Kite Runner Essay free essay sample

‘The best way to get away from the transgressions of the past is to stand up to them’. Is this valid in The Kite Runner? In the novel ‘The Kite Runner’, it is advanced that the best way to get away from the wrongdoings of the past is to stand up to them. This can be seen through key characters in the story, for example, Amir, Baba and Soraya. Amir had trespassed when he was a kid with his closest companion Hassan, which frequents his from that day forward. Futhermore, Baba is seen attempting to reimburse the harm that he accepted that he had brought about by his demonstration of self-centeredness. At last, Soraya’s sin isn't a wrongdoing to her, yet to the way of life that she has a place with. In this way, these individuals have needed to confront their transgressions to move from an earlier time. Amir’s disloyalty of Hassan as a kid frequents him all through his adolescence and as a grown-up. We will compose a custom paper test on Kite Runner Essay or on the other hand any comparable theme explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page He feels consistent blame and lament about what happened that winter and the accompanying summer of 1975. From that second onwards, he has consistently attempted to proceed onward, overlook and move on, and he does, yet every time the subject of Hassan of his name is raised, he starts to inside frenzy. This is seen Amir has moved on from secondary school, and they are sitting in Amir’s vehicle. â€Å"A pair of steel hands shut around my windpipe at the sound of Hassan’s name†. Despite the fact that he has proceeded onward and begun another life for himself, the occasions of the past that are the most awful and awful stay with him for his life. At the point when he got the call from Rahim Khan, and meets with him in Pakistan, this is the place is in a roundabout way faces his sin’s when he is conversing with Rahim Khan, as he is remembering and examining what occurred. He at that point went to offer reparations for the wrongdoings that he had submitted by going up against the very individual that had demolished his life every one of those years back and he saved the child of his stepbrother, whom he had sold out as a youngster. After the occasions of him going to Kabul and getting Sohrab, he had confronted the transgressions and could proceed onward. All through the book we are demonstrated that Baba is doing all that he can which he accepts to offer some kind of reparation for the wrongdoing that he has submitted. We consider him to be a liberal individual, who is giving, and is very much regarded all through the network. He was a pleased Pashtun who had â€Å"wrestled a dark bar in Baluchistan with his uncovered hands†. However he had a dim mystery that could destroy his family. Baba had done a definitive demonstration of double-crossing an Afghan could provide for another man, and all the more by and by, to a companion of 40 years. For an incredible remainder, he sees the aftereffect of his narrow minded act regularly in his home. He has the alternative of coming clean with Ali and Hassan, yet there would be desperate outcomes. Moreover, Baba would have thought of other significant components that come into the condition, ‘Honour, Pride, Friendship, Gossip around town’. Baba esteems a great deal of these explanation, so in this manner he doesn't uncover it. We are demonstrated how Baba despite everything feels the agony that he had, when Amir moves on from secondary school. â€Å"[He wishes] that Hassan was [there with them]†. On the off chance that he had told, Ali and Baba may have come to America and they may be alive. (Amir would have not felt that equivalent envy towards Hassan, on the off chance that he had realized that he was relative to Hassan). Despite the fact that in America, he was by all accounts content with Amir and the existence that they had made together, he would have still felt troubled about that past that he was unable to offer some kind of reparation to. It is obvious, that Baba would have needed to manage his past to have been genuinely cheerful and settled. Sorayas life was destroyed from the second she had trespassed against her religion. She doesn't sin by the submitting the demonstration herself, yet is viewed as a transgression from her strict perspective. She had fled with another man before getting hitched. Presently she was seen before the Afghan people group as ‘unfit’ to be hitched to. Despite the fact that this view is oppressive towards ladies as men can ‘go out to dance club searching for meat†¦Ã¢â‚¬ ¦and nobody [would say] a goddamm thing†, she can't take care of business. In this way she needed to manage the results. This sort of transgression can't be gone up against straightforwardly as to express sorry to somebody. Nonetheless, she figures out how to fix a portion of the harm done by being available to Amir before they get hitched. This shows she realizes that she has fouled up, and to show that she is prepared to acknowledge the results that may follow. Most Afghans would have relinquished the possibility of union with her with the information on her past, however for this situation, she was fortunate, since Amir didn't down. He couldn't have cared less about her past as he â€Å"had one of [his] own†. You can perceive how by looking up to her past, Soraya had the option to get the past behind her and proceed onward to her new future. It has been demonstrated that the best way to proceed onward from the past of unatoned sins is to go up against them. Key characters in the novel have needed to manage their transgressions that had not been settled, to attempt to proceed onward with life, while others went through their entire time on earth attempting to fix the issues, however never truly getting an opportunity to do as such. Amir life from one occurrence as a youngster decided an amazing course from that day forward, until he assumed responsibility for his life and set out to settle his issues. Baba is one character that was continually attempting to present appropriate reparations in light of an inappropriate that he had submitted, by helping other people. Soraya needed to manage the bad faith of the general public in which she lived in, just go up against her wrongdoings by telling Amir of her past. Obviously, the best way to get away from the wrongdoings of the past is to go up against them. Kite Runner Essay free article test The best way to get away from the transgressions of the past is to go up against them’. Is this valid in The Kite Runner? In the novel ‘The Kite Runner’, it is advanced that the best way to get away from the transgressions of the past is to face them. This can be seen through key characters in the story, for example, Amir, Baba and Soraya. Amir had trespassed when he was a kid with his closest companion Hassan, which frequents his from that day forward. Futhermore, Baba is seen attempting to reimburse the harm that he accepted that he had brought about by his demonstration of childishness. At last, Soraya’s sin isn't a transgression to her, yet to the way of life that she has a place with. In this manner, these individuals have needed to confront their transgressions to move from an earlier time. Amir’s selling out of Hassan as a kid frequents him all through his youth and as a grown-up. We will compose a custom paper test on Kite Runner Essay or on the other hand any comparative subject explicitly for you Don't WasteYour Time Recruit WRITER Just 13.90/page He feels consistent blame and lament about what happened that winter and the accompanying summer of 1975. From that second onwards, he has consistently attempted to proceed onward, overlook and move on, and he does, yet every time the subject of Hassan of his name is raised, he starts to inside frenzy. This is seen Amir has moved on from secondary school, and they are sitting in Amir’s vehicle. â€Å"A pair of steel hands shut around my windpipe at the sound of Hassan’s name†. Despite the fact that he has proceeded onward and begun another life for himself, the occasions of the past that are the most horrendous and awful stay with him for his life. At the point when he got the call from Rahim Khan, and meets with him in Pakistan, this is the place is in a roundabout way faces his sin’s when he is conversing with Rahim Khan, as he is remembering and talking about what occurred. He at that point went to give penance for the transgressions that he had submitted by facing the very individual that had destroyed his life each one of those years back and he saved the child of his relative, whom he had sold out as a youngster. After the occasions of him going to Kabul and getting Sohrab, he had confronted the wrongdoings and could proceed onward. All through the book we are demonstrated that Baba is doing all that he can which he accepts to present appropriate reparations in light of the wrongdoing that he has submitted. We consider him to be a liberal individual, who is giving, and is all around regarded all through the network. He was a glad Pashtun who had â€Å"wrestled a dark bar in Baluchistan with his uncovered hands†. However he had a dim mystery that could destroy his family. Baba had done a definitive demonstration of selling out an Afghan could provide for another man, and all the more by and by, to a companion of 40 years. For a mind-blowing remainder, he sees the consequence of his childish demonstration regularly in his home. He has the choice of coming clean with Ali and Hassan, however there would be desperate results. Besides, Baba would have thought of other significant variables that come into the condition, ‘Honour, Pride, Friendship, Gossip around town’. Baba esteems a great deal of these explanation, so in this way he doesn't uncover it. We are demonstrated how Baba despite everything feels the agony that he had, when Amir moves on from secondary school. â€Å"[He wishes] that Hassan was [there with them]†. In the event that he had told, Ali and Baba may have come to America and they may be alive. (Amir would have not felt that equivalent desire towards Hassan, in the event that he had realized that he was stepbrother to Hassan). Despite the fact that in America, he was by all accounts content with Amir and the existence that they had made together, he would have still felt troubled about that past that he was unable to present appropriate reparations to. It is clear, that Baba would have needed to manage his past to have been really glad and settled. Sorayas life was destroyed from the second she had trespassed against her religion. She doesn't sin by the submitting the demonstration herself, yet is viewed as a wrongdoing from her strict perspective. She had fled with another man before getting hitched. Presently she was seen before the Afghan people group as ‘unfit’ to be hitched to. Despite the fact that this view is biased towards ladies as men can ‘go out to clubs searching for meat†¦Ã¢â‚¬ ¦and nobody [would say] a goddamm dainty

Importance Of Acoustic Treatment Music Essay

Significance Of Acoustic Treatment Music Essay Sharp apparatuses make great work. Chinese Proverb online To have a pleasant account, we should pick a decent chronicle studio. To have a pleasant account studio, acoustic treatment is the most significant advancement while building the studio. For what reason is acoustic treatment so significant? Acoustic treatment will improve the real recorded sound, it is similarly as significant as the blending procedure. The motivation behind acoustic treatment is to improve the nature of sound in the room. Acoustics Treatment of the studio is significant than the utilized of the types of gear for record the track on. However there are as yet numerous individuals who just distribute a little part of their spending plan to acoustic medications when constructing an account studio or home studio. It is essential to pick the correct sort of room and after that we need to testing the acoustic in that room, ensure that everything like the soundproofing of the studio is acceptable. Let say, we can tun e in to the tracks that recorded in the studio, on the off chance that we can hear something like reverb or reverberation on the track, or the sound is somewhat level, this may imply that the acoustic of the studio weren't right. Inadequate protection can bring about the impedance of outside commotions. Individuals consistently figure they can or ready to beat acoustics with supplies yet you simply cant. Russ Berger (Sound On Sound Article 2005 [online]), the leader of acoustic and varying media consultancy firm, Russ Berger Design, revealed to Carolin Heinz in an article for the site Electronic Musician. Next to that, there is another regular slip-up that individuals consistently make, as per Berger, is to mistake sound disengagement for the acoustic execution in a room. Sound seclusion is essentially the way toward halting sound going into or leaving the room. It doesn't matter to how stable is assimilated and diffused in the room itself, which are the key determinants of how a recorded track sounds when tuned in to. Each studio constructing should be acoustically treated as standard expert music or sound studio prerequisite for proficient sound quality. So when assembling an account studio, we need to give a lot of consideration to this, this will keep away from disappointments later on. (B) Treatment Characteristics Acoustic Treatment is so essential to the studio it is on the grounds that we need to forestall standing waves in the room. At the point when the standing wave happens, it will influence the recurrence reaction of the listening rooms and the chronicle studio. Close to that, by utilizing the correct acoustic treatment, we can retain or diffuse the sound in the space to maintain a strategic distance from the vacillate echoes and improve the sound system imaging while the chronicle and shield the sound from spilling into or out from the room. Right utilization of acoustic treatment could bring down the reverb time in bigger space or room or diminish modular ringing in the little room. Along these lines displaying the acoustics to cook for our requirements. There are scarcely any issues that we need to consider while building a studio, for example, retention, dissemination, resonation and confinement. Sound ingestion can be characterized as when sound that strikes the materials doesnt reflect back. An open window is an awesome model for poor retention in light of the fact that the sound waves experiences the open window and never reflected back. The more sinewy materials have more ingestion; oppositely the denser materials are less retention. By utilizing the assimilation materials in the studio, it can limit the reflections while the chronicle going and it can likewise forestall the standing waves and shudder echoes. With this command over acoustics, one can display a space to be ideal for a specific reason. The LEDE (Live End Dead End) idea outlines this. By utilizing acoustic treatment we can stifle one portion of the room while keeping the other half intelligent. Assimilation can turn out to be helpful when tuned to a particular recurrence. As a rule, low frequencies are extremely hard to retain due to their long frequency, despite what might be expected, high frequencies are handily consumed by less convoluted structures, The decrease of high frequencies in a basic melodic condition is basic for the decrease of shudder echoes. Items like bass snares are retaining gadgets explicitly intended to ingest the low recurrence vitality. The great bass snare is the blend of the hard, delicate, slim materials. Coincidentally, the rear of the snare and the hole between the dividers can make it much increasingly successful. Resonation time will be influenced by the assimilation. The lower the resonation time, it is mean there is more assimilation. By including the permeable safeguard is the most straightforward approach to make the great assimilation. Next to that, putting the acoustical froth on those intelligent surfaces until the resonation time is appropriately decreased. Then again, by evacuating the retaining materials will protracts the resonation time. Diffusor can be utilized to decrease reverb or echoes that will be happen in a room that has equal dividers and the level roof. Through the exploration and books that I have perused, all the expert studio originators they concur that intermittent reflections brought about by equal dividers are best kept away from. Thus, dispersion is constantly utilized into retention to tame these sorts of reflections since dissemination is bunch of sound vitality utilizing multi-faceted surfaces. Diffusers are ordinarily made of wood, plastic, or even polystyrene. Jorge Castro (2004, on the web) clarifies: dispersion helps in vitality control and improves the sound quality in frequencies all through the center and high scope of the range, and furthermore improves sweet-spot ought to be sitting to get the best sound system picture (envision that your head and the two speakers structure a symmetrical triangle). Protection is the way toward shutting sound from spilling out from the room and is likewise to soundproof the room from outer vibrations or sound. The great commotion controls room can hold the sound inside the listening region. Disengagement is an extremely basic inquiry, yet the most significant is still about the room treatment. Indeed, even you will feel something turning out badly while you are in the peaceful room if its acoustic medications aren't right. What's more, what would you be able to accomplish for the separation if your studio is going to fabricate close by the interstate, or alongside the train track? Just two things should be possible to protect a space: expanding mass or division. We will perceive how we address by the utilization of right materials. (C) Studio Design Since we have taken a gander at what issues may happen in a room and how to address them, we will perceive how they apply to an expert studio. Room mode or characteristic full recurrence, which is identified with the length, width and stature of the room, is one of the most significant properties in the studio plan and it decides its common resonances. (Ethan Winer, 2008[online]) Let say the rectangular room has 3 arrangements of essential modes, which are length, width and tallness. In this way, in the event that you have an unpredictable room shape or sporadic calculated dividers, at that point you need to average the measurements and get the unpleasant thought of the mode recurrence. As a dependable guideline one could state: the bigger the rooms the better the acoustics. This is one of the instances of the account studios plan, materials of utilized and its development subtleties. (I) Studio Layout (Siavash Irani, pers. Comm., 11 December 2010) (ii) Construction Details Dry Walls is a Simple single stud structure adequate for divider in light of the fact that the dry dividers are multiplied, one on the current external divider and one as internal divider. We make the twofold dividers to limit basic connecting. Studs separating is 24, on focus rather than the typical 16 dividing, this yields a slight increment in TL (transmission lost). The dividers are calculated however room shape balanced to give even scattering and forestall ripple reverberation. Width approx 5 to 6. All out assessed divider region: Total divider border x Average Ceiling stature 239.5 ft * 12.125 ft = 2903.9 2903.9 * 2 = 5807.9sq ft. (http://www.ethanwiner.com/BTPlans.gif) (http://www.ethanwiner.com/BTParts.html) Roof calculated upwards at 12 degrees from the front to the center of the two rooms and afterward throws in the towel at 12-degrees.10 ft (3.05m) min tallness for ideal drum sound account. The width approx 10. All out assessed roof region: 289 + 305.15 + 238 + 295.87 = 1128.02 sq ft. Measurement of floor is approx 10 All out assessed floor region: 280.7 + 296 + 231 + 287 = 1094.7 sq ft. Acoustic Timber Door ¼Ã…'STC 30-35 each leaf. It has an equivalent development as dividers utilizing timber and smaller studs. The thick yet lightweight mineral fiber for more STC and it including gaskets to seal sound, pivots, handles Absolute: 6 entryways with measurements of approx 6.5 x 2.7 x 3 Acoustic Window Double Glazed The space between glass boards fixed. Utilize two unique thicknesses of glass to forestall resounding frequencies and fixed walled in area up to STC 47. The separation between the paresis about 150mm. Absolute: 2 twofold coated acoustic windows with 6 x 2.5 sheets The utilization of sound lock can decrease - 3 dB. As sound protection via air volume and air fixed by entryway gaskets. Forced air system Duct Damping About the commotion diminishing fenced in area of cooling by utilizing compressed wood perplex and introduced into the opening of the air-con pipe with basic pressed wood confound held along with solid and dampness safe cement. The pressed wood labyrinth hinders the wind current or the air-con, accordingly decreasing clamor. The spongy froth lined/secured on compressed wood confound to assimilate wind stream commotion just as clamor from generator. Its 4 ft long. Model Case of an independent conduit confound (D) Materials With great and right materials in building a studio, it can assist you with recording and blend your music accurately. A decent room, great acoustics can characterized as we can get the sound from the speakers in the room and tune in through your ears as unaltered as could be expected under the circumstances. (Ethan Winer, 2008 [online]) A great studio ought to have an excellent segregation yet at the same time as nonpartisan as feasible for you to hear the subtleties, for example, sound system situating appropriately. Thus, the music we have blended and eq

College Essay 101â€the Comprehensive Guide to College Writing

In this way, you can’t hold on to get into school and join a crew, sorority, or understudy association. Indeed, we have some fantastically valuable tips and accommodating data for school affirmation article composing! Keep in mind: getting into school takes more than cash. Also, exceptional papers get you incredible school grants! With assistance from our school article composing administration, you will have the option to win any exposition challenge! Part 1: The Ultimate Guide to a Fantastic College Essay Assume in secondary school you were a specialist recorded as a hard copy five-passage articles. Notwithstanding, at that point school begins. Your splendid working ends up being simply not really good or bad. On the off chance that you are feeling befuddled about your custom article compositions, there are things you have to know. A five-passage paper is a standard type of writing in any school. It implies that you can fit every one of your thoughts into five passages. What's more, that solitary three sections about the primary concern are sufficient. This kind of a custom exposition paper likewise has its specific internal structure that guides you legitimately to the end. School papers are a lot trickier. In what way? Indeed, there are a few reasons: 1. Greater levels of popularity for contentions Above all else, they give more credits to solid, not unclear, contentions. A school contention is a perplexing arrangement of articulations organized coherently. By an unpredictable framework a team of guarantee and proof is implied. Coincidentally, there must be more than one steady truth to any guarantee in a school exposition paper. Regardless of whether it is an intelligent paper or a circumstances and logical results exposition, bolster your cases!

English Literature Essay One Page ‘Anil’ by Ridjal Noor - 275 Words

English Literature Essay One Page: ‘Anil' by Ridjal Noor (Essay Sample) Content: Name:Instructor:Institution:Date:Anil by ridjal noorThe setting of the narrative is in a remote village in Malaysia. Most villagers are very poor and live in small huts that allow rain to beat them. Most of them dream of ever owning things like new livestock and good harvest. A young village boy witnesses the murder committed by a chiefs son. After identifying the murderer, the boy is sent away from the village to study. At the start of the narrative, the boy wishes for big things to happen in his life. The death of a woman makes his dream to be true. The narrative is written in the third person apart from the last two paragraphs which sees through the eyes of Anil. The story has two parts, and the first section defines the activities which happen on the night of the murder and the second part shows the outcome of Ragunathans stay to the bungalow. The start of the narrative is similar to a fairy tale or folk tale. The writings are simply characterized by short paragra phs.The villagers and Anils family are very poor. They entirely depend on the headman to give them employment and can buy Ragunathans silence. In regards to gender relations, the men in the village are bullies and violent whereas the women are victims of violence. In the narrative, Ragunathan is seen to beat his wife more often while Marimuthu kills his only wife. There is no known justice in the village, and Anil is seen...

The Maya Used Glyphs for Writing

The Maya, a mighty civilization that peaked around 600-900 A.D. and was centered in present-day southern Mexico, Yucatan, Guatemala, Belize, and Honduras, had an advanced, complex writing system. Their â€Å"alphabet† consisted of several hundred characters, most of which indicated a syllable or a single word. The Maya had books, but most of them were destroyed: only four Maya books, or â€Å"codices,† remain. There are also Maya glyphs on stone carvings, temples, pottery, and some other ancient artifacts. Great strides have been made in the last fifty years in terms of deciphering and understanding this lost language. A Lost Language By the time the Spanish conquered the Maya in the sixteenth century, Maya civilization had been in decline for some time. The conquest-era Maya were literate and had kept thousands of books, but zealous priests burned the books, destroyed temples, and stone carvings where they found them and did all they could to repress Maya culture and language. A few books remained, and many glyphs on temples and pottery lost deep in the rainforests survived. For centuries, there was little interest in ancient Maya culture, and any ability to translate the hieroglyphs was lost. By the time historical ethnographers became interested in the Maya civilization in the nineteenth century, the Maya hieroglyphs were meaningless, forcing these historians to start from scratch. Maya Glyphs Mayan glyphs are a combination of logograms (symbols that represent a word) and syllabograms (symbols that represent a phonetic sound or syllable). Any given word can be expressed by a lone logogram or a combination of syllabograms. Sentences were composed of both of these types of glyphs. A Mayan text was read from top to bottom, left to right. The glyphs are generally in pairs: in other words, you start at the top left, read two glyphs, then go down to the next pair. Often the glyphs were accompanied by a larger image, such as kings, priests or gods. The glyphs would elaborate on what the person in the image was doing. History of Deciphering of the Maya Glyphs The glyphs were once thought of as an alphabet, with different glyphs corresponding to letters: this is because Bishop Diego de Landa, a sixteenth century priest with extensive experience with Maya texts (he burned thousands of them) said so and it took centuries for researchers to learn that Landa’s observations were close but not exactly right. Great steps were taken when the Maya and modern calendars were correlated (Joseph Goodman, Juan Martà ­Ãƒ ±ez Hernandez and J Eric S. Thompson, 1927) and when glyphs were identified as syllables, (Yuri Knozorov, 1958) and when â€Å"Emblem Glyphs,† or glyphs that represent a single city, were identified. Today, most of the known Maya glyphs have been deciphered, thanks to countless hours of diligent work by many researchers. The Maya Codices Pedro de Alvarado was sent by Hernà ¡n Cortà ©s in 1523 to conquer the Maya region: at the time, there were thousands of Maya books or codices which were still used and read by the descendants of the mighty civilization. Its one of the great cultural tragedies of history that nearly all of these books were burned by zealous priests during the colonial era. Today, only four badly battered Maya books remain (and the authenticity of one is sometimes questioned). The four remaining Maya codices are, of course, written in a hieroglyphic language and mostly deal with astronomy, the movements of Venus, religion, rituals, calendars and other information kept by the Maya priest class. Glyphs on Temples and Stelae The Maya were accomplished stonemasons and frequently carved glyphs onto their temples and buildings. They also erected â€Å"stelae,† large, stylized statues of their kings and rulers. Along the temples and on the stelae are found many glyphs which explain the significance of the kings, rulers or deeds depicted. The glyphs usually contain a date and a brief description, such as â€Å"penance of the king.† Names are often included, and particularly skilled artists (or workshops) would also add their stone â€Å"signature.† Understanding Maya Glyphs and Language For centuries, the meaning of the Maya writings, be the in stone on temples, painted onto pottery or drawn into one of the Maya codices, was lost to humanity. Diligent researchers, however, have deciphered nearly all of these writings and today understand pretty much every book or stone carving that is associated with the Maya. With the ability to read the glyphs has come a much greater understanding of Maya culture. For example, the first Mayanists believed the Maya to be a peaceful culture, dedicated to farming, astronomy, and religion. This image of the Maya as a peaceful people was destroyed when the stone carvings on temples and stelae were translated: it turns out the Maya were quite warlike, often raiding neighboring city-states for pillage, slaves, and victims to sacrifice to their Gods. Other translations helped shed light on different aspects of Maya culture. The Dresden Codex offers much information about Maya religion, rituals, calendars, and cosmology. The Madrid Codex has information prophecy as well as daily activities such as agriculture, hunting, weaving, etc. Translations of the glyphs on stelae reveal much about the Maya Kings and their lives and accomplishments. It seems every text translated sheds some new light on the mysteries of the ancient Maya civilization. Sources Arqueologà ­a Mexicana Edicià ³n Especial: Cà ³dices prehispà ¡nicas y coloniales tempranos. August, 2009. Gardner, Joseph L. (editor). Mysteries of the Ancient Americas. Readers Digest Association, 1986. McKillop, Heather. The Ancient Maya: New Perspectives. Reprint edition, W. W. Norton Company, July 17, 2006. Recinos, Adrian (translator). Popol Vuh: the Sacred Text of the Ancient Quichà © Maya. Norman: the University of Oklahoma Press, 1950.

A Description of Bleeding Kansas - 3703 Words

Unit 2 Dcush test review Study online at quizlet.com/_4x96e 1. 2. 3. 4. 5. 6. 7. 8. Bleeding Kansas A sequence of violent events involving abolitionists and pro-Slavery elements that took place in Kansas-Nebraska Territory. The dispute further strained the relations of the North and South, making civil war imminent. 10% Plan This was Lincoln s reconstruction plan for after the Civil War. Written in 1863, it proclaimed that a state could be reintegrated into the Union when 10% of its voters in the 1860 election pledged their allegiance to the U.S. and pledged to abide by emancipation, and then formally erect their state governments. This plan was very lenient to the South, would have meant†¦show more content†¦He opposed radical Republicans who passed Reconstruction Acts over his veto. The first U.S. president to be impeached, he survived the Senate removal by only one vote. He was a very weak president. 14. Spain ceded Florida to the United States and gave up its claims to the Oregon Territory Andersonville 13. 17. 18. 19. 20. 21. Daniel Webster Senator who, originally pro-North, supported the Compromise of 1850 and subsequently lost favor from his constituency, noted orator, constitutional lawyer, senator, secretary of state, and major spokesman for nationalism and the union in the 1830s, 1840s, and 1850s. 22. David Wilmot Democrats their philosophy war the stamp of Andrew Jackson, believing the federal government should be limited in power, except to a degree that it worked to eliminate social and economic arrangements that entrenched privilege and stifled equal opportunity. United States abolitionist who escaped from slavery and became an influential writer and lecturer in the North (1817-1895) Frederick Douglass one of the most prominent african american figures in the abolitionist movement. escaped from slavery in maryland. he was a great thinker and speaker. published his own antislavery newspaper called the north star and wrote an autobiography that was published in 1845. Ft. Sumter place in South Caroline where the first shots were fired in the Civil War; event thatShow MoreRelatedThe Union Into Civil War1549 Words   |  7 Pagesreveals a major breakup of the Union over slavery. Document F points out the Kansas-Nebraska Act of 1854, created by Stephen Douglas, which divided the newly gained Nebraska Territory into two states, Kansas and Nebraska, and allowed each state to determine, by popular sovereignty, if they would be slave or free. 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Effects of Rap Music on Crime free essay sample

Cultures of Crime, Cultures of Resistance Julian Tanner, university of Toronto Mark Gabriele, Dalhousie University Scot Worldly, university of Toronto This research compares representations of rap music with the self-reported criminal behavior and resistant attitudes of the musics core audience. Our database is a large sample of Toronto high school students (n = 3,393) from which we identify a group of listeners, whose combination of musical likes and dislikes distinguish them as rap universe.We then examine the relationship between their cultural preference for rap music and Involvement in a culture of crime and heir perceptions of social Injustice and Inequity. We find that the rap universe, also known as urban music enthusiasts, report significantly more delinquent behavior and stronger feelings of inequity and injustice than listeners with other musical tastes. However, we also find that the nature and strengths of those relationships vary according to the racial identity of diff erent groups within urban music enthusiasts. Black and white subgroups align themselves with resistance representations while Asians do not; whites and Asians report significant Involvement In crime and delinquency, while blacks do not. Finally, we discuss our findings in light of research on media effects and audience reception, youth subcultures and post-subcultures analysis, and the sociology of cultural consumption. Thinking About Rap The emergence and spectacular growth of rap Is probably the most Important development In popular music since the rise of rock roll In the late asses.Radio airplay, music video programming and sales figures are obvious testimonies to its popularity and commercial success. This was made particularly evident in October 2003 when, according to the recording industry bible Billboard magazine, all top 10 acts in the United States were rap or hip-hop artists;l and again in 2006, when the Academy award for Best Song went to Its Hard Out Here for a Pimp, a rap song by the group Hustle Flow. Such developments may also signal raps Increasing social acceptance and cultural legalization (Bandanna 2007).However, Its reputation and status in the musical field has, hitherto, been a controversia l one. Like new music before it Jazz, rock n roll), rap has been critically reviewed as a corrosive influence on young and impressionable listeners (Best 1990; Datum 1999; Tanner 2001; Sac and Kennedy 2002; Alexander 2003). Whether rap has been reviled as much as Jazz and rock n roll once were Is a moot point; rather more certain Is Its pre-eminent role as a problematic contemporary musical genre.Direct correspondence to Julian Tanner, Department of Social Science university of Toronto at Scarborough, 1265 Military Trail, Scarborough, Ontario;o, Canada, MIMIC IA. Telephone: (416) 287-7293. E- mail: Julian. [emailprotected] Ca. The University of North Carolina Press Social Forces 88(2) 693-722, December 2009 694 ; social Forces 88(2) how print Journalists wrote about rap and heavy metal in the asses and asses. While both are devalued genres (Roe 1995), she nevertheless contends that they are framed differently: the presumed harmful effects of heavy metal are limited to the listeners themselves, whereas rap is seen as more socially damaging (for a similar distinction, see Rose 1994). The lyrical content of the two genres is established as one source of this differential framing: rap lyrics are found to be more explicit and provocative (greater usage of hard swear words, for example) than heavy metal lyrics.The second factor involves assumptions made (by Journalists) about the racial imposition of audiences for heavy metal and rap the former believed to be white suburban youth, the latter urban black youth. According to Binder, rap invites more public concern and censorious complaint than heavy metal because of what was assumed to be its largely black fan base. At the same time, she identifies an important counter frame, one component of which elevates rap (but not heavy metal) to the statu s of an art form with serious political content. In both the mainstream press (I. E. The New York Times) and publications targeting a predominately black readership (I. . , Ebony and Jet), she finds rap lauded for the salutary lessons that it imparts to black youth regarding the realities of urban living; likewise, rap artists are applauded for their importance as role models and mentors to inner-city black youth. Thus, while rap has been framed negatively, as a contributor to an array of social problems, crime and delinquency in particular, it has also been celebrated and championed as an authentic expression of cultural resistance by underdogs against racial exploitation and disadvantage.How these differing representations of rap eight resonate with audience members was not part of Binders research mandate. 2 Furthermore, while she does acknowledge that Journalistic perceptions of the racial composition of the rap audience are not necessarily accurate that more white suburban youth, even in the asses and asses, might have been consuming the music than black inner -city youth this acknowledgment does not alter her enterprise or her argument.At this point in time, when the listening audience for rap music has both expanded and become increasingly diverse, our research concerns how young lack, white and Asian rap fans in Toronto, Canada relate to a musical form still viewed primarily in terms of its criminal and resistant meanings. Researching Rap Much of the early work on audiences preoccupied itself with investigating the harmful effects of media exposure, especially the effects of depictions of violence in movies and TV on real life criminal events.Results have generally been inconclusive, with considerable disagreement in the social science research community regarding the influence of the media on those watching the large or small screen (Curran 1990; Firebombed and Longhorns 1998; Freedman 2002; Sac and Kennedy 2002; Alexander 2003; Newman 2004; Savage 2004; Longhorns 2007). Listening to Rap ; 695 effects, although these too have proven difficult to verify. For example, in one high profile case in the asses, the heavy metal band Judas Priest was accused of producing recorded material (songs) that contained subliminal messaging that led to the suicides of two fans.This claim was not, however, legally validated because the judge hearing the case remained unconvinced about a causal linkage between the music and the self-destructive behavior of two individuals (Waller 1993). Strong arguments for the ill effects of media consumption rest on the assumption that audiences are easily and directly influenced by the media, with frequent analogies made to hypodermic syringes that inject messages into gullible and homogeneous audiences (Firebombed and Longhorns 1998; Alexander 2003; Longhorns 2007).In contesting this view of audience passivity, critics also propose that texts are open to more than one interpretation. Again, TV audiences have been studied more frequently than audiences for popular music, although research on the latter has illustrated how song lyrics are not necessarily construed the same way by adolescents and adults. Research conducted by Prisons and Rosenberg (1987) indicates that songs identified by adults as containing deviant content (references to sex, violence, alcohol and drug use, Satanism) were not similarly categorized by adolescents.Evidence that there are different ways of watching television or listening to recorded music has led to an alternative conception of audiences one more concerned with what audiences do with the media than what the media does to audiences. The development within communications research of the uses and gratifications model (McLain 1984) is one result, with TV once more the media form cost commonly investigated.Nonetheless, a few studies have documented how young people listen to popular music in order to satisfy needs for entertainment and relaxation (among other priorities), and utilize it as an accompaniment to other everyday activities, such as homework and household chores (Roe 1985; Prisons and Rosenberg 1987). More recent research has added identity construction as a need that popular music might fill for young listeners (Roe 1999; Graced 2001; Laughed 2006).One particular usage emphasized by British cultural Marxist associated with the now defunct Birmingham Centre for Contemporary Cultural Studies has focused attention on how active media audiences counter dominant cultural messages in their consumption of popular culture. In what has, by now, become a familiar story, a series of music-based, post-war youth cultures (Teddy Boys, Moods, Rockers, Skinheads, Punks) in the United Kingdom have been represented as symbolically resisting the dominant normative order (Hall and Jefferson 1976; Hebrides 1979).This argument has, however, relied on a reading of cultural texts and artifacts for its evidentially base, rather than observations of, or information from, subcultures participants themselves (Cohen 1980; Firth 1985; Tanner 2001; Bennett 2002; Alexander 2003). 696 ; social Forces 88(2) More recently, the utility of the term subculture for understanding young peoples collective involvements in music has been questioned.The focus of this criticism is, argue that, under conditions of post modernity, music audiences have fragmented, and young people are no longer participants in distinctive subcultures groups (Bennett Bibb; Megaton 2000). Instead of subcultures, they are now involved with neo tribes and scene s (I. E. , Bennett Bibb; Bennett and Kahn-Harris 2004; Hexagonally 2005; Longhorns 2007; Hoodwinks 2008). Post subcultures research has been much less inclined than the Birmingham era researchers to decode and decipher texts, and much more likely to engage in ethnographic studies of music and youth groups (Bennett 2002).However, while there has been occasional work on modes of (female) resistance in the teen scene (Lowe 2004) and riot girl scene (Sicily 2004), there has been no equivalent research on rap scenes and resistance. Examinations of audience receptions of rap are not numerous and have been of two main kinds: a few studies have explored how young people perceive and valuate the music, while others have studied the harmful effects of rap by trying to link consumption of the music with various negative consequences.An early study by Sahara (1992) finds rap to be more popular with black than white college students, and more popular among males than females. However, reasons for liking the music varied little by race, with both black and white audience members proportioning the bea t over the message. A more recent study by Sullivan (2003) reports few racial differences in liking the music, although black teenagers were more committed to the mere and more likely to view rap as life affirming (Berry 1994) than those from other racial backgrounds.In a small but important study conducted in California, Maharani and Connors (2003) investigated 41 black middle school students perceptions of violence and thoughts about rap music. In focus group sessions and personal interviews, informants revealed a strong liking for rap music, valuing the fact that it spoke to their everyday concerns about growing up in a poorly resourced community. They did not, however, like the way that rap music on occasion (MIS)represented the experiences of black people in the United States.They challenged the misogyny evident in some rap videos and rejected what they saw as the globalization of violence. Overall, their critical and nuanced engagement with rap music fitted poorly with depictions of media audiences as easily swayed by popular culture (Sac 2005). The search for the harmful effects of rap music has yielded no more definitive results than earlier quests for media effects. While some studies report evidence of increased violence, delinquency, substance use, and unsafe sexual activity resulting room young peoples exposure to rap music (Winning et al. 003; Chem. et al. 2006), other researchers have failed to find such a link or have exercised extreme caution when interpreting apparent links. One review of the literature, conducted in the asses, could find a total of only nine investigations all of them Listening to Rap ; 697 small-scale, none involving the general adolescent population and concluded that there was an even split between those that found some sort of an association between exposure to the music and various deviant or undesirable outcomes, and those that could find no connection at all.Moreover, in those studies where the whether or not they were observing a causal relationship, and if so, which came first, the music or the violent dispositions (Datum 1999). A more recent investigation conducted in Montreal is illustrative of such interpretative problems. While a preference for rap was found to predict deviant behavior among 348 Fricasseeing adolescents, causal ordering could not be established, nor an additional possibility ruled out: that other factors might be responsible for both the musical taste and the deviant behavior (Miranda and Class 2004).The notion that rap is or can be presented as cultural resistance the counter frame identified by Binder has become increasingly prominent in the rap literature over the past 20 years (Rose 1994; Kermis 2000; Keyes 2002; Quinn 2005). In his influential book, Why White Kids Love Hip Hop: Wants, Wiggeries, Wannabes, and the new Reality of Race in America, Kitting (2005) expounds at length on his emancipators view of raps history and development. Kitting sees hip-hop as a form of protest music, offering its listeners a message of resistance.He also makes the additional claim that the resistive appeal of hip-hop is not restricted to black youth. Indeed, as the title of his book suggests, he is particularly interested in the patronage of rap music by white youth, those young people who might be seen as the contemporary equivalents of Mailers White Negro or Keys Negro Wannabes. (Keyes 2002:250) In his view, the global diffusion of rap rests on the musics capacity for resonating with the experiences of the downtrodden and marginalia in a variety of cultural contexts.Quinn (2005) similarly explains the crossover appeal of gangs rap in the United States in terms of the common sensibilities and insecurities shared by post Forbids youth. She continues: many young whites, facing bleak labor market prospects, were also eager for stories about fast money and authentic belonging to ward off a creeping sense of blamelessness and dispossession. (Quinn 2005:85-86) Thus, raps appeal is as much about class as it is about race. Nor is the resistive view of rap restricted to the North American continent.At least one French study conducted in advance of the riots in the fall of 2005 has noted how French Rap has become the music of choice for young people of visible minority descent who have grown up in the suburban ghettos (Less Cities) of ajar cities. They have been routinely exposed to police harassment on the streets, subjected to prejudice and discrimination at school, and struggled to find decent housing and appropriate Jobs (Boucher 1999, cited in Miranda and Class 2004). The idea that popular music might serve as an important reference point for rebellious or resistive adolescents is not a new one.As we have already noted, this is how a British school of subcultures analysis once interpreted the cultural activity of working-class youth in the United Kingdom (Hall and Jefferson 1976; Hebrides 698 ; social Forces 88(2) 97 9). Some attempt has been made to understand rap fantod in similar terms. Bonnets (AAA) ethnographic study, set in Newcastle, reveals how one group of white rappers translate the racial politics of blacks into the language of class divisions in the United Kingdom. However, for the most part there has been limited application of this kind of analysis to young peoples involvement with rap music.Rap directed against exploitation and disadvantages at school, on the streets, or in the labor market, do so primarily without much input from the young people who make up its listening audience. Because they have not often been canvassed for their views about the music, we do not know to what degree they share in or identify with the message of resistance readily found in content analysis of the rap idiom (Martinez 1997; Nexus 1997; Kern-NSA 2000; Stephens and Wright 2000; Bennett 2001; Sullivan 2003; Kabuki 2005; Quinn 2005; Lena 2006).Thus contemporary rap scholarship follows British subcultures theory in gleaning evidence of resistance from the texts, not the aud ience. Resistance is sought, and found, in the words and music rather than in the activities and ideologies of subcultures or audience members. We can suggest, echoing Alexander (2003) earlier critique of British cultural studies, that the audience for rap music has been theorized rather more thoroughly than it has been investigated. The Present Study The present study is concerned with three key questions: First, is there a relationship between audiences for rap and representations of the music?Second, as compared to other listening audiences, are serious rap fans participants in cultures of crime and resistance? Third, if such a link is found, what are the sources of variation in their participation in these cultures of crime and resistance? The need to address these questions, as we see it, emerges from several limitations in the existing research on rap. These limitations are as follows: First, there is a significant disjuncture between dominant representations of the music as a source of social harms and evidence unambiguously supportive of this proposition.Second, the case for a resistant view of rap music is usually advanced, as we have already intimated, by examination of the designs and intentions of musical creators, both artists and producers, as well as music critics. We do not know whether or not re sistant assuages register and resonate with those who listen to the music. Third, we do not have an accurate gauging of the stereographic composition, particularly racial and ethnic, of the audience for rap music. Raps dominance of the youth market is widely understood as a crossover effect the original black audience now Joined by legions of white fans (Spiller 1996; Houseman 2003).However, purchasing habits the usual arbiter for claims about raps increasing popularity with white consumers may not be an entirely reliable measure of either raps popularity or racial and ethnic orations therein (Kermis 2000; Quinn 2005). The system devised by the recording industry to gauge record Listening to Rap ; 699 sales Nielsen Scandalous does not gather data on the race, or indeed any other personal characteristic, of purchasers. What it does do is categorize sales in terms of whether they were made in retail stores in high-income locations or in allowance locations.Record companies, Journalists or academics then choose to equate those high-income sales with white suburban youth, and low-income sales with inner-city identity of buyers (Kitting 2005). Moreover, it has been argued that sales figures under represent the taste preferences of the poor. (Quinn 2005:83) As Rose (1994) explains it, in the black community, particularly in impoverished neighborhoods, many more rap CDC are listened to than bought a single purchase being passed on from one fan to another. Similarly, homemade tapes and bootleg CDC are often produced and shared within local fan networks.The implications of this point are clear enough: t he appropriation of rap music by suburban white teens might not be as extensive as is commonly supposed. Finally, we do not know whether or how the AP audience relates to the dominant frame of the music as a catalyst for crime and delinquency or to the counter frame of the music as an articulator of social inequity. The mainstreaming of rap may have cost the genre its underground or counter- culture status as protest music, or made it less attractive to delinquent rebels.Rap also may play no part in crime or resistance subcultures because, under post modern conditions, young people have become increasingly eclectic and individualized in their musical tastes; the close relationship between musical tastes and lifestyles, implied by subcultures theory, no longer applies. On this formulation, therefore, we would not expect to find strong connections between a preference for rap music and subcultures of crime and subcultures of resistance. On the other hand, reasons for believing that rap music may be a basis for subcultures lifestyles, at least among black youth, are more compelling.At the time that we were conducting our research there was considerable debate, in the local media and among local politicians, about issues involving race and crime racial profiling and the desirability of collecting race-based crime statistics, for example. Contributing to this debate were findings from another study, confirming what black youths in Canada have always suspected, namely that they are much more likely to be arbitrarily stopped and searched by police officers than are members of other racial and ethnic groups even when their own self-reported deviant activity is statistically controlled for (Worldly and Tanner 2005). In addition, contemporaneous research on the media coverage of race and crime in Toronto newspapers carried out by Worldly (2002), found black people disproportionately portrayed in a narrow range of roles and activities (principally hose involving crime, sports and entertainment) than members of other racial and ethnic groups; and when featured in crime stories, depicted primarily as offenders. Capricious policing and media misrepresentation may therefore contribute to a sense of injustice among black youth, a sense of injustice that has them gravitating to rap as an emblem of cultural resistance. 00 ; social Forces 88(2) Commercial success and artistic validation has not diminished rap musics capacity to provoke moral panic. The music is still seen as threatening, dangerous and socially damaging by many political figures and established authority. Previous research suggests that negative media coverage of the cultural preferences and practices of adolescents often intensifies subcu ltures identifications (Cohen 1973; Fine and Galilean 1979; Thornton 1995). Rap based moral panics may therefore tighten and behaviors.The lack of attention paid to raps consumers renders these questions relatively open ones, the meaning of rap music still to be discovered. Methods Whereas most contemporary research on rap focuses on those who create the music artists and producers, and those who write about it, music critics we pose questions about raps audience. Further, while audience studies usually employ qualitative data-gathering techniques (for example, Morley 1980; Roadway 1984; Shivery 1992), we use the methods of survey research.We are more concerned with how audience members interact with the music than with the issue of cause and effect. We are interested in how music might be used as a resource in their everyday lives (Willis 1990; Adenoma 2000), how it might contribute to identity formation (Roe 1999) and, especially, how audiences might align themselves with (or distance themselves from) cultures of crime and resistance. Nonetheless, in our analyses, we read rap fantod as a dependent variable.While there is considerable academic and public debate about whether music produces or is a product of cultural activities, legal or otherwise, existing research has failed to provide a compelling or consistent rationale for any particular causal logic. As we have seen, the idea that exposure to rap music causes crime is not unequivocally supported in the research literature. Research on resistant youth cultures, by contrast, is much more likely to reverse the relationship and see musical style as a result of subcultures activity (Willis 1978; Hebrides 1979).Hebrides, for example, infers that punk rock in the United Kingdom was a cultural response to the subordination of existing working-class youth groups. Lying (1985) has countered that punk the musical genre existed before punk the subculture. In the absence of agreement about the direction of the relationship between musical taste and cultural practices, our decision to operational rap appreciation as a dependent variable is made more for pragmatic, heuristic reasons than unassailable theoretical ones. Our strategy is to focus on listening preferences rather than purchasing habits.By asking students to report on and evaluate the sic that they like, dislike and in what combinations, we gain a clearer and more detailed picture of where rap is situated in the consumption patterns of groups of students d ifferentiated by, among other factors, their racial identity. Our goals are to: (1 . Distinguish students with a serious, exclusive taste for rap from more casual fans; (2. To calculate the Listening to Rap ; 701 size and racial makeup of rap musics prime audience; and (3. To map relationships between that core audience and resistant and delinquent repertoires.Few surveys of general populations of young people have established any kind of connection teens rap and deviancy, net of other factors. We contend that raps reputation as a corrosive force is validated by that linkage, and that without it that representation becomes more contestable. A similar logic applies to the relationship between rap and social protest. The claim that the music carries a serious message that it is an link between the music and a collective sense of inequity, and weakened by its absence. Data The data for this research are drawn from the Toronto Youth Crime and Factorization Study, a stratified cross-sectional survey of Toronto adolescents carried out from 1998 wrought 2000 (Tanner and Worldly 2002). Self-administered questionnaires were completed by 3,393 Toronto students ages 13-18, from 30 Metropolitan Toronto high schools in both the Catholic (10 schools) and larger Public School (20 schools) systems. Within each school, one class from each grade, 9 (ages 13 and 14) through 13 (ages 18 and 19), was randomly selected. The overall response rate was 83 percent (83. 4% for Catholic vs.. 3. 1% for public schools), and is a conservative estimate as it was based on the number of students enrolled in each class rather than those present the day of the study. Informed consent was given for participation in the study. Surveys were completed during class under the supervision of a member of the research team (and without a teacher present) and took approximately 45 minutes to complete. The survey asked young people about a broad range of topics, including family life, educational experiences, leisure activities, delinquent involvement, factorization experiences and so forth.The survey instrument was designed by members of the research team and evolved out of a series of 11 focus groups with adolescents in Toronto schools. The completed survey was reviewed by a rise of institutional ethics boards, including those at the University of Toronto, the Toronto Public School Board and the Catholic School Board. As the survey does not include high school dropouts, institutionalized y outh and street youth, it is a school sample and thus any generalizations speak only to the experiences of school-based adolescents. Our sample is ethnically and racially diverse and is representative of the Metropolitan Toronto high school population. Measures Musical Preferences Guided by Borides work (1984) and Peterson recasting of musical taste in terms of omnivorous and omnivorous patterns (1992), we focus our attention on 702 ; social Forces 88(2) how musical choices are combined: if young people liked (or disliked) one style or genre, what other styles or genres did they like or dislike (what Van Kick 2001 has referred to as combinatorial logic).Indicators of musical taste were derived from the question: How much do you like each of the following types of music? Respondents were then asked to evaluate each of 1 1 contemporary musical genres: Soul, Rhythm and Blues, Jazz, Hip/Hop and Rap, Reggae and Dance Hall, Classical and Opera, Country and New Country, Pop, Alternative (including Punk, Grunge), Heavy Metal (Hard Rock), Ethnic Music (traditional/ cultural), and Techno (Dance).Musical tastes were assesse d on a five-point Liker scale that addresses whether respondents Unlike previous research that dichotomize musical tastes, focusing exclusively on the musical genres most liked (Peterson and Kern 1996) or disliked (Bryon 1996), we target the level of appreciation (or lack of appreciation) each respondent has for a particular musical genre. For space considerations a detailed overview of the clustering procedure has been omitted but is available upon request.We employed a woo-stage cluster analysis (hierarchical agglomerative and k-means) procedure to derive groupings of adolescent musical tastes. Cluster analysis assembles respondents based on their common responses to questions/ measures, and is useful for identifying relatively homogeneous groups, groups that are highly internally homogeneous (members are similar to one another) and highly externally heterogeneous (members are not like members of other clusters) (Aldermen and Falsified 1984). Employing cluster analysis techniques, we uncovered seven musical taste clusters. Table 1 outlines the results of our cluster analysis. The largest group n = 616) was the Club Kids, composed of those who report an above average enjoyment of techno and dance, mainstream pop, and hip-hop and rap. Next were the Urban Music Enthusiasts (n = 605). Members of this group combined a strong appreciation of Rap and Hip Hop with considerable disinterest in most other musical styles. These adolescents are the primary focus of the current study.Then there was a fairly large (n = 482) group of youth, the New Traditionalists, who have an above average liking of classical music and opera, Jazz, soul, R, country music and mainstream pop. The fourth largest (n = 425) group, the Hard Rockers, comprised a sizeable number of heavy metal and hard rock, alternative, punk and grunge fans. Then there was a surprisingly large (n = 384) group of adolescents, the Musical Abstainers, who are only marginally interested in any kind of music.The group we call the Ethnic Secularists (n = 380) were so described because of a dominant preference for a quite wide range of ethnic music, as well as a greater than average liking for soul and R, Jazz, classical music and opera, country music techno and dance, and mainstream pop. The smallest group (n = 338), the Musical Omnivores, was composed of those who have an above average appreciation for all 11 musical unrest.