Reasons for the Failure of Camp David of 2000 Essay

Reasons for the Failure of Camp David of 2000 - Essay Example It was aimed to eradicate the conflict involving Israel and Palestine. These two countries have been in conflict for an incredibly long time. Israel is composed of both Muslims and Christians while Palestine is an Arab only state. The summit was a continuation of the peace development that had been started by former United States president Carter. This paper will expand on the issues that led to the failure of Camp David in 2000 and what had caused the conflicts. Nature of the Failure of Camp David The summit meant to discuss many issues that hindered the development of the peace procedure and included territory, Jerusalem, refugees and security worries by Israel. In relation to territory, the Palestinian authorities demanded that they should be awarded with full power over some areas such as the Gaza strip, which was being controlled by Israel1. Israel disputed that the area belonged to them, and rejected their proposals. The prime minister of Israel instead offered them the access to the areas under conflict but insisted that they were still under the government of Israel. He additionally explained that the roads to be used were still under Israel and the Palestinians would be deprived of their use in case there was an emergency. The Palestinian leader rejected Israel’s whole idea since they had wanted complete ownership of the land2. This is one issue why they never solved their conflict on territorial borders. They further discussed on the territorial conflict that concerned Jerusalem. Palestinians claimed complete ownership of the east of Jerusalem and the holy cities that were nearby including Temple Mount. Amusingly, both Israel and Palestine referred to temple mount as holy grounds, considering that Judaism and Islam are involved. Palestine claimed that the land on the east of Jerusalem was ‘stolen’ by Israel and that they should return it to the rightful owner. The Israeli leader argued that if the land belonged to Palestine, they w ould still be having it since countries should always protect their possessions. In an attempt to solve this problem, Israel suggested that Palestine be granted with custodianship and not complete ownership of the area in conflict (Temple Mount)3. Israel however claimed that the ancient wall on the temple mount would belong to them since it was very an important icon in Judaism. Israel also suggested that some Muslim environs in the east of Jerusalem would be part of Palestine while others would still be under the control of Israel. It happens that Palestinians had wanted full control of all the Muslim neighborhoods and sought for an explanation why Israel would no grant them full sovereignty. They did not desire Israel to have power over the holy Arab cities in any manner and therefore could not come into a viable conclusion. Another reason for the summit was the issue of refugees. These refugees came to being because of war that made some Palestinians to escape from Israel into th e neighboring Palestine. Palestine wanted the refugees to go back to their original homes in Israel without being asked and that they should be granted with land. Israel rejected because they were millions of them and they would make the country be overpopulated and limit the resources. Large populations have high demand for resources and lead to their degradation since they can never be enough. Israel stated that they would only permit the immigrants who had families left in Israel after the war period was over. This amounted to about 100,000 refugees4. This did not favor the Palestinians, as they wanted the refugees to decide where they wanted to be, Israel or Palestine. It was evident that a large number would prefer to relocate to Israel. It was also decided that

Barley production in the United States Essay Example for Free

Barley production in the United States Essay Share of US in global barley production is decreasing and about 1% drop can be clearly seen from 2000 to 2005. Currently US produces about 3. 5% of the total global production. European Union, Russia, Canada and Australia lead the pack. In US the barley is produced mainly in North Dakota, Montana, Idaho, Washington, Minnesota and South Dakota. These six states account for about 80% of the US barley production. The area under barley cultivation in these six states are 1. 05, 0. 80, 0. 56, 0. 21, 0. 12 and 0. 06 million acres for the states North Dakota, Montana, Idaho, Washington, Minnesota and South Dakota respectively in 2006 (fapri. missouri 2006). In US the area under cultivation of barley and wheat is continuously decreasing while that under corn and soyabean is increasing. Total area under barley cultivation has decreased from 9 million acres in 1991 to about 3. 5 million acres in 2006 and accordingly the total production of barley has also decreased from about 9 million ton in 1991 to just 4. 4 million ton in 2005. US production averages 400 million bushels per year with an annual value of $923 million as a raw commodity (1988 1997). In USA production of the malt barley is mainly in the western states. Of the barley consumed domestically, approximately 55% of the barley crop is used for animal feed 39% for malt production 3. 5% as seed 1. 7% in food products Total value of the annual barley crop is $184 million for barley and milled products $48 million for malt and malt extracts $332 million for beer. US production represents 5-10% of the world production. Largest importers of US barley are Japan and Mexico. Malting and Brewing It is imperative to examine the malting, brewing and fermentation process in primarily to understand the quality requirements for the barley to be use for production of beer. Various unit processes in production of beer are – making malt, drying and milling of malt, producing wort, brewing, fermentation, maturation and bottling. We will examine each of the unit processes in somewhat detail. In the malt house, barley grain germination is initiated by the uptake of water in a steeping vessel. The grain imbibes water during controlled cycles of water spraying or water immersion followed by aeration, until the water content of the grain reaches 42 to 48%. Water enters the grain via the embryo, and after approximately 24 hours, the first visible sign of germination is the appearance of the root, as a white chit. The grains are then transferred to malting beds where germination is allowed to proceed over a period of around 5 days. The speed of germination is controlled by temperature and aeration of the malt bed, while moisture content is maintained by spraying. Further embryo growth, with the appearance of rootlets and acrospires, can lead to root entangling. The grain bed is regularly turned with a rotating screw to prevent grains matting together. Green malt, produced after five days of germination, is kiln dried and partly cooked in a forced flow of hot air. Hydrolases produced during malting are partially inactivated during this process. Malt color, enhanced by kilning at higher temperatures, may be desirable for production of darker beer, but it leads to further heat-inactivation of hydrolases. The brittle malt rootlets are separated from the malt and utilized in animal feeds. The kilned malt is stable for storage and has a friable texture suitable for the milling process which proceeds brewing. The brew house consists of brewery buildings housing machinery and equipment for the production of wort. Processes taking place here include milling of the kiln dried malt, mashing, filtration and wort boiling. The malt is milled into fine grits to ensure good access of water to grain particles in the subsequent phase of beer production. Milling energy is a good indication of malt quality, where homogeneously modified malt has a lower milling energy. Malt may be supplemented with solid adjunct, i. e. a sugar source such as flaked or roasted barley, in order to impart specific flavor or colour characteristics to the finished beer. Milled malt is mixed thoroughly with two to four volumes of water to yield mash, and subjected to a process denoted mashing that fundamentally is an extension of malting with the action of various enzymes. Boiled, gelatinized starch from maize or rice grains may be supplemented as adjunct during mashing to achieve a higher content of fermentable sugars. At the end of the mashing operation, soluble substances and residual solid particles are separated by filtration into sweet wort and spent grains, respectively. Factors influencing mash filtration are complex and range from physical effects, such as particle size, to high viscosity caused by gum and protein aggregates. In the next process in the brew house, hops are added to the wort as a source of bitter substances, which are solubilized during wort boiling ( 1 h) and give beer its characteristic taste and aroma. In addition, wort boiling serves to denature enzymes and other proteins, sterilizes the wort, and yields a darker liquid which is an excellent medium for subsequent fermentation with brewers yeast. During the primary fermentation, the fermentable sugars, mainly maltose and glucose are converted to ethanol and carbon dioxide. This action is performed by the brewing yeast, which during the brewing process also produces many of the characteristic aroma compounds found in beer. At the end of the primary fermentation, the yeast cells flocculate and sediment at the bottom of the fermenter and can be cropped and used for a new fermentation. Not all yeast cells sediment; some will remain in suspension, and these cells are responsible for maturation of the beer. During this process the off-flavor, diacetyl is degraded to below the taste threshold. The fermentation characteristics of brewers yeast are strain-dependent and are genetically inherited. Much of the genetics of Saccharomyces yeasts has been elucidated, and the knowledge gained, forms the basis for breeding of brewing yeast. Thus, new types of beer with altered aromas can be produced with yeast strains selected through breeding. After fermentation the temperature is lowered and the beer is maturated for a period during which the off-flavor component diacetyl is assimilated by yeast cells. Mature beer is then chilled to a temperature of -2 oC for a couple of days. By doing so the colloidal stability of the beer is greatly improved due to precipitation of protein-tannin complexes, which are only sparingly soluble at low temperature. The beer is now ready for final stabilization, which removes further amounts of proteinaceous matter and/or tannins, and subsequent filtration. The bright beer so obtained, and adjusted to the correct carbon dioxide content, is now ready for bottling. When the residual yeast cells have been removed it is of utmost importance that oxygen uptake is reduced as much as possible, since oxygen will damage the flavor stability of the beer and, despite intensive stabilisation, also impairs its colloidal stability. Finished beer is either bottled or canned or filled into kegs. It may be tunnel pasteurized, flash pasteurized or aseptically bottled. In either case the beer must appear fresh, bright and without faults to the customer and hence the quality is a matter of great concern. The beer must also be free from micro-organisms to ensure wholesomeness and biological stability. The ethanol content must obey fiscal rules but is also of major importance for the flavor of the beer. This is further influenced by a wide range of compounds that may be present in even very small amounts. Visually the finished beer must form nice foam on pouring; it must have an attractive colour. Despite use of the choicest raw materials and careful brewing performance the beer is a fragile liquid, especially when not stored cold. The fine balanced aroma of fresh beer is eventually replaced by a less attractive smell and likewise the taste deteriorates. The basis for this decay is a matter of intense research.

Analyzing A Selection Of Childrens Literature English Literature Essay

Analyzing A Selection Of Childrens Literature English Literature Essay With the birth of the field of childrens literature over two centuries old, Carnegie Medal winners represent only a small part of the history and tradition of childrens literature. The Graveyard Book (2009), the most recent addition recipient of the award, follows some of the traditions of the field, and differs in others. In my attempt to discuss how The Graveyard Book fits into the history and tradition of childrens literature, I will be comparing it with other notable works in the field, specifically, Robert Louis Stevensons Treasure Island (1883), J. K. Rowlings Harry Potter and the Philosophers Stone (1997), and Philippa Pearces Toms Midnight Garden (1958). As a fellow Carnegie winner, Toms Midnight Garden, offers a comparison of fantasy fiction, and when considered with Harry Potter and the Philosophers Stone provides an interesting view of the changes that have occurred in the genre over the years. Treasure Island is structured similarly to The Graveyard Book, and both novels are good examples of the bildungsroman genre. In the course of this essay I will be referring to a range of critical material relevant to my discussion. The effect of childrens literature on children, and the reverse, is circular; as childrens attitudes to the world around them change, so too does the literature written for them, and as that literature changes, it again affects childrens attitudes. Furthermore, the evolution of adults understanding of childhood has affected which books are deemed suitable for publication. Childrens literature commonly exemplifies the beliefs and context of the culture in which it is written, however, since the majority of childrens literature is written by adults, it often reflects issues that concern adults, and not the intended audience. Adult-authors must make assumptions about the reaction of a child-reader or the behaviour of a child-protagonist, and in doing so, can sometimes offer a poor representation of a childs perspective. This difference between the adults and childs attitude to childrens literature can often be seen in the contrast between best-selling books, and those books that win lit erary prizes. Contrary to this, The Graveyard Book has won the Newbery Medal, Hugo Award for Best Novel, and the Locus Award for Best Young Adult novel in 2009, and the 2010 Carnegie Medal (Wikipedia contributors, 2011), spent fifteen weeks on the New York Times best-seller list for childrens chapter books (Rich, 2009), and has a film adaptation currently in production (Wikipedia contributors, 2011). Gaiman himself recognized the unusual nature of a book being both popular and prestigious, saying that typically there are books that are best sellers and books that are winners (Gaiman quoted in Rich, 2009). The popularity and prestige of a childrens book is dependent on a number of different elements; instruction and/or delight, and social, cultural and historical contexts (Maybin, 2009, p. 116). Maybin states that prizes signify a books prestige in the eyes of the critics, but they are not necessarily an indication of its appeal to children (Maybin, 2009, p. 118). The division between the childrens books awarded literary prizes, and those that are popular with children is significant. An example of such division can be seen when comparing Philip Pullmans Northern Lights (1995) and Rowlings Harry Potter and the Philosophers Stone; Northern Lights was the 1995 Carnegie Medal winner, while Harry Potter and the Philosophers Stone only reached the shortlist for the 1997 Medal, but went on to win the Nestlà © Smarties Book Prize, The British Book Award for Childrens Book of the Year and the Childrens Book Award, all of which, suggestively, have involved children in the judging process. Like The Graveyard Book, both books are fantasy-adventure novels featuring a young protagonist. All three novels are read an enjoyed by adults and children, but while Northern Lights is considered by adults to be quality literature, Harry Potter is criticised being not literature but a phenomenon (Zipes, 2009, p. 289). Nicholas Tucker (2009) argues that the criteria for judging the quality of childrens books varied according to conceptions of childhood; for those with a romantic conception, the emphasis is on an exciting, imaginative storyline, whilst those who view childhood primarily as preparation for adulthood favour books that are truly representative (Tucker, 2009, p. 153). If compared to earlier childrens books, it appears that modern childrens literature reflects the development of a clearer concept of childhood. The debate surrounding instruction and delight in childrens literature is one that has occupied scholars for centuries. The first childrens book to combine the two concepts was A Little Pretty Pocket-Book (1744), published by John Newberry, and featuring the motto, deluctando monemus instruction with delight. (Montgomery, 2009, p. 13) Prior to A Little Pretty Pocket-Book, the majority of childrens literature was Puritan in nature, and advocated childrens conversion to Christianity in order to save their souls from eternal damnation. Their concept of original sin resulted in explicitly didactic literature intended to educate children both religiously and morally. Newberys childrens book was, according to Jack Zipes, the first childrens book in which amusement rather than religious indoctrination is the central concern (Montgomery, 2009, p. 13). In contrast to the clearly religious books generated by the Puritans, Newberys books appealed to parents more interested in social and financ ial improvement; Letter to Sir declares that learning is a most excellent thing and can raise a boy from a mean State of Life to a Coach and Six (Montgomery, 2009, p. 14). A Little Pretty Pocket-Book marks the beginning of an evolution of the purpose of childrens literature into a concern more for the moral development of a child; with an emphasis on becoming a good person for the sake of ones emotional well-being rather than for fear of eternal damnation. The Bildungsroman novel, considered to have begun with the publication of Johann Wolfgang von Goethes The Apprenticeship of Wilhelm Meister in 1795-6, emphasizes this psychological development. The genre is generally distinguished by a number of topical and thematic elements (Iversen, 2009), and narrates the protagonists maturation over the course of the novel. The protagonist is usually young, and, following early unhappiness leaves home on a long and demanding journey, along the way maturing into a self-aware, socially-responsible young adult. Structurally, a Bildungsroman will often favour inter-character dialogue over extensive plot development, which causes the readers attention to be centered firmly on the protagonist. Whilst a Bildungsroman is deemed to be a German novel, many scholars use the term (spelled without a capital) to refer to other novels of a similar style that have been published elsewhere. With this in mind, it can be reasoned that The Graveyard Book follows the traditions of a bildungsroman novel. The Graveyard Book incorporates a number of the elements present in other coming-of-age novels indeed, Gaiman himself has admitted that the novel was greatly influenced by Kiplings The Jungle Books (1894), which may be considered one of the best-known of such novels (Horn, 2010). Gaiman described the idea as, something a lot like The Jungle Book and set it in a graveyard (Gaiman quoted in Rich, 2009). The similarities between the two books are clear; in the book titles, the protagonist, even in individual chapters, for example the comparisons between the third chapter in The Graveyard Book, The Hounds of God and the second chapter in Book One of The Jungle Books, Kaas Hunting. Gaimans ability to take the premise of a popular book over a hundred years old and develop it into an enjoyable childrens book that is both modern and relevant, demonstrates how the traditions of childrens literature can be transformed to meet the demands of a new audience. A further example of the on-going tradition of the coming-of-age novel is the Harry Potter series, specifically Harry Potter and the Philosophers Stone. The protagonists in both the Harry Potter novels and The Graveyard Book are orphaned as babies when their parents/family are killed by a murderer who, after failing to kill them, continues to hunt them until the two meet in a final show-down. This premise features in numerous books for children throughout the history of childrens literature, from the already mentioned Jungle Books to Lemony Snickets A Series of Unfortunate Events (1999-2006). The similarities between Harry Potter and Voldemort and Nobody Owens and the man Jack extend further than the latters desire to kill; the plots of both novels build from the murder of the protagonists family, and in both cases these murders are prompted by a prophecy that the protagonist would be the downfall of the antagonist. This concept of the child-hero is a popular one in childrens fiction and features throughout the history of childrens literature, from Wart in T. H. Whites The Sword in the Stone (1938) to Percy Jackson in Rick Riordans Camp Half-Blood series. Orphaned (whether literally or figuratively) protagonists appear frequently in childrens literature, from folk tales to contemporary fiction. A valuable literary device, an orphan provokes sympathy and can generate a perceived alliance between protagonist and reader. An orphaned child protagonist can also be convenient for the author since without parents, the budding child hero has more freedom to experience the, sometimes life-threatening, adventures that encourage his maturation. This can be seen in Toms Midnight Garden, the 1958 winner of the Carnegie Medal, and one of the Carnegie Medal 70th Anniversary top ten (The CILIP Carnegie Kate Greenaway Childrens Book Awards, 2007). Tom is able to visit the garden partly because of the absence of his parents whilst he is being cared for by his aunt and uncle, it is clear from the novel that neither adult is accustomed to caring for a child, and Tom takes advantage of this to pursue his nightly visits to the garden. Whilst Tom can be c onsidered a temporary orphan in a figurative sense, Hatty is literally an orphan, having lost both of her parents at a young age. Their status as orphans is not the only thing that Hatty and Bod share; as Hatty grows up, she ceases to see Tom, in the same way that Bod ceases to see the residents of the graveyard. Alison Waller (2009) argues that in young adult fiction the ending is always presumed to be a realisation of adulthood and maturity. (Waller, 2009, p. 54) This idea of maturation is reminiscent of Barries Peter Pan (1911) and Wendys realisation that she and her brothers cannot stay in Never Land, but must return home to grow-up. Humphrey Carpenter (1985) compares Tom and Peters attitudes to their ageing, arguing that the storys conclusion describes Toms acceptance of what Peter Pan can never accept: that Time must be allowed to pass, and growth and even old age must be accepted as necessary and even desirable facets of human nature (Carpenter, 1985). Like his predecessors in the traditions of the coming-of-age novel, Nobody Bod Owens is a likeable character, intriguing, and often contradictory in his behaviour; obedient, yet always questioning, determined, yet often managing to find trouble, courageous, yet sensitive. Happy as he is with his adoptive family in the graveyard, at the end of the novel, when he has become a young man, Bod declares that he want[s] to see lifeà ¢Ã¢â€š ¬Ã‚ ¦ I want everything (Gaiman, 2009, p. 286). While this journey of maturation shares a theme with Treasure Island, Bods declaration is in contrast to Jims final words which, rather than being optimistic at the possibility of future adventure, are fearfully reminiscent of the accursed island (Stevenson, 2008, p. 191). Structurally, The Graveyard Book and Treasure Island share some similarities; both novels centre around the adventures of a single, male protagonist, both novels can be described as being coming-of-age stories, and both novels have resolv ed endings. The novels differ in their point of view; where The Graveyard Book is generally narrated in the third-person, Treasure Island is narrated in the first-person, by Jim Hawkins. However, both novels do deviate from their standard narrative form there are several parts of The Graveyard Book where the events are recounted by either the man Jack or by Scarlett, and in Treasure Island, for chapters 16-18, Stevenson shifts the control of the narrative from Jim to Doctor Livesey. In an illustrated talk, Kim Reynolds suggests that childrens literature in its current state has been moulded by practices that began in the nineteenth century, and that whilst the content of books today differs significantly from those of the nineteenth century, there were still the same kinds of divisions then, that we have now in terms of what we might call good literature (Reynolds, EA300 DVD1, no. 5). A recurring theme in childrens literature across the years is the idea of home. Central to the domestic and school stories popular with girls in the nineteenth century, and to adventures stories popular with boys during the same period, home is either the setting for such novels, for example in Little Women, or a place of safety that the protagonist can return to after his adventures, like in Treasure Island. The Graveyard Book parts from this traditional notion of home; what should have been Bods place of safety became the place where the man Jack murdered his family, so home beca me a place that does not follow the traditional domestic image. When he leaves the graveyard as a young man, he realizes that if he does return, it will be a place, but it wont be home any longer (Gaiman, 2009, p. 286). Contrary to many earlier childrens novels advocating the traditional correlation of home and safety, in The Graveyard Book Bod is in fact safer among the dead in the graveyard, a place that is stereotypically considered scary or even dangerous. In the last two centuries, there has been a significant change in how ghosts are portrayed in childrens literature; early literature saw ghosts that were frightening, and used to teach children morals, while in contemporary literature they are just as likely to be friendly or even amusing. Both interpretations can be seen in the Harry Potter series, with the Bloody Baron representing the fearsome ghost, and Nearly Headless Nick representing the friendly. The tradition of friendly ghosts in childrens literature, such as those in The Graveyard Book, appears to have begun with William Pà ¨ne du Bois book, Elisabeth the Cow Ghost (1936) (Pearce, 1995). The appearance of ghosts in childrens fiction increased during the 1970s and 1980s, with a numb er of novels that used ghosts to teach their readers about historical events, and others that a child protagonist helping a ghost to accept his fate and move on. This is in direct contrast to The Graveyard Book, where it is Bod that has to move on into the world of the living, while the ghosts are left in the graveyard. The publication of The Graveyard Book follows a recent rise in the popularity amongst children and young adults of paranormal fiction. Fantasy fiction as it is today has been developing since the revival of folk and fairy tales in the early 1800s, advancing particularly during the First Golden Age of childrens literature. Modern fantasy tends to reject traditional sentimentality, exploring instead complex moral and sociological issues. In a similar way to modern realism, modern fantasy fiction has broached a number of taboo subjects, the most significant in The Graveyard Book, being death. In the early history of childrens literature, when death occurred in a book, it was often as a punishment, used to illustrate where the wrong path could lead. In contrast, in The Graveyard Book death is treated as a natural part of life not to be either welcomed or feared. However, unlike other childrens fiction that handles the subject, death in The Graveyard Book is largely regarded light-hearte dly, unlike for example in The Other Side of Truth, where their mothers death acts at the catalyst for Sade and Femis subsequent ordeals. The acceptance of subjects that have previously been considered taboo is, according to Rachel Falconer (2009) a result of changing conditions of contemporary childhood (Falconer, 2009, p. 373). The Graveyard Book encapsulates some of the major traditions of childrens literature and is reminiscent of some of the most noteworthy works in the history of the field. At the same time, the novel pushes the boundaries of what is accepted, unmasking a taboo subject and treating it positively but tastefully. A best-seller, the novel continues the current trend of paranormal fiction, and bridges the gap between the popular and the prestigious by winning numerous literary awards. Neil Gaimans description of his book as a book about life and childhood and the value of childhood (Gaiman quoted in Horn, 2010), places it firmly amongst the fields traditions, and the books double-win of the Newbery Medal and the Carnegie Medal gives it a significant role in the continuing development of the field of childrens literature.

Social Networking Dos and Donts Essay -- Facebook, Social Network

Social Networking sites and application are an increasingly entwined part of our everyday lives. We use them to communicate with friends and family all over the globe, to chat with friends down the hall to decide where to eat, to network for jobs, and to connect with others with similar interests. However, much like any other part of the internet, social networks can be frought with serious security risks, both for your person, and your data. Many social networks will tell you that the more you put into them (your information), the more you get out of them (connections, recommendations, etc.). However, despite the aura of privacy they try to engender, one must keep in mind that social network takes place in essentially public space, with only the barest of mechanisms providing any semblance of privacy. Even seemingly innocuous data shared with the world can be dangerous in the wrong hands. The best attitude to take in order to enjoy the benefits of social networking, while minimizing the inherent risks, is to remain SKEPTICAL and CAUTIOUS. SKEPTICAL of any requests for...

Human civilization Essay

The history of hotels is closely related to human civilization. In the times of Greeks baths were common for recreation. In the middle Ages inns and monasteries were familiar places for weary travelers to stay. However the real trend of hotels and resort took a boom in the late 19th and 20th centuries. After World War II; in 1950s, the hotel industry roared. The era was notable for construction of great hotels and resorts. One main reason for such boom was the advent of airlines industry that made traveling easier. In the sixties new tourists flourished from Spain to Greece and Turkey giving rise to countless resorts and beach hotels in the continent opening their doors to international customers providing them relaxed vacations on distant shores. The trend was followed in the Portugal and Scandinavian countries as well. 1970s ushered the age of business travel as airline industry attached itself to hotels and resorts. One main reason for such trend was the newfound prosperity in the Middle East; which paved the way for the development of great hotels chains in the Arab countries. The end of seventies saw China opening its door to foreigners that helped in boosting its tourist industry. It was early 1980s that set the pace of great luxury and style for the new clients who were willing to spend on luxury. In 1984 Turkey started to transform itself leading great wave of speedy hotel and resort construction increasing its status as a top tourism destination. The eighties saw change of heart in Far East countries; such as China, Japan, Korea and Thailand expanding their economies and attracting international tourists. The nineties were influenced by IT making online booking and reservation a hassle free way of booking hotel rooms. Thus we can say that the last five decades hotel industry has been helping in expanding economies of tourist destinations. Hotel industry is no longer an isolated industry ,but designers developers and engineers and managers are constantly working together to provide guests their taste of luxury. Reference Jacques Levy-Bonvin, Hotels, A Brief History. Retrieved November 19, 2006, Web site: http://www. hospitalitynet. org/news/4017990 HISTORY OF LODGING . Retrieved November 19, 2006, Web site: http://www. ahla. com/products_lodging_history. asp http://www. marketresearch. com/land/product. asp? productid=1125075&progid=3602

Free Essays on Michael Stipe

Michael Stipe, lead singer for R.E.M., is thought to be one of America’s most emotionally powerful songwriters in the music scene. John Michael Stipe was born January 4th, 1960 in Decatur, Georgia. The lead singer has become well known for his mumbling style, exploiting strange and scrambled lyrics. Stipe grew up as the son of a military officer, moving from place to place as a kid. Although he usually kept to himself, he developed an alter side while growing up that contradicts his shyness. While studying photography and painting at the University of Georgia, Stipe met Peter Buck, Bill Berry, and Mike Mills. They created R.E.M. that year and issued their debut single, Radio Free Europe, and in 1983 they came out with their debut album, Murmur. This album differed from the rest of the mainstream pop music being played at the time (StarIQ 261). The music was kind of haunting, and hard to understand, but still carried power and emotion in the lyrics. The album’s central theme was the tones and images that bothered Michael Stipe. R.E.M. got exceptional ranking in the early 80’s but it was not until their hit The One I Love, from their album Document in 1987, that they achieved the vast commercial recognition they needed. At this point Stipe was put under the spotlight along with severe pressure that made him define his music and himself. Questions arose concerning his sexual identity that he chose to avoid. But when the pressure became too great, he rose above his need for solitude and began to openly discuss his sexuality (Brainyencyclopedia 417). This made a great influence on his music. The themes and ideas became more social than political as seen in earlier songs. His fan base grew and Stipe became a recognized star. Stipe’s lyrics started as an opinion on society from a social point and developed into a signature of strong feeling about love and sexuality. In 1990 R.E.M. wrote a hit song called Losing My Religion, referr... Free Essays on Michael Stipe Free Essays on Michael Stipe Michael Stipe, lead singer for R.E.M., is thought to be one of America’s most emotionally powerful songwriters in the music scene. John Michael Stipe was born January 4th, 1960 in Decatur, Georgia. The lead singer has become well known for his mumbling style, exploiting strange and scrambled lyrics. Stipe grew up as the son of a military officer, moving from place to place as a kid. Although he usually kept to himself, he developed an alter side while growing up that contradicts his shyness. While studying photography and painting at the University of Georgia, Stipe met Peter Buck, Bill Berry, and Mike Mills. They created R.E.M. that year and issued their debut single, Radio Free Europe, and in 1983 they came out with their debut album, Murmur. This album differed from the rest of the mainstream pop music being played at the time (StarIQ 261). The music was kind of haunting, and hard to understand, but still carried power and emotion in the lyrics. The album’s central theme was the tones and images that bothered Michael Stipe. R.E.M. got exceptional ranking in the early 80’s but it was not until their hit The One I Love, from their album Document in 1987, that they achieved the vast commercial recognition they needed. At this point Stipe was put under the spotlight along with severe pressure that made him define his music and himself. Questions arose concerning his sexual identity that he chose to avoid. But when the pressure became too great, he rose above his need for solitude and began to openly discuss his sexuality (Brainyencyclopedia 417). This made a great influence on his music. The themes and ideas became more social than political as seen in earlier songs. His fan base grew and Stipe became a recognized star. Stipe’s lyrics started as an opinion on society from a social point and developed into a signature of strong feeling about love and sexuality. In 1990 R.E.M. wrote a hit song called Losing My Religion, referr...