Manor Farm Essays - British Films, Cold War Films, Napoleon

Manor Farm George Orwell's Animal Farm is a political satire of a totalitarian society ruled by a mighty dictatorship, in all probability an allegory for the events surrounding the Russian Revolution of 1917. The animals of "Manor Farm" overthrow their human master after a long history of mistreatment. Led by the pigs, the farm animals continue to do their work, only with more pride, knowing that they are working for themselves, as opposed to working for humans. Little by little, the pigs become dominant, gaining more power and advantage over the other animals, so much so that they become as corrupt and power-hungry as their predecessors, the humans. The theme in Animal Farm maintains that in every society there are leaders who, if given the opportunity, will likely abuse their power. The book begins in the barnyard of Mr. Jones' "Manor Farm". The animals congregate at a meeting led by the prize white boar, Major. Major points out to the assembled animals that no animal in England is free. He further explains that the products of their labor is stolen by man, who alone benefits. Man, in turn, gives back to the animals the bare minimum which will keep them from starvation while he profits from the rest. The old boar tells them that the source of all their problems is man, and that they must remove man from their midst to abolish tyranny and hunger. Days later Major dies, but the hope and pride which he gave the other animals does not die. Under the leadership of the pigs, the most intelligent of the animals, they rebel against their human master managing to overthrow him. After the rebellion, under the direction of Napoleon, the most outspoken pig, and Snowball, the most eloquent pig, the animals continue to work the farm successfully. As with all societies, the animals have laws which must be obeyed. Their laws stated that animals shall never become like humans; cruel and manipulative. They shall not wear clothing nor sleep in beds. Most importantly, they are to respect one another's equality and killing another animal is strictly forbidden. Meanwhile, the pigs as leaders are taking bigger food rations for themselves justifying their behavior as something necessary for the "brains" of their animal society. At this point we begin to suspect that the pigs will abuse their positions and power in this animal society. Mr. Jones tries to reclaim his power but the animals prevent him from doing so in what they call "The Battle of the Cowshed". After the battle, Napoleon drives Snowball off the farm telling everyone that Snowball was on Mr. Jones' side. Napoleon is further appreciated by the other animals for exposing and removing the traitor, Snowball, from their midst. Slowly, Napoleon gets a stronger and stronger hold over the other animals, dominating their every action. The situation at "Animal Farm", the new name for "Manor Farm", really starts to change now. Napoleon moves into Mr. Jones' house, sleeps in his bed, and even wears his clothes. In order to make his actions appear legal, the law had to be interpreted differently, which Napoleon arranged. In defiance of the original laws, Napoleon befriends Mr. Pilkington, the human owner of a nearby farm. Napoleon had such control over the other animals that they accepted such a blatant disregard of their law about fraternizing with humans. The book ends with the pigs sitting at a table, eating with humans. Napoleon announces to those around the table that the name "Manor Farm" will be reinstated. The humans and pigs converse while the other animals outside look on. They, the lowly creatures according to the pigs and humans, look from pig to man and from man to pig, unable to differentiate between the species. The theme throughout Animal Farm is presented through the allegory of corrupt pigs and the passivity of the other barnyard animals. The humans in the story represent the Russian royal family and aristocracy, tyrants who abused their power with no regard for the peasants who, in essence, supported their royal lifestyle. The pigs represent the Bolshevik revolutionaries who led the masses in rebellion against the Czar and the entire royal family. Unfortunately, as with the pigs, power corrupted and the people were then oppressed by their "comrades" under the new communist government. Orwell's message about power, in the hands of a few, is corrupting and does nothing to benefit the masses.

Dark Horse Candidate Definition

Dark Horse Candidate Definition A dark horse candidate was a term coined in the 19th century to refer to a candidate nominated after multiple ballots at a political partys nominating convention. The first dark horse candidate in American politics was James K. Polk, who became the nominee of the Democratic Partys convention in 1844 after delegates voted numerous times and the anticipated favorites, including former president Martin Van Buren, could not prevail. The Origin of the Term Dark Horse The phrase dark horse actually derives from horse racing. The most reliable explanation of the term is that trainers and jockeys would sometimes endeavor to keep a very fast horse from public view. By training the horse in the dark they could enter it in a race and place bets at very favorable odds. If the horse won, the betting payoff would thus be maximized. The British novelist Benjamin Disraeli, who would eventually turn to politics and become prime minister, used the term in its original horse-racing usage in the novel The Young Duke: The first favorite was never heard of, the second favorite was never seen after the distance post, all the ten-to-oners were in the race, and a dark horse which had never been thought of rushed past the grandstand in sweeping triumph. James K. Polk, The First Dark Horse Candidate The first dark horse candidate to receive a party nomination was James K. Polk, who emerged from relative obscurity to become the nominee of the Democratic Party at its convention in 1844. Polk, who had served 14 years as a congressman from Tennessee, including a two-year term as speaker of the house, was not even supposed to be nominated at the convention held in Baltimore in late May 1844. The Democrats were expected to nominate Martin Van Buren, who had served one term as president in the late 1830s before losing the 1840 election to the Whig candidate, William Henry Harrison. During the first few ballots at the 1844 convention a stalemate developed between Van Buren and Lewis Cass, an experienced politician from Michigan. Neither man could get the required two-thirds majority necessary to win the nomination. On the eighth ballot taken at the convention, on May 28, 1844, Polk was suggested as a compromise candidate. Polk received 44 votes, Van Buren 104, and Cass 114. Finally, on the ninth ballot there was a stampede for Polk when the New York delegation abandoned hopes for another term for Van Buren, a New Yorker, and voted for Polk. Other state delegations followed, and Polk won the nomination. Polk, who was home in Tennessee, would not know for certain that he had been nominated until a week later. The Dark Horse Polk Caused Outrage The day after Polk was nominated, the convention nominated Silas Wright, a senator from New York, as the vice presidential candidate. In a test of a new invention, the telegraph, Samuel F.B. Morse, had strung wire from the convention hall in Baltimore to the Capitol in Washington, 40 miles away. When Silas Wright was nominated, the news was flashed to the Capitol. Wright, upon hearing it, was outraged. A close ally of Van Buren, he considered the nomination of Polk to be a grave insult and betrayal, and he instructed the telegraph operator in the Capitol to send back a message refusing the nomination. The convention received Wrights message and did not believe it. After a request for confirmation was sent, Wright and the convention passed four messages back and forth. Wright finally sent two congressmen in a wagon to Baltimore to tell the convention emphatically that he would not accept the nomination as vice president. Polks running mate wound up being George M. Dallas of Pennsylvania. The Dark Horse Candidate Was Mocked, But Won the Election Reaction to Polks nomination tended to be surprise. Henry Clay, who had already been nominated as the candidate of the Whig Party, asked, Are our Democratic friends serious in the nominations they have made at Baltimore? Whig Party newspapers mocked Polk, printing headlines asking who he was. But despite the mockery, Polk won the election of 1844. The dark horse had triumphed.

Practical Advice for Point of View Problems - Freewrite Store

Practical Advice for Point of View Problems - Freewrite Store Self-publishing through channels such as Amazon KDP means you can quickly and easily get your novels into the hands of your readers. It takes away that soul-destroying process of collecting rejection letters from publishing houses with limited publishing budgets. It’s great news if you’re an author - and it doesn’t cost anything, either. However, there is a downside. Going down the self-publishing route means that you don’t get the professional editing that traditional publishing entails - which means you either have to pay for a copy editor or edit yourself. Editing your own work is tough - and maybe that explains why there are so many self-published books that have lots of unfortunate errors. One of the more difficult problems to spot in your own writing is problems with your point of view - so in this article, I’m going to take you on a whistlestop tour through three of the most common point of view problems, how to recognize them - and, most importantly, how to fix them. A Quick Refresher on Point of View If you’re an author (or an aspiring author) then you probably already understand what point of view is, but in here’s a brief refresher. Essentially, point of view boils down to asking yourself, as you’re writing â€Å"which character’s eyes am I looking through?†. You can use: the first-person point of view - told in the first person, with one (or more) main character(s) narrating the story - e.g. â€Å"I knew that Damien was trouble the first time I met him.† the third-person point of view - told in the third person (he, she, they), with a viewpoint character narrating the story - e.g. â€Å"Thomas paused in the doorway, anxiously watching Felicity flirting with Damien. There was something off about Damien, Thomas could sense it.† omniscient point of view - the story is told by an omniscient narrator (someone who sees everything) - e.g. â€Å"Felicity was oblivious to Thomas’ discomfort as she twined her arms around Damien’s neck.† multiple points of view - usually in the third person, but sometimes in the first person, you can have multiple viewpoint characters in your story - but the more you have, the more complex your story becomes. 3 Key Point of View Problems - And How to Spot Them There are different types of point of view problems that are commonly found in published novels. The first step in being able to remove these kinds of issues from your fiction is first knowing what they are. 1.  Ã‚   Inconsistent Viewpoints This is, by far, the most common - and most important point of view problem that I come across as a writing coach. It doesn’t just affect new writers - as some ‘experts’ claim, but can affect any writer at any stage in their career. In fact, point of view problems can become habitual for experienced writers - even those who have had mainstream publishing success. For that reason, I’ll be spending more time on this problem than the other two common problems! An inconsistent viewpoint can make your novel seem sloppy and badly written - no matter how masterful your use of language. When you’re writing, viewpoint inconsistencies can easily slip in - especially when you get ‘carried away’ when you’re writing. There are actually quite a few ways that point of view inconsistencies can slip into your stories - more than just things like slipping between past and present tense. We’re going to look in-depth at some of the most common of these, and how to recognize them when you’re editing your novel. Once we’ve chosen a point of view - no matter which we choose - we need to stick to it. The only exception is when we’re using an omniscient point of view, but this type of point of view has fallen out of favor recently. Most viewpoints are known as limited viewpoints - and this means that we can only include the things that the viewpoint character can see, hear, smell, taste, touch, feel and think. When you are writing from one character’s viewpoint, that character can’t know what another character is thinking, for example. Before we dig into the specific types of inconsistencies, here’s an example of how an inconsistent POV can look in a story. When we’ve gone through the types of inconsistencies, come back to this and see how many you can spot! Christy walked briskly along the sidewalk, oblivious to the fact that the creepy guy who had stolen her purse was stalking her. A sudden sound startled her, and she glanced back over her shoulder. She didn’t see the toecap of the man’s left boot poking out of the doorway twenty paces behind her. She shrugged and carried on walking. Her stalker smirked.Stupid kid, he thought, slipping out of the doorway and continuing to follow her. Christy reached the door to her apartment block and went inside, opting to take the stairs up to her third-floor apartment. Michael had told her not to go home until the locks were changed tomorrow, but she couldn’t go into work in the same outfit two days running. It would all be fine. She was sure that whoever found her purse would hand it in to the police. She opened her apartment door and stepped inside, switching on the lights as she entered. The man following her smiled as he watched the door close behind her.Tonight will be fun, he thought, slipping the key he’d taken from her purse into the lock on the door. a.   Attributing emotions to non-viewpoint characters Your viewpoint character cannot know what other characters are feeling unless the other character tells them. This means that you can’t, as the author, tell the reader what a non-viewpoint character feels. This error happens more often than you’d realize - and you most likely would miss it in your own writing if you weren’t specifically looking for it. For example, if you were writing in the third person, from Alex’s viewpoint, and another character (let’s call him) Bob was feeling angry, you might write that â€Å"Bob slammed the door in anger†. That’s a POV inconsistency since although Alex might guess that Bob is angry, he can’t actually know that Bob is angry, therefore can’t be certain that the door was slammed the door in anger - the wind might have caught the door and caused it to slam as Bob was closing it, for example. When you’re editing your novel, watch out for these kinds of phrases - and any other situations where non-viewpoint characters emotions are written about. b.   Attributing motivation to non-viewpoint characters When you’re writing about a non-viewpoint character, it’s really easy to slip into the trap of telling the reader why the character did something. For example, if Ben isn’t a viewpoint character (but Aaron isthe viewpoint character), writing: â€Å"Ben spotted Aaron in the crowd and hurried to meet him,† would be a POV inconsistency. With these kinds of errors, spotting them isn’t easy, unfortunately - especially when you’re editing your own work. With practice, however, you can become more attuned to recognizing them. c.   Telling the reader what a non-viewpoint character thought or saw Your viewpoint character can’t possibly know what another character is thinking or know if a non-viewpoint character saw something that the viewpoint character isn’t able to see. If the viewpoint character can’t see it or know it, then your reader can’t know it either. If you want your reader to have that kind of bird’s eye knowledge, then you need to write from an omniscient point of view. For example, if Jennifer is your viewpoint character and Stefan is a non-viewpoint character, then the following passage would be a viewpoint inconsistency: â€Å"Are you serious?† Jennifer asked. Stefan swallowed.I’ve gone too far, he thought, absently rubbing his fingers over the fidget spinner in his pocket. When you’re editing your novel, you can try using your word processor’s ‘find’ function to search for words like: thought noticed realized wondered believed remembered knew reviewed recalled considered If you want to improve the quality of your fiction, don’t just remove these words for non-viewpoint characters. Since they’re words associated with telling rather than showing, your novel will be better if you show instead of tell (as much as possible). d.   Including items that the viewpoint character doesn’t notice or can’t see This is very similar to the point above about non-viewpoint characters thoughts but takes on a slightly different form. If your character can’t see it, then you can’t write about it - that’s the rule you need to think about when you’re editing your work. For example (the viewpoint character is Zeke): Zeke slid quietly back into his seat, not noticing that Mrs. Magnusson had been watching him the whole time. or: The bus was crowded, but Zeke managed to find an unoccupied seat. He slipped his headphones on. Up ahead, the traffic was at a standstill due to a multi-vehicle accident. It’s easy for these kinds of inconsistencies to go unnoticed, and it takes a trained eye to spot them. However, you could use your word processor’s find function to look for phrases like ‘didn’t notice’ and words like ‘unknowingly’, ‘not realizing’, ‘unconsciously’ and so on. e.   Telling the reader what the viewpoint character looks like Describing what your viewpoint character looks like is a tough one. If you have your character, for example, thinking about their appearance, then this isn’t a POV inconsistency. A POV inconsistency in this area comes about when you’re describing your character as someone else sees them - i.e. from the outside - which your viewpoint character can’t see. This often happens in describing facial expressions, for example: A grimace crossed Bryan’s face Bryan’s face was a mask of fury A smirk crossed Bryan’s face. Fortunately, these kinds of errors are quite easy to spot - and easy to remedy. It’s easy to say instead: Bryan grimaced Bryan scowled Bryan smirked When we grimace, scowl or smirk, we know about it, because it’s an action that we’re performing - we don’t have to see it from the outside to know we’re doing it, therefore this way avoids inconsistency in POV. 2.Too Many Viewpoints Getting the balance right with your viewpoints can be a challenge sometimes. If you have more than one viewpoint character, you have to decide whether they will have equal viewpoint time or whether one character will get more than the others. When you have multiple viewpoints, however, problems can occur - and your novel can become messy and difficult for your readers to follow. I once read a novel that had so many viewpoints - and so many viewpoint changes - that I actually started to feel seasick! The general advice I give to my students is that if you must have multiple viewpoints, keep them to as small a number as possible. Two or three viewpoints is much better - and easier to manage - than four, five or six. When you’re editing your novel, if you find that you’re struggling to keep track of who the current viewpoint character is, then this is a sign that you’re using too many viewpoints (or mishandling the distribution). It’s better to recognize this before you get to the editing stage, however, if you want to save yourself a lot of rewriting. Signs that you have too many viewpoints can include: A complicated narrative that seems too ‘choppy’ (moves around too much) You’ve already written 50,000 words and you’re only a third of the way through your plotline You keep forgetting which viewpoint character you’re writing this scene from Your story feels chaotic and confusing - even to you 3. Badly Chosen Viewpoints You should also be careful with the characters you choose to be viewpoint characters. This is a problem that can be easily sorted before it becomes a problem if you spend time working out which characters are going to be present for the most pivotal moments in your story - and which ones (maximum of two or three) are going to play the most important roles. If you’re more of a seat-of-the-pants kind of writer, and planning doesn’t work for you, then you may find yourself falling victim to a badly chosen viewpoint - and face a large rewriting project as a result. If, for example, you decide that your viewpoint characters are Hayden, Mitch, and Ellis, but Ellis isn’t actually present for your pivotal scene and is actually off on an adventure of his own, then you’re likely to end up with a story within a story that makes for a messy and incoherent overall plotline. Having a badly chosen viewpoint character can lead to problems in structure, focus, cohesion and more. Fixing Point of View Problems If you’ve already written your novel and are in the editing stage, then I’m afraid there’s no quick fix for your point of view problems. Once you spot them, you will have to edit the passages, chapters, or, even, edit out entire viewpoints, until you’ve eradicated the issues. If you’re still in the planning stage or have recently started writing, then you’re in a much better position to stamp out point of view problems in your writing. If you have previous examples of your writing, now is a good time to go over them and see if you can identify any patterns in your point of view problems. POV problems can quickly become habitual for writers - but once you’re aware of them, you can begin to work on eradicating them from your writing. Print out a copy of your story, find a set of highlighters, and go through your story, highlighting inconsistencies in one color (or, if you’re brave, try highlighting the different types of inconsistencies in different colors), evidence of too many viewpoints in another color, and badly chosen viewpoints in another color. Once you can recognize the POV problems that occur most frequently in your writing, you can practice rewriting scenes or passages without the POV problems - until writing that’s free of POV problems becomes habitual.

Sounds of Silence by Simon and Garfunkel Essay Example | Topics and Well Written Essays - 750 words

Sounds of Silence by Simon and Garfunkel - Essay Example The genre was known by the name of folk/rock. Tom Wilson, while listening to the song â€Å"Mr. Tambourine Man† flickered with the idea of making a folk/rock with Simon and Garfunkel with whom he had already worked successfully with their debutant album. Simon and Garfunkel the duo recorded the song for their first album â€Å"Wednesday Morning, 3 A.M.† in the year 1964. Latter on it was overdubbed with the inclusion of the instruments like electric bass, drums and electric guitar. As a single, the song was released in the month of September 1965 and the song was written by Paul Simon of the duo in the month of February 1964. The song â€Å"Sounds of Silence† is the most popular song released by the duo in the United States after their most well-liked hit† Bridge Over Troubled Water† (Simons 1-120). During 1960s and 70s, many genres of music like rock, alternative rock, folk rock and country rock evolved which sung the saga of the men and time during which these songs evolved, The ‘Numero Uno’ or the number one track of the chartbuster during the year 1966 by Simon and Garfunkel also reiterates the social and political turmoil of the time (Charlesworth 1-125). THESIS STATEMENT The song, â€Å"Sounds of Silence† delineates many socio-cultural and socio-political issues within its melodious presentation. This essay intends to explore the subtle thematic paradigm imbibed behind the acoustic and electrified versions of this intense song. SOUNDS OF SILENCE: A REFLECTION Without getting much into the thin line of difference that separates the two genres of music during the sixties; the folk and the pop that strikingly evolves out through this song, it is quintessential to perceive the magic and enchantment the song delivers. The tempo, the rhythm, orchestration and above all the melody of the song is just splendid to fall back upon and listen to with close eyes. However, the most powerful aspect of the song is its lyrics. Poetry is inherent within a totalitarian scheme of things operating and pervading the song. From its rhetoric to words and intonation there is poetry imbibed within every layer and every aspect of the song (Technorati, Inc, â€Å"Music Review: Simon & Garfunkel - Sounds Of Silence - Page 2†) â€Å"The Sounds of Silence†: In restless dreams I walk alone Narrow streets of cobblestone, 'Neath the halo of a street lamp, I turned my collar to the cold and damp When my eyes were stabbed by the flash of a neon light That split the night And touched the sound of silence† (SongMeanings, â€Å"Simon and Garfunkel – The Sound of Silence†). No one can undermine the powerful use of language in the song. As a matter of fact, since the release of the song with more vigor and overwhelming confidence Paul Simon started writing songs which were definitely taking him to a higher echelon of poets. A rare master of storytelling and craftsmanship of imagery that Simon was, started lurking large in the song and the conversant style of the song made it more popular and relative: â€Å"Hello darkness, my old friend, I've come to talk with you again, Because a vision softly creeping, Left its seeds while I was sleeping, And the vision that was planted in my brain Still remains Within the sound of silence† (SongMeanings, â€Å"Simon and Garfunkel – The Sound of Silence†). As the song was so popular and close to everyone’s heart or to be precise it was deliberately made so much appealing because it tried to captivate the particular essence of socio-political catastrophe taking place at the political domain of America. The song â€Å"The Sounds of Silence† is particularly written after the assassination of John F. Kennedy and the social and political degradation of America as a nation and

Wal-Mart Business aroung the World Essay Example | Topics and Well Written Essays - 750 words

Wal-Mart Business aroung the World - Essay Example As the paper highlights, Mexico was not a driving region so they have to be within their consumers’ neighborhood. Aside from that, Mexicans preferred fresh products so they had to offer their goods fresh. With their thirst to succeed in their endeavor and the help of Grupo Cifra, Mexico became their first international expansion in 1991.   Aside from big established retailers like Metro AC, Aldi and Kaufland, Wal-Mart’s big mistake in their venture in Germany was not having a cultural context on their strategy. Same thing with their business in South Korea, Wal-Mart seemed to cater to Americans alone and did not mind the region’s culture. Unlike with their business in Mexico, they didn’t try to adapt to the needs and wants of their consumers. They eventually had to pull out their business in these countries. Offering freshly harvested products is a must for Chinese. Given that China shares 1/3s of Asia’s population, Wal-Mart considers China as the center of their growth strategy.   International business venture is never easy. There are so many factors to consider. Culture is on top of the listr. As a retailer, you should know the goods a region will buy to stay in business. A rigorous supply and demand and shopping habits study will be essential in order to succeed in your venture. Remem ber that to stay in business, you should get a good percentage of the market. Wal-Mart posted their third quarter profits reaching $3.23 billion, which is 3.2% from a year ago. Their net sales for the third quarter were $98.667, which increased 1.1% from the same period last year. Wal-Mart has more than 7,970 stores including Supercenters and discount stores.  

Changes in Frank and Ritas Relationship :: Educating Rita Relationships Plays Essays

Changes in Frank and Rita's Relationship Referring closely to Scenes 6 & 7 in Act 2, discuss the changes seen in Frank and Rita's relationship. In this essay I will be referring closely to Scenes 6 & 7 in Act 2. I will be discussing the changes in Frank’s and Rita’s relationship, and comparing their relationship â€Å"now† as to what it used to be in the beginning of the play. Rita & Frank are the two main or, only characters in the play. This is a powerful and smart way to let the audience or reader to get to know our two characters, their feelings, emotions and thoughts. The audience can see and tell the difference in the characters social status straight away. Frank is a professor in a university, teaching English literature – in his late forties. He is an alcoholic – loves to drink, he has a girlfriend, but this relationship that he’s in is going like all others; failure. He is the type of person that drinks in order to forget his troubles and worries – drink makes him happy, even though it is killing him and his relationship just as well as his career: â€Å"Yes, I probably shall go to the pub afterwards. I shall need to go to the pub afterwards. I shall need to wash away the memory of some silly woman’s attempts to get into the mind of Henry James or whoever it is we’re supposed to study on this course†¦Oh God, why did I take this on? †¦Yes I suppose I did take it on to pay for the drink† This is a conversation that Frank has with his girlfriend over the phone, it immediately goes to prove that he doesn’t really care about his career and the only thing that is on his mind is alcohol. Rita on the other hand is a twenty-six year old, working class woman who wants to get an education, and by doing that she believes that she is going to â€Å"discover† herself. She is in a relationship; she’s been living with her partner for six years. She also wants to learn how to speak â€Å"proper† English. In the beginning of the play Rita and Frank are getting to know each other, and they have nothing more than a â€Å"teacher-student† relationship, although throughout the play we can see that they get to know each other better, and they gain more respect for each other. Everything starts to change when Rita goes off to summer school. When she comes back from summer school Frank is surprised by her appearance

Epidemiology Essay

The increasing ease of access to computers, computer games, the internet, and social acceptance of extended leisure time have seemingly caused the incidence teenage obesity rise at alarming rates (Teen obesity, 2011). There is of course no single contributing factor to the cause of obesity but research has linked a variety of biological, genetic, cultural and behavioral traits to the disease. According to the American Academy of Child and Adolescent Psychiatry, childhood obesity is not typically caused by a particular medical disorders; â€Å"less than 1 percent of all obesity is caused by physical problems. Obesity in childhood and adolescence can be related to poor eating habits, overeating or binging, lack of exercise, family history of obesity, stressful life events or changes (separations, divorce, moves, deaths, abuse), family and peer problems, low self-esteem, and depression or other emotional problems† (AACAP, 2011). While the typical â€Å"extra few pounds† are not necessarily detrimental to the overall health of an individual, the incidence of obesity in teens is a serious health issue as it puts the child at increased risk for emotional problems, low self-esteem, depression, anxiety and undue stress on their young body (AACAP, 2011). Direct links have been seen between obesity and complex health concerns of increased risk for heart disease, hypertension, diabetes, respiratory complications and sleep disturbance (AACAP, 2011). It can cause issues like an increased risk of heart disease, high blood pressure, diabetes, breathing problems, trouble sleeping (AACAP, 2011). Demographics The demographics of obesity are individualized to a person’s ideal weight for their height and body type. Obesity is categorized by having an excess of weight that is well outside of the medically accepted range based on height. There are varying degrees of obesity and being overweight is not the same as obesity. Obesity is categorized as being 20% or greater than the ideal weight for the individual (PAMF, 2011). The WHO’s definitions of â€Å"overweight† and â€Å"obese† are based on an individual’s body mass index (BMI), which measures weight relative to height. Overweight is marked by a BMI greater than or equal to 25 and obese is defined as having a BMI greater than or equal to 30 (World Health Organization, 2012). While it is widely accepted that Americans are one of the most overweight countries in the world, many other nations have seen steady increases in their rates of obesity. Epidemiological data has shown that countries all over the world have been steadily gaining weight in all genders, ethnic groups, ages and educational levels (World Health Organization, 2012). According to the national Institute of Health, 15. 5% of teenagers were obese (2006). This means that a large number of teenagers today are at risk for health issues like heart disease, high cholesterol and high blood pressure as well as type 2- diabetes. Obesity is a growing trend in all social classes and cultures; however it is disproportionately prevalent in certain ethnic populations. Obesity rates for example among â€Å"African American and Mexican American adolescents ages 12-19 were more likely to be overweight, at 21% and 23% respectively, than non-Hispanic White adolescents 14%† (aspe. hhs. gov, 2011). The National Health and Nutrition Examination Survey concluded that this disparity is of great concern especially when considering that type-2 diabetes and heart disease is at present, a prevalent health concerns among these ethnic populations (aspe. hhs. ov, 2011). With obesity on the rise in vulnerable populations that are seemingly already at increased risk for related disease, further research and interventions should be aggressively sought. When considering the younger generations that are becoming increasingly overweight, lifestyle habits, particularly the acceptance of sedentary entertainment have to be highly c onsidered as factors leading to the problem. The National Collaborative on Childhood Obesity Research (NCCOR) have established clear links that the sedentary nature of watching TV is linked with some unhealthy outcomes in kids (NCCOR, 2012).