The Great Puerto Rican Migration - Free Essay Example

Sample details Pages: 5 Words: 1506 Downloads: 1 Date added: 2019/10/31 Category History Essay Level High school Tags: The Great Migration Essay Did you like this example? US history have taken place for many different reasons pertaining to the laws and reasons of the great migrations. Although the immigration of Puerto Ricans isnt nearly as significant as many others, it has made enough of an impact to make it on to the history books. As mentioned by Bill Breisky in Looking for the Promise Land, Compared to historys great population shifts, the Puerto Rican migration to the mainland is not significant. Don’t waste time! Our writers will create an original "The Great Puerto Rican Migration" essay for you Create order But in America, in this age of immigration quotas, it is a notable phenomenon. The chronicle of the migration is a story of how a partially cooled melting pot is making room for what may be its last great influx from a foreign land. As the time has passed since the first great migration in in the late 1800s, a population of over 5 million Puerto Ricans has formed over all 50 states according to the BEPR. Puerto Rican Immigration to New York in the 1800s was due to an extended period of injustice towards the residents on the island from the Crown in Spain and then later in the 1900s there was mass immigration again to New York due to the economy. Puerto Rico became a colony of Spain in 1508, it remained this way until 1898. In the years that it was a colony of Spain there was no middle class, only a royal class and the majority were poor. The lifestyle of the people was that of a very poor nation, as the crown got richer. This led to revolts and as soon as the United States ceded the Island from Spain in 1898 there was some people that immediately decided to leave. Many of those that wanted to couldnt because they could no afford it. So once Puerto Ricans finally had the right to move to the United States very few of them decided to leave. Although people in the United States attempted to describe Puerto Rico as a glamorous tourist destination, there was a time in the early 1900s that the island suffered a severe economic depression. Poverty was widespread, and very few could afford the expensive trip to the mainland. According to the article in the Library of Congress Immigration in 1910, there were fewer than 2,000 Puerto R icans in the continental U.S., mostly in small enclaves in New York City, and twenty years later, in 1930, there were only 40,000 more. Puerto Rican migration exploded once World War 2 ended. In 1945, only 13,000 Puerto Ricans lived in New York City; but after 1946 there were more than 50,000. That was the breaking point, over the next 10 years more than 25,000 Puerto Ricans started to migrate over each year, topping out in 1953, when more than 69,000 came in just that year. By 1955, there were almost 700,000 Puerto Ricans in the United States and by the mid-1960s, more than a million Puerto Ricans had moved over. From the 40s to the 60s Puerto Ricans viewed the United States as the land of opportunity. The mentality was that they would come to this land where there was a Gold Rush and they would make plenty of money. For some this was certainly the case and they found great success in places such as New York working industrial jobs or in California in the Steel Mill industry. Many found themselves on their way back home to the Island when they realized that they had moved to a culture they didnt understand, to a style of life they did not know to fit into and to an economy that although was rebuilding and booming didnt quite fit the description that they were told when the Industrial Recruiters went to the island to tell the people of these great jobs that were available. As mentioned in Of Immigrants and Migrants, Puerto Rican migrants brought greater social costs because they were entitled to access the American welfare state. In all technicality the movement of Puerto Ricans from the Islan d to the mainland is considered internal migration because Puerto Ricans are born Citizens. They have every major right that someone born in the 50 states has other than voting for congress, unless they move to a state and then they are qualified to vote for congress. This was such a false concept though, to consider Puerto Ricans migrating from the island to the mainland internal migration was far from accurate. They had to make an enormous transition from the Spanish culture to that of a growing developing nation with all sorts of diversity. The first large group of Puerto Rican to move over to the United States found themselves forming communities in cities throughout the country. Some of these cities were Chicago, Philadelphia. However, even though there were Puerto Ricans moving to other parts of the country, since the 1930s, the capital of Puerto Rican culture in the United States was New York City. Although it was far from the Caribbean the ability for Puerto Ricans to use Airplanes to migrate made the move attainable. Puerto Ricans found themselves moving in masses to a specific area of Manhattan, in a neighborhood that eventually was called Spanish Harlem. Most of these men and woman moving over to New York were farm workers in Puerto Rico, yet they had to adapt and so they found themselves getting jobs such as staffing the hospitals, the factories, the hotels, and they soon became a major part of the citys political and cultural life. The migration to the 50 states practically halted in the late 60s and was very slow all throughout the 70s, as a recession led to fewer jobs in large U.S. cities. This caused many of the first generation that moved to the States to start making their return to Puerto Rico. The ones that decided to stay started to run into very common issues for immigrants such as poverty, unemployment, and racial discrimination. As mentioned in the article Immigration, the darker-skinned Puerto Ricans were omitted from jobs and ran into the same issues that most other colored people a that time were running into with housing and education. Another major issue that Puerto Ricans ran into was the language barrier, which at times made it very difficult to find good paying jobs or the ability to go to government agencies and get adequate treatment. Eventually the second generation of U.S mainland born Puerto Ricans came around and new political movements were born as well. This generation of Puerto Ricans started to make the proper moves towards getting granted greater civil rights, such as education and less discrimination in the job market. The most major campaign that this generation brought on was the desire to change the status of Puerto Rico. Finally, the day came in a 1951 referendum, the Puerto Rican population voted and with overwhelming results the island became a U.S. commonwealth as they would rather that over remaining a colony. This was not enough for many Puerto Ricans and groups formed that called for full independence. This led to militant nationalists going as far as firing weapons on the U.S. House of Representatives as they attempted to assassinate President Harry Truman. There were also groups that form to create awareness for the people that remained on the island, which continued to struggle economically. All these tremendous efforts by the first and second generation of Immigrants from Puerto Rico carved the way for the rest of those that decided to keep moving into the 90s and 2000s. There are plenty of institutions such as churches, community centers, schools and businesses built by Puerto Ricans all throughout the country. The Puerto Rican parade is the largest parade for any cultural or ethnical group. Times were tough for many that came looking for opportunity in the United States in the early 1900s, as would be expected for any immigrant or internal migrant. Its never an easy task to leave the comfort of your native city or state so much less would it be an easy task to leave the comfort of your native country and culture and must fully immerse yourself into an entirely new one. Now the new generation all the way into the Milleniums get to enjoy a very normal American life and the immigration efforts of all their Grandparents and Great Grandparents have created a significant po pulation of Puerto Ricans in the USA that has become significant enough to sway elections and become a significant group to keep on your political side in states like Florida and New York according to the article Puerto Ricans in the United States, by the Oxford Research Encyclopedias. This has been a long time coming, many efforts initially came from those that were just trying to find a better life, then came the groups that simply wanted a change of scenery with a mix of those that really needed to find a better life and eventually left us with the generations that are living a very normal life from the day they are born without even having any recognition of why or how they ended up where they are.

Reconstruction Of Automobile Destruction Undertaken By...

Overview The study, Reconstruction of Automobile Destruction undertaken by Loftus Palmer in 1974 consisted of two experiments, these experiments were completed in order to test their hypothesis that ‘the way in which a question about an eyewitness testimony was asked can change the recollection of events perceived by the witness’. The study served to aid the argument that memory can be altered and distorted when they subject is presented with new information that is given prior to the event. In order to test their hypothesis, Loftus Palmer conducted two laboratory experiments; both experiments took the design of an independent measures. The first experiment consisted of a group of 45 students who were shown footage of car accidents, following each film questionnaires were answered. The critical question from this questionnaire was in regards to the speed at which the car was travelling. In this question the verb used to describe the actions changed, meaning this was the indepen dent variable. The results of this question varied depending on the verb used. With the highest mean speed being for the word ‘smashed’ and the lowest for the verb ‘contacted’. The dependent variable in this experiment was the estimated mean speed. The second experiment differed in that it had a sample size of 150 students, they were divided into groups of 50. Again the groups were shown footage of car accidents however in this experiment one group of 50 were asked how fast the cars were

George Sugarman A Sculpture Essay Example For Students

George Sugarman: A Sculpture Essay A Polychrome Profusion; sculptor George Sugarman, Fine Arts Building, New York, New York BYLINE: RUBINSTEIN, RAPHAEL Best known today for his public art, George Sugarman began his career with formally eccentric painted-wood sculptures. In a revelatory New York exhibition, early pieces were shown alongside the 86-year-old artistquot;s more recent aluminum work. In the course of 1998, there were a number of important sculpture exhibitions in New York galleries and museums, including the Museum of Modern Artquot;s Tony Smith retrospective, Diaquot;s presentation of Richard Serraquot;s Torqued Ellipses, and a group of David Smithquot;s late painted-steel works at Gagosian Gallery. For me, however, the most impressive and thought-provoking sculpture show of the year was a concise survey of George Sugarmanquot;s work presented by Hunter College at the galleries in its Fine Arts Building on Manhattanquot;s West 41st Street. Bringing together 16 sculptures made between 1958 and 1995, the exhibition allowed viewers to trace Sugarmanquot;s career from his carved-wood works of the late 1950s to his polychrome, laminated-wood pieces of the 1960s to the painted-aluminum work that has occupied him since the early 1970s. While the show did not cover Sugarmanquot;s extensive activity in the public-art realmover the last 30 years he has created large-scale public sculptures throughout the U. S. as well as in Europe and Asiait was an effective presentation of his indoor work. Sugarman has drawn a useful distinction between what he calls the indoor eye, a museum- and gallery-oriented esthetic vision which perceives the work of art in isolation from its surroundings, and the outdoor eye, which allows us to view public art as part of a wider environment. Thanks to the presence of major, rarely seen works such as Two in One 1966 and Ten 1968, the show was a welcome reminder of Sugarmanquot;s unique and indispensable contribution to postwar sculpture. One of the earliest works on view was Six Forms in Pine 1959, a carved-wood sculpture which brought Sugarman his first major recognition when it won a prize at the 1961 Carnegie International. Among the last of his unpainted works, itquot;s a nearly 12-foot-long, smoothly flowing concatenation of horizontal abstract forms that rests on two pedestals set several feet apart. Rippling patterns of chisel marks are visible across every surface as are the strata of the laminated wood. The forms, which range from gently swelling, landscape-like shapes to more sharply defined volumes that evoke architecture or hand tools, are clearly differentiated within the continuous overall structure. While the carving technique and biomorphism relate Six Forms in Pine to established sculptural styles of the 1950s, the sculpture also possesses properties which presage Sugarmanquot;s innovative work of the next decade. The double pedestal format, in which the sculpture seems to be leaping off its bases, anticipates his subsequent elimination of the pedestal, and the emphatic horizontality of the sculpture is a move toward the extended structures of the artistquot;s 1960s work. Sugarmanquot;s next phase was represented by three works: Blue and Red 1961, Second Red and Blue 1962 and Three Forms on a Pole 1962. As the titles of the first two sculptures suggest, color is an important component of these works; the sculptures also show Sugarmanquot;s rapid elimination of obviously hand-carved surfaces. Measuring 3 1/2 feet high and 5 feet long, Blue and Red is an open, carved-wood piece combining geometric uprights with more organic cantilevered forms, all of which are painted in primary colors. Second Blue and Red, a modestly sized pedestal work, relies on similar colors but it takes a very different compositional approach. Balanced atop a chunky red form that suggests a bending torso is a horizontal blue element made from flat, irregularly shaped pieces of wood that have been pressed together to create a kind of sideways sculptural sandwich. With few, if any, precedents in the history of sculpture, this playfully inventive blue element in and of itself, as well as in relation to the red form announces Sugarmanquot;s gift for finding new kinds of sculptural syntax. When the Hunter exhibition picks up the tale again, itquot;s 1966, the year Sugarman made one of the most striking works of his career, Two in One. At first glance, this sculpture, which was given a gallery unto itself, looks like it should really be called Nineteen in One, since it consists not of two but of 19 different painted-wood forms laid out in a narrow, 24-foot-long V formation. At the apex of the V is a dark-purple, floor-hugging geometric shape that looks like a freestanding sculpture toppled by some careless passerby. The two rows of forms branching out from this flattened keystone are as abundant and various as the contents of a childquot;s box of toys. The palette can shift, in the space of four elements, from yellow green to cobalt violet to black to cerulean blue, but just when it appears that Sugarmanquot;s system is to give every part a different color, you notice a sequence of three adjacent shapes painted bright yellow. The shapes and sizes of the elements are, if anything, even more varied than their colors. Sugarman juxtaposes solid and squat forms with others that are cantilevered or attenuated; he creates internal volumes by both organic and geometric enclosures; singlemass forms give way to latticelike structures; a knee-high form is succeeded by a towering 11-foot presence. Some of the individual parts are themselves multifarious, such as a low-lying, raw-sienna piece near the junction of the two rows which combines a highly abstracted kneeling figure, a cantilevered beam and an upright plane it looks like a snowplow blade that seems to be pushing the rest of the sculpture before it. This veritable encyclopedia of sculptural possibilities appears concerned with defying all formal continuity, but as you move around Two in One, which is laid out to offer a virtually inexhaustible number of viewpoints, the relationships between the various components begin to seem not so purely random. An angular, constructivist form and a biomorphic shape turn out to share similar internal volumes; the sides of a low, sawtooth form rhyme visually with an hourglass shape that rises next to it; lateral slots recur in several components; the asymmetrical nature of the two branches is balanced by the consistent bilateral symmetry of each individual piece. At the same time that he invites the viewer to enjoy this inventive, almost carnivalesque parade of shapes, Sugarman also offers multiple occasions for us to partake of his unusual artistic logic, to uncover how one form covertly translates into the next. Age Of Romanticism EssayTruncated, footlike extensions along the bottom of these looping elements help stabilize the piece as well as establish a formal connection to the floor on which the sculpture sits. In addition to its understated technical brilliance, Ten also exudes powerful symbolism. Holliday T. Day, the curator of Sugarmanquot;s traveling retrospective of 1981-82, has drawn attention to the workquot;s female and male polarities: the three narrow forms at one end suggest a phallic lingam form, while the oval at the other end is emphatically egglike. Brad Davis, an artist who worked as Sugarmanquot;s assistant during the making of Ten, has described the work as being somewhere between an Egyptian sarcophagus and a tantric cosmic egg. 8 The work also presents a paradoxical situation of a shelterlike structure which is impossible to enter. Itquot;s a tribute to the undogmatic nature of Sugarmanquot;s imagination that Ten should forgo so many of the qualities that characteriz ed his work of the previous decade bright colors, incongruous elements. And itquot;s equally noteworthy that after completing Ten he didnquot;t go on turning out variations on the theme. After a quick stop in 1970 for Green and White Spiral, a tour-de-force demonstration of how to arrive at formal complexity by multiplying and repositioning a single element, the Hunter show skipped ahead to 1987. In the intervening years, Sugarman embraced the medium of painted aluminum, both for large-scale outdoor works and smaller sculptures. It would have been interesting to see some of the maquettes Sugarman fashions, using a pliable paper and leather compound, for the aluminum works. In the 1970s, as well as creating public sculptures around the country, Sugarman expanded his practice to include wall reliefs and acrylic paintings. Responding to the properties of his new materials, while still retaining his enthusiasm for color and irregular shapes, he opted for different kinds of forms, building sculptures out of fiat, foliage-like elements. After the austerities of the Minimalist 1960s, his work found a more congenial art-world environment in the mid-quot;70s. In his recent survey Art of the Postmodern Era, Irving Sandler discusses Sugarmanquot;s 1970s work in the chapter on Pattern and Decoration Painting, noting how the profuse forms and exuberant color of his early 1970s work stunned the younger P D artists. 9 Sandler also makes the intriguing suggestion that Sugarmanquot;s painted-metal works may have influenced the metal reliefs Frank Stella began making in the mid-1970s, when the erstwhile Minimalist embraced wildly colored, curvilinear forms. The seven sculptures from the late quot;80s and quot;90s that rounded out the Hunter College exhibition demonstrated that Sugarman, who turns 87 this year, has continued to evolve artistically. The Hanging Men 1987, is a freestanding, black-and-white structure that evokes mechanical objects such as gears, rudders and airplane parts. The sculpture seems to reject the sensual spirituality of Ten and is equally devoid of the gracefully proliferating, vegetal forms that mark many of Sugarmanquot;s public works. The hanging men of the titlethree black, bladelike forms impaled on a white spar that projects from the sculpturequot;s sideare less the sculpturequot;s subjects than they are its victims. Yellow Fringes 1990 shows Sugarmanquot;s continuing involvement with eccentric, disparate forms. The core of this sculpture, which is installed high on the wall and suggests a spiky, half-open fan, is a bundle of three black-and-white girdersone sporting sawtooth edges, another punctuated by bent flapswhich jut out several feet at about a 40 degree angle. Wedged between these girders and the wall are five flat aluminum forms, alternately black and white, that resemble oversized Christmas stockings. Bristling from the outside of the girders are three bright-yellow aluminum forms the fringes cut into rhythmic, fencelike patterns. With a formal unpredictability as great as his one thing after another floor sculptures of the mid 1960s, Sugarman here invites viewers to exercise their vision by focusing attention in an unusual place where the wall meets the ceiling and, there, to engage in retinal battle with a thrusting sculpture that keeps its complexities partly hidden. Yellow and White 1995 is a roughly 5 1/2-foot-high aluminum work composed of two elements: a gracefully twisted white shape at once suggestive of a curving funnel on a ship, a megaphone and the pistil of a flower, and, at its base, a boxy yellow form with irregular folds and scalloped edges. Sugarman works against our expectations by placing the more brightly hued, petal-like form on the floor rather than at the top of the stemlike white form. He also creates a work which, with its tapering edges, torqued planes and opened and closed volumes, offers the mobile viewer an equally mobile set of formal relations. In his introduction to the catalogue that accompanied the Hunter show, Museum of Modern Art curator Robert Storr suggests that there is a resonance between Sugarmanquot;s work and that of younger sculptors such as Polly Apfelbaum, Charles Long and Peter Soriano. I agree with Storr in seeing an affinity between their work and Sugarmanquot;s particularly his painted-wood sculptures of 1963-67, and would only add to his list three more American sculptors: Jeanne Silverthorne, Jessica Stockholder and Daniel Wiener. One quality of Sugarmanquot;s work that links it to the sculpture of artists 40 or more years his junior is that in the early 1960s he rejected the notion of troth to materials, happily obscuring the natural properties of the wood he used with repeated coats of acrylic paint. Another is his Baroque-influenced fondness for extended forms that undertake unruly excursions from their bases. 10 Given these affinities with younger artists, itquot;s surprising that Sugarmanquot;s achievement isnquot;t more widely recognized and that it was left to Hunter College, rather than a major American museum, to offer this survey. No doubt, Sugarmanquot;s long focus on public art rather than on gallery and museum work has been a factor. Also at play, I fear, is the profound indifference shown by large swaths of the art world to the kind of formal inventiveness and complex visual thinking on which Sugarmanquot;s art is based. I can only hope that the art students who made up a significant portion of the audience for this exhibition found some of their late-century assumptions about art-making challenged by the high order of visual invention on hand.

Student Athlete free essay sample

â€Å"Student† Athlete! Participation in college athletics is a fun and enriching experience for many students. In fact, thousands of student athletes participate in athletic games each year, and thousands receive scholarships to do so. However, the life of an athlete in college is not as great as it seems. Most coaches emphasize on the â€Å"student† part of student athlete; however, they make it very complicated to actually commit to being a student. With a the massive amounts of time put into your sport, its often impossible to perform adequately as a student. I believe that student-athletes should be given extra time to do their homework. If professors were to give student athletes an extra time on all their assignments, it would make it a lot easier for student athletes to graduate from college. It would also allow the student athlete to perform better at their sport because they wouldn’t be so stressed out with all the work that comes with being a college student. We will write a custom essay sample on Student Athlete or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The whole reason for college is to get a better education. Student athletes must learn to manage their time so they can succeed in college, so they can get a good job, and live a successful life. Academic success is critical for student-athletes. According to a study done by the NCAA, student-athletes graduate at significantly lower rates than average university students. (//) Very few student-athletes go onto professional sports careers. Students who drop out of college lose valuable skills for their adult lives, and more than likely makes less money than college graduates. Not every college athlete has considered a life outside of sports, as statistics show that graduation rates among certain athletes are shockingly low. Think Progress reported that out of the 65 teams that played in March Madness 2005, 43 of them would not have qualified if there was a 50% graduation rate requirement. Meaning, a large number of the players participating in March Madness will not actually graduate. . All student athletes have to abide by the rules set up by the NCAA. This organization http://www. usnews. com/opinion/articles/2010/03/15/ncaa-should-bar-low-graduation-rate-schools-from-march-madness http://www.ncaa.org/about/resources/research/graduation-rates