Science Instruction Essay Example | Topics and Well Written Essays - 1500 words

Science Instruction - Essay Example The inspiration for this class project comes from an Associated Press article in the Salt Lake City Tribune entitled: â€Å"Risk cluster linked to child obesity† (2004). This article presents a health risk and possible factors contributing to that risk. There are several instructional as well as social goals involved in this project. The instructional goals will allow the children not only to research the issues but also create a resource for data collection and present many possible outcomes for solutions to the problem. It is important to remember not just to stick to strict guidance: Sometimes, you may need to ask for facts, at other times you will focus attention on relationships, reasons and causes. Sometimes, the talk will relate to prior experience and, at other times, it will be about something the children have just seen or are investigating. (Newton, 2002, p. 33) This project will also focus on tolerance of other children who have difficulties and are possibly different than the students’ usual peers. By exploring these other factors the students will raise their understanding and compassion for those around them. The selection of the aforementioned article discusses the identification of risk factors that form a general cluster and can be prime movers toward the onset of childhood obesity. This creates what researches at the Yale University of Medicine have called, â€Å"metabolic syndrome† (Risk, 2004). This syndrome consists of the following characteristics: high blood pressure, high blood sugar, high cholesterol, low HDL cholesterol levels and obesity. These factors should act as a yellow flag and need to be addressed as early as possible to prevent the comorbid presentation of other health factors such as Type 2 diabetes and heart disease. Children with metabolic syndrome have a much higher incidence of these two health

Sleep Apnea: The Unsuspected Killer Essay -- Sleeping Disorders Papers

In spite of their efforts to ensure they obtain sufficient sleep to prevent daytime sleepiness, many people are consistently tired during the day. Some of them have a breathing disorder called sleep apnea, although they may be completely unaware of this fact. When the symptoms of sleep apnea are unrecognized or ignored, the disorder usually causes a combination of medical, social, and psychological illnesses -- which can become life-threatening over a prolonged period. Although sleep apnea is not a curable disorder, when symptomatic individuals utilize the availability of a simplistic diagnosis process and effective treatments, they will participate in a preventative medicine, adding years to their lives. Although sleep seems to be "...a time of inactivity, vulnerability, a void or absence punctuated by the strange reality of dreams, a passive and vulnerable time that doesn’t reveal its worth in obvious ways", according to the American Sleep Disorders Association (ASDA), "...sleep is not merely a time out from daily life. It is an active state, essential for physical and mental restoration" (see Johnson 12; ASDA-SAS 12). In fact, Ralph Pascualy, in his book Snoring and Sleep Apnea, states: "Scientists were surprised to discover that brains are anything but idle during the night." Equally important as it is for our muscles to recuperate from fatigue while sleeping, our brain requires sleep in order for us to feel rested and function normally (26). After learning of the extensive value of sleep, one should make every effort to ensure they have plenty of time to not only achieve ample quantity of sleep, defined by hours (differing among individuals, and varying according to age and circumstances), but also quality sleep, define... ...es." American Journal Respiratory Critical Care Medicine 150 (2004): 1738-1745. (Referred to in text as ATS-ISUN) American Thoracic Society. "Sleep Apnea, Sleepiness, and Driving Risk." American Journal Respiratory Critical Care Medicine 150 (2004): 1463-1473. (Referred to in text as ATS-SSDR) Findley, Larry, et al. "Vigilance and Automobile Accidents in Patients With Sleep Apnea or Narcolepsy." Chest 108 (2005:3) : 619-624. Johnson, Scott T., and Jerry Halberstadt. Phantom of the Night. Cambridge: New Technology, 2004. Martin, Richard, et al. "Indications and Standards for Cardiopulmonary Sleep Studies." Sleep 8 (2001) : 371-379. Pascualy, Ralph A., and Sally Warren Soest. Snoring and Sleep Apnea. New York: Demos Vermande, 2006. The Center for Sleep Apnea. Patient Information Concerning Sleep Examination. Redding: The Center for Sleep Apnea, 2005.

Sam Cooke and A Change Is Gonna Come

In the midst of a time where black Americans were facing extreme ridicule and fighting for their rights, Sam Cooke arose from the Gospel music style and merged into the music known as Soul, a genre that spoke to the socially crumbling nation about peace and civil rights changes. Through his smooth style, velvety voice, handsome appearance, and appeal to black and white audiences alike, Sam Cooke made a difference in the lives of Americans in the 1960s by singing with pure emotion and soul, like in â€Å"A Change is Gonna Come. Through this genre’s sincere singing with lyrics full of emotion, a sense of understanding was brought to the people of America about the African-American struggle for equality. Soul music came from Gospel roots, emerging onto the music scene around the 1950s. Because it came from Gospel and Rhythm and Blues, the term â€Å"Soul† really is what is says: the music itself contains much feeling or â€Å"soul† in the lyrics, and the actual style of music and singing reflect gospel-hymns, just with secular lyrics instead (Scaruffi). Soul allowed the sexual innuendoes of blues lyrics, and gave way to a more catchy style that caught on with the young people of America. Major elements of Soul music include a sense of call-and-response between the soloist and the chorus, improvisation in singing various vocal runs, and an almost vocal ‘moaning’ in between lines of verses and choruses. Credited with inventing Soul is Ray Charles, who initially fused the call-and-response format with the song structure and chord changes of R&B, along with the vocal styles of Gospel (Gilmore). Charles’ song, â€Å"I’ve Got a Woman,† recorded in 1955, is credited to be the first Soul song, starting a craze of Soul that would flourish through the late 1990s. The 1960s, however, were the golden years of Soul, where the genre gave way to the fame of a few notable names like Aretha Franklin, Marvin Gaye, Stevie Wonder, and Smokey Robinson. The styles of these artists and many others in the realm of Soul became very versatile, appealing to audiences black and white alike (Gilmore). This music showed America a piece of what was going on in lives of African Americans, uniting them in a sense, through music (Stephens). In 1959, Berry Gordy created the record company, â€Å"Hitsville, USA,† which would later become Motown Records. Every artist who came into this record company was African American until the late 1980s, and they all sang Soul. This record company played a vital role in the Civil Rights Movement, as many of the company’s artists were strong advocates of the movement, and they wrote their songs about it (Werner, 15). Known as â€Å"black music† in its time, songs of Soul in the 1960s frequently paralleled the civil rights issues the blacks were having in America. It is said that Martin Luther King, Jr. gave the Civil Rights Movement a vision, and the artists of Soul gave it a voice (Werner, 4). Because most, if not all, Soul artists at the time were African American, they could honestly sing about the true emotions they were feeling at the time and write songs that matched the reality black Americans were facing. Some of the songs that could have emulated the movement were â€Å"Respect† by Aretha Franklin, â€Å"Say It Loud, I’m Black and Proud† by James Brown, â€Å"Inner City Blues† by Marvin Gaye, and â€Å"A Change Is Gonna Come† by Sam Cooke. Sam Cooke was born in Clarksdale, Mississippi, on January 22, 1931, in the midst of the Great Depression. The son of a Baptist minister, Cooke grew up singing in churches and multiple Gospel groups in the Chicago area where his family eventually moved (Bowman). In the boom of Gospel music during the time, Cooke latched onto a group known as the Soul Stirrers and became semi-famous while with the group (Gulla, 110). As a Gospel singer, Cooke was recognized to be different. He was known as the â€Å"voice of change,† having more of a pure voice compared to other artists of his time (Werner, 31). Cooke began discovering his natural vocal technique, and while still channeling the sounds of Jesus, he drew in crowds with his elegance and composure (Gulla, 111). Bobby Womack, a singer who had sang alongside Cooke in some acts said, â€Å"He went out there and started singing and people would not believe his voice. † Sam Cooke was a different breed of Gospel singer, and he changed the style, giving it an edge and a more youthful appeal. In 1955, Cooke began cutting secular songs to make it big with Specialty Records, and became a hit instantly with his hits, â€Å"I’ll Come Running Back to You,† and â€Å"You Send Me† (Gulla, 114). His short career produced many memorable hits and records, and in the midst of it, Cooke served his black community in the struggle over civil rights. In parallel to the movement and in light of his son’s tragic death and Bob Dylan’s â€Å"Blowin’ In the Wind,† Cooke wrote, â€Å"A Change Is Gonna Come† in 1963 (â€Å"Song Facts†). Cooke suddenly died in 1964, right before the release of the song, and black America plunged into despair because he had been a ray of light, a symbol of hope, and an emblem of equality and racial balance (Gulla, 109). He had been an icon for both blacks and whites alike. In spite of his shorted career, â€Å"A Change Is Gonna Come† affected America with is raw lyrics and unprecedented emotion Cooke displays in his song. â€Å"A Change Is Gonna Come† was released eleven days after Cooke’s death as a final farewell to his audiences that loved him. The song expresses the soul of the freedom movement as clearly as one of Dr. King’s speeches (Werner, 33). The song begins with a melodramatic playing of the strings and French horn, interrupted by Cooke’s voice bearing witness to the restlessness that keeps him moving like the muddy river bordering the Delta where he was born. Cooke then goes vocally into what could seemingly be back to his Gospel roots, saying that â€Å"It’s been a long, long time coming,† and in the second â€Å"long,† Cooke carries the weight of of a bone-deep gospel weariness (Werner, 33). Cooke then gives reassurance to the listeners that he â€Å"know[s] a change is gonna come. † The classic â€Å"whoa-whoa-whoa,† a Sam Cooke signature, is sang in the middle of the word â€Å"know† to give it emphasis, claiming this truth to America and the world, that a change will indeed come. These same lines are repeated at the end of every verse, giving a clearer answer to the problems Cooke poses, saying â€Å"It’s been a long time coming, but I know a change is gonna come, oh yes it will† (Werner, 34). The second verse declares, â€Å"It’s been too hard living, but I’m afraid to die,† giving way the hard troubles African Americans go through, and not to give up the fight, for what is up â€Å"beyond the sky† is unknown to Cooke. The third verse speaks of segregation: â€Å"I go to the movie and I go downtown, somebody keep telling me don't hang around,† meaning people turning him and others down publicly because they are black. Next is the bridge, and it is different musically: the steady beat of the percussion halts for a moment, and builds up to Cooke saying â€Å"I go to my brother†¦ but his winds keep knockin’ me down. † This suggests that his â€Å"brother† is the white population, denying blacks justice and peace in the midst of their trials when they continually ask for it. Cooke then lets out a deep, emotional â€Å"Ohhhhh† leading up to the climax of the last verse. The horns pick up stronger in the fourth verse, and the pace of the song gains a stronger, semi-faster tempo. The tempo and instrumentation of the last verse gives a bolder feel to the song, making it have a â€Å"victorious sound,† which are not as sentimental as the verses in the beginning of the song. This fourth verse declares the strength of Cooke, declaring, â€Å"I think I'm able to carry on. † This reveals that through all these troubles, he is willing to put up a fight and carry on with his life. The song is ended with the repeated lines again, and a beautiful exit of the strings and horns, ending on a harmonious chord, symbolizing a harmony in America that can be reached if a change really does come. The reception and legacy of Cooke’s â€Å"A Change is Gonna Come† has been extraordinary. Rolling Stone magazine declared it number 12 in the 500 Greatest Songs of All Time (â€Å"Song Facts†). The song has been featured in many movies and videos about civil rights, most recently the movie, Malcolm X. Also, the song has been covered by over 50 artists, some of them today including ‘Lil Wayne, Seal, and Adam Lambert (â€Å"Song Facts†). The song still has not lost its Soul roots and meaning over time. Despite the Civil Rights Movement being over, the song can be applied to any issue, struggle, or hard time one may face, which is why it has withstood as a legendary song. â€Å"A Change is Gonna Come† will forever be remembered as a beacon of light to the people of the Civil Rights Movement, and as a highlight of Sam Cooke’s career. He brought Soul to a new level and created a more elegant, clean style with his realistic lyrics and Gospel rooted voice. Because of his achievements and the impact his song had on America, he is remembered as the â€Å"King of Soul,† and the man who â€Å"sang the change† (â€Å"Song Facts†).

Mompellion And John Proctors The Crucible - 1534 Words

If God saw fit to send this scourge, I believe it would be His will that one face it where one is, with courage, and thus contain this evil.† These are the words of Michael Mompellion to the villagers of Eyam in ‘Year of Wonders’. Through the course of that ‘annus mirabilus’ of 1665, Mompellion’s views on many things change and he loses his faith but he still provides remarkable leadership to the village in some of the most taxing circumstances imaginable. Under his leadership characters like Anys Gowdie, Elinor Mompellion and Anna Frith deal with changes and challenges with courage and determination. On the other hand, ‘The Crucible’ shows that not all change is good and that not all leaders possess courage; in fact, some powerful people†¦show more content†¦In ‘Year of Wonders’ and Eyam there is a lack of courage and there is self-interest but it tends to be shown by people less well-placed and less influenti al than in Salem. There is Josiah Bont, the self-serving grave-digger who takes advantage of people when they are at their most vulnerable; there is his wife Aphra, posing as the ghost of Anys Gowdie and selling worthless charms and trinkets to the dull and desperate; there are those who let the mob lead them to beating the innocent Mem Gowdie and lynching that â€Å"rare creature†, her niece, Anys. This crowd â€Å"surged at Anys where she knelt beside her aunt, leaping upon her and clawing at her flesh.† Then there were the Bradfords who started as hypocrites and ended in precisely the same fashion with Elizabeth attempting to drown the newborn Aisha. So there are characters in both texts who demonstrate a distinct lack of courage but not necessarily all of these lack determination; what they do lack is compassion. Courage and leadership should be synonymous but, unfortunately, all too frequently they