Theory of Human Caring Essay Example | Topics and Well Written Essays - 1750 words

Theory of Human Caring - Essay Example According to Watson (2009), "nursing is a lifetime journey of caring and healing, seeking to understand and preserve the wholeness of human existence, and to offer compassionate, informed, knowledgeable human caring to society and humankind." Thus, nurses play an important role in the healing of human suffering. In this essay, role of Watson's theory in caring of patients in nursing profession will be discussed through review of a particular case and reflection. Case scenario 55 year James was transferred to the neurology ward from neurosurgical ICU to which he was admitted one week ago with right sided hemiplegia following stroke. Besides right sided hemiplegia, the patient had bladder and bowel incontinence, pneumonia and depression. I was one of the nurses assigned to take care of the patient. The patient stayed in the stroke rehabilitation ward for 4 weeks. During the first week in the ward, I found James to be depressed and frustrated. His only family member with him was his wif e. I found out from the couple that they had 2 sons, who were married and stayed in different countries. They had not come down because the parents did not want to trouble them and hence did not deliver proper information. During my sessions of nursing care I convinced the patient that their sons be asked to come down as it would make the patient feel a lot better. I finally managed to convince them to do so in the second week and when their sons came down, the patient was a lot better psychologically. The patient was a spiritual person and believed in Christianity. He missed attending church regularly. I allowed him to offer prayers by arranging a father to meet him every week. This uplifted the psychological and spiritual morale of the patient. As he improved, I asked his wife and sons to contact a few friends of James and asked them to meet him in the rehabilitation center. James was very much upset about his physical deficiencies because of stroke, especially the bowel and bladd er incontinence. I instilled lot of confidence and hope in the patient and told him that recovery occurs with good positive outlook and physiotherapy. The patient got discharged after 4 weeks. When he came for review after 4 weeks of discharge, he was a lot more improved physically and psychologically and confident person. Jean Watson and her theory Jean Watson, an eminent nurse educator and theorist has contributed significantly to the profession of nursing through her famous theory, the Theory of Transpersonal Caring, which is also known as the Theory of Human Caring. Watson was born in West Virginia and is currently settled in Colarado (Cara, 2003). She graduated from the University of Colarado and did her Master's degree in psychiatric-mental health nursing (Cara, 2003). She further achieved Ph.D degree in psychology and counseling. She is the founder of the Center for Human Caring located in Colarado and is currently a distinguished professor at the University of Colarado (Cara , 2003). The theory was developed by the nursing scholar based on her experiences in the field of mental health, psychology and counseling. This theory is very important for the nursing profession because it emphasizes the role of humanistic perspective of profession based on

FAR Small-Business Preference Research Paper Example | Topics and Well Written Essays - 750 words

FAR Small-Business Preference - Research Paper Example These programs are specifically designed to help the veteran owned as well as service disabled veteran owned small business to gain from the federal contracts The congress has established key legislations that outline the important programs to assist service veterans in federal contract markets. The first legislation to be passed by the congress was done in the year 1999 (McFetridge, 2012). The veteran entrepreneurship and small business development act would assist me as a veteran by giving me an edge in securing annual government –wide procurement. This law stipulates that approximately three percent of the government procurement contracts would be awarded to service disabled veteran owned small businesses (Calibre Systems, 2013). This includes the total annual value of all subcontract and prime awards thus I stand a higher chance of getting contracts. This is because am shielded from competition from other multinational organizations and companies thus I compete only with my fellow service disabled veterans for the three percent allocations who are also small business owners. The public law 109-461 outlines the veterans’ first contracting program and applies to VA acquisitions. This law permits the department of veteran Affairs to sole source and restricted set-aside to both VOSBs and SDVOSBs. This law also establishes contracting goals that are unique to veteran affairs. This provides for 10% and 7% target for SDVOB and veteran owned businesses respectively (Calibre Systems, 2013). However, this law also provides for the verification of the status of veterans to be done by the department of veteran affairs. This makes the key element differentiating this program from SDVOSB procurement program. In this regard, the status of the veterans cannot be self represented but must be verified by the department of veteran

A history of drumming

A history of drumming Drumming is a great way to express emotions in a musical form. Over the years drumming has changed a lot, from using just a log to using a full drum set full of different types. Many forms have come into style over the years from jazz drumming to metal-core drumming. Drumming has changed over the years from its equipment to the styles people now use. Drumming is one of the most primitive ways to create music and it has been around for eons ever since man could hold a stick he has been hitting it against some other object. The Africans have been using drumming for a long and they still use today just for about everything, it is used for ceremonies and some even use for finding food. Back in the revolutionary war drums where used to help the soldiers walk in time for when they where marching it was also used in combat to help them over come the fear these where know as war drums. Eventually man started to use drums with other instruments to come up with more types of music such as Jazz, Swing and some of the more modern rock and blues all use drums. Over the years there have been many famous people in the drumming industry from all types of music. Some great examples are Danny Carey, Jimmy Cobb, Blake Richardson and one of these drummer are well know for there bands there in and the styles they have developed over the years of play ing drums. Now Danny Carey is from the band called Tool and is know for is very off the wall random timing drumming which is very hard for other drummers to follow when they listen to his music. His style is so hard to follow because he doesnt have a set timing he goes by he just throws his sounds in where he thinks they would sound the best and that is what makes him and his band so unique from other bands. Jimmy Cobb is from the thirties and he is known for being one of the most famous jazz drummers he is mainly a self taught drummer and in know for one of the most famous jazz songs called Kind of Blue. He has played at many famous places but the one that he played in the made his so famous was Carnegie Hall. Now North Carolina is know for a lot of things but with todays music one of the more famous drummers to come out of these hill is Blake Richardson who plays with the band Between the Buried and Me. Blake and his band are known for the more progressive style of music and Blake style is all of his own in 2008 he was voted the worlds third best drummer. (History of Drumming) A style that has become more noticeable is metal-core drumming. Metal drumming is a very misunderstood style of drumming. Some think that it is comprised of just random beats that are just thrown together; but it is actually a pretty technical form of drumming. It contains some very complex rolls and fills that require the player to be focused at all times. Metal drumming originated from both the swing and jazz style of drumming, which are some of the earliest forms of drumming. Most, if not all, metal drummers train in some version of jazz and swing style when taking lessons. Metal has always incorporated jazz and swing to help them become great drummers. Jazz helps by adding more fluidity to drumming, while swing helps with speed, precision, and foot speed. (Healthy Drumming) Metal drumming has proven to be one of the more difficult forms of drumming, because of the speed required. In addition, this style of drumming has some of the more complicated beats. Some famous drummers in the metal world is Blake Richardson from the band Between the Buried and Me, Danny Carey from Tool, and Matt Greiner from August Burns Red. Each of these drummers all have their own unique playing styles, which they have developed over many years of playing the drums. Blake Richardson took many drum lessons which included jazz and swing he says Jazz and Swing are vital to any drummer if they want to become a great drummer, it helps you in many ways it helps improve your stamina do to the constant playing at a fast tempo. (Healthy Drumming) Swing drumming is a very important drum style mainly because the music is quite fast, and the beats are complex. Swing goes by many names: swing jazz, swing music, and just swing. It has been around since the 1930s it was a new upbeat version of jazz that was created so that the music could keep up with the new faster moving dances and around 1935, it had made come into its own distinctive style. Swing drumming used a lot of a technique called double bass, which helps drummers pick up the pace of a song more quickly. The double bass is where the bass drum has to kick pedals connected together so that both feet can kick the bass drum and make it sound like the drummer is playing faster. Once swing drummers incorporated double bass, the sound to make their music have more of brutal of a sound. (Healthy Drumming) The equipment for drumming has evolved greatly since its inception millions of years ago. When man first started drumming, the set up consisted of a hollow log and a medium sized stick; in contrast, todays drum set is more sophisticated. For example, cymbals made a great improvement in the sound of music with its ability to help a drummer to keep the timing of a song. When drummers buy cymbals, they have to take in how much splash or crash they want. Splash cymbals vary in sizes from six to twelve inches. The splash is often a syncopated accent to the drum. These cymbals are often hit very hard so they had to make them a little thicker. However, this thickness can cut down on the richness of the sound that they produce. Splash is a nice little cymbal to add to a drum kit because the sound it produces can add to any genre of music, not just metal or jazz. Then there are crash cymbals which are used of occasional accents and they usually add a sharp sound to the song. The term crash wa s first used by the company Zildjian who has making cymbals for over 40 years. Crash Cymbals can be mounted on a stand and played with a stick or they can be played with mallets to give them a slower sound and a more swelling crash. (Rhythmic Power) Bass drums are another crucial part to drumming, because it adds a backbone to the song itself. In other words, it gives the beat a deeper sound. Swing utilizes the bass drum very well. Originally the bass drum was help keep timing so the drummer would not kick all that quickly they kept it to a 4/4 beat a 4/4 beat is a technique that all musicians use to mark the tempo of the song. But in Swing there was the creation of the double bass pedal which allowed drummers to create an even faster beat and let them use the bass drum in different ways from keeping time to rolling on it to add the sound. There are a majority of different types of pedals, ranging from titanium pedals and aluminum pedals, to coil pedals and chain pedals. Iron Cobra is one of the more common of the pedal distributors and there latest pedal The Iron Cobra power glide double pedal uses a coil under the pedal itself to add to the power of the pedal and it also cuts down on how much energy the player uses. (Rhythmic Power) Snare drums play an even larger role in drumming than any of there other pieces I just listed mainly because it is one the first pieces ever made. The Snare drum was created originally for combat for soldiers to use on there way to battler back during the revolutionary war. Now the snare is used for all kinds of music related things it is used a lot in drum line it is the focus piece in drum line. In drum line there is usually three snare drum players that lead the rest of the line and if they get off beat even for a moment then they through the rest of the line off rhythm. Snares are usually one type of sound but some come with a dampener on them which release the springs that are attached to the bottom of the snare and when they are released it give the drum amore bass sound. There are assortment stands that can come with the snare some are made for standing up and some made for knee height when the player is sitting down. There is also the synthesized snare drum which is a pad tha t is connected to a small computer that has a large number of sounds built into its database. This snare is used as a side snare so that the drummer can use a normal snare and then this snare to give there sound a more distinct sound from other drummers. (Rhythmic Power) In conclusion drumming has been around for many years and it has been changed about every year it has been around. The equipment has changed in many different ways over the years they have been made more modern from there original forms. Forms of drumming has changed just as much as the equipment changing from just beats people put together to more distinct styles such as jazz, swing and metal. And the history for drumming is very vast since it is one of the precursors of music. Work Cited The Recorded History of Jazz Drumming. Public domain. Web. 29 Oct. 2009. . Of, Editors, and Adam Budofsky. The Drummer 100 Years of Rhythmic Power and Invention. Minneapolis: Modern Drummer Publications, 2006. Print. Nichols, Geoff. The Drum Book The History of the Rock Drum Kit. New York: Backbeat Books, 1997. Print. History of Drums. Free Articles Directory | Submit Articles ArticlesBase.com. Web. 29 Oct. 2009. . Healthy Drumming ÂÂ » Drumming Styles and Facilitator. Healthy Drumming ÂÂ » Home. Web. 29 Oct. 2009. .

Coiled Tubing :: coil tube coiled tubing

First of all, what in the world is coiled tubing? Otherwise referred to as CT, coiled tubing is a manufactured product used in field operations such as well service, workover applications (petroleum industry well work), and drilling and completion applications. Just as is sounds, CT is essentially a continuous tube with a diameter of .75 inches up to 4.5 inches that is reeled onto a spool, which has a core diameter of approximately eight to twelve feet. The tubing is made from rolling strip metal, usually a carbon based steel, into cylindrical form and weld along its entire length. The longitudinal weld is made using a high-frequency induction electrical resistance method. The welding process produces a small amount of weld flash on both the inside and outside of the tube. This is removed from the outside diameter of the tube after welding by a carbide cutting tool contoured to the diameter of the tube being produced. The weld vein is instantly re-heated to re-crystallize the w elded zone to match the grain composition of the base metal. So in other words, you have this extremely long steel tubing coiled up like a garden hose on reel without any visible end welds. The entire length is non-destructively inspected, then gauged and hydrostatically tested to assure the pipe meets customer specifications prior to shipment. A single spool can carry an average length of approximately 15,000 feet but have been fabricated up to 30,000 feet depending on the diameter of the tubing. Tubing continuously wraps and unwraps over its spool and over the tubing directional arch (â€Å"gooseneck†) as it goes in and out of the well. This bending and straightening causes an extreme amount of wear and tear. This process is known as cyclic bending and along with the internal pressure may result in a life expectancy of less than 100 cycles. Another downfall is the tendency for the walls to thin, thus increasing the diameter of the tubing as cycles increase. Tests have shown up to 30% increase in the diameter. This plastic type growth is sometimes referred to as ballooning. This effect is worse on the tubing that does not rotate during deployment and the walls thin more on one side that the other. Elongation is another effect that results from the forces of fieldwork, with reports stating up to ten feet of permanent elongation per trip!

East of Eden: John Fontenrose Response

East of Eden: John Fontenrose Response The basis for the story of good and evil is most often the Christian biblical stories in the book of Genesis. The classic battle of good and evil with good always triumphant over evil often stretches farther out and into our many cultures. This archaic tale is ever prevalent in all of mankind’s greatest stories in many different variations. John Steinbeck often brings this struggle to different methods of thought especially on how we view evil, as well as good.He brings this story to light using the everyday, common man in his books, Grapes of Wrath, Of Mice and Men and now East of Eden to portray the realistic side of the battle of good and evil. Many will argue that he does not have a very clear goal for presenting this idea including, John Fontenrose, in his literary criticism, â€Å"John Steinbeck: An Introduction and Interpretation† but it is quite the opposite. In John Steinbeck’s book, East of Eden, The stories of the Hamilton and Trask families get intertwined along with many other people as the theme of good and evil unfolds on them on farmland in both Salinas, California and in Connecticut.Towards the beginning of the book the good characters, Alice and Adam and the bad characters, Cyrus and Charles are clear to the reader but as the novel progresses the concept of â€Å"timshel† is introduced which redefines the concept of predestination versus free will and changes the course of each character’s limitations for better and for worse. In East of Eden Steinbeck is not unclear on his position of good and evil, rather he puts forward the way this mindset has changed over time and gives his own methodology on how the struggle of good and evil should be thought of.Often times Steinbeck shows the realism in this book with many archetypes that are not perfect and alter from time to time. This makes it hard for some people to understand his reasoning like, John Fontenrose, as he neglect s this concept when he states that the author is, â€Å"never clear about the relation of good to evil in this novel† (Fontenrose). Steinbeck purposefully creates this view so that the appearance of progression in his archetypes is shown when free will is added to his characters. In the late beginning of the book, Charles beats his brother, Adam, almost to death because of jealousy over his father’s love.It is an almost perfect allusion to the biblical story of Cain and Abel which represents an ever occurring theme throughout the book. In fact this represents one of the first introductions towards realism in the novel because these horrible events are a part of life, that of which Steinbeck does not wish to cover up. Instead of hiding them Steinbeck shows them in detail to carry the notion that the concepts of good and evil are not concrete but are situational and objective. While Charles thought he was being just, Adam most certainly did not.In part three of the book Steinbeck introduces the concept of â€Å"timshel† as discovered by Adam’s servant Lee and its many different translations, â€Å"‘Thou shalt,’ meaning that men will surely triumph over sin. But the Hebrew word timshel- ‘Thou mayest’-that gives a choice. Why, that makes a man great, †¦ for in his weakness and his filth and his murder of his brother he still has the great choice† (Steinbeck 301-302) He attempts to convince Adam and Cal of the validity of timshel and ultimately succeeds, as Adam gives Cal his blessing and Cal realizes he himself has the power to overcome his family’s legacy of evil.With the concept of Timshel, Steinbeck is not accurate, â€Å"translating the verb form timshol (not timshel as Steinbeck has it)† (Fontenrose). Steinbeck makes an almost unnoticeable symbol in the fact that the concept of â€Å"timshel or timshol† is not perfect, as shown with an incorrect translation. He proves this by having many things in the novel chosen and some not chosen, therefore not perfect free will. This is further proven by the fact that Charles in the beginning fills the Cain archetype but as timshel is introduced the archetype continues and Cal is given the freedom to break away from this destiny of Evil.Although Cal breaks free he is still partly held down by his archetype and therefore achieves balance between both good and evil. Steinbeck continues with this enigma using Cal again, having a C in his name and his assault on his brother Aron, shows his connection to Cain. Although he was not a good person, he wanted to become better which makes him superior to his brother Aron in the eyes of Steinbeck. As John Fontenrose put it â€Å"Good is identified both with admirable individual qualities and with conventional moral goodness† and with Cal â€Å"the author appears to accept Cal's label of bad for his adolescent desires and impulses. (Fontenrose 4) Steinbeck presents pr ogression by making the outcome of Cal and Aron less severe than that of Adam and Charles. Although characters in East of Eden, more often than not, are pushed to expel evil forces from themselves and pertain towards good traits, the line is much more blurred. This is most prominently seen in Cal, who, although fitting under the archetype of the biblical Cain, still strives towards good character, as seen in this passage, where he offers Aron a business opportunity after college. ‘I’ll get started and lay the foundation. Then when you finish we can be partners. I’ll have one kind of thing and you’ll have another’† (Steinbeck 536). Cal does also stir towards negative characteristics, particularly when he expresses the truth of their mother to Aron. Aron slowly becomes more and more pure as the book continues which eventually becomes his fault of being too good and not being able to deal with the evils of the world.Cal struggles with the human d esires towards good and bad, growing out of the Cain archetype and fleshing out into perhaps the most equal character in the book, neither choosing to neither reject the bad completely nor embrace the good completely. Cal breaks the notion of inherent good or evil archetypes and brings forth the realism concept of timshel. The narrator sums this up with many concepts while waxing on the perceptiveness of forces. â€Å"Some forces seem evil to us, perhaps not in themselves but because their tendency is to eliminate the things we hold well† (Steinbeck 131).The piece continues with the argument that â€Å"good and evil are relative terms†, more specifically in that Steinbeck appears to show Cal as bad when his action are of an adolescent nature and sees Aron as good when his actions reflect extreme self-indulgences. The characters are by no means clear cut in their morals; in fact, nearly every character is obscured as to whether they are altogether good or bad. By no mea ns was a fault of Steinbeck’s, rather it was an intentional move meant to portray the diverse and human characters which inhabit the story.Even when describing the changing scenery of the Salinas Valley, the character’s muddled human condition is reflected. When discussing the new church and sects which are appearing, the narrator says, â€Å"They were not pure, but they had a potential of purity, like a soiled white shirt. And any man could make something pretty fine of it within himself† (Steinbeck 217). Although the object of discussion is actually a church, the resemblance of character to the morally conflicted characters that inhabit the novel is difficult to ignore.Fontenrose’s reasons follow similar patterns, with statements such as â€Å"Good and evil are complementary† and â€Å"evil is the source of good and may even be necessary to good† essentially coming down to evil and good being necessary for the other to exist (Fontenrose 4) . Although Fontenrose is overall incorrect in his claim that good and bad have no relation in the novel, in this claim it is necessary to agree, if only because such broad terms are used. The claims which Fontenrose makes almost seem to undermine his own argument; as they do essentially prove that there are clear relations between good and evil within the novel.Overall, Steinbeck is quite distinct in his defining of morality, in which the polar opposites of good and evil coexist in such a manner that each individual has a right of choosing their path, defined by the ever-present phrase, timshel. This gives some characters the ability to gain the ideal balanced morality, not all evil and not all good. As we look deeper into the novel we see that through the many different concepts and understandings of good versus evil, Steinbeck lays down his system of how good and evil are actually perceived.

Mae West and How the Production Code Affected Her Career

â€Å"Virtue has its own reward, but has no sale at the box office†.   Those are the words of the famous movie actress named Mae West.   She was known for her sassy and sexy behavior on and off screen. Mary Jane West was born August 17, 1893 in Brooklyn, New York.   Her parents were involved in prize fighting and vaudeville.   Mae worked on the stage and was in vaudeville from the time when she was five years of age.   She was so into the entertainment world that she never really focused on education.  Ã‚   She studied dance as a child and when she was 14 years old, she was billed as â€Å"The Baby Vamp†. The year was 1926 and she was definitely shocking to most people during that time period.  Ã‚   Though the critics reportedly hated the show, the ticket sales were good.   The theater was raided and Ms. West was arrested along with the rest of the cast. While incarcerated on Roosevelt Island, she was allowed to wear her silk underwear instead of the scratchy prison issue.   The warden reportedly took her to dinner every night. She served eight days, with two days off for good behavior.   The media attention only managed to enhance her case. Her next play was racy in content as well.   It was entitled â€Å"The Drag† and was about homosexuality alluding to the work of Karl Heinrich Ulrichs.   It also was a box office success, but it had to be played in New Jersey because it had been banned from Broadway. Mae caught the attention of Hollywood and was given her first small movie role working with George Raft in â€Å"Night after Night†.   The film debuted in 1932 and even though her performance was a minor part in the movie, she was able to display enough of her quick wit that made her famous. At first she was unhappy with her small role in â€Å"Night After Night†, but was satisfied when she was allowed to rewrite her scenes.   In West’s first scene, a hatcheck girl exclaimed, â€Å"Goodness, what lovely diamonds†. Mae responded with her quick and racy wit by saying, â€Å"Goodness had nothing to do with it, dearie†. Upon her arrival in Hollywood, she moved into an apartment not far from the studio on Melrose.  Ã‚  Ã‚   She maintained a residence there at Ravenswood, even though she owned a beach house and a ranch in the San Fernando Valley. The public fell in love with the first woman to make racy comments on film.   She became a box office smash with the film breaking attendance records. Her second film was based on her earlier and popular play that was written by West entitled â€Å"She Done Him Wrong† starring Cary Grant.   The film was nominated for an Academy Award as Best Picture. Her third film, entitled â€Å"I’m No Angel† also displayed her quick racy wit and she was paired with Cary Grant once again.   It was a financial success.   This film, along with â€Å"She Done Him Wrong† were projects that saved Paramount from bankruptcy.   They were highly criticized by some because of the content and the guidelines found in the Motion Picture Production Code. The Production Code (also known as the Hays Code) was a set of guidelines that movies created between the years of 1930 and 1968 were governed by. The name â€Å"Hays Office† is definitely recognized as being synonymous with Hollywood’s self –censorship body even though its namesake ceased to be involved in the daily operations prior to the period of its most remembered conflicts with filmmakers.   Will H. Hays was the first president of MPPDA.   He was installed as the leader because studio heads were looking for a man with a background in the federal government to assure the nation that Hollywood films would not corrupt the country’s citizens. During the period that the Production Code existed, the enforcement was the responsibility of Jason Joy (1930-1932), James Wingate (1932-1934), Joseph Breen who was the chief censor for the longest period of time between the years of 1934 – 1954.  Ã‚   Geoffrey Shurlock then took his place from 1954-1968. Eric Johnston replaced Will Hays as head administrator in 1945 and remained in this office until his death in 1963.   Jack Valenti took his place in 1966. By then the organization had become the Motion Picture Association of America (MPAA).   Each of these three men served more in the role of ambassador, lobbyist and   as salesmen for the movie industry and not so much as a â€Å"shaper of content†. The Production Code was developed because the owners of major Hollywood studios were attempting to avoid a national government-run censorship operation. They also wanted to assure the concerned civic leaders that Hollywood would deliver only wholesome movies eliminating the need for further editing that could possible be required by the state and local censorship boards.   These type boards sprang up during the decade preceding the Code. The Studio Relations Committee was organized by the Motion Picture Producers and Distributors of America (MPPDA) in 1930.   This committee was given the responsibility for the administration of industry self-censorship.  Ã‚   The Studio Relations Committee was reconstituted as the Production Code Administration in 1934.   It was more effective at this time. This organization felt â€Å"if motion pictures present stories that will affect lives for the better, they can become the most powerful force for the improvement of mankind†.  Ã‚   They recognized their responsibility to the public and because of this trust and also because in their views, entertainment and art were the most important influences in the life of a nation. During the rapid transition from silent to talking pictures they realized the necessity of creating some type of guidelines that should be in place.   Even though motion pictures were considered primarily as entertainment, they also felt that film could be directly responsible for spiritual or moral progress. As a result of these codes, May began to use double talk so that a person could take a word or phrase anyway they wished.   She also developed her works this way as a method to get her work past the censors; and it worked. She really felt she had a vested interest because it was her written work that was being scrutinized.   West had already written and performed these plays on stage and now they were being exposed to a whole new audience in film. Mae West was the largest box office draw in the United States at the time.   The frank sexuality and seamy settings of her films caught the attention of the moralists. On July 1, 1934, the censorship of the Production Code began to be seriously and meticulously enforced.  Ã‚   Mae’s scripts began to be heavily edited.   Her answer was to increase the number of double entendres in her films.   Her expectation was that the censors would delete the obvious lines and overlook the subtle ones. Her next film was â€Å"Belle of the Nineties† which was made in 1934 and it was another hit.  Ã‚   The movie was originally titled â€Å"It Ain’t No Sin†, but the title was changed due to the censor’s objection.   By 1936, after filming â€Å"Klondike Annie† and â€Å"Go West Young Man† she was, at that time, the highest paid woman in the United States. After the 1937 film, â€Å"Everyday’s a Holiday†, she didn’t make another film until she starred with W. C. Fields in another Mae West written movie entitled â€Å"My Little Chickadee† in 1940. It was a well-known fact that Ms. West had ill feelings toward Fields because his ways were too crude even for her.   She didn’t get along with Fields at all.   She would not tolerate his drinking and since they were both accustomed to working with supporting players and not co-stars conflict ensued. â€Å"My Little Chickadee† was a box office success and was more successful than all other W. C. Fields’ movies.   It is said that the only way Fields and West could be in the same scene together was to film them separately; and then splice the film together. Universal was so delighted with the success of the film and offered West two more movies to star with Fields.   She refused citing the difficulty of working with Fields. Her film â€Å"The Heat’s On† which was filmed in 1943, was her last film for a bit.   Mae decided to take a break from the movie industry because the censors were getting stricter.   It was harder to create her movies, even with the double talk to get past the stricter codes. It was general practice in films of the 1930’s and 1940’s to skirt the issue of sex and hide violence behind foreground or within shadows.   In addition, they never really treated serious subjects that were dealt with in the best-regarded novels of that era. In so many instances, the Production Code Administration had their way against the wishes of filmmakers.   They scuttled, weakened or diluted several scenes proposed by writers and directors of Hollywood film projects from 1934 to 1968. When the Code went into effect all movies from the major studios were required to show an approved MPPDA logo. There were three general principles: 1.No picture shall be produced that will lower the moral standards of those who see it.   Hence the sympathy of the audience should never be thrown to the side of crime, wrongdoing, evil or sin. 2.Correct standards of life, subject only to the requirements of drama and entertainment, shall be presented, and 3.Law, natural or human, shall not be ridiculed, nor shall sympathy be created for its violation. In addition there was another section that was entitled Crimes Against the Law.   There were several crimes listed that should never be presented in such a way as to throw sympathy with the crime as against law and justice, or to inspire others with a desire for imitation. Some of the crimes included Murder, Theft, Arson, and the use of firearms were to be restricted to the essentials. Also, methods of smuggling could not be presented and illegal drug traffic was never to be presented. The use of liquor in American life, when not required by the plot or should be shown in proper context, otherwise it could not be shown. Ms. West was known for her racy lines and sexy innuendo so there were a few portions mentioned throughout this code that Mae had to alter her movies for compliance.  Ã‚   There was a complete section of the code dedicated to sex. According to the code, the sanctity of the institution of marriage and home had to be upheld.   Pictures could not infer that low forms of sexual relationships are accepted or a common thing.  Ã‚   For example, the issue of adultery sometimes could be considered necessary to the plot, however it could not be explicitly treated, or justified, or presented in a positive light. The code even had guidelines of â€Å"Scenes of Passion†.  Ã‚   They could not be introduced if they weren’t essential to the plot.   In addition, excessive and lustful kissing, lustful embraces, suggestive postures and gestures could not be shown. In general passion had to be treated so that these scenes could not stimulate the lower and baser element.   Mae West oozed sensuality.   This category no doubt was stifling to many of Mae’s intentions on film. Even before she had matured, the slinky, then dark haired Mae was performing a lascivious â€Å"shimmy† dance in 1913 and was photographed for a song sheet for the song â€Å"Everybody Shimmies Now†. Her famous walk was said to have originated in her early years as a stage actress.   West had special eight-inch platforms attached to her shoes to increase her height and enhance her stage presence. Mae’s leave from film back to plays proved to be successful.   When censors began to let up, she returned to film work in 1970 in Myra Breckinridge.  Ã‚   She appeared in the role as Leticia Van Allen, which was a small role.   The film failed miserably at the box-office but still was a racy film due to the sex change theme. West regarded talking about sex as a basic human rights issue.   She was also an early advocate of gay and transgender rights.   She was reported as telling policemen who were raiding a gay bar, â€Å"Don’t you know you’re hitting a woman in a man’s body†. This was definitely a daring statement since she spoke it in a time period when homosexuality was not accepted. Her last film was in 1978 called Sextette which was a film that was based on the successful play West wrote back in 1926.   This film could have been a silent movie but instead fifty years later was developed.   Even in the late seventies, the times where not liberal enough to accept the original title, â€Å"Sex† as they called it Sextette instead. Allowances had to be made for a few things, such as her wig and slightly bizarre makeup and her slow movement from time to time but she obviously had taken care of herself and is able to show herself off in a series of beautiful gowns. The film is set up so she can consistently deliver the one-liners that made her famous. There was something different about Mae West, beginning with her appearance.   It set her apart from the other actresses of the day.   Mae has been described as a rather large billowing superblonde that talked through her nostrils.   In addition it has been said that she was a Gay Nineties gal that was plunked down in the Flapper Age. According to Simon Louvish, the author of her biography entitled â€Å"Mae West: It Ain’t No Sin†, it wasn’t the Production Code that affected her career but rather â€Å" her inability to relate to anyone in any intimately persuasive way – that so quickly destroyed her screen career†. The character that she created was completely of her on devise.   Somehow this Brooklyn born woman who was sketchily educated at best made herself into a playwright as she would scribble her one-liners and develop primitive narratives around them. The Code may have been able to tone down some of the personality of Mae West but she was a woman who would not be silenced.   Her somewhat mannish ways in her blunt innuendo that continually spoke of the unmentionable sexual needs of a female. Ms. West’s remarks were quick and veiled suggestion.   They were not dirty and often playfully remarked dripping with sensual undertones. Historians, however, suggest that her movie career declined so quickly because of the Production Code and their rather strict guidelines. Mae West is unique in the history of   â€Å"sex stars† in the movies because she was somehow able to play both the role of a sex goddess and simultaneously parody that same role.   In addition, she was one of the first women to consistently write the movies she starred in. In addition to her screen and stage career, Ms. West also could be heard on the radio.   On December 12, 1937, she appeared on two separate sketches on Edger Bergen’s radio show that shocked both the listening and NBC executives.   She appeared as herself, and was flirting heavily with Charlie McCarthy, Bergen’s dummy, speaking with her usual brand of sexy wit and risque sexual references. She appeared even more risque in a sketch earlier in the show that was written by Arch Oboler.   This sketch starred West and Don Ameche as Adam and Eve in the Garden of Eden.   The conversation between the two was considered so risque and bordered on being blasphemous.   She was banned from being featured, or even mentioned on the NBC network.   Mae West didn’t appear on radio for another 31 years. She also starred in her own Las Vegas stage show.   She would sing and was surrounded by handsome body builders while she performed on stage.   Many celebrities attended West’s shows including Judy Garland, Ethel Merman, Louis Armstrong, Liberace, and Jayne Mansfield.   Jayne met and later married one of West’s muscle men, Mickey Hargitay.   Mr. Hargitay was fired for that action. Billy Wilder offered West the role of Norma Desmond in Sunset Boulevard.   She refused and pronounced herself offended at being asked to play a â€Å"has-been† similar to the responses he received from Mary Pickford, Greta Garbo and Pola Negri.   Ultimately, Gloria Swanson was cast in the role, which became immortal on celluloid. In 1958, West appeared at the Academy Awards and performed the song â€Å"Baby, It’s Cold Outside† playfully with Rock Hudson. In 1959, her autobiography was published by Prentice-Hall entitled, â€Å"Goodness Had Nothing to Do With It†. West made some rare appearances on television where viewers reported astonishment at her youthful appearance and energy.   In order to appeal to younger generations, she recorded two rock and roll albums which were received with financial success mainly due to her single â€Å"Treat Him Right† on the â€Å"Way Out West† album. Near the end of her life, she was known for maintaining her surprisingly youthful appearance.   West continued to surround herself with virile men for the rest of her life, employing companions, bodyguards and chauffeurs. In the late summer of 1980, she suffered a stroke at her apartment and fell out of her bed.   She rallied after being rushed to the hospital but suffered another stroke in November.   She was sent home but her prognosis wasn’t good.   She died in her apartment on North Rossmore Avenue in Hollywood at the age of 87. Mae West will forever be remembered as the sexy vamp notorious for sexy   her one-liners. REFERENCES Bynum, Matt. (2006) The Motion Picture Production Code of 1930 (Hays Code). http://www.artsreformation.com/a001/hays-code.html Received on December 12, 2006 Jackson, Denny. (1998). Mae West – The Actress Who Was Way Ahead of Her Time! http://www.geocities.com/Hollywood/Hills/2440/west.html Received on December 12, 2006 Schickel, Richard. International Herald Tribune. (2006) Mae West. New York City.