The Financial Crisis Of 2008 - 1689 Words

Our society seems to doing well since the financial crisis of 2008. The country is recovering from the Great Recession, unemployment is down and the global domestic product is up. People have jobs and are paying taxes. President Obama lowered our budget deficit and promised to make healthcare more available to all. On average, America is well on its way to recovery. But what about the people that slipped through the cracks of the financial stimulus plan? These are the people that lost their jobs, and subsequently their homes. These are America’s impoverished and homeless. Homelessness now contains a bigger spectrum of people than ever before. This population now includes many everyday people, including college educated individuals. These†¦show more content†¦Ã¢â‚¬Å"In 1980 federal dollars accounted for 22 percent of big city budgets. By the end of Reagan’s second term, federal aid was only 6 percent† (NHI). These dramatic cutbacks had horrible consequences on cities with large poor populations. The already poor were forced out on the streets. In 1973 the poverty rate was 11.1%. This number began to rise after implementation of Regan’s policies in 1980’s to 15.2%. The amount of people living in poverty was slightly lowered due to President Clinton’s democratic policy in the late 1990’s, to 11.3% by 2000. It then rose to 12.7% in 2004 (NPC). Thus poverty can be seen as a product of welfare policy, but it is also a product of our materialistic consumer culture. This is an issue where all of us are to blame. We value money and instant gratification more than people’s lives. People walk by beggars without acknowledging them, something that we wouldn’t consider doing to the higher class of society. We dismiss them as useless junkies because of their hard circumstances. Students Against Hunger and Homelessness report that 20% of homeless people are addicts and 25% suffer from mental illness. Such progression happens because after landing on the street some people turn to drugs or alcohol for comfort. However, dismissing them as drains on our society is not the right mindset to

Epidemiology And The Community Of Hartford Connecticut

Epidemiology in the community of Hartford Connecticut I have chosen to focus my paper on the city of Hartford Connecticut. Identifying the right data source to obtain information is very important for managing and targeting the right population in the disease management process. Information can be found in many places, but finding credible sources is very important to assess the community and compare to the nationwide problems. Since the introduction of the Internet, we have been able to access many places in on World Wide Web to be able in becoming more informed and educate ourselves on disease management. Some of the credible data sources I have been able to obtain are from the federal and state level, some were non-profit†¦show more content†¦According to CERC Town Profile in 2014 the most current population for the city of Hartford in 2012 was of 124,979 compared to the state 3,572,213, which there is an expected increase in population of 0.2% by year 2020 for the city of Hartford. With a median household income of $28,931 , compared to the state of $69,519. The poverty level of the city was stated to be at 34.4% compared to the low state rate at 10.5%. But according to the Census Bureau when comparing the poverty level with other major cities in the state such as New Haven at 26.4% and at Bridgeport 23.6%, the city of Hartford poverty level is much higher. Unemployment rate seems to be a big concern for the city being at 14.7% compared to 7.8% of the total state unemployment rate. (CERC). The city houses many big corporations causing a major problem for people that lack in education finding employment within the city. Even though they have easy access to public transportation traveling outside the city may cause a burden to the people whom have to travel for employment outside the city. Crime rate within the city is also a major concern in the year of 2014 it was reported 19 cases homicides in the city a decline from the previous years. According to CT healthy people 2020 their expected rate of 5.5 per 100,000 population (DPH), in which the city of Hartford is leading below the expected rate at 3.5 per 100,000Show MoreRelatedStatistical Data Of Heart Disease1128 Words   |  5 PagesThe purpose of this paper is to speak about statistical data of heart disease in Hartford Connecticut. The Epidemiology and the community I have chosen to speak about in this paper are cardiovascular disease and stroke in the city of Hartford in the state of Connecticut. According to Heart.org, Cardiovascular disease is the leading cause of death and accounts for more than 17.3 million deaths per year and is expected to grow to over 23.6 million by 2030 (Heart Disease, Stroke and Research At-a-GlanceRead MoreMyocardial Infaraction6192 Words   |  25 Pages10;170(9):759-64. Rethinking the epidemiology of acute myocardial infarction: challenges and opportunities. Yeh RW, Go AS. Division of Cardiology, Department of Medicine, Massachusetts General Hospital, Harvard Medical School, Boston, MA, USA. Abstract BACKGROUND: During the previous decade, many strategies for preventing acute myocardial infarction found to be efficacious in randomized controlled trials have been adopted by physicians in the community. Although evaluations of quality improvement

Ancient Peruvian Ceramics Essay Example For Students

Ancient Peruvian Ceramics Essay The first pottery pieces found in Peru were made somewhere between 1500 and 1000 b. p. The pieces were found in the central Andean region where a religious cult lived. This cult was called ChavÃÆ'Â ­n, after the best known ceremonial center, ChavÃÆ'Â ­n de HuÃÆ'Â ¡ntar. The religious center was the home to massive temples that were highly embellished with low relief sculptures of gods, animals, and symbols. The pottery found in the area where vessels that were well made and highly decorated with a similar motif as the temples. But the evolution of Peruvian pottery becomes somewhat confusing and complex after this first civilization of potters. There is a division of people into the North Coast and the South Coast. The split created two styles of pottery, although similar, they never quite merge. I am only going to talk about the north coast traditions. On the North coast there are five cultures that evolve into the dominant Mochica style, which was one of the most vigorous and prosperous cultures of Ancient Peru. The next earliest North Coast style, other than the ChavÃÆ'Â ­n, started with the Cupisnique people in the Chicama valley. Their ceramics closely resembled those of highland ChavÃÆ'Â ­n. They were well made and polished, though somewhat thick walled and heavy. The type of firing used produced a dark semireduced ware that varied from brownish gray to carbon black in color. Decoration consisted of bold, curvilinear human, feline, and birds of pray heads, eye patterns, pelt markings, and other brief symbols of geometric devices. In the valley to the south of the Cupisnique were the Salinar people who sometime during the fifth century b. p. oved into the north coast of Peru and spread its influence throughout the Cupisnique area. Salinar pottery, though deceptively primitive in ornamentation, was technologically superior to that of the Cupisnique. Vessels were made of well-prepared clays that were fully oxidized in firing, making them an even orange color. Cream and red slips were used to accentuate sculptural forms and create flat geometric patterns, but not to draw figurative motifs. The technical advan ces of the controlled oxidation firing and slip decoration soon had their effect on contemporary Cupisnique ceramics. Personally, I enjoyed the bottle forms they used with their double strap handles that lead from the shoulder of the forms to the one central spout. see figures 1 and 2. This style of vessel seems to continue throughout the centuries. Three other cultures in north coast valleys contributed their pottery style to the over all Cusisnique style that was evolving into the Mochica style. These people were the Gallinazo, Recuay, and VicÃÆ'Â ºs. The Gallinazo constructed double chamber vessels with whistle spouts and a type of decoration called negative decoration where they painted their simple designs on after the pieces were fired. The Recuay also had double chamber vessels but these had one functioning spout and one sculpted, usually an animal or figure. They also used negative decoration but theirs were much more elaborate designs than the Gallinazo vessels. The VicÃÆ'Â ºs lived in the highlands on the Ecuadorian border. They made very sculptural vessels with a stirrup handle and central spout. see figures 3, 4, and 5 Although a hand full of VicÃÆ'Â ºs artifacts have been found, not much is known about these people, but one can see a visible connection between all of these different cultures and the Mochica style that evolved out of them. The Mochica civilization flourished for nearly 1000 years and as time passed slight changes in the style could be seen and are chronologically separated into Mochica I-V. The first two are formative phases with lots of experimentation. The third concentrated on a distinctive art style, which continued through the forth and gradually declined in the fifth. They expressed many aspects of their culture and daily life in their ceramics. Things like warriors, runners people who run bags of beans were important to the ceremonial life, portraits, religion, gods, and animals were shown on vessels. .u2540b2d0dfb6b2534d3fc306e1013198 , .u2540b2d0dfb6b2534d3fc306e1013198 .postImageUrl , .u2540b2d0dfb6b2534d3fc306e1013198 .centered-text-area { min-height: 80px; position: relative; } .u2540b2d0dfb6b2534d3fc306e1013198 , .u2540b2d0dfb6b2534d3fc306e1013198:hover , .u2540b2d0dfb6b2534d3fc306e1013198:visited , .u2540b2d0dfb6b2534d3fc306e1013198:active { border:0!important; } .u2540b2d0dfb6b2534d3fc306e1013198 .clearfix:after { content: ""; display: table; clear: both; } .u2540b2d0dfb6b2534d3fc306e1013198 { 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; } .u2540b2d0dfb6b2534d3fc306e1013198:active , .u2540b2d0dfb6b2534d3fc306e1013198:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u2540b2d0dfb6b2534d3fc306e1013198 .centered-text-area { width: 100%; position: relative ; } .u2540b2d0dfb6b2534d3fc306e1013198 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u2540b2d0dfb6b2534d3fc306e1013198 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u2540b2d0dfb6b2534d3fc306e1013198 .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; } .u2540b2d0dfb6b2534d3fc306e1013198:hover .ctaButton { background-color: #34495E!important; } .u2540b2d0dfb6b2534d3fc306e1013198 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u2540b2d0dfb6b2534d3fc306e1013198 .u2540b2d0dfb6b2534d3fc306e1013198-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u2540b2d0dfb6b2534d3fc306e1013198:after { content: ""; display: block; clear: both; } READ: Baroque Art EssayMochica I was a strong continuation of the late Cupisnique sculptural style. The forms are compact with little suggestion of action, and details are often rendered in incised lines. Faces are generalized, but individual personages are differentiated by costume and accessories, and by distinctive physical traits. The style was not very elaborate. Some slip painting was done and the simple designs were sometimes accented by incised lines. The designs are similar to those of the Salinar, but they sometimes used the geometric designs of the Recuay. In Mochica II they mastered the art of slip decoration and oxidation firing. The ornamentation continued to stay predominantly geometric with some figurative motifs. They did have some relief-decorated ceramics whichincorporated two concave sections made in the same mold, usually joined by a bread band of clay into which the stirrup spout was inserted. This mold technique is first type seen in this culture. figure 6 It continues to be used for all sculptural vessels. Sometimes the vessels would require two or more molds, some they used one mold twice. For highly ornamented vessels they would add headdresses and arms after the vessel was assembled and before it was fired. The Mochica III style used much more modeling of the forms and began to lean towards more realistic representations. They began to create highly polished black reduction wares. The oxidized orange ware with cream and red slip decoration was also being used in conjunction with the black ware. This was also the time in history when the Mochica peoples moved out of Moche and Chicama valleys and began to dominate neighboring groups by either military or religious conquests. By the Mochica IV period they had an extensive kingdom established and it brought together the peoples of all the north coast valleys. The ceramics were decorated in flowing, expressive lines and the modeled vessels showed attention to individual detailed ornamentation. But the creative flow in the ceramic styles was hindered somewhat because of a strict militant rule of the warrior-priest class that was beginning. Yet this was still the most creative time for the Mochica people. The final period in Mochica ceramics, due to a collapse of the culture, brought an abrupt termination of the great art tradition that it had expressed so well. The vessels found from this period show a carelessness in painting designs, and less attention to details in the sculptural forms. Many of the figures modeled in to the vessels were warriors dressed for combat. The decline in quality that can be observed, and the nervousness and tension that were expressed in their designs and forms was related to the pressure from the militant expansionist group, the Wari. The struggle between the Mochica and the Wari, was long and fierce, ending in a total collapse of their culture and a loss a 1200 year ceramic tradition.