Compare and Contrast images of L.A Essay Example | Topics and Well Written Essays - 1000 words

Compare and Contrast images of L.A - Essay Example Ponce’s use of imagery and description in the text makes you feel like you are actually right there with her watching Roy Rogers and Cassidy movies on Sundays. Her joyful tone makes it seem as if life in those days was much easier and less demanding than it is today in our global rat race. In those days, the people would look forward to Father Mueller’s western movies after rosary; it would create a break from monotony and encourage socialization. Today, I’m sure, a teenager would not be caught dead at a social organized by the church, and instead they prefer going to the theatres/movies (which are now extremely affordable), the discos and other places where â€Å"occasions of sin† are very likely to happen. Her word choice is superb; especially the mixture of Spanish and English when relaying a conversation shows the Spaniards character: hot, bubbly and dramatic. The tone of the text gives the reader a sense of excitement and a want to read more, to see w hat is going to happen next. You almost feel as if you want to go back to that day and age and live the author’s life. In almost all aspects, both authors write in the same manner, but of different things. The author also shows the cheekiness of a teenage girl when she speaks of her loyalty to the older ladies for whom she translates the films: â€Å"At times the movies were too long, the plot too predictable. I would tire of my job and yearn to sit in front with Elena. By now I had spent the money given me by Dona Luisa and the Trinidads. As the show dragged on, I fidgeted in my seat, edging toward Elena. Once I had collected mas cincos, I sought ways to escape from the boring job of translating an old cowboy movie. One usually worked†¦ (pg. 805, p. 5). I remained unruffled, my fist tight around the nickels I had earned, as I pushed my way toward Elena. Around me the thoroughly confused women sat in wonder at this sudden turn of events. They squabbled, each wanting to believe only what they had seen on the white screen, until told to â€Å"hush† by those sitting in back†¦. (pg. 806, p. 3). At times I felt guilty about the translation and the nickels, especially when the senoras began to bicker among themselves. My guilt would last until the following Sunday, when once more I might recite an original version of an old western. (pg. 807)† In this respect, we see how children and teenagers have not really evolved much throughout the years, the feelings, the attitudes and the actions are still very much the same. Sure, today one does not have to translate a movie, but it can be seen at events where a teenager who shows up with his/her parents will stay with them only until they can find their friend and soon they are off. There is also still what one might call a â€Å"great divide† between the popular kids and the not so popular kids: â€Å"When she saw me changing my dress for las vistas, Trina would just snicker. â€Å"I wouldn’t be caught at them old movies. It’s not hip!† â€Å"I like em.† â€Å"That’s cause you’re a square.† She tossed back her pageboy, arched her eyebrows (just like Joan Crawford), and then locked herself in the

Finance Essay Example | Topics and Well Written Essays - 2250 words - 4

Finance - Essay Example ralian dollar, as well as the interest rates as apparent in the situation of the housing market, and the unemployment situation in the mining industry. Lastly, this paper looks at the current efforts to regulate the financial markets. The sources of data include article from online versions of major newspapers such as the Australian, as well as articles from global financial institutions such as the World Bank and Overseas Development Institute. Other legitimate sources such as the website of the Australian government have been utilized. The bulk of the sources include academic journals such as Financial Management, McKinsey Quarterly, Cambridge Journal of Economics, etc., that tackle the issue of global financial crisis, from databases such as Business Source Premier, Oxford Journals and ABI Inform. The invisible hand view of the economy, as explored in the book â€Å"Economics† by Samuelson and Nordhaus, will fail to exist under two conditions: when there is imperfect competition and imperfect information, and when there are market externalities. The failure in major financial markets exists because of either of these conditions. Prior to the financial crisis, the financial markets such as stocks, bonds and mutual funds markets are considered markets where the invisible hand operates. The stock market has always been referred to as an efficient market by economists. According to Brealey, Myers and Marcus, â€Å"the competition [in this market] to find misvalued stocks is intense. So when new information comes out, investors rush to take advantage of it and thereby eliminate any profit opportunities (2004, 165).† An efficient market, according to Samuelson and Nordhaus in their book â€Å"Economics† is defined as â€Å"one where all new information is quickly understood by market participants and becomes immediately incorporated into the market prices (2004, 534).† This characteristic of the stock market as an efficient market is attributed to the availability of

Words Vs Weapons Essay Example for Free

Words Vs Weapons Essay Amadou Diallo was a 23-year old immigrant from West Africa who originally came to the United States to study Biochemistry. Upon reaching the country he was not able to enroll in university. Instead he opened a sidewalk stall selling gloves, videotapes and socks in the morning and went to school in the evening. In the early hours of February 4, 1999 (Amnesty International), Mr. Diallo was entering his building in the Bronx district after a meal. Four New York Police Officers, all members of the elite Street Crimes Unit spotted him. At that time the officers thought he matched the description of the serial rapist in the area. The officers were in plain clothes and approached Mr. Diallo. The following events were not clear but after everything, Mr. Diallo’s body was found riddled with bullets, 19 of which were considered fatal. There were 41 shots recorded in all, all coming from the four officers, none from the victim. A year after Mr. Diallo was defenselessly gunned down by four police officers in the Bronx district of New York, the case went to trial. In February 25, 2000 (Peet) the four police officers, Sean Carroll, Richard Murphy, Edward McMellon, and Kenneth Boss were all found not guilty of the death of the 23-year old West African. This case was to become one of the most controversial cases documented of police brutality in New York at the end of the century. After the verdict the World Socialist Website described the case as the â€Å"most appalling expression of the effective denial of basic democratic rights to working class and poor people†. Unfortunately the Diallo case is not an isolated case in the United States. In fact, it is a common situation that prevails between law enforcers and the public. International human rights organizations have put police brutality in the United States at the top of their priority. It is considered one of the most serious and divisive human rights violation in the country (Human Rights Watch). Although the Diallo case received nationwide attention because of the shear heinousness of the killing, there were other equally similar disturbing occurrences in other States. Atlanta alone recorded at least 12 shootings in the year 2000 (Wright). One of which was the shooting and killing of 18-year old Corey Ward. He was wrongly profiled as a criminal just because he was a young black man with a brand new SUV. It is also alarming that the same officer who mistook and gunned down Mr. Ward was involved in four other similar situations in the past. In another incident, a middle-aged woman, diagnosed with mental illness, was shot inside her own apartment. Barbara Schneider was killed in her own home after neighbors called the police to report that she had her radio too loud and they were concerned about her behavior. The police broke down her door and found her with a paring knife. Three shots and she was dead (Howell). Who could forget the case of Rodney King in 1991? Mr. King was repeatedly beaten by several police officers in Los Angeles after allegedly failing to stop when he was flagged down for a traffic violation. The whole world witnessed by videotape this horrifying ordeal of Mr. King. The acquittal of all the officers involved in the case triggered a stream of riots all over the city in 1992. The Los Angeles courts were forced to open up the investigation once again and this time the jury came back with a verdict of guilt of two officers, while the two others were acquitted for the second time. In recent times, police brutality and the use of excessive force seem to have become more rampant. In 2007 alone, the internet was bombarded with over 2,000,000 documented videos in this subject, all happening in the United States. The cases are of severe beatings, use of dangerous restraint techniques to subdue suspects (Amnesty International), unjustified shootings, fatal choking, and unnecessary rough treatment (Human Rights Watch) among other concerning interactions between police officers and the public they pledged to protect and serve.

Live Interpretation of Heritage

Live Interpretation of Heritage Historic Sites, Museums and Galleries Live interpretation of Heritage Introduction Over the past few decades heritage and culture has become an important part of people’s life, especially in respect of their leisure and tourist activities (Boyd 2003, p.1). This is particularly true in the case of tourism, where the historical demand for tourist and leisure activities have waned in favour of those filled with more cultural elements. There is an increasing desire to visit historic sites, museums and galleries in an attempt by the individual to learn more about their heritage and those of other cultures and social groups. At the same time, today’s heritage visitor has become more discerning about the manner that these venues present heritage experience to them (Boyd 2003, p.2). In essence therefore, heritage can be seen to relate to historical events and settings and the visitor wants to experience those historical experiences as an almost physical event. However, despite the numerous researches and survey results that supports this change in the visitor demand, there is still evidence that a number of heritage sites, museums and galleries are failing to react positively to these findings (Black 2005, p.10), which in many cases has resulted in a drop in visitor numbers at these venues. This situation can have serious consequences, especially for those heritage sites that rely upon entrance fees to bridge the gap between state funding and the running costs of the venue. Even where this not the case, for example where government funding is used to provide free admission, such venues are still accountable to the state and need to prove that their establishment is delivering to the needs of the public, which a reduction in visitor numbers will not achieve. In an effort to address this problem the last two decades have seen an increase in literature related specifically to the manner in which heritage is displayed and portrayed to the visi tor, creating a new discipline under the general title of heritage interpretation. Heritage interpretation relates equally to the understanding of the site or objects displayed for the visitor and the motivation determinant and needs of that visitor (Blockley and Hems 2006, p.1). Until recently, most academics agree that heritage interpretation has been the least developed aspect of the venue’s promotion to the visitor (Boyd 2003 and Blockley and Hems 2006). Interpretation forms and integral part of the visitor experience and will influence the experience that they take away from the visit (Boyd 2003, p.193). Therefore, it follows that understanding what motivates a visitor or group of visitors will enable the museum, gallery or heritage site to be better able to display and promote their product (ibid 2003, p.64). For most visitors that motivation will be to gain pleasure and learning from the object or activity being displayed. In most cases, as Blockley and Hems (2006, p.10) suggest in their research the motivation for the visit is to fulfil the individual’s need for pleasure and leaning and if the heritage venue or object does not achieve this the visitor will leave dissatisfied. In fact, the visitor has come to expect to be greeted with visual views, and animated displays when visiting heritage sites (Dicks 2003, p.17). Thus it is essential for the venue managers to ensure their destination and its contents meet these requirements. One aspect of interpretation that has come to the fore in the minds of the visitor during recent years, and an area that academics agree is an essential part of interpretation, is the level of interaction that exists between the visitor and the heritage venue or object. A recent development in this respect is the increasing use of various forms of live interpretation within the heritage display and other venue activities, and it this area of interpretation that will form the focal point for this study. Live Interpretation Live interpretation of heritage is the most direct form of interaction between the visitor and the artefacts and events that are being exhibited at heritage sites and venues. Visitors and tourists today expect to see live heritage and cultural displays rather than inanimate objects displayed in empty or one dimensional building and display boxes. For example, visitors to industrial museums have come to expect to be treated to visual and moving displays of historical machinery and even to feel the experience through a living example of the society of the time (Dicks 2003, p.29). The process of live interpretation can be delivered in a number of formats. One early example of live interpretation was achieved by allowing the visitor to interact with working models, which enabled them to better interpret the processes that were involved with that models operational purpose. As the process of interpretation continued to evolve, these working models were enhanced by the inclusion of audio and visual interpretation methods, which research indicated were perceived to be more rewarding for the visitor than written text material, such as leaflets and books (Boyd 2003, p.231). The use of information and communication technology is another area of live interpretation that can prove effective, through a process of interactive involvement or displaying films and holographic images (Atkinson 2007). As Atkinson (2007) report further explains, by using ICT it is possible for the heritage site management to be able to â€Å"personalise and tailor exhibits and experiences to the individual or specific group’s needs.† However, today the most direct form of live interpretation is deemed to be that which involves physical face to face interaction between the visitor and a representative or group of representatives directly involved with the heritage site, either on a voluntary or employed basis (Blockley and Hems 2006, p.184), which most researchers identify as an interpreter. As these author’s point out â€Å"face to face interpretation is seen as the best form of enlivening the visitor experience† and certainly make them consider that it is time well spent. One important aspect needs to be mentioned in respect of the actions of the interpreter. This relates to their level of competence and degree of competence. As Boyd (2003, p.195) explains, â€Å"Whilst live interpretation is deemed the most effective form of interaction between visitor and the heritage object, poor quality in live interpretation is worse than nothing.† However, the degree to which the â€Å"interpreter† brings the heritage experience to life will depend upon the venue and its content. For example, they can range from the inclusion of a tour guide to costumed characters who re-enact the history and culture that the heritage site is promoting. This degree of variation and the appropriateness for the heritage venue will be further addressed in the following sections of this study. Museums and Galleries A number of researches have been conducted with the intention of discovering how much time visitors spent in museums and to what extent the format and display of the exhibits influenced the length of visit. One such survey, conducted for the research carried out by Boyd (2003, pp.77-78) found that there was a point of time at which visitors interest in the exhibits began to wane and the inclination to â€Å"head for the exit† began to dominate their thought processes. This was especially found to be true where the interpretation of the exhibits relied solely upon the basic strategy of display. For example, unless the visitor has a specific historical or academic interest in the specific artefacts being displayed within the venue, which only relates to a small segment of the population, after a while one exhibit, be that a painting, vase or another kind of inanimate object, all began to look alike to the visitor. At that stage the pleasure and learning gained from the experienc e began to deteriorate. There still exists the purist view that will argue against the introduction of live interpretation has no place within museums and galleries. Their reasoning is that the visitor should be allowed to interpret the exhibit free from the influence of what those who hold this opinion perceive to be external interference. However, although as stated previous this might be relevant for those who have a dedicated reason for visiting the museum or galleries it was becoming apparent to the mangers of these venues that this was not concurred with by the majority of visitors upon whom these museums and galleries depended. Therefore, remedial and innovative action was seen to be required if the decline in visitor numbers was to be reversed. It became apparent that some of the key qualities that visitors expected to experience from viewing a particular exhibit were clarity, poignancy, attractiveness together with a dynamic presentation (Boyd 2003, p.224). However, in the case of many visitors it proved difficult achieve the satisfaction of many of these qualities unless the object or exhibit was appropriately interpreted in the first place. This did not mean that the museums and galleries had to introduce moving or highly interactive interpretation process for all of their exhibits. In many instances it was simply a question of introducing a tour guide (Dicks 2003, p.171). This would involve employing a person who had sufficient knowledge and experience about the exhibit to be able to provide an appropriate interpretation, which the visitor could consider and come to their own informed opinion. An example of where such a tour guide is frequently used is in the Royal heritage. Often professional interpreters are used to b ring the heritage to life, as is the case with the royal palaces (Blockley and Hems 2006, p.45). To maintain the dignity of these historical sites it would be inappropriate to introduce some of the more technological based live interpretation methods, such as videos, films and other gadgetry. In such cases therefore, the tour guide will be employed to act as the face-to-face interactive interpreter. The heritage visitor or tourist would not expect any greater level of interpretation in such delicate and reverent historical surroundings, and the same reasoning would be applied to heritage sites of religious significance, such as historical churches and cathedrals. Nevertheless, there are other museums and galleries where the more proactive and interactive live interpretation methods are useful in improving the visitor experience. Providing visitors with a method that allows personal live interpretation, for instance by using computer generated informational processes that explain the origins of the object or gives more information relating to its original use and purpose, can enhance the benefits that the visitor receives from viewing the object. Another method that is being used more frequently within the museum and gallery environment is to make the object or artefact live by introducing information and communication technology process that allow it to move and react (Atkinson 2007, p.7). Black 2005, p.264) promotes the increased use of files within the museum, arguing that this manner of interpretation is more likely to enable the visitor to experience the object as a living thing, thus creating a psychological connection. One area of museu ms where these methods have proven to be particularly successful is in the field of natural science. For example, presenting the dinosaur animal generation in an interactive and live interpretation method provides the visitor with a better idea of the size, power and a concept of the physical damage that such creatures could cause. Another recent development within the museum sector of heritage is the evolution of the open-air museum (Boyd 2003, p.224). Because of the difference of the environment for the exhibit, these venues have developed an interpretation process that is far more focused on its live element. In effect the visitor can almost touch a living exhibit and, through the detailed live interpretation process, is transported back to the historical times during which the object was created. In fact, by the use of costumes and special effects often in these cases the visitor will feel as if they have had a personal connection with these events. Research has shown that, where museums and galleries have adopted some of these live interpretation measures within their venues, and to provide a better understanding of the exhibit, this has resulted in a positive effect on the length of a visitor’s stay (Black 2005, p.257). Furthermore, it has also had a positive impact in that visitor numbers have seen improvement in many instances. Historic sites As Jane Malcolm-Davies (2003, p.1) mentions in the introduction to the process of using costumed robes for live heritage interpretation, historic sites are finding it increasingly difficult to survive in the competitive environment of the leisure and tourism industry, not least because of the reduction in government funding, but also because of the impact of competing sites. As a result they have to resort to new and innovative measures for interpreting theirs sites in a manner that will increase visitor numbers. To stand out from the crowd and gain a competitive advantage that will lead to an increase in visitor numbers, live interpretation of the heritage value of these sites often has to resort to making the historical event come alive, a process that is most commonly referred to as re-enactment. These live interpretation events can take a number of forms. Some of the best known would be the re-enactment of historical civil wars, with authenticity attempted in every aspect of the actor’s costumes and equipment, accompanied by the realistic noise of battle. In other cases, the event might involve a live reconstruction of a home or village as the actors perceived it to be in historical times. Alternative versions of these occur where industrial processes, plants, and retail business environments are re-created to resemble how it might have looked in yesteryear. In a number of cases there is an invitation for the visitor to join in with the experience, creating for them a unique memory of the occasion. However, as with the use of live interpretation developments in museums and galleries, there has been some intense disagreement inn the past between academics and members of the historical heritage groups regarding the use of re-enactment and the use of costumes, with the opponents considering it to be fake (Sansom 1996, p.134). Indeed, many of those who hold this opinion consider this approach little more than theatrical nonsense. It is probably partly because of this reaction that it took until the latter part of the 1980’s before heritage sites began to employ â€Å"paid, permanent, costumed staff as an integral part of their daily interpretation† activities (Hicks 1994, p.9). The difficulty was that, before the employment of professional interpreters or â€Å"actor† there could be said to be some truth in the opposing argument. However, to the extent that these objectors delayed the introduction of a more professional approach to the live interpretation, it could be said that they contributed to the poor standard of interpretation that previously existed. In his dissertation thesis in 1990, Robershaw (1990, p.31) found from his research into the situation with regard to costumed interpreters that whilst it had the cosmetic effect of creating a more realistic atmosphere, this was not at that time communicated to the visitor. The same author quoted other literature that, like his own, concluded that visitors were demanding that the historical site managers should deliver a more â€Å"interactive experience†, which was clearing not happening at that time. It was also argued that because of the educational leanings, the resultant experience lack ed any element of fun and entertainment. The remarkable thing is that, since the introduction of live costumed and professional methods of interpretation (Sansom 1996, p.122 and Malcolm-Davies 200, p.9), this element of interaction and increased in the value of entertainment and fun has become more evident. The improvement has led to a situation where it has been found to the level of recall and understanding that is experienced by the visitor. Most academics, including Black (2005, p.117) and Dicks (2003, p.49) are now firmly of the opinion that historic and cultural sites that adopt the live approach to interpretation and encourages interaction with the visitor, even to the extent of re-enacting historic events, do find that it leads to an increase in visitor numbers. Furthermore, it leads to a greater degree of satisfaction of their need for enjoyment and learning. The proponents of live interpretation for historical sites argue that these re-enactments, especially now that they are more professional in nature, can be considered to be displaying an improved and closer depiction of the actual event, and therefore should be viewed as being more authentic. Furthermore, they will also argue that these events are serving to deliver to the main demands of the visitor, in that they provide a much greater depth of learning, whilst at the same time satisfying the visitor demand for them to include an element of fun and entertainment. The managers of these historical sites will also argue that, the inclusion of live interpretation and re-enactment within the promotional element of the destination, such moves are also serving the objectives of the destination, which are a) to remain self-sufficient in terms of funding and b) to assist the destination in achieving a competitive advantage over other similar destinations. They would further argue that the reported visitor number increases for the industry sector as a whole, and many of the destinations individually, support their choice of interpretation methods. Conclusion As has been mentioned in the introduction section of this research, over the past few years there has been increasing pressure exerted upon the managers of historic sites, museums and galleries to become self sufficient and accountable for the value achieved as a result of the limited resources provided to them from the public purse. It is natural that, in order to meet these conditions, the managers of these sites have been forced to consider a more innovative solution to promoting their destinations (Dicks 2003, p.122). An increasing number have turned to the use of live interpretation as a means of providing a resolution to the problems they have been facing. In the past there may have been some merit to the argument raised by opponents to live interpretation. These might have been justified especially where those elements of this process went as far as the inclusion of costumes and re-enactment. This justification can be linked with the lack of professionalism that existed at that time. However, in most cases that position has changed and the introduction of professional actors, directors and costume designers have dramatically improved this element of live interpretation. However, in the final analysis of the appropriateness of these methods of live interpretation it is the results produced that determine their success or failure. When one poses the question whether the adoption of these new approaches to interpretation have had the desired effect in terms of increasing the numbers of visitors being seen at historic sites, museums and galleries, the external researches studied by the author all support a positive response. Similarly, looking at it from the viewpoint of the other main stakeholder, the heritage visitor, the question to be asked is whether â€Å"live† interpretation promotional methods have improved their enjoyment of the experience and is more completely meeting their demands and needs. Here, again, current research and survey results confirm that this is the case. In fact, as Hunt (2004, p.387) states in his detailed research on heritage and interpretation., â€Å"acting the part has now become almost essential, as most visitor s have come to expect it!† In conclusion therefore, it is found that live interpretation is more effective as a method of education and learning, and as a means of visitor entertainment, than has been the case with most of the other methods of destination promotion adopted by historic sites, museums and galleries in the past. It is therefore recommended that those destinations that have yet to adopt these methods, and are experiencing difficulty in meeting financial or public accountability standards, should seriously considered following the example of the many institutions that have benefitted from live interpretation. Bibliography Atkinson, S (2007) The value of information and communications technology in natural heritage interpretation Scottish Natural Heritage. Retrieved 8 August 2008 from: http://www.snh.org.uk/pdfs/publications/commissioned_reports/ReportNo218.pdf Black, G (2005). The Engaging Museum: Developing Museums for Visitor Involvement. Routledge, Abingdon, UK Blockley, M and Hems, A (eds) (2006). Heritage Interpretation: Theory and Practice. Routledge, Abingdon, UK Boyd, S and Timothy, D (2003). Heritage Tourism. Pearson Education, Harlow, UK Dicks, B (2003). Culture on Display. Open University Press. Maidenhead, UK. Dray, C (1999). History as Re-enactment: R.G. Collingwoods â€Å"Idea of History†. Oxford University Press. Oxford, UK Hicks, D. (1994). The use of living history events at historic sites and buildings, master’s thesis, Nottingham Trent University, Nottingham, United Kingdom. Hunt, S.J (2004). Acting the part: ‘living history’ as a serious leisure pursuit. Leisure Studies, Vol.23, No.4, pp.387-403 Malcolm-Davies (2003). Borrowed Robes: The educational value of costumed interpretation at historic sites. Retrieved 8 August 2008 from http://www.esade.es/cedit2003/pdfs/malcomdaviesjm.pdf Robertshaw, A. (1990). Acts of imagination. Museums journal, Vol. 3, pp.30-31. Ransom, E. (1996). Peopling the past: current practices in archaeological site interpretation. In Archaeological displays and the public: methodology and interpretation (McManus, P. Ed.), pp.118-137, Institute of Archaeology, London’

Sex and Music Videos in the 21st Century :: Music Essays

Sex and Music Videos in the 21st Century Females have been portrayed as sex objects in music videos since MTV began. Some of the earlier stars on MTV consisted of Prince, Kiss and Aerosmith, just to name a few. Even those videos contained images of women in bikini’s, so why are we so shocked and appalled when Kid Rock has 20 surgically enhanced women parading around him as if he is king? Is it really that shocking that Sisqo’s, â€Å"The Thong Song† was voted 2000’s summer anthem, by Jet Magazine? His most recent album contained thirteen tracks. Of those thirteen tracks, 50 % contained sexual content. (www.cwrl.utexas.edu) It isn’t that society is shocked that men portray women as sex objects, it’s the fact that males in general still view women as sex objects. This is the 21st century. Women have fought long and hard to be treated as equals to men. They wanted to prove that women are not a trophy, yet not required to be bare foot and pregnant. Just when women think they have won the fight, models, such as Pamela Anderson, whom willingly prance around in skimpy shorts and tight, revealing, leather tops and sporting high heels become the competition. This is an image that respectable women have fought so hard to rid society of. What a slap in the face. Young, impressionable males do not understand what the subliminal messages in popular music videos are. Subconsciously, boys think that they understand what rock and rap videos are saying. The children do not understand that producers, directors and the artists, work as a team to strategically use camera angles, positioning, poses and sexual innuendoes to make their point. In fact, according to Kathleen Turkel, an assistant professor of women’s studies at the University of Massachusetts, â€Å"The fantasy world of rock videos is not innocent or accidental, but it is a carefully designed advertising technique used to sell CD’s, tapes and videos to a target audience of 14 to 34 year-old consumers.† (Rhodes) The final result of all of these messages is a very skewed image of who and what women are. Young girls viewing these videos is actually quite disturbing because what they watch on television is what they will grow up wanting to become. With all of these gr aphic images allowed on television, is it any wonder why we have horrible rape cases and other sexual assault crimes? Sex and Music Videos in the 21st Century :: Music Essays Sex and Music Videos in the 21st Century Females have been portrayed as sex objects in music videos since MTV began. Some of the earlier stars on MTV consisted of Prince, Kiss and Aerosmith, just to name a few. Even those videos contained images of women in bikini’s, so why are we so shocked and appalled when Kid Rock has 20 surgically enhanced women parading around him as if he is king? Is it really that shocking that Sisqo’s, â€Å"The Thong Song† was voted 2000’s summer anthem, by Jet Magazine? His most recent album contained thirteen tracks. Of those thirteen tracks, 50 % contained sexual content. (www.cwrl.utexas.edu) It isn’t that society is shocked that men portray women as sex objects, it’s the fact that males in general still view women as sex objects. This is the 21st century. Women have fought long and hard to be treated as equals to men. They wanted to prove that women are not a trophy, yet not required to be bare foot and pregnant. Just when women think they have won the fight, models, such as Pamela Anderson, whom willingly prance around in skimpy shorts and tight, revealing, leather tops and sporting high heels become the competition. This is an image that respectable women have fought so hard to rid society of. What a slap in the face. Young, impressionable males do not understand what the subliminal messages in popular music videos are. Subconsciously, boys think that they understand what rock and rap videos are saying. The children do not understand that producers, directors and the artists, work as a team to strategically use camera angles, positioning, poses and sexual innuendoes to make their point. In fact, according to Kathleen Turkel, an assistant professor of women’s studies at the University of Massachusetts, â€Å"The fantasy world of rock videos is not innocent or accidental, but it is a carefully designed advertising technique used to sell CD’s, tapes and videos to a target audience of 14 to 34 year-old consumers.† (Rhodes) The final result of all of these messages is a very skewed image of who and what women are. Young girls viewing these videos is actually quite disturbing because what they watch on television is what they will grow up wanting to become. With all of these gr aphic images allowed on television, is it any wonder why we have horrible rape cases and other sexual assault crimes?

Legislation is NOT the Best Way to Ban Smoking :: Argumentative Persuasive Example Essays

Legislation is NOT the Best Way to Ban Smoking A market represents the private forces of demand and supply. Consumers aim to consume goods and services with lower prices and greater quantities while producers want to maximize their profits. A market diagram uses demand and supply curves to show the relationship between market demand and supply. These demand and supply curves are labeled as â€Å"private demand† and â€Å"private supply†, that is, the private benefits and the private costs. But those private activities always affect others, both positively and negatively. Those positive and negative effects are not represented in the market model; they are external to the market, known as externalities[1]. There are two kinds of externalities: positive externalities and negative externalities. In the extract, cigarettes are negative externality, which means they have bad effects on others and those effects are not paid by the producers. For example, when people smoke, especially in public places, e.g. restaurants and department stores, they pollute the air rounded and threaten others’ health. No one pays for the bad feelings caused by smokers and cigarettes. In this way, â€Å"market failure† exists. If the external costs could be measured and valued a new supply curve could be drown to present this. In this figure, the social costs have been added to the private costs to produce a new supply curve. The private supply curve shifts to left. When the supply curve shifts from Smpc to Smsc, the market prices increase from pp to ps and the quantity traded is reduced from qp to qs. Cigarettes are demerit goods which cause negative externalities. Because of their characters, producers get huge profits from them. So they are overprovided in the market, just like alcohol. The consumption of cigarettes always has negative effects on other people. It causes cancer, and may cut down human life-span. In order to internalize the negative externalities, government should interfere in the market. There are several ways to do that. One method government may employ is negative advertising to reduce private demand for demerit goods. People will consider the bad effects caused by demerit goods before purchasing or reduce the consumption on such goods that means private demand curve will shift to right. On the other hand, the supply curve shifts to left because of the costs of bad effects added to the factor costs of the products. The transaction of that goods decreases. After government applying negative advertising to public, the total transaction will decrease again because demand decreases. According to the diagram above, the quantity transferred in the market drops from qp to qs first, and then, to qt. This method is very common nowadays, especially for Legislation is NOT the Best Way to Ban Smoking :: Argumentative Persuasive Example Essays Legislation is NOT the Best Way to Ban Smoking A market represents the private forces of demand and supply. Consumers aim to consume goods and services with lower prices and greater quantities while producers want to maximize their profits. A market diagram uses demand and supply curves to show the relationship between market demand and supply. These demand and supply curves are labeled as â€Å"private demand† and â€Å"private supply†, that is, the private benefits and the private costs. But those private activities always affect others, both positively and negatively. Those positive and negative effects are not represented in the market model; they are external to the market, known as externalities[1]. There are two kinds of externalities: positive externalities and negative externalities. In the extract, cigarettes are negative externality, which means they have bad effects on others and those effects are not paid by the producers. For example, when people smoke, especially in public places, e.g. restaurants and department stores, they pollute the air rounded and threaten others’ health. No one pays for the bad feelings caused by smokers and cigarettes. In this way, â€Å"market failure† exists. If the external costs could be measured and valued a new supply curve could be drown to present this. In this figure, the social costs have been added to the private costs to produce a new supply curve. The private supply curve shifts to left. When the supply curve shifts from Smpc to Smsc, the market prices increase from pp to ps and the quantity traded is reduced from qp to qs. Cigarettes are demerit goods which cause negative externalities. Because of their characters, producers get huge profits from them. So they are overprovided in the market, just like alcohol. The consumption of cigarettes always has negative effects on other people. It causes cancer, and may cut down human life-span. In order to internalize the negative externalities, government should interfere in the market. There are several ways to do that. One method government may employ is negative advertising to reduce private demand for demerit goods. People will consider the bad effects caused by demerit goods before purchasing or reduce the consumption on such goods that means private demand curve will shift to right. On the other hand, the supply curve shifts to left because of the costs of bad effects added to the factor costs of the products. The transaction of that goods decreases. After government applying negative advertising to public, the total transaction will decrease again because demand decreases. According to the diagram above, the quantity transferred in the market drops from qp to qs first, and then, to qt. This method is very common nowadays, especially for

Marketing strategies Essay

The word â€Å"strategy† is derived from the Greek word â€Å"stratà §gos†; stratus (meaning army) and â€Å"ago† (meaning leading/moving). Strategy is an action that managers take to attain one or more of the organization’s goals. Strategy can also be defined as â€Å"A general direction set for the company and its various components to achieve a desired state in the future. Strategy results from the detailed strategic planning process†. A strategy is all about integrating organizational activities and utilizing and allocating the scarce resources within the organizational environment so as to meet the present objectives. While planning a strategy it is essential to consider that decisions are not taken in a vaccum and that any act taken by a firm is likely to be met by a reaction from those affected, competitors, customers, employees or suppliers. Strategy can also be defined as knowledge of the goals, the uncertainty of events and the need to take into consideration the likely or actual behavior of others. Strategy is the blueprint of decisions in an organization that shows its objectives and goals, reduces the key policies, and plans for achieving these goals, and defines the business the company is to carry on, the type of economic and human organization it wants to be, and the contribution it plans to make to its shareholders, customers and society at large. Features of strategic management Strategy relates the firm to its environment, particularly the external environ-ment in all actions whether objective setting, or actions and resources required for its achievement. This definition emphasizes on the systems approach of management and treats an organization as part of the society consequently affected by it. Strategy is the right combination of factors both external and internal. In relating an organization to its environment, the management must also consider the internal factors too, particularly its strengths and weaknesses, to take various courses of action. Strategy is relative combination of actions. The combination is to meet a particu-lar condition, to solve certain problems, or to attain a desirable objective. It may take any form; for every situation varies and, therefore, requires a somewhat different approach. Strategy may even involve contradictory action. Since strategic action depends on environmental variables, a manager may take an action today and revise or reverse his steps tomorrow depending on the situations. Strategy is forward looking. It has orientation towards the future. Strategic ac-tion is required in a new situation. Nothing-new requiring solutions can exist in the past, and so strategy is relevant only to the future. Process The strategic management process is more than just a set of rules to follow. It is a philosophical approach to business. Upper management must think strategically first, then apply that thought to a process. The strategic management process is best implemented when everyone within the business understands the strategy. The five stages of the process are goal-setting, analysis, strategy formation, strategy implementation and strategy monitoring. 1. Goal-Setting The purpose of goal-setting is to clarify the vision for your business. This stage consists of identifying three key facets: First, define both short- and long-term objectives. Second, identify the process of how to accomplish your objective. Finally, customize the process for your staff, give each person a task with which he can succeed. Keep in mind during this process your goals to be detailed, realistic and match the values of your vision. Typically, the final step in this stage is to write a mission statement that succinctly communicates your goals to both your shareholders and your staff. 2. Analysis Analysis is a key stage because the information gained in this stage will shape the next two stages. In this stage, gather as much information and data relevant to accomplishing your vision. The focus of the analysis should be on understanding the needs of the business as a sustainable entity, its strategic direction and identifying initiatives that will help your business grow. Examine any external or internal issues that can affect your goals and objectives. Make sure to identify both the strengths and weaknesses of your organization as well as any threats and opportunities that may arise along the path. 3. Strategy Formulation The first step in forming a strategy is to review the information gleaned from completing the analysis. Determine what resources the business currently has that can help reach the defined goals and objectives. Identify any areas of which the business must seek external resources. The issues facing the company should be prioritized by their importance to your success. Once prioritized, begin formulating the strategy. Because business and economic situations are fluid, it is critical in this stage to develop alternative approaches that target each step of the plan. 4. Strategy Implementation Successful strategy implementation is critical to the success of the business venture. This is the action stage of the strategic management process. If the overall strategy does not work with the business’ current structure, a new structure should be installed at the beginning of this stage. Everyone within the organization must be made clear of their responsibilities and duties, and how that fits in with the overall goal. Additionally, any resources or funding for the venture must be secured at this point. Once the funding is in place and the employees are ready, execute the plan. 5. Evaluation and Control Strategy evaluation and control actions include performance measurements, consistent review of internal and external issues and making corrective actions when necessary. Any successful evaluation of the strategy begins with defining the parameters to be measured. These parameters should mirror the goals set in Stage Types of strategic management 1. Functional strategies Functional strategy- selection of decision rules in each functional area. Thus, functional strategies in any organization, some (e.g., marketing strategy, financial strategy, etc.). It is desirable that they have been fixed in writing. In particular, functional strategies are as follows: Production strategy( â€Å"make or buy†) – defines what the company produces itself, and that purchases from suppliers or partners, that is, how far worked out the production chain. Financial Strategy- to select the main source of funding: the development of their own funds (depreciation, profit, the issue of shares, etc.) or through debt financing (bank loans, bonds, commodity suppliers’ credits, etc.). Organizational strategy- decision on the organization of the staff (choose the type of organizational structure, compensation system, etc.). May be allocated and other functional strategies, for example, the strategy for research and experimental development (R & D), investment strategy, etc. In addition, each of the functional strategies can be divided into components. For example, organizational strategy can be divided into three components: strategy of building organizations – to select the type of structure (divisional, functional, project, etc.); strategy to work with the staff – a way of training (mainly administrative staff), training of staff (in a business or educational institutions), career planning, etc.; Strategy wages (in the broader sense – rewards and penalties) – in particular, the approach to the compensation of senior managers (salary, bonuses, profit sharing, etc.). Organization for the implementation of the strategy at the functional area responsible senior specialist (Ch. Engineer, Director of Finance), at the enterprise level – the general director or director of the department, at the level of groups of companies – a collegiate body (management, board of directors). 2. Human resources Role in Strategy Formulation: HRM is in a unique position to supply competitive intelligence that may be useful in strategy formulation. Details regarding advanced incentive plans used by competitors, opinion survey data from employees, elicit information about customer complaints, information about pending legislation etc. can be provided by HRM. Unique HR capabilities serve as a driving force in strategy formulation. 3. Marketing strategies Marketing management is a business discipline which is focused on the practical application of marketing techniques and the management of a firm’s marketing resources and activities. Globalization has led firms to market beyond the borders of their home countries, making international marketinghighly significant and an integral part of a firm’s marketing strategy. Marketing managers are often responsible for influencing the level, timing, and composition of customer demand accepted definition of the term. In part, this is because the role of a marketing manager can vary significantly based on a business’s size, corporate culture, and industry context. For example, in a large consumer products company, the marketing manager may act as the overall general manager of his or her assigned product. To create an effective, cost-efficient marketing management strategy, firms must possess a detailed, objective understanding of their own business and the market in which they operate. In analyzing these issues, the discipline of marketing management often overlaps with the related discipline of strategic planning. To achieve the desired objectives, marketers typically identify one or more target customer segments which they intend to pursue. Customer segments are often selected as targets because they score highly on two dimensions: 1) The segment is attractive to serve because it is large, growing, makes frequent purchases, is not price sensitive (i.e. is willing to pay high prices), or other factors; and 2) The company has the resources and capabilities to compete for the segment’s business, can meet their needs better than the competition, and can do so profitably. [3] In fact, a commonly cited definition of marketing is simply â€Å"meeting needs profitably.† 4. Financial strategy To get the most out of your financial resources and achieve sustainability you’ll need to successfully manage all your funding and financing sources in an overarching strategy for your organisation. Many organisations manage income from a number of different funding and finance sources – from donations, grants, contracts and income generated from trading. A financial strategy enables your organisation to assess your financial needs and the sources of support required to meet your objectives and fulfil the organisational mission, whilst also planning for continued growth to enable stability. You’re financial strategy will derive from your mission. So the first step is to clearly define why you exist and you plan to achieve your mission before preparing any budgets. Cadbury History Birmingham 1824 John Cadbury was one of ten children of Richard Tapper Cadbury, a prominent Quaker who had moved to Birmingham, England from the West Country in 1794. In 1824, 22-year-old John Cadbury opened his first shop at 93 Bull Street, next to his father’s drapery and silk business in the then fashionable part of Birmingham. Apart from selling tea and coffee, John Cadbury sold hops, mustard and a new sideline – cocoa and drinking chocolate, which he prepared using a mortar and pestle. Cocoa and drinking chocolate had been introduced into England in the 1650s but remained a luxury enjoyed by the elite of English society. Customers at John Cadbury’s shop were amongst the most prosperous Birmingham families, the only ones who could afford the delicacy. Cocoa beans were imported from South and Central America and the West Indies. Experimenting with his mortar and pestle, John Cadbury produced a range of cocoa and chocolate drinks, the latter with added sugar. The products were sold in blocks: customers scraped a little off into a cup or saucepan and added hot milk or water. John Cadbury had a considerable flair for advertising and promotion. â€Å"John Cadbury is desirous of introducing to particular notice ‘Cocoa Nibs’, prepared by himself, an article affording a most nutritious beverage for breakfast,† announced his first advertisement in the Birmingham Gazette in March 1824. He soon established himself as one of the leading cocoa and drinking chocolate traders in Birmingham. The popularity and growing sales of John Cadbury’s cocoa and drinking chocolate of ‘superior quality’ determined the future direction of the business. In 1831, John Cadbury rented a small factory in Crooked Lane not far from his shop. He became a manufacturer of drinking chocolate and cocoa, laying the foundation for the Cadbury chocolate business. These early cocoa and drinking chocolates were balanced with potato starch and sago flour to counter the high cocoa butter content, while other ingredients were added to give healthy properties. By 1842, John Cadbury was selling sixteen lines of drinking chocolate and cocoa in cake and powder forms. The Quaker Influence The Cadbury family were prominent members of the Society of Friends or Quakers, one of the many nonconformist religious groups formed in the 17th century. Their strong beliefs carried into campaigns aimed at ending poverty and deprivation and many prominent Quaker-run businesses were part of reforms of social and industrial society in Victorian Britain. John Cadbury’s lifelong involvement with the Temperance Society influenced the direction of his business enterprise. By providing tea, coffee, cocoa and chocolate as an alternative to alcohol he felt he was helping to alleviate some of the alcolohol-related causes of poverty and deprivation amongst working people. He also incorporated some of these principles in his industrial relations philosophy. (See A Progressive Workplace) Cadbury Brothers of Birmingham John Cadbury As the enterprise prospered, in 1847 John Cadbury rented a larger factory in Bridge Street, off Broad Street, in the centre of Birmingham and went into partnership with his brother Benjamin – trading as Cadbury Brothers of Birmingham. The retail side of the business in Bull Street was passed to a nephew, Richard Cadbury Barrow in 1849. Barrow Stores, as it became, traded in Central Birmingham until the 1960s. A major turning point for the cocoa and chocolate industry came in the mid-1850s, when taxes on imported cocoa beans were reduced by Prime Minister William Gladstone. The previously prohibitive chocolate products were now within the reach of the wider population. Cadbury Brothers received their first Royal Warrant on February 4, 1854 as ‘manufacturers of cocoa and chocolate to Queen Victoria.’ The company continues to hold royal warrants of appointment. During the 1850s business began to decline. The partnership between the first Cadbury brothers was dissolved in 1860, a difficult time in the company’s history. John Cadbury’s sons Richard and George, who had joined the company in the 1850s, became the second Cadbury brothers to run the business when their father retired due to failing health in 1861. John Cadbury devoted the rest of his life to civic and social work in Birmingham until his death in 1889. Although they had worked in their father’s business for some years, the prospects for Richard. 25, and George, 21, were daunting. Their first five years were a period of unremitting toil with few customers, long hours and very frugal living. Both seriously considered taking up other vocations – Richard as a surveyor in England and George as a tea planter in India. George was focused on manufacturing, and Richard with sales, but in the early days both brothers went out and promoted their goods. Due to their dedication, sheer hard work and improvements in the quality of Cadbury cocoa products, the business survived and prospered. Technological Advancements Historic packaging Dissatisfied with the quality of cocoa products, including their own, the Cadbury brothers took a momentous step in 1866 that not only had a bearing on their business but revolutionised the whole of the British cocoa business. Until that time English cocoa had been heavily adulterated with starch substances like potato flour or sago to mask the excess cocoa butter. The cocoa drink, as described by George Cadbury himself, was a â€Å"comforting gruel†. Following a visit to the Van Houten factory in Holland to see their new cocoa press, the brothers introduced this new process to their Bridge Street factory. The press removed some of the cocoa butter from the beans, producing a less rich and more palatable cocoa essence – the forerunner of the cocoa we know today. There was no need to add flour and Cadbury’s new cocoa essence was advertised as ‘Absolutely pure†¦therefore Best’ At that time there was much concern in Parliament about the adulteration of food, including cocoa. The new unadulterated Cadbury’s cocoa essence was heralded as a major breakthrough and resulted in the passing of the Adulteration of Food Acts in 1872 and 1875. Cadbury received a remarkable amount of free publicity during this period and sales increased dramatically. The marketing of this cocoa essence helped turn a small business into a vast worldwide company. The introduction of cocoa essence was not the only innovation that improved the Cadbury Brothers’ trade. The plentiful supply of cocoa butter remaining after the cocoa was pressed made it possible to produce a wide variety of new kinds of ‘eating chocolate,’ leading to the development of the smooth creamy chocolate produced today. The quality of the chocolates made by the company following the introduction of the cocoa press was such that in the 1870s, Cadbury broke the monopoly which French producers had previously enjoyed in the British Market. Cadbury’s Chocolate Box A chocolate for eating had been produced at the Cadbury factory since 1849 but it was not, by today’s standards, a very palatable product. With the availability of cocoa butter a new chocolate recipe produced chocolate similar to that which we enjoy today. Refined plain chocolate was made for moulding into blocks or making bars and chocolate creams that with chocolate-covered fruit-flavoured centres. Cadbury’s â€Å"fancy chocolates†- or assortments as they are now called – were sold in decorated boxes, with small pictures that children could cut out to stick into scrapbooks. Richard Cadbury applied his considerable artistic talents to introduce more ambitious and attractive box designs from his own paintings, using his own children as models or depicting flowers and scenes from his travels. They were the first British-made fancy chocolate boxes and were very popular. Some of his original boxes still exist. Elaborate chocolate boxes were much prized as special gifts by the late Victorians as they could later be used as trinket or button boxes. Chocolate box designs ranged from superb velvet covered caskets with bevelled mirrors and silk lined jewel boxes to pretty boxes with pictures on the lid. The popularity of these splendid Cadbury boxes continued until their disappearance during the Second World War. Victorian and Edwardian chocolate boxes are now collector’s items. Cadbury Brothers Ltd The business became a private limited company – Cadbury Brothers Limited – in 1899 following Richard Cadbury’s sudden death at the age of 63. George Cadbury became chairman of the new board and his fellow directors were Barrow and William A. Cadbury, sons of Richard and two of his own sons, Edward and George Cadbury Junior. By 1899, the Bournville factory had trebled in size with more than 2,600 employees. With the formation of the limited company, Bournville entered a new era as the younger members of the Board introduced new ideas – analytical laboratories, advertising and cost offices, a sales department, works committee, medical department, pension funds, education and training for employees. The Bournville factory site became a series of factories within a factory, as everything needed for the business was produced on site, including tin box pressing plants, carton making units, a design studio and printing plant. This policy continued until well after the Second World War when the rationalisation of the business to mainstream activity – production and marketing of chocolate confectionery- led to the use of outside specialised suppliers for ancillary items. . Cadbury India began its operations in India in 1948 by importing chocolates. It now has manufacturing facilities in Thane, Induri (Pune) and Malanpur (Gwalior), Bangalore and Baddi (Himachal Pradesh) and sales offices in New Delhi, Mumbai, Kolkata and Chennai. The corporate head office is inMumbai. Since 1965 Cadbury has also pioneered the development of cocoa cultivation in India. For over two decades, Cadbury has worked with theKerala Agricultural University to undertake cocoa research. Cadbury was incorporated in India on 19 July 1948. Currently, Cadbury India operates in five categories – Chocolate confectionery, Beverages, Biscuits, Gum and Candy. Some of the key brands are Cadbury Dairy Milk, Bournvita, 5 Star, Perk, Bournville, Celebrations, Gems, Halls, Éclairs, Bubbaloo, Tang and Oreo. Its products include Cadbury Dairy Milk, Dairy Milk Silk, Bournville, 5-Star, Perk, Gems (a version of M&M’s), Eclairs,Bournvita, Celebrations, Bilkul Cadbury Dairy Milk Shots, Toblerone, Halls, Tang and Oreo. It is the market leader in the chocolate confectionery business with a market share of over 70%. Products Major chocolate brands produced by Cadbury include the bars Dairy Milk, Crunchie, Caramel, Wispa, Boost, Picnic, Flake, Curly Wurly, Chomp, and Fudge; chocolate Buttons; the boxed chocolate brand Milk Tray; and the twist-wrapped chocolates Heroes. As well as Cadbury’s chocolate, the company also owns Maynards and Halls, and is associated with several types of confectionery including former Trebor and Bassett’s brands or products such as Liquorice Allsorts, Jelly Babies, Flumps, Mints, Black Jack chews, Trident gum, and Softmints. Notable product introductions include: 1866: Cocoa Essence 1875: Easter Eggs 1897: Milk Chocolate and Fingers 1905: Dairy Milk 1908: Bournville 1914: Fry’s Turkish Delight 1915: Milk Tray 1920: Flake 1923: Creme Egg (launched as Fry’s) 1926: Cadbury Dairy Milk Fruit & Nut 1929: Crunchie (launched as Fry’s) 1938: Roses 1948: Fudge 1958: Picnic 1960: Dairy Milk Buttons 1968: Aztec 1970: Curly Wurly 1974: Snack 1976: Double Decker 1981: Wispa (relaunched 2007) 1985: Boost 1987: Twirl 1992: Time Out 1995: Wispa Gold (relaunched 2009 and 2011) 1996: Fuse 2001: Brunch Bar, Dream and Flake Snow 2009: Dairy Milk Silk 2010: Dairy Milk Bliss 2011: Big Race oreo 2012: Marvellous Creations and Crispello. Advertising controversy In May 2011 the model Naomi Campbell described the new advertisement for the Bliss bar as ‘insulting and hurtful’. Reacting to the advertisement, which had the tag line Move over Naomi – there is a new diva in town, Campbell said, â€Å"I am shocked. It’s upsetting to be described as chocolate, not just for me, but for all black women and black people. I do not find any humour in this.† A spokesperson for the company insisted that the campaign was â€Å"a light-hearted take on the social pretensions of Cadbury Dairy Milk Bliss†. The campaign was, he later added, â€Å"no longer in circulation†¦ we have no plans to repeat the campaign.† Reacting to Campbell’s outburst, comedian Reginald D. Hunter, on the BBC television comedy quiz Have I Got News For You, suggested that it was complimentary for black people to be compared to chocolate, and that enjoyment of the Bliss bar might even be enhanced by a love of black people. Health and safety 2006 Salmonella scare On 19 January 2006, Cadbury Schweppes detected a rare strain of the Salmonella bacteria, affecting seven of its products, said to have been caused by a leaking pipe. The leak occurred at itsMarlbrook plant, in Herefordshire, which produces chocolate crumb mixture; the mixture is then transported to factories at Bournville and formerly Somerdale to be turned into milk chocolate. It was not until around six months after the leak was detected that Cadbury Schweppes officially notified the Food Standards Agency, shortly after which it recalled more than a million chocolate bars. In December 2006, the company announced that the cost of dealing with the contamination would reach  £30 million. In April 2007, Birmingham City Council announced that it would be prosecuting Cadbury Schweppes in relation to three alleged offences of breaching food safety legislation. At that time, theHealth Protection Agency identified 31 people who had been infected with Salmonella Montevideo. One of the alleged victims had to be kept on a hospital isolation ward for five days after eating a Cadbury’s caramel bar. An investigation being carried out at that time by Herefordshire Council led to a further six charges being brought. The company pleaded guilty to all nine charges, and was fined one million pounds at Birmingham Crown Court—the sentencing of both cases was brought together.[70] Analysts have said the fine is not material to the group, with mitigating factors limiting the fine being that the company quickly admitted its guilt and said it had been mistaken that the infection did not pose a threat to health. Head office Cadbury’s head office is the Cadbury House in the Uxbridge Business Park in Uxbridge, London Borough of Hillingdon, England. The building occupies 84,000 square feet (7,800 m2) of space inside Building 3 of the business park. Cadbury, which leases space in the building it occupies, had relocated from central London to its current head office. Cadbury’s previous head office was in 25 Berkeley Square in Mayfair, City of Westminster. In 1992 the company leased the space for  £55 per 1 square foot (0.093 m2). In 2002 the company agreed to pay  £68.75 per square foot. The Daily Telegraph reported in 2007 that the rent was expected to increase to a â€Å"three-figure sum. † In 2007 Cadbury Schweppes had announced that it was moving to Uxbridge to cut costs. As of that year the head office had 200 employees. After the Kraft Foods acquisition of Cadbury, Kraft announced that the Cadbury head office would remain the â€Å"Cadbury House.† Mission statement of cadbury. Cadbury’s mission statement says simply: ‘Cadbury means quality’; this is our promise. Our reputation is built upon quality; our commitment to continuous improvement will ensure that our promise is delivered’ . Vision The Vision into action (VIA) plan embodies all aspects of our strategy. Our governing objective is to deliver superior shareowner returns by realizing our vision to be the world’s biggest and best confectionery company. At the heart of our plan is our financial scorecard, judiciously reinforced by our priorities, commitments and culture . Management information strategy. A management information system (MIS) provides information that organizations require to manage themselves efficiently and effectively.[1] Management information systems are typically computer systems used for managing five primary components: 1.) Hardware, 2.) Software, 3.) Data (information for decision making), 4.) Procedures (design,development and documentation), and 5.) People (individuals, groups, or organizations). Management information systems are distinct from other information systems, in that they are used to analyze and facilitate strategic and operational activities.[2] Academically, the term is commonly used to refer to the study of how individuals, groups, and organizations evaluate, design, implement, manage, and utilize systems to generate information to improve efficiency and effectiveness of decision making, including systems termed decision support systems, expert systems, and executive information systems.[2] Most business schools (or colleges of business administration within universities) have an MIS department, alongside departments of accounting, finance, management, marketing, and sometimes others, and grant degrees (at undergrad, masters, and PhD levels) in MIS. Characteristics of management information strategies Strategic information management is a salient feature in the world of information technology (IT). In a nutshell, strategic information management helps businesses and organizations categorize, store, process and transfer the information they create and receive. It also offers tools for helping companies apply metrics and analytical tools to their information repositories, allowing them to recognize opportunities for growth and pinpoint ways to improve operational efficiency. Automation IT professionals design strategic information management systems to automate the management of incoming and outgoing information to the greatest possible degree. While each company has its own unique IT needs, strategic information management systems typically include built-in controls that filter, sort, categorize and store information in easy-to-manage categories. Customization Strategic information management systems are typically customized to meet the unique needs of each individual company. Incoming and outgoing data can be sorted and cross-referenced according to a wide range of individually specified controls and parameters, which include the company’s business verticals and horizontals, individual clients, demographics, geographic location and business function. Strategic information management systems are extensively categorized, allowing for an optimal level of organization. Access controls can be as strict or as lax as the client wants, allowing for company-wide access to information databases or limiting information accessibility to key personnel. User-specific controls can also be set, in case employees need access to certain information but management wants to limit their access to sensitive data. Benefits The benefits of strategic information management can be felt from the executive level right down to the functional staff level. It can help businesses expand their operations into new areas, set goals, measure performance and improve overall productivity. Risks Some of the risks involved with strategic information management systems include implementation challenges, incompatibility with client databases and human error. As with other IT management techniques, data protection and information security is also an ongoing concern. Conclusion Cadbury is one of the best known brands in the world today. It is a brand which is associated with high levels of quality and customer satisfaction. The ongoing growth of Cafà © Cadbury provides a flagship that further helps to enhance the reputation of the Cadbury Masterbrand. At the same time, it provides customers with the opportunity to indulge themselves in the enjoyment of high quality products in a welcoming environment.