Conflicts

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There are several types of conflicts that may erupt as the combination of different individuals come together to form a team. Although negative thoughts come to mind when mentioning the word conflict, the situation can be possible as well.

You have A-type conflict and C-type conflict.

A-type conflict also known as Emotional or affective conflict (Guetzkow & Gyre,154) is described as one that is personal, defensive, and resentful. It is the result of someone that expresses personal friction and anger. This type of conflict provides personality clashes and egos to come abroad causing much tension amongst the team.

A-type conflict is very distractive within a team. I t may cause the teammates to lose focus on their objective. So much energy is being diverted to reducing the threats

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And trying to build unity instead of working on the actual task to be performed.

The effectiveness of the team is now in question. Due to the emotional strain the affective conflict causes, the team's productivity dwindles and the unit does not perform up to their potential.

Besides all the negative things conflicts can cause, lets discuss some of the benefits of a conflict within a learning team. We've discussed how harmful A-type conflicts can harm a team. Things are a bit different when it comes to characteristics of a C-type conflict.

C- Type conflict also known as cognitive conflict can have a positive impact on the team.

It is usually the results of disputes about the different ideas, plans and projects.

This usually brings out the best among the team members. For example, when an individual disagrees with the idea of another teammate, it usually stimulates more communication within the team. Unlike with A-type, this forces the teammates to consider each others ideas. When in disagreement, this causes the teammates to really sit and come up with a solution that everyone is comfortable with.

One of the advantages of a cognitive conflict is that brings out constructive criticism.

Cognitive conflicts usually help the decision making process by encouraging the team to be more productive and provide a very respectful decision. In contrast, this process increases the quality of the decisions made. It enhances the teams functioning capabilities.

A cognitive conflict usually is the result of a healthy environment.

Reference

DuBrin ,Andrew, 00 Fundamentals of Organizational Behavior

Please note that this sample paper on conflicts is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on conflicts, we are here to assist you. Your cheap custom college paper on conflicts will be written from scratch, so you do not have to worry about its originality.

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Frank o'hara and james dean

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Frank O'Hara His Movie Poems and the Effects They Have

On Society and Pop Culture

In a world where people are judged not just by what they say but how they say it, American poet Francis (Frank) Russell O'Hara has been judged many times over the past fifty years. He has been ridiculed by such literary greats Jack Kerouac, who once said, "you're ruining American Poetry, O'Hara" (Lehman 6), to critics like Marjorie Perloff (who wrote a biography of O'Hara in 177 titled Frank O'Hara Poet Among Painters), who readily admits in her revised introduction to this biography in 17 that she misjudged O'Hara's poetry the first time around, but she now sees that O'Hara's "poetic has come of age" (xiv). Continuing with the criticism (both good and bad) that O'Hara had to deal with during his short life and the many critiques of his life and works after his tragic death, one must ask himself, who is Frank O'Hara and what is his poetry about? Does his poetry transcend the 150s' New York Poet mentality, or is he (as Perloff warns us against doing) a "mere representation of fifties' queer sensibility" (xiv)? These questions can be difficult to answer, especially when one takes into consideration the "camp" label that has been placed upon O'Hara's poetry. But, is he "campy," and if he is, does his "campiness" make his poetry any less important or take away from the astute observations of the human condition that O'Hara was addressing?

The Answer No.

Help with essay on frank o'hara and james dean

Walt Whitman once wrote

The question, O me!, so sad recurring what good amid these, O me, O life?

Answer.

That you are here that life exists, and identity;

That the powerful play goes on, and you will contribute a verse. ( )

The last two lines clearly establish what O'Hara did with his poetry in regard the question that Whitman posed, he "contribute[d] a verse," a verse that is finally being read and listened to by more and more people, a verse that changed the structure, style and content of poetry forever, a verse that is slowly establishing O'Hara as one of the most influential and insightful poets of all times. Although he has often been referred to as a writer of "camp" poems, O'Hara's honesty, sincerity and unwavering stance in his beliefs allow for people to look past the "camp" to see the serious side that is O'Hara. During his lifetime, O'Hara spent all of his time involved with the world around him and used what he saw to inform us of and critique the way we live. So, in order to prove the strength of O'Hara's words, in regard to his "campiness," one need not look any further than his movie poems. Within these poems, one can easily see O'Hara's infatuation with pop culture, but by looking below the surface, one will see that O'Hara was not just talking about actors and actresses he was talking about the human condition and revealing it to us in the only way he believed we could understand or relate to his words he did it through our own love and fascination with the silver screen.

O'Hara once wrote, in a piece titled " Teens Quiz A Critic "What's With Modern Art?" that

Pop art is not a reaction, necessarily, but at best a response to what we see in America around us, both on billboards, on theater marquees, in newspapers and on TV….it gives you the artist's interpretation of what we all see in daily life, rather than the non-objective artist's interpretation of what we all see in daily life. (O'Hara )

O'Hara believed in these words and practiced them within the poems he wrote. He wanted his audiences to relate with what he was saying because they had been there or experienced the same/similar event. O'Hara disliked many confessional poets of his time, primarily Robert Lowell, because he felt their "declarations of agony were transparently confessions [their] own moral superiority" (Lehman 4). O'Hara saw poets like Lowell as being "animated by the impulse to preach and to mourn" (48), but O'Hara understood that poetry was meant to praise the things in the world that reward one's regard" (48); simply put, O'Hara said, "It's my duty to be attentive" (48).

Joe Lesueur, O'Hara's friend and long time roommate, said, in regard to O'Hara's need to use Hollywood in his works, that the "Golden Age roughly the period from 10 to 145, which corresponds with the childhood, adolescence, and early youth of Frank's…generation…entangl[ed] [his] formative years with Hollywood's golden years" (7), showing that an entire generation gained its ideals, morals and general attitudes about life from movies. So, it is easy to see why O'Hara relied on film in so many of his poems films were his common bond to all people, not just his intimate group of friends.

However, before delving into O'Hara's movie poems and showing the importance they had to the people of the 50s and 60s as well as today's society, one must first have a strong understanding of what is meant by O'Hara's poems being considered "camp," and if that label can be seen as a positive, or if the label is solely negative, forcing one to prove that O'Hara's movie poems may contain elements of "camp" but, overall, they should in no one fall into that category.

"Camp," as defined by Susan Sontag, in her essay "Notes on 'Camp,'" is the "love of the unnatural of artifice and exaggeration" (75). She also says that prior to her essay, "camp" had never truly been discussed because talking about it and defining it in regards to works of art is the act of betraying it. (75) But how can something like O'Hara's poems be defined as "campy" if it cannot be discussed without destroying the term that is being created to describe his poems? Simple. Sontag writes, "if the betrayal can be defended, it will be for the edification it provides, or the dignity of the conflict it resolves" (75-6). So, if discussing O'Hara's poems as "camp" leads to a "moral or spiritual improvement," the term may be used.

However, this explanation of "camp" comes across a bit abstract and hard to grasp; therefore, by looking deeper into Sontag's essay, one finds that she provides a clearer, more applicable definition by saying that "camp" can be see as "one way of seeing the world as an aesthetic phenomenon…in terms of the degree of the artifice, of stylization" (77). Sontag goes on to say that "camp is a vision of the world in terms of style but a particular kind of style…. love of the exaggerated…of things-being-what-they-are-not" (7). Taking this definition, one can start to see what the word means when applied to the arts camp is the overblown, the theatrical; camp is the piece that relies upon artificial concepts, manmade objects that are brought to life and elevated above the natural; camp is our undying affection for films like Flash Gordon and Space Balls; camp is the Stephen King type novels that continually bring in millions of dollars to their authors. Camp is unnatural, or as Sontag puts it, "Nothing in nature can be campy" (7).

Okay, so if camp is unnatural, O'Hara's movie poems (because they deal with film (unnatural or fictitious events played out before our eyes by actors (people portrayed to be someone/something he/she is not))) O' Hara's poems should naturally be viewed as campy. But placing this label upon one's work cannot be as simple as that.

So, in moving forward, Sontag argues that camp is the "triumph of the epicene style" and that "life is not stylish. Neither is nature…. [and] today's Camp taste effaces nature, or else contradicts it outright" (80). Taking this argument into consideration and applying it to O'Hara's movie poems would mean that these works deal with a sexless style that wants to wipe out or eradicate nature all together. Camp is also defined as resting on "innocence," as being based on seriousness, but a "seriousness that fails;" as being the "spirit of extravagance;" as attempting to do "something extraordinary;" as proposing itself "seriously, but [that] cannot be taken altogether seriously because it is too much" (8-4). Listening to Sontag and applying all these qualities to O'Hara's poetry when labeling it as camp completely contradicts what he is trying to do when he wrote in "Personism" that "you just go on your nerve" ( ), doing what one feels is right the most natural act a person could take part in. There is no "extravagance" in those words, there is no "innocence," there is no attempt to disavow nature. What there is in those words is a Whitmanesque or Thoreaunian sense of return to nature, return to oneself, find one's true nature.

O'Hara's movie poems might have a bit of camp to them by being a "glorification of 'character'" or containing an "aesthetic experience of the world" ( ), but O'Hara's poems are a lot deeper than the labeling that is often placed upon them. And as Sontag admits, "Not only is Camp not necessarily bad art, but are which…merits the most serious admiration and study" ( ), but the "canon of Camp can change" ( ). Say based on this notion, I will now argue that Frank O'Hara's movie poems, although containing some Camp elements and possibly being seen as campy for the time period in which they were written, have transcended the "camp" definition and should no longer be discussed in that light.

Robert Duncan wrote in "The Homosexual in Society" that "almost co-incident with the first declaration for homosexual rights was the growth of a cult of homosexual superiority to the human race; the cultivation of a secret language, the camp" (0). Duncan establishes here that the term "camp" was created to give homosexuals a voice "loaded with contempt for the human" (0). If Camp is a word used to separate homosexuals from other people, to give them their own unique language, why does O'Hara's movie poems not have this "I am gay, I am better than you because I have a greater insight into the world around me" attitude? Easy. His poems are not "camp."

David Lehman, author of the Last Avant-Garde and chronicler of much of O'Hara's life and poetry, argues in favor of O'Hara having a "camp sensibility" and that being a positive. Lehman bases this "compliment" on O'Hara's use of Lana Turner in his poem "Steps" and his unnamed work that beings with the line "Lana Turner has collapsed because he believes these poems show O'Hara's passion for movies in regard to Sontag's view that camp writers see the world "not in terms of beauty, but in terms of the degree of artifice, of stylization" ( ).

Lehman continues quoting Sontag and includes that "homosexuals, by and large, constitute the vanguard and the most articulate audience of camp…and movie criticism…is probably the greatest popularizer of Camp taste today, because most people still go to the movies in a high-spirit and unpretentious way" ( ). So bases upon this argument, because O'Hara is gay, loves movies and writes poems, he is automatically campy. Why can it not be that O'Hara shared John Updike's view of Lana Turner in the fact that she with Hedy Lamarr were "considered the two most beautiful women in movies that is to say, in all America" and through this "natural" beauty, O'Hara viewed her as holding traits that were uncharacteristic in most people traits that he deemed good and pure, and being someone who should represent more to the American public than just an actress.

In O'Hara's untitled poem (written about Turner), he refers to a headline that read, "LANA TURNER HAS COLLAPSED!" (44). Now, this line can convey multiple meanings the first and most literal being that Turner has fallen down. She could have tripped on a red carpet outside of a movie premier, fallen down the steps of her home and been injured, but looking at the line in this way shows the campy feel that people attribute to O'Hara. They see him as being solely interested in the lives of these "gods and goddesses of the silver screen." But if this were the case, wouldn't O'Hara focus a bit more on where she collapsed, why and what happened to her in his poem one would have to think so. However, O'Hara does not delve more deeply into Turner's "collapse;" so he must be making reference to this incident on a deeper level.

O'Hara is using Turner in this poem as a representation of the larger part of society, which can be seen in the poem's last line "oh Lana Turner we love you get up" ( ). The first aspect of this line that shows O'Hara is not attempting to be campy is his choice to not capitalize the word 'oh.' If he had capitalized this word, it would have made the sentence more dramatic showing that unnecessary emphasis that camp writers use, but O'Hara chooses to keep out the capitalization as well as all natural punctuation, allowing the line to carry a more somber tone, one that evokes the futility that O'Hara sees in society, for he knows that Turner will not get up. O'Hara has chosen to use Turner's collapse to symbolize the fall of humankind a fall that does not effect only those who act "perfectly disgraceful," but a fall that catches up with those that are full of grace as well as idolized and revered by those around them. Turner's collapse solidifies for O'Hara the terminal condition our society is in when even our heroes and icon began to fade away.

Another way that this poem can be viewed revolves around the fact that the poem was composed as an "antithetical response to [Lowell's] 'Skunk Hour'" ( ). If O'Hara felt that Lowell's poem was too self involved, too full of "didacticism, symbolism, and grandiose egoism who likens the welfare of the body politic to the state of his psyche" (Lehman 48) and wanted to attack Lowell's "moral superiority" and show the human condition is larger than one man's life, how can this poem be Camp? Yes, the poem deals with Hollywood and a beautiful actress as its backdrop, but the poem, as a whole, should not be written off as the "familiar O'Hara persona, the old-fashioned, mercurial, and sometimes bitchy camp" (50), because, while this poem might be "bitchy" in reference to Lowell, O'Hara is making a stand and a statement against poets like Lowell that use their singular experiences to represent all of the world, rather than using the world or objects and people the world can actually relate too, to represent the world.

In O'Hara's other poem that mentions Lana Turner, "Steps," he uses the "where's Lana Turner/ she's out eating," but the poem doesn't focus on her like the previous one. This poem focuses on the state of New York, which is established by the line, "How funny you are New York" (70), showing that he noticing something out of the ordinary about his city. From this point, O'Hara moves into a bit of a personal narrative about his day writing, "I go by to check a slide and I say/ that painting's not so blue," which equates the color of the painting to his current mood as well as the mood of New York. O'Hara, himself not being too blue, shows that although life is not perfect, like the "Pittsburgh Pirates," we are "all winning/ we're alive" ( ).

With this poem, O'Hara makes references to the Pirates winning and Lana Turner eating out somewhere (again the where is not important) to show that life continues to go on. "All those liars have left the UN" and a "gay couple/…moved to the country for fun" ( ), and that is where we find ourselves sitting on the "little box…out on the sidewalk" ( ), drinking beer and waiting to be knocked down. O'Hara says that life may not be fair, but "oh god it's wonderful" ( ) and he gets his point across to his readers in terms they can understand, using typical, everyday American vernacular and grounding his example in actresses, sports, politics and people's sexual orientations all issues that society deals with on a daily basis. O'Hara is not trying to do anything "extraordinary" here, he is making a valid point about the fact that our lives are not always filled with excitement or loneliness, and people could see this point if they would refrain from seeing this poem as comical and overly campy.

Another group of O'Hara's poems that have been widely criticized for their "campy" material are his James Dean poems. Critics like Sam Astrachan, of The New Republic, attacked O'Hara for implying that Hollywood or society at large was responsible for the untimely death" ( ) of Dean. There were even ordinary people like Turner Cassity, who wrote a letter to Life magazine, that stated that "the James Dean necrophilia has penetrated even the upper levels of culture" ( ), implying that O'Hara's admiration for Dean was a morbid and sick act that Cassity believed people of "high culture" should be above. In spite of these attacks, O'Hara's fondness for Dean shows that (although he might be highly excited and one of 150s high-minded intellectuals, who knew about the arts) he must have seen something in Dean, his life and his works that people like Paul Goodman (who said, "What does [O'Hara] think he's doing, writing poems about dead movie stars) obviously could not see.

According to Joe Lesueur, O'Hara was "crazy about [Dean], like his looks, moody personality, overwrought style of acting plus, of course, the pathos he elicited" ( ). Lesueur goes on to say that it was during the time that O'Hara started writing the Dean poems that most of O'Hara's poems became full of "camp and gay overtones" ( ). But the view of the Dean poems being primarily "gay" and "campy" truly misses Dean's deeper, more point that he's trying to get across.

To many people who disliked Dean, mainly Elia Kazan the man who directed Dean in East of Eden, the young actor was seen as "'self-pitying, self-dramatizing and good-for-nothing,' just like the teenage heroes he played in his films" ( ). Many people of the time period (many the older generation) felt that Dean's films promoted the "mistaken idea that parents are the enemy and that kids are all sensitive and misunderstood" ( ), but O'Hara saw Dean and his films differently. Just like Dean's character Cal, in East of Eden, who had a "father he could never please," Dean "too had such a father" ( ), and O'Hara could relate to this type of relationship by "identifying with James Dean's Cal, whose confusion seemed more that of an incipient gay adolescent than a straight kid growing up problems" ( ). O'Hara used his Dean poems to praise someone whom he believed fought against all social norms. Dean was known for hating "phonies and studio bosses and the Hollywood game" ( ) much the way O'Hara disliked artists and poets who were untrue to themselves and the world around them.

In "For James Dean," O'Hara begins with the lines"Welcome me, if you will,/ as the ambassador of a hatred/ who knows its cause" ( ). Here O'Hara is not being campy, he is clearly stating that he, like Dean and many others, have been misunderstood and hated for the way in which they have chosen to live and act basically, hated for being true to their natural selves. O'Hara goes on to attack God, the "creator" of this society of hate, stating

He has banged into your wall

of air, your hubris, racing

toward your heights and you

have cut him from your table

which is built, how unfairly

for us! Not on trees but on clouds. ( )

These lines are very reminiscent of Emily Dickinson's "Victory comes late" when she writes, "Was God so economical?/ His table's spread too high for us/ Unless we dine on tip-toe" ( ). By addressing God, or the beliefs that society holds to be true in regard to religion, O'Hara criticizes the way that we are supposedly created in "God's image" but we are not allowed to be like him or sit with him. God's Table is "unfairly" constructed for "us," making it difficult to ever truly be god-like in the way one lives or acts in life. O'Hara sees the mentality of judging people for being different as a tremendous problem within our world, especially in the newly grounded religious 150s America that had finally returned to God after the depression and World War II.

O'Hara also uses his poem to mock those of us who believe we are better than those around us. Those who consider themselves the "high art" crowd who would never put themselves in a theatre to watch a Dean Film. O'Hara writes, "is it true that you high ones, celebrated among amorous flies, hated the prodigy and invention of [Dean's] nerves" ( )? O'Hara wants to know if these people hated Dean simply because he was different and lived his life the way that felt right, not the way that society advised. In regard to the way Dean lived, it was once said that he "threw himself on the world like a starved animal," meeting those around him "with the same urgent probing curiosity 'Here I am. Here are you'" ( ), which is much the same way O'Hara approached those around him to share the many poems he carried stuffed into his pockets.

O'Hara believed that Dean, as the rebel struggling against society and parents that did not fully understand him, represented the larger portion of society. We are all at times misunderstood and taken for granted, but O'Hara wanted to wake us up to that fact. He could have addressed this issue without the use of James Dean, but as mentioned previously, O'Hara relied on actors and Hollywood in his poems because film is the common equalizer of all people. We all go to the movies; we know the names of actors and actresses (both past and present), so by O'Hara incorporating the world of the silver screen into his writing make his writing campy? No. What it does is show O'Hara's intelligence in knowing how to get and hold our attention and tap into what we know. Like O'Hara says in the final stanza of "For James Dean," "I am the dead man's voice,/ stammering, a little in the earth" ( ). O'Hara's placing of himself "in the earth" makes himself one with all life, "stammering," but still speaking the words that we need to hear. And to reiterate Sontag, "Nothing in nature can be campy," and so, by O'Hara grounding himself in the earth the source of all nature he cannot be seen as campy.

Andrew Epstein writes in his article "'I Want to be at least as Alive as the Vulgar' Frank O'Hara's Poetry and Cinema" that O'Hara "neither wholeheartedly embraces 'low' art nor does he…mock pop culture's vulgarity, but rather conveys a complex mixture of ambivalent feelings toward cinema" demanding "our attention because of its combination of beauty and baseness, motion and permanence, illusion and 'reality'" ( ). One can see in these words that O'Hara's movie poems are not about praising films and discussing how wonderful they are, he is merely using films as his platform to address the world around him. In the movie poems, O'Hara "suggests that perhaps the true 'myths' of contemporary life are actually figures like James Dean and Lana Turner" ( ), because like all of us, they to have normal, everyday problems. Why should people turn to ancient mythology when discussing life, especially when many people are not familiar with this form of mythology and the gods of ancient myth are not real? Poetry should have to be grounded in ancient myth unless it wants to be "high art" and unattainable to the majority and that is what O'Hara is doing with his movie poems; he is showing the world that the people in Hollywood, the ones we see everyday, are just like us. They have flaws and, for that reason (and because their names are as common in American households as 'milk,' O'Hara feels a sense of duty to incorporate these names into his works.

One of his most famous and widely anthologized poems dealing with Hollywood is "To the Film Industry in Crisis." This poem has been read by many as his campiest poem off all because of the excessive references to actors and actresses. The poem, to many, is seen as a catalogue of memories that O'Hara has about movies he knows and that all he is doing is showing the impact that film has had on his life. But, this poem is so much more.

As Epstein states, "the cinematic world provides a temporary, albeit illusory alternative to the realm of suffering, transience, and dying. The very human and fragile universe O'Hara's poetry so often confronts" ( ). O'Hara believes that Hollywood gives tremendous insight into our world and its many ills. During the 150s, the big screen was threatened by the small screen (television) and many believed that TV was "robbing the film industries of its audiences" ( ). If TV consumed the movie world, O'Hara saw that we would be losing a large part of what helped in molding our outlooks on life the silver screen. So, in "To the Film Industry in Crisis," O'Hara tells of how "in times of crisis, we must all decide again whom we love." This line, because of the fact that O'Hara's getting at our love of the film industry appears a bit campy, but when one looks at film as being the one constant, the one aspect of life all people have knowledge of, the campiness wanes. We cannot all turn to the "Catholic Church" or religion in general.

Please note that this sample paper on frank o'hara and james dean is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. In case you experience difficulties with writing a well structured and accurately composed paper on frank o'hara and james dean, we are here to assist you. Your cheap custom college paper on frank o'hara and james dean will be written from scratch, so you do not have to worry about its originality.

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When you live and work overseas, it is sometimes really hard to tell where home is. Am I from Nakama or am I from Melbourne? Its even harder telling people you are from somewhere if you dont fit a certain image.

When you see me for the first time you would probably mistake me for being Japanese because I definitely do not fit the image of an Australian, blonde hair blue eyes. Yet if you close your eyes and listen to me talk you would probably see a different person standing in front of you. What you see is not necessary what you get. When I was in Korea I was a Korean, when I went to Hong Kong I was Chinese, when I was in Malaysia I was a Malaysian. The great thing about Australia is that it is made up of many different people, so the fun is in not knowing where someone is from rather than seeing everybody as the same. What makes Australia an interesting place is the diversity of its people. People from Asia, Africa, Europe all call the place home.

In Japan it is slightly different. The first month in Nakama, I decided to ride around town on my bike, and not knowing my way around I happened to get myself lost. I was in the rice farms of Katsuki and I wondered if Id ever find my way back to my apartment since I had no Japanese and I was sure people in the inaka could not speak English. I stumbled into the first house I could find and started talking with difficulty with one of the farmers. He was obviously shocked I could not speak Japanese since I have an Asian appearance. I think he was even more surprised that I could speak perfect English. The conversation with the farmer was not going anywhere fast, so he went inside to call his brother who happened to be a former English teacher. We had a brief conversation where I told him I was from Australia, which surprised him because you are not white he told me. I went on to explain that I was from Australia, but my origins are in Cambodia and that my father is Chinese.

When I was in Malaysia, a friend asked me, What are you? You work in Japan, you are from Australia, your father is Chinese but you where born in Cambodia? My answer was I am EVERYTHING.

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Today, you can find Coca-Cola in virtually every part of the world. The Coca-Cola Company has more than 00 beverages in its portfolio.

Coca-Cola touches the lives of millions of people each and every day. From special occasions to exceptional moments in everyday life, Coca-Cola is there. The brand has become a special part of peoples lives.

Over the years, hundreds of people have sent us stories about how Coca-Cola has affected their lives. Whether it is a childhood memory, a reminder of family gatherings, or a recollection of good times with friends, Coca-Cola has impacted the lives of people all over the world.

The following are just some of the stories people have told us about the special role Coca-Cola has played in their lives.

To read the stories, click one of the links below or select a category from the menu on the left and click go.

If you would like to submit your own Coca-Cola story, select the link to the left and follow the instructions. We look forward to hearing about how Coca-Cola has played a part in your life.

As I was growing up, my parents owned a mom and pop store. As one of my duties as a helpful employee, I would have to take all the empty bottles to a back room to put them in order for the Coca-Cola driver who delivered new cases of Coke®. He then would take the empties back to be recycled. Those wooden boxes got pretty heavy. Those were the Coca-Cola® days.

In 17, we moved to Florida from New York. We were building our home and, as we were clearing the lot, a large tree was felled; the tree was about 00 feet (a live oak). And in a piece of the top of the tree was a Coke bottle with a piece of the tree growing around it. In the early 10s, Im told, workers on the land must have left the bottle in a small tree. I still have it.

Coca-Cola was a great treat for my younger brother Charles and myself every Saturday. They cost 6 cents each at that time. Not only was the drink a special treat, it was fun saving the bottles. When I was 1 and my brother , we used his wagon and gathered 100 Coca-Cola bottles to buy hula hoops. They were the biggest thing since Coca-Cola at that time for us. What wonderful days. And now Im here at World of Coca-Cola enjoying this great drink with my oldest daughter Cecilia and my 11-year-old grandson Crosby. These are great days also and Coca-Cola classic® is still my favorite beverage. I am the proud owner of a Country Convenience store and sell lots of Coca-Cola products every day.

When my family went on long trips back in the early to mid-70s, we always had a special contest. Wed all go into the store and get a Coke, without looking at the bottom of it. After drinking them, we would all turn our bottles upside down to read the city name for the bottling company [on the bottom of the bottle]. The city nearest home to Americus, GA, would win. I could never win. One trip, to be fair, my father announced that the winner would be the one the farthest from home. You guessed it -- mine was finally Americus. I might not have won the games, but I won lots of great memories. Each bottle of Coke brings one or two back.

When I was approximately 1 years old, I would pick up bottles for deposits. I would save this money and my allowances to purchase a six-pack of Coke for mama for Mothers Day or her birthday. I would ride my bicycle (banana seat) to the local grocery store and buy the six-pack. I would hang the cardboard carton on the handle bars to get the gift home to mama. I would put the six-pack under the sink and instruct my brothers and sister that theyd get in trouble if they drank the Coke. There were four of us kids and we usually drank the Coke and mama didnt get any. This was her special gift.

At the office about five to six men and women would place a bet on who got the bottle of Coke from the farthest state. The state was stamped on the bottom of the bottle. The bottles were dispensed from a machine in our office. The winner received free Coke for five days. I might add that foreign countries were also included. The winner received Coke for two weeks.

My uncle is a supervisor for one of the Coca-Cola bottling companies. When I was about 10 years old, I lived with my aunt and uncle. I had a friend spend the night, and my uncle had a lot of Coke bottles and other bottles around his house. My friend and I wanted to cash in his bottles [for the deposit] to go to the store. Well, we took ALL of the bottles, and when he got home he was really upset because some of his bottles were VERY old and collectors items. Luckily we went back to the corner store and he knew us, so he gave us the bottles back. From that time on, I started to collect glasses and I now have over 100 Coca-Cola glasses, all styles.

When I was younger I collected Coke bottles. My children wondered why. I collected them for the cents and later 5 cents deposits. My brothers and I would go around the neighborhood collecting bottles so we could turn them in for the deposit. If I knew then what I know now, I would have collected them and saved them. My kids would have a ball with these old bottles!

After my parents divorced (17), mom and I were sitting at the table eating lunch one day. She bet a quarter that her Coke was bottled the farthest away from Dallas, Texas. I remember wondering, What could she possibly mean? She held up her Coke, we looked underneath and on the bottom was the city name where the Coke was bottled! I won! It took me a while, but I figured out she had probably set it up so I would win to make me feel better! Its a small thing, but a very nice memory of a quiet Sunday afternoon; just me and my mom, a tuna fish sandwich and a Coke!

When I was a little kid, about 8-10 years old, the movies on Saturdays were 5 cents for the matinee. My two cousins, my baby brother and I used to take our wagon and go looking for Coke bottles. They used to pay cents for small bottles and 5 cents for big bottles. This is how we used to get our 5 cents for the movies. Im in my 50s today and the picture is still so very clear in my head. It was a great time. Our families did not have a lot of money, and this was our only way to come up with 5 cents for the movies.

I have always been a Coca-Cola drinker for as long as I can remember. When I was a Brownie and later a Girl Scout, my mom and dad would each work overtime so I could go to summer camp. There wasnt enough money for spending at the camp store, so I would go to all my neighbors in the Brooklyn apartments and ask them for their empty bottles, so I could get the deposit. Luckily, there were a lot of Coca-Cola lovers in my neighborhood, and people were always willing to help me out so I could have a little extra to buy a few treats at the camp store. (That way, I could be like the other camp kids, and I wouldnt be reminded my family was poor.) So, my favorite drink also became my financial friend when I needed a little help (to go to the movies, buy an ice cream cone, a Coke, etc.). As a teacher and an environmentalist, I now recycle at home and at school. With the money I make, I take my 0 second graders on at least four trips a year.

As kids, my brother and I spent our summer weekends at our grandparents, whom we called Nonnie and Poppie. Their house was in a new development and there was much construction. To make money at ages 7 and 8 was a challenge. So my brother and I discovered that collecting the empty Coke bottles at the construction sites at the end of the day was a great source of revenue. One summer we cleared over $15 a piece by turning in bottles at the local supermarket.

Kelly Lake is a tiny little railroad town on Minnesotas iron range. In 15, I discovered a stash of old Coke bottles in the upstairs of our garage. I found out that when we brought them to the store, we could get money for them! I was 5 years old. I loaded up our wagon, and off to the little store I went. My pockets were loaded with pennies and nickels. I excitedly went back for another load, and then another, until the store keeper said, Thats enough. You didnt buy all this pop here, so I wont give you any more money. That was OK, though. My, oh my -- I had enough money to buy a lot more Coke, and a few Hershey bars, too! Life was grand!

Living quite some distance from town, we rarely participated in the Halloween ritual of trick-or-treating. We only went trick-or-treating three times, but we always remembered the most important house on our visiting list the Coca-Cola drivers house. He handed out icy cold cans of Coca-Cola®, and nothing beat that for a treat! No one soaped his windows or toilet papered his trees, because even the most mischievous revelers appreciated their can of Coca-Cola for Halloween.

I was born where Coca-Cola was born Atlanta, Georgia! When I was a little girl, about 0 long years ago, I used to look forward to the arrival of the Coca-Cola man. I was more anxious to see the Coca-Cola truck than the ice cream truck. Whenever I saw that Coca-Cola man driving down the road, I would wave him down. He would always stop and give me all the Coca-Cola goodies that he had. Today, I work for a Coca-Cola bottling company. My customers are always trying to wave me down so that they can get free goodies from me.

A few years back I was salmon fishing with a co-worker in the very north of Norway. At that time we were both employed by a different soft-drink company. We had been hiking, fishing and camping for four days. We were very tired and very thirsty. When we got back to our car we immediately drove to the nearest convenience store. We walked in the store and walked directly to the soft drink cooler. The store sold no products from the company we worked for. Without the slightest hesitation we both reached for a Coke®, popped the top and downed the drink. We then looked at each other and agreed that that was the best drink we had ever had.

In the very early 50s, I worked as a route salesman for Coca-Cola in Chicago, Illinois, for seven years. In 156 or 57, I won a speedboat as the top salesman in the Northeast Region. I still have the magazine presenting me the award. The president of Coca-Cola called to congratulate me.

I grew up in a small town in Central Alberta. My parents owned the local general store. Growing up each child did their stint working in the store. My favorite time was always when the Coke delivery truck came, because every once in a while -- on a hot summer day -- after he made the delivery, he would bring in a Coke for my dad and me. To this day, from a dedicated Coke drinker -- even my children know -- its Coke or nothing.

As an employee of Coca-Cola, my soon-to-be-wife and I decided to use an 8-ounce Coke toast instead of champagne at our wedding. We provided enough 8-ounce bottles of Coke for all 00 people who were there. When the best man raised his glass for a toast, everyone popped open their bottles at one time. It was a great sound to hear 00 bottles of Coke being opened at once.

While traveling through a highway construction area one steamy summer day, a real life Coke commercial took place in front of me. A semi-truck was stopped as on-coming traffic proceeded along the one open lane. As I passed, I couldnt help but chuckle as the truck driver opened his window and handed the sweaty, female road crew worker a Coke and a Smile. What better example of the generosity of our country and endorsement for Coca-Cola.

When I was a child, my grandmother worked at the bottling plant in Cincinnati, Ohio. Our family had less than moderate means. One of the Christmas decorations that I remember as a child was the cardboard stand-up Coca-Cola Santa. The kids in our family started getting excited about the holidays when Grandma put out the Santa.

In 148 my husband graduated from Rutgers University. His first job was as a Coca-Cola salesman. He had a Coca-Cola car and sold syrup dispensers and syrup to places that dispensed soda at a fountain or bar. He had to participate in a training program at headquarters in Atlanta before he started. All of the salesman he worked with in the New York City area were great guys. His starting salary was $50.00 a MONTH. Its hard to believe. We didnt have a telephone when we first moved into our house, and I couldnt drive the Coca-Cola car -- but then, I couldnt drive. As I look back now, life was very simple by comparison to todays young couples. We were years old. I still have the group picture of his training class.

In the winter of 180, I spent three very important months delivering Coca-Cola in West Tulsa, Oklahoma. Those were still the days of glass bottles, wooden crates and hand pricing. It was hard work. My most vivid memories were of stacking the crates and hand walking them into the stores. Many times I had to wheel the hand truck into the pit at the rear of the store, and throw the heavy wooden cases up onto the dock, re-stack them and wheel them into the store to price and then rotate the stock. Then it was the drivers responsibility to sort the empty bottles and carry them back to the truck. Hard work and low pay. I moved on to other things after a short time, but I will always remember this job, and the lessons it taught me about hard work, and delivering a product that was respected and enjoyed by so many.

In the winter of 180, I spent three very important months delivering Coca-Cola in West Tulsa, Oklahoma. Those were still the days of glass bottles, wooden crates and hand pricing. It was hard work. My most vivid memories were of stacking the crates and hand walking them into the stores. Many times I had to wheel the hand truck into the pit at the rear of the store, and throw the heavy wooden cases up onto the dock, re-stack them and wheel them into the store to price and then rotate the stock. Then it was the drivers responsibility to sort the empty bottles and carry them back to the truck. Hard work and low pay. I moved on to other things after a short time, but I will always remember this job, and the lessons it taught me about hard work, and delivering a product that was respected and enjoyed by so many.

My grandfather told me once about his mother, Emma Sanger, who worked at the family Coca-Cola Bottling Company in Longview, Texas. Emma had one of the most important and probably the highest-risk jobs at the plant. Emma walked down the Longview, Texas, wooden sidewalks wearing a gun and holster while she took the bags of nickels [from sales of Coca-Cola] to the Longview Bank twice a day. On the quiet days, my grandfather used to make the walk with her. It was the best job in town in those days.

Ive drunk Coke® all my life and have a Coke collection from a micro Coke car to four Coke machines. At work, people call me the Coca-Cola® Kid because I am never without a Coke in my hands and a spare in my lunch box. I am such an avid collector, I bought some stock so I can say I own a piece of Coke. No other sodas besides Coke products are allowed in my house. When friends come over and they have some other soda, it has to stay outside. I even have six VCRs going all day so I can record the commercials. I have over 0 hours of Coke commercials, including Id Like to buy the World a Coke, the Mean Joe Greene ad and some from foreign countries that I got when I was in the military. I play the commercials when I clean my house instead of listening to the radio. Friends, family, neighbors, and on a few occasions strangers come over just to see my Coke collection. Thanks for all the joy Coke has brought.

I used to have a beautiful German Shepherd that danced to a Coca-Cola commercial. He stepped on his two legs and began to back up. He only did that when he heard the Coca-Cola commercial.

Drop back to the early 170s when I was about 10 years old. I was an impressionable fun loving kid just running around, playing games and growing up with all my best friends. Pick-up games of baseball and football were more important than school or girls. You remember those days?

I was always looking up to older kids and how they acted and dressed -- sort of a hero worship and wanting to be "big" like them. One of the most engrained images I have of those times was the big brother of a friend of mine who had a pair of those the funky red and white checkerboard COKE pants. It seemed to make a big impression on me that he was soooooo coooool in those pants with a white T-shirt and disco hair. He was always nice to all of us and helped us get out of a lot of trouble we may have caused. Imagine that. Anyway, that impression was and still is important to me as to what an impact Coke had then with its cool commercials, songs, Mean Joe Greene, and the list goes on and on.

Still, those funky checkerboard pants!! I cant imagine wearing them now, but sure wish I had a pair. By the way, we can all skip going back to the disco hairstyles, right?

The commercials, especially around Christmas, from your company and marketing team have been fabulous. The spirit of Christmas is so carefully inscribed within the commercial that I have to stop and think as I watch your commercial -- as opposed to tune it out like so many others.

I am in marketing and realized that I wanted to be in this profession when I saw the Coca-Cola commercial from Christmas with Id Like to buy the World a Coke. I knew that I wanted to do this. Since then, I continue to be amazed at how wonderful and continuously creative Coca-Cola is with both its print ads and television commercials. I now collect Coca-Cola magazine ads and have a wall dedicated to years of great advertising. Thanks, Coke, for giving me the push I needed to go into a field that continues to keep my creative juices flowing!

My last year of high school was in 17. During that year I was a cheerleader and enjoyed cheering at football games. I recall watching the commercial of the football player and the child who offered him a Coke after the game. It brought tears to my eyes. I never knew how important commercials were, but as I was watching them [at World of Coca-Cola], they all brought back some kind of fond memory of the date in time.

As a teenager my friends and I would all gather on our porch singing the old Coke song, Coke adds life and everybody wants a little life ... Coca-Cola. We would laugh and sing drinking Coke. Every time we would see someone with a Coke we would break out singing. Everybody wanted to sing the last high-pitched Coca-Cola. That is one of my best childhood memories.

The day I discovered that I had a real love for Coca-Cola was when I was around 5 years old -- the 171 Coke commercial. The Coca-Cola song being sung in the hills of Italy brings happy reminders of when I was young and first started to sing. Whenever the old 71 commercial plays, reminders of my childhood abound, and thoughts and feelings of those good ole days bring me back to my youth. And I still know the song!

After a very devastating start to my life (I was 7 years old), my two brothers and I were released from an orphanage to my fathers care, and he promptly moved us to Chicago, Illinois. It was a new beginning and a time filled with hope and promise. That was when I first saw your commercial about teaching the world to sing in perfect harmony, and it seemed to personify what I felt in my heart, even at such a young age.

My favorite Coke commercial is the one where Coke teaches the world to sing. As a young girl, I always thought that was a wonderful symbol of my hopes and dreams for the future of the world -- everyone living together peacefully. Now, as a mother of two children, I still hope that someday this becomes a reality. Coke and my dreams will always be one. Our required diversity training for employees provides an overview of diversity management strategies in the workplace and ways to effectively implement them with an inclusive approach. We also offer supplier diversity training to help ensure that employees understand how to leverage the procurement power of the company by creating a pool of suppliers that include minority- and women-owned businesses.

Civil Treatment for Managers - This online course provides guidelines for appropriate workplace behavior as well as practical skills for effectively working with senior leaders, managers, co-workers and customers.

Leveraging the Power of People and Ideas (LPPI) - A workshop for managers and employees, this course helps build a broader understanding of diversity that extends beyond ethnicity and gender. It focuses on four approaches to diversity leveraging workforce diversity; strategic diversity management; understanding differences; and representation. Participants gain awareness and develop skills in managing diversity through experiential exercises and rich discussion that challenge their perspectives relative to real-time workplace issues.

Supplier Diversity As A Marketplace Advantage - This one-day session focuses on both procedural knowledge and behavioral skills that help create an inclusive vendor pool for contracting, purchasing and outsourcing, using various proactive strategies. Employees gain a thorough understanding of how purchasing decisions can be made to reflect a diverse pool of suppliers.

WORKPLACEAt The Coca-Cola Company, we are committed to cultivating a diverse, rewarding culture that encourages our people to develop to their fullest potential.

The heart and soul of our enterprise have always been our people. Over the past century, Coca-Cola people have led our successes by living and working with a consistent set of values. While the world and our business will continue to change rapidly, respecting these values will continue to be essential to our long-term success.

As we have expanded over the decades, our company has benefited from the various cultural insights and perspectives of the societies in which we do business. Much of our future success will depend on our ability to develop a worldwide team that is rich in its diversity of people, cultures and ideas.

We are determined to have a diverse culture, from top to bottom, that benefits from the perspectives of each individual.

Please use the drop-down menu on the left to find out more about our At Work programs.

CULTURE

With the same spirited investment as the worlds premier marketer and beverage industry leader for more than 116 years, we are focused on strategic workplace programs that help assure the success of our commitment to embracing the similarities and differences of people, cultures and ideas.

Cultural Sensations - This employee awareness program takes diversity beyond representation and provides employees an opportunity to learn about different cultures and regions of the world in which we do business. Our Cultural Sensations program is designed to foster dialogue about the similarities and differences of people, cultures and ideas through the use of art, music, dance, food and special events.

Diversity Advisory Council - The companys corporate Diversity Advisory Council consists of a representative group of employees from all levels, functions and business units of the organization. The Council develops recommendations for senior management on advancing the companys efforts towards achieving our diversity objectives.

Employee Forums - We believe that a sense of community enhances our ability to attract, retain, and develop diverse talent and ideas as a source of competitive business advantage.

In the United States, through employee forums, employees can connect with colleagues who share similar interests and backgrounds. In those forums and elsewhere, employees support each others personal and professional growth and enhance their individual and collective ability to contribute to the company. Forums that are currently active include

Across more than 00 countries ... more than 100 languages ... a multitude of cultures and geographies, The Coca-Cola Company strives to be a special part of peoples lives. This privilege comes with a responsibility. We have chosen to take a leadership role, knowing that our differences make us stronger in our business and in our communities - each and every day.

We embrace our commitment to diversity in all its forms at The Coca-Cola Company as a core value. Diversity - of race, gender, sexual orientation, ideas, ways of living, cultures and business practices - provides the creativity and innovation essential to our economic well-being. Equally important is a highly motivated, healthy and productive workforce that achieves business success through superior execution and superb customer satisfaction.

In todays volatile economic environment, this kind of performance requires unprecedented commitment to the principles of integrity and leadership. We are intent on keeping that commitment.

Visit The World of Coca-Cola Atlanta and trace the history of the worlds most popular soft drink. Youll journey more than 100 years into the past and explore the future of the magical story of Coca-Cola®.

The excitement begins the moment you walk through the door. Pass under our landmark neon spectacular Coca-Cola sign and find yourself standing in a three-story atrium hung with flags representing over 00 nations & territories where Coca-Cola is available. From there, move at your own pace through the fascinating galleries showcasing the rich heritage and global reach of Coca-Cola.

With exhibits that appeal to both young and old, the attraction boasts approximately 1,00 Coca-Cola artifacts, in addition to interactive exhibits and video presentations. Youll be taken on a virtual journey from the invention of Coca-Cola by Dr. John Pemberton in 1886, to its present popularity throughout the world, where an average of 1,000 of The Coca-Cola Companys beverages are consumed every second of every day.

Experience the nostalgia of the 10s replica Barnes Soda Fountain, where an old-fashioned soda jerk demonstrates how an early Coca-Cola was prepared, while you listen to songs about Coca-Cola playing from the authentic 10s jukebox.

View vintage television commercials, watch the evolution of product packaging and vending, including the first soft-drink dispenser in space, and taste exotic beverages made by The Coca-Cola Company around the world (but not available in the U.S.), one of the most popular parts of the attraction. Tour the attraction.

Before leaving, stop by the Everything Coca-Cola gift store and pick up the perfect memento of your visit. There is something here for the entire family. Enjoy!

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Holocaust

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I was told a story about a Jewish women who was sent to one of the worse death camps, Auschwitz. She had just had a little infant baby that was no more than 4 months old. Oblivious to what was going on and frightened by the loud noises of the shouting Nazi soldiers, she began to cry loud and uncontrollably. The woman fearful of her child's death tried to calm her daughter down but couldn't get her quiet. A Nazi soldier impatiently grabbed the baby from her mother's arms and angrily, without guilt, threw the baby against the brick wall. The walls were dripping red each day from the blood of innocent little children who were never given a change to live. The ground was filled with skeleton bodies who died of starvation and disease. No human being deserved to be treated like this. Jews were constantly tortured and killed simply because of their background and what they believed. Little Jewish children weren't given a chance to live a normal childhood, but instead they spent most of their lives hiding or working in unventilated factories. The lives of millions were ruined because of one selfish man.

The dead Jews from the Holocaust numbered more than 5 million about million in killing centers and other camps, 1.4 million in shooting operations, and more than 600,000 in ghettos. (Traditional estimates are closer to 6 million.) How can one single person do so much damage? Jews were treated very poorly and with no respect what so ever. They were killed, starved, tortured, and even murder because of the simple fact of what they believed in. Some Nazi soldiers found it humorous to make the Jews dig there own grave and lie there to die. The cruel and unjust act should never be forgiven and forgotten until this day but many Jewish survivors are trying to put their past behind them. The Holocaust was a very difficult experience for the Jew and the many harsh things they went through still haunt them till this day and will for the rest of their lives.

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PEST analysis Advertising Industry India

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Most of us are consciously trying to ignore the industry that determines the way we live. The industry silently persuades us into something or the other without we ever realizing it. But this industry gets less respect and many harsh words are spoken about it. Yet, its impact is profound on the very fabric of our lives. Thinkers dub it as the 'spark' that runs the 'economy engine' and critics call it as the 'evil thing' that constantly creates wants! Yes, it's the advertising industry.

Advertising is one of the oldest industries. Traditionally, agencies that sell media space at a commission have given birth to present day's advertising agency. Then, their sole purpose is to act like media space selling agents and thrive on 15 percent commission. Gradually, they started to offer whole range of allied services like, providing creative ideas, media planning and coordinating in so- called below the line activities. Thus, media space selling agencies evolved to become modern day's full service advertising agency. When industry attractiveness grew, new players started flocking in, eventually to combat competition; consolidation and diversification became the order of the day. No one can completely visualize the direction towards which the industry is moving. The pace of transformation seems very high when one is about to gather and share a view, the industry is no longer the same!

The Political and legal, Economic, Social and Technological environment, in which the industry operates is subject to constant change and has an immense impact on the advertising industry itself. Here, each of these factors has been analysed in detail.

Political and Legal Environment

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Governments all over the world have always craved control over their media, either directly or indirectly. The several laws and regulations that regulate the advertising industry are given as under

1. MINISTRY OF INFORMATION & BROADCASTING FOREIGN INVESTMENT

POLICY

(Ministry of Information and Broadcasting is the nodal Ministry for formulation of policies on

foreign investment in broadcasting, film, print and advertising sector. It invites foreign investment

and frames laws keeping an eye on the widest national interest.)

ADVERTISING SECTOR

Following guidelines for foreign direct investment in advertising sector is being pursued

There should not be any cap on the percentage of foreign investment in a new project. Where the proposal is for a new joint venture or enhancing foreign direct investment in an existing joint venture, foreign direct investment should be limited to 74%. In exceptional cases, the 74% limit could be relaxed to go up to 100% with the consent of the Indian partner/partners and subject to the justification being established to the satisfaction of the Government.

Where a foreign company/investor already has a joint venture in this sector, a new wholly owned subsidiary shall normally not be permitted, unless there are strong reasons to make such an exception.

Foreign Direct Investment would include all repatriable investment, irrespective of who or what the investor is. Such investment would be permitted through the automatic approval route.

ELECTRONIC SECTOR

Foreign investment proposals directly linked to Broadcasting will be kept pending till Broadcasting Law comes into effect. Presently, companies with 80% Indian equity may be allowed to uplink for satellite channels. The proposals related to production of software and marketing of TV rights, airtime, advertisements, etc. may be recommended with the condition that

a). All future laws on Broadcasting will be applicable to them and they will not claim any privilege or protection by virtue of this approval;

b). They will not undertake any broadcasting from Indian soil unless specially permitted to do so;

c). Companies desiring to market TV software in India will in addition to conditions mentioned at (a) and (b) above will observe the Programme Law and Advertisement Codes of Doordarshan. Proposals having an Indian equity of atleast 5% will be encouraged, however, in genuine cases, even 100% foreign equity can be allowed. There is no foreign equity allowed in private FM broadcasting (to be introduced).

PRINT MEDIA

Foreign ownership of newspapers and periodicals in India and publication of their Indian editions is guided by the Cabinet decision of 1th Sept., 155. The relevant extracts of the decision are

•No foreign owned newspapers and periodicals should, in future, be permitted to be published in India. Foreign newspapers and periodicals which deal mainly with news and current affairs should not be allowed to bring out Indian editions.

•Above decision was taken on recommendation of the First Press Commission, which inter-alia had observed that proprietorial interest in the daily and weekly newspapers should predominantly vest in Indian hands. It also considered Indianisation of both capital and staff desirable, especially at the higher level. It was felt that newspapers should not be viewed similar to an industry since their true function was to influence working of democracy by shaping public opinion. Foreign participation in ownership or control of newspapers could be used for purpose of influencing Indian opinion in support of foreign interest and in some cases such participation could be at the instance of a foreign Government as well.

•In pursuance of the above decision, this Ministry has since 155, consistently denied permission for any foreign equity holding in print media or publication of Indian editions of foreign newspapers and periodicals. Due to many developments taken since then in the overall media scenario in the country and grant of Open General Licence to foreign newspapers and magazines, which resulted in their easy availability in the market, efforts are being made to review the 155 Cabinet decision.

FOREIGN OWNERSHIP OF NEWS AGENCIES

The existing policy of foreign ownership of news agencies in India is governed by the Cabinet decision of 156 which was also based on the recommendation of the first Press Commission. The relevant extracts of the decision is reproduced below

•Communication facilities should be granted to foreign news agencies only where the distribution of news within the country is to be effected through an Indian news agency owned and managed by Indians, which would have full and final authority in the selection of foreign news for distribution and which would also be in a position to supply Indian news in a reasonable volume to the foreign news agency with whom they have a working arrangement.

This decision has been the yardstick for examining requests of foreign news agencies to operate in India. Direct distribution of financial news by foreign news agencies is not violative of the 156 Cabinet decision. Subsequent to this decision, this Ministry conveyed to its no objection to the permission accorded by RBI to M/s Reutors, subject to the condition that their financial services would be only for selected Indian non-media clients for their own use and not for reproduction and public distribution.

. DOORDARSHANS ADVERTISING CODE

General rules for conduct in advertising

1. Advertising shall be so designed as to conform to the laws of the country and shall not offend the morality, decency and the religious susceptibilities of the people.

. No advertisement shall be permitted which

derides any race,caste,colour,creed and nationality;

is against any of the directive principles, or any other provision in the Constitution of India;

tends to incite people to crime or glorifies violence or obscenity in any way;

adversely affects friendly relations with foreign countries;

exploits the National emblem or any part of the constitution or the person or personality of a national leader or state dignitary.

relates to or promotes ciggarettes and tobacco products,liqour,wines and other intoxicants;

in its depiction of women violates the Constitutional gaurantees given to all citizens such as equality of status & oppurtunity and dignity of the individual Women must not be potrayed in derogatory light and in a manner that emphasizes passive, submissivequalities and encourages them to play a subordinate and secondary role in family and in society. The potrayal of the female form shall be aesthetic and within the well established norms of good taste and decency.

. No advertisement shall in any way be presented as News.

4. Advertisements must not be directed towards any religious or political ends or have any relation to any industrial dispute.

5. Advertisements for services concerned with the following services shall not be accepted

money lenders

chit funds

savings schemes and lotteries other than those conducted by the Central & state Government organisations, Nationalised or recognised banks and public sector undertakings;

unlicenced employment services

betting tips &guide books relating to horse racing or other games of chance.

6. No advertisement shall make claims to the effect that the product advertised posesses any miraculous or supernatural property or quality which is difficult of being proved, eg cure for baldness, skin whitener.

7. Scientific or statistical excerpts from technical literature etc. may be used only with a proper sense of responsibility to the ordinary viewer.

8. Advertisers or their agents must be ready to furnish evidence to substantiate any claims or illustrations since the Director General of DD has the right to demand the same.

. Advertisements shall not contain disparaging or derogatory references to another produt or service.

10. Testimonials must be genuine and used in a manner not to mislead viewers.

11. No advertisement shall be accepted which violates AIR and TV Broadcast code which is reproduced below

Criticism of friendly countries;

Attack on religions or communities;

Anything obscene or defamatory;

Incitement to violence or anything against maintenance of law & order;

Anything amounting to contempt of court;

As persons against the integrity of the President and the Judiciary;

Anything affecting the integrity of the Nation; and

Criticism by name of any person.

1. Information given to consumers in relation to the price quality & weight of products shall be accurate.

1. Any pretence in advertising copy must be avioded. The simulation of appearance or voice of a personality in connection with the advertisements for commercial products requires a permission from the personality to that effect.

14. Advertisements for a product or a service shall not be accepted if it suggests that if children do not buy it they shall be lacking in thir duty or loyalty to any person. Also if it is suggested in the advertisement that the children shalln be condemned,ridiculed if they do not buy the product. The advertisements shall also not create in the children an interest to do something which can prove to be dangerous to the children.

15. No advertisement shall try to take advantage of the superstition or ignorance of the public.

16. Advertisements should be truthful,avoid distorting facts and misleading the public by means of implications and ommissions.

17. Testimonials of any kind from experts etc.other than Government recognised standardisation agencies shall not be permitted.

18. Imitations likely to mislead the viewers shall be avoided.

1. Advertisements shall not be obscene, vulgar and offensive in their theme or treatment. This also applies to such advertisements which advertise objectionable books or photographs.

0. For advertising for medicines the general principles have laid down the following guidelines

No advertisement shall contain a claim to cure any ailment or symptoms of ill health.

There should be no exaggerated claims regarding the composition, character, action and suitability of the purpose for which it is recommended.

Appeals to fear shall not be made.

Advertisements for diagnosis or treatment by correspondence are strictly prohibited.

When words such as college, clinic, institute, laboratory are used in advertisements, such references can be made only when the said establishment does actually exist.

Advertisements for products specifically offered to women shall not be advertised as products that are effective in inducing miscarriage.

Advertisements relating to claims about curing of sexual weakness, premature ageing, loss of virility, sexual excesses etc. shall not be accepted.

No advertisements should offer any medical product that is for the purposes of slimming, weight reduction or figure control.

No advertisement shall contain any offer to diagnose or treat complaints or conditions by hypnosis.

. GUIDELINES FOR UPLINKING FROM INDIA

The Union Government has taken a decision on 5th July, 000 to further liberalise its Uplinking Policy and permit the Indian private companies to set up uplinking hub/teleports for licensing/hiring out to other broadcasters. The new policy also permits uplinking of any television channel from India. It also allows the Indian news agencies to have their own uplinking facilities for purposes of newsgathering and its further distribution. The salient features of eligibility criteria, basic conditions/obligations and procedure for obtaining the necessary permission for these services are briefly described below. For details, reference should be made to the relevant terms and conditions of Licences/Permission/Approval.

1. LICENCE FOR SETTING UP OF UPLINK HUB/TELEPORTS

(i) Eligibility Criteria

Company to be incorporated in India.

Foreign equity holding including NRI/OCB/PIO not to exceed 4% .

(ii) Period Of Licence 10 years.

(iii) Basic Conditions/Obligations

To uplink only those TV channels which are specifically approved or permitted by the Ministry of I&B for uplinking from India.

To stop uplinking of TV channels whenever permission/approval to such a channel is withdrawn by the Ministry of I&B.

Can uplink both to Indian as well as foreign satellites. However, proposals envisaging use of Indian satellite will be accorded preferential treatment.

To keep record of materials uplinked for a period of 0 days and to produce the same before any agency of the Government as and when required.

To permit the Government agencies to inspect the facilities as and when required.

To furnish such information as may be required by the Ministry of I&B from time to time.

To provide the necessary monitoring facility at its own cost for monitoring of programme or content by the representative of the Ministry of I&B or any other Government agency as and when required.

To comply with the terms and conditions of the licensing Agreement to be signed between the Applicant and the Ministry of I&B.

To comply with the terms and conditions of the Wireless Operational licence to be issued by WPC.

To uplink in C-Band only. • The satellite to which uplinking is proposed should have been co-ordinated with Insat system.

Failure to comply with the terms and conditions of above licences would result in termination/cancellation of the licences.

. PERMISSION/APPROVAL FOR UPLINKING A TV CHANNEL FROM INDIA

(In case a TV channel proposes to set up its own uplinking facility/earth station, it has to apply separately for the same after following the procedure as in case of 1 above.)

i) Eligibility Criteria Any TV channel irrespective of its ownership, equity structure or management control which is aimed at Indian viewership.

ii) Period Of Approval/Permission 10 years.

iii) Basic Conditions/Obligations To undertake to comply with the Broadcasting (Programme & Advertising) Codes laid down by Ministry of Information & Broadcasting.

To keep record of materials uplinked for a period of 0 days and to produce the same before any agency of the Government as and when required.

To furnish such information as may be required by the Ministry of I&B from time to time.

To provide the necessary monitoring facility at its own cost for monitoring of programme or content by the representative of the Ministry of I&B or any other Government agency as and when required.

 If the applicant hires its own transponder on a satellite, the same should be in C-Band and should have been coordinated with INSAT system.

To comply with the terms and condition of the permission/approval of the Ministry of I&B.

Failure to comply with the terms and conditions of the permission/approval would result in withdrawal of such permission approval.

. LICENCE FOR UPLINKING TO INDIAN NEWS AGENCIES

i) Eligibility Criteria

The Company/Agency to be incorporated in India

Accredited by Press Information Bureau (PIB).

 100% owned by Indian with Indian Management Control.

ii) Period Of Licence As per WPC licence.

iii) Basic Conditions/Obligations

To use uplinking for news-gathering and its further distribution to other news agencies/broadcasters only.

Not to uplink TV programmes/channels for direct reception by public.

To keep record of materials uplinked for a period of 0 days and to produce the same before any agency of the Government as and when required.

To furnish such information as may be required by the Ministry of I&B from time to time.

To provide the necessary monitoring facility at its own cost for monitoring of programme or content by the representative of the Ministry of I&B or any other Government agency as and when required.

Conformity with the provisions of inter-system coordination agreement between INSAT & the satellite to be used.

To comply with the terms and conditions of the No Objection Certificate to be issued by the Ministry of Information & Broadcasting.

To comply with the terms and conditions of Wireless Operational Licence to be issued by the WPC.

Failure to comply with the terms and conditions of the No Objection Certificate or the Wireless Operational Licence would result in withdrawal or cancellation of such certificate or licence.

The government is now contemplating on a media regulator as it feels that it is the government's responsibility to have a free and fair media. Regulation is, perhaps, needed due to the great divide among the stakeholders MSOs (multi-system operators), cable operators, broadcasters. The question is, how will they work together? Will the relationship between the stakeholders be there? As of now, there is a Convergence Bill which talks of a common regulator for TV, telephone and airwaves, also, content and carriage. But regulation has three aspects one is a very bad advertisement, other is a very bad programme (content) and the third is the rate part of it (carriage rate). The existing Convergence Bill envisages one regulator for both content and carriage. However, it is to be decided whether to go for a separate regulator for broadcasting.

But the question remains how can a regulator make things better? The FIPB (Foreign Investment Promotion Board) or the I & B ministry has not clarified some issues like, is the 6 percent cap of foreign investment in print and TV news applicable only to FDI and not portfolio investment? And why is investment by foreign institutional investors (FIIs) allowed in radio when FDI is not? Again, there is little that a regulator can do about technology issues other than laying the ground rules. Where Cross media restrictions are being dismantled around the world what sense would it make in India? Some experts feel that as long as equity caps are enforced and 51percent Indian control is in place, there is no need for any other regulation. That leaves pricing and content. Pricing, in any country, is left for the industry to decide. It is a business decision and hence it is for the broadcasters to decide whether the pay channels should carry ads or not. Then there is content. India has a fairly well defined programming and advertising code which no foreign or Indian broadcaster or publisher is allowed to violate. In case there is any odd obscene ad or show, usually the I & B ministry steps in. Even though the press in India is very independent, a few instances show that the government is not averse from using its stick from time to time. Moreover, the concept of an independent regulator appointed by the government is an oxymoron. Thus, with the rising change in the political and legal scenario in which this industry is operating will lead to many more changes in the way it operate.

Economic environment

The major trend is the changing revenue model of agencies. Traditionally, all agencies used to get a commission from the media groups. Thus 15 percent commission was in vogue. When we observe remuneration patterns across the world, fee- based remuneration models have increased from 5 percent to 5 percent in comparison with the decline of commission based model from 61 percent to 5 percent, as per the study conducted by Association of National Advertisers of United States. The scenario in Asia, Hong Kong and Singapore is at about 0 percent working on a fee or commission hybrid model. The real issue seems to be accountability and transparency in dealings. Analysts opine that there are three reasons for the increased popularity of fees. Primarily, to overcome hyperinflationary trends in media costs so as to maintain comparable levels of media impressions and share of voice. Secondly, to offset media expenses, advertisers reduced commissions from 15 to 10 percent. Thirdly, when commissions were eroded, agencies demanded labour based fees. The confluence of all these factors led to the shift and had an effect on profits. Unlike in the past, advertising is now short term. Nearly 70 percent of the expenditure goes towards sales promotion and a flimsy 0 percent towards branding. The number of promotional campaigns has also increased in the recent times. The possible reasons for this shift could be, consumer inclination towards freebies, impulse buying behaviour or the sheer attractiveness of the promotion itself. However, a notable change behind the change could be the stock market pressure exerted on advertisers. Whether this shift dilutes the role of creativity in the industry as a whole or are the agencies forced to adopt more lateral thinking techniques in designing promotional campaigns, are questions that have no answers at the moment. If at all there are any, they are inconclusive.

Adding on to this, much against the convention, clients have started preferring one stop shops for all their communication requirements. Unable to survive with low commissions, many players are wiped from the business or have become prey for major giants touting around to increment size and consolidation. Industry as a whole has seen many mergers and acquitions. M & As though consolidated the industry; yet they have redefined the client agency relationship. To counter the heavy toll, many agencies spun off their own sister concerns and started claiming, as independent arms without any link with the parent company or accounts. In addition to this, the ever changing market dynamics also increment problems. In 00, 57 percent of the agencies admit that existing clients knew that they grew, whereas 76 percent of the agencies now say new business wins will push growth in 00. Experts however, say that growth will be tied to maintaining the same level of spending from existing clients and a little extra business and this extra won't be for many.

The biggest trend is the explosion of media, which has an all round effect on the way the industry operates. Traditional media vehicles lost their lustre, as advertisers felt that they no longer have the desired reach or efficacy to lure the customer base. Print media in particular witnessed slump in advertising revenue worldwide. Advertisers preferred more of local media vehicles than those which have nation wide presence. Magazines were a hard hit than dailies. Competition has further intensified with more and more players entering into the fray and all of them choose to fight the pricing model as the differentiation plank. This is further eroding the advertising revenues. Although, radio and television with varied sounds and images continue to lure customers, now they are on the verge of losing their efficacy due to clutter.

Social Environment

The industry perceived the consumer as a naïve 'object' and bombarded him with commercials. Traditional media vehicles, both broadcast and non broadcast, intrusively persuaded him. Commercials accomplished their objectives through cajoling and kindling consumer desire. Suddenly, a host of new technological devices started empowering consumer. The industry finds itself in a vulnerable situation. Industry can no longer take consumer for granted as the new technological gadgets hardly allow the advertiser to reach them. Now, it is the consumer who decides which advertisement to watch and through which medium. Advertisers are finding it hard to reach their prospective consumers at right place, right time, through right medium and get noticed which they hope will get transformed into sales. Michael Goldhaber rightly says, "The scarcest resource in the new economy is consumer attention".

Technological Environment

New technologies like TiVo enables viewers to both record programmes and to take the commercials out of them has become a marketing executive's nightmare as it affects television as a medium. But now TiVo has adorned a new role of a friend to advertisers by providing them with statistics of advertisements, which are being skipped by the viewers. This helps the advertisers to ascertain which type of ads are generally not liked by the viewers and therefore helps them in preparing better ads. The recorder sends the data back to the headquarters without revealing the user. Driven by regulations and a desire for transparency and accountability consumers are preferring to obey Conditional Access System (CAS) through set-top boxes, a powerful device to empower consumer. In post CAS era, advertisers' reach by default gets limited and at the same time tailor- made communications to specific customer segments may increase. On the whole, the days of intrusive advertisements seems to be over, communicating at 'mass' gradually getting replaced by one to one communication sowing the seed for interactive advertising. With the change in consumer viewing habits, outdoor advertising is no longer a reminder media. In some markets indeed, it is turning out to be the main media. Several new brands are built using outdoor advertising. With the development of sci fi technology it is now possible to identify a passerby on the road and interact with him as well as display individualized communications. The real onslaught on these conventional media was due to the advent of World Wide Web. Search engines gained more prominence. Their speed and ability to crawl through, determined page exposures. Advertisers tried several methods to reach net savvy modern consumer. Otherwise ignored, contextuality of banner ads helped to increase involvement of consumers and was felt suitable for small business enterprises. Intrusive forms, pop ups and pop under were vehemently opposed. New and innovative forms like advergraming, streaming videos are still under nascent stage due to technological, financial as well as compatibility constraints. The most significant development of this new form of media Web, is the shift in power from advertiser to consumer. New media empowered all the consumers as they use their discretion whether to get exposed to an ad or skip it. Intrusive marketing tactics were replaced by permission based concepts. Spams were treated as illegal and offenders penalized. Thus reaching customers has become the toughest task for marketers in the Web age. This is where media planners' role becomes significant. Traditionally they were back room boys, now they lead the bandwagon. Increasingly, traditional media planning approaches were taken over by modern, sophisticated methods. Conventional cost led media planning strategies were replaced by brand strategy led consumer psychographics. On the whole, broadcasting techniques lost their relevance and increasingly narrow, casting methods are gaining prominence.

Another interesting trend across the globe that shall have a greater role to empower consumer is also taking place. Consumers have started using more of mobile devices to get information. Now an advertiser has to reach consumers on the move mobile advertising and the tool is through SMS or MMS. New versions of mobile devices and the technological compatibility barriers are slowly phasing out. SMS advertising is increasingly becoming popular as a most effective, low cost, personalized advertising technique. Ring tones also help to build brands based on sounds (sonic branding). Hence, the potential is endless.

It was SMS, now it is wi fi (wireless fidelity), popularly termed as "Hot Spot" or wireless Web. The possibilities thrown open are endless. Now it is a challenge for advertisers and agency people to own the upside of the inflection curve rather than get subdued at the downside. With every twist and turn, the industry jolts. Ti Vos, CAS, In film advertising and ever explosive media with no proportionate increment of audience attention are all the hurdles that the optimistic marketer has to surpass. Change is imminent and the ideal way is to embrace it!

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