Music value chain

Music value chain 1. Introduction The music industry has been facing radical changes during the last few decades due to the introduction of IS technologies which have reshaped it in depth. More particularly the music value chain has been experiencing an intensive change and evolution in many aspects: the distribution to consumer is more direct, intermediating parties are reducing and prices are constantly changing. The internet, an open information system, legally and illegally paves the way to the creation of a fresh music product, offering more choices to consumers. Consumers are now able to listen to music in electronic forms: MP3s and ringtones are procured in a large scale through internet. The IS delivery vehicle has undoubtly added value to the consumers. But what about the â€Å"Big 4† music companies?[1] How have they accepted this major shift in their business industry? Have they tried to resist or more essentially are they able to resist and is that kind of reaction to their best interest? The industry that celebrated its success in the Nineties now has to restate its position. The numbers are alerting: â€Å"Die Welt† newspaper reports a 16% dropping turnover for sound storage media. Nonetheless the music industry story has not yet ended. It is rather being written from the beginning. Since the old business model does not function at all under the shade of the IS, companies have to use the new technologies and cope with the fast pacing development. In my opinion what is most of the times considered as danger could be proved a great opportunity. The music industry is not perishing; it is just reforming. People will always need music and music companies will continue to exist as long as they decide to adapt to the new IS reality. We are referring to a reformation of something that could be an entirely innovative business opportunity. Apple with the first online music store, i-Tunes, paves the way to a new era and steals a big piece of the music market pie. 2. The music industry: A continuously reshaping industry The music industry history is mainly a story of innovation that goes back to the 18th century. Music creation is as old as human existence but the effort to market and commercialize music counts only a few centuries; In the mid 18th century composers like Amadeus Mozart started searching ways to sell their music and performances to the general public. In the 19th century sheet music, a hand-written or printed form of musical notation, was the core product sold by the music industry but it conveyed an important limitation: it was addressed to a particular audience, people who could read music notation. In the 20th century the sheet industry was replaced by the â€Å"record industry†. The source that led to this reshaped environment was technological innovation. The label corporations commonly known as the â€Å"Big 6†: BMG, EMI, MCA, PolyGram, Sony and WEA, dominated the music industry. Today the â€Å"Big 6† have transformed into the â€Å"Big 4† after Sony merged with BMG. The following graph depicts each labels share[2]. The most important stages in music industrys evolution in the 20th century were: The introduction of cassettes (around 1960). The introduction of walkman: The era of transportable music begins (around 1980s). The introduction of CDs: CDs opened a window of wide capabilities for music consumers. (1990). At this point the music industry boomed: the market growth was huge and mark ups were fairly large. Nevertheless the CD fairy tale would soon come to an end: After 1995 the market started inevitably shrinking. The increasing internet penetration along with the large price decline of hardware and software enhanced the IT industry development. The music industry was not unaffected by the emerging transmission possibilities of digital information, which could take the form of music information as well. It was time for digital distribution and digital production to take the lead. The technological improvements created a safe ground for entrepreneurs to step in: They had the tools and it was about time to put them together and create the opportunity. Further on we will refer to two successful business models that give us a good idea of what the future music industry will be all about: Napster and Apples i-tunes. 3. Recent trends and challenges emerging from the use of IT and IS in the music industry.   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  As stated the music industry has been experiencing a variety of challenges because of the fast pacing technological development. New forms of competition have entered the business game antagonising the â€Å"Big 4† and deeply transforming the music value chain. All major stakeholders in the business -artists, consumers and companies- have been affected in numerous ways. The music companies are on the side of the losers: They have tried to resist and have won some battles but they knew from the start that eventually the war would be lost. The technological development cannot be stopped as the earth will not stop revolving around the sun. a. Digital technologies. Which where the core technological developments that have led to the reformation of the music industry? According to Nguyen-Khac T. Q.[3], the parallel evolution of the following four technologies has created an amazingly new business environment: Software development has enabled a fast exchange of data through internet. Compression technology and encryption solutions are only some of the tools currently used by consumers. Additionally, the use of user friendly operation systems (like Windows in contrast to MS-Dos) has enabled people of different backgrounds, ages and abilities to take advantage of all benefits offered by a PC. Hardware development. Personal PC was not always a massive product due to its high cost. Throughout the years prices declined thanks to the decreasing costs that led to massive production (economies of scale). Transportation technology development and more essentially the appearance of internet. The innovation of P2P and network technology. The impact of the above development has been severe for the music industry. A demonstrative example concerning the way P2P affected the music industry was Napster. The illegal download platform Napster was a file sharing service which took advantage of the P2P file sharing technology. The way P2P works is depicted below.[4] Napster became popular in college campuses. The main idea was that each person connected to the network had to share a portion of his private music library in exchange to download everything anyone else had made available. The transaction costs were limited to the connection fee. The result was that all of a sudden an enormous library of music, of all kinds, was created. RIIA brought Napster to court and Napster eventually lost the trial however its pattern has been the source of inspiration for other similar concepts. Although Napster was shut down the decline of the â€Å"Big 4† revenues did not stop. In contrast it was enhanced by the negative publicity emerging by the law sue against Napster. In addition to Napster and P2P networks, the general hardware and software development has enabled consumers copy and save digital music data for private use on their computers. This phenomenon was called piracy but some consumers have considered it as a fair game since the music companies have gained millions for decades now by imposing prices with high profit margins taking advantage of the oligopoly they have created. Moreover consumers in the past were obliged to buy songs in the form of â€Å"album batches†, paying an entire album even though they were truly interested to obtain 2 or 3 songs which were worth spending money for. The use of new technologies enables consumers to resist to this type of constraints, imposed by the music companies. The music companies have iteratively launched campaigns against piracy nevertheless they cannot bend the existing consumer behavior which is based on the perception that exchanging music is a non harmful procedure containing no ethic al dilemmas. b. New technologies leading a new business model: The traditional model versus the new e-value chain model. Under the shade of IS and IT the music value chain has been transformed to an â€Å"e-chain†. In the traditional model there was a tangible product the CD but in the new model the product is intangible; it is the information itself. In the Australian Conference on Information Systems the following conceptual model was presented.[5] As depicted, in the new model, the MP3 file -now considered as the product- is distributed to consumers through online music stores, mobile content providers or artist websites. Moreover music can now be recorded in home studios instead of professional recording studios and be distributed in the already described ways instead of being sold in the form of CDs, through retail stores. The benefits acquired by this new model concerns mainly consumers but also the â€Å"music product† suppliers. First of all the cost of production is substantially reduced and the manufacturing costs are completely eliminated. Also intermediaries, mainly distributors are kicked out of the supply chain since they are not needed. All these changes have as a result a minimum cost for the music provider, easy and fast access to the product for the consumer who also has the chance to pick products (music tracks) in an appealing price and according to his preferences. This dynamic and flexible structure will eventually lead to the proliferation in the number of people involved in the supply chain. Additionally the role of the consumer and artist is now more essential. It is not anymore a game of four since there are no barriers (high production cost, competitive advantage due to full vertical integration) to enter this reformed music industry. c. Current market trends: The financial impact of IT and IS on the ‘Big 4 As previously analyzed the â€Å"Big 4† have developed an aggressive strategy against the new business environment emerging from the development of IS and IT. Even though they managed to shut down Napster practically they are unable to stop the creation of similar models. Even worse they insist on retaining the traditional model and hesitate to take the next step. Agility seems to be one of their least considerations and thats why it is no surprise each year their revenues are dramatically declining. Even if the music market is facing a shrinking trend, the digital sales piece of the pie is getting larger. According to IFPI revenues for cassettes, CDs and vinyl in the world dropped 25%, from $38.6 billion in 1999 to $29 billion in 2007.[6] Analysts at Forrester Research state that â€Å"music sales in the US will decline to $9.2 billion in 2013, from $10.1 billion in 2008†[7]. 4. The future While the music companies remained oblivious to the technological changes the music economy was reshaping and a company unrelated to music made the decisive step to create an innovative business model based on online legal distribution taking advantage of the benefits provided by mp3 files. This company was Apple who literally took the bread out of the mouth of the music companies. In 2003 it officially launched the first online music store: i-Tunes. The price model used was very attractive to consumer: each download cost 0.99 cent. Apple managed to offer a one stop shop to customers by exploiting the internet and digital distribution options. This awe inspiring impetus in the music industry panicked the music companies. They tried to defend their market share against digital distribution through law sues and merges instead of being flexible and adoptive to the increasingly transforming environment and making use of the new tools offered by the development of IT and IS. That enabled Apple to made the check mat move. The core competencies of Apples platform are speed, usability and cost effectiveness. Apples success was remarkable; in its first two online weeks it sold over two million songs[8]. This fact was largely due to the highly integrated system used. The music companies, now more than ever, have to create their own business model of an online music supply pattern. The use of IT in music industry can be considered an order winner for Apple whereas for the â€Å"Big 4† an emerging necessity to keep them in business. Current trends show that the use of IT will become an order qualifier. While executives of the music companies like John Rose, a former executive of EMI appear reluctant, believing that nothing ensures â€Å"that digital economics can make up for the drop in physical†[9] Atlantic, a unit of Warner Music Group claims that half of its sales come from digital music product sales. The future belongs to the digital music business and even if the core product music tracks in the form of mp3- does not make up for the losses from CD sales there are many supportive products such as: ringtones, ringbangs, subscription services that can compensate. 5. Conclusion As analyzed the use of IT and IS has brought a revolution in the music industry: Customers attain more bargaining power since the monopoly of â€Å"The Big 4† converted into a world of many â€Å"dot† choices. The exploitation of the benefits created by the recent developments has proved profitable; i-Tunes and Atlantic are the most prominent examples. Hence, there is a great opportunity ahead, if innovation is perceived to generate revenues and if more direct distribution options are used to cut off costs. The music companies have a negative perception about the use of open information systems in selling music and tried ineffectively to fight back. Instead they should have tried to respond to the challenge and reform their business model in order to survive in the music market. Being reluctant to adopt the new technology only gives way to companies such as Apple to take the lead along with their business share. 6. Bibliography Arango T., November 26 2008. â€Å"Digital Sales Surpass CDs at Atlantic† New York Times. Emerson G. M., 2007. â€Å"The Apple iTunes Music Store: How Apple Got it Right†, Advertizing and marketing report. http://www.admarketreview.com/public_html/air/ai200308.html (Glen Emerson Morris has been a senior consultant for Yahoo!, Ariba, WebMD, Inktomi, Apple, and Adobe.) Moloney, Belinda; Cybulski, Jacob; and Nguyen, Lemai, â€Å"Value Perception in Music Information Systems† (2008). ACIS 2008 Proceedings. Paper 73 Nguyen-Khac T. Q., 2003. The music industry in a dilemma (research paper for the ITS conference Helsinki, August 2003. http://en.wikipedia.org/wiki/Music_industry#History Sony BMG, Universal, Warner, EMI World music market sales shares, according to IFPI (2005) from http://en.wikipedia.org/wiki/Music_industry#History Nguyen-Khac T. Q., 2003. The music industry in a dilemma (research paper for the ITS conference Helsinki, August 2003 Nguyen-Khac T. Q., 2003. The music industry in a dilemma (research paper for the ITS conference Helsinki, August 2003. Moloney, Belinda; Cybulski, Jacob; and Nguyen, Lemai, â€Å"Value Perception in Music Information Systems† (2008). ACIS 2008 Proceedings. Paper 73 http://en.wikipedia.org/wiki/Music_industry Arango T., November 26 2008. â€Å"Digital Sales Surpass CDs at Atlantic† New York Times. Emerson G. M., 2007. â€Å"The Apple iTunes Music Store: How Apple Got it Right†, Advertizing and marketing report. http://www.admarketreview.com/public_html/air/ai200308.html Glen Emerson Morris has been a senior consultant for Yahoo!, Ariba, WebMD, Inktomi, Apple, and Adobe. Arango T., November 26 2008. â€Å"Digital Sales Surpass CDs at Atlantic† New York Times.

Darwins Theory of Natural Selection :: essays research papers fc

Charles Darwin revolutionized biology when he introduced The Origin of Species by Means of Natural Selection in 1859. Although Wallace had also came upon this revelation shortly before Origins was published, Darwin had long been in development of this theory. Wallace amicably relinquished the idea to Darwin, allowing him to become the first pioneer of evolution. Darwin was not driven to publish his finding, which he’d been collecting for several years before Wallace struck upon it, because he had â€Å"never come across a single [naturalist] who seemed to doubt to permanence of species† (Ridley, pp. 70). What follows are the key points of Darwin’s Theory of Natural Selection taken directly from the two chapters concerning it in his book Origins. In chapter III of Origins Darwin sets up his discussion on Natural Selection by establishing the struggle for existence in nature. By this he means not only an individuals need to fend of enemies and survive its environme nt but also it’s ability to create living, healthy, successful offspring. The first factor concerning this struggle is the ratio of increase in any given species. Darwin explains how this struggle must be occurring otherwise a single species would dominate the entire earth because every single one of it’s offspring would survive. This is due to the fact that every species reproduces exponentially, a rate that would soon produce astonishing numbers if left unchecked. This does not happen however, because nature has a system of checks and balances. Although we may not be able to detect these checks, we can see their effects by the indisputable fact that one species doesn’t completely dominate the planet. These checks consist of enemies eating the young or even adults, the rigors of weather or environment, and countless others. In this way birds, for example, cannot populate beyond their food supply, and the grains they feed on are held in check, because even thoug h they may produce thousands of seeds only a few are able to reach maturity. Darwin goes on to show how all plants and animals compete and relate to each other in this struggle for existence. He does so by relating various personal observations that show the introduction of a different species of plant or animal can have a direct effect on the present survival of the indigenous species and even allow other foreign species to proliferate. This leads to interspecies survival, which Darwin considers the hardest struggle of all, and the one that may have the greatest effect on the evolution of a species through Natural Selection.

Dreams of Escape in The Glass Menagerie by Tennessee Williams Essay

     Ã‚   In The Glass Menagerie, Tennessee Williams presents us with four characters whose lives seem to consist in avoiding reality more than facing it. Amanda lives her life through her children and clings to her lost youthfulness. Tom retreats into movie theaters and into his dream of joining the merchant seamen and some day becoming a published poet. Laura resorts to her Victrola and collection of glass ornaments to help sustain her world of fantasy. Finally, Jim is only able to find some relief in his glorified old memories. This essay will examine how Amanda, Tom, Laura and Jim attempt to escape from the real world through their dreams. Amanda was abandoned by her husband and now must take care of her two children, Tom and Laura. Amanda considers Tom unrealistic, daydreaming about becoming a recognized poet rather than staying committed to his present job. Amanda is overwhelmingly confused and perplexed about the future. Worse still, the fact that Laura is crippled worries her even more. Amanda tries to arrange everything for Laura lest she will live paralyzed in the threatening world. Aware of the reality, she enrolls her in a secretarial course in the hope that she would become, if not successful in her career, at least independent. Disappointed by Laura's inability to cope with the classes in the business school, Amanda tries desperately find her a reliable husband who can provide material and emotional security. But her hopes are unrealistic. Not even having met Jim, the gentleman caller Tom brings home at her mother's request, Amanda, looking at the little, slipper-shaped moon, asks Laura to make a wish on it f or happiness and good fortune to be brought by this gentleman caller, when it is just wishful thinking on her... ...nd some relief in his glorified old memories saved by Laura and is overwhelmed by the magic of the American Dream. Like many great plays, The Glass Menagerie transcends time inasmuch as contemporary versions of the four characters abound in the ever-changing modern world. After all, these are the people to whom the play addresses today.    Work Cited Williams, Tennessee.   The Glass Menagerie. 1945.   The Bedford Introduction to Drama. 5th ed.   Lee A. Jacobus, ed.   Boston: Bedford/St. Martin’s, 2005. Work Consulted McHaney, Pearl A. Lecture on The Glass Menagerie. Engl 3860-American Drama. Georgia State University, Atlanta, GA. 20 June 2006. Jackson, Esther Merle. The Broken World of Tennessee Williams. Madison: & of Wisconsin P, 1965. Parker, R.B., ed. Twentieth Century Interpretations of The Glass Menagerie. Englewood Cliffs: Prentice, 1983. Dreams of Escape in The Glass Menagerie by Tennessee Williams Essay      Ã‚   In The Glass Menagerie, Tennessee Williams presents us with four characters whose lives seem to consist in avoiding reality more than facing it. Amanda lives her life through her children and clings to her lost youthfulness. Tom retreats into movie theaters and into his dream of joining the merchant seamen and some day becoming a published poet. Laura resorts to her Victrola and collection of glass ornaments to help sustain her world of fantasy. Finally, Jim is only able to find some relief in his glorified old memories. This essay will examine how Amanda, Tom, Laura and Jim attempt to escape from the real world through their dreams. Amanda was abandoned by her husband and now must take care of her two children, Tom and Laura. Amanda considers Tom unrealistic, daydreaming about becoming a recognized poet rather than staying committed to his present job. Amanda is overwhelmingly confused and perplexed about the future. Worse still, the fact that Laura is crippled worries her even more. Amanda tries to arrange everything for Laura lest she will live paralyzed in the threatening world. Aware of the reality, she enrolls her in a secretarial course in the hope that she would become, if not successful in her career, at least independent. Disappointed by Laura's inability to cope with the classes in the business school, Amanda tries desperately find her a reliable husband who can provide material and emotional security. But her hopes are unrealistic. Not even having met Jim, the gentleman caller Tom brings home at her mother's request, Amanda, looking at the little, slipper-shaped moon, asks Laura to make a wish on it f or happiness and good fortune to be brought by this gentleman caller, when it is just wishful thinking on her... ...nd some relief in his glorified old memories saved by Laura and is overwhelmed by the magic of the American Dream. Like many great plays, The Glass Menagerie transcends time inasmuch as contemporary versions of the four characters abound in the ever-changing modern world. After all, these are the people to whom the play addresses today.    Work Cited Williams, Tennessee.   The Glass Menagerie. 1945.   The Bedford Introduction to Drama. 5th ed.   Lee A. Jacobus, ed.   Boston: Bedford/St. Martin’s, 2005. Work Consulted McHaney, Pearl A. Lecture on The Glass Menagerie. Engl 3860-American Drama. Georgia State University, Atlanta, GA. 20 June 2006. Jackson, Esther Merle. The Broken World of Tennessee Williams. Madison: & of Wisconsin P, 1965. Parker, R.B., ed. Twentieth Century Interpretations of The Glass Menagerie. Englewood Cliffs: Prentice, 1983.

Essay on Domestic Violence

Domestic violence — also called domestic abuse, battering or intimate partner violence — occurs between people in an intimate relationship. Domestic violence can take many forms, including emotional, sexual and physical abuse and threats of abuse. Men are sometimes abused by partners, but domestic violence is most often directed toward women. Domestic violence can happen in heterosexual or same sex relationships. It might not be easy to identify domestic violence at first. While some relationships are clearly abusive from the outset, abuse often starts subtly and gets worse over time.You might be experiencing domestic violence if you're in a relationship with someone who: †¢Calls you names, insults you or puts you down †¢Prevents you from going to work or school †¢Stops you from seeing family members or friends †¢Tries to control how you spend money, where you go, what medicines you take or what you wear †¢Acts jealous or possessive or constantl y accuses you of being unfaithful †¢Gets angry when drinking alcohol or using drugs †¢Threatens you with violence or a weapon Hits, kicks, shoves, slaps, chokes or otherwise hurts you, your children or your pets †¢Forces you to have sex or engage in sexual acts against your will †¢Blames you for his or her violent behavior or tells you that you deserve it †¢Portrays the violence as mutual and consensual The longer you stay in an abusive relationship, the greater the toll on your self-esteem. You might become depressed and anxious. You might begin to doubt your ability to take care of yourself or wonder if the abuse is your fault. You might feel helpless or paralyzed. If you're an older woman who has health problems, you might feel dependent upon an abusive partner.If you're in a same sex relationship, you might be less likely to seek help after an assault if you don't want to disclose your sexual orientation. If you've been sexually assaulted by another woma n, you might also fear that you won't be believed. Still, the only way to break the cycle of domestic violence is to take action — and the sooner the better. Domestic violence, also known as domestic abuse, spousal abuse, battering, family violence, and intimate partner violence (IPV), is defined as a pattern of abusive behaviors by one partner against another in an intimate relationship such as marriage, dating, family, or cohabitation. 1] Domestic violence, so defined, has many forms, including physical aggression or assault (hitting, kicking, biting, shoving, restraining, slapping, throwing objects), or threats thereof; sexual abuse; emotional abuse; controlling or domineering;intimidation; stalking; passive/covert abuse (e. g. , neglect); and economic deprivation. [1][2] Alcohol consumption[3] and mental illness[4] can be co-morbid with abuse, and present additional challenges in eliminating domestic violence. Awareness, perception, definition and documentation of domesti c violence differs widely from country to country, and from era to era.Did you know over two women per week are killed by current or ex-partners, and that one in four women in the UK will experience domestic violence in their lifetime? In Women's Aid's view domestic violence is physical, sexual, psychological or financial violence that takes place within an intimate or family-type relationship and that forms a pattern of coercive and controlling behaviour. At least 1 in 4 women experience domestic violence in their lifetime and between 1 in 8 and 1 in 10 women experience it annually

Interaction of Ethnic, National or Cultural Influences Essay

All around the world people are organised in societies differentiated ethnically, nationally and culturally. In our mind under the interethnic relations are traditionally understood subjectively experienced relations between people of different nationalities, between ethnic communities, which are manifested in attitudes and orientations of interethnic contacts in various areas of cooperation, national stereotypes, attitudes and behavior, and the actions of people of specific ethnic communities. It is in this area in the first place are projected economic, social and political issues. They acquire an ethnic form and deliver a lot of trouble to society, leading to inter-ethnic tensions, local ethnic conflicts, the growth of ethnic migrations. Ethnic tensions, the state of hostility, distrust, mutual complaints and dissatisfaction arises or may arise from time to time between any nations that are permanently or temporarily in contact with each other. Ethnic tensions depend on several factors: 1) The history of international relations, the historical memory of the nature of relations between the peoples at different stages (often these relationships take the form of ongoing ethnic tension); 2) the level of economic development of the parties, among representatives of different nations’ place in the system of production and property (industrial specialization, predominance of members of certain nationalities in professional and social groups, the dominance of different forms of ownership, quality of life, etc.); 3) the structure of the cultural development of the nation – the predominance of rural or urban population, the level of education and professional qualifications. There are allocated the following phenomena and processes that significantly affect the formation and strengthening of interethnic tension: 1) the lack of a consistent policy of condemnation and suppression of national manifestations of violence; 2) the possibility of negative attitudes towards representatives of the people associated in the eyes of other nations with the administrative-command apparatus; 3) the position of people who have been persecuted and mass deported during the repression, particularly those that have not been returned to their places of origin; 4) a sense of national enmity against those nationalities that, in terms of population in many regions, â€Å"live better than we do. † These representations are caused by a variety of reasons, including the identification of the people with the most frequently identified by its representatives. According to M. Walzer, positive ethnic identity is a balance of tolerance for their own and other ethnic groups, which allows us to consider it, on the one hand, as a condition of an independent and stable existence of an ethnic group, on the other – as a condition of peaceful intercultural multi-ethnic world, interactions, excluding ethnic phobias and confrontation. According to N. M. Lebedeva on ethnic tolerance, defined as the adoption of ethno-cultural differences, and the exclusion of ethnophobia and ethnic confrontations have effects such socio-psychological factors as: 1) the degree of ethnic and cultural competence; 2) psychological readiness for intercultural dialogue; 3) The experience and skills of intercultural understanding and cooperation. All these parameters are amenable to the formation and development and in need of professional development by education and socio-psychological training of intercultural interaction. Violation of a positive image of their own group tends to reduce ethnic tolerance (YA Gayurova, TG Stefanenko, AN Tatarko, FM Malhozova). 9/11 After Twins being attacked Americans stopped helping Irish Republican Army (IRA – Nationalist violent group in Northenr Ireland) when they understood what the terrorism is and what the causes and result are. After the terrorist attacks marked a surge of crimes against people from the Middle East, and other people who looked similar. Suffered even some Sikhs who wear turbans, traditionally associated with Muslims. Reported insults,attacks on mosques and other religious buildings (including the burning of a Hindu temple), and attacks on people, including one murder, September 15, was mortally wounded by Balbir Singh Sodhi, a Sikh who was mistaken for a Muslim. [130] Rating of President Bush after the attacks rose to 86%. [131] September 20, 2001 the President spoke to the nation and a joint session of Congress, regarding the events of 11 September, following the rescue and recovery operations, as well as the response of the U. S. government’s intentions. In addition, the important role played by New York City Mayor Rudy Giuliani, who deserved the appreciation of the public, both in New York and at the national level. Deportations 1941 in USSR. After the publication of the Decree of the Presidium of the Supreme Soviet of the USSR â€Å"On the resettlement of Germans living in the Volga region† of 28 August 1941 has been eliminated Autonomous Republic of the Volga Germans and produced total deportation of Germans from ASSR. For this purpose, in advance on the territory of the Autonomous Republic of NP were introduced NKVD troops. Germans were ordered within 24 hours to prepare for resettlement and a limited number of its assets to arrive at the collection points. German inhabitants of the republic were taken to remote areas of Siberia, Kazakhstan and Central Asia. According to this decree in September and October 1941 were deported 446,480 Soviet Germans (according to other sources 438 280). In September 1941, many military service persons of German nationality were sent from the front to the rear. In subsequent months, the deportation has touched almost the entire German population living in European Russia and the Caucasus that were not occupied by the Wehrmacht. The resettlement of Germans made gradually and was completed by May 1942. Totally during the war were moved up to 950 thousand Germans. 367,000 Germans were deported to the east: the republic of Komi, in the Urals, Kazakhstan, Siberia and the Altai. Babi Yar Estimate between 100 and 150 thousands jewish people were killed during WW 2 in Babi yar. There were a lot of interactions in different influences during many different events and specific situation that caused a lot of deaths of innocent people. Sometimes many cultures, nations and ethnoses are discriminated or even eliminated because of misunderstanding. It will happen untill people do not understand that there are more other non-violent ways of solving problems.

Case Studies in Finance Company G & H Essay Example for Free

Case Studies in Finance Company G & H Essay Company G deals mostly in selling books in a large retail setting, however they implement a concept that is more community-based. Company H deals in a variety of media, including books, music, and video along with electronics and other varieties of merchandise. Not only does Company H differ in merchandise variety, but it also differs from Company G in that it is internet-based only and is highly interested in further corporate acquisitions—very different from Company G’s â€Å"community store concept†. Bruner, Eades, & Schill, 2010, pp. 96-97). Since Company H has a variety of merchandise to sell, along with its interest in acquisitions; it has a significantly higher level of net fixed assets than that of Company G. Acquisitions will always increase the level of net fixed assets. Since Company G tends to implement a strategy that does not favor large acquisitions, its level is lower at a level of 7. 6 versus 24. 4 in Company H. Company H also exceeds Company G in most of the liabilities section, which automatically gives Company H a leg up in being able to take on more liabilities such as credits and loans. However, Company G comes out winning in terms of income and expenses, with a net income of 8. 5%. Company H’s net income ended at 2. 9%. This also relates to lowered percentage of SG&A expenses on Company G’s side, higher interest income, special items income, and its lower percentage of income taxes. Company G is also considered to be more liquid than Company G, with a current ratio of 1. 57 versus Company H’s 1. 49. This indicates that while Company G has more liabilities, it is better-able to pay its short-term liabilities than Company H. It is understandable why Company H keeps its liabilities slightly lower so that they do not become overwhelmed with short-terms loans and notes that it will not be able to pay back on time. Case Studies in Finance Company G & H. (2016, Nov 19). We have essays on the following topics that may be of interest to you

The Trio Sonata in the Baroque Period Essay Example | Topics and Well Written Essays - 3000 words

The Trio Sonata in the Baroque Period - Essay Example Trio Sonata is an instrumental piece [consisting] of two, three, or four successive movements of different character, which has one or more melody parts, with only one player to a part [i.e., "einfach" as against Mattheson's "stark," for multiple performance of the parts; Cf. SBE 25]. Depending on the number of concertante, melody parts that it has, a sonata is described as [being] à   solo, à   due, à   trà ©, etc. Clearly, in no form of instrumental music is there a better opportunity than in the sonata to depict feelings without [the aid of] words. The symphony [and] the overture has a more fixed character. The form of a concerto seems designed more to give a skilled player a chance to be heard against the background of many instruments than to implement the depiction of violent emotions. Aside from these [forms] and the dances, which also have their special characters, there remains only the form of the sonata, which assumes [any or] all characters and every [kind of] express ion. By [means of] the sonata the composer can hope to produce a monologue through tones of melancholy, grief, sorrow, tenderness, or delight and joy; or maintain a sensitive dialogue solely through impassioned tones of similar or different qualities; or simply depict emotions [that are] violent, impetuous, and [sharply] contrasted, or light, gentle, fluent, and pleasing. To be sure, [even] the weakest composers have such goals in the making of sonatas, among the weakest [being] the Italians and those who imitate them. The sonatas of the present-day Italians are characterized by a bustle of sounds succeeding each other arbitrarily without any other purpose than to gratify the insensitive ear of the layman, [and] by sudden, fantastic transitions from the joyous to the mournful, from the pathetic to the flirtatious, without our getting what the composer wants [to say]. And if the performance of these [sonatas] engages the fancy of a few hotheads, the heart and imagination of every lis tener of taste or understanding will still remain completely untouched. A large number of easy and hard keyboard [i.e., clavichord] sonatas by our Hamburg [Emanuel] Bach show how character and expression can be brought to the sonata. The majority of these are so communicative ["sprechend"] that one believes [himself] to perceive not tones but a distinct speech, which sets and keeps in motion our imagination and feelings. Unquestionably, to create such sonatas requires much genius [and] knowledge, and an especially adaptable and alert sensibility. But they also