Informational Essay about Lille, France -- essays research papers

Lille Lille is a city in the north of France. Once know as the Manchester of France, because of its old textile mills. In the 1950’s it was a big coal-mining district, but recently the mines have dried up. Lille is most famous for its textiles as well but other countries make fabrics cheaper Lille- a short brief And faster. One of Lille’s main businesses is a mail order company. They are the apparently the best in France. Lille now has many advantages, main motorways that lead to other countries and around France, it has the euro star running through the city. Lille is right by the border of Belgium. Which means many people can travel from Belgium to Lille for work. There are no more borders gates now. The E.U took them away so more people can travel to the city. The modernisation of Lille took about  £90 million pounds. The e.u paid about  £5 million for the motorways. CONTENTS – Page 1 – introduction and contents (your reading it) Page 2 – how Lille has changed Page 3 - businesses of Lille Page 4 – canal map Page 5 – table to show how many workers (inaccurate) Page 6 - conclusion Page 2 – how Lille has changed Lille has changed in many ways, new roads, industries, offices and businesses. The whole conversion of Lille has made a big improvement on the place. More people can get work, more tourism and more people coming to life in the city. The city has wacky buildings, modern shopping centres and a new mail order that is the best in France. Which was converted from an old textile mill. First it just did clothes but now it did all. Because of the new motorways, you can get to anyway in France from Lille. Great for the mail order company to deliver in 24 hours! Because Lille is so n... ...rrocans. Many of them are having big trouble finding jobs, some of been waiting years for one. There are plenty of offices but not enough people want to start up their own buissness or they do but they just haven’t got the money. But if Lille did manage to find some more labour then the city would greatly improve by a great deal. But since the 1950’s Lille has become quite modern. Lille has suffered ww1 because its close to flanders, it has suffered ww2 because it was right on the border belguims where the germans invaded first because they could not get past frances east defences so they went in from the top. The city has suffered revolution and many more but the current one of course is not enough jobs. I think Lille is quite a nice city though. If they play their cards right they could be as famous as their capital, Paris. Well not quite but close to it.

Math History Essay -- essays research papers

Mathematics starts with counting. It is not reasonable, however, to suggest that early counting was mathematics. Only when some record of the counting was kept and, therefore, some representation of numbers occurred can mathematics be said to have started. In Babylonia mathematics developed from 2000 BC. Earlier a place value notation number system had evolved over a lengthy period with a number base of 60. It allowed arbitrarily large numbers and fractions to be represented and so proved to be the foundation of more high powered mathematical development. Number problems such as that of the Pythagorean triples (a,b,c) with a2+b2 = c2 were studied from at least 1700 BC. Systems of linear equations were studied in the context of solving number problems. Quadratic equations were also studied and these examples led to a type of numerical algebra. Geometric problems relating to similar figures, area and volume were also studied and values obtained for p.The Babylonian basis of mathematic s was inherited by the Greeks and independent development by the Greeks began from around 450 BC. Zeno of Elea's paradoxes led to the atomic theory of Democritus. A more precise formulation of concepts led to the realisation that the rational numbers did not suffice to measure all lengths. A geometric formulation of irrational numbers arose. Studies of area led to a form of integration. The theory of conic sections show a high point in pure mathematical study by Apollonius. Further mathematical discoveries were driven by the astronomy, for example the study of trigonometry. The major Greek progress in mathematics was from 300 BC to 200 AD. After this time progress continued in Islamic countries. Mathematics flourished in particular in Iran, Syria and India. This work did not match the progress made by the Greeks but in addition to the Islamic progress, it did preserve Greek mathematics. From about the 11th Century Adelard of Bath, then later Fibonacci, brought this Islamic mathemati cs and its knowledge of Greek mathematics back into Europe. Major progress in mathematics in Europe began again at the beginning of the 16th Century with Pacioli, then Cardan, Tartaglia and Ferrari with the algebraic solution of cubic and quartic equations. Copernicus and Galileo revolutionised the applications of mathematics to the study of the universe. The progress in algebra had a major psychologic... ...ever have taken place without logs. Then the world changed. The pocket calculator appeared. The logarithm remains an important mathematical function but its use in calculating has gone for ever. Here is the challenge. What will replace the calculator? You might say that this is an unfair question. However let me remind you that Napier invented the basic concepts of a mechanical computer at the same time as logs. The basic ideas that will lead to the replacement of the pocket calculator are almost certainly around us. We can think of faster calculators, smaller calculators, better calculators but I'm asking for something as different from the calculator as the calculator itself is from log tables. I have an answer to my own question but it would spoil the point of my challenge to say what it is. Think about it and realise how difficult it was to invent non-euclidean geometries, groups, general relativity, set theory, and everything else to do with MATH! Einstein and his Theory What do you think when some one says Einstein, is it Relativity, or E=MC2? What do you think E=MC2 means, well it means Energy=Mass x Speed of Light Squared. He was way ahead of his own time, he was a genius!

Cleopatra’s dramatic Essay

This request displays Cleopatra’s dramatic, attention seeking and indulgent side. She can be very histrionic which becomes more evident throughout the scene. Cleopatra’s words also portray her as a very manipulative person, able to bend people to her will. Cleopatra’s unexpected actions are what fascinates Antony and keeps him drawn to her. This could partly be the reason why Antony’s Egyptian side has such a strong hold over him. Furthermore, Cleopatra’s dramatic words accuse Antony of being unfaithful: â€Å"O, never was there queen/ So mightily betrayed!† This again shows Cleopatra as being manipulative, jealous and quarrelsome – a difficult aspect of her character. Her statement is very self-pitying and manipulative, she is accusing Antony and there is nothing he could say to please her. He cannot control or deal with her – possible part of what makes her so fascinating and intriguing. Therefore it can once again be seen that Shakespeare’s creation of Cleopatra as a manipulation and captivating character plays some part in Antony’s duality of character. Her hold over her lover is too strong and is making Antony a more Egyptian, hedonistic lover than a true Roman of his past.  The audience are first introduced to Antony through the comments of Philo at the very beginning of the play, and the audience are informed of the duality of character in Antony. Philo begins by describing how he feels that Antony’s love for Cleopatra is out of control and damaging him and his reputation: â€Å"Nay, but this dotage of our general’s/ O’erflows the measure.† Philo continues with: â€Å" His captain’s heart,  Which in the scuffles of great fights hath burst  The buckles on his breast, reneges all temper,  And is become the bellows and the fan  To cool a gypsy’s lust.†Ã‚  This refers to Antony’s past greatness as a soldier – a true Roman hero. Philo feels like Antony’s love for Cleopatra has overpowered him and destroyed what he once was. Philo then describes Antony as one of â€Å"the triple pillar of the world transformed/ Into a strumpet’s fool.† This shows the Roman contempt for Cleopatra, which is conveyed throughout the play. None of the Romans have a good thing to say about her and disregard her. The hugely eminent and powerful, magnificent Antony has been utterly diminished by his infatuation and obsession with Cleopatra. Philo once again makes reference to Antony’s past greatness: â€Å"Sometimes, when he is not Antony,  He comes too short of that great property  Which still should go with Antony.†Ã‚  It reminds the audience how great Antony was as a great roman, a great leader, strong politician and statesman. Through the conversation of Philo and Demetrius, it can therefore be seen that Antony is indeed caught in a tug-of-war between his Roman and Egyptian loyalty ties. He is supposedly loyal to Rome, yet he is loyal to Cleopatra and the inhabitants of her Kingdom in Egypt. In conclusion, it is the differing character’s comments and views that bring out the duality in Antony’s character in Act One. The comments from Antony uncover an underlying battle within himself, a battle fought by both his Egyptian and Roman side. Antony himself acts madly in love with Cleopatra, yet aside, he seems to know that his real loyalty lies with Rome, and his love with the queen can only lead to destruction and danger. Octavius Caesar’s remarks inform the audience of Antony’s past as a great and respected soldier of Rome. This reinforces the audience’s view of Antony’s character division and allows the audience to fully appreciate the difficult choice that Antony will have to make. In addition, Cleopatra’s comments on her lover give the audience her true personality traits of being manipulative and dramatic. These qualities fascinate Antony and encourage his lust and strengthen his Egyptian loyalty ties. Finally, Philo’s own observations of Antony give the notion of Cleopatra being a poison that has transformed Antony from a fully pledged guardian of Rome to an irresponsible and pleasure seeking fool.

Biography of Christopher Bruce Essay

Christopher Bruce was born on the 3rd of October 1945 in England, he started studying dancing at 11 years old, and he began with tap and ballet. After studying at the Rambert School Christopher Bruce joined Rambert Ballet in 1963, where he quickly became the leading male dancer. Bruce appeared in works such as Don Quixote in 1964 and Coppelia in 1966. Then the company began to experiment with ballet and modern, combining them to form, specifically the Martha Graham technique. (Martha Graham created 181 ballets and a dance technique that has been compared to ballet in its scope and magnitude. Many of the great modern and ballet choreographers have studied the Martha Graham Technique or have been members of her company.) When Bruce danced the role of Pierrot Lunaire, his own interpretive skills were noticed. Bruce was â€Å"dominating everything- practically living the part†. Bruce then worked with Glen Tetley, he discovered that â€Å"the motive for the movement comes from the centre of the body†¦ from this base we use classical ballet as an extension to give wider range and variety of movement† In 1977 he was appointed associate director of the company and was its associate choreographer from 1979-87, he created over twenty works for the company. Between 1986-91 he acted as associate choreographer also for London Festival Ballet, later ENB, and resident choreographer for Houston Ballet in 1989. In 1994 he became artistic director for RDC. Often political in his work, he integrates classical ballet and modern dance, often set against popular music by artists like Bob Dylan, Rolling Stones. His productions include ‘Cruel Garden’, 1977, ‘Ghost Dances’, 1981, ‘Swansong’, 1987, and ‘Rooster’, 1991. Influences Social and political themes emerge as naturally as a reflection of his own concerns, although his aim is always firstly to create a piece of dance, rather than to make a statement. Nevertheless, he does not see a conflict between creating interesting movement and tackling difficult issues. He believes that there is much beauty in Ghost Dances and similar works. Bruce is typically known for using themes that focus on personal or political issues. He has created abstract pieces but even these have a strong undercurrent of emotion. Bruce uses a wide range of starting points, particularly poetry, literature, music, newspaper articles and world events. For example ‘†¦for those who die in cattle’ reflects his views and concerns of war, ‘rooster’ is his idea of relationships, ‘swansong’ is probably one of his most moving and emotional pieces and tackles the very serious issue of torture. His views on the general human condition are portrayed in ‘waiting’. Throughout his career, Christopher has been a strong supporter of Amnesty International’s ideas and through his choreography he has voiced his concerns for society, the persecuted and victims of a wide range of human rights abuses. Time and again he has returned to these themes and in his most recent work â€Å"grinning in your face†, these concerns are articulated as powerfully as ever. The Arts have an important role to play in exploring social issues and dance can be seen as the most human of the Arts as it is based on the body. The image of the tortured prisoner from â€Å"swansong† or the unjust imprisonment of Reuben Carter, in â€Å"Hurricane† are far more powerful than mere words can ever be. Video extracts of Christopher’s work have been used to reinforce talks about human rights abuse. In the 1970’s the focus for Bruce was South America and Pinochet’s bloody coup against the elected Allende government in Chile. He was deeply moved on the meeting of Joan Jara, who was tortured and murdered by Pinochets forces. This meeting lead him to choreograph, Ghost Dances. He took the theme of the day of the dead, simple symbolism and indigenous dance movements as a basis to convey the plight of the innocent people of South American down the ages and their courage in the face of adversity. Certainly, Ghost Dances has a tremendous impact and audiences in many countries have delighted in its distinctive, rhythmic movement performed to haunting American tunes. However, it is the representation of the oppression of ordinary people, symbolised by the sinister ghost figures, which give the work much of its resonance. On the evidence of ghost dances, swansong, and cruel garden  (about the death of Lorca at the hands of the fascists in Spain), human rights themes have provided him with a strong source of inspiration. He remains a passionate advocate for the role of dance and the arts in society and believes that seeing good work and the chance to perform, either as an amateur or a professional, an not only enrich lives, but can also be civilising influence. Ghost dances It was created in 1981, and was influenced by the political oppression in Chile. The style was contemporary ballet blended with South American folk dance. The setting of Ghost Dances is a rocky Andean location suggesting the mouth of a cave. The colours (blue’s, greens and greys) of the backdrop were very effective and complimented the costumes and movement by adding to the eerie atmosphere. The whole stage was lit by a dim white light. The ‘dead’ wear everyday clothes, which are beginning to disintegrate. The Ghost Dancers appear as skeletal figures in striking skull masks. The piece is accompanied by Andiean folk music, with panpipes, guitars, and flutes. The tune is infectious, rhythmic and tuneful. The style of the choreography is sinuous and graceful, incorporating folk-dance influences. The Ghost dancers style of dance differs to the style of the ‘dead’. The Ghost dancers use very off balanced and angular Movements, there heads are the main key I think to making their dancing look as threatening as it does, they move them very quickly and sharply in unison and it creates a very menacing effect. The ‘dead’, on the other hand are very free flowing and graceful, their posture is very open chested and balletic with very neat but complex footwork. I loved this piece and the skills used to perform it. The fluid motion alongside traditional Chilean folkdance was original and inspiring to watch, it was a very moving piece and had a big impact on me because of the real life issues behind it. Swansong This piece was created in 1987 and was influenced by the fate of political  prisoners, the style was contemporary ballet and the prisoner’s movements were based on the idea of a swan. The piece is generally based around the fate of political prisoners and their need to break free. Swansong is a deliberately disturbing dance showing a victim being tortured by a variety of means, although there is no actual violence on stage. It shows both the aggressive and sadistic element of interrogation, and how brainwashing, humiliation and playing with emotions can all be part of a long, nerve- racking game. In combining vaudevillian humour, balletic virtuosity, and contempory dance expressionism with such a serious theme, he seeks to create work that can be appreciated at a number of levels by a broad audience. The three dancers are costumed archetypally and very much resembled the set, it was all very simplistic, with the prisoner in just a plain t-shirt and jeans and the two guards a re wearing vaguely militaristic khaki trousers and short- sleeved shirts could be viewed as policemen, soldiers, or guards. Programme notes have tended neither to give names to the characters nor to specify roles – choosing instead to simply list the cast and allow audiences to make their own interpretation. The prisoner uses a very graceful and flowing style of dance whilst in contrast the two guards dance in a modern, camp manner, highlighting even more the separation and difference between the guards and prisoner. The simplicity of the staging and ambiguity of the characters lends weight to its universality. The action could be taking place anywhere in the world. The stage is dark and bare with the exception of a single wooden chair lit starkly from above, indicating perhaps a single bulb-hanging overhead in an otherwise empty room. There are seven sections in swansong; each has a different theme and style.  ·Section 1, questions and answers. Throughout the first section the dance suggests the interrogators and victim playing a game of cat and mouse, the dance changing from trios to brief duets and solo’s. in the duets the interrogators dance in unison, performing the same material one after the other or slightly varying the steps to attack their victim.  ·Section 2, tea for two. The section section begins with another interrogation session during which the second interrogator walks round his seated victim, and this time the victim taps out ‘answers’ but in a defiant  mood. The interrogators change tatics.  ·Section 3, first solo. The third section is a solo for the victim alone on the stage and it is more lyrical both in music and movement than the proceding sections. It contrasts with the torture previously shown, appearing to be a cry of frustration and anger at the victim’s situation as well as evoking his urge for freedom.  ·Section 4, slow trio. The victim immediately tenses and flinches as the first interrogator reaches towards him, and then relaxes when he is not harmed. No questions are asked. Again the opening sequence is performed twice but at the end of the chair is moved so that the victim cannot return to it. This becomes a recurring theme of this dance; the victims chair is repeatedly pulled away from under him or placed just beyond his reach. He is pushed and thrown around, the effect of the violence is in slow motion. The victim curls defensively on the floor and is uncurled by the second interrogator and the torture continues.  ·Section 5, second solo without accompaniment. Although this section repeats dance motifs from the first solo such as the jumps and arabesques suggestive of flight, it is generally more mimetic. The victim lifts the chair onto his back to make it appear he is carrying a huge weight on his shoulders. He then stands facing the audience staring through the bars of the chair, then he appears to crumble in frustration and the solo ends with his ankles trapped in the bars of the chair as if fetted.  ·Section 6, cane dance. The progression of the piece shows a build up of abuse and humility of the prisoner till the final section where the prisoner performs his last solo, his ‘swansong’. Rooster This piece was created in 1992 and in contrast to my other two chosen pieces  is influenced by the Rolling stones; the dance is based on the theme and context of the music. It is danced in a contemporary ballet style blended with modern dance to match the music. The set is a clear stage with naturalistic lighting and a white spotlight. The women wear black skirts, tops and tights and the men wear black trousers and a skirt, a red dress is worn only in one number and that is ‘ruby Tuesday’. The whole piece is danced to rolling stones music ranging from upbeat fast and rocky numbers to slower more relaxed music. The theme of each song in ‘rooster’ reflects the character that is dancing it, none of the dances are linked, and each section occurs simply because of the different songs that are used, this helps to create an episodic structure. The tempo of the music dictates the style of dance; the faster tracks are modern and contemporary whilst the slower ones are more balletic. This piece does not present a great deal of emotional involvment with the audience; it is simply based on the theme and context of the music. You can see this by the fact that the dancers, the style of dance and the music purely dictate the song. A Time line of dance works which have been choreographed and produced by Christopher Bruce  ·1969 George Frederic  ·1972 ‘†¦for those who die as cattle’  ·1974 Weekend  ·1975 Ancient voices of children  ·1976 Black Angels  ·1976 Promenade  ·1977 Cruel Garden  ·1981 Village Sounds  ·1981 Ghost Dances  ·1984 Sergeant early’s dream  ·1984 Intimate Pages  ·1985 Silence is the end of our song  ·1985 Land  ·1987 The dream is over  ·1987 Swansong  ·1989 Symphony in three movements  ·1990 Journey  ·1992 Rooster  ·1995 Meeting point Section B Producing our own piece of choreography in the style of Christopher Bruce in groups. How has the work of the choreographer influenced and inspired my own performance and choreography? I chose Christopher Bruce because of the influences behind his choreography, the real life human rights issues that through symbolism he has transferred this into dance. He has successfully brought more awareness to serious issues that most people would not be aware of because it is not going on in  this country. The fact that this affects Bruce personally is very inspiring, as his pieces have real meaning and thought behind them. The three works by Christopher Bruce that I have chosen to study are ‘ghost dancers’ and ‘swansong’ because of the political human rights issues that influenced them and ‘rooster’ because it was a contrast to the other two as its influence was the celebration of the Rolling Stones music. I thought these pieces complimented each other well to evaluate as each bears a large variation of accessible motifs, images and sequences of movement that I could re- interpret in my choreography in the style of Christopher Bruce. As it gave me the opportunity to analyse a variety of influences and issues behind the three pieces. Choreographic notes We choreographed a piece for a trio in the style of ‘rooster’. The set was clear other than three chairs that were used within the dance. We were dressed all in black and wore red scarfs round our necks. The lighting of the set was dark red.

A Subaltern’s Love Song Essay

â€Å"A Subaltern’s Love Song† is a rhapsodic poem that details the poet’s real-life infatuation. Betjeman does not use the military definition of subaltern here, but instead is referring to someone in an inferior position. The author struggles, somewhat happily, against his love interest as she continually bests him at tennis. In Literature, poems can often be very difficult for one to comprehend and interpret the author’s perspective. Many people grew only being exposed to the basic â€Å"Roses are red, violets are blue† form of poetic expression, so anything that fails to employ simple rhythmic phrases can be somewhat aloof to some people. Poetry is one of the most artistic forms of literature because it influences the author to express big thoughts and imaginations in somewhat of an abbreviated writing style, in contrast to essays, short stories, and many more. A Subaltern’s Love Song by John Betjeman is an example of poetry that takes the reader on a journey of music and a love story. It was not until I actually read through the poem once did I realize that the title â€Å"A Subaltern’s Love Song† would actually allude to the character of this poem. The context of this poem is most certainly romantic, and indicative of a love story, however the form of the poem actually has a rhythm to it. I am not exactly certain if the author purposefully paralleled the word â€Å"song† in the title with music, but it was something that stuck out to me and was one of the things that did capture my interest in this particular poetic work. Due to the fact that I am a one who enjoys reading love stories, my imagination was most certainly ignited by reading this poem. Another thing that particularly stuck out to me about this poem was the use of ambiguity regarding the soldier and the love interest. The author was successful in my opinion with his use of ambiguity to â€Å"raise questions and suggest outcomes. † (Clugston, 2010) All of the aforementioned components of â€Å"A Subaltern’s Love Song† allowed me to be an active and responsive reader while I was reading this. The archetypal approach is the best analytical approach that can be used to describe this poem. The poems does not direct it attention to only one sole approach. Because the poem is not just limited to the author’s feelings or way of thinking but it is delivered in a manner that the author has you thinking of different ways to show your love. The archetypal approach is being used in line five where it states â€Å"Love-thirty, love-forty, oh! Weakness of joy† (Clugston, 2010). It relates the weakness to as getting older in life and taking a chance on love. This also shows his progress through life in which he learns to love and finally ask for marriage. Were in the last stanza of the poem it sums up the whole meaning of the poem. A good poem should write in such a way that it does not immediately reveal all of its secrets. But neither should the language be couched in such arcane and esoteric terms that discovering its meaning become impenetrable. Poem is not a synonym for puzzle. When the inherent message of a poem becomes impossible to understand, then it becomes a more of an ordeal than a pleasure. The references should, in my view, be accessible to scrutiny in such a way that its treasures are unlocked upon careful and considered reading. A deliberately confusing poem serves no purpose other than to prove what a smart Alec the poet is. A Subaltern’s Love Song is a perfect example of a well-structured poem. Upon first reading this seems little more than a clever poem written about a few posh twerps with too much time on their hands. But, there is so much more going on. It’s a love story that was not directly stated and I enjoyed the reading.

New Product Launch Marketing Plan, Part III

Public relations and sales promotion will play a major part of LiveWell’s ability to stay in the growth stage, attract new customers, and keep loyal customers that wish to lead a healthy lifestyle. Healthy chocolate’s message to the public is to â€Å"Live healthier and happier with every bite†. To enforce the credibility of healthy chocolate’s message, all of the chocolate products can get labeled with university research on its ability to produce anti-toxins, reduce blood pressure, and claim any other discoveries healthy chocolate can achieve.Public relations for healthy chocolate will involve sponsoring events for publicity such as the Special Olympics, hosting disabled veterans sports events, and holding fitness fairs to identify with individuals who want to become healthy in the target market, increase the product’s name, and to express commitment toward social issues. â€Å"Companies can promote their brands and public name by sponsoring and publicizing sports and cultural events and highly regarded causes† (Kotler & Keller, 2012, pg. 529). The brand image of living a healthy lifestyle will get promoted through public relations and can get used for sales promotion of the product.â€Å"New products typically merit large advertising budgets to build awareness and to gain customer trial† (Kotler & Keller, 2012, pg. 505). Hosting a disabled veteran sporting event or the Special Olympics is not only a less expensive advertising campaign but will encourage the trial of healthy chocolate through samples at these events. † Marketing communication activities contribute to brand equity and drive sales in many ways: by creating brand awareness, forging brand image in consumer’s memories, eliciting positive brand judgments or feelings, and strengthening consumer loyalty† (Kotler & Keller, 2012, pg.478).The two additional advertising methods that will be used to target LiveWell consumers will be word of mouth (network marketing) and print advertising. Word of mouth is one of the oldest forms of advertising. Advertising LiveWell healthy chocolates this way will allow current distributors to invite potential distributors to learn about the products by listening to presentations from company representatives. In addition to, listening from satisfied clients who share how much they enjoyed the products and the ability to make extra income.Unlike print advertising the consumer will have the opportunity to taste the product Print advertisement is another effective method to advertise our LiveWell healthy chocolate product. Individuals have a trend to be interested to new data and perceptive of things of concern. Print advertising targets and draws the audience attention to products and amenities as they are reading or glancing through ads, magazines and newspapers. LiveWell-Healthy Chocolate will be delivering three primary messages in its marketing plan that will be consistently appli ed to describe and position the healthy chocolate’s benefits.The main message for LiveWell will be â€Å"Live healthier and happier with every bite. † This main message will be our slogan. We repeatedly will use it so that consumers are constantly reminded of our products benefits as well as its superior taste. The intention is to make our product and its slogan familiar in every household in America, so that we may gain more recognition and become more popular by word-of-mouth, advertising, etc. Another message that we will apply to describe our product is focused on its health benefits. The health benefits will be used to position the chocolate chews as a healthy chocolate.It will be distributed through channels that will support its premium positioning. We will advertise and promote our products’ heart health benefits as well as its antioxidant properties. The third primary message we will be delivering to consumers is the quality of taste in our product. Not only is our product good for the consumer, but it also has a rich, decadent taste that leaves individuals feeling very fulfilled. The main message to consumers will be that the chocolate is luxurious, tasty, and good for your health sweet sensation.This general message will be communicated to the target market across all promotional tools. Secondary messages we will be instilling in the public are that our product is great for adults and great for kids. Although, we will be primarily targeting adult consumers, we will also frequently mention that this chocolate is a much healthier alternative to the chocolate most children eat. We will make mention that adults should replace their children’s favorite candy bars with LiveWell, so that even their children will have the opportunity to grow up healthier and happier with every bite.

Changing Stereotypes of Arab and Muslims That Link Them to Terrorism Essay

Changing Stereotypes of Arab and Muslims That Link Them to Terrorism And Extremism - Essay Example Everyone has a tendency to stereotype in order to simplify his or her lives. Stereotypes are the maps of the world and aptly demonstrate the very human need to categorize. People like to stereotype to serve a fundamental need to preserve their own safety and well-being. Therefore, people end up making presumptions about persons and groups that say how they will end up affecting these people. However, sometimes that need transforms into a vehicle to elevate one’s own status as compared to the stereotyped group. Muslims and Muslim-Americans are currently experiencing this very phenomenon. After the attacks of September 11, Muslims and Arabs have been subjected to increased scrutiny and racial profiling at airports. In a poll carried out by the Boston Globe, 71 percent black people and 57 percent whites expressed the belief that Arabs and Muslims should be put through special, intensive security checks before they are allowed to board aeroplanes. ("Terror fears hamper,†) It is considered quite acceptable and even necessary to hold Muslims without any explanation and then subject them to hours of questioning and even arrest without a cause. The American Civil Liberties Union is sorting out many lawsuits of the kind. Mike Gallagher, a Fox News radio host has even gone on to say that, "Its time to have a Muslims check-point line in America's airports and have Muslims be scrutinized. You better believe it, its time." (Cowan, 2001) ("Fox news airs,†) In a sixth-grade social studies book, the Muslim culture is portrayed as oppressive and patriarchal. The book displays pictures of camels, tents and veiled women. The authors say that Muslim girls do not go to school and women cannot own property. In the end, the authors ask, â€Å"Would you like to be a Muslim woman in the Middle East?† There are many examples like this one, of stereotyping Muslims, based on the culture and traditions prevalent in one country. (Shaheen) It is a glaring assumption to presume that Muslim women