Summer Vacation

I believe that the best idea of saving summer vacation would be the result of getting rid of April and summer vacation to balance the two out. It might even extend the summer vacation but that could be the issue of what people don't want. so if you get rid of April and February vacations, you might be able to keep the summer vacation for the students.

Red Hot Chili Peppers : Mothers Milk Track Listing

1	Good Time Boys	4:51
2	Higher Ground	3:21
3	Subway to Venus	4:17
4	Magic Johnson	2:47
5	Nobody Weird Like Me	3:50
6	Knock Me Down	3:45
7	Taste The Pain	4:31
8	Stone Cold Bush	3:05
9	Fire	2:00
10	Pretty Little Ditty	1:30
11	Punk Rock Classic	1:47
12	Sexy Mexican Maid	3:23
13	Johnny Kick a Hole in the Sky	5:08

This album is the 4th album recorded by The Red Hot Chili Peppers in 1989 and it set their careers off. The album begins with a cranked bass slap and a guitar screaming along to enter into the funk blasting, ear ringing, hard rock, punk that is RHCP in "Good Time Boys": A somewhat proper introduction for the group and the album. They then begin to play the hit Stevie Wonder song "Higher Ground". What was originally a normal funk rooted song became a hard rock funk anthem for the Red Hot Chili Peppers and a greatest hit 20 years later. Then came the fast paced funk comedy sounding "Subway to Venus" to show a fast paced punk rock side as well as a few horns played by Flea. "Magic Johnson" was written for the LA Lakers Hall Of Fame Point Guard. It's fast paced jam represents some of the stylings of the old Red Hot Chili Peppers including Guitarist Hillel Slovak who they had lost two years earlier from a heroin OD. Their drummer Jack Irons then left the band shortly after and that's when 18 year old guitarist John Frusciante and drummer Chad Smith were discovered and gladly introduced. "Nobody Weird Like Me" is a punk rock, heavy jam consisting of hard slapping bass by bassist John "Flea" Balzary and the typical 80's Chili Peppers bursts of shouting by lead singer Anthony Kiedis. It includes Violin, Horns, and also the bagpipes. It branched off as a very odd tune for the band."Knock Me Down" is a song in remembrance of late guitarist Hillel Slovak. It's serious message about life's losses by addiction and drugs gave the Chili Peppers somewhat of a sad and soft side showing that they can be serious with their music. "Taste the Pain" was a song based off of mainly Flea's trumpet playing and bass playing. This song slowed down the album a little bit and gave off in some cases as a filler for the album. Then comes "Stone Cold Bush", an intense blast of funk, ear ringing punk rock, and grunge-like guitar riffs along with a solo that couldn't be perfected more than once. They also did another cover. This time it was "Fire" by Jimi Hendrix. They added a little bit of hard rock and sped the song up a bit but the original song roots remained the same. "Pretty Little Ditty" is a slow jam consisting of no vocals, low volumes horns and drums once in a while. As the main instruments (Guitar and Bass) played side by side gracefully. "Punk Rock Classic" is a blast beat anthem showing nothing else but "Classic" punk rock, something that the band never really reached out to until this album. The provocative slow rock tune "Sexy Mexican Maid" was just another classic example of their typical sex induced vocalist that Anthony Kiedis was very well known for. To close off the album is one of their greatest hits of the 80's "Johnny Kick a Hole in the Sky" this song is about Kiedis' heritage as an American Indian that understood the struggle of an Indian during colonization shown by the lyrics "I was born in a land
I don't think you understand, god damn what I am, I'm a native of this place, Please don't kick me in my face, My race has been disgraced." Along with "What this country came to be, it's a lie, no place for me." This album was considered as a rebirth for the Red Hot Chili Peppers and their next albums would be the reason as to why they are considered one of the best bands in rock and roll history. They showed just about every genre and have dozens of greatest hits they began in 1983 in LA and are now members of the Rock and Roll Hall of Fame since 2012. 

The Black Keys

El Camino

Nonesuch

Rolling Stone: star rating

Community: star rating

 WILL HERMES

December 6, 2011

Over 10 years and seven albums, Dan Auerbach and Patrick Carney have turned their basement blues project into one of America's mightiest bands. Weaned on Stax 45s and Wu-Tang loops, the Black Keys smeared the lines between blues, rock, R&B and soul, with Auerbach's horny Howlin Wolf yowl bouncing off garage-y slashing and nasty body-rocking grooves. Like that other guitar and drums duo from the Rust Belt, the Akron, Ohio, guys brought raw, riffed-out power back to pop's lexicon. On 2010's Brothers, they found a perfect balance between juke-joint formalism and modern bangzoom. The result was a few Grammys and so many TV ad placements, The Colbert Report did a sketch about it.

El Camino is the Keys' grandest pop gesture yet, augmenting dark-hearted fuzz blasts with sleekly sexy choruses and Seventies-glam flair. It's an attempt at staying true to the spirit of that piece-of-shit minivan on the album cover – similar to their first touring vehicle – while reimagining it as a pimpmobile.

This is the Black Keys' third meeting – following 2008's Attack & Release and one track on Brothers – with Danger Mouse, a.k.a. Brian Burton. Here, the band essentially becomes a trio, with Burton as co-producer/co-writer throughout. His brilliance, as the planet heard on Gnarls Barkley's Crazy, is blowing details of classic pop up to Jumbotron scale. Listen to the keyboard part that kicks in the door of El Camino's "Gold on the Ceiling": a serrated organ growl backed up with a SWAT team of hand claps. It's Sixties bubblegum garage pop writ large, with T. Rex swagger and a guitar freakout that perfectly mirrors the lyrics, a paranoid rant that makes you shiver while you shimmy.

The single "Lonely Boy" works the same way, launched on a gnarly, looped guitar riff whose last note slides down like a turntable that someone keeps stopping. Then a sugar-crusted keyboard comes in, along with what sounds like a boy-girl chorus, changing the swampy chug into a seductive singalong.

The Keys cited the Clash as an influence for El Camino, and that influence is evident in the increased zip of the grooves, and in the group hug between roots music and rock spectacle: See "Hell of a Season," whose choppy guitar chords and relentless beat twists into a dubby, uptight reggae pulse. Of course, you can just as easily hear Led Zeppelin in "Little Black Submarines," an acoustic blues that gets run over halfway through by electric riffs and brutish drums, Carney doing a hilariously great junkyard John Bonham.

There's still a strange jukebox anonymity to the Keys' approach; their vintage organ and guitar sounds often project larger personae than the band itself. But part of the reason Carney and Auerbach keep finding new ways to shake up that old-school blues-rock rumble is that they're workaday dudes smart enough to get out of the way of their own songs. Like Clark Kent's or Peter Parker's, their 99 percentness only seems to enhance their powers.

The Grateful Dead

Shakedown Street

Rolling Stone: star rating

Community: star rating

By : Gary Von Tersch

March 8, 1979

With few exceptions, Shakedown Street, rife with blind intersections, comes across as an artistic dead end. The punch that producer Keith Olsen provided on Terrapin Station, the Grateful Dead's last LP, has all but vanished here, and Olsen's successor, the usually reliable Lowell George, offers almost nothing to replace it. You can hear echoes of inventive reverberation and some crosscut grittiness in the percussive "Serengetti," while the seductive "France" gets off the ground in spots — but two songs make a single, not an album.

Over the years, the Dead have shown a knack for turning even the most undistinguished material into something at least moderately interesting. No more. Both "Good Lovin'" and "All New Minglewood Blues" feature aimless ensemble work and vocals that Bob Weir should never have attempted. Similarly, "Fire on the Mountain" and "Shakedown Street" suffer from too much strain and not enough revving up musically. The disco tinges in the latter merely add to the catastrophe.

And the rest? "I Need a Miracle" sounds like an Englebert Humperdinck reject, Donna Godchaux' "From the Heart of Me" is as clumsy as its title and "If I Had the World to Give" and "Stagger Lee" don't even boast instrumental solos to offset their flaccid lyrics. Maybe the band's energy is still in Egypt, partial payment perhaps for sending King Tut to America.

Phish

Farmhouse

Elektra

Rolling Stone: star rating

Community: star rating

 JON PARELES

May 25, 2000

There's a thin line between mellow and torpid, and Phish repose on that line all too calmly on Farmhouse, their eleventh album. It's an album dominated by songs from Phish's guitarist and main singer, Trey Anastasio; it was even recorded in his Vermont barn. He's leading Phish's latest attempt to come up with radio-length tracks that might spread their renown beyond the jam-band faithful. To hear why those fans fill arenas, try "First Tube" or the quickly accelerating "Piper," two glimpses of Phish jams in motion that turn vamps into breezy journeys. But songs have always been the least of Phish's assets; they're just raw material for those jams.

Most of the songs on Farmhouse are going to need a lot of live resuscitation. Leaving behind the shape-shifting cleverness of older Phish fare like "It's Ice," they're straightforward countryish rock that sets out to be genial but, with Anastasio's nonchalant singing, comes off slightly smug. If Farmhouse is Anastasio calling the shots, maybe he's not the group's resident genius after all. Tom Marshall's lyrics are about mild bummers or existential musings: rapacious girlfriends in the Allmans-style "Heavy Things," complete withdrawal in the sluggish, wanna-be-R.E.M. dirge "Dirt," dream-catching in the acoustic "Sleep."

One of Phish's problems is that their members are such music fans that they can't help re-creating their idols; the minor-key groove of "Twist," one of the album's better songs, leads Anastasio to a Santana guitar simulation. Then again, most music fans wouldn't be shameless enough to imitate the "Everything's gonna be all right" phrase from Bob Marley's "No Woman, No Cry," as Phish do in "Farmhouse." Another problem is that Phish just ain't that funky; "Sand" would like to be as cool as War's "Cisco Kid" but comes off more like Steve Miller's "Fly Like an Eagle." These songs are bound to improve in concert; bring a tape recorder.

Red Hot Chili Peppers

One Hot Minute

Warner Bros.

Rolling Stone: star rating

Community: star rating

October 5, 1995

By : Diana Darzin

Fake heartbreak is a top 40 staple; it's usually carried by Michael Boltonesque histrionics. On the other hand, real heartbreak (think Joy Division) tends to be quiet; it kinda sneaks up on you and grabs you and then sticks with you for the rest of the day. On One Hot Minute, "Transcending" has that quality: gorgeously trancey, anguished, undulating rhythm loops and crescendos wrap around lyrics about death that are both weirdly spiritual ("Never know when the gods will come and/Take you/To a loving stream") and raging ("Fuck the magazines/Fuck the green machine").

All this from the Red Hot Chili Peppers, the sloppy punk-funk troupe that rose to fame wearing tube socks on its dicks.

One Hot Minute dives into the emotionally deep end of drug addiction and loss, themes the Chili Peppers first touched on in their biggest hit to date, "Under the Bridge," from their 1991 megaplatinum wonder, BloodSugarSexMagik. For these guys, seriousness turns out to be a lot more liberating than any misadventure. Before their original guitarist Hillel Slovak's 1988 accidental-overdose death, the Peppers' gleeful insanity often masked their broad and fluent musical vocabulary, including bassist Flea's interest in jazz and classical music. Now their belief in the power of jamming, innovation and spontaneity is fully unleashed. One Hot Minute is a ferociously eclectic and imaginative disc that also presents the band members as more thoughtful, spiritual — even grown-up. After a 10 plus-year career, they're realizing their potential at last.

Since the Chili Peppers are cagey veterans and returning producer Rick Rubin is no fool, One Hot Minute also offers songs that recall the hits on BloodSugarSexMagik: "One Big Mob" features a moody, sensitive section and furious, atonal, minimalist funk à la the Grammy-winning "Give It Away." "Falling Into Grace" takes the Chilis' deep, funky groove and adds a sexy, unexpected Middle Eastern flavor, cool and somehow malevolent. The melody line twines itself around the groove like a snake charmer's critter.

"My Friends," with its lovely, vaguely folky chorus, sports the same sad wishfulness of Blood Sugar's "Under the Bridge" and "Breaking the Girl." Ditto "Tearjerker," one of the tracks that reflects One Hot Minute's recurring death-and-loss theme. Less successful is "Deep Kick," whose Doors-ish spoken-word intro ("Love and music can save us and did while the giant gray monster grew more poisoned and volatile around us") comes off as pretentious and silly — although its punch line, "The Butthole Surfers/Always said it's better to regret/Something you did/Than something you didn't do," is surely something to live by. Even better, this bit is recited in a zippy tone while squealy, off-center instruments create a drunken cacophony in the background. It's the sonic equivalent of a loud birthday party.

"Warped" mixes harrowing lyrics ("Night craving/Sends me crawling"; "I need repair/Take me please/To anywhere") with a multitoned, layered intro and a whirling dervish of noises and big-rock rhythms surfing through and over big, funky hooks. It's like, well, a drug rush. But "Transcending" is the real triumph: Flea takes a go-round with lyrics and, stealing a page from Natalie Merchant, pens a tribute to his dead friend River Phoenix.

A succession of Peppers guitarists has followed Slovak's death. Perhaps the newest member, Dave Navarro, formerly of Jane's Addiction, will become a permanent addition. He makes a real contribution by taking the Chili Peppers' penchant for jazzy, unexpected nuance and sonic telepathy one step further — and also helps the band plug into its slamming punk-metal roots as well as a more retro, syncopated funkiness.

The joyful pro-creative "Aeroplane" ("Music is my aeroplane") features a happy midtempo groove that recalls pre-pop Kool and the Gang and ends with a chorus of children's voices (including Flea's daughter, Clara). "Walkabout" makes the groove slower, lazier, more spare — and then surprises with a snappy fusion break.

The disc's most potentially controversial song, the Catholic-baiting "Shallow Be Thy Game" ("To anyone who's listenin'/You're not born into sin/The guilt they try and give you/Puke it in the nearest bin") bristles with metallic fury, while "Pea" picks up on the big rampage-of-power-chords stampede of old Priest-Ozzy-Maiden metal, then metamorphoses it into similarly aggressive funk.

And then there's the title track. It's funky and fun. It's about love and sex. What the hell. Some things don't have to change. When they do it live, they'll probably be wearing wild 'n' wacky hats.

Dave Matthews Band

Big Whiskey and the GrooGrux King

RCA Records

Rolling Stone: star rating

By : David Fricke

Saxophonist LeRoi Moore of the Dave Matthews Band was a famously taciturn man. Moore, who died last August at 46 of complications from injuries suffered in an off-road-vehicle accident on his farm in Virginia, never spoke onstage — not at any DMB show I saw, anyway — and declined to be interviewed for stories about the group. When I wrote about the Dave Matthews Band for a Rolling Stone cover story in 2002, Moore avoided even saying hello. A founding member of one of America's best-selling bands, he was also spectacularly successful at minding his own business.

Matthews, who drew the richly detailed artwork for this record, knew a different Moore. On the cover of Big Whiskey and the GrooGrux King, DMB's seventh studio album, Matthews portrays Moore as a giant laughing head on a Mardi Gras float, leading the delirium on a French Quarter street. And Matthews opens the record with a sparkling evocation: the sound of Moore's piercing alto sax dancing atop drummer Carter Beauford's eruptive rolls and Stefan Lessard's humming bass in the brief instrumental "Grux." A still, stocky presence in concert, like an upright bear in corkscrew dreads, Moore was a nimble, lusty player on his various horns, threading Matthews' vocal melodies and Boyd Tinsley's violin runs with jazzy intuition and funky punctuations.

Moore died early in the sessions for Big Whiskey, before the bulk of the album was made with producer Rob Cavallo in New Orleans last winter. (The album credits do not specify which tracks Moore played on; Jeff Coffin of Bela Fleck's Flecktones also plays sax here, and now on the road with DMB as well.) The sudden loss hangs over this record's startling punch like one of that city's humid summer rains. "Still here dancing with the GrooGrux King," Matthews declares on "Why I Am," tenaciously holding on to Moore's memory. More typical, though, are references like the "soldier's last breath" in "Funny the Way It Is" and Matthews' blunt fatalism in "Spaceman": "Doesn't everyone deserve to have the good life?/But it don't always work out." "Squirm" is straight-up doomsday. "Out there, no food, no drink/How many days do you think you'd last?" Matthews sings, then throws down a growling challenge at the end: "If kindness is your king/Then heaven will be yours before you meet your end." It's as if his way of coping with Moore's passing is by contemplating everyone else's.

Matthews also roasts most of his conclusions with hot rusted electric guitars, played by himself and his longtime collaborator Tim Reynolds. It is a new wrinkle for a DMB studio album, and one too long in coming. The group's first big records, such as 1996's Crash and 1998's Before These Crowded Streets, were never as compelling to me as the live shows — particularly the spiraling sax-and-violin ascents propelled by Beauford and Lessard's fusion of funk and African rhythms — mostly because of the airy center left by Matthews' acoustic rhythm guitar. Cavallo, working with DMB for the first time, has brought some of the classic-rock edge of his hit records with Green Day and My Chemical Romance to Matthews' arena-size spin on early-Seventies Traffic, like the power-chord punctuation and slithering-fuzz flourishes behind Matthews' bad-news snarl in "Squirm."

Matthews and the band also bend the rock to their will. The hearty guitars and cackling brass in "Shake Me Like a Monkey" go perfectly with Matthews' blatant comic lust: "I like my coffee with toast and jelly/But I'd rather be licking from your back to your belly." (That he doesn't say exactly how he expects to get from one to the other means you will probably be able to buy this album at Walmart.) "Funny the Way It Is" is a busy, catchy bundle of tension and release, with Tinsley's violin slicing across the band's cut-and-thrust and a grunting riff in the bridge that gets under your skin like another chorus. For much of "Time Bomb," Matthews sings about his anger with grumbling restraint, in a nervous quiet — silver dots of soprano sax, soft, curdling organ, hovering violin. But when he finally blows up, Matthews shreds his voice like Eddie Vedder against a brick wall of Pearl Jam — a startling compact thrill, lasting only a minute and change, that sounds exactly like a guy losing control just when he needs it most.

The most aggressive instrument on "Alligator Pie (Cockadile)" is actually a banjo, played with locomotive relish by Danny Barnes, with Matthews scatting overhead, dodging Tinsley's scathing violin. The song is a prayer for New Orleans, still drowning in need nearly four years after Katrina ("Grace is all I'm asking/When will grace return?"). But when Matthews sings about all that's gone there now, it's hard not to hear Moore's spirit passing by as well: "All the things we wanted/Everything that was sure/Now there is a scar."

Big Whiskey, though, is a lot like a New Orleans funeral parade — mourning and zest balled into big, brawny music. "We'll be drinking big whiskey while we dance and sing," Matthews crows in "Why I Am." "And when my story ends, it's gonna end with him/Heaven or hell/I'm going down with the GrooGrux King." I'm betting on heaven — and that Moore will be quietly waiting for him.

Rating : 4/5

I think the words added in are kind of idiot in some cases such as "Twerk" in my opinion is really ridiculous. the other words seem to new to be added to a dictionary such as "Phablet" as well.

My Words that should be added to the dictionary next year :

Christmannoying : (Noun) When people begin to listen to Christmas music right after or before the day of Halloween.

Schoogle-Translate : (Adj.) The process in which someone such as a student, uses "Google Translate" in school to get by their world-language classes.

Rusteeth : (Adj.) The feeling of waking up in the morning with an excess amount of plaque build up on your teeth even though you brushed thoroughly the night before.

Coun-try-hard : (Noun)  A person who believes they are at the standards and have the right to act like a fellow from the deep south. Acts to find out who is a "Countryhard" would include ; Excess obession with Luke Bryan, Mudding, Driving only trucks and treating it like your child, and frequent use of  "Dip".

Senioritis : The "illness" of getting the sense that you don't have to try that hard to get by your senior year of high-school.

Ethos : The speaker had a lot of data to be presented and he seemed to know a lot about global warming as well.

Pathos : The emotion-of the speaker gave me a sense of grief emotion because he talks about how serious the situation of our ecosystem, and atmospheric issues really are and how they will effect us and the earth, throughout our lives.

Logos : The logic the speaker uses relates to reasonable issues the even I have noticed and he speaks broadly about the lack of oxygen as it reduces in forests and the issues in the Arctic.

I believe that parents should have some limits on technology and apps such as twitter and Facebook because you really don’t need those 24/7. Kids just get dragged into the whole thing because everyone else does. Maybe not every technology item in the household but people get a little too much addicted and obsessive that it serves as a primary distraction in some lives… which is sad when you actually think about it. Technology such as smartphones and other devices should be limited around family and school time.

High Interest Question

How do you feel about the 2013-2014 Boston Celtics and where do you think they're going to finish in the season standings? 

How Do Students feel About Their Homework Load?

“Students are given way too much homework, by the end of the day students are exhausted with sports and sitting at the desk gives little motivation to continue.” This was said by Norton High School Senior Sean Bostrom, who's been dealing with this homework situation his whole school career. Homework has been said to be a stress creator or a helper when it comes to opinions.  For me, I believe that we as students have a large workload due to the amount of classes we have and also the amount of time we spend in school too When I asked a fellow senior from Norton High School what the thought about the workload, had that to say on the whole agenda: "When I am I'm school, I already feel stressed and tired from what we do in classes and to get out of school is a relief on some days. But when we get home just to find out we have homework, a project, or study time we have to work on, I get more stressed than I already was while attending my classes. When I asked a fellow senior from Norton High School what the thought about the workload, had that to say on the whole agenda  I feel the same way as well. When I asked six students on my off time (Broadening from three different High Schools) whether or not they believe they are being assigned too much homework or not, they all agreed that they were given too much homework and with everything else going on, "homework gets in the way." Mainly because they either played sports or they have jobs as well as other things that occupy their out of school time.

 We need to be intelligent and knowledgeable but sometimes we are assigned too much of a workload that it doesn't help at all. When I asked a student about homework workloads, he said "Students should do their work in school and only in school. Time at home should be for family or relaxation outside of school." Even a large quantity of parents agree students are given a heavy workload of for school. We spend roughly seven hours in one school day. I get out of school around 2:05pm and time spent after school usually consists of 2 hours of extra work given to me. Homework makes it feel like we're still spending our time in school. School isn't what most of the day should consist of and certainly not outside of school. Cody Shannon, another senior attending Norton High School, had this to say about the average students’ homework workload: "I feel as if it's too much. It should be weighed down because we also sit in school for six hours as it is”. Students do work in class so they might as well do that assigned work while still in school rather than interfering with every day out of school life.

From my opinion and all the other numerous student opinions on the average workload for homework, it seems as if the workload is a little too much. Sure we need to do school work and be assigned homework once in a while or if every day in small amounts, but as of now, it is an issue that many people struggle with and continuously struggle with in their high school careers.

The Atlantic article about Esmee’s dad doing her homework for a week was used by a mixed method because the Father talks mainly about how much time he spends on the homework each day in hours (Quantitative Info) and uses information and past events (Qualitative Info) to get a look at how much work his daughter Esmee is doing. The father talks about the certain equations that he was given and he talked about how difficult the work he was given back then as well. For qualitative info, he makes observations and uses past experiences to compare his work to ethics to her daughters work ethics today. Staying up all night struggling to solve equations and reading for English classes is what affected Esmee in negative ways. He has talks with his daughter as well as if they were like interviews. “I don’t remember how much Homework was assigned to me in the eighth grade.” Says the father who claims he probably had less work compared to Esmee, who he claims is given too much work. “I am surprised by the amount of reading.” Says Karl, “Reading and writing is what I do for a living, but in my middle age, I’ve slowed down. So a good day of reading for me, assuming I like the book and I’m not looking for quotable passages, is between 50 and 100 pages. Seventy-nine pages while scanning for usable material—for a magazine essay or for homework—seems like at least two hours of reading.” Karl states that he has slowed down to what he used to apply with his work and he compares his work to the struggling hours of homework Esmee is working with.Karl believes that the math is easier than he thought. “We are simplifying equations, which involves reducing (–18m²n)² × (–(1/6)mn²) to –54m⁵n⁴, which I get the hang of again after Esmee’s good instructions. I breeze through those 11 equations in about 40 minutes and even correct Esmee when she gets one wrong...”  He gives examples and he also gives the amount of work he put in along with how it makes him feel.

Sam  Khokhlan  Interview

Sam Khokhlan is a Senior at Norton High School. His favorite bands are Nirvana, Sublime, and The Red Hot Chili Peppers. When asked what one of his least favorite bands are, Sam said “Asking Alexandra” because “They aren’t good at all and everyone likes them” and he’s not too sure exactly why. He doesn’t play any sports but if he could count lifting as a sport then that is what he does. For activities, Sam enjoys “Sniffing candles and going bird watching”. He use to own a bunny named Leo who was his only bunny buy yet “The coolest bunny he’s ever had”. When asked his favorite genre of music he responded with “Techno and EDM (Electronic Dance Music). Sams favorite food is Lasagna because “It is like pizza but in a better form…. Like a pizza cake.”  Sam has a number of role models ranging from Zyyz (Bodybuilder), Arnold Schwarzenegger, and Nicolas Cage because he is a “Quality actor”. When asked why Nicolas Cage out of anyone he said “Because Nicolas Cage is the greatest actor ever”. Khokhlan also says he has a few talents such as being very musical. Ranging from Guitar, Piano and Drums. He loves cars and can do weird stuff with his legs and make clicking noises really loud and weird screaming with his throat. For the last question I asked Sam what his pet peeves are and he said “People who lie just to talk about something” saying that he hates “Blatant liars” as well.

Seat-belts Save Lives

To many, seatbelts are just something strapped on to you for no reason but to annoy people and are in the way of things, others also claim that they shouldn't exist, and then there are some that think idealistically. Whoever thinks that seat belts have a point and could save your life one day have caught the right idea. Seatbelts have been known to save lives and without them, they’ve been known to take lives.

Wearing your seatbelt doubles your chances of surviving a serious crash, not wearing a seatbelt on the other hand, increases your chances of death during a serious crash. Many people do not take the time to buckle up and that decision is extremely risky and incautious. Wearing a seatbelt is a life or death decision. Passengers not wearing seat belts in the car can kill and seriously injure others in the car if, for example, the driver has to break suddenly. Not only will not wearing a seatbelt put you at risk, it will also put your passengers and loved ones at risk as well.

During 2008-2012 on average, 36% of all drivers and passengers killed and 9% of vehicle occupants seriously injured are not wearing seatbelts at the time, some of these people are children. 40 child passengers aged 0-16 are killed seriously or injured while 1/3 of these children are aged 0-7 years old. That was only in Australia. In 2009, crashes killed over 33,000 people and injured 2.2 million others in America. More than half of those people killed in the crashes in 2009 were not wearing any seat belt or restraints at the time. Wearing a seatbelt is the most effective way to prevent an injury or even death while in a vehicle. Seat Belts reduce the risk of death by 45% and cut the risk of injury by 50%. Seat Belts have saved an estimated 255,000 lives since 1975 and if we all used seat belts every day, dozens of thousands of lives could be saved from death, including you.

Position Paper on Rolling Stone Article

Rolling Stone Article Review :

The July Rolling Stone Article Entitled “The Bomber” portraying Dzhokahr Tsarnaev on the cover as somewhat of a “Glorified” man, described by many, sparked a large collective of controversy and also many mixed reactions such as positive, negative, and speechless reactions article wise as well as cover wise too. Many of these reactions could be justified in many ways such as the negative ones.

The article stirred up a lot of controversy. Many people believed that the article was making Tsarnaev seem like somewhat of a victim from what the cover implies. It states “How a popular, promising student was failed by his family, fell into radical Islam and became a monster.” They state that his family was the group of people that supposedly “Failed” him other than saying he failed himself from the actions he had committed. People thought the cover statement was making it seem like it was not Dzhokahrs fault. They also describe Jahar in many positive ways such as “Charming”, “Pillow soft kid”, and “That kid you could always just vibe with” and “So sweet.”

Others on the other hand, believed it was necessary for all this information to be told. Many said it was the right thing to do because it showed the transition Dzhokahr went from a “Promising” kid to a “Monster” and a terrorist, previous to the fatal Boston Marathon Bombings. To them, the story was implying the truth of Jahars life before and after the event. People wanted to know how he actually was like and they used friends, family, and close people to him to answer all of that. But, not getting the poor victims point of views, thoughts, and comments is what bothered people as well. It was all about Dzhokahr Tsarnaev.

In my opinion, Tsarnaev being enshrined on the cover wasn't the brightest thing to do. They could’ve put a headline about Dzhokahr but I feel like enshrining him on the cover was a little too far. And Rolling Stone also used all these nice ways to describe him as if he were a sweet innocent victim of his own family which they are not to be blamed besides his own brother. They didn’t use much negative comments which was what most people probably expected. I don’t like what the headline implies with the “Family” being the ones to blame. Rolling Stone Magazine made the readers dwell on the life of the killer rather than the victims and their families. He failed himself and became what he had become himself with his terroristic actions that shocked the globe.