The slope is nothing but the ratio of the "rise" divided by the "run" between 2 points on a line, or in other words we can say, the ratio of the altitude change to the horizontal distance between any 2 points on the line.formula of slope is mentioned in given picture
Calculate the slope of the equation of the line y = 3x + 16.
Step 1: Given equation of the line
y = 3x + 16................... (1)
Step 2: The general equation of slope-intercept form.
The 60’s and 70’s saw the rise of youth culture. Youth culture can be seen as a particular pattern of beliefs, values, symbols and activities that a group of young people are seen to share.
Along with the rise of youth culture came the theories developed on it. The theories developed in the 60’s were mainly functionalism. Functionalists believe that society or a social structure is like a biological structure and that all social institutions function for the survival of society. As social structures change by becoming more complex, social institutions change by becoming more specialised. Functionalists, therefore, believe youth culture has a social function; they see it as young people solving there shared social problems.
The Marxist theories on youth culture came in the 1970’s. Marxists believe that society operates mai! nly through class conflict and that each class pursues its own interests and brings it into conflict with other classes. The Marxist influenced Centre for Contemporary Cultural Studies (CCCS) used these ideas to explain youth culture. They argued that youth culture was the result of youths fighting against a capitalist society. In this essay I will look at the theories developed on youth culture in the 60’s and 70’s and assess whether they can be related to the youth culture of today. The theories I will explore are Abrams ideas on youth culture and consumerism, Eisenstadts functionalist theory and the Marxist theories of the CCCS, Cohen and Hebdidge.
Mark Abram’s book “The Teenage Consumer,” was the first influential sociological study of youth culture. Abrams was a market researcher and his book was an empirical survey of a new consumer group that had emerged in the 1950’s. This new consumer group that was emerging was referr! ed to as youth culture and was predominantly made up of workin! g class males. Abrams suggested that youth culture was developing in the 50’s because of the affluence of the decade. Young people had large disposable incomes and they were spending it on leisure goods and activities such as coffee and milk bars, fashion clothes and hair styles, cosmetics, Rock and Roll records, films and magazines, scooters and motor bikes, dancing and dance halls. Their spending habits were an expression of their lack of responsibilities and dependants. Abrams argued that although this youth spending revealed a distinct leisure group, it didn’t reflect any sort of a rebellion. He said that teenagers were still embedded in the key institutions of home, school and work and their central values remained those of their parents and work mates. The definition of youth as a consumer group had two consequences, firstly, it was interpreted as a form of mass culture. At the time, people saw mass culture as a culture where people were manipulated as consume! rs by big businesses. Also, Abrams theory on youth culture only initially referred to “working class peer group solidarity.” He didn’t take into account the middle class youth.
In Eisenstadt’s 1956 book “From Generation to Generation,” he uses a functionalist approach to explain youth culture. He believes that in all societies children have to be “socialised” before they can attain full adult status. They have to be taught their societies moral code, its common sense, rules, behaviour etc. They need to be given the skills and knowledge necessary to perform their adult roles. Youth doesn’t exist in primitive societies as there isn’t really a transition from childhood to adulthood, whereas in modern industrial society there is a clear, structural gap between the family children are brought up in and the economic and social system in which they must eventually take their place.
Functionalists lik! e Eisenstadt explain social institutions in terms of social pr! oblems a nd cultural solutions. The youth “problem” lies in young peoples marginal status, youth culture eases the resulting anxieties and uncertainties. His argument is that in meeting young peoples needs, youth culture has the general function of smoothing the transition from child to adult. He believes that the most important function for its members was emotional and providing young people with a set of relationships, (peer groups.) The most important point for Eisenstadt is not that some young people become deviants but that even the most deviant of youths become normal adults. He saw youth culture not as a political rebellion but as an essential problem solving social function.
Eisenstadts argument is a general argument. It refers to the transition that faces all young people in industrial society but not all young people are the same. He didn’t take into account that growing up middle class is different to growing up working class and that growing ! up male is different to growing up female. Also, he was explaining youth culture in a time of relative affluence and optimism, growing up was not particularly problematic in the 1950’s.
In the 1970’s the strongly Marxist influenced CCCS related class to youth subcultures. They argued that youth styles were a reflection of the economic system and its related class relations. They claimed that youth subcultures attract mainly working class males as it was them who were affected most by the problems of growing up in a capitalist society.
In 1972, Phil Cohen used semiotics to decode the Mod and Skinhead youth subcultures of the working class community in London’s East End. At that time the community was in decline as the traditional industries and small businesses were destroyed by economic change and traditional communities were being broken up by rehousing, redevlopment and the influx of immigrants. The Mods and Skinheads came about as ! a result of the young Eastenders seeking new identities for th! emselves due to the changes in their communities. Cohen interpreted the Skinhead subculture as an attempt to recover the working class community that was in decline. He saw the skinheads appearance as an exaggerated version of the traditional working men’s clothes. He also saw their aggressive behaviour and racist attitudes as an exaggerated version of traditional working men’s values. The Mods reflected the upward aspirations of a more affluent section of the working class. They sought to copy the middle class and aspired to a glamorous lifestyle. Cohen saw this as a rejection of traditional working class culture.
In 1976 Hall and Jefferson of the CCCS saw working class youth subcultures as a resistance of ruling class hegemony. They also said that working class youth experience the contradictions of capitalism more acutely than the middle class as they are more likely to experience school as a waste of time. Many of them will end up in dead end, low paid job! s with little satisfaction. It is at the transition from child to adult that working class youths experience most acutely their structural position at the bottom of the pile in the capitalist system. Its at this time that resistance is possible as they aren’t tied down by responsibilities. Hall and Jefferson say that even though working class youth subcultures symbolise a form of resistance, it does little to change the structural position of the young people involve. They describe youth subcultures as a resistance through rituals. The CCCS suggests that although it doesn’t solve anything, it does give the appearance of a solution, they say that being part of a youth subculture may ease the alienation felt by many young people and provides a chance to kick back at society without actually changing anything.
In 1979 Dick Hebdidge argued that there was a tendency for these authentic youth subcultures to become incorporated i.e. the punk subculture repre! sented a conscious rejection of high street fashion yet within! months of the emergence of punk, high street shops were selling mass produced fashions based on punk styles. Punk was transformed and tamed from a form of rebellion to another form of fashion. Hebdidge argues that this process of incorporation represents the way in which capitalism makes safe youth subcultures.
One of the major criticisms of the CCCS is that it reads meaning into the appearance and behaviour of young people that they may not see themselves. Also, most of the research was focused on working class youth subcultures and ignores the subcultures formed by the middle class’s during the 60’s and 70’s. Their work also seems to only be concerned with the exotic and rebellious youth and doesn’t consider “ordinary youth.” Most young people don’t join subcultural groups or only adopt the styles because they are in fashion rather than as an act of political rebellion.
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I've come across a useful website which has some free to use statistics calculators. These are very powerful tools. I've added a link to the recommended pages from this site (the link is also included at the end of this post).
These are the different types of calculators available:
So, having had literally zero time to force my friends to watch cannibal movies with me, I've felt a little guilty about updating the webzone here, because I promised all the cannibal juiciness. Don't worry, I've not given up- I just need a little time to watch the shit some more. In what little free time I've had, I've been listening to a lot, and I mean a whole lot, of music, and I thought I'd do a quick rundown on my top ten favorite albums of all time. I know I'm taking a huge chance by admitting I actually like stuff on the internet, and the stuff I'm going to admit to liking honestly is gonna make it a lot worse. A lot. So gird your loins, here's numbers 10 through 6.
"I'mm let you finish!"
#10: "Warp Riders" by The Sword
Ok so yeah, this album came out literally six seconds before I finished typing this sentence, but that just proves how amazing it is. The Sword is one of my favorite bands, mainly because they write oddly-catchy doom metal songs about Conan the Barbarian. Imagine my surprise when I popped this into my ipod and found that instead of droning dirges about swords and loin-cloths, I was listening to late seventies hard rock about robots and spaceships!
A shocking swerve, Tony Schiavone!
A concept album about a space archer on a planet that is stuck half in perpetual night and half in perpetual day? With witches and space pirates and a sisterhood of space warriors who bend spacetime to travel the universe? FUCKING A, dude. Nerdy space opera aside, the actual music part of the music album is so vastly different from anything else the Sword has done, I can only imagine that the Sword lost 50% of their fan base from it. Because us metalheads really can't handle change. We're a group of people who, though we deny ! it, still by and large take Immortal seriously.
INVISIBLE SANDWICH.
Here's the lead single off the album:
So yeah, even though it's brand new, it's all I've been listening to for like three days, and easily earned it's number 10 spot. Even if you're not into doom metal or Conan, you should try it. Especially if you like to imagine if Kiss was a little bit harder and sang about space wizards.
#9 Five Years of Fireworks by Grand Buffet
You know how up there in the Warp Riders entry I called myself a metalhead? Well, between this one and the next one, here's where all the other metalheads are gonna hold me down, tear my combat boots and spikey wrist gauntlets off and call me a faggot, because I have two things on here that aren't metal albums. Real metalheads only ever listen to metal, you see.
"Hand in your sideburns and black t-shirts, AJ. You're off the force."
Ok, so most of you guys have never heard of Grand Buffet, which is really a shame. They're a Pittsburgh-based whiteboy hip-hop duo, comprised of two stoners who write funny, satirical, vaguely surrealist songs that have completely meaningless lyrics (when they're not obviously making fun of the Christian Right). Seriously. Here's an entire verse from a Grand Buffet song. I'll buy yo! u a goddamned pair of shoes if you can contextualize this:
Prepare to double date, tolerate pain, evade formidable foes in portable games. I'm lookin' over the edge of a carnival ride at the machine operator, clean cut and qualified. Pathological tea cup jockey half my life, racking points up at air hockey. I emerge from a cloud of hickory smoke to ride mechanical bulls at fictional watering holes. Golden ages, theirs for the taking, old souls not yet content on vacating. Ice skating with wildlife watching, figure eight turns, devoid of all caution. Password pad fusion, fuck raffle tickets, the chips are down natural habitat digits. Ah-read 'em and weep as my snake bite swells, cool cucumber bobbing my head to the death bells.
Pictured: Grand Buffet, cigarettes
Now granted, I am totally cheating by citing "Five Years of Fireworks" as my favorite album of theirs, because it's a greatest hits album. But I'm gonna fall back on it being my first exposure to their work, and the only album of theirs that I had for a very long time. All my favorite songs came off this one album. Not that their other albums don't have awesome songs, but this is the one I fell in love with. And come on, with songs like this, how can you player hate?
And yeah, Tom Green likes them, which officially puts the list of things Tom Green and I both like at two.
#8 The Green Book by Twiztid
Ok, so there comes a time when one has to look deep inside one's soul and face the ugly truth. The shames of the past, the sticky fumblings in public restrooms. And trust me, if theres any part of my past I'm not proud of, it's the musical glory-holes of Psycopathic Records. Because there is no way to deny it, this is the house that the Insane Clown Posse built.
Just look at these assholes. I don't even have to make a joke.
Ok, so yeah, ICP sucks. We all know that. I've tried going back and listening to their albums now that I'm not an insecure fourteen year old trying to fit in and it's impossible. It's not the gimmick, it's not the legions of myopic fanboys, it's not even the god awful Faygo soda. It's that the motherfuckers can't rap. And I know alot of ICP fans who will readily admit that, which opens up a whole other bunch of questions.
Questions that have no answers.
But you know what? I'm gonna say it: Twiztid, ICP's similarly face-painted buddies, are actually *cough* good. They can rap, they're clever, and The Green Book was the soundtrack to my freshman year in college. It's certainly not perfect (One of the guys from ICP inevitably pops up on this track or that and the whole thing takes an incredible turn for the terrible) but it is really enjoyable horrorcore and some of the songs are so fucking catchy. Lazy Bone is on the album for fuck's sake! I'm certain theres a nostalgia factor, because it was what I was listening to at such a memorable time in my life, but putting it on again, I found myself singing along and doing that aggressive gesticulating rapper hand thing.
Word.
So yeah, now that I've not only lost all my credibility but also everybody reading, I'll post a track from the album and move along.
#7 Load by Metallica
And the hits just keep on coming, don't they? Between Twiztid and this, how many of you guys are preparing to wallop the ever-loving fuck out of me the next time you see me? Raise your hands.
Ok, so flash back to 1996. I'm eleven years old. I've never been exposed to any sort of heavy music. Or really, to any sort of music. It wasn't important. I listened to whatever was on the radio in my parent's car at the time, which meant mainly listening to a lot of black guys in suits standing in a line and snapping their fingers.
Then, by accident, I catch the video for "Until It Sleeps". My doors of perception are torn open like a hymen on prom night. You have to understand this was the heaviest shit I had ever, ever heard. And the video was this nightmarish mix of pseudo-religious imagery and twisted, surreal horror, like someone had taken the video to "Losing my Religion" by REM, chopped it up and inserted clips from a black mass into it. My mind was officially blown, and I had to have more of it. I went out and bought the album pretty much immediately.
And you know what? FUCK YOU GUYS WHO DIDN'T LIKE LOAD.
Sorry, sorry. Now I'm not fan-boying. Metallica is not perfect, I'm not saying that. They have done plenty of things, musical and otherwise, that are very very worthy of criticism.
Exhibit A.
But even ignoring St. Anger, Load is far from their most terrible album. It's was dark, it was melodic, it was full of bitching imagery and some really bad-ass riffs. Ok, so it's not the same kind of music as Master of Puppets, but it was awesome in it's own right, and without it, I would never have started listening to heavy music. If Metallica hadn't released Load, I might be typing this entry listening to Dave Matthews Band instead of having Sleep playing in the background. And then imagine what this top ten list would look like.
"And at number six, it's Phish with another album pretending to be the Dead..."
#6 Witchcult Today by Electric Wizard
Ok, here's where I begin to earn a tiny bit of cred back. Electric Wizard is a Dorset, England-based doom metal band and is sort of the doom metal version of the Beatles, Metallica, and Beethoven mixed together. Not that they sound anything like any of those people, but in that they're basically the single most dominating, creative, beloved, and awesome group of fanatics ever to stick a thirty year old guitar into a forty-year old amp and play music about witchcraft at a graveyard pace. They've been called "The Heaviest Band in the Universe" and they deserve it. They don't so much play music a! s they play slowed-down thunder. They also look like what I pretend I look like:
Now would it surprise anyone to know I actually own that book on their altar there? Seriou! sly. Hold on. Lemme find it.
This is taking me longer to find than I thought. Wow I have a lot of these kinda books.
Electric Wizard is one of those bands that really hasn't ever put out a bad album, just slightly less-awesome ones. Albums like Dopethrone and Come My Fanatics are legitimate classics, and even the slightly scrappy Let Us Prey still has some bitching moments. Every single album has at least two tracks that will rattle the fillings out of your head with the unholy power of it's rocking, and being that they are a doom metal band in the truest sense of the genre, two Electric Wizard songs will last you a while.
He started listening to Dopethrone when he was fifteen. He's on track three.
But for me, their landmark album really is Witchcult Today.
Witchcult Today is one of those perfect albums that you just keep turning each track up louder and louder and going "Oh! I fucking love this song!" It's the kind of good that I have a hard time writing about it, because writing about music is inherently a poor way to convey what the music is like, and when music is as fucking awesome as this you just start babbling and handing people the CD going "Just listen to it. Go on. I'll wait." So go on. I'll wait. Fe! el free to roll a doobie while you listen, this is weed-smoking music par excellence. So go ahead, take a sailing trip on the Astral Sea with Electric Wizard. I'll have numbers 5 through 1 up when you get back.
501: True love endures, if it does not, then it was never true.
502: If someone would ask me what a beautiful life means, I would lean my head on your shoulder n hold u close to me n answer w/ a smile: "Like this!"
503: You must be a thief cause you stole my heart, you must be tired cause you're always running through my mind. And maybe I'm a bad shooter cause I keep missing you.
504: I heard someone whisper your name 2day, but wen i turned around 2 c who it was, i noticed i was alone, dats wen i realized it was my heart tellin me how much i miss U!
505: A DOCTOR can save my life. A LAWYER can defend my life. A SOLDIER can give me a peaceful life. But only you can give me a MEANINGFUL LIFE.
506: God sprinkles tiny but wonderful seeds of blessings on earth each day...and I just caught one that's so nice and true...it's YOU !
507: Colors may fade, the sun may not shine, the moon may not be bright, heartbeats may! stop, lives may pass but our friendship, I'll treasure 'til the day my heart stops.
508: Why say hi if u mean I miss u. Why say let's go if u mean I want to be with u.. why say stay! if u can say be with me... and why say I care when your heart says I love you!
509: When the time comes I can't smile anymore, don't worry about me, I know what to do. I'll just stare at one corner and think of you. No one else could make me happy like the way you do.
510: Celfones can be irritating sometimes. U always have 2 reload, recharge every now n then. Messages r delayed. But there's 1 thing I love about it. It connects me to U!
511: When changes come to us...we tend to let go of a few things. But even if I've got so many changes in my life now...no change can ever make me let go of Ãou!
512: I was never tired of this life and its not gonna matter if I fall down twice, coz I know each time I fall, you won't let me hit the ground. 513: There's a love that only u can give, a smyl dt! only ur lips cn show, a twnkle dt cn only b seen in ur eyes, n a life of myn dt u alone can complete.
514: Don't set ppl free if u luv dem, keep dem and treasure dem and fyt for dem... kaya nga pinaglaban kita eh, kasi LOVE KITA!!!
515: My lips want to kiss u, my eyes want to see u, my hands want to touch u .....evry part of me wants u, maybe bcoz i was made just 4 u!
516: Days can be so tough and at times cruel, 2 much 4 1 to b alone, wen u feel dat u can't hold on any longer, il take ur hand and we'll go thru with it 2gether. I'll be here and dat's 4ever.
517: Love till it hurts n wen it hurts, luv som mor. And wen it hurts som mor, luv evn mor n wen it hurts evn mor, luv till it hurts no mor.
518: Everyone wants 2 be the sun dat lights up your life. But I'd rather be ur moon, so I can shine on u during your darkest hour when your sun isn't around.
519: I was born with a heart like the rest of us do have, but just ! recently I found it in half. Could you please check your heart you might be holding my missing half?
520: Sometimes I neglect to tell you how important you are to me, how your presence makes such a difference. People like you are truly rare. I hope you realize how much you mean to me.
521: I’ve came to realize that destiny can hurt a person as much as it can bless and I find myself wondering why of all the people in the world I’d fall for someone that can never be mine.
522: Even the richest king can’t compare to the greatest treasure I have, He may own things that I can only dream of. But he doesn’t know what I’ve got...someone like you.
523: If you’re afraid to love a person because of “FRIENDSHIP” you have two choices...either say what you feel and let the love takes place...OR forever have love under a friendship full of pretendings.
524: A person u love is an extensio! n of urself. W/o it, u r not complete so better take care of u! rself be cause i dnt wnt 2 lose a part of me…
525: Falling in love with you is the second best thing in the world. Finding you is the first.
526: it takes three seconds to say i love you, three minutes to explain, three hours to demonstrate, three days to appreciate three terms to produce it, but a lifetime to prove it.
527: Every teardrop is precious so better make sure that if you drop some, its worth crying for 'cause you can never pick them and put them back to your eyes. Love wisely!
528: Lern 2 apreciate d rainbow after cursing d rain, its juz lyk loving agen after xperiencing d pain!
529: Let go of d hand of d prson u luv bt dnt let go of God's hand 4 He may b hldng d prson u luv on d ader hand 2 let u hld each ader agen.
530: Never expect LOVE to be always at its best, coz if you do, you'll never appreciate its existence. how to turn a guy on over text
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