Classifying Gilbert and Sullivan

The musical comedienne Anna Russell once said that it seemed to her that everywhere she was traveling, there was always someone in the process of staging a Gilbert and Sullivan opera. While she was joking, her claim is not that far from the truth. Until the D\u27Oyly Carte Company ceased its operation in February 1982, due to termination of its government funding, a professional company devoted solely to producing these shows existed in England. In the United States, amateur Gilbert and Sullivan societies abound; even at Oberlin College, Gilbert and Sullivan operas have been presented nearly every year for a century. Despite this persistence, however, these operas are often brushed aside as unworthy of serious attention. I do not believe that these operas should be so easily dismissed. Consider that Gilbert and Sullivan\u27s works have remained popular for over a century now. Which of their contemporaries can make that claim? Few persons outside the academic community could name another opera produced in England at the turn of the 19th Century. Why have Gilbert and Sullivan operas remained popular, when works of their contemporaries receive only sporadic attention at best

United States v. Mobley: Another Failure in Crime of Violence Analysis

Part II gives a background on the career offender provision and residual clause analysis, and the current law on whether possession of a weapon in prison is considered a crime of violence, which has resulted in a circuit split. Part III gives a statement of the case to this note, United States v. Mobley. Part IV analyzes how the Mobley majority misapplied the Begay two-part test and attempts to remedy residual clause analysis for the crime of possession of a weapon in prison. This will include Part IV.A, which explains why the Mobley dissent was correct in its opinion, Part IV.B, which examines the inherent problems in applying the Begay test, and Part IV.C, which proposes a better standard to apply when doing residual clause analysis for the crime of possession of a weapon in prison

Classifying Gilbert and Sullivan

The musical comedienne Anna Russell once said that it seemed to her that everywhere she was traveling, there was always someone in the process of staging a Gilbert and Sullivan opera. While she was joking, her claim is not that far from the truth. Until the D\u27Oyly Carte Company ceased its operation in February 1982, due to termination of its government funding, a professional company devoted solely to producing these shows existed in England. In the United States, amateur Gilbert and Sullivan societies abound; even at Oberlin College, Gilbert and Sullivan operas have been presented nearly every year for a century. Despite this persistence, however, these operas are often brushed aside as unworthy of serious attention. I do not believe that these operas should be so easily dismissed. Consider that Gilbert and Sullivan\u27s works have remained popular for over a century now. Which of their contemporaries can make that claim? Few persons outside the academic community could name another opera produced in England at the turn of the 19th Century. Why have Gilbert and Sullivan operas remained popular, when works of their contemporaries receive only sporadic attention at best