Strategy Myths Essay Example | Topics and Well Written Essays - 750 words

Methodology Myths - Essay Example e the interest of an item relies upon numerous factors and capacity that decide its capacity to fulfill the client needs (Stonehouse and Houston, 2012). For example, the item plan, item benefits, item quality and circulation systems will influence the capacity to accomplish achievement in the market. The achievement relies upon item an incentive to clients and not the value (Graham, 2005). 3. The third articulation expresses that ‘I am a decent cook so I should begin a restaurant’. This is a legend in light of the fact that wandering in to any market requires cautious filtering of the earth to distinguish the interest for the administrations, the assets accessible and serious quality of the specialist. For this situation, the executives of the café will require arranging, asset distribution, and controlling the workers (Graham, 2005). 4. ‘The client is consistently right’. This announcement is genuine on the grounds that clients whine for various reasons (Graham, 2005). The association must value the client objections and utilize such data in improving the nature of the item and administrations. Clients gripe for authentic reasons, for example, flawed items, poor item quality, poor after deal administrations of poor client connections the executives in the association (Graham, 2005). 5. ‘I’ll simply open my store, and individuals will stream in off the walkways and purchase from me’. This is a technique legend since buyer purchasing request is dictated by a few factors, for example, social variables, individual elements and mental elements. Likewise, the spot of dissemination must make client accommodation and fit in with client character and mentalities (Graham, 2005). 6. ‘It’s a cool thought. Everybody will cherish this’. This is a technique fantasy since reference bunches like close relatives, family members, and economic wellbeing in the general public impacts the shopper buying design. Buyers try to satisfy their mental needs, love and having a place needs and confidence (Stonehouse and

French Terms Related to Movies and Film Festivals

French Terms Related to Movies and Film Festivals Regardless of whether you love going to film celebrations, watching motion pictures, or simply understanding audits, youll need to gain proficiency with some French jargon identified with movies.le film - film, moviele cinã ©ma - film theaterle Festival de Cannes - Cannes Film Festivalla Croisette - minimal cross, promenade which is the focal point of action during the festivalla sã ©lection officielle - official celebration selectionUn certain respect - Cannes classification for especially creative filmsla Palme dOr - brilliant palm, most noteworthy honor given at Cannes Kinds la comã ©die - comedyle documentaire - documentaryle drame - dramale film daction - activity moviele film daventures - adventurele film dã ©pouvante - horrorla sci-fi - science fictionle western - western Acteurs - Cast un acteur - actorune actrice - actressla conveyance - cast listle/la figurant/figurante - extralinterprã ¨te (m or f) - entertainer/actressle head rã'le - male lead, driving actorle chief rã'le fã ©minin - female lead, driving actressle second rã'le - supporting actorle second rã'le fã ©minin - supporting actressla outline - stroll on part/rolela vedette - star Équipe - Â Crew le/la bruiteur/bruiteuse - audio effects engineerle camã ©raman, cadreur - camera operatorle/la cinã ©aste - chief, movie makerle/la coiffeur/coiffeuse - hair stylistle/la dã ©corateur/dã ©coratrice - designerle directeur de la photo(graphie) - cinematographer, chief of photographyle/la maquilleur/maquilleuse - make-up artistle metteur en scã ¨ne - directorle/la monteur/monteuse - editorle preneur de child - sound architect, sound recorderle/la producteur/productrice - producerle producteur exã ©cutif - official producerla productrice exã ©cutivele/la rã ©alisateur/rã ©alisatrice - directorle rã ©gisseur - line maker, collaborator directorle scã ©nariste - screenwriter Scã ¨nes et Plans - Â Scenes and Shots larrã ªt sur picture - freeze framele framework - framedans le champ - in shoten dã ©cor, studio - on seten extã ©rieur - on locationle fondu - disintegrate, fadehors champ - off-camerale panoramique - panningun plan rapprochã ©/serrã © - close uple raccord - coherence Verbes - Verbs bruiter - to add sound effectscadrer - to outline a shotcouper - to cutdiriger - to directinterprã ©ter - to perform, actmonter - to editproduire - to produceprojeter - to extend, showtourner (un movie, une scã ¨ne) - to movie, shoot (a film, scene) Incidental laffiche - appearing, playing, on screenla bande sonore - soundtrackle bruitage - sound effectsle dã ©coupage - story boarddoublã © - dubbedlã ©clairage (m) - lightingle gã ©nã ©rique - credits, subject musicla grue - cranele mã ©trage - lengthle montage - editingle scã ©nario - screenplaysous-titrã © - subtitledle truquage - uncommon effectsVF - form franã §aise (named into French)VO - adaptation originale (in the first language with French captions)

Bargaining Power Of Suppliers

Bargaining Power Of Suppliers UNDERSTANDING SUPPLIERS © Entrepreneurial Insights based on the concept of Porters 5 ForcesAn important force within the Five Forces model is the bargaining power of suppliers. All industries need raw materials as inputs to their process. This includes labor for some, and parts and components for others. This is an essential function that requires strong buyer and seller relationships. If there are fewer suppliers or if they have certain strengths and knowledge, then they may wield significant power over the industry.In this article, we will look at 1) understanding suppliers, 2) bargaining power of suppliers, 3) effect on target market, 4) example    the diamond industry, and 5) example the fast food industry.UNDERSTANDING SUPPLIERSTypes of Suppliers © Entrepreneurial InsightsDepending on the industry, there are different types of suppliers. Some of these may be:Manufacturers: Manufacturers are producers of either the entire product or components that feed into the end product manufacturing process. If the parts supplied are generic and have easily available alternates, the manufacturer will have less power. Conversely, if the manufacturer has important expertise or no competing producers, they will have significant say in the value chain.Distributors Wholesalers: These types of suppliers purchase products in large quantities from different companies, store these goods and eventually sell to retailers. These products may be made available at higher prices than if bought directly from the manufacturers, but this allows purchases to be made in smaller quantities than a manufacturer will be willing to supply.Independent Suppliers/Craftspeople: These people manufacture unique items in small quantities and provide them exclusively t hrough representatives or trade shows.Importer: These suppliers will purchase from international sources and sell to local retailers. They essentially act like domestic wholesalers/distributors for these products.Managing SuppliersGiven the importance of suppliers to the entire value chain, it is in the interest of companies to create and maintain good supplier relations. Some strategies that can be employed to this end include:The first step is to evaluate the cost and the value of the entire supply chain. With proper understanding, a supplier’s importance to the process can be evaluatedAnother important step is to build two way relationships with the suppliers. This can enable both parties to work together to achieve lower production costs that benefit everyone.Companies need to accept accountability for their end of the process. This means putting in orders on time and not requiring unnecessary changes later on.There need to be service level agreements and performance evaluatio n metrics predefined to keep an objective measure of performance. This will allow clear expectations to be set and followed up on.In addition to penalties, incentives also need to be established to encourage value creation through optimized production and delivery times.Critical information regarding the process needs to be shared with the supplier to ensure that there are no delays or unnecessary costs incurred. Open communication channels with the required levels of security and confidentiality will help strengthen the relationship with suppliers.There need to be plans in place for exceptional circumstances and emergencies. If processes are in place then the risk associated with them can be minimized.Contingency plans should be put together to avoid disruption to the value chain. Natural disasters or other disruptive events can be managed smoothly if all parties know the plan of action.Honesty should be rewarded in cases where an exceptional situation occurs and a warning is issue d in time and up front. No penalties should be put on the supplier in these situations.Meaningful meetings that focus on the critical issues for value chain improvement as well as relationship development can strengthen the buyer seller link.  BARGAINING POWER OF SUPPLIERSWhen suppliers have bargaining power, they can apply pressure on a company by charging higher prices, adjusting the quality of the product or controlling availability and delivery timelines. Within the five forces framework, there is an understanding that when suppliers have this bargaining power, they can affect the competitive environment and directly influence profitability for the company.Factors that Increase Supplier PowerSuppliers may have more power:If they are in concentrated numbers compared to buyers.If there are high switching costs associated with a move to another supplier.If they are able to integrate forward or begin producing the product themselves.If they have specific expertise or technology need ed to manufacture goods.If their product is highly differentiated.If there are many buyers and none make up significant portions of sales.If there are no substitutes available.If there are strong end users who can exert power over the organization in favor of a supplier (This can be the case in labor situations).In all of these cases, the bargaining power of suppliers is high to demand premium prices and set their own timelines.POWERFUL SUPPLIERS AND THE TARGET MARKETWhen a company’s suppliers have significant power over the value chain, it can directly impact how the company serves its own customers. Depending on what power the supplier chooses to exert, a company may have to reflect this through product prices, product quality and quantity available. Too much disruption in any of these areas may even mean that a company is no longer able to stay in business. A company may need to end operations or shift to another industry to avoid being dictated by the whims of a supplier.Prici ng The first issue a company usually has to face from a strong supplier is increased costs. A supplier who knows that they cannot be removed may insist on raising prices for their raw material too soon, or ahead of agreed upon timelines. If the buyer has to choice but to pay these prices, the resultant increase in total production cost will either need to be absorbed by the company itself or passed on to the consumer. If the profit margin does not allow the company to absorb this pressure, it will mean higher prices in the market. The target market may not be receptive to this change and sales may suffer. A loss of customers to a competing product or substitute may be another undesirable outcome.Supply/Product AvailabilityIf a supplier is unwilling or unable to meet quantity targets, then the company may have to deal with demand that outweighs supply. This can happen either in regular scenarios if the company decides to try and increase sales or at peak sale times such as holidays o r special occasions where people tend to buy more of some types of products.Quality IssuesThere may be cases where the supplier decides to compromise on the quality of the product in order to bring down costs. This will directly impact the company’s product offering and may create a negative impact on the end consumer if the quality issues are significant enough to impact user experience. There may be an increase in complaints, returns and exchanges, and in worse cases, an entire switchover to another product.Dictating Industry DynamicsIf a single large supplier chooses to supply to only certain companies, it may end up with the power to push companies out of the industry. In these cases, a company will be helpless and unable to save itself. If the product is a fully manufactured by a supplier, they may also choose to deign selling it directly to the customer often at a lower price.Mitigating Supplier PowerIf supplier power becomes too strong in the market, companies will try to f ind ways to reduce this power. If the demand for the product is high enough, there may be ways to develop alternate ways to produce or sell a product that reduces the supplier power. Product re-design, or product line diversification may be some of the ways that companies can try to dislodge powerful suppliers.EXAMPLE THE DIAMOND INDUSTRY © Flickr | Kim AlanizThe diamond industry worldwide has historically been controlled by De Beers, a world famous and cartel like company. In addition the industry is global in nature making a regional analysis irrelevant. The supply chain moves from one country to the next. Over the years, this power has moved from De Beers to a more widespread competitive marketplace with a few major competitors and some second tier ones. The modern diamond industry started in 1867 when diamonds were discovered in South Africa. Prior to this, limited quantities were extracted from India and Brazil.There are 3 types of diamond segments are industrial diamonds which have use in manufacturing processes, jewelry diamonds that are rough diamonds polished to be used in ornaments, and investment diamonds that are high quality gemstones with special characteristics. The diamond supply chain is vast including processes such exploration, mining, sorting, cutting and polishing, jewelry manufacturing, and even retailing.DeBeers And The Global Diamond Industry[slideshare id=23172625doc=debeersmagicfinale-130618211342-phpapp02]Issues in the IndustryThere are several issues that are pertinent to the diamond industry. These include:The industry has shifted from a pure monopoly to more of an oligopoly or consolidated one.Awareness within the diamond producing countries to be more involved in the process and to take ownership of this resource.There is a decrease in the supply if diamonds but an increase in worldwide demandAn awareness about and movements against conflict or blood diamonds which has made it necessary for suppliers to employ better practices.The synthetic diamond market is growing because technology has allowed the manufacture of these almost at par with the value of natural ones. This has shifted profitability and customer perceptions of valueFive Forces AnalysisKeeping these industry dynamics in mind, the five forces analysis is discussed below:Bargaining Power of SuppliersThe re is increasingly larger number of competitors in the market which has meant a larger supply of diamonds in the market. In the past, De Beers solved oversupply problems by collecting and storing them to be sold when deemed appropriate by them. This meant enormous power of the supplier over the industry. With the change in market structure and pressure by anti-cartel laws, this power has diminished somewhat. De Beers now focuses more on repositioning itself as the supplier of choice and not the only supplier. The company has handled bans on stockpiling by reducing mining and leaving diamonds inside mines. There is also more of a focus on stronger vertical integration, by moving to value-added retailing and partnerships with premium fashion brands such as Louis Vuitton.Other ForcesThreat of New Entrants: Before the breakup of the De Beers monopoly, it was virtually impossible for new entrants to jump into the industry. With forced change in business practices, stronger implementation of laws and discovery of diamonds in areas outside of the De Beers scope of control, competition has now increased in the market. There is now room for about 3 more major players and several smaller niche operators who often consolidate and manage to compete in smaller segments.Bargaining Power of Buyers: Historically, consumers had no control over the diamond industry, its pricing and supply. With an economic downturn in the industry, there was reduction in demand which lead to an oversupply problem and reduced prices. To address this, major companies reduced mining operations and turned the industry back to its higher demand lower supply model. Once again, the buyer’s power is non-existent in this industry.Threat of Substitutes: The biggest threat to the diamond industry are from high quality high tech synthetic diamonds. These directly impact the basis of the value of the diamond, i.e. the customer perception of its rarity and value. The price of diamonds are not a true indica tor of their value or supply. But it is all in the perceptions of the consumers. With synthetic diamonds, consumers will begin to challenge the diamond as a rare natural item and in some places they may overtake the sale of natural diamonds. In addition, these are sustainable and not the result of invasive mining activities. They are also easy to identify as not originating from a conflicted area. All these aspect make the threat of substitutes a real oneCompetitive Rivalry: In a change from previous industry structures, the broken cartel now means that there is some competitive pressure from the industry. There are still limited players, but overall, the increased presence of different companies means a more competitive market.EXAMPLE THE FAST FOOD INDUSTRY © Flickr | JoeySuppliers play a key role in the value chain of the fast food industry. Chain restaurants rely on suppliers for food items, packaging, napkins, as well as items like plates and spoons. The same suppliers may be serving competing chains in an industry. This means that the power of these suppliers needs to be assessed by any company looking to enter the industry. A strong supplier may be able to effect profitability, quality of products and force companies to raise prices.   The following factors may raise the bargaining power of suppliers:If the suppliers have a larger base of customers, then they will be able to exert more control over the buyer. When the bulk of sales in not made up of one company’s business, the supplier can afford to drop a buyer who resists its efforts to exert control.If there are only a few suppliers in the market then they will manage to have more control. Fast Food chains can simply pick other suppliers in industries where suppliers are mani fold. In this case the supplier will have to meet the buyer’s demands or sell a highly differentiated product.Suppliers with strong brand names of their own will be able to exert more control. Generic products on the other hand will have significantly less bargaining room. For example, condiment makers who supply to chain stores may be able to leverage consumer preferences for their product over a generic one of the same type. Also, beverage choices such as a preference for Coca Cola over Pepsi may drive people from one chain to the otherAny fast food chain needs to consider what power suppliers in its regional market exert before making the decision to move into that market or expand operations.Image credit:  Flickr | Kim Alaniz and Flickr | Joey under Attribution 2.0 Generic.

The Death Of Loved Ones And The Mistreatment Of Their...

In Homer’s Iliad and Thucydides History the death of loved ones and the mistreatment of their bodies provoke a variety of profound emotions and reactions. The mistreatment of Patroclus’ and Hector’s bodies results in the inability of the soul to pass into the afterlife, the grief of families and friends, and, once the funeral takes place, the celebration of their kleos and timÄ“ by their communities. The catastrophic plague in Athens, by contrast, creates a state of hedonistic lawlessness among the citizenry due to the unpredictability of death and the breakdown of democratic ideals as previously articulated by Pericles, while the civil war in Corcyra shows the personal animosity people have to one another and the violent inclinations within social groupings. The burial delay of Patroclus’ body leads to the spirit’s helplessness to pass into the afterlife, and when the Athenian plague hits people disregard laws to bury their loved ones, resulti ng in the breakdown of politeia. As Patroclus falls from battle, the agony of the news, leads to Achilles’ frenzy to retrieve the body. . Patroclus’ shade visits Achilles informing, â€Å"Bury me quickly / So I may pass through Hades’ gates†(Il.23.76-77), implying that without his proper burial he is not capable of â€Å"moving on†. The restlessness and torment the spirit must face shows the urgency of being buried even in a crisis, â€Å"They would arrive first at a funeral pyre that had been made by others, put their own dead upon it and set itShow MoreRelatedComparing Burial Rituals And A Thousand Splendid Suns1525 Words   |  7 PagesAfghan women, yet does not follow the life of a specific real person. Despite these differences, both novels explore oppression, specifically of women, and the characteristics these women portray even as their desires and hopes are crushed by society. One of the main ways in which the inequality between men and women was seen, is in the education of women. 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Women who have gone through pregnancy have experienced less life-threatening yet painful complications such as hypertension, anemia, ectopic pregnancy and etc. In addition, abortion is proven to be safer than childbirth as the â€Å"risk of death from childbirth is at least 11 times greaterRead MoreEssay about Frankenstien All Behavior Is L616 Words   |  3 Pagesmonsteramp;#8217;s behavior was directly related to, his experiences with society and its treatment of him. All behavior is learned, therefore if the monster was to be good or evil depended on societies reaction to him. Even though the monster had a fully matured body, he was like a child because he had no memories or experiences of his own. When th e monster was given life he had no concept of good or evil. Everything that he did or experienced was something new to him. All of the monsteramp;#8217;s behaviors would

Summary Of The Writing Revolution By Peg Tyre - 998 Words

The article â€Å"The Writing Revolution† by Peg Tyre is a piece which aims to address the problems in school systems often associated with the way in which writing is taught to students. Tyre’s article conveys the different arguments presented in the course of teaching writing to students, which have been shown to be on opposite sides of the creative and analytical spectrum. These different perspectives of how to build the foundation of writing for the children of America as well as other countries are backed similarly on both sides, though the debate still continues. â€Å"The Writing Revolution† instead of focusing on all aspects of writing, highlights the effectiveness of analytical fundamentals over that of creative writing in helping to†¦show more content†¦Ordinarily the catch method required much of the writing for children to be mostly directed towards self-expression and often times lacked any sort of formal writing instruction. Consequently, those students who could not catch the vital information to be a successful writer often seemed to be left in the dust. Tyre’s article as well provides a constructed argument held by those who oppose the full implementation of this new writing method used at New Dorp, where Kelly Gallagher expresses her concern when writing is fully focused on analytical writing, that creative expression of students may be diminished. I believe that the use of this opposing argument, though not too lengthy, helps readers to also consider the backlash of this implementation of writing, but also provides an insight into how the pros compare to the hypothetical cons in this situation. The implementation of analytical writing into a plethora of subjects I believe to be quite helpful through my own experiences as a student. This is because often times in the past and all the way up to current day, being taught theShow MoreRelatedStrategic Marketing Management337596 Words   |  1351 Pagesstrategy The marketing/strategy interface Summary xi xiii 1 3 3 7 11 19 37 41 43 45 45 50 53 70 71 75 77 79 79 80 81 86 88 89 101 102 104 107 109 Stage One: Where are we now? Strategic and marketing analysis 2 Marketing auditing and the analysis of capability 2.1 2.2 2.3 2.4 2.5 2.6 2.7 Learning objectives Introduction Reviewing marketing effectiveness The role of SWOT analysis Competitive advantage and the value chain Conducting effective audits Summary 3 Segmental, productivity and ratioRead MoreMonsanto: Better Living Through Genetic Engineering96204 Words   |  385 Pages441 441 CASE STUDIES A summary of the case analysis I N T R O D U C T I O N Preparing an effective case analysis: The full story Hearing with the aid of implanted technology: The case of Cochlearâ„ ¢ – an Australian C A S E O N E high-technology leader Delta Faucet: Global entrepreneurship in an emerging market C A S E T W O DaimlerChrysler: Corporate governance dynamics in a global company C A S E T H R E E Gunns and the greens: Governance issues in Tasmania C A S E F O U R Succeeding in the

Starting Up a Cookie Company Free Essays

Starting up a cookie company on-campus You and your roommate are preparing to start a company producing cookies in your oncampus apartment. By starting up this business, you want to provide fresh cookies to starving fellow students late at night. However, you still have to figure out some aspects of the business model such as the price to charge, whether you will be able to make profit and how many orders you can accept. We will write a custom essay sample on Starting Up a Cookie Company or any similar topic only for you Order Now The business concept You have an extraordinary idea: to bake fresh cookies on delivery, using a customer chosen combination of ingredients. The cookies can be picked up at your apartment within one hour. Several factors will enable you to be different from your competitors such as store-bought cookies. First, the cookies will be fresh since they will only be produced after the order is received. Therefore, the buyer will be getting cookies that are literally hot out of the oven. Second, you will have a variety of ingredients available to add to the basic dough, including chocolate chips, MM’s, chopped Heath bars, coconut, walnuts, and raisins. Buyers will telephone in their orders and specify which of these ingredients they want in their cookies. Consequently, you will have the freshest, most exotic cookies anywhere, available to your fellow students next to campus. The production process Baking cookies is simple: mix all the ingredients in a food processor, spoon out the cookie dough onto a tray, put the cookies into the oven, bake the cookies, take the tray of cookies out of the oven, let the cookies cool and finally, take them of the tray and pack them in a box. You and your roommate already own all the necessary capital equipment: a food processor, cookie trays and spoons. Your apartment is equipped with a small oven that is able to hold one tray at a time. Your landlord pays your electricity. As such, the variable costs are merely the cost of the ingredients (estimated to be 1 Euro/dozen), the cost of the box in which the cookies are packed (0,30 Euro/box, each box holds a dozen cookies), and your time (what value do you place on your time? ) A more detailed description of the production process is described below. The first step of the whole process is to take the order. Your roommate has figured out how to do this quickly and This case is an adapted version of the Kristen Cookie case, Harvard Business Review. ith 100% accuracy: by using electronic mail to accept orders and to inform customers when the order will be ready. Since this process runs automatically, it does not take any of your time. Therefore, this step will be ignored in further analysis of the process. You and your roommate have timed the necessary physical operations. The first physical production step is to wash out the mixing bowl from the previous batch, add all of the ingredients, and mix them in your food processor. The mixing bowls hold ingredients for up to three dozen cookies. You then dish up the cookies, one dozen at a time onto a cookie try. These activities take about six minutes for the washing and mixing steps, regardless of how many cookies (i. e. , one or more dozens). However, dishing up the cookies onto the tray takes two minutes per tray per dozen. The next step, performed by your roommate, is to put the cookies in the oven and set the thermostat and timer, which takes about one minute. The cookies bake for the next nine minutes. So the total baking time is 10 minutes, during which your roommate is busy setting the oven during the first minute. Since the oven only holds one tray, a second dozen takes an additional 10 minutes to bake. Your roommate also performs the last steps of the process by first removing the cookies from the oven and putting them aside to cool for 5 minutes, then carefully packing them in a box and accepting payment. Removing the cookies from the oven takes only a negligible amount of time, since it must be done promptly. Furthermore, it takes two minutes to pack each dozen and about one minute to accept payment for the order. As experienced bakers know, the description above contains some simplifications. For example, the first batch of cookies for the night requires preheating the oven. However, such complexities will be put aside for now. Please begin your analysis by developing a process flow diagram of the cookiemaking process. Question before starting up your business To launch your business, you need to set prices and rules for accepting orders. Some issues will only be resolved after you get started and try out different ways of producing the cookies. Before you start, however, you at least want a preliminary plan, which as much a This case is an adapted version of the Kristen Cookie case, Harvard Business Review. possible specifies, so that you can do a careful calculation of how much time you will have to devote to this business each night, and how much money you can expect to make. For example, when you conduct a market survey to determine the likely demand, you will want to specify exactly what your order policies will be. Therefore, you will have to answer the following operational questions: How long will it take you to fill a rush order? -How many orders can you fill in a night, assuming you are open four hours each night? -How much of your own and your roommate’s valuable time will it take to fill each order? -Because your baking trays can hold exactly one dozen cookies, you will produce and sell cookies by the dozen. Should you give any discount for people who order two dozen cookies, three dozen cookies, or more? If so, how much? Will it take you any longer to fill a twodozen cookie order than a one-dozen cookie order? How many food processors and baking trays will you need? -Are there any changes you can make in your production plans that will also allow you to make better cookies or more cookies in less time or at lower cost? For example, is there bottleneck operation in your production process that you can expand cheaply? What is the effect of adding another oven? How much would you be willing to pay to rent an additional oven? This case is an adapted version of the Kristen Cookie case, Harvard Business Review. How to cite Starting Up a Cookie Company, Papers

THE COLT SIX-SHOOTER The Colt Six Shooter Will Always Be A Legend To T

THE COLT SIX-SHOOTER The colt six shooter will always be a legend to Texas. Whether you know it as an accurate, cowboy, Texas Ranger, gun-slinging, out West, corral gun, or as a little protection, the colt will never be forgotten in Texas. Sam Colt is known as the inventor of the first revolving firearm. Sam's mother died when he was six and his father owned a silk mill in Ware, Massachusetts. When Sam Colt was seven, he was fascinated by guns. He took apart his father's gun in a field and was able to successfully rebuild it. Science, adventures of an active life, and mechanics were all the favorite passions of young Samuel Colt. During 1830 - 1831, Sam Colt was abroad at sea. It was during these years that Samuel first conceived the idea of a revolving firearm. Some think it may have come from watching the revolving wheel of the ship, turning and locking. While on board ship, Sam must have seen other revolving firearms in London or India. Sam carved a wooden mod el of his ideal gun while he was at sea. None of what Sam may have previously seen on revolving guns could have led to his invention. His ideas were not copied from any source, even though the revolving idea was not unique. When Sam arrived home from sea, he showed the wooden model to his father and a family friend. This friend was Henry Ellsworth, Commissioner of the United States Patent Office. Both Sam's father and Mr. Ellsworth were greatly impressed by the model. They encouraged Sam to file for a patent for his revolving firearm. On February of the 25, in the year 1835, the first United States patent was granted for a colt revolver. The patent that Samuel received covered eight basic features. First, the application of caps at the end of the gun cylinder. Second, the application of a partition between the caps, as well as other basic ideas. The other areas of the patent cover the application of certain parts of the gun, the principle of locking and turning the cylind er , and all of the basic revolver parts. In 1848, the new pocket model revolver was introduced. Colt devised an alternative means of loading the gun - removing the barrel and cylinder, and either switching an empty cylinder for a loaded one or using the axis pin as a ramrod. This gun was nicknamed the "Baby Dragoon" because it resembled the bigger Dragoon. The pocket-sized pistols had a larger span of appeal to the public. Even Sam Houston of Texas ordered a Baby Dragoon from his friend Sam Colt. Houston told Colt, "(If) you have a small pistol, or will soon have one made of choice quality, I wish you to bring it with you as I wish to purchase one. I did not know (of them) until a few days since- I then saw one for the first time and was greatly pleased with it." The type seen be Houston was an actual Baby Dragoon with a square-back trigger guard and a Texas Ranger scene on the cylinder. This particular scene was of a Texas Ranger and an Indian in a fight scene. T he colt revolver served a great purpose for the Texas Rangers. This pocket-sized gun could be casually carried around and easily reloaded. The beauty of the gun was its six consecutive shots and its precise accuracy. The Texas Rangers and other Texas gunslingers know Colt as the "cream of the crop" in gun making, supreme revolving techniques and great precision make Colt the number one gun for Texans. Bibliography: 1. The Handbook of Texas, p 382 The Texas Historical Association 2. Colt : An American Legend, all pages Wilson Publishings ; Robert Lawrence Wilson 3. How It Works, p 3240 H.S. Stuttman Inc.

Convert Temperatures From Kelvin to Celsius

Convert Temperatures From Kelvin to Celsius Kelvin  and Celsius are two temperature scales. The size of the degree for each scale is the same magnitude, but the Kelvin scale starts at absolute zero (the lowest temperature theoretically attainable), while the Celsius scale sets its zero point at the triple point of water (the point at which water can exist in solid, liquid, or gaseous states, or 32.01 °F). Because Kelvin is an absolute scale, no degree symbol is used following a measurement. Otherwise, the two scales are alike. Converting between them only requires basic arithmetic. Key Takeaways: Kelvin to Celsius Temperature Conversion The equation to convert between Kelvin and Celsius is:  °C K - 273.15Celsius temperature have a degree symbol while those reported in Kelvin do not.While the size of the degree is the same between Kelvin and Celsius, there is no point at which the two scales are equal. A Celsius temperature will always be higher than Kelvin.Celsius temperatures can be negative. Kelvin goes down to absolute zero (no negative temperature). Conversion Formula Here is the formula to convert Kelvin into Celsius:  °C K - 273.15 All that is needed to convert Kelvin to Celsius is one simple step. Take your Kelvin temperature and subtract 273.15. Your answer will be in Celsius.  While there is no degree symbol for Kelvin, you need to add the symbol to report a Celsius temperature. Example How many degrees Celsius is 500K?  °C K - 273.15 °C 500 - 273.15 °C 226.85 ° For another example, convert normal body temperature from Kelvin to Celsius. Human body temperature is 310.15 K. Put the value into the equation to solve for degrees Celsius:  °C K - 273.15 °C 310.15 - 273.15human body temperature 37 °C Reverse Conversion: Celsius to Kelvin Similarly, its easy to convert a Celsius temperature to the Kelvin scale. You can either use the formula given above or use: K   Ã‚ °C 273.15 For example, convert the boiling point of water to Kelvin. The boiling point of water is 100 °C. Plug the value into the formula: K 100 273.15 (drop the degree)K 373.15 About Absolute Zero While typical temperatures experienced in daily life are often expressed in Celsius or Fahrenheit, many phenomena are described more easily using an absolute temperature scale. The Kelvin scale starts at absolute zero (the coldest temperature attainable) and is based on energy measurement (the movement of molecules). Kelvin in the international standard for scientific temperature measurement, and is used in many fields including astronomy and physics. While its perfectly normal to get negative values for Celsius temperature, the Kelvin scale only goes down to zero. 0K is also known as  absolute zero. It is the point at which no further heat can be removed from a system because there is no molecular movement, so there is no lower temperature possible. Similarly, this means the lowest possible Celsius temperature you can ever get is -273.15  °C. If you ever perform a calculation that gives you a value lower than that, its time to go back and check your work. You either have an error or else there is some other problem.

How To Start A Podcast (Authentic Advice From Someone Whos Done It)

How To Start A Podcast (Authentic Advice From Someone Whos Done It) So you want to start a podcast to apply educational content marketing theory to audio. That makes sense. Some 57 million Americans alone listen to podcasts, a 23% increase from 2015 to 2016. Thats one  in four  Americans who listen to at least one podcast per month,  while an average podcast listener hears  five podcasts a week. There is a ton of opportunity for you to connect with a growing and active audience through podcasts. But youre not here to see the stats. You already know the opportunity. So the real questions are how to start a podcast that will: Launch successfully (and continue to be successful)? Help you maximize the time you invest into producing each episode by sharing it on many channels to reach an even larger audience? Be manageable as a long-term investment while you complete tons of other work like usual? At least, those were some of my questions when I started researching how to start a podcast. And Ive figured out a lot of the answers on my journey to launching s brand new podcast, The Actionable Content Marketing Podcast. When you read this blog post, youll find the best advice that worked for   to launch a podcast, including: How to select a topic that will attract your audience How to structure your podcast How to find the right guests who your audience will love How to approach recording and producing your episodes How to publish and promote your podcast to reach your audience Lets get to it. How To Start A #Podcast (Authentic Advice From Someone Whos Done It) How To Choose Your Topic And Name Your Podcast There's a time-tested method that will help you find the perfect balance between what you want to say and what your audience wants to know. It's called the content core. You can find the perfect topic for your podcast by following this framework. Ask yourself: What is my business really good at? What does my audience really care about? The content core is the point at which your strengths intersect with your audience's interests. That's the best opportunity for you to choose an overarching topic for the entire podcast series, while also giving you a framework for choosing subtopics for individual episodes you'll record later. Action Items: You can begin this exercise by brainstorming  two lists: One list to answer, "What is my business really good at?" Another list to answer, "What does my audience really care about?" Find the ideas that are on both lists and create a final third list. This list is the gold; the nuggets that will propel your podcast into thought leadership your audience will love. In other words, this list is the overarching topic of your podcast as a whole. Now that you have a topic with clear direction knowing you'll publish successful episodes, it's time to determine a name for the podcast. There are a handful of ways to do this: Name it  something clever related to the topic (Example: The Call To Action Podcast) Name it the topic to give the perspective that it is the go-to podcast to listen to on that topic  (Example: The Startup Chat) Name it after a keyword  (Example: The Tim Ferriss Show) Name it some combination of all of these things  (Example: Actionable Content Marketing) If you've already checked out The Actionable Content Marketing Podcast, you'll note that we targeted a keyword (content marketing) combined with a standard of performance we demand in all content (actionable). You could try that approach, too, brainstorming lots of different ideas until you find the one that works best for your business. Action Items: Brainstorm common keywords, words, and phrases your audience uses when describing your topic.  You can use your customer survey data to understand common words and phrases they use. Translate the results from your brainstorm into potential names of your podcast. Simply create a list to get started, holding nothing back- rapid fire brainstorming can help you get tons of ideas out quickly. Narrow the list to five of your top picks, then ask your team for their advice. Select one name, preferably shorter and easy to remember. How To Structure Your Podcast For Ultimate Impact By structure, I mean asking yourself: Will the podcast feature only me talking? (Example: Grammar Girl) Could it have  another team member and me? (Example: This Is Your Life) Will we feature different guests as talent on each episode? (Example: Entrepreneur On Fire) There are success stories from all three types of podcast structures. However, in the world of business, I'm biased toward featuring guests. And in the rest of this blog post, you're going to learn how to start a podcast that features new guest talent on each episode. Action Items: Brainstorm the talent you will use to cover your topic on the  podcast. Here are a few questions to consider: Do you know  all of the wealth of information on your topic so much that you don't need anyone else's advice? If so, you could probably go solo. Could you and a teammate choose a subtopic within your content core and banter in an entertaining or educational way? If so, maybe having two people on the show is right for you. Three people can work well for discussion. Four or more people on an episode  often becomes too messy, judging from  convos I've had with Craig Hewitt from Podcast Motor. Could your friends or people you know in the industry- or influencers- help you share more robust stories and reach a larger audience? If so, you'll want to consider inviting guests for different episodes. The other element of podcast structure ties in to how you  plan conversations interesting enough that your audience will love to listen in. There are a few methods for you to consider: Banter: You have a subtopic within your content core, but that's about it. This structure is very loose and requires you to know a lot about the subtopic in advance to be able to direct the conversation to cover the most important parts of the subtopic. (Example: Stuff You Should Know) Segments: You have certain things you talk about in each episode, regardless of the subtopic. It's kind of like traditional news with local news, local weather, national news, national sports, etc. The information itself changes, but the segments of the newscast remain the same. (Example: This Old Marketing) Interview: You ask questions around a specific subtopic. For some guest-driven podcasts like Entrepreneur On Fire, the questions remain the same, only the guests share different expertise and hence different advice. For others like The Actionable Content Marketing Podcast, this means knowing the talent's expertise on a specific subtopic and tailoring questions specifically for each guest. (Example: Smart Passive Income) As you can guess, the talent you have on the show should influence the  structure behind the conversation. Internal talent may be more apt for banter and segments whereas  segments and interviews may work better for guests. For the Actionable Content Marketing Podcast, we opted for  featuring guests in an interview style. This gives us a huge opportunity to connect with amazing marketers with  diverse backgrounds who can share tons of different ways to solve big marketing challenges with our audience. This way, we know The Actionable Content Marketing Podcast  won't grow stale because every episode features unique opinions and advice. Plus, we get the added bonus that our talent will help us share the podcast with their own audiences, which furthers the reach of every episode we ship. Action Items: Ask your team for a shortlist of the podcasts they love to listen to. What kind of structure seems to attract and retain their attention? Based on the talent you'd like on your podcast, brainstorm the best way to  have a conversation interesting enough to share with your audience. Will banter, segments, or interviews work best for your podcast? Share your conclusion with your team and ask your team for their advice. You're not in this alone. How To Find Amazing Guests For Your Podcast (And Make Their Experience Awesome, Too) At this point, you haven't shipped anything, so you might feel like it'd be hard to get guests for your podcast. In my experience, that's not true. You just need to look for the folks who already know, like, and trust you. At your disposal, you have: Existing customers who have solved big challenges others like them would love to learn from. Email subscribers who- like existing customers- have solved problems and could share how they did it. Industry friends from similar companies to yours who also have interesting stories to share. Companies you love or buy stuff from- do they have stories your audience would be interested in, too? Unlike asking for a guest blog post, being talent on a podcast is extremely easy for a guest. It requires just a little bit of time to understand the subtopic to cover, how to answer the questions, and the actual recording time. To top it off, your guests get access to your website traffic, email subscribers, social media followers, and the subscribers on all of your podcast outlets like iTunes, Stitcher, SoundCloud, and Google Play. That's a ton of exposure for a guest. ^ And that's the way to market this opportunity to them. Action Items: Ask your team for the names of customers, email subscribers, industry influencers, and your suppliers who would be an excellent fit for a podcast episode according to your content core. Find a  list of your existing customers. Sift through the ones who sound like they'd have interesting stories to share. Sift through your email list for prospects who would be a good fit for your podcast. If necessary, review their website for information from blog posts or news releases on problems they've recently solved to understand how you may be able to share that story in a podcast episode. Peruse the list of companies you  buy stuff from. Think of industry influencers  and friends who could help you out. Pull together a shortlist of all of those email addresses. If for some reason you don't have the email address and just the name, go to that person's website, highlight their name, and use Datanyze Insider to find their email address in a matter of seconds. Now you have a shortlist of people who would be awesome  talent for your podcast. It's time to make the process as painless as possible for them to go from introducing yourself to a recorded episode. I've found a simple process with 10 steps works best (and by the way, you can get the checklist I use for this process- along with all of my email templates- for free in the checklist/template resource that complements this blog post): Step #1:  Reach Out To Talent This is not a blasted message to your entire shortlist that blind copies each person. Tell your talent  how you selected them, why you'd value their contribution, and how they'll benefit from increased exposure from your audience. Provide a link to book an angle conversation with you before you record their  episode using a tool like Calendly. With Calendly, the talent can see your schedule and book a time that works best for them and you. Calendly helps your guests easily book podcast meetings with you. You can also ask them for their  Skype ID (and phone number in Calendly for backup purposes) to help you know how to get in contact with them easily. Step #2:  Follow Up On Outreach Pitch Email inboxes get busy. Give them some time to respond, but also let them know you're serious about featuring them as the top talent on your podcast. I've found about a week or so is a good amount of time to wait before following up. Step #3:  Confirm Angle Appointment If you opt to use Calendly, you will get an automatic email (and an automatic appointment  on your Google Calendar) when your talent books an appointment with you. I've found it's best to add them immediately on Skype right when you get that confirmation  rather than trying to find them via their Skype ID  moments before the angle call. You'll find that some of your talent may give you the wrong Skype ID at first, so the sooner you discover that, the sooner you can  ask for it to avoid unprofessional technical difficulties. At this point, I also send an email to the talent to let them know I received their invitation to chat and let them know to expect to be on an angle call so I can get the information I need to draft questions, and not actually recording their episode. Step #4: Host Angle Call Some podcasts avoid doing this step. I find it's important because you get the opportunity to ask, "What is a major {insert topic} challenge you've solved recently? How did you solve that challenge? What mindset made you successful at solving that challenge?" This gives you all of the information you'd need to know to draft questions for an interview style podcast episode. You also get the chance to hear your talent speak- are they short with their answers, are they long-winded, is their audio bad, etc.? All of that information helps you understand what to expect as the host to direct your talent to show their strengths. I've found one size does not fit all, and these calls are immensely helpful for breaking the ice before recording the actual episode. Step #5: Draft Questions Depending on the person (short or long-winded?), I'll draft 10 to 20 questions to help me reach an intended record-time podcast episode length of about 20 minutes. The average commute to work is 25.4 minutes, so once you add in an introduction, middle call to action, and conclusion, you'll ensure your audience can listen to an entire episode on their way to work. Generally speaking, it's best to error on the side of writing too many questions rather than not having enough to hit your ideal podcast episode length. These questions are based entirely on the conversation from the angle call, and I even leave guests  cues  as a reminder of our prior conversation to direct them on how to answer specific questions. This isn't meant to alleviate their creativity, but rather, help prevent them from giving the same answers to multiple questions, especially with the subtopic of the episode is very narrowly focused. Step #6: Send Questions To Talent Send the questions to your talent, and ask them to book another appointment to record the actual episode. Again, Calendly works wonders for this. It's during this step that you can send a few tips  to help your talent record the best episode possible. For example: Find a quiet place to record without distractions. Use headphones and a microphone. Put phones on silent. Turn off notifications on your computer. Plan on about 45 minutes for recording. Step #7: Send A Reminder The Morning Of Your Recording Your talent is busy. People forget. A short email saying you're excited to chat later today at a specific time serves as a nice reminder so you don't have to rebook your appointment and risk delaying your publishing schedule. Step #8: Record The Episode Explain to your talent what to expect before you record. Will you stick to the questions? Will you pry deeper if you think an answer was too vague? Will you go completely off track and ask new questions entirely (ones your talent may not have prepped for)? Are you recording a separate introduction and conclusion after you have the conversation? If they have a difficult name to pronounce, ask them before you record. And once you hit that record button, let them do the talking. They are the talent, not you. I've found it helpful to write transition sentences to help me move  from one question to the next in a way that feels less jarring than asking straight questions- which also prevents me from bumbling from question to question. As you record more episodes, this process will feel more natural. Skill comes with practice. Step #9: Thank Your Talent After you record the episode, let your talent know you appreciate them! They just did you a solid, so I like to send them something special in the mail and let them know when to expect the episode to launch. Hooray for @swag! pic.twitter.com/gwEZ6eCJHJ Dustin W. Stout #SMMW19 (@DustinWStout) September 28, 2016 At this point, I also ask for anything else I might need to make  the episode completely awesome, like their bio, headshot, company logos, and mailing address (that last one is for a care package). That content goes into blog posts to complement each episode release, along with social media graphics to promote the episode. Step #10: Let Them Know When The Episode Is Live Your talent will listen to their episode, and since they took the time to record it with you, they have incentive to share it with their audience, too. Give them the link to the blog post and the social media graphics you've designed to make it easy for them to share. Action Items: Whether or not you want to follow this exact 10-step process for managing your podcast guests' experiences, take the time now to draft the process that will work best for you and your team. How To Record And Produce Your Podcast Episodes The first thing to do is to make sure you're using the right tools to record  professional quality podcast episodes: Skype is an amazing tool lots of podcasters use for hosting conversations. This is the actual calling software. Ecamm Movie Tools Call Recorder connects into Skype and gives you the  tool to record the conversation. It's good because it records your audio separate from the talent's, so you can easily mix out the person who is not talking and sweeten the audio for each person separately as needed. This technology works with Skype whether you're recording video podcasts or audio podcasts (which is yet another decision you  need to make). Your computer mic isn't good enough, especially if you're the host. Invest in a professional microphone. Over-the-ear or studio headphones help you hear your talent while ensuring your mic doesn't pick up their voice, thus producing an echo. Find  quiet room to record, even if that means ditching your noisy office to record at your home during the middle of the day. As you start to hear the conversations you're having, you can also think through the next steps for production, including music and sound effects, voiceovers, introductions, middle calls to action, and conclusions. Let's explore those areas of each episode a bit more. Choose Music And Sound Effects That Sound Like  Your Culture Would you like to brand each podcast episode with specific introductory and conclusion music or sound effects? AudioBlocks is a great source to  find music for your podcast. Some things to consider may be: The music you've used in the past for videos The culture of your company (i.e. fun and quirky or serious and strong?) Brand your podcast with music that *sounds* like your visual brand.Consider A Professional Voiceover For Your Introduction And Conclusion Would you like a professional voiceover to introduce your podcast name and company? Should it be a  male or female voice? For example, a majority of 's audience is female, so  for the Actionable Content Marketing Podcast, we decided a professional female voiceover would be best. The voiceover talent offers an introduction to each episode, saying, "You're listening to The Actionable Content Marketing Podcast, powered by : The #1 marketing calendar for everything you need organized."  The same voice also concludes each episode, saying, "You've been listening to  The Actionable Content Marketing Podcast, from your friends at . For more actionable content, visit .com." Freelancer.com  is a freelancing source that helps connect voiceover talent with folks like you. Record Episode-Specific Introductions To  Share Your Talent's Credibility On The Subtopic Of Each Episode Record an introduction to the episode immediately  after you record the conversation. This helps you connect the dots between  your talent's advice and the classic WIIFM (what's in it for me?) for your audience. For these introductions, I like this framework: Begin with something catchy to help your listener feel like the episode will help them solve a problem.  "What if you could...", "Image how you'd feel when...", and similar discovery verbiage helps set the tone for what listeners will learn throughout  the entire episode. Introduce the talent as the ultimate authority on the subtopic within the episode and why listeners should trust the guest's advice. Cover the WIIFM  in detail, focusing on the benefits your listeners will receive if they simply continue  listening to the episode. Introduce yourself so new listeners have a frame of reference for who you are as the host. If, for example, your professional voiceover introduces the podcast name by your company, you can introduce yourself as "Nathan from " to let your listeners know you represent  that business. Restate the name of the podcast to help listeners remember where they're learning this valuable information. Record Episode-Specific Middle Calls To Action To Give Away Exclusive Content Like traditional TV shows usually have  commercial breaks every eight minutes, so should your podcast episodes. The human brain can only pay attention for so long before it needs a distraction. Middle calls to action may act as ads for your product or service, a related piece of content you've just published, or even sponsorships (if that's how you're funding your podcast). For The Actionable Content Marketing Podcast, I try to connect the dots between the conversation at hand and how can help listeners put that advice into practice. There are a few elements of these calls to action  that help it feel appropriate in context: Begin with a sentence that clearly indicates the podcast episode is not ending. "There's a lot more advice from {talent name} to come." Keep the call to action short. "If you'd like to do {episode subtopic advice}  like {talent name}, {our product} is a great fit." Give them a specific link to visit. "Just sign up at {companyname.com/simple} to {experience  desired benefit in context to subtopic} now." Transition back to the episode. "Now let's learn more about {episode subtopic} with a little extra help from {talent name}." Record Episode-Specific Conclusions To Button Up The Episode And Remind Listeners Of The Exclusive Offer Conclusions give you the opportunity to thank your talent for sharing their wisdom and reiterate to your audience why that advice is gold. You can also use them to direct your audience to learn more from episode-specific blog posts on your website, and reiterate the special offer you provided in your middle call to action. You could share the following information in your episode conclusions: Thank your talent Share the URL where listeners can find more information on the episode like show notes, talent bios, and episode transcripts Share the URL you mentioned in your middle call to action  with an exclusive offer Ask for  ideas for future episodes or talent you should feature on the podcast A Note On Production: Learning audio editing tools can be time intensive. For the actual editing and production of The Actionable Content Marketing Podcast, we work with a partner, Podcast Motor. I'd recommend researching third parties like Podcast Motor for your own podcast because it's like adding a podcast professional as a marketing team member. You get the added benefits that this team member will publish episodes on time no matter what, and will never become distracted by "shiny object" projects that take them off podcast tasks. How To Publish And Promote Your Podcast Episodes (A Grab Bag Of Advice) Libsyn is well-known as one of the best podcast hosting services. From here, you can upload your episodes and enter  destinations  for where to share your podcast episodes. For example, all  Actionable Content Marketing Podcast episodes are hosted on Libsyn and are shared to iTunes, Stitcher, SoundCloud, and Google Play on a schedule for every week on Tuesday mornings. This step of the process is handled entirely by our partner, Podcast Motor, with the help of Libsyn, and is yet another reason why I'd recommend working with a podcast professional. Once you have your episodes queued in Libsyn, I have some advice for spreading the word as you plan your launch. Definitely Publish A Pre-Launch Podcast Announcement To Get Early Feedback You planned your podcast according to your content core, so  your audience really should love it. But. What if you could know they'll love it instead of just guessing? What if you could *know* your podcast will be successful before launching it?After you've recorded three episodes, I'd recommend publishing a blog post and sharing those  episodes with your existing audience. Share the three episodes- rough cuts with ums, ahs, and absolutely no audio sweetening or voiceovers. The point is to ask for their feedback before you invest any more time into your  podcast. They may have feedback for your structure, talent, guests, etc. that will help you produce even better episodes in the future- even before you launch. Here's an example of how we did exactly that with The Actionable Content Marketing Podcast. Consider Publishing An Episode Zero To Set Your Listeners' Expectations Some podcasts publish  an episode zero to explain the benefits their listeners will receive if they consistently listen to the podcast. It's a handy way to  act as a kind of what's-in-it-for-me? FAQ. Here are some items you could cover in your episode zero: Why the name? What's the goal? How will your audience learn? Who will be on the podcast? What is the structure? What is the content? Where will your audience  find the podcast episodes? When will you consistently publish? Episode zero is definitely a thing you could do, but not necessary for success. Plan Your Frequency And Consistency To Build A Loyal Listener Base Upon launch, our partner, Podcast Motor, recommends publishing at least two episodes (three in total, if you decide to go with episode zero). Still others recommend publishing three episodes (four if you opt for episode zero) to begin with. The main point is this: Publish more than one episode on your initial launch day so your early adopters have more content to consume if they want it. For example, The Actionable Content Marketing Podcast published two episodes on launch day, and will ship a third episode  a few days after that initial launch. A key insight here is to record several episodes before you launch to make sure you have enough content  to launch and keep you going. Before we launched The Actionable Content Marketing Podcast, we had 13 episodes recorded so we wouldn't have to rush our guests to publish a new podcast episode every week. This means after our initial launch week, we had content  prepared for 10  additional weeks. Record a bank of episodes before you launch your #podcast.As you thought through your episode zero, you  already asked yourself how often and when to publish. Knowing this information- will it be every Tuesday morning at 8 a.m. or once a month on the first Monday of the month?- will help you understand how big of a content bank to build before you launch. Plan Consistent Podcast Episode Names To Emphasize Your Talent's Credibility An awesome thing about podcasts- at least something we're trying for The Actionable Content Marketing Podcast- is to not focus so much on keywords. That frees us up to focus on stories that no one else in our industry is talking about with the folks who've solved major marketing challenges. That reflects deeply in the headlines we create for podcast names, and I'd suggest you follow a similar approach. Here are several examples from our initial podcast episodes- and also a sneak peek at what you're going to learn from The Actionable Content Marketing Podcast ;) How To Create A Bank Of Content (And Plan Ahead) With Janna Maron From Smart Passive Income How To Hack Your Marketing Like A Startup With Garrett Moon From How To Boost Facebook Engagement With Kelly Fitzgerald From Anytime Fitness How To Build Influence In Any Industry With Chris Dessi From Silverback Social How To Market A Brand New Feature Or Product With Kathryn Nyhus From How To Improve Your Editorial Strategy With Tara Clapper From SEMrush How To Optimize Your Social Media Messages With Dustin Stout From Warfare Plugins How To Solve Marketing Fire Drills With Kyle DeWeerdt From Apprenda How To Double Your Facebook Reach With Rebekah Radice From Post Planner How To Prioritize Your Marketing Projects With Josh Pigford From Baremetrics How To Organize  Content Creation Like A Publisher With Matt Ankeny From Gear Patrol How To Generate And Nurture Leads With Brittany Berger From Mention How To Implement  A Guest Blogging Process With Jess Ostroff From Don't Panic Management The main lesson here is to share what your listeners will learn, backed by your guest's name and company to emphasize  their credibility on the subtopic. That whole credibility thing  should also tie nicely into your episode-specific introduction to share with your audience why you chose to chat with a specific guest about that subtopic, connecting the dots from headline to the context of the conversation. Distinguish  Your Podcast With Graphic Design Your podcast needs  a specific branding  style to distinguish itself among all the other podcasts in iTunes and beyond. If you don't have a designer in-house, it will make sense to either work with a third-party like Podcast Motor to help you with per-episode feature graphics, or create a long-term contract with a designer through a credible source like Dribbble. Our graphic designer, Ashton Hauff,  created a podcast branding PDF to help us brand The Actionable Content Marketing Podcast. In addition, she is designing every blog post feature graphic to show off the talent, and brand the blog posts specifically for the podcast. For example, here are a couple examples of blog post feature graphics Ashton has  worked through for episodes #1 and #2: Introduce Your Blog Audience To Your Podcast With Episode-Specific Blog Posts I've alluded to this a few times- but it just makes sense to share each podcast episode in a specially-published post on your blog. This helps your existing blog audience and email subscribers see that you're offering  them an entirely new way to experience your already-amazing content. There are a few elements of these blog posts that will ensure  an excellent experience for your blog audience while keeping your workload simple: Create a feature blog graphic. This helps distinguish each episode and can really show off the talent you're bringing to your audience. Embed the podcast episode inline in the blog post. The Actionable Content Marketing Podcast uses a player custom-built by Podcast Motor, and  there are many others including the Smart Podcast Player from Smart Passive Income. These players give your blog post readers the opportunity to listen to your episode while they peruse  the blog post. Include show notes. These are simply the big takeaways listeners will hear in detail as they listen to the episode. Include quotes from your guests. These are instantly shareable and immediately reiterate your guest's credibility on the subtopic of the episode. Create quote graphics. Once you know the quotes, it's easy to grab that text and turn them into sharable graphics.  Now that you have a feature graphic and several quote graphics, you can  easily provide those to your guest for when their episode launches so they can help you spread the word with beautifully branded and eye-catching social messages. These work really well for you to share your own blog posts on social media. Include a bio for your guest. Again, bios are great for showing your audience why your guest has the authority to provide  actionable advice on the subtopic. Include a full-episode transcript.  Have you ever listened to podcasts on the go, then wanted to find a specific piece of advice later? I know I have. And full episode transcripts make it easy for your audience to find the information they need quickly. Include a call to action to subscribe on iTunes. If your visitors are liking what they're hearing, it's nice for them to have the opportunity to subscribe on iTunes (preferably) or to a specific email list you've created just for your podcast listeners. Easily Direct Traffic To A Custom Podcast Landing Page In your episodes themselves, it's nice to  have an easy way to direct your listeners to where they can find more information. I've found a specially-designed landing page with a simple-to-say URL is handy. Your landing page can serve the purpose of: Showing your latest episodes with links to the specific blog posts. Optimizing the experience to convert visitors into iTunes subscribers (or a specific podcast subscriber email list). Here's how we did it for The Actionable Content Marketing Podcast with help from our front-end designer and developer, Megan Beck, and Ashton's branding guidelines. Give Away  Exclusive Content With A Custom Podcast Signup Page For The Actionable Content Marketing Podcast, we also wanted to give our podcast listeners a special, exclusive offer of .  Like the custom podcast landing page, I needed a URL that was easy to say in each episode, and a custom signup page especially built for podcast listeners. The main point here is this: If you have one call to action per episode, what would it be for your podcast? And how will you optimize that experience for your listeners? If you have one call to action per episode, what would it be for your podcast?Oh... if you want to know what that exclusive offer is, the only way to find out is by listening to The Actionable Content Marketing Podcast. We are planning to not hand that URL out anywhere else to really know that the podcast is driving those conversions. ^ I'd suggest you experiment with something similar. Build Excitement Like any piece of content you publish, promotion is critical to success. Here are a few bonus ideas/tactics that may work for promoting your episodes: Tag companies mentioned in each episode in social media messages (or find their email addresses with a tool like Datanyze Insider or ContentMarketer.io and email them) Ask your guests to share their episodes and provide them the custom graphics you've created Email your general subscriber list Email your podcast-specific subscriber list Ask your company, friends, and family to  share Include calls to action  to your podcast landing page from your new and most popular blog posts Install Hello Bar or the equivalent to share your podcast with all website visitors Tease episode releases a day before you publish them ... And That's How To Start A Podcast Good luck as you start your own podcast! I'd love to hear your additional advice and lessons learned along the way. And if you have subtopics or people you'd love to hear us feature on The  Actionable Content Marketing Podcast, let me know!

Law Journal Essay Example | Topics and Well Written Essays - 2000 words

Law Journal - Essay Example A few of the abovementioned components are examined briefly below. Legislation is enacted by Parliament which contains two chambers – the House of Commons and the House of Lords. An Act of Parliament begins life as a bill, which is a proposed draft of an Act and passes through the various stages of the enactment process prior to becoming binding law. Delegated legislation as the name suggests is brought about in situations where the statute alone cannot provide for all the technicalities required. So it provides the broad framework whilst the details are filled in by the relevant minister by way of delegated legislation. These regulations when made in the approved manner are just as much law as the parent statute itself. (b) The English Legal System’s civil court structure consists of the European court of Justice, the House of Lords, the Court of Appeal, the Divisional Courts, the High Court, the County Court and the Magistrates Court. The system of Judicial Precedent in a nutshell would involve a court being bound by similar decisions made by courts of equal or higher status and is not merely a mechanical process of matching similarities and differences but involves the art of interpreting the principle derived from an earlier case. Decisions of the House of Lords bind all lower courts. After a protracted debate on whether or not House of Lord decisions binds future House of Lord’s cases the Practice Statement (Judicial Precedent) 1966 1 WLR 1234 established that though the doctrine of being bound had many commendable points â€Å"a too rigid adherence to precedent may lead to injustice in a particular case and also unduly restrict the proper development of the law†. However, the Lords depart from earlier decision only in rare circumstances. One such case is the case of British Railways Board Vs Herrington1 where the lords faced a number of earlier decisions wherein they had held that there was only a limited duty of care in neglig ence owed to children who trespassed onto property. Since perceptions of public policy have changed over the years their lordships felt able to ignore the earlier decisions and impose on British Railways a duty of care in keeping railway fences repaired. Strictly speaking the Court of Appeal is bound to follow all decisions of the House of Lords. There were some attempts by Lord Denning however to change this strict rule. He launched a two pronged attack by saying that (a) that if a House of Lords decision had been made per incuriam it could not be followed and (b) that if the reasoning for a rule had lapsed or seek to be of significance it need not be followed. These attempts were however not viewed favourably by the House of Lords and therefore the Court of Appeal is now bound to follow all House of Lords decisions. It may however choose between its own conflicting decisions. All courts that are lower in status than the Court of Appeal are bound by the doctrine of Judicial Precede nt in the normal way. Contract (a) An offer is a proposal by one person to another of certain terms of performance, which proposal is made with the intention that it be accepted by such other person. The promise of performance however is conditional upon a return promise or an act or forbearance being received in exchange for it for it to mature into a contract. An offer should be definite. Therefore a promise to pay a specified sum if a horse purchased were â€Å"

Response paper to pride and prejudice by jane austen Essay

Response paper to pride and prejudice by jane austen - Essay Example r breaking up with Jane based on information brought to him by these same society friends because she does not come from their ‘set’ was surprising as was the idea that Jane would take him back anyway. However, I can understand that she would have done anything for him because she really did love him and the times were much different then. During the Victorian period, women were very limited in what they could do as a means of supporting themselves. Basically, if they wanted to have any chance at mingling with ‘polite’ society, they had to be aware of the more rigid rules of manners in high society and they had to try to find a husband early. That was pretty much everything they were born and educated to do. Outside of taking care of the house and the family, there weren’t many acceptable ways that girls could take care of themselves. They were usually considered the responsibility of a male relative, who was given the right to choose their husbands for them and had control over their money and activities. Girls who did not have male relatives to take care of them, like Charlotte Lucas, had to resort to the only field in which women could retain some degree of respectability, which was taking a position in someone’s home as a governess. The idea that even this was relatively horrible is expr essed when Charlotte would rather marry Mr. Collins, who she is not overly fond of, rather than become a governess somewhere. I really hated the idea that women were so limited in what they could do given all that they have accomplished in the past 100 years. Imagine what society would be like today if the whole population, rather than just half of it, was involved in it. Charlotte’s marriage to Mr. Collins is not seen to be the kind of happy love affair that eventually develops between Jane and Charles and Elizabeth and Darcy. Although Mr. Collins continues to call her by endearing names, he does so with such lack of feeling that one gets the

Globalisation Affected The Design Culture Cultural Studies Essay

Globalisation Affected The Design Culture Cultural Studies Essay It has been determined that our genetics play a huge role in what we are as people in terms of our looks and personality as well as our likes and dislikes. It has also been argued that creativity is generic and thus can determine what we individually find aesthetically pleasing. Yet do our upbringing of morals and beliefs play a role in how we view the world in terms of creativity and design? In his chapter on Taste, Clay (2009:13) states that The particular culture an individual is brought up in has inescapable influence in that persons preferences. I tend to agree as I do believe our preferences when it comes to design, stem from where and how we were brought up and in correlation to this, what we were exposed to in our upbringing. However, it seems in todays fast passed technological world where we have advances in technology that ten years ago seemed impossible, that we are losing touch of what culture and heritage are. This generation of technology allows for us to interact in what I believe to be an impersonal fashion. With services through the internet such as Facebook, Twitter and Skype we can communicate globally with the click of a button, which in terms of communication has advantages, yet we seem so detached from human interaction and all that comes with it. This is an effect of globilisation, as we are connected around the world, not only through technology such as the internet, but through the ever growing and advancement of travel networks of railways that link continents and aviation links that allow for transcontinental travel. The reality of the 21st century is that one can be in a different continent within a matter of hours and can communicate throughout the world at any point of time. In term s of creative problem solving, todays connected society has advantage as we can collectively gather and share information that can be used for solutions to global problems and therefore have a global interaction that will determine changes. It is not my argument that this is bad, as we have been allowed a freedom to travel and communicate and therefore experience the world. It is however, my concern that we have been detached from our roots in terms our cultural beliefs and heritage as cross cultural and socio-economic integrations have occurred as a result. Research that has dealt with this topic in particular speaks to how cultures have integrated and mixed and some argue that this is simply a continuation of evolution, yet I feel that as a result we could lose not only cultures that have grown through the ages but the sense of belonging or as Clay (2009;13) terms an individuals status in society. It is thus my intention to determine how globalisation has affected cultures through design changes. Literature Review Preliminary research on globalisation as a general topic has identified the cause of global change and development as a result of technology development that has allowed for the expansion of communication and travel. Cultures have been integrated in the sense that we are all connected through a similar thread that is the internet, where we can share information and discover and solve problems. As a result of this, we are better educated through the extent of knowledge that has been shared through this medium and thus have a better understanding of global issued that are being solved through design. It can be said that every aspect of our lives have been designed as we are constantly looking for ways to simplify our lives, mainly through technology. However, it is through this ever-growing advancement in technology that we have made our lives and therefore our economies and to some extent of which I intent to determine, our cultures complex and thus integrated. Jarzombek and Hwangbo (Global in a not so Global World.[sa]) base their theory on globalisation through what they see as the integration of modern and tradition and how cultural relevancy has been modernised to the extent that tradition is seemingly extinct. Examples of Eastern and Asian Architecture are used here to explain how politics and global integration can determine what is built and for what purpose a building takes on, regardless of the socio-economic situation or cultural effect that will occur. Although this article shows a bias argument, it is the issue of how cultural relevance has taken the back fall to global change in power and political battles that are of a result of globalisation that is of interest as this can determine how culture in terms of design is at risk. Therefore, it can be said that our lives are designed according to these changes as Marcus. G. H (What is Design Today.2002) asks the question What is Good Design? which can lead to an infinite array of answers that are determined by the individual. It is however my interest in Marcus take on how each aspect of design, from industrial to product design, relates to each other and forms a correlation that will affect each other as a result. Archer. B.L (Design Awareness.1974) similarly discusses creativity and how design is brought about. Elements of design from corporate strategy to consumer demand and conflicting issues in design are explained in a simplified way which break down design into a logical format from creativity and ideas to how and why designs are brought into effect and the global process that either demands or supplies influence on new design. However, it is the effect on society and heritage that is discussed in a business like format, which is of interest as Archer gives perspective on the global effect of design and why consumers are a part of the change. This leads to the idea of the consumer based society whereby we show demand for new products especially in technology and as a result we are affecting what is designed and produced and how we live our lives. Clay. R.(Beautiful Thing.2009) uses examples of art and design to correlate the relationships in all forms of creativity and therefore delves into the evolution of design and how this has effect on culture. Design in relation to our personal upbringings and where we live in todays society coincides on design decisions we make and why and how the human condition has evolved and changes with technology and global issues that are being discovered and solved through design. Cultural influences are debated through examples of clichà © designs and how these design methods have influenced design today and in what direction design is taking in modern society which will further more change culture and society which serves as the underlying issue of this research. On a similar chord, while dealing with culture of a region or geographic whereby consumers can be influenced through design, symbols and signs play a role in what is attractive or desirable in design. Culture can be described as familiarity and it is that which shows difference in culture and therefore design takes inspiration from this. Saleh M. (The use of historic symbols in contemporary planning and design*. 1998) explains that The meanings in symbols can be derived from three distinct forms of interaction: first, the ascription of economic and intellectual status to an object as a result of historical discourse; second, through use of an object when mediated by the cultural sphere; and third, when exchange values are transformed to sign values, as citisens, designers or decision makers interfere with the meaning of a landmark under cultural, economic and political relations of production and therefore introduces the realm of symbolic relation between culture and design and there fore how globally this relationship has been affected, of which the intention is to determine. Significance of Research My preliminary research has indicated that this topic is relevant in correlation to what is already known and it is the intention to further my knowledge of both cultures around the world as well as design that relates to culture and heritage. I have always been interested in travel and how other people live and moving to a new country has expanded my interest as I have learnt how people in South Africa live and how different the various cultures are. Language has also been a significant as I have learnt three languages that I would consider to be beneficial to my intended travel plans, and through language I have learnt that there is culture and heritage that is connected to a language; a topic that I could incorporate into my research paper. As it is my intention to research further into the implications of globalisation in relation to cultural changes and how this has influenced or been influential on design, I see this topic to be relevant to todays society and in relation to South African design. Research Methodology Though the current literature review, the topic of interest is placed into what is already known and it is my intention to further my research through the following questions and therefore derive a chapter outline for my proposed research paper: What is globalisation? How have cultures changed? What determined these changes? How has design changed? What has determined these changes? Does globalisation determine design change? How? Does design change determine cultural change? How?

Animal Farm Compare and Contrast

Many books are made into movies whether people realize it or not. Some movies could be very well done, and others completely terrible. When the producers of Animal Farm made the book into a movie, they did not do as well as they could have. The book and movie of Animal Farm can be compared in many ways through their differences, similarities, and even why it contains the changes it does. Animal Farm was written to ridicule communism and the idea of a perfect world. The movie made it seem like a comical story of animals trying to run a farm, when it really is not.The narrators of both are very different. In the book, the narrator is not a character and does not show any bias at all. That makes it very easy to understand the main idea. Whereas in the movie, one of the characters plays the narrator keeping the movie in only one perspective. Mollie, who represents the bourgeoisie, flees because she does not like the way things are going in the book. However in the movie, she sticks aroun d and never leaves. The bourgeoisie did not like the idea of changing their ways in the idea of communism, and her role was not clear in the movie.The windmill in the book gets knocked down and Napoleon blames Snowball for it, in the movie Frederick knocks it over which does not make sense because Frederick symbolizes England. Another big difference is how the wood deal in the book represented the Non-Aggression Pact between Russia and Germany, and in the movie there wasn’t really any such thing except for a meeting with Napoleon and Pilkington, and all they did was get drunk. That occurs towards the end, and then the movie ends with a scene of a new family moving into the farm house.That family is John F. Kennedy’s and that really does not have anything to do with the book. The end of the book is a meeting with every other farm and Napoleon playing a card game. The card game represents the beginning of the Cold War. Aside from all of the differences, there are few imp ortant similarities. The similarities can also compare the two stories even though there are few. The seven commandments are a big similarity. Old Major mentions at the beginning of both stories some â€Å"rules† the animals should live by.How they are written down is the same, including how they eventually get changed. The pigs start to develop human-like characteristics and that makes for a lot of fall out towards the end. The saying, â€Å"Four legs good, two legs bad†, is the same for both and even gets changed to the same thing, too. Squealer is a huge manipulator in both story lines. He convinces the animals that Napoleon does everything to better them and even covers up some suspicions the other animals have. Since Animal Farm is about Soviet Russia and their revolution, it contains a lot of historical satire.The movie makers most likely changed many parts of the book so that it would be humorous for a younger audience, completely lacking the main points. The mo vie would have been a lot better if it was the same as the book and was animated. However, movie makers probably did not make it animated so that it would not seem child like. Even though they did not succeed at making the movie like the book, if it was animated it could have been more enjoyable. The differences, similarities, and why it contains the changes it does are all ways to compare the Animal Farm movie to the book.Movies that are based on books should really be more like the book so that it doesn’t seem like two different stories. That could confuse the reader/watcher if they are not very similar. This movie should not be recommended if the reader of the book wants to watch a movie thinking it would be like the book because it is not very correct at all. The movie should be somewhat similar due to the fact that it is a historical satire. The book should be read though because it is a great example of what power does to people, and it is very historically correct on t he events in the Russian Revolution.

Identity vs Identity Confusion - Free Essay Example

Sample details Pages: 4 Words: 1229 Downloads: 1 Date added: 2017/09/15 Category Psychology Essay Type Compare and contrast essay Did you like this example? IDENTITY VERSUS IDENTITY CRISIS INTRODUCTION Our group decided to have a case study on a subject who involved in a group called Skinhead. This is a true story of a person that is closely related with one of our group members. He was a 16 years old male student who studied in a vocational school. Don’t waste time! Our writers will create an original "Identity vs Identity Confusion" essay for you Create order According to Oxford Advanced Learner’s Dictionary, Skinhead is a young person, usually a man, with a shaved head and often wearing braces and heavy boots, especially Doc Martens. It first appeared in Britain in the 1960s and was known for their violent behaviour and their support for the right-wing political group. In Malaysian context, Skinhead first appeared in the early year of 1990s, firstly appeared as Punk, which got community’s disagreement as their appearances are too loud- boots, Mohawk, leather jacket, skinny jeans and spike hair. So they change to a new culture called Skinhead; which they say that it is cleaner and not too loud. They have their own genre of songs. Subject started to involve himself with Skinhead when he was 16 years old. He was so enthralled with the idea of being in a group and executing new things he never knew. He claims that he and his friends felt like they were strong and powerful as they shared things together. They did not have the slightest thought about any other things other than merely enjoying themselves. It was self-satisfying and what was more important to them is that, they felt that they were fierce and everyone was afraid of them. Subject states that he was â€Å"proud to wear Dr. Martin shoes, jeans, jacket and simple t-shirts. † The members of the group could be identified based on their similar hairstyle – they must keep their hair not longer than one inch. Subject admits that he was feeling obligated to follow the ‘trend’ in order to avoid negative assumptions by his peers. He in fact did not have any idea what Skinhead was all about at that time. However, he knew that it was a culture from the Western countries. This factor encouraged him more that he ended up being one of the followers. He was feeling secured knowing that he belonged to the group and he got his friends on his back. Subject however denies being brutal as the other group of followers. The grand weekly meeting was held every Friday. Subject also adds that usually the other members of any group alike of Skinhead would talk about loyalty to the group as well as proving bravery and strength. Nevertheless, the most important above all things for them is â€Å"autonomous social relationship†. He states that the members were free to mingle with each other regardless of their genders. However, subject makes it clear that he did not take alcohol or any kind of drugs. As a teenager, subject admits that he was not aware that what he did could actually give effect to the other people around him. What he wanted was, â€Å"to give a go for anything that I feel curious about. † He does not blame anyone because whatever he did had nothing to do with his parents, school and society in general, he says. He got everything he needed as a teenager and the people around him cared about him. He admits that the greatest influence came from his peers. APPLICATION OF THEORY: According to Erik Erikson, the fifth stage of his eight stages of human development – the identity versus identity confusion (also known as role confusion), best reflects the adolescent’s life. During adolescence, life is getting more complicated as we are going through a phase of changing from a child to being an adult. At this rate, adolescents begin to have the feeling of acquiring identity. This feeling includes their certainty about their own characteristics (who they are), their concern about social identity (what they are all about or to which group whom they belong) and their certainty about their own values and ideals (where they are going in life). In our case, when subject engaged himself with the group, he actually made a commitment without attempting any other identity exploration. Adolescents face many new roles and adult statuses such as occupational role, beliefs and values as well as sexuality. However, they need to be allowed to explore different paths in order to obtain a healthy identity. Without enough exploration, adolescents are likely to fail from creating a positive future path because the experience they have obtained is not helping at all. As a result, they will remain confused about their identity and thus maladaptations and malignancies (negative outcomes) arise. The involvement of subject with Skinhead could be classified as one of the negative outcomes that take place as a result of inadequate identity exploration by subject. In the process of creating a philosophy of life, we often get the tendency to be idealistic rather than being realistic. We often go to what we think as ideal, conflict-free, and choose to reject reality. This always happens to adolescents. The problem is that they are lacking in experience but always find it easy to substitute ideals with experience. However, strong devotion to friends and causes is always easy to get developed and that is why our most significant relationships are often with peer groups. Subject found that his peers’ expectation on him was very important. His sense of belonging to the group grew higher since the group members acknowledged his presence. When subject said they were fierce and that everyone was afraid of them, it could be that the society was giving in to them. Society allows a certain degree of freedom to the adolescence in their search for identity. The society does not only provide them with formal institutions such as schools, colleges and universities, but the adolescents are also given tolerance which Erikson calls the psychosocial moratorium. CONCLUSION According to Erikson’s fifth psychological stage, adolescent need to be allowed to explore different path to attain a healthy identity. If adolescent do not adequately explore different roles and did not carve out a positive future path, they can remain confuse about their identity. In my understanding, Erikson encourages the adolescent on trying new things and learns from them. Experience sure is the best teacher out of all. It is like trial and error situation. An adolescent might be involved with something bad like Skinhead, Black metal or drug but in the end, what important is they had their lesson. Thus, they will avoid them from doing the decision and it was a process in finding their own identity. In this situation, Sam involved in Skinhead influence because of his curiosity and his friends influence. At that time, Sam might not think that what he did was wrong but as time passes and he gets more mature, he realizes the fact that his action was wrong. Maturely, he does not put the blame on others but himself. Thus, adolescent need to think carefully before taking any action because it can affect his future. They should involve in activities that are healthy for them. Erikson surely said adolescent need to be allowed to explore different path to attain a healthy identity, but adolescent must choose the right path in order to gain it. It will be such a great loss if your young time was wasted doing unproductive activity.