Lethal Tools of Our Past-Weapons of The Frontier :: essays research papers fc

Lethal Tools of Our Past- Weapons of The Frontier   Ã‚  Ã‚  Ã‚  Ã‚  A starving man paves his own highway with the calloused soles of his hunger. Out on the untamed wastelands, forests, and prairies it was the way of the gun, the knife, and the axe for all that managed to survive. And survive these brave men and women did with a sheer will of endurance that the pampered of today’s world has not come to know even the shadow of. In our modern comfort we live in what legacy these bold souls carved out of this nation, and much of the thanks we must give is passed to the sweat-hewned implements of their survival, the weapons of the frontier.   Ã‚  Ã‚  Ã‚  Ã‚  Scourging the countryside for this evening’s meal or simply keeping wary of impending danger, one often felt naked without a trustworthy gun at their side. A firearm often made one feel invincible, for the power of a bullet could protect the weakest and cowardly from even the strongest and fiercest of animals and people. In it’s use it proved to be an action that spoke louder than words, many a quarrel has been put to rest through this instrument, whose music is often not one of good cheer.   Ã‚  Ã‚  Ã‚  Ã‚  The rifle and the coveted shotgun, literally brought home the bacon. With sleek models such as the Winchester .44 in 1873, accurate targeting sights increased a hunter’s ability to take down his prey, even from large distances, often exceeding 200 yards. The other weapon of choice, the shotgun, did not boast a straight, clean shot, but had the capacity to tear anything to shreds in a single blast. A short barrel provided the advantage of a wider blast range and easier handling (Trachtman et al 50). In many battles, the shotguns were often preferred for their simplifying features.   Ã‚  Ã‚  Ã‚  Ã‚  In the frequently lawless country that the United States had become, a quicker solution for combat was deemed necessary. It did not take long for such handguns as the 1873 Colt Peacemaker to emerge as the weapon of choice for gunfighter, cowboy, sheriff or civilian. Fighting men everywhere considered the peacemaker’s balance and durability superior to that of other revolvers of the day, and they expressed their appreciation by clamoring for a variety of versions – some decorative or modified for a fast draw, others were plain, but all were lethal (Trachtman et al 43). With a growing consideration of violence, many Americans rushed to buy them in large quantities, often through the mail.

Poet’s childhood Essay

â€Å"In Mrs. Tilscher’s Class† by Carol Ann Duffy deals with one central theme. The theme of growing up is the main idea within the poem and is repeatedly imprinted throughout the poet’s childhood. This theme leads on to the more abstract idea of the child already maturing into a great poet. Her mind’s eye is unbounded as she transforms her classroom into a place of riches and resides in her own world of imagination. Written improbably through the 2nd person viewpoint, the poem expresses these ideas personally to the reader, hence allowing us to empathise with the poet. The poet is able to recall several aspects of her primary school days, and is consequently able to paint a picture of her memories from the viewpoint of a young child. The writer not only conveys an inviting warm atmosphere of a 1960’s classroom, but also unveils a liberal outlook to her childhood. A colourful classroom with numerous displays is made known to the reader: â€Å"The classroom glowed like a sweet shop. † The classroom is made into a place of riches with this visual simile, used to radiate wonders of the child’s mind. The word â€Å"glowed† in this line is a metaphor all on its own. The metaphor allows the reader to visualise the sweetshop gleaming due to the light refracting through the glass jars and translucent sweets. The poet can also bring to mind the teacher’s blackboard, as she informs the reader of how â€Å"the chalky Pyramids rubbed into dust. † In a literal sense the chalky lines on the board became chalk dust. The poet imagines this to be great pyramids and monuments being eroded inevitably by time. The bell signifying the end of playtime is remembered as: â€Å"The laugh of a bell, swung by a running child. † This auditory image incorporates the personification of the bell, to compare its sound to an incessant laugh of a child. The bell’s laugh is a transferred epithet from the child, as the children too were laughing, overwhelmed with joy as they returned to their classroom for another dose of Mrs. Tilscher. The poet’s joy is so intense and infectious, that it reaches out and transforms the whole scene. Such is the magnitude of the poet’s emotion. The laugh is also a visual image, as the reader can see a smile as the arc of the bell, and the clapper hitting the sides of it is almost comparable to a tongue. However other images such as a â€Å"skittle of milk† are more informative and suggest the time setting of the poem. The poet also remembers a music room next door to her classroom, though only by means of â€Å"a xylophone’s nonsense† heard. This auditory image describes the noise of the xylophone next door and this is further expanded by the use of the single metaphoric word â€Å"nonsense† which implies the vague unclear noise heard and the fact that the primary school children are producing uncoordinated music. The â€Å"enthralling books† were not to be forgotten to the poet, as they had made her a slave to them continually, due to their alluring influence. All the images used to recall aspects of the poet’s primary school principally focus on an emotional and sensual level. The primary school classroom may have been a place memorable to the poet through various images, but the definitive piece of the poet’s 1960’s school life was Mrs. Tilscher. Mrs. Tilscher’s voice is not even forgotten, as the poet reminisces her voice as she â€Å"chanted the scenery. † Mrs. Tilscher’s chanting brings about connotations of music in her voice and melodic speech. It also brings about a sense of religion, as she is made comparable to a pastor in a church chanting a sermon, enlightening and entrancing us all. Mrs. Tilscher is portrayed as a compassionate teacher: â€Å"Mrs. Tilscher loved you† and shows kindness and care. The terms around the lines focused on Mrs. Tilscher also have an implication on how she is illustrated to the reader. Words with intense connotations such as glowed, sweet, sugar and coloured have associations with moods of joy, brilliance, love and bliss which all elaborate on Mrs. Tilscher’s image. The teacher is also illustrated to be appreciative: â€Å"Some mornings you found she’d left a good gold star by your name. † Although it seems that the poet finds aspects of the classroom just as unforgettable as Mrs. Tilscher, the poet essentially portrays the classroom’s essence to be the work of Mrs. Tilscher, through her tone of voice. Choices of words or diction such as â€Å"could† have connotations of possibility. When put into context and further developed on, the implications go as far as unconstrained and limitless possibility. The teacher opens up a whole world of possibility, and it is because of this the poet remembers so much about her classroom, a boundless environment. It is because of Mrs. Tilscher that the poets classroom surroundings were made to be so memorable. The poet’s tone of voice and language varies throughout the poem, and strong distinction is made between the first two stanzas and the last two stanzas. The language in the first two stanzas is exceptionally exuberant, more child-like in an emotional sense and the imagery is much more pleasant to envisage, filled with colour, vibrancy and liveliness: â€Å"Sugar paper. Coloured shapes. † Each individual phrase builds up an atmosphere full of warmth. However the last two stanzas are less joyous in their atmosphere, as the poet makes her transition to a state of being overwhelmed by hormones. The word connotations also vary greatly in these two stanzas, bringing suggestions of anger, accusation and dismay: â€Å"You kicked him, but stared at your parents, appalled. † The stanzas are also bleaker in description and imagery is uninviting: â€Å"The air tasted of electricity. † The poet’s feelings in stanza four are troubled, after being introduced to topic of how she was born: â€Å"A tangible alarm made you always untidy, hot, fractious under the heavy, sexy sky. † Such sentences furthermore use more mature and sophisticated language, which coincide with her growth as the language also develops. Therefore the poet’s outlook and tone of voice changes as she becomes much more interested in growing up than going to primary and learning in a high-spirited vibrant classroom. The reader of the poem is invited to personally explore the main ideas within the poem. This personal involvement of the reader seems appropriate, as the main theme conveyed, the journey of growing up, is your own personal exclusive journey. This personal involvement is due to the narration of the poem from the second-person viewpoint. This is shown through the excessive use of the second-person pronoun â€Å"You. † By using this narration style, the experience of the young poet is made universal and common. We can all be subjected to her experiences of growing up from the second-person narrative perspective. Although the reader finds it easy enough to face the poet’s experiences, Mrs. Tilscher feels that she should have no influence in the young child’s journey of growing up, and that such a journey should proceed at the person’s own pace. When the child asks the teacher about how she was born, â€Å"Mrs. Tilscher smiled, then turned away. † Mrs. Tilscher may have believed that the poet would learn in her own time, but the poet nevertheless encourages the reader to enter her journey. The poem illustrates two worlds in which the poet resided during her childhood days. The reader is able to capture not only the essence of the classroom, but also the limitless realm of the child’s imagination. Both these worlds exist alongside each other agreeably as the classroom is made into a creative place itself due to the influence of Mrs.Tilscher. The foremost apparent world presented by Carol Ann Duffy is the classroom. The classroom conveys images of riches, sweets, colour and joy. However beyond this, the classroom is seen to be a sanctuary. The classroom was a safe house against the world of murder and crime outside, as suggested by the mention of â€Å"Brady and Hindley† of the 1960’s. The real world begins to force an entry into the child’s reverie as she slowly begins to become conscious of the world outside. This is the first occasion in which the poet shows signs of growing up, which enforces the main theme of the poem. The girl learns that the real world isn’t to be trusted. The classroom however is portrayed as a world of its own, not troubled by the likes of such horrific murderers. The fear fades away in the classroom, and along with this so does the little hint of adulthood. She postpones her transition into adulthood for the meantime, as the poet shows us by using a child-like image after the allusion: â€Å"Brady and Hindley faded, like the faint uneasy smudge of a mistake. † This second component to the sentence indirectly illustrates the use of a pencil, and the occurrence of â€Å"silly mistakes. † It is because of this implication that the poet moves back into the state of childhood. The growth of the poet is exemplified in this classroom world, and therefore this world is very significant to the theme. Conversely, on a more abstract plane, the poem portrays another world within the child’s mind. A whole world of imagination and vision. The poet expresses that she â€Å"could travel up the Blue Nile with your finger tracing the route. † The poet is tracing her finger down the Nile, and is in her imaginative world of Egypt. On the other hand, in reality the teacher is demonstrating sketch maps on the board. The word within the poem, which establishes both worlds within and without, is a metaphor on its own. The word â€Å"travel† is the single metaphor, which suggests that the poet is on a journey within her mind, when actually she is stationary within her school seat. The poet also conveys the main theme in this imaginative world, as the child not only travels with her finger and during her daydream, but she furthermore travels through her journey of growing up. The child is beginning to grow into a great poet, and this is shown through various lines within the poem. A very strong contributor to this idea of the girl growing into a great poet is an example of synaesthesia: â€Å"The scent of a pencil, slowly carefully shaven. † This image appeals to all of the senses at once, and incorporates kinetic, olfactory, visual and tactile aspects. This line shows how the poet â€Å"carefully shaved† her pencil, just in the same way she carefully crafts sentences. This is extended even further by the link made between the writing tool and the writing process. The child poet is even able to link this image full of senses to the main theme of growing up. The act of the girl carefully shaving the pencil, symbolises how she is shaving or peeling off her childhood as she makes the transition into adulthood. The poet gradually conveys to the reader that there are two states of growth within the poem, and that the girl is maturing both into adolescence and into a mind of an exceptional poet. The last stanza of the poem focuses the atmosphere and the attitude of the poet into an uninviting overcast, but also centers in on the theme. It illustrates the â€Å"feverish† month of July, oppressed by the summer and heat. Alongside this are the hormones of the child, felt almost within the air. These hormones amplify the effect of the afflicting heat. The air also â€Å"tasted of electricity†, which conveys the anticipation of summer thunderstorms due to the heavy air. However â€Å"electricity† also relates with the hormones to suggest that the child will spark at random times and also that the growth of the child is full of charge, energy and excitement. Further along, the use of the phrase â€Å"a tangible alarm† portrays an almost touchable fear within the air. This fear made the girl â€Å"fractious under the sexy sky. † This expresses to the reader that the girl had many sudden outbursts of anger due to her hormones. These hormones influence her thoughts and are the causes behind the poet using the term â€Å"sexy† to describe the sky. The last line of the poem communicates how this adolescent phase is like a thunderstorm. The thunderstorm represents her feelings of puberty, as she feels as though the whole world is coming down on her, just as in a thunderstorm. The lightning of a thunderstorm also links to the connotations of the â€Å"electricity. † The lightning of the thunderstorm could symbolize the mood swings awaiting the child. The lightning also illustrates the fact that there is an unsettlement within the child, as if an electric current was continually running through her. The rain of a thunderstorm conveys the downpour of gloom upon the child throughout the hard times to come. On an overall view the experience of puberty and growing up is just a phase and in time will pass. Soon the child will be entirely in adulthood. Likewise the thunderstorm is just an unpleasant phase in the sequence of weather and in time shall pass. Before long the sun will overpower such a ghastly occurrence of weather. Overall, â€Å"In Mrs.Tilscher’s Class† by Carol Ann Duffy is a poem which allows the reader to personally identify themselves with the poet. The poem is contrastive between the stanzas and thus the poet is able to isolate the main idea. Two worlds are created expressing the wonders of the classroom, but also illustrating the unconstrained world of the girl’s imagination. Through these two worlds we see signs of the girl growing into a great poet. However the most essential idea of the poem is the theme of growing up and maturing. It is a journey through adolescence: â€Å"You ran through the gates, impatient to be grown. â€Å"

Computing professional essays

Computing professional essays A Formal Interview of Devin Blank The computer industry has taken a remarkable turn over the past 10 years. The foundation of multi-million dollar companies rest on the hands of those skilled to handle the demands of todays business networks. Email, fax and file services, print sharing and remote file access, are among the many vital functions that business network administrators are responsible for maintaining. Devin Blank is a Web Security Analyst for the Dallas based branch of Delloite and Tousch. Being a company that was built to rely on computer networks, Delloite and Tousch requires and is comprised of state-of-the-art technology ranging from palm applications to multiple branch servers. Devin handles some of the maintenance and trouble shooting for the web based applications at the company. During our interview he elaborated on the following questions. 1. What is your formal job description? Devin is a Web Security analyst for Network Service. He said that in this position he is responsible for the maintenance and security of the web based applications connected to the company. He is often contracted by outside companies to consult and diagnose their networks for security purposes. 2. How long did it take you to obtain this position? Devin attended Texas A and M University in College Station, Texas. He graduated with a four-year degree in Business Finance with a specialization in network computing. So looking at the big picture, it took 4 years of college plus the summers of internship in his field. After the hiring process, Devin was placed with an on-the-job trainer for 6 months. Th ...

Slavery in South Africa essays

Slavery in South Africa essays Throughout the history of the world slavery and racism has existed in many societies. This has held especially true in Africa and Southern Africa. Even when the self deemed "more civilized" Europeans began to settle in Africa, black men and woman continued to be treated as property and less than "white." The Khoi were a group of people that coexisted with the white settlers from the early beginning and their progress of racial conflict with the white settlers reflected the progress that was being made world wide. South Africa was hard pressed to change its values on racial equality even with the outside pressures of England and the rest of the known world. Racism was already an issue before the Dutch East India Company's settlement at the Cape Colony became a reality. Previous prejudicious learned from racism overseas back in Europe was already embedded into the minds of the white settlers before they ever reached Africa. When they encountered tribesmen of the Khoi their initial instincts told them that they were superior to these Africans. They were white, and these African tribesmen were black, so in the European's minds they were inferior. On the other hand, the Khoi had never encountered a racist environment before. They had no reason to expect someone to try to enslave them or treat them as something other then equal. They were used to incorporation foreigners into their society as equals, as they had done with other African tribes. Since the Khoi had no presupposed notions of racism developed into their culture, it was easier for the white settlers to gain an advantage in confrontation. For example, black slaves were br ought over from the Dutch East Indies, therefore already bringing a preexisting slave movement into the area. Trade played a large role in the Khoi subordination to the European settlers. The Dutch East India company planned on acquiring meat from the Khoi. Cattle were central to the Khoi li...

Women of the Black Arts Movement

Women of the Black Arts Movement The Black Arts Movement began in the 1960s and lasted through the 1970s. The movement was founded by Amiri Baraka (Leroi Jones) following the assassination of Malcolm X in 1965. Literary critic Larry Neal argues that the Black Arts Movement was the â€Å"aesthetic and spiritual sister of Black Power.† Like the Harlem Renaissance, the Black Arts Movement was an important literary and artistic movement that influenced African-American thought. During this time period, several African-American publishing companies, theaters, journals, magazines, and institutions were established. The contributions of African-American women during the Black Arts Movement cannot be ignored as many explored themes such as racism, sexism, social class, and capitalism. Sonia Sanchez Wilsonia Benita Driver was born on September 9, 1934, in Birmingham. Following the death of her mother, Sanchez lived with her father in New York City. In 1955, Sanchez earned a bachelor’s in political science from Hunter College (CUNY). As a college student, Sanchez began writing poetry and developed a writer’s workshop in lower Manhattan. Working with Nikki Giovanni, Haki R. Madhubuti, and Etheridge Knight, Sanchez formed the â€Å"Broadside Quartet.† Throughout her career as a writer, Sanchez has published more than 15 collections of poetry including Morning Haiku  (2010); Shake Loose My Skin: New and Selected Poems  (1999); Does Your House Have Lions? (1995); Homegirls Handgrenades  (1984); I’ve Been a Woman: New and Selected Poems  (1978); A Blues Book for Blue Black Magical Women  (1973); Love Poems  (1973); We a BaddDDD People  (1970); and Homecoming  (1969). Sanchez has also published several plays including Black Cats Back and Uneasy Landings  (1995), I’m Black When I’m Singing, I’m Blue When I Ain’t  (1982),  Malcolm Man/Don’t Live Here No Mo’ (1979), Uh Huh: But How Do It Free Us?  (1974), Dirty Hearts ‘72  (1973), The Bronx Is Next  (1970), and  Sister Son/ji  (1969). A children’s book author, Sanchez has written A Sound Investment and Other Stories  (1979), The Adventures of Fat Head, Small Head, and Square Head  (1973), and It’s a New Day: Poems for Young Brothas and Sistuhs  (1971). Sanchez is a retired college professor who resides in Philadelphia. Audre Lorde Writer Joan Martin argues in Black Women Writers (1950-1980): A Critical Evaluation that Audre Lorde’s work â€Å"rings with passion, sincerity, perception, and depth of feeling.† Lorde was born in New York City to Caribbean parents. Her first poem was published in Seventeen magazine. Throughout her career, Lorde published in several collections including  New York Head Shop and Museum  (1974),  Coal  (1976),  and The Black Unicorn (1978). Her poetry often reveals themes dealing with love, and lesbian relationships. As a self-described â€Å"black, lesbian, mother, warrior, poet,† Lorde explores social injustices such as racism, sexism, and homophobia in her poetry and prose. Lorde died in 1992. bell hooks bell hooks was born Gloria Jean Watkins  on September 25, 1952, in Kentucky. Early in her career as a writer, she began using the pen name bell hooks in honor of her maternal great-grandmother, Bell Blair Hooks. Most of hooks’ work explores the connection between race, capitalism, and gender. Through her prose, Hooks argues that gender, race, and capitalism all work together to oppress and dominate people in society. Throughout her career, hooks has published more than thirty books, including the noted Ain’t I a Woman: Black Women and Feminism in 1981. In addition, she has published articles in scholarly journals and mainstream publications. She appears in documentaries and films as well. hooks notes that her greatest influences have been abolitionist Sojourner Truth along with Paulo Freire and Martin Luther King, Jr. hooks is a Distinguished Professor of English at the City College of the City University of New York. Sources Evans, Mari. Black Women Writers (1950-1980): A Critical Evaluation. Paperback, 1 edition, Anchor, August 17, 1984. Hooks, Bell. Ain’t I a Woman: Black Women and Feminism. 2 Edition, Routledge, October 16, 2014.

Isadora Duncan harmony with dance Research Paper

Isadora Duncan harmony with dance - Research Paper Example Her free flowing pattern of dress is said to be influenced by the Greek style (Lomask, 1997). Her unrestricted and graceful movement of body has given her a special place in the works of various artists like writers, sculptors, painters, actors, musicians and film makers (Uminski, 2007). However, Duncan was overtly criticized by the narrow minded section of the society according to which she was far too advance than the era in which she was living (Uminski, 2007). Brought up in poor apartments, Duncan spent her childhood dancing alone on the beaches (Lomask, 1997). Hardships in her life made her stand up for deprived children and distressed women (Lomask, 1997). The maestro wanted to perform for mesmerizing the souls of the less privileged rather than for minting money (Lomask, 1997). This was clearly reflected in her costumes and make up. The dancer has clearly stated: (Duncan, 1927) When I speak of my School, people do not understand that I do not want paying pupils; I do not sell my soul for silver. I do not want the rich children. The have money and no need for Art. The children I long for are the orphans of the war, who have lost everything, who no longer have their fathers and mothers. As for me, I have little need of money. Look at my costumes. They are not complicated; they did not cost very much. Look at my decors, these simple blue curtains I have had since I first started dancing. As for jewel, I have no need for them. A flower is more beautiful in the hands of a woman than all the pearls and diamonds in the world. Collaborating Artists: Edward Gordon Craig & Constantin Stanislavski Isadora Duncan had an umpteenth number of artistic collaborators. Edward Gordon Craig and Constantin Stanislavski were considered as the chief collaborating artists for Duncan. The dancer met Craig, an actor, director, designer and graphic artist for the first time in Berlin in December 1904 (Zavrel, 2003). In the same year, Duncan opened her first dance school in Grunewa ld and her group was later known as the â€Å"Isadorables† (â€Å"Chapter 2†, n.d.). The two of them met again in Duncan’s recital, a Chopin program which was conducted in a simple background (Zavrel, 2003). Craig was highly impressed by Duncan’s performance and fell in love with her. Their love gave way to Duncan’s first daughter, Deidre who met with an unfortunate death in 1913 (Craig, n.d.). Craig eventually parted away with Duncan whom he used to call â€Å"Topsy† in 1907 (Craig, n.d.). A couple of years ago, both Duncan and her stage designer, Craig were brought into discussion (Holroyd, 2009). According to Holroyd, Duncan’s â€Å"nine-minute pas de deux with Craig is a wonderfully sustained and ingenious piece of erotic interplay†¦Ã¢â‚¬  (Holroyd, 2009). During her tour of Russia between 1904 and 1907, Duncan first met Constantin Stanislavsky, the popular Russian theatre director who had deep admirations for the dancer (à ¢â‚¬Å"Chapter 2†, n.d.). At that time, Stanislavsky was occupied with Method of acting (Uminski, 2007). It has been stated, â€Å"The famous Stanislavsky Method of acting is nothing more than a device for switching on at will what Isadora called the ‘motor in my soul.† (Mazo, 2000:52) The director sponsored Duncan’s school in Russia where she had plans to educate children in dance (Uminski, 2007). In 1908 Isadora introduced Craig to Stanislavsky who offered Craig to direct their production of Hamlet (Edward Gordon Craig,

Computer Security Essay Example | Topics and Well Written Essays - 750 words

Computer Security - Essay Example To understand the nature of this proverbial beast we must take a closer look at the misaligned incentives that guide the basic design and deployment of computer systems, which form a major chunk of the issue. These misguided incentives begin with what economists call a moral hazard effect which resulted in a landslide of fraud. Other incentives include consumer’s lack of prioritizing on security measures which resulted in their minimum spending on software security. This is referred to by economists as ‘The tragedy of the commons’ with consumer’s unwilling to spend on measures that did not directly benefit them. Third is the failure in privacy and prolonged regulatory issues due to poor allocation of online risks. Last is the ability of these incentives to affect defense and offense strategies. With highlighting these key aspects we can move on to examining two mutually exclusive reasons for the decline in credit card number prices and violations of securit y based on economics being the reason for the existence of economics of security. The first of these reasons is ‘Network Externality’. In the information sector network externality refers to the software industry. Where the number of software users’ counts as the operating system developed depends on the choices of these people. So when the software company is in its initial development phase it tends to ignore security to strengthen its market position, later they add security measures once they have locked down on their target market. In economies this principle is called the Metcalfe’s law, stating that the value of a network grows with the number of people using it. This principle when applied to credit cards can be viewed as more merchants take credit cards their usefulness increases in the eyes of the customer. This results in more customers having credit cards increasing the likelihood of more merchants accepting them. So we notice that although the credit card network grows slowly initially but as positive feedback rolls in an exponential growth results. This has a direct impact on the decrease in the credit card number prices with a burst of credit card users. The second reason for this mutually exclusive occurrence has to do with ‘competitive applications and corporate warfare’. In reference to credit cards we look at the business strategy that requires manipulating switching costs. This can incorporate direct and indirect switching costs in terms of making systems incompatible or controlling marketing channels. Sometimes product differentiation and higher switching costs can both be used as security mechanism goals. For example look at Microsoft Passport, which operates with the promise of a single sign-on that facilitates consumer convenience. However that being said the real goals of Microsoft Passport is to subtly gather huge sums of date on consumer purchasing patterns with the expansion of a strong networ k externality. Also it limits the customer choice since the undertaken transactions are only operational on Microsoft software. This shows how instead of a concentration on security the product concentrates instead on web server control and acquisition of information markets. The products credit card transactions and details, which are all kept by Microsoft, result in the creation of a target market. This increases the probability of a greater external threat as well as a complete stranger