Rocknroll

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Rock and Roll isn't all fun and gamesWhat's the first thing you think of when you hear the word's Rock-n-Roll? If you thought of sex and drugs, believe me you're not alone. The main reason I began playing music was for those two reasons, but I would soon find out that there is a lot more to music then just sex and drugs. My band the Subterranean Hooligans were booked for a show on March 5th. The weeks leading up to and the day itself were part of the most grueling month in my life.

The work all started at the beginning of the month. We (Dave, Tommy, and I) printed off about seven hundred fliers. Every day we would hand them out, around school, the mall, and any other place we thought there would be large masses of youth. It seemed every store had a problem with us promoting so we would have to come up plans to make it less obvious we were selling ourselves. We would drop fliers in front of people and ask them to pick them up, when they would go to hand them back to us we'd be gone. Dave came up with a plan to wear a sign that said "ask about the fliers" on his shirt, when people did they got a flier.

Finally, after weeks of scrutinizing promotion the day of the show had arrived. At eight-thirty p.m. we were scheduled to go on. We were awake at six-thirty, By nine-o clock we were at the Grotto ready to setup; at least we thought that, that was going to happen. When we got there we soon realized we had no stage, so we headed over to Lowe's to see what we could get together. It took us three hours to construct a stage but we finally got it done. Now all that was left was setup, and sound check. It was about two hours from show time and we still hadn't heard from the band that was up to play first, this created another problem. Without the bands' equipment or the band for that matter we couldn't do a sound check or setup. Finally they arrived and we were off.

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All in all the show lasted about four hours, it was now time to pack up and take it all home. We packed the equipment up first; it required two trips to get all of our equipment home. Then we had to come back and grab the stage; this also took two trips since the stage was so big. By the time everything was said and done it was about one-o clock in the a.m. and we were pooped. Although we still managed enough energy to have a kick ass party afterward.

Playing rock and roll isn't just sex and drugs, it's hard work, and practice. To anyone who doubts this I suggest you try it out for yourself sometime, you may gain a whole new respect for the business, I know I did.

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INTRODUCTIONAs the power of cyber technology as a marketing tool continues to grow, educational institutions are only beginning to realize the full potential of the major category (Lincoln, McCain and Bullock, 17). During the first months of 1, it was estimated that only 60 percent of American colleges and universities had developed home pages, and experts suggest that most of those schools were not deriving maximum benefit from their sites (Marklein, 1a). Despite their status as latecomers to the online revolution, many more institutions of higher education are expected to go online in the near future. As growth continues in this area, a number of studies examining the relationship between educational marketing and the web have been published (Drea and McNally, 17; Kittle and Ciba, 17; Lincoln, McCain and Bullock, 17).For those schools that have adopted the cyber technology as a marketing tool, students are a primary audience for web contact. In fact, some observers argue that today's students, many of them web savvy, are more careful and prepared shoppers when choosing a college or other post-secondary institution (Marklein, 1b). Students who want to study advertising are among this sophisticated consumer group, and their options are more numerous than ever before.Since well before anyone heard the term Internet, advertising educators and practitioners have debated what kind of training best prepares creative students for a career in the field. As many of the most visible creative programs establish an online presence, we are gaining insight regarding the philosophies and practices that make each one unique. This paper summarizes the commentary on training advertising creators, examines online marketing of higher education and investigates how web sites are being used to position creative programs.

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LITERATURE REVIEWHow Should We Educate Advertising Creators?There is no question that a good education is necessary for any student planning a career in advertising. However, there are lots of opinions on what constitutes a good education for young advertising creators. It is suggested that an advertising education can ground hopeful creators in the basics, spark them to extravagant inspiration and teach them how to sell themselves (Simko, 1, p. 17). For many years, aspiring art directors and copywriters entered the field with no formal training, or studied the discipline in a traditional college or university setting. Even though the teaching of advertising at the college level is a fairly recent development, some charge that higher education has failed or... been inconsequential in preparing students (Kendrick, Slayden and Broyles, 16, p. 64). Professionals and even some educators see a disconnection between the teaching of advertising creativity and the needs of industry. Perhaps in response to this lack of confidence, alternatives to college training have emerged in recent years. Most familiar are the portfolio-oriented programs like Portfolio Center and The Creative Circus. Although students can enroll immediately after high school, these non-degree programs are usually attended by college graduates as a supplement to an undergraduate education in advertising or another field of study. Proponents of the portfolio schools suggest that they complement, rather than threaten, traditional advertising curricula (Otnes, Spooner and Treise, 1, p. 14). Nevertheless, the advent of these programs is indicative of an effort to provide what many claim is missing in a traditional advertising education.A primary selling point of these non-degree programs is that they offer highly-specialized, intensive training that makes their graduates job-ready. With so many graduates going after a comparatively small number of creative positions, students who can hit the ground running are what this environment demands (Simko, 1, p. 17). Programs like Portfolio Center are also known for using creative professionals as faculty, and industry publications agree that programs benefit greatly from having well-known stars on staff (Simko, 1, p. 18). But what exactly do these programs teach? Students who choose to study advertising take a collection of courses devoted exclusively to that topic. In most non-degree programs, students receive a decidedly thorough, and purposefully specific education. Industry has responded approvingly, hiring many portfolio program grads and elevating them to top creative posts. The students emerging from these programs are highly skilled, with better portfolios than many graduates of traditional advertising programs can or will produce (Simko, 1). But even the portfolio programs have their critics, some of whom suggest that these schools are pushing packaging over content, emphasizing executional skills at the expense of sound strategic thinking (Simko, 1, p. 18).In recent years, research has examined the education of advertising creators in an effort to determine how best to train these students. Robbs (16) surveyed agency creative personnel nationwide and reports executional speed as one of the most valuable skills a student can learn. An earlier study suggests that technical and computer abilities are highly important (Otnes, Spooner and Treise, 1). Despite this evidence of industry's appreciation for practical skills, studies are providing more overwhelming support for the idea that creative students need to become better thinkers (Kendrick, Slayden and Broyles, 16; Otnes, Spooner and Treise, 1; Robbs, 16). Concepting and strategic thinking are identified as highly important skills by new creators (those with less than two years experience on the job) in one study (Otnes, Spooner and Treise, 1). More experienced creative directors agree, complaining that many of the portfolios they review are heavy on execution and light on idea or concept and characterizing thinking skills as weak among many job candidates (Kendrick, Slayden and Broyles, 16, p. 7). Students should be encouraged to focus more closely on the conceptual and strategic areas, according to Robbs (16, p. ) and this sentiment is echoed in other research (Otnes, Oviatt and Treise, 15). It seems clear that industry wants the best of both worlds -- students that are technically adept but also capable thinkers and strategists. Today, creative programs of all types are trying to deliver the whole package to employers. John Littlefield, chairman of the advertising department at the Art Center College of Design, acknowledges a shift in focus Our tradition has been to turn out great art directors, but what we must now do is turn out well-rounded creative people. We're putting more emphasis on marketing and even writing, but we have to be careful -- we can't do this at the expense of art direction skills (Simko, 1, p. 17). For universities, a history of teaching theory rather than thinking skills may demand a conceptual reframing of the role a university education can play in preparing students for entry-level creative positions, (Kendrick, Slayden and Broyles, 16, p. 7).For universities, a history of teaching theory rather than thinking skills may demand a conceptual reframing of the role a university education can play in preparing students for entry-level creative positions, (Kendrick, Slayden and Broyles, 16, p. 7). Texas Creative, the world's largest traditional creative training program in advertising, seems to understand the importance of being more responsive to industry demands. Housed at the University of Texas at Austin, Texas Creative attributes its status as an industry favorite to training smarter graduates by exposing them to course content outside the realm of advertising creativity (Cooper, 15, p. ). According to Advertising Age, the program at UT sticks to the profile of a cutting-edge ad department via continual revamping of teaching tactics in response to a contracting industry (Simko, 1, p. 17). I think what sets our program apart is that we graduate very well-rounded students, says Jack Reed, a lecturer in the Texas Creative program (Shuford, 16, p. 1). If well-rounded is synonymous with exposure to a wide variety of course content in addition to strong advertising training, industry leaders would say that programs like the one at UT are on the right track (Otnes, Oviatt and Treise, 15; Otnes, Spooner and Treise, 1).Armed with the understanding that industry recruiters are looking for students with highly-developed technical/executional skills and great creative minds, every program claims to have the right formula for giving them what they want. Arguably, a program's success or failure is measured by the viability of its graduates. But all of these schools, both portfolio and traditional, engage in an ongoing competition to recruit new students and market their best and brightest to the profession. One way to gauge this competitive battle is through an analysis of the recruitment and positioning strategies they employ.Online Recruitment and Positioning Higher Education Signs On Some researchers examining higher education suggest that students provide most educational institutions with their reason for being (Kittle and Ciba, 17, p. 168). Given the important relationship between the student and the institution, schools must attract customers continually (Kittle and Ciba, 17, p. 168). As colleges and universities first began to establish home pages online, establishing long-term relationships with relevant publics was not a primary goal. Instead, recruitment and positioning were priority issues (Kittle and Ciba, 17). Some charge that a kind of conquest marketing effectively eclipsed relationship marketing, favoring the creation of more and more new customers (Kittle and Ciba, 17, p. 167). However, others claim that student recruitment is a form of relationship marketing, given that all marketing begins with an exchange between the consumer and the producer and the result of that exchange is a relationship (Kittle and Ciba, 17, p. 167).Much of the recruitment activity that marked the earliest use of web technology by colleges and universities was a direct outgrowth of the positioning that was achieved using the same medium. In a higher education context, positioning describes the way one institution is distinguished from others along real dimensions in order to develop preference among certain market segments (Drea and McNally, 17, p. 10). This practice is a common one among schools taking advantage of online technology. Many use web sites to promote their own distinctive image and strength through positioning (Drea and McNally, 17, p. 10). Several studies have examined how higher education uses online technology as a positioning tool (Drea and McNally, 17; Kittle and Ciba, 17; Lincoln, McCain and Bullock, 17), and this paper supplements the research in this area while narrowing its focus to creative programs directed at advertising students.How Online Technology Is Changing the Marketing of Higher EducationDespite the success some colleges and universities have had in using the web for recruitment and positioning, there is a collective realization that this new medium is changing the rules. Strategists understand that, with millions of teenagers jacked into the web, traditional print ‘viewbooks,' college-fair booths and campus visits (other than virtual) could soon go the way of the inkwell (Gegax, 18, p. 7). Even though a significant percentage of schools in the U.S. have yet to go online, the home page is fast becoming part of a traditional marketing strategy (Kittle and Ciba, 17). However, most institutions are only beginning to realize the full marketing potential offered by the Internet (Lincoln, McCain and Bullock, 17, p. 161).There have also been pitfalls associated with the adoption of online technology for campus marketing purposes. One of them is functionality, given that the usefulness and quality of electronic marketing varies in how Internet capabilities are put to use, as well as how useful the application is to the intended audience (Lincoln, McCain and Bullock, 17, p. 158). In other words, many school web sites do not take full advantage of online capabilities and are not appropriate for the end users of the site. Another common problem is the misapplication of web technology as a marketing strategy, as observed in a 17 study by Lincoln, McCain and Bullock Many of the institutions we observed have simply applied Internet technology to their current ‘product' and have not started with a carefully laid out plan as to how to use the Internet to help them achieve very specific strategic or tactical objectives (p. 165). Many admissions officials and registrars say that the real promise for online technology centers on marketing and recruitment (Marklein, 1a). Colleges, universities and trade/professional schools are actively leveraging their relationships with students by contacting them online more often and with more accurate targeting (Marklein, 1a).RESULTS AND DISCUSSION(CSFs)The Four Quadrants of the Online Positioning Strategy ModelThe Online Positioning Strategy Model cross-compares (1) the educational focus of a school (advertising vs. creative) with () the educational philosophy suggested by site content (academic-based vs. industry-based). Both factors were determined for each site based on analysis of the informational cues presented in online content. The intersecting vertical and horizontal axes delineate four quadrants that characterize distinct positioning strategies.The following definitions can be used to characterize the positioning strategies of the schools typed using the model.Quadrant I Advertising Academic StrategyThe Advertising Academic Strategy represented by the upper left quadrant of the model describes schools that provide training to creative students with an advertising focus in a traditional academic setting. These programs are likely to stress the importance of a broad-based education as a support to creative ability applied to advertising. For example, the Texas Creative / University of Texas at Austin site's Student Work section assert that successful advertising creators must also be well-rounded learnersTexas Creatives are successful because they graduate having taken a full load of advertising classes -- research, media, campaigns, and management -- in addition to their elective creative classes. Their books reflect this attention to strategic detail. The four-year degree offers the professional world people steeped in advertising, communication, and creative thought (Paragraph , 1).All of the schools typed in Quadrant I are degree-granting institutions rather than diploma programs. The University of Texas at Austin is the only traditional university represented, however. Both the Academy of Art College and The Advertising Arts College only offer degrees in advertising or related creative areas.Quadrant II Advertising Industry StrategyThe Advertising Industry Strategy represented by the upper right quadrant of the model describes schools that provide training to creative students with an advertising focus in an environment strongly influenced by industry personnel and practice. Programs typed in Quadrant II maintain strong ties to industry and focus more on technical and artistic skills in preparing students. The prevailing philosophy is that advertising students emerging from these programs should be ready to hit the ground running and require little or no on-the-job training. The Creative Circus web site reflects this viewpoint in some of its recruitment copyThe Creative Circus... where youll team every day with other equally enthusiastic, driven young creators. The same young creators who, a hectic twenty-four months or so later, will be your colleagues, rivals and friends at agencies and studios all over the country and the world. Our unique program just seems to attract the high achievers, apparently. Did somebody say... networking? And where youll develop not only your talent, but something so-called attitude cant ever substitute for your professionalism. The professionalism creative leaders have told us theyve come to expect from Circus graduates (Paragraphs 6-7, 1).Programs typed in Quadrant II are primarily two-year trade schools with the exception of Virginia Commonwealth Universitys AdCenter. VCU AdCenters program, part of a private university, is supervised by a board of directors comprised of top industry creators. It is the only four-year degree program within this quadrant.Quadrant III Creative Academic StrategyThe Creative Academic Strategy represented by the lower left quadrant of the model describes schools that provide training to creative students in advertising and other creative professions in a traditional academic setting. For these programs, teaching creative skills pertinent to advertising in a context with other subject matter (design, photography, and film, for example) informs the work of students across those disciplines and enhances their training. The Art Center College of Design site explains how creative students who intend to work in advertising are offered a broader perspective Art Center has developed a liberal arts and sciences curriculum that helps students build knowledge of different disciplines and a capacity to synthesize information, think critically, and look at issues from different perspectives. Classes are intended to promote critical discourse in an open and engaged discussion of issues facing all of us as artists, designers, and citizens of the world (Paragraph 1, 1).With the exception of the International Academy of Design, a trade school, all of the programs typed in Quadrant III offer bachelor's and/or master's degrees. Quadrant IV Creative Industry StrategyThe Creative Industry Strategy represented by the lower right quadrant of the model describes schools that provide training to creative students in advertising and other creative professions in an environment strongly influenced by industry personnel and practice. Positioned as schools where students can be trained in a variety of creative fields by experienced professionals, programs in Quadrant IV are perhaps the most strongly focused on skill acquisition compared to those typed in other quadrants. The following quote from the School of Visual Concepts site underlines that program's emphasis on teaching by industry practitionersAll of our instructors are working professionals. Actually, they are more than that. They are successful working professionals with significant clients, creative awards and credentials to their credit. Think about it. Who's better equipped to tell you what it takes to succeed than people who are doing it right now? (Paragraph 1, 1).Schools typed in Quadrant IV offer only associate degrees or diplomas and do not require or teach any courses outside the creative disciplines in which they specialize.Overall Trends Identified In the StudyNot surprisingly, sites of degree-granting programs were more often classified as reflecting academic-based philosophies than diploma programs, which were generally classified as industry-based. Sites with an academic-based philosophy usually offered course descriptions, information on research facilities/resources and student organizations, and detailed faculty bios. Industry-based sites featured awards won by students, a listing of industry board members, highlights of speakers and guests to the program, and placement histories.Although the sample size for this study was too small to offer findings of statistical significance, a majority of the sites evaluated demonstrated an advertising focus rather than a more general creative focus.CONCLUSIONThe debate over what type of creative program best prepares advertising students will persist, and schools will continue to position themselves in different ways to attract them. Online technology offers the educational institution a new means for carving a niche and distinguishing itself among competitors. The Online Positioning Strategy Model proposed by this study offers insight into the techniques that have emerged to date. Site planners for creative programs may find the model useful as a template for future designs.The author acknowledges several limitations to the study. First, the qualitative evaluation of site content and the identification of the informational cues was a largely subjective process. The study could benefit from replication or extension by future researchers as the number of creative programs using online technology increases. Second, it is recognized that the small sample size limits the generalizability of results. Despite these conditions, the study does represent a useful contribution to a new area of commentary within advertising education.Further research might examine the content of recruitment messages used by creative programs as a complement to this typology. Given the influence of positioning on the audiences targeted and messages used for recruitment, investigation in this area is a logical next step.REFERENCESCooper, Ann (15), Head of the Class, AdWeek, (June 5), 7-.Drea, John T. and Mary McNally (17), Using Perceptual Mapping to Identify Competitive Position In Higher Education An Empirical Study, 17 Symposium for the Marketing of Higher Education, Boston, MA, American Marketing Association, -16. http//www.marketingpower.comGegax, T. Trent (18), www.Apply-Here.com, Newsweek, 1/16 (October 1, 18), 7.Kendrick, Alice, David Slayden, and Sheri J. Broyles (16), Real Worlds and Ivory Towers A Survey of Top Creative Directors, Journalism and Mass Communication Educator, 51 (Summer), 6-74.Kim, Juran (17), A Content Analysis of Internet and Magazine Advertising Informational Cues and Creative Strategies, University of Texas at Austin. http//edpsych.edb.utexas.edu/handbook/masters_reqKittle, Bart and Diane Ciba (17), Relationship Marketing in Higher Education Via the World Wide Web An Analysis of Home Pages Examining Student Recruitment Strategies, 17 Symposium for the Marketing of Higher Education, Boston, MA, American Marketing Association, 166-175. http//www.marketingpower.comLincoln, Douglas J., Gary McCain and Gary Bullock (17), Using Internet Websites for the Marketing of Higher Education Where Are American Colleges and Universities?, 17 Symposium for the Marketing of Higher Education, Boston, MA, American Marketing Association, 158-165. http//www.marketingpower.comMarklein, Mary Beth (1), Colleges, Students See Benefits of Online Admissions, http//www.usatoday.com/life/cyber/tech/ USA Today, January 6, 1, (November 17, 1). ____________ (1), Netting A More Complete College Picture, http//www.usatoday.com/life/cyber/tech/ USA Today, February 8, 1, (November 17, 1).Otnes, Cele, Arlo A. Oviatt, and Deborah M. Treise (15), Views on Advertising Curricula from Experienced Creatives, Journalism Educator, 4 (Winter), 1-0. ____________, Erin Spooner, and Deborah M. Treise (1), Advertising Curriculum Ideas from the ‘New Creatives', Journalism Educator, 48 (Autumn), -17.Robbs, Brett (16), The Advertising Curriculum and the Needs of Creative Students, Journalism & Mass Communication Educator, 50 (Winter), 5-4. Shuford, Tracy (16), Madison Avenue South, Texas Alcalde, (May/June), 0-. Simko, Alison (1), School's In, Advertising Age, 6/ (June 1, 1), 17-0. http//www.adage.comStern, Bruce L. and Alan J. Resnik (11), Information Content in Television Advertising A Replication and Extension, Journal of Advertising Research, 1 (June-July), 6-47.Taylor, Elizabeth G. and Deborah K. Morrison (14), Where Theory and Practice Intersect A Proposed Model for Analyzing Advertising Education, Proceedings of the 14 Conference of the American Academy of Advertising, Karen W. King, ed., Athens, GA, American Academy of Advertising, 64-70. http//www.masscomm.swt.edu/mcfaculty

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Our town

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Out staff of freelance writers includes over 120 experts proficient in our town, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your our town paper at affordable prices! Our Town strives to unite the ‘earthly living' and the ‘supernatural' into a time capsule of small-town life showing that life, in its greatness, is incomparable. I think this book/play was written to move its audience with this whole idea, instead of its individual dramas. It was written to explain that the town doesn't exist because of its wood frames or stone houses, but that the tempo of daily life from birth to love, friendships, responsibility, and even death have their own imaginative characters. The setting of the play is set Grover's Corners and is actually the central character of the play. It is the most important aspect of revealing what most would call a ‘simpleton life', and is in fact very vital because it sets the mood for this basic framed daily life. The structure, or plot, of this play is broken up into three basic parts that together, model the theme of the play. Act I opens with the beauty of birth and youth, Act II changes to marriage of the lovers, and then Act III finishes with a funeral and view on death. The idea of ‘time' jumps strategically by several years in the play, but fills the needs for the larger theme of the play, life and eternity. This theme was hinted throughout the play, but does not become apparent until the funeral scene in Act III. Life then is revealed to the audience from beyond the grave and gives a new perspective that can become more understandable. Opposite to most books I've read, I didn't get the feeling that the characters were the main focus of the plot. The characters were simple and uncomplicated, centering on the Webb and the Gibbs families who are neighbors in Grovers Corners. The play, more particularly, focuses on Emily Webbs and George Gibbs whose relationship gives the play its one and only real plot. I believe the characters, as a whole, were not very provocative or interesting, but did portray the basic evidence of what life truly was about in their time.

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I think the play was unique and stands out in its own attributes, which makes it a notable piece of literature. I admired the perspective it was written in by not laying everything out and telling the story piece by piece, but letting the audience gain their own feelings and understanding of the issues larger role. The ‘Stage Manager' put it best while discussing the burying of the town's time capsule. He said " it will show people a thousand years from now-- this is the way we were in the provinces north of New York at the beginning of the twentieth century. This is the way we were in our growing up and in our marrying and in our living and in our dying. Please note that this sample paper on our town is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on our town, we are here to assist you. Your persuasive essay on our town will be written from scratch, so you do not have to worry about its originality.

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Karen Leary

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[Karen Leary (A), (B), (C)]

1. Describe and assess how Leary has taken charge of the Elmville office.

Leary had a high motivation herself and she set goals for her branch performance at high level as well. Her management style could be described as aggressive, kept herself informed by her FCs continually, putting importance to training/ coaching/ counseling, making quick decisions and pushing the employees to work at their "best". Since she took charge at the office, Leary never hesitated to change whatever she saw hindered growth, the prevailing culture, or even persons who had been working with the branch for over 6 years but showing only average performance.

I would say that she'd been acting very effective, although that caused some people grumbling, it suited the company's current situation, its strategy (more customer-oriented), and a dynamic nature of industry very well. The most important thing was that she considered the customers first, a very critical factor in consultant business, and also her staff's self-improvement. She might have "monitored" her staff too closely sometimes, but she also seemed to gradually empowered them when she saw they were experienced enough. Overall, that resulted in a 0% increasing in business during her first year.

What is your evaluation of Chungs performance?

Chung's technical performance was initially impressive. He passed all test with high scores, appropriately and very good at establishing contacts with top Merrill people Leary introduced them to him, and could bring in a very big account within a short period. However, it was hinted from the start that he wasn't very good at working in team. His cooperation to others was low and later on he seemed to act suspiciously, keeping the account and customer contact all to himself. He made some investment decisions on his own regardless of the company's suggestions and hadn't shown any attempt to bring in more accounts to the branch. Despite his promising start, I would give him rather low scores for his performance so far.

. If you were Leary, how would you respond to Chungs request? What factors would you consider? What actions would you take to improve Chungs performance, as well as your working relationship with him?

Since I agree with Leary's decision to terminate Chung, I would do the same if I were her. The first factor I would consider was that whether his past actions gave the first priority to the customer or company's long-term benefits or not. Then I would assess his performance against the organization norms, how well he interacted with the company and his peers, and how much it would affect the branch's teamwork and other employees' morals if the decision was to be made. In order to improve his performance or working relationship with him, the only way to do so was via communication, which Leary had been doing. She recognized his success bringing in the big account and stated clearly what strategies/ norms the company was adopted, but those had no effect to his growing ego and temper. So, it would cost the firm more to accept his request and risk creating inequality comparing to benefits he had done to the organization so far.

4. What are the particular challenges and dilemmas in managing subordinates who have different cultural backgrounds and working styles from yours? Suggest ways to resolve these challenges and dilemmas.

Like in the prior question, the only way to resolve such dilemmas was via communication. The major challenges were about the individual's perception and ability to adapt to the environment. In this case, Chung's ego was a bit over the edge and his demanding request, his threat to resign was a harsh way of negotiation. These actions of his might work on some managers who have more compromising style than Leary's, so another difficulty to manage this issue is how much aggressive/ absolute a manager should be? This would depend on the situations at hand, but the company's long-term benefits must always be the first priority. For an instant, in this case, if Leary accepted Chung's request, this kind of threatening might occur again in the future, either by Chung or others who saw the method had worked. Explaining reasons why the request couldn't be granted and different views/ comments from others were necessary, but if it doesn't work, sometimes acting absolute is the only way to solve the conflicts.

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A father is not just biological, more importantly a father is someone who is there at all times! Someone who takes care of your every need and puts your needs before his own. A father knows when your birthday is and calls you. He gives you Christmas gifts at Christmas, not months later. When you need a doctor appointment or surgery he takes care of it right away without question and doesn't ask who's going to pay for it. A father is there at all times, not when it's convenient. A real father is a true blessing and those that have one should count their blessings. What is a father? That is a very good question. Ever looked at the definition of a father? It says that the definition is (n.) 1. A man who has begotten a child (v.) . To look after or care for as a father does (v.) 4. To take responsibility for. ((17). Webster's New World College Dictionary (rd ed.). Simon and Schuster Inc.) Back when Leave It To Beaver, The Brady Bunch, and The Partridge Family were the ideal family, many outside the stream of television tried to be like those families on television, they had the perfect life, a good job, no money worries and no spousal disagreements. Life was good, but no matter what the ordinary American family tried they never were as successful as those on television. Nowadays the term divorce is used like the articles a, an, and the. Back in the day divorce was a sin, an unquestionable thought. A majority of divorces started to occur in the 170s, leaving many children asking the question "Why did daddy leave?" and feeling awkward and lonely when the other neighborhood children and school children still had a mom and dad together that loved each other. Nowadays it is very common for a child to be given a piece of paper and told to draw their family, leaving a big asset out such as a father. Single parents struggle constantly to provide a home and food for their child (ren). An extremities to which some parents reach, unfortunately is prostitution, for the mothers feel that they will be greatly compensated for their deeds. Other mothers choose different routes such as multiple jobs and long hours without any breaks. As children grow up and realize that they are different because they don't have a father figure many turn to lives of violence, hate, and crime, often many grow up to be like their father when it comes to relationships and parenting. Luckily some children whose father's have left still have a long journey ahead of them before they reach adulthood, so in turn they can be taught the difference between right and wrong.

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Environmental Pollution

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Out staff of freelance writers includes over 120 experts proficient in Environmental Pollution, therefore you can rest assured that your assignment will be handled by only top rated specialists. Order your Environmental Pollution paper at affordable prices with cheap custom writing service! Environmental Pollution is an international journal that addresses issues relevant to the nature, distribution and ecological effects of all types and forms of chemical pollutants in air, soil and water. The Editors welcome articles based on original research, findings from re-examination and interpretation of existing data and reviews of important issues. In addition, the journal also publishes articles on new methods of detection, study and remediation of environmental pollutants. Enivrionment is all the things around us.We live in our surroundings. We use our senses to live in this whole world.We have had a very nice time with our environment. It was very friendly with us. But what did we do t oit? We have forgotten all the things that it had given us. It had give us shelter form the big trees. It had given us fresh air through those trees. But we have thaked our environment by cutting doen all the trees. Instead there are lot of buildings which touches the sky. We have built factories and those factories sent us black smoke. Now we have to breathe that air. Yes. Now our environment is polluted. Its all our fault.When we go for a walk, we meet the gushes of smoke from the vehicles. The sound of car horns are much louder than our friends talking who is standing next to us. Now we have realised what we have done.

Custom Essays on Environmental Pollution

All the people are saying that man has done something wrong.The big people are having heated converstion on how to save our environment.But this is not the time to just sit and talk. We have to take some actions. If we just sit there and talk what will we say to our future generations. Will we be able to answer their cries & anger? No.So, this is the time to start rebuilding the environment. We have to think for our grand children. We have to make sure that they are breathing the purest air on earth. Hence we have to plant more and more trees. We have to less the amount of vehicles. Our environment is affected by our daily actions. The earth is plagued with land, air and water pollution. Some of the problems we face on earth are deforestation, nuclear waste, acid rain, global warming, overpopulation and some animals are endangered. Air pollution has many different sources. Power-generated plants, oil refineries, chemical plants, and steel mills contribute to about 140 million tons of pollutants into the air every year. Automobiles account for at least 80 percent, of air pollution. Please note that this sample paper on Environmental Pollution is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Environmental Pollution, we are here to assist you. Your cheap college papers on Environmental Pollution will be written from scratch, so you do not have to worry about its originality.

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Roma people and they struggle- A proposed project

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Introduction to the "They travel endlessly and seem to appear almost everywhere, yet they are the worlds most mysterious people Gypsies." Moreau, 00, pp. This essay is a description of a proposed community theatre project to be held in Sarajevo (former Yugoslavia) in August next year, touring through Europe and hopefully ending up in Australia. Gypsies or Roms continue to be excluded from our society both culturally and economically throughout the entire world. This isolation is hardly hidden. Assault and harassment as well as ignorance of this community's situation continues to be accepted and unaddressed (first article). This project aims at tackling this issue of dislocation, celebrating their culture as well as communicating the hardships of their lives. It will combine tragedy and comedy, realism and fantasy, dance and music, as well as many other talents of these people, giving them an opportunity to be proud of their culture and history and tell their stories to the rest of the world.Firstly, the essay will outline a brief background and history of the gypsies, looking closely at their way of life and challenges they face. This particular section will help justify the purpose of this project. Then, an artistic plan will be outlined describing, in detail the style and character of the performance as well as the involvement of the Roms in the project. A production plan outline will also be included with information about expected size, duration, and attendance of the project as well as an initial project budget. Next, some of the effects and details of audiovisual technology will be outlined in an attempt to create a picture of the project. Finally, the philosophy of the project will be discussed with a deep focus on the rationale and evidence of its capability to be a success.

History, background and lifestyleIn justifying the purpose of this project, it is worth introducing the history and facts of Romani people and the uniqueness of their culture. Although this is arguable, evidence indicates that Roms originate from India. Their first destination from India, in 10th century, was what became Former Yugoslavia. Latest statistics show that Gypsies occupy 0.04% of Former Yugoslavia with a population of 41 000. Throughout their history in this region, Gypsies suffered from varying levels of persecution and racial discrimination. It is reported that even local governments participated in harassment and intimidation, not to mention the discrimination in employment, education and social services.Their living conditions are beyond any human standards and their appearance reveals their hardships, mere struggle for survival and acute malaise. Imagine broken down caravans and clusters of precarious and crumbling shacks, thrown together from material scavenged from dump heaps, in which children cry awaiting a never known destiny of being sold to another family or busking on streets with no education. This is what the message of Gypsies looks like (see Appendix 1). This is a social emergency and must be treated as such. (first article) Many people cease to care about this urgency due to the incorrect belief that Gypsy people are not trying hard enough to progress. For example, research shows that Gypsy children do not attend school on a regular basis and their attention span is very short causing their behaviour to be disruptive. This in turn creates adults that do not have an education and do not have the skills to pursue a career and create stability. The Gypsies owe this to their culture. It is passed on verbally from one generation to the next. Their tradition is about learning from stories told by their ancestors and telling them to their children. This is how they learn essentials of life and what it is about. School, to them is like "Utopia". They do not understand such a way of learning, or the point to knowing arithmetic, grammar and science when everything that we need is provided by mother earth. Hence they find it difficult to adapt to this environment. Secondly, they are usually discriminated against and teased by other children causing general discontent and dislike of school, which leads to a lack of attendance. Gypsy children are used to spending their time outdoors, looking after the younger children, singing, dancing, playing instruments or looking for ways to earn money for some food for the day. Concentration involved in school tasks is foreign to them. In desperation to keep this beautiful culture in existence with all its colours, they are reluctant to adapt to the "civilised" way of life. They continue their lives in their tents and huts that merely protect them from the rain but regardless, they are a much more welcoming home (Mirga 17, pp).This way of life means that they can only support themselves by begging, fortune telling and performing arts. Although some Gypsy families are involved in some kind of trade, many engage in criminal activities in an attempt to make ends meet. However their talents have formed an important part of Europe. It certainly added a unique element to the Yugoslavian culture. The movie "Time of the Gypsies" by Emir Kusturica depicts some of the talents and assets given to Yugoslav culture by the Roms. This project will aim to create awareness of these assets amongst Yugoslav people encouraging an appreciation of this culture.It is inevitable to consider that a community theatre project may not solve the problem or improve the living conditions of gypsies in Sarajevo or anywhere in the world. But at its worst, it will answer the many cries of Gypsy people and allow them to celebrate their culture with pride. This in itself gives this project a deep meaning, the performers motivation and the Gypsy community a hopeful willingness to participate.Artistic Plan (see page 70)This project aims to explore a theme that is experienced by every person regardless of culture. Love is a universal theme, time resistant, and everyone understands its intensity and capability. Telling a love story through Gypsy eyes will enable the rest of the world to realise how essentially, we are all the same. The story aims to show a glimpse of the soul of a discarded race of joy and mourning, of transgression and human decency- a compassionate portrait of Roms. Gypsy love stories have unique qualities that almost resemble the quality of Shakespearean love stories. They are a combination of beauty, sensuality, tragedy, comedy, action, insanity, poverty, politics and many other issues Kusturica, 18. The story in this project will attempt to incorporate these components to arrive at a true spectacle. Cameron, 1 suggests that issues in theatre are not developed by theatre professionals, instead they emerge from real life (pp68.). Extensive plot and storyline will be left up to the community members to tell and the style of this show will concentrate on delivering their life in a theatrical way.In order to truly deliver the life of Gypsies in a theatrical way to people, it is only obvious that it should be placed outside. As Cameron indicates, (pp7), this means that it will have to look at successfully delivering the show outside and hence using techniques that will make it effective. The show will include large scale images, in particular fire sculptures floating on water and Gypsy Festivals where crowds of Roms bathe in water using fire for light, heat and in this case a beautiful scene (see Appendix a). Setting, costumes and props will depict scenery from Gypsy camps. The show will also utilise specific talents that are discovered during workshops and incorporate them into the production in form of Circus and Stunts which are, as indicated by Cameron, 1, (pp7), are also an effective outdoor technique. Cameron, 1 (pp7) also suggests that music is "the central and living art". Gypsies are very loyal to their music and instruments, which they sometimes describe as the "mirrors to their souls" (Kusturica). They are famous for their musical abilities, but many people may not be aware of the extent of this acumen. Many music production companies actually perform trials of music within the Gypsy community to see if music they are considering marketing is going to sell. It doesn't matter if it is pop music, or classical, or folk; if the Gypsies respond well to it, the music company knows it will be a hit. Gypsies love to play the violin and accordion, as well as some of the Gypsy instruments - the cümbüº, a type of mandolin with a metal case, the klarinet, and the darbuka (Voss, 00). While their instruments may not be as refined as those used by a philharmonic orchestra, their music is often world class and can touch the soul of the listener with beautiful stories told through them. It is only sensible then to make music a major part of this production. The stories will therefore be told through song and dance rather than through a written script which should be rather simple to achieve as it is quite obviously their expertise .Community InvolvementIn order to achieve the above picture extensive we will approach a Gypsy camp in Sarajevo where most Roms reside. Getting people together should not be difficult as most Roms would love an opportunity to participate in an artistic project. Cameron, 1, (pp74) argues that a few people are apathetic when there is an opportunity for them to express themselves in an enjoyable way. There will be no audition as there will be no script until the end. Rather, people's talents and strengths will be observed and the project will be built around this. A set of workshops will be run with enthusiastic people and those who are willing to take a part. The workshops will not be limited to Roms, instead anyone interested in the culture will be welcomed. Help will be needed with administration and organization hence any help offered will not be rejected. Therefore the community with The show l end with a destruction of the scenery and the set.The story will provide a lyrical glimpse into an exotic, obscure culture, a tragedy of lost innocence, and a reaffirmation of love and family.Production Plan (see page 56 Fire n Water)

As mentioned above, the show will take place outside. The nature of the show will eliminate many problems associated with an outdoor show. No lighting equipment will be needed as fire will be used. However power generators will be needed for sound amplification. Equipment will need to be protected and insured. If it happens to rain, we will try and use it to the show's advantage. It will further add to the reality of their living conditions and discomfort. The audience, on the other hand will be under shelter.

Although the show will tour, there will be only one performance in each country. Cameron, 1 (pp58) suggests that a single show can reach a lot of people and allows organisers to concentrate all resources on that show.The Touring Gypsy Festival will begin on April 16th which is the St George celebration a major Gypsy celebration. It will take place outdoors and will use weather to its advantage. The show duration will not exceed 1 hour and will be repeated twice a day in each location. The tour will begin in Sarajevo where we will become aquainted with the community from the gypsy camp and work on putting the show together. The journey will continue through Italy, Turkey and Romania throughout which our group will hopefully grow and we will involve people from these parts also. Finally, the complete troupe will travel to Australia (provided there is sufficient support) where the show will be repeated in Sydney, Melbourne and Brisbane. We will tour in carriages similar to the ones in (appendix) and thereby symbolise the neverending journey of Gypsies and every person in search for oneself and survival. The nature of the show will also evoke the feeling of displacement allowing this community to express their lifesyles in the way. At the end of each show, the set will be destroyed by a crane that will lift it in the air and dum it into one of the carriages.It is expected that the audience in Australia especially will be quite substantial. We may face problems of venue as it will require presence of water and fire.Work Breakdown StructureBudget Most of the Funds for the project will come from UNICEF, Roma Rights Centre and World Union of Romanies who will sponsor the show. Rajko Djurie, the president of World Union of Romanies said that the organization would be more than happy to fund such an interesting project and is looking forward to its impact on the Gypsy community as well as the community they are amongst. Please see appendix for closer details about the Cost and Expenditure.Effects and Technical InformationLighting- fire no artificial lighting- outdoor performance Sound- amplifiedSpecial EffectsFire on Water Lit up celebration of St George-Performance on water dam.Philosophy of the ProjectThe possibility of complete failure of this project is inevitable. The issue is sensitive, and there is a chance of the Roms unwillingness to participate or to participate completely. However with careful planning of the structure and timing of the show, the chances of its success increase. Cameron (1) in Fire on the water describes a project where they examined "the community's rhythm" so that the show was timed in order to attract a wide range of audience (pp6). In addition, the show was designed so that they did not rely on the story because different members of the audience would arrive at different times. The show had an exciting story but was divided in clear and related parts.As mentioned above, the themes will be universal portraying the similarity of this community to other communities yet, its neverending inability to be understood and to fit in. This should make the story come alive, its magic touching the souls of many people especially at a time when this part of the world is experiencing hardship recovering from war and political instability. Cameron (1) describes this technique as an "Everyman" theme (pp7). He also indicates that stories about birth, love, death and individual's struggle in the community they live in is the essential themes that interest people. These can be found and built up in the workshops (pp68 6) He also suggests that touring shows involve a lot of work and hence it is important to slow down and take things one step at a time (7).Also, the approach of the community would be informal and less publicised because these people are used to prosecution and mistreat, they are probably unlikely to trust that the project will benefit them in any way. Cameron suggests that a public meeting is not an effective way of canvassing local views for an arts project and that he personally prefers approaching the community informally. He adds that it is important to search for the real representatives.Overall the project will act as a political practice that works towards social justice and change by influencing the government of each country to come up with a solution for this minority group that are in urgent need for help and assistance. It will also seek of the communities that surround the Roms to be less reluctant to accept them as a part of their home country and begin to understand and appreciate their culture. Through its story, it will reflect and validate the reality of experience of the Roms. Finally it will provide a channel for them to express their culture and identity by allowing them to participate and tell their story. ConclusionAPPENDIX 1(a)- These pictures show the conditions that Roma live in.

sca.lib.liv.ac.uk/collections/ gypsy/photoind.htm

www.culture-forum.com/.../ new/people/str/str.htm Begging for money http//www.oneworld.cz/ow/00/cz/akce_ultrablack.htmlAPPENDIX 1(b)Above left, mother with a child begging for Saying goodbye to family/money to feed her child. And friends who are probably

being sold for slavery.

www.leafpile.com/TravelLog/ Romania/Roma/Roma.htmAPPENDIX 1(c)

Above Home to a Gypsy familyBelow Destruction of Gypsy homes in Italy approved by the government.

www.errc.org/rr_nr_000/ field1.shtmlAPPENDIX (a) Gypsies Celebrate -Not much else to do but sing, dance and celebrate

This is a Gypsy Festival "Djurdevdan". Everyone bathes and sings in the water using fire as a means of heating as well as to create this beautiful effect.

www.ce-review.org/00/14/ kinoeye14_horton.htmlAPPENDIX (b) Gypsies dancing www.beotel.yu/~lala/ cigani.html

www.nova-scena.sk/cigfoto.htm www.istanbullife.org/ gypsies-istanbul-turkey.htm www.ce-review.org/00/14/ kinoeye14_horton.htmlAPPENDIX Poem by Isabel FonsencaThe time of the wandering GypsiesHas long passed. However, I see them,They are bright,Strong and clear like the water.You can hear itWanderingWhen it wishes to speak.But poor thing it has no speech . . ....the water does not look behind.It flees, runs further away.Where eyes will not see her,The water that wanders .Isabel Fonseca, Bury Me Standing, op. cit., pp. 4-5.APPENDIX 4(a) BUDGET - REVENUERevenue Source Cash Donation Inkind TotalLocal Government FundingBosnia, Turkey, Italy, RomaniaTotal 10,000 10,000SponsorsAirlines (Jat, Qantas)HotelsTotal 4,000 ,000 6,000Philanthropic Trusts and FundsPhilanthropic Soros Foundation World Union of Romanies Roma Right Centre The Gypsy Research Centre Total 1,000 5,000 5,000 6,000 8,000Special FundProject Donation HotlineTotal 5,000 5,000AudienceContribution Fee (4shows @ 100people x $,00 AU (or equiv.)DonationTotal 7,00 ,000 ,00Other Sources of IncomeVolunteersDonated Props, costumes and InstrumentsMedia PublicityTotal 5,000 1,000 ,000 8,000REVENUE GRAND TOTAL 66,00APPENDIX 4(b)- BUDGET- EXPENDITUREExpense Amount Total ExpenseTravelling ExpensesReturn AirfaresTrain and Bus FaresAccommodationTotal 8,000 1,000 6,000 15,000Venue ExpensesRehearsal HallOtherTotal 800 600 1,400Equipment Expenses Crane Instruments Hire Amplification Firesticks Other Total 8,000 1,000 ,000 00 ,000 1,00Costumes, Makeup and Props ExpensesCostumes and Makeup Tents Rugs Begging Baskets Other Total 00 00 100 100 500 1,100Tools ExpenseSetting Up ToolsTotal 500 500 Gypsy Wagon HireApprox total hire costTotal ,000 ,000Insurance ExpenseTravellers Insurance Workers Compensation Equipment Insurance Total 1,000 ,000 500 ,500Security ExpensesGuards during each showTotal ,000 ,000Wages and FeesDirector Other AdministrationTotal 5,000 5,000 00 10,00Post Show Expenses Volunteer and Participant after partySponsor package and attention (media)Total 1,000 1,000 ,000Publicity (10%)MediaOtherTotal ,000 ,000 5,000Contingencies (10%)MiscellaneousTotal 5,000 5,000EXPEND. GRAND TOTAL 61,000APPENDIX 4(c) BUDGET SUMMARRY Activity Revenue ExpenditureRevenue Sources Local Government Funding 10,000 Sponsorship 6,000 Philanthropic Funds 8,000 Special Fund 5,000 Audience ,00 Other Revenue 8,000

Total Revenue 66,00

Expenses Travelling Expenses 15,000Venue Expenses 1400Equipment Expenses 1,00Costumes, Makeup and Props 1,100Tools 500Gypsy Wagon ,000Insurance ,500Security ,000Wages 10,00Post Show Expenses ,000Publicity 5,000Contingencies 5,000

Total Expenditure 61,000

PROFIT / LOSS 5,00 APPENDIX 5(a) WORK BREAKDOWN STRUCTUREIt's a Gypsies' world project breakdown structureDirector Show CoordinationTravelling Sponsorship Project Philanthrop. Research & Publicity Show And Management Funds Admin Accommodation Proposal etc

Flight Tickets Proposal Plan Proposal Treasuring Media Set Relations DesignOther Tickets Package Schedule Communi- Letters PR Sound Cation DesignDiscount Hunt Communi- Reminder Collection Mailing & Posters& Stage Cation Networks Website CrewHotel Book Collection Timetable Contact Research Sponsors Makeup,& check in Involvemnt. costumesTimetables Recruitment Props Staff Info & Lighting details Design Survey prep Fire & analysis Design Work- shops Story Venue PERSON A PERSON B PERSON C PERSON D PERSON E PERSON F PERSON A,b,c,d,e,f

Please note that this sample paper on Roma people and they struggle- A proposed project is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on Roma people and they struggle- A proposed project, we are here to assist you. Your cheap custom college paper on Roma people and they struggle- A proposed project will be written from scratch, so you do not have to worry about its originality.

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