The History of Prohibition in the United States

Prohibition was a period of nearly 14 years of U.S. history (1920 to 1933) in which the manufacture, sale, and transportation of intoxicating liquor were made illegal. It was a time characterized by speakeasies, glamor, and gangsters and a period of time in which even the average citizen broke the law. Interestingly,  Prohibition (sometimes referred to as the Noble Experiment) led to the first and only time an Amendment to the U.S. Constitution was repealed. Temperance Movements After the American Revolution, drinking was on the rise. To combat this, a number of societies were organized as part of a new Temperance movement, which attempted to dissuade people from becoming intoxicated. At first, these organizations pushed moderation, but after several decades, the movements focus changed to complete prohibition of alcohol consumption. The Temperance movement blamed alcohol for many of societys ills, especially crime and murder. Saloons, a social haven for men who lived in the still untamed West, were viewed by many, especially women, as a place of debauchery and evil. Prohibition, members of the Temperance movement urged, would stop husbands from spending all the family income on alcohol and prevent accidents in the workplace caused by workers who drank during lunch. The 18th Amendment Passes At the beginning of the 20th century, there were Temperance organizations in nearly every state. By 1916, over half of the U.S. states already had statutes that prohibited alcohol. In 1919, the 18th Amendment to the U.S. Constitution, which prohibited the sale and manufacture of alcohol, was ratified. It went into effect on January 16, 1920—beginning the era known as Prohibition. The Volstead Act While it was the 18th Amendment that established Prohibition, it was the Volstead Act (passed on October 28, 1919) that clarified the law. The Volstead Act stated that beer, wine, or other intoxicating malt or vinous liquors meant any beverage that was more than 0.5% alcohol by volume. The Act also stated that owning any item designed to manufacture alcohol was illegal and it set specific fines and jail sentences for violating Prohibition. Loopholes There were, however, several loopholes for people to legally drink during Prohibition. For instance, the 18th Amendment did not mention the actual drinking of liquor. Also, since Prohibition went into effect a full year after the 18th Amendments ratification, many people bought cases of then-legal alcohol and stored them for personal use. The Volstead Act allowed alcohol consumption if it was prescribed by a doctor. Needless to say, large numbers of new prescriptions were written for alcohol. Gangsters and Speakeasies For people who didnt buy cases of alcohol in advance or know a good doctor, there were illegal ways to drink during Prohibition. A new breed of gangster arose during this period. These people took notice of the amazingly high level of demand for alcohol within society and the extremely limited avenues of supply to the average citizen. Within this imbalance of supply and demand, gangsters saw a profit. Al Capone in Chicago is one of the most famous gangsters of this time period. These gangsters would hire men to smuggle in rum from the Caribbean (rumrunners) or hijack whiskey from Canada and bring it into the U.S. Others would buy large quantities of liquor made in homemade stills. The gangsters would then open up secret bars (speakeasies) for people to come in, drink, and socialize. During this period, newly hired Prohibition agents were responsible for raiding speakeasies, finding stills, and arresting gangsters, but many of these agents were underqualified and underpaid, leading to a high rate of bribery. Attempts to Repeal the 18th Amendment Almost immediately after the ratification of the 18th Amendment, organizations formed to repeal it. As the perfect world promised by the Temperance movement failed to materialize, more people joined the fight to bring back liquor. The anti-Prohibition movement gained strength as the 1920s progressed, often stating that the question of alcohol consumption was a local issue and not something that should be in the Constitution. Additionally, the Stock Market Crash in 1929 and the beginning of the Great Depression started changing peoples opinion. People needed jobs. The government needed money. Making alcohol legal again would open up many new jobs for citizens and additional sales taxes for the government. The 21st Amendment Is Ratified On December 5, 1933, the 21st Amendment to the U.S. Constitution was ratified. The 21st Amendment repealed the 18th Amendment, making alcohol once again legal. This was the first and only time in U.S. history that an Amendment has been repealed.

Business Effectiveness Indicator Of New Zealand Drug...

Gwen R. Manzo DIPHAM 703 - Assessment 1 BUSINESS EFFECTIVENESS INDICATOR OF NEW ZEALAND DRUG FOUNDATION AS A NON-PROFIT ORGANIZATION AND DOUGLAS MANUFACTURING LIMITED AS A PROFIT ORGANIZATION Executive Summary The content of this paper is about how to analyze the service delivery, marketing, public relations and financial system, utilized by the New Zealand Drug Foundation as a nonprofit organization and Douglas Manufacturing Limited as profit organization. Introduction The New Zealand Drug Foundation also known as (NZDF) is one of the organization withstand in debates for more 20 years now. They have a strong advocacy for policy and practices based on the evidence available. They are supported by the government funding, corporate and private grants and donations. While Douglas Manufacturing Limited is one of the leading-edge of New Zealand manufacturing industry mainly because of a strong customer relationships and a remarkable product quality management. Body Part A PRODUCT / SERVICE DELIVERY It is called a service delivery when providing service to the consumer (Kelley, Donnelly Jr Skinner 1990). New Zealand Drug Foundation has been working with services such providing support alcohol and drug workers and New Zealand communities. They provide public services that includes web information, training workshops, health promotion and education. In Douglas Manufacturing Limited includes contract manufacturing and detailed services for several countries around theShow MoreRelatedImpact of Social Advertising in India1852 Words   |  8 Pageshealth and well being by ensuring the ads that educate people and create awarness about drugs, diseases and other social prime issues in the country. It is otherwise called as ‘non-product’ advertising also. It means advertising various ideas which are not directly for the promotion or sell of the products or commercial services. 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The Stupidest Angel Chapter 19 Free Essays

Chapter 19 UP ON THE ROOFTOP, CLICK, CLICK, CLICK This is what it’s all been about, thought Ben Miller as he climbed into the tiny bell tower atop the chapel. It had taken ten minutes to saw through the painted-closed seams of the hatch with the bread knife, but finally he’d made it, thrown the latch, and crawled from the top of the Christmas tree into the bell tower. There was just enough room to stand, his feet on narrow ledges around the hatch. We will write a custom essay sample on The Stupidest Angel Chapter 19 or any similar topic only for you Order Now Thankfully, the bell had been taken away a long time ago. The bell tower was enclosed by louvered vents and the wind whistled through like there was nothing there at all. He was pretty sure he could kick through the vents, hundred-year-old wood, after all, then make his way across the steep roof, drop off whichever side looked safe, and make it to the parking lot and the red Explorer he was holding the keys for. Thirty miles south to the highway-patrol post and help would be on the way. All of the years after high school and college when he had continued to train, all the hours of roadwork, all the weights and swimming and high-protein diets, it all came down to this moment. Keeping himself in shape all these years when no one really seemed to care would finally pay off. Anything out there that he couldn’t outrun, he could take out with a lowered shoulder. (He’d played one season as a jay-vee halfback in addition to his varsity track career.) â€Å"You okay, Ben?† Theo yelled from below. â€Å"Yeah. I’m ready.† He took a deep breath, braced his back against one side of the bell tower, then kicked at the louvered slats on the opposite side. They broke away on the first kick and he was nearly launched out on the roof feetfirst. He fought to get his balance – turned around on his stomach and scooted backward out the opening onto the roof. Facedown, he was looking down the length of the Christmas tree at a dozen hopeful faces below. â€Å"Hold tight. I’ll be back soon with help,† he said. Then he pushed back until he was on his hands and knees on the peak of the roof, cold wetness cutting everywhere he touched. â€Å"Please, bitch,† came a voice from right by Ben’s ear. He jumped sideways, and started to slide down the roof. Something caught his sweater, pulling him back, then something hard and cold was pressed against his forehead. The last thing he heard was Santa saying, â€Å"Pretty fucking tricky for a jock.† Below, in the chapel, they heard the gunshot. Dale Pearson held the dead track star by the back of the collar, thinking, Eat now, or save it for after the massacre? Below him on the ground, the rest of the undead were begging for treats. Warren Talbot, the landscape painter, had made his way halfway up the pine-tree trunk that Dale had used to climb up on the roof. â€Å"Please, please, please, please,† said Warren. â€Å"I’m so hungry.† Dale shrugged and let go of Ben Miller’s collar, then gave the body a shove with his boot, sending it sliding down the roof and off the side to the hungry mob. Warren looked behind him at where the body had fallen, then at Dale. â€Å"You bastard. Now I’ll never get any.† Disgusting sucking sounds were rising from below. â€Å"Yeah, well, the quick and the dead, Warren. The quick and the dead.† The dead painter slid back down his tree and out of sight. Dale had some revenge to take. He stuck his head inside the bell tower and looked down at the horrified faces below. The wiry little biologist was climbing up the Christmas tree toward the open hatch. â€Å"Come on up,† screamed Dale. â€Å"We haven’t even gotten to the main course.† Dale spotted his ex-wife, Lena, staring up, and the blond guy who had charged them with the buffet table had his arm around her. â€Å"Die, slut!† Dale let go of the edge of the bell tower and aimed the .38 down the Christmas tree at Lena. He saw her eyes go wide, then something hit him in the face, something furry and sharp. Claws cut into his cheeks and scratched at his eyes. He grabbed for his attacker and in doing so lost his balance and fell backward. He slid down the side of the roof and off the edge onto his feasting minions. â€Å"Roberto!† Tuck yelled. â€Å"Get back in here.† â€Å"He’s gone,† said Theo. â€Å"He’s outside.† Tuck started to climb up the Christmas tree behind Gabe. â€Å"I’ll get him. Let me come up and call him.† Theo grabbed the pilot around the waist and pulled him back. â€Å"Close and lock the hatch, Gabe.† â€Å"No,† Tuck said. Gabe Fenton looked down briefly, then his eyes went wide when he realized how high above the floor he was. He quickly pushed the bell-tower hatch shut and latched it. â€Å"He’ll be okay,† said Lena. â€Å"He got away.† Gabe Fenton backed down the Christmas tree. When he got to the lower branches, he felt some hands at his waist, steadying him down the last few steps. When he hit the floor, he turned around into Valerie Riordan’s arms. He pushed away so as not to smudge her makeup. She pulled him out of the branches of the tree. â€Å"Gabe,† she said. â€Å"You know when I said you weren’t engaged in the real world?† â€Å"Yeah.† â€Å"I’m sorry.† â€Å"Okay.† â€Å"I just wanted you to know that. In case our brains are eaten by zombies without me having a chance to say it.† â€Å"That means a lot to me, Val. Can I kiss you?† â€Å"No, sweetheart, I left my purse in the car and don’t have any lipstick to touch up. But we can knock out one last stand-up quickie in the basement before we die if you’d like.† She smiled. â€Å"What about the kid at the Thrifty-Mart?† â€Å"Squirrel porn?† She raised a perfectly drawn eyebrow. He took her by the hand. â€Å"Yes, I think I’d like that,† he said, leading her to the back room and the stairs. â€Å"What’s that smell?† Theo Crowe said, remarkably glad to turn his attention away from Gabe and Val. â€Å"Anybody smell that? Tell me that’s not –  » Skinner was sniffing the air and whimpering. â€Å"What is that?† Nacho Nunez was following the smell to one of the barricaded windows. â€Å"It’s coming from over here.† â€Å"Gasoline,† said Lena. How to cite The Stupidest Angel Chapter 19, Essay examples

Art invades craft Essay Example For Students

Art invades craft Essay Another typical sequence of change occurs when members of an established world already generally defined as â€Å"art,† people involved in the typical ac tivities and ideologies of a contemporary art world, invade (and the military metaphor is appropriate) an established craft world and especially its art segment. The sequence begins when some fine artists look for new media in which to explore a current expressive problem. These artists happen on one of the crafts and see in its materials and techniques a potential for artistic exploitation. They see a way to do something that will interest the art world to which they are oriented and to which they respond. They have no interest in the conventional standard of practical utility; their notion of   beauty is likely to be very different from and â€Å"more advanced† than that of the craft they are invading and the kind of skill and control they are inter- ested in quite different from that prized by the more traditional practitioner. The new breed of artists in this craft produce altogether new standards, standards that are aggressively nonutilitarian. That is, they arc interested only in the utilities defined by the art world in which they participate. Art utilities typically include usefulness as objects of aesthetic contemplation, of collection and ostentatious display, and as items of investment and pecuniary gain. They do not include practical utilities defined by the pur- poses and organization of other worlds. Artists invading a craft want to make sure that the works they produce cannot be used as people have been ac- customed to using them. Robert Arneson, for example, one of the leading spirits in the movement which claimed pottery as a fine art field (Zack 1970), made a series of large plates, technically quite competent, whose utility was destroyed by the large brick which sat in the middle of each one, slowly sink- ing into the surface as the series progressed. In another instance, a group of artists gained control of a ceramic department in an art school. The new chairman announced decisively that from then on they would make no high-firc pottery in the department. His point was that they would no longer make clay objects tliat had any utility, because only high-fire pottery will hold water and thus be useful for domestic purposes: cups, glasses, dishes, vases, and so on. By insisting that only low-fire pottery be made, he in effect announced that what they would do from then on was some version of contemporary sculpture. Lest anyone miss the point, he elaborated by saying, â€Å"We are not going to make any vessels.†Ã‚   Just as the standard of utility is devalued, so too arc old craft standards of skill. What the older artist-craftsman has spent a lifetime learning to do just so is suddenly hardly worth doing. People are doing his work in the sloppiest possible way and being thought superior to him just because of it. Instead of adhering to the conventional craft criteria, which of course turn up in somewhat different form, the artists who enter a craft field pro pose, rely on, and organize their own work according to criteria characteristic of worlds conventionally defined as high art. For instance, in the art versions of any of these media, uniqueness of the object is prized. Artists and their publics think that no two objects produced by an artist should be alike. But for good craftsmen that is not a consideration; indeed it is thought a mark of the artist-craftsman’s control that he can make things as much alike as he does. People who pay $200 for a small, beautifully turned bowl will not feel cheated if they find there is another more or less like it. What they bought exhibits the virtuoso craftsmanship they paid for. But if they had bought the same bowl on the assumption that it was a unique work of art, they would feel enormously cheated to find that there were two. So artists who work in these media sell their conception and its execution in that   medium and take care to be obvious about how each of their pieces differs from all the others. No one wants to buy a copy from an artist, only from a craftsman. .u8cb3f1921fd2c3618ec5691a1d472976 , .u8cb3f1921fd2c3618ec5691a1d472976 .postImageUrl , .u8cb3f1921fd2c3618ec5691a1d472976 .centered-text-area { min-height: 80px; position: relative; } .u8cb3f1921fd2c3618ec5691a1d472976 , .u8cb3f1921fd2c3618ec5691a1d472976:hover , .u8cb3f1921fd2c3618ec5691a1d472976:visited , .u8cb3f1921fd2c3618ec5691a1d472976:active { border:0!important; } .u8cb3f1921fd2c3618ec5691a1d472976 .clearfix:after { content: ""; display: table; clear: both; } .u8cb3f1921fd2c3618ec5691a1d472976 { 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; } .u8cb3f1921fd2c3618ec5691a1d472976:active , .u8cb3f1921fd2c3618ec5691a1d472976:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8cb3f1921fd2c3618ec5691a1d472976 .centered-text-area { width: 100%; position: relative ; } .u8cb3f1921fd2c3618ec5691a1d472976 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8cb3f1921fd2c3618ec5691a1d472976 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8cb3f1921fd2c3618ec5691a1d472976 .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; } .u8cb3f1921fd2c3618ec5691a1d472976:hover .ctaButton { background-color: #34495E!important; } .u8cb3f1921fd2c3618ec5691a1d472976 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8cb3f1921fd2c3618ec5691a1d472976 .u8cb3f1921fd2c3618ec5691a1d472976-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8cb3f1921fd2c3618ec5691a1d472976:after { content: ""; display: block; clear: both; } READ: Mary Cassatt The Bath, 1892 Oil on Canvas, 39 x 26" The Art Institute of Chicago EssayThe new standards artists create insure that a work’s only utility will be as art: to be admired, appreciated, and experienced. The artists denounce the â€Å"mere virtuosity† of the old school of craftsmen. They discover and create a conscious continuity with work in other areas of art, especially in the traditional areas of painting and sculpture. They announce their inde pendence of others’ ideas of what their work should consists of and denounce any attempt to fasten on them the requirements of utility. What they do usually requires a great deal of skill and contr ol, but the skills needed are usually of a deliberately different kind from those prized by cither ordinary craftsmen or artistcraftsmen and often arc hidden as well. Marilyn Levine, for instance, has achieved a considerable reputation for ceramic sculptures of shoes, boots, and other leather objects which look so much like real leather that you have to tap them and hear the ring to be convinced that they are clay; they work in part because of the contradiction between what they look like and what they arc made of. Indeed it becomes a virtue not to display conventional craft virtuosity, and the artist may deliberately create crudities (the making of the crudities may itself involve considerable virtu osity, though not the same kind as that of the craftsman), either for their shock value or to show that he is free of that particular set of conventional constraints. Defining their work as art, the artists who adopt craft materials and tech niques create and accommodate themselves to a different social organization from that which grows up around a craft. Craft organization subordinates the craftsman to an employer, at whose insistence and for whose purposes the work is done. But the contemporary folk definition of art presumes that the artist works for no one, that the work is produced in response to prob lems intrinsic in the development of the art and freely chosen by the artist. Organizationally, of course, the artist is no such heroic individualist: he operates in a setting of institutional constraints which vary from time to time and place to place. Some art worlds operated through a system of church and royal patronage in which the artist found it expedient to take account of the tastes and desires of noted patrons. Contemporary artists, enmeshed in a world of collectors, galleries, and museums, typically produce with no particular purchaser in mind and expect their work to be marketed through the conventional apparatus of dealers and museums, the purchaser exercising control by buying or refusing to buy. Whatever the organizational form, the folk definition further presumes that these purchasers and inter- mediaries arc as concerned as the artist with the utilities defined by the art world and therefore with problems and topics defined within rather than outside the current art world. These presumptions are often violated, but they are the model to which artists orient themselves. Fine art photographers, for example, do a greater variety of work, less constrained by the requirements of organizations in which they work, than do those who work in such craftoriented areas as advertising and fashion photography or photojournalism (Rosenblum 1973). Artists working in con- ventional craft media are similarly relatively freer than artist-craftsmen who work in the same media, both in the diversity of objects they make and in the variety and whimsicality of the ideological explanations they offer for their work. The objects typically display great continuity with current trends in such contemporary high art worlds as painting and sculpture, and the talk both calls attention to that continuity and displays at least superficial in difference to being intelligible or rational. I take this latter characteristic to express a posture of indifference to public acceptance characteristic of many contemporary artists. Here are some examples. Arneson has made many pieces which are in fact sculpture: a typewriter, somewhat sagged out of shape and rough around the edges, whose keys represent red painted fingernails a series of self-portraits, smoking a cigar or with the skull opened to reveal various contents; an enormous table covered with dishes of food, standing in front of a life-sized portrait of the artist in a chef’s hat, all glazed a pure unrelieved white. To an observer familiar with the con- ventions of contemporary sculpture and ceramics, these pieces look not quite like sculpture but m ore like ceramics. Aggressively not utilitarian pottery, they nevertheless call attention to themselves as pottery through the rough modeling of the clay and the gaudy glazes. Some of their effect lies in the ambiguity so created. Other pieces are utilitarian in principle but not quite in fact. An example is Arneson’s teapot whose spout is a realistically modeled penis; you can pour tea from it, but not for everyone.