Homage to My Hips Essay Example for Free

Homage to My Hips Essay The theme of Lucille Clifton’s â€Å"Homage to my hips† concentrates on a proud, strong, and powerful woman who is absolutely in love with her hips. Clifton’s tone throughout the poem focuses highly on her big hips. Not once does the she speak negatively about them. She feels absolutely wonderful about her big hips, making her feel so confident and full-bodied all at the same time. She gives off many reasons to why her hips make her modest, but full of pride. The beginning of ’Homage to my hips† illustrates the confidence that the speaker has about her hips. â€Å"These hips are big hips† (1) demonstrate how the speaker is proud of her big hips and does not mind what others may think about her hips. I feel like the speaker would be disappointed if she had little hips. The speaker knows that her hips are big and they need additional room when she explains â€Å"they need space to/move around in† (2/3). The speaker knows her hips do not fit into little places. The speaker of â€Å"Homage to my hips† is definitely not ashamed of her considerably large hips. After the speaker talks about her proud qualities as it pertains to her hips she moves on to speak about why her hips make her strong. In the lines â€Å"these hips/are free hips (5-6) the speaker demonstrates that her hips do what they want to do. Her wide hips have no limitations. â€Å"These hips have never been enslaved† (7) shows the speaker has never been controlled and she can uphold her freedom by herself. The speaker shows her strong side by stating â€Å"they go where they want to go/they do what they want to do† (8-9). The big hips do not make her feel weak. Finally Clifton speaks about how her hips make her powerful. I think that when the speaker states that â€Å"these hips are mighty hips/these hips are magic hips† (11-12) would give a sense that she can get certain things from a man or give a man a certain feeling. Also, the magic of the hips could attract a lover perhaps. I have known them/to put a spell on a man and/spin him like a top† (13-15) suggests that she knows her big hips are sexy and she can still have a sense of sexiness despite her big hips. She knows that her big hips can be a great turn on for a man. Her hips could make a man go wild if she so desired. In conclusion, the theme of Lucille Clifton’s poem gives a woman of bigger hip nature a sense of pride, strength, and prowess. Despite the need for additional room for movement, the woman in this poem is neither disappointed nor ashamed. She has the freedom to explore wherever she wants. She does not allow anyone to hold her back. Finally, the powerful natures of her big hips coincide with both sex appeal and an attraction. In the end she is satisfied with her big hips. Works Cited Clifton, Lucille. â€Å"Homage to my hips.

Peter Paul and Mary - Blowin in the Wind Essay Example for Free

Peter Paul and Mary Blowin in the Wind Essay Peter, Paul, and Marys â€Å"Blowin in the Wind† is actually quite appealing to a mainstream audience, due to the simple arrangement and catchy hook. The accompaniment is easy to follow and understand, which makes it accessible to listeners that do not necessarily have a music education. Also, the tight vocal harmonies between two men and one woman are very interesting, because that sort of setting is not typical for popular music fare. Also, for being a folk song, the twang or accent is very subdued, which would possibly turn off some listeners who might be averse to folk tunes. Theres a good deal of vocal inflection in Marys voice, which pulls on the listener emotionally. For someone who does not particularly prefer folk music, the song is actually quite pleasant, and the strong lyrical content is definitely worth a second glance. Conversely, Bob Dylans version is more spoken, and contains a more rubato vocal performance. Also, the inclusion of the harmonica heightens the folk quality to the song. Moreover, Bob Dylans diction is much more â€Å"country,† with hard â€Å"Rs,† â€Å"jist† in the place of just, and â€Å"yesn† in the place of yes. Those minor shifts create a rustic feeling, where Peter, Paul, and Marys diction was more refined, for the folk style. These two different takes on one song make a lasting difference, in terms of the presentation of the material. Peter, Paul, and Marys version of the single sold a phenomenal three hundred thousand copies in the first week of release. So, perhaps it is safe to say that folk songs can be popular, they just have to be presented in such a way that appeals to a wide audience, while still staying true to the roots. It is not an easy task to fulfill, but Peter, Paul and Mary have proved that it can be accomplished.

Essay on Brendan Behan

Essay on Brendan Behan This essay looks at three of Brendan Behans main works which most critics agree are his best. These three main works are; The Quare Fellow (1954), The Hostage (1958) and Borstal Boy (1958).The essay begins with a brief biography of Behans life and reveals some of the reasons how his younger years influenced his later works. The essay also gives a brief synopsis of these three works and explores some of the re-occurring themes within these works. It finally examines some of the ways that he has shaped and influenced the Irish national identity. Brendan Behan was born in Dublin on 9 February 1923 into an educated Dublin working class family. He grew up in Dublins north inner city near Mountjoy Square. Both his parents had a big influence on the literature that he would later come to write. Behans father, Stephen, had been active in the Irish War of Independence; his mother Kathleen remained politically active for all life and his uncle Peadar Kearney composed the Irish national anthem The Soldiers Song(Amhrà ¡n na bhFiann). When Brendan was a child his father would often read classic literature to the children at bedtime and his mother would take them on walks around the city pointing out different houses of noted Irish literary figures, while also showing them where the citys revolutionaries had been born or executed.   When Brendan was a child he would read anything he could find and even at the age of six the head nun in his primary school had informed his mother Kathleen that she was rearing a genius (O Connor, 1 970 p.20). Despite his obvious ability at school he decided at the age of 14 to leave and follow his fathers trade as a painter. Soon after leaving school Brendan joined Fianna Éireann, the youth organisation of the IRA. In 1939, at the age of 16, he went on a bombing mission to England but he was arrested and found to be in possession of explosives. He was sentenced to three years in a borstal institution in England but returned to Ireland in 1941. The following year he was imprisoned in Ireland and released as part of a general amnesty in 1946. He wrote about these years in his autobiography novel Borstal Boy. Upon his release he moved between Dublin, Kerry and Connemara, and spent some time in Paris, where he wrote in both Irish and English. Behan produced his first play The Quare Fellow in 1954 in Dublin. The following year he married Beatrice Ffrench-Salkeld. In 1958 Behan wrote his second play An Giall which was written in the Irish language and performed in the Dublin. That same year The Hostage, which was Behans English language version of An Giall, met with great international success following Jo an Littlewoods production of it in London. Also in 1958 Borstal Boy was published and it became an immediate best seller. Behans international success, along with the financial rewards, brought about an increase in his drinking problems. After years of heavy drinking he had developed diabetes and it was due to this that he died, aged 41, on 20 March 1964 (OConnor, 1970). This part of the essay shall examine, and give a brief synopsis of, Behans three main works; The Quare Fellow (1954), The Hostage (1958) and Borstal Boy (1958). His first play The Quare Fellow is set in a Dublin prison on the eve of the execution of the quare fellow, a colloquial term for someone on death sentence. One of the condemned prisoners, who has murdered his wife, has been recently pardoned; while the other prisoner, the quare fellow who has murdered his brother, has not. Although the quare fellow is the centrepiece of the play, it is not about him and he never appears or utters any words. There is no question of his guilt and he is not a likeable figure. The only sympathy for him is that he is going to be executed the following day. The play does not explore the effect of the execution on the quare fellow but looks at the effect on the prisoners, wardens and the hangman himself. The hero in the play is Warden Regan who is a devoted Catholic while also being a humanist. Alth ough he accepts the system of the Church and Society, the humanity in him can see the hypocrisy in this system. The play ends the following morning with the quare fellow being executed. The play is based on Behans own experiences in Mountjoy prison, and it questions the right of any society to inflict or carry out the barbarous act of capital punishment which was still then in use in Ireland. It also attacks some of the false piety in attitudes in 1950s Ireland to sex, politics and religion (Russell,) The second play Behan wrote was An Gaill which was later translated into English and called The Hostage (1958). The play is set in Dublin guesthouse-cum-brothel during the late 1950s. It portrays the capturing and detention of a young Cockney British soldier by the IRA in response to the planned execution, by the British, of an IRA volunteer in Belfast. The 19 year old British soldier has been kidnapped as he is leaving an Armagh Dance Hall. The IRA declares that it will shoot the hostage Leslie Williams, if their Belfast Boy is executed at Belfast Gaol the following morning. Private Williams is imprisoned in a lower class Dublin guesthouse-cum-brothel owned by a fanatical Gael. During the course of the play Leslie falls in love with the young Irish convent girl, Theresa, and she also falls for him. They have both grown up in similar backgrounds, both are orphans who now find themselves in a city that they are foreign to, and neither of them cares much for any wars or battles that ha ve been fought between Britain and Ireland in the past or the present. The play is made up of a variety of characters such as fallen rebel heroes, homosexual navvies, pimps and whores, convent girls and deteriorating civil servants who are loyal to the nationalist cause. Private Williams is entertained by them with jigs and reels, rock n roll dancing, rebel songs and tales about Irelands glorious past, and all the time the IRA guards await for news from Belfast.It is eventually only by accident that he discovers that he is the hostage and will be executed if the IRA volunteer in Belfast is hung. Towards the end of the play the manager of the place understands the futility of continuing the Old fight but feels powerless to intervene. At the end of the play the news arrives that the IRA volunteer has been hanged and in the ensuing armed Gardaà ­ raid on the brothel the hostage is accidently shot and killed. At the finale of the English version of the play the corpse of the dead hosta ge rises up and sings The bells of hell/ Go ting-a-ling-a-ling. Also in 1958 Behan released his autobiographical novel Borstal Boy. The book is based on the three years that he spent in Hollesley Bay Borstal in Suffolk, England, after being caught with explosives in Liverpool. It is a vivid memoir of the years that being spent there. Story depicts a young Behan, full of Republican fervour and idealism, softening his radicalism and warming to his fellow British inmates and the wardens known as screws. The story is not a venomous attack on Britain but instead it portrays Behans move away from radicalism and violence. The dialogue in the book captures the lively interactions amongst the Borstal inmates along with all their various distinctive accents from around the British Isles. As the story develops Behan skilfully demonstrates that due to their working class, whether they are Irish Catholic or English Protestant, they share a lot more in common than they had realised. Behan realises that any supposed barriers of religion and ethnicity are just s uperficial and are beliefs that have been imposed on him by an anxious middle class. Ultimately he emerges as a young man who is realistic and recognises the truth that violence, especially political violence, is futile. The image at end of the novel is of a young working class man, who has been stunted by crime and prison, coming right and growing into being an independent thinker, writer and playwright (Kearney, 1970). In the three works of Behans that have been looked at in this essay there are a number of re-occurring themes to be found within them. The stories are written from a working class perspective with socialist leanings. In these works Behan writes in his own voice and this is most obvious in the language used in the Borstal Boy. In this book Behan uses an engaging style of writing and incorporates the use of phonetic spelling in an interesting and creative way for an authentic effect. The narrative flow is sometimes condensed and other times heavily unhurried. All these works are based around some form of imprisonment and they are critical of both church and state, religion and the power of authority. In the Quare Fellow we see Warden Regan questioning his society and battling with his conscience over the execution of even a guilty man. The theme of execution is also present in The Hostage with both Private Williams and the IRA volunteer awaiting possible execution. In The Hostage the p rincipal theme is of a young innocents being set against those with political motivations and ambitions. The Hostage questions the futility of patriotic fervour and political violence (Jeffs,1966)   and this theme is also found in the Borstal Boy which was based on Behans own experiences. Both The Hostage and Borstal Boy examining the Anglo-Irish relationship exploring the fact that there is very little difference between working class Irish Catholics or working class English Protestants. In Behans two plays he somewhat questions the Irish identity itself and the new young Irish Free State. The plays look at this new Free State and exposes that it is carrying on the same practices of their old governing colonial power. For a Republican like Behan it must have seemed brutally ironic that the official hangman for the Irish Free State was often an imported Englishman (Kiberd, 1989, p.336). In The Quare Fellow, Behan has the lags Dunlavin put it as the Free State didnt change anything more than the badges in the warders caps. The same olds class prejudices, which were imported from England, are still present and have not been rejected in the new Irish state. The Dublin Gaeilgeoir in the play represents this lack of change (Kiberd, 1989). John Brannigan, the author of the Behan biography Brendan Behan, Cultural Nationalism and the Revisionist Writer, questions some of the stereotypes that hang around the figure of Behan. He situates Behan amidst a generation of Irish writers in the mid-20th century Ireland having to deal with the dull, even gloomy aftermath of the previous, more heroic, age of Irish 20th century history. The promise of the earlier decades of the 20th century was not delivered and their age was of disappointment and anti-climax (Brannigan, 2002). Unfortunately, the success that Behan received for his writing only increased his drinking problem and he played into the drunken Irishman caricature. After translating his work An Gaill into English he allowed Joan Littlewoods production of The Hostage to compromise and dilute the realism of the original Irish version by giving it interludes of music-hall singing and dancing (OConnor, 1970). At the end of The Hostage, when it finishes with the dead British soldiers corpse rising up and singing The bells of hell/ Go ting-a-ling-a-ling, we are left wondering not only about Behans politics but also about his literary integrity. After the Borstal Boy, Behan was unable to produce another classic. His later books like Brendan Behans Island and Brendan Behans New York could not be compared to his former works. Whatever criticism there may be of Behans later works, it does not take away from what he has contributed to imagination of the Irish national identity. His work has been a significant influence to many writers and he has made his way into many Irish and international songs. The Auld Triangle, which is Behans prisoner song from The Quare Fellow, has become something of an Irish folk standard and has been recorded on numerous occasions by groups such as The Dubliners and also The Pogues. Both of his plays, as well as the Borstal Boy which was first made into a play in 1967, have still remained popular with Irish audiences (Murphy, 2014) and Borstal Boy was also made into a film in 2000. Word Count: 2100 Bibliography Brannigan, J., (2002) Brendan Behan, Cultural Nationalism and the Revisionist Writer. Dublin, Four Courts Press. Jeffs, R., (1966) Brendan Behan: Man and Showman. London, Hutchinson Co. Kearney, C.,(1976) Borstal Boy: A Portrait of the Artist as a Young Prisoner, Ariel. VII (April, 1976), pp. 47-62. Kiberd, D., (1989) Irish literature and of Irish history. In: Foster, R.F., (1989) (ed.) The Oxford Illustrated History of Ireland. Oxford, Oxford University Press. Murphy, C., (2014) Brendan Behan the borstal boy, boozer and bomb-maker, Irish Independent, 07 September. OConnor, U., (1970) Brendan Behan. London, Granada Publishing Ltd. Russell, R.R., (2002) Brendan Behans Lament for Gaelic Ireland: The Quare Fellow. New Hibernia Review. 6 (1): pp. 73-93

Code of Business Conduct and Ethics Essay -- essays research papers

Code of Business Conduct and Ethics Introduction The TSYS Code of Business Conduct and Ethics (the "Code") covers a wide range of business practices and procedures. While it does not cover every issue that may arise, this Code outlines basic principles to guide all employees and officers of the Company and its majority-owned subsidiaries ("team members"). In addition, all members of the Company's Board of Directors and members of the boards of directors of the Company's majority-owned subsidiaries, in regard to their Company duties, are responsible for conducting themselves in connection with the applicable provisions of this Code. Team members and directors must conduct themselves accordingly and seek to avoid even the appearance of improper conduct. The Code will be provided to all team members and directors and should also be provided to the Company's agents and representatives, including business partners, vendors and consultants. If a local, state or national law conflicts with any policy in this Code, team members and directors must comply with the law; however, if a local custom or policy conflicts with this Code, team members and directors must comply with the Code. A team member who has questions about these conflicts should ask his or her supervisor how to handle the situation or call the Helpline. Team members who violate the standards in this Code will be subject to disciplinary action. If you are in a situation that you believe may violate or lead to a violation of this Code, follow the guidelines described in Section 12. 1. Compliance with Laws, Rules and Regulations Obeying the law, both in letter and in spirit, is the foundation on which this Company's ethical standards are built. All team members and directors must respect and obey the laws and all applicable rules and regulations of the cities, states and countries in which the Company operates. Although team members are not expected to know the details of each law, it is important to know enough to determine when to seek advice from supervisors, managers or other appropriate personnel. This Code of Business Conduct and Ethics and additional information is available to every team member online through the enterprise portal ( insite ) as well as made available to new team members during their orientation. 2. Conflicts of Interest All team members and directors should avo... ...ocedures. The section deals with how to comply with the procedures in the code of Ethics. They have included steps that should be taken if there has been any violation of the code of ethics witnessed by an employee. I feel, after reviewing the sections of the ethics statement, that the purpose of the ethics statement is to have a written procedure for employee behavior and compliance of the policies and procedures of the company. After reading the ethics statement, I honestly feel that the company succeeds in the purpose of their mission statement. They have laid out all of the procedures that need to be followed and have included steps to take if you observe a violation in the code. If I were an employee at TSYS, I believe that the Code of Ethics, as it has been written, would contribute favorably to my work environment. If no one observed the ethical guidelines, there probably would be a lot of people going to serve prison sentences in federal penitentiaries due to Insider trading laws, and national and foreign policies that are already in place. I do not think that there is anything that I would change or anything that needs to be improved on.

M252 81mm Mortar :: essays research papers

M252 81mm Mortar INTRODUCTION: Good morning, my name is your name and my period of instruction is on the M252 81mm Mortar. We will cover some basic mortar knowledge including nomenclatures, rates of fire, and weight. We will also cover the mission of an 81mm mortar platoon and how that platoon is configured. The purpose of this period of instruction is to provide you with basic information and working knowledge of the 81mm mortar. LEARNING OBJECTIVES:   Ã‚  Ã‚  Ã‚  Ã‚  a. TERMINAL LEARNING OBJECTIVE: To familiarize you with the main   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  components and characteristics of the 81mm mortar.   Ã‚  Ã‚  Ã‚  Ã‚  b. ENABLING LEARNING OBJECTIVES:   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  a. State the three main components of the mortar and their nomenclature.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  b. State the weights of the three main components of the mortar.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  c. State the maximum range of an 81mm mortar. METHOD / MEDIA: I will use the lecture method and the mortar you see in front of you. There will be no posttest after this period of instruction. Are there any questions about your learning objectives or the method and media? TRANSITION: Now if there are no questions for me let’s get into the nuts and bolts of this period of instruction. BODY:   Ã‚  Ã‚  Ã‚  Ã‚  MISSION:   Ã‚  Ã‚  Ã‚  Ã‚  The 81mm mortar platoon is commonly called the battalion   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  commander’s hip pocket artillery. It is called this because 81’s are foot   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  mobile, are on target faster, and more accurate than artillery. The   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  mission of the 81mm mortar platoon is to provide continuous indirect   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  fire support to the infantry battalion and it’s subordinate elements in the   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  offense and defense.   Ã‚  Ã‚  Ã‚  Ã‚     Ã‚  Ã‚  Ã‚  Ã‚   CHARACTERISTICS: The M252 81mm mortar is a smooth bore, muzzle loaded, high angle of fire weapon. Smooth bore meaning it has no lands and grooves like a rifle barrel. Muzzle loaded, because you insert a round into the muzzle of the cannon, allowing gravity to pull the round down, striking the firing pin. High angle of fire because it is capable of firing from within defilade, over hills, and other obstructions. COMPONENTS: The M252 81mm mortar consists of three main components, and a dovetail slot sight. They are: M253 Cannon (barrel): The M253 cannon consists of the barrel, sealed at the lower end with a removable breech plug that houses a removable firing pin. At the muzzle end is a cone-shaped Blast Attenuator Device (BAD) that is fitted to reduce noise.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   M177 Mount (bipod): The M177 mount is composed of 3 main assemblies. They are: the leg assembly, the traversing gear assembly, and the barrel clamp assembly.

A Look into House Music :: House Music Disco Essays

A Look into House Music House music was first and foremost, the direct descendant of "Disco". Many older and wiser Chicago, New York and New Jersey House dj's will agree with me on this. They will acknowledged that fact that it was due to New York's, huge Disco club and music scene that helped to create the music of House and Garage and its culture within Chicago, Usa. Frankie Knuckles, the acknowledged "godfather" of Chicago house, got his start as a Dj via Manhattan, New York, Usa. Whilst there he was spinning Disco, Philly Soul records during the early 1970s with another legendary deejay figure, the late, great Larry Levan, New York. Disco, the music that everyone loves to "joke" about or "snigger" about had already been going on for 10 years when the first electronic drum tracks began to appear out of Chicago, Usa. A great Description of Disco can be explain to us like this. "The first days of Disco were filled with hope, and joy. The last days of Disco might seem very similar the fall of the Roman Empire". Disco music presided over a era of social change, such as War in Vietnam, the Oil Criss in the early 1970's, Economic recession, and also Improved social conditions with regards to the Black and Gay population within the Usa. Also Disco was the one music's that was to carry forward the ideas of the late 1960's "Hippy Philosophy" of "Making love not war". But with Disco music and culture it went onto carried on the Hippy philosophy of making love and not war - in more fun and acceptable way for one and all. If I do say so myself on a more grander and a more sophisticated level. On a musical tip, Disco, revoluntionise music as we used to view it. It also changed how we viewed club culture today around the world. Disco music and culture helped change how radio programing was to be done in the future, and lastly it had a important effect on how the balance of power in the music industry had between the small independent labels and the major labels records. By the end of its regin (*Disco music) was also responsible for the commericial creation of the 12 inch single to be made available for the general public and Dj's alike. The "remix"that has become standard practice within dance music, and a new set of studio techniques were available for imaginative dance music producers that heralded from the Disco Craze.

A Modern Day Sleeping Beauty

Once upon a time there lived a young couple who had found true love and were bound together by fate. His name was Brian and hers was Melody. They lived it the beautiful city of Anchorage, Alaska. Brian was a C-17 Pilot stationed at Elmendorf AFB and Melody a 1st grade teacher at local school. Melody was a beautiful sight; her body was athletic, her hair fell over her shoulders and was highlighted to the most beautiful blonde, her skin was flawless and her eyes were blue but not an ordinary blue; like a tropical ocean and they sparkled like the water when the sun hit it. Brian wasn’t so bad himself. He was what all girls dreamed prince charming to be. He was tall and worked out often; his muscles could be seen through his shirt, his hair was dark, his skin tan, and one could get lost in his piercing green eyes. Brian and Melody spent every chance they had together outside of their busy schedules. They went on evening walks together and early morning jogs. They sat on their front porch and watched the sun rise and set in the beautiful snow covered Mountains of Anchorage. Most weekends the couple would make time for dinner and a movie. Brian and Melody were made for each other. Even a stranger could clearly see the love they had for each other would never die. (Sight & Touch) It was a cold brisk night in late December; the weather had changed in a matter of hours. The wind rose with a backing wind, it brought a clouded sky and a heavy snowstorm with it. A pallor of winter evening seemed to have closed upon the city, cloaking it in a blanket of snow. Brian and Melody were returning home after eating dinner at the Olive Garden and watching the movie â€Å"The Black Swan†. They had enjoyed their night out at dinner and a movie. The aroma of garlic wafted through the air from the white styrofoam box filled with Sicilian Scampi and the delightful flavor of light buttery popcorn remained in their mouths as if they were still indulging on it. The weather brought the worst driving conditions; (Sight) everything around them seemed to disappear in a thick white haze through which large snowflakes of snow were flying; the sky merged with the earth. (Hear) The wind blew with freezing blasts and such force it howled around the car as it faded out the music playing over the radio. The vehicle swayed while Brian fought to regain the road that was now a snowdrift burying the yellow and white painted lines. The challenging road conditions were inviting collision as other cars overtook the wrong side of the road and had a complete disregard for speed limits. Brian deeply concentrated and felt comfortable driving his 4 wheel drive Rubicon in these conditions. Breaking his concentration; Melody frantically shouted, â€Å"Brian, that truck, he is in our lane†! Brian didn't have time to react, â€Å"Crash†. The airbags deployed while the jeep flipped end over end and slid on the white blanket of snow that was once the road. The jeep came to a stop landing on its roof, the windows were busted out and the headlights shinned directly at the truck that had hit them. The Ford F-150 sat upright sideways in the road. It took a moment for Brian to come to reality with what had just happened. He glanced over at his wife who still sat there restrained, unconscious and bleeding severely from her head. He could hear the sirens of an Ambulance and Fire Truck off in the distance. Before he knew it he and Melody were being rushed to the hospital in an Ambulance. Brian lay there in the back of an Ambulance suffering only minor injuries. Melody lay across from him. Time seemed to stand still while he watched the Paramedics try to revive his wife. He shouted at the Paramedics, â€Å"do something, do something! † â€Å"Please do something; please don’t let my wife die! † They arrived at the hospital in what seemed to take hours to Brian. The Paramedics were able to get Melody’s heart beating but she was still unconscious. Brian paced back and forth up and down the hospital halls as his wife underwent surgery. The Dr. finally came out and said, â€Å"I have good news and bad, your wife seems to be stable but she is in a coma that could be indefinite. † â€Å"Indefinite†, Brian shouted! The Dr. attempted to calm Brian and Explained, â€Å"I can't promise that she won't wake up but it may take a miracle. She could wake up tomorrow, she could wake up in a month or she could be a Modern day Sleeping Beauty†. The following months felt like years to Brian. Melody lay there in a deep sleep and Brian remained by her side. Brian would speak to her softly while clasping her hand or pinching er fingers; He would tell her he loved her and beg her to wake up. He played songs the couple had danced to from their wedding and read to her from her favorite books. Often Brian would run his hands through Melody’s long blonde hair admiring her beauty dreaming of a future they had planned. The Dr. ’s showed little hope that Melody would ever wake up but Brian never gave up believing. Six long Months had passed and summer had come. Brian was at his last wit and desperate. One late night Brian said a prayer for his wife as he did every night before. Then he leaned over her bedside and pleaded, â€Å"Melody if you can hear me, please just give me a kiss. † What happened next was beyond Brian’s wildest dreams. To his shock Melody responded; slowly she turned her head towards his, puckered up her lips and gave him the smallest kiss. At that moment fate was sealed tightly, bound by one simple kiss and they lived happily ever after. â€Å"You can’t stop fate; â€Å"Whatever will be, will be†. Life presents unavoidable risks. You can’t stop the fate of True Love; it is also unavoidable. True Love is worth believing in and True Love never dies.