v. Virginia case was a major United States Supreme Court case thatShow MoreRelatedFreedom Riders: Rebels with a Cause1400 Words   |  6 PagesFreedom Riders: Rebels with a Cause â€Å"If not us, then who? If not now, then when? Will there be a better day for it tomorrow or next year? Will it be less dangerous then? Will someone else’s children have to risk their lives instead of us risking ours?† -- John Lewis May 16, 1961, to other Nashville students considering joining the Freedom Rides John Lewis, a young black man who was born in the South, participated in the Freedom Rides. His statement rang true when Nashville students were facedRead MoreAlabama Bus Boycott : A Civil Association For The Advancement Of Colored People1528 Words   |  7 PagesFollowing the seemingly successful 1950s Montgomery, Alabama bus boycott, a protest for segregation where African Americans under the National Association for the Advancement of Colored People (NAACP) refused to ride Alabama buses, ended after 381 days when the Supreme Court ordered Alabama to integrate its bus systems, the state figuratively dragged its heels in changing its transit. In fact, ten years later when the Supreme Court ruled segregated buses unconstitutional nationwide yet southernRead MoreAlabama Bus Boycott : A Civil Association For The Advancement Of Colored People1479 Words   |  6 PagesFollowing the seemingly successful 1950’s Montgomery, Alabama bus boycott, a protest for segregation where Afri can Americans under the National Association for the Advancement of Colored People (NAACP) refused to ride Alabama buses, ending after 381 days when the Supreme Court ordered Alabama to integrate its bus systems, the state figuratively dragged its heels in changing its transit. In fact, ten years later when the Supreme Court ruled segregated buses unconstitutional nationwide, yet southernRead MoreDuring the Civil Rights Movement era there were many prominent figures and parties that challenged1100 Words   |  5 Pagesstandards as much as the Freedom Riders. The Freedom Riders impact on political and social views influenced a drastic shift in the behaviors and thought of the Southern states. Many aspects of the Freedom Rides were influenced by the Journey of Reconciliation. The Journey of Reconciliation was comprised of a wide array of Caucasian and African American men of all occupations, including musicians, lawyers, clergy men and various other influential positions. The Journey of Reconciliations mainRead MoreThe Australian and American Freedom Rides Essay675 Words   |  3 PagesAustralian and American Freedom Rides This essay briefly discusses the similarities and differences of the ‘Australian and American Freedom Rides’ history. Throughout the essay, there is a discussion on what the reasons were for the protest of the Freedom Rides. It also points out the duration of the protest and the major locations where they were held. The essay also shows the different reactions to the protest and the influential behaviour it results in. The American Freedom Rides were motivated byRead MoreEssay On Overcoming Us History881 Words   |  4 Pagesthe south. When 1947 hit the Freedom Rides came into play. The Freedom Rides were part of the Journey of Reconciliation. These freedom rides were sponsored by the Fellowship of Reconciliation and CORE. The original Freedom Ride of 1947 consisted of mainly men but when the 1961 freedom ride came into play both men and women were able to take part. Most freedom riders faced violence on their journey. The worst incident occurred in Anniston, AL, where the bus the freedom riders rode was bombed. DuringRead MoreThe Civil Rights Movement Of James Farmer Essay1893 Words   |  8 PagesFreedom and equality are inherent rights in the United States: therefore, I encourage young people to take on the task by standing up and speaking out on behalf of people denied those rights. We have not yet finished the job of making our country whole† - James Farmer, 19 James Farmer was one of the â€Å"Big Four† of the civil rights movement era of the nineteen hundreds, he called for racial harmony through non-violence. James Farmer helped shape civil rights movements with his use of non-violentRead MoreInformative Speech: The Congress of Racial Equality Essay1011 Words   |  5 Pagesorganization. Foundation of CORE:  · by a group of students in Chicago in 1942  · Early members included George Houser, James Farmer, Anna Murray and Bayard Rustin.  · Members were mainly pacifists (CORE evolved out of the pacifist Fellowship of Reconciliation.)  · deeply influenced by Henry David Thoreau and the teachings of Mahatma Gandhi  · tried to implement the nonviolent civil disobedience campaign that M. Gandi used successfully against British rule in India.  · The students became convincedRead MoreThe Importance Of Freedom Rides1130 Words   |  5 Pagescalled the Freedom Rides(History/Watch). Life-threatening but essential, the 1961 freedom rides were very important in the civil rights movement. On April 9th, 1947, C.O.R.E. and local citizens, black and white, hopped on 2 busses: Greyhound and Trailways(Columbia Electronic). They set off on a journey through the south to â€Å"test† the decision of the supreme court case Morgan vs. Virginia(History/Watch). The 1961 freedom rides were entirely based on the 1947 rides; however, the 1947 rides did not acceptRead MoreBy the late 1950s, the African American community was ready to fight for the major social change600 Words   |  3 Pagesthe Freedom Rides, which were developed to test a 1946 Supreme Court decision declaring that segregation on interstate transportation was unconstitutional.1 In 1947, the civil rights group known as the Congress of Racial Equality organized a Journey of Reconciliation, sending eight black men and eight white men on buses across the South. Beginning on April 9, 1947, the riders, which included Eugene Stanley from North Carolina AT University, set out on buses from Washington, D.C. The Journey of Reconciliation