US Bank Corp. Analysis - 2538 Words

Finance 421 US Bank Corp. Analysis Analysis of the financial position of US Bank [Type the author name] 12/1/2012 US Bank Corporation (USB) is a commercial bank which offers customers checking accounts, savings accounts, and time services contracts. The bank trades in financial securities but its main source of revenue is various types of loans. These loans range from residential and commercial real estate loans, industry loans, and other individual loans. In this analysis the overall strength of US Bank will be evaluated and will be compared with two similar financial institutions. The two institutions chosen for comparison are Wells Fargo (WFC) and Bank of America (BAC). To evaluate the overall strength the major†¦show more content†¦The largest liability for the three financial institutions are interest bearing deposits. Wells Fargo holds the largest proportion at 50.14% followed by US Bank at 47.70% and then Bank of America at 32.40%. US Bank holds and Wells Fargo have similar proportions of this liability. While these liabilities accrue interest the banks do have to expect frequent cash outflows from this. The three banks third largest liabilities are noninterest-bearing deposits with US Bank having the largest proportion of 23.36%, followed by Wells Fargo at 21.93% and Bank of America at 18.97%. These proportions seems relatively similar to each other but with US Bank’s higher proportion they should be weary. These noninterest bearing accounts are likely to be checking outs and while they do not accrue interest you can expect frequent withdrawals from customers which should keep them weary of loaning out too much money. Finally all three banks have listed other borrowed money as their third largest liabilities. This includes mortgage indebtedness and obligations under capitalized leases. Bank of America has the largest proportion of 14.24%. Next is US Bank with 13.66% and then Wells Fargo with 9.62%. These proportions also seem quite similar too each other. Interest Revenue, last Quarter US Bank largest source of revenue isShow MoreRelatedOSHA ´s Whistleblower Protection Program Essay examples1003 Words   |  5 Pagesconduct may file a complaint with the secretary of labor to request an investigation by OSHAs Whistleblower Protection Program (OSHA, 2011). Foster filed a Sarbanes-Oxley Act whistleblower complaint with OSHA because of her wrongful termination from Bank of America. She worked previously as an internal investigator at Countrywide at the corporate level and a witness for the governments Financial Crisis Inquiry Commission for Countrywide (Benoit, 2011). In September 2011, OSHA ruled that Foster hadRead MoreEssay about Wells Fargo Financial Analysis1348 Words   |  6 PagesWells Fargo Financial Analysis For this project, we researched Wells Fargo?s performance in the last couple of years as a way to check on its progress to greatness. 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The Life And Times Of The World - 2124 Words

The Life and Times of T.S. Eliot When reading T.S. Eliot’s work one can see that the weight of the world often rested upon his shoulders. During the time period Eliot lived in the world was in a state of turmoil. Events such as World War I, The Great Depression, and World War II all occurred throughout the course of his life. Many of Eliot’s works were influenced by his childhood in America, his time in Europe, and by notable poets he read over the course of his life. According to John Worthen, an accomplished biographer, some of these were French poets such as â€Å"Rimbaud, Laforgue, Verlaine and Corbiere† (23). Despite all of these events in and around Eliot’s life, the most influential force on his writing career was during his marriage to Vivienne Haigh-Wood. Thomas Stearns Eliot, or T.S. Eliot, as the world would come to know him was born in St. Louis, Missouri on the 26th of September, 1888 (5). 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Gender Crime Intimate Partner Violence

Question: Discuss about the Gender Crimefor Intimate Partner Violence. Answer Introduction: Intimate partner violence is the concept which is introduced from the domestic violence, and in historic times it is known as domestic violence. Intimate partner violence is conducted when any relationship exists between the intimate partners, and in that relationship one partner tried to use power and access control over the other partner. For the purpose of asserting this power abuser uses various methods which involve physical, psychological, economic, sexual abuse, and it also includes the manipulation of victim by use his or her children. IPV occurs almost in all socioeconomic, religious, and cultural groups, but in maximum cases of IPV women is the victim. There are some cases in which women can also be the abuser may be for self-defense, and in some cases of same sex partnerships. Generally, there is high number of chances that men do not experience any kind of violence from partner, stranger or any other person related to them (CDC, n.d.). In this essay we state the differenc e in experience of men and women related to intimate partner Violence, and also state the causes of these differences. Subsequently this essay is concluded with brief conclusion. Intimate Partner Violence: IPV is defined as when on partner in a relationship hurts another partner purposely either from physical means or emotional means. Intimate partner violence is also known as domestic violence because such violence is usually caused by husband, boyfriend, and ex-boyfriend. Usually, victims of this violence are womens, but there are number of cases in which womens are abusers. Prevalence of IPV has been measured by number of surveys which are based on population, most reliable survey is conducted by Who and known as multi-country study on womens health and domestic violence against women. For this survey WHO collected data on IPV from more than 24000 women in 10 countries. These countries represent various diverse, cultural, geographical and urban or rural environments which show that all the countries are affected by IPV. Following are the facts of the survey which shows that almost 13-61% womens stated that they experience physical violence by their partner, 4-49% of women accepted t hat they experience severe physical violence by their partners, 5-59% of women accepted that they experience sexual violence by their partner at some point of their lives, and 20-75% experience emotional abuse from their intimate partner (WHO, 2005). As per the Personal Safety Survey of Australian Bureau of Statistics, almost 132000 womens of Australia (1.5%) experienced violence which includes any incident cause physical or sexual threat to women in last 12 months from their present partner or previous partner. Survey further stated that every one woman in four Australian women have experienced the Intimate partner Violence once in their life from the age of 15. Generally, for IPV partner is that person with whom respondent currently lives or previously lived with. IPV is the problem which is associated with severe health, social and economic consequences for women and for their families as well, and it also a severe threat for community (Stavrou, Poynton Weatherburn, 2016). As compared to woman who does not experience the intimate partner violence are almost 20 times higher in case of women who experience IPV. These facts are stated by the study conducted by NSW Bureau of Crime Statistics and Research (BOCSAR). Responses of 7800 womens are analyzed by BOCSAR who participated in the ABS Personal Safety Survey (PSS). Nearly 500 womens stated that they experience violence in the two years before the survey is conducted. Generally, Womens face IPV when there is lack of support or if they were financially depend on their partner (NSW, 2017). Some researches together with the samples of national representative states that IPV reported by women is equal to the violence reported by men. These researches are criticized by number of people and authorities because they are only focusing on participation rates and they are not assessing the impact of gender differences for the purpose of using the context of partner violence (Hamberger, 2005). Gender Violence and IPV: Before the period of 1970s, violence against women by their intimate partners has no name, but in the history of Canada different type of violence against women was a serious issue such as women physically abused by their male and no remedy is available for that until social scientists, practitioners, politicians, and the general public interfere in these situations for their own interest. Only forty years ago an exhaustive bibliography on wife beating was written, and after the introduction of this bibliography and efforts put by feminists there are number of residents of Ontario and other Canadian provinces providing attention to the issues related to harms experience by Womens during and after intimate relationships. However, these efforts results in reduction of some myths settle by society such as only poor womens are beaten up by their husbands (DeKeseredy Dragiewicz, 2009, Pp-1-3). In case partners become violent in their intimate relationship then they show different types of behavior and reason behind this behavior are also different and it result in different consequences. There is a great difference between the statistics of male and female who use violence against partner, and it completely depends on whether person is looking for violence related to situation and responsive violence. As per the claim of Family violence (FV) researchers, IPV is symmetrical in nature in which both men and women equally contribute as perpetrator of violence against their intimate partners. For the purpose of establishing the prevalence of violence in relationships, researchers of FV depends on the measurements of discrete acts such as slap or punch, and this data is considered as the primary or sole source of data related to the violence of individual respondents. FV researchers further claimed that IPV is symmetrical and reciprocal in nature, and this claimed is based on the act-based approach. FV states that violence in case of women is more severe as compared to men (Dobash Dobash, 2004, Pp-326-327). FV also used some other figures also such as they measure the various units of counting at different points of the systems processes like incidents, victims, and offenders, and these measurements are done at different reference period such as financial year, calendar year, and other reporting periods. This information is also collected from different agencies also and at different points in time which adds the complexity for the purpose of analysis different incidents (ABS, 2013). However, it must be noted that womens are not innocent and they also cause violence on their intimate partners. Almost 830000 men experience domestic violence every year. In every 37.8 seconds a men became the victim of domestic abuse in America, and these numbers are not accurate and actual figures are still not shown. As per the Jan Brown, the executive director and founder of the Domestic Abuse Helpline for Men, domestic violence must not be determine with gender, size or strength but it must be determined as control and power exercised by one partner over other and no matter whether you are a woman or man. Data was collected by the National Longitudinal Study of Adolescent Health in 2001, related to health of 14322 individuals between the age of 18 and 28. This study also involve questions related to roman or sexual relationships in which that individual engaged in last 5 years and whether that relationships involved any kind of violence. The result of this research shows that ou t of 18761 relationships almost 76% relationships are not violent but other 24% involves violence. In this 24% half relationships are reciprocal and other half are not. In other words, in half relationships both partners are abusers and cause violence. Although nonreciprocal violent relationships are experienced by more men as compared to women, but more women as compared to men had once taken part in reciprocal violence (Rhymes, 2014). Causes of Intimate Partner Violence: Intimate partner violence or abuse initiates when partner feels the need to control the other partner or dominate the other partner. Abuser feels like that because of their low self-esteem, extreme jealousy, difficulties in regulating anger and other strong emotions, or when they feel inferior from their partner because of education or socioeconomic background. There are some more reasons such as many people have traditional beliefs that they have the right to control their partner, and they does not considered women as equal to men and there are some individuals who are suffering from undiagnosed personality disorder or psychological disorder. Whereas, there are number of individuals learned such behaviors in their houses where domestic violence is accepted as normal part of the life. Sometimes dominating nature of partner takes form of physical, emotional and sexual abuse. As per one study, violent behavior of individual caused by interaction of situational and individual factors w hich means that individual learn such behavior from their families, society, and from other cultural influences, and because of such influence either they become violent or victims themselves. There are some abusers who also experience violence in their childhood (Goldsmith, 2016). Masculinity was the other big reason of domestic violence. In starting the relationship between masculinity and violence was identified by those persons who stated that during the period of adolescence masculinity was internalized, and this concept explain the more interaction of boys as compared to girls with criminal justice system (Krienert, 2003). Therefore violence is more related with men and masculinity as compared to women and femininity. Kimmel argued that as compared to women mens are more indulged in violent behavior ad in number of studies males are considered as violence perpetrators while on the other hand females are considered as victims of the violence (Kimmel, 2004; Mills, 2001). This can be understand with the help of the example which stated that as per one study it was shown that during the period of adolescent more mens settle their disputes by choosing the way of fighting as compared to womens, and almost half of the male agreed that they involved in fighting i n last one year (Kimmel Mahler, 2003). Therefore, in case of mens status related to masculinity is high if they shows that they have can protect themselves, and this result in a higher self esteem as compared to others (Krienert, 2003). Things are different in case of females which states that if female involve in any such act involves aggression then they criticized for their behavior or get disrespect from other segments of society for not following the traits of feminine behaviors (Irwin and Chesney-Lind, 2008). As stated above, traits of masculinity are identified as one main reason of aggressive behavior among the men, but there are some other researchers also who stated some different socio-biological factors such as competition related to homosocial which directly predicts male violence. As stated by Kimmel, violence behavior of males occurred because of their roles in the oepidal drama, and for this purpose males try to detach themselves from their mother and get close to their father for establishing masculine identity (Lafrance, 2004). From the young age mens are socialized as to be real men, which means that they must have the ability to protect his family and he must show the traits of bravery and willingness for taking risks. Boys get the education related to use of physical force such on whom, when and why they should use physical force (Rubenser, 2007). Conclusion: After considering all the above figures and facts it is clear that experience of IPV in case of men and women are completely different. This paper clearly shows that in intimate partner violence, more Womens are the victims as compared to men. Studies shows high number of womens which get victimized from IPV but it does not mean that womens are completely innocent in these cases. As per one report, mens also experience domestic violence which shows the hidden face of domestic violence. This paper also states the causes of IPV, which state that masculinity, femininity and cultural background of individual play important role in domestic violence. Therefore, it is necessary that government use different methods to resolve these issues in case of male and female. References: ABC. Characteristics of Incidents. Available at: https://www.abs.gov.au/ausstats/abs@.nsf/Lookup/4529.0main+features100112013. Accessed on 12th April 2017. CAD. Intimate Partner Violence. Available at: https://www.cdc.gov/violenceprevention/intimatepartnerviolence/. Accessed on 12th April 2017. DeKeseredy W. Dragiewicz M. (2009), Shifting public policy direction: gender-focused versus bi-directional intimate partner violence, Queens Printer for Ontario. Avaiilable at: https://www.oaith.ca/assets/files/Publications/Shifting_Public_Policy_Direction.pdf. Accessed on 12th April 2017. Dobash R. Dobash R. 2004, Womens violence to men in intimate relationships: working on a puzzle, British Journal of Criminology, vol. 44, issue 3, pp. 324-349. Garcia-Moreno C. (2005). WHO multi-country study on womens health and domestic violence against women: initial results on prevalence, health outcomes and womens responses. Geneva: World Health Organization. Goldsmith, T. (2016). What Causes Domestic Violence. Available at: https://psychcentral.com/lib/what-causes-domestic-violence/. Accessed on 12th April 2017. Hamberger L 2005, Mens and womens use of intimate partner violence in clinical samples: toward a gender-sensitive analysis, Violence and Victims, vol. 20(2), pp. 131-151 Irwin, K. and Chesney-Lind, M. (2008). Girls violence: Beyond dangerous masculinity; Sociology Compass, 2/3, 837855. Kimmel, M. (2004). Masculinities, in Men and Masculinities: A Social, Cultural, and Historical Encyclopedia, Edited by Michael Kimmel and Amy Aronson, Abc-clio Publications. Kimmel, M.S.; Mahler, M., (2003). Adolescent masculinity, Homophobia, and violence, Random School Shootings, 1982-2001 American Behavioral Scientist, Vol. 46(10), 1439-1458. Krienert, J. L. (2003). Masculinity and crime: A quantitative exploration of Messerschmidts hypothesis; Electronic Journal of Sociology, 7(2). Mills, M. (2001). Boys and Violence in Schools: Everybodys Business, Education Views March (16). NSW, (2017). Assaults increase around Lockout Zones. Available at: https://www.bocsar.nsw.gov.au/Pages/bocsar_media_releases/2017/mr-Effect-of-lockout-laws-update-Sept-2016.aspx. Accessed on 12th April 2017. Rhymes, E. (2014). Woman As Aggressor: The Unspoken Truth Of Domestic Violence. Available at: https://www.mintpressnews.com/woman-aggressor-unspoken-truth-domestic-violence/196746/. Accessed on 12th April 2017. Rubenser, L., (2007). Actors influencing reporting behavior by male domestic violence victims; in Encyclopedia of Domestic Violence, Editor: Nicky Ali Jackson, Routledge Taylor Francis Group s.308-314. Stavrou, E. Poynton, S. and Weatherburn, D. (2016). Intimate partner violence against women in Australia: related factors and help-seeking behaviours. Available at: https://www.bocsar.nsw.gov.au/Documents/CJB/Report-2016-Intimate-partner-violence-against-women-in-Australia-CJB200.pdf. Accessed on 12th April 2017.

Ethics and Corporate Social Responsibility

Question: The role of the leader in the practice of good governance and social responsibility in a publicly or privately held company. What role does the leader play in setting and influencing corporate social responsibility? Answer: Introduction Basically, the main aim and objective of conducting this research paper is to develop a clear understanding about the different roles, functions and activities of todays leaders in good governance and social responsibility. Moreover, it is also found that, leader roles are not limited because they also play a wide range of specific and significant role in improving the business, developing innovative work culture and making organization more socially responsible. In the same way, leaders adopt and use best practice of good governance and social responsibility in a publicly or privately held company. In this way, today leaders play innovative and specific roles in setting and influencing corporate social responsibility. Apart from this, it should also be noted down that, todays leaders are also responsible to perform a wide range of roles and functions for the success and growth of the company. Role of Leaders in Practice of Good Governance, Social Responsibility and Setting Influencing Corporate Social Responsibility It is analyzed that, there are several types of actions, best practices and strategies are developed and created by leaders in order to enhance social responsibility. For example, leaders provide strategic guidance and recommendations to the marketing department of the company in order to implement global marketing strategies by considering the environmental factors. It means leaders play a key role in improving the companys marketing decisions and focused on considering the different aspects such as: cultural differences, economic, social, sustainability efforts, technology or physical infrastructure, political or legal system, etc. This helps the company in achieving its long term marketing and business objectives effectively (Vaccaro, Jansen, Van Den Bosch, Volberda). On the other hand, leaders also focuses on developing sustainability report so that the organization can be able to reflect its economic, social, sustainability efforts, environmental and measurement factors. Moreover, it is also accessed that, there are several types of sustainability program, practices, and activities are also introduced by leaders within the organization that empowers and motivate the employees to perform their goals and objectives ethically. In addition to this, leaders also introduced diversity programs within the company and invite the women employees to work in the company (Voegtlin, Patzer, Scherer). Along with this, it is also found that leaders also focuses on developing an innovative and dynamic work cultures that consists with the ethical norms, standards, and rules. In the same way, this ethical work culture of the organizations encourages the employees to fulfill their goals ethically. For instance, different types of corporate governance practices are also introduced by the leaders that ensure the enhancement, protection and creation of the value of the shareholder. For example, leaders focus on improving the suppler Code of Conduct. According to this, the suppliers are responsible to treat employees fairly and provide all the information about the products and services before buying any product. Moreover, this code of conduct is also guides and educates its different supplier to fulfill and satisfy the needs of the customers (Macco). Moreover, there are several types of motivational and encouragement strategies and methods are also introduced by leaders within the company that educate and empower the employees. For example, innovative work culture, training and development opportunities are provided by the company to their employees so that they can fulfill their dreams (Katamba). Moreover, SEED (Supplier Employee Education and Development) program is also developed by leaders that motivate the employees and workers regarding their tasks. For instance, as per this, the company provides opportunities to their work to earn with their bachelor and master degree. On the other hand, it is also analyzed that, leaders is also play a major role in developing an innovative policy related to the Labor and Human Rights. This strategy guides the company to focus on maintain and dealing with the employment issues (Jayasingam, Cheng). For instance, in the global business environment, the company follows and maintains the standards and rules of labor and human rights. In addition to this, leaders are creating regulations and Codes of Practice, establishing Health and Safety Duties, developing duty to protect any person from exposure to hazards and risks that arise from work. Additionally, leaders also introduce innovative diversity policy to maintain the human rights within the company. According to this strategy, company is fully dedicated to avoid unethical hiring. Along with this, leaders also played a key role in developing and creating numerous techniques to diminish the environment issues effectively. Energy efficiency, green product design, environmentally friendly, reduces carbon emission, etc are the important techniques adopted by the company that introduced by leaders within the organizations (Gregoire, Arendt). On the other hand, leaders use participative theory of leadership in order to fulfill their CSR and social responsibility functions. For example, as per this participative theory of leadership, leaders invites the organizational people to take a part in the organizational decision making process. In addition to this, leaders also play a key role in enhancing the workplace skills, roles and abilities of employees. For instance, with the help of participative style, leaders facilitate the conversation and openly shares information and knowledge among the employees for decision-making (Brown, Hallenbeck, Baird). In addition to this, leaders also treats employees equally and fairly and provides fairly and specific workplace opportunities to their employees or management so that they can be able to fulfill their goals and objectives effectively. In addition to this, leaders also play a major role in motivating, encouraging, to the employees to share the innovative ideas (Flynn).Moreover, leaders also try to synthesize all the available information and solutions suggested by the team. For example, workplace problems are also solved by the leaders to the members of organizations by providing them specific and significant ideas, guidelines, and strategies. Leaders also focus on developing strong relations with the employees by understanding their issues and problems effectively. On the other hand, leaders also come up with the best possible solution and communicate it back to the group. Moreover, leaders also effectively communicate with each and every level of employees of the organizations so t hat the organizational long term objectives can be achieved (Alvesson Spicer). In the recent time, the leaders are also working for the overall success and growth of the company by developing and establishing effective business strategies and CSR policies. In addition to this, leaders are also promoting the concepts of sustainability and developing a strong positive and ethical work culture and structure. In addition to this, leaders are also focusing on adopting innovative and new technologies and information tools in order to bring innovation within the organizational business process. Moreover, leaders are also motivating and encouraging their employees to work ethically and in a social responsible manner for the success of the company in an effective and proper manner (Sebastian, Allensworth). At the same time, it is also observed that, to bring the innovation and improve the organizational efficiency, leaders are also introducing new tools and methods. Moreover, corporate strategic vision, mission, long term objectives, and strategies are also modified by leaders for the overall success and growth of the organization. Finally, it can be said that, best and effective CSR, socially responsible practices and strategies are established by the leaders in order to achieve the competitive advantages over the competitors. Hence, it can be said that, the leader is playing a wide range of roles for the total success of the company in the global business environment (Wiest, Eltantawy). Moreover, organizational leaders play a wide range of specific, innovative and significant role in fulfilling the corporate social responsibility functions and objectives. For instance, leaders are also responsible to develop environmental, socially, sustainability policies and strategies within the organizations. In the same way, leaders play specific roles in enhancing the social responsibility. Leaders are also responsible to motivate the employees, to build strong relationships with the outsiders, to ensure the customer satisfaction, and maintain the competitive advantages for the company by adopting and using innovative and specific business and corporate strategies and tactics in an effective and proper manner. Apart from this, leaders are also play key role in demonstrating integrity, encouraging constructive dialogue, creating a shared vision, developing people, building partnerships, thinking globally (Williams). Conclusion On the basis of above discussion, it can be concluded that, leader is a person that influence, affect, encourage, motivate, guides the employees or workers to perform their goals and objectives in an effective and proper manner to fulfill organizational strategic vision and mission. Moreover, a manager is an organizational individual that guides the employees about how to perform their day to day task for the success of the company. In addition to this, several specific roles associated with the CSR, ethics and socially responsible are also performed by the leaders in order to create a unique image of the company in the front of others effectively. Moreover, it is also concluded that, the roles of the leaders within the organizations are not limited to motivation and encouragement. But, they also have to perform certain tasks related to CSR, ethics and socially responsible functions to determine the success and growth of the company. References Alvesson, M., Spicer, A. Critical leadership studies: The case for critical performativity (2012) 65(3), Human Relations 367-390. Brown, T.J., Hallenbeck, R. Baird, M.E. 21st Century Leadership and Management Techniques for State DOTs. USA: AASHTO, 2009. Flynn, G. Leadership and Business Ethics. USA: Springer Science Business Media, 2008. Gregoire, M.B. Arendt, S.W. Leadership: Reflections over the past 100 years (2014) 114(5), Journal of the Academy of Nutrition and Dietetics S10-S19. Jayasingam, S. Cheng, M.Y. Leadership Style and Perception of Effectiveness: Enlightening Malaysian Managers. (2009) 5 (2), Asian Social Science 54-65. Katamba, D. Principles of Corporate Social Responsibility (CSR): A Guide for Students and Practicing Managers in Developing and Emerging Countries. USA: Strategic Book Publishing, 2012. Macco, M. Understanding the Difference Between Management and Leadership. (2000) 43 (1) Research Technology Management, 57-59. Sebastian, J., Allensworth, E. The Influence of Principal Leadership on Classroom Instruction and Student Learning A Study of Mediated Pathways to Learning. (2012) 48(4), Educational Administration Quarterly, 626-663. Vaccaro, I.G., Jansen, J.J., Van Den Bosch, F.A., Volberda, H.W. Management innovation and leadership: The moderating role of organizational size. (2012) 49(1), Journal of Management Studies, 28-51. Voegtlin, C., Patzer, M. and Scherer, A.G. Responsible leadership in global business: A new approach to leadership and its multi-level outcomes. (2012) 105(1), Journal of Business Ethics, 1-16. Wiest, J. B., Eltantawy, N. Mediatization in the Arab World: A Cross-Cultural Comparison of New Media Use. (2015) 5(2), Online Journal of Communication and Media Technologies, 120. Williams, P.L. Developing 21st Century Small Business Leaders Through Formal Mentoring. USA: ProQuest, 2008.

Tycho Brahe Essays - Copernican Revolution, Tycho Brahe,

Tycho Brahe Tycho Brahe Tyge (Latinized as Tycho) Brahe was born on 14 December 1546 in Skane, then in Denmark, now in Sweden. He was the eldest son of Otto Brahe and Beatte Bille, both from families in the high nobility of Denmark. He was brought up by his paternal uncle J?rgen Brahe and became his heir. He attended the universities of Copenhagen and Leipzig, and then traveled through the German region, studying further at the universities of Wittenberg, Rostock, and Basel. During this period his interest in alchemy and astronomy was aroused, and he bought several astronomical instruments. In 1572 Tycho observed the new star in Cassiopeia and published a brief tract about it the following year. In 1574 he gave a course of lectures on astronomy at the University of Copenhagen. He was now convinced that the improvement of astronomy hinged on accurate observations. After another tour of Germany, where he visited astronomers, Tycho accepted an offer from the King Frederick II to fund an observatory. He was given the little island of Hven in the Sont near Copenhagen, and there he built his observatory, Uraniburg, which became the finest observatory in Europe. Tycho designed and built new instruments, calibrated them, and instituted nightly observations. He also ran his own printing press. The observatory was visited by many scholars, and Tycho trained a generation of young astronomers there in the art of observing. After a falling out with King Christian IV, Tycho packed up his instruments and books in 1597 and left Denmark. After traveling several years, he settled in Prague in 1599 as the Imperial Mathematician at the court of Emperor Rudolph II. He died there in 1601. His instruments were stored and eventually lost. Tycho Brahe's contributions to astronomy were enormous. He not only designed and built instruments, he also calibrated them and checked their accuracy periodically. He thus revolutionized astronomical instrumentation. He also changed observational practice profoundly. Whereas earlier astronomers had been content to observe the positions of planets and the Moon at certain important points of their orbits. Tycho and his cast of assistants observed these bodies throughout their orbits. As a result, a number of orbital anomalies never before noticed were made explicit by Tycho. Without these complete series of observations of unprecedented accuracy, Kepler could not have discovered that planets move in elliptical orbits. Tycho was also the first astronomer to make corrections for atmospheric refraction*. In general, whereas previous astronomers made observations accurate to perhaps 15 arc minutes, those of Tycho were accurate to perhaps 2 arc minutes, and it has been shown that his best observations were accurate to about half an arc minute. Tycho's observations of the new star of 1572 and comet of 1577, and his publications on these phenomena, were instrumental in establishing the fact that these bodies were above the Moon and that therefore the heavens were not immutable as Aristotle had argued and philosophers still believed. The heavens were changeable and therefore the Aristotelian division between the heavenly and earthly regions came under attack (see, for instance, Galileo's Dialogue) and was eventually dropped. Further, if comets were in the heavens, they moved through the heavens. Up to now it had been believed that planets were carried on material spheres (spherical shells) that fit tightly around each other. Tycho's observations showed that this arrangement was impossible because comets moved through these spheres. Celestial spheres faded out of existence between 1575 and 1625. Tycho developed a system that combined the best of both worlds. He kept the Earth in the center of the universe, so that he could retain Aristotelian physics The Moon and Sun revolved about the Earth, and the shell of the fixed stars was centered on the Earth. But Mercury, Venus, Mars, Jupiter, and Saturn revolved about the Sun. He put the (circular) path of the comet of 1577 between Venus and Mars. This Tychonic world system became popular early in the seventeenth century among those who felt forced to reject the Ptolemaic arrangement of the planets (in which the Earth was the center of all motions) but who, for various reasons, could not accept the Copernican alternative. Tycho's major works include De Nova et Nullius Aevi Memoria Prius Visa Stella (On the New and Never

Free Essays on Paradigms In Sociology IIIII

The Sociological Paradigms The three sociological paradigms are all part of the sociological theory. More specifically, they are all â€Å"basic images of society that guides thinking and research† (Macionis 14). The three sociological paradigms are the structural-functional paradigm, the social-conflict paradigm, and the symbolic-interaction paradigm. Both the structural-functional paradigm and the social-conflict paradigm are both on the macro-levels, meaning that they focus on broader ideas. All three paradigms are frameworks for building theory (17). These paradigms have distinct differences in what makes each significant. The structural-functional paradigm looks at society as a complex system with all its parts working together. To break it down, structural looks at social behavior and whether there are any stable patterns to it. The functional half looks at how society functions and the consequences of actions taken. Auguste Comte, Emile Durkheim, Herbert Spencer, Talcott Parsons and Robert Merton were all key contributors to the structural-functional paradigm. Auguste Comte associated this paradigm to whether there was integration taking place during social changes. Emile Durkheim used this approach to pioneer a study a study on suicide and found that white, single, rich protestant males were most likely to commit suicide. Another important sociologist was Herbert Spencer. Spencer looked at society as a human body with all the parts of the body work together to keep us alive, just like society. It organizes and identifies all the parts and looks at how they all work alone and then together. Talcott Parsons took and carried the ideas Comte, Durkheim, and Spencer and looked at society as a system. He looked at what it took for society to survive and also how this was accomplished. Robert Merton took a more contemporary approach and expanded this paradigm. He broke down structural-functional and created more t... Free Essays on Paradigms In Sociology IIIII Free Essays on Paradigms In Sociology IIIII The Sociological Paradigms The three sociological paradigms are all part of the sociological theory. More specifically, they are all â€Å"basic images of society that guides thinking and research† (Macionis 14). The three sociological paradigms are the structural-functional paradigm, the social-conflict paradigm, and the symbolic-interaction paradigm. Both the structural-functional paradigm and the social-conflict paradigm are both on the macro-levels, meaning that they focus on broader ideas. All three paradigms are frameworks for building theory (17). These paradigms have distinct differences in what makes each significant. The structural-functional paradigm looks at society as a complex system with all its parts working together. To break it down, structural looks at social behavior and whether there are any stable patterns to it. The functional half looks at how society functions and the consequences of actions taken. Auguste Comte, Emile Durkheim, Herbert Spencer, Talcott Parsons and Robert Merton were all key contributors to the structural-functional paradigm. Auguste Comte associated this paradigm to whether there was integration taking place during social changes. Emile Durkheim used this approach to pioneer a study a study on suicide and found that white, single, rich protestant males were most likely to commit suicide. Another important sociologist was Herbert Spencer. Spencer looked at society as a human body with all the parts of the body work together to keep us alive, just like society. It organizes and identifies all the parts and looks at how they all work alone and then together. Talcott Parsons took and carried the ideas Comte, Durkheim, and Spencer and looked at society as a system. He looked at what it took for society to survive and also how this was accomplished. Robert Merton took a more contemporary approach and expanded this paradigm. He broke down structural-functional and created more t...

Consider the relative contribution of classical and operatn Essay

Consider the relative contribution of classical and operatn conditioning to problem gambling - Essay Example This paper will look at various theories and therapies related with gambling behavior with the focus on conditioning theories. As gambling is becoming a popular activity, the problems associated with gambling are also increasing. Because of this, it has become necessary to do extensive research into the different facets of gambling including the behaviors that influence gambling, the negative effects it can have, and treatment of gambling addicts. Researchers have also tried to classify gamblers into various categories using different criteria. For example, Abbott, Palmisano & Dickerson (1995) classify gamblers as excessive of normal gamblers; Fisher (1993) classifies them as social or pathological gamblers; Gupta & Derevensky (1998) classify them as social, problem, or pathological gamblers; Shaffer et al. (1994) classify them as non-pathological, in-transition, or pathological gamblers; and Vitaro, Arseneault & Tremblay (1999) classify them as recreational, low-problem, or high-problem gamblers. (cited in Blaszczynski & Nower, 2002) These differences in the classification of gamblers have also resulted in non-applicability of a single gambling model to the overall population of gamblers, although there are other various reasons too. A single theoretical model of gambling cannot explain and account for the various biological, psychological and social factors that are related with problem gambling. Problem Gambling Problem gambling can be defined as a "gambling behavior which causes disruptions in any major area of life: psychological, physical, social, or vocational." (The National Council , nd. n.p.) Problem gambling also includes what other researchers like Blaszczynski & Nower (2002) have referred to as pathological gambling. Pathological gambling refers to an enduring and repeated maladaptive gambling behavior, in which the gambler cannot control the desire to gamble, which may bring harmful psychosocial results: personal, familial, financial, professional, or legal. (APA, 1994; cited in Blaszczynski & Nower, 2002) Because of his inability to control his gambling behavior, a problem gambler may harm his own self, his family or the community. For example, a problem gambler will give priority to his gambling habits over his family's needs, and therefore, will not care about destroying his familial life as a normal person would care. There are some symptoms that are commonly found in problem gamblers although they do not necessarily mean that a person is involved in problem gambling. These signs include but are not limited to headaches, back pain, insomnia, ADHD, anxiety. (Tessier & Ballon, 2003) It is recommended that when such orders are frequently found in a patient, a physician should test him for problem gambling. Classical and Operant Conditioning Classical conditioning revolves around the concepts of stimulus and response. A stimulus is anything that brings a response in the subject. A response is a reaction that is brought by the

An Election of Monumental Change Essay Example | Topics and Well Written Essays - 1000 words

An Election of Monumental Change - Essay Example A "hot button" issue for many in the United States is the ongoing Us-led conflict in Iraq which has been going on since March 2003. This is one of the areas which Senator Obama has wished to distinguish himself from his other Senators in that unlike Senator's Clinton and McCain, Obama has not given as much leeway in the form of senatorial votes in favor of President Bush's defense budget, while on the other hand both Senator Clinton, as well as Senator McCain, have voted in both sides of the issue. In an era where the American people are looking for hope and this year looking to elect a new President, the two candidates to observe are Senator Barak Obama of Illinois and Senator Hillary Clinton of New York. Since the September 11, 2001 terrorist attacks, the US has taken it upon itself to adopt a pre-emptive measure as it comes to defending itself, as well as defending its role in international relations with the rest of the world. ... from the start, he says there is "no military solution" to the situation in Iraq," Adding that, "In January 2007, Obama proposed the Iraq War De-Escalation Act of 2007, which would reverse the troop surge and redeploy U.S. troops to Afghanistan and other locations in phases. He favors more funds for U.S. military equipment like night-vision goggles and reinforced Humvees, though his recent refusal to sign a war funding bill came under criticism from presidential aspirant John McCain (R-AZ), who, among other things, accused the senator of misspelling "flak jacket." Under Obama's plan, there may be a residual troop presence (NYT) in Iraq for security and training purposes. His bill has not yet been voted on," (CFR 3/18/2008). In regards to Senator Clinton, her candidacy comes with the inevitable comparison, as well as what some would call "baggage", from the 8 years in office which her husband spent. "Sen. Clinton (D-NY) supported the invasion of Iraq at its advent, but now opposes it and claims that as president, she would end the war. Clinton opposed the 2007 escalation of the war. In early 2007, Clinton proposed the Iraq Troop Protection and Reduction Act. That bill, which would have prevented an increase in troops in Iraq above the level of January 1, 2007, had no cosponsors and never reached a vote," Elaborating further that, "Clinton also opposes the establishment of permanent military bases in Iraq, although she, like Biden, does expect there to be a need for a "reduced residual force," perhaps stationed in Iraqi Kurdistan, even after troop redeployment. Clinton cosponsored Sen. Joe Biden's Iraq War Policy resolution in January 2007. In 2002, Clinton voted in favor of the invasion of Iraq, and has been widely criticized for her refusal to apologize for that

The ways in whih characters adapt to the changing circumstances of Essay

The ways in whih characters adapt to the changing circumstances of their lives - Essay Example In John Steinbecks novel, East ÃŽ ¿f Eden, the characters are unusual, realistic, and interesting, all which contribute to the appeal ÃŽ ¿f the novel. These characters appeal to the reader, and the reader is able to sympathize with most characters, from the most upstanding citizen to the ruthless seductress. Faye, although the owner ÃŽ ¿f a whorehouse, is depicted a respectable, honourable woman, by the description Steinbeck gives her. Although she owns a whorehouse, she has made it the cleanest, and in many ways, the best whorehouse ÃŽ ¿f all the others around her. Steinbeck regards her as being a good citizen, and a moral person. All ÃŽ ¿f the girls who work in her whore house respect Faye, and look up to her. As the interaction between Kathy and Faye persist, many ÃŽ ¿f the girls who work at Fayes become fearful ÃŽ ¿f her safety. Kathy slowly poisons Faye, and when Faye dies, the tone at the whorehouse drastically changes, as the girls become more suspicious ÃŽ ¿f Kate. Faye, being the good person that she was, loved Kate, and left her business to her. When Kate took over, the girls suddenly live in fear ÃŽ ¿f Kate. Kate is probably the most interesting, and gripping character in East ÃŽ ¿f Eden, due to her sedectiveness, and her evil personality. In Steinbecks first description ÃŽ ¿f Kathy he depicts her as a victim ÃŽ ¿f genetics. It was just a mere coincidence that such an evil human arose from her two good parents. The reader can sympathize that she is a victim ÃŽ ¿f nature, a common trait ÃŽ ¿f realism. Her actions are merely a result ÃŽ ¿f here natural instincts to be bad. Her character is the most complex in the novel. Her most interesting aspect is her reaction to alcohol, another interesting trait that draws the reader in. Her actions shock the reader, her boldness and independence was a reflection ÃŽ ¿f the womens movement that is still a major appeal to the women ÃŽ ¿f today. The introduction ÃŽ ¿f Kathy in chapter 8 was a turning point in the novel, since her

Has Globalisation Changed The Disposition Of Music Cultural Studies Essay

Has Globalisation Changed The Disposition Of Music Cultural Studies Essay To begin with the globalisation of music, we will have to understand that Intuitively, globalization is a process fuelled by, and resulting in, increasing cross-border flows of goods, services, money, people, information, and culture (Held et al. 1999:16). Sociologist Anthony Giddens (1990:64; 1991:21) proposes to regard globalization as a decoupling or distanciation between space and time, while geographer David Harvey (1989) and political scientist James Mittelman (1996) observe that globalization entails a compression of space and time, a shrinking of the world. The discourses over globalization of music constructed over these debates of Giddens and Harvey. When we talk about globalisation, we are in a sense talking about unity of the states across the globe. How this unity is brought up? Then how does it link the states together? What are the major contributors in this unification process? Along with a myriad of intellectuals I will also sum- up with an answer, global- culture. However, it is one of the measures required for the unification process. One set of theorists, who are pro-global- culture say, that the global culture is making the world closer and more united. The people of the world are combining their differences and being more cooperative towards one and other. This process of emerging global culture can be seen in times of need when everyone has pulled together to strive for peace and freedom. Although, there exists a wide range of religions of which people are becoming tolerant, forming a homogenised society. If we say that the global culture is the synonym of the common culture, then there are wide range of opinion on it. Wight uses the term common culture so loosely that it is unclear whether he has in mind a deep, historic sense of culture, or the more superficial agreed rules that compose a contractual society. (James 1993: 277-8) Alan James, System or society?, Review of International Studies 19: 3, 1993. I argue that to certain extent global culture is a common culture among the people of the world. Worldbeat is a term for various styles of world popular music, or pop, that are practiced outside the European-American mainstream. The Popular music (music produced and marketed on a mass-commodity basis) first emerged in the early 1900s, during which time numerous distinctive popular music styles began to develop around the world. The rise of such genres was linked to dramatic transformations-especially urbanization and modernization-occurring throughout the world. Such changes disrupted traditional attitudes, lifestyles, and forms of artistic patronage, while creating new urban social classes with new musical tastes. As per Terence Lancashire, The term world music usually conjures up images of musics from remote corners of the world. However, that remoteness is not always geographical and can. The formal emergence of world music in 1987 as a commercial gloss denoting a body of music which hitherto defied conventional categorisation namely musics other than popular and classic forms from North America and Western Europe or, alternatively, the incorporation of such musics into Western popular genres, has met with a variety of responses from musicologists/ethnomusicologists seeking to clarify the dynamics that underlie the production and reception of world musics and the related and sometimes indistinguishable genres of new age and healing. Regional case studies and overviews (e.g. Frith 1991; Keil and Feld 1994; Taylor 1997) often draw attention towards the relationship between the West and the rest where production and presentation of non-Western music has often meant some form of Western control in terms of discovery, production, marketing and distribution. Accusations of cultural exploitation and appropriation have, therefore, often run central to the debate on what appears to be yet another dimension of that unbalanced and uneasy relation between the first and third worlds. In reality, the question of who is exploiting whom is often a complicated one as non-Western musicians find access to markets hitherto only dreamt of. Nevertheless, in order for such musical projects to be realised, financial backing is essential and it is here that resources are, more often than not, concentrated inthe West. Thus, a music flow from south to north and east to west seems to define the world music equation. Yet, there are other players who, through cultural ambiguity, occupy an alternative arena less easily defined. Economic development in the Far East, coupled with rapid modernisation, has meant the emergence of countries which share similar economic goals, cultural interests and perce ptions with the West but, resulting from other cultural differences, most obviously language, are not so often included in debates on musics both popular and world. (Lancashire: 21) Globalisation, which generally implies westernisation and the Asianisation of Asia, is often posited to be a culturally, economically, technologically and socially homogenising force in the distribution of music, whilst localisation refers to the empowerment of local forces and the (re)emergence of local music cultures. These two notions of globalisation and localisation seem to be mutually contradictory, posing a fundamental dilemma for the understanding of the transformation of popular cultures into global forms. As argued by Law (forthcoming), the debate between globality and locality, or between homogeneity and heterogeneity in globalisation discourse, could be regarded as a product of similar antagonisms in the literature of development concerning theories of modernisation, dependency and world systems. Although there is no clear definition or model of globalisation (Hirst and Thompson 1996), its discourse attempts to theorise the phenomenon in terms of The temporal and spatial compression of human activities on the globe, to recognise, explore and explain the interaction and interdependence of economics, politics and cultures beyond local, regional and national boundaries, and to predict possible influences on human activities (Law, forthcoming, also see, for example, Featherstone 1995; Comeliau 1997; Poisson 1998; Jones 1999; Crawford 2000; Croteau and Hoynes 2000). Cohen (1995) suggests that locality could be most usefully used in popular music studies to discuss networks of social relationships, practices, and processes extending across particular places, and to draw attention to interconnections and interdependencies between, for example, space and time, the contextual and the conceptual, the individual and the collective, the self and the other (p. 65). In this respect the local is defined by reference not only to a community, but also to a shared sense of place within global culture. Globalisation promotes the meeting of musical cultures, whilst sim ultaneously encouraging regional differences. Local popular industries perceive their potential audience in international terms, and local pop markets are now awash with global sounds, since, as Wallis and Malm (1984) maintain, globalisation encourages popular musical practices to look towards global styles for possible inspiration, whilst also looking inwards to (re)create national music styles and forms. For decades, critics have depicted the international circulation of American and British pop as cultural imperialism. Yet US-American and British youth have increasingly been shaped by Asian cultural. Similarly, there is wide-spread recognition of the willingness amongst popular musicians to create novel forms that express a widespread experience of dislocation (Jenkins 2001, p. 89). For example, contemporary Afro-pop sometimes combines the electric guitars of Western rock and roll with melodies and rhythms of traditional African music, whilst Western rock drummers have long adopted a tradition from Africa whereby the sounds of different drums are combined (Croteau and Hoynes 2000, p. 333). Jenkins (2001) describes such musical eclecticism as the product of third culture youths, who fuse elements from mixed racial, national or linguistic backgrounds. Although the big international music companies affect local production, their markets are also influenced by particular local cultures. So, globalisation signifies more than environmental interconnectedness, and the meaning of musical products with global features strikes at the heart of the major social and political issues of our time. This is how Bennett (1999) represents the attempts to rework hip hop as a localised mode of expression by Turkish and Moroccan youth in Frankfurt. Economic globalisation is often con sidered to undermine the local foundations of the popular culture industry. The flow of capital through transnational monetary tems and multinational companies means that words, ideas, images and sounds of different cultures are made available to vast networks of people through the transmission of electronic media. Among the most prominent multinational electronic media companies are two Internet partnerships MusicNet, involving AOL, RealNetworks, EMI, BMG and Warner; and Duet, incorporating Yahoo!, Universal and Sony. The two most recognised online music providers so far, Napster and MP3.com, have also linked up with record companies (Source: http://www.grayzone.com/ifpi61201.htm). Furthermore, the international division of labour and the global circulation of commodities have ensured that processes of production and consumption are no longer confined to a geographically bounded territory. Consequently, economic globalisation has been characterised as the deterritorialisation. ( H o: 144) (Appadurai 1996) or denationalisation (Sassen 1996) of nation-states. Global economic forces reside in global networks that link different nations and cultures in profit-maximising webs of production, leading to the transformation of all sectors of all state economies and their mutual accommodation in the global context (Crawford 2000, pp. 71-2). Negus (1999) maintains that the global market is a concept that has to be constructed in a particular way to target the most profitable categories of music within the recording industry (p. 156). However, as we have seen, the (re)emergence of local cultures competes with global factors in a process that Morley and Robins (1995) refer to as the new dynamics of re-localisation in The attempt to achieve a new global-local nexus, about new and intricate relations between global space and local space (p. 116). Levitt (1983) explains that localisation is practised by multinational companies insofar as they must have a committed operating presence in the markets of other nations. However, electronic communications have also enabled the global broadcasting of messages of universal peace and love, and, in the case of www. indymedia.org, have even served as anti-capitalist noticeboards. Anderson (1983) suggested that the nation depends for its existence upon a sense of social- psychological affiliation to an imagined community, which was facilitated by the emergence of the mechanical printing press and consequent capital investment (Negus and Roman-Velazquez, 2000, p. 330). Similarly nowadays, global electronic communications can evoke a sense of a trans-national imagined community. In music, an example can be well illustrated by the 11 September 2001 tragedies in New York and Washington D.C. The US-American national anthem was thundered Not only all over the States but also in other countries, such as at St Pauls Cathedral in London. Whitney Houstons record company intends to re-release her version of the US-American national anthem that was produced ten years ago during the Gulf War. International popular artists such as U2, Britney Spears, Limp Bizkit and Destinys Child, worked together for the album Whats Going On, the market profits from which will be donated to funds for the relief of the families of victims of the tragedies of September 11. John Lennons Imagine, which evokes a world free from all state boundaries, has now become popular even in some non-English speaking regions, and was sung by all the artists involved in the Carlsbergs Rock Music Concert held in Hong Kong on 24 September 2001, who also prayed for those who died in the disaster two weeks earlier. Globalisation and localisation are in a dynamic dialectic. Globalisation is a process of local hybridisation that determines a great number of processes that change and even transcend the regional and national characteristics of popular music. Current debates about globalisation in popular music show that local actors become increasingly involved in global flows of meanings, images, sounds, capital, people, etc. Through the technology of global networks, new affinity group formation emerge, centring on particular musical styles and ways of expression. Economic globalisation always has cultural effects on the localisation of popular music. (Ho: 146) Hudson and Cohen bring out the detail of local musical cultures, the way in which music, produced through and producing space, may act as social glue.(431) Does globalisation of music produce convergaence? The very first argument for the present paper is the consequences of the globalisation of music as to the convergence of societies towards a uniform pattern of cultural organization. AS expressed in modernization theory, the spread of markets and technology is predicted to cause societies to converge from their preindustrial past, although total homogeneity is deemed unlikely. The sociologists reject the convergence debate by arguing that globalization homogenizes without destroying the local and the particularistic. For example, Viviana Zelizer (1999) about the economy that it differentiates and proliferates culturally in much the same way as other spheres of social life do, without losing national and even international connectedness. Robertson (1995:34-35) sees the global as the linking of localities. Issues of music getting de-territorialised Other argument is that the original is getting lost in the wake of globalisation. Other sets of arguments which emerge from this view are : How do listeners identify music with a particular place? The evolution and geographic distribution of instruments, use of specific melodies or scales, and existence of common rhythms are some key characteristics that help define and limit the territorial range of a music. How common traits can provide telltale clues about where a form of music originated and how it spread? How can music retain its association with certain places in an increasingly global society? If these questions could be answered the music could be retained as intact. IDENTITIES: Music and its origin Other argument flows that in a globalised village, where is the identity of the music? Four basic positions are highlighted in the successive integration of both MUSIC and identities, from separation to fusion: demonizing exclusion, primitivist polarization, diversifying hybridization and normalizing assimilation. Lomax also states that due to the widespread distribution of industrialized music and the loss of music that exemplifies cultural aspects and characteristics, civilizations are not maintaining a sense of national pride and identity. Without these distinguishing lines, Schiller states that at one time it was cultural diversity that flourished, and now we are witnessing the diffusion of such a process, if such a process of cultural breakdown were to keep evolving, we would have to face a global consumer monoculture. AMERICANISATION: Westernisation or polarisation of music Another argument of the discourses on the globalisation of music is that the music which is going global is by and large Americanised. One of the major fears associated with the globalization of music is the creation of a global monoculture. Barlow investigates how the global monoculture has infiltrated every corner of the earth. He feels that North American corporate culture, including the music industry, is destroying local tradition, knowledge, skill, artisans and values. Specifically artisans have been affected through the fact that the product that they have tried to market has been outdated and overrun by the popstar garbage that has taken over the world and destroyed cultures. The premise of Barlows argument finds that this is corporate America is not only destroying traditions, but it is burying a cultures overall identity. As best said by Nawal Hassan, a Egyptian artisan activist, This is an issue of identity. All our civilizations has ceased to be spiritual. Our civilizati on has become commercial. (Barlow 2001) I came up with the view that People arguing over the loss of a nations cultural identity, the terror of westernization, and the reign of cultural imperialism. Through topics such as these we explore the possibilities or the existence of hybridization of cultures and values, and what some feel is the exploitation of their heritage. One important aspect that is not explored that such influences can also be more than just a burden and an overstepping of bounds. These factors can create an educational environment as well as a reaffirmation of ones own culture. With the music being the highly profitable, capitalist enterprise that it is today, it is no wonder that it is controlled and regulated by a few large conglomerates. COMMERCIALISATION: Consumerism of music Another issue of debate is that the transnational corporations are making money on music, whether the music is twisted or re-mixed. So it is a kind of threat on the originality of the music. Growth of a profitable and varied music services industry producing everything from remixes to music marketing strategies. Standing at the forefront of this growth industry are a large number of firms attempting to combine in innovative ways music and ICT. This can take a variety of forms, for instance: selling and distributing music over the internet; web design and computerised advertising services tailored to music products; software design focused on multimedia products and virtual instruments; high-tech post-production and mixing services; and virtual centres and communities of music industry actors. Brunnette in empirical studies of market concentration in music (1990, 1993),reports that seven corporations together controlled no less than 50 percent of market share in any country where they had operations and up to 80 percent in some countries (199:104-5).The seven corporations, with their nation of origin and reported 1990 sales, are:Sony (Japan, $3 billion), Time/Warner (U.S., $2.9 billion),Polygram(Netherlands/Germany, $2.6 billion), Bertelsmann Media Group (Germany, $2 billion),Thorn/EMI (U.K., $1.88 billion),MCA(U.S., $1 billion), and Virgin (U.K., $500 million), total 1990 sales $13.88 billion (1993, pp. 141-143).With no. such as these it is nearly impossible to deny the fact that these companies do not have a great affect on the influence of music and media that they distribute. Conglomerates not only run the market for music,but determine which music is to be distributed and to where, therefore pushing an idea or culture onto a nation. Seeing that westernization has beco me a industry term for many businesses it is surprising that recently much of the profit that has been received from music conglomerates has been non-U.S. artists. The contemporary music industry The making of music is not only a cultural and sociological process but an economic one. However, economic geography perhaps because of a lingering productivist bias has yet to undertake a serious appraisal of the dynamics of the music industry (see Sadler 1995). Trends of globalization, internal corporate restructuring and global-local relations are, however, as evident here as in other sectors. In 1992, the music industry generated worldwide sales of US$29 000 million, dominated by just five major global corporations: Warners, Bertlesmann Music Group, Polygram International Group, EMI-Virgin and Sony. Seventy per cent of world record sales were generated in just five national markets, each dominated by the majors which between them captured 73 per cent of sales in the USA (31 per cent of the global market), 60 pe cent of sales in Japan (15 per cent), 90 per cent of sales in Germany (9 per cent), 73 per cent of sales in the UK (7 per cent) and 87 per cent of sales in France (7 per c ent) (Monopolies and Mergers Commission 1994). (Leyshon. Mayshell, Revill: 427) Music and traditions? The music is a tradition? It is another issue of debate. Because there are other instances which suggest that sometimes the popular music of a place was against the traditions. In some cases, as with jazz, Greek rebetika, and the Argentine tango, the emergent popular music styles came from the colorful underworlds of urban taverns and brothels. As such styles grew in sophistication, they came to attract the interest of cultural nationalists and middle-class enthusiasts. Eventually these styles shed their less reputable origins and developed into dynamic national genres. Powne (1968:vii-viii) referred to a debased or Westernized music in Ethiopia, and Price (l930a; 16) to the slovenly and immoral music called jazz, which he regarded as crude, negroid in form and vulgar. Even the sensitive scholar Kunst referred to the partially Western-derived genre of Indonesian kroncong as a monotonous and characterless wail,listing it as one of the causes why the native is either dying away or dege nerating (ibid.) Some writers have indulged in a romantic zeal to save traditional music everywhere from the contamination that was often supposed to result from musical contact between the West and the non-West. Fryer (ibid., 482) laments cuts in musical education, For Fryer, the environment of pop is an anti-culture with universally commercialized African rhythm undermining the universal cultural standards of the classical wester canon. For Bunge, the new and global is to be celebrated because it is popular and young; Fryer (ibid, 482) chastises a resurrection by a professed radical of the discredited economic doctrine of consumer sovereignty. (Leyshon. Matless, Revill: 424) Caroline Bithell says, The world music marketplace opens up a new area of representation of a culture by its own participants, while the high density of recording in its turn stimulates an increased preoccupation within the culture with questions of musical identity, all of which provides fertile ground for ethnomusicological research. The ensuing detective work is aimed not at flushing out cases of inauthenticity, but at uncovering ever more pieces of a multi-dimensional jigsaw rich in unexpected meetings and happy accidents and documented in different ways by field recordings and commercial recordings alike. While some of the groups identify themselves completely with the notion of the tradition, regardless of what they are actually doing in practice, others are quite clear that they are simply doing what they want to do and resent the imposition of the spectre of tradition as a restrictive framework (e.g. Minicale interview 1994). They do not in any case view the tradition as some thing fixed this can only lead to ossificationbut as a continually evolving organic entity which needs to find contemporary forms of expression (e.g. Poli interview 1995). (Bithell: 61) They feel that they should not be held to ransom by the notion of tradition or More precisely by other peoples perception of their tradition. (They remain concerned, nonetheless, that they should be seen as being grounded in the tradition.) What is at stake is not what is done but the way in which the traditional label is appropriated. At the same time, the concept of tradition itself is clearly flexible and contested and does not necessarily imply either great age or superior status. (The alternative designation popular does not share this problem but, in the modern media age, creates new difficulties. It also fails to bestow a sufficiently elevated aura.) There is also a danger of idealising or romanticising the workings of the oral tradition where songs were passed down directly from one generatio n to the next. In reality, the process did not always run smoothly. Some older singers were jealous of their repertoire and reluctant to pass on their secrets to younger singers. In many places, singing remained the prerogative of the older men (Sarrocchi interview). The availability of commercial recordings means that some of these human difficulties can be by-passed and the younger generations of singers can empower themselves as and when they are ready to do so.( Bithell: 62) Globalisation of music J. Mc Gregor Wise : Music is a landscape in which people negotiate their identities. There is prevalent a view that the growing ease with which capital and commodities cross international boundaries will serve to erode and perhaps even obliterate that which might be considered local. This particular conviction invokes a range of starkly different political responses. On the one hand, there are high modernists like Anthony Giddens who foresee that individuals will be enabled increasingly to transcend the strictures of the local in order to participate in what is understood as the rather richer environs of a global community forged out of the communications revolution (Giddens 1991, pp. 1467; 1998, p. 36). On the other, there is a swelling band of critics who fear that globalisation entails simply the homogenisation of cultural practice and taste. These anxieties are captured best perhaps in the lucid polemic of Naomi Klein (2000). While the contention that trans-national forces are inexorably eroding that which is particular to given societies exercises considerable a ppeal, it has of course been challenged in various quarters. Some social scientists have sought to suggest that the process of globalisation will not in fact impose homogeneity but rather will illuminate and foster the local. This particular reading of contemporary social trends finds an especially keen illustration in a new book by Andy Bennett. In Popular Music and Youth Culture we encounter a distinctive conception of the ways in which the social world is experienced and understood. The author sets out to challenge the view that popular music constitutes a cultural text that has a meaning independent of its audience. Social actors are not Bennett insists mere cultural innocents who passively consume the wares of the music business. On the contrary, he argues, people are in fact reflexive agents who interpret and appropriate popular music in ways that are critical and creative. As a consequence, the meanings of musical texts should be acknowledged not as singular and given but r ather as plural and contested. The particular reading advanced within Popular Music and Youth Culture insists not only that social actors engage critically with popular music but that they do so principally in the context of the local. This is defined throughout the text not as a demarcated physical space but rather as a set of discourses. The specific discursive practices through which the local is called into being are, Bennett asserts, intimately associated with the production and consumption of popular music. Those musical texts that originate elsewhere are routinely read through sensibilities that emerge out of a specific understanding of place. These particular sensibilities are themselves, however, heavily influenced by exposure to musical texts that originate else- where. Looking at musicalised forms of social practice would seem to suggest, therefore, that the relationship of the global to the local is a complex one not of dominance but rather of dialogue. (See Willet : rev iew) African American musical adaptations formed the roots of blues, jazz, and other genres of modern music in the United States. But elsewhere in the Americas, especially in the Caribbean and Brazil, drums remained integral to the black musical tradition. In these areas, African music has mixed with both indigenous and non-African traditions to produce a variety of musical styles, including calypso and reggae. Further Andrew Leyshon, David Matless, George Revill, talk about universal and national music. Shepherd, the assumed fixed criteria against which all music can be judged are rooted in the musical languages of ruling groups privileging the classical over the popular and the masculine against the feminine. Such cultural distinctions were brought to bear both within and beyond thewest.n Leppert and McClary (1987, xviii) show how such formulations have legitimized western sophistication and complexity against the primitive and suggest that ethnomusicological questioning of music and society has been acceptable only when applied to other cultures: recognizing that other musics are bound up with social values does not necessarily lead to the conclusion that our music likewise might be: more often it simply results in the chauvinistic, ideological reaffirmation of the superiority of Western art, which is still widely held to be autonomous.

Hamlet: Essay On Act I :: Shakespeare Hamlet Essays

Hamlet: Essay On Act I         Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Act one of HAMLET   is an excellent introductory act.   Shakespeare establishes atmosphere, by introducing the major characters, the role of the supernatural, the revenge plot, the love plot, and the contrast of the Fortinbras plot, as well as Hamlet's fiegned madness.   Through his unique writing style, Shakespeare sets us up for the rest of the story, and captures the reader's attention, making him want read more.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Shakespeare establishes the atmosphere of the play, in scene I.   The scene takes place in Elsinore, on a platform before the castle.   The atmosphere is one of dark battlements, and nervous sentries, which catches the audiences attention right away.   As the bell tolls twelve on a frosty night, a silent ghost of the late King Hamlet apperars twice.   This provides one of the high points of the scene, along with this, Shakespeare presents the reader with information, regarding the military preparations in Denmark.   All of this provides for a dark, mysterious atmosphere, where the reader is wanting to know more.   Shakesperare continues to establish atmosphere in scene III.   In this scene, atmosphere of a diferent kind is created. This scene is a family scene, in which brotherly, and fatherly advice creates an atmosphere quite different from that of the appearance of the ghost and the problems of Hamlet and his relatives.   This creates an atmosphere of love, and betrayall, whereby Ophelia is forced to obey her father Polonious, and is told to be careful with Hamlet, as he is a prince, and will not look to marry just anyone, such as herself. Shakespeare continues to develop atmosphere throughout the act, and uses the atmosphere to introduce some of the characters in the play.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Shakespeare introduces some of the major characters in the play, and leaves lasting impressions of each on the reader.   Bernardo, and Francisco are introduced in the first scene, as officers watching their posts, but it is Horetio that leaves the greatest impression, as he is described as a well educated scholar, and seems to have great importance to the development of the play. In scene II, Claudious, the present King of Denmark is introduced.   He is the uncle of Hamlet, and just so happens to be masrried to Hamlet's mother, creating a definate first impression.   Hamlet is aslo introduced, and the impression perceived is one of a troubled individual, who is grieving his father's death, and is angry at his mother for marrying his uncle Claudious. Ophelia, Hamlet's girlfriend, and the daughter of Polonious is introduced in scene III.   She is described as a rather affectionate, but rather docile

Mobile Phones Have Improved Our Lives in Every Way

MOBILE PHONES HAVE IMPROVED OUR LIVES IN EVERY WAY We live in the era of smart phones and not that smart people. Are mobile phones really necessary or are they just toys that think instead of us and help us escape from our boring lives? On one hand mobile phones are very beneficial. Thanks to all intelligent technological tools, you can call or text anyone you want, even if they are not close. You can call the emergency if you are stuck in an accident.In addition, one of the perks is definitely the internet access which you can reach wherever you are. Whether you are waiting for someone to come and are bored, you can listen to music. Nowadays you do not have to carry and agenda with you, because this sophisticated apparatuses remember all the appointments and reminders you might forget. On the other hand, you can easily get distracted by mobile phones, what sometimes can lead to obsessions. Not to mention the radiation and its consequences which cause infertility and many other healt h risks.Is it not sad when you meet and old friends of yours for a coffee and you both end up hanging on the mobile phones and become extremely anti-social? All in all, technological phenomenon of modern time are one of the greatest discoveries so far and our lives would never be the same if they did not exist, because they have made our lives easier in every single way. I believe that the benefits of using mobile phones outweigh the disadvantages, but only if the usage is under control. Therefore, we must not let them use us, we must use them!

How to Overcome Makeshift Marketing CoSchedule Buyers Guide

How to Overcome Makeshift Marketing Buyers Guide Marketing  departments are busy places. Everyone has too much to do, and not enough time. Plus, there are always competing deadlines to meet, metrics to monitor, and channels to manage. None of this makes keeping teams organized any easier. In fact, sometimes, it feels downright impossible. Naturally, most marketers rely on a variety of tools to keep things under control. From planning to execution to measurement, there’s a tool or ten for everything. They’re supposed to make life easier. They’re supposed to make marketing management feel, well, manageable. Except they don’t. Not as well as you’d like, at least. Everything feels scattered, and your disjointed workflows don’t seem to work at all. So, what gives? In an ironic twist, your tools could actually be killing your marketing team’s productivity. Fortunately, this problem has a name, and you can fix it. How to Overcome Makeshift Marketing: The Buyers GuideWhat Is Makeshift Marketing (And How Does It Hold You Back)? Marketers often do marketing with non-marketing tools. Like spreadsheets. Too many spreadsheets. For everything. Or, they choose single-solution tools that do one thing †¦ but don’t integrate with other software. This is what we call makeshift marketing, and it’s no way to work. What makes this approach so painful? It makes developing efficient workflows impossible. Switching between multiple tools that don’t sync with each other leads to a lot of tab-switching. It necessitates a lot of inefficient hacks and workarounds. Tedious copy-and-paste processes aren’t fun, and they leave too much room for error. It makes collaboration feel like a trip to the dentist. Clunky tools lead to clunky processes that lead to dreading going into the office. Fortunately, there’s a better solution out there: . Free Pitch Deck: Are you sold on but need help educating your team? Grab your free slide deck to pitch to your boss. What Is ? is the  industry-leading marketing suite  that brings all your content, social, asset management, email, and marketing project management tools together on one unified platform. It’s mission control for your marketing team, making it easy to plan and execute your entire marketing strategy. In short, it’s the all-in-one answer to makeshift marketing. Could makeshift marketing be blocking your marketing teams productivity?Who Is For? Anyone in marketing who needs to get organized. That includes †¦ Professional Marketing Teams Keeping in-house teams focused and collaborating effectively isn’t easy. With , managing everything from small projects to full-fledged multi-channel campaigns isn’t only possible, but it might actually be fun. Learn More: For Professional Marketers: One Calendar to Rule Them All Marketing Agencies Instead of managing multiple clients with multiple tools, get all your clients into . You can finally stop trying to manage tons of different platforms and get everyone on the same page. Learn More: For Agencies: Every Client. Every Project. One Platform. Small Businesses SMBs have enough things to worry about, without worrying about keeping marketing organized. Our marketing calendar keeps things together so business owners and small business marketers can spend their limited resources doing work that matters. Learn More: For Small Business: The #1 Marketing Calendar For Your Growing Business and Keeping Your Sanity Solopreneuers When you’re a solo marketer, you’re responsible for everything that needs to get done. Fortunately, there’s one tool built to keep your life in order, so you can focus on building your business. Learn More: For Solopreneuers: The #1 Editorial Calendar For the Solopreneuer Who Does Everything Universities When managing marketing campaigns and communications across multiple departments, there’s a lot that can do wrong. That’s why top schools like American University and the University of Georgia depend on to keep everything organized in one place. Learn More: For Higher Education: Mission Control For Higher Education Teams Why Use ? Most marketing teams use a wide array of tools to get work done: Editorial calendars  to plan pieces and content themes in advance. Google Calendar  to manage meetings and events. Social media management platforms  to wrangle multiple networks. Email platforms  to schedule and deliver newsletters. Spreadsheets  to build reports. More spreadsheets  to track project progress. Yet another spreadsheet  to store future marketing ideas. †¦ too †¦ many †¦ spreadsheets. You have nightmares about endless color-coded columns. Analytics platforms  to prove your work is driving results. Communication apps  to keep inner-office chatter out of your inbox. Numerous publishing and execution tools  for different types of content. Note-taking apps  for storing memos and documentation. Project management tools  to keep creative teams organized. If that sounds like a lot of software, this list is only scratching the surface. Here’s a visualization of the martech landscape from back in 2011: Of course, the marketing industry has matured since then. The number of tools we have to choose from has grown accordingly. Here’s a similar visualization from 2017: That is an overwhelming number of tools and services to choose from. If looking at this makes you feel like popping an aspirin, you’re not alone. But, the market has grown because marketer’s needs have grown. We have more options for more specialized solutions than ever. In theory, this should make life easier, right? The answer is a resounding â€Å"kind of.† Marketers are still left using tools that weren’t made with marketers in mind. To make matters worse, purpose-built marketing solutions often don’t integrate with one another, either. This means: Marketing tool stacks are disconnected. When tools can’t talk to each other, keeping things organized gets difficult. Inefficient tools lead to inefficient work. For marketers, time is money, and time wasted due to tools that don’t scale is unacceptable. Managing projects and campaigns across multiple tools increases odds for errors. Copying and pasting content out of a static calendar into a CMS? Tracking progress between a spreadsheet and two team management apps? The more manual effort required to move data, the more opportunities exist for things to go wrong. Referring back to the marketing tool map above, it all leads to one question: Do you really need (at least) one tool from each of those product categories? With so much work to do and software to manage, marketing teams need one version of truth to guide them. Something that can consolidate the tools they use most day-to-day. A platform that’s actually built for marketers. One that can replace copy-and-paste processes and end the tyranny of countless spreadsheets. That platform is . Im replacing my copy-and-paste marketing processes with @How Can Help Beat Makeshift Marketing? is built to empower teams to push past makeshift marketing for good. Let’s take a deep dive into some key areas where streamlining marketing workflows with makes more sense than doing things the old-school way. One Place to Start Every Project With a makeshift marketing approach, projects live in several different tools. That makes it tough to know where to look, for what, and when. With as your team’s go-to marketing hub, you have one place to start planning every project and campaign. Visualize your entire marketing strategy. With Custom Content Types, mapping out every piece of content you’re working on it simple. See every project and campaign on one calendar. becomes your marketing team’s single version of truth  to see what’s ahead. Stop switching tabs between multiple apps. Eliminate confusion over which projects live in which app. Bring them all home into one cohesive marketing hub. With @as your team’s go-to marketing hub, you have one place to start planning everyOne Place to Manage Every Workflow From planning to execution, managing marketing workflows  isn’t easy. There are plenty of ways things can go wrong. Odds are, you’ve experienced a lot of them yourself. Part of the problem stems from tools that aren’t built to support smart marketing workflows at all. That’s why is designed to organize every phase of your marketing processes. Communicate. With Discussion Threads, you can keep all communication attached to every project and piece of content. No more missing messages or email threads. Collaborate. Pass comments, exchange files, and manage version control. Create. With key integrations, you can execute everything in one place. @is designed to organize every phase of your marketing processes.Content: One Unified Editorial Calendar. enables teams to manage every project on one calendar. This gives everyone full visibility into all your marketing efforts. No more missed deadlines or last-minute surprises. It’s also easy to drag and drop entries from one day to another. Plus, with our WordPress integration, you can schedule blog posts to publish automatically. Write content in Word, Google Docs, or the built-in text editor, and you can even convert your docs directly into WordPress posts, or convert and download them as HTML (to be imported into another CMS). @enables teams to manage every project on one calendar. Heres how:Social Media Marketing: Schedule. Publish. Measure. Bringing your content and social media calendars together yields several benefits: Manage all your content in one place. Create content and schedule social promotion, together. Curate content from anywhere on the web with our Chrome extension. Stop switching between multiple platforms. You need to know what’s publishing, and when, regardless of the medium or channel. Instead of managing content in one place and scheduling social posts in another, bringing both under one roof makes it easier to get the full picture on your publishing schedule. Save time automating scheduling and reporting. Use ReQueue  to reshare top performing posts. Use Best Time Scheduling  to post at optimal times without manual effort. Use deep social analytics  to measure performance and produce visually appealing reports. Stay on top of all your social media conversations with Social Conversations Inbox. Reply, message and engage directly from your account. Instead of using multiple tools, manually building posting schedules and reports, you can save tons of time automating everything with a purpose-built platform. Plus, with our mobile app, you can easily manage social scheduling no matter where you are. @helps marketing teams save time creating, scheduling, and measuring social media postsMarketing Project Management: Stop Herding Cats. Get More Done. Creative professionals are hired because they’re good at what they do. Sometimes, they’re not the best at getting organized, though. In fact, it’s not unusual to see a writer or designer with a desk that looks like this: What looks like chaos, is actually a sign of a genius at work (or, at least, that’s what they’ll say). 😉 Now, this isn’t to say marketers are inherently disorganized. Far from it. But, even the most coordinated amongst us need tools to keep our work days, weeks, and months straight. Marketing project managers know this. And, if you’ve ever tried managing multiple teams or clients in numerous toolsets (a common headache for agencies and enterprises, in particular), you know the pain is real. Instead, is made to make corralling creatives and marketers easier. Here’s how we do it: Organize complex campaigns with Marketing Campaigns. Keep every piece of every campaign organized on one visual timeline. Use Task Templates  to build project checklists. Maintain consistent workflows  with these reusable checklists. Plus, approve (or reject) work with Task Approvals. Measure productivity with Team Performance Reports. See who’s crushing it, who’s falling behind, and adjust workloads accordingly. Plus, with our Zapier integration, you can easily sync popular project management tools including Asana, Trello, Basecamp, and Wrike with your calendar. Email Marketing: Schedule Newsletters With Your Favorite Email Service Provider. Email marketing drives 4,000% ROI. With Email Marketing from , you can: Seamlessly integrate with your *favorite* email marketing platform.  You already have a kick-a$$ email platform you know and love, so why give it up? With Email Marketing, you can easily connect your preferred email platform to with just a couple clicks. Write click-worthy email subject lines†¦every time.  With Email Marketing, you can use ’s *exclusive* Email Subject Line Tester to optimize and perfect every subject line to drive  more  opens,  more  clicks, and  more  conversions. Get full visibility into your ENTIRE  marketing strategy.  Say â€Å"buh-bye† to disjointed marketing content (and constantly jumping from screen to screen). With Email Marketing, it’s easy to see how your email campaigns relate to the rest of your marketing strategy and quickly make adjustments if necessary. And when it’s this easy to manage + optimize your already-powerful email marketing strategy†¦ †¦imagine how much  more  ROI you can drive with everything in one place.  Ã°Å¸Ëœâ€° currently integrates with MailChimp, Constant Contact, Active Campaign, and Campaign Monitor. How to Overcome Makeshift Marketing Buyers Guide Marketing  departments are busy places. Everyone has too much to do, and not enough time. Plus, there are always competing deadlines to meet, metrics to monitor, and channels to manage. None of this makes keeping teams organized any easier. In fact, sometimes, it feels downright impossible. Naturally, most marketers rely on a variety of tools to keep things under control. From planning to execution to measurement, there’s a tool or ten for everything. They’re supposed to make life easier. They’re supposed to make marketing management feel, well, manageable. Except they don’t. Not as well as you’d like, at least. Everything feels scattered, and your disjointed workflows don’t seem to work at all. So, what gives? In an ironic twist, your tools could actually be killing your marketing team’s productivity. Fortunately, this problem has a name, and you can fix it. How to Overcome Makeshift Marketing: The Buyers GuideWhat Is Makeshift Marketing (And How Does It Hold You Back)? Marketers often do marketing with non-marketing tools. Like spreadsheets. Too many spreadsheets. For everything. Or, they choose single-solution tools that do one thing †¦ but don’t integrate with other software. This is what we call makeshift marketing, and it’s no way to work. What makes this approach so painful? It makes developing efficient workflows impossible. Switching between multiple tools that don’t sync with each other leads to a lot of tab-switching. It necessitates a lot of inefficient hacks and workarounds. Tedious copy-and-paste processes aren’t fun, and they leave too much room for error. It makes collaboration feel like a trip to the dentist. Clunky tools lead to clunky processes that lead to dreading going into the office. Fortunately, there’s a better solution out there: . Free Pitch Deck: Are you sold on but need help educating your team? Grab your free slide deck to pitch to your boss. What Is ? is the  industry-leading marketing suite  that brings all your content, social, asset management, email, and marketing project management tools together on one unified platform. It’s mission control for your marketing team, making it easy to plan and execute your entire marketing strategy. In short, it’s the all-in-one answer to makeshift marketing. Could makeshift marketing be blocking your marketing teams productivity?Who Is For? Anyone in marketing who needs to get organized. That includes †¦ Professional Marketing Teams Keeping in-house teams focused and collaborating effectively isn’t easy. With , managing everything from small projects to full-fledged multi-channel campaigns isn’t only possible, but it might actually be fun. Learn More: For Professional Marketers: One Calendar to Rule Them All Marketing Agencies Instead of managing multiple clients with multiple tools, get all your clients into . You can finally stop trying to manage tons of different platforms and get everyone on the same page. Learn More: For Agencies: Every Client. Every Project. One Platform. Small Businesses SMBs have enough things to worry about, without worrying about keeping marketing organized. Our marketing calendar keeps things together so business owners and small business marketers can spend their limited resources doing work that matters. Learn More: For Small Business: The #1 Marketing Calendar For Your Growing Business and Keeping Your Sanity Solopreneuers When you’re a solo marketer, you’re responsible for everything that needs to get done. Fortunately, there’s one tool built to keep your life in order, so you can focus on building your business. Learn More: For Solopreneuers: The #1 Editorial Calendar For the Solopreneuer Who Does Everything Universities When managing marketing campaigns and communications across multiple departments, there’s a lot that can do wrong. That’s why top schools like American University and the University of Georgia depend on to keep everything organized in one place. Learn More: For Higher Education: Mission Control For Higher Education Teams Why Use ? Most marketing teams use a wide array of tools to get work done: Editorial calendars  to plan pieces and content themes in advance. Google Calendar  to manage meetings and events. Social media management platforms  to wrangle multiple networks. Email platforms  to schedule and deliver newsletters. Spreadsheets  to build reports. More spreadsheets  to track project progress. Yet another spreadsheet  to store future marketing ideas. †¦ too †¦ many †¦ spreadsheets. You have nightmares about endless color-coded columns. Analytics platforms  to prove your work is driving results. Communication apps  to keep inner-office chatter out of your inbox. Numerous publishing and execution tools  for different types of content. Note-taking apps  for storing memos and documentation. Project management tools  to keep creative teams organized. If that sounds like a lot of software, this list is only scratching the surface. Here’s a visualization of the martech landscape from back in 2011: Of course, the marketing industry has matured since then. The number of tools we have to choose from has grown accordingly. Here’s a similar visualization from 2017: That is an overwhelming number of tools and services to choose from. If looking at this makes you feel like popping an aspirin, you’re not alone. But, the market has grown because marketer’s needs have grown. We have more options for more specialized solutions than ever. In theory, this should make life easier, right? The answer is a resounding â€Å"kind of.† Marketers are still left using tools that weren’t made with marketers in mind. To make matters worse, purpose-built marketing solutions often don’t integrate with one another, either. This means: Marketing tool stacks are disconnected. When tools can’t talk to each other, keeping things organized gets difficult. Inefficient tools lead to inefficient work. For marketers, time is money, and time wasted due to tools that don’t scale is unacceptable. Managing projects and campaigns across multiple tools increases odds for errors. Copying and pasting content out of a static calendar into a CMS? Tracking progress between a spreadsheet and two team management apps? The more manual effort required to move data, the more opportunities exist for things to go wrong. Referring back to the marketing tool map above, it all leads to one question: Do you really need (at least) one tool from each of those product categories? With so much work to do and software to manage, marketing teams need one version of truth to guide them. Something that can consolidate the tools they use most day-to-day. A platform that’s actually built for marketers. One that can replace copy-and-paste processes and end the tyranny of countless spreadsheets. That platform is . Im replacing my copy-and-paste marketing processes with @How Can Help Beat Makeshift Marketing? is built to empower teams to push past makeshift marketing for good. Let’s take a deep dive into some key areas where streamlining marketing workflows with makes more sense than doing things the old-school way. One Place to Start Every Project With a makeshift marketing approach, projects live in several different tools. That makes it tough to know where to look, for what, and when. With as your team’s go-to marketing hub, you have one place to start planning every project and campaign. Visualize your entire marketing strategy. With Custom Content Types, mapping out every piece of content you’re working on it simple. See every project and campaign on one calendar. becomes your marketing team’s single version of truth  to see what’s ahead. Stop switching tabs between multiple apps. Eliminate confusion over which projects live in which app. Bring them all home into one cohesive marketing hub. With @as your team’s go-to marketing hub, you have one place to start planning everyOne Place to Manage Every Workflow From planning to execution, managing marketing workflows  isn’t easy. There are plenty of ways things can go wrong. Odds are, you’ve experienced a lot of them yourself. Part of the problem stems from tools that aren’t built to support smart marketing workflows at all. That’s why is designed to organize every phase of your marketing processes. Communicate. With Discussion Threads, you can keep all communication attached to every project and piece of content. No more missing messages or email threads. Collaborate. Pass comments, exchange files, and manage version control. Create. With key integrations, you can execute everything in one place. @is designed to organize every phase of your marketing processes.Content: One Unified Editorial Calendar. enables teams to manage every project on one calendar. This gives everyone full visibility into all your marketing efforts. No more missed deadlines or last-minute surprises. It’s also easy to drag and drop entries from one day to another. Plus, with our WordPress integration, you can schedule blog posts to publish automatically. Write content in Word, Google Docs, or the built-in text editor, and you can even convert your docs directly into WordPress posts, or convert and download them as HTML (to be imported into another CMS). @enables teams to manage every project on one calendar. Heres how:Social Media Marketing: Schedule. Publish. Measure. Bringing your content and social media calendars together yields several benefits: Manage all your content in one place. Create content and schedule social promotion, together. Curate content from anywhere on the web with our Chrome extension. Stop switching between multiple platforms. You need to know what’s publishing, and when, regardless of the medium or channel. Instead of managing content in one place and scheduling social posts in another, bringing both under one roof makes it easier to get the full picture on your publishing schedule. Save time automating scheduling and reporting. Use ReQueue  to reshare top performing posts. Use Best Time Scheduling  to post at optimal times without manual effort. Use deep social analytics  to measure performance and produce visually appealing reports. Stay on top of all your social media conversations with Social Conversations Inbox. Reply, message and engage directly from your account. Instead of using multiple tools, manually building posting schedules and reports, you can save tons of time automating everything with a purpose-built platform. Plus, with our mobile app, you can easily manage social scheduling no matter where you are. @helps marketing teams save time creating, scheduling, and measuring social media postsMarketing Project Management: Stop Herding Cats. Get More Done. Creative professionals are hired because they’re good at what they do. Sometimes, they’re not the best at getting organized, though. In fact, it’s not unusual to see a writer or designer with a desk that looks like this: What looks like chaos, is actually a sign of a genius at work (or, at least, that’s what they’ll say). 😉 Now, this isn’t to say marketers are inherently disorganized. Far from it. But, even the most coordinated amongst us need tools to keep our work days, weeks, and months straight. Marketing project managers know this. And, if you’ve ever tried managing multiple teams or clients in numerous toolsets (a common headache for agencies and enterprises, in particular), you know the pain is real. Instead, is made to make corralling creatives and marketers easier. Here’s how we do it: Organize complex campaigns with Marketing Campaigns. Keep every piece of every campaign organized on one visual timeline. Use Task Templates  to build project checklists. Maintain consistent workflows  with these reusable checklists. Plus, approve (or reject) work with Task Approvals. Measure productivity with Team Performance Reports. See who’s crushing it, who’s falling behind, and adjust workloads accordingly. Plus, with our Zapier integration, you can easily sync popular project management tools including Asana, Trello, Basecamp, and Wrike with your calendar. Email Marketing: Schedule Newsletters With Your Favorite Email Service Provider. Email marketing drives 4,000% ROI. With Email Marketing from , you can: Seamlessly integrate with your *favorite* email marketing platform.  You already have a kick-a$$ email platform you know and love, so why give it up? With Email Marketing, you can easily connect your preferred email platform to with just a couple clicks. Write click-worthy email subject lines†¦every time.  With Email Marketing, you can use ’s *exclusive* Email Subject Line Tester to optimize and perfect every subject line to drive  more  opens,  more  clicks, and  more  conversions. Get full visibility into your ENTIRE  marketing strategy.  Say â€Å"buh-bye† to disjointed marketing content (and constantly jumping from screen to screen). With Email Marketing, it’s easy to see how your email campaigns relate to the rest of your marketing strategy and quickly make adjustments if necessary. And when it’s this easy to manage + optimize your already-powerful email marketing strategy†¦ †¦imagine how much  more  ROI you can drive with everything in one place.  Ã°Å¸Ëœâ€° currently integrates with MailChimp, Constant Contact, Active Campaign, and Campaign Monitor.