Changing face of Indian Fashion

Changing face of Indian Fashion Changing face of Indian Fashion â€Å"Language disguises the thought, so that from the external form of the clothes one cannot infer the form of the thought they clothe, because the external form of the clothes is constructed with quite another object than to let the form of the body be recognized† (Calefato 2004. p 13). The western culture is cultivating a grand love affair with the distinctive fashion style in India. Along with Indian music and spirituality, Indian clothing is seeing a huge impact on main stream identities of western style and culture. The main intention of this essay is to demonstrate how this emerging trend relates to the changing face of Indian fashion. Fashion is the style and custom prevalent at a given time. To some its an art form, to others its like a part of their culture and religion but to most it is a method of utilizing cloth to show or hide something about themselves. Fashion can be used to serve as an extension of ones own personality or to disguise ones own true self. One of the major points here is, how does art, culture and industry, the three aspects of life, relate to fashion? The English dictionary states that, art is a human skill opposed to nature. There are various for and against argument on whether fashion is an art form. One view that favors the argument is, art is a visual medium whose creators respond to the same stimuli as painters and sculptors and like art, it involves immense creativity as well as mastery of technique and materials. The view against it is, artists supposedly are not concerned with selling, they are consumed with creating works of art, not producing a collection for regularly scheduled s howings (Rhodes, 2003). Culture on the other hand is basically an ‘intellectual development at a certain time and a certain place and refers to certain human behavior and activities that conclude to significance and importance whereas; industry is a segment of economy, concerned with the production of goods and service. It is an essential component of most societies and fashion is a huge contributor to it. The major fashion cities have continuous competition between each other and due to their different strategies become known as the ‘cultural industries. The history of costume, Barthes (1983) says, has a general epistemological value. By ‘history of costume, he means a socio-semiotic reading of the phenomenon of clothing as an articulate language through which it is possible to analyse a culture, as system and process, institution and individual act, expressive reserve and significant order. The nature of fashion, however, constantly changes and focuses on newness , or the illusion of something new which means that signs and symbols are transient. According to Woodruffe-Burton â€Å"fashion is a visual commentary on the excess of a postmodern culture, the perfect foil for a world of fragmented and commensurate identities and personage, offering a dynamic procession of free floating signs and symbolic exchanges† (Woodruffe-Burton 1998, page 302). Choices made in relation to new clothes are usually controlled by the current fashion ‘look as defined within the fashion system and realized by the availability of fresh goods (Alexandra, 2004). According to Barthes (1983), the concept of new lifestyle and fashion styles is â€Å"signified† while the fashion commodities become â€Å"signifiers†. He also points out that the present form of fashion commodities decrease in value and are subsequently relinquished when the new signifier readily provides a replacement for the previous signifier. In addition, Baudrillad (1981) referred to fashion as a â€Å"compulsion to innovate signs†¦apparently arbitaray and perpetual production of meaning a kind of meaning drive†. The meanings drive individuals, to seek out those new commodities that could signify them. According to Vinken, The discourse on fashion is constructed by the articulations of three major conceptual articulations: the division of being and mer e appearance; the division of the sexes; and inseparably linked to the latter the division of the classes. In modern times, there has been a marked tendency for the first of these conceptualities whether it appears in its philosophical form or in its ethical application to be incorporated into the sociological variations of the divisions of gender and class. This phenomenon of compression has been compounded by the fact that the paradigm of the division of the sexes has allowed itself to be grafted onto the discourse on class, dominant until the eighteenth century, with the same ease that, in traditional thought, the moral condemnation of vanity let itself be combined with the philosophical suspicion of mere appearance†(Vinken, p4) India during its earlier days to be clothed in fashion was seen as a mark of privilege enjoyed exclusively by upper class. The lower end of the society didnt have the access to it due to the dominance of traditional clothing which followed inten sively during that time. But now it has changed for the better and is being enjoyed by almost everyone at every social level because of the democratization of fashion which has helped in mass production during the Industrial Revolution. The appearance of avant-garde designers from Japan in the early 1980s was believed to be the beginning of the postmodern phenomenon in the field of fashion. It allows openness to a great variety of styles and genres and the acceptance of Asian designers which was considered as the breakdown of the racial boundaries among designers who were largely white. Post modernity allows ethnic minorities, from women, lesbians and gay men to state find or retrieve an identity (Wilson 1994). The definition of what is fashionable was gradually decreasing in its nature with the beginning of postmodernism which eliminated differences and with the end of the autonomous sphere of fine art. What was usually worn as underwear now could be worn as outerwear. What used to be a hole for the neck could be worn as an armhole. Contents of fashions have become diverse and have redefined themselves implying the breakdown of the clothing system, itself that is, of sartorial conventions. The emergence of the new modern India seems to be the buss word for the new younger generation exposed to the vision of the new millennium as India opened up its doors to the west, there came a need to create a new identity. Thus was the idea of taking Indian traditional fabrics and styles and combining them with western cuts and lines, to appeal to larger segments and masses. Due to these developments, fashion gained in acceptance out of selected cities into the most conservative households. The new emerging trend catered way to the concept of Indian fashion boutiques, due to which women started moving out of the house and those typical tailor master were out of fashion. When more and more women started doing job, the online boutiques proved to be of great help as they can find everything under one roof, from fabric, designing, stitching and accessories (Chawla, 2006). Earlier to have a desired design, effort was needed to be put on to run from shop to shop to buy the fabric. Once the fabric is bought, the matching colour of laces and buttons need to bought and all these need to be given to the tailor for completing the stitching of the garment. Now, all these headaches are been taken care by the boutiques which keep a complete range of stitched and unstitched garments from casuals to party wear. The mall culture and family stores has dominated and is steadily growing in India. These are the places which are starting to become a favorite fashion hub for upper and middle class people. These stores sell fashion garments of all age groups and sexes and are considered as shopping destination. Most Indians express a great deal through their clothing. Their quench for the ultimate perfection plays a great deal in their choice of beautifully colored dramatic and sensuous garments. Highly lively colors woven in to signify the ornate designs can be found resonating through the whole of India. Lot of western influences has created modern designs which has been included into the basic structure of Indian outfit and that are the dresses that we find these days. So that makes us wonder, what was Indian fashion actually like when there were no designers displaying their haute couture to pamper a luxurious line of clientele? Well the answer to it is, India had its own kind of customs and traditions followed from generation to generations, the presence of it are even felt today. A surprising fact about ancient Indian fashion was that the clothes were not stitched together at all because most of the clothing was ready-to-wear, as soon as they left the loom. The ancient Indian fashion did not really have garments that were sewed together. The examples of these are the dhoti, the sari, the turban and the scarf. The practice of wearing dhoti by men and women were seen as a familiar site since India always go through hot and humid climatic conditions and these were made with cotton which suits the condition. The traditional Indian Dhoti, the Scarf or Uttariya and the popular Turban are still seen visible in India as people continue to wear them and hence remains as an integral part of Indian culture. Indian dressing styles are marked by many variations, both religious and regional with a wide choice of textures and styles (Tirthankar, 1999). One of the most commonly worn traditional dresses, the sari, is essentially a rectangular cloth measuring about 6 yards long. It passes through the legs around the body and tucked in at the back. Its worn in varied styles and is made from materials like pure silk or other fabric woven in different textures with different pattern s. It is worn by women as the lower garment combined with a Stanapatta (a thin band that wraps horizontally around torso) which forms the basic wear. This consists of garments that do not have to be stitched, the stanapatta being simply fastened in a knot at the back (Osella, 2000). Although the saris and the dhotis have never gone out of fashion, with the Persian influences in Indian fashion, women started wearing long tunics that went down to the knees with trousers that were known aschuridars. It also includes the very popular, versatile, comfortable and stylishsalwar-kameez. Thesalwaris a loose pajama like trouser whose legs are wide at the top and narrow at the ankle whereas kameez is a long tunic that goes down till the knees, the sides of which are left open below the waist-line, giving the wearer great freedom of movement. The basic design of this has been modified in various ways since ancient days (Jessica Pudussery, 2009). Apart from clothes, Gold plays a major role in Indian fashion and the use of it has been a tradition, long enjoyed by Indian women since early ages. Ornaments made of gold, combined with precious and semi-precious gems and beads, are the most popular ones. As the story goes on, it is said that traditionally Indian ornaments had an e conomic value for women. The ornaments given to her at her wedding constituted a daughters inheritance from her father (which was earlier referred to as Dowry). Though this no longer holds true, a brides ornaments is considered as a financial security for her throughout life. In India the appearance of dressing styles is more towards a cosmopolitan way rather than region specific; the cause of this change can be reflected back to the early days of Indian Independence. Later on globalization bought about huge changes and this can be considered as one of the major factors witnessed in Indian fashion industry, were significance noticeable changes in styles have happened in connection with Indian dressing. Indias rapidly expanding economy has provided the basis for a fundamental change, the emergence of what is called a new vanguard increasingly dictating Indias political and economic direction (India child, 2000). There can been seen an increasingly popularity towards western mode of dressing styles among the urban youth of both sexes. Some young women are trying to incorporate the latest fashion trends within their wardrobe while still following some of the traditional Indian dressing customs. The women youth market is significant not only because of it she er size and the spending power but since they are the trend setters for rest of the population. Young women generally pay more emphasis on their appearance than older people and thus clothing occupies a more central position. They are more likely to be fashion conscious and hence are frequent buyers and they usually prefer wearing casuals (Gowswamy Roy, 2007). Although traditional dress is still worn in India, according to V.P. Sharma, an Indian worker working as a weaver in the traditional handloom sari industry in Bihar since 1988, blames the trend in womens changing tastes for handloom saris, a simple cotton sari that many Indian women wear daily. The plain designs and less appealing colors, plays no significant role for a new modern woman like Rashmi Raniwal who is a 22 year old sales assistant. Sari? she says giggling, I never wear it casually, only for formal occasions. She further adds that women in India welcomes change as it is seen as a mark of progress. There is a common view that people would consider, a woman clothed in western formal wear is more empowered than her traditional counter parts. (Time Magazine 2009). In globalized modern India mens fashion hasnt changed significantly from season to season whereas business clothing has undergone few changes but its more of being professional than being fashionable. Personal hygiene is part of the success equation, freshly scrubbed wins out over heavily fragranced. The finishing touch for Indian business professionals is his choice of accessories like briefcase, portfolio and pen but when it comes to sealing the deal, a top of the line suit, a silk tie and a good pair of leather shoes would make things perfect and professional. Its all about presenting themselves in a way that makes the business clients feel comfortable and confident on them. Dressing for success is still the rule that is being followed. It was during the late 1970s and 80s the importance of women in work place began to have a prominent role than ever before. They gradually moved into positions that had been traditionally held by men. Many of them even thought that they need to imi tate males business clothing to look appropriate for the position; the outcome was, women seen dressed in skirted suits and jackets with tailored blouses. While the business women now wear trousers to work, she does it with the intention to look professional. (Doris, 2005). Like the men the same overall rules apply to womens work atmosphere as well, business clothing is not a reflection of the latest fashion trend but it is to notice herself as a professional. They think that they should be noticed for who they are and their professional skills rather than the fashionable clothes they wear. The business wear should be appropriate for the industry and the position they hold within the industry. In the 1960s and 70s, this whole bit of buildup of wealth in India was still suffering from a Gandhian hangover. Even though there were a whole lot of families who were wealthy all over India from North to South, all their lifestyles were very low key. They were not exhibitionist or were not into the whole consumer culture. The trend has now changed completely and we can see a complete lifestyle transformation on spending habits from cell phone, holiday destination to latest fashion, which earlier would have triggered a sense of guilt that in a nation like India a kind of vulgar exhibition of wealth is contradictory to its own values. Consumerism has now become an Indian value and the new Indian middle class is making its voice heard everywhere. The middle class is hard to define precisely, is bracketed on either side by the upper and lower echelons. It is not a single stratum of society but straddles town and countryside. It encompasses prosperous farmers, white-collar workers, busi ness people, military personnel and myriad others, all actively working towards a prosperous life (Fernandes, 2006). Members of the upper class which is around 1 percent of the population, are owners of large properties, members of exclusive clubs and vacationers in foreign lands, and include industrialists, former maharajas, movie stars and top executives. Below the middle class is perhaps a third of the population who are ordinary farmers, trades people, artisans and professional workers (Britannica 2009). In todays fashion conscious society, with numeral number of designers, it would be a difficult to note down some of the top fashion designers all over the world. The superiority of designer clothing gives one the satisfaction of owing a designer piece that is unique in every way. The emergence of western concepts of displaying fashion shows has now become a common event in India. The so called catwalk models started displaying collections of designers on ramp. It was in 1932, the first fashion catwalk was organized in India by Catherine Courney. Now it can be seen as a common every day event with many conceptual and theme based shows. Indians have started exploring new avenues with their modern hybrid fashion trends which is a blend of the old traditional and the new modern and is gearing up to International exposure. This fact can be proved by the existence of eighty plus fashion schools in India were young vibrant designers are trained to face the international arena. Recently, som e of the worlds famous fashion designers like Armani, Fendi and Myiake all have been fascinated and drawn by the elements of the exotic Indian culture and traditions (Mark 2008). India, which perfectly mixes the spirit of adventure, the sense of mystery and majesty with the principles of elegance, sophistication and modernity, has long been a wonderful source of inspiration for many internationally acclaimed fashion designers. In Paris, Dries Van Naton, (The Telegraph, 2009) one of the new fashion leaders and the member of the so- called â€Å"Belgain Four† presented a collection of layered chiffon raps dresses saris and kurtha looks alikes. The color palettes of these modern western designers are drawing from the colors of vibrant Indian Rajasthan Desert at sundown using rich golds red and green. Fashion designers are credited for their mastery in embedding their creations with works of art that embellish the beauty of a woman. Its a fact that all of us are different from e ach other and seldom have the perfect figure and elegant personality that should be flaunted. Its also a truth that nobody is perfect, we all vary in height, color and characteristics. Its the magical hands of the fashion designers that transform one through intelligent smart dressing. They shape up the body in the most modest manner and make people look stunning and sensuous. There is something unique about every designer, one might focus on ethnic styling while the other on hottest western collections. The Indian movie industry has contributed and provided inspiration for the gloriously rich Technicolor summer fashion. Asia had a huge influence on the spring/summer 2002 designer catwalks and this resulted in the high street awash with bright turquoise, fuchsia, brocade and emerald tops, skirts and trousers (Colin 2004). With the changing times the Indian fashion designers have brought about a storm in this glamour world with their commendably fabulous variety both internationally and locally. A huge chunk of latest fashion is made out of expensive designer clothing. These range from expensive saris to other traditional outfits which are stitched with semi-precious stones. These are exclusively made to cater the taste and preference of particular individuals to be worn during special occasions. Some even focus on modern expensive western fashion brands to make their presence felt. All these trends can be seen in Indias growing class of the super-rich which constitutes the maharajas and other like leading movie stars and industrialists. According to CapGemini Merrill Lynch Asia Pacific Wealth Report 2008, the number of Indians with more than $1 million in assets has grown since last year by 22%, to 167,000, more than in any other Asian country. Finally, Indian fashion beauties on the world stage canno t be ignored or left out of fashion since its the women beauties of India who bought about major changes in outlook of fashion, though they were left behind in the early days. Lara Dutta (Miss Universe 2000) and Priyanka Chopra (Miss World 2000) are the few to name as the world renowned Indian beautys who contributed to these changes. Indian fashion got International exposure and acclamation through the medium of such beauty contests. Unlike uniforms, the way we dress of our own accord involves a number of subconscious decisions. There is a concept in fashion that nothing is new, in a sense everything has been done before. This is coming closer to obvious reality, although the direction is not yet decided, it is almost certain that women will use fashion as an extension of their freedom and being no longer limited by the boundaries of class. Now people like to dress in style which is accepted globally and has become an aspect of ones identity and personality.

Science Processes

Module 1 Science Processes Scientific ProcessDefinitionScience Activity ObservingThe process of gathering information using all appropriate senses instruments that extend the senses. Collecting data on classmates, students walk around the classroom and make observations about eye and hair color of their classmates. ClassifyingGrouping objects or organisms according to one or more common properties. Classifying plants by features of plant life. CommunicatingRecord observations in multiple ways and present them to others.Students can record the data found in their observation activity and communicate the eye and hair colors they observed in the classroom. MeasuringMeasure variables using a variety of instruments and standard and nonstandard units. Give students various measuring tools and ask them to measure various things in the classroom. PredictingMake a projection of what the outcome of an investigation will be using data and patterns. Prediction worksheet: look at the pictures on the left side, draw a picture and write about what you predict will happen next.InferringDescribing a potential conclusion based on observation and prior knowledge. Science Mystery Bags: Students are asked to use sense of smell, hearing, and touch to infer what is in each mystery bag. Identifying & Controlling VariablesRecognizing a system’s variables and manipulating the variables to control the system’s outcome. Bread Mold Activity: Students will identify and control the variables that cause bread mold. Formulating & Testing Hypotheses Make a statement to guide and investigation.Test that statement for its truth. Formulate hypotheses for what conditions cause the bread to mold, and then test the hypotheses to see if they are correct. Interpreting DataRecognize patterns and associations within a system of data. Using scientific graphs to share data, as well as understand data represented in graph form. Defining OperationallyCreating a definition by describing an inter action or observation. How can you tell if plants are healthy? Students will define plant health in effective terms. ExperimentingScientific procedure used to test a hypothesis, make a discovery, or determine something. Students can take part in an experiment to see if they can balance eggs using salt. Constructing ModelsBuilding models to represent a mental, verbal, or physical idea or object. Students could participate in a physical science project where they are asked to make a water reservoir. In the chart above defining the twelve scientific processes, I included definitions of each as well as a science activity that students could participate in to support each process.These processes support inquiry learning, because they provide students with the opportunity to use problem solving skills, critical thinking skills, and logical thinking skills all at once. Students are encouraged to apply their prior knowledge to their new problem, experiment, or questions, which incorporates what they are currently learning with earlier experiences. Inquiry learning in science gives students control of their investigation and enhances their interest in the subject. Inquiry learning involves all learning strategies, including but not limited to verbal, written, and hands-on activities.When students are actively engaged in the learning process they are more likely to stay attentive, which allows them to not only gain information, but also helps in retaining that knowledge and understanding. The teacher’s attitude toward science has a major impact on students and how they view science. In order for teachers to get students interested and involved, they must have a positive and inspiring outlook on the subject. When students see and feel that their teacher is excited about a subject and that he or she wants to share their experience, students are more likely to fully engage in learning.Teachers should share their knowledge by motivating students to want to learn scie nce, and getting them excited about learning by introducing science through observation activities and experiments. Students need to see that their teacher is enthusiastic about science, and that science is a learning process that can be fun and enjoyable for the entire class! Lesson Plan: Objectives Students will †¢work in groups to build catapults out of everyday objects (Constructing Models); and †¢Demonstrate their understanding of motion and forces by using the catapults to launch objects. Communicating) Materials †¢Motion, Forces, Energy, and Electric Current video and VCR or DVD and DVD player †¢Pictures of catapults †¢Computer with Internet access (optional) †¢Cardboard shoe box (1 for each catapult) †¢Rubber bands (4 for each catapult) †¢Popsicle sticks (2 for each catapult) †¢Masking tape (one 6-inch piece for each catapult) †¢Plastic spoon (1 for each catapult) †¢Rulers (1 per student group) †¢Scissors (1 per stu dent group) †¢Marshmallows (2 per group) †¢Masking tape (for launching competition) †¢Object of your choice to serve as a target Procedures . Begin the lesson by discussing motion and energy. Ask students: How do objects move? How do we calculate motion? What is acceleration? What is speed? What are some of the forces that act upon objects in motion? (Observing, Predicting, and Defining Operationally). A good way to introduce this information is to view portions of the Motion, Forces, Energy, and Electric Current video. 2. Tell students they are going to work in groups to create catapults out of everyday objects. Explain that catapults were often used as weapons of war during the Middle Ages.Show students some pictures of catapults and discuss how they work, making sure that students understand catapult designs and uses. (Classifying). A good animated illustration of a catapult can be found at http://en. bestpicturesof. com/pictures%20of%20how%20to%20make%20a%20catapu lt 3. Tell students that after building their catapults, they will compete to see whose catapult can fling a marshmallow the farthest and whose catapult can fling an object closest to a target. (Experiment). 4. Divide students into groups of five, and give each group the supplies they will need to make heir catapults (see materials list) as well as any other objects you wish to provide. Tell the groups that they can design their catapults however they please, but they can use only the materials you have provided-nothing extra. Give students time to design and build their catapults, and ask them to name their team. (Constructing Models, Identifying and Controlling Variables). 5. Once students have completed their catapults, clear an area in the classroom that can be used for the launching competition. Using masking tape, mark a starting line.Place the target object about 10 feet in front of the line. 6. One at a time, have the student teams place their catapults on the line and fling a marshmallow at the target-their goal is to hit the target. Mark where each team's marshmallow landed with a piece of masking tape that has been labeled with the team's name. 7. As a class, determine which team was the most successful in accurately hitting (or coming the closest to hitting) the target with its marshmallow. Talk about the design of the winning catapults. Why did this design work the best? Formulating and Testing hypotheses, Interpreting Data, Measuring, Communicating). 8. Have students again place their catapults on the starting line and fire a second marshmallow — their goal, this time, is to achieve the greatest distance. Again, mark where each marshmallow lands with a piece of labeled masking tape. Once all the catapults have been fired have students measure the distance from the starting line to where their marshmallow landed. (Measuring). 9. As a class, determine which catapult was able to launch a marshmallow the greatest distance.Ask students: Why did this catapult work best? What element(s) of its design do you think helped propel the marshmallow farther than the others? (Interpreting Data, Defining Operationally). 10. Have each student write a paragraph that answers the following questions. †¢What was your group attempting to achieve with its catapult design? †¢How did the catapult set the marshmallow in motion? †¢Which challenge did your catapult meet best, accuracy or distance? †¢What could you have done to make the catapult better? †¢What helped the catapult work as well as it did? What did this activity teach you about motion and forces? 11. Ask for volunteers to share their answers with the class. Discuss students' answers and the forces that work on objects in motion. Evaluation Use the following three-point rubric to evaluate students' work during this lesson. †¢Three points: Students actively participated in class discussions; worked cooperatively in their teams; successfully created a tea m catapult; actively participated in the catapult launch; wrote a thoughtful paragraph that answered all six questions. Two points: Students somewhat participated in class discussions; worked somewhat cooperatively in their teams; needed help to complete their catapult; did not actively participate in the catapult launch; wrote an incomplete paragraph that answered only three or four of the six questions. †¢One point: Students somewhat participated in class discussions; were unable to use catapult materials without teacher guidance; created unfinished catapults; did not actively participate in the catapult launch; wrote an incomplete paragraph that answered only one or two of the questions.Credits Tamar Burris, former elementary teacher and freelance education writer References Bass, Joel E. , Contant, Terry L. , & Carin, Arthur A. (2009). Teaching Science as Inquiry, 11th Edition. Pearson Education, Inc. Boston, MA. Burris, Tamar. (2012). Discovery Education. Lesson Plan Libra ry: Motion, Forces, Energy, & Electricity. Retrieved on September 28, 2012, from http://www. discoveryeducation. com/ teachers/free-lesson-plans/motion-forces-energy-and-electricity. cfm.

Functions of the Central Nervous System

Industrial Hemp Struggles with Marijuana Stigma - 1198 Words

Industrial Hemp Struggles With Marijuana Stigma As the issue of legalizing marijuana remains complicated and highly controversial, a lesser-known yet increasingly significant side effect continues to transpire in the background: the suppression of its incredibly useful and diverse distant cousin, industrial hemp. Both marijuana and hemp have a long history in the United States. Unfortunately, because both plants are from the cannabis species, hemp was pigeonholed into a â€Å"dangerous drug† classification along with marijuana, representing the beginning of the end for hemp as a major agricultural asset to the United States. Industrial hemp contains no psychotropic qualities that create a â€Å"high† like marijuana. Considering that hemp’s†¦show more content†¦Thus, a plant with no psychotropic properties and that could be used to fashion anything from ropes, to paper, to bricks for constructing homes is placed in the same category as marijuana. (Smith 233) In his research, Smith found that the so urce of the problem stems from the Marijuana Tax Act of 1937 that was carried over into the comprehensive Drug Abuse Controlled and Prevention Act of 1970. Banning industrial hemp was a mistake from the beginning. The government refusing to address this situation is not acceptable and that is where the Oglala Sioux tribe in Pine Ridge, South Dakota have drawn a line in the sand. The tribe said it is their right as a sovereign state to cultivate their land. They were also purposely shedding light on the need to legalize hemp. Research from the University of Connecticut conclusively indicates that hemp is a viable source for biodiesel fuel—one thatc does not affect the food supply like corn and soy do. Led by associate professor of chemical engineering Richard Parnas, the research team will be building a refinery using a $1.8 million grant from the Department of Energy. Hemp is ideal for two reasons: first, it is not a major food source so it should not contribute to food security problems; secondly, it can grow in infertile soil using otherwise inhospitableShow MoreRelatedShould Marijuana Be Legalized?1360 Words   |  6 PagesAfter the government’s continual failure to prohibit the use of marijuana, taxpayers are paying a huge price just to keep marijuana illegal. The government is beginning to work with the drug rather than work against it, turning a crime into a business. This â€Å"crime† might just be worth it. Due to many positive arguments in support of legalization, numero us states have legalized the use of medicinal marijuana. and are able to experience some of the economical benefits first hand. As citizens of theRead More The Cannabis Debate Essay5766 Words   |  24 PagesThe Cannabis Debate The Federal Government of the United States doesnt condone the use of marijuana and any schedule I drugs at the present time, which is any substance that has no current medical use and is a mind altering drug. Under new circumstances in California and Arizona, there is a temporary Bill that has been passed legalizing the schedule I drug for medical use, known as Act 215: Medical use limited to cancer patients and individuals with the disease glaucoma. Individuals that are