What Are Pressure Groups? #3
What are pressure groups?
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Pressure groups are defined as a group or association of people who share particular political aims. They seek to defend or raise awareness of the interests of a community, or an issue, by gaining a wide level of support. Pressure groups seek only to influence government and not to take power themselves.
Sectional pressure groups represent a section of society. They often have narrow goals and are only interested in the group's interests. For example, Age UK.
Promotional pressure groups represent an issue or a cause. Anybody can join the cause and they believe that what they want will benefit the community! For example, friends of the earth.
Insider pressure groups have direct access to government and decision makers, and often consult with government officials. Outsider pressure groups don't have access to government and decision makers, and most choose not to. They seek public support and campaign, using methods such as direct action and social networking sites.
Pressure groups seek government influence, whilst parties seek government power. Pressure groups concentrate on one issue or few issues, whilst parties have a wide array of government policies. Pressure groups are not accountable for their policies, whilst political parties are after being voted in at an election.
One of the key benefits of pressure groups is that they enhance pluralism (instead of elitism), which is defined as a political system where many groups, cultures, beliefs and lifestyles are able to work together and tolerate one another.
Lobbying ministers, sitting on committees, direct action and demonstrations, media campaigns, civil disobedience, internet campaigns, action through law courts
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Chick Corea - Spain (Duo by Elin Sandberg and Tracy Robertson)
Chick Corea's Spain performed and arranged by Elin Sandberg (bass) and Tracy Robertson (voice). The introduction is from Joaquin Rodrigo's Concierto de Aranjuez.
Elin and Tracy
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Spain (C. Corea)
Voice: Tracy Robertson
Bass: Elin Sandberg
Recorded live at the David Friend Recital Hall
Production Manager: Dave Wentling
Mixing Engineer: Simon Katz
Filmed by: 21summit Productions
Videographer, Editor: Joe Barnard
Mastered by: M Works Studios
Engineer: Jonathan Wyner
Lyrics by Al Jarreau
Yesterday, just a photograph of yesterday
And all it's edges folded and the corners faded, sepia brown
And yet it's all I have of our past love
A postscript to it's ending
Brighter days, I can see such brighter days
When every song we sang is sung again
And now we know it's for good
This time for good
And we're lovers once again
And you're near me
I can remember the rain in December
The leaves are brown on the ground
In Spain I did love and adore you
The nights filled with joy were our yesterdays
And tomorrow will bring you near me
I can recall my desire, every reverie is on fire
And I got a picture of all our yesterdays
Yesterday, I can say. I got a kick everytime I see
That Spain again.
I can remember the rain in December
The leaves are brown on the ground
Our love was a Spanish fiesta
The bright lights and songs were our joy each day
And the nights were the heat of yearning.
*** I can recall my desire, every reverie is on fire
And I got a picture of all our yesterdays
Yesterday, I can say. I got a kick everytime I see
You gaze at me
I see moments of history
Your eyes meet mine
And they dance to the melody
And we live again, as if dreaming
The sound of our hearts beat like castanets
And forever we know their meaning #berklee #berkleecollegeofmusic
Jessica Biel in sexy black lingerie - London Movie
Here you'll find Movie Reviews, Movie Trailers, Celebrity Interviews, Movie and Entertainment News and much more!
Jessica Biel tries on several different outfits while wearing sexy black lingerie and talking to Chris Evans in LONDON.
Cast: Jessica Biel, Chris Evans, Jason Statham
Director: Hunter Richards
Genre: Drama, Romance
Suspense: After Dinner Story / Statement of Employee Henry Wilson / Cabin B-13
In the earliest years, the program was hosted by The Man in Black (played by Joseph Kearns or Ted Osborne) with many episodes written or adapted by the prominent mystery author John Dickson Carr.
One of the series' earliest successes and its single most popular episode is Lucille Fletcher's Sorry, Wrong Number, about a bedridden woman (Agnes Moorehead) who panics after overhearing a murder plot on a crossed telephone connection but is unable to persuade anyone to investigate. First broadcast on May 25, 1943, it was restaged seven times (last on February 14, 1960) — each time with Moorehead. The popularity of the episode led to a film adaptation, Sorry, Wrong Number (1948), starring Barbara Stanwyck. Nominated for an Academy Award for her performance, Stanwyck recreated the role on Lux Radio Theater. Loni Anderson had the lead in the TV movie Sorry, Wrong Number (1989). Another notable early episode was Fletcher's The Hitch Hiker, in which a motorist (Orson Welles) is stalked on a cross-country trip by a nondescript man who keeps appearing on the side of the road. This episode originally aired on September 2, 1942, and was later adapted for television by Rod Serling as a 1960 episode of The Twilight Zone.
After the network sustained the program during its first two years, the sponsor became Roma Wines (1944--1947), and then (after another brief period of sustained hour-long episodes, initially featuring Robert Montgomery as host and producer in early 1948), Autolite Spark Plugs (1948--1954); eventually Harlow Wilcox (of Fibber McGee and Molly) became the pitchman. William Spier, Norman MacDonnell and Anton M. Leader were among the producers and directors.
The program's heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio's famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, Backseat Driver, which originally aired February 3, 1949.
The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with Death on My Hands: A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him.
With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur's The Man Who Went Back to Save Lincoln or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas.