Stirling Sports Essay Example for Free

Stirling Sports Essay Stirling Sports opened their first Store on Dominion Road in Auckland in 1964. The first Stirling Sports franchises were awarded in 1983 after Stirling Sports had invested almost 20 years in developing the best sports retail stores in New Zealand. Stirling Sports Dunedin’s mission statements asserts, ‘The Dunedin community speaks positively about their Stirling Sport experience’. Their logo is ‘We love our sport’, an apt summary of the passion held by management and staff for their products, service and the specialist knowledge they provide. Stirling Sports is the one of the New Zealand leading retailers of sporting goods. Stirling Sports has a huge range of sports clothing and mens and womens shoes, supporter gear and more. In 2004, Russell and Sue became aware of an opportunity to purchase the Stirling Sports Dunedin area franchise and made the decision to buy within a week. Since they originated from the Otago region, this was an opportunity ‘to come home’. After some negotiation they successfully acquired the franchise and began to determine how best to manage the two operations. After some deliberation, the  decision was made that Sue would move to Dunedin and manage that store, while Russell continued to manage the Kapiti store. Russell and Sue decided to buy the franchise with the existing staff at the Dunedin store. The store had to become profitable, so changes needed to be made. However, the change in structure and process did not suit everyone and staff left. Previously, the store had been managed from Auckland, so some having the manager on-site was very different from the previous management style. Stirling Sports adopts marketing strategies based on the seasonal nature of  various sports, student population migration during semester and holiday periods, public holidays and festive seasons Christmas is one of the biggest financial periods with equipment, clothing and shoes being in demand for Christmas gifts. In-store specials, glossy flyers, and newspaper and radio advertising are all useful means of marketing their products to all of their customer segments. The March/April period is the second-largest cash-flow period with the beginning of winter sports, such as rugby, soccer, netball, volleyball and basketball, traditionally boosting sales. September/October is also a peak period, with the focus particularly on fitness and getting ‘back into shape’ after the ravages of winter lifestyle choices. Sports such as cricket, tennis and softball also begin which may require the purchase of new equipment, uniforms and speciality footwear. Many sports are now played all year round, which is beneficial in maintaining an acceptable level of monthly sales in addition to seasonal cash-flow peaks. RETRIEVED FROM HTTP://STIRLINGSPORTS. CO. NZ Rebel Sport is a well known brand name throughout New Zealand and Australia. Until 2006, Rebel had no big-box sports competitor, prompting the use of the well-known slogan No ones got more sports gear. However, Lane Walker Rudkin, owners of sports franchise Stirling Sports, have announced plans to launch several large format stores across the country, beginning with a store in Christchurch, which opened in mid-2006. This followed the collapse of a deal between Briscoe Group and LWR a year earlier, which would have seen Briscoe buyout the Stirling franchise. Since Stirlings big box launch, Rebel has dropped their original slogan, which has been replaced with Lets Play, backed by a new  marketing campaign which targets a wider audience from the traditional club-orientated team sport audience. The company is also continuing their aggressive expansion programme, launching several smaller-format stores such as Napier and Taupo to allow branches to reach further into provincial areas. Briscoe Group. (n. d. ). Retrieved March 15, 2014 from http://en. wikipedia. org/wiki/Briscoe_Group The latest retail customer satisfaction report for New Zealand from research organisation Roy Morgan Research reveals that Rebel Sport has emerged as the  sports store with the highest percentage of satisfied customers. Rebel came in at at 82. 0 percent for the 12 months to December 2009 (up 4. 4 percent points from the 12 months to December ‘08). Stirling Sports was third with 77. 5 percent (down 2. 9 percent from the same period). â€Å"The category as a whole has performed below the average for all non-food stores. It seems all sports stores need to close the gap in improving their levels of satisfaction. † Sports Link. Sporting Goods Outdoor Retailing. (May 17, 2010). Retrieved from http://www. mysportslink. net/rebel-sport-leads-the-way-cms-837.

A Fast Way to a Fast Food Essay Example for Free

A Fast Way to a Fast Food Essay According to a recent survey, the UK is particularly fond of fast food. Many people turn to fast food as it is quick, convenient, and relatively cheap even though there are many concerns over public health and obesity. With a large number of fast food chains available, how do likes of McDonald’s, Subway, and Pret. A merger maintain their market share at a time when people are cutting back on their spending? In the 10 largest UK cities, the number of fast-food outlets increased by 8,2 percent, to 1. 456 in 2009 (the highest growth occurred in London, Edinburgh, and Glasgow). Among the UK’s biggest chains, Subway grew faster than others. The number of Subway restaurants increased by 25,9 percent to 734 in 2009. In the same year, Domino’s pizza (DPZ) increased its outlets by 19,8 percent to 260 and E A T increased its outlets by 17,8 percent to 86. The growth of these chains is considered as a success particularly when competing against other giant chains such as McDonald’s, Burger King, KFC, and Wimpy’s. Although fast food chains provide quick and efficient service, their operation models are different. In the traditional model, like Mc Donald’s, customers enter the restaurant, study the menu panels for a short period, and stand in the shortest line (behind the many counters). When the customer reaches the front of the line, he or she places an order, pays at the register, and collects the food within few minutes. When, a customer requests a nonstandard item, for example a burger with no tomatoes or extra bacon and cheese, the order is not available in the prestocked food area. The counterperson calls the order in to the production area. The item is then prepared to order as a priority. The waiting time is a bit longer in this case. Not all fast food chains in the UK follow the same customer service operational model. They have tried some innovative ideas to serve customers quicker and have more options and flexibility. In Subway, sandwich is prepared right in front of the customer, where the customer can select what type of bread, size, and sandwich fillings. The sandwich is normally ready in a couple of minutes and passed to the customer as soon as the customer pays for the food. Domino’z Pizza offers home delivery for a wide range of its pizzas, which can be personalized as well, in less than 20 minutes, while it does not charge for the delivery. Pizza Hut offers an open buffet as part of its service, to reduce the workload on its staff and give its customers more options with less price. In Pret A Manger and EAT, a set of sandwiches, salads, and desserts are assembled each day and stocked in the front of the shop where the customers select and pay for their meals. The stock level is then replenished during the day in line with demand. The aim is to continually meet the high quality and freshness standards. If any of the product assembled that day have not sold by the time the store closes, they are given to local charities rather than being stored and sold the following day.

Basic Concepts And Principles In Modern Musical Analysis Music Essay

Basic Concepts And Principles In Modern Musical Analysis Music Essay Abstract: this subject is fascinating through the interpretive possibilities that it opens. The accurate understanding and practice of Schenkers theories leads to a different perception of the music and to a natural way of performing. Therefore, we consider the schenkerian analysis not only a theory, but also a comprehensive way of understanding musical works. Schenkerian analysis provides a comprehensive view of music from the small to the large representing thus a great asset to hearing understanding and performance. Key words: musical analysis, Schenker, background, middle ground, foreground, prolongation, structure 1.  Introduction The schenkerian analyses are a method based on the theories of Heinrich Schenker whose purpose is to disclose the structure of a tonal piece, through musical notations. The basic principle in the structure of a piece for the Schenkerian analysis is showing hierarchical relationships amongst the notes of the passage through making reductions of the music and through a specialized symbolic musical notation that Schenker developed to demonstrate various techniques of prolongation. He considered that the deep, long-range structure of a piece of music has no particular rhythm, so the musical reductions of Schenkerian analysis are usually arrhythmic. Schenkerian analysis the long-range structure is defined Background (or fundamental structure, while the surface aspects of the music are the Foreground. One can state the idea that the background of a musical composition is arrhythmic or, rhythm is a characteristic of the musical foreground. In the most common way, the purpose of schenkerian analysis is to omit the unessential and to emphasize the important relations. 2. Basic concepts There are many methods of approaching the schenkerian analyses. Schenker, followed by Jonas, began by describing the essential structure of music: the triad and its linear unfolding through arpeggiation and through passing and auxiliary notes, in its most abstract form. Next, they discuss the forms that these structures could have in any musical context. Schenkers approach relies on the fundamental principles of the harmony and counterpoint. Allen Forte and Steven E. Gilbert, on the other hand, began by showing different apparitions of the arpeggiation, passing tones, etc. at the note-to-note level before showing the way to use these in order to create musical forms of greater proportions. Other music theorists, for example Felix Salzer and Carl Schachter, added to and spread Schenkers ideas. By the 1960s, Schenkerian analysis had begun to attract renewed interest, and by the 1980s, it had become one of the main analytical methods used by many music theorists. 2.1. Structural concepts Fundamental structure (Ursatz) is the representative progression of which all tonal pieces are hypothetically an elaboration that Schenker believed to be (along with a number of variants) the most basic expression of tonal music. It consists of the descending progression from , or in the upper part (Urlinie) over a bass progression (Bassbrechung) that emerges in the background as part of the fundamental structure. This progression represents one of the simplest contrapuntal expressions of the I-V-I unit. Schenker described the fundamental structure as a tension span, as the tension introduced by the initial is not resolved until the music reaches the final over the tonic. For Schenker, this tension span was what tied complex and various pieces of music into a single coherent work of art. Schenker considered that any piece of tonal music can be described as an elaboration of this pattern: tonal pieces generally start with I and the V I epitomizes the final perfect cadence of the piece. Nevertheless, in a longer piece, whole sections may prolong V (Schenker called this a tonicization of the dominant) and also, there may be other harmonic sections prolonged in between the initial I and the V of the final perfect cadence, the bass of the fundamental structure appearing in many different layers of a piece. The bass line is only a harmonic progression and Schenkers theory seeks to comprehend music in terms of a two-part contrapuntal structure. Layer or level (Schicht) represents the fundamental idea of Schenkerian theory that music consists of a series of layers of elaboration. Schenker suggests that simpler layers underpin the complex ones in almost the way in which a variation on a theme supports the surface of the music. Background (Hintergrund) refers only to the Ursatz form that covers a whole piece or movement. In some cases, one can use it to refer to the Ursatz and its immediate prolongations (like the initial ascent etc.) that are usually part of the first level of the middle ground. In theory, one simple progression that spans the entire piece is the foundation on which the composer created the entire piece. First-level Middle ground refers to the immediate prolongations of the Ursatz that Schenker restricts to a small number of strictly defined forms. The background sometimes refers to this level of the structure as elaborations. Middle ground (Mittelgrund) is the surface layer of a piece of music, the background being the deepest layer, of which the whole piece is understood to be an elaboration. The middle ground has a variable number of occurring layers that a Schenkerian analysis will identify between the foreground and background. Foreground (Vordergrund) is the surface layer of the music. Schenker regards music in terms of layers of elaboration from the profound structure to the surface. Prolongation refers to the elaboration of contrapuntal structures. Schenker considered that all tonal pieces are therefore, a prolongation of the Ursatz. The concept of prolongation lies at the foundation of Schenkers theory and is the most influential element of it. Using the basic principles of consonance and dissonance from species counterpoint, Schenker identifies a number of common linear units that he calls diminutions. Because diminutions must prolong a harmonic unit in Schenkers theory, only a note that is consonant with the prevailing harmony can generate a diminution. Prolongation is an extension through time (by an arpeggio, for example) in a piece of music of a harmonic unit (a chord or a note from that chord). Schenkers analyses, at their simplest level, show how linear units prolong harmonic units. Tonicization is the Schenkerian term for modulation. The use of this term highlights the fact that a tonal piece corresponds to a contrapuntal realization of the tonic. 2.2. Melodic concepts Fundamental descent (Urlinie) is the top line of the two-part Ursatz, comprising a note by note descent from , or to . The term reflects Schenkers belief that this archetypal descending motion underlines all tonal pieces. Primary tone (Kopfton) is the first note of the Urlinie (meaning the , or ). Finding the correct primary tone is an important aspect as it can make a considerable difference to the rest of an analysis. If the Urlinie appears is elaborated of an initial ascent, the Kopfton will not be found right at the beginning of the piece. Bass Arpeggiation (Bassbrechung) literally translates as breaking of the bass, but is more often referred to as the bass arpeggiation. The Bassbrechung is the I-V-I that support the Urlinie as part of the Ursatz, including all the elaborations of this pattern. The basic harmonic progression appears as contrapuntally elaborated, normally creating harmonic patterns such as I-III-V-I or I-II-V-I. Diminution refers to the embellishment of simpler musical structures beneath the surface of the music and describes the process of linear units prolonging harmonic ones. The process of analysis is partly one of looking behind the surface diminutions, but Schenker was more interested in a process of generation from background to foreground (composing-out). Schenker used the basic principles of consonance and dissonance from species counterpoint in order to identify a number of common linear units that he calls diminutions. His analyses, at their most simple level, show how these linear units prolong harmonic units. A theme and variations is a very good example of diminution, because in this genre, the theme supports increasingly complex figurations. Each variation is different but the presence of the theme beneath the surface of the music unifies the whole work. Arpeggiation (Brechung) is a simple elaboration that consists of notes consonant with the prolonged harmony. It is a single movement through notes from a harmony, in the same direction, prolonging a harmonic unit by arpeggiating the notes of the triad. An arpeggiation can only prolong a triad with the exception of the dominant seventh chord. This chord is universal in tonal music that in many situations it makes sense to treat it as a consonant sonority like the triad. In Schenkerian analysis, diminutions usually prolong a harmonic unit and a particular note from that unit. In the arpeggiation (where all the notes belong to the triad), just context could enlighten the main note that is being prolonged, although diminutions are always a prolongation of either their first or last note. The Schenkerian model is a dynamic one the diminution is not static but moves either to or from a principal note. Consonant Skip is a term used by Allen Forte and by some Schenkerian analysts to refer to simple two-note (or incomplete) arpeggiations, which usually constitute some sort of unfolding. The term refers to a particular diminution in which the voice leaps from one note of the harmonic unit to another note of the same harmonic unit. A consonant skip contains only notes from the harmonic unit that it is prolonging. In a Schenkerian analysis, diminutions generally prolong either a harmonic unit or a particular note from it. As in an arpeggiation, both notes from the consonant skip are belong to the triad of the harmonic unit, thus the prolonged note depends on the context. Neighbour Note (Nebennote) is a diminution in which a note is ornamented by a figure that moves stepwise to a note above or below the original note before returning to it. In other words, it elaborates a note of a chord through stepwise motion to and/or from a dissonance. Neighbour notes may also be incomplete (move to a note a step away and not return to the original note). A complete neighbour note moves stepwise a dissonance and back again. An incomplete neighbour note can move from the dissonance to the consonance or the reverse. Passing note (Durchgang) Some Schenkerian analysts recognize most passing note progressions as Linear Progressions (see separate entry). In order to be a true linear progression, however, the passing note must be the elaboration of a harmony. A passing note right at the foreground (surface) of a piece of music may not always fulfil this condition. Examples might be a chromatic passing note or a note that connects two surface harmonies. Mixture (Mischung) is the flattening or sharpening of scale degrees, the most common of which being to à ¢Ã¢â€ž ¢Ã‚ ­, which in the first level middle ground can change the mode of the piece from major to minor. It is ornamentation rather than a diminution because it does not derive from the rules of strict counterpoint. It describes the flattening or sharpening of scale degrees and it usually appears in the first level middle ground in connection with as shown below. It has the effect of changing the mode from major to minor and back again. Schenker most often uses the term mixture to refer to alternation between the major and minor third in a tonic triad. Linear progression (Zug) is the Schenkerian term for a passing note intensification that elaborates a specific harmony in the middle ground or foreground. Its first and last notes must be a part of the harmony at the end of the progression. A linear progression can be either ascending or descending, therefore it moves only in one direction. Schenker appreciates that the linear progression is the unfolding of a two-note interval made up of its initial and final note. In other words, the interval between these notes (first and last) gives a linear progression its name. The simplest linear progression is the passing note, which is dissonant as it passes from one consonant note to another. 3. Basic principles Heinrich Schenkers analytical approach of music engages looking beneath the surface of music in order to understand how it connects into larger spans. It is important for the performer to reflect on the direction and shape of the phrases, in a natural and logical way. At the basic level, one can understand Schenkers ideas as a formalization of his intuitive thinking that music should not be regarded as a series of notes, but in terms of larger-scale shapes and patterns. The basic method of Schenkerian analysis is to show how elaborations such as neighbour and passing notes, progressions and arpeggios group into forming music. These patterns do not appear only on the surface of the music but that they also span much larger fragments. Schenker regarded music like a superposition of layers/levels, the surface layer being the elaboration of a simpler layer beneath that surface. The surface of the music defines as the foreground, the deepest layer the background and those layers of elaborations in between refer to as the middle ground. In addition, an important feature of Schenkerian analysis is showing how melodic figures are elaborations of harmonies. The basic ideas stated by Schenker in his theory are quite simple, but the process of analysis is a complicated one, mostly because music itself is complex. Analysts that approached this kind of analysis found that it provides richly rewarding insights into the shape and structure of tonal music. Schenker is probably most famous for his suggestion that musical works are elaborations of the basic model that he called the Ursatz a two-voice reductive structure forming the basis for an analytical approach that emphasizes the essential simplicity of tonal music. It shows how pieces are contrapuntal elaborations of a tonic chord. Schenker stated that we could reduce a piece of music to the Ursatz, and we can explore the complexities of the piece by considering them in relation to this simple model. Some theorists (like Steven Porter (2002)) that approached schenkerian analysis referred to grammar in order to explain the principles of Schenkers theories, taking into consideration that notes and chords that belong to a musical phrase are like words into a sentence. One analyzes a word as a part of speech, having, in the same time, a function within the sentence. Felix Salzer (1952) introduced a concept that describes very well the schenkerian analysis: structural hearing. He considered that the understanding of tonal music is a matter of hearing, and the ear has to be trained to hear not only a succession of tones (sounds), melodic lines and chord progressions, but also their coherence and structural signification. Schenkers conceptions rely on an observation that represents the corner stone of his research: the distinction of the chord grammar and chord signification (Salzer, 1952). Chord grammar signifies the usual method of analysis, this being the most important feature of a harmonic analysis that has the purpose of status recognition of the chords in a musical piece. On the other hand, the study of chord signification shows his specific role in a phrase, or an entire piece. Schenker discovered that the roles that chords have are diverse. Two identical chords that appear in the same phrase can fulfil different functions. The signification and the function of a sound or of a chord depend on the direction of the movement and on the purpose, in other words on the context. Schenker made a distinction between structure chords and prolongation chords, by means of chord grammar and signification, taking into consideration the direction of music this being the main idea of his approach. Salzer considered that this method of understanding the movement of music represents the instinctive perception of a truly musical ear; this can be called structural hearing. The structural outline and framework work signifies the main movement to its goal, showing the shortest way to it. Nevertheless, the tension of music consists in modifications, expansions and elaborations called prolongations of the structure, and the artistic coherence rises if one understands their basic direction. The distinction between structure and prolongation led Schenker to a new conception of the functions of harmony and counterpoint in creating organic unity: not all chords are of harmonic origin, this statement having an effect on understanding the music. Schenkers harmony explains the tonal system like a group of major triads derived from the harmonic series, like a vertical aspect of music. His theories of counterpoint show the way that simple progressions can be ornamented following simple rules based on the succession of consonant and dissonant intervals, like a horizontal aspect of the music. In Free Composition (1953), Schenker explains the way that harmony and counterpoint combine in tonal compositions. Using the basic principles of consonance and dissonance from the species counterpoint, Schenker identifies a number of common linear units that he named diminutions, showing, by means of concrete analyses, the way that these linear units prolong harmonic units. The concept of prolongation is the base of the schenkerian theories and because the diminutions have to prolong a harmonic unity, just a consonant tone with the harmony can give rise to a diminution. Beside the structural and prolongation roles or the diverse functions that chords can have, they can have harmonic or contrapuntal importance. A chord performs a harmonic function in the context of a fundamental progression. Schenker considers that the term harmony should only refer to members of a harmonic progression; these are harmonies in the true sense of the word, because they connect based on a harmonic association (Salzer, 1953). Chords not based on harmonic associations are products of motion, direction, and embellishment and have a horizontal tendency. Harmonic chords are also structural chords (they constitute the structural framework), and the contrapuntal ones are chords of prolongation (they prolong and elaborate the space between members of harmonic progressions).

A Comparison of Dulce Et Decorum Est and Exposure Essay example -- Wil

A Comparison of Dulce Et Decorum Est and Exposure Traditional war poetry gives the idea of patriotic idealism of war. This style of poetry implies that war is patriotic and that people who fight for their country are honorable. But many of the poets do not portray war as it really is, by glossing over the gory details with attractive images. Many traditional war poems were written before the war to persuade and encourage young boys to become loyal soldiers. Many of the soldiers were taught to believe that they were the chosen few and they were delighted to take part. They even thanked God, ‘Now, God be thanked, Who had matched us with His hour’. The capital ‘H’ on ‘His’ implies the importance; meaning that ‘His hour’ is God’s war. This makes the soldiers even more delighted and thankful. And the worst occurrence would be death. But as it says in ‘The Soldier’ by Rupert Brooke, death doesn’t last long and everybody shall die at one point, so why not die honorably for your country? Owen and many other ww1 poets were a contrast to traditional poems. They wrote about war realistically. They wrote from personal experience. They include horrific details of death and injury. They also criticized those who were running the war. Wilfred Owen was born in 1893 into a middle-class family. His family came under financial difficulties and his education was stunted. Nether the less his ability of poetry writing grew fuelled by his reading of romantics. In his twenties he went through life going from one badly paid job to another. During this time he had little spare time to concentrate on writing poetry. In August 1914 Wilfred Owen found himself with a stable job as a private tutor of a French family in the ... ...ir personal, first hand experiences of the war. Owen met Sassoon at Craiglockhart War Hospital near Edinburgh. The two men worked together to write ‘Dulce Et Decorum Est’, this partnership worked particularly well as both men had experiences of war and could express themselves in their poems. Although ‘Dulce Et Decorum Est’ and ‘Exposure’ are different poems, they have their similarities. They are both written by a man who was awarded the Military Cross for bravery at Amiens, they both have the same theme (war and the effects, both short term and long term) and both are superbly written. Wilfred Owen experienced the terrors of war first hand and filtered his experiences into his work. That is why ‘Dulce Et Decorum Est’ and ‘Exposure’ are such wonderful, emotive and interesting poems. Their writer had first hand experience of the horrors of warfare.

Critique Of The Cabinet Of Dr. Caligari Essay examples -- essays resea

Critique Of The Cabinet of Dr. Caligari   Ã‚  Ã‚  Ã‚  Ã‚  The Cabinet of Dr. Caligari was written by Hans Janowitz and Carl Mayer, and directed by Robert Weine. It was produced in 1919 by Erich Pommer for Decla-Bioscop. 1919 was a year in which the movie industry was transformed into a giant industry. Although the movie was produced in 1919, it was not released in the United States until 1921. A time when film makers were out to prove that film was indeed art. In the year 1921 525 films were released out of those 525, 50 still exist today, one of those 50 is The Cabinet of Dr. Caligari. At the time of its release in America, horror films were virtually unheard of because filmakers felt that the subject matter was tasteless or even repulsive, not to mention di...

Politics and Money Essay -- What is Politics?

The late Alabama governor George Wallace once said, "There's not a dime's worth of difference between Republicans and Democrats." Both Republicans and Democrats agree on taking our money. Where they differ is what to spend it on. A Democrat agrees to take our earnings and give them to cities and poor people. A Republican agrees to take our earnings and give them to farmers and failing businesses. Republicans have dominated both houses of Congress since 1994, a year when federal spending was $1.5 trillion. Less than a decade later federal spending in 2002 was over $2.1 trillion, a 37 percent increase. Some politicians might argue that the war on terrorism has been responsible for the massive spending increase. That's nonsense! According to a recent report titled Most New Spending Since 2001 Unrelated to the War on Terrorism by Brian Riedl, a research fellow at the Heritage Foundation, over half of all new spending since 2001 has been unrelated to defense and the 9/11 attacks. Just from 2001 through 2003, federal spending increased $296 billion, of which: $100 billion (34%) went to national defense; $32 billion (11%) went to 9/11 costs, such as homeland security, International aid, and rebuilding damage done by the 9/11 attacks. About · $164 billion (55%) went to spending completely unrelated to either defense or terrorist attacks. Most of the spending represents government t aking the earnings of one American and giving it to another American. Such acts are little more than legalized theft. How did legalized theft become so acceptable for it is not part of our history? Let's look at some of that history. In 1794, James Madison, the acknowledged father of our Constitution, wrote disapprovingly of a $15,000 appropriation for Fren... ...e; it's the American people. Politicians are elected to office on the promise that they will deliver to one group of Americans the earnings that belong to another group of Americans or they will confer a special privilege on one group of Americans that will be denied another. A politician who disavows this practice will not be elected or if elected run out of office and the reason is simple. If a politician doesn't use his office to deliver another American's earnings to his constituency, it doesn't mean that his constituency will pay lower federal taxes. It only means another state's citizens will enjoy the loot. Thus, when legalized theft becomes routine it pays for everyone to participate. Those not participating will end up as losers. While becoming a recipient of stolen property is optimal for the individual, it spells devastation for the nation as a whole.

Racism in Australia Essay

One in five people living in Australia have experienced racist abuse During the past year, 1 in 5 people living in Australia was a target of racial discrimination (around 4.6 million people). This is an increase from 1 in 8 the previous year (Source). 1 in 5 people living in Australia has been a target of verbal racial abuse (Source). Verbal abuse is the most common form of racism (Source). Nearly half of all Australian residents from a culturally and linguistically diverse background have experienced racism at some time in their life (Source). 7 in 10 teenagers have experienced racism (Source). 3 in 4 Indigenous Australians regularly experience racism (Source). Denial of racism in Australia Australia has a culture of denial when it comes to racism. We’ve created an infographic to explain this simply. It is based on the findings in the report Denial of racism and its implication for location action by Jacqueline Nelson, University of Western Sydney, 2013. Denial of racism in Australia perpetuates racist behaviour (Source). Conversely, increased awareness and acknowledgment of racism reduces it (Source). Speaking up reduces racism by helping perpetrators understand that their views are in the minority (Source), making them less likely to engage in prejudice and stereotyping behaviour (Source). Half of us are positive about cultural diversity While five in ten of us are positive about cultural diversity, four in ten are ambivalent about cultural diversity. One in ten have racist attitudes (Source). One in seven people living in Australia are against the concept of multiculturalism (Source). Three in ten people do not believe that immigrants make Australia stronger (Source), and one in three believe there are some cultural groups that do not belong in Australia (Source: VicHealth 2007). How does racism in Australia affect us? Cross-cultural tension affects everybody in our society. A range of health problems including high blood pressure and heart disease, depression, anxiety, low birth rate and premature birth can all be caused directly by people’s personal experiences of racism (Source). It also affects people’s employment and housing opportunities. For example, to get as many job interviews as an Anglo applicant, an Indigenous person must submit 35% more applications, a Chinese person 68% more, an Italian person 12% more, and a Middle Eastern person 64% more applications (Source). Racism can lead to violence, as seen in Melbourne and Sydney during the past decade. The Tourism Forecasting Committee says the number of Indians applying for student visas to Australia has plummeted by 46% due to racially-motivated attacks. This is a potential economic loss to Australia of up to $78 million. A solution to racism in Australia Most people know the solution to gender inequality requires both males and females to take action. Similarly, the solution to race inequality requires commitment and participation by everyone regardless of their cultural origin. This goal is achievable by working on both a local and national scale, in a range of settings, simultaneously. All Together Now’s contribution is to create innovative, evidence-based, and and effective social marketing aimed at preventing racism.