The unemployment problem and possible solutions

The unemployment problem and possible solutions Unemployment is a residual and individual problem which effect on whole economy. By late the 1980s unemployment becomes a big policy and public consensus for the G5 countries (UK, USA, Japan, France and Germany). It continued argue that among the G5 countries the level of UK economy was an economy of Unemployment with all the human and economic waste and inefficiency such as an economy entails. In view of the rapid rise in unemployment that has occurred between 1990 and 1991. But recently the UK has lower unemployment rates than France and Germany. However a number of logical thought trying to explain the policy of unemployment rates and address the solution of Unemployment. Unemployment Unemployment defined as the numbers of people of working age who are able and available for work at current wage rates and who do not have a job. But the unemployment rates in the proportion of unemployed people in the economically active in labour force. Unemployment Rates calculated by: number of unemployed/number of economical active X100.There is two basic ways government can measure the unemployment rates such as The Claimant Count: means the number of people when claiming their unemployment benefit from government on any given period time. Labour Force Surveys: by this survey government count number of employed including number of unemployed people. According to Labour Force survey the graph shows that in 1990 unemployment rates fall at just over 6% where employment rates picked at just under 76%. Currently (source: IMF) UK unemployment rates more than 8% whereas Germany holds well above 10% unemployment rates. Zero Unemployment Rates It is true that the economy unemployment rate could not at zero if an economist full employment because there are two type of unemployment exist in our economy such as: Structural Unemployment: It occurs when consumer demand for the new product. For example when new technological progress has made skills blockage such as computer introduced white collar disappeared. Frictional Unemployment: It occurs when for the particular skill demand for labour and supply for labour are not match or people are not aware for the job opportunity or geographical match of workers ongoing process. Besides those reason unemployment could not zero for some institutional phenomenon such as: Minimum wage law may make it too expensive to hire a extra labour Government employment benefit reduce job interest Government restriction on institution may reduce job arability. Racism or gender discrimination may decrease interest of job. etc However there are numbers of principal schools of thought in macroeconomics offered the cause of unemployment such as Classical Thought Keyness Thought Neo -Classical Thought Monetarism Thought New classical Thought New Keynesian Thought Classical Thought The classical thought assumed that the economy would tend to full equilibrium if left its own. According classical theory, labour market operated demand of labour and supply of labour when balanced by price signals. From the graph shown that there is unemployment exist when excess labour supply (N2) and demand of labour (N3). The classical school of thought explain that if excess labour supply existence in economy, wages would fall(W1 to W*) until the labour market clearing equilibrium is restore, alternatively when excess labour demand existence labour shortage would push up wages and restore the equilibrium(NFull). Says Law is justified the classical view and law said that: supply creates its own demand. That means the economy is in a permanent state of full-employment equilibrium. Because says law guarantees any increase in output of goods and services will sold for sufficient demand and therefore firm will never reduce output or cut the jobs. However, if there is unemployment, market forces should quickly eliminate it and restore equilibrium. But after 1929-33 great depression the whole world economy collapsed in industrial capitalism and the classical school of theory could not explain the established economic wisdom. This depression eventually gave to raise Keynesian thought. Keynesian Thought Keynes his most famous work The General Theory of Employment, Interest and Money (1936) argued that could not settle at Equilibrium and it would not change the labour market situation because of aggregate demand. If aggregate demand fell, output and employment could fall and the economy could become trapped in a less than full-employment equilibrium. The graph shows that when demand for labour fall (D1 to D2) the wage also fall (W to W1) and unemployment would formed (ab). Nevertheless 1970s continuous unemployment and inflection failed the Keynesians demand deficient unemployment and this argument considered as Keynesians two analytical frame works such as the 45 degree model and the Philips curve which is known as a Neo- classical theory. Neo Classical Thought According the neo classical thought the 45 degree demonstrates the Keynesian aggregate demand .It means to using the appropriate fiscal policy if aggregate demand add and reduce the economy fall in inflection pressure. More precisely where output and employment are below their full employment level if government cut tax or higher government expenditure which is increases the aggregate demand. On the other hand where output and employment are at their full employment level if government increase tax or decrease government expenditure in this situation demand- pull inflationary pressures are exists. Therefore the aggregate demand management will maintain the economy at close to full employment equilibrium both unemployment and inflection need be a problem. The graphs show that if aggregate demand fall a positive demand shock occurred at full employment equilibrium position (Ye) and meanwhile inflationary gap existed in economy. Conversely the 45 degree aggregate demand says that the unemployment and inflection not appeared in same time. In the late 1950s Philips curve more purify the Keynesian thought. In 1958 Professor A.W.Philips illustrated a statistical relationship between unemployment and inflection The Philips curve shows the inverse relationship between unemployment rates and inflection. It argued that if government wants to reduce unemployment it has to accept higher inflation as a trade off. The graphs shows that if unemployment rates fall (1.5% to 1%) inflation rates up (2 to 4%)S Although in 1970s the Philips curve was unable to explain the problem of unemployment and inflection which is going up together stagflation. In mean while time two economists Milton Friedman and Edwards Phelps appeared with monetarism theory that able to show concurrently inflection and unemployment based on expectations augmented Philips curve. Monetarism Professor Friedman argued that there were a series of different Philips curve for each level of expected inflection. He persuaded that when government injects resources into the economy once again the unemployment fall in short-term but there would occurred high inflation. As a result people expected inflection to occur then they would anticipate and expected a correspondingly higher wage rise. The graph revealed that unemployment below Un to U* the series of Philips curve (SRPC1) moved alone with inflation rates zero to 4% because the expectation has been changed and people adept new rates. But Friedman failed to long term unemployment related with inflation rates which is elaborated by New Classical viewed. New Classical Thought Robert Locus who is one of the new classical economist argued that announced and unannounced fiscal and monetary policy are affected on out and employment because of natural rate of unemployment will alter the equilibrium and this thought actually expand the rational expectation. The graph shows without short term reduction of unemployment (Un to U*) rational agent would anticipated an inflationary environment. New Keynesian Thought The new Keynesian thought wrecked the long run Philips curve which is breakdown by Friedman depends on NAIRU (Non Accelerating inflation rates of unemployment). In Behavioural theory George Akerlof argued at the low level of inflation permanent trade off between inflation and unemployment because low inflation not silent. In the diagram shows when unemployment fall from U a silent inflation becomes higher. Furthermore according New Keynesian point of view real wage rate could establish long unemployment equilibrium. The diagram exposed that a higher market clearing efficiency wage paid consequent unemployment (N2-N1) whereas aggregated demand shock shifting the labour demand curve which is lead the unemployment ( N2 to N3). Most Satisfactory Explanation on nature of European Unemployment The classical thought believed that supply automatically creates full employment and efficient market economy drive the unemployment problem where a little need of government interference. But 1929-33 great depression pushed the European unemployment rates to unprecedented level and whole economy collapsed. Country 1921-29 1930-38 United States 7.9 26.1 United Kingdom 12 15.4 France 3.8 10.2 Germany 9.2 21.8 The table shows the percentage of unemployment rates of European countries during depression period. In 1930-38 USA enjoyed high Unemployed rates 26.1% The depression eventually gave to raise the Cambridge economist John Maynard Keynes thought and he identified the root of the problem as a lack of aggregated demand. He explained that if aggregate demand fall the economy were hit by adverse shocks which create a fall the business confidence where Says law would failed to hold as firms cut investment, output and employment and this process could leave the economy in less than full unemployment equilibrium. Moreover a less than full-employment output would find just enough demand for that output and the economy would be stuck in a slump. Keynes suggested that government attempt stabilized the policy for settle the level of output and full employment. Despite the fact that until 1970s the Keynesian aggregate demand management dominated western policymaking the economy in of overheating and facing the inflationary pressured. In1970s inflation rates increase 10% to more the 20%. The graph shows that after 1970 inflation rates in UK and Japan reached at well above 20% whereas USA and France more than 15% abut Germany enjoyed the less inflationary rates. In the mean while time G5 countries were suffered by high unemployment. From the following graphs we can see that in 1970s unemployment rates increased rapidly where full employment appear only 2.5% . In 1970s economy are experienced by rising unemployment and inflation which made together stagflation where Keynesian policy failed to explain the new dilemma. On the other hand Keynesian appeared that most unemployment arise outside labour market but the great depression and early 1980s and 1990s recession Keynesian view unsuccessful to explain Frictional and Structural unemployment. Conversely Friedman views clear the all of Keynesians confusion which is based on expectations augmented Philips curve. Because 1970s stagflation redundant the Philips curve. Whereas Friedman indentified that the cause of inflation is balanced by the natural rate of unemployment and this unemployment occurred inside labour market which should be in microeconomic nature, cause macroeconomic policy not affective in the long run. He also argued the stabilization policy which was driven the Post war boom means it ineffective to maintain the economics at potential GDP and full employments and it should be d estabilized cause economic will stable inherently. Yet Monetarist assumption abandoned the1980s and 1990s recession and in monetarist view labour market are not flexible even though the lack of competitiveness has obsessed the real wage. After all in my point of view the Keynesian school thought likely approach than other school of thought though monetarist would favour to abandon the stagflation. But if we see the 1970s, 1980s and 1990s inflation and unemployment is high but overall GDP rate remarkable. In addition Keynesian view is applicable in recent recession. Recently viewed that the Europe countries aggregated demand fall and lower rates of growth people are less interest to consume which tend to increased unemployment hand .Besides the Keynesian thought not decline fiscal and monetary policy and Labour union power to determined the wage and right. Recent Unemployment and Solution In UK jobless jumped by 43,000 and unemployment reached at 8%. According to IMF survey global financial crisis impact on European output and employment and it increased the recent unemployment. In Germany, UK output falls in significantly which reduced the growth of employment. Moreover labour market flexibility, mainly the higher level of employment protection lean to reduced employment inflow and outflow and declines the labour reallocation. Further more rapid rise of structural unemployment, financial institutions collapse, cutting hours, early retirement tend to increased the Unemployment On the contrary mix labour market policies and flexibilities at firm level gradually employment has adjusted in UK and Germany. It is true that time accounts smooth the Germanys employment whereas government subsides decreased the working time. But wage flexibility and government support help to surpass the UK unemployment. Conclusion As final point unemployment is a major problem in the world economy. It is very difficult to bring down equilibrium position if it is not stop to increase at the first place and in the long run unemployed not able to participate in labour market. Therefore, government should initiate the improving labour market by increasing work incentives, reforming the operation house market and trade union.

Argument in the Apology Essay -- Plato Socrates

The main argument in The Apology by famous ancient Greek philosopher Plato is whether, notorious speaker and philosopher Socrates is corrupting the youth by preaching ungodly theories and teaching them unlawful ideas that do harm to individuals and society. In his words Socrates quoted the prosecution’s accusation against him: â€Å"Socrates is guilty of corrupting the minds of the young, and of believing in supernatural things of his own invention instead of the gods recognized by the state.† 1 Further Socrates consistently introduces tediously compiled number of examples to provide valid and sound arguments to prove that he is innocent of the charges brought up against him to the court. The first approach that Socrates uses to prove his innocence’s is he uses a practical comparison between horses and all living and artifical things â€Å"Take the case of horses; do you believe that those who improve them make up the whole of the mankind and that there is only one person who has a bad effect on them? Or is the truth just the opposite that the ability to improve them belongs to one person or to very few persons, who are horse-trainers, whereas most people, if they have to do with horses and make use of them, do them harm.† 2 The premises in this quote are: 1.  Ã‚  Ã‚  Ã‚  Ã‚  Horse trainers do improve horses. 2.  Ã‚  Ã‚  Ã‚  Ã‚  Those who use the horses do not enhance them. 3.  Ã‚  Ã‚  Ã‚  Ã‚  There are more horse owners than the horse trainers. 4.  Ã‚  Ã‚  Ã‚  Ã‚  Therefore, the improvements come from a small group of specia...

The History of Blues and Rock ‘N’ Roll

â€Å"You can’t play the blues, until you’ve paid your dues† (Spencer 41), said by the originator of the blues W. C. Handy. The blues is a music style that influenced America in many ways eventually coming to create rock and roll. The true originators of the blues go back to African slaves brought to America to work on plantations. As these slaves gained freedom and acceptance in the big cities blues developed its own unique style. This unique style gained popularity amongst the white community creating an opportunity for record labels to make a profit. Once the blues went nationwide white musicians took the blues style and techniques creating rock and roll. Some argue that rock and roll was only a lame attempt at duplicating the blues which could never be understood in the white community. Others argue that rock and roll artists stole the creativity of blues musicians to make their own profit. My argument is to find out whether or not the blues was stolen from African Americans and whether the blues was the property of African Americans not to be used by whites. Whatever the case, the blues changed how other’s viewed music and brought a whole new vibe to its white listeners. To settle the argument over whether or not the blues was something that belonged to blacks we must find out where the blues came from. If you want to find the origin of the blues you must look back to West Africa before its people were introduced to the European and American society. African Natives were isolated from the rest of the world, because it was too early to have technology for travel. Due to this isolation they created their own unique form of speech and music. The key element of West African music was rhythm, not melody and harmony. Instead of the European melodic harmonies, West African music was surrounded by rhythm. â€Å"The core of European music was to embellish a melody with a number of melodic instruments, and incidentally set a rhythm. The European aspect of rhythm was only specified by vague terms such as â€Å"adagio† or â€Å"allegro. † The core of West African music was to color a rhythm with a number of musical instruments, and incidentally dress it up with a melody† (Scaruffi 2) Rhythm was the foundation of the blues which the early whites never used. It can be concluded that the concept of rhythm was something that was created by African Americans belonging to their culture. Once the concept of rhythm came to America the technique of melody would fall behind becoming a less important aspect of music. In the 17th century America discovered Africa and enslaved the â€Å"Inferior race† (Guralnick 98) to work as cotton and wheat pickers for Southern plantation owners. As African slaves were shipped off to America they brought the musical aspect of rhythm that would lay the foundation for blues music. African slaves brought to pick cotton and wheat would use rhythm to set a pace for work. Black slaves developed a â€Å"call and response† way of singing to give rhythm to the drudgery of their servitude. These â€Å"field hollers† served as a basis of all blues music that was to follow† (Scaruffi 1). These work songs were the original form of blues. They would express the harsh conditions of slavery. Africans brought new emotions and techniques to produce music. None of these emotions could be understood by whites because slavery was not an issue for them. â€Å"Whether ecstatic (religious), mournful (work) or exuberant (party), it was much more emotional than white folk music. The combined effect of the hypnotic format and the emotional content created loose structures that could extend for indefinite periods of time, in a virtually endless alternation of repetition and improvisation† (Guralnick 13). The conditions were harsh and brutal working on the Southern plantations. These harsh conditions were a major focus in the lyrics of African slaves and influenced the future theme of blues music. â€Å"The songs of a Negro were the diary of his life (road, train, prison, saloon, sex), often an itinerant life, as opposed to the diary of a community (plantation, church)† (Spencer 38). Africans held their traditions but changed the theme of their music to paint a picture of their everyday lives. Blues now had a foundation to grow on. Due to the new rhythmic style of the first slaves brought from Africa, and generations of influence from America, blues was beginning to take form. The blues was originally a simple work song of cotton pickers and was now a new style of music making its way into the white culture. Blues music had a style revolving around slavery. So the blues did belong to African American because the issue of slavery did not affect whites. In 1865 the United States added the thirteenth amendment into the constitution abolishing slavery giving slaves the freedom to travel. The end of slavery led to the â€Å"Great Migration† of blacks into cities bringing a hip musical style amongst the white city folk. After the Civil War with the abolishment of slavery blacks gained their freedom and could choose where they would work. â€Å"Black men had few options other than back-breaking manual field labor or becoming a traveling minstrel. Many chose the occupation of a traveling minstrel playing raucous, all-night country dances, fish-frys, and jukejoints† (Pendack 11). For blacks who left the South, the North promised freedom. However segregation was still wide spread throughout America. Due to the end of slavery many changes were made to the former slave music to create the blues. â€Å"The end of slavery meant, to some extent, the dissolution of the two traditional meeting points for the African community: the plantation and the church† (Scaruffi 9). Music remained the way of venting the frustration of African Americans, but the end of slavery introduced Blacks as individuals instead of being defined by a group. The black singer was now free to and capable of defining himself as an individual. Solo singers represented a new take on that condition, the view of a man finally enabled to travel, and no longer a prisoner of his community, although, sometimes, more lonely† (Green 3). The sound of blues music began to change from slave work songs to blues. Whites could not understand the concept of gaining freedom because it was naturally given to them. The themes in the lyrics of the blues could only be seen through a black woman or man’s eyes. Many blacks took railroads to Chicago where the â€Å"City Blues† was born. City Blues† was a blues more subdued than its precursor, in part because its rhythms were more refined-more danceable. The African-rooted spirituality basically continued untouched; but the non-articulations (moans and hums) were less dissonant† (Guralnick 101). In Chicago, the emergence of the â€Å"City Blues,† in the 1920’s, created a new blues culture with increased musical performance due to the merging of city life and African musicians. The white culture had already adapted to the city life whereas the city was completely new to blacks. The theme of the city blues reflected the conditioning of the South’s rural emigrants to the city’s new universe of experience that could never be understood by whites. â€Å"City blues represented the African American’s transition from the relinquishment of old folkways to the appropriation of the new progressive mentality. Race progress, represented the liberation of African Americans from the alleged tyranny of superstition† (Spencer 40). What the blues represented was an emotion that belonged to the blacks. Much of the blues was performed in small venues giving rise to new music techniques. Singers sang louder, amps were cranked up, because small noisy club venues, common then, needed loudness to be heard. Some made the switch to electric guitars while adding drum sets to their bands due to the loudness of the crowd† (Green 6). The electric guitar began multiplying options for blues players. Some of the first generation artists of â€Å"City Blu es† were, â€Å"Muddy Water, Howlin’ Wolf, T-bone Walker, Bobby Bland, Bo Diddley, Jimmy Reed, and B. B. King† (Pendack 2). The slaves of the plantations had made the transition from being â€Å"Field howlers,† to recognizable performers in the city life. As the sound of the blues began to rise in popularity Rock and Roll began to develop over time. As the blues began developing a distinctive sound it provided some fundamental elements for rock and roll. After this time, blues was increasingly merged with rock music to form the rock blues bands of the 1960's and 70's. â€Å"Blues- the last in all of its permutations; call it a blending, a transition, a hybridization, maybe even a genetic modification; this is the progression of the music. The Forties and early Fifties set the table for rock & roll† (Spencer 41). The rise in popularity of the blues had much to do with the mass media, record companies and radios. The blues was spread nationwide amongst the white culture. â€Å"During the late 1920's, with the advent of the 78 RPM phonograph, some of the more popular country blues artists were recorded by Paramount, Aristocrat and other record labels. These records served to expose white folks to the blues, as well as give the fledgling artists exposure to national, yet segregated record labels† (Guralnick 101). The blues rose to new heights because the money was there. War production pay checks and post-war prosperity gave music listeners money to buy the new music they loved. â€Å"They bought radios and they bought record players; they fed juke boxes and they bought records; they went to concerts at the Apollo and at the Hollywood Bowl. They made rhythm & blues profitable† (Pendack 13). With the risen popularity in blues music, record labels jumped at the chance to make some money. With the blues drawing a new crowd and rock and roll was to be born. Many of the original blues artists did not take too kindly to rock and roll. Whites began to make much profit from blues by creating rock and roll. However because blues originated from African American slave songs many whites had trouble replicating the blues because they had not gone through the same experiences. â€Å"Whites would steal from them this creativity born of labor and the elementary forms of industrialization and then turn around and sell it back. White capital, which owned all of the record companies, controlled this commercialization process from the start, economically and culturally† (Spencer 38). The mass media, record companies and radio broadcast stations were primarily under white control making the shift from blues to rock and roll easy. The record labels found that there was a market for blues records among white audiences of the big cities, particularly New York and Chicago† (Green 6). One of the original African American Blues artists, W. C. Handy, admitted, â€Å"Each one of my blues is based on some old negro song of the South, some old song that is part of the memories of my childhood and my race. I can tell you the exact song I used as the basis for any one of my blues† (Guralnick 14). The blues music had an underling meaning of suffering from segregation and slavery. Now let’s admit, I doubt any white man or woman would have any experience writing about that topic. Here is a great example of a white rock band using lyrics depicting the harsh conditions of an African American. Many blacks see this as an attempt at using blues music for profit. As the blues saying goes, â€Å"You can play the blues until you’ve paid your dues† (Spencer 38). â€Å"Every time a white cop hits a Negro with his billy club, that old club says, Bop! Bop!†¦ Be-Bop! Mop†¦ That’s why so many white folks don’t dig†¦ White folks do not get their heads beat just for being white. But you, me, a cop is liable to grab me anytime and beat my head-just for being colored. And this where we come from-out of the dark days we have seen. And not to be dug unless you’ve seen dark says, too. That’s why folks who ain’t suffered much cannot play, and do not understand it. They think it’s nonsense† (Spencer 42). -The Police, 1980 â€Å"It is important to note that â€Å"The Police† was a rock trio from London, England. The trio included the now popular solo singer â€Å"Sting† (Spencer 39). It is also worth mentioning that this band consisted of three white men. Not black, but white. Even though this song was produced and sung by a white band the lyrics are sung from a black man’s perspective. The Police† had no idea what it was like to be beat due to a difference in skin color. It is also worth mentioning that, â€Å"The Police† went on to sell more than 50 million albums and became the world’s highest-earning musicians in 2008. The Rolling Stone has gone on to rank â€Å"The Policeà ¢â‚¬  number 70 on the list of 100 Greatest Artists of All Time† (Spencer 39). They ended up making a huge profit while using lyrics from a black man’s perspective. Now the question arises: â€Å"Was the blues really stolen from African Americans? † and if so, â€Å"Was the blues really something that belonged to African Americans? Looking back on the origins of the blues we can see that its foundation was set by the concept of rhythm created in Africa. Once African natives were enslaved they were brought over to America using work-songs to set pace for work. With the abolishment of slavery African Americans moved north bringing the new style of the blues with them. As these former slaves began to make the shift to performing in clubs individually, they began to develop a new sound. As the popularity of the blues began to rise record labels jumped at the opportunity to make a profit. Over time whites began to develop their own form of blues ultimately leading to rock and roll. Going back through this history we can conclude that African-Americans were the founders of blues. However, I do not think the blues is something that could be stolen. Rock and roll was formed by the combination of African culture and White culture. With the rhythmic style of the blues whites were able to transform it into their own version. If we were to keep the blues hidden belonging only to African Americans, slavery would have never been abolished. Due to the clash of the two cultures the outcome is rock and roll. Rock and roll heard today is merely the blues in its developed form. The blues was a melting pot for all musical forms. As the blues was mixed and spiced up by difference artists, rock and roll was what boiled out. Annotated Bibliography Green, Adam. Blues. The Encyclopedia of Chicago. 1991. Web. April 23, 2010. The â€Å"African American Migration† from the South and the growth of the music industry lead to the creation of the â€Å"City Blues. † During the 1950’, â€Å"City Blues, also known as the â€Å"Chicago Blues,† flourished using rhythm sections and a higher amplification. A higher reliance was given to guitar and harmonica leads. While â€Å"Chicago Blues† did not recapture the harsh conditions of the African American community, it found a new audience drawn from followers of rock music. Guralnick, Peter. Feel Like Going Home: Portraits in Blues and Rock ‘N’ Roll. Boston: Little, Brown and Company, 1999. Print Blues was a property of African Americans before it was even set on paper. Each blues singer had his own individual way of expressing himself. However there is a common thread of ideas as well as lyrics which gives blues players the ability to sit down with any other and play. Its very popularity in fact influenced recording trends and tended to place a far greater emphasis on the community. It has always been a commercial vehicle, and particularly so because of its adaptable form. Pendack, Stephen. History of Blues. Blues Music Rocks! 2002. Web. April 20, 2010. Blues has its deepest roots in the work songs of the West African slaves in the South. During their back-breaking work â€Å"field holler† would use rhythm of their work songs to set the pace. During the Great depression, blacks migrated north along railroad tracks to Chicago. They brought blues music with them and soon the sound filled urban night clubs. We began to see new performers like Muddy Waters switching to electric guitar and adding a drum set to their bands. Scaruffi, Piero. A Brief History of Blues Music. History of Popular Music. 2006. Web. April 23, 2010. During the creation of civilizations, blues â€Å"solo music† was invented to admire and appreciate musical talent of singers and instrumentalists. Blues music relied heavily on rhythm, both for dancing and singing. The key element to African music was rhythm, not melody and harmony. Instead of a melodic counterpoint, West African music was about rhythmic counterpoint. Spencer, Jon. Blues and Evil. Tennessee: The University of Tennessee, 1993. Print White blues artists have tended to overlook the underlying theme of the blues because they have not fully understood African American culture. The language of the blues is one including a deep religious meaning not to be duplicated by the white culture. With the creation of rock and roll a reason for using the foundations a blues arose. Much profit came from blues music but the meaning could never be understood by white culture.

Doc Holliday Biography

Doc Holliday (born John Henry Holliday, August 14, 1851—November 8, 1887) was  an American  gunfighter, gambler, and dentist.  A  friend of fellow gunslinger  and  lawman  Wyatt Earp, Holliday became an iconic  character  of the  American Wild West  through  his role in the  gunfight at the O.K.  Corral.  Despite his reputation for  having gunned down  Ã¢â‚¬Å"dozens† of men, more recent research suggests Holliday killed no more than two men.  Over the years, Holliday’s character and  life have been depicted in many movies and television series. Fast Facts: Doc Holliday Full Name:  John Henry (Doc) Holliday  Known For:  Old West American gambler, gunfighter, and dentist. Friend of Wyatt Earp  Born:  August 14, 1851, in Griffin, GeorgiaDied:  November 8, 1887, in  Glenwood Springs, ColoradoParents:  Henry Holliday and Alice Jane (McKey) HollidayEducation:  Pennsylvania College of Dental Surgery, D.D.S. Degree, 1872  Key Accomplishments:  Fought beside Wyatt Earp against the Clanton Gang in the Gunfight at the OK Corral. Accompanied Wyatt Earp on his Vendetta Ride  Spouse:  Big Nose Kate  Horony  (common-law)  Famous Quote:  Ã¢â‚¬Å"All I want of you is ten paces out in the street.† (to gunfighter Johnny Ringo).   Early Life and Education     Doc Holliday was born on August 14, 1851, in Griffin, Georgia, to Henry Holliday and Alice Jane (McKey) Holliday. A veteran of both the  Mexican–American War  and the  Civil War, Henry Holliday taught his son  to shoot.  In 1864, the family moved to Valdosta, Georgia, where Doc attended first through tenth grade at the private Valdosta Institute.  Considered an outstanding student, Holliday excelled at  rhetoric, grammar, mathematics, history,  and Latin.   Doc Holliday. John van Hasselt / Getty Images In 1870, the 19-year-old Holliday moved to Philadelphia,  where he received a Doctor of Dental Surgery degree from the Pennsylvania College of Dental Surgery on March 1, 1872.   Holliday Heads  West   In July 1872,  Holliday joined a  dental practice in Atlanta,  but was soon diagnosed with tuberculosis. Hoping the drier climate would help  his condition, he moved to Dallas, Texas, eventually opening his own dental practice. As his  coughing spells increased and his dental patients abandoned him, Holliday turned to gambling to support himself. After having been arrested twice for illegal gambling  and being acquitted of murder, he left Texas in January 1875. Gambling his  way west through states and cities where betting was treated as a legal profession, Holliday settled  in  Dodge City, Kansas, in the spring of 1878. It was in Dodge City  that Holliday befriended assistant city marshal Wyatt Earp.  Though there were no reports of the incident in the  Dodge City newspapers, Earp credited Holliday for saving his life during a shootout with outlaws at the  Long Branch Saloon.   The Gunfight at the O.K. Corral   In  September  1880, Holliday  rejoined  his friend Wyatt Earp  in the wild and booming silver mining camp town of Tombstone,  Arizona  Territory.  Then a  Wells Fargo  stagecoach  security agent, Wyatt joined  his brothers, Deputy U.S. Marshal Virgil Earp, and Morgan  Earp as Tombstone’s â€Å"police force.†Ã‚  In Tombstone’s gambling  and liquor-fueled atmosphere, Holliday soon became involved in the violence that would result in the  Gunfight at  the O.K. Corral.   Opposing the  Earps  for control of Tombstone  was the infamous  Clanton Gang, a  group of  local  cowboys  led by  the notorious cattle rustlers  and murderers  Ike Clanton and Tom  McLaury. On  October 25, 1881,  Ike  Clanton and  Tom  McLaury  came to town for supplies. Over the  course of the  day, they had several  violent  confrontations with the Earp brothers. On the morning of October 26,  Ike’s brother Billy Clanton  and Tom’s brother Frank  McLaury, along with gunfighter Billy Claiborne,  rode to town to provide backup for Ike and Tom. When Frank  McLaury  and Billy  Clanton learned that the  Earps  had  just  pistol-whipped their brothers, they  vowed revenge. At  3 p.m. on October 26, 1881, the  Earps  and  the hastily-deputized  Holliday faced the Clanton-McLaury  gang behind the OK Corral. In the 30-seconds of gunfire that ensued, Billy Clanton and both  McLaury  brothers were killed.  Doc Holliday, and Virgil and Morgan Earp were wounded. While he was present at the gunfight, Ike Clanton was unarmed and fled the scene. Though a territorial court found that the  Earps  and Holliday had  acted within their duties as lawmen at the O.K. Corral, Ike Clanton was not satisfied. In the following  weeks, Morgan Earp was killed and Virgil Earp was permanently maimed by a group of unknown cowboys.  In what has become known as the  Earp Vendetta Ride, Holliday joined Wyatt Earp as part of a federal posse that pursued the suspected outlaws  for over a year, killing four of them.   Later Life  and Death  in  Colorado   Holliday moved to Pueblo, Colorado, in  April 1882.  In May, he was arrested  for the murder of Frank Stilwell, one of the cowboys he had chased down while riding with Wyatt Earp’s federal posse. When Earp learned of the arrest, he arranged  to have the request to extradite Holliday  to Arizona  denied.  Ã‚   In the winter of 1886,  Holliday met his old friend Wyatt Earp for a final time in the lobby of the Windsor Hotel in Denver. Earp’s common-law wife Sadie Marcus later described  Holliday as a constantly-coughing skeleton standing on â€Å"unsteady legs.†Ã‚  Ã‚   Holliday spent the last year of his life in Colorado, dying of tuberculosis in his bed at the Glenwood Springs Hotel on November 8, 1887, at age 36.  He  is  buried in Linwood Cemetery overlooking Glenwood Springs, Colorado.   Legacy   One of the best-recognized characters of the American Old West, Doc Holliday is remembered for his friendship with Wyatt Earp.  In an 1896 article, Wyatt Earp said  of Holliday:   â€Å"I found him a loyal friend and good company. He was a dentist whom necessity had made a gambler; a gentleman whom disease had made a vagabond; a philosopher whom life had made a caustic wit; a long, lean blonde fellow nearly dead with consumption and at the same time the most skillful gambler and nerviest, speediest, deadliest man with a six-gun I ever knew.†Ã‚   Sources and  Further Reference Roberts, Gary L. (2006).  Doc Holliday: The Life and Legend.  John Wiley and Sons, Inc. ISBN 0-471-26291-9  Doc Holliday—Deadly Doctor of the American West. Legends of America.  Ã‚  OK Corral. History.net  Urban, William L. (2003).  Ã¢â‚¬Å"Tombstone. Wyatt Earp: The Ok Corral and the Law of the American West.† The Rosen Publishing Group. p. 75. ISBN 978-0-8239-5740-8.