Demographics of the U.S. Trends in Age and Race

In 2014, Pew Research Center released an interactive report titled The Next America, which reveals the sharp demographic changes in age and racial makeup that are on track to have the U.S. look like an entirely new country by 2060. The report focuses on major shifts in both the age and racial composition of the U.S. population  and emphasizes the need for a retooling of Social Security, as the growth in the retired population will put increasing pressure on the decreasing proportion of the population supporting them. The report also highlights immigration and interracial marriage as causes for the racial diversification of the nation that will mark the end of the white majority in the not so distant future. Aging Population Historically, the age structure of the U.S., like other societies, has been shaped like a pyramid, with the largest proportion of the population among the youngest, and cohorts decreasing in size as age rises. However, thanks to longer life expectancy and lower overall birth rates, that pyramid is morphing into a rectangle. As a result, by 2060 there will be almost as many people over age 85 as there are under age five. Every day now, as this major demographic shift takes place,  10,000 Baby Boomers turn 65 and begin collecting Social Security. This will continue until the year 2030, which puts pressure on the already stressed retirement system. In 1945, five years after Social Security was created, the ratio of workers to payees was 42:1. In 2010, thanks to our aging population, it was just 3:1. When all Baby Boomers are drawing that benefit the ratio will be reduced to two workers for every one recipient. This suggests a grim outlook for the possibility of those currently paying the benefits of receiving any when they retire, which suggests that the system needs revamping, and quick. End of White Majority The U.S. population has been steadily diversifying, in terms of race, since 1960, but today, whites are still the majority, at about 62 percent. The tipping point for this majority will come sometime after 2040, and by 2060, whites will be just 43 percent of the U.S. population. Much of that diversification will come from a growing Hispanic population, and some from growth in the Asian population, while the Black population is expected to maintain a relatively stable percentage. This marks a significant change for a nation that has historically been dominated by a white majority that holds the most power in terms of economy, politics, education, media, and in many other realms of social life. Many believe that the end of the white majority in the U.S. will herald a new era in which systemic and institutional racism no longer reign. Immigration Immigration over the last 50 years has a lot to do with the changing racial makeup of the nation.  More than 40 million immigrants have arrived since 1965; half of whom have been Hispanic, and 30 percent Asian. By 2050, the U.S. population will be about 37 percent of immigrants—the largest share in its history. This shift will actually make the U.S. look more like it did at the dawn of the 20th century, in terms of the  proportion of immigrants to native-born citizens. One immediate consequence of the uptick in immigration since the 1960s is seen in the racial makeup of the Millennial generation—those currently 20-35 years old—who are the most racially diverse generation in American history, at just 60 percent white. Interracial Marriages Increasing diversification and shifts in attitudes about interracial coupling and marriage are also changing the racial makeup of the nation and forcing the obsolescence of long-standing racial categories we use to mark difference among us. Showing a sharp increase from just 3 percent in 1960, today 1 in 6 of those getting married is partnering with someone of another race. Data show that those among Asian and Hispanic populations are more likely to marry out,  while 1 in 6 among Blacks  and 1 in 10 among whites do the same. All of this points to a nation that will look, think, and behave rather differently in the not so distant future, and suggests that major shifts in politics and public policy are on the horizon. Resistance to Change While many in the U.S. are pleased by the diversification of the nation, there are many who do not support it. The rise to power of president Donald Trump in 2016 is a clear sign of discord with this change. His popularity among supporters during the primary was largely fueled by his anti-immigrant stance and rhetoric, which resonated with voters who believe that both Donald Trump in 2016 is a clear sign of discord with this change. His popularity among supporters during the primary was largely fueled by his anti-immigrant stance and rhetoric, which resonated with voters who believe that both immigration and racial diversification are bad for the nation. Resistance to these major demographic shifts appears clustered among white people and older Americans, who turned out to support Trump over Clinton in the November election. Following the election, a ten-day surge in anti-immigrant and racially motivated hate crimes swept the nation, signaling that the transition to the new United St ates will not be a smooth or harmonious one.

Psychology Is Everywhere You Look - 957 Words

Psychology is everywhere you look (Caldwell 2014). It can be found within TV shows, music, sports, and even society. The textbook, Exploring Psychology, begins to explore the social, cognitive, and emotional roots of prejudice within society (545). Prejudice has remained a huge obstacle throughout world history. With the recent murders of unarmed African American men, the aspect of police brutality begins to relate back to prejudice. According to Jesse Holland of the Associated Press, the recent murder of Mike Brown has brought forth several marches and racial unrest within the African American community. With this example of social unrest, psychology begins to make its presence known through the roots of social relations. Eric Garner and Mike Brown were African American men who died from the wrongful force of a white police officer. Within social psychology, studies are made to explain how humans influence, think, and relate to one another (Myers 525). One of the main factors of social psychology is the negative attitude of prejudice. To be prejudice towards someone means to place a pre judgment on someone due to social differences. Myers begins to explain how prejudice attributes to the role of psychology through a social standpoint. In the text, Exploring Psychology, Myers explains the three roots of prejudice: social, emotional, and cognitive. Within the realm of the social roots of prejudice, the idea of discrimination comes into play. Discrimination isShow MoreRelatedPsychology Applied to Everyday Life1185 Words   |  5 PagesAndrew Handler 12/12/2012 Psychology Final Paper Psychology Applied to Everyday Life Psychology can be applied to everyday life in many ways. The three main ways Psychology applies to my life is through motivation and emotion, Stress and health and Psychological therapies. These topics of psychology are the ones that best describe my life. 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The Vampire Diaries The Fury Chapter One Free Essays

Elena stepped into the clearing. Beneath her feet tatters of autumn leaves were freezing into the slush. Dusk had fallen, and although the storm was dying away the woods were getting colder. We will write a custom essay sample on The Vampire Diaries: The Fury Chapter One or any similar topic only for you Order Now Elena didn’t feel the cold. Neither did she mind the dark. Her pupils opened wide, gathering up tiny particles of light that would have been invisible to a human. She could see the two figures struggling beneath the great oak tree quite clearly. One had thick dark hair, which the wind had churned into a tumbled sea of waves. He was slightly taller than the other, and although Elena couldn’t see his face she somehow knew his eyes were green. The other had a shock of dark hair as well, but his was fine and straight, almost like the pelt of an animal. His lips were drawn back from his teeth in fury, and the lounging grace of his body was gathered into a predator’s crouch. His eyes were black. Elena watched them for several minutes without moving. She’d forgotten why she had come here, why she’d been pulled here by the echoes of their battle in her mind. This close the clamor of their anger and hatred and pain was almost deafening, like silent shouts coming from the fighters. They were locked in a death match. I wonder which of them will win, she thought. They were both wounded and bleeding, and the taller one’s left arm hung at an unnatural angle. Still, he had just slammed the other against the gnarled trunk of an oak tree. His fury was so strong that Elena could feel and taste it as well as hear it, and she knew it was giving him impossible strength. And then Elena remembered why she had come. How could she have forgotten? He was hurt. His mind had summoned her here, battering her with shock waves of rage and pain. She had come to help him because she belonged to him. The two figures were down on the icy ground now, righting like wolves, snarling. Swiftly and silently Elena went to them. The one with the wavy hair and green eyes- Stefan, a voice in her mind whispered-was on top, fingers scrabbling at the other’s throat. Anger washed through Elena, anger and protectiveness. She reached between the two of them to grab that choking hand, to pry the fingers up. It didn’t occur to her that she shouldn’t be strong enough to do this. She was strong enough; that was all. She threw her weight to the side, wrenching her captive away from his opponent. For good measure, she bore down hard on his wounded arm, knocking him flat on his face in the leaf-strewn slush. Then she began to choke him from behind. Her attack had taken him by surprise, but he was far from beaten. He struck back at her, his good hand fumbling for her throat. His thumb dug into her windpipe. Her attack had taken him by surprise, but he was far from beaten. He struck back at her, his good hand fumbling for her throat. His thumb dug into her windpipe. But he was stronger than she was. With a jerk of his shoulders, he broke her hold on him and twisted in her grasp, flinging her down. And then he was above her, his face contorted with animal fury. She hissed at him and went for his eyes with her nails, but he knocked her hand away. He was going to kill her. Even wounded, he was by far the stronger. His lips had drawn back to show teeth already stained with scarlet. Like a cobra, he was ready to strike. Then he stopped, hovering over her, his face changing. Elena saw the green eyes widen. The pupils, which had been contracted to vicious dots, sprang open. He was staring down at her as if truly seeing her for the first time. Why was he looking at her that way? Why didn’t he just get it over with? But now the iron hand on her shoulder was releasing her. The animal snarl had disappeared, replaced by a look of bewilderment and wonder. He sat back, helping her to sit up, all the while gazing into her face. â€Å"Elena,† he whispered. His voice was cracked. â€Å"Elena, it’s you.† Is that who I am? she thought. Elena? It didn’t really matter. She cast a glance toward the old oak tree. He was still there, standing between the upthrust roots, panting, supporting himself against it with one hand. He was looking at her with his endlessly black eyes, his brows drawn together in a frown. Don’t worry, she thought. I can take care of this one. He’s stupid. Then she flung herself on the green-eyed one again. â€Å"Elena!† he cried as she knocked him backward. His good hand pushed at her shoulder, holding her up. â€Å"Elena, it’s me, Stefan! Elena, look at me!† She was looking. All she could see was the exposed patch of skin at his neck. She hissed again, upper lip drawing back, showing him her teeth. He froze. She felt the shock reverberate through his body, saw his gaze shatter. His face went as white as if someone had struck him a blow in the stomach. He shook his head slightly on the muddy ground. â€Å"No,† he whispered. â€Å"Oh, no†¦Ã¢â‚¬  He seemed to be saying it to himself, as if he didn’t expect her to hear him. He reached a hand toward her cheek, and she snapped at it. â€Å"Oh, Elena†¦Ã¢â‚¬  he whispered. The last traces of fury, of animal bloodlust, had disappeared from his face. His eyes were dazed and stricken and grieving. The last traces of fury, of animal bloodlust, had disappeared from his face. His eyes were dazed and stricken and grieving. He stared at her a moment, the pain in his eyes reaching a peak, and then he simply gave up. He stopped fighting completely. She could feel it happen, feel the resistance leave his body. He lay on the icy ground with scraps of oak leaves in his hair, staring up past her at the black and clouded sky. Finish it, his weary voice said in her mind. Elena hesitated for an instant. There was something about those eyes that called up memories inside her. Standing in the moonlight, sitting in an attic room†¦ But the memories were too vague. She couldn’t get a grasp on them, and the effort made her dizzy and sick. And this one had to die, this green-eyed one called Stefan. Because he’d hurt him, the other one, the one Elena had been born to be with. No one could hurt him and live. She clamped her teeth into his throat and bit deep. She realized at once that she wasn’t doing it quite right. She hadn’t hit an artery or vein. She worried at the throat, angry at her own inexperience. It felt good to bite something, but not much blood was coming. Frustrated, she lifted up and bit again, feeling his body jerk in pain. Much better. She’d found a vein this time, but she hadn’t torn it deeply enough. A little scratch like that wouldn’t do. What she needed was to rip it right across, to let the rich hot blood stream out. Her victim shuddered as she worked to do this, teeth raking and gnawing. She was just feeling the flesh give way when hands pulled at her, lifting her from behind. Elena snarled without letting go of the throat. The hands were insistent though. An arm looped about her waist, fingers twined in her hair. She fought, clinging with teeth and nails to her prey. Let go of him. Leave him! The voice was sharp and commanding, like a blast from a cold wind. Elena recognized it and stopped struggling with the hands that pulled her away. As they deposited her on the ground and she looked up to see him, a name came into her mind. Damon. His name was Damon. She stared at him sulkily, resentful of being yanked away from her kill, but obedient. Stefan was sitting up, his neck red with blood. It was running onto his shirt. Elena licked her lips, feeling a throb like a hunger pang that seemed to come from every fiber of her being. She was dizzy again. â€Å"I thought,† Damon said aloud, â€Å"that you said she was dead.† He was looking at Stefan, who was even paler than before, if that was possible. That white face filled with infinite hopelessness. â€Å"Look at her† was all he said. A hand cupped Elena’s chin, tilting her face up. She met Damon’s narrowed dark eyes directly. Then long, slender fingers touched her lips, probing between them. Instinctively Elena tried to bite, but not very hard. Damon’s finger found the sharp curve of a canine tooth, and Elena did bite now, giving it a nip like a kitten’s. Damon’s face was expressionless, his eyes hard. â€Å"Do you know where you are?† he said. Elena glanced around. Trees. â€Å"In the woods,† she said craftily, looking back at him. â€Å"And who is that?† She followed his pointing finger. â€Å"Stefan,† she said indifferently. â€Å"Your brother.† â€Å"And who am I? Do you know who I am?† She smiled up at him, showing him her pointed teeth. â€Å"Of course I do. You’re Damon, and I love you.† How to cite The Vampire Diaries: The Fury Chapter One, Essay examples

To what extent does this scene confirm the status of Romeo and Juliet as star

To what extent does this scene confirm the status of Romeo and Juliet as star-crossed lovers?   Essay Act 3, scene 1 is a very memorable scene for the audience as they are presented with two, very dramatic fight scenes which result in Romeos banishment from Verona. As a consequence of this Romeo thinks he will never see his wife, Juliet, again. Shakespeare cleverly changes the theme of the scene to hate after Mercutio is murdered. What seems to be a playful fight between him and Tybalt ends in his own death. In an act of revenge Romeo then kills Tybalt in the second fight scene. The fight scenes give the audience a chilling reminder that the play is in fact a tragedy and that the unfortunate fate of Romeo and Juliet has already been decided. Act 3, scene 1 is one of the most important scenes in the play as well as being one of the most memorable. Throughout the play Shakespeare alternates the theme between love and hate. In Act 2 love is clearly presented to the audience as the main theme and this is further emphasised when the scene is concluded with the secret marriage of Romeo and Juliet. The theme of love continues through the start of Act 3, scene 1 when Mercutio and Benvolio are joking around with each other. The theme dramatically changes however, after the murder of two of the plays main characters ( Mercutio and Tybalt). Later on in the scene the audience are reminded of the plays tragic ending when the arguing families reignite the ancient feud between the Montagues and Capulets. This gets the audience to think of the Prologue The scene ends on a dramatic note with the banishment of Romeo from Verona. This is important to the play as a whole because it is due to Romeos banishment, that he is misinformed on the death of his beloved Juliet which leads to the plays tragic ending. Romeos act of revenge on Tybalt confirms the audiences previous knowledge that Romeo is a reckless and impulsive character who doesnt think about his actions. We saw this behaviour earlier in the play when he instantly fell in love with Juliet and decided to marry her almost immediately. Only after Romeo has killed Tybalt does he think about his earlier actions and the likely consequences. After the Princes previous warning he is now subject to the death penalty. He describes himself as fortunes fool which reminds the audience of the status of Romeo and Juliet, as star-crossed lovers and prepares them for the tragic ending of the play. In Act 3, scene 1 Shakespeare cleverly uses the technique of dramatic irony. Romeo is the only character in this scene (other than the audience) who knows Romeo has married Juliet in secret. This creates dramatic irony and explains his strange actions and unwillingness to fight Tybalt. In this scene Shakespeare also uses juxtaposition. After the theme of love was strongly emphasised in the last scene the theme of hate is now used in this scene as a contrast. This strong contrast creates a very captivating scene for the audience. Even in Act 3, scene 1 Shakespeare uses a contrast between humour and drama. The scene starts off with Benvolio warning Mercutio about his temper and says: I pray thee, good Mercutio, lets retire: The day is hot, the Capulets abroad, And, if we meet, we shall not scape a brawl; For now, these hot days, is the mad blood stirring. This reminds us of the Princes earlier warning in Act 1 Scene 1 but it is also ironic because of what happens later on in the scene. Because Mercutio chooses to ignore Benvolios advice he ends up getting killed. .u7a2cf9985beaaa20633fe089bcaf36ab , .u7a2cf9985beaaa20633fe089bcaf36ab .postImageUrl , .u7a2cf9985beaaa20633fe089bcaf36ab .centered-text-area { min-height: 80px; position: relative; } .u7a2cf9985beaaa20633fe089bcaf36ab , .u7a2cf9985beaaa20633fe089bcaf36ab:hover , .u7a2cf9985beaaa20633fe089bcaf36ab:visited , .u7a2cf9985beaaa20633fe089bcaf36ab:active { border:0!important; } .u7a2cf9985beaaa20633fe089bcaf36ab .clearfix:after { content: ""; display: table; clear: both; } .u7a2cf9985beaaa20633fe089bcaf36ab { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7a2cf9985beaaa20633fe089bcaf36ab:active , .u7a2cf9985beaaa20633fe089bcaf36ab:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7a2cf9985beaaa20633fe089bcaf36ab .centered-text-area { width: 100%; position: relative ; } .u7a2cf9985beaaa20633fe089bcaf36ab .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7a2cf9985beaaa20633fe089bcaf36ab .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7a2cf9985beaaa20633fe089bcaf36ab .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7a2cf9985beaaa20633fe089bcaf36ab:hover .ctaButton { background-color: #34495E!important; } .u7a2cf9985beaaa20633fe089bcaf36ab .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7a2cf9985beaaa20633fe089bcaf36ab .u7a2cf9985beaaa20633fe089bcaf36ab-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7a2cf9985beaaa20633fe089bcaf36ab:after { content: ""; display: block; clear: both; } READ: Character and language EssayMercutio manages to keep on joking up until his death. He says: ask for me to-morrow, and you shall find me a grave man He puns on the word grave meaning either dead or serious. The reality is, though that he is dead and he continues on to say: I am peppered, I warrant, for this world. A plague oboth your houses! This changes the atmosphere of the scene completely. Mercutios last remarks shown his dislike about the feud between the two houses. In his last moments he repeats this angry curse and it is clear he blames the ancient grudge between the two houses for his death. This curse changes the play as a whole; for the audience, and the characters alike. It causes Romeo to feel the guilt of the death of his best friend. Mercutio thinks Romeo is to blame and emphasises the point: Why the devil came you between us? I was hurt under your arm. The fact that Mercutio blames Romeo for his death reinforces his curse, but it also brings on some of Romeos impulsive behaviour. He immediately goes off looking for Tybalt to avenge Mercutios death rather than thinking about his actions. The two fight scenes in Act 3, scene 1 make this scene the most breathtaking visual spectacle in the play. There are two fights in this scene ; the first between Mercutio and Tybalt and the second between Romeo and Tybalt. In Shakespeares play it simply says they fight while in Zeffirellis 1960s film the two fights are portrayed rather differently. While in the fight between Mercutio and Tybalt the two characters are almost having a play fight (which ends in Mercutio accidentally getting killed), the fight between Romeo and Tybalt is shown as a more intense fight that clearly shows the two characters bitterly hate each other. Zeffirellis version emphasises the violence of the scene and in particular the hostile assaults/murders, this makes the scene as a whole even more dramatic. Once the Prince arrives at the scene the characters start using rhyming couplets in their speech. This emphasises their protests to the Prince and the hatred of the other family. It also shows that the characters are upper class and prepares the audience for the Princes decision.