Models of Celebrity Endorsement Strategy

Models of Celebrity Endorsement Strategy The determination of big name endorsers isn't a simple errand; numerous researchers have attempted to make models so as to help for the privilege choosing of superstar endorsers. Hovland et al (1953) theoretically contributed probably the soonest model, which is Source Credibility Model. Afterwords, the Source Attractiveness Model (McGuire, 1985), the Product Match-Up Hypothesis (Forkan, 1980; Kamins, 1989, 1990), and the Meaning Transfer Model (McCracken, 1989) was introduced through experimentally specialists thus. The Source Credibility Model and Source Attractiveness Model are ordered under the nonexclusive name of Source Models since these two models essentially appear and reflect research of the Social Influence Theory/Source Effect Theory, which contends that different attributes of an apparent correspondence source may beneficially affect message receptivity (Kelman, 1961; Meenaghan, 1995). The source validity model depends on examine in social brain science (Hovland and Weiss, 1951-1952; Hovland, Jani, and Kelley, 1953). The Hovland variant of model present that a message depends for its viability on the expertness and reliability of the source (Hovland et al., 1953, p.20; Dholakia and Sternthal, 1977; Sternthal, Dholakia, and Leavitt, 1978), which implies that data from a tenable source (e.g.celebrity) can impact convictions, suppositions, perspectives, and additionally conduct through a procedure called disguise, which happens when beneficiaries acknowledge a source impact regarding their own demeanor and worth structures (Erdogan, 1999). Expertness is characterized as the degree to which a communicator is seen to be a wellspring of legitimate declarations and alludes to the information, experience or abilities controlled by an endorser. Hovland et al (1953) and Ohanian (1991) accepted that it doesn't generally make a difference whether an endorser is a specialist, however the only thing that is important is the manner by which the intended interest group sees the endorser. In any case, Aaker and Myers (1987) supported a source/VIP that is progressively master to be increasingly influential and to create more aims to purchase the brand (Ohanian, 1991). Thus, master sources impact view of the items quality (Erdogan, 1999). In the mean time; Speck et al (1988) found that master big names delivered higher review of item data than non-master big names, despite the fact that the thing that matters was not measurably noteworthy. Besides, big names proficient achievements and aptitude may fill in as a consistent association with the items, and therefore make the underwriting increasingly trustworthy to shoppers (Till and Brusler, 2000). Reliability alludes to the trustworthiness, respectability and credibility of an endorser relying upon target crowd recognitions (Erdogan, 1999). Publicists profit by the estimation of reliability by choosing endorsers, who are generally viewed as genuine, acceptable, and trustworthy (Shimp, 1997). Smith (1973) contends that purchasers see deceitful big name endorsers as flawed message sources paying little mind to their characteristics. Friedman, et al (1978) tended to that dependability is the significant determinant of source validity and afterward attempted to find that affability was the most significant quality of trust. Along these lines, they prescribed sponsors to choose characters who are popular when a dependable big name is wanted to underwrite brands. Notwithstanding, Ohanian (1991) found that reliability of a big name was not noteworthy identified with clients aims to purchase an embraced ethnic status could influence endorser dependability and brand mentalities, since individuals trust endorsers who are like them. Their discoveries suggested that while focusing on specific ethnic gatherings, for example, Africans and Asians, ethnic foundation ought to be painstakingly assessed. Estimating source believability in choosing superstar It is very sensible to bode well that a sources believability is absolutely abstract, yet look into shows that notwithstanding singular inclinations, a high level of understanding exists among people (Berscheid et al, 1971). Patzer (1983) built up the Truth-of-Consensus strategy to survey a sources validity and appeal. The strategy depends on the establishment that people decisions of allure and validity are normally abstract, yet these decisions are formed through Gestalt standards of individual discernment instead of single attributes. Outstandingly, based on broad writing survey and measurable tests, Ohanian (1990) built a tri-part big name endorser believability scale, (see figure) which accept that validity and adequacy of big name endorsers is related with given trademark measurements, despite the fact that McCracken (1989) contended that the big name world comprises of considerably more simply alluring and solid people. Table 2: Source Credibility Scale Allure Dependability Aptitude Appealing Unattractive Dependable Untrustworthy Master Not Expert Tasteful Not Classy Trustworthy Undependable Experience-Inexperienced Delightful Ugly Legitimate Dishonest Learned Unknowledgeable Rich Plain Solid Unreliable Qualified-Unqualified Attractive Not Sexy Earnest Insincere Gifted Unskilled Source: Ohanian, R (1990) Construction and approval of a scale to gauge big name endorsers saw skill, reliability and engaging quality, Journal of Advertising, p39-52 The Source Attractiveness Model Publicists have picked big name based on their engaging quality to pick up from double impacts of big name status and physical intrigue (Singer, 1983). In the mean time, look into demonstrated that genuinely alluring endorsers are progressively effective at evolving convictions (Baker and Chrurchill, 1977; Chaiken, 1979; Debevec and Kernan, 1984) and creating buy expectations (Friedman et al, 1976; Petroshius and Schuman, 1989; Petty and Cacioppo, 1980) than those ugly people. Henceforth, McGuire (1985) led an exact research to fight that the adequacy of a message relies upon comparability, recognition and loving for an endorser. The McGuire (1985) model holds that sources that are known to, preferred by, as well as like the shopper are alluring and, enticing. The source engaging quality model likewise lays on social mental research (McCracken, 1989). Then, Cohen and Golden (1972) proposed that physical appeal of an endorser decides the viability of enticing correspondence through a procedure called ID, which is expected to happen when data from an alluring source is acknowledged because of want to relate to such endorsers. Negligible and Cacioppo (1980) led allure of endorsers as far as a cleanser notice to fathom viability of promoting message types. In 1983, Petty et al imitated the previous investigation in 1980. Their discoveries underline the communication between association level and endorser type. Under low-contribution conditions, the endorser type significantly affected mentalities towards the item despite the fact that no effect was found on conduct aims. As for review and acknowledgment measures, discoveries showed that presentation to big name endorsers expanded review of the item class just under low-contribution conditions. Also, the endorser type control uncovered that big names had possibly critical effect on brand name review over normal residents. Patzer (1985: p30) expressed that physical engaging quality is a data signal; includes impacts that are unobtrusive, unavoidable, and unpreventable; produces an unequivocal example of undeniable contrasts; and rises above culture in its belongings. Patzer contends that individuals normally blow up their own allure so appealing endorsers ought to be more powerful than normal looking endorsers. Kahle and Homer (1985) worked VIP physical engaging quality and agreeability and estimated demeanor and buy expectations on a similar item: Edge razors. Discoveries showed that members presented to an appealing VIP loved the item more than members presented to an ugly superstar. Review for the brand was more noteworthy both in alluring and affable VIP conditions. Be that as it may, unlikeable superstars out of the blue performed preferred on acknowledgment quantifies over amiable and alluring famous people. In the mean time, discoveries demonstrated that an appealing superstar made more buy expectations than ugly VIP, yet alternately an unlikeable big name created a bigger number of aims to purchase the item than an amiable big name. Significantly, concentrates by Cabalero (1989) and Till and Brusler (1998) exhibit that positive sentiments towards promoting and items don't really convert into real conduct or buy goals. A potential explanation behind the absence of big name endorsers impact on aims to buy is that superstar underwriting appears to deal with the psychological and full of feeling parts of perspectives as opposed to the social segments (Baker and Churchill, 1977; Fireworker and Friedman, 1977). As far as sexual orientation sway among endorsers and target crowd, Debevec and Kernan (1984) found that alluring female model created more upgraded perspectives than appealing male models across the two sexes and especially among guys. Then again, Cabalero et al (1989) found that guys demonstrated more prominent expectations to purchase from male endorsers and females hold more noteworthy goals to buy from female endorsers. Moreover, Baker and Churchill (1977) found a somewhat unforeseen cooperation among female models, item type and aims to buy items among male subjects. For example, when the supported item was espresso, an ugly female model made a bigger number of expectations to purchase the item than her appealing partner among guys, while when it was scent or face ointment, male responded all the more emphatically to an alluring female model. Be that as it may, Petroshius and

Why Hire a Freelance Writer When You Can Do It Yourself

Why Hire a Freelance Writer When You Can Do It Yourself Why Hire a Freelance Writer When You Can Do It Yourself There are times when our timetables are over-burden, or schedules booked, and we essentially have progressively significant issues to take care of, and during circumstances such as the present it bodes well to recruit an independent author to help. Notwithstanding, there are likewise times when it isn't to our greatest advantage to burn through cash on drawing in an expert. Realizing the distinction will set aside you cash and conceivably help you not far off. The Assignment Topic is Important to Your Future Career In the event that the topic or subject of the task is firmly identified with your future profession, you are just deceiving yourself of information you may require later on the off chance that you recruit a consultant to compose the paper for you. You Have Ample Time to Complete the Assignment On the off chance that you have a month to go before the paper is expected, it is likely you have days to complete the paper. Right now is an ideal opportunity to learn and rehearse those immeasurably significant time the executives aptitudes. Get course of events together and set objectives for each piece of the creative cycle. Imprint them on your schedule and treat them as genuine assignments. Great time the executives propensities will be valuable now and later on as they are the sign of the effective. You Have No Other Projects or Urgent Work On the off chance that you have no other enormous ventures going on, you presumably don't have a solid need to employ an essayist, so for what reason do as such. In the event that you employ an essayist when it isn't required, in addition to the fact that you miss out on learning encounters, however you squander cash too. Achievement takes more than bringing in cash, simply ask Kanye West who made millions is as yet broke and in the red. Cash the executives abilities matter. Finishing the Paper Will Allow You to Pass the Final Exam On the off chance that your last test of the year depends on learning the material in the paper, it is to your greatest advantage to compose the paper yourself. In the event that you have to introduce the material, have a conversation about it, or answer inquiries concerning the paper later, it isn't sufficient to just peruse the paper, you should know the exploration behind the paper to have the option to offer top to bottom responses. Regardless of whether you have the opportunity, and no different undertakings going on, everybody needs direction occasionally. Rather than recruiting an essayist to compose the paper for you, you can arrange a model paper. A model paper will show you the conventional stream and other important subtleties of your objective paper, while you compose the genuine paper. You have the security and efficient assistance of getting the composing subtleties and plan from the model paper, yet you despite everything do the examination and become familiar with the topic, being totally associated with the creative cycle. It is only a smidgen of additional help, at a small amount of the expense of recruiting an independent author, and you can like that.

Technorati

Technorati INTRODUCTIONMartin: Hi, today we are in San Francisco with Dave from Technorati. Dave, who are you and what do you do?Dave: My name is Dave Sifry and I am the founder and I have done a bunch of different jobs over at Technorati.Martin: Okay.BUSINESS MODELMartin: Can you tell us a little bit more about the business model, so how was the old business model of Technorati? How is the new business model of Technorati working and why did you pick it?Dave: That’s a great question. So we experimented for quite a while. I would say the naïve business model was: Gee, it’s search, we’ll put a bunch of ads on there, we’ll sell ads like Google Adwords and we’ll make tons of money. And what was interesting about thatâ€"and we did do that for a while but we never found that people were clicking strongly on the ads. It is that Technorati was a very different kind of beast than Google was, whether Yahoo or.., that people were not using Technorati as sort of the big librarian that they want ed. Sometimes you want to find out about the news, and sometimes you want to find out about a product, and sometimes you want to find out about a place. So all of those things could have some kind of an advertisement next to it, but things were on products or places that’s really lucrative. We just want to find out what’s going on right now, it’s not quite as interesting and what we realized was that because we were focusing so much on the internet as this enormous conversation as opposed to the internet as this huge library. That the people who were interested in the conversation were coming to us and they were addicted, they were using it all the time as long the service was running, we had some technical challenges along that front too. But the advertising model of just selling product ads wasn’t going to work.So then what we realized was that what we really were building was relationships with people who were creators. That the people who actually were coming to Technora ti all the time were people who were bloggers, who were reporters, people who were interested in what’s going on in the conversation around the world and very often they were also people who were creating that conversation as well. And so at that point we realized, Oh what if we could be a conduit to help them make money. And that was when that first business model really took off, when we realized that I mean classically you would call that an advertising network. We were doing a lot more that just Ad network stuff. But even at its simplest, we were trying to help these publishers be able to not only learn more about who they were and where they sat in the top 100 and what have you but also how they could make money off of what they were doing. And we did it in a very automated way. So that went very very well for a while, so that was sort of the first pivot. And then what happened there was that as a programmatic I mean the whole world of internet advertising has changed over the last 5 to 6 years, I mean just enormously. Now I stepped away from Technorati from an active role in 2008 but I have been sitting on the board ever since the first day. So it’s been wonderful really to kind of just watch as how the older model of direct advertizing and building display ads and stuff like that, that model was really fading on everything except for the biggest and biggest of site, but there was still an enormous opportunity around this growing programmatic trend. And because we had so many deep relationships both with these publishers and with the demand sources we were able to see a lot in the market place that wasn’t being seen by other people. And so that then caused us to really go into a new technology world where it was less about search and now it was more about helping demand find supply and helping supply find demand. And that’s much less of a public woo-hoo kind of ‘make the world economic forum’ kind of headline but it’s actually a really re ally strong stable business. So we’ve been doing that now for a while and that has just been taking off like crazy. And so it’s really exciting to be a part of you think the company is going to be one thing when you are starting it and you’re running it and it is that for some time and then you realize but in order for it to be sustainable you really have to go where the revenue is and transitioning your team, transitioning your company without changing the core values that you believe in. And that’s one of those things that I feel just incredibly proud about that it’s a business that looks very different today than it did in 2004 and 2005, but I feel very comfortable that the way we do business, the kinds of people who work there and the kind of service that we are providing still fits those values very very deeply.Martin: Great.ADVICE TO ENTREPRENEURS In San Francisco, we meet the founder of Technorati, Dave Sifry. He shares how the current business model of Technorati works, as well as great advice in area of organizational management for young entrepreneurs.The transcript of the interview is provided below.INTRODUCTIONMartin: Hi, today we are in San Francisco with Dave from Technorati. Dave, who are you and what do you do?Dave: My name is Dave Sifry and I am the founder and I have done a bunch of different jobs over at Technorati.Martin: Okay.BUSINESS MODELMartin: Can you tell us a little bit more about the business model, so how was the old business model of Technorati? How is the new business model of Technorati working and why did you pick it?Dave: That’s a great question. So we experimented for quite a while. I would say the naïve business model was: Gee, it’s search, we’ll put a bunch of ads on there, we’ll sell ads like Google Adwords and we’ll make tons of money. And what was interesting about thatâ€"and we did do that for a while but we never found that people were clicking strongly on the ads. It is that Technorati was a very different kind of beast than Google was, whether Yahoo or.., that people were not using Technorati as sort of the big librarian that they wanted. Sometimes you want to find out about the news, and sometimes you want to find out about a product, and sometimes you want to find out about a place. So all of those things could have some kind of an advertisement next to it, but things were on products or places that’s really lucrative. We just want to find out what’s going on right now, it’s not quite as interesting and what we realized was that because we were focusing so much on the internet as this enormous conversation as opposed to the internet as this huge library. That the people who were interested in the conversation were coming to us and they were addicted, they were using it all the time as long the service was running, we had some technical challenges a long that front too. But the advertising model of just selling product ads wasn’t going to work.So then what we realized was that what we really were building was relationships with people who were creators. That the people who actually were coming to Technorati all the time were people who were bloggers, who were reporters, people who were interested in what’s going on in the conversation around the world and very often they were also people who were creating that conversation as well. And so at that point we realized, Oh what if we could be a conduit to help them make money. And that was when that first business model really took off, when we realized that I mean classically you would call that an advertising network. We were doing a lot more that just Ad network stuff. But even at its simplest, we were trying to help these publishers be able to not only learn more about who they were and where they sat in the top 100 and what have you but also how they could make money off o f what they were doing. And we did it in a very automated way. So that went very very well for a while, so that was sort of the first pivot. And then what happened there was that as a programmatic I mean the whole world of internet advertising has changed over the last 5 to 6 years, I mean just enormously. Now I stepped away from Technorati from an active role in 2008 but I have been sitting on the board ever since the first day. So it’s been wonderful really to kind of just watch as how the older model of direct advertizing and building display ads and stuff like that, that model was really fading on everything except for the biggest and biggest of site, but there was still an enormous opportunity around this growing programmatic trend. And because we had so many deep relationships both with these publishers and with the demand sources we were able to see a lot in the market place that wasn’t being seen by other people. And so that then caused us to really go into a new techno logy world where it was less about search and now it was more about helping demand find supply and helping supply find demand. And that’s much less of a public woo-hoo kind of ‘make the world economic forum’ kind of headline but it’s actually a really really strong stable business. So we’ve been doing that now for a while and that has just been taking off like crazy. And so it’s really exciting to be a part of you think the company is going to be one thing when you are starting it and you’re running it and it is that for some time and then you realize but in order for it to be sustainable you really have to go where the revenue is and transitioning your team, transitioning your company without changing the core values that you believe in. And that’s one of those things that I feel just incredibly proud about that it’s a business that looks very different today than it did in 2004 and 2005, but I feel very comfortable that the way we do business, the kinds of peopl e who work there and the kind of service that we are providing still fits those values very very deeply.Martin: Great.ADVICE TO ENTREPRENEURSMartin: Dave we always try to share some advice and you already shared some of your lessons. Are there any other lessons that you would like to share with our readers?Dave: Hmmm, good question. There are so many things that we could be talking about.So I think one of the things that I have always found really interesting is organizational development. And I think that start upsâ€"whether it’s even inside of a bigger company or if it’s a brand new start-up that there are some real challenges that happen and having now building 6 companies and some of them have gotten 500 people or so. Some of them were still really small when we sold them but I have learned a few things about people and organizations. So I’ll share a little bit about some of the things that I have learnt, maybe this will apply to you maybe it won’t, I don’t know. So th e single biggest thing to be looking for is communications cost compared to revenue or shall we just say efficiency in overhead. Every single new person that you add, there is going to be some increase in communications overhead.The first one is literally when you from, it’s just me and I am just transferring between the two sides of my brain to now there is another person, we need to talk to each other. That’s a huge amount of communications overhead but you get nearly a doubling in productivity, it’s really worth it. When you go from 2-3 you’re actuallyâ€"not that much more communications cost but you are getting another increase by 66% in your productivity. And that tends to work until you get to somewhere around 8 or 10 people and there is this really obvious, very very natural place where it’s super highly efficient, you don’t really need a lot of meetings, everybody just sort of works together it’s very very tightly coupled. Yet productivity is still, significant ly increasing for every single new person that you add.Then you start to switch, there’s a phase that happens somewhere between 8-10 people and about 18-20 people where you have to start using some kind of departmentalization. You need to start saying, ‘Well, I am going to focus a little bit more in engineering, you’re a little bit more on marketing, you’re going to focus more on sales’, and you start to see these organizational elements pop up. But by no means is it formal, it’s still maybe you got the marketing guy but everybody talks to everybody, you are all in a big office space like this. But what you notice is that, a couple of decisions made just by two guys having pizza late at night could have repercussions on the rest of the company. So there is a communications overhead that has to happen. So now you have to start having all hands meeting and you have to, ‘Oh, let me bring you in on what the other parts of the company are doing’ and you want to have cross department or sort of executive staff meetings, these kinds of things. So these are what you want to watch out for.And then here’s the most interesting part, so when you get from somewhere around 20 people up to about to 60 is what I call the death zone. So what happens is, as soon as you start getting somewhere around the realm of the early 20s the overall productivity of a new employee is actually offset by the communications overhead. So even though you get some small increase there is so much communication overhead in general that it actually costs you more money to bring in that employee. So this is the classic mistake that a lot of young startups, and I know I’ve personally made is you are sort of at the 60th stage and you’re like, ‘We can just do one thing, but to do it really well, we need to do two things, let me hire five or six more people and we’ll get that second thing done’, never happens. What happens is you hire those 5 or 6 more people and it just adds more chaos. So at that point, this is actually important we’re having a really good CFO, we are having somebody who is a really good finance person, maybe that’s you the CEO but you really need to sit down and say, ‘Do I have enough revenues? This new person that I am bringing in, employee number 22, what’s the revenue impact that I am going to get from this person?’ If it’s more than their annual salary, hire them, if it’s not, don’t hire them and you’ve got to wait until you have enough of what you are doing to be able to grow. And that’s the only way that I found to get through that death zone. And it’s just a slog, every single new employee has to be justified by the additional amount of revenue that you are bringing in. And then you are literally paying for them.Now, once you get to 60, another magical thing happens, which is all of a sudden, you can start doing three or four things at once, you have a layer of middle management and process that just natu rally falls into place. And now all of a sudden, you get super efficient again. So from 60 to about 120, golden zone. You’re doing great because you are making enough money, your revenues are growing, they are predictable, you can start going back and saying toâ€"that’s actually where the spreadsheets really really matter. When you are at 15 or 20 people and you don’t where you revenue model is really, you kind of sort of do but you are not sure, all of those yearly projections they are all BS. When you get to 60, now you can start to forecast out a quarter or two quarters out and you’re like, ‘Wow, now I understand how to do some planning’. And that’s a fabulous time to be able to grow into new markets or grow, expand internationally.Now there is this next thing that happens at 120, so 120 is the Dunbar number. Have you ever heard of the Dunbar number?Martin: No, never.Dave: So he was a scientist, his first name slips my mind at the moment. But he basically studied, h e was an anthropologist studying tribes and what he found was that when tribes get to be about 120 people there is something in the human brain, I mean we’ve somehow found this out that actually you start believing that some of those people are no longer in your tribe.Martin: So they split somehow.Dave: Exactly and so they actually have civil wars, they’ll naturally start to split, they’ll have this dichotomy. And so in fact, in places like 3M, Good to great Jim Collins wrote about this, what 3M actually does is that as soon as you get to somewhere around 100, 110 people is they literally split the department into two 60 person departments, where again they are now at the golden size again and now they each do separate things. And that’s another one of those where I remember at Linux Care when we had grown beyond 120 people and I remember I was the co-founder of the company and I remember walking down our halls one day and people were like, ‘Hey Dave, how are you doing?’ and I remember looking at my co-founderâ€"Martin: Who is that?Dave: I’m like, ‘who is that?’Martin: Yes.Dave: Exactly and it’s like ‘Oh my God, they work here’, clearly, they have a badge, it says Linux Care and I don’t even know, I’ve never seen them before, I don’t know who they work for, I don’t know how they got hired. It’s freaky and so you want to avoid that. So when you get to 120 is the time to organizationally to start looking and saying, ‘Okay how do we now split this up into semi autonomous or autonomous sub organizations as well’. So that’s would be my short little freebies on organizational theory, just some things I have learned in the field.Martin: Dave, thank you very much for time and your thoughts and your sharing of knowledge.Dave: Sure Martin. It’s great to meet you and thanks so much for coming.Martin: Thanks.

American History Was The Establishment Of Slavery

One of the greatest violent and horrifying forms of American history was the establishment of slavery. In 1619 Slavery began in Jamestown, Virginia when the very fewest slaves were brought to America from Africa. African-Americans were known to be very healthy people and in good shape because of their hard work of surviving in Africa. Many Africans had to do work, walk miles everyday to just get water for their families. As the slaves entered America, they were dispersed throughout the colonies. The main source for money and cheap labor in America was the tobacco agriculture. Slaves were put to work in the tobacco fields. This was an unnatural state for the human soul to be in bondage and captivity ever since the beginning of civilization. Patrick Henry stated, â€Å"Is life so dear or peace so sweet as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take, but as for me, give me liberty, or give me death!† Through these centuries the slaves rose up and rebelled. The Middle Passage was known that several slaves were kidnapped from their family and tribes in Africa and Brazil. These natives were thrown onto a ship chained up to one another laying down and stacked up on each other and sold into slavery. In the early 17th century, European settlers in North America turned to African slaves as a cheaper, more plentiful labor source. A Dutch ship sent 20 Africans to the colony of Jamestown, Virginia, which then spreadShow MoreRelatedAmerican Revolutions Effects on American Society1292 Words   |  6 Pagesevents in United States history was the American Revolution. However, the significance of the event did not lay in the number of casualties or in Revolutionary wartime strategies. The importance of the Revolution lay in its effects of American Society. 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Euthanasi Is Euthanasia Moral - 1889 Words

Allison Siegel Biomedical Ethics, PHIL 3180 Essay #1: Is Euthanasia Moral â€Å"Is Euthanasia Moral?† Healthcare is a huge issue in today’s society. Doctors and nurses throughout the world discuss different topics to try to find cures and support many health issues that people have to face. One such issue, that gives rise to much controversy, is that of euthanasia. This is the act of killing or permitting the death, in a painless manner. Euthanasia is very case-to-case, but no matter the situation, it should never be forced upon anyone. The very first time I recall learning about euthanasia was when some of my childhood pets fell ill. At ten years of age, my beloved maine-coon, Pooh Bear, was diagnosed with a rare form of cancer. My parents discussed treatment, but tried explaining to my ten year old self that the intense radiation would have only prolonged her already miserable state, and it was too costly of a bill to simply put off an inevitable death. They told me she had to be â€Å"put to sleep.† This was â€Å"putting her out of her misery.† As an animal lover and an attached, emotional child, I cried for days on end and argued that we didn’t know how she felt. This is unfair to her. One would never make such a decision for another human being. Right? My dad, being in law enforcement for twenty-something years, told me that there are such situations in the world similar to this, involving people, and I would learn this as I got older. I never realized how true this was, as

Maurice Sendak the Author Free Essays

Maurice Bernard Sendak, an award winning writer and illustrator was born on June 10, 1928 in Brooklyn, New York to Philip Sendak and Sadie Schindler, Polish immigrants from small Jewish villages outside Warsaw who came to the United States before World War I. Sendak, the youngest child, along with his sister Natalie, and brother Jack grew up in a poor section of Brooklyn. Sendak was sickly in his early years. We will write a custom essay sample on Maurice Sendak the Author or any similar topic only for you Order Now He suffered from measles, double pneumonia, and scarlet fever between the ages of two and four and was barely allowed outside to play. He spent a great deal of his childhood at home. To pass the time, he drew pictures and read comic books. His father was a wonderful storyteller, and Maurice grew up enjoying his father’s imaginative tales and gaining a lifelong appreciation for books. His sister gave him his first book, Mark Twain’s The Prince and the Pauper. As a young adult, he liked great adventure stories such as Typee and Moby Dick by Herman Melville. Other favorites were Bret Harte’s short story, The Luck of Roaring Camp and Robert Louis Stevenson’s A Child’s Garden of Verses. Young Sendak didn’t like school much. He was obese, sometimes stammered and wasn’t good at sports but excelled in his art classes. At home, he and his brother Jack made up their own storybooks by combining newspaper photographs or comic strip segments with drawings they made of family members. Maurice and his brother both inherited their father’s storytelling gift. At age twelve, Sendak with his family saw Walt Disney’s Fantasia, which had influenced him to become a cartoonist. They also went to the local movie houses and occasionally his older sister would take him to Manhattan to see movies at the Roxy or Radio City Music Hall. The 1930s films, including Busby Berkeley musicals and Laurel and Hardy comedies, had a profound influence on some of his illustrations. The World War II influenced Sendak’s view of the world as a dark and frightening place. His relatives died in the Holocaust; Natalie’s fiancà © was killed and Jack was stationed in the Pacific. Sendak spent the war years in high school, working on the school yearbook, literary magazine, and newspaper. While still in high school, he began his work as illustrator for All-American Comics, drawing background details for the Mutt and Jeff comic strip. At nineteen, he illustrated for his high school biology teacher’s book, Atomics for the Millions published in 1947. In 1948, Sendak and his brother Jack, created models for six wooden mechanical toys in the style of German eighteenth-century lever-operated toys. He did the painting and carving, Jack engineered the toys, and Natalie sewed the costumes. The boys took the models to the F.A.O. Schwartz, a famous toy store in New York, where the prototypes were admired. They got turned down because the toys were considered too expensive to produce but the window-display director was impressed with Sendak’s talent and hired him as a window dresser. He continued working there for four years while taking night classes at the New York Art Student’s League. He took classes in oil painting, life drawing, and composition. He also spent time in the children’s book department studying the great nineteenth-century illustrators such as George Cruikshank, Walter Crane, and Randolph Caldecott as well as the new postwar European illustrators, Hans Fischer, Felix Hoffmann, and Alois Carigiet. While at Schwartz, Sendak met Ursula Nordstrom, the children’s book editor at Harper and Brothers.   He was offered to illustrate his first book, Marcel Ayme’s The Wonderful Farm (1951) that he did when he was twenty-three.   Nordstrom arranged Sendak’s first great success as the illustrator for. Ruth Krauss’s award winning A Hole Is to Dig (1952). Sendak quit his full time job at Schwartz, move into an apartment in Greenwich Village, and become a freelance illustrator. By the early 1960s, Sendak had become one of the most expressive and interesting illustrators in the business. The publication of his book, Where the Wild Things are in 1963 brought him international acclaim and a place among the world’s great illustrators, though the book’s portrayals of fanged monsters concerned critics saying that the book was too scary for sensitive children. Just as Sendak was gaining success, tragedy struck. In 1967, he learned that his mother had developed cancer, he suffered a major coronary attack, and his beloved dog Jenny died. In spite of his troubles, he completed In the Night Kitchen in 1970, which generated more controversy for presenting pictures of a young boy innocently prancing naked through the story. This book regularly appears on the American Library Association’s list of frequently challenged and banned books. Twenty years later, with We’re all in the Dumps with Jack and Guy (1993), Sendak delivered another jolt. This time the troubling storyline revolved around a kidnapped black baby and two white homeless men. Some critics argued that the illustrations were nightmarish and too strong. Some people felt that his stories were too dark and disturbing for children. But the majority view was that Sendak, through his work, had pioneered a completely new way of writing and illustrating for, and about, children. Over the years he has produced a number of beloved classics, both as a writer and as an illustrator. His works also cover a broad range, not only in subject matter, but also in style and tone, from nursery rhyme stories, like Hector The Protector and As I Went Over The Water, to concept books, like Alligators All Around Us and the marvelous Chicken Soup With Rice. As an illustrator, his projects have included Else Holmelund Minarik’s Little Bear, the Newbery winners Wheel on the School and The House of Sixty Fathers with Meindert DeJong, and illustrations of works by Herman Melville (Pierre) and George MacDonald (Light Princess and Golden Key). In 1980, Sendak began to develop productions of opera and ballet for stage and television. He produced an animated TV production based on his work entitled Really Rosie, featuring Carole King, which was broadcast in 1975. He also designs sets and costumes, and even writes librettos. He was invited to design the sets and costumes for the Houston Grand Opera’s production of Mozart’s The Magic Flute. This began a long collaboration, which included several works such as Sergei Prokofiev’s The Love for Three Oranges and Leos Janacek’s The Cunning Little Vixen, Los Angeles County Music Center’s 1990 production of Mozart’s Idomeneo, the award-winning Pacific Northwest Ballet production of Tchaikovsky’s The Nutcracker and Humperdinck’s Hansel And Gretel. In the 1990’s, Sendak approached playwright Tony Kushner to write a new English version of the Czech composer Hans Krà ¡sa’s children’s opera â€Å"Brundibar†. Kushner wrote the text for Sendak’s illustrated book of the same name, published in 2003. The book was named one of the New York Times Book Review’s 10 Best Illustrated Books of that year. In 2003, Chicago Opera Theatre produced Sendak and Kushner’s adaptation of Brundibar. In 2005 Berkeley Reparatory Theatre, in collaboration with Yale Reparatory Theater and Broadway’s New Victory Theater, produced a substantially reworked version of the Sendak-Kushner adaptation. Sendak, who’s been called â€Å"the Picasso of children’s books†, has illustrated or written and illustrated over 90 books since 1951 and have garnered so many awards. He received the 1964 Caldecott Medal for Where the Wild Things Are and the Hans Christian Andersen International Medal in 1970 for his body of children’s book illustration. He was the recipient of the American Book Award in 1982 for Outside Over There. He also received in 1983 the Laura Ingalls Wilder Award for his contributions to children’s literature. In 1996, President Bill Clinton honored Sendak with the National Medal of Arts. In 2003, Maurice Sendak and Austrian author Christine Noestlinger shared the first Astrid Lindgren Memorial Award for Literature given by the Swedish government. Sendak, now seventy-eight, has been a major force in the evolution of children’s literature. He is considered by many critics and scholars to be the first artist to deal openly with the emotions of children in his drawings both in books and on the stage, in his opera and ballet sets and costumes. This ability to accurately depict raw emotion is what makes him so appealing to children. References Kennedy, E. The Artistry and Influence of Maurice Sendak. Your Guide to Children’s Books. Retrieved October 1, 2006 from http://childrensbooks.about.com/cs/authorsillustrato/a/sendakartistry.htm Maurice Sendak. Encyclopedia Britannica (2006). Retrieved September  29, 2006, from Britannica Concise Encyclopedia: http://concise.britannica.com/ebc/article-9378228/Maurice-SendakMaurice Sendak. Maurice Sendak. Encyclopedia of World Biography (2005). Retrieved September 25, 2006, from http://www.bookrags.com/biography/maurice-sendak/ Mitchell, G. Biography of Maurice Sendak. Meet the Writers. Retrieved September 25, 2006, from   Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   http://www.barnesandnoble.com/writers/writerdetails.asp?z=ycid=90225 How to cite Maurice Sendak the Author, Essay examples

Research Paper on Animal Extinction Essay Example

Research Paper on Animal Extinction Essay Animal Extinction Phenomenon Animal extinction is a biological phenomenon, consisting in the disappearance (death) of all members of a particular species or taxon. Animal species that are subject to the threat of extinction are called endangered species. Extinction may be of natural or anthropogenic causes depending on certain environmental factors. Animal extinction is a relatively new problem as until yet recently people were killing as many animals as they needed for food or skins. With the growth of population the need increased, which more than once led to the extinction of some species. Only in the middle of the XVI century, people became aware that soon hunting grounds would be empty, and that was time the first restrictions on hunting began to be introduced. However, the prohibition pursued yet another goal: to continue hunting after the recovery of population. The very first bans prohibiting hunting and extermination of animals appeared not long before the end of the XIX century, when even in Europe some species began to be considered extinct: bison was at the edge of extinction, tour had disappeared back in 1627 as well as tarpan, which became extinct in 1918. The fact that a large number of species have become extinct during the last 150 years is a cause for concern. Current extinction rate is 10 to 100 times higher than in any previous periods of mass extinction in Earth’s history. If of these processes keep up the rate or speed up, the number of species at risk will be numbered in the millions in the next decade. While most people are willing to respond to the threat of extinction of certain mammals or birds, the most significant environmental problem is a threat to the stability of entire ecosystems, provided that the key species disappear at some level of the food chain. Destabilization becomes very probable, when some food chain links disappears from the system. When one species disappears, changes in the number of secondary species population are very probable. A situation may arise when the entire ecosystem will change significantly and irreversibly. We will write a custom essay sample on Research Paper on Animal Extinction specifically for you for only $16.38 $13.9/page Order now We will write a custom essay sample on Research Paper on Animal Extinction specifically for you FOR ONLY $16.38 $13.9/page Hire Writer We will write a custom essay sample on Research Paper on Animal Extinction specifically for you FOR ONLY $16.38 $13.9/page Hire Writer Extinction of species is an important factor in a reduction in the wealth of nature as well as a moral problem for those who believe that people are obliged to maintain the natural environment (and those who believe that animals have rights). In many countries, there are laws that protecting such species from total extinction and aiding endangered species population recovery. In fact, only a few species at risk for extinction obtain legal protection. The position of most species endangered species does not receive an adequate response in the society. Use free sample research paper on animal extinction to understand better the chosen topic.