General Omar Bradley in World War II

General Omar Bradley in World War II General of the Army Omar N. Bradley was a key American officer during World War II and later filled in as the principal Chairman of the Joint Chiefs of Staff. Moving on from West Point in 1915, he served stateside during World War I before progressing through the positions during the interwar years. With the start of World War II, Bradley prepared two divisions before serving under Lieutenant General George S. Patton in North Africa and Sicily. Known for his downplayed nature, he earned the moniker the G.I. General and later instructed the First U.S. Armed force and twelfth Army Group in Northwest Europe. Bradley assumed a focal job during the Battle of the Bulge and coordinated American powers as they crashed into Germany. Early Life Conceived at Clark, MO on February 12, 1893, Omar Nelson Bradley was the child of teacher John Smith Bradley and his better half Sarah Elizabeth Bradley. In spite of the fact that from a poor family, Bradley got quality training at Higbee Elementary School and Moberly High School. After graduation, he started working for the Wabash Railroad to win cash to go to the University of Missouri. During this time, he was prompted by his Sunday teacher to apply to West Point. Sitting the section tests at Jefferson Barracks in St. Louis, Bradley put second however made sure about the arrangement when the primary spot finisher couldn't acknowledge it. West Point Entering the foundation in 1911, he immediately took to the academys restrained way of life and before long demonstrated skilled at sports, baseball specifically. This affection for sports meddled with his scholastics, anyway he despite everything figured out how to graduate 44th in a class of 164. An individual from the Class of 1915, Bradley was cohorts with Dwight D. Eisenhower. Named the class the stars fell on, 59 of the class individuals at last became commanders. World War I Dispatched as a subsequent lieutenant, he was presented on the fourteenth Infantry and saw administration along the US-Mexico outskirt. Here his unit upheld Brigadier General John J. Pershings Punitive Expedition which entered Mexico to repress Pancho Villa. Elevated to first lieutenant in October 1916, he wedded Mary Elizabeth Quayle two months after the fact. With the US section into World War I in April 1917, the fourteenth Infantry, at that point at Yuma, AZ, was moved to the Pacific Northwest. Presently a commander, Bradley was entrusted with policing copper mines in Montana. Urgent to be alloted to a battle unit making a beeline for France, Bradley mentioned an exchange a few times yet without any result. Made a significant in August 1918, Bradley was eager to discover that the fourteenth Infantry was being conveyed to Europe. Arranging at Des Moines, IA, as a component of the nineteenth Infantry Division, the regiment stayed in the United States because of the peace negotiation and flu pandemic. With the U.S. Armys after war grounding, the nineteenth Infantry Division was remained down at Camp Dodge, IA in February 1919. Following this, Bradley was point by point to South Dakota State University to show military science and returned to the peacetime rank of skipper. Quick Facts: General Omar N. Bradley Rank: General of the ArmyService: U.S. ArmyBorn: February, 12, 1893 in Clark, MODied: April 8, 1981 in New York, NYParents: John Smith Bradley and Sarah Elizabeth BradleySpouse: Mary Elizabeth Quayle, Esther BuhlerConflicts: World War II, Korean WarKnown For: D-Day (Operation Overlord), Operation Cobra, Battle of the Bulge Interwar Years In 1920, Bradley was presented on West Point for a four-year visit as an arithmetic teacher. Serving under then-Superintendent Douglas MacArthur, Bradley dedicated his leisure time to examining military history, with a unique enthusiasm for the crusades of William T. Sherman. Intrigued with Shermans crusades of development, Bradley presumed that huge numbers of the officials who had battled in France had been deluded by the experience of static fighting. Therefore, Bradley accepted that Shermans Civil War battles were more applicable to future fighting than those of World War I. Elevated to major while at West Point, Bradley was sent to the Infantry School at Fort Benning in 1924. As the educational plan focused on open fighting, he had the option to apply his speculations and built up a dominance of strategies, landscape, and fire and development. Using his earlier examination, he graduated second in his group and before numerous officials who had served in France. After a concise visit with the 27th Infantry in Hawaii, where he become a close acquaintence with George S. Patton, Bradley was chosen to go to the Command and General Staff School at Fort Leavenworth, KS in 1928. Graduating the next year, he accepted the course to be dated and deadened. Withdrawing Leavenworth, Bradley was appointed to the Infantry School as an educator and served under future-General George C. Marshall. While there, Bradley was intrigued by Marshall who supported giving his men a task and letting them achieve it with negligible impedance. In depicting Bradley, Marshall remarked that he hushed up, unassuming, able, with sound presence of mind. Outright constancy. Give him an occupation and overlook it. Profoundly affected by Marshalls strategies, Bradley received them for his own utilization in the field. In the wake of going to the Army War College, Bradley came back to West Point as an educator in the Tactical Department. Among his understudies were the future chiefs of the US Army, for example, William C. Westmoreland and Creighton W. Abrams World War II Begins Elevated to lieutenant colonel in 1936, Bradley was brought to Washington two years after the fact for obligation with the War Department. Working for Marshall, who was made Army Chief of Staff in 1939, Bradley served asâ assistant secretary of the General Staff. In this job, he attempted to recognize issues and created answers for Marshalls endorsement. In February 1941, he was elevated legitimately to the transitory position of brigadier general. This was done to permit him to expect order of the Infantry School. While there he advanced the arrangement of heavily clad and airborne powers just as built up the model Officer Candidate School. With the US section into World War II on December 7, 1941, Marshall approached Bradley to plan for other obligation. Provided order of the reactivated 82nd Division, he directed its preparation before satisfying a comparative job for the 28th Division. In the two cases, he used Marshalls approach of improving military principle to make it simpler for recently enlisted resident officers. What's more, Bradley used an assortment of procedures to ease draftees progress to military life and lift confidence while additionally executing a thorough program of physical preparing. Therefore, Bradleys endeavors in 1942, created two completely prepared and arranged battle divisions. In February 1943, Bradley was relegated order of X Corps, yet before taking the position was requested to North Africa by Eisenhower to investigate issues with American soldiers in the wake of the annihilation at Kasserine Pass. <img information srcset=https://www.thoughtco.com/thmb/g5phvxBlCAyx8duNBzHussjKS_g=/300x0/filters:no_upscale():max_bytes(150000):strip_icc()/80-G-86325-b28c0ec1daf6466ea065ebb328c0304a.jpeg 300w, https://www.thoughtco.com/thmb/yyILmEdP8BTYV75QRXiRgMwKgZI=/515x0/filters:no_upscale():max_bytes(150000):strip_icc()/80-G-86325-b28c0ec1daf6466ea065ebb328c0304a.jpeg 515w, https://www.thoughtco.com/thmb/r3hivGEpVkOmj9gsS2ELZWEsaSg=/730x0/filters:no_upscale():max_bytes(150000):strip_icc()/80-G-86325-b28c0ec1daf6466ea065ebb328c0304a.jpeg 730w, https://www.thoughtco.com/thmb/6FNGap2ZTDModewCXTtASq-4-8E=/1160x0/filters:no_upscale():max_bytes(150000):strip_icc()/80-G-86325-b28c0ec1daf6466ea065ebb328c0304a.jpeg 1160w information src=https://www.thoughtco.com/thmb/G5nvF-2wQrRBP3U0VYYQxqLIhIM=/1160x926/filters:no_upscale():max_bytes(150000):strip_icc()/80-G-86325-b28c0ec1daf6466ea065ebb328c0304a.jpeg src=//:0 alt=Bradley on the way to Sicily class=lazyload information click-tracked=true information img-lightbox=true information expand=300 id=mntl-sc-square image_1-0-32 information following container=true /> Lieutenant General Omar Bradley on the route scaffold of USS Ancon (AGC-4), in transit to the intrusion of Sicily, 7 July 1943. With him is Captain Timothy Wellings, USN. US Naval History and Heritage Command North Africa Sicily Showing up, Bradley suggested that Patton be provided order of the U.S. II Corps. This was done and the tyrant officer before long reestablished the units discipline. Turning out to be Pattons representative, Bradley attempted to improve the battling characteristics of the corps as the crusade progressed. As a consequence of his endeavors, he rose to order of II Corps in April 1943, when Patton withdrew to help in arranging the intrusion of Sicily. For the rest of the North African Campaign, Bradley capably drove the corps and reestablished its certainty. Filling in as a component of Pattons Seventh Army, II Corps initiated the assault on Sicily in July 1943. During the crusade in Sicily, Bradley was found by writer Ernie Pyle and advanced as the G.I. General for his unprepossessing nature and partiality for wearing a typical troopers uniform in the field. D-Day In the wake of the achievement in the Mediterranean, Bradley was chosen by Eisenhower to lead the main American armed force to land in France and to be set up to in this manner assume control over a full armed force gathering. Coming back to the United States, he built up his base camp at Governors Island, NY and started collecting staff to help him in his new job as administrator of the First U.S. Army. Returning to Britain in October 1943, Bradley partook in the getting ready for D-Day (Operation Overlord). <img information srcset=https://www.thoughtco.com/thmb/5oLb-uaemuixJn6F6SAZ7YaxU3s=/300x0/filters:no_upscale():max_bytes(150000):strip_icc()/80-G-252940-667b654f5b5f49999998471463cb4cf1.jpeg 300w, https://www.thoughtco.com/thmb/V4LxdUS5rJDONLLISc

Poe Compare and Contrast Essay free essay sample

The narratives are diverse with respect to the characters, on the grounds that in â€Å"The Masque of the Red Death,† the main characters are Prince Prospero, and the â€Å"stranger,† who was the red demise. While in â€Å"The Black Cat,† the characters were the storyteller, the narrator’s spouse, Pluto, and the new feline. These characters make the story extraordinary, in light of the fact that in â€Å"The Masque of the Red Death,†the character’s are extremely upscale, and regal, while the characters in â€Å"The Black Cat,† are a regular family, which is entirely relatable. None of us have ever been a ruler, or a princess, so I discover it is simpler to interface with â€Å"The Black Cat†Ã¢â‚¬â„¢s regular characters. Another way the characters make the accounts unique, is the manner by which they are really various species. In spite of the fact that there are people in the two stories, the creature characters in â€Å"The Black Cat,† shake up the story and make it not quite the same as all the rest. The content says this regarding the creature character Pluto: â€Å" and a feline. This last was a strikingly enormous and excellent creature, altogether dark, and canny to a shocking degree. † Poe 2. The character who stirs up the â€Å"The Masque of the Red Death† story, was actually, the red demise character. This is an alternate character, since you don't have the foggiest idea whether he is, in certainty a genuine character, or in the event that he is only the malady. Toward the start, the story says, †The Red Death had since quite a while ago crushed the nation. No plague had ever been so lethal, or so hideous†. Poe 1. At that point, toward the end, the demise is spoken to by a veiled character. â€Å"The figure was tall and skinny, and covered from head to foot in the habiliments of the grave. The cover which hid the appearance was made so about to look like the face of a hardened carcass that the nearest investigation probably experienced issues in distinguishing the cheat. But then this may have been suffered, if not endorsed, by the distraught revelers around. In any case, the mummer had ventured to such an extreme as to expect the kind of the Red Death. His vesture was fiddled with bloodand his expansive temple, with all the highlights of the face, was besprinkled with the red awfulness. † Poe 3. The accounts are distinctive with respect to the setting, on the grounds that the â€Å"Masque of the Red Death† story happens in Prince Prospero’s château, during the evening at a disguise ball. The story happens in the 1800’s. My verification of this is, â€Å" e called to his essence a thousand sound and happy companions from among the knights and ladies of his court, and with these resigned to the profound withdrawal of one of his castellated convents . † Poe 1. The â€Å"Black Cat† story happens in the narrator’s home, in the 1800’s. My evidence of this is, â€Å"I alone took care of him, and he w ent to me any place I approached the house. It was even with trouble that I could keep him from finishing me the avenues. â€Å" Poe 3. These are two altogether different settings, and make the tales strange from one another. The setting of a story is significant in light of the fact that it influences how, and if the occasions will occur. The setting could make a huge difference in a story. These accounts are distinctive concerning the contention, in light of how the contention is made, and why there is strife. In â€Å"The Masque of the Red Death† the contention was brought about by a sickness. The contention is brought about by the ailment, on the grounds that despite the fact that the ruler attempted to forestall it, the â€Å"red death† took his life at long last. My evidence is, â€Å"And now was recognized the nearness of the Red Death. He had come without anyone noticing. What's more, individually dropped the revelers in the blood-bedewed lobbies of their revel, and kicked the bucket each in the miserable stance of his fall. What's more, the life of the coal black check went out with that of the remainder of the gay. What's more, the flares of the tripods lapsed. Also, Darkness and Decay and the Red Death held illimitable domain over all. † Poe 10. In the â€Å"Black Cat,† a cat is causing the narratives struggle. The anonymous feline caused the contention by honestly playing with the narrator’s brain, and winding his feelings. This in the long run makes the storyteller attempt and slaughter the feline, however rather executes his significant other. My confirmation is, â€Å"One day she went with me, upon some family unit task, into the basement of the old structure which our destitution constrained us to possess. The feline tailed me down the precarious steps, and, almost tossing me fast, exasperated me to frenzy. Inspiring a hatchet, and overlooking, in my fury, the infantile fear which had until now remained my hand, I pointed a blow at the creature which, obviously, would have demonstrated immediately deadly had it slipped as I wished. However, this pass up the hand of my better half. Urged, by the obstruction, into a wrath more than demonical, I pulled back my arm from her grip and covered the hatchet in her mind. She fell dead upon the spot, without a moan. † Poe 3. The contention of a story is the thing that makes the story be intriguing, and have a contort. At last, there would be no story without a contention. The two stories â€Å"The Masque of the Red Death,† and â€Å"The Black Cat† are not so much similar in any manners. Both storys characters, strife, and setting are on the whole unique. That is something to be thankful for however. It is extraordinary for stories to be composed differently, and Poe was stupendous at doing only that. Edgar Allen Poe was an extraordinary man with fantastic stories. He had a hard life, and communicated completely in his accounts. In spite of the fact that his accounts were extremely horrendous, Poe was an exceptionally adroit man. He was exceptionally insightful, and the majority of his statements can at present be relatable today. For instance, â€Å"Years of affection have been overlooked, In the scorn of a moment. † Edgar Allen Poe.

New York Metropolitan Opera

New York Metropolitan Opera The opera has long been regarded as the epitome of entertainment among the wealthy, as well as a symbol of a well-educated mind. For many, attending a performance at a famed opera house is a once in a lifetime opportunity. Offering a mix of both classical and new operas, the opera house becomes the doorway to an enchanted land.The process of creating that fantasy land, however, is based in a startling reality of paperwork and business plans. For the New York Metropolitan Opera, reality came crashing into their fantasy world as bankruptcy loomed.Are there lessons that can be learned from opera’s stage? No subtitles required â€" the new business model of the New York Metropolitan Opera provides clear lessons for entrepreneurs at every stage of business. © Shutterstock.com | Sean PavoneAfter taking a look at 1) the New York Met’s history, understanding how the Met went from 2) headliners to show stoppers and 3) discovering how the NY Met changed course with a new business model, you’ll be prepared for 4) lessons for entrepreneurs that can help revitalize (or continue to improve) your business.NY MET HISTORY © Wikimedia commons | Robert N. Dennis collectionPerhaps one of the most famed opera houses in the world, the New York Metropolitan Opera is America’s largest classical music organization. Established in the late 19th century, The Met began as an alternative to the other opera house of the time, the Academy of Music. Membership to The Academy of Music was a status symbol; admittance was restricted to the highest levels of society. The Academy embraced old money and saw little reward in allowing the industrialists of the time, who were newly rich, to join their ranks. In response to this social snubbing, the Met was formed to allow New York’s rising wealthy access to the entertainment world. With three levels of private seating and plenty of space to ‘see and be seen’, the Met quickly replaced The Academy as the highlight of the social scene and has remained at the forefront of society’s cultural observations ever since.The popularity of the NY Met continued to grow through the 1900’s and the opera house underwent several transformations as a result. Transitioning from a theater-styled event that hired managers to produce operas into a national touring company helped to thrust the Met into the lives (and hearts) of Americans. The Met Opera Company began a tradition of performing regularly in Philadelphia, an 81 year tradition that brought opera to the city every Tuesday night.Through the early years of the opera’s history, the need to transition from being a theater style opera to a full scale production opera house became more and more evident. Hiring a General Manager to oversee the daily operations of the organization was necessary and profitable for the company. A succession of general managers took over the running of the organization, sometimes in a shared authority role with artists.For the first several years, the company was plagued with dismal financial success, primarily caused by the attempt to schedule as many performances as possible into a calendar year. A lack of oversight and a weak business plan were instrumental in keeping the Met on shaky ground. It wasn’t until the 1990’s that a new general manager took over with a distinct plan for the future that people began to notice something about the Met’s business plan was awry. During the 16 years of Joseph Volpe’s leadership, the Met expanded its showings â€" offering four world premiers and 22 Met premiers. An expanded international touring plan was implemented, the Met’s orchestra was built into a symphonic ensemble and the future for the beloved company seemed bright. Volpe retired in 2006, and a new visionary took over the planning and managing of the Met.The new general manager of The Met, Peter Gelb, detailed his plan for the future of The Met, and it was breathtaking. Expand the opera’s showings, attract new viewers (without losing any of the current attendees) and reduce staging costs were all on the new manager’s To-Do list. Gelb initiate d a series of collaborative efforts with other opera companies to bring new productions to the NY Met. In addition, he began to include directors of alternative industries in the production of The Met’s original programming; bringing in film, circus and theater directors. He expanded the offerings of The Met by introducing the concept of live viewings in high definition to movie theaters around the world â€" allowing attendees to enjoy a full-scale live production all on the big screen. Despite his best efforts, however, he announced that the NY Met was filing for bankruptcy in 2013 and would cease to exist.There are few events better than discovering a new rendition of a classic tale, performed brilliantly. The future of New York’s Metropolitan Opera House, however, is in jeopardy as its leadership scrambles to develop a plan to salvage this once proud company.FROM HEADLINERS TO SHOW STOPPERSTo understand the decline of The Met, it is helpful to have a clear understanding of t he key players involved in the crisis. Within The Met there are four main groups that have leading roles in the drama that takes place â€" behind the curtain.Key players and their role in the crisisUnion Groups. One of the main roles at The Met belongs to the unions. To begin with, the Met is made up of sixteen union groups. These groups control everything from opening the door in the morning, building and maintaining the set, the orchestra, the stage hands and more. In an effort to reduce the company’s deficit, the Met asked union groups to accept a plan that would reduce their compensation. The unions refused and went on strike. The unions’ assertion that the two-thirds of $327 million operating costs that go to the unions aren’t enough to maintain the union’s standards is interesting. This claim seems ludicrous in light of the imminent demise of the company altogether. Rather than accepting a slightly lower paycheck, they would rather receive nothing if it means not havin g to compromise.Managers. The general overseer of the opera house, the manager is primarily responsible for the day to day operations and planning of the company. Under the leadership of a strong manager, the company thrives. The development of new ideas and opportunities falls to the manager, and the failure to maintain the opera’s vision also is laid upon the manager. The manager oversees the budget, and is responsible to negotiate with the unions for the responsibilities and compensation for the year. Under the current manager’s leadership, the opera house was on the brink of collapse due to increased spending and a reduced income.Contributors/Sponsors. The NY Met Opera House is funded primarily by contributors or sponsors. This can be through corporate sponsorships, personal endowments and other events though the year that are generating both interest and support.Endowment Fund. A source of income, the opera company would use a percentage of the interest from the endowment t o supplement their other income. By withdrawing a percentage of the principle, not the interest, the endowment has suffered and will quickly be used up if alternative measures are not taken.Strategic MisstepsWith the benefit of hindsight, it is clear to see a path of strategic missteps taken by the opera. One of the initial elements that began the downward spiral was the conversion of the opera company to a travelling show. While initially, the benefit seems to be twofold: increase the Opera House’s visibility and generate additional revenue, the execution of the plan did not work as expected. The addition of a travelling company to an already taxed budget left no room for a conversion to travelling. Additionally, taking the show on the road added to concerns about the safety of the show, including actors and musicians.Another tactic that was tried early on was the reduction of the number of shows that the company offered. An exhausting regimen of over 200 performances a year was cut to less than 20 in an extreme effort to complete the sale. The obvious solution to financial worries may not always be the most efficient one; however, as the reduced number of shows limited the opportunities the company had to sell tickets.In the world of the opera, the unions have a large amount of power. By failing to negotiate with the unions early in the process, the entire company ground to a halt when the unions went on strike. A refusal to negotiate and an almost arrogant approach to compromising with the union could have been the end of the negotiation process.Instituting a new breed of opera experiences was one method of expanding the revenue stream. The Live performances are broadcast at movie theaters across the country. Initially it appeared as though the idea would be a success, but the ticket sales quickly stagnated. With ticket sales at a plateau, the live performance shows seem to be a revenue loss.While scrambling to find new revenue streams, the management of The Met began to use the principle of the endowment, not the interest. In previous years, the interest of the endowment would be used to supplement the revenue of the company. Now, as the principle begins to dwindle and the ticket sales are down, the smaller endowment may never recover from the amount taken.The management came up with a solution: cut wages. Unfortunately, he forgot to clear it with the unions, and they were not happy with the arrangement. With both sides failing to reach an agreement, the unions went on strike and the company shut down. Protesters picketed, the public reacted with opinions in the paper and eventually the management sat down with the protestors.Quickly running out of money, the opera had no choice but to announce its intention to file for bankruptcy protection. While advocates of the opera demanded that the city step in, the mayor refused, claiming that the opera company needed to get a handle on their out of control spending.Outside ForcesAlthough t here are several factors within the opera house that affected the profitability, there are several outside forces which combined to create a hostile environment for the opera company. Higher production costs drove the prices of everything on stage up, forcing the artist’s creativity and talent for making more out of less. Finding ways to reduce these costs while still maintaining a standard of excellence is the opera company’s goal.The higher production costs combined with dwindling ticket sales created a budget deficit that may take years to recover from. The overall economy has declined, and people are spending less discretionary money. This reduction in ticket sales can lead to devastating revenues.CHANGING COURSE: THE NEW BUSINESS MODELRenegotiate union contractsOne of the primary components in the new business model is the renegotiated staff and union contracts. By sitting down to negotiate with the unions, the management and the union leaders were able to come to an agreem ent that both parties could abide by. Referring to their agreement as ‘an equality of sacrifice’, both parties were able to walk away from the negotiation table with a plan they could feel comfortable with. In addition, both parties agreed to work with an independent financial analyst to monitor the continued growth of the new model. As part of the new deal, the management agreed to a reduction in administrative payroll costs that were equal to the cuts in labor. The general manager also voluntarily took a pay cut of over $1 million annually as part of the sacrifices being made to save The Met. Revenue Enhancement StrategiesA primary complaint of the labor unions was the lack of new sponsors. This created an environment where the largest source of revenue was coming from ticket sales, which had dwindled down to an alarming 79% of previous year’s attendance. As part of the renegotiated contracts, the management agreed to actively seek additional sponsors to supplement the endow ment and ticket revenue.Another strategy to increase revenue is to expand the show offerings. The addition of the live performances was creative and trendy, but tickets sales stagnated quickly. Additional show offerings must be developed in order to continue to attract new attendees while maintaining the existing opera aficionados.Control ExpensesSpending for the NY Met skyrocketed with the advancement of the new general manager in 2006. The investment in new shows, launching the live performance program and expanded facilities forced the company to institute a pay cut across the board for the company. During the negotiations, union leaders expressed dismay at the excessive spending that had been taking place. The resulting compromise included a premise that spending would be curtailed.LESSONS FOR ENTREPRENEURSWhat lessons can an entrepreneur learn from this tragic tale of woe (one can imagine the mournful sounds of a dying song playing in the background)? The long, rich history of the New York Metropolitan was almost erased from the annuals of history, in part due to the actions (and failures) of the people who were actively engaged in the daily operation of the company. How can an entrepreneur avoid these same pitfalls?Take action early. When finances start to get tight, the natural reaction is to keep everything on a short financial leash and ‘keep an eye on things’. While a natural response, this can be a deathblow to a company on its last legs. It is wise to observe the operations of the company, but it should never take the place of action.Be proactive. Don’t wait for a small problem to snowball into a huge disaster. The NY Met failed to take action in light of dwindling attendees and the rising costs of set construction.Make hard decisions. It is easy to become emotionally attached to parts of the company that you’ve built. The processes that you’ve put into place, the employees that you hired, even the building that you established your compa ny in can all become ‘icons’ that are hard to replace. Unfortunately, those same icons can become anchors that prevent a company from moving forward because you are trapped in the past. It is never easy to make hard decisions, which is why there are much fewer bosses than there are employees; someone has to make the tough calls. When a company is in financial distress, it is not time to wax nostalgic about the days gone by, it is time to be proactive and make the necessary decisions to move the company forward.Stay in communication with all parties. No one likes to admit that they are having problems. Financial problems, especially, seem to be difficult to talk about. As an entrepreneur, however, it is essential that open communication is maintained during financial stress. Keeping the investors, employees and other active parties in touch with what is going on is an excellent way to help share the burden, as well as enlisting help in developing strategic plans for the future.St rategic planning and oversight is essential. It is important to have a strategic plan for the future, but the plan is worthless if there is no oversight to ensure that the plan is being followed. In addition, monitoring the success and/or failure of a plan can provide guidance about pivoting or expansion.The crisis at the NY Metropolitan Opera has been averted, temporarily. Thanks to decisive action, enduring negotiations and a continuing commitment to the arts, The Met has a new business model to take into the future. Despite how one may feel about the performance of opera, there is a sense of satisfaction that the cultural icon will continue to shine. Image credit:  Wikimedia commons | Robert N. Dennis collection under public domain.

New York Metropolitan Opera

New York Metropolitan Opera The opera has long been regarded as the epitome of entertainment among the wealthy, as well as a symbol of a well-educated mind. For many, attending a performance at a famed opera house is a once in a lifetime opportunity. Offering a mix of both classical and new operas, the opera house becomes the doorway to an enchanted land.The process of creating that fantasy land, however, is based in a startling reality of paperwork and business plans. For the New York Metropolitan Opera, reality came crashing into their fantasy world as bankruptcy loomed.Are there lessons that can be learned from opera’s stage? No subtitles required â€" the new business model of the New York Metropolitan Opera provides clear lessons for entrepreneurs at every stage of business. © Shutterstock.com | Sean PavoneAfter taking a look at 1) the New York Met’s history, understanding how the Met went from 2) headliners to show stoppers and 3) discovering how the NY Met changed course with a new business model, you’ll be prepared for 4) lessons for entrepreneurs that can help revitalize (or continue to improve) your business.NY MET HISTORY © Wikimedia commons | Robert N. Dennis collectionPerhaps one of the most famed opera houses in the world, the New York Metropolitan Opera is America’s largest classical music organization. Established in the late 19th century, The Met began as an alternative to the other opera house of the time, the Academy of Music. Membership to The Academy of Music was a status symbol; admittance was restricted to the highest levels of society. The Academy embraced old money and saw little reward in allowing the industrialists of the time, who were newly rich, to join their ranks. In response to this social snubbing, the Met was formed to allow New York’s rising wealthy access to the entertainment world. With three levels of private seating and plenty of space to ‘see and be seen’, the Met quickly replaced The Academy as the highlight of the social scene and has remained at the forefront of society’s cultural observations ever since.The popularity of the NY Met continued to grow through the 1900’s and the opera house underwent several transformations as a result. Transitioning from a theater-styled event that hired managers to produce operas into a national touring company helped to thrust the Met into the lives (and hearts) of Americans. The Met Opera Company began a tradition of performing regularly in Philadelphia, an 81 year tradition that brought opera to the city every Tuesday night.Through the early years of the opera’s history, the need to transition from being a theater style opera to a full scale production opera house became more and more evident. Hiring a General Manager to oversee the daily operations of the organization was necessary and profitable for the company. A succession of general managers took over the running of the organization, sometimes in a shared authority role with artists.For the first several years, the company was plagued with dismal financial success, primarily caused by the attempt to schedule as many performances as possible into a calendar year. A lack of oversight and a weak business plan were instrumental in keeping the Met on shaky ground. It wasn’t until the 1990’s that a new general manager took over with a distinct plan for the future that people began to notice something about the Met’s business plan was awry. During the 16 years of Joseph Volpe’s leadership, the Met expanded its showings â€" offering four world premiers and 22 Met premiers. An expanded international touring plan was implemented, the Met’s orchestra was built into a symphonic ensemble and the future for the beloved company seemed bright. Volpe retired in 2006, and a new visionary took over the planning and managing of the Met.The new general manager of The Met, Peter Gelb, detailed his plan for the future of The Met, and it was breathtaking. Expand the opera’s showings, attract new viewers (without losing any of the current attendees) and reduce staging costs were all on the new manager’s To-Do list. Gelb initiate d a series of collaborative efforts with other opera companies to bring new productions to the NY Met. In addition, he began to include directors of alternative industries in the production of The Met’s original programming; bringing in film, circus and theater directors. He expanded the offerings of The Met by introducing the concept of live viewings in high definition to movie theaters around the world â€" allowing attendees to enjoy a full-scale live production all on the big screen. Despite his best efforts, however, he announced that the NY Met was filing for bankruptcy in 2013 and would cease to exist.There are few events better than discovering a new rendition of a classic tale, performed brilliantly. The future of New York’s Metropolitan Opera House, however, is in jeopardy as its leadership scrambles to develop a plan to salvage this once proud company.FROM HEADLINERS TO SHOW STOPPERSTo understand the decline of The Met, it is helpful to have a clear understanding of t he key players involved in the crisis. Within The Met there are four main groups that have leading roles in the drama that takes place â€" behind the curtain.Key players and their role in the crisisUnion Groups. One of the main roles at The Met belongs to the unions. To begin with, the Met is made up of sixteen union groups. These groups control everything from opening the door in the morning, building and maintaining the set, the orchestra, the stage hands and more. In an effort to reduce the company’s deficit, the Met asked union groups to accept a plan that would reduce their compensation. The unions refused and went on strike. The unions’ assertion that the two-thirds of $327 million operating costs that go to the unions aren’t enough to maintain the union’s standards is interesting. This claim seems ludicrous in light of the imminent demise of the company altogether. Rather than accepting a slightly lower paycheck, they would rather receive nothing if it means not havin g to compromise.Managers. The general overseer of the opera house, the manager is primarily responsible for the day to day operations and planning of the company. Under the leadership of a strong manager, the company thrives. The development of new ideas and opportunities falls to the manager, and the failure to maintain the opera’s vision also is laid upon the manager. The manager oversees the budget, and is responsible to negotiate with the unions for the responsibilities and compensation for the year. Under the current manager’s leadership, the opera house was on the brink of collapse due to increased spending and a reduced income.Contributors/Sponsors. The NY Met Opera House is funded primarily by contributors or sponsors. This can be through corporate sponsorships, personal endowments and other events though the year that are generating both interest and support.Endowment Fund. A source of income, the opera company would use a percentage of the interest from the endowment t o supplement their other income. By withdrawing a percentage of the principle, not the interest, the endowment has suffered and will quickly be used up if alternative measures are not taken.Strategic MisstepsWith the benefit of hindsight, it is clear to see a path of strategic missteps taken by the opera. One of the initial elements that began the downward spiral was the conversion of the opera company to a travelling show. While initially, the benefit seems to be twofold: increase the Opera House’s visibility and generate additional revenue, the execution of the plan did not work as expected. The addition of a travelling company to an already taxed budget left no room for a conversion to travelling. Additionally, taking the show on the road added to concerns about the safety of the show, including actors and musicians.Another tactic that was tried early on was the reduction of the number of shows that the company offered. An exhausting regimen of over 200 performances a year was cut to less than 20 in an extreme effort to complete the sale. The obvious solution to financial worries may not always be the most efficient one; however, as the reduced number of shows limited the opportunities the company had to sell tickets.In the world of the opera, the unions have a large amount of power. By failing to negotiate with the unions early in the process, the entire company ground to a halt when the unions went on strike. A refusal to negotiate and an almost arrogant approach to compromising with the union could have been the end of the negotiation process.Instituting a new breed of opera experiences was one method of expanding the revenue stream. The Live performances are broadcast at movie theaters across the country. Initially it appeared as though the idea would be a success, but the ticket sales quickly stagnated. With ticket sales at a plateau, the live performance shows seem to be a revenue loss.While scrambling to find new revenue streams, the management of The Met began to use the principle of the endowment, not the interest. In previous years, the interest of the endowment would be used to supplement the revenue of the company. Now, as the principle begins to dwindle and the ticket sales are down, the smaller endowment may never recover from the amount taken.The management came up with a solution: cut wages. Unfortunately, he forgot to clear it with the unions, and they were not happy with the arrangement. With both sides failing to reach an agreement, the unions went on strike and the company shut down. Protesters picketed, the public reacted with opinions in the paper and eventually the management sat down with the protestors.Quickly running out of money, the opera had no choice but to announce its intention to file for bankruptcy protection. While advocates of the opera demanded that the city step in, the mayor refused, claiming that the opera company needed to get a handle on their out of control spending.Outside ForcesAlthough t here are several factors within the opera house that affected the profitability, there are several outside forces which combined to create a hostile environment for the opera company. Higher production costs drove the prices of everything on stage up, forcing the artist’s creativity and talent for making more out of less. Finding ways to reduce these costs while still maintaining a standard of excellence is the opera company’s goal.The higher production costs combined with dwindling ticket sales created a budget deficit that may take years to recover from. The overall economy has declined, and people are spending less discretionary money. This reduction in ticket sales can lead to devastating revenues.CHANGING COURSE: THE NEW BUSINESS MODELRenegotiate union contractsOne of the primary components in the new business model is the renegotiated staff and union contracts. By sitting down to negotiate with the unions, the management and the union leaders were able to come to an agreem ent that both parties could abide by. Referring to their agreement as ‘an equality of sacrifice’, both parties were able to walk away from the negotiation table with a plan they could feel comfortable with. In addition, both parties agreed to work with an independent financial analyst to monitor the continued growth of the new model. As part of the new deal, the management agreed to a reduction in administrative payroll costs that were equal to the cuts in labor. The general manager also voluntarily took a pay cut of over $1 million annually as part of the sacrifices being made to save The Met. Revenue Enhancement StrategiesA primary complaint of the labor unions was the lack of new sponsors. This created an environment where the largest source of revenue was coming from ticket sales, which had dwindled down to an alarming 79% of previous year’s attendance. As part of the renegotiated contracts, the management agreed to actively seek additional sponsors to supplement the endow ment and ticket revenue.Another strategy to increase revenue is to expand the show offerings. The addition of the live performances was creative and trendy, but tickets sales stagnated quickly. Additional show offerings must be developed in order to continue to attract new attendees while maintaining the existing opera aficionados.Control ExpensesSpending for the NY Met skyrocketed with the advancement of the new general manager in 2006. The investment in new shows, launching the live performance program and expanded facilities forced the company to institute a pay cut across the board for the company. During the negotiations, union leaders expressed dismay at the excessive spending that had been taking place. The resulting compromise included a premise that spending would be curtailed.LESSONS FOR ENTREPRENEURSWhat lessons can an entrepreneur learn from this tragic tale of woe (one can imagine the mournful sounds of a dying song playing in the background)? The long, rich history of the New York Metropolitan was almost erased from the annuals of history, in part due to the actions (and failures) of the people who were actively engaged in the daily operation of the company. How can an entrepreneur avoid these same pitfalls?Take action early. When finances start to get tight, the natural reaction is to keep everything on a short financial leash and ‘keep an eye on things’. While a natural response, this can be a deathblow to a company on its last legs. It is wise to observe the operations of the company, but it should never take the place of action.Be proactive. Don’t wait for a small problem to snowball into a huge disaster. The NY Met failed to take action in light of dwindling attendees and the rising costs of set construction.Make hard decisions. It is easy to become emotionally attached to parts of the company that you’ve built. The processes that you’ve put into place, the employees that you hired, even the building that you established your compa ny in can all become ‘icons’ that are hard to replace. Unfortunately, those same icons can become anchors that prevent a company from moving forward because you are trapped in the past. It is never easy to make hard decisions, which is why there are much fewer bosses than there are employees; someone has to make the tough calls. When a company is in financial distress, it is not time to wax nostalgic about the days gone by, it is time to be proactive and make the necessary decisions to move the company forward.Stay in communication with all parties. No one likes to admit that they are having problems. Financial problems, especially, seem to be difficult to talk about. As an entrepreneur, however, it is essential that open communication is maintained during financial stress. Keeping the investors, employees and other active parties in touch with what is going on is an excellent way to help share the burden, as well as enlisting help in developing strategic plans for the future.St rategic planning and oversight is essential. It is important to have a strategic plan for the future, but the plan is worthless if there is no oversight to ensure that the plan is being followed. In addition, monitoring the success and/or failure of a plan can provide guidance about pivoting or expansion.The crisis at the NY Metropolitan Opera has been averted, temporarily. Thanks to decisive action, enduring negotiations and a continuing commitment to the arts, The Met has a new business model to take into the future. Despite how one may feel about the performance of opera, there is a sense of satisfaction that the cultural icon will continue to shine. Image credit:  Wikimedia commons | Robert N. Dennis collection under public domain.

How MRSA Became Resistant To Antibiotics And Became Such a Prevalent Organism - Free Essay Example

Sample details Pages: 8 Words: 2422 Downloads: 8 Date added: 2017/06/26 Category Medicine Essay Type Analytical essay Level High school Did you like this example? Discuss how MRSA became resistant to antibiotics and became such a prevalent organism associated with British hospitals. Explain how MRSA is treated and touch upon the wider implications for antibiotics and the future of healthcare. Introduction It may be argued that micro-organisms are the most successful life form on the planet partly due to their pervasive presence and their utilisation of any available food source, including humans. The ubiquitous presence of micro-organisms and their astronomic numbers give rise to many mutations that account for rapid evolutionary adaptation and in part for emerging antibiotic resistance (Evans and Brachman 1998). Don’t waste time! Our writers will create an original "How MRSA Became Resistant To Antibiotics And Became Such a Prevalent Organism" essay for you Create order Bacteria have evolved numerous structural and metabolic virulence factors that enhance their survival rate in the host. Once such bacteria is Meticillin Resistant Staphylococcus aureus (MRSA). What is MRSA and why did resistance occur? The genus Staphylococcus are non-motile, Gram-positive cocci, measuring 0.5-1.5 µm in diameter and are commonly found in the nose and on skin. They can occur singly, in pairs, short chains or in grape like clusters. There are several species but Staphylococcus aureus has been a significant pathogen for humans for many years. It is different from other Staphylococci because it produces the enzyme coagulase. Potential virulence factors include surface proteins, which promote colonisation and membrane damaging toxins that can either damage tissue or invoke other disease symptoms. Before the emergence of antibiotics, the mortality rate for Staphylococcus aureus infections was 80% (Fedtke et al 2004). The versatile organism has developed a resistance to Meticillin due to its mobile genetic element the mecA gene, which is found in the Staphylococcal cassette chromosome mec (SCCmec) and this mediates the resistance to ÃŽÂ ²-lactam antibiotics such as Meticillin (Greenwood 2000). Of the current antimicrobial resistant organisms, Meticillin-resistant Staphylococcus aureus (MRSA) is probably the most challenging in a hospital setting. MRSA first came to the publics attention, here in the UK, in the 1980s when the first epidemic strain, Epidemic Meticillin-resistant Staphylococcus aureus (EMRSA was identified. Subsequently a further sixteen epidemic strains have been recognised. Each strain has its own genetic makeup and display resistance to different antibiotics. EMRSA -15 and EMRSA -16 are the most common strains found in the UK, accounting for 96% of all MRSA bacteraemia. Worryingly, a new strain, EMRSA à ¢Ã¢â€š ¬Ã¢â‚¬Å" 17 was identified in 2000. Not only did it display resistance to the previously recognised antibiotics but also Fusidic acid, Rifampicin, Tetracycline and sometimes Mupirocin. Evolution and natural selection have produced the mechanism through which micro-organisms can adapt to their ever changing environment, including resistance t o natural and man made antibiotics. Bacteria including Staphylococcus aureus are adept at infecting and colonising humans and also aid other microbes to cause infection by producing anti-inflammatory molecules, which allow microbes to evade the bodys immune system (Fedtke et al 2004). They are also able to hide in biofilms and proteins called defensins.Therefore bacteria successful in these evasive strategies are able to pass these strategies down the generations in a process called horizontal gene transfer (Bush 2004). However, this is not a new phenomenon. As far back as 1940, the journal Nature published an article describing the discovery of an enzyme that destroyed Penicillin called Beta-lactamase. Two mechanisms are used by Staphylococcus aureus to cause infection (Roghmann et al 2005). These are toxin production and tissue invasion. Toxin production is exemplified in gastroenteritis resulting from consuming Staphylococcal enterotoxins in food and tissue invasion is demonst rated in the classical abscess comprised of pus contained in a fibrin wall and surrounded by inflamed tissues. Why a hospital problem? Staphylococci are the classic hospital acquired bacteria and Staphylococcus aureus is the commonest cause of surgical site infection. For years, glycopeptides, such as Vancomycin have been the first choice for serious Staphylococcus aureus infections. Now clinicians are facing strains with reduced susceptibility to glycopeptides, with no decline in virulence (Dancer 2003). Within the hospital environment there are recognised high risk areas/departments where patients are at greater risk of infection. Two such areas are intensive care units and burns units. Examples of factors associated with higher risk MRSA acquisition are previous antibiotic therapy and frequent admissions. The more often a patient is admitted to hospital the greater the chance of exposure to MRSA and being prescribed antibiotics. Patients and their pre-disposing factors,,for example, being immunocompromised,and having wounds make them more susceptible to acquiring MRSA, In addition the healthcare workers and the environment are also potential reservoirs of MRSA. The environment as a reservoir has been more difficult to assess (Dancer 2004), although work done by Rayner 2003 confirmed that MRSA has been isolated on patient equipment. The term risk factors, which are often used in relation to MRSA, apply to the strength of association between the organism and the odds of going onto develop an infection. The factors responsible for increasing resistance are complex and varied as are the potential strategies for overcoming the problem. Inappropriate prescribing and overuse of antimicrobials by clinicians may be driven by lack of understanding of the problem and inadequate surveillance for resistance. Poor prescribing and increasing resistance however not the only issue in the management of Staphylococcus aureus. This is where medical microbiologists are pivotal in the appropriate use of antimicrobials. They can provide clinicians with laboratory reports that contain a restricted nu mber of antimicrobial sensitivities, as well as advising on the correct method and appropriate specimen to obtain. This saves time and resources. Therefore the patient should receive the appropriate antimicrobial treatment at an earlier stage. However, it needs to be acknowledged that prescribers prefer and adhere more closely to policies that take an educational rather than a restrictive approach. Some view policies as rigorous and fixed and relate better to guidelines, that are seen as more flexible and acknowledge that some patients will fall outside of the recommendations (Binyon 2000). There are also legal aspects to consider, as it is more difficult to justify action taken outside a policy than a guideline. Ideally a guideline will limit antimicrobial prescribing to situations where there is a clear indication for their use and that they should be administered for the shortest effective duration. The drug of choice should be appropriate, narrowest in spectrum and correct in dose and duration (SIGN 2000). Prophylactic antimicrobials should be only given for the recommended period. Emmerson (2000) argued that perhaps a guidelines most important function is that of a vehicle for ensuring regular discussion amongst those concerned. A study by Harrison (1998) found that approximately 20% of all prescribed antimicrobials relate to hospitalised patients. Of this 20%, 20-50% was unnecessary. His study also revealed that 25-50% of all hospital admissions receive an antimicrobial at some point during their stay. The study also made the point that even if numerous bacteria are killed during a single course of antimicrobials, if one mutant microbe remains in that patient; the possibility exists for the rapid establishment of a resistant population. Current problems within the National Health Service exacerbate the issue. These problems include hot bedding, overcrowding of wards, understaffing, inadequate cleaning, poor laundry services, patient relocatio n and poor isolation facilities. Dancer and Gemmill (2003) argue that erosion of hygiene standards emanated from the ready provision of antimicrobials. Numerous guidelines have been written in order to attempt to control these problems. However sometimes what is good in theory is not so good in practice and there may be various explanations for this failure. Regardless of how sound the principles are, there may be insufficient resources to implement them. A prime example here is lack of isolation facilities in hospitals (Cooper 1999). There is a wide variance in which resistance is handled in different hospitals. Some hospitals isolate and treat the patient regardless as to whether or not the patient is colonised or infected. Therefore risk assessment in conjunction with the infection control team on a case-to-case basis is vital when resources are scarce. Presently Vancomycin and Teicoplanin are used to treat MRSA infections. The majority of patients are colonised and are asy mptomatic. They carry MRSA on skin or in the naso-pharynx. Patients who are found to be colonised in hospital settings are actively treated or decolonised. This is done by prescribing five days of a body wash used either in the bath or shower. The wash is also used to cleanse the hair. The wash includes chlorhexidine gluconate and is effective but known to dry out the skin with prolonged use. In conjunction with the body wash the patient is also prescribed a nasal cream which is applied 3 times a day for 5 days to both nares. The cream usually used is Bactroban which contains Mupirocin. For MRSA cases displaying intermediate or total resistance to Mupirocin, the cream of choice is Naseptin (BNF 2015). Discussion Antibiotic resistance may lead to routine infections being fatal. Antibiotics are losing their effectiveness at a rate that is both alarming and irreversible. The media talks of a post antibiotic era or antibiotic Armageddon. So what of the future? Researchers are developing a vaccine. In order to achieve herd immunity, 85% of the population would require to be vaccinated and the vaccine would also have to provide protection against all the strains to which someone is likely to be exposed. However, limited vaccination of at risk groups may be possible (Farr 2004). Work is also ongoing in regard to lysostaphin, which is an enzyme that causes the cell wall in Staphylococcus aureus to rupture. It was first described 40 years ago. As it is specific to Staphylococcus aureus, it would not interfere with normal commensal flora. It could be used to reduce nasal carriage and subsequently reduce infection rates. Early clinical trials have been positive. Assuming all the issues above we re overcome, resistance still would not disappear. Thus there remains a need to continue with research into how and why bacterial mutations occur and into the development of new innovative drugs, vaccines and diagnostics. More resources need to be channelled into education of health care professionals, allied with effective infection control measures. Every healthcare worker has a duty of care to comply with infection control policies. As long as infection control procedures are adhered to, hygiene improves and antibiotics are used prudently, there is the prospect of bringing MRSA under control in the hospital setting. However, we have to be aware that emphasising the importance of MRSA colonisation via policies and guidelines may result in accidental neglect of the factors that cause infection. As MRSA will continue to spread in the wider community, via both humans and animals, some of the strains spread may be highly toxic and with an ageing population and increasing numbers of immuno-compromised patients, the danger will only increase. As more advances are made in medicine, these vulnerable populations will also increase. Those at most risk are those in long-term care homes, of which there is an ever-increasing number. While cross infection routes are relatively easily defined in a hospital setting, the situation in the community is not and because care homes are major feeders when it comes to hospital admissions, the impact on the crisis stricken NHS will continue. Therefore MRSA screening was welcomed when introduced in 2013 across the UK following a nationwide study of the efficacy of screening patients on admission to hospital (HPS 2009). The aim of screening patients for MRSA is to identify patients that are colonised or infected with the organism. These patients can then be managed appropriately to reduce the risk of self-infection and of transmitting the organism to other patients. As for MRSA rates being indicators of quality healthcare, they should be considered as tools that prompt further inquiry, rather than permitting judgements on quality of care. Conclusion MRSA has the capability to cause misery, morbidity and even fatalities under certain circumstances. The body is an incredibly complex machine; scientists are making striking advances in elucidating the precise molecular basis for the interaction between adherence surface structures of an organism and corresponding specific surface receptors on a host cell. Much more has still to be learned and microbiology will continue to play a huge part in research in order to understand the mechanisms of pathogenicity and the development of antibiotic resistance. This is essential for future treatment and prevention of infections allowing humans and micro-organisms to continue to co-exist. Prevention and control of healthcare acquired infection demands the continual development of intervention strategies aimed at curtailing further antimicrobial resistance and reducing the spread of existing infection. Success however will only be achieved with a multi disciplinary approach at individual and organisational level. Infection prevention has to become an integral part of everyday healthcare practice (Fairclough 2006). Bibliography Binyon D. (2000) Restrictive antibiotic policies à ¢Ã¢â€š ¬Ã¢â‚¬Å" how effective are they? Hospital Pharmacist, Vol. 7(7), pp183-187. British National Formulary (BNF) 69 (March 2015) Joint Formulary Committee. BMJ Publishing Group Ltd. And Royal Pharmaceutical Society. Bush K. (2004) Antibacterial drug discovery in the 21st century. Clinical Microbiology and Infection, Vol. 10 (Supplement 4), pp 10-17. Cooper B. S., Medley G. F. and Scott G. M. (1999) Preliminary analysis of the transmission dynamics of nosocomial infections: stochastic and management effects. Journal of Hospital Infection, Vol.43, pp131-147. Dancer S. J. (2003) Glycopeptide resistance in Staphylococcus aureus. Journal of Antimicrobial Chemotherapy. Dancer S. J. (2004) How do we assess hospital cleaning? A proposal for microbiological standards for surface hygiene in hospitals. Journal of Hospital Infection, Vol. 56, pp 10-15. Dancer S. J. and Gemmell C. G. (2003) Control of MRSA à ¢Ã¢â€š ¬Ã¢â‚¬ Å" Can Scotland Win? In SCIEH Weekly Report 2003; 37(01). Emmerson A. M. (2000) Control of the spread of resistance. Chp. 14 in Greenwood D. (ed)(2000) Antimicrobial Chemotherapy, 4th edition, Oxford University Press. Evans A. and Brachman P. (1998) Bacterial Infections of Humans: Epidemiology and Control. Rd Edition, Plenum Medical Book Company, New York. Fairclough S. J. (2006) Why tackling MRSA needs a comprehensive approach. British Journal of Nursing, Vol. 15(2), pp 72-75 Farr B. M. (2004) Prevention and control of methicillin-resistant Staphylococcus aureus infections. Current Opinion in Infectious Diseases, Vol. 17, pp 317-322. Fedtke I.,Gotz F., and Peschel A. (2004) Bacterial evasion of innate host defences à ¢Ã¢â€š ¬Ã¢â‚¬Å" the Staphylococcus aureus lesson. International Journal of Medical Microbiology, Vol. 294, pp 189-194. Greenwood D. (2000) Antimicrobial Chemotherapy, 4th edition, Oxford University Press. Harrison P. f. and Lederburg J. (eds) (199 8) Antimicrobial resistance: issues and options. Washington DC: National Academy Press. Health Protection Scotland on behalf of Pathfinder Health Boards (Dec. 2009) Final Report Volume 1: An investigation of the clinical effectiveness of MRSA screening. Glasgow: Health Protection Scotland. Rayner D (2003) MRSA: an infection control overview. Nursing Standard, Vol. 17(45), pp 47-53. Roghmann M., Taylor K.L., Gupte A., Zhan M., Johnson J. A., Cross A., Edelman R. and Fattom A.I. (2005) Epidemiology of capsular and surface polysaccharide in Staphylococcus aureus infections complicated by bacteraemia. Journal of Hospital Infection, Vol. 59, pp 27-32. Scottish Intercollegiate Guidelines Network (2000) Antibiotic Prophylaxis in Surgery. SIGN Publication No. 45, July. www.sign.ac.uk

How Children Succeed Grit, Curiosity, And The Hidden...

What is the key to children s success? Paul Tough, author of How Children Succeed: Grit, Curiosity, and the Hidden Power of character, with Andre Perry, author of Why Mentors need to Stop Trying to Fix Black and Brown Students, and Black and Brown Boys Don t Need to Learn Grit, They Need School to Stop Being Racist and Eric Liu, author of What American Should Know: Defining Common Cultural Literacy for an Increasingly Diverse Nation, these three author claims they have the solution for a child s success their strategies is the best way for a child to thrive in life. These authors have one goal in mind and that s to help expand child education; however, they all have a different view on how to achieve that road. Even Tough, in†¦show more content†¦Metacognition is the driving force for Children to succeed by encouraging cognition self-reflection also known as effective discipline techniques. The result in cognition self-reflection helps children understand their mistake also learn from their mistake by keeping their emotion in check. Tough empathizes, You go over the mistake you made –or the mistakes you keep making – and get to the bottom of why you made them.(115). This idea is significant because children can look over what they did wrong continuously furthermore by analyzing the situation of what went wrong until they figuring out what they did wrong, therefore, to avoid that same mistake yet again. Tough illustrate take responsibility for their mistakes and learn from them without obsessing over them or beating themselves up for them.(115). The point is children overcome from their mistake moreover learn from it without being upset or giving themselves a difficult time for doing the wrong fixation. Children who can look deeply at their own mistake and reflect on that mistake by analyzing what they could have done differently to avoid making the same mistake. Self-reflection is the motivating force of metacognition. In addition, metacognition allow children to succeed by developing cognitive self-control. Self-control empowers children it helps them maintain their emotion through sheer power. In chapter 3, Tough introduce Jonathan Rowan, author of The Seven Deadly ChessShow MoreRelatedDeveloping Management Skills404131 Words   |  1617 PagesHuman Resources, Strategy, and Organizational Behavior that helps you actively study and prepare material for class. Chapter-by-chapter activities, including built-in pretests and posttests, focus on what you need to learn and to review in order to succeed. Visit www.mymanagementlab.com to learn more. DEVELOPING MANAGEMENT SKILLS EIGHTH EDITION David A. Whetten BRIGHAM YOUNG UNIVERSITY Kim S. Cameron UNIVERSITY OF MICHIGAN Prentice Hall Boston Columbus Indianapolis New York San Francisco

Essay on Kurt Vonnegut’s novels Cat’s Cradle and...

An Existence based on Forma (harmless untruths) â€Å"No wonder kids grow up crazy. A cat’s Cradle is nothing but a band of X’s between someone’s hands and little kid’s look and look at all those X’s†¦ No damn cat and no damn cradle,† Vonnegut writes is his appropriately titled book Cat’s Cradle. A cat’s cradle is a string trick we all grew up learning and seeing, and it is just as Vonnegut described, nothing. Everyday we experience things like a cat’s cradle; we experience insignificant objects, feelings, or idols that we base our life on. We base and change our lives off of things with no real significance. 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Vonnegut is described by Lindsay Clark as, â€Å"Worse than a pessimist†¦ he is an eternal optimist doomed to disappointment† (Clark, â€Å"Viewing Four Vonnegut NovelsRead MoreKurt Vonnegut s Slaughterhouse Five 1901 Words   |  8 PagesKurt Vonnegut developed his view of America through a history of personal loss and trauma that was largely endured at the same time by his characters. As a child, Kurt Vonnegut lived in Indianapolis, Indiana, which he would use in many of his later novels. His father was a prominent architect, while his mother came from the family of a wealthy brewer. After the depression hit, his father lost his business and gave up, his mother became addicted to alcohol and prescription drugs. In his teen yearsRead MoreKurt Vonneguts Opinions Expressed in Player Piano, Cats Cradle, and Slaughterhouse-Five2290 Words   |  10 PagesKurt Vonn egut’s Opinions Expressed in Player Piano, Cat’s Cradle, and Slaughterhouse-Five Every so often, a person comes along and encompasses the meaning of a generation. This person will capture everything people want to say, and then word it so well that his or her name becomes legendary. The sixties was an era with many of these people, each with his or her own means of reaching the people. Kurt Vonnegut, Jr., armed with a typewriter and a motive, was amongst those that defined theRead More The Satire of Vonneguts Cats Cradle Essay1009 Words   |  5 PagesThe Satire of Cats Cradle      Ã‚  Ã‚   Cats Cradle is, Vonneguts most highly praised novel. Filled with humor and unforgettable characters, this apocalyptic story tells of Earths ultimate end, and presents a vision of the future that is both darkly fantastic and funny, as Vonnegut weaves a satirical commentary on modern man and his madness (Barnes and Noble n.pag).   In Cats Cradle, Kurt Vonnegut uses satire as a vehicle for threatened self-destruction when he designs the government of San LorenzoRead MoreKurt Vonneguts Tragic Path to Success1128 Words   |  5 PagesKurt Vonnegut, was born on November 11, 1922 in Indianapolis, Indiana, to American-German parents Kurt Vonnegut (Sr.), and Edith Vonnegut. Vonnegut had an older brother, Bernard and an older sister, Alice. Vonnegut graduated from Shortridge High School in Indianapolis in 1940 and went to Cornell University later that fall. Though he majored in chemistry, he was Assistant Managing Editor and Associate Editor of the Cornell newspaper. While at C ornell, Vonnegut enlisted in the United States Army. TheRead More Comparing Themes in Cat’s Cradle and Slaughterhouse Five1905 Words   |  8 PagesThemes in Cat’s Cradle and Slaughterhouse Five  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   Throughout his career, Kurt Vonnegut has used writing as a tool to convey penetrating messages and ominous warnings about our society. He skillfully combines vivid imagery with a distinctly satirical and anecdotal style to explore complex issues such as religion and war. Two of his most well known, and most gripping, novels that embody this subtle talent are Cats Cradle and Slaughterhouse-Five. Both books represent Vonnegut’s genius forRead More Kurt Vonnegut Jr.s Cats Cradle Essay3320 Words   |  14 PagesKurt Vonnegut Jr.s Cats Cradle In the early sixties, Kurt Vonnegut Jr. released his candidly fantastical novel, Cats Cradle. Within the text an entire religious sect, called Bokononism is born; a religion built on lies, absurdity, and irony. The narrator of Cats Cradle is Jonah, a freelance writer who characterizes Bokononism as being, free form as an amoeba (Vonnegut, Cats Cradle, 3). It is boundless and unpredictable as the unconscious itself. Bokonon lives on the impoverished islandRead MoreThe Life and Writings of Kurt Vonnegut Essay2248 Words   |  9 PagesKurt Vonnegut is celebrated as one of the most successful novelist in the Post-Second World War period in the America. His literary works have had varied impacts on American culture, including the use of the word â€Å"karass† amongst college students, the naming of the pop groups â€Å"Ice Nine Kills† and â€Å"The Billy Pilgrims†, and the frequent use of the term â€Å"So it goes† as written in Vonnegut’s obituary on the New York Times (Farrell, p.ix). This article examines the impacts of Vonnegut’s on his literaryRead MoreQuestioning the Value of Literary Realism in Slaughterhouse Five, Cats Cradle, and Mother Night734 Words   |  3 PagesQuestioning the Value of Literary Realism in Slaughterhouse Five, Cats Cradle, and Mother Night In questioning the value of literary realism, Flannery OConnor has written, I am interested in making a good case for distortion because it is the only way to make people see. Kurt Vonnegut writes pessimistic novels, or at least he did back in the sixties. Between Slaughterhouse Five, Mother Night, and Cats Cradle, Vonnegut paints a cynical and satirical picture of the degradation of society