University s Master Of Social Work Program - 1252 Words

On August 8, 2014, I relocated to Fayetteville, North Carolina from Bahama, North Carolina to attend Fayetteville State University’s Master of Social Work Program. Fayetteville, North Carolina’s significant military population and the academic program offered many opportunities to students interested in researching and practicing with military personnel and their families initially generating an interest for me in the program. Within the first twenty-fours of living in Fayetteville, North Carolina, I had the opportunity to experience the military culture and the pride that residents exhibited for military personnel. I observed military personnel in uniforms, multiple car magnets that stated, â€Å"we support our troops†, military discount signs†¦show more content†¦I have enrolled to complete five courses during the summer, and upon completion, I will have completed the Substance Abuse Certificate Program at Fayetteville State University. In addition, I am a member of the National Association of Social Workers and I have enrolled in several online social work military courses. My volunteer experience includes Urban Ministries and a field placement within Myrover-Reese Fellowship Homes, Inc. I assisted with direct care relations as a community cafà © volunteer within Durham, North Carolina’s Urban Ministries facility from August 2005 until May 2009. Serving breakfast and lunch to residents, that lived within the facility, and other individuals that were in need of food. In addition, I worked alongside the Hope-Believe Recovery program residents who were in a six-month substance abuse rehabilitation program for female and male adults that were homeless. Myrover-Reese Fellowship Homes, Inc. field placement allotted me the ability to gain a significant amount of experience in working with the military, substance abuse, and mental health populations. Myrover-Reese Fellowship Homes, Inc. allowed me the capability to complete assessments, screen applicants, facilitate group sessions, have one-on-one interactions, become skilled and knowledgeable when utilizing Motivational Interviewing (MI) and Cognitive Behavioral Therapy (CBT), and attend VAMC trainings on topics such asShow MoreRelatedMaster Of Science Degree Programs1502 Words   |  7 PagesMaster of Science Degree Programs This entry gives a general overview of online Master of Science programs, then specifically examines programs in high demand and those offered in accelerated formats. Next, the entry focuses on information students need to succeed in M.S. programs: how to find the right program, and a major problem that they will likely face during online matriculation. 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Women s Public Image And Policies Essay - 2344 Words

Historically women were not even given the chance to pursue education or even to vote, and now gender equality has became one of the most discussed topic in the nation. Even though many countries and cities are involved in the evolution of gender equality, their attainments on the issue vary, like the United States and Hong Kong. In the U.S., women are being presumed as incapable to finish hard task by themselves, or undeserved for a higher position in corporations. On the other hand, Hong Kong employs women on higher position, however, women’s media appearance are limited to only lingerie or clothing brands instead of professional billboard advertisements. While both places have taken actions towards gender equality over the years, China has a relatively more efficient approach on diversity in job employments, while the U.S. has achieved a more notable development on women’s public image and policies to regulate women’s right, which could be because of the cultu ral difference. Gender inequality remains as one of the top challenges that businesses face because of men not acknowledging the challenges female workers face and society’s perception on women capability to finish tasks. Even though studies have shown companies tend to deliver better performance with more women in top management positions. One of the inspirations for this essay is Renee Corso, my district sales coordinate supervisor, which is the highest position in Aflac’s Sherman Oaks office. I believe sheShow MoreRelatedKeeping It to the Fairway - Harvard Business Case1208 Words   |  5 Pagesof a Champions Tour golf tournament. The reason why their support is being questioned has to do with the host golf club s (Dover Hill) membership policies. Dover Hill has been around for a hundred years and is a male only membership club. The WRO or Women s Rights Organization has been pressuring the Dover Hill golf club to change their membership policies regarding women for years. 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Capital Gains and Personal Home Tax

Question: Discuss about the Capital Gains and Personal Home Tax. Answer: The proceeds received by Dave from sale of his residence at St Lucia is fully exempted from capital gains tax because as per ATO proceeds from a sale of personal home are fully exempted if the individual has been living it for the duration for which he/she has owned the property and the property hasnt been generating any assessable income. The proceeds received from the forfeiture by a buyer is also application for exemption under capital gains as it is falls under the capital proceeds from the disposal of the asset which was exempted due to it being the main residence of the tax payer. Due to the conditions given by ATO, therefore the forfeiture amount by the buyer is also exempt under capital gains. The painting is not eligible for exemption as neither was it purchased under $500 nor was it acquired before 16th September,1995 hence the net capital gains are taxable. So the net gains of 110,000 are to be taxed under capital gains tax. The figure of 110,000 dollars is the selling price less the acquiring price which are 15,000 and 125,000 respectively. The taxable amount can be arrived at using the two methods available i.e. the indexing method or the discount method subject to the method that yields the lowest value. Since the asset has been held for more than a year it is eligible for discount. Since the asset was acquired before September,1999 he can apply the indexation method to calculate the discount. The indexation factor is given by CPI in which the sale was made divided by the CPI for the quarter in which the initial investment was made. CPI values were obtained from the website of ATO to calculate the indexation factor as 2.7. Hence the cost of the painting would be incr eased by that factor to get the capital gain. Hence now capital gain would be 84,500 as the cost for calculating capital gain would be 40,500 dollars which is 15,000 multiplied by the indexing factor. But the discount factor gives a better result as under the discount method the capital gains are discounted by 50% hence under this method capital gains would be 55,000 dollars which is the net gains of 110,000 discounted by 50%. Since the discount method gives the better result which in this case is the lower value we would use this method to calculate the capital gain at 55,000 dollars. The capital loss on the boat boat which was purchased in 2004 would be calculated using the other method which would give the highest possible result of 50,000 dollars. The amount is obtained by subtracting the sale price of 60,000 dollars from the acquisition cost of 110,000 dollars. For the capital gain tax on the shares, other method will be used. The cost base would include the cost piece of shares and also the brokerage paid on the shares and the stamp duty. Hence total cost would be 71,000 dollars and since the shares were sold for 80,000 dollars the total capital gain is 9000 dollars. Its explicitly mentioned that the interest charges are not to be included in the cost base. Hence, the net capital gain from sale of painting and shares is 64,000 dollars Net capital loss from sale of boat is 50,000 dollars Hence net capital gain of 14,000 dollars for Dave for the current year. Since Dave has had a net capital gain of 14,000 dollars he can use this to deduct the net capital loss carried forward from the previous year which amounts to 50,000 dollars. His net capital loss would now stand at 36,000 dollars as the capital gain this year would be deducted from the carried forward capital gain loss. If Dave has a net capital loss it would be added to the capital gain loss carried forward from last year. Hence now his total capital loss would stand at 50,000 dollars and the additional capital loss incurred this year Capital loss cannot be used to offset the tax liability and would be carried forward and can be used to deduct it against capital gains in the coming years. To evaluate the fringe benefit arising from the use of a car, the first step is the employer calculating the taxable value of the benefit which can be done either of the below mentioned methods as per ATO. The statutory formula method which uses the cars cost price to calculate the tax liability The operating cost method which uses the quantum of cars running or operations to calculate the tax liability. The method of choice would be one which yields the lowest taxable value, rather than being dependent on the method used in the previous year. However, if the required documentation for the operating cost method (for example, log books) have not been kept then the statutory formula method must be used. The operating cost method requires the company to maintain a log book which specifics the usage of car in terms of business and non-business use. Since this has not been maintained the statutory method of valuation would be used to evaluate the taxable value of the fringe benefit arising from the use of the car. Under the statutory formula method, the steps involved are estimating the cost of the car, estimating the statutory rate and determining the number of days the car was used for private purpose. The taxable value is then given by A*B*C/365 where A is the base value of the car, B is the statutory rate and C is the number of days in use of the car in a given assessment year. The base value of a car is: The cost price of the car including which doesnt include registration and duty expenses, Charges incurred on the delivery Some standard accessories The cost price included the GST(Gross Service Tax) component. The statutory rate for calculating the fringe benefits tax would be 20% since ATO prescribes a flat tax rate of 20% for calculating the benefit provided if kilometres travelled are less than 15,000 kilometres. In fact, for any benefits provided after 2011 the tax structure is a flat rate of 20%. The car was available for the private use of Emma for 336 days. During the 11-month period or the 336-day period from 1st may to 31st March no days would be deducted in determining the number of days of usage of car as ATO clearly lists that annual maintenances are to be listed as days when it is available for use and whenever it is garaged at the employees house would also be not deducted, in this case when Emma was interstate would not be deducted, Keeping the above factors in consideration the tax liability would be calculated at 20% of the cost price of the car which is 33,000 and it would be factored by 336/365. Hence 6075 is the taxable value. A company is said to provide a loan fringe benefit if it extends to its employee a loan and charges no interest or a low rate of interest. Any interest rate lower than the prescribed or the benchmark interest rate qualifies as a loan fringe benefit. Thebenchmark interest ratefor the Fringe Benefit Tax for the assessment year ending March 31,2015 is given as 5.95% by ATO. Hence for the given scenario since the loan is provided by periwinkle to Emma at 4.5% it is a loan fringe benefit. The taxable value of a loan fringe benefit is the difference between: the interest that would have arisen on the amount extended as loan during the Fringe Benefit Taxable year had the benchmark rate been applicable, and the interest which the company charges the employee on the reduced rate of interest Since Emma uses the loan for purchase of a holiday home and for lending it to her husband the entire amount is to be taken into consideration. For the given scenario the taxable value of the loan fringe benefit is the difference between the two amounts 29,750 dollars and 22,500 dollars which is 7,250 dollars. While the former is the rate of interest charged by the company to Emma, the latter is the interest to be paid in accordance with the statutory rate in 2015. There is no specific information regarding cheap sale of its own products to its employees and neither is it under any exempt category but since the price Emma paid for it is anyways more than the manufacturing cost we exclude it from our scope of taking out the fringe benefits provided to Emma. Hence the total taxable value of the fringe benefits is the loan fringe befit of 7,250 dollars and the car fringe benefit of 6,075 dollars which is a total of 13,325 dollars. Hence the total fringe tax liability would be 6262.75 dollars as the fringe benefit tax is 47%. Had the 50,000 been used by Emma herself instead of being lent to the husband to buy the shares it would be eligible for deduction. ATO prescribes that the taxable value of a loan fringe benefit may be reduced in accordance with the 'otherwise deductible' rule, subject to the constraint hat the investment is made by the employee himself or herself rather than an associate which was the case in first place. Putting it simply it implies that the taxable value would be reduced to the extent to which interest payable on the loan is, or would be, allowable as an income tax deduction to the employee. We look at an example to understand the implications better. Supposing an employee uses a loan from his/her company wholly to invest in interest bearing financial instruments, then the interest that he would have to pay the company is deductible fully for tax purposes. Hence what the mentioned scenario implied is that under this rule the taxable value of the fringe benefit provided would be ze ro, irrespective of the rate of interest charged by the company on the loan. Therefore, where the otherwise deductible rule applies, the taxable value of a loan fringe benefit is: The interest accrued on the principal during the fringe benefit taxable year at the benchmark rate of interest, less by The interest arising at the lowered rate of interest, less The otherwise deductible amount. Hence for the given scenario the taxable amount under loan fringe benefit would be reduced by the differential interest paid on 50,000 dollars. This would mean that the loan fringe benefit would now be 6525 dollars instead of 7250 dollars and the total taxable amount under fringe benefit tax would be 12,600 dollars. References ATO, 2016. Capital Gains Tax. [Online] Available at: https://www.ato.gov.au/General/Capital-gains-tax/ ATO, 2016. Fringe benefits tax. [Online]Available at: https://www.ato.gov.au/General/Fringe-benefits-tax-(FBT)/

William Merritt Chase’s Atmosphere at the Tenth Street Studio Building free essay sample

In this essay I will explore the development of the Tenth Street Studio Building, marketing methods developed by many of the tenants of the Tenth Street Studio, and emphasize the innovations achieved by William Merritt Chase upon residing in his what became popular studio and the effect this had on the art ideals of the time and younger generations of artists. The Tenth Street Studio Building was developed from an idea by James Boorman Johnston who hired architect Richard Morris Hunt to develop the land purchased by Johnston at the North side of Tenth Street between Fifth and Sixth Avenues in 1857. Annette Blaugrund describes the Studio Building in The Tenth Street Studio Building as a three-floor brick building that had studios that circled around a central gallery that would be used communally. Johnston intended this space to be used as a complete work and exhibition space for artists and proved to 1Cikovsky, Nicolai Jr. We will write a custom essay sample on William Merritt Chase’s Atmosphere at the Tenth Street Studio Building or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page William Merritt Chase’s Tenth Street Studio, Archives of American Art Journal, Vol. 16, No. 2 (1976), p. 3 ? be a progressive and successful idea for the time. Hudson River School artists such as Frederic Edwin Church, Jervis McEntee, and Sanford R. Gifford were connected to the Studio Building since its birth in 1856. The Studio Building was used as a place for artists of all kinds including writers, popular painters of the time, architects resided and met as a cultural center of the American art world. The Studio was a building where the artists could congregate and discuss the popular art of the time. Also, there held exhibitions collectively in the gallery where members of the community could come with the opportunity to move around the interconnecting studio rooms of the artists. Blaugrund discusses the artists of the studios as members of the National Academy of Design and the Century Association, two institutes that held dissimilar training and styles; the works of the artists of the studio affected each other’s work. She also goes to discuss that though the artists had dissimilar training, the artists all held a â€Å"common objective—to capture the art market. †2 Blaugrund discusses early marketing methods that developed during this time in the art world through that of tenants of the Tenth Street Studio Building. Selling work directly from the studio was key to artists. Every year, the Studio Building held receptions with music, food, and refreshments and invited people to view and purchase the art, as discussed previously. This method was a European that was popular of the times; it was a method of self-promotion that was vital to the artists of the building. In the early times of the Studio Building, the artists of residents held simply decorated studios. Many of the artists also found more opportunities to sell and promote their works, by developing outside relations. Other means to sell works were to exhibit at art organizations, auctions, and clubs. Residents of the Studio Building were leaders of 2 Blaugrund, Annette. The Tenth Street Studio Building : artist-entrepreneurs from the Hudson River School to the American impressionists / Southampton, NY : Parrish Art Museum , c1997. ? major art organizations and also members of committees in the community. This gave many new, younger artists of residence the opportunity to exhibit with well-known artists (Blaugrund). Around the 1880’s and 1890’s, marketing of art began to shift and became an opportunity for an art dealer to become involved in the selling of work. The shift was gradual during this time, and it only became an available market at this time because of the growth in the industry and the elevation of prices. Even with this new development, William Merritt Chase felt the need to stick primarily to self-promotion and studio receptions of the European style. Dissimilar to artists of the Hudson River School who resided in the Tenth Street Studio Building and preferred the simply decorated studio spaces, was William Merritt Chase who moved into the Studio Building in 1878 and preferred a lavishly decorated space full of worldly objects. Chase studied at the Munich Royal Academy and traveled through Europe prior to his residence in New York. He is an example of the new generation of artists who studied in Munich and Paris, and later was included in â€Å"the ten†Ã¢â‚¬â€a group of American impressionist artists who exhibited together. Though Chase was often tied to the relations he had from his training in Europe, he held an â€Å"American sensibility† to his work produced. 3 Chase became an important teacher to students at the Studio Building who were or would later reside as tenants. For twenty years, Chase resided at the Studio Building before beginning teaching at his own school: Chase School from 1896-1907. Chase moved into the Tenth Street Studio Building and took over the vast space that was originally intended for a gallery space. This is the gallery space that impressed early observers of the building, the space eventually proved useless and was converted into a studio. The gallery transfered from Alber Bierstadt to Chase in a moment that is symbolic of â€Å"a shift in artistic style 3 Blaugrund, Annette. The Tenth Street Studio Building : artist-entrepreneurs from the Hudson River School to the American impressionists / Southampton, NY : Parrish Art Museum , c1997. ? and studio decor and function. † (Blaugrund, The Tenth Street Studio Building. ) The studio was completed in 1879 when it was filled with numerous kinds of art and artifacts from his collection. When Chase moved out of the studio, an auction was held that catalogued his possessions as at least twenty-five different categories of objects. This studio was recalled as â€Å"the finest studio in the city, if not in the whole country,†4. The collection ranged from paintings, studio equipment, woman’s footgear; Cikovsky compares Chase’s studio to the 16th century German Wunderkammer. The large amount of exotic objects promoted the studio and brought an attraction to it. Studios such as Chase’s were common in Europe among painters such as Makart. Chase enveloped this European idea while studying abroad, and made it popular in America. Chase’s studio â€Å"became interchangeable with the ateliers of Makart and others,† (Blaugrund, Tenth Street Studio Building) an action that was probably intended by Chase. The use of the studio was primarily a tool that reflected his aesthetic. As an artist, Chase was deeply involved with the idea of surrounding and enveloping himself with an atmosphere of art. The accessories of the studio were not embellishments but were actually of use as equipment to Chase as the settings and use for figure paintings and portraits. Objects of the studio can be detected in his paintings of the studio itself, though their primary use was to create the aesthetic ambiance and atmosphere that Chase found necessary to work in. It created an atmosphere for Chase that emphasized the possibility to explore the untainted theme of beauty. In 1906, Chase stated â€Å"the secret of the success of the old masters in the good times when they left their great works was their environments—and it was this influence that helped to produce their great works. It is really that in art that counts and it was this kind of art atmosphere that was of 4 Cikovsky, Nicolai Jr. William Merritt Chase’s Tenth Street Studio, Archives of American Art Journal, Vol. 16, No. 2 (1976), p. 2 ? importance. †5 This amplifies the need felt by Chase to be surrounded by the atmosphere of the aesthetic. Art atmosphere was the underlying tool that was necessary to an artist. Prior to this time, studios were not considered â€Å"studios† but another name such as a â€Å"work-room. † Rooms such as this were often depicted as plain and undecorated. The noted contrast between this earlier time is due to the change in belief of an artist’s space and the method used to develop art. The American students of Munich and Paris wished to move away from the minimal taste of the grandiose subjects that were replicated in American art during the early 19th century. Cikovsky gives credit to Chase and his colleages of developing the term Hudson River School to reference these traits in his article. Artists that still held residence at the Studio Building at this time were: Whittredge, Church, Brown, Heade, and La Farge. It is interesting that Chase chose to reside in the Studio Building where a number the residents were members of the style Chase and his colleagues were attempting at moving away from. The new generation moved away from landscapes, choosing to depict still-lifes instead. The meticulous detail was replaced with a painterly style; theirs were paintings of elegance and a replacement of emphasis on the devotion of nature to that of art. William Merritt Chase also used his studio as a marketing tool. This method highly worked, as it became very well known—something that is obvious due to the vast amount of recollections of the studio. This use of his studio was similar to what was established at the start of the Tenth Street Studio Building, it was the use of self-promotion. The studio served to display the success of the artist while promoting one’s work; Chase was able to create his lavish and atmospherically pleasing environment in doing so. Chase also used the studio at Tenth 5 Cikovsky, Nicolai Jr. William Merritt Chase’s Tenth Street Studio, Archives of American Art Journal, Vol. 16, No. (1976), p. 7 ? Street as a subject in his works. This was considered a marketing method for Chase as his studio was put on permanent public display by paintings shown in the current magazines. From 1880-1885 Chase developed paintings that the setting was that of his studio. Blaugrund describes how the use of figures in these pieces are not used for narrative but humaniz e the interiors and that the identity of the women used as models by Chase is unimportant to understand the works. The earliest piece in his studio by Chase is Interior of the Artist’s Studio that depicts the lavish objects of the room. The subject of the piece as described by Blaugrund, is Chase himself as an educator in an environment of his own creation. During William Chase’s career as an artist, he developed a style from the darker Munich style to a deeper impressionistic style. Overall, William M. Chase’s Tenth Street Studio intended to evolve the style of American art away from the meticulous landscapes that were connected to American art that had been developed by artists such as the Hudson River School. Chase helped move the Tenth Street Studio Building into a new era of a younger generation that trained in Europe and had a more painterly style. Chase gave the Studio Building the attention that it had been lacking, and helped it to become the center of American art once again. The Studio Building was given business once again, and Chase’s studio became somewhat of a gallery—what the space was originally intended for. American aesthetic became prominent, Chase created a symbol for the artistic center in the development of his studio while revitalizing the Tenth Street Studio. The studio helped to create the personal gallery trend that developed in the United States gaining a national identity, which led in a form of the emulation of what was already developed in Europe. William M. Chase’s paintings were not as successful as his promotional activity in his lifetime. Chase’s studio and lifestyle were highly celebrated during his time, much more that his works. Though Chase continued to teach in a number of schools, including his personal school The Chase School which later developed into the New York School of Art. The Tenth Street Studio Building’s lifetime gradually ended, with it being demolished in 1956. Though a similar atmosphere that was established by the Tenth Street Studio continued to develop in its Greenwich neighborhood. Galleries developed that held a communal theme similar to that of the 1860s. Abstract expressionism emerged in the new generation of artists in the area, and the galleries gave these artists the freedom to select and display their own works similar to the style of the Studio Building. This marketing method used was a return to one of the self-promotion found at the Tenth Street Studio Building. Works Cited Blaugrund, Annette. The Tenth Street Studio Building : artist-entrepreneurs from the Hudson River School to the American impressionists/Southampton, NY : Parrish Art Museum, c1997. William Merritt Chases Tenth Street Studio Nicolai Cikovsky, Jr. Archives of American Art Journal, Vol. 16, No. 2 (1976), pp. 2-14 Published by: The Smithsonian Institution Stable URL: http://www. jstor. org/stable/1556890 Visits, Parties, and Cats in the Hall: The Tenth Street Studio Building and Its Inmates in the Nineteenth Century Garnett McCoy Archives of American Art Journal, Vol. 6, No. 1 (Jan. , 1966), pp. 1-8 Published by: The Smithsonian Institution Stable URL: http://www. jstor. org/stable/1557104

Baron Friedrich von Steuben essays

Baron Friedrich von Steuben essays von steuben was born in magdeburg, germany in 1730. he attended jesult schools in bresaiu. he entered the prussian army's officer corps, and served in the seven years war. he then joined fredrick the greats military staff. he next was appointed chamberlain to the prussian court of hohenzollern hechingen. in 1777, von went to parns to meet america's foreign commissioners, benjamin franklin and silas deane offered them his, military services.who was impressedby von stuebons title, immediately sent him to gearge washingtons at valley forge he crossed the atlantic ocean from germany to drill george washingtons (soldiers) troops. von faught the american militia. many eupopean military formations and other war stralegies. ina few days washington saw a great difference in the cordination, awareness and knowledged of his soldiers arrived in plymouth n.h in 1778 to aid these americans in a fight for independence w.c.a. although he spoke no enlish, he systematically trained the amature, americ an troops in military discipline and battle readiness. the rigorous training saved the troops from complete defeat during the battle of mamouth. in 1779 von prepared his book "regulations of order and discipline for troops of the u.s" which remained americas official military manual for over 3 decades.it is still being used today in the military system today. later in the war, von commanded the war supply center and faught at yorktown. afterword, washington employed him in avarety of duties, from the creation of a plan to demobilize the wartime army to the acceptance of britian's surendered canadian forts. von also helped to found the society of cincinnati, and then resigned his american commision in 1784, after the war the new york legislature granted von an estate. he recieved a small pension from the u.s government, but relied on friends like alexander hamilton to settle his mounting dates. von died on november 28, 794. he was burried in new york in steu...

The Civil War Plot to Burn New York City

The Civil War Plot to Burn New York City The plot to burn New York City was an attempt by the Confederate secret service to bring some of the destruction of the Civil War to the streets of Manhattan. Originally envisioned as an attack designed to disrupt the election of 1864, it was postponed until late November. On Friday evening, November 25, 1864, the night after Thanksgiving, conspirators set fires in 13 major hotels in Manhattan, as well as in public buildings such as theaters and one of the most popular attractions in the country, the museum run by Phineas T. Barnum. The crowd poured into the streets during the simultaneous attacks, but the panic faded when the fires were quickly extinguished. The chaos was immediately assumed to be some sort of Confederate plot, and the authorities began hunting for the perpetrators. While the incendiary plot was little more than a peculiar diversion in the war, there is evidence that operatives of the Confederate government had been planning a far more destructive operation to strike New York and other northern cities. The Confederate Plan to Disrupt the Election of 1864 In the summer of 1864, the reelection of Abraham Lincoln was in doubt. Factions in the North were weary of the war and eager for peace. And the Confederate government, naturally motivated to create discord in the North, was hoping to create widespread disturbances on the scale of the New York City Draft Riots of the previous year. A grandiose plan was devised to infiltrate Confederate agents into northern cities, including Chicago and New York, and commit widespread acts of arson. In the resulting confusion, it was hoped that southern sympathizers, known as Copperheads, could seize control of important buildings in the cities. The original plot for New York City, as outlandish as it seems, was to occupy federal buildings, obtain weapons from arsenals, and arm a crowd of supporters. The insurgents would then raise a Confederate flag over City Hall and declare that New York City had left the Union and had aligned itself with the Confederate government in Richmond. By some accounts, the plan was said to be developed enough that Union double-agents heard about it and informed the governor of New York, who refused to take the warning seriously. A handful of Confederate officers entered the United States at Buffalo, New York, and traveled to New York in the fall. But their plans to disrupt the election, which was to be held on November 8, 1864, were thwarted when the Lincoln administration sent thousands of federal troops to New York to ensure a peaceful election. With the city crawling with Union soldiers, the Confederate infiltrators could only mingle in the crowds and observe the torchlight parades organized by supporters of President Lincoln and his opponent, Gen. George B. McClellan. On election day the voting went smoothly in New York City, and though Lincoln did not carry the city, he was elected to a second term. The Incendiary Plot Unfolded In Late November 1864 About a half-dozen Confederate agents in New York decided to go ahead with an improvised plan to set fires after the election. It seems the purpose changed from the wildly ambitious plot to split New York City off from the United States to simply exacting some revenge for the destructive actions of the Union Army as it kept moving deeper into the South. One of the conspirators who participated in the plot and successfully evaded capture, John W. Headley, wrote about his adventures decades later. While some of what he wrote seems fanciful, his account of the setting of fires on the night of November 25, 1864 generally aligns with newspaper reports. Headley said he had taken rooms in four separate hotels, and the other conspirators also took rooms in multiple hotels. They had obtained a chemical concoction dubbed Greek fire which was supposed to ignite when jars containing it were opened and the substance came into contact with the air. Armed with these incendiary devices, at about 8:00 p.m. on a busy Friday night the Confederate agents began setting fires in hotel rooms. Headley claimed he set four fires in hotels and said 19 fires were set altogether. Though the Confederate agents later claimed they did not mean to take human lives, one of them, Captain Robert C. Kennedy, entered Barnums Museum, which was packed with patrons, and set a fire in a stairwell. A panic ensued, with people rushing out of the building in a stampede, but no one was killed or seriously injured. The fire was quickly extinguished. In the hotels, the results were much the same. The fires did not spread beyond any of the rooms in which they had been set, and the entire plot seemed to fail because of ineptitude. As some of the conspirators mixed with New Yorkers in the streets that night, they overhead people already talking about how it must be a Confederate plot. And by the next morning newspapers were reporting that detectives were looking for the plotters. The Conspirators Escaped to Canada All the Confederate officers involved in the plot boarded a train the following night and were able to elude the manhunt for them. They reached Albany, New York, then continued on to Buffalo, where they crossed the suspension bridge into Canada. After a few weeks in Canada, where they kept a low profile, the conspirators all left to return to the South. Robert C. Kennedy, who had set the fire in Barnums Museum, was captured after crossing back into the United States by train. He was taken to New York City and imprisoned at Fort Lafayette, a harbor fort in New York City. Kennedy was tried by a military commission, found to have been a captain in the Confederate service, and sentenced to death. He confessed to setting the fire at Barnums Museum. Kennedy was hanged at Fort Lafayette on March 25, 1865. (Incidentally, Fort Lafayette no longer exists, but it stood in the harbor on a natural rock formation at the present site of the Brooklyn tower of the Verrazano-Narrows Bridge.) Had the original plot to disrupt the election and create a Copperhead rebellion in New York had gone forward, it is doubtful it could have succeeded. But it might have created a diversion to pull Union troops away from the front, and its possible it could have had an impact on the course of the war. As it was, the plot to burn the city was an odd sideshow to the final year of the war.

The Migration of African Americans from the South to the North Research Paper

The Migration of African Americans from the South to the North - Research Paper Example The war had affected their social lives and it was time to rebuild their lives. The new region was in need of labor and the great migration was an effect of the demand for labor. The large number was enough to supply the north with the much-needed labor. Labor was the key factor and that the market was demanding labor after a large number of individual had migrated to Europe to fight the war. The effect of the war and the migration was visible in these regions (Harrison, 2012). Effect on the labor The north migration of African American had an impact on the labor market. According to Tolnay (2003), the migration was prompted by the fact that the labor market was falling short of supply. The European supply of cheap labor was cut short by the ongoing first. The north hence was in demand of labor. This prompted the shift of market from the European region to local labor force. The effect meant that the employers chose to utilize the internal labor markets. The high population of Africa n American in the south made it suitable for sourcing labor. This prompted the migration of people from the south to the north. The market was able to realize a potential labor market and shifted to attract cheap labor sourced from within the nation. A large majority of people were attracted to availability of industries which where potential employers (Harrison, 2012). The labor market grew and was unable to accommodate the rising population. In the short run, the move was effective as they were able to revive the industrial markets.