Stereotyping of Minority Students :: Sociology Racism Prejudice Essays

Stereotyping of Minority Students      Ã‚  Ã‚  Ã‚  Ã‚   Throughout most of my school years, before attending MCTC, I had never experienced inter-racial schooling.   I went to a small high school with about twenty minority students.   These students were not outcasts they were treated as any other non-minority student.   Therefore, I had little experience with minorities in a non-minority school.   After the speech that was given by Michael Jefferson, I was more informed on the effects of stereotyping of minority students in a non-minority school.      Ã‚  Ã‚  Ã‚  Ã‚   Stereotyping may cause students and teachers to view minority students on a non-minority campus as inferior.   This may cause some teachers or faculty members to believe that these minority students are not as capable of achieving the same quality of work as non-minority students. Scholarships are sometimes given out to non0minority students due to their racial background.   I suppose this happens due to the stereotype of minority students not being capable of the educational work as that of other students.   Classroom behavior toward minority students may be shown in appropriate, and/or unrecognized. For instance, a teacher may call on a non-minority student before a minority student.   The teacher may pick on the non-minority due to a belief that these students care about their schooling, whereas minority students are being pre-judged without the chance to really learn.   Some people even believe that combining the different minorities may cause problems.      Ã‚  Ã‚  Ã‚  Ã‚   Combining minority with non-minority students can create some conflict.   Some non-minority students, this attitude of aggression may be brought on by "close-minded" non-minority students.   These students let their attitude take over their learning time, by worrying about the other minority students.   Each student, whether thy be minority or non-minority, must put their mind on learning than on another minority on the campus. Some students may see that combining minority with non-minority students, as a way of learning about different people and their cultures.   I f students would open their eyes as they do their ears for learning, students would see a whole new possibility of meeting others, not minding if they are a minority or not.   These students should also learn to use their own ideas, and not always to believe in the media point of view.      Ã‚  Ã‚  Ã‚  Ã‚   Today the media is a major source of minority and non-minority

After Apple Picking :: After Apple Picking

After Apple Picking Throwing all sexual connotations aside, "After Apple Picking" is about a dying man who is pondering the accomplishments in his life, and contemplating on the opportunities that he has let pass by. As our narrator drowses off into his final sleep, he is tired of having had so many options, but still he knows that his mind will have time to think and wonder if he should regret. As the poem starts, he is standing on his long ladder pointed towards heaven, and looking down on the apples that he didn't pick. But, he shows no sign of regret, for he admits that he is "done with apple-picking now." Though he seems quite confident in this declaration, the reader questions his sincerity as he looks down at the barrel he didn't fill. For this is his last waking hour, and questions are sure to come while "the essence of winter sleep is on the night." Our narrator goes on to talk about his strange view of the "hoary grass" through a small sheet of ice. As he is looking through this piece of "glass", it begins to melt, thus symbolizing how his view of the world is about to end. Although completely aware of his waning time, he is comforted by knowing "What form [his] dreaming was about to take. With a somewhat optimistic outlook, he is confident of the positive nature of his thoughts in the afterlife. He supposes that his "dreams" shall be of his many accomplishments; a "stem" to "blossom" overview of his life's works. The narrator also figures that his dreams will show him how he was sturdy, swaying little, when boughs of the trees were bending in the wind. He will see himself as strong under the heat of a barrage of apples come rolling in. After admitting that he has had too much of apple-picking, he seems ready to watch the "Highlights" in his dreaming. While thinking of how successful he has been in his "apple-picking", he begins to wonder of the fruitful opportunities that he has let slip through his hands and fall through to the ground.

Hamlet by William Shakespeare Essay -- Hamlet William Shakespeare Essa

Hamlet by William Shakespeare A Shakespearean scene, with all of its intricacies and details, has the capacity to uncover the fundamental aspects of characters while acting as a space for precise language to lead the reader through multilayered themes, tensions, and ideas. Particularly in Shakespeare’s tragedy, Hamlet, the dense, rippling text packs provocative and meaningful language within nearly every line to compose an intricate, seamless tragic play. Specifically in the first scene of Act 3, the actions, dialogue, and movements of each character involved creates a momentum of revelation for the reader regarding central character, Hamlet, and the breadth of his character. Every major, influential character of the play—King Claudius, Queen Gertrude, Polonius, Ophelia, Rosencrantz, Guildenstern and, of course, Hamlet—appears in 3.1 and every line of dialogue directly concerns Hamlet in one way or another. The scene exhibits the prince alone on stage in a soliloquy to illustrate his inne rmost thoughts, as well as in the presence of others; thus, the reader learns of Hamlet’s propensity to feel, think, or say one thing, while his actions do not always cohere with his thoughts or speech. In this way, one of Hamlet’s tragic character flaws lends itself to the aforementioned discord between thinking and acting, and the scene chronicles the ways in which his dissonance profoundly affects the major themes and characters of the play. Scene 3.1 first unfolds with King Claudius, Queen Gertrude, Polonius and Hamlet’s cronies Rosencrantz and Guildenstern in anxious dialogue concerning Hamlet’s recent shift in disposition. Claudius refers to Hamlet’s recent state as a put-on of â€Å"confusion† (3.1.2) and a â€Å"turbulent and d... ...impressive ability to move and shape the play’s characters in such a way that the threads of language create a complex web between the layers of each character involved. In this way, the psychology of the characters gains autonomy from the bounds of authorship through the very language of the text and begs to move freely within the text. Shakespeare entrusted an enormous power into Hamlet’s character, especially, because though he acts tentatively and waveringly, the character of him, including his disposition, manners, speech and outward exhibitions, adhere to the other characters of the play as puppet strings, and he inspires almost all of their actions because of his own reluctance to initiate movement. This interdependence of the minutiae of the complex text contributes to the achieved brilliance and long-lived speculation regarding Shakespeare’s tragic play. Hamlet by William Shakespeare Essay -- Hamlet William Shakespeare Essa Hamlet by William Shakespeare A Shakespearean scene, with all of its intricacies and details, has the capacity to uncover the fundamental aspects of characters while acting as a space for precise language to lead the reader through multilayered themes, tensions, and ideas. Particularly in Shakespeare’s tragedy, Hamlet, the dense, rippling text packs provocative and meaningful language within nearly every line to compose an intricate, seamless tragic play. Specifically in the first scene of Act 3, the actions, dialogue, and movements of each character involved creates a momentum of revelation for the reader regarding central character, Hamlet, and the breadth of his character. Every major, influential character of the play—King Claudius, Queen Gertrude, Polonius, Ophelia, Rosencrantz, Guildenstern and, of course, Hamlet—appears in 3.1 and every line of dialogue directly concerns Hamlet in one way or another. The scene exhibits the prince alone on stage in a soliloquy to illustrate his inne rmost thoughts, as well as in the presence of others; thus, the reader learns of Hamlet’s propensity to feel, think, or say one thing, while his actions do not always cohere with his thoughts or speech. In this way, one of Hamlet’s tragic character flaws lends itself to the aforementioned discord between thinking and acting, and the scene chronicles the ways in which his dissonance profoundly affects the major themes and characters of the play. Scene 3.1 first unfolds with King Claudius, Queen Gertrude, Polonius and Hamlet’s cronies Rosencrantz and Guildenstern in anxious dialogue concerning Hamlet’s recent shift in disposition. Claudius refers to Hamlet’s recent state as a put-on of â€Å"confusion† (3.1.2) and a â€Å"turbulent and d... ...impressive ability to move and shape the play’s characters in such a way that the threads of language create a complex web between the layers of each character involved. In this way, the psychology of the characters gains autonomy from the bounds of authorship through the very language of the text and begs to move freely within the text. Shakespeare entrusted an enormous power into Hamlet’s character, especially, because though he acts tentatively and waveringly, the character of him, including his disposition, manners, speech and outward exhibitions, adhere to the other characters of the play as puppet strings, and he inspires almost all of their actions because of his own reluctance to initiate movement. This interdependence of the minutiae of the complex text contributes to the achieved brilliance and long-lived speculation regarding Shakespeare’s tragic play.

Pay Structures and Internal Alignment Essay

Martin Straight Compressors employ 4600 people worldwide. MCS’s Chatham location is a small Canadian company that focuses on manufacturing compressors for heavy industries. Chatham employees approximately 70 salaried and 50 hourly employees. Beginning in 1999, Martin Straight Compressors Chatham had begun facing numerous compensation issues and conflicts. Some of the issues included: Having 7 authorized but unfilled middle-level management positions Manager-employee relationships broken Documentation not up-to-date with objectives, processes, progress, performance plans Hourly staff don’t respect the owners Increased workload with no compensation Loss of commitment, motivation, and job security among employees New management brought it while problems are still effecting the day-to-day functions of the organization Merit process isn’t liked Restrictions on merit raises by head office Union involvement Flawed gain-share plan Merit raises go to salaried, non-union staff Merit raises for one employee depend on other employees Executive incentive plan uses different formulas for different employees This consultation report will begin with identifying the two main problems MSC faces and how to resolve them. Next we will apply the Equity Theory and investigate why certain employees are unhappy about the current compensation system. We will look at the company’s standpoint from a competitor’s point of view, and what methods to use to ensure fast, accurate, and acceptable results to ensure MSC continues to grow and be profitable. The 2 Main Problems After analyzing the process and theories used by Martin Straight Compressors, two main issues become precedent: 1. MSC doesn’t have a fair or efficient compensation method. The processes and ideologies used in making decisions in regards to pay are flawed. There is a gap between pay levels due to different formulas that are used for different employees. Merit increases given to employees depend on other staff members within the organization. When companies adopt processes that are unfair, employees lose motivation. As well, inefficient practices puts production at a standstill and costs the organization a great deal of time and money. 2. Employees are not a part of the decision making process. They become uninterested in the events going on within the organization because dedication and commitment are lost. These employees may not fully understand the whole picture, like restrictions coming from head office. When employees feel they are not an important part of the organizations decision-making, they become alienated and their involvement decreases. They become unwilling to develop solutions to problems. Resolution of Problems Encourage employee involvement as much as possible. It is important for employees to have a passion for the work that they do and the organization they belong to. Encourage feedback by holding monthly meetings where everyone is invited to express any questions or concerns they have. Develop a team of cross-functional representatives that meet on a regular basis to discuss issues that are important to the staff. If the high-level managers empower employees to be involvement and provide feedback, the organization will be â€Å"more likely to achieve commitment, trust, and acceptance† (Milkovich, Newman, Gerhart, Cole & Yap , 2013) of a revised compensation structure. Developing a new compensation method is costly and timely. However it is essential to the functioning of an organization. MSC needs to begin with reviewing the compensation budget (Heathfield, 2001). This way management understands how much they are allowed to spend without putting the organization in debt. Analyzing the current job structure should be done on a regular basis to ensure the organization is able to adapt to internal churn, internal succession planning, and external market factors. When looking at a job structure, a few things should be in mind: reliability, validity, acceptability, currency, and usefulness (Milkovich, Newman, Gerhart, Cole & Yap , 2013). This will help the final structure satisfy both the employees and the employer. Equity Theory The Equity Theory explains that employees compare their job and pay to other positions within their internal environment, as well as jobs in their external environment. The more knowledgeable the employee is about their responsibilities, there position and pay, and the organizations structure, the more satisfied they will be. Martin Straight Compressors needs to establish this equity theory throughout the company because right now there is no equality felt among employees. My advice to MSC is to develop a Team Site where important information can be displayed for internal eyes only. Display organization charts to show the levels of progress within the company – and the corresponding pay levels – so employees feel motivated to move up the chain of command. Establishing these reporting relationships would benefit MSC because a positive communication flow would evolve. Keeping Employees Onside Martin Straight Compressors needs to focus on building employee-management relationships. Currently there is a lot of conflict occurring in the workplace and, according to employees, this has resulted form management breaking promises to their employees. This results in a loss of mutual respect. Below are 3 ways to mend professional relationships: Keep everyone informed and involved Develop 2-way communication Instill a sense of decentralization Change is a scary reality for employees because it makes them feel vulnerable and they lose their feeling of job security. While MSC slowly makes changes to their compensation system, the above 3 points will ensure employees adapt with the company. If employees continue to voluntarily resign, MSC will lose a great deal of knowledge and assets, which will make the change even more difficult. It’s important to keep valued employees so they are able to pass on their knowledge to new employees along the way. Competitive Advantage Martin Straight Compressors currently does not have a competitive advantage within the marketplace. Although salaries and wages are at par with external competitors, other factors hinder MSC: employees are expected to increase their responsibilities and workload due to the number of unfilled positions, without getting extrinsic compensation for it. Also, merit raises are mostly given to salaried, non-union staff. This discourages front-line workers because there is no incentive. Performance evaluations should be taken place on an annual basis to ensure employees are aware of their objectives and areas for improvement. A major problem I see with MSC is that employees either get merit raises, or they don’t. Every company should want their employees to succeed, so, in turn, the organization succeeds. I advise MSC to instill a mentoring/coaching program to guide their employees to achieve the best they can. By telling, teaching, and showing employees how to perform functions and tasks, the employee will become empowered. It will become easier to link performance and pay because benchmarks will be set and every employee will know what is expected of them, and how to achieve those expectations. Becoming Internally Aligned In 1999, performance management records did not identify key objectives for employees. Merit raises focused solely on the results from the employee, department, and company. Rather, MSC should be looking at the individuals’ skills and competencies, and how they are applying them to accomplish their tasks. Ensuring every employee understands what is expected of them is extremely important; it ensures that they are proactive within the company so they’re not just going through the daily motions. Annual performance evaluations and proper documentation is essential to becoming internally aligned because it ensures everyone is on the same page and employees know what is expected from them. It also allows the company to look back on the trend of the employees to see if improvements are being made, and if they aren’t, why. Recommendation Evidently, MSC is in need of a change. My recommendation is to have a short-term goal and a long-term goal. 1. Job Evaluation: Ranking Method (used during first 3 years) This will provide fast and accurate results. Using the paired comparison method would allow MSC to use a matrix to â€Å"compare two jobs in each cell and indicating which is of great value, then ranking jobs on the basis of the total number of times each is ranked as being of greater value (pg 87)†. The reason this is the first step is because MSC is in need of a quick fix to ensure no more positions are left voluntarily and that production continues. This method will serve as a â€Å"band-aid† until further down the road a permanent solution can be decided upon. 2. Job Evaluation: Point Method (developed by the end of third year) This method requires a lot of time and costs because it goes into the breadth and depth of each job. This is what MSC’s end goal should be. The point method provides accurate and acceptable results just like the ranking method but it takes a lot more time to investigate. The point method should be set as a long-term goal and would be beneficial for MSC to invest in. Once all positions are individually broken down to determine their compensable factors, they can be scaled and then weighted so points can be assigned and a plan can be made. This will become the foundation for MSC’s compensation structure for years to come; only reviews and evaluations would be needed after this to ensure employees are satisfied and methods are efficient. References (APA Format) Gondzio, J. , & Grothey, A. (2009, May). Exploiting structure in parallelimplementation of interior point methods for optimization. Retrievedrom http://link. springer. com/article/10. 1007/s10287-008-0090-3. Retrieved on October 6, 2013. Heathfield, S. (2001, June 05). Compensation strategies and structure. Retrieved from http://humanresources. about. com/od/compensationstructure/compensation-structure. htm. Retrieved on October 6, 2013. Milkovich, G. , Newman, J. , Gerhart, B. , Cole, N. , & Yap , M. (2013). Compensation. (4th ed. , p. 01). McGraw-Hill Ryerson Limited. Retrievedon October 6, 2013.

Compare the way the poets write about love Essay

A sonnet is traditionally a love poem, with 14 lines and generally ending with a couplet. The two sonnets I am comparing discuss the nature of love, but portray two completely different relationships between lovers. While Browning’s poem is an ode to a pure, simple and almost childlike love, Shakespeare’s is a critique of his relationship, in which both sides play a game of double-bluff. This poem mocks the idea of true love. We sense simply from the titles that, while Browning’s â€Å"Sonnet† is an expression of heartfelt emotions, Shakespeare’s â€Å"Sonnet 138† is just another meaningless work out of many, perhaps like his mistresses. Browning’s work is extremely feminine and is almost certainly about her husband, as she was married, as opposed to the masculine view of women in Shakespeare’s era that mistresses were disposable. I believe that Shakespeare has written this sonnet about a mistress rather than his wife, Anne Hathaway, because the untruthfulness in the relationship shows a lack of commitment between the two lovers. In these poems, the attitudes of the poets to their relationships and partners are extremely different. When Browning says, â€Å"I love thee to the depth and breadth and height my soul can reach†, she implies that she cannot live without her lover, so of course this is why she stays with him. However, in Shakespeare’s case, he stays with his mistress because he knows he is past his prime and no longer a handsome, young virile man. Her lies of being faithful and her reassuring him that he is young in her mind flatter his ego, despite his knowledge of her untruthfulness. Perhaps by saying â€Å"thus vainly thinking that she thinks me young†, he is trying to make himself believe this, because he says, â€Å"Simply I credit her false-speaking tongue†, so he actually respects her for considering his feelings. He cannot be angry with her for lying to him because he reciprocates in the matter. He is happy in the situation, and believes that his lover thinks he is nai ve and â€Å"unlearned in the world’s false subtleties†. He seems to fear being alone and not being able to obtain another mistress. This is in sharp contrast to Browning’s sense of security with her lover, and feeling of openness and honesty. There is a quality of immortality to her love that is suggested in the phrase, â€Å"I shall but love thee better after death†. The nature of the two relationships differ a great deal ; we sense that , while Browning conveys a love that is very spiritual and uncomplicated, Shakespeare’s relationship is more sexual without much actual love. Religious words and imagery, such as â€Å"Grace†, â€Å"Praise†, â€Å"Faith†, â€Å"Candlelight† and â€Å"God† are used to reinforce the feeling of purity in â€Å"Sonnet†. Meanwhile, in â€Å"Sonnet 138†, Shakespeare says, â€Å"Therefore I lie with her, and her with me†, using the double entendre of sex as well as untruthfulness and suggests that he has purely sexual motives for being in the relationship. He poses the idea that they are kept together by the fact that they lie to each other, because he creates the situation of them in bed together as they have not broken up as a result of being truthful. The language used in both poems gives more reinforcement the conflict between the two sonnets. In â€Å"Sonnet†, many of the lines begin simply with the words, â€Å"I love thee†. This simplistic, repetitive style gives Browning’s piece a childlike quality and supports the message of innocence that is interweaved into the poem. She says she loves him with her â€Å"childhood’s Faith†, showing that she loves him wholeheartedly and has no doubts, like a child loves it’s parent because they know no better. She could therefore see her husband as a father figure as he protects her and gives her stability. On the other hand, language is used to the opposite effect in Shakespeare’s â€Å"Sonnet 138†. The childhood aspect of this poem is related to gullibility. He makes use of negative words such as â€Å"lies†, â€Å"unjust†, â€Å"untutor’d† and â€Å"false† to show that he does not believe in love. Using these words in rhyming couplets – â€Å"lies† and â€Å"subtleties† – even more pronounces the negative imagery. The sonnet out of the two that I prefer is â€Å"Sonnet 138† by Shakespeare. This is because he has made a break from the traditional style of sonnets, which usually exhault the ideal of love and describe it in all it’s beauty. He takes the idea of love and almost mocks it, satirising the orthodox style of other sonnets. More complex language is used within the sonnet, unlike Browning’s simple prose. The impact of both of the poems is that they make us think about love in very different ways.

Explain how the mechanicals bring humour into the play Essay

The mechanicals in A Midsummer Night’s Dream are the group of actors that bring most of the comedy to the play. This is done by the mechanicals resembling the more unintelligent group out of the four featured in A Midsummer Night’s Dream. In the book, the mechanicals are called the Clowns. This implies that they are always fooling around; never getting any work done and maybe making people laugh. Maybe Shakespeare called them the Clowns because they convey most of the humour towards the audience in A Midsummer Night’s Dream. However, the mechanicals play near the end of A Midsummer Night’s Dream is a serious play; where they do not mess around as they do in the rest of the book. This might suggest that the name Shakespeare gave to the actors (Clowns) does not imply all that it is supposed to. From the start we establish that Bottom takes his role as a leader and we notice that others look up to him as if they are respecting his authority. One of the characters names (Bottom) sounds rude now, but back when the play was first performed the word bottom meant courageous. Nick Bottom comes across in A Midsummer Night’s Dream as thunderous, friendly, and a little over-confident. He comes across to the other actors in the mechanicals as dumb or dull, insecure and irritating (e. g. when Bottom wants to play all the parts in the play – ‘And I may hide my face, let me play Thisbe too! I’ll speak in a monstrous little voice’). Bottom also says that he will play every part in their play flawlessly, and that he can act every single part. Instead, when Bottom is rehearsing his part in the play, he messes everything up (pronouncing words wrong – ‘Odious’ instead of odorous) and he forgets lines. In the end, he just plays Pyramus. The way the mechanicals bring humour into A Midsummer Night’s Dream is mainly through Nick Bottom. Bottom is the fool in the play; always getting things wrong. Bottom comes across as a little dumb; maybe eccentric. He gets his words wrong, comes up with feeble ideas, and has a spell put on him by Puck. The spell transforms Bottom’s head into an ass’s head. I think it would convey more humour to A Midsummer Night’s Dream by having Bottom transform into an ass entirely. Near the end of A Midsummer Night’s Dream, in act 5 scene 1, the mechanicals act out their play. Many things bring humour into A Midsummer Night’s Dream at this point. Peter Quince tells the audience that the lion is not a lion, but Snug the joiner. The audience would know that the lion is not a real lion, as it is just common sense. When Snug is playing the part of the lion, Snug doesn’t want to scare the audience so the actor roars as softly as he can. Snug also explains that he is not really a lion, but playing the part of a lion. This may mean that when the play was performed, being a lion was a disgrace, or an insult. The result of Snug explaining that he is not really a lion, but playing the part of, is that he will not be shamed after the play, or be booed by Theseus. After Snug is finished explaining the he is not a lion, he earns approval from Lysander, Theseus and Demetrius (the stage audience). Shakespeare uses language to create moods and atmosphere within the characters, and also make the characters think how they are feeling. The main mood created in of A Midsummer Night’s Dream is that of humour. He creates these moods by the descriptive writing he uses in his sentences. His sentences are well structured, and he chooses the places well where he makes the characters speak in prose and verse. For instance, when the mechanicals are talking casually together, they speak in verse; when acting out their play in front of the duke, they speak in prose. Some of the misunderstandings of the mechanicals are when Puck puts the spell on Bottom. Quince says ‘O monstrous! O strange! We are haunted! Pray, masters, fly, masters! Help! ‘ This shows that they are unsure of what to think of Bottom, and Bottom is oblivious to the fact that he has an asses head on him. Instead Bottom starts singing (to show that he id not afraid of what they are saying to him). This in turn wakes Titania up, who has had the love juice put on her eyes. As she wakes up, she instantly falls in love with Bottom. This is reminiscent of the fact that of A Midsummer Night’s Dream’s main mood it creates is that of humour and that it is mainly the mechanicals that are involved in, or create the humour.

Mae West and How the Production Code Affected Her Career

â€Å"Virtue has its own reward, but has no sale at the box office†.   Those are the words of the famous movie actress named Mae West.   She was known for her sassy and sexy behavior on and off screen. Mary Jane West was born August 17, 1893 in Brooklyn, New York.   Her parents were involved in prize fighting and vaudeville.   Mae worked on the stage and was in vaudeville from the time when she was five years of age.   She was so into the entertainment world that she never really focused on education.  Ã‚   She studied dance as a child and when she was 14 years old, she was billed as â€Å"The Baby Vamp†. The year was 1926 and she was definitely shocking to most people during that time period.  Ã‚   Though the critics reportedly hated the show, the ticket sales were good.   The theater was raided and Ms. West was arrested along with the rest of the cast. While incarcerated on Roosevelt Island, she was allowed to wear her silk underwear instead of the scratchy prison issue.   The warden reportedly took her to dinner every night. She served eight days, with two days off for good behavior.   The media attention only managed to enhance her case. Her next play was racy in content as well.   It was entitled â€Å"The Drag† and was about homosexuality alluding to the work of Karl Heinrich Ulrichs.   It also was a box office success, but it had to be played in New Jersey because it had been banned from Broadway. Mae caught the attention of Hollywood and was given her first small movie role working with George Raft in â€Å"Night after Night†.   The film debuted in 1932 and even though her performance was a minor part in the movie, she was able to display enough of her quick wit that made her famous. At first she was unhappy with her small role in â€Å"Night After Night†, but was satisfied when she was allowed to rewrite her scenes.   In West’s first scene, a hatcheck girl exclaimed, â€Å"Goodness, what lovely diamonds†. Mae responded with her quick and racy wit by saying, â€Å"Goodness had nothing to do with it, dearie†. Upon her arrival in Hollywood, she moved into an apartment not far from the studio on Melrose.  Ã‚  Ã‚   She maintained a residence there at Ravenswood, even though she owned a beach house and a ranch in the San Fernando Valley. The public fell in love with the first woman to make racy comments on film.   She became a box office smash with the film breaking attendance records. Her second film was based on her earlier and popular play that was written by West entitled â€Å"She Done Him Wrong† starring Cary Grant.   The film was nominated for an Academy Award as Best Picture. Her third film, entitled â€Å"I’m No Angel† also displayed her quick racy wit and she was paired with Cary Grant once again.   It was a financial success.   This film, along with â€Å"She Done Him Wrong† were projects that saved Paramount from bankruptcy.   They were highly criticized by some because of the content and the guidelines found in the Motion Picture Production Code. The Production Code (also known as the Hays Code) was a set of guidelines that movies created between the years of 1930 and 1968 were governed by. The name â€Å"Hays Office† is definitely recognized as being synonymous with Hollywood’s self –censorship body even though its namesake ceased to be involved in the daily operations prior to the period of its most remembered conflicts with filmmakers.   Will H. Hays was the first president of MPPDA.   He was installed as the leader because studio heads were looking for a man with a background in the federal government to assure the nation that Hollywood films would not corrupt the country’s citizens. During the period that the Production Code existed, the enforcement was the responsibility of Jason Joy (1930-1932), James Wingate (1932-1934), Joseph Breen who was the chief censor for the longest period of time between the years of 1934 – 1954.  Ã‚   Geoffrey Shurlock then took his place from 1954-1968. Eric Johnston replaced Will Hays as head administrator in 1945 and remained in this office until his death in 1963.   Jack Valenti took his place in 1966. By then the organization had become the Motion Picture Association of America (MPAA).   Each of these three men served more in the role of ambassador, lobbyist and   as salesmen for the movie industry and not so much as a â€Å"shaper of content†. The Production Code was developed because the owners of major Hollywood studios were attempting to avoid a national government-run censorship operation. They also wanted to assure the concerned civic leaders that Hollywood would deliver only wholesome movies eliminating the need for further editing that could possible be required by the state and local censorship boards.   These type boards sprang up during the decade preceding the Code. The Studio Relations Committee was organized by the Motion Picture Producers and Distributors of America (MPPDA) in 1930.   This committee was given the responsibility for the administration of industry self-censorship.  Ã‚   The Studio Relations Committee was reconstituted as the Production Code Administration in 1934.   It was more effective at this time. This organization felt â€Å"if motion pictures present stories that will affect lives for the better, they can become the most powerful force for the improvement of mankind†.  Ã‚   They recognized their responsibility to the public and because of this trust and also because in their views, entertainment and art were the most important influences in the life of a nation. During the rapid transition from silent to talking pictures they realized the necessity of creating some type of guidelines that should be in place.   Even though motion pictures were considered primarily as entertainment, they also felt that film could be directly responsible for spiritual or moral progress. As a result of these codes, May began to use double talk so that a person could take a word or phrase anyway they wished.   She also developed her works this way as a method to get her work past the censors; and it worked. She really felt she had a vested interest because it was her written work that was being scrutinized.   West had already written and performed these plays on stage and now they were being exposed to a whole new audience in film. Mae West was the largest box office draw in the United States at the time.   The frank sexuality and seamy settings of her films caught the attention of the moralists. On July 1, 1934, the censorship of the Production Code began to be seriously and meticulously enforced.  Ã‚   Mae’s scripts began to be heavily edited.   Her answer was to increase the number of double entendres in her films.   Her expectation was that the censors would delete the obvious lines and overlook the subtle ones. Her next film was â€Å"Belle of the Nineties† which was made in 1934 and it was another hit.  Ã‚   The movie was originally titled â€Å"It Ain’t No Sin†, but the title was changed due to the censor’s objection.   By 1936, after filming â€Å"Klondike Annie† and â€Å"Go West Young Man† she was, at that time, the highest paid woman in the United States. After the 1937 film, â€Å"Everyday’s a Holiday†, she didn’t make another film until she starred with W. C. Fields in another Mae West written movie entitled â€Å"My Little Chickadee† in 1940. It was a well-known fact that Ms. West had ill feelings toward Fields because his ways were too crude even for her.   She didn’t get along with Fields at all.   She would not tolerate his drinking and since they were both accustomed to working with supporting players and not co-stars conflict ensued. â€Å"My Little Chickadee† was a box office success and was more successful than all other W. C. Fields’ movies.   It is said that the only way Fields and West could be in the same scene together was to film them separately; and then splice the film together. Universal was so delighted with the success of the film and offered West two more movies to star with Fields.   She refused citing the difficulty of working with Fields. Her film â€Å"The Heat’s On† which was filmed in 1943, was her last film for a bit.   Mae decided to take a break from the movie industry because the censors were getting stricter.   It was harder to create her movies, even with the double talk to get past the stricter codes. It was general practice in films of the 1930’s and 1940’s to skirt the issue of sex and hide violence behind foreground or within shadows.   In addition, they never really treated serious subjects that were dealt with in the best-regarded novels of that era. In so many instances, the Production Code Administration had their way against the wishes of filmmakers.   They scuttled, weakened or diluted several scenes proposed by writers and directors of Hollywood film projects from 1934 to 1968. When the Code went into effect all movies from the major studios were required to show an approved MPPDA logo. There were three general principles: 1.No picture shall be produced that will lower the moral standards of those who see it.   Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin. 2.Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented, and 3.Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation. In addition there was another section that was entitled Crimes Against the Law.   There were several crimes listed that should never be presented in such a way as to throw sympathy with the crime as against law and justice, or to inspire others with a desire for imitation. Some of the crimes included Murder, Theft, Arson, and the use of firearms were to be restricted to the essentials. Also, methods of smuggling could not be presented and illegal drug traffic was never to be presented. The use of liquor in American life, when not required by the plot or should be shown in proper context, otherwise it could not be shown. Ms. West was known for her racy lines and sexy innuendo so there were a few portions mentioned throughout this code that Mae had to alter her movies for compliance.  Ã‚   There was a complete section of the code dedicated to sex. According to the code, the sanctity of the institution of marriage and home had to be upheld.   Pictures could not infer that low forms of sexual relationships are accepted or a common thing.  Ã‚   For example, the issue of adultery sometimes could be considered necessary to the plot, however it could not be explicitly treated, or justified, or presented in a positive light. The code even had guidelines of â€Å"Scenes of Passion†.  Ã‚   They could not be introduced if they weren’t essential to the plot.   In addition, excessive and lustful kissing, lustful embraces, suggestive postures and gestures could not be shown. In general passion had to be treated so that these scenes could not stimulate the lower and baser element.   Mae West oozed sensuality.   This category no doubt was stifling to many of Mae’s intentions on film. Even before she had matured, the slinky, then dark haired Mae was performing a lascivious â€Å"shimmy† dance in 1913 and was photographed for a song sheet for the song â€Å"Everybody Shimmies Now†. Her famous walk was said to have originated in her early years as a stage actress.   West had special eight-inch platforms attached to her shoes to increase her height and enhance her stage presence. Mae’s leave from film back to plays proved to be successful.   When censors began to let up, she returned to film work in 1970 in Myra Breckinridge.  Ã‚   She appeared in the role as Leticia Van Allen, which was a small role.   The film failed miserably at the box-office but still was a racy film due to the sex change theme. West regarded talking about sex as a basic human rights issue.   She was also an early advocate of gay and transgender rights.   She was reported as telling policemen who were raiding a gay bar, â€Å"Don’t you know you’re hitting a woman in a man’s body†. This was definitely a daring statement since she spoke it in a time period when homosexuality was not accepted. Her last film was in 1978 called Sextette which was a film that was based on the successful play West wrote back in 1926.   This film could have been a silent movie but instead fifty years later was developed.   Even in the late seventies, the times where not liberal enough to accept the original title, â€Å"Sex† as they called it Sextette instead. Allowances had to be made for a few things, such as her wig and slightly bizarre makeup and her slow movement from time to time but she obviously had taken care of herself and is able to show herself off in a series of beautiful gowns. The film is set up so she can consistently deliver the one-liners that made her famous. There was something different about Mae West, beginning with her appearance.   It set her apart from the other actresses of the day.   Mae has been described as a rather large billowing superblonde that talked through her nostrils.   In addition it has been said that she was a Gay Nineties gal that was plunked down in the Flapper Age. According to Simon Louvish, the author of her biography entitled â€Å"Mae West: It Ain’t No Sin†, it wasn’t the Production Code that affected her career but rather â€Å" her inability to relate to anyone in any intimately persuasive way – that so quickly destroyed her screen career†. The character that she created was completely of her on devise.   Somehow this Brooklyn born woman who was sketchily educated at best made herself into a playwright as she would scribble her one-liners and develop primitive narratives around them. The Code may have been able to tone down some of the personality of Mae West but she was a woman who would not be silenced.   Her somewhat mannish ways in her blunt innuendo that continually spoke of the unmentionable sexual needs of a female. Ms. West’s remarks were quick and veiled suggestion.   They were not dirty and often playfully remarked dripping with sensual undertones. Historians, however, suggest that her movie career declined so quickly because of the Production Code and their rather strict guidelines. Mae West is unique in the history of   â€Å"sex stars† in the movies because she was somehow able to play both the role of a sex goddess and simultaneously parody that same role.   In addition, she was one of the first women to consistently write the movies she starred in. In addition to her screen and stage career, Ms. West also could be heard on the radio.   On December 12, 1937, she appeared on two separate sketches on Edger Bergen’s radio show that shocked both the listening and NBC executives.   She appeared as herself, and was flirting heavily with Charlie McCarthy, Bergen’s dummy, speaking with her usual brand of sexy wit and risque sexual references. She appeared even more risque in a sketch earlier in the show that was written by Arch Oboler.   This sketch starred West and Don Ameche as Adam and Eve in the Garden of Eden.   The conversation between the two was considered so risque and bordered on being blasphemous.   She was banned from being featured, or even mentioned on the NBC network.   Mae West didn’t appear on radio for another 31 years. She also starred in her own Las Vegas stage show.   She would sing and was surrounded by handsome body builders while she performed on stage.   Many celebrities attended West’s shows including Judy Garland, Ethel Merman, Louis Armstrong, Liberace, and Jayne Mansfield.   Jayne met and later married one of West’s muscle men, Mickey Hargitay.   Mr. Hargitay was fired for that action. Billy Wilder offered West the role of Norma Desmond in Sunset Boulevard.   She refused and pronounced herself offended at being asked to play a â€Å"has-been† similar to the responses he received from Mary Pickford, Greta Garbo and Pola Negri.   Ultimately, Gloria Swanson was cast in the role, which became immortal on celluloid. In 1958, West appeared at the Academy Awards and performed the song â€Å"Baby, It’s Cold Outside† playfully with Rock Hudson. In 1959, her autobiography was published by Prentice-Hall entitled, â€Å"Goodness Had Nothing to Do With It†. West made some rare appearances on television where viewers reported astonishment at her youthful appearance and energy.   In order to appeal to younger generations, she recorded two rock and roll albums which were received with financial success mainly due to her single â€Å"Treat Him Right† on the â€Å"Way Out West† album. Near the end of her life, she was known for maintaining her surprisingly youthful appearance.   West continued to surround herself with virile men for the rest of her life, employing companions, bodyguards and chauffeurs. In the late summer of 1980, she suffered a stroke at her apartment and fell out of her bed.   She rallied after being rushed to the hospital but suffered another stroke in November.   She was sent home but her prognosis wasn’t good.   She died in her apartment on North Rossmore Avenue in Hollywood at the age of 87. Mae West will forever be remembered as the sexy vamp notorious for sexy   her one-liners. REFERENCES Bynum, Matt. (2006) The Motion Picture Production Code of 1930 (Hays Code). http://www.artsreformation.com/a001/hays-code.html Received on December 12, 2006 Jackson, Denny. (1998). Mae West – The Actress Who Was Way Ahead of Her Time! http://www.geocities.com/Hollywood/Hills/2440/west.html Received on December 12, 2006 Schickel, Richard. International Herald Tribune. (2006) Mae West. New York City.