Pop Music in Film

Pop Music in Film Music in film is one of those immensely involved but hugely underrated products. It comfortably sits in film going consciously unnoticed while it stimulates our subconscious, flowing freely through the narrative, to aid the emotional impact without overly changing the course of the film An indicator on how we should react in a film Music in films began with traditional scores in the silent film era. The reason it was called silent is because the film itself was silent and the music was made externally of the film, which was principally the piano, to reflect the various moods and emotions of characters and events. In conjunction to this it also covered up the noise emitted from the projector as well as being needed, psychologically, to smooth over natural human fears of darkness and silence (Brown 1994:12). The growing popularity of film lead to changes in the music and musical arrangements and lead to scores being written down to the various cliched typical situations in film. During the 1920s developments in technology saw the capabilities of film and music being broadcast internally and saw the introduction of sound films. Changing relationships between music and cinema has seen the introduction of pop music into the spectrum. It is this relationship between pop music and film and the way they operate in conjunction with each other is what I am going to explore. Diegetic and none diegetic Diegetic relates to the diegesis of the film and the sound source can be observed on screen for example, a band playing or the character listening to the radio. Non-diegetic appears outside of the film world and is used as background music, mood altering music or subconsciously adds to the suspense of the film until the use of sound started to appear in films the majority of music was none diegetic but the introduction of sound synced films added to realism of the film and gave diegetic music a sense of place in films Diegetic and none diegetic Diegesis refers to the fictional, imagined world of film, adverse to this non-diegesis refers to the objective world of the Film is represented by a series of events combined with dialogue, which is aided by actors. Financial and technical interests are taken into account and are concentrated on the actor, to not let anything overshadow the main character/s. The musical scripts are usually indefinite, thus music not being treated in the same way and potentially an outsider. Almost indispensable despite music currently playing a major part in film to make use of the silent scenes, for example a scene where the character is waiting for someone, no dialogue will be used and the only sound we can hear will be diegetic noises of his surrounding. This is a prime example of the use of non-diegetic music. The character could be waiting for a partner (therefore romantic music will be played over the top). Without the use of music the scene would be more realistic (we dont hear music when we are waiting for a partner) but the scene would not captivate the viewer and potentially make the viewer lose interest. On the other hand the music appearing in such situations could also be perceived as naÃÆ' ¯ve or childish and thus further distracting the view from the main focus. This issue is usually resolved by the characters involvement with the music , by singing, whistling, humming or even turning on the radio and the music goes from a transition of diegetic to none diegetic. Mass production of films has lead to a series of over elaborated typical events such as emotional crises that are ever reoccurring and standard methods that are formulated to arouse suspense. These events are aided by music, however the viewer has been made familiar with these events so the emotional response on the viewer is not always as intended. For the viewer the whole thing is ambiguous. If the screen shows a peaceful country side but the music over the top is sinister the viewer will expect something terrible about to happen. Does this intensify or alleviate the suspense? music in cinema has been determined by the practice of everyday life. It is adapted for the increasing needs of the film industry and reflected in clichà ©s and musical ideas that were considered to be in fashion. Subsequently standards have become entrenched through the history of film music into and including the current use of popular music in film. These clichà ©s continue throughout film and have gone from the standard classical score being use to the popular score being used. With the excessive use of such clichà ©s the powerful effect intended is not achieved because the listener has been made aware of such events through overuse by Hollywood. In todays standards popular music is being used in conjunction with classical score to aid in more dramatical scenes, such as the film Notting Hill. Anna Scott (a famous actress played by Julia Roberts) is doing her final press conference before leaving the UK to fly back home after being turned down by a lowly book seller, William Thacker (played by Hugh Grant), whom she fell in love and had a brief fling with. William realises his ways and races to the press conference to win her back. After some initial investigative and almost comical questions from William, who is imitating a journalist to find out if Anna really does love him, Anna announces she would have liked to have been mo re than just friends with William. Anna Scotts on screen agent then asks Dominic (a reporter at the press conference played by Andy De La Tour) Anna, how long where you intending to stay in here in Britain?, after a long suspended pause from Anna, then a transition shot to William, the camera moves back to Anna, she smiles as the camera zooms in on her face. Anna replies indefinitely as the classic cover of She by Elvis Costello (originally by Charles Aznavour). This speaks volumes and makes the viewer relate and feel more involved in the scene through the music and lyrics of the song. Solely from the music there is a sense of love and romance, but also mystery through the lyrics as a name is not mentioned, which indicates the track could have a sense of purpose on any romantic film scene. Upon writing the track in the 1970s Charles Aznavour would not have intended the track to be used in such ways, but with the use of popular music in film becoming more apparent and the increase of the same clichà ©s in film needing to have a sense of place and impact, the use of songs with lyrics are ever increasing. 50s and beyond the soundtrack to our lives The majority of people live with songs in their lives from all kinds of genres, music is neither racial or gender specific. There is something seemingly powerful and inspiring about people being able to fuse music and words together in such a way that songs can be infectious. The music we listen to constantly evolves and songs come and go, but there are songs that make up a soundtrack to our lives and we place value in these songs and seek out permanent versions of them through downloads, CDs and vinyl. The 1950s saw a flourish of soundtracks from films not only as a marketing tool, but as a cromo effect in its own right. Films such as Pulp Fiction, Trainspotting and Waynes World all contain music that could be listened to solely as a source of enjoyment without ever needing to have seen the film, but because the majority of people who have seen the film will remember the songs, its a great reflection of the film or a desire to watch the film again. The industry did not solely target the soundtrack market. When a film is released you can purchase all sorts of novelty, replica or clothing items based on the film and/or the music involved. Since the 1950s a great unification has been seen between the film industry and major record labels, each with their own specific interests but mainly cross-promotion is their sole goal. This interlocking is nothing new, both the film and music industry use each other to sell, which has lead to Hollywood investing countless efforts into the music industry, which is produced economic benefits. Film companies earn millions from the sale of records mainly through theme songs. This is one of the most lucrative cross-promotional tools. Hollywood are using established multi-million selling bands to write or endorse their film by using a song they have written specifically for the film or a previously written song. Linkin park are a prime example of a pre-recorded song and a song written specifically for a film. Transformers 1 saw the use of the Linkin Park track What Ive Done featuring heavily on the film and almost becoming the pinnacle song for the film. This song unofficially became kno wn as The Transformers Song which was a boost for the film companies. As well as getting major airplay because it was the first single off Linkin Parks new album, it was also a 3 minute advertisement for the film. This sparked the film company to hire Linkin Park to write the theme tune to the Transformers sequel, Transformers; Revenge Of The Fallen. After already establishing a mutual appreciation Linkin park agreed, this could only ever be a win-win situation for both parties involved through advertisement alone. With two major names collaborating, either could be mentioned and people would immediately pay more attention to both tracks featured on the soundtracks which in turn became a source of circulating the films title further through imagery and retails displays. popular music and film has had a long standing diverse and exciting relationship. It can give the scene the justification it needs by creating a sense of time or place, established through a few chords and lyrics. Kermode states, More than any other art form, pop music is a disposable, transient product which reflects, mimics and occasionally shapes the zeitgeist, (Kermode 1995:9), but music can help inspire, carry and advertise film, so does music have a greater importance than what we are lead to believe? And can sometimes structure the film to become what it is. Martin Scorsese said that the pop riddled soundtrack to Mean Streets (1973) consists entirely of songs from his New York youth and Which for him still evoke the milieu he was attempting to portray (Kermode 1995:13. In effect without the pop/rock music of Scorseses youth Mean Streets would not be (as time out described) as one of the best American films of the decade,. Did Scorsese make the film it is, because of the music and his youth? Time out also state that it was one of the few to successfully integrate rock music into the structure of film (Timeout n.d.). American Graffiti (1973) is another prime example of pop-laden film and soundtrack and was the first film to capitalise on a pop soundtrack. Up until this point pop songs were only used to give the film a sense of time and place and to give it that modern edge but to no availability in the retail industry. The idea of a modern soundtrack was starting to gain nostalgia and the youth market started to buy into a physical lasting memory of the film via the soundtrack. During the 1980s the relationship between pop music and film became largely symbiotic from a marketing point of view. They were also using classic yesteryear hits to revamp careers and provide titles to films (Stand by me (1986), pretty woman (1990). The marketing of pop songs became very omnipresent which had a profound effect on the market. Artists were beginning to use it to broaden their careers. Film Music the cross over from classical to popular score Without classical Hollywood the pop score used in films today would arguably have no meaning and could be just a random selection of current tracks to reflect the relative trend and used solely as a selling point, however as music in film has evolved so has the use and the function of music in film. American composer Aaron Copeland offers an insight to function of music in film from his perspective and suggest five general areas in which music in film serves its purpose: (I) It conveys a convincing atmosphere of time and place. (II) It underlines underlines the unspoken feeling or psychological states of characters. (III) It serves as a kind of neutral background filler to the action. (IV) It gives sense of continuity to the editing. (V) It accentuates the theatrical build up of a scene and rounds it off with a feeling of finality. (Smith 1998:6) As research by Lauren Anderson (referring to a case study of the British film Sliding Doors 1998 and the New Zealand film Topless women talk about their lives (1997) she concludes pop and rock music does not prohibit the compilation score from successfully fulfilling the functions of classical film score (Anderson:2003 115 (popular music and film book)). This is done in a slightly different way to traditional score as we have other elements to think about. These include: (I) The lyrics (II) The Songs structural independence (III) The wealth of extra-textual meaning The lyrics are the primary focus in these three elements and hold a great understanding of them over classical score, for example we can decipher basic terms, love, hate, happy, sad in both forms of score (aided by the visual elements of film), but only lyrics can convey those meanings on a deeper level Anderson notes (referring to Sliding doors): the songs words frequently reflect Helens thoughts of aspects of her character (Anderson 2003:112). Classical score, although deeply complex and varying, cannot portray such events in a manner than the average viewer would understand. Lyrics also have links to the other two elements but lyrics contribute dominantly to the songs structural independence: smith (1995:348) and Rick Altman (1999) both insist that popular music exhibits greater independence than classical music, in relation to the film as a whole (Anderson 2003:112). The popular score does have drawbacks. One of the drawbacks is that the pop score is not written specifically for the segment of film it features it therefore it is unlikely that its rhythm and its infliction will exactly match the action (Anderson 2003:113) whereas the classical score can be in direct synchronisation and contain unity through musical themes and or leitmotifs. The music chosen can also distract the viewer from the initial response the director is trying to achieve. Hilary Lapedis notes Pop songs in films use pops own emotional conventions and, in so doing, so place those films in a much wider context of popular culture than would be the case with traditional score (Lapedis1999:370) Lapedis points out that music although part of film, it is because they are popular and because the songs trigger familiarity to the members of the audience, by definition they trigger a set of different responses, different to those of the traditional score; Pop music, while having existence separate from the visual system, nevertheless posses its own confided meanings and associations (Lapedis1999: 370) Many others have this theory and have pointed out problems within the pop score. Karthryn Kalinak notes that pop music ignores the fundamentals of film (of which earlier discussed) and that pop music commits the cardinal sin of film scoring it failed to support the story and mood because it was the story and mood, (Kalinak 1992:186-7). Many of the songs chosen were originally pre-recorded and then later chosen for films and not written for the film which can potentially carry emotional baggage for the viewer as Jess smith notes not only was this potentially distracting but these associations might also clash with those established by the narrative (Smith 1998: 164). The other element frequently observed in pop score is extra-textual meanings. Behind each popular song is a sense of socio-historical meaning as well as fulfilling the functions of classical score. This is a two-tiered system which was developed by Noel Caroll, such system a system exists when one device (such as a popular song) can be read on two different levels, according to how much the viewer knows about that device and its associations (Anderson 2003:114). Such method was embraced by directors to give the film hidden depth and meaning to those who were informed as they recognise such things as lyrics, title and or performer and apply the knowledge to the context of the visual. The uninformed viewers however will not be able to access this meaning as they interpret the music as is, thus still being entertained and not distracted by the music itself. ___________________________________________________________________________ These functions can be carried over to pop music in film, as demonstrated in the case study of the film Goodfellas (1990) to which Martin Scorsese uses a soundtrack compiled entirely of pre recorded popular music. H (quote from popping the question). Martin Scorsese explores the thirty year span on the Italian-American mafia, from the adaptation of Nicolas Peleggis best seller Wiseguy , through his film Goodfellas. Martin Scorsese enjoys the use of popular and classical score throughout his films, he appreciated the messages and dynamics of both scores. He is one of the few directors (other being Quentin Tarrentino, William Wellman) who embrace popular music and use it to its full potential popular music has the potential to give movies a forceful, dynamic edge. It doesnt have to serve simply as mood music or be an unimaginative device for establishing a time period. (Scorsese 1995:1). More noticeable the film that has inspired many others has been Goodfellas. The score to the film consist of 40 popular songs, which span the thirty years of the time period of the plot as quoted Scorsese, does not use these songs solely for the purpose of time. The songs also reflect character growth, mood and they are placed intricately into the narrative to provide the informed viewer extra depth, but they also stimulate the un-informed viewer mainly through the range of songs. In some cases the songs act in the way similar to that of classical score, with using synchronisation. The music which chronicles the life of Henry Hill (Ray Liotta) is an eclecti mix of songs from different genres ranging from Jazz to classical rock n roll. The opening credits begins with Tony Bennett singing the song Rags to Riches, as Henry Hill starts the voice-over narration of his life. This is one of the more noticeable uses of depth to the film using popular score. Henry Hill grew up in a poor working class area of New York and had a longing to be part of the organised crime syndicate As far back as I can remember I always wanted to be a gangster (Goodfellas:1990). The title is a great depiction and insight to the story ahead as the scene changes from Henry Hills family and home life to the Mob life across the road, with close up shots of shoes, suits and jewellery. The lyrics to the song hold an even deeper meaning, with expressions of love and romance But in my heart id be king, your love is all that matteres and hold me kiss me tell me that youre mine (Tony Bennett 1953), which is a core theme throughout the film (http://www.timeout.com/film/reviews/72996/mean_streets.html Conclisuon popular music has enjoyed a ever evolving and intimate relationship with cinema. from the 1950s onwards, producers and directors have developed textual strategies for representing and incorporating popular music and its performers in the visual regime (popular music in screen page 222) Popular music on cinema lies closely related to music on all other commercial platforms, such as television and video, in turn these have aided the social consumption of technologies, which are tied closely to such platforms. With great advances in technology advertisers are boasting the cinema experience in your own home, with the advances in LCD/plasma screen technology, surround sound (2.1 all the way up to 7.1) and most recently blu-ray

Abilities vs. Disabilities :: Biology Essays Research Papers

Further Inside "The Center" - Abilities vs. Disabilities The Center for the Work in Barstow, CA, conceived and run by Byron Katie, was a place where people from all over the world could come and learn how to view life differently from before. Through the process of inquiry, also known as The Work, everyday folks could turn normally unpleasant experiences into opportunities, and painful ideas into insights. The result was a small culture, full of people who moved peacefully and joyously through their lives no matter what was going on around them. Tremendous flexibility to change with changing circumstances was a natural outcropping of this new way of thinking and viewing adversity. People well versed in The Work could quickly ascertain what their circumstances were, and move in accordance with the reality of their situation. As the situation changed, their movements would change with it. From the outside it appeared that there was little continuity in what these people were doing, for plans would change at a moment's notice. Katie would move faster than anyone I know. This process had the appearance of "Katie is not consistent." But in truth she was staying absolutely consistent, consistent with doing what was best at the given time with the changing circumstances. She "changed her mind" as fast as circumstances changed. She would make plans and share them with the staff. Then it was the staff's job to bring them to fruition. But as a situation changed, Katie's plan would change with it, and the staff's actions would change accordingly. An example that comes to mind, which illustrates this point, was when we had a mailing to get out. We had a list of hundreds of names of people interested in the Work, and Katie was to make an appearance somewhere. We were to send out the announcement of her date, time and location. We worked up the postcard style announcement, printed up hundreds of copies, printed out the address labels of recipients, and got the labels on the postcards and had nearly all of them stamped. This process took a few days with many volunteers helping out. When we were nearly all done with the project, word came down that her plans had changed. She was not going there after all. We had about five people working on the project when we got the news. We were to throw away those postcards and start on something similar reflecting her new plans.

Ideal Types of Authorities

SOC 1301-01 Ideal Types of Authorities According to Max Weber, there are three kinds of authority: the legal rational authority, the charismatic authority and the traditional authority. President Nixon, Adolf Hitler and Moroccan Monarch Hassan II were all great leaders. However, the source of their powerful domination and their political leadership differ from one to another. In fact, considering a â€Å"Weberian† classification, we will consider Nixon as a legal rational leader, Hitler as a charismatic leader and Hassan II as a traditional leader.In this paper, we will try to emphasize the characteristics of each one of them based on their domestic or foreign policies. And then we will see their resemblance and similarities. Richard Milhous Nixon was sworn in as president on November 5, 1968 with only five hundred fifty thousand votes more than the Democratic candidate, and Vice-President under Johnson administration, Hubert Humphrey. (Strober & Strober, 2003) According to We ber: â€Å"Rulership is seen to rest on legal authority. As citizens of constitutional governments we assent to authority because its powers are based on procedures and institutions which have been legally enacted. (Whimster, 2004) Nixon is a legal rational leader since his authority is tied to the American government that is a rational and bureaucratic institution. As he was putting his administration together, â€Å"Nixon was always bringing in new people†¦this was one of the keys to his success. † He chose to work with a small group of assistants, advisors â€Å"and his longtime secretary Rose Mary Woods. † Nixon had a simple, but efficient philosophy: to bring in new blood to his administration. â€Å"He understood that people can perform up to a certain level; then they may lose interest, or may get bored. Moreover, one of his biggest strength was his political foresight. â€Å"Some of the best political minds of the past twenty years have been Nixonâ€⠄¢s finds. † (Strober & Strober, 2003) Domestically, Nixon believed in equality in the repartition of civil rights. He insisted that the country should help black people and that â€Å"the answer was to give them a chance to be capitalists – not just jobs† but figure out a way to have them involved in the American economy and the capitalist system. Afterwards, black people began to have more ‘office’ jobs and less hysical or illegal jobs, for instance â€Å"they became employers and tax payers,† which â€Å"shifts the whole burden in the economy. † Nixon also believed that although it was not necessarily a good political move because it will not get the administration any votes, they â€Å"will do it, because it’s the right thing to do. He had a conviction that that was something that needed to be done. † Subsequently, the program was called Minority Business and was expanded to â€Å"four ethnic groupings of people in th e United States that are considered by the Congress to be minorities: blacks, Hispanics, Asians, and American Indians. It was a success but what Nixon mostly saw in it was what he called â€Å"an equal Place at the starting line. † Nixon continued to fulfill his domestic policy, and one of his most remarkable works in this area is clearly the integration of the South. His â€Å"administration had to desegregate the school systems† they tend to do it in a diplomatic way in order not to impose radical changes on very conservative people in the South. â€Å"And by 1972, the South had some of the most integrated systems in the country. This whole integration issue made Nixon very popular in the South. (Strober & Strober, 2003) Furthermore, Nixon brought reforms to ex-President Johnson’s Health care system. In Nixon’s proposal on health care systems, he proposed a health insurance coverage that everyone would benefit from and created the Environmental Protect ion Agency. According to Max Weber â€Å"The charismatic leader gains and maintains authority solely by proving his strength in life. If he wants to be a prophet, he must perform miracles; if he wants to be a warlord, he must ‘prove’ itself in that those who faithfully surrender to him must fare well.If they do not fare well, he is obviously not the master sent by the gods. † (Weber, 1946) Thus, Weber’s notion of â€Å"Charismatic leadership† perfectly suits Adolf Hitler. Since he joined the German Worker’s Party in 1919, he generated a cult around his person. In 1933, Hitler became Chancellor of the third Reich and in the same year the Reichstag passed the â€Å"Enabling act of 1933† that gave Hitler full power. Moreover, after the death of the president Eidenburg, Hitler became Fuhrer of the 3rd Reich, which is the fusion of Chancellor and president. Nicholls, 2011) therefore, he was the leader of the â€Å"German nation defined in racial terms†¦he was the leader for whom people had been waiting: The Hitler Myth. † People placed him above every sacred thing in their lives; then it made â€Å"it possible for him to retain his status as charismatic leader. † Traditional authority rests on â€Å"an established belief in the sanctity of immemorial traditions and the legitimacy of those exercising authority under them. † (Swedberg, 2005) Hence, this kind of rulership â€Å"involves subjects accepting rule because the king or chief has always exercised power. (Whimster, 2004) This definition is applicable on the deceased king of Morocco Hassan II. His reign extended from 1961 until his dead in 1999 after he had inherited the throne from the Alaouite dynasty generally and from his father Mohammed V in particular. Hassan II was a conservative; he established the first Moroccan constitution in 1963 and it granted him with large powers. Hassan II and Adolf Hitler were both characterized by thei r strong rulership. Hitler was a dictator who transformed the Weimar Republic into a totalitarian regime known as the third Reich.Thereafter, he drove the whole nation into World War II. On the other hand, Hassan II whose methods also were too radical, if not to say dictatorial, was at the head of an authoritarian government or a disguised dictatorship. Under it people did not enjoy their civil rights, they lived a dark period called â€Å"years of lead† because of the brutality, the assassination such as the case of Ben Barka who was kidnapped from a pubic area in Paris, and the deportations to Tazmamarte prison.Otherwise, although Hitler was a dictator, he came to power in a legal manner when his party the National Socialist German Workers Party came at the head of the electoral vote with 43. 9% in 1933. Unlike Nixon and Hassan II, Hitler is very segregationist and he was willing to fulfill his pan-Germanist ideology to gather German origin people in one country. He eradica ted black people, Jews and the disabled while Hassan II gave the same rights to Moroccan Jews and Muslims, and Nixon established health care programs for ill and disabled people. Nicholls, 2011) Furthermore, Nixon, Hassan II and Hitler had different foreign policies. The keyword of Nixon’s foreign affairs was ‘overture. ’ As soon as installed in the White House along with Kissinger, his National Security Advisor, Nixon planned to withdraw from the War in Vietnam. Nixon firmly believed that â€Å"the American policy should be one that stressed the withdrawal of external forces. † (Lee & Haynsworth, 2002) Hassan II was an ally of the West especially the USA; he also was a intermediate between the Arab world and Israel. (Dalle, 2011).However, Hitler’s plan was to eliminate all Germany’s enemies especially France and the USSR. He also planed to make Germany economically self-sufficient by series of territorial conquests in Central Europe, France and USSR. (Nicholls, 2011) In conclusion, we may say that according to Weber notions of ideal types of authorities and kinds of leaders, Nixon is a rational legal leader, Hitler is a charismatic figure and Hassan II is a traditional leader. However, we also notice that these classifications are not radical; therefore, one leader can fit in two or all the types of Weber’s ideal type of authority.Consequently, in our case, Hassan II and Nixon are also charismatic figures in addition to their original classification. Even though people believe Hitler came to power with brutality and terror, he actually became chancellor in a legal democratic way. In 1933, the national Socialist German Worker’s party won the popular vote and then Hitler was appointed Chancellor. Then he used manipulative (Reichstag incendiary) and brutal ways (imprisonment of political opponent) to become the Reich Fuhrer. Thus, Hitler was also a legal rational leader once he became chancellor of Germany.O therwise, Weber’s classification of types of authorities does not mean that each category of leaders share the same values and govern with the same manner. Indeed, Both Hitler and Nixon were charismatic, and legal rational leaders, yet Nixon was an ardent defender of Human and civil rights. He launched programs of desegregations and health care systems, and withdrew the American troops from Vietnam. On the other hand, Hitler started World War II and invaded several countries such as France and Poland. Further, he was responsible of the holocaust and created a segregationist program of pan-Germanism to gather German people in Germany.References Dalle, I. (2011). Hassan II: entre tradition et absolutisme. Paris: Fayard. Nicholls, D. (2003). Adolf Hitler: A Biographical Companion.. Santa Barbara: ABC-CLIO. Swedberg, R. , & Agevall, O. (2005). The Max Weber dictionary: key words and central concepts. Stanford, Calif. : Stanford Social Sciences. Weber, M. , Gerth, H. H. , & Mills, C. W. (1946). From Max Weber: Essays in sociology . New York: Oxford University Press. Weber, M. , & Whimster, S. (2004). The essential Weber: a reader. London: Routledge.

The U. S. Constitution - 1506 Words

Madison Liberty Dr. Overton Politics 101 3-24-17 Mid-Term Exam Topic #2. Explain the major points of contention in the writing of the U. S. Constitution. The During the Philadelphia convention in 1787, debates broke out over representation in Congress, the new executive branch, and slavery(costly). After 4 months of this the constitution was written. While writing the constitution the major point of contention was the structure of the new legislative branch. The larger states wanted to go with the route of the Virginia plan so that representatives would be placed according to population. Smaller states wanted to go the route of the New jersey plan, in which all states would have equal representation in the legislature no matter the†¦show more content†¦A country that stands by its beliefs, so as we know, to give us freedom of choice. The purpose of elections is to narrow the candidates down to a minimum in order to get closer in the election process. We get to vote for what we want but many times seems like it is not in our hands of who gets the final stand. We have common grounds when speaking of models of the majoritarian d emocracy and elections. Many times is why we can run into problems in the and chaos when voting for an electoral candidate. A majoritarian democracy, defined by dictionary.com, says that it is a â€Å"rule by a majority, especially the belief that those constituting a simple majority should make the rules for all members of a group, nation, etc.† (â€Å"Majoritarianism.†). This comes into relation with elections because everyone is voting in this system. Elections are taken by the citizens of the country which go into a pole. Then votes are broken down into groups and majority wins. And so, the majoritarian democracy exists and is something we live by. Along with the majoritarian democracy, there is also relationship in the models of pluralist democracy. Everything slightly revolves around one another; elections, majoritarian, and pluralist democracies. As said in Dr. Overton’s PowerPoint, â€Å"Majoritarianism is growing in the Congress due to the rise in part y unity. Problem is: they hate each other!† (Overton). The pluralist democracy can be defined as the top of a pyramidShow MoreRelatedRationale , Pros and Cons of the Dual Law Enforcement System888 Words   |  4 Pagesas it is actually made up of two different court systems, the Federal Court System and the State Court System†. ( United States Courts). â€Å"The U. S. Constitution created a governmental structure for the United States known as Federalism. The Constitution gives certain powers to the federal government and reserves the res for the states.. 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The federal government creating amendments and laws â€Å"that conferred on all Americans the precious status of citizen, enumerated some of the fundamental rights of citizenship, and extended to citizens federally enforceable guaranteesRead MoreCivil Rights And The Bill Of Rights Essay1280 Words   |  6 Pagesrights and liberties worldwide is a luxury that all countries do not have and are not given to them. In America the people have the Constitution and the Bill of Rights that enumerate their inalienable rights. In the State of Texas there is also a constitution and a Bill of Rig hts for the people. One of the most important rights in the Texas Bill of Rights in the constitution is Article 1 Section 3 and 3a titled Equality and Equality Under the Law. There are differences between civil rights and civil libertiesRead MoreThe Law Of The Rights1345 Words   |  6 Pagesto serve the common good. Laws are created to maintain equality and ensure freedom to the people. In the United States, the Constitution serves as the Supreme Law of the Land. Any law written after must be supported under the Constitution or risk being declared unconstitutional. The right to counsel in criminal proceedings is directly supported under the U. S. Constitution through an Amendment. The right to counsel ensures that a defendant will be treated fairly and equally under the eyes of theRead MoreThe Electoral College And The United States Of America1065 Words   |  5 Pagesnationwide popular vote of the American people. Rather, they are chosen by the slate of 538 Electors who have pledged their support for that candidate. The Electoral College is a process, not a place. This process is spelled out in the United States Constitution. Why Did the Founding Fathers Create the Electoral College? But why didn t the founding fathers make it easy and just let the Presidential candidate with the most votes win the election? The answer is critical to understanding the ElectoralRead MoreThe Power Of Declare War : Does It Mean Anything Anymore?1736 Words   |  7 Pagescongress for a declaration of war, others have not. Regardless, the Chief Executives seemed to have found that a formal declaration is not required whenever it would benefit them. War Powers Article I, Section 8, Clause 11 of the U.S. Constitution assigns Congress the power to declare war. The President, meanwhile, derives the power to direct the military after a Congressional declaration of war from Article II, Section 2, which names the President Commander-in-Chief of the armed forces