The late 1920s and 1930s were a time when many americans endured the humiliation of rampant racism as well as crushing poverty. yet most mainstream popular music (exemplified by the tin pan alley style) avoided these issues and focused instead on escapist themes of privacy and romance. why might this have been the case? do you feel that contemporary popular music also focuses on escapist themes like the 1920s and 1930s or do you feel that it tackles the relevant issues of the day? do you feel that popular music works best as an escape from the problems of the world or as a forum to explore and engage such issues? be as specific as possible in citing examples.

B. is the correct answer.

A: returning the ball before it bounces on the court

It reveals that mercutio is gay and he is in love with romeo

Buddhist painting from india, nepal, and tibetthe production of buddhist manuscripts illustrated with images of various buddhist deities and/or scenes from the life of shakyamuni flourished in bihar and bengal (present-day eastern india and bangladesh) under the rule of the pala dynasty (ca. 8th - 12th century). the illustrations of the gods that appear in these manuscripts were based on descriptions found in indian texts intended to the practitioner mentally invoke the form of the deity. these texts provide the artist with the basic schema of the image, detailing what an image should look like, from the posture, gesture, and color of the deity, to the attributes (objects he or she holds that symbolize specific powers or knowledge).similarities among the buddhist paintings in this section, which are from india, nepal, and tibet, stem from a variety of reasons. they include the continuous trade and contact provided by trade route linkages and the tendency of artists working abroad to emulate indian models, but the main reason is due to the fact that the gods' depictions in the art of all three countries are ultimately dependent upon the meditation texts described above. in addition, during the pala period, pilgrims, monks, and students from all over asia, but particularly from nepal and tibet, flocked to the region's prominent religious centers; when they returned home, they took the pala style with them in the form of portable items such as manuscripts and small sculptures.