Digital Business Management Essay Example | Topics and Well Written Essays - 2250 words

Digital Business Management - Essay Example To achieve this, the paper has selected www.origin.com as the site for analysis. An analysis of the website is conducted with a focus on how it is implementing digital information systems. The paper then reviews the business model of the website showing its online value proposition. The paper then goes ahead to identify the target audience of the website and how the website is trying to access them. Lastly, the paper evaluates the customer relationship management strategy employed and makes recommendations based on what has been observed. Origin.com is Origin’s official website. Origin provides free gaming services and a platform for games shopping that allows user to shop, access and play varied video games. Origin also acts as a social networking platform which enables users to connect, network and invite one another to play games across different platforms (Origin.com, 2014). The site is also connected to a cloud service that enables a user to save a game and resume from where it was stopped. It, therefore, allows for exchange of information and feedback, hence, creating a fully functional digital information system (Gitman and McDaniel, 2006). A digital information system is defined as arrangement of hardware, software, liveware and information resources that enables inputting of data, processing, outputting and storage of information often for a definite purpose (Kathy, Zhwei and Agrusa, 2004). There are many types of information systems; the transaction processing system, management information system, decision support system and executive support system (El-Sawy and Pereira, 2012). This websites acts as a decision support system since it provides information that is then used by a customer to make decisions based on information provided (Preece, 2001). The same information can be used by the Origin management team to note and analyse problems and come up with sustainable solutions for the same. The website implements digital information systems in

The Internet brand MusicWorld.com. Essay Example for Free

The Internet brand MusicWorld.com. Essay The paper presents e-commerce business idea that could be realized at the Internet brand MusicWorld.com. Mission Statement of MusicWorld.com It is MusicWorld.com’s goal to enhance the development of electronic music by being the premier, comprehensive resource on the Internet for electronic music aficionados and producers of MusicWorld.com will democratize music, creation, distribution and consumption by: assisting artists in the production of their music by providing samples and sound fonts at no cost giving talented artists with few connections or resources the chance to distribute their music giving small record labels the chance to distribute their music online, increasing their viability allowing a fan of the music anywhere in the world instant access to a huge selection of releases from across the globe at very reasonable prices. Executive Summary A formidable opportunity has arisen from the combination of the advent of the Internet as a medium for music distribution, and the rise in popularity of a genre of music that is entirely composed with computer software electronic music. This genre has been largely ignored by most mainstream retailers and labels because of its non-traditional song formats that make it non-conducive for radio play. It is MusicWorld.com’s plan to market the electronic genre of music via a web site whereby consumers will download the music to their PCs. As a convenience, MusicWorld.com will write the purchased songs to CD and ship them directly to consumers who are not yet equipped to download music. The web site is designed for maximum user-friendliness, unlike any other music site today. MusicWorld.com’s unique web design allows users to browse the selection effortlessly, while being able to automatically hear excerpts from each virtual CD. The electronic genre of music is ideal for online distribution for the following reasons: There is a proliferation of artists worldwide within this genre because of the low price and accessibility of the necessary equipment and software The music is created on PC; artists simply send MusicWorld.com music files via the Internet from anywhere in the world Even very popular artists within this genre are accessible to negotiate contracts with since they tend to be self-distributed, or own small record labels Because of the genres rapid evolution and its individualistic nature, aficionados constantly demand new material MusicWorld.com is distinguished from its competitors in that: The site uses flash software, the latest generation in web site technology that allows users to view complex graphics and animations, and hear high-quality audio It uses a push marketing approach in that there is no need to download individual music files It combines the advantages of CD-quality, piracy-protected downloadable music, custom-mixed shipped CDs, an electronic focus, event information, and musician resources The market The market for electronic music is largely composed of University students. According to Jupiter Communications: College students, typically have free broadband access that makes digital distribution much more feasible, not to mention the highest penetration rate of any online demographic. This audience is the first that will be compelled to purchase writable drive peripherals specifically for the digital delivery of commercial music. (3) Aficionados of electronic music are raised in the age of the World Wide Web, making Internet distribution in tune with their lifestyle. Offer and Use of Proceeds The estimated net proceeds to be received by MusicWorld.com from the sale of common shares, is GBP 166,666 (including GBP 16,666 of expected expenses associated with the offering). MusicWorld.com intends to allocate GBP 27,777 of the net proceeds towards the purchase its web site design, and the balance, in the amount of GBP 138,888, towards funding salaries and working capital. The investor will receive 10% of the common shares in exchange. Capitalization The following table sets forth the capitalization of MusicWorld.com as at the dates indicated, before and after giving effect to the issue of common shares contemplated hereby. Shareholders equity Pro forma as at April 30, 20## Pro forma as at April 30, 20## after giving effects to the Common shares No. of common shares (without par value) 1,650,000 1,833,333 Book value of equity (in GBP) GBP 165 GBP 183,498 Summary Financial Information 1,833,333 outstanding shores 2000 2001 2002 2003 2004 Revenue GBP 405,752 GBP 1,622,987 GBP 4,900,662 GBP 12,964,445 GBP 30,145,945 Net Income (GBP 56,483) GBP 232,377 GBP 1,051,891 GBP 3,275,671 GBP 8,034,936 Net Book Value GBP 39,468 GBP 271,846 GBP 1,323,738 GBP 4,599,409 GBP 12,634,346 Return on Ave. Equity GBP 103,743 GBP 156,368 GBP 812,923 GBP 2,982,460 GBP 8,790,386 Gross Margins 30% 30% 30% 30% 30% Earnings per share (GBP 0.28) (GBP 0.016) GBP 0.07 GBP 0.31 GBP 2.43 The Opportunity The music industry is experiencing two major changes: Music has been traditionally sold in a physical format that required manufacturing, including the record, the eight-track tape, the cassette, and the CD. Recently, with the advent of the Internet and increasing bandwidth, music has been reduced to a digital entity as witnessed by the proliferation of MP3. This is the biggest change the recording industry has possibly ever seen. As we look ahead, we anticipate that the convenience of digital delivery of phonorecords may soon make digital transmission services the music distribution method of choice for many consumers.(4) Music used to be classified into a narrow range of genres. These included classical, pop/rock, country, and jazz. Tastes have fragmented over the last decade, such that there are many more genres of music today most likely due to the proliferation of low-cost technology that allows artists to self-publish. This phenomenon was virtually unheard of in the past due to the enormous costs involved. Once upon a time, people bought pop music. Then they bought rock music. Now, they buy grunge, ambient, illbient, acid house, acid jazz, drum n bass, Eurodance, hip-hop, trip-hop, lounge, techno, glam, industrial metal, lo-fi, dream pop, psyche rock or riot grill. Digital technology encourages this fragmentation by giving each new splinter genre easier access to the means of producing and distributing its wares.(5) Despite its growing popularity, electronic music has been practically ignored by mainstream record labels and radio stations, which are just beginning to catch on. Internet radio stations are discovering that the genre can be lucrative however. One of these is amino Radio: AminoRadio is a 24-hour station devoted completely to music including techno, drum n bass, house, turntablism, and other forms of electronic music. AminoRadio is The Eclectic Radio Companys answer to the huge demand for techno electronic music that is not being provided by any other form of broadcast media. (6) Launched in August 1998, amino Radio now has over 15,500 listening sessions per month, and is growing at a rate of 300% each quarter. The lack of electronic musics traditional radio play is possibly due to the unusual format of the songs, which have erratic lengths. Some tracks are ten seconds long, while the majority are at least seven minutes long. This does not fit well with the traditional radio format of three and four minute songs. With virtually no radio play, record labels do not want to risk the investment of producing electronic artists music. The result? An invisible community of electronic music lovers who hear the music through Internet radio, at dance clubs, and buy it from specialized record stores at a premium. The record stores are supplied by small record labels, which have grown out of the success of certain artists. MusicWorld.com plans to take advantage of the resulting opportunity by positioning itself as the premier online source for electronic music and culture. The Music History Whether we are prepared to admit it or not, technology has always defined popular music. From the development of the microphone that allowed Bing Crosby and Frank Sinatra to croon softly on top of a big band to Keith Richards discovery of the pleasures of an overdriven guitar amplifier, the excitement generated by pop music is often the thrill of exploration and the sense of possibility provided by the use and misuse of new technology. Electronic music is about the era of the proliferation of digital technology; an age in which the boundaries between human and machine are becoming increasingly blurred. (7) Possibly the most significant difference between electronica and other musical genres is the importance of the DJ in reinterpreting and re-mixing what artists produce. Indeed, there is a significant shift in recognition from the musicians themselves to the DJs who perform it live, and who also record their work. This began in Chicago with the advent of House music, which was pioneered at a local venue called the Warehouse. The tradition continued later in Detroit, the birthplace of techno. The importance of the DJ can be attributed to the fact that the music is disseminated by being played live, and by the fact that only a professional working full-time could possibly afford the time and cost involved to gather such rare music from various countries. In Germany, where electronica occupies a significant portion of the Top 40, it is bona fide pop music. (8) Music production process The following explains how electronic music is created using current technology: The minimum equipment needed is a computer with at least a 150MHz processor, 32 Megs of RAM, a MIDI-compatible sound card (e.g. Soundblaster), 1 gig of hard disk space, and music composition software (MIDI), e.g. Cubase already affordable. The sound card is capable of generating sounds which fall into 2 categories: synthesized, and sampled Synthesized sounds are generated from simple tones, whereas sampled sounds are recorded from various sources, often using a microphone Using MIDI software, the musician creates a score which plays these sounds, which effectively act as instruments (think of the MIDI score as sheet music, the sound card as the instruments, and the computer as the musicians) The result of the MIDI file playing these sounds is a WAV file. This file can then be uploaded to MusicWorld.com. The Products and Services A comprehensive electronic music web site has been designed for maximum user-friendliness, unlike any other music site today. The unique design allows users to browse MusicWorld.com’s musical repertoire effortlessly, while being able to automatically hear excerpts from each virtual CD. The site uses Flash technology, the new generation in web site design that allows users to view complex graphics and animations, and hear high-quality audio by streaming the content to them as they browse the site. Music fans can: Listen to various tracks/clips of their favorite artists and/or DJs Download a complete CD in 10 minutes through use of a high bandwidth connection for GBP 4.00 (this includes downloading the cover art as well). They then have the choice of burning the file to a CD, or playing it through their computer. Have a custom CD burned by MusicWorld.com’s staff, and have it shipped for an additional fee (GBP 3.00) Find out about electronic music events in their area, or elsewhere Read/listen to interviews with their favorite artists/DJs Electronic artists can: enter into a distribution agreement with the site whereby their music is available for purchase download (and post) musical samples which are used to create their music at no charge agree to be interviewed to increase awareness of their work DJs can: sample songs/clips of various artists before buying have access to the latest tracks from even the most obscure artist from anywhere in the world virtually instantaneously enter into a distribution agreement with the site whereby their music is available for purchase agree to be interviewed to increase their recognition post tour information Labels can: use MusicWorld.com as an additional distribution vehicle for their talent, at no marginal cost use MusicWorld.com to run promotions for new releases (e.g. sneak previews, etc.) By making sure the site offers not only music to consumers, MusicWorld.com is ensuring authenticity. Web sites that only aspire to be stores, forget why people surf the Internet in the first place: for information. MusicWorld.com intends to provide high-quality information on the topics that interest the target market to ensure frequent visits to the site, and a positive brand image. The intent is to be the premiere resource for electronic music and related information on the Internet. A site of this caliber does not presently exist. Operations Technology   Site Operations Standard operations for MusicWorld.com consist of three major facets: updating the site with new information, adding musical content to MusicWorld.com’s repertoire of products, and distributing such content to online customers. The addition of musical content to the MusicWorld.com site consists of: Artists submitting their music (and cover art, created on their home PCs) to MusicWorld.com’s submissions department as a digital audio file, or on a conventional CD MusicWorld.com screening musical content for quality and appropriateness (a qualified Artistic Director, see the Employees section on page 25) Artists signing a digital distribution contract, whereby they earn 50% of the sales price (before shipping) of each full album or individual track Converting content into a format (Liquid Tracks) that can be played by customers Liquid Music Player or Real Player using the Liquifier Pro music publisher Uploading it to our server The second facet involves distributing content to customers: Hosting the site through a dedicated server Providing samples of music, which are streamed with the Liquid Music Server software. Providing this music for purchase via a secured credit card transaction. This is provided by a third party that specializes in this service, iBill see www.ibill.com) Delivering the selected content from MusicWorld.com’s server (managed with the Liquid Music Server software) MusicWorld.com will be paying a one-time licensing fee (GBP 16,666) for the use of Liquid Audios Liquid Music System, a commercial hosting package that includes the Liquifier Pro (copy-protected music publisher), Liquid Music Server (music delivery management software), and the Liquid Music Player (digital audio listening software). The Liquid Music System not only meets our requirements for efficient, trouble-free software to manage and publish musical data, but also equally offers superior performance and flexibility. The Liquifier Pro is the first professional software that allows MusicWorld.com to prepare and publish CD-quality, copy-protected music for purchase and delivery via the Internet to PCs and Macs everywhere. It transcends audio features by providing the capability to include lyrics, credits and artwork all contained within one file, the Liquid Track. Furthermore, Liquid Audio uses Dolby Digital encoding, resulting in the highest quality audio for streaming and downloading of CD-quality music on the Internet. To ensure audio quality, regardless of different connection speeds, the Liquifier also provides a unique preview capability before publishing to the Liquid Music Server. Target Markets MusicWorld.com target market is very specific, as it comprises those people who already listen to electronic music. MusicWorld.com conducted a survey of 100 respondents, mostly in the UK area, with approximately 10% of respondents were from abroad, (surveyed via the Internet). As this market research revealed, the target market is young (average age 25), well educated (average 1-3 years University), and predominantly male (65%). They have computers at home (81%), Internet access (97%), and spend more time on the Internet than most people (9 hrs/wk). They also are more likely to have access to a high bandwidth connection (31%) than average Internet users, and are also more likely to possess a CD burner (29%). They also buy more CDs than the average consumer. A high proportion (12%) of electronic music fans actually compose their own music, which supports the fact that a high proportion of them (75%) would like to support a retailer, which rewards artists at a higher level than the industry average. This is part of MusicWorld.com’s marketing strategy. Possibly the most important characteristic of electronic music listeners is that they are dispersed all over the globe. For the purposes of marketing communications, however, MusicWorld.com’s main target markets are in the U.S., Germany and the UK. This is because the consumers in these countries are either English speaking or highly fluent in English, have the highest sales of CDs per capita, and the highest concentration of electronic music fans for historical reasons. Since MusicWorld.com’s main distribution channel is via the Internet, an English speaking person anywhere in the world with Internet access can be attracted to our site and make a purchase. Product MusicWorld.com conducts an electronic commerce that aims to fulfill all the needs of electronic music fans and artists. The site will have an image that fits with that segments lifestyle and tastes. This will come naturally, given that MusicWorld.com’s founders are part of the target market. Thus, in the very short term, MusicWorld.com’s goal is to become the most complete online resource for electronic music lovers, regardless of whether the people frequenting the site actually purchase anything. The idea is to get consumers used to using the site for information such that when they are in the market for a new CD, they use MusicWorld.com’s site as opposed to another that has not served their needs so well. After this initial period, the site must continue to innovate and respond to the consumers needs. Even beyond this, it must anticipate what customers want before they want it. This way, it will be hard to take away the first-mover advantage that the site will have in this niche market. MusicWorld.com will rely on some independent, unsigned artists for the sites content, however, MusicWorld.com will also target certain small electronica-focused record labels in order to add their roster of artists to MusicWorld.com’s repertoire. These small labels have much to gain from partnering with MusicWorld.com. Partnership offers a way of earning 40% of sale price while incurring no marginal cost whatsoever. In fact, MusicWorld.com’s site can be seen as a way of popularizing the labels roster of artists. MusicWorld.com will find unsigned talent through posting on Internet Newsgroups, which is free of charge. In fact, MusicWorld.com already has found numerous artists through market research who are enthusiastic about the possibility of the online distribution of their music; f(y)u, for example, whose CD is included at the back of this document. MusicWorld.com will have a qualified artistic director screen submissions, and only make the highest quality music available in order to preserve   brand image. Distribution In terms of the delivery of music, MusicWorld.com’s primary market research showed that our potential customers are mainly concerned with the following: Security of transactions (5.72 on a scale of 1 to 7) Speed of download (5.48 on a scale of 1 to 7) Technical problems (5.17 on a scale of 1 to 7) The site will provide secured credit card transactions as well as alternative modes of payments to satisfy all customers. In the first three months these aspects are taken care of by Liquid Audio, by being a part of the Liquid Music Network. Download times will be reduced as high bandwidth connections become the norm. MusicWorld.com will ensure that the customers who so choose will be able to download their CD without running into any of the above-mentioned problems through the use of proven, easy-to-use software from Liquid Audio. As the customer profile suggests, the target segment is very narrow and would be difficult to reach with traditional distribution methods. The spread of customers has so far made this market very small and unattractive. However, the Internet overcomes the obstacles of geography in the sense that almost everybody can be reached from a web site. Pricing MusicWorld.com’s primary market research showed that its customer have a large amount of disposable income (average income of GBP CAD 15,000, yet many are students), spends money on technology (81% have computers and 92% have Internet access) and is not particularly price sensitive (average importance of price on a scale of 1-7 was 4.8). The average downloadable CD price suggested by respondents was GBP 5,50 CAD. At the time of the survey (Feb. 1999), there were no sites offering whole CDs available for download. Sites were offering individual tracks for GBP 0.55, however. Now, Good Noise Inc. is offering full albums for GBP 4.99, although they do not have any electronic (genre) music, which tends to be more expensive because of the high import rate. The selected price-point for MusicWorld.com’s album downloads will be GBP 4 /unit, as compared to the price of actual CDs (physical copies) sold in retail outlets for GBP 6-8/unit domestic, or GBP 9-16 for imports. This GBP 4 price is composed of GBP 2.48 profit margin (56%), GBP 1.70 in artist/label royalties, and GBP 0.18 credit card processing fees. Such a cost structure is made possible by the online nature of MusicWorld.com’s distribution, which bypasses many levels in the distribution channel, and thus many overhead costs normally incurred by wholesalers/retailers. MusicWorld.com is selecting the GBP 4 price point for several reasons: To encourage first time purchases To discourage new entrants from entering the niche A very competitive introductory price will encourage loyalty. This cost structure allows not only offering a better price to consumers (with a faster speed to market), but also better royalties to artists. Under the traditional record label contracts, artists can expect to earn 10% of sales at the most. With MusicWorld.com’s method, unknown artists gain worldwide distribution overnight, and royalties of GBP 1.70 per album sold. This offers significant incentives to artists who either arent known enough to sign major record deals, or dont have an interest in dealing with major labels. There is also a significant opportunity for labels to be able to distribute their artists work worldwide risk-free, with no marginal costs, no marketing costs, and no administrative hassle. Promotion MusicWorld.com will use public relations, advertising, personal selling and an Associates Program to meet sales goals. Public relations Post MusicWorld.com to all Internet search engines (e.g. Excite, Altavista, etc.,) (free) with the help of analytical software, Webposition Gold, which optimizes meta tags for each search engine, as they all have different preferences Post links to MusicWorld.com on smaller related sites, such as hyperreal.org and Technoindex.com (free) Post newsgroup messages in the appropriate newsgroups, e.g. alt.emusic, alt.music.techno, alt.music.house, alt.music.jungle (free) Send press releases to all relevant media, including electronic music print and Internet magazines, campus radio stations, and alternative newspapers in urban areas Sponsor electronic music events, by posting signage, passing out flyers, and video Advertising MusicWorld.com will advertise in several print publications, which cover the UK and Germany, the U.S., and Canada. Respectively, they are: Mixmag, XLR8R and Tribe. MusicWorld.com will also advertise on the Internet, primarily on Technoindex, an index site which lists all relevant electronica sites, and on aminoRadios Internet radio site (exclusively electronica) Positioning Electronic music fans should view MusicWorld.com as the comprehensive one stop shop for all of their electronic music related needs. This means their actual musical needs, their need for information on artists, DJs, upcoming events, films, etc., and their need to contact other fans of the music. Composers of electronic music should view MusicWorld.com as a source of samples and sound fonts to create their music with, and as a fairly remunerated means of distributing their music and gaining recognition. DJs should view MusicWorld.com as a source of the latest in cutting edge material for their repertoires, and as a means of gaining exposure via actually distributing their music or by consenting to be interviewed, and/or posting tour information. An important note to make is that it is essential that MusicWorld.com reaches all three of its positioning goals, as it is the combination of the three that will lead to success. By having the site supported by leading DJs and talented artists, it gains credibility as an authentic place to purchase music. This puts it way ahead of a simple retailer who is merely selling music. In contrast, MusicWorld.com should become a part of the consumers lifestyle. Competitors and Substituting Products Online Players Downloadable Music CD Quality Piracy protected Custom CD shipped Event Info GBP 11 or less Push marketing Electronic focus Musician resources MusicWorld.com x x x x x x x x x CDuctive x n/a x x raveworld.net x x thewomb.org x x MP3.com x x x CDnow n/a Amazon.com n/a hyperreal.org x x x technogenesis x x x a little x X-radio.com x Astralwerks x GoodNoise x x   To compete with these firms, MusicWorld.com must successfully bundle these three characteristics greater source of information, greater variety of innovative electronica, and downloadable content and build brand equity to be recognized as THE electronica site. MusicWorld.com will continue to offer online order processing for regular shipping to accommodate electronica fans that have not yet acquired the latest technology. MusicWorld.com’s greatest competitors generally offer real-time streaming audio of sample tracks (to listen to directly with RealAudio), or downloads of single tracks, mostly using MP3, and online ordering of conventional CDs. Most are small, independent outfits, formed over the last three years, and appear to be privately owned. Competitors generally price conventional CDs at GBP 5.55-8.88, and downloadable tracks at GBP 0.55 each, plus a base price of GBP 2.772 GBP 3.3285 for a custom CD. The market for online music is already consolidating, as big players merge to create bigger entities with wider revenue bases (e.g. CDNow and N2K), in hopes of protecting themselves from new entrants. Investors belief in the explosive potential for online (downloadable) content distribution is reflected in market capitalization of these companies shares. This threat of new entrants is very real, as witnessed by the extension of Amazon.coms retail mix into CDs for home delivery, and the recent creation of online mega-distributors such as Spree.com and Buycomp.com. The next logical step for such distributors is to offer online downloads. Meanwhile, a variety of small, independent sites are also appearing with alarming frequency. Major record labels such as Warner and Sony Records have recognized the digital threat and are moving to develop competitive alternatives. Some have even begun to recognize the potential of the electronica market, and are signing contracts with major artists (e.g. Fatboy Slim and Virgin Records). Some are even developing separate labels to cover electronica Virgin Records Astralwerks is now a significant player in terms of variety offered. They have not given any indication that they plan to offer downloadable music. The speed with which this industry is moving can cause MusicWorld.com’s window of opportunity to close rapidly. Any investment initiative that is to be undertaken in this venture will have to be taken now. References: Jupiter Communications, Music Industry and the Internet, p.5 Techno Tackles the Net, Niall McKay and Christopher Jones, http://www.wired.com/news/print version/culture/story/16764.html?wnpg=all Jupiter Communications, Music Industry and the Internet, September 1998, p.9 National Music Publishers Association, http://www.nmpa.or2/nmpa.html The Music Industry. A Note of Fear, The Economist, Oct. 31, 1998. AminoRadio press kit. http://www. Aminoradio.com Modulations treatment (Caipirinha productions), Peter Shapiro, available at: http://www.modulations.com/ Quantum Fireball as quoted on www.egghead.com on April 20, 1999. http://www.gvu.gatech.edu/user surveys/survey-1997-04/graphs/purchase/OnIine Seeking And Purchasing.html Calculated from lFPl and Statistics sources. Prices obtained from www.CDuctive.com on April 20,1999. Prices obtained from www.technogenesis.com on April 20, 1999.

Food Is A Source Of Cultural Identity

Food Is A Source Of Cultural Identity As we go through life, we travel to countries or meet people from dissimilar cultures, and we naturally question our new environments. By questioning these new societies, we are able to understand more of ones personality and identity. Cultural identity is when certain traditions, customs, beliefs and values are shared through traditional cultural practises and become meaningful and important to oneself1. It contributes to how we see ourselves and the groups with which we identify1. Ethnic foods offer a rich set of metaphors through which individuals can express their cultures. Food is one custom that strongly connects people to their traditions, and has been not only important in Jewish culture and history, it has been central to the Ashkenazi Jews ideas about themselves and about others, as well as their social and communal practices2. Ashkenazis or Eastern European Jews are defined as those who, from long before 1500, lived in Poland, Lithuania, Belarus, Ukraine, and European Russ ia3. This essay explores how food is source of cultural identity for Ashkenazi Jews living in Australia, concentrating on the connection between food and festivals, ceremonies and the Bible. As well as the contrast of how food is not the most identifiable aspect in some Ashkenazi Jews lives. Festivals and Ceremonies: Formerly, Jews came together around a core of religious and ethnic traditions, such as synagogue affiliation, lighting of Shabbat candles and giving charity to Jewish foundations9. However today, Australias Jewish population has encountered an internal breakdown of both the concept of community and the family unit, which have united the Jewish people for so long. Ashkenazi Jews use food as a way to unify family and friends, and reconnect with traditions and culture4. Ashkenazi cuisine tends to use oil, potatoes, inexpensive cuts of meat and simple seasonings4. The importance of food to Ashkenazi Jews can be learnt from the celebrated festivals and rituals. Foods related to festivals are more based on traditions and symbolism passed down generation-to-generation, rather than the Bible. A very special celebration that occurs on the seventh day of the week is Shabbat. Good and homely food is a crucial part of the mitzvah, or good deed, of oneg Shabbat, meaning enjoying Shabbat. Traditio nally, Ashkenazi Jews start the event with a small serving of a fish dish; gefilte fish, poached jelly fish or pickled fish, served as an appetizer before hot soup. A chicken main dish is then served accompanied by cooked vegetables and a kugel4. Finally, dessert is usually fresh or stewed fruits followed by tea and small cakes4. This strongly contrasts the Sephardic Jews take on Shabbat food. Sephardic Jews reflect the foods more typical of many Mediterranean countries since Sephardic Jews are descendents of settlers from the Near East. Meals include fish with avgolemono sauce, chopped eggplant, roasted lamb, stuffed vegetables, rice and, to finish the meal, a honey-soaked cake or pastry nibbled with strong and sweet Turkish coffee4. The ceremonial bread, Challah, is surrounded by folklore and tradition and laden with symbolism. On festive occasions a blessing or Motzi is said over two loaves of challah, symbolising the manna given to the people of Israel during the Exodus from Isr ael on Fridays5. Two portions of the manna were distributed, so the Israelites did not need to work and prepare food on the Shabbat5. Similarly to Shabbat, foods consumed on Rosh HaShanah are symbolic to certain aspects to the event, and are created by the Ashkenazi cultural traditions. Rosh HaShanah means head of the year; it is the New Years festival of the Jewish calendar and features foods to celebrate the hope of a sweet year. A hearty main meal of fish, appetizers, meats and honeyed vegetable (Tzimmes) is conventional4. The iconic foods that signify and rejoice the Jewish New Years are apples dipped in honey and honey cake for a good and sweet year, and the round challah and the head of a fish which represents the circle of life and marks the cyclical nature of the course of a year4. The representations of Rosh Hashanah and Shabbat foods are significant to a majority of Ashkenazi Jews in Australia, because it enables them to link to their ancient religion physically and spiritually3. However, during the most important and solemn holiday in the Jewish calendar, Yom Kippur, the Torah (Jewish scriptures) commanded You shall afflict your souls (Leviticus 16:29)6 and For a soul which is not afflicted on that day will be cut off (Leviticus 23:29)6. This has been interpreted, as Jewish people need to fast from sunset to sunset to atone for the sins of the past year4. It is one of the few holidays that is not dependent on food. Thus it is one aspect which food is not a source of cultural identity. It is also an event when many Ashkenazi Jews who do not observe any other Jewish custom will refrain from work, fast and/or attend synagogue services on this day. Instead of using food as a source of cultural identity, it is the sacred religious day. Although, it is customary for Ashkenazi Jews to make a feast for breaking of the fast. Normally consisting of cakes and hot drink to break the fast, then light salads and dairy foods to aid with digestion3. Proving that Ashkenazi J ews return to food in order commemorate important events that are momentous in the Jewish culture. Impact of Ashkenazi foods on the non-Jewish communities: Jewish foods dont only give Ashkenazi Jews themselves cultural identity, but allows non-Jewish people to recognise the Jewish culture. Australia prides itself as being a multi-cultural country. In 2011, the Census revealed that 26% of Australias population was born overseas and an additional one fifth had at least one parent born abroad7. Throughout the 100 years since the first National Census in 1911, a large component of the Australian population have been made up of migrants7. Even though only 0.5% of Australians identify themselves as Jewish7, this hasnt swayed the impact the Jewish culture has on the Australian diet. After World War II, Jews all over the world, especially in Australia identify the bagel with the Old World and with immigrant Jewish culture10. The bagel was brought to Western societies by the Eastern European Jews from the 1890s and have become one of the most iconic foods that gentiles identify with the Jewish culture8. Most of the other foods mentioned so far, are mostly restricted to those of Jewish faith and hardly are consumed by the wider community8. Other Ashkenazi foods readily available in the main cities of Australia, are baked goods like babka and rugelach, fried potato pancakes known as a Latke and the blintz4,10. Jewish Dietary Laws Kashrut: Jewish people are supposed to follow an intricate system of procedures and taboos in relation to food, derived from a set of commandments said to have been given to Moses by G-d6. These commandments prohibit the eating of particular animals, the most recognised pig; they are prescribed definite methods for the slaughter and preparation of animals that are not banned10. The directives have been augmented by a code of practise, known as Kashrut, intended to ensure that they are never defied9. However, the observance of Jewish Dietary rules have declined sharply, with many Jews observing them only partly and many others rejecting them completely9. This situation has not, however, made these dietary rules irrelevant; on the contrary, it has made them one of the most important ways through which ideas about contemporary Jewish identity and membership can be expressed. Ashkenazi Jews needed to adapt some of the Dietary Laws due to the food accessibility in some areas3. Several changes that have been made are the mixing of fish and milk products, more leniency with the Kashrut for meat than Sephardic Jews and refraining from eating legumes, grain, millet and rice during the Passover festival10. In Australia, Ashkenazi Jews still continue to observe these altered rules because of the strong traditional aspects connected to them, which individualises them as a certain type of Jew. Today, Jews from all different areas and streams, can deem the Kosher Laws to be an ancient form of food regulations that doesnt need to be performed in todays society, because of the new modern methods of cleaning and preparation of foods. Other reasons are some are not informed well of the laws, and/or consider it an added expenditure and inconvenience. More recently, animal rights groups and the Australian media have exclaimed their outrage of the ill-treatment of animals during the process of Koshering meat by companies who do not provide prior stunning11,12. This has strongly influenced Jews to disassociate themselves from obeying Kashrut, and in a few circumstances reject their Jewish identity12. This is because they think the Jewish culture doesnt respect animals12. However, this contradicts what the Jews and the Torah believe. Ritual slaughter, known as shechita, is a fast, deep cut across the throat with a perfectly sharp blade with no hesitations or unevenness12,13. This me thod is regarded as painless by Rabbis because Jews believe that God, would only provide for a merciful and compassionate method of send off for his creatures6,12. The Torah is the first methodical legislation, which prohibits cruelty to animals and authorises that they be treated with consideration and value. Judaism exigencies the humane treatment of animals6,12. As well shechita has been scientifically shown to be painless. Dr. Stuart Rosen MA, MD, FRCP discussed the behavioural responses of animals to shechita and the neurophysiologic studies relevant to the assessment of pain, and concluded, shechita is a painless and humane method of animal slaughter13. Jews should be proud to observe Kashrut and to identify themselves as Jewish because of the humane and clean ways of preparing food. Conclusion: Cultural identity should be meaningful and personal to oneself, as well as an open exploration that should be shared. In multi-cultural societies, like Australia, recognising certain cultures can be done by looking at their foods. Ashkenazi Jews are now identifiable by non-Jewish societies, because they relate the Ashkenazi community with iconic foods, such as bagels. For Ashkenazi Jews, the saying You eat what you are4 applies perfectly. They have special foods and diets for their sacred occasions, and ritual eating at festivals and ceremonies allow Ashkenazi Jews to reflect on and identify with their culture and religion through the symbolic representations of the traditional foods. However, you are what you dont eat as well. The solemn festival of Yom Kippur , is one of the most important Jewish festivals and requires Jews to fast from sunset to sunset4. Also the laws of Kashrut have strict guidelines of forbidden foods, and precise manners of food preparation that need to be obey ed9. Kosher eating is a essential part of food being a source of cultural identity, even though not every Jew observes all the laws.

Comparing Dickenss View of Children in David Copperfield and Great Exp

Dickens's View of Children Exposed in David Copperfield and Great Expectations      Ã‚  Ã‚  Ã‚  Ã‚   Of all Dickens' works, David Copperfield and Great Expectations are considered to be his most autobiographical.   Philip Collins writes, "Great Expectations, indeed, though overtly less autobiographical than David Copperfield, is a more searching and self-critical account of Dickens' own inner impulses" (178).   It is also true that both of these novels have children   as main characters.   Dickens had a real talent for creating child characters in his works.   In some cases, Dickens' own life history is so closely linked with his fiction, that in order to understand Dickens' interest in the child character, it is critical to be familiar with the major events of his life, as well as how he viewed childhood in general.    Charles Dickens was born February 7, 1812, in Portsmouth, to middle class parents.   He was the second child, and the first son, of eight children.   His father, John Dickens, was an Admiralty clerk.   He made a reasonable amount of money but was poor in handling his financial endeavors.   In 1824, when the family plunged into debt, John was sent to debtors' prison at Marshalsea Prison.   Charles, at age twelve, was sent to a Warren's Blacking House, to manufacture shoe polish.   In The Man Charles Dickens, Edward Wagenknect looks at how Charles' experience with the blacking house had a deep impact on him:    Charles seems to have been at this time, abnormally sensitive with some dim prescience of what was in store for him, and he suffered terribly, not only from his uncomfortable surroundings, but even more from the consciousness that he was getting no opportunity to develop his capacities and -... ...t drawn to portraying children beset by suffering and evil" (117).   Dickens also created these characters to testify to the mistreatment of children in Victorian society.   Due to his success as an author, Dickens, in many ways, successfully took up the plight of children by creating characters that dew attention and sympathy from his readers.   In his works he gave children a voice that they desperately needed, yet never had before.    Works Cited Andrews, Malcolm.   Dickens and the Grown-up Child.   Iowa City: U of Iowa P, 1994. Collins, Philip.   Dickens and Education.   New York: St. Martin's P, 1964. Rawlins, Jack P. "Great Expectations: Dickens and the Betrayal of the Child." Studies in English Literature, 1500-1900. 23 (1983): 667-683. Tomlin, R.W.F., ed. Charles Dickens 1812-1870. New York: Simon and Schuster, 1969.    Comparing Dickens's View of Children in David Copperfield and Great Exp Dickens's View of Children Exposed in David Copperfield and Great Expectations      Ã‚  Ã‚  Ã‚  Ã‚   Of all Dickens' works, David Copperfield and Great Expectations are considered to be his most autobiographical.   Philip Collins writes, "Great Expectations, indeed, though overtly less autobiographical than David Copperfield, is a more searching and self-critical account of Dickens' own inner impulses" (178).   It is also true that both of these novels have children   as main characters.   Dickens had a real talent for creating child characters in his works.   In some cases, Dickens' own life history is so closely linked with his fiction, that in order to understand Dickens' interest in the child character, it is critical to be familiar with the major events of his life, as well as how he viewed childhood in general.    Charles Dickens was born February 7, 1812, in Portsmouth, to middle class parents.   He was the second child, and the first son, of eight children.   His father, John Dickens, was an Admiralty clerk.   He made a reasonable amount of money but was poor in handling his financial endeavors.   In 1824, when the family plunged into debt, John was sent to debtors' prison at Marshalsea Prison.   Charles, at age twelve, was sent to a Warren's Blacking House, to manufacture shoe polish.   In The Man Charles Dickens, Edward Wagenknect looks at how Charles' experience with the blacking house had a deep impact on him:    Charles seems to have been at this time, abnormally sensitive with some dim prescience of what was in store for him, and he suffered terribly, not only from his uncomfortable surroundings, but even more from the consciousness that he was getting no opportunity to develop his capacities and -... ...t drawn to portraying children beset by suffering and evil" (117).   Dickens also created these characters to testify to the mistreatment of children in Victorian society.   Due to his success as an author, Dickens, in many ways, successfully took up the plight of children by creating characters that dew attention and sympathy from his readers.   In his works he gave children a voice that they desperately needed, yet never had before.    Works Cited Andrews, Malcolm.   Dickens and the Grown-up Child.   Iowa City: U of Iowa P, 1994. Collins, Philip.   Dickens and Education.   New York: St. Martin's P, 1964. Rawlins, Jack P. "Great Expectations: Dickens and the Betrayal of the Child." Studies in English Literature, 1500-1900. 23 (1983): 667-683. Tomlin, R.W.F., ed. Charles Dickens 1812-1870. New York: Simon and Schuster, 1969.   

Critical Thinking Essay: the Godfather Essay

The Godfather, a story about a multigenerational crime family by the Italian American author Mario Puzo, was one of the best-selling books since it was published in 1969. Not only the book was a phenomenon, its movie under the direction of director Francis Ford Coppola had also become a landmark in American movie since it was released in 1972. The Godfather detailed impressively the activities of the gangster world, especially the Corleone family which was under the control of the patriarch Vito Corleone starring by Marlon Brando and Al Pacino as his youngest son Michael Corleone who soon inherited his father’s position. The film lived up to the term masterpiece which helped it win three Academy Awards for best actor, best picture, and best adapted screenplay. Although the movie was full of brutal violence and mass killing of people, it also showed the care, the love, and the loyalty of the Corleone family members for each other. Rather than just showing the criminal side of breaking the laws or murdering people, The Godfather showed a brand new vision of the gangster world to the audiences. The criminal genre first started with the film the Little Caesar which was the first movie ever made about the gangster world in 1931. Later, many famous directors had taken advantage of this new trend and released many great movies with this genre, such as director Howard Hawkes with his famous film Scarface in 1932 and director Raoul Walsh with the movie White Heat in 1949. Those were all the big films that gave the audiences the impression of how audacious and dangerous the Mafia was. Mostly those movies focused on a younger gangster who was trying to work his way up in his criminal career to become well-known and powerful in the underworld by all means. Then, the release of the Godfather impressively surprised all the fans of the mob movies with a totally different viewing experience. The film depicted a systematic criminal organization, a â€Å"family business† that was transferred from generation to generation. The audiences are attracted in the very first plot of the movie when it shows Vito Corleone is doing his â€Å"business†. The man is insisting him to take revenge for his daughter who was brutally beaten by her boyfriend and he will pay any price the Godfather wants. The audiences will think that surely the Don will say â€Å"yes† because that is how a mobster is in their mind: Give them money, they will do anything. However, Vito says â€Å"No† because the only thing he wants from the man is friendship and he feels disrespectful when the man is only talking about money. Another plot that shows the breakthrough of the Godfather is when his oldest son, Santino, was butchered by Emilio Barzini’s men, the second most powerful Don, Vito still takes the initiative of renouncing all the vengeance at which audiences think there will be a massacre between the two families. Vito also makes a concession in doing drug business though he mentioned that he never believed drugs. In return, he wants a guarantee from other families for the safety of his own family and the younger son, Michael, who is still in Sicily hiding away from the police. Furthermore, thanks to director Coppola for being determined in choosing the appropriate actors and actresses for every characters in the movie which was a great contribution to the movie that made it become a masterpiece. Marlon Brando was not the first choice for the character Vito Corleone, he was actually refused for casting by the Paramount executives. However, Coppola believed Marlon was the best match for the character so he fought hard for him until the executives agreed. Marlon proved to the executives that Coppola was right by showing his consensus in being a patriarch of a powerful criminal family. The way the Godfather talks to his clients makes him a respectable man to his friends and family but a dangerous and cold-hearted killer to those who wants to go against him. Besides, the great performance of Marlon Brando puts an outstanding development of Al Pacino’s character. Like Marlon, Al Pacino was not highly valued by the executives because of his looks and lack of experiences in acting. However, with his efforts, the viewers can see the improvement in performing Michael Corleone through all the scenes. The scene he played that helped him keep his role is when Michael was in the restaurant with McCluskey and Sollozo. This plot was really breathtaking and terrifying that makes viewers attentively watch it to the end. Michael’s shiver and worry before the shot successfully portrays an inexperienced mobster, a newbie in the underworld of Michael. Indeed, in the second half of the movie, when Michael took over his father’s chair and started the wipe-out of all of the family’s rivals, he showed an image of a young Don who was more wise and dangerous than his father. As a gangster movie, the Godfather has many plots that can make viewers jump out of their chairs or hide their faces behind their hands. As an experienced director, Coppola knew how to combine background music with the plots to emphasize their contents. For example, when Jack Woltz refused the offer from the Godfather of letting Johnny Fontane cast a role in his movie, the next morning he woke up and saw his beloved horse head in his bed. The evil music was playing very small when the scene was showing Woltz’s garden, viewers could even hear the sound of the crickets. Then the camera slowly moved to Woltz’s bedroom where the music was playing louder and louder as it reached near Woltz’s bed. Finally, the music turned to maximum when Woltz was screaming because he saw the horse head. This scene really freaked people out because Coppola used a real horse head. Lastly, the movie is remarkable because it shows deeply the human part of mobsters. A typical example of how the Corleone members care for each other is Santino’s care about his sister, Conny. At the first scene of the movie, there was the wedding of Conny and Carlo. Unfortunately, Carlo did not love her. He purposely married to Conny because he wanted to get involved in Corleone family which was the most powerful Mafia family in New York. However, Vito Corleone did not let any outsiders to be part of the his business. Carlo was disappointed and he started abusing Conny fiercely, his just married wife. In the film, audiences can see Santino was the only member in the family protected Conny. Santino was also a very hot-tempered person. In some plots, because he was so aggressive, he brought a very bad impression on viewers. Nevertheless, watching him beating Carlo on the street, viewers would have a more positive feeling toward him. Another plot that makes the audiences more sympathy with the movie is when Vito retired, he became an old man with very simple joys of doing gardening and playing with his grandson. Later in the movie, he died by a heart attack, a very normal way that could happen to other elders. That scene really surprises viewers because they may think as one of the most powerful Don in the Mafia world, Vito Corleone should have had a more honorable death. Overall, although the Godfather was released in 1972 at which the performance of the actors and actresses were not as good as the casts now, it still has the full attention of audiences every time they watch. It is rated R which means it has many extremely violent scenes and nudity plots. Some people may think its violence is quite tame. However, if parents don’t take seriously consideration before letting their kids see the movie, their kids might still have a nightmare at night. Work Cited Seal, Mark. â€Å"The Godfather Wars.† Vanity Fair. N.p., Mar. 2009. Web. 18 Nov. 2012. . Rovi, Bruce Eder. â€Å"Little-Caesar – Trailer – Cast – Showtimes – NYTimes.com.† Little-Caesar – Trailer – Cast – Showtimes – NYTimes.com. The New York Times, n.d. . â€Å"TheGodfather Trivia: Leavethe Gun, Read the Trivia!(Total Trivia Entries: 147).† The Godfather Trivia. N.p., n.d. .

Internal Operating Environment for Comic Relief Essays

Internal Operating Environment for Comic Relief Essays Internal Operating Environment for Comic Relief Essay Internal Operating Environment for Comic Relief Essay Internal Operating Environment for Comic Relief 1.0Internal Operating Environment 1.1Comic Relief Aims 1.2Comic Relief Resources 1.3Comic Relief Culture 1.4Role of Marketing in Comic Relief 1.5Evaluation of Marcomms 2.0Recommendations Bibliography 1.1 Amusing Relief Aims Comic Relief s chief aim is raising money from the general populace by actively affecting them in events and undertakings that are advanced and merriment. It besides attempts to inform, educate and advance societal alteration ( Amusing Relief, 2005 ) . 1.2 Amusing Relief Resources The selling resources of Comic Relief are limited, particularly when considered in comparing to a commercial house. Comic Relief’s fundraising costs are covered by sponsorship in hard currency or in sort so that every penny raised goes to charity. Therefore Amusing Relief has had to be imaginative in its selling activities. 1.3 Amusing Relief Culture The civilization of Comic Relief matches its trade name image ; cheerful, caring and confident ( Adkins, 1999, p174 ) . Selling is cardinal to what Comic Relief do. 1.4 Role of Marketing in Comic Relief Whereas commercial administrations may hold a figure of marketing aims, such as increasing market standing or bettering profitableness ( Brassington A ; Pettitt, 2000, p900 ) , a charity like Comic Relief has merely one mark, to raise every bit much money as possible for its causes. Therefore Amusing Relief can mensurate how good its selling has done by analyzing how much money is raised. Amusing Relief is alone in that the Government, corporate givers and single providers fund its selling activities. One hundred per centum of personal contributions go to worthy causes ( Amusing Relief, 2005 ) . The more money Comic Relief rise, the more the money spent on selling can be said to work. The method and timing of the contribution lead to rating of the selling activity that initiated the contribution. 1.5 Evaluation of Marcomms McCarthy ( 1964, cited in Mohammed A ; Pervaiz, 1995 ) offered the four Ps ( merchandise, monetary value, topographic point and publicity ) as the combination of factors that satisfies the mark consumer. This attack is now used to measure Comic Relief’s current selling marcomms. When sing the merchandise or service Amusing Relief provides there are two facets that need to be looked at. First of all Comic Relief provide the service of raising money for worthwhile causes. As portion of this, Amusing Relief provides a figure of merchandises. These include ring tones, the Dubble cocoa saloon ( made from reasonably traded chocolate beans ) , a Nationwide recognition card and books written by J.K. Rowling ( Comic Relief, 2005 ) . These merchandises offered by Comic Relief will now be analysed. Measuring these merchandises, it can be seen that Comic Relief supply a assortment of different types of merchandises. However, they all have a similar manner of packaging ( where appropriate ) ; viz. simple, bright and loud. The books have Harry Potter themed packaging. See figure 1.0 for exposures of these merchandises. figure 1.0 The pricing of these merchandises is set by the spouses involved. For illustration, Nationwide set the APR available on the Red Nose recognition card it launched with Comic Relief. The merchandises that Comic Relief has greater control over in footings of pricing policy, such as the jerseies and ring tones are priced merely somewhat higher than comparable merchandises. The ring tones cost ?3 ; comparable ring tones cost ?2. Amusing Relief utilises legion selling channels. Retailers such as TK Maxx ( t shirts ) and Sainsbury’s ( ruddy olfactory organs ) sell Amusing Relief ware. Amusing Relief besides has a strong online presence. The Red Nose Day website increased its market portion in the hebdomads taking up to 2005’s Red Nose Day. Of all Internet traffic directed at the online community sector, the Red Nose web site was responsible for 11.4 % on Red Nose Day itself ( Hitwise, 2005 ) . Most of Comic Relief’s selling activity is concerned with publicity. Since RedNose Day’s construct, more than 2050 famous persons have been involved ( Amusing Relief, 2005 ) , the most noteworthy being Lenny Henry, Billy Connolly, and John Cleese. Using the VisCAP theoretical account of presenter features ( Brassington A ; Pettitt, 2000, p581 ) , it can be seen that these people are extremely suited for the publicity of Comic Relief. They are all extremely seeable, i.e. really good known and are extremely sympathetic and hence attractive to consumers of Comic Relief. Now the traditional four P’s have been used to analyze Comic Relief, there are three more Ps that can be utilised. These are people, procedure and physical grounds. The attitude and behavior of voluntaries in Comic Relief has been praised ( BBC News, 2005 ) . The procedure of how the service is delivered by Comic Relief is notable because Comic Relief utilises other companies to present its services. For illustration, BT sets up and manages the telephone web needed on Red Nose Day ( Comic Relief, 2005 ) . The 7th P that is used to measure Comic Relief’s marcomms is physical grounds of quality. In Comic Relief’s instance this involves the information given to the populace about how the money raised is being used. Amusing Relief’s chief strength is the ability to show that the financess raised are used expeditiously. It does this largely via mini-documentaries as portion of the Red Nose Day televised shows. The doctrine of Comic Relief is to utilize comedy and laughter to acquire serious messages across. This is alone amongst its rivals. Overall, it can be said that a big portion of Comic Relief ‘s success is down to its success at selling. It has limited selling resources, yet has an surprisingly strong trade name presence and extended trade name consciousness. The writer would wish to set forward that Comic Relief is an first-class marketeer and has utilised its limited selling resources highly good to derive and keep a strong trade name presence over a figure of old ages. With such a successful company, it is hard to place to place countries for betterment or new selling activities to be tried. However, the writer will do several suggestions for betterments to Comic Relief’s selling marcomms. It has been identified that Comic Relief is presently non deriving any selling information at all. It does non enter which selling activities have prompted peculiar contributions. A little and simple alteration could earn much more elaborate selling information so that non merely the effectivity of the whole run, but the effectivity of the single elements of it could be analysed. Amusing alleviation offers a strong online presence, it should farther increase this, by seeking to make an on-line community that has utile information all twelvemonth about, non merely on Red Nose Day. This will guarantee that the trade name of Comic Relief is in consumers’ heads twelvemonth unit of ammunition. It could possibly supply journals of voluntaries, methods of acquiring involved at place and polls on topical issues. All of these characteristics would alter on a regular basis and hence encourage repetition screenings. Amusing Relief presently offers nomadic phone ring tones, which is an first-class usage of current technological tendencies. They should take advantage of another emerging tendency and utilize viral selling to publicize Comic Relief. Viral selling is the utilizations of electronic media to excite and promote word-of-mouth or electronic message airing between persons ( Morden, 1993, p 101 ) . This method of marketing would suit good with Comic Relief’s confident and brash trade name image. The Dubble cocoa saloon demands to be available in more stockists for it to be a feasible merchandise. It is presently available in a limited figure of shops. It does non hold much incursion into the confectionary market. Amusing Relief demands to incorporate their marcomms offering more. The American Association of Advertising Agencies defines IMC as ‘a construct of marketing communications be aftering that recognizes the added value of a comprehensive program that evaluates the strategic function of a assortment of communicating subjects, e.g. , general advertisement, direct response, gross revenues publicity and public dealingss and combines these subjects to supply lucidity, consistence and maximal communications impact’ ( Keller, 2000, p267 ) . Even looking at the packaging of the assorted Comic Relief merchandises, it can be seen that there is a large difference in the expressions of the assorted merchandises offered. This needs to be addressed. The concluding recommendation offered by the writer is that of increasing the figure of publicities with other trade names, such as the Persil Go Red Campaign. This run was a success for both parties involved, and likewise good thought out runs could besides hold the same consequence. Care has to be taken to guarantee that the companies that are chosen to take portion are appropriate. By this it is meant that their trade name values match those of Amusing Relief. Persil provided a ‘synergistic trade name tantrum with Comic Relief’s emotional values and trade name properties ( Adkins, 1999, p172 ) . Adkins, S. ( 1999 ) .Cause Related Marketing, Who Cares Wins. Oxford: Reed Educational. Brassington, F. and Pettitt, S. ( 2000 ) .Principles of Marketing( 2neodymiumed. ) London: Pearson Education. All About UsAmusing Relief.hypertext transfer protocol: //www.comicrelief.com/ ( 29ThursdayApr. 2005 ) . Dibb, Set Al. ( 2001 ) .Marketing Concepts and Schemes( 4Thursdayed. ) Boston: Houghton Mifflin. Jobber, D. ( 2001 ) .Principles A ; Practice of Marketing. ( 3rded. ) London: McGraw-Hill Publishing Company. Keller, K. ( 2000 ) . ‘Strategic Brand Management: Building, Measuring, and Managing Brand Equity’ ,Journal of Consumer Marketing, 17, ( 3 ) , p263-72. Kotler, Pet Al. ( 2001 ) .Principles of Marketing( 3rderectile dysfunction ) . London: Pearson Education. Morden, A. ( 1993 ) .Elementss of Marketing. ( 3rded. ) London: DP Publication Ltd. ‘Online Communities’ ,Hitwise Competitive Intelligence. hypertext transfer protocol: //www.hitwise.co.uk/info/ ( 24 Apr. 2005 ) . ‘Red Nose Day: Your comments’BBC Newshypertext transfer protocol: //news.bbc.co.uk/1/hi/talking_point/4336791.stm ( 30th Apr 2005 ) .

ASA Format for Research Papers - A Full Guide for Students

ASA Format for Research Papers - A Full Guide for Students Many a format of writing exist. One such is ASA format (American Sociological Association), along with APA or MLA styles. ASA citation format causes difficulties to students, in spite of the fact that there is nothing hard about it. This format is the most common among scientists and academics. It is mostly used by students who study sociology. Those who want to publish their research  paper in publishing houses apply this style. Also, research essays are on the list. ASA format, like others, changes all the time depending on the primary sources. What Is ASA Format? Students of universities/colleges from the sociological departments have a task to write essays and look for a guide. They undertake a study looking for informational relevant sources. Before publishing their works, students write them according to the ASA format citation requirements. This style is similar to APA when it comes to citations in an assignment. The rules for quotations in the text in ASA format need to specify the first author's name, then the initial date of publication of the material to which you refer. Citing in ASA Format drives you crazy? Let us know! Some Crucial Things about ASA Citation Format The list of references should be written at the end of your scientific work; Each source cited should be included in the list of references, each of them should be cited in the work Start the list of links on a new page Insert a title of the references at the top, in the center of the page Make a one-half inch margin from the left side Firstly, specify the names of authors followed by their surnames If the work was written by a committee, the use of et al. would be unacceptable. The last rule of ASA citation format is to place in an alphabetical order the last names of the authors of each work. If using several works of the same author, write them in the order of publication, from the old to the new ones. Now that you know what is ASA format, start writing the assignment to reap the best results! Learn How to Cite in ASA Format Put the notes in the same arrangement as they appear on the page and make a numbering under the line. The order is a crucial thing in ASA citation format. If one firstly specifies the work of the writer, he should write his full name and the year of publication. Specify the page number in ASA format. In this case, it will be separated from the publication year by a column with no spaces. Simple Rules with ASA Format Example The assignment should be written in simple words and the Active Voice. Never use jargon, slang or general expressions in ASA format. Words such as â€Å"percent†, â€Å"versus† are written in words, do not abbreviate them. As for abbreviations in ASA citation format, use them in tables or graphs. Apply gender terms if they have important meanings in the analysis that is conducted. Be careful about ethnic and racial stereotypes. Describe race or ethnicity precisely e.g., Mexican instead of Latin American. In a case when one uses an abbreviation in the text, specify its full name in brackets. Once it is done, use the abbreviations. Need Help? Don’t Hesitate - Contact Us! ASA Bibliography Format Write a list of references on another page. Do not forget that it’s needed to make it in an alphabetical order by the author's name in ASA bibliography format. Apply hanging indent if using two or more authors' names of the same work. Write all the elements according to the rules of ASA paper format. If you want to indicate the writer for the second time, use six hyphens and a period instead of names. To discern the paperwork of the same author, add the letters, for e.g. 2015Ð °, 2017 b, 2018Ã' . ASA format citation is easy to make. For titles of books and periodicals, use italics or underline them. If there is no publishing date, apply the combination " N. d.". Specify not the city but the state of the place of publication. Draw on the abbreviation of the U.S. postal code. If the writer of the book is from other cities, specify the name of the country. Use online sources to check ASA format example. It would be easier to write the assignment if you have a general idea of how to cite in ASA format. Essay Writing Advice from Our Experienced Writer John Writing any kind of assignment requires a lot of time and effort. So try to start when you get the assignment. Put the emphasis on the researches. Conduct a study concerning your topic, make sure that you understand it. Find the answers to the key questions of the assignment; once it is done, start writing. Professional Custom Writing Service for Students Do you still have a question about how to write in ASA format? Now it's clear, ASA formatting requires great attention to details. If you have problems with using this format, feel free to order a scientific work from our company. Take a look at the ASA format sample paper on the website to know more. Be sure, you get an essay that will be written according to the requirements. Our experts correct, edit rewrite the work if you are not satisfied with the result. English speaking authors will write the best assignment. Do not hesitate and order an essay right now. You will see that your work will be in good hands.

HARLEY REVS UP ITS ENGINES essays

HARLEY REVS UP ITS ENGINES essays Teerlink knew that the best way to improve quality and reliability and lower production costs was to create an environment where everyone took responsibility for the companys present and future. Of course, such an approach would not come naturally to Harley. The previous crisis had been managed with an unmistakable topdown approach, as is often the case with turnarounds. But times had changed. Employees could no longer be privates, taking orders and operating within strict limits. So Teerlink flattened the corporate hierarchy and established teams of cross-functional leaders to work collaboratively and provide senior leadership with direction. This is the structure under which Harley currently operates. At the heart of the organizational structure are three cross-functional teams called Circles-the Create Demand Circle, the Produce Product Circle, and the Provide Support Circle. Each Circle includes design engineers, purchasing professionals, manufacturing personnel, marketing personnel, and others. The cross-functional teams are responsible for every motorcycle produced by Harley-from product conception to final design. Within each team, the leadership role moves from person to person, depending on the issue being addressed. Recognizing that suppliers input is crucial to Harleys new product development, all cross-functional teams include key suppliers who work elbow-to-elbow with Harley personnel. Suppliers are the experts. They have expertise I not only what theyre developing today but also whats going on in their industry, says one Harley purchasing director. The more input we have up front, the better our products will be. Cross-functional teamwork has indeed paid off for Harley. With record profits and a good chance of soon reaching their annual production goal of 200,000 bikes, the companys 6,000-plus employees hav ...

Estimating a Multiple Regression Model for GCC countries- The impact Research Paper

Estimating a Multiple Regression Model for GCC countries- The impact of Exports and FDI (Foreign Direct investment) on GDP in Saudi Arabia (1990- 2013) - Research Paper Example In addition, government expenditure also contributes to the management of the GDP of an economy. Following the topic selected that relates the exports and foreign direct investment aspects of Saudi Arabia, one learns that foreign aspect play a role in shaping the different economies. Considering the Saudi Arabian economy, much of its activities have survived on the aspects of export especially of petroleum products and foreign trade that have seen the economy grow its GDP to reasonable grounds making its economy grow to the advantage of the people (Taylor & Francis Group, 2003). The economy being sustained by exports and foreign income that is raised through the foreign direct investments proves stable in the sense that it can sustain the pressure that the foreign currency exerts on its local currency. Through these, the economy survives various economic challenges as a result of having many economic activities to rely on in streaming in revenue. In trying to understand economic development of any country, these aspects of economic essence need considering that will guide the economy to growth. The details of the paper below discuss the different effects that the export aspects and FDI as two independent variables have on the GDP of an economy. The economy much relies on the two variables as per the subject as a dependent variable. This study devises a regression model that will indicate the relationship between the three variables and any variance aspects, standard errors and other statistical explanations of the results. The data collected indicates the relationship between the three variables that is exports, FDI and GDP of the Saudi Arabian economy. These provide a relationship that describes the different effects that changes to one variable will have to the economy. Understanding the different variables helps one understand the positive or negative nature of their influence to the GDP and the general economy of Saudi

Report Essay Example | Topics and Well Written Essays - 2000 words - 20

Report - Essay Example Procurement is fundamental to every project manager in order to advice the company on the right partners to work with, the rights and obligations of every party in a project, and how well the parties can work together. Contracts need strategy in order to succeed and that is why, it paramount to know who will supply what and how the payments of the supplies will be met. A contract to supply raw material, personnel or any other service, should give assurance to the do so for the duration for which the contract runs and under the terms and conditions agreed upon. So that, if the contract is financed on interim basis, the supplier of whichever service or raw material should be able to do so until when payment has been processed (BARNES, 2007). Procurement services should also be subjected to competitive vetting to ensure that the right supplier is awarded the tender to supply raw materials whether all the metallic raw materials or part of that, and that will be the case for all procurements. The project manager will advise the contractor on what elements to look for in tendering a supply of any raw material. Just to highlight, cost of raw material, transport cost; whether it is lumped and gathered for to the site, and the capacity to deliver them in time. The contractor then will have a host of service providers to choose from after which the suitable supplier will commence the supply of the procured materials (MARSH, 2000). Just like any other contract programme, what is binding, has to be backed by evidence and that is the time that has been set out for completion of a project. When a project is completed within the stipulated time, the contractor is entitled to a bonus of the whole cost however, when the project is completed outside this time, the contractor is liable to a penalty. As a matter of fact, the entire project under the watch of a project

Jeep Patriot Sports Car Advertisement Essay Example | Topics and Well Written Essays - 750 words

Jeep Patriot Sports Car Advertisement - Essay Example Adverts employ a tool of art called semiotics that involves the application of signs and symbols in conveying messages. This advert has different categories of the message to the buyer. These categories consist of both the words and images. There is a whole range of captions in the advert that portray a denoted message targeted at the buyer. In addition, Michael’s wife, surprises him, by declaring that she bought a jeep in a conversation. The captions and labels, it becomes clear to the buyer that she bought a jeep patriot sport car. The word ‘jeep’ in the advert represents a connoted meaning. The term communicates a deeper meaning to the buyer because it has a long history of use in the market. Just by its mention in the advert, it conveys a certain message. A jeep is a car that belongs to specific classes of people in the society because of its features. The unique feature is the quarter-ton that defines a jeep. In addition, there is a connoted message in the de claration of the wife that she bought the jeep. It confirms to the audience that she ‘could not hold back ‘. This adds sense to the persuasion at the end urging the audience not to ‘hold back’ from buying the jeep. In addition, the advert contains a symbolic message. The pictured movement of the jeep patriot car signifies its capability on the road and emphasizes on the value of the four-wheel drive system. In addition, the woman in the advert implies that the car is suitable for the feminine gender. She is a symbol for the suitability of the car to women. This is a crucial aspect of the advert because different cars suit male and female. There is an evident gender preference of some car models and any advert should highlight this fact. Moreover, the advert has literal message that the audience can conceive easily. A real couple indulging in a usual conversation gets the buyer’s attention. The two are getting ready to leave the house. The wife brings up the idea that she bought a jeep. This fact mesmerizes the husband, as it is evident from his facial reactions. The advert then features a real image of the ‘jeep patriot sport car’. From this real image, the features of the car become evident to the audience. The car looks compact but being a jeep, has an economic engine. The couple rides in the car portraying its suitability as a family car. The car has unique features for families that prefer to own a car with multiple capabilities. This jeep has sufficient room to accommodate both the heads and legs. This offers sufficient space for rear passengers. In addition, the car has a high capacity boot that provides a family sufficient space to carry luggage. The family setting highlighted in the advert persuades families to consider the jeep patriot as a favorable choice. Through a combination of the different messages, the advert provides the audience with details about the car. In addition, there is a denoted message t hat informs the audience of the price of the jeep. With a glance, potential buyers gain awareness of the product price. The advert utilizes different efficient aspects of visual art to communicate with the audience. The advert targets families and emphasizes on the suitability of the car to women as well. The concept of commodity fetishism comes out clearly in the advert.  

Coca cola company Research Paper Example | Topics and Well Written Essays - 2500 words

Coca cola company - Research Paper Example The Atlanta based organization grew profusely despite the hindrances existing in the market environment. By the mid 20th century, Coca Cola’s growth rate overwhelmed that of its competitors, and with an increased product line to serve diverse consumer needs on the global scales (Petretti, 2008). The following is an informative approach to defining Coca Cola’s business programs and its portfolio in maintaining success as a market leader in the beverage industry. The company’s mission statement and strategy Coca Cola’s mission statement stipulates that its operations in the beverage industry seek to refresh, inspire, and create value to the world with a vision of achieving sustainable growth through utilization of resources globally. Arguably, the company growth and expansion in the beverage industry remains unchallenged despite Pepsi’s strive to overcome the dominance. Considerably, Coca Cola’s success in the industry seems to be integral to t he provision of over 500 brands to the global consumer. These advantageous contributions of the company’s management to the beverage markets yield unprecedented consumer loyalty (Alirezaei, 2013). Actually, the company’s marginal difference in the market share value varies greatly with its challengers whether at a foreign-local or at the international platform. The company’s mission statement changes from time with reference to the evolving consumer needs and wants. Currently, Coca Cola sets its mission as targeting to refresh the world through provision of the favorite drinks. Through the mission, the company seeks refreshment to prevail over the mind, body, and spirit of consumers thus inspiring optimism and actions on its brands (Payne, & Frow, 2013). Eventually, the company draws conclusions of yielding valuable returns on its investment because of the positive reactions of customers in the global markets. Evaluation of the mission statement The company miss ion statement focuses on the markets while neglecting other essential utilities that could create more value and undoubted performance in the company. During the evaluation process, all the factors of production, processing, and supply reflected different values while seeking to identify the company’s valuable outcomes. For instance, it is evident that the mission statement fails to account for the customers, products, and services while stipulating on its devotion to reach the markets profitably (Alirezaei, 2013). Secondly, Coca Cola’s mission statement fails to include technology, concern for survival in the beverage industry, while outlining its philosophy of refreshing the world. Through expert analysis, the mission lacks the inclusion of self-concept, concerns on Coca Cola’s public image, and its employees. The evaluative approach ascertains that the mission does not mention the values like citizenship, integrity, excellence, and teamwork (Petretti, 2008). Therefore, the statistical mark accredited to the company’s mission statement amounts to 1.3/4.5 of the score. Arguments are that the company’s success in the global market sector emanates from the highly recognized and standardized beverages in the global markets. It is certain that the company focuses on the presence of tastes and preferences of the consumer and then produces matching beverages to existing and emerging needs. Further, the poorly structured mission statement is technically incorporated to the vision thus; it is able to influence the market variables

Training Objectives and SMART Goals Assignment Example | Topics and Well Written Essays - 750 words

Training Objectives and SMART Goals - Assignment Example During the training of the designers, managers as well as the heads of departments, the company will adopt the Grasha-Reichmann Learning Style. According to this style, the approach of the employees been trained will be analyzed while at the same time ensuring that concepts of participative, dependent and collaborative will be applied (Sprenger, 2003). The training program will ensure that adequate time is provided for the trainees to participate through asking questions and providing feedback on the impact of the training on their productivity. Similarly, the employees will form teams that will allow them to evaluate themselves and share knowledge.   It is vital to note that my making the employees dependent during training, it will make them acquire wide range of skills that will make them perform wide range of duties independently after training (Noe,   2012). Additionally, making the employees dependent will create strong positive working relationships that will ensure that c onflicts that may jeopardize operations in the work place are avoided.  Training objectives Training objective 1: Employees will be trained to come up with unique designs that will not only meet the needs of the customers but also that which will be difficult to be copied by the competitors. The managers will adopt good leadership skills that will entail innovation and need to attain a goal.Performance of outcome desired: Improve their skills of coming up with good designs as directed by heads of department.

Comparison of the U.S. Healthcare System with the United Kingdom and Essay

Comparison of the U.S. Healthcare System with the United Kingdom and Canada - Essay Example The United States healthcare is provided primarily by the private sector; the government provides about 65 percent of all the healthcare insurance while the rest is provided by the private sector insurance. The United States healthcare uses the highest amount of money in the world per person as compared to other countries, though its structure leaves over 16 percent of its citizens with no medical cover or policy. While the United States healthcare is decentralized, the United Kingdom has a semi-centralized healthcare system whereby each country has its own healthcare that is free to all residents. The United Kingdom healthcare has a relatively small private sector as compared to the public sector that spends much less than the United States, at 8 percent. Canada, on the other hand, has a fully centralized system funded by the government with the private sector only covering the medical procedures not covered by the government’s system. Though elaborate, Canadas healthcare sys tem only accounts for about 10 percent of the gross domestic product, much less than that of the United States. In the United States, 40 million residents are not covered by any healthcare insurance, in contrast with the United Kingdom and Canada, whose medical care is free for all; mainly because the latter two largely depend on taxes while the former depends on the contributions of individuals. According to residents of the three countries, Canada’s have the greatest level of satisfaction in their healthcare system, followed by United Kingdom residents while United States residents are the most dissatisfied. In addition, the United States healthcare is the most expensive among the three.  

Coca cola company Research Paper Example | Topics and Well Written Essays - 2500 words

Coca cola company - Research Paper Example The Atlanta based organization grew profusely despite the hindrances existing in the market environment. By the mid 20th century, Coca Cola’s growth rate overwhelmed that of its competitors, and with an increased product line to serve diverse consumer needs on the global scales (Petretti, 2008). The following is an informative approach to defining Coca Cola’s business programs and its portfolio in maintaining success as a market leader in the beverage industry. The company’s mission statement and strategy Coca Cola’s mission statement stipulates that its operations in the beverage industry seek to refresh, inspire, and create value to the world with a vision of achieving sustainable growth through utilization of resources globally. Arguably, the company growth and expansion in the beverage industry remains unchallenged despite Pepsi’s strive to overcome the dominance. Considerably, Coca Cola’s success in the industry seems to be integral to t he provision of over 500 brands to the global consumer. These advantageous contributions of the company’s management to the beverage markets yield unprecedented consumer loyalty (Alirezaei, 2013). Actually, the company’s marginal difference in the market share value varies greatly with its challengers whether at a foreign-local or at the international platform. The company’s mission statement changes from time with reference to the evolving consumer needs and wants. Currently, Coca Cola sets its mission as targeting to refresh the world through provision of the favorite drinks. Through the mission, the company seeks refreshment to prevail over the mind, body, and spirit of consumers thus inspiring optimism and actions on its brands (Payne, & Frow, 2013). Eventually, the company draws conclusions of yielding valuable returns on its investment because of the positive reactions of customers in the global markets. Evaluation of the mission statement The company miss ion statement focuses on the markets while neglecting other essential utilities that could create more value and undoubted performance in the company. During the evaluation process, all the factors of production, processing, and supply reflected different values while seeking to identify the company’s valuable outcomes. For instance, it is evident that the mission statement fails to account for the customers, products, and services while stipulating on its devotion to reach the markets profitably (Alirezaei, 2013). Secondly, Coca Cola’s mission statement fails to include technology, concern for survival in the beverage industry, while outlining its philosophy of refreshing the world. Through expert analysis, the mission lacks the inclusion of self-concept, concerns on Coca Cola’s public image, and its employees. The evaluative approach ascertains that the mission does not mention the values like citizenship, integrity, excellence, and teamwork (Petretti, 2008). Therefore, the statistical mark accredited to the company’s mission statement amounts to 1.3/4.5 of the score. Arguments are that the company’s success in the global market sector emanates from the highly recognized and standardized beverages in the global markets. It is certain that the company focuses on the presence of tastes and preferences of the consumer and then produces matching beverages to existing and emerging needs. Further, the poorly structured mission statement is technically incorporated to the vision thus; it is able to influence the market variables

Comparison of the U.S. Healthcare System with the United Kingdom and Essay

Comparison of the U.S. Healthcare System with the United Kingdom and Canada - Essay Example The United States healthcare is provided primarily by the private sector; the government provides about 65 percent of all the healthcare insurance while the rest is provided by the private sector insurance. The United States healthcare uses the highest amount of money in the world per person as compared to other countries, though its structure leaves over 16 percent of its citizens with no medical cover or policy. While the United States healthcare is decentralized, the United Kingdom has a semi-centralized healthcare system whereby each country has its own healthcare that is free to all residents. The United Kingdom healthcare has a relatively small private sector as compared to the public sector that spends much less than the United States, at 8 percent. Canada, on the other hand, has a fully centralized system funded by the government with the private sector only covering the medical procedures not covered by the government’s system. Though elaborate, Canadas healthcare sys tem only accounts for about 10 percent of the gross domestic product, much less than that of the United States. In the United States, 40 million residents are not covered by any healthcare insurance, in contrast with the United Kingdom and Canada, whose medical care is free for all; mainly because the latter two largely depend on taxes while the former depends on the contributions of individuals. According to residents of the three countries, Canada’s have the greatest level of satisfaction in their healthcare system, followed by United Kingdom residents while United States residents are the most dissatisfied. In addition, the United States healthcare is the most expensive among the three.  

Long Live The Infoperneur Essay Example for Free

Long Live The Infoperneur Essay In the wildly popular 1960’s American television series Star Trek, Captain James T. Kirk would often turn to his engineer, Officer ‘Scotty’ Montgomery and direct him to take the spaceship into a fascinating new realm called ‘warp speed’. With commanding confidence he would turn to Scotty and say â€Å"Warp speed ahead†. â€Å"Aye Aye Captain† the Scottish officer would reply, at which point millions of ‘Trekie’ fans around the world would simply gasp with unparalleled excitement as the international crew was suddenly thrown back against their seats, as the spacecraft instantly hurled itself at an unprecedented speed through an unknown galaxy. Over just the last few years, we have witnessed a moment when art in a sense, has shown itself to imitate life, as tomorrow’s future has been rapidly hurled into the lap of our present; so to speak. The entrepreneurial spirit of old has been overtaken by a new spirit of innovative ‘inforperneural’ dynamism. At the very same time the â€Å"technology of yesterday†, as the Black Eye Pea’s will. i. am says, has been replaced by the â€Å"technology of tomorrow† (Huffington, 2008). The actual technology favoring this dynamic â€Å"exponential growth in the rate of exponential growth† (Williams 2008) has been casually lounging on the desktops of tech savvy innovators for years now. However, over just the last few years we have seen how the motive forces of Globalism have actually worked to push this insipient new reality into the forefront of technological advance. In just the past year alone, the exponential growth of social networking and SMS technology with websites like Twitter, Delicious, Digg, and a host of others, which have seen an amazing growth in popularity, has simply leveled the playing field between the mulit-national corporation and the individual; in the delivery of news and information. For the first time, in a large way the internet, has trumped the corporate media in determining just what the content of the new 24 hour news cycle should contain. Often throughout this process of evolution we have seen independent internet news sites that have gathered first hand information well before the networks were ever aware its existence. Then, all of a sudden, there emerged a whole new group of independent reporters; information consultants if you will: â€Å"[The] [T]echie-types †¦ began to discover the power of the power of the Internet to amplify a single voice †¦ suddenly [they] gave this voice substance †¦ authority †¦ reach †¦ and influence like never before. In fact †¦ we have witnessed the rise of a whole new class of video journalists †¦ armed only with mobile phones †¦ who are changing the way we see the world †¦ from the violence in Tibet †¦ to gaffs on the [American] campaign trail †¦ Seemingly overnight †¦ [BBC] †¦ CNN †¦ Fox News and others †¦ have hundreds †¦ if not thousands †¦ of would-be colleagues and competitors across the globe. † (Sansalone, 2008) Completely independent of political tradition, it has suddenly become the internet that has often had the last word. The Beijing Olympics and the Presidential campaign overseas can now be seen as significant milestones that have helped to bridge the gap from the old to the new. Gone is the old school entrepreneur, pushing their way into the forefront of innovation, begging for a seat at table, the Infoperneur had come of age. If ever there was a time when you were not quite sure that you were actually living in The Information Age, today there should be little doubt in your mind. Make no mistake about it; this is the mega high-speed information world that they were telling us about. Thirty eight years after anthropologist Alvin Toffler prophesized the rapid insurgency of what was ultimately to become, a kind of post / super-industrial world, that was sure to leave most Western nations disconnected and suffering from a kind of â€Å"shattering stress and disorientation†, namely from something he called â€Å"future shock†, his vision of the world is now somewhat front and center and once again on full blast (Toffler, 1970). Toffler feared that we would not be able to adapt to the enormous mega-trends that were coming in the wake of an entirely New Age. He seemed to think that we would all somehow break down under the pressure of a kind of dystopian totalitarian rule, just like the characters in the James McTeigue political thriller V for Vendetta. Unable to reconcile the fascinating pace of the New Age, while we all wandered about Westminster Abbey in a daze, shuttering simply at the thought of having those dammed black bags thrown over our faces if we did not behave as the government wanted us to; this was a world that he believed was rapidly coming towards us. It was to present us with far too many choices than the average individual or family could ever withstand. Although he may have missed the mark a little on just how well the West would adapt, one thing is sure to have a potentially damaging effect upon us in the not too distant future. The foods that we are now consuming are not as fresh as they were back when Toffler wrote Future Shock nearly forty years ago. As a consequence, at some point, with the ever-increasing corporatization of the British diet, and with food standards growing more and more lax everyday, we are sure to pay a heavy price. Perhaps the time is at hand when the masses will seek out qualified ‘Infoperneurs’ online to help provide them with the knowledge of how to maintain a healthy diet; while living in an increasingly unhealthy environment. Nevertheless, Toffler was aware way back then that computers would have an enormous, if not ubiquitous impact upon shaping all of our lives. Even as he watched these trends develop, still he maintained an uncanny awareness that we had only touched upon what was the tip of a nearly unfathomable iceberg, â€Å"We have scarcely touche the computer revolu-tion and the far-ramifying changes that must follow churning in its wake† (Toffler, 1970). It is almost impossible to believe that anyone would have thought way back then that the number one currency for more than one billion people currently wired to the internet everyday, would simply be ‘information’. Twelve years after Toffler, another futurist published a book called Mega-Trends. This book by John Naisbitt remained on the Best Seller list for more than two years. Naisbitt was able to point his vision sharply into the future, and what he saw was a world of great transformation. He displayed a far greater sense than Toffler that the Western world would not only be able to weather the winds of change; but that we would for the most part welcome and embrace them. In 1982, Naisbitt predicted Ten Mega-Trends that he saw looming on the horizon. You tell me just how accurate he was. 1) He believed that we were becoming an information society after having been largely an industrial one. Looking at where we are today, it’s hard to believe that anybody could dispute that. 2) He believed that we were moving from technology being forced into use, to technology being pulled into use where it is appealing to people. Back then one could only imagine that the burden of having to use a computer at all was indeed challenging to some people; as I am sure it still is today. 3) Nesbitt predicted that globalization was quickly coming upon the horizon more than ten years before the word even came in vogue. He believed in 1982, that nations would evolve from predominantly national economies into a global marketplace. All of these changes would indeed develop shortly thereafter, and we must remember still, that this was relatively a short time ago. 4) He believed that we would move from short term to long term perspectives, and 5) from centralization in business and governance to decentralization. 6) Now this is where Nesbit predicted the emergence of Infopreneurship. He believed back then, that we would move away from getting help through institutions like government to self-help; and actually, 7) From representative to participative democracies. 8) Nesbit said that we would move from hierarchies to networking. He obviously saw the enormous trend towards social networking long before anyone seems to have thought about its full potential. 9) He said that our biases would dissipate. 10) Lastly, he predicted that we would evolve from seeing things as â€Å"either / or† to having a variety of choices. Now, who would have thought as much? The decade of the eighties would become a rich fertile ground for the emergence of a new intrapreneural boom that would begin to take shape by the mid 1990’s. However, the roots of many of the trends that both Toffler and Naisbitt wrote about actually began to take shape during the waning years of the Cold War. As Japan quietly began to re-emerge as a burgeoning economic powerhouse coming back upon the world scene more than 35years ago, they would carry with them a model of workplace innovation. It was common back then for Americans to comment that the Cold War was indeed over, and that it was actually the Japanese who had won it. In 1980, one out of every four cars in the U. S. market was Japanese. Japan started making better and cheaper cars than their American counterparts. They broke the back of the great American export leviathan and suddenly American businesses were forced to take a long hard look eastward at Japan. The world would take notice. This was to become an era that would give rise to a new emphasis upon developing a spirit of creative innovation within the workplace. Intrapreneurship was all of a sudden being greatly encouraged in the workplace. Gone was the marshal attitude of strict unquestionable control. The creative spirit was let loose to the point that a man named Art Fry at the 3M Company could gain inspiration from a co-worker, who invented an adhesive, yet could not find a thing to do with it. Fry had an epiphany after noticing that the book marks kept falling out of his church hymnals during choir practice. Lo and behold, Post-its stickers were born (Business Strategy 1988). During the same year that John Naisbitt was predicting the trends of the future, Norman Macrae was also speculating upon corporations discovering stimulating ways to develop creative ‘intrapreneurs’ within their firms. He believed that intrapreneural competition should be aggressively encouraged. Suddenly, in the face of declining sales in manufacturing, automobiles and electronics, due to the great efficiently of the burgeoning Japanese market (Japan is now the second largest economy in the world); other Western nations began to loosen their ties in the workplace. It was during that period as well that Gifford and Elizabeth Pinchot would first begin to coin the term ‘intra-peneur. ’ Together they wrote passionately about the workplace and their concept of the emerging future of Infopreneurship would become a prominent aspect of the lexicon of their work for years to come. [â€Å"We will begin facing the challenges caused by expanding technological power and growing population when we change what we are striving for. We need a new definition of success† (Pinchot, 1995)]. Together they took pains to give full credit for their ideas to the earlier work of Norman Macrae. In 1985 after developing their methods in Sweden, they actually started a school for Intrapreneurship. One year later, John Naisbitt was speaking of Intrapreneurship and a means for American firms to find new markets. The development of the Macintosh computer was described by Steve Jobs as an ‘intrapreneural’ venture. India would also re-emerge upon the world stage over just the last decade and a half largely as a result of their embrace of the concept of intrapreneurship. Later, in 1990, Rosabeth Moss Kanter of Harvard Business School spoke of ‘intrapreneurship’ in her book â€Å"When Giants Learn to Dance. â€Å" [â€Å"†¦. coaching to stimulate and guide the creation of new ventures from within. These strategies [that] [come] from the core of the post-entrepreneurial take entrepreneurial to the next step. †] (Kanter, 1990) While the concept of intrapreneurship was helping to develop the leaders of the near future internet technology boom in Silicon Valley; this would become yet another golden age of entrepreneurialship around the world. Within a relatively short period of time, Desktop Publishing had come into its own. In time, the home office, tele-commuting, Fed X Kinko’s Business Services, and private mailboxes would help to transform the face of small businesses all across the globe; making it more cost effective for ambitious individuals to strike out on their own as independent entrepreneurs. This era of innovation and enterprise roughly from the mid 1980’s to the turn of the New Century, would in turn help to plant the fertile seedlings for the Inforperneural Age of today. However first, the foundation of one great industry would appear on its way to becoming unhinged. While governments act to bail out banks during the economic downturn, and public sector funds are siphoned away from the till for the 2012 Olympics, Google is reporting a more than 25% third quarter jump in profit. Why, because the average Brit now gets their news at least three times a day from the internet. Those who are now taking advantage of the Web 2. 0 infrastructure, even while Web 3. 0 is on the launching pad, have become the new Infoperneurs. One might easily doubt that it could have been foreseen that the internet would actually force the worldwide restructuring of the newspaper industry. Job cuts are now being reported at the Cambridge News and The Independent, and overseas in just the last few years, a number of the most popular newspapers have been forced to cut their staffs, and many have eliminated whole sections from their papers altogether. In the wake of massive job cuts, the New York Times recently announced that its circulation was down 3. 9%. If that was not bad enough, on the heels of a deepening economic recession its advertising market has recently reported precipitous decline. Many other newspapers throughout the world are currently in the midst of perilous financial times. (The Economist, September 20, 2008) In March of this year the Newspaper Association of America admitted that the decline of newspapers across the country was actually happening more rapidly than it had been previously reported. At the same time online revenues for some papers were beginning to skyrocket. Total print revenues plummeted in 2007 down 9. 4% to $42 billion compared to the previous year. This reflects the single biggest drop in revenue since the year 1950, when the organization first started tracking quarterly revenue (Riley 2008). At the same time, we discover that: â€Å"Online [ traffic] [offered] some solace for the dead-tree business, with internet ad revenue growing 18. 8% to $3. 2 billion compared to 2006, but a rate significantly lower than the 31. 4% growth the year before, and not even close to replacing the losses from print. Online revenue now represents 7. 5% of total newspaper ad revenues† (Riley 2008). What is actually hidden behind the numbers is a totally new reality in the way that we view our world. The internet is now the single greatest marketplace for information. It is where people go the plug into any thought, concept, or idea that they may wish to learn more about. They press a button, and ‘poof’ there it is! Someone has to do all that research, post and retrieve all of those articles, and simply broker the non-stop flow of billions and billions of tiny little bits of information traveling across a seemingly endless world wide web. Gone are the days when a trusted source is a viable information consultant simply because he has graying hair (notice I said he! ) and sits behind a large oak desk. The internet is history’s greatest experiment in democratization; and that became evermore evident during the previous year than ever before. Recently, Google came out with a new browser named Chrome, which acts in direct competition with Microsoft’s internet browser, allowing for more individual manipulation and input of what amounts to an open source operating system (The Economist, September 6, 2008). The Universe is starting to bend towards individual will more and more each and everyday. No, the entrepreneur is not dead, nor will that great spirit of British ingenuity and drive ever disappear upon this planet as long as this nation survives. It is something that has always been ingrained within the spirit of the U. K. We could have never survived for so many centuries without it. Infoperneurs are just the latest breed of pioneers that’s all. They are not suffering during this economic downturn; you can believe that! They provide an invaluable service, because they are able to make use of the databases that make up the internet, as a way to actually leverage information by surveying and manipulating it in order to repackage and deliver it tailor-made towards the specificity of a variety of clients and or situations (Bouchard, 2000). This is what they do. It is the wave of the future. As the internet grows, the job of an Infoperneur promises to become evermore valuable; and oddly enough they will not even have to walk beyond their front door. Bibliography Author (s) Journal of Business Strategy (1988) Lessons From a Successful Intrapreneur: An Interview With Post-it Notes Inventor Art Fry:. MCB UP Ltd. Volume 9: Issue 2 Page: 20-24. Retrieved from: http://www. emeraldinsight. com/10. 1108/eb039208 Du Toit, Adeline (2000). Teaching Infopreneurship: Students’ Perspectives. Aslib Proceedings. Bradford: Feb 2000, vol. 52, Issue 2; pp. 83-91. The Economist. (September 20, 2008) Slim Hopes: Newspapers in America. A Billionaire Makes A Surprising Investment In the New York Times. Volume 388 Number 8598 78-79 The Economist. (September 6, 2008) Google’s New Web browser: The Second Browser War: Google’s New Web Browser is its most direct attack on Microsoft yet. Volume 388 Number 8596 72-73