Bar Midwest - Original Writing - 1421 Words

The morning air seeped through the open window as the newly rising sun glowed on the barren rock landscape dome. It wasn’t so barren though, there was small house that laid nestled in the rocks. The house was more like a small shackled shed than an actually house. The house was small and simple, made out of wood equipped with a chicken coop and garden. The house was had one room. In the room was a fireplace, coal burning stove, table for two, and a twin sized bed shoved in the corner. The bed was unmade and a man stood at the stove making his morning breakfast of eggs. The man is me, Coy Fimms. Living on the hills of rocks was usually simple and boring. Every morning started out the same I woke up, never made the bed, and ate my bland†¦show more content†¦And also that I had been shamed by my family after I has the first report in five generations to be so publicly humiliated. But of course none of this riff-raff was true. This is all a lie that was my cover story to keep me protected from the dark sides of the ruthless oil companies. They government had place me here to keep watch over the very expensive and crucial part of the oil world. The Teapot Dome. The name may not describe the expensive side of the teapot but it did describe the formation its self. The dome was literally a teapot shape depending on which way rock was look at. The rock formation sat on the rock hill with the spout facing north and the sides of the kettle facing west and east. The rock was tall and wide. And when the skies rained in the early springs the vegetation on the hill wood start to grow and add a mossy green color to the dome. But the dome still stood prevalent in the barren landscape. Even though the rock itself was amazing for the shape, the dome was even more special because the dome is a dome. The dome is obviously a rock formation and the features of the rock allows oil to be trapped underground between impervious layers of rock. Which makes this dome a gold mine for oil. Oil companies would be in a quarreling over the land except for the fact that congress set aside

Sudan’s Economic Development Free Essays

Development is something we do to make our way of life more comfortable. If we were not to develop we would still be living in the depths of the jungle feeding on bugs and things. But we have developed to become a more intelligent and happier race. We will write a custom essay sample on Sudan’s Economic Development or any similar topic only for you Order Now In developing we take things we have and manipulate them into things we can use and sell to help our current situation and in turn make our way of life better. The quality of life is very important. Some factors may be measured but inputs such as personal happiness, a sense of well being or self worth etc., are more difficult to measure because they are subjective. A study of development must contain both measurable objective and subjective aspects. The quality of life can be measured by other factors like infant mortality rate, life expectancy, literacy rate, GNP, and population-growth rate. The quality of life is directly linked to the state of development that a country is currently at. To be developed a country has to have at the very least the basic necessities covered for the human population, e.g. clean water and a health system. To be highly developed a country would have to be up with the cutting edge of technology and health care, plus have a good education status etc. This report will eventually draw up a conclusion of what state of development this country (Sudan) is at. Sudan is situated in Northeastern Africa, the largest country of the African continent. It is bounded on the north by Egypt; on the east by the Red Sea and has Kenya, Uganda, DRC (formerly Zaire), Central African Republic, Chad and Libya. Sudan has a total area of 2,505,813 sq. km. Khartoum is the Capital City of Sudan. Sudan has a maximum length from north to south of more than 2250km; the extreme width of the country is about1730km. Divided into three separate regions, ranging from desert which covers about 30% of all Sudan, through a vast semiarid region of steppes and low mountains in central Sudan, to a region of vast swamps and rain forest in the south. Major features of Sudan are the great Nile River and its head streams the White Nile and the Blue Nile. Sudan has a tropical climate, Seasonal variations are most sharply defined in the desert zones, where winter temperatures as low as 4.4 degrees Celsius are common. Summer temperatures often exceed 43.3 degrees Celsius in the desert zones, and rainfall is negligible. Dust storms frequently occur. In Khartoum the average annual temperature is about 26.7 degrees Celsius; and annual rainfall which often occurs between mid-June and September, is about 254mm. The primary natural resources of Sudan are water. Supplied by the Nile River system, and fertile soil. Large areas of cultivable land are situated in the region between the Blue Nile and the White Nile. Small deposits of many minerals occur. The most important of which are chromium, copper and iron ore. Petroleum was also discovered in the late 1970†³s. The population of Sudan is composed mainly of Arabs in the north and black Africans in the south. Other ethnic groups in northern Sudan include the Beja, Jamala and Nubian peoples. About 58% of the economically active people are engaged in agricultural or pastoral activities; a quarter are employed in services and less than 10% in manufacturing and mining. Infant mortality rate indicates how many infants in every 1000 die soon after birth. Sudan has an infant morality rate of 77 in every 1000 live births. In developing countries the infant mortality rate is usually high and this lowers the overall life expectancy, along with generally poor health among adults. Sudan has a limited health system; it provides various vaccinations for the population but lacks overall medical treatment. Sudan does not have a good life expectancy (52 years); this is probably due to the relatively poor health services. Only 48% of Sudan†s population have access to clean water and there are 11620 people per doctor. (Population projection graph Appendix A) (Sudan population pyramid Appendix B) Sudan†s economic situation is not all that great. GDP/capita is only at $186 US, compared to other countries like Indonesia ($671), Togo ($559) and Costa Rica ($1774) Sudan needs to do a little work to get their GDP up. Sudan imports primary foodstuffs, petroleum products, manufactured goods, machinery and equipment, medicines and chemicals at a cost of 1.1billion dollars US annually. But they only export $535 million per annum in cotton (24%), livestock/meat (13%), gum Arabic (food additive in printing material)(11%). This has put Sudan into an $18 billion dollar debt. The education status of Sudan is not very impressive either. An Adult literacy rate of 42.7% and only 52% of children in primary school the population doesn†t get the education it requires to develop properly. About two thirds of Sudan†s population derives its living from crop farming or grazing, but only about 5% of the countries land is arable. Annual crop production in the early 1990†³s included; sorghum, wheat, peanuts, dates, yams and pulses. Cotton is the leading cash crop of Sudan; it is produced in large amounts in the Al Jazirah region. The livestock population in the early 1990†³s included about 21.6 million cattle, 22.6 million sheep, 18.7 million goats and 35 million poultry. The constitution of 1973, establishing Sudan as a one-party presidential Republic, was suspended following a military coup in 1985. Open elections were held in 1986, but political activities in the court were banned after another military coup in 1989. After the 1985 coup a 15 member Transitional Military Council took control. In April 1986 the people elected members to a parliamentary assembly; the leader of the majority party became Prime Minister. This shows that the government up until 1985 the Sudanese government was unstable and needed reform. It is quite clear that Sudan is not a developed country. This shows mainly in it†s economic factors, with the country being $18billion dollars in debt and having its exports much lower than its imports there doesn†t seem to be much hope of Sudan getting into or anywhere near the black. Also the majority of the population works in agriculture and only a limited number of people work in the industries. The health system provides only limited support for the population. Over 11 000 people per doctor and 48% of the population with access to clean water, it is no surprise that the life expectancy is only 52 years. (Basic demographic Indicators Appendix C) Everyone knows that it takes money to make money and Sudan has a lot of its money channelled into the military. They could cut down on the army expenses and divide that money into other aspects like education, health and technology. Sudan can be an ally with neighbouring countries and trade goods; they could combine their forces and become one force. How to cite Sudan’s Economic Development, Papers

Making waves Essay Example For Students

Making waves Essay Exit, pursued by a bear is a bit of a stretch for most theatres producing The Winters Tale. But on radio, this stage direction stretches imagination rather than resources: A bears roar, a mans terrified scream and off? Maybe a narrator stating it simply and chillingly? Or with a smile in his voice, as with an oft-told joke? Non-radio people get tired of radio types extolling the endless possibilities of radio drama, but until youve experienced it you cant imagine the kick of that kind of freedom. My experience with radio began two years ago when my play Truckin Maggie won the BBC World Service Drama Competition and I went to London for the production. Our schedule had to be shortened from the usual three days to two because the production coincided with the first strike by BBC employees in 50 years. The lead actor, Anton Lesser, was half dead with a cold and trying not to be concerned about how hed manage not only our rushed schedule but playing Richard III at the RSC, which he was also doing at the time. One of the bit parts hadnt been cast by the time we started but, no problem, Michael Horden was passing by and was happy to give 10 minutes to a cameo. This was heady stuff for a first-timer. I was hooked. When Gordon House, head of BBC World Service Drama, asked to do an adaptation of two of my one-acts, I couldnt wait to go back. There was the usual climbing down into the bunker to get to the studio (five levels below ground a left-over from World War II broadcasting-during-the-Blitz days), and the stereotypically civilized tea breaks, provided by the BBC canteen. But this time a strike was only threatened (by Equity), so we had the full three days for production. Three days may not sound like a lot of time to discuss, rehearse and record a play, but the BBC has it down to a science, and the director and actors, drawn mainly from theatre, come prepared to put meat on the bone quickly and effectively. There are few distractions from the work at hand. No costumes, no sets and little blocking is needed in what has been called the stage of pure sound. Scenes are read, discussed, rehearsed and recorded one after the other, with one final take at the end. Afterwards, the director edits the tape, working with the production team to add special sound effects or music, and the play is ready to be broadcast to World Service Dramas audience of 120 million. (What playwright could resist that size house?) Often, BBC Radio 4 will pick up a World Service Drama production to be broadcast nationally, making for an even bigger audience. The BBC doesnt have a corner on this kind of production, of course. Radio drama in Europe is an institution, and a thriving one. German radio is an active producer of new plays, as well as of adaptations many in English of writers ranging from Graham Greene to Dashiell Hammett. Radio in the Netherlands, though its become increasingly commercial the last few years, still manages to provide a forum for new plays. France, Italy and Austria all have systems of radio networks supported by public funds, broadcasting on a regular basis a variety of radio drama. But perhaps it is in Great Britain that radios standing is most evident: It is not a fringe medium. Every daily newspaper carries the radio schedule right next to the one for television. Any newsstand carries at least one of the three national magazines The Listener, Radio Times, London Calling featuring articles about radio. Costs for the five national networks and 50 local radio networks constitute a fourth of the total BBC budget. About 2,200 plays a year are produced by BBC Radio and BBC World Service Drama, with production costs running around 12,000 per hour, versus 300,000 for an hour of television drama. (This is not to say that BBC pays exorbitant fees to its artists. My bed and breakfast was hosted by a writer whose novel was being filmed by BBC television. We commiserated on the trade-off between the quality of work possible with BBC and large financial renumeration available elsewhere and decided it was worth it.) John Tydeman, a radio veteran of 30 years and head of BBC Radio for the past five, attributes radios success to the fact that, in the 60s when the bite of television was being felt, BBC Radio did not panic and go for the elitist market. They continued to program entertaining fluff alongside Hamlet and found that their core audience stuck around for the classics. He also reasons that one explanation for the health and liveliness of the British theatre is that it continues the tradition of radio dramas. The two media continue to feed each other today. Name a West End playwright or actor, and its more than likely that he or she also does radio. Radio isnt a medium theatre artists use as a stepping stone to better things. Its one they return to again and gain for the singular qualities no other medium can provide. As Gordon House says, When we do a play, were reinterpreting that play not leaching off the other medium. Adaptations to radio can change the feel of a play completely. He uses the example of Alan Ayckbourns plays several of which he has directed for radio pointing our that an individual seeing these plays in a theatre is affected by the reactions of those around him and so, naturally, picks up on the comedy eliciting the laughter. But when that same individual is listening to the plays in the quiet of his own home, the darkness in the plays is more accented and becomes much more a part of ones reaction to that play. House also emphasizes how congenial radio is for writers honing their talents for a characterization and dialouge. Which is why most playwrights, given the opportunity, love to write for radio, as evidenced by the experience of Marjorie Van Halteren, producer/artistic director of The Radio Stage, a program of plays running on National Public Radio through March 22, 1992. Van Halteren, a three-time Peabody Award Winner, had no trouble attracting playwrights like Adrienne Kennedy, Eric Overmyer, Migdalia Cruz and Wendy Wasserstein to adapt their plays or write new ones for the series. She points out the powerful advantages for playwrights in radio, among them the opportunity to see the play through from inception to production. This is a valuable opportunity for writers who work in the American theatre, where so many new plays never make it past the level of a staged reading. And radio is relatively cheap. Two dozen radio plays can be produced for about what it would cost to produce one play Off Broadway. So why dont we have the same thriving radio medium as Europe has? Mainly because American and European radio developed differently. Here, commercial radio came first, with public radio not coming on strong until 1970, with the advent of NPR. Radio in the U.S. is a business, not an art form, says Van Halteren. Its basically a service to an advertiser. In commercial broadcasting, the product is the audience. In public broadcasting, the product is the program. But this stark reality hasnt discouraged those trying to bring radio into the mainstream. Van Halteren admits, I find a real strength in the kind of guerrilla atmosphere in which we work. Nearly everyone in radio drama in the States today is reinventing the wheel. In a hopeful vein she quotes Brecht: If you want to build a barn, you work with the beams you have. American radios beams are few right now, but growing in number and strength. Surely there must be room for a medium that allows both its artists and its audience to stretch their imaginations so inexpensively and innovatively. Its just a matter of time. .u745ed83ef52ae8c5943f63d29af2d2db , .u745ed83ef52ae8c5943f63d29af2d2db .postImageUrl , .u745ed83ef52ae8c5943f63d29af2d2db .centered-text-area { min-height: 80px; position: relative; } .u745ed83ef52ae8c5943f63d29af2d2db , .u745ed83ef52ae8c5943f63d29af2d2db:hover , .u745ed83ef52ae8c5943f63d29af2d2db:visited , .u745ed83ef52ae8c5943f63d29af2d2db:active { border:0!important; } .u745ed83ef52ae8c5943f63d29af2d2db .clearfix:after { content: ""; display: table; clear: both; } .u745ed83ef52ae8c5943f63d29af2d2db { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u745ed83ef52ae8c5943f63d29af2d2db:active , .u745ed83ef52ae8c5943f63d29af2d2db:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u745ed83ef52ae8c5943f63d29af2d2db .centered-text-area { width: 100%; position: relative ; } .u745ed83ef52ae8c5943f63d29af2d2db .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u745ed83ef52ae8c5943f63d29af2d2db .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u745ed83ef52ae8c5943f63d29af2d2db .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u745ed83ef52ae8c5943f63d29af2d2db:hover .ctaButton { background-color: #34495E!important; } .u745ed83ef52ae8c5943f63d29af2d2db .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u745ed83ef52ae8c5943f63d29af2d2db .u745ed83ef52ae8c5943f63d29af2d2db-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u745ed83ef52ae8c5943f63d29af2d2db:after { content: ""; display: block; clear: both; } READ: Giorgio Strehler Essay OTHER VOICES, OTHER ROOMSÂ   The radio stage series is actually only one of several lively, largely unsung programs offering drama on the ariwaves. Perhaps the most ambitious, SoundPlay, began a year-long series of radio drama last September. Produced by New York-based Voices International and distributed by the Pacifica Program Service in Universal City, Calif., SoundPlay features new work by Tom Stoppard, Vaclaw Hazel, Suzan-Lori, Parks, Ingeborg Bachmann, Peter Handke and the prospects directors Everett Frost and Faith Wilding. Voices International has also put together a three-part program of dramatized myths and legends by Native Americans, Stories from the Spirit World, to coincide with the Columbus Quincentenary. L.A. Theatre Works, headed by Susan Loewenberg, regularly produces radio plays, often with nearby Hollywood celebrities. Edward Asner, Richard Dreyfus, Marsha Mason, Hector Elizondo and Howard Hesseman have been known to participate from time to time, performing before enthusiastic studio audiences. LATWs productions are broadcast on NPR affiliates across the country. The other main L.A.-based series, California Artists Radio Theatre, has also become a thriving place for original radio writing. In Hartford, Conn., Company One initiated a series of specially commissioned radio plays in 1989; this past year it stepped up its radio activities, offering mini-festivals of radio drama in May and October. Erik Bauersfelds Bay Area Radio Drama (BARD) in Northern California has opened its studios to radio-drama directors for many years. One of its latest productions, a radio version of The Emperor Jones, is currently being aired around the country. Finally, the Midwest Radio Theatre Workshop has for 12 years been generating discussion and production of radio theatre at its annual conference held in Columbus, Mo. Masters and novices gather for an intensive week of training seasons, panels and presentations, culminating in a live performance of a radio drama broadcast across the state. Still other institutions are transferring the excitement and immediacy of radio drama to the stage. Within the past two years the Blackfriars Theatre of San Diego has presented two of Todd Blakesley and Burnham Joiners radioformat satires, The Laughing Buddha Wholistik Radio Theatre and More of the Laughing Buddha Wholistik Radio Theatre. Comprised of comedy serials, jingles, musical interludes and sound effects, the shows give the audience the experience of being at a live radio broadcast. In Seattle, the Bathhouse Theatres radioesque revue The Big Broadcast has become a holiday favorite; and Walton Joness 1940s Radio Hour has brought wartime radio nostalgia to audiences at San Jose Rep twice in the past three years (in 1988, and again this winter). More information on the burgeoning radio culture can be found in the current special issue of Theatre Journal (vol. 43, no. 3), guest-edited by Everett Frost. It includes essays by Carey Perloff (on recording Ingeborg Bachmans Good God of Manhattan), Anthony Burgess and Jose Quintero, among others. Several collections of radio drama have also recently been published, among them German Radio Plays (Continuum), the English Best Radio Plays of 1991 (Methuen/BBC Publications) and the Canadian Airborne: Radio Plays by Women (Blizzard Publishing).