Comparing Income Statements From Different Industries Essay - 1

Comparing Income Statements From Different Industries - Essay Example Their 2013 and 2014 annual reports will facilitate this analysis. The gross profit margin shows the ability of an entity to control its cost of sales and management’s efficiency in producing each unit of a product (Tracy, 2012). From table 1 above, the gross profit margins for General Motors, Alliance Pharmaceutical, Inc., Apple Inc. and Walmart Inc. were 13.19%, 60.29%, 38.58% and 24.82% respectively. Operating profit margin, on the other hand, shows an entity’s ability to control its operating expenses such as selling and distribution costs, and administrative expenses. From table I, operating profit margins for General Motors, Alliance Pharmaceutical, Inc., Apple Inc. and Walmart Inc. were 3.30%, 29.35%, 28.72% and 5.64% respectively. In the same context, the net profit margin indicates an entity’s ability to control its financing expenses (Tracy, 2012). In this regard, General Motors, Alliance Pharmaceutical, Inc., Apple Inc. and Walmart Inc.’s net profit margins were 3.43%, 21.06%, 21.61% and 3.36% respectively as shown in table 1 above. Besides the effects of operating expenses and financing activities on the profit margins computed above, the Entrepreneur Media, Inc. (2009) associates the differences in these margins to the different industries that the companies analyzed in this case operate in. As such, these industries treat their inventories differently from each other1. This paper aimed at comparing profit margins for different companies, operating in different industries. From this comparison, it has been evidenced that an entity’s ability to control its costs, directly affects its gross profit margin, operating profit margin, and net profit margin. Additionally, the different ways in which different entities in different industries account for their inventories also affect their

What has been the role of international trade in the development of Essay

What has been the role of international trade in the development of China in the past two decades - Essay Example Hence the people who were a victim of such social conflicts since two generations had a hope to prosper themselves despite of a weak economy caused by high inflation and their distorted homeland and transportation links. Therefore the Soviet example was embraced as a new political and economic model. Hence in early 1950's a new reconstruction program was taken up in economic and social areas. The new leaders were focused to restore economy, rebuilding war damaged areas and implemented leaderships in women, labors and other mass organizations as well. All this was done and attained through the control of politically loyal government sectors. In 1958, Mao announced a new economic program called "The Great Leap Forward" which was aimed to prosper the economy through industrialization and agricultural productions. Though The Great Leap Forward was not that fruitful the Chinese didn't lose hope and still worked hard to strengthen their agriculture and industry sector (OECD [1], 2006). It was in 1979 then when China rehabilitated and opened its economy and adopted more pragmatic approach on political and socioeconomic matters. This economic transformation had a reflective impact not only in China but on the world too. From the last two decades China has implemented market - oriented reforms which resulted not only in the largest reduction of poverty but also attained fasted growth in income levels as well. As a fruit of this hard and headstrong labor China today is the fourth largest economy in the world and has sustained an average economic growth of over 9.5% for the past 26 years. In 2006 its US $ 2.6b trillion economy was about one-fifth the size of the US economy. However by the late 1980s the economy was worked up with increasing rates of inflation. Due to which Austerity Program was introduced by the government of China by the end of 1988 (OECD [1], 2006). In early 1990s China's economy regained momentum. Deng Xiaoping a dominant leader of that time, in early 1992, made a series of political pronouncements designed to revitalize the economic reform and hence 'Social Market Economy' was formed. This resulted in a 10 year plan in the political system with bolder reform of the economic system. China is the world's most populous country. It is one of the largest producers and consumers of agricultural products. China is among the largest producers of rice, corn, wheat, soya beans, vegetables, tea and pork. And its major non-food crops include cotton, other fibers and oil seeds. Over 40 % of China's labor is engaged in agriculture though only 10% of the land is suitable for cultivation. Due to which its GDP contributes 13% because of agriculture. According to a survey China's cropland area is only 75% of the US total but still produces 30% more crops and live-stock than the US (Guo, 2006). Industry and construction comprises of 46% of China's GDP. Iron, steel, coal, aluminum mining, ore processing, machinery, textiles, apparel, cement, petroleum, fertilizers and chemical are foremost industries of China. Consumer's products have a wide range including toys, electronics, foot wear, automobiles and telecommunications. China's strength as an export-platform has contributed to increased incomes and employment. About 40% of GDP is the stases-owned sector. The chief driver of China's rapid economic growth is governed by the exports. For this China has pursued policies such as fostering development of foreign invested factories. Foreign invested factories assemble imported materials (components) into consumer goods for export by

Issues Analysis- Indigenous People Essay Example for Free

Issues Analysis- Indigenous People Essay As the British arrived on the land of the aboriginal people they hoped to absorb the aboriginal people into their culture to work in the new colony. The aboriginal people tried to avoid the settlers but as the land became more occupied contact became unavoidable. Governor Phillip wanted to avoid any unnecessary conflict so he treated the aboriginal people with kindness and ordered his soldiers not to shoot any of them. He captured many aboriginals and one of them was Bennelong. He wanted them to learn English and act as translators between the Indigenous groups and the British. There were clashes over the land and culture of Aboriginals and the British. Phillip ignorantly ordered his soldiers to fire at the Aboriginal people as he has already tried to civilise them and assimilate them into the British culture and society was not working as he had hoped. The Aboriginal peoples saw that the British settlers were putting up fences clearing the land, restricting access and introducing different animals; so they started to think that the British were invading, this lead to retaliation from the Aboriginals. By 1797, attitudes and policy toward the Indigenous peoples had changed. No longer did the government decide to assimilate the Indigenous peoples, but rather have a new policy and that was to ‘keep them out’. In 1800 Governor King had reported to the British government the number of Aboriginal people killed in fighting was far greater than the number of British people killed. The common response from the government to the Aboriginal resistance was to send expeditions of solders to punish any groups that threatened settlers and farms. These soldiers hunted and killed groups of Indigenous people that were thought to have been stealing stock, food and generally harassing the settlers. Government instructions after 1800 were to fire at all indigenous peoples until they were far away from British settlements. As the British settlement gotten bigger, the Indigenous peoples lost more and more of their land and many of their family members. They became more reliant on the British settlers to provide them food, shelter and water. As their traditional life was slowly eroding, many Aboriginal people started living on the outskirts of towns or started working as servants or slaves for the British settlements. The inability for the Aboriginal people to succeed in this era it caused a change in the European view of the time, that Indigenous peoples were inferior, and were unable to look after themselves or the land. However not all contact was violent with the British settlers and the Aboriginal people. At times there was friendly contact and peace. Some Aboriginal peoples voluntarily became part of the British society. There is also plenty of evidence that groups of Indigenous peoples helped Europeans when they were in trouble and this was quite often, as life for British settlers was extremely hard in the early years of the colony. British colonisation of Australian started in Sydney in 1788. The rapidly occurring consequences within weeks of the first colonists arrival was a wave of European epidemic diseases such as smallpox, chickenpox, influenza and measles. These diseases affected the largest population densities where these diseases could spread easier. The next consequence of British settlement was water resources and the management of land. The settlers viewed Indigenous Australians as Nomads with no civilised concept of land ownership, who could be charged from the land wanted for farming. The aboriginals would easily migrate elsewhere. The impact on the aboriginals was fatal as there was loss of traditional lands, water resources and food sources, as the communities were affected by European diseases. The spiritual and cultural cohesion and well-being was affected because of the communities being forced away from the traditional areas. The settlers brought sexually transmitted diseases, and indigenous Australians had no tolerance and therefore greatly reduced fertility and birth-rates. Settlers were responsible for introducing the alcohol, opium and tobacco, and substance abuse has remained a huge problem for Indigenous communities. The result of disease, loss of land and violence reduced the Aboriginal population by an estimated 90% between 1788 and1900. Smallpox alone killed more than 50% of the Aboriginal population. Up to 3000 white people were killed by Indigenous Australians in the frontier violence. Most Indigenous people became a significant source of labour. Most of the work was unpaid, instead they survived on the rations that the workers received such as forms of food, clothing ad other basic necessities. In many areas of Australia Christian missions donated food and clothing for the indigenous people and opened schools and orphanages for Indigenous children. In some places of Australia colonial governments provided some resources. In 1914 around 1200 Aboriginal people answered the call to arms as the war was desperate for new recruits. Many Indigenous people claimed they were Indian or cook islanders to avoid the laws of no indigenous people being in the defence force. http://en. wikipedia. org/wiki/History_of_Indigenous_Australians#The_impact_of_British_settlement There are many health promoting strategies today such as ‘Two Ways Together: NSW Aboriginal Affairs Plan 2003-2012’, ‘COAG Agreement, they set six gaps for closing the disadvantage gap between the Aboriginal and non-Aboriginal people’, CEO performance agreements. Resetting the relationship with Indigenous Australians is important and this partnership must be respectful. It takes both parties to make a difference. Recent research by Reconciliation Australia indicates that Australians have a strong desire to better understand the Indigenous peoples. Acknowledging Indigenous disadvantage is a national responsibility that will require the engagement of the Australian Community. The government has committed to working in partnership with Indigenous Australians, businesses, state and territory governments and community organisations. http://www. skwirk. com. au/p-c_s-56_u-415_t-1040_c-4006/british-aboriginal-relations-1788-1820/qld/sose-history/first-australians-and-the-european-arrivals/settlement-1788-1850.

Alfred Hitchcocks Use Of Sound Film Studies Essay

Alfred Hitchcocks Use Of Sound Film Studies Essay Many film historians and filmmakers believe that visual techniques are superior to audio ones. This belief has it roots in the early years of sound. With few exceptions, silent films were far superior to early talking pictures; the problem being that due to the technical intricacies of recording, the acting suffered, rendering many films painful to observe. Hitchcock constantly defined his style of filmmaking to that of pure film; film that expresses its meaning visually. But examining this term closely, it is apparent that he is objecting to an unnecessary reliance on dialogue as opposed to the use of sound overall. In his famous interview with Francois Truffaut Hitchcock stated: In many of the films now being made, there is very little cinema: they are mostly what I call photographs of people talking. When we tell a story in cinema, we should resort to dialogue only when its impossible to do otherwise. In writing a screenplay, it is essential to separate clearly the dialogue from the visual elements and whenever possible, to rely more on the visual than on the dialogue. Hitchcocks visual and aural goals were becoming clear and many of his production notes, increasingly throughout his directorial career, would feature detailed references to sound effects and music. Aside from the novelty of dialogue, audiences began to experience soun dscapes which, often utilising ambience sounds and effects occurring within a scene, accentuated the drama of Hitchcocks movies. His non reliance on dialogue harks back to the silent era where movie-goers would watch a film often with a live organist alongside performing either a complete musical work or emotion driven passages and stings to set the mood when the scenes required it. Alfred Hitchcocks use of sound in Blackmail (1929) and Murder! (1930) in particular is important in many respects. These films went against the ideas of the day of what was technically possible in filming with immobile cameras and uneditable sound systems. In addition, they represent Hitchcocks first major experiments in combining sound and image in ways that in which the visuals did not come second to the dialogue. Blackmail establishes Hitchcocks preference for integrating music and sound effects, and introduces most of his favourite audio motifs. Both films are interesting historically, but Blackmail is the more successful work of art because its audio techniques and motifs are an integral part of the film stylistically. Blackmails aesthetic integrity is all the more remarkable given the uncertain conditions under which it was produced circumstances that are frequently misreported in film histories. Despite its reputation, Blackmail was not technically the first British sound feature, although it was immediately hailed as such. It is in part the makeshift and transitional circumstances of the filming that allowed Hitchcock to use sound with a flexibility and creativity that distinguished it from other early sound efforts. Blackmails admirers have rarely mentioned any specifics except the expressionistic highlights, such as the knife sequence, the overloud doorbell, or the merging screams. From a historical viewpoint, however, Blackmail is just as unique in its treatment of dialogue. A close look at the dialogue sequences shows that the film contradicts almost every rule written in standard histories about the use of sound in the transitional period from 1928 to 1930. For example, whereas films of the period supposedly always showed the speaker because producers thought that the audience must see the source of sound, Hitchcock very often has the speaker out of shot. Whereas films were supposed to have been photographed in long master shots (because sound could not be cut), Hitchcock only does so three times. Finally, whereas cameras and people were supposed to remain relatively immobile, the director moves not only his characters but also his camera, and therefore the audience viewpoint, during synchro nised sequences, heightening the involvement of movie goers, placing them almost inside the action rather than making them feel like they were merely watching a theatre production. Blackmail has stilted moments, especially in the delivery of speech. Even the better actors at the time were hindered by the need to recite their lines distinctly for the relatively unresponsive microphones. However, Hitchcock also includes several scenes where dialogue is intentionally incomprehensible a daring device at the time. When two policemen come off duty, ten minutes into the film, dialogue is added for the first time, but not synchronised, and we are supposed to merely get the gist of their conversation. An early example of his understanding of sound is clear even from his first use in Blackmail. The opening appears almost comedic; heavy honky tonk pianos and hand cranked visuals seem to be at odds with what is a serious story. Initially it appears the film is to be a silent, there are no sounds or dialogue until ten minutes have passed, and even at that point it is introduced in an ambiguous manner, with sound being used sporadically. In his early movies, Hitchcocks experimentiative nature is as apparent with sound as with the visual development of filmmaking. As the story progresses, the main character Alice (Anny Ondra) stabs and kills her would-be attacker. Hitchcock uses offscreen sound that is relevant to his content. One frequent purpose of offscreen dialogue is to contrast Alices emotions with the lack of awareness of other characters. This contrast occurs in the knife sequence, and later when her boyfriend (Frank) and her harasser (Tracy) blackmail and counter-blackmail each other. Showing the girl while the mens conversation continues offscreen emphasises her emotional exclusion from the other characters. Hitchcock also begins here a use of nonparallel cutting to create tension between characters. Later in 1930, Hitchcock filmed Murder! Although the director was again facing great technical limitations, Murder is clearly a personal work, which in every scene shows Hitchcocks efforts to work creatively with sound despite the abundance of dialogue. The script requires a trial (which Hitchcock condenses through a complicated montage of sound and image) and jury deliberations which entail a thorough analysis of the issues. Because the deliberation scene is the longest and most dialogue heavy scene it was also the most challenging, and Hitchcock strains to enliven it. The scene is a first statement of three major techniques that the director would use to minimise the filming of talking heads during the rest of his career: camera movement, non-parallel editing of dialogue, and deep-focus sound. The scene is set up so that the jurors are seated on the outside arc of a table that forms two thirds of a semicircle, with the foreman in the centre chair and Sir John Menier at one extreme. As the scene opens the camera pans past eleven jurors while the foreman summarises the arguments. Later, the camera pans away from the foreman in one direction and then swings past him, panning the other way. In neither case does the camera movement wor k. The jurors are not defined enough visually for us to learn something new by watching them in turn. Much more successful is Hitchcocks nonparallel cutting of dialogue and image. He rarely ends a shot of a person speaking at the precise moment that the persons dialogue ends; usually cutting to a second speaker before the first has finished. In parallel cutting the simultaneous aural and visual cuts reinforce each other so we notice them; thus shock is generally created through parallel cutting, whereas smoothness and continuity are created by overlapping. Murders deliberation scene ends with a form of deep-focus sound that completely eliminates talking heads. The camera stays in the deliberation chambers after the jurors exit. We hear the verdict, the death sentencing, and the defendants last words as we watch a janitor cleaning up after the jurors. The effect is to lessen our interest in the reaction of the accused girl and to heighten our awareness of the responsibility of the jurors for her fate. The decision to stay outside of the room when a verdict is read emphasizes the impersonality and heartlessness of the trial, and Hitchcock uses the technique for similar effects as late as Frenzy, when another innocent defendant is sentenced to death. The technique for which Murder is most often remembered is the interior monologue of Sir John, which Hitchcock claims is the first in film history. This is a recurring motif used in many of his films, and represents the directors desire to move inside a characters mind and reveal his thoughts and feelings. Hitchcocks expressionistic impulses are somewhat obstructed in his British films by the limitations on technical resources, which forced him to become minimally dependent on mise-en-scà ©ne. In his American period the use of lavish tracking shots furthered his wish to explore physical depths which correspond to their psychological counterparts. Meanwhile, in the thirties he was more dependent on inexpensive means of penetrating surfaces; sound is a chief device of creating subjective experiences-a device that reaches its height of development in Secret Agent. By the time Alfred Hitchcock had made Murder he had already experimented with his two main options for using sound subjectively: the interior monologue, as in Murders shaving sequence, and the distortion of exterior sounds to suggest how they impinge on a characters consciousness, as in Blackmails, knife sequence. He would eventually settle on the impingement of the exterior world as the preferred choice, and even that technique would soon become subtler, less of a stylistic nourish, less expressionistic. Ultimately, by switching from the distortion to the intrusion of exterior sounds, he would find ways of creating the same effect in the more realistic style of his American films. By contrast, the interior monologue in the shaving sequence furthers Hitchcocks central point in Murder that Sir John is acting more out of amorous than moral motives when he becomes newly convinced about Dianas innocence and decides to find the real murderer. The radio is used as a form of scoring (in a film that is ostensibly limited to source music). An orchestra performs the Liebestod from Tristan und Isolde, and Sir Johns thoughts have been carefully timed so that Wagners high points emphasize the emotional highs of the interior monologue, the love motif suggesting that Sir Johns motives involve feelings for the girl that he does not yet admit to himself. Sir John delivers the monologue in his distinctive, characteristically passionate, rhythmic phrases. We hear Sir Johns thoughts about saving Diana, but it is the performance of Tristan und Isolde on the radio which conveys the emotions. Sir John leaves the music playing after shaving and moves into an adjacent room for the next scene, in which he speaks to an assistant. Because the love theme is still playing, we realise that during these transactions he is thinking more about Diana than about the business at hand. The interior monologue as a means of getting inside a characters mind in Murder, then, is not altogether satisfactory on three counts: it does not really convey underlying emotion, it does not involve the audience, and it is grafted onto a film that is otherwise quite different in style. By contrast, the solution of showing how exterior sounds impinge on a character in Blackmail has become a much more integral part of Hitchcocks style. Specifically, his challenge in Blackmail was to find techniques for externalising the heroines guilt. The solution, which entails stylisation and distortion, is the aural equivalent of visual expressionism. To show that the expressionistic uses of sound in Blackmail are indeed stylistically integral to the film it is necessary to examine the film in detail. Hitchcock first makes us aware that he is distorting the sound subjectively when he exaggerates the loudness of bird chirpings to stress Alices agitation on the morning after the murder. When the mother enters Alices bedroom to wake her, she uncovers the cage of Alices canary. Once the mother leaves the room, the chirping is loudly insistent while the girl takes off the clothes she wore the night before and puts on fresh ones. The chirps are loudest, unnaturally so, when she is looking at herself in the mirror. The sound reminds us of the tiny, birdlike jerkings that the girl made immediately after stabbing the artist. After the knife sequence there is another subjective distortion of sound, when a customer rings a bell as he enters the store. We are in the breakfast parlour, and yet the bell resonates louder than it does elsewhere in the film. The camera is on a close-up of Alices face to indicate that it is her point of view, once again, from which we hear. In a sense the use of bird noises in the bedroom scene should be distinguished from the other techniques mentioned here. Whereas aural restriction and distortion of loudness are related to character point of view, the choice specifically of bird sounds has a particular meaning for Hitchcock independent of the film. This sequence marks the beginning of an ongoing association of murder and bird noises in the directors mind which accrues meaning from film to film, from Blackmail and Murder through to Sabotage (1936), Young and Innocent (1937), and Psycho, and culminates in The Birds. Commentators have regarded the knife sequence as an isolated gimmick, but the scene as a whole should be seen as the culmination of a larger movement to which Hitchcock has been building since the murder. The scenes showing Alices retreat from the artists rooms and her subsequent wanderings through the streets have each used elements that unite in the knife sequence. The sequence occurs while Alice breakfasts with her parents. In the doorway leading from the parlour to the fathers shop stands a gossip, talking about the previous nights murder. Alices parents go about their business, not giving much attention to the gossipy neighbour but Hitchcocks cutting shows that the guilt ridden Alice is already more sensitive to the womans speculations about the crime. As the gossips speech becomes more graphic, the director suggests Alices increasing sensitivity by panning from the girl to the chattering neighbour. From here on in her dialogue becomes almost abstract: it alternates between muff led speech and the word knife five times. Offscreen the father says, Alice, cut us a bit of bread, as the camera tilts down to Alices hand approaching the knife (which resembles the murder weapon). We hear knife five more times: in the gossips voice, at a fast pace, with the intermediate words eliminated. Hitchcock, a possessor of a great aural imagination, increases the volume of the word to emphasise the subjectivity of the moment, still further matching the visual intensity of the close-up with the intensity of the loudness. On the sixth repetition the word knife is screamed, and the actual knife seems to leap out of Alices hand and falls onto a plate. Hitchcock related later in his career that, despite any relevant education in the required fields, he saw himself as a composer or a conductor but typically he had less control over the music than over the other aspects of production. His use of music in Blackmail reflects his need to observe various conventions and his desire to be personally creative with the music using pure instinct. It is complicated by the films midstream switch to synchronized sound: the director therefore has to deal with both the silent-film conventions of scoring for live orchestra and with the early talkie expectations that a character would perform a song in synchronism. Musical themes introduced in the first reel recur later in the film, associated with similar images. For example, a string agitato theme identified with the image of the spinning wheel comes back both when we see the wheel again and during the museum chase. There is a central theme arranged for full orchestra associated with Scotland Yard , and also a pizzicato phrase which ascends the scale almost every time a character climbs a flight of steps. Nevertheless, Hitchcock managed to assert his personality over the scoring by controlling not the content so much as the placement of it. Whereas it was typical of the period to use either continuous music or none, the director had already hinted at his future style by eliminating scoring under most dialogue sequences and by insisting on silence during most moments of tension. Not until Secret Agent would Alfred Hitchcock once again find a vehicle appropriate for extensive experimentation with the use of expressionistic sound. By 1936 re-recording practices were more sophisticated. Therefore, much of the impetus to use sound creatively in Secret Agent must have come not (as in Blackmail) from the challenge of overcoming stringent technical limitations but from a wish to explore the new range of expressive possibilities available with technically sophisticated equipment, and further involving his audience emotionally in his movies.

The Genuine Nick Carraway of F. Scott Fitzgerald’s The Great Gatsby :: Great Gatsby Essays

The Genuine Nick of The Great Gatsby Nick Carraway is a very genuine character throughout the novel. He gets involved with situations such as Daisy and Gatsby, he helps them rekindle their love and he also becomes a true friend with Jay Gatsby. Throughout the novel Nick Carraway starts off not having to many friends, until he starts getting involved other people. It all starts when Jay Gatsby, Nick's neighbour, invites Nick to his party. Nick decides that it would be a great idea so he attends. While attending the party Nick gets acquainted with many of the guests. Then Gatsby sends for him to come and meet him. At first Nick has no idea where he is headed, then he see's Gatsby and they talk for a few minutes. By meeting Gatsby Nick has changed for the better. His idea's and actions all start to change. He becomes very genuine. Sometime after the party, Nick says "I believe that on the first night I went to Gatsby's house I was one of the few guests who had actually been invited." (Gatsby, p.41) He said this because most of the people at Gatsby's parties just invited themselves. This is the time when Nick's character is showing some development of genuineness. Another time that Nick shows his development into a more genuine person is when he helps rekindle the love between Jay Gatsby and Daisy. He does this by setting up a surprise meeting at his house. Gatsby knew of this because he had asked him to do it. At this time in the novel is when Nick says "I'm going to call Daisy tomorrow and invite her over here to tea." (Gatsby, p.82) This shows that Nick is genuine because he is trying to rekindle the love between Gatsby and Daisy. After this period in the novel Gatsby and Nick became even closer friends. Getting closer to the end of the novel is when the reader see's the true friendship between Jay Gatsby and Nick Carraway. Whenever Gatsby would ask Nick to do something Nick would always have or make the time to do it. The strongest example of the genuineness of Nick is when Jay Gatsby was murdered by Mr.

Water Pollution in America Essay examples -- Environmental Pollution Es

When you think of problems in the world today, water pollution isn’t one that would normally come up. In fact it is one of the worst problems in the world today. Water pollution, by definition, is the contamination of streams, lakes, underground water, bays, or oceans by any substances harmful to living things. All living things contain water and most need water to survive, so water pollution is a big problem. If severe, the pollution can kill off birds, fish, and any animals that use the water source. In some cases even killing an entire species.   Ã‚  Ã‚  Ã‚  Ã‚  Keeping the pollution to a minimal isn’t the easiest thing in the world to do. The major water pollutants are chemical, biological, or physical materials that degrade water quality. Pollutants can be classed in to eight categories, each of which presents its own set of hazards.   Ã‚  Ã‚  Ã‚  Ã‚  Petroleum products are one of the most toxic substances to the ecosystem. Oil and chemicals derived from oil get into the water mainly by means of accidental spills from ships, tanker trucks, pipelines, and leaky underground storage tanks. Many petroleum products are poisonous if ingested by animals, and spilled oil damages the feathers of birds or the fur of animals, often causing death.   Ã‚  Ã‚  Ã‚  Ã‚  Pesticides and herbicides are toxins that are used to kill of unwanted animals and plants. These may be collected by rainwater runoff and carried into steams, rivers, lakes, and e...

Role Model

Dr. Martin Luther King Jr Dr Martin Luther King Jr is my role model because he dedicated his life to helping the civil rights movement. He’s someone that I look up to because of his strong will power perseverance, and determination. Dr King’s worldview was to have equal rights and opportunities for all people despite what their nationality was. I share the same worldview as Dr King in regards to equal rights and standing for what you believe in. Dr King wanted to world to evolve in its way of thinking because he saw firsthand how African Americans were being treated.Dr King is my role model because he fought to change my history. Dr King didn’t only want to see a change happen for his self and others but also for his family. He had a wife Coretta and four children; these were the people who he wanted to see change happen for the most. After King’s death is family wanted to keep his legacy alive because they knew he stood for a good cause. According to the article A king family tribute â€Å"Family and friends remember Dr. King as a role model and dedicate themselves to his mission. Watkins, Dr.King's niece, has assembled their writings and excerpts from their speeches. All pay tribute to his spirit, abiding faith and dedication to the cause of civil rights, and they affirm their own commitment to â€Å"following the path he walked,† as his nephew, Derek B. King, states. King's father's remarks are excerpted from his autobiography. Dr King is my personal role model because is stood for what he believed in. Dr king helped shape my worldview because through his hard work he’s shown me that nothing worth fighting for comes easy.I think a lot of people look over the fact that Dr King wasn’t just trying to change the race problem it stood of many different social issues. In the article Martin Luther King Jr conception of freedom and radical democracy the author states that â€Å"king came to believe that the civil ri ghts struggle needed to expand beyond just racial desegregation in this country, He began to raise his voice against racism militarism, and economic exploitation around the world†. This is another reason why I look up to him because he didn’t only focus on one hing that needed to be changed so saw the importance of these issues and wanted to change them. Dr. king had a career as a pastor which is why I feel he never gave up believing in what he thought was right. The article Martin Luther King cover story gives background on his life â€Å"King was a preacher who spoke in biblical cadences ideally suited to leading a stride toward freedom that found its inspiration in the Old Testament story of the Israelites and the New Testament gospel of Jesus Christ.Being a minister not only put King in touch with the spirit of the black masses but also gave him a base within the black church, then and now the strongest and most independent of black institutions†. Like Dr Kin g I believe that everyone should have the right to freedom and equal rights ; However, I don’t know if I could have endured the things that Dr king had to. Once Dr King was thrown in jail because of his protest, I think if I knew I could go to jail because I was protesting I wouldn’t protest.On the other Dr King who have pathed the way for me to be able to use my freedom of speech. I would want to be brave and stand for what I believe in for myself and my family just as King did. Reference MARTIN LUTHER KING JR. A King Family Tribute. (2012). Kirkus Reviews, 80(24), 222. Orosco, J. M. (2001). Martin Luther King, Jr. ’s Conception of Freedom and Radical Democracy. Journal Of Social Philosophy, 32(4), 386-401. White, J. E. (1998). Martin Luther King. (Cover story). Time, 151(14), 160.