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Student-Athletes Should Profit from their Roles
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Student-Athletes Should Profit from their Roles
The NCAA enacted specific rules that prevent student-athletes from receiving gifts in the form of money, selling autographs, or signing a contract with an agent. If a student-athlete any of these, they immediately lose their armature status and are disqualified from ever participating in NCAA games. The NCAA president signed a contract worth $11 billion to broadcast men’s Division I basketball and went on to states in in a meeting in Los Angeles that since these athletes are their students, they do not pay (Locke). Another issue that the NCAA is considering a concern is how to pay all the athletes equitably when the majority of most NCAA sports do not generate much revenue for their schools. Football and basketball are the two most popular sports and generate a huge chunk for the majority of the NCAA schools. Although the NCAA is making claims that are legitimate to a certain extent, it should not bar students from earning money because the effort they put into these sports is a lot, and a proportional appreciation in terms of remuneration will suffice.
Student-athletes, mostly football and basketball players, generate colossal amounts of revenue for their respective schools, money that is divided and sent out to different programs to make them accessible to all students. This makes a lot of sense and is even beautiful because it is students subconsciously coming to the aid of others by ensuring they get low or no-cost education. What does not makes sense is why the student-athletes are not allowed to go out and make their own money. If the NCAA can use the images of a student-athlete to make money, profit from broadcasting their actions, and sell branded jerseys to earn insane amounts of money, why can’t these athletes do the same and get a piece of that?
Recruits playing at the top tier leagues go to college and earn millions of dollars for their respective institutions, yet they are prohibited from making their own money through individual contracts. Many players should have made money while they played in college. Take an example of Zion Williamson, a player that pulled crowds any time he was on the pitch but got nothing for all the incredible performances he put out for Duke. The Duke men’s basketball team raked in 34 million dollars. The NCAA in 2017 collected $1 billion in revenue, and not sending a bit of this amount the athletes’ way who are earning this money is absurd (Rentz-Baker).
However, the Fair Pay to Play Act is an initiative that is expected to take effect in California in 2023, why 2023 is a question that is better left rhetorical (Tatos). In reaction to this, a lot of people on social media platforms are considering this move as a potential threat to college athletics. If a player is too good, he will use college as a way to the professional leagues they say, forgetting that this is precisely what happens now. Those that are claiming that there will be little regard for education are forgetting that most college athletes do not have education in their mind meaning they do not consider scholarships a form of compensation. Earning some money on the side in a year or two in college has no way of ruining college sports. Proponents of the idea that student-athletes should not be paid are not considering the amount of work they are putting in to be effective on the field and the health risk they face.
The NCAA, in all honesty, takes advantage of its athletes and claim they are trying to help them. Paying student-athletes will not have the negative effects the propaganda is trying to spread. It will also have no adverse impact on the players because the college experience for a student-athlete will remain the same. If the NCAA is having a problem sharing its spoils, it should at least allow the athletes to earn there own money.
Works Cited
Locke, Daniel. “Should NCAA Athletes Be Allowed to Profit from Their Own Fame?” Bleacher Report, 31 Oct. 2011, bleacherreport.com/articles/918372-free-market-ncaa-athletes-should-be-allowed-to-profit-off-their-own-fame. Accessed 29 Nov. 2019.
Rentz-Baker, Mills. “College Athletes Should Profit from Their Skills and Contributions to Institutions.” The Southerner Online, 16 Oct. 2019, thesoutherneronline.com/73482/comment/college-athletes-should-be-able-to-profit-off-of-their-name/. Accessed 29 Nov. 2019.
Tatos, Ted. “College Athletes Should Be Able to Earn Money From Their Likeness.” The American Prospect, 19 Sept. 2019, prospect.org/education/college-athletes-should-be-able-to-earn-money-from-their-lik/. Accessed 29 Nov. 2019.
Rosencrantz and Guildenstern are Dead
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Rosencrantz and Guildenstern are Dead
Fate and Free Will
“Inside where nothing shows, I am the essence of a man spinning double-headed coins, and betting against himself in private atonement for an unremembered past.” (1.56-57)
Fate is introduced at the very beginning of the scene where consecutive coin tosses keep coming up heads, which indicates that at this point, the laws of chance have been halted. “A weaker man might be moved to re-examine his faith … in the law of probability (1.12)” The theme of fate in this play follows the words of William Shakespeare owing to the play being grounded on Hamlet.
For this reason, the fate of Rosencrantz and Guildenstern was written in the 17th century. Any time that this play has derailed from Hamlet, Rosencrantz and Guildenstern find themselves bored and apathetic. When these two plays are interconnected, the Rosencrantz and Guildenstern? Continue to wonder to what extent are their lives dependent on fate and chance?
When Rosencrantz and Guildenstern become aware of the switched letter, the latter realizes that getting on the boat has guided them to their deaths. Guildenstern notes that although they can move, clatter around and even change direction on this boat, their movement is still controlled by a bigger one that strings them around as adamantly as the wind and the current. Here, the freedom of movement becomes analogous to free will, and the boat represents fate. According to Stoppard, the course of life events is independent of free will. No matter the actions people pursue or the direction they take in their activities, the destination does not change, and in the case of Rosencrantz and Guildenstern, death by execution.
The theme of language and communication
ROS: What are you playing at?
GUIL: Words, words. They’re all we have to go on. (Pause.)
ROS: Shouldn’t we be doing something – constructive?
GUIL: What did you have in mind?… A short, blunt human pyramid…?
ROS: We could go.
GUIL: Where? (Stoppard 1.300-306)
In Tom Stoppard’s play Rosencrantz and Guildenstern, he creates characters that often play with words. These two title characters constantly pun off each other’s words without much direction to the dialogue or having a purpose for it. On the contrary, they goof around like children tossing a ball at each other back and forth. The consistent model of poor communication in the play is a hint at a broader breakdown in understanding between the characters that set the stage for the play’s tragic spiral. Lingualism purports that with the absence of language, there is no thought. Language is used to shift thought from a mind to the next. It is sometimes viewed as a powerful tool for writing the fate of oneself. But for the case of Rosencrantz and Guildenstern, language is just but an impotent tool that they use to speculate. Because language feeds the mind with information and result in individuals entertaining certain thought with profound consequences, it influences the resulting behavior, meaning the lack of use of language by Rosencrantz and Guildenstern to this effect sends the two characters to tragedy.
The Theme of Death
“Guildenstern: You see him now and then you don’t see him”
Death is a central motif in Rosencrantz and Guildenstern are Dead as it describes the convolution of life, the complexity of death, and the events that lead to it. The theme of death is significant in depicting the theory of determinism vs. free will. The time when Rosencrantz and Guildenstern are dead was written, a number of people were questioning the existence of God and the afterlife.
Rosencrantz and Guildenstern ponder over what happens when a person dies and seem to mutually conclude that after one dies, nothing is left of them but their body. This play questions every aspect of living with death as the only certainty. Death is an inevitability that is guaranteed by the play’s title and one that the characters, regardless of their questioning, have no power to avoid. This play uses William Shakespeare’s hamlet as a motif that dictates the course of the story. On the other hand, the human condition directs its course as well. Indeed, human condition answers the characters’ everlasting questions on where they are heading as well as their questions regarding fate. Death for every human thing and living creature is both a destination as well as a destiny. Guildenstern reiterates that “Death is … not. Death isn’t. You take my meaning. Death is the ultimate negative. Not-being.” In doing so, death is painted as the ultimate certainty (the path for every mortal) while at the same time being the ultimate uncertainty (nobody has an idea of what death is). The only presumption Guildenstern can come up with is that death is the opposite of life.
Guildenstern’s obsession with finding the meaning of death prolongs to his disagreement with the player. In his argument, Guildenstern believes that death is too significant to be sufficiently depicted on stage; the player in his defense does not see any difference with actual and implied death. Death does not hold any special import to the player and is instead the most certain-and thus routine-thing of all.
The Connection Between Life and the Stage
Tom Stoppard’s play Rosencrantz and Guildenstern Are Dead highlights the close association concerning life and theatre. Various features of this play are dedicated to emphasizing this link, an important point that this production asks its spectators to take up that the characters in William Shakespeare’s Hamlet are actual, and a narrative to their story needs to be created from a different perspective. Within the play, the Tragedians and their play depict events that will ultimately befall Rosencrantz and Guildenstern. The actors in the play have two characters that resemble Rosencrantz and Guildenstern, who eventually die in the same manner Stoppard’s characters do. Rosencrantz and Guildenstern also do not help but notice that the two characters the roles synonymous to their own are dressed in the same attire as them. Rosencrantz becomes so confused by the reason he identifies the actor outfitted as he is and later tells him that he is not the person (the actor) supposed he was. In summary, theater is a perfect reflection of life to the extent that Rosencrantz cannot tell one from the other.
Guildenstern, on his part criticizes the actor for his assumption that their performance on the stage can portray feelings, particularly the fear of demise. The actor’s reply comes in 2 perspectives. That portrayed death is the only real death because the audience and people, in general, believe in it, and it is what they expect. He goes on to create a demonstration of his point with the help of Guildenstern, who pangs him with a pretend blade. Rosencrantz and Guildenstern are finally converted by the actor’s depiction, which supports his assertion that people really buy what theater sells. Indeed, Rosencrantz and Guildenstern believe in death when it is portrayed in theater as they cannot bring themselves to accept as true their particular looming deaths and for which they cannot visualize any anticipations.
Works Cited
Stoppard, T. (1967). Rosencrantz & Guildenstern are dead: a play in three acts. Samuel French, Inc..
Digital marketing
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Digital marketing
Marketing involves the advertising, selling and promoting of goods and services from one avenue to another. Marketing is a significant aspect in trade owing to its ability to enhance the interest of involved parties. There are several forms of marketing that have been created as a result of the globalization and introduction of technology. This has changed the dynamics of the trade making marketing one of the more advanced industries. One of the concepts that materialized from the evolution of marketing is the introduction of digital marketing. Digital marketing is the use of various aspects of the computer technology when advertising goods and services. Most companies have resorted to using the internet to reach out to a large population compared to other marketing forms.
The focus of this paper is to provide an analysis of the application of digital marketing in the current market. The paper follows the marketing activities of one of the websites that dedicates a majority of their advertisements and promotions to the web. The website in this case is steampowerd.com which concentrates on the trade of the latest video games in the market. The thesis of the paper is therefore based on the consumer purchasing plan of the products with the help of the marketing concept.
Steampowerd.com is a company that sells computer games. Most of these games are technologically oriented in that one of the functions they need to function is computer related. Video games have over the years changed from simple games to advances forms of creative games. The games in question target a particular market making them an essential part of the lives of the people who use them. The age bracket of the target market is 8- 25 which widens the scope of the number of clientele exposed to the products. This gives rise to the creation of consumer purchasing plans that involve the analysis of the purchasing patens of the clients. One of the ways of analyzing the purchasing trades is by the use of survey. Conducting a survey of the activities involved in the digital marketing website showcases the rate at which the industry continues to grow as a whole.
On studying the website, one notices the development of the advertising trend and the number of consumers that have taken on this form of purchasing. The survey in this case should be reflective of the reception of the services provided by the website. The survey concentrates on the purchasing trends of the customers and their involvement in the performance of the website. The website has in display the new products available to the market on their introduction. These products are accompanied with explanations of the features, issues and quality of the games. The games range from children games to adult oriented games. The website also has in place different channels that deal with announcements, updates from clients, press releases and blogs that talk on the products introduced into the market.
The website has put in place a section where customers can update the information they review concerning their new products. These reviews involve the experiences the customers have had as a result of the purchase and trial of the products. Updates are also involved the creation and release of new version of the same product. This portrays the advantages and disadvantages f the updated product in comparison to the previous one. The survey also looks at the number of consumers that the website attracts in a selected period. This is derived from the rate of purchases of the consumers.
Online consumer purchasing differs from the traditional forms of purchasing in all aspects. One of the areas of significance is the records on the exchange of the goods, preferences and prices online. The purchasing plan is dedicated to the use of the procurement process when acquiring a product. The website provides login details which is essential for the exposure to the games sold. The login details also have options that require the presentation of the methods a client would prefer to purchase a product. Some of the options differ depending on the payment plan and financial ability of the client.