Promotional campaigns and consumers behavior Essay

Promotional campaigns and consumers behavior - Essay Example Currently,marketing creativity is focused on the study and analysis of consumer’s buying behavior.On the one hand,promotional campaigns that we can see every day may seem to us an ordinary event In reality, there is a need to cover numerous and diverse issues for marketers in order to satisfy the needs of the customers and make them buy a certain product. One may think that it is hardly realistic that a consumer may be influenced by some special strategies and appeal to: psychology of customers (the way they think; the way the customer is influenced by his environment); the behavior of customers in the process of shopping; the value of products and a real value of a certain product for the customers and many other factors (Alba and Hutchinson, 1987). Basically, there is a need for marketers to conduct a study of â€Å"individuals, groups, or organizations and the processes they use to select, secure, use, and dispose of products, services, experiences, or ideas to satisfy nee ds and the impacts that these processes have on the consumer and society" (Mullen and Johnson 1990, p. 18). Theoretical overview Basically, in order to give an exact answer to the question ‘why promotional campaigns should take into account consumer’s behavior’, it is relevant to refer to the theoretical background of consumer’s psychology. Starting from 70s, scientists and researchers have underlined that consumer’s behavior is greatly influenced by their family members.... Moreover, a complicated nature of a comprehensive buyer’s behavior model is often considered to be inefficient in predicting consumer’s behavior in the future do to its complicated nature. There are two main approaches to the study of consumer’s behavior: the Behavioral Decision Theory and Social-Cognition Approaches to Consumer Research. Both these strategies are based on customer’s perception of a product and an intention to buy it in his consciousness (Alba and Hutchinson, 1987). Daniel Kahneman and Amos Tversky are representatives of BDT approach to the study of consumer’s behavior. Consumer’s choice is the main objective of the scientists’ researches. A practical aspect In order to practically implement a theoretical knowledge about a consumer’s choice which is shaped under the influence of his consciousness, the promotional campaigns are developed with regard to the mental and social peculiarities, economical and many othe r factors of the target group (Holbrook, 1999). For example, it is rather hard to promote products of daily consumption. There are a lot of different producers and very often a consumer’s choice can be easily changed. â€Å"A Cup of Instant Culture† is a slogan created by Maxwell Coffee in previous years. In XXI century drinking coffee is an integral part of an individual’s image (Aaker, J.L., 1997). For example, if advertising campaign shows a smiling business woman or business man who drinks coffee, the consumers people in their consciousness would perceive this ad as exemplifying two concepts ‘success’ and ‘coffee’ as interrelated ones (Gerritt, 1999). In the modern world we often see exotic advertising of coffee. Coffee

Internet and Privacy Essay Example for Free

Internet and Privacy Essay There has been a lot of controversy about the internet and its privacy. Today, some say you have no privacy with anything you do on the web. They say that the government is taking away the public’s privacy because they can monitor everything that happens on the internet. Even though most of this is true, there are plenty of good things to come from it. In this essay I will be writing about the internet and its privacy. The lack of privacy that comes with technology and the internet can and has prevented a lot of crimes to occur. It has made credit card fraud, once an easy crime much harder to get away with. They know what you’re buying schedule is like, so if someone steals your card and tries to buy something that is not something you would normally buy, you will get an alert about it. Security cameras at stores and ATM’s prevent a lot of robberies from occurring. The government states that the main reason why they monitor just about everything on the internet is to try and catch terrorist attacks before they happen. They have said that some of the terrorist plane hijackings could have been prevented if they had the internet security that they do now. Of all the good things that come with the internet, there are also some drawbacks that can be dangerous. There is just as much false information on the internet as there is true information. Hackers can create viruses that can get into your personal computer and ruin valuable data. They can also create viruses to steal personal valuable data such as identity theft. There are also people called â€Å"predators† that hang out on the internet waiting to get unsuspected people into dangerous situations. People can get addicted to the internet which can cause problems with interacting with their friends and family. As it is stated in What Matters in America, â€Å"Like any space where people gather, the virtual world is not immune to the same set of troubles we face in real life. Teens and children can be targeted be sexual predators. Kids can â€Å"cyber bully† classmates, carrying the tortures of the playground onto cell phones and computer screens at home. Illicit romances and online flirting may be taken beyond laptops, ruining relationships and destroying marriages. And, of course, cybercrime is ever present, seeking log in numbers, financial data, and credit card information†. (22) Privacy has become a big question in today’s society with all this new technology and the internet. The internet might be more secure today from hackers and viruses but we don’t really have any privacy on the web. Every purchase we make on the internet can be tracked by the government. They can also track almost every phone call that is made. The internet has become more convenient to use than it ever has been. You can perform just about any task you want with a couple mouse clicks. Your computer can remember everything you do on the internet. It will save all the sites you have been to, what you have downloaded, what you have bought online, and can even save your credit card information. When online you will see recommended web sites based on what you normally do online and even on certain sites there will be recommended products that are similar from what you have purchased before. All this personal information can be easily looked at by the government or even professional hackers. Is our privacy really being invaded or are we just putting this information out there? People say that the government is invading the public’s privacy. They say that they shouldn’t be allowed to monitor the internet. I don’t believe our privacy is being invaded because no one forces you to put this information online, even though it is hard not to in today’s society. In What Matters in America, David Plotz states, â€Å"Real privacy is what allows us to share hopes, dreams, fantasies, fears, and makes us feel we can safely expose all our faults and quirks and still be loved. Privacy is the space between us and our dearest, where everything is known and does not matter. † (70) With all this advanced technology on the internet, we need the government to monitor it or else there would be a huge amount of criminal activity and the internet would not be safe.

Generic Concept Of Authenticity In Pop Music Music Essay

Generic Concept Of Authenticity In Pop Music Music Essay This thesis and its associated research had its origins in my own fascination with the generic concept of authenticity, as it exists within life generally, and specifically within popular music. The dualities of good/bad, genuine/false, honest/fraudulent, and creative/derivative have always been present within the ranks of musicians and their performances. This thesis is intended to reconcile and explain the distinctions within these dualities, and to develop a model for evaluating authenticity within popular music. An Hypothesis on Authenticity in Popular Music As a foundation for the research and development in this thesis, I will explain my own stance on the key issue of authenticity. There are six key tenets within this proposition: Authenticity functions as a marker of quality Authenticity can be evaluated. Authenticity is not a finite concept. An Hermeneutic approach is essential in measuring authenticity Authenticity judgement requires a prior-researched description of genre Authenticity may only be assigned to a single piece of musicking. Here are some details of each one: 1.1.1. Authenticity functions as marker for Quality Whilst there are some ingredients of Authenticity that are more easily measurable, there are other criteria which are more subjective, and where evaluation of them is an activity more determined by expert consensus, or personal taste and background. Judgements made using these criteria are largely unquantifiable, and often in the form of personal assessments. Some of these judgements may be socially and culturally constructed, and are shared between groups of people, notably in the case of fans, critics, or enthusiasts of a specific type of music, or a particular performer. Students and researchers of popular music would normally adopt a more balanced and catholic judgement, so that an equally fair evaluation would be made on a piece of country-rock music, as would be made on a piece of punk music. Authenticity is a description of the provenance and integrity of a recorded, or live performance, as well as a definition of musical skill, tunefulness, and of a listeners personal gratifi cation. The judgement, or evaluation, of some aspects of authenticity of a piece of musicking may use less scientific criteria than others, wherein the measurement is inevitably affected by the tastes of the judge or evaluator. I have drawn extensively on Christopher Small (1998:2-3) and his eleven activities within musicking, in developing my own nineteen criteria for evaluating Authenticity, which operate as a hermeneutic circle, and of which the first fourteen relate to recorded songs, with an additional five criteria for evaluating live performances of songs. Here is a brief description of my nineteen criteria: The Notation This element is less important in popular music than in classical music, since the main method of transmission has not been through stave notation, but through recording, and performance. (Moore, A.F 2001:34) However, where it originally exists, or where subsequent notation has taken place on existing works, there is still value in its inclusion as a criterion, particularly where patterns of notation may be compared within several songs, or where consistent notational motifs may be identified Lyrics Whilst I contend that it is Performance and Reception that are central to the true meaning of a song, the lyrics have a strong bearing on this. It is also possible to identify common patterns in lyrics (Wall, T 2003:129) as well as everyday language in the context of performance, and collective responses and aspirations (Frith, S 1988:121) The words of the song should usually be grammatically correct and recognisable, and the overall content should be rational. Biography This element should also be twinned with autobiography as it refers to the use and influence of personal history, upbringing, nurture and culture on singer/songwriters and their eventual compositions and performances. It is an essential element to consider as far as authenticity is concerned, and in my view has been vastly under-analysed, and has been allocated insufficient importance. Recognised Influences There are undoubted connections here with my Biography element (No. 3), in that childhood and developmental influences are nearly always lasting, especially where they have been received in an emotional context (e.g. happy, sad, or painful). But in addition consideration is needed on more contemporary influences, both of musical, and of other types. Song Structure An important element in the primary text is the actual shape of the song, in terms of its musical texture, its use of instruments and voices, its rhythmic organisation and its relationship to lyrics. This is often a key factor in the determination of a genre. It is important that there is a pleasing shape to the song, with sufficient changes (verses and choruses), a comprehensible story line, and an appropriate length. There should also be a balance between familiarity and variety, and the song must have sufficient familiarity to provide comfortable reception, whilst, on the other hand, offering something new and challenging. Melody This is a pattern of pitches and rhythm that creates a tune or song, and as such, underpins the whole content of a song. It is the melody that, to a large extent, is the basis for the Emotion (No.13) element of the song. In popular music, the melody usually comprises verses and chorus, but with variety in the phrasing and lyrics. Meaning and Intellectuality The meaning of a musical piece may be interpreted in an abstract or a universal manner, and Composition may be viewed as having a subtle difference in meaning from some Performances. Such differences may also affect the meaning from the position of Reception, but it is easier to see musical works anchored to specific time, place, and cultural situations. This aspect is probably the most difficult to analyse scientifically, since the central question is whether the lyrics and/or the music stimulate some intellectual curiosity, with ultimate satisfaction. Context This broad topic is important not just for the more obvious analysis of Performance, and Reception, but also for the historical and biographical context in which a song was composed. Again there will be some interconnection with aspects of Biography and especially factors such as class, culture, gender, and politics. Instrumental The traditional rock line-up of a band is two or three guitars and drums, but in the case of country-rock and its convoluted development phase, many other instruments were involved. The exploration of the use of these instruments, and the ways in which they have contributed to the Performance and Reception of music is essential. Much has been written on the appropriate use of specific instruments and their relationship to the true membership of a genre, as well as whether there are acceptable levels of musical proficiency demonstrated in the execution of the song by the instrumentalists. Vocal Most popular music involves one or more voices, and this element is concerned with how these voices are used, singly or harmoniously, and the ways in which communication is established between singer and listener (Moore, A.F 2001: 44/5) It is arguable that, in many cases, it is the voice that is the final arbiter in establishing whether a piece of music is authentic or not. It is important that acceptable levels of musical proficiency are demonstrated in the execution of the song by the vocalist/s. Production This mainly Performance related element deals with the technical, and technological systems used to aid and enhance performance, as well as the choices made about instrumentation, vocals and, in some cases, stagecraft. There is a natural interlinking with other hermeneutical elements. The technical production of the recording should meet standard conventions of the genre, in regard to the mixing, the balance, and the volume as well as any additional enhancements. Cohesion and Balance (including Sonic Balance) This element is concerned with the extent to which the band is playing as a team with appropriate use of instruments and vocals, and to which the various instrumental and vocal elements within the performance/recording are balanced, so that a smooth and cohesive overall sound is achieved. Connectivity and Emotivity It is important that the listener/receiver, acknowledges a personal relationship with the song, lyrically and/or musically with the song exciting some form of emotion upon reception, and in which the listener/receiver is sufficiently stimulated and curious to have a desire to hear the song again. The Leader Within a band, the style of performance may be dictated or at least highly influenced by the leader who is often, although not always the singer. This inevitably affects the Reception of the music. However, the Composition of the music also needs to be considered in the light of the leader, for even if it is not he/she that is the main author, the style of the piece could be shaped by his/her approach. Repertoire This is what Christopher Small terms The Drama of Relationships (Small, C 1998:158) Each musical performance has, or should have, a recognisable narrative, or a set-list and this is most significant in the analysis of Reception. The psychology inherent within constructing a performance including many songs is important in the development of Audience Rapport, or even individual fan admiration. Stagecraft Middleton (1990:168) recognises false music and true music, where false means corrupt, manipulated, over-complex, and mechanical, and true means natural, spontaneous, and traditional. In these senses, the interpretation of drama, and a sense of theatre in the performance and reception of popular music are always important. It is inevitably connected to Repertoire, but is far more than this single item. Again, only in a live performance, the image presented by the performers through body movement, gestures, stance, and cohesion should augment the reception of the song. Planning and Organisation This thoroughly contemporary affair as Christopher Small puts it (Small, C 1998:30) includes the organisation of performances, the role of publicity and advertising, and the ways in which the audience is prepared for the Reception. Whilst they are not directly a composite part of a piece of music or its actual performance, the intricacies of the arrangements undoubtedly sway perceptions of a musical show or concert. Venue This, of course is solely a Performance/Reception element but, like Planning and Organisation, is extremely powerful, since the size, shape, location, construction, lighting and acoustics will exert major pressures on the ultimate performance. Audience Rapport This element is concerned with the intimacy, community, bonding and sharing of an audience and the ways in which they are able to persuade each other. It is also concerned with individual and group participation in the Performance and its effect on the perceptions of authenticity. In a live performance, there must be a general and universal approval demonstrated towards the song as demonstrated through facial and bodily expression during the performance and applause at the end. Having described all nineteen elements used in the assessment of Authenticity, it should be stressed that whilst Authenticity is a term that provides for a description of the integrity of a piece of musicking, this integrity is not always synonymous with attractiveness, as recognised by huge swathes of the worlds population. As I show in this dissertation there are plenty of examples of music that are authentic, according to measurement of many of the criteria, but which are not necessarily well received. Conversely there are many instances of well-received musicking that are not of a high level of authenticity as related to the other criteria. In other words, Authenticity is not finite. 1.1.2. Authenticity is not a finite concept. Authenticity has so many different components (I have identified at least nineteen) as well as many mediators, so that relative judgements on each of the items would almost certainly mean that a final decision as to whether the song was authentic, could never result in a simple yes or no, but would be a relative assessment. The more appropriate question that should be posed by the judge, or evaluator, would be: to what extent has this song/performance been deemed to be authentic? A piece of musicking may, for example, have some authentic attributes, such as a truly original instrumental performance, and the vocal qualities may be genuine, whereas its lyrical content may be mundane, and derivative, thus rendering the song only partially authentic. This particular principle relegates the rockism argument, described in other parts of this thesis, to a peripheral position, since it accommodates varying degrees of authenticity, rather than insisting on one broad form of music being superior to another, simply based on its provenance. Rockists are people who consider that there were, and occasionally still are, golden periods of Rock, illuminated by artists and performances which contain an honesty, authenticity, and value of which the mainstream of performers in pop music are both incapable and unconcerned. The differences that show themselves when evaluating Authenticity, particularly in the contrasts between the more objective criteria and those that embody the expression of values generated and constructed by the critical and fan community, mean that an evaluation of authenticity cannot remain in perpetuity, and that it has a clear temporal characteristic, wherein evaluation may change over time. Therefore, despite the fact that judgements on the Authenticity of pieces of musicking may be made, they are essentially of a relative nature. 1.1.3. Authenticity can be evaluated There are many different hypotheses on the topic of musical authenticity, many of which have been reviewed and assessed within this thesis, all of which, without exception, explain the concept in notional terms, whilst avoiding any attempt to develop, or impose, a quantitative measurement of judgement. The decision on the authenticity of a piece of musicking, has been derived from a qualitative evaluation, left to the complex devices supposedly inherent within the intellectual abilities of a few senior musicologists and experts, or socially and culturally constructed values. I propose that, with the application of a list of authenticity criteria, built into a hermeneutic framework, there are a number of activities that can move the efficacy of the judgement towards a more accurate qualitative assessment, albeit still with strong elements of discrimination within it. 1.1.4. A hermeneutic approach is essential in evaluating authenticity Since each evaluation criterion has influences upon, and from, each of the other criterion, the idea of a circle is used so that ones understanding of a piece of musicking, as a whole, is established by reference to the individual criteria and ones understanding of each individual criterion by reference to the whole. Neither the whole piece nor any individual criterion can be understood without reference to one another, and hence, it is a circular process. Strictly speaking, hermeneutics was originally conceived as means of cultivating the ability to understand things from someone elses point of view, and to set aside ones own predelictions and tastes. So the whole evaluation exercise must be considered in full awareness of the evaluation conclusions which may have been reached by the relevant community practice, before and during the judgement process. Using the tools and procedures that I have developed to make an ultimate judgement on both authenticity, ensures that the decision will be as informed, researched, and analytical as is possible. 1.1.5. Authenticity judgement requires a researched description of genre Whilst I have described in some detail the general nature of a range of criteria that I have allocated to Authenticity [including Quality], it is important that the Authenticity criteria are enhanced and made more explicit. This should be done through a close examination, and subsequent description, of the genre that one is analysing (in this thesis, my exemplar is country-rock music). There have been major academic debates on the nature of genre, and in particular whether genre is a stable item rather than a temporal one. My position is based on the assumption that genre may be fixed and stationary, if one is, firstly, prepared to accept the existence of a continuum of a multitude of popular music styles, within which many different genres and sub-genres reside. Secondly, and perhaps paradoxically, it is important to acknowledge that the detailed description of any single genre, or sub-genre, is not universally acknowledged and is, therefore never canonically explicit. The nature of both of these conditions will be influenced by the beliefs and convictions of individual researchers. This means that genre definitions will inevitably vary, albeit within boundaries. Nevertheless, it is essential to generate a broad genre template through which authenticity may be evaluated. It is important to note that authenticity may be a validity descriptor of a piece of musicking, both in general terms, in the sense that the song has been composed, performed, and received in an authentic manner, but also in genre specific terms; so that a song may be classed as being authentic blues or authentic country-rock. The significance of this lies in the need to define genre-parameters when attempting to evaluate authenticity within a genre; hence the statement: Authenticity Judgement Requires A Researched Description Of Genre. 1.1.6. Authenticity may only be assigned to a single piece of musicking Within Popular Music, I propose that the evaluation of authenticity may only be made as far as a recorded or performed song is concerned. Authenticity comprises a number of attributes of composition, performance and reception, but is largely concerned with sound, rather than the characteristics of a human being. Therefore, authenticity cannot be assigned to an artist, other than in a general sense, through a judgement of his/her individual performance of a song. It may be seductive to contemplate the authenticity of an artist, as has been done frequently over the history of popular music, and as argued forcibly by the Rockists. Indeed, many rock artists have been accorded that epithet, including Bob Dylan, Bruce Springsteen, Bono, Leonard Cohen, and Lou Reed. However, human authenticity is a complex and hugely debatable concept. For example, it is arguable that even these notable performers could only be described as authentic, if they were to have totally eschewed commercial gain, desire for glory, or other forms of psychological reward during their long and successful lives. This has patently not been the case. Of course, it is arguable that human authenticity could be assessed on the basis that it is not a finite concept (as I have professed is the case for musicking). However, the study of authenticity of individual human beings, would be a multi-faceted, and almost impossible task, since there are so many variables and criteria, which would need to be taken into account, such that even a relative evaluation would involve an extremely complex decision-making process. It is most certainly not within the remits of my research within this thesis. It is also important to stress that the epithet of authenticity cannot be assigned to a body of work, rather than a single song or piece of music, but is only related to individual performances/recordings of songs. It would be possible, however, to make assessments of a number of individual songs performed by one artist or even an assembled group of artists, wherein it might then be possible to offer an overall measurement of the degree of authenticity of that particular set of songs but it would be an average, or mean, of the total assessment. On the same basis, it would be technically possible, albeit extremely arduous and time-consuming, to carry out such an exercise on the entire output of a particular artist. It should be stressed that even so, the eventual conclusion would still be an evaluation of the performance of the music, rather than the person. At this point I should also restate that my position holds that the evaluation of Authenticity of a live performance of a song may be made, even though this will inevitably differ from the recorded version of the same song. All of the criteria used in the evaluation of a recorded song will apply to a live performance of a song, but there will also be a few additional elements that should be applied. These are listed under an earlier principle (Authenticity functions as a marker for Quality)

sausage making :: essays research papers

Making Sausage...The Steps to Follow Wash your hands please 1. Wash the meat in the sink with cool water, allow to drain Cut the meat into smaller cubes, trim any excess gristle/sinew/connective tissue. 2. Grind the meat (be careful with your fingers), if there are problems with the grinder, contact your teacher.. Keep these hints in mind - 1. don't force the meat through the grinder - it will grind at its own pace 2. you may have to stop grinding the meat to clean the discs and the blade occasionally, as there may be sinew caught around the blade 3. Using the food processor - chop onions if necessary 4. Prepare your garlic - clean the heads of garlic (outside covering off), and break into individual cloves. Determine amount of garlic to add Place in food processor, add 1 cup of water†¹process until minced 5. Using a large bowl/pot/roaster , combine your recipe ingredients. It is critical that the ingredients are thoroughly mixed. Use your hands. Take turns within your group, if your hands get too cold. 6. To test your mixture - make a sample meat patty and fry it in a frying pan. Determine if any more seasonings are required. REMEMBER - your seasonings will become stronger with time. DON'T OVER DO IT 7. Place one sausage casing on the sausage tube that has been installed on the grinder. Place oil into the casing as well as on the sausage tube. Place the casing on the tube. 8. Gradually add the meat mixture into the feeder compartment of the grinder. Tie a knot in the sausage casing after some meat has come out of the sausage tube. When the sausage link has reached the desired size leave 4" of empty casing, cut the casing and secure with a knot.

Comparative Paper Play School and Hi-5 Essay

Despite all the modern excitements that Network 9’s Hi-5 presents, the traditional and ABC’s Play School offers more for early learners. These two children shows are compared in the features of form, purpose, audience and social context. Hi-5 is contemporary and fast paced reflecting the modern culture whereas Play School maintains a sense of simplicity and the traditional elements which still fulfil the 21st century child. The importance of Hi-5 is to entertain whereas Play School educates effectively. The purpose of the opening credits is to draw out the wanted moods of the audience. Apparently, each calming episode of Play School begins with its symbolic, cheerful tune introducing the familiar characters. The opening animation is set in softer tones which attract an open gender audience with characters inviting them to, â€Å"come inside.† This sets up a comforting atmosphere where the children feel valued and safe, allowing learning to take place. Through the opening credits, Play School displays traditional, simple values which emphasize and develop their main purpose of education. Hi-5 is very much concerned with image, consumerism and technology, and as seen in the opening credits, it immediately reinforces the main purpose of entertainment. The vibrant colours which are almost glowing and the coloured patterns, female titled the audience into a state of joy, somewhat reproducing the scene at a disco. The opening credits heavily feature their Hi-5 logo, which in turn is a devious form of product placement. Overall, both shows’ opening credits are shown in a uniquely way. Play School is presented in a calm and a peaceful playful way, whereas, Hi-5 is shown in an upbeat and over exaggerated enjoyable, fun way. Whereas Hi-5’s priority is to create excitement and sell the product through setting and music, Play School’s aim is to provide education in an enjoyable way and helping the children’s intell igence and development. Play School is filmed in a studio resembling a house, in a safe, comfortable and calming surrounding encouraging learning. The realistic setting is provided with familiar, recognizable features such as house lights and colourful curtains. Many aspects of learning are taught through well-known songs sung in the traditional, common style to the simple supplement of a piano. The natural lighting adds to this sense of reality, and a controlled colour frame creates a calm, familiar mood for the audience. Hi-5 too, is shot in a studio, however, it is filmed with the presence of a live audience emphasising a concert setting, reinforcing its main purpose of entertainment. The vibrant lights blink like a performance, and the setting is spare with no familiar objects. This reflects modern popular culture, celebrity obsession and playful fun. Yet, while unfamiliar, Hi-5 is still very exciting, inspiring the children’s imagination forcing them to use their imagination. This creates a happy atmosphere emphasising an exciting and energetic mood reinforcing the main purpose of entertainment. Therefore, both television shows have different and similar ways to engage the audience and their emotions. The structure of these two shows is controlled by the film techniques and technology. Hi-5 relies on flashing disco, coloured effects and cameras, whereas, Play School relies on a more naive approach. The constant, linear panning and minimal editing present in Play School reinforces the slow, calming mood. The viewer’s point of view is enhanced through the use of camera angles and a balanced full range of shots. This reinforces closeness and a connection between viewer and presenter. The minimal use of technology in Play School is non-threatening; everyday objects are used to make craft which breaks down social barriers and encourages imagination. The toys used are familiar and old-fashioned, encouraging a sense of tradition. Hi-5 however uses modern filming techniques with multiple cameras and fast, complex editing. The camera angles and differing points of view are unusual adding to the excitement and overexcited emotions. Combined into Hi-5 is animation, using props and graphics which appeal to a slightly older audience who live in a technological world. The props used, increase the party image preventing children from using their imagination. The main purpose is to entertain, whereas the purpose of Play School is to educate. So therefore, the features used in both programmes differ in order to meet the intended purposes. Through the use of soothing and calm tones, Play School enables their viewers to feel safe, while engaging them in learning. Through repetition, questions, instructions, alliteration and rhyme, the presenters repeat that learning is easy and fun. The combination of languages like in the simple song, â€Å"Bravo Bravisimo,† and the inclusion of sign language, Play School highlights social acceptance and multiculturalism creating a stronger bond between the viewer and th e presenters, reinforcing the purpose of education. The light, good humour is also combined to fulfil their secondary purpose of entertainment. Hi-5 uses the sophisticated and complex humour of jokes and parodies. Through giggling for instance, an exaggerated and happy tone is created as the presenters attempt to reflect a child’s intelligence. This is further reinforced through the regular use of everyday language creating an overly friendly environment, whereas, the exaggerated body language reinforces entertainment and excitement. Through developing forms, purposes, audiences and social context Hi-5 and Play School contrast hugely. It is clear that the purpose of Play School is to educate whereas entertainment is the main purpose of Hi-5. Through aiming the intended emotions at their audience, both these programs achieve their intended purpose and social context.

Quick Query Makeover

Quick Query Makeover A full-time freelance writer needs to churn out enough salable ideas to earn a living. Your articles are your lifeline, the reason you eat and have a roof over your head. However, some freelancers still believe in the muse myth. If youre a believer in that mystical being, then freelance writing is not for you. This business is for the tough, industrious sort willing to spend many hours creating copy and appropriating ideas. Dispel the muse myth and become more efficient in your career with these tips. I used them to improve my query output. At the beginning of my career, I submitted about a query a week. As my business skills and creativity bloomed, I grew up to three pitches a day. 1. Many magazines have Twitter feeds embedded at their websites. Website tweets are great places for article ideas, especially if you want to pitch a timely topic. For example, I caught the attention of a regional business-magazine editor 2. If you receive a rejection, do what I learned in college creative-writing class. See your sources as fictional characters. Your sources can be as compelling as Mr. Darcy and Carrie Bradshaw. First, describe your sources educational and professional background; delve into their duties, their family lives, what they like, what they hate. For example, write about the fitness instructor you wanted to use in your rejected query from Prevention. Write about her college years at Princeton, her years as a corporate lawyer on Wall Street, how she escaped the rat race and became her dream occupation. Before, she was just an expert in a health article. Now, she can be profiled in a womans magazine; mentioned in a lifestyle magazine for lawyers or fitness instructors; emphasized in a regional magazine in New Jersey. 3. Write pre-pitches. This idea doesnt work when youre new to an editor. However, if you received encouragement from an editor who rejected your queries, try submitting a brief sentence describing your idea and requesting whether the editor finds it a good match. After publishing my first article on a feminist website, Ive learned to regularly send sentence-long pitches to the managing editors. Occasionally I get an acceptance. Even if you currently write part-time, my tips will help you network with editors. In an industry where youre competing with thousands of other writers and thousands of other ideas, youre only as good as submitting articles on time and building a good reputation with publications. The muse myth doesnt recognize that. Like a lazy romantic partner, it must go. Behlor Santi thebxscribbbler1980@gmail.com www.behlorsanti.net

Descriptive Essay Sample on My Father Who Is He for Me

Descriptive Essay Sample on My Father Who Is He for Me I have been asked numerous times throughout my life what my dad is like. I have always asked the person to clarify if they want to know about my dad or my stepfather. Both have been a very important part of my life; however, they have significant differences. The same question always arises: If a man is my father does that automatically make him a dad? I believe anyone can be a father, but it takes someone special to be a dad. My biological father stands about five-feet ten-inches tall and reminds me of Santa Claus in a way, with his big belly, white hair, mustache and beard. From the time I can remember my father has always had a three-bedroom house big enough for his current wife and her child. Our weekend visits usually meant spending time with our stepmother and stepsister. Since my father was a truck driver he was gone most of the time. Weekends when he was at home I recall spending much of my time fighting for his attention, which left me feeling emotionally closer to him when he was on the road rather than when he was in the same room with me. I still have these same feelings after all these years. I never enjoyed seeing my father hugging and kissing my stepsister and pushing me away when my stepmother was in the room. My father claimed he held high family values; everything he did was for his family. The part he frequently left out was that this only applied to his current family, not the children he had left behind, emotionally and physically. My father worked long, hard hours driving an eighteen-wheeler truck across the United States to provide for his family. Unfortunately, he did not use his money for his biological children. My mother stopped receiving child support payments when I was around six-years old. One day when I was around 11 years old my father told me â€Å"I will always be a truck driver. This is the only way I can stay away from the house and make my marriage work.† My father quit school in the 11th grade and began driving trucks when I was approximately four-years old. He did not believe then or now that having an education would help anyone succeed in life. Life experiences are all the education you need, and if you need something someone will give it to you. Unfortunat ely this is my father and the way he is; luckily for me he was not the father figure in my day-to-day life. Now to introduce my stepfather, he has been in my life since I was five-years old. My stepfather stands six-foot two-inches tall. Although he is very tall, he has always been a slender man. I remember to this day the large, six-bedroom house we grew up in; everyone had his or her own room for privacy. I can still remember playing baseball in the backyard, table tennis in the den and having my stepfather at my soccer games cheering me on. Although there were a total of five children in the house my stepfather always spent one-on-one time with each child, making us feel important and loved. I will never forget the Christmas when I was nine-years old; all I wanted that Christmas was a red fur coat. I found out fifteen years later that my stepfather spent two months driving around and calling every major store in an hour’s radius of our home looking for a red fur coat. It was the last present I opened that day and though I did not know it at the time I learned what the true meanin g of family and loving someone is. My stepfather was a very quiet, cold looking man on the surface, but when it came to family he was the warmest person I knew. He always seemed to know when I needed a hug to cheer me up or when I needed to be left alone to sort things out. I believe my stepfather holds high family values; he was very focused on his family. He worked very long, hard hours in management for an aerospace company. He believed in being home every night with his family with an occasional business trip a couple of times a year. My stepfather once told me, â€Å"If your family needs help you should be there to offer any support you can. Always put your family before your career; it is the only one you will ever have.† My stepfather graduated from college and went straight to work; he held one job his entire life until he chose to retire. From the time I can remember my stepfather always challenged us to be the best we could be at whatever came into our lives; he instilled in us that if we want something badly enough we will work hard enough to get it. He challenged us to attend college so we could have a career; a job is a job but a career will make our family successful. Both my biological father and my stepfather have had major effects on my life. Although I do love my biological father, after all he did help bring me into the world, I do not consider him to be my dad. I will always consider my stepfather to be my dad; after all he has always provided the love and guidance that I needed while growing up. Anyone can be a father, but it takes unconditional love to be a dad. My father has taught me what kind of life I do not want, while my dad taught me how good life can be. Caring, loving and nurturing through the good times and the bad are some of the values that make a dad.