Rock N Roll And Technological Advancements Media Essay

Rock N Roll And Technological Advancements Media Essay Just in the middle of the 20th century, in the1950s, the world was introduced to a brand new trend in music. That was rock N roll. Rock N roll seriously changed the concept and image of popular music. This new trend originated from rhythm and blues of 1940s together with jazz, swing, boogie woogie, blues, gospel, western, country and traditional country music. With so many old genres being emerged and mixed, there was also a need for a new sound, for a new power of music reaching as many ears and hearts as possible. Thus, technological advancements were just at the service of rock n roll. One of such crucial advancements was the development of stereophonic sound: at least two separate audio channels were used to transfer sound through two or more loudspeakers. This technology provided the illusion performance heard from different directions and audible perspective. In this way, reproduced sound became closer to natural hearing. The principle of stereo typing looks like putting two microphones in specially defined locations. Both microphones are recording at the same time, synchronously. In fact, stereo sound was invented already in 1881 when the visitors of Paris Electrical Exhibition could here the performance from the stage of Paris Opera due to the 2-channel audio system presented by Clement Ader. The exhibitors were given two telephonic receivers, independent for each ear and could experience the presence effect. In 1931 multinational music company, the EMI Group and specifically Alan Blumlein special two-channel system and in 1933 patented stereophonic recording technology cutting a stereo disc carrying two channels by means of two walls of the groove put t right angles. But only in 25 years this method was fated to become a standard one for stereo phonographs. To make stereo available for public, Emory Cook introduced a binaural recordings for commercial reproduction as the interest to such recording and demand for proper equipment was growing. By autumn of 1957 stereo recording became really widespread through the United States. It gave vast opportunities for experiments with sound, so the musicians could not help using them actively. Consequently, both African American Blues and rock n roll music were highly varied after stereo was introduced. By that time, the same stations broadcasted both mono and stereo sound sources. As Deanna R. Adams states, stereo recording of contemporary music w as becoming more common, providing yet another reason that made FM more attractive and by different reasons high-fidelity stereo transmission was becoming more and more popular (Adams 102). Further, there were crucial shifts in the quality of music delivery. Rock n roll opened the new era with stereo vinyl becoming the prevailing media for all the recorded music. Meanwhile, the Germans invented magnetic type and this was a new word to high fidelity recording with synchronized multichannel method. Hereby, tape recorders came from technological experiments conducted in Germany of the World War II times. In the United States, in turn, a high-quality tape recorder was installed by Ampex Corporation. Plastic tape was perfected by Minnesota Mining and Manufacturing (3M), and better sound was also reached through the invention of condenser microphones (Biagi 92). Recording was invariantly important because, certainly, not everyone could attend stage concerts or shows. Magnetic tape made the recordings more long-term in use and easier to spread; so, more and more people could here the same music in different corners of the country and were more and more stimulated to buy tapes and tape recorders. Thus, it was a continuous process of scaling: Its interesting to note that with the growth of popularity in music spread, brought about largely by the hysteria surrounding Rock n Roll, so the technology to support music picked up the pace too. It means that it was a reciprocal exchange of benefits. Technologies provided new opportunities for sound recording and distribution as well as quality of sound, while better sound influencing the rating of rock n roll resulted in boom in production of those technologies. This is how music started the way of becoming a kind of business. Still, rock n roll was not as commercial as it may seem; on the contrary, musicians were really working hard in search of something new and fresh. Among other techniques, they directed their attention to various electronic effects. Electric guitar was one more gripping innovation of those days; Charlie Christian was first to record the instrument as a virtuoso, thus driving the whole nation mad. Electric guitar made the world of sounds richer, and what is more, it provided much louder sound so that more people could here it in the distance. Musicians exploited various amazing effects like distortion, fuzz and overdrive, all noisy and buzzy so much that even called doubts on whether it still was music. Guitar extortion was not accepted affirmatively; the ear was to get adjusted to it. But that was an era of sensory explosion; young people were actively experimenting with sensory-enhancing drugs, so that music was accepted as being right on the wave. Distortion in guitar was produced by transistor and diode clipping. While at first distortion was natural because amplifiers were low-fidelity and primitive, further, when rock was conquering the world, inventive musicians learnt to turn weaknesses of the instruments into virtues. Thus, intentional distortion was applied by poking strings or speakers with pencils, screwdrivers and even blazes. Shocking sounds, often reminding some voices like wolf howling or alarm, provided a special charm for rock music. Distortion gained mad popularity after Dave Davies (The Kinks) recorded the single You Really Got Me through a small amp with speaker cone cut with a razor blade. Later distortion became used on purpose and became commercial and contributing essentially to the popularity of rock n roll music. Finally, one more influential advancement to contribute to the history of rock culture was television. In 1950s it experienced essential growth and was revolutionized by the presentation of color broadcasts. Color television without any doubt brought a huge gamma of new impressions to the viewers, and by 1955 half of the households in the United States had applied a TV set. Before creating something original, television air was mostly filled by programs modified from radio shows. Consequently, music shows were also among the most called-for, and rock star producers actively used this opportunity. Now the fans could not only here their favorite bands and singers in records, but they could also watch them with their own eyes. Television broadcasted concerts and gradually video clips were rising; musicians were giving interviews and millions of fans throughout the country could stick their noses to the screens and enjoy show programs as well as an imitation of personal communication wit h stars. It is obvious that color television provided much more realistic image. Television industry, on the one hand, became a home for rock to live in and to address from, and on the other hand it soon provided the songs with a new context. Television was a solid and inherent part of popular culture, while rock, by its mission, was to oppose to popular culture and found a new shooting mark for its sharp sting. Television together with radio made rock n roll a groundbreaking body in mass communication. Since the rise of color television, it was no more music only. Now it became a new media of manipulating peoples conscience and tastes. TV presented a new method for encoding and decoding information, developing absolutely new system of motivations and preferences. Inexperienced audience was ready to believe everything coming from the screens of their home TV sets, and their unprecedented interest gave birth to demanded activity (Miller, ed. 36). The more active they were, the more p opular were those who managed to get to the back side of the set. Rock became the music of performance, not only listening. All in all, there was a great number of factors defining and enhancing the fate of rock n roll culture. Apart from some inner reasons, advancements n technologies were among the most shifting stones that assisted rock and roll to spread throughout the world. All points of the research considered, it is easy to make a conclusion that the effect of technology progress on rock culture was truly overwhelming and did revolutionize the way we produce, distribute and consume music.

Intrusion Detection Systems Essay

A user with full permissions and who misuse his powers. Clandestine user: A user who acts as a supervisor and tries to use his privileges so as to avoid being captured. [edit] Types of intrusion detection systems For the purpose of dealing with IT, there are two main types of IDS: Network intrusion detection system (NIDS) It is an independent platform that identifies intrusions by examining network traffic and monitors multiple hosts. Network intrusion detection systems gain access to network traffic by connecting to a network hub, network switch configured for port mirroring, or network tap. In a NIDS, sensors are located at choke points in the network to be monitored, often in the demilitarized zone (DMZ) or at network borders. Sensors captures all network traffic and analyzes the content of individual packets for malicious traffic. An example of a NIDS is Snort. Host-based intrusion detection system (HIDS) It consists of an agent on a host that identifies intrusions by analyzing system calls, application logs, file-system modifications (binaries, password files, capability databases, Access control lists, etc. ) and other host activities and state. In a HIDS, sensors usually consist of a software agent. Some application-based IDS are also part of this category. An example of a HIDS is OSSEC. Intrusion detection systems can also be system-specific using custom tools and honeypots. In the case of physical building security, IDS is defined as an alarm system designed to detect unauthorized entry. [edit] Passive and/or reactive systems In a passive system, the intrusion detection system (IDS) sensor detects a potential security breach, logs the information and signals an alert on the console and or owner. In a reactive system, also known as an intrusion prevention system (IPS), the IPS auto-responds to the suspicious activity by resetting the connection or by reprogramming the firewall to block network traffic from the suspected malicious source. The term IDPS is commonly used where this can happen automatically or at the command of an operator; systems that both â€Å"detect† (alert) and/or â€Å"prevent. † [edit] Comparison with firewalls Though they both relate to network security, an intrusion detection system (IDS) differs from a firewall in that a firewall looks outwardly for intrusions in order to stop them from happening.

Farewell My Concubine: Self-Identification in Context

Directed by Chen Kaige, a highly acclaimed fifth-generation Chinese film director, Farewell My Concubine has received many international film awards and nominations; among them are the Best Foreign Film and the Palme d’Or at the Cannes Film Festival in 1993. In the film, Cheng Dieyi, a Peking Opera actor playing the leading female characters, becomes obsessed with his role as the concubine of the King of Chu and blurs his stage role with the real life he leads. The circumstances in which one grows up in are critical factors in shaping his or her sense of self-identity.This paper attempts to explore the gender identity troubles that Cheng Dieyi has undergone in his self-identification and sexuality in the context of the environment of his upbringing. The story begins when Cheng’s mother takes her son to Master Guan and begs him to take Dieyi (whose nickname was Douzi at the time) into his opera troupe. In order to be a performer in the Peking opera, one must not have any features that are abnormal or that may frighten the audience. Unfortunately, Douzi fails this test because he was born with a sixth finger on one of his hands.His mother was desperate to sell him off and thus cuts off her son’s finger with a cleaver. At this point, Master Guan agrees to accept Douzi as a disciple in his opera troupe. Master Guan notices that Douzi’s â€Å"features were surprisingly delicate; he was almost pretty† , which are perfect for playing female roles. Thus, Douzi is chosen as a dan , or the female lead of the opera troupe. He will play the female roles alongside his best friend, Xiaolou who was chosen to be his sheng, or male lead. Starting from even the earliest scenes of the film, Dieyi’s self-identity has been slowly ripped away from him.Dieyi’s abrupt transition from living in a brothel as a prostitute’s son to becoming a well-disciplined opera singer in the troupe is marked by his mother’s brutal amputati on of his sixth finger. This symbolic castration implies that one must abandon his inherited past in order to seek a new social identity. â€Å"The root of biological determinism has been severed and the subject freed to pursue a place in a symbolic world of gender fluidity† Dieyi’s finger is not the only thing that has been emasculated, but his self-identity has been castrated as well. The film hints at this in the beginning by including the character of Master Ni, a unuch who was physically castrated, losing his male reproductive organs. While Master Ni was physically castrated of his male reproductive organs, Dieyi becomes mentally and emotionally castrated through his harsh upbringing in the opera troupe. Whereas the symbolic castration signifies the possibility of Dieyi’s transition from a biological male to a stereotypical female, the harsh corporal punishment he receives during his training in the opera troupe enforces that transition. Corporal punishment is often used in schools to reinforce the relation between master and student.It instills in students a sense of the power of the social hierarchy and their place within it. Dieyi’s designated â€Å"place† on that hierarchy, sadly, requires that he learns to abandon his male identity. While corporal punishment remakes Dieyi mentally, costume and make up remakes Dieyi physically. As he performs in the long dresses and fancy headdresses, he sees himself capable of reflecting signs of beauty and femininity. He is forced to sing â€Å"I am by nature a girl, not a boy† , and his full transition to femininity went into full motion the moment he mastered this line and accepted it as the truth, that he is by nature a girl, not a boy.Like most of the male dans in the Peking Opera theatre, Cheng Dieyi must be able to create the illusion of a real female that appeals to the male audience, but Cheng’s femininity is apparent not only on stage, but off stage as well. Clearly, Cheng has fully adapted his female roles into his life off stage. He speaks in a low soft voice, his movements are graceful, maintains the delicate hand pose of the Lan huazhi (the artificial feminine hand pose of the male dan), and wears a seductive look that would often be considered a feminine gaze.Most male dans merely imitate these feminine acts on stage, but Cheng Dieyi gradually transforms these â€Å"acts† into an unconscious habit of his. â€Å"The repetition of the stylized female acts embedded in female impersonation and the rigid and violent regulation of these acts eventually bring about Cheng Dieyi’s unconscious identification with Yuji, concubine of the Chu King, constructing in him a feminine sexuality and identity. † Opera performers at the time were expected to play their stage roles for ife. Dieyi’s most notable performance is an epic opera named Farewell My Concubine; it tells the story of the King of Chu (Xiang Yu) and his fa ithful concubine Yuji. Xiang Yu knows that he has lost to his enemy and drinks with Yuji on the last night. Yuji performs a sword dance for him and then cuts her own throat with his sword to express her faithfulness to him. As Dieyi continues to play the role of Yuji into this professional career, he begins to blur the life of Yuji’s character and his own.This becomes very obvious when Dieyi begins to show signs of affection towards his stage partner, Xiaolou, who plays the King of Chu. In multiple times throughout the movie, Dieyi can be seen looking at Xiaolou with a tender, almost romantic gaze and is especially gentle when he helps Xiaolou apply makeup and dress in costume. His romantic feelings for his â€Å"stage brother† are translucent to the audience as he is overcome by jealousy at the news that Xiaolou was getting married to Juxian. He believes that Juxian is robbing him of what was rightfully his.As in the opera when Yu Ji and Xiang Yu swear their love to e ach other, what Dieyi sees is actually he and his stage brother declaring their loyalty to one another. While Cheng Dieyi wholly embodies the female roles he impersonates, the Peking opera stage is essentially the world in which he bases his identity on. As he enters his professional career and makes a name for himself, he thinks that he will always be able to hide behind his feminine charms, and that art will always transcend any situation.For a while, he is proven right. On one occasion, he sings for a Japanese official to help Xiaolou out of jail; in another, he sings for a Chinese official to bail himself out of jail. Duan Xiaolou reminds Dieyi again and again that life is not the stage and he must learn to adjust to the values of the changing times. The film covers a story that spans across 50 years of Chinese history: the rise and fall of the Nationalist Party, the Sino-Japanese War, the rise of the Communist Party, and the Cultural Revolution.As the nation goes through a turb ulent historical period, Cheng simply views it as a backdrop that would never affect his performances. He was never concerned about any of the political upheavals that occurred or the change in regimes. He felt that as long as his art is being appreciated, it does not matter who the political leaders are. When he was put on trial for being a traitor when the Communist Party was in power, he exclaims, â€Å"If the Japanese were still here, Peking Opera would have spread into Japan already,† with no regard to the consequences.The art of Peking opera has always been Cheng’s way of escaping reality, and it is this illusion that he identifies with. However, when the Cultural Revolution started in 1966, the identity he has found for himself has been robbed from him once again. The Cultural Revolution is one that advocates extreme reality, and thus traditional art becomes a target of exploitation for distracting people from reality. When Dieyi and Xiaolou are taken out onto t he streets to be reprimanded, his previous illusion that he and Xiaolou would never betray one another, just as Yu Ji and Xiang Yu would never do so, is shattered.Under the humiliation and physical abuse of the Red Guards, Xiaolou calls Dieyi a traitor to the Chinese and a homosexual. Cheng and Duan then turn on each other and expose incriminating details about each other’s past to the Red Guards. This political movement is in a sense, a rude awakening for Cheng. For the first time, it forces him to abandon the identity that he forged for himself on the opera stage, and accept that he lives in a world where loyalty is not always indestructible. It is because of this revolution that causes Dieyi’s blurred lines between opera and reality to slowly reappear.These lines, however, did not have a lasting effect. When Cheng Dieyi and Duan Xiaolou reunite on the stage many years after the Cultural Revolution, they make their final Farewell My Concubine performance. At the last scene, Dieyi, playing Yuji, takes the sword and slits his throat. Dieyi wanted so desperately to be Yuji his entire life, and he finally fulfilled that wish, or so he thinks, by boldly committing suicide just as Yuji has done so: for his love, and in a dramatic manner, like a stage opera should be.Cheng Dieyi had grown up with violence and abuse, in a society with constant political turmoil and turbulent changes. As a boy who was already an introvert to begin with, the unsettling changes that revolved around him became too overwhelming. He had no choice but to retreat into a world that he knows best: the opera stage. Though the opera stage is but a fictional world, it is the only place in which he is always the hero(ine).Works Cited Cui, Shuqin. â€Å"Engendering Identity: Female Impersonation in Farewell My Concubine . From Poetic Realm to Fictional World: Chinese Theory of Fictional Ontology (1999) Farewell My Concubine. Dir. Chen Kaige. 1993. DVD. Miramax Films, 1999. Goldstein , Joshua (1999). â€Å"Mei Lanfang and the Nationalization of Peking Opera, 1912–1930† East Asian Cultures Critique 7 (2): 377–420. He, Chengzhou. â€Å"Gaze, Performativity and Gender Trouble in Farewell My Concubine. † Nanjing University (2004): n. pag. Web. Poquette, Ryan D. , Critical Essay on Farewell My Concubine, in Novels for Students, Gale, 2004.

Persuasive Essay About My Favorite Movie - 754 Words

For as long as I can remember the Adventures of the Wilderness Family has been my favorite movie. I was fascinated by how close to nature Pat, Skip, Jenny, and Toby were and particularly how close to wildlife they were. Every time I watched that movie I was just in awe of how beautiful it was and how they could sustain themselves and persevere through anything including multiple animal attacks. When I was a kid I always imagined running free in a field filled with flowers and being so close to nature and feeling free to explore my own little world. I have watched this movie countless times and have purposely never examined any faults the movie might have because I enjoyed it exactly the way it was. I never looked at it and actually saw†¦show more content†¦Whenever a character got attacked they seemed to take it really lightly, when realistically that is life-threatening. Childhood me really appreciated this movie for the kind of life I hoped to live when I got older. As a kid I would spend a lot of time by the pond outside my dad’s house and exploring the woods and backyard with my brothers and my Dad and watching this movie made me look toward the possibility of one day living a life that ultimately felt free from my parents’ issues and social conflicts and allowed me to find the heart and soul of who I am and depend on myself as I felt in a way I always had. As a kid I felt like the odd duck out sometimes and felt trapped between my parents as I still do today, so moving to a place like Gunnison National Forest seemed like the ultimate sense of freedom to me. I wasn’t looking for a place where I felt like I was free from all of the issues I had to deal with growing up and I could thrive as an individual without having to worry about having the coolest new things that my elementary peers had before it was uncool or eventually about having the latest Apple products or designer handbags. 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