Women Athletes of the 1920s Essay -- Sports, Upper-Class Women

The 1920s was a time for many new opportunities for women in America, including participating in sports and becoming athletes. Prior to the Roaring Twenties, only upper-class women had participated in sports. These wealthy women had joined sports clubs, social clubs, and country clubs. They engaged in sports at institutions, as well as playing sports while vacationing in Europe (Women’s Sports Foundation, 2/21/2011). An example of a woman like this would be Jordan Baker, a character from the novel The Great Gatsby. Jordan is a competitive golfer in the novel. Baker comes from the wealthy, upper-class, and is ‘old money’. Consumerism of the 1920s caused the amount of clubs and sports teams for women to multiply. This materialistic attitude of Americans caused the economy to boom, thus providing more money for leisure activities. Institutions, churches, and saloons sponsored sports teams for women, and provided facilities. Declining prices of sporting goods and increasing popularity of sports as entertainment encouraged the formation of leagues. Both amateur and semi-pro leagues were organized, providing opportunities for middle-class athletes (Women’s Sports Foundation, 2/21/2011) Industries and companies supported sports teams for women. They did this to promote personal health and worker efficiency. These teams brought advertising opportunities for the companies who supported them. This offered competitive opportunities for women and occasional income for the athletes (Women’s Sports Foundation, 2/21/2011). To satisfy the competitive urge of their students, physical educators held â€Å"Play Days† and â€Å"Sport Days† for their female students. In a play day, teams from institutions did not play each other, but were comb... ...se at the end of the race† (Smith, 1998, p. 8). Eyewitnesses proclaimed that women were in no more distress than men when they finished the race. The majority of the International Olympic Committee believed that track and field was too hard for women, and proposed other events, that included activities such as singing and dancing. The 1920s was the just the beginning of women in sports. The booming post-war economy and the sports heroines increased the popularity of women athletes. The idea of a woman was changing, from being dainty and delicate to athletic, healthy and strong. There has been a growth in opportunities for women in sports, and the media brought this competition to everyone’s attention around the world. The accomplishments of the women athletes of the 1920s were the beginning of the journey to becoming equal to men in the world of sports.

Broadcasting Quality

Broadcasting organizations exist basically to communicate to people. Whether radio or TV stations are Government, Commercial or Private, whether programmes are spoken word, music, commercials or community announcements, in all cases the message needs to get through. The emphasis in programmes must always be on quality, both content and sound. Staff engaged in program presentation need to be conscious of making the broadcasting system seem to be transparent to the audience. Listeners and viewers should only be aware of the actual program and not the ‘nuts and bolts' of the radio and / or TV station.In order to ensure High Quality Broadcasting, a Broadcaster or Broadcasting company should by all means be instrumental in enhancing our understanding of the world – To inform its audiences and arm them with a better understanding of the world through news, information and analysis of current events and ideas. It is a function which comes hand in hand with the Stimulation of kn owledge and learning, since the content should be of capable of stimulating its viewer’s interest in the knowledge of arts, sciences, history and other topics through content that is accessible to its projected recipients and can easily encourage informal learning.Representing diversity and alternative viewpoints is by all means also a component of responsible quality broadcasting. It is one its main purpose to make people aware of different cultures and alternative viewpoints, by showing programmes that reflect the lives of other people and other communities. One of the major influences affecting broadcasting would be the existing Socio-Economic factors. Economic components have long played a key role in public policy toward broadcasting, not only where private commercial systems dominate but also where there is a public funding mechanism.Major national public service broadcasters are large programme production industries that collectively represent a substantial capital and operating investment. Many of them have had commercial support, and no matter how â€Å"non-commercial† the production distribution-reception process, it is usually closely associated with (and profits from) a substantial private, profit-oriented industry that manufactures receiving sets and electronic equipment.But broadcasting’s direct contribution to the gross national product has been modest, especially when compared to most societies† major sources of economic activity (Blumler, 2000; 26). In the field of digital television broadcasting, North America has been some years ahead of the rest of the world in its faith in what could be done with very powerful image compression systems. The open decision–making process which has taken place in the United States for advanced television (ATV) is a considerable achievement, and a great credit to the many individuals involved.In Europe, considerable expertise has been accumulated in image compression and digit al modulation, but a range of factors and circumstances have influenced the profile given, until recently, to studies of digital terrestrial television broadcasting. These have included pessimism that the planning environment in Europe would allow the development of digital high definition terrestrial television with reasonable coverage, and pessimism that sufficiently attractive picture quality could be achieved with the bit–rates that are possible in terrestrial networks.Today there is clear recognition in Europe that we must pursue quality digital television broadcasting, that we should be undaunted with the problems, and that we should explore the potential solutions, this is because the prize for success w ill be considerable. An international committee, the European Launching Group (ELG), has been established to try to coordinate the various projects which are developing digital terrestrial television broadcasting, or indeed related systems, in Europe.This committee has a technical subcommittee, the Working Group on Digital Television Broadcasting (WGDTB). The WGDTB has examined the aims of the current collaborative projects, and their timescales, and looked at the potential uses of digital television broadcasting. They arrived, at the end of 1992, at a work plan, intended to make it possible for Europe to achieve common standards for digital television broadcasting within the next few years (Altschull, 1984, p 112).European centered on the development of modulation systems appropriate for digital terrestrial television centered on the development of modulation systems for 20 GHz digital satellite television centered on the development of digital HDTV satellite point–to–point systems developing all aspects of digital terrestrial television developing all aspects of digital terrestrial television developing base band coding systems continuing studies of terrestrial and satellite planning, requirements and testing present article will outline some features of this plan, and give the background to the conclusions reached (Anand, 1993, p 156-210).What the WGDTB has done is to develop a first scenario which needs now to be taken up by experimental work. A fundamental limitation on the quality and ruggedness of terrestrial television services will be the terrestrial channel capacity. In Europe, the VHF/UHF broadcast television bands use either 7or 8 MHz channels. The working assumption has been that the system should have a bandwidth of about 7. 5 MHz. The prospect of using more than one channel in a contiguous way for a single broad-cast service seem remote, and the prospects of obtaining new frequency allocations with a wider channel spacing, even more so.Given a 7. 5 MHz channel, it seems that the upper bound on gross bit rate is likely to be about 30 M bit/s. The first task the WGDTB undertook was to evaluate the options which seemed most likely to be attractive and saleable to the European consumer in the next c entury, in the light of what could be seen, or predicted, as general trends in society (Anand, 1993, p 156). There is no doubt that the quality expectations of viewers are rising, and that the long–term future of television lies with HDTV. Nevertheless, the Group was also conscious that viewing habits are changing as society evolves.Therefore, when setting system goals there are dimensions other than quality which need to be taken into account (Briggs, 1999, p 145). It is not sufficient to ask what the public may want, we also need to ask when and where they will want it. Furthermore, the practical large flat–screen HDTV display, for many years regarded as the key to HDTV acceptability in the domestic environment, seems nearly as far away as ever. One underlying trend in society is toward individual activity, rather than group activity. A second element to consider is mobility.Essentially sound–radio has migrated from a group experience in the home, to a nearâ⠂¬â€œindividual activity in the car. We could reasonably ask if some of the same evolution will apply to television to any degree, orate least whether television will also have to cope with a mobile environment. There seemed to be four options, essentially linked to different viewing environments, which were worthy of most attention. The options are as follows:– HDTV (high definition television), which offers services to viewers with very large screen receivers, using fixed roof–top aerials.– EDTV (extended definition television), which offers services to viewers with medium to large screen receivers using fixed roof–top aerials. – SDTV (standard definition television), which offers services to viewers with portable televisions using set–top aerials. and LDTV (limited definition television), which offers services to viewers with small screen receivers using whip/stub aerials in a mobile situation (e. g. in acre). In order to translate these concepts to practical sys-teems, it is necessary to decide what is meant pre-cicely by the quality in each case, and what is meant precisely by each of the receiving environments.Picture quality is difficult to quantify in absolute terms, because it is the net effect of a series of factors such as resolution, sharpness, noise, artifacts, etc. It is by no means only related to the scanning standard. The picture quality that is achieved will also be related to the source quality, the sophistication of the compression algorithm, and the bit rate used. The receiving environment can be defined some-what more easily. It is related to the bit–error distribution in which the system is required to work. In other words, it is associated with the ruggedness necessary to achieve impairment–free pictures of the intended quality.As a first assumption in the WGDTB, the roof–top environment is considered to be associated with a spectral efficiency of 4 bits/s/Hz. The portable e nvironment is considered to need 1–2 bits/s/Hz, and the mobile environment is considered to need 1 bit/s/Hz. 2. REVIEW OF RELATED LITERATURE A. The Dimensions of Picture Quality Color Television was initially conceptualized in the 1950’s. Back then, a single color picture requires three images, specifically red, green, and blue (RGB) for light emitting devices such as cathode ray tubes (CRT).This would require a 30 MHz bandwidth to provide the desired picture rate, starting from the full progressive scan picture. To reduce the bandwidth to 15 MHz for an analog RGB system, an interlace is used. Within a studio the signals are carried on three separate cables at 5 MHz or more bandwidth each, a fundamental compression scheme used in color television is to translate the three color signals into the color-difference domain where the picture is represented by a luminance (equivalent to the earlier monochrome) picture and two color difference pictures, R-Y and B-Y.Another nam e for this system is YUV, Y for luminance and U, V for the two color difference signals. Again using the limitations of the human visual system, in this case less color than luminance visual acuity, the bandwidth of the color difference signals is reduced by 50% for a total YUV bandwidth requirement of 10 MHz. Today, YUV signals are used in both analog and digital forms and have very little visible degradation compared to interlaced RGB video. Both forms are known as component video with YUV being used for most applications.Nowadays, there are two reasons to compress television video signals, practical limitations of processing speed (bandwidth) and cost of transmission or storage resulting from the required bandwidth. Today, the availability of high speed semiconductors and integrated circuits make the latter reason most important in nearly all applications. Virtually all video compression methods utilize the limitations of the human visual system to remove the less visible picture information that might otherwise be present.As broadcast television was being developed, display rates of 50 or 60 pictures per second were considered necessary. Discussing Quality Broadcasting and its future would not be complete without discussing the past and present of Broadcasting. Cathode-ray tube, also known as CRT’s is the technology used in most televisions and computer display screens. A CRT works by moving an electron beam back and forth across the back of the screen. Each time the beam makes a pass across the screen, it lights up phosphor dots on the inside of the glass tube, thereby illuminating the active portions of the screen.By drawing many such lines from the top to the bottom of the screen, it creates an entire screenful of images. The technology used for the display is also a critical part of the quality equation, and all broadcasters currently suffer from a lack of flat panel monitors which can be used to check that picture quality is perfect before it l eaves the studio. The reason is because display are no longer made using ‘CRTs', which had many disadvantages, but could be made as very high precision instruments when needed.This is not so easy with today's flat panel display. An analysis of the options available for a common multiplex is currently being made. There seem to be a number of potential candidates for a common multiplex, and particular attention unfocussed on the MPEG proposals and the DAB system. A unique system for DAB and Devisees particularly attractive. a. ) HDTV Nowadays, we have different prototypes of devices which we use to enhance broadcast information quality with.One of these numerous devices would be what we call HDTV which is also known as High-Definition Television. This is basically a new television prototype that provides much better resolution and resonance than current televisions based on the NTSC standard. HDTV is a type of Digital Television (DTV) broadcast, and is considered to be the best quality DTV format available. Types of HDTV displays include direct-view, plasma, rear screen, and front screen projection. HDTV requires an HDTV tuner to view and the most detailed HDTV format is 1080i.HDTV is a digital TV broadcasting format where the broadcast transmits widescreen pictures with more detail and quality than found in a standard analog television, or other digital television formats. High definition television is defined rather loosely by the International Telecommunication Union (ITU) as a system which has about twice the horizontal and vertical definition of conventional television. This still leaves open the amount of noise or artifacts that are permitted, and which affect the picture quality just as much as definition.In Europe, Asia, South America and across other parts of the world the PAL system is adopted by each state, and often with some unique characteristic, such as the location of the sound carrier. This means for protecting sovereign borders has made f or complications in program exchange, though presumably has not impacted the set sales in any of the regions. Further-more, there is a relatively wide range of definitions available within the term â€Å"conventional television†. In addition, interlaced systems have a triangular vertical–temporal response, so it is difficult to know where the concept of â€Å"twice resolution† applies (Anand, 1993, p 210).To pin down HDTV, we have to look at the combined effect of all the quality factors on the picture; and, to some extent, make up new rules. It is apparent that the NTSC standard sets the limits today in television quality. The NTSC system is a composite system, meaning the color or chrominance information is embedded in the luminace information. In over-the-air and cable transmission there are frequently micro reflections produced, which deliver somewhat delayed second or third harmonic images (which are commonly referred to as ghosting).Only so many scanning l ines, so much bandwidth is in the standard. There is also the inclusion of interlace scanning, producing aliasing artifacts, interline noise (often called â€Å"twitter†), and dot crawl which is undeniably the factor which makes perfected separation by way of comb filtering of color and luminance information very expensive, thus color smearing results in most modestly priced sets without this device included. The accumulation of artifacts from the traditional NTSC standard has placed a practicalsize limit of the television image since most consumers perceive an increase in size as a â€Å"cause† of the artifacts, rather than merely the exposing of them. While filtering techniques have improved, the cross color and dot crawl artifacts, there remains the unalterable fact that the total amount of picture information in the broadcast standard has a specific limit. When deciding on a required picture quality we have to bear in mind the target viewing distance, and the need to ask, responsibly, for no more than is necessary.Digital compression systems all work in a similar way. The information content of the source picture varies from scene to scene. The system reproduces the content of the input picture essentially intact, until the point is reached where the transmission bit–rate will be exceeded if nothing is done. At this point, a series of approximations are made to parts of the scene. The output scene can thus have (apparently) added noise or loss of resolution, to an extent depending on the original scene content.For any practical system there will always be scenes which are reproduced perfectly, and others which are impaired. The system designer’s intention is to make the impairments occur as infrequently as possible, and be as unobtrusive as possible. The main approach examined by the WGDTB to specify the quality needed is termed the â€Å"scene–content failure characteristic†. This is a logical and scientific metho d, but it is also relatively ex-pensive to use.The basic element to be specified is the proportion of total programmed time which should be free of artifacts. â€Å"Freedom from artifacts† is considered to be associated with a minimum mean score of 12% in a double–stimulus continuous–quality scale (DSCQS) subjective evaluation. This is somewhat arbitrary figure, but much experience shows it to be a good rule of thumb for virtual transparency. The challenges are then, first, to decide what constitutes a sensible proportion of time for which impairment free pictures should be demanded.The second challenge is to assemble statistical evidence about the relative occurrence of different kinds of scene content, so that it can be verified that the requirements are met. In choosing the proportion of time for which impairment–free pictures could be expected, we can look to the other â€Å"statistical† domain of picture quality, which is the propagation failu re characteristic, used as a planning criterion. For example, in broadcasting satellite systems (BSS), quality is required to be maintained for a defined percentage of the worst month of the year.If this kind of guide-line is acceptable for satellite systems, would it also be acceptable for terrestrial television broad-casting? Unfortunately, the answer is â€Å"not quite†. In satellite broadcasting, the â€Å"outage time† is used up in rain–fades, which occur over a period of, say, half–an–hour. The quantization–noise artifacts that are introduced by digital coding will probably be more spaced out than this, and their effects will therefore be less severe on the viewers overall perception of quality (this is sometimes called the â€Å"forgiveness effect†).However, it may be appropriate to adopt a value similar to that for the BSS as a starting point for fixing the scene content failure characteristic requirement (Anand, 1993, p 210). The WGDTB has tentatively begun by taking 99. 7% transparency as the requirement for the dig-ital terrestrial HDTV service. Coupled with this, it is assumed that the reference quality is a1250/50/2:1 HDTV studio signal, with 1440 samples/line. We do not yet have a catalogue of HDTV picture sequences and their places on a code â€Å"criticality table†, but we do have some experience from for-mar 4:2:2 code studies (Altschull, 1984, p 112).These suggest that to achieve the target transparency, the code would need to pass, unimpaired, almost all the test pictures so far devised, including the second most–stringent CCIR sequence â€Å"mobile and calendar†(critical, but even so only in the area of 80%–90%criticality). The quality target is very high, and may not be achievable at the available bit–rate. But it certainly is worth aiming high at the start. It is known from past experience that HDTV source and display equipment quality will improve, and a system which will last well into the next century would be valuable.The next key question is â€Å"what quality can be achieved with 20–30 M bit/s? † Initial tests may be possible in autumn 1993 with the HD–DIVINE system, and these would probably provide first clues. b. ) EDTV The second quality level to be discussed is termed EDTV. EDTV is a common name for a particular subset of the DTV (Digital Television) standards, but On a large display screen only. It is also known as Enhanced Definition Television or extended definition television. EDTV is considered to be specifically a part of the HDTV format but does not fall near the quality and performance of HDTV.EDTV as a whole can only simulate HDTV viewing quality. However, The EDTV prototype offers more technological advancements over the SDTV unit. EDTV operates as 480p (where 480 represents the vertical resolution and p represents progressive scan). To take advantage of the said 480p standard, video source th at outputs that signal (i. e. a DVD player) must be used and the display must be able to read the 480p input signal. As an additional feature an EDTV unit also offers the benefits of Dolby digital surround soundThis is not a particularly appropriate name, because the scanning standard for the system would be the normal625–line system. The level is included because large–screen HDTV receivers, which have an HDTV dot pitch, will be very unwieldy and very expensive for many years to come. An EDTV level would fulfill a need for a lower–cost and lighter receiver. Having probably a screen size less than about 30 inches, it would not be dramatically inferior to an HDTV display in perceived quality. There may also be living rooms which are not large enough to take a true HDTV receiver.The source format for EDTV is assumed to be a signal conforming to CCIR Recommendation 601, with 720 samples per line and a 16:9 aspect ratio (Starks, 1993, p 196). The codes transparency required, in terms of the percentage of program time unimpaired, would be roughly the same as for the HDTV level (al-though in this case with respect to the 4:2:2source). The best information available at the present time is that in order to achieve this level of transparency, a bit–rate of about 9–11 M bit/s is probably needed for a motion–compensated hybrid DCT system.c. ) SDTV The third quality level considered is SDTV,. Short for Standard Definition Television it is a type of digital television operation method which is able to transmit and produce images which are of a higher quality than standard analog broadcast. While SDTV does not reach near the quality of HDTV, it is definitely superior over traditional analog television. SDTV is typically a 480i signal – where 480 represents the vertical resolution and i represents interlaced. Digital cable and digital satellite programming is widely available in SDTV format.This is specifically intended to mat ch the quality needs of portable receivers. On small–to–medium screen sizes, even today’s PAL/SECAM quality is very good. Thus, for the SDTV level, a system which has a625–line scanning format is needed, but some artifacts can also be accepted, as is the case for both PAL and SECAM. The kinds of artifacts associated with PAL/SECAM and a digital motion–compensated hybrid DCT system will be different, but it is believed that in order to achieve, globally, about the same over-all quality, a data rate of about 5–6 M bit/s is needed. d. ) LDTVThe fourth quality level is LDTV, limited definition television. This is intended to match the needs of very small screen receivers, which might be used in cars, and now being incorporated to mobile phones as well. The quality requirements of this level would be about the same as the MPEG 1 codes or about VHS level. Specifying the quality requirements, and evaluating the systems in terms of their sceneâ€⠀œcontent failure characteristics will be a major technical challenge, principally because of the need to establish how often scenes of a particular type of content are likely to occur.There may be alternative simpler approaches which will also help to understand and quantify the systems’ behavior. Another potential quality evaluation criterion, which the WGDTB has been asked to consider, is associated with the concept of â€Å"quality space†. Our perception of the picture quality of a given system is directly influenced by the viewing distance. The further from the screen, or the narrower the viewing angle, the less discriminating we are in terms of resolution or artifacts.One way, therefore, to see the various quality levels, is by imagining that there is a â€Å"quality space†, which is a graphical representation of picture quality–versus–viewing distance. For the picture quality axis, we use the same axis as for DSCQS evaluations (Andersen, 199 0, 291). There are five contiguous and equal intervals characterized by the quality descriptors: excellent, good, fair, poor, and bad. Similarly, It was specified by the EDTV system as one for which the results of assessments must fall in the excellent band at 4H.SDTV systems are those for which the results must fall in the excellent band at6H, and an LDTV system as one for which the results must fall in the excellent band at 8H. This seems a relatively clear means of defining and distinguishing between the quality levels, but experimental work remains to be done to establish its viability in practice. DISCUSSION A. Impact of Source quality Another interesting dimension to this question of picture quality concerns the impact of source quality on final picture quality under high compression.Compression systems may show a characteristic such that it could be considered (in a simplified way) that their characteristics of quality–versus–bit–rate have two regions. A Camcorder video compression device was recently developed to function effectively in a variety of applications and which could effectively address the need for high-resolution surveillance image recording. The said device is able to simultaneously encode two separate streaming images — full size and quarter size — with robust compression and high quality.The creator of the device, Showlei Associates has announced that its CamCoder video compression device will dramatically lower the cost, power consumption and size for the compression of high-definition streaming images. The IC also contains internal logic for user-programmable motion detection and watermark insertion, as well as on-board memory. High definition compression systems, as available today, do not perform as well as predictions made several years ago, with the exception of the newly created device – but the next years should bring maturity and allow more complexity in equipment.E It is a common conse nsus that the full benefits for broadcasters of the new advanced compression systems would be achieved eventually. However as of the present time inventors are still finding a way to get pass one of the quality defects of digital broadcasting today, this problem is the lack of synchronization between vision and sound. Achieving this may even become more difficult with more advanced codes. This still needs to be carefully evaluated by all broadcasters to find any loopholes in the said device. ConclusionThe Quality of Broadcasting is by all means generated by a combination of both responsible dissemination of information and state of the art broadcasting equipment. The way in which information is disseminated and retained by the audiences would first and foremost be the determining factor as to effectiveness of the broadcasting being done. The content plays a very important role in keeping the interest of the audience and it should be discerned that without a substantially good topic, even the most advanced equipment to disseminate information would not be a factor at all.It is in this context that commitments must soon be made and it is to be of utmost importance that all administrations and organizations which will be affected by technological changes should be able to share in the accumulated understanding of the factors involved with a view to taking carefully considered decisions. To assist in this process, the ITU/BR has convened a Workshop Tomorrow’s television – Thaw IDER picture, with the support of the European Broadcasting Union and the Asia–Pacific Broad-casting Union.It aims to bring together the expertise necessary for a common understanding of the issues and, to allow a balanced representation of all contending systems, the Workshop is being held away from the main centers of study, in New Zealand. BIBLIOGRAPHY Altschull, J. H. 1984. Agents of Power: The Role of News Media in Human Affairs. New York: Longman, p 112 Anand, A. 1 993. â€Å"Introduction,† 1-24 in Women's Feature Service (ed. ), The Power to Change: Women in the Third World Redefine their Environment. New Jersey: Zed Books, p 156-210 Andersen,P. A. & M. W. Lustig & J. F. Andersen. 1990.â€Å"Changes in Latitude, Changes in Attitude:The Relationship between Climate and Interpersonal Communication Predispositions,† Communication Quarterly, v38 (1990): 291-311. Blumler, J. G. (2000). Public service broadcasting in multi-channel conditions: Functions and funding. In S. Barnett (Ed. ), Funding the BBC†s future (pp. 26-41). London: BFI Publishing, p 521-540 Briggs, A. (1999). History of broadcasting in the United Kingdom: Vol. 1. The birth of broadcasting. Oxford, England: Oxford University Press, p 124-145 Starks, M. (1993). Public services and market forces: The BBC experience.London: British Broadcasting Corporation, p 196-214 HDTV Copyright 2007 Jupitermedia Corporation All Rights Reserved. Copyright 2007 Jupitermedia Corpor ation All Rights Reserved. http://www. webopedia. com/TERM/H/HDTV. html Grossman, S. (2007) A breakthrough in high-definition image compression technology http://rfdesign. com/military_defense_electronics/news/breakthrough_in_technology_0613/ What is Quality? (1996), Research Note 93. Retrieved August 20, 2007 http://www. cpb. org/stations/reports/archived/researchnote93. html What is a CRT? (2002) Retrieved August 20, 2007 Copyright 2007 Jupitermedia Corporation All Rights Reserved.http://www. webopedia. com/TERM/C/CRT. html What is an SDTV? (2002) Retrieved August 20, 2007 Copyright 2007 Jupitermedia Corporation All Rights Reserved. http://www. webopedia. com/TERM/C/CRT. html What is an EDTV? (2002) Retrieved August 20, 2007 Copyright 2007 Jupitermedia Corporation All Rights Reserved. http://www. webopedia. com/TERM/C/CRT. html Public Service Broadcasting: annual report 2007 Retrieved August 20, 2007 http://www. ofcom. org. uk/tv/psb_review/annrep/psb07/ Austerberry, D. (2006) IBC : A move away from Broadcasting? Retrieved August 20, 2007,  © 2007 Prism Business Media In

Reflection on Global Operation Management Essay

Pietra Rivoli who is an associate professor in the Georgetown University, specializes in finance and social issues, and is the author of the book, ‘The Travels of a T-shirt in the Global Economy’. The main reason which instigated Rivoli to write this book, was a speech a student had given at the Georgetown University, the student was severely criticizing globalization, and asking about who made the T-shirts they were wearing. She told some facts about child labor in India and Vietnam, which made everybody, sit up and think, including Rivoli. Rivoli then starts on a journey to find out some interesting facts about the origin of the T-shirt. Her case study starts in Texas at the home of Nelson Reinch, who produces enough cotton for more than 1.3 million T-shirts. Reinch and his colleagues control the whole world market of cotton, through hard work, determination, modern technology and much needed discounts from the government. Reinch was no where in comparison to the poor farmers in India and Africa, who did not have proper funds or government support in marketing their goods. Rivoli’s next stop was China, were she met a young woman Yuang Zhi, who spun the yarn for the fabric and sewed the shirt. This young lady worked for 50 hours a week, and earned nearly $150 per month. This woman’s working conditions were far better than the conditions in which women had to work previously in Manchester and England. This was probably the woman’s first encounter with independence and identity, which came in the form a paycheck, even though it was a small amount.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   The most important point which was very surprising was that, throughout the world there must be millions of people who manufacture cotton, but the manufacturers from Texas were totally dominating the cotton industry, because of their shrewd manner by which they manage to avoid competition. These manufacturers manage to control the market by avoiding the labor market, which make the other manufacturers unable to compete with them due to no government and political assistance, lack of proper education and money. People who support globalization vow by the free trade of clothes, as it can be used to the advantage of the poorer countries. Rivoli was surprised to find that how recycled clothes from the USA were a rage in Tanzania. Used clothes from America get imported in huge quantities to Tanzania. Tanzania is a small country which was slowly proceeding towards a more liberal capitalist system from the socialist model. People are able to freely take part in the daily auctions of the clothes at the market place, and merchants are also making a mark for themselves in the cutthroat markets as consumers or retailers. Rivoli feels that free trade should be encouraged without any government or political interference in the markets. According to the author, United States is on the top of the market whereas Africa is at the bottom; she feels that USA will have a better chance to make progress economically if they give a reasonable chance of competition to other poorer countries. Tanzania is a proper example of how a free market should work, and these markets are extremely professional, but do not get acknowledged, because of the low capital raised through such markets, which is not significant. Two of the most important principles which need to be followed are that, government and political interference should not be there in any market. Another point is that the subsidy which US government gives the cotton manufacturers is indirectly harming other poorer countries. Rich people are becoming wealthier and the poor are becoming poorer. If the subsidies are reduced, the price of cotton can be increased, which would be beneficial to other poorer markets. Another important point which is a shock is that the clothes that people donate, are not given away freely to poor people, but are sold to middlemen for huge profits, which later land in the streets of   the Tanzania marketplace. Some of the most important principles which can be followed by other industries also are that free market in any trade should be encouraged, and people should have the power to voice their demands, meaning a free democracy should be prevalent to achieve a fruitful society. Government should support free trade in any industry, and should provide the necessary platform in the form of proper education and capital to help the markets grow. Some of the other reasons for the trouble that African industries are facing are the lack of proper authority, which is due to no proper education, corruption and insecurity. The author Rivoli made a very good job of the book, she was successful in exposing the secrets and complications of the cotton trade globally.   Her views on free trade and liberal democracy are very interesting, and should be followed by the authorities of the poorer countries for a better society. On the whole she succeeded in voicing her thoughts and opinions on the recycle market in Tanzania, and hopefully, their government will provide a strong platform for such global trades. References Kris Hundley, What a T-shirt Teaches Series., St Petersburg Times, 4 October 2007, . Lauren Dorsey, Lauren Barbieri, Zack Thomas, ‘The Travelers of a T-Shirt in the Global Economy, by Pietra Rivoli’, 4 October 2007, .

5 Key Components of Great Feature Stories

5 Key Components of Great Feature Stories Hard-news stories are typically an assemblage of facts. Some are better-written than others, but they all exist to fulfill a simple purpose- to convey information. Feature stories convey facts as well, but they also tell the stories of peoples lives. To do that, they must incorporate facets of writing often not found in news stories, ones often associated with fiction writing. A Great Lede A feature lede can set a scene, describe a place or tell a story. Whatever approach is used, the lede must grab the readers attention and pull them into the story. Heres a lede from a New York Times story about former New York Gov. Eliot Spitzer and his meetings with a prostitute in a posh Washington hotel: It was after 9 on the night before Valentine’s Day when she finally arrived, a young brunette named Kristen. She was 5-foot-5, 105 pounds. Pretty and petite.This was at the Mayflower, one of Washington’s choicer hotels. Her client for the evening, a return customer, had booked Room 871. The money he had promised to pay would cover all expenses: the room, the minibar, room service should they order it, the train ticket that had brought her from New York and, naturally, her time.A 47-page affidavit from an F.B.I. agent investigating a prostitution ring described the man at the hotel as â€Å"Client 9† and included considerable detail about him, the prostitute and his payment methods. But a law enforcement official and another person briefed on the case have identified Client 9 as Eliot Spitzer, the governor of New York. Note how the details- the 5-foot-5 brunette, the room number, the minibar- build a sense of anticipation about the rest of the story. Youre compelled to read more. Description The description sets the scene for the story and brings the people and places in it to life. A good description prompts a reader to create mental images in their mind. Any time you accomplish that, youre engaging the reader in your story. Read this description from a St. Petersburg Times story by Lane DeGregory about a neglected little girl, found in a roach-infested room: She lay on a torn, moldy mattress on the floor. She was curled on her side, long legs tucked into her emaciated chest. Her ribs and collarbone jutted out; one skinny arm was slung over her face; her black hair was matted, crawling with lice. Insect bites, rashes, and sores pocked her skin. Though she looked old enough to be in school, she was naked- except for a swollen diaper. Note the specifics: matted hair, skin pocked with sores, the moldy mattress. The description is both heartbreaking and repulsive, but necessary to convey the horrific conditions the girl endured. Quotes While good quotes are vital for news stories, they are imperative for features. Ideally, a feature story should include only the most colorful and interesting quotes. Everything else should be paraphrased. Look at this example from a New York Times story about the bombing of the federal building in Oklahoma City in April 1995. In the story, reporter Rick Bragg describes the rubble and the reactions of the firefighters and rescue crews responding to the scene: People could not stop looking at it, particularly the second floor, where a child care center had been.A whole floor, said Randy Woods, a firefighter with Engine No. 7. A whole floor of innocents. Grown-ups, you know, they deserve a lot of the stuff they get. But why the children? What did the children ever do to anybody. Anecdotes Anecdotes are nothing more than very short stories. But in features, they can be incredibly effective in illustrating key points or in bringing people and incidents to life, and theyre often used to construct feature ledes. Heres a good example of an anecdote from a Los Angeles Times story about the skyrocketing cost of fighting wildfires: On the morning of July 4, 2007, ranch hands were fixing a water pipe on private land in a narrow canyon off the road to Zaca Lake, about 15 miles north of Solvang.The temperature was headed toward 100 degrees. Rainfall the previous winter had been among the lowest on record in Southern California. Sparks from a metal grinder jumped into some dry grass. Soon flames were rushing through the brush toward Zaca Ridge.By the next day, nearly 1,000 firefighters were trying to box the fire into a small area. But late that afternoon, the Zaca made a run, moving east into Los Padres National Forest. By July 7, Forest Service officials realized they were facing a potential monster. Note how the writers, Bettina Boxall and Julie Cart, quickly and effectively summarize the genesis of a fire that plays a central role in their story. Background Information Background information sounds like something youd find in a news story, but its equally important in features. All the well-written description and colorful quotes in the world wont suffice if you dont have solid information to back up the point your feature is trying to make. Heres a good example of solid backgrounding from the same Los Angeles Times story about wildfires mentioned above: Wildfire costs are busting the Forest Service budget. A decade ago, the agency spent $307 million on fire suppression. Last year, it spent $1.37 billion.Fire is chewing through so much Forest Service money that Congress is considering a separate federal account to cover the cost of catastrophic blazes.In California, state wildfire spending has shot up 150% in the last decade, to more than $1 billion a year. Note how the writers marshal their facts to clearly and unequivocally make their point: The cost of fighting wildfires is rising dramatically.

Thank You After Interview Email

Thank You After Interview Email Despite the dour news reports, many companys are hiring! This article will help you write a thank you after interview email that helps you get the job. After a lengthy search process, two candidates qualified for the final interview with two vice-presidents for a lucrative sales position with an excellent company. After the interview, the vice-presidents were equally impressed with both candidates and unsure who to hire. Then, they received the candidate's thank you after interview email, and one was immediately hired and the other immediately excluded. Let's look at the thank you after interview email and examine what worked and what did not. (Note: The ideal candidate would demonstrate both a proven strong sales track record AND have the personality to build sincere business relationships with established company clients. Up until these emails were received, they appeared equally qualified.) HIRED From: ClaudiaLastName@youremailhost.com (Neutral, professional email address) Sent: Wednesday, July 16, 2011 10:09 PM To: Smith, Mike Subject: Thank you from Claudia LastNameDear Mike:Thank you for taking the time to meet with me today. I enjoyed our remote office venue! (Nice reminder of their meeting and her flexibility. The conference room they had booked for the interview was locked so the interview occurred in an airport restaurant.) I am proud of my 24 plus years of sales and management experience. I am a top sales performer eminently comfortable with all aspects of sales, and sales management. I am even more excited about this position after meeting with you and learning it requires diligent focus on relationship building. This is the area of sales I most enjoy and cultivate. When you speak with my references, I'm sure they'll attest to my genuine interest in learning about their businesses and our long-standing relationships. Susan Demers at Summit Team, who is on my reference list, and I worked together on a customized customer service project that is particularly similar. (This comment is great: targeted directly to the job requirement, with specific testimony to her ability, and includes a reference link). I excel in: ââ€" ª development of sales opportunities ââ€" ª building long-term customer relationships ââ€" ª high level computer literacy ââ€" ª attaining results (This long bullet list is a wordy and lacks specificity. All sales professionals should possess these characteristics so it doesn't add much but unnecessary length. Better would be to pick two or three traits that best match this job and demonstrate her suitability. For example, since relationship building is so important, bullet three specific examples which demonstrate this.) Again, thank you for the opportunity to meet with you and Matt. It would be an honor to be considered and hopefully become a part of the COMPANY NAME team to assist schools to manage the financial aspects of their education mission most efficiently. (Great close - she demonstrated she understands the company mission and where she fits in.) Kindest Regards, (Appropriate closing salutation.)Claudia LAST NAME †¨(555) 555-5555 Business Email WritingThis is a great example of matching content and tone to her readers, the two hiring vice-presidents. She engaged and convinced them because all content addressed their focus and issues, not hers. And, this writing skill earned her a great position. NOT HIRED From: seektheburn@youremailhost.com (If you have an unusual personal email address that reflects a personal interest, create a more neutral email account for your job search. Let's hope this address reflects an exercise enthusiast rather than a proclivity towards pyromania.) Sent: Wednesday, July 16, 2011 3:41 PM To: Smith, Mike†¨Subject: Meeting (Vague subject line) Mike, (Business email salutations for more formal email communication should use a colon, following business letter format. Personal messages and very informal email business communication use a comma. Also, there should be an appropriate professional business salutation included: "Dear Mike:" is best.) Thanks for meeting with me today. You guys make a great pair. ("You guys" is much too familiar and slang for business communication between people who have only met once, particularly in a job search. These "guys" were two company vice-presidents who had the final hiring decision.) I definitely appreciate the gentle banter. (About what? It seems the writer is trying to make a connection, but it falls far short. How does this statement convince his readers, the hiring vice-presidents, why he will best fill in their position?) I am excited about the possibility of coming aboard. I am confident that I can make a positive contribution to help grow the business. My experience speaks for itself. (Really? Unless the only job requirement is confidence, there is no other relevant content introduced here that demonstrates job suitability. Since this position is equally about sales and fostering relationships with clients, understanding their business needs by listening well, and problem solving, it was this paragraph that cost him the job. The vice-presidents felt he was too self-focused, and even too arrogant, for the position. They needed a highly skilled sales professional which implicitly requires competitiveness, hustle and focus, and he met that requirement. But, they also needed someone who listened to clients, and this paragraph made them think he lacked that skill. One vice-president commented, "If he can't write a thank you email without alienating us, what will he do to a client sales proposal?") To Good Tidings! (Avoid trite, meaningless closings. How does good tidings relate to this situation?)Steve (A job thank you message requires a closing salutation, such as "Best regards," not just a name.) The overall tone and content of this email was fully writer focused. All business communication should be reader focused. In this case, the message needed to include content and tone that would resonate to the two vice-presidents who interviewed him. It needed to convince them he would be the best person for their particular job. Instead, it was all about him and his perspectives.His lack of reader focus cost him a lucrative job he really wanted. Business Email writing is a requisite skill. Invest in your career growth in this Email Course.

6 Great Resume Tips How to Organize Your Resume’s Education Section

6 Great Resume Tips How to Organize Your Resume’s Education Section Is your resume’s Education section taking up too much space on your resume? Are you finding it hard to fit in all the information you think is important? Here are some of your resume Education section questions answered – maybe even questions you didn’t know you had! These tips will help you pack in lots of information without taking up half the space on your resume. 1. Should the Education section come first or last? If you are a new graduate from college or graduate school, or if you are applying to graduate school, your resume’s Education section generally goes FIRST on your resume (after your header). Why? Because it’s what you’ve done most recently, and/or it is most relevant. (If you  are unsure as to what is most relevant in your particular situation, ask an expert for advice.) If you have been in the working world for 2 years or more, your Experience section will more likely come first, and Education might be last or close to last on your resume. 2. Should I include dates in my Education section? The answer is, â€Å"It depends.† If you are a new graduate, especially if you’ve graduated from any school within the past five years, then it makes sense to include the date of your graduation or expected graduation. If you graduated more than 20 years ago, generally it’s recommended not to include the date of your graduation, as you could face age discrimination. If you are an older job seeker and also got a degree in the past few years, it can help to make you look younger if you put the date of your graduation on your resume. So consider your specific situation and make a considered judgment call. If you have questions, you might want to consider a resume review by The Essay Expert. 3. What should the basic format be? List your educational institutions in reverse chronological order, just as you do with your employment history. The most important part of each school section is the name of the school you attended. Put it in bold and/or Small Caps, followed by the city and state. Use the same format you use for your employers. Next put the degree you received. If you are anticipating a degree, write â€Å"Candidate for B.A,† â€Å"B.S. expected,† or â€Å"M.A. anticipated.† Fill in the appropriate degree of course. Here’s an example: You might like a centered format if your Education section is toward the end of the resume. For example: 4. Do I need a separate line for my GPA and for each of my honors? If you need to save space, there is no need to put your GPA and honors all on separate lines. You can combine these onto one line, and you can even put them on the same line as your major. How you combine things will depend on how much room you have on other lines. Here are some possibilities: BA in Political Science, cum laude, 2016 (GPA: 3.41) Bachelor of Arts in Political Science, concentration in Psychology, May 2015 Major GPA: 3.73; Cumulative GPA: 3.683 5. How should I list Honors  and Activities? You do not need an entirely separate section for either Honors or Activities. Only create these separate sections if you need to fill space! Instead, put them under the appropriate school. Do you have a lot of honors and/or activities? If you need space, you can group them together. For instance, you can have a bullet that says â€Å"Honors:† and name your honors, separated by semicolons. Then have a bullet that says â€Å"Activities:† and list your activities, separated by semicolons. Not sure how to handle the dates of all these things? Try putting them in parentheses after the honor or activity, and before the semicolon. Examples: Honors: Undergraduate Honors Thesis Research Grant (Honors Program award); Phi Kappa Phi Honor Society; Golden Key International Honour Society Honors: Dean’s List (2016-2019); Baylor University Alumni Scholarship (2015-2019); Greek Women’s Leadership Award (2009); Midwest Conference Academic All Conference Team (2018  and 2019) Activities: Latino/a Student Association, Secretary (2016-2017), Delegate/Community Service Committee (2015-2017); Mexican Student Organization, Social Chair (2015-2016); South American Student Association, Member (2014-2017) Activities: Varsity Women’s Basketball Team, Four Year Letter Winner; Pi Beta Phi Fraternity, Board Director (2016-2017) and Member (2014-2017); University Chapel Choir, Member (2014-2017) 6. Do I need a separate section for Study Abroad? No! Study abroad is part of your undergraduate education. It can be a bullet, or if you want to emphasize it because of your international interest or language ability, you can bold it. Do not put a space between your undergraduate degree section and the study abroad section, unless you need to fill space. Example of bullet format: [end of undergraduate section here]    Junior-year semester at University of East Anglia, Norwich, England (2015) Example of bolded section under undergraduate section: [end of undergraduate section here] Reid Hall, Columbia University, Paris, France Summer Study Abroad (Coursework: 19th Century French Painting, French Language) 7. How long should my resume’s Education section be? Unless you’ve earned five different degrees from five different schools already, your education section generally should take up a maximum of a third of a page. This means it’s important to get Experience to put on your resume and not rely on your Education to get you a job! Implementing these 6 suggestions will give you a great start on the Education section of your resume, making it both efficient and effective. Did these tips help you with your resume? Please comment below.

This is about my engineering class PowerPoint Presentation

This is about my engineering class - PowerPoint Presentation Example In such circumstances, people look forward to kitchen appliances that are more efficient and time saving. A vast majority of people aged between 20 and 35 frequently shift from one place to another in order to accord with their workplace. Therefore, modular home furniture suits them the most. However, they have conventionally had hard time furnishing their kitchens because of lack of modular kitchen appliances and furniture. Needs of the working class married couples can best be addressed by proposing a smart â€Å"mobile kitchen furniture assembly† model. This paper presents a noble concept in order to ease the mobility of the kitchen as a whole from one place to another. The conventional kitchen: Kitchen is a place meant for cooking food and storing raw ingredients as well as the cooked food. A gas or electric stove is a must feature of the contemporary kitchen in urban houses. Most of the modern day kitchens do have a microwave oven in them. The kitchen has a refrigerator t hat is a fundamental means of storing food and raw ingredients. A deep freezer accommodates frozen food and ice. A sink is necessarily employed as a place of dish washing, thus necessitating the facility of fresh clean tap water. In addition to that, kitchens have cupboards and wooden cabinets that are meant for placing utensils, and various culinary dishes. An exhaust fan is provided in the kitchen for regulating the air. Some families prefer to have their kitchen large enough to accommodate dining table as well. The Conventional Kitchen (Gowtham Enterprises). Guidelines for design of kitchen furniture: Before developing a model for â€Å"mobile kitchen furniture assembly†, it is customary to study the guidelines that are conventionally laid for designing the kitchen furniture. The kitchen furniture is fundamentally made up of wood, plastic, and steel (stainless or mild). Wood is protected with varnish or plastic lamination. For pans, shelves made in metal remain the best. I n order to increase the usable space, doors and windows can be made sliding. Cutting is facilitated by such utensils as cutting boards and knives, all placed in pull out drawers. Location of draining boards is considered most convenient in floor units. Dishwashers should be on either side of the sink. Preferred kitchen furniture design: A survey was conducted to establish a kitchen furniture design according to the choice of consumers. In order to achieve this, he carried out a survey in which he proposed three design models for the respondents to choose the best from. The three models along with the graded response are shown in the figure below: Kitchen furniture design models (Thakur 46). As evident from the picture above, maximum respondents chose model A as their preferred kitchen furniture design. The kitchen furniture design model should provide the consumers with the following facilities: 1. The counters’ height should be adjustable. 2. The furniture should be capaciou s enough to accommodate consumers’ culinary appliances. 3. Furniture should not be fixed, and should be stylish, and lightweight. 4. A compact kitchen furniture assembly was high in demand among the consumers. 5. The look should be modernistic and price should be affordable. 6. The system should be as user friendly as possible, and should avoid requirement of multitasking which may complicate the kitchen works. 7. There should be centralized interaction between the furniture appliances and the consumers. 8.