Objectives Of A Co Operative Society Commerce Essay

Objectives Of A Co Operative Society Commerce Essay Anand Milk Union Ltd. was founded in 1946 and is brand which is managed by Gujarat Cooperative Milk Marketing Federation Ltd an Indian cooperative organisation (GCMMF), which today is jointly owned by 3.3 million milk producers in Gujarat, India. It spurred the white revolution in india which in turn made India the largest producer of milk and milk products in the world. Its annual turnover in the year 2011-2012 reached to US$ 2.5 billion. Its daily milk procurement is nearly 13 million lit from 16,117 village milk cooperative societies. GCMMF has now become the largest exporter of India. Many of its products are available in countries like USA, Gulf Countries, Singapore, The Philippines, Japan, China and Australia. Since the mid 1990s AMUL has entered areas that are not directly related to its core business. Its entry into the field of frozen products was quite successful as it was able to capture a large market share in quite a short while. Over the last five and a half decades, dairy cooperatives have created an economic network that links 3.1 million village milk producers with millions of consumers in India. Its products range from  milk,   butter, ghee,cheese, Masti Dahi, Yoghurt,   Buttermilk  chocolate,  ice cream, cream, shrikhand, paneer, gulab jamuns, flavoured milk, basundi, Nutramul brand and others. In January 2006, it launched Indias first sports drink Stamina, which plans to compete with Coco-Cola, Pepsi, Gatorade etc. It also introduced Kool Koko, a a chocolate milk brand extending its product offering in the milk products segment. Its sugar free pro-biotic ice cream won The International Dairy Federation Marketing Award in 2007. Logo Of The Company: 2.1 NATURE OF THE COMPANY The name Amul itself indicates that it is a co-operative union. There are various types of co-operative society which are as  under: (1) Producers or manufactures co-operative society (2) Consumer co-operative society (3) Housing co-operative society (4) co-operative farming (5) co-operative credit solvency This firm is the firm of association in which person combine together toform  a  society  for  the  purpose  of  manufacturing  goods.  Although  it  is democratic management of industrial production. This is useful where large capital is neither necessary nor much technical and expert knowledge of themanagement is needed. In India some of the Sugar mill and ginning mills are running under this formation. Dairies are also adopting co-operating format.Amul is the producers co-operative society. ORGANISATION STRUCTURE:- Organization Structure is divided into two parts: External Organization Structure Internal Organization Structure 1.External Organization Structure External Organization Structure is the organization structure that affects the organization from the outside. State Level Marketing Federation District Milk Product Union Ltd. Village Milk Product Union Ltd. Villagers As we know, GCMMF is a unit of Gujurat Milk Marketing Federation, which is a co-operative organization. The villagers of more than 10000 villages of Gujarat are the bases of this structure. They all make village milk producers union, district level milk producers union and then a state level marketing federation is established. The structure is a line relationship, which provides easy way to operation. It also provides better communication between two stages.. 2.Internal Organization Structure: The following is internal organization chart of Amul: Chairman Managing Director General Manager Assistant General Manager Finance Dept. Production Dept Marketing Dept. Sales Purchase Dept Personnel Dept. Senior Manager Senior Manager Senior Manager Senior Manager Senior Manager Finance Mana. Production Mana. Marketing mana. Sales Mana. Personnel Manager Accounting officer Marketing Officer P.R.F Officers Supervisors F.S.R Salesman Executive A  systematic  Ã‚  welldefined  organizational  structure  plays  a  vital   role  Ã‚  provides accurate information to the top-level management. An organization structure defines a clear-cut line of authorities responsibilities among the employees of GCMMF. The Organization structure of Amul is well-arranged structure. At a glance a person can completely come to know about  the organization structure. Amul  is  leaded  by  the  director  under  him  five  branches  viz.  Factory,  Marketing,Accounts, Purchase, Human Resources Department. Factory department has a separate general manager under him there are six braches viz.Production,  Stores,  Distribution,  Cold  Storage,  Quality,  and  Deep-freezing.  This department takes care of the  factory work .Marketing department has regional senior marketing manager and under him there is a regional manager. This department takes care  of the marketing aspects of Amul. Accounts  department  takes  care  regarding  accounts  i.e.  day-to-day  work.  Under  theaccountant there is one clerk. Purchase department takes care regarding the purchase of raw materials and many other things. 2.3 OBJECTIVES OF THE ORGANISATION Every organization is set up with some objectives to fulfill. The objectives may be social, economic, national and human. Amul was also set up with some basic objectives to fulfill including all social, economic, national and human objectives. Following are the objectives of Amul: Social Objectives: Amul has an objective to supply goods with best of quality and purity at very reasonable rates. It helped to reduce malpractices carried out by merchants and milk traders. Its White revolution made a huge contribution to the alleviation of poverty and famine levels from levels that were dangerously low National Objectives: Amul has helped India to increase its production of milk by 40 million metric tonnes and become the country with the most milk production all over the world To increase the foreign exchange of the country by exporting the milk products To produce products according to national priorities To help improve the health and nutrition of many within the country. Human Objectives: To help the villagers associated with Amul to sell their milk products To provide good working conditions to the employees To provide growth opportunities to the backward and unprivileged villagers To provide job satisfaction to the employees Economic Objectives: Expansion of distribution network.   Creative and Unique marketing strategies. Optimum utilization of available resources. Creation and expansion of loyal customer base. Even though the basic objective is not to make profit, some profits are still to be made so as to survive and expand. 3.1 CONCLUSION The Amul model has helped India to emerge as the largest milk producer in the world. More than 15 million milk producers pour their milk in 1,44,246 dairy cooperative societies across the country. Their milk is processed in 177 District Co-operative Unions and marketed by 22 State Marketing Federations, ensuring a better life for millions. Someone beautifully said that when you buy from small shops, you are not helping a MNC CEO buy a third vacation home, but helping a little girl get school education, a little boy get his cricket bat, a mom put food on the table or a family repay a housing loan. It is this India that we need to believe in and care for.-CHAIRMAN SPEECH at the 38th Annual General Body Meeting held on 31st May, 2012. We would sincerely like to thank our business studies teacher for giving us this project as it has enriched and enhanced our knowledge about cooperative socities. ACTUAL FINDINGS: The managers at Amul provided us with alot of information as to how and when it was formed. It all began when milk became a symbol of protest. The birth of Amul was inspired by the freedom movement and was founded in 1946 to stop the exploitation by middlemen. The seeds of Amul were sown more than 65 years ago in Anand, a small town in Gujarat, western India. Angered by the manipulative practices of the local trade cartel, the farmers of Anand approached the great Indian patriot Sardar Vallabhbhai Patel for a solution. He advised them to get rid of middlemen and form their own co-operative, which would have procurement, processing and marketing under their control. In 1946, the farmers of this area went on a milk strike refusing to be cowed down by the cartel. Under the inspiration and guidance of great leaders like Sardar Patel, Morarji Desai and Tribhuvandas Patel, they formed their own cooperative. Amul grew from strength to strength since then and there was no looking back. The then Prime Minister of India, Lal Bahadur Shastri decided that the same approach should become the basis of a National Dairy Development policy. He understood that the success of Amul could be attributed to the following factors The farmers owned the diary, their elected representatives managed the village societies and the district union, and they employed professionals to operate the diary and manage its business. The cooperatives were sensitive to the needs of farmers and responsive to their demands. At his instance in 1965 the National Dairy Development Board was set up with the basic objective of replicating the Amul model. Dr. Kurien was chosen to head the institution as its Chairman and asked to replicate this model throughout the country. The managers even provided us with additional information about the amul model- The brand name Amul means AMULYA. This word derived from the Sanskrit word AMULYA which means PRICELESS. Amul products have been in use in millions of homessince 1946. Amul butter, Amul Milk Powder, Amul Ghee, Amulspray, Amul Cheese, Amul Chocolates, Amul Shrikhand, Amul Ice cream, Nutramul, Amul Milk and Amulya have made Amul a leading food brand in India. Today Amul is a symbol of many things like of the high quality products sold at reasonable prices, of the genesis of a vast co-operative network, of the triumph of indigenous technology, of the marketing savvy of a farmers organization. And have a proven model for diary development (ANAND PATTERN). At the initial stage only 250 litres of milk was collected every day. But with the growing awareness of the benefits of the coorperativeness, the collection of milk increased. Today Amul collects 11 lakhs liters of milk every day, representing growth of 6.09 percent. 3.3 VIPER REPORT

Suicide Among Youth Essay -- Suicide Teenagers Suicidal Essays

Suicide Among Youth A suicide attempt is a non-fatal act in which an individual deliberately causes self- injury and should be recognized as a method of communication from a youth who may be experiencing severe problems. Canadian statistics from the Suicide Information and Education Center in 1996 recorded 25 000 attempted suicides and 250 successful suicides. 1 in every 100 people who try to commit suicide will die. Based on the 1996 statistics one can assume that these numbers have increased. It has been suggested that suicide is the second leading cause of death amongst the youth and is more common amongst females than males. Although more females attempt to commit suicide males are more successful in doing so. More often than not we hear of younger people committing suicide rather than those of the elderly. From reading several studies it is hard to say whether it is the youth or the general population that are more likely to attempt suicide and be successful at it. One may often wonder why a person commits suicide and what lead them to the point where they felt there was â€Å"no way out†. It has been suggested youth who are suicidal feel alone, not understood by parents and or their peers, that they are unable to cope with failure, criticism and feel that things will never get better or that no one can do anything to help him or her, amongst other things. Based on these feelings experienced by youths they seek suicide as the â€Å"way out†. One reason suggested is that teens commit suicide as a punishment to themselves and to others around them. Suicide is also seen as a method of revenge. Some of the risk factors associated with suicide are abuse (physical, emotional, drug and sexual), as well as family history and change. Youth are affected deeply by change especially with issues involving family and friends. It has been suggested that the greater number of female attempts at suicide is based on relationship breakups. It is assumed that most often females experience a level of attachment that is much greater than that of males. A female may feel as if no one understands her and that the only important person in her life has now left. Along with the risk factors there are warning signs. I will list a few but the slightest comment could mean that the person feels suicidal. Some of the more common warning signs are loss of appetite, sleep distur... ...hday, I would never know what it feels like to get married or have children. Speaking from experience I think that the best way to help youth is to offer programs that can help them. The Support Network here in Edmonton offers confidential 24 hour service to help youth who are experiencing problems. I also think that suicide prevention and education should be taught in schools. I feel this way because this may affect a person’s life in some way or another whether they are the people who attempt or they are someone who has lost a loved one because of suicide. I personally believe that suicide awareness is much more important than learning how to solve for a polynomial or simplifying an equation. Suicide, whether an attempt or a completion is not something that should taken lightly. It is a life changing experience and never goes away. Suicide will affect all lives and needs to be dealt with. Suicide can be prevented, as long as everyone understands and helps those who appear to need it. Even for those who don’t appear to need it! Bibliography Suicide Information and Education Center (SIEC), 1996 Information on pamphlets and handouts from The Support N

Victory Junction Gang Camp Fund-raising :: Fundraising Donations Organizations Essays

Victory Junction Gang Camp Fund-raising For four years now, it has been Kyle Petty's dream to build a camp in his son's memory for chronic and life-threatening illnesses of children from ages 7 to 15. Kyle and the NASCAR community have been fund raising for over four years to make this dream come true. Actor Paul Newman and Kyle and Pattie Petty are the founders of Victory Junction Gang Camp (VJG).   Ã‚  Ã‚  Ã‚  Ã‚  The beautiful, natural setting for the VJG is seventy-two acres of land nestled in a hardwood forest. The camp is located in Randleman, North Carolina, approximately fifteen miles outside of Greensboro. Nestled in the foothills of the Piedmont Triad, this site offers a forest with several creeks and woodland streams running through the property. Richard Petty donated the land to VJG.   Ã‚  Ã‚  Ã‚  Ã‚  When the ground was broken, it cost 3.9 million. This is where the fund-raising begins. Kyle Petty has a charity motorcycle ride that he founded over ten years ago. He has ridden over 31,500 miles and has raised over 4 million dollars. To keep the camp running, it costs 2.7 million dollars a year.   Ã‚  Ã‚  Ã‚  Ã‚  The VJG has resources to raise funds, but it does take effort, time, and money to do this. Roshi Bull-Turner is the Development Associate of VJG, and it is her responsibility to manage the resources from the fund-raising events efficiently and effectively for the camp. This paper will look at the fund-raising aspects. Are there enough corporate donations to keep VJG running? Has VJG advertised enough for the employees of corporations to donate?   Ã‚  Ã‚  Ã‚  Ã‚  According to Roshi Bull who is an advertising specialist with VJG, ?It was hard work raising the funds to build this camp. The hardest part besides raising money, was speaking to the corporations. The corporations keep the camp running by donating time, money, and goods.? Statement of Problem   Ã‚  Ã‚  Ã‚  Ã‚  The problem of the study is to investigate the raising of funds to keep VJG up and running for terminally ill children. Corporations need more information on VJG in order to make the decision easier. It takes knowledge, time, and money in order to make this happen. Setting of Problem   Ã‚  Ã‚  Ã‚  Ã‚  The setting of the problem is how to raise 24.4 million dollars to keep the camp running. VJG will enrich the lives of children with chronic or life-threatening illnesses by creating experiences that are memorable, exciting, fun, empowering, physically safe, and medically sound. This camp is located 15 miles outside of Greensboro, North Carolina.

Frank Lloyd Wright :: essays papers

Frank Lloyd Wright These ideas proposed by Wright represent a half century of ingenuity and unrivaled creativity. Wright was unquestionably a architectural genius and was years ahead of his time. The biggest obstacle which held Wright back throughout his career was the lack of technogaly that was present during his time. As a architect, Wright accomplished more that any other in history, with the possible exception of DaVincci or Michangelo. His philosophy of Organic Architecture showed the world that form and function could both by achieved to create a house that was both true to nature and affordable. Wrights homes, have today become monuments of greatness and distictionn. Most of them serve as museums, displaying the his ideas and the achievements of a lifetime of innovation. It wasn't until Wright published "The Natural House" however, that he fully was able to illustrate all of his ideas relating toward housing. In the "Natural House" wright defines the meaning of Organic Architecture and how it c an be applied to creating housing which provides a closeness to nature for the occupents. Wright was undoubtly a romantic and individualist. His feeling toward nature and self integrity can best be shown by comparing them to those shared by Emerson and Thoreau. Wrights deep love of nature and his individualism were formed from the events which influenced him as a child and up until his days working for Louis Sullivan. In order to fully understand the ideas which Wright proposed through his philosophy of Organic Architecture, one must first understand the events and influences which led to their creation. As a child, Wrights parents always encouraged him to be a free thinker and individualist. Both of his parents were intelligent and creative people by nature. They, of all people had the greatest influence on Wright. Throughout his life they were extreamly supportive of Wrights dream of becoming an architect, and always made sure that he had books and pictures of buildings that he could study and learn from. Wrights parents had little money, but they always found the extra money needed to support their childrens intrusts. When Wright became old enough to begin learning about working, his parents felt that sending him to his uncles dairy farm during his summer break from school would provide him with the proper work ethics and morals needed to become a responsible adult. The work on the farm was rigorous and seemingly endless to Wright.

Of Mice and Men Characters Essay

In the novel, Candy and Curley’s wife play a large part of the ideas that Steinbeck wants to convey through â€Å"Of Mice and Men†. Steinbeck shows this via the events and treatments that these two characters undergo. Their speech and actions also indicate major themes in the world they were in and how desperate the era was. Candy presents an element on the sadness in the novel; he’s a unfortunate man who’s passed his expiry date. He’s been involved in an accident and lost his arm and by this, he has been reduced to the swamper of the rank- a very low status job. Steinbeck may specifically choose this job for candy as a swamper (a cleaner) tends to be a job that woman generally work as and in this job, they often gossip a lot like Candy does. He does this as it is the only pleasure that he can experience in his sad rotting life. This paints the portrait of how sad Candy’s background may be and soon this is elaborated on even more in future events. In the middle section of the book, we see how Candy is bullied by Carlson into having his best friend- his dog put down. We know that Candy is very close to his dog as Steinbeck actually chooses to describe the dog very similarly to Candy. They are both old, physically impaired and get described generally as a liability. Steinbeck chooses to describe the dog as â€Å"ancient† which produces strong imagery of a dog being similar to an old antique. Although it may possess positive connotations, it is obvious due to Carlson’s reaction that the dog is old, dirty and has no purpose anymore. Soon after as Carlson enforces the idea, Candy desperately tries to dismiss it. It states how he looked â€Å"helplessly† which shows how reluctant he is but knows there is no other possible outcome. Carlson even shows utter disrespect to his dog by pointing at it with his â€Å"toe†. By using his tower, he suggests that the dog is on par with the lowliest part of his body and doesn’t require the effort to use his hands. Nevertheless, Candy shows no aggression to this outrageous act and concedes to Carlson’s insensitive actions. Steinbeck may choose these chain of events to show how a cruel world the characters and people had to live in. It really puts forward survival of the fittest and shows how depressingly cheap life is since people can easily walk over you when you’re unable to fight for yourself. Even after all the abuse he has received, Candy is still able to show kindness to others. At the point where Candy overhears George’s dream, he slowly asks whether he can join them. We know that he isn’t greedy at this point since he repeatedly mentions how he would willingly try his best with jobs such as â€Å"cook† or â€Å"hoe† despite he â€Å"ain’t much good.† He also says how he is willing to give up all his money he received when he â€Å"los'† his â€Å"hand† and this just shows how he is desperately giving all he has to help them only for a little in return. Steinbeck emphasises how emotionally willing Candy is that he would trade in the compensation for something irreplaceable to him for the benefit of others. This makes the reader sympathize with Candy and understand how strong dreams are in life; how they give people hope, the strength to keep living and the strength to be a nice person again. Curley’s wife on the other hand is the complete opposite. Her story plays a large part in the novel as it shows how dreams can crush people’s hope as easily and they give people hope. Throughout the novel, we have always seen Curley’s wife as the problem. She is described as â€Å"poison† and â€Å"jailbait† by George which initially makes readers dislike her. We feel that she can cause the downfall of our newly made friend’s dreams so she is instantly given a hostility status by Steinbeck. However, he may deliberately do this to create a larger impact when we learn why she may possibly act the way she does. At earlier stages of the novel, we learn how Curley’s wife loves and seeks attention. Steinbeck describes how she was â€Å"standing† at the doorway blocking off the â€Å"sunshine in the doorway† deliberately. This implies that she wants the men in the bunkhouse to look up due to the sudden change as she purposefully blocks the light off so that they would do so. It also describes how she was â€Å"heavily made up† that she was making a large effort to attract attention of the men. The word â€Å"heavily† also has connotations that she was trying to hard to an extent where it had negative effects on her. This may also symbolize her character through physical features- that her personality has been corrupted and turned ugly. In the final stages of the book, we learn what has driven Curley’s wife to act in this aggressive way. Although she speaks to groups of men with hostility, when its one on one, it runs a lot more smoothly and she seems like she enjoys herself. This has a large contract since there is juxtaposition between section 4 and 5. We see her nasty side where she mock George, Lennie and Candy’s dream calling it â€Å"baloney† and â€Å"scoffs at it† yet even herself who has been crushed by her own dream may â€Å"secretly believe†. This shows that beneath this angry cover of hers, may be a vulnerable person who only feels the bitterness and jealousy of other’s happiness hinted by the phrase â€Å"secretly believe†. Steinbeck states this about the cowboy magazines to suggest what type of sad life people live in however, within dreams still lies hope but people are afraid to admit to the hope since they are scared of the criticism others show. This idea is developed implicitly mainly by the word â€Å"secret†. Through this attitude, people have become cynical and cold over the time which is what Steinbeck may want to show us. Curley’s wife shares with Lennie her dream in section 5. The fact that she has never told anyone (which she states herself) shows how underneath all the bitterness she has experienced, the memory of the dream she once had (or partially may still have) changes her to be kind and share her deepest secrets with a stranger. On the other hand, Lennie may be an exception since he is â€Å"nuts† implying that he may be able to keep this secret. Furthermore, we learn how Curley’s wife left home since she had a hunch that her mother â€Å"stole† her letters. The word â€Å"stole† in this context possesses quite negative connotations since Curley’s wife directly accuses her own mother for betraying her. However, this was most likely an excuse and lie to herself since she couldn’t bear the reality of having her dream crushed by the stranger who created it. This yet again emphasises how strong dreams were at this time which broke lives altogether. Compare how female speakers are presented in ‘Havisham’ by Carol Ann Duffy and one poem from the Pre-1914 Poetry Bank. The two female speakers in â€Å"Havisham† and â€Å"The laboratory† both are presented as rather mentally unstable people. They both have experienced rejection from a man and feel belittled or embarrassed by this. However, their reactions and response to this rejection differ to a huge extent. The speaker in â€Å"Havisham† is shown to have rotted away being devoured by her bitterness whereas the speaker in â€Å"Lab† seemed to be slightly more insane driven by her jealous feelings of insecurity to try and kill someone. The bitterness from the character in â€Å"Havisham† is clear from the start. She describes the man who left her as a â€Å"beloved sweetheart bastard†. This use of oxymoron shows several possible connotations. By putting two very opposite words together- one stating strong affection and one stating utter most hate, the idea that beneath the hate she holds against him lies love for him. Elaborating on this may suggest how she may hate him as she can’t have him or even because she actually still loves him deep inside. Above all, this suggests how she can’t seem to let go of him and move on which presents her mental state to the readers. Likewise in â€Å"Lab†, we understand the feelings of the speaker through clever use of language. For instance, Robert Browning chooses to say â€Å"devil’s smithy†. Devil automatically conjures the sense of evil or corruptness whereas a smithy is somewhere where things are made such as weapons (blacksmith). These combined imply that a creation of evil with malicious intent is occurring in the poem. Soon after we discover that the protagonist has experienced similar rejection to that of â€Å"Havisham†. â€Å"He is with her† suggests that the man he wants is with another woman. By referring to them as â€Å"he† and â€Å"her†, it creates an enigmatic feeling or even that their names are insignificant and it is purely the concept that she has been left for a woman who is better than her which causes her rage. We know that she is also jealous when the speaker wishes for the other woman â€Å"breast and her arms and her hands† to â€Å"drop dead†. She specifically chooses these body parts implying that these are the parts which the other women best her at and this is why she hates them. In â€Å"Havisham†, the speakers reaction to this rejection was simply to rot with it burning them. She continues to feel this bitterness as suggested with the word â€Å"Spinster†. This word possesses a harsh consonance sound as if she spits it out with such disgust. It is also a one word sentence which emphasises it and also makes it out to be some what of an insult. The word â€Å"stink and remember† following afterwards reinforces this as if she’s being driven crazy by the thought of people calling her a â€Å"spinster†. Thus all she does for the rest of her days is rot in her hate. We get the impression that she’s been doing this for years since she describes how her â€Å"dress yellowing†- yellowing suggesting dirtying from the years it’s been on her. On the otherhand, the speaker is â€Å"Lab† is made out to be more malicious than having thoughts of hate. As she makes the poison, she describes the creation with very vivid verbal details. â€Å"Grind away, moisten and mash up† create strong imagery and each of the verbs hold strong care in creating something. By suggesting this care and importance that has gone into the poison, it seems that she really relishes the creation. And finally as she fantasises about how delicious the event would be, she thinks about how the â€Å"dying face† would be â€Å"branded† into the male characters mind. She wants to mentally scar him with the horrendous image possibly for punishment or to make him see how ugly the other woman is when she becomes â€Å"shrivelled† suggesting how her face would become contorted with agony. As she describes this with such detail and precision, the poet presents to us how malicious and bitter the speaker is. A thus through use of language and theme, the poets have successfully produces a very clear image of the bitter, hate filled speakers and how they’ve become this way and even how they have dealt with this. The speaker in â€Å"Havisham† rotting and â€Å"yellowing† opposed to the â€Å"minion† in â€Å"Lab† who relishes in the thought of killing and branding someone with the scarring image of death.

Child Abuse and Neglect Essay

Almost one in every hundred children gets abused in the United States, and it happens every day. Child abuse is when a child is physically, sexually, emotionally, and mentally abused. Sexual exploitation, neglect, abandonment, and maltreatment are also forms of abuse. Physical abuse includes but not limited to, throwing kicking, burning, or cutting a child. Striking them with a closed fist; shaking them when they are under the age of three, interfering with their breathing, threatening them with a deadly weapon, or doing any other act that is likely to give the child bodily harm and other minor to major injuries to their health, welfare, and safety. Sexual abuse is committing or allowing to be committed to any sexual offense against a child as defined in the criminal code and sexual exploitations when a child is prostituted, being filming in pornographic acts, or being a part of a live action of pornographic acts. Neglect and maltreatment is when the child is not provided with an ade quate amount of food, shelter, clothing, supervision, or healthcare. Abandonment is when a child is deserted by their guardian, left without food, water, shelter, clothing, hygiene, and medical healthcare, or when the guardian is just not doing things they are supposed to do for a child, they relieve themselves from their duties. We are all mandatory reporters. Meaning that any citizen that sees anything suspicious should report, or if you know of a child being abused and don’t report, you are just as guilty. Almost five children die every day as a result of child abuse. Child abuse is no doubt a hidden epidemic in our society today. Ninety percent of child sexual abuse victims know the perpetrators in some way; sixty-eight percent are abused by family members. Child abuse also happens no matter how rich or poor you are, doesn’t matter what color you are, and it doesn’t matter how smart or dumb you are. Thirty percent of women in prison were abused as children, and sixty percent of people in drug rehabilitation centers report being abused or neglected as a child, and are 3.8 times more likely to develop drug addictions. About thirty percent of  abused and neglected as children will continue the cycle with their children as well. Eighty percent of twenty-one year olds that were abused as children met at least one criteria for a psychological disorder. Also abused children are twenty-five percent more likely to experience teen pregnancy. I think child abuse is inclining locally because drugs are becoming more known in younger generations, and their also experimenting sexually earlier, and not being safe about which leads to more teen pregnancies. Some of the reasons child abuse occurs in the first place is because of young parents and drugs/alcohol. So if the rate at which those things or more rapidly happening, and at a younger age, the child abuse rate is bound to incline. It doesn’t help that we are a bad drug city and we have one of the highest count of child abuse cases in our city. One way to help stop and prevent child abuse is to recognize it, look for the signs and report it. Make your children aware of sexual abuse, teach them the proper names, and tell them that if anyone tries to engage with them in a way that their private parts are involved, to tell their â€Å"support person†. Teach young parents how to take care of their children before they leave the hospital. Never discipline children when your anger is out of control, ever leave your children unattended. Listen and believe them. If you see child abuse happening, stop it, don’t let it happen. To help end abuse, first you should learn how to recognize it in the first place. Child abuse will never truly come to an end, but there are ways to make sure it happens less. CPS needs to better investigate into cases. If you’ve ever read â€Å"the child called it† then you would know that if they go to the house and everything checks out, they believe it. I think they should go deeper into the investigation, if that means surveillance outside their house for a week then so be it. CPS also needs to better background check their own foster parents. I saw on the news a while back that CPS supervisor was abusing the kids she was fostering. CPS is supposed to be a safe haven for kids to go, yet they go to further get abused. I myself was in foster care, and my â€Å"parents† weren’t the nicest. It’s hard to honestly say anything about improving â€Å"families† considering we aren’t in there every day life, and we may not even know them. How we can best help families is to  make child abuse awareness more public and known, and if we come across a family that has this problem, then intervene. I couldn’t find much on factors of abuse being â€Å"heredity†, but what I could find is that it is not heredity. What generally happens is the child grows up with the type of abuse they know, and because that’s all they know, that’s how they express their â€Å"love† to their child. Not all abused grow up to do the same to their children, I assume the ones most mentally scarred and got psychological problems from it, grow up to do the same. I don’t think that our society is necessarily feeding the abuse to anybody. I don’t really know who would, that’s a touchy subject in the first place. Although I can infer that all of the drug, drinking, partying, and sexual innuendo that is seen everywhere is what is feeding to a worse environment for our society. Drugs, alcohol, and partying is such a huge and wide topic everywhere you go in our society, because of that, it’s more common. Although no one can honestly end child abuse, it is something that we can make more known so that all the poor children that are dying and suffering everyday can also be loved and saved. Learn the signs, report anything unusual.

Chanel’s Exhibition Compared to Vermibus Essay

Two exhibitions, both held during October 2012, will form the bases of this comparative essay. Chanel’s fashion photography exhibition entitled ‘The Little Black Jacket: Chanel’s Classic Revisited’ held at the Saatchi Gallery 12th October – 4th November 2012, and Vermibus’ display of appropriated adverts called ‘Unmasking Kate’ shown at the Moniker Arts Fair 11th -14th October 2012 will be used to explore the links each exhibition has to the themes of advertising and celebrity. ‘The Little Black Jacket: Chanel’s Classic Revisited’ is a celebration of the ‘timelessness’ (Saatchi, 2012) that is the Chanel jacket first introduced in 1953 (Armstrong, 2012), which Karl Lagerfeld, the creative director for Chanel, has revamped for the twenty-first century. ‘The Chanel jacket is a man’s jacket which has become a typical feminine piece†¦Ã¢â‚¬â„¢ (Lagerfeld cited Making of- The Video, 2012), co-writer and photographer for the exhibition Lagerfeld, articulates the versatility of the garment, which is a key theme expressed throughout the show. The exhibition consists of 113 photographs of celebrities modelling (Saatchi, 2012) the jacket to which the entire exhibition is a tribute to (Saatchi, 2012). In contention with the notion of product and brand celebration the Spanish-born artist Vermibus presented his ‘Unmasking Kate’ series at the Moniker Arts Fair, ‘†¦now in its third year, the fair†¦[of] contemporary artists with urban roots†¦[is] an assembly united by a desire to rebel’ (Spence, 2012). Amongst the rebels is street artist and ex-branding photographer turned contemporary artist (lamono, 2012), Vermibus. The principle of his work is the appropriation of designer advertising posters found publically, as a statement against the image of our materialistic consumer driven society (Finucane, 2012). The title of Vermibus’ current series ‘Unmasking Kate’ refers to both his method of appropriating the posters and to his subject, namely the model Kate Moss. Vermibus argues that he uses Moss’s image ‘†¦because she has been the flagship of fashion for the last 20 years’ (Lamono, 2012) and is therefore an easily recognizable icon of modern fashion and consumer society ‘Kate Moss †¦had to construct thousands of masks to hide her fears†¦ [she] internalized those masks from the beginning and we bought them all†¦Ã¢â‚¬â„¢(Lamono, 2012) Vermibus reveals his ideas about masks fueled by the advertising industry. He further uses Moss’ image to show, simultaneously, the vulnerability of the human subject and the medias exploitation of the notion of celebrity. This theme parallels the way Andy Warhol used Marilyn Monroe’s image after her death (Modern Masters: Andy Warhol, 2010). Likewise, the Chanel exhibition echoes some Warhol themes, yet using the celebrity image to celebration its brand and product originally from the 1950’s (Modern Masters: Andy Warhol, 2010). The exhibitions work on Warhol themes differently either to criticize or celebrate advertising and product branding (Modern Masters: Andy Warhol, 2010). The title of the exhibition ‘The Little Black Jacket: Chanel’s classic revisited’ uses a play on the now clichà ©d notion of ‘the little black dress’ this seemingly playful reference to an item that Coco Chanel arguably made ubiquitous in 1926 (Fritz, 2012) as ‘a uniform for all women of taste’ (Crystal, 2007) carries the suggestion that the redesigning of the Chanel jacket has caused the garment to become as revolutionary and versatile as the little black dress and thus deserves the same universal appeal and fashionable credibility. This is further reflected in the exhibition’s promotional use of words such as ‘classic’ (Armstrong, 2012), ‘iconic’ (Saatchi, 2012) and ‘timeless’ (The Exhibition Opening – The Film, 2012), phrases often made in reference to the little black dress, conveying the item as an essential part of both a man and woman’s collection, in this way almost surp assing the success of the little black dress. Despite their difference, the most prominent connection between both exhibitions is the use of fashion photography. While Vermibus appropriates already publish photographic based adverts, Lagerfeld endeavours to create a series of fashion photographs, seemingly ready for an advertising campaigns (fig:1) sans the alluring taglines and buyer information. However, perhaps text is not necessary in conveying advertising messages: ‘As advertising has become so subject to the influence of photography that in some cases it is nothing other than fashion photography in its pure form.’ (Zahm, 2003 p.267) Lagerfeld’s photography could, therefore, be read as adverts for the Chanel jacket. This is illustrated in the use of a shallow depth of field added to the blank studio backdrop, uniform in all of Lagerfeld’s shots and reminiscent of many advertising campaigns. The technique seems to encourage the viewer to read the model as the main focus of the shot. The positioning of the models, strictly following the rule of thirds in all displayed images, seems actively styled to further accentuate the Chanel jacket as it is after all the subject of the photographic exhibition and perhaps the product to be endorsed. Looking at the images from this angle makes the work seems more sinister; putting the gallery viewer in the position of a consumer. Vermibus’ acquired advertising posters are often comparable in style and content to those featured in the Chanel exhibition. The Vermibus technique involves the systematic removal of layers of gloss and colour from the face of the models (fig:2) using solvents such as white spirit ‘in a unique painting counter-action’ (Open Walls Gallery, 2012) creating gestural, painterly brush marks reminiscent of Lucian Freud ‘s ‘naked’ series (fig:3). This method of working directly on to the photographic image creates an interesting juxtaposition between the flat, glossy, original photographic elements left untouched in the clothe and hair of the advert compared to the textured, painterly brush marks and colours crated by the solvents application on the glossy flesh of the models image (Finucane, 2012). This all helps to convert the adverts ‘†¦flawless and sanitized icons†¦into harrowing and contorted figures evocative of ‘Francis Bacon’s seminal works’ (Finucane, 2012) (fig:4). Through this treatment Vermibus is trying to uncover the essence of the figures by ‘dehumanizes those figures †¦ trying to find the aura of the individual, the personality that was lost†¦Ã¢â‚¬â„¢(Moniker Art Fair, 2012) in the world of advertisement, which seems in direct contention with the image and brand driven concept of the Chanel exhibition. Nonetheless, a form of distortion is also evident in the instillation part of the Chanel exhibition (fig:5), large glass etched version of selected prints create intertextual connections to the work of pop artist Roy Lichtenstein (fig:6) namely in the use of the pixelated bendy dots and primary colours. Through pixelating the benday dots Lagerfeld seems to marry a nostalgic past of image reproduction with modern-day digital innovations. This mirrors the merging of past and present in fashion exhibition. The link to Pop Art is further contextualised as the original Chanel jacket would have debuted around the time that the pop art movement was emerging (Gersh-Nesic, 2012). Unlike many Pop artists and Lagerfeld’s work, Vermibus eradicates branding from his work. Then returns the adverts to their original places in the advertising shelters as ‘gifts for the passers-by’ (Moniker Art Fair, 2012 p.19). As he stats that ‘private companies have taken over these spaces and what I want to do is return them to the public’ (Lamono, 2012). Chanel’s exhibition in this way also stands in contrast to the notion that a luxury brand ‘buys its way into our public spaces [and it] must be passively accepted as a one-way information flow.’ – (Klein, 2002). This is an argument held and expressed within the work of Vermibus. Instead of following this traditional model of advertising which relies heavily and spend vast amounts of money on limited single-way communication advertising (Jackson, 2009), Chanel arguably used a credible gallery to advertise under the guise of culture enrichment; a ‘more interactive, experiential and customised communication’ (Jackson, 2009, p. 273). However, Anderson (2000) argues that shows like this ‘illustrates [the] approaches taken by those in the commercial sphere, who are completely unfettered by museological traditions’ (Anderson, 2000, p.386). However, the Saatchi gallery; was set up by Charles Saatchi like many ‘high net worth individuals who operate their collections like museums for the public’ (picassomio.com) thus needs not to uphold traditions of the museum and is not duty bound to provide advertisement-free exhibitions. This may seem like devious undercover advertising ‘†¦however visitors will construct their own coherence†¦.which may or may not comply with that of the curator†¦'(Hooper-Greenhill, 2000, p.7) thus the advertising undertones of the exhibition may be passively accepted or rejected by viewers. In this way Chanel opens the flow of communication, although, arguably ‘even the best fashion photography is still an industry in service of industry’ (Zahm, 2003, p.265). Therefore, in blurring the lines between free cultural experiences and marketing gimmicks Chanel is clearly attempting to increase their revenue, as Lagerfeld affirms ‘I am not a commercial person †¦ but the final complement is†¦when you buy [the product]’ (The World of Karl Lagerfeld, c.2010). The fact that Lagerfeld’s creative and corporate elements merge in the exhibition is sinisterly convenient ‘†¦it is undeniable that the motivations of designers to co-operate with curators in having their work displayed in museums are largely about prestige, self-promotion and profit’ (Anderson, 2000, p. 375) marring the impression of such exhibitions as nothing more than an oblique advertising campaign. The ‘anti-publicist’ (Lamono, 2012) Vermibus’ illustrates his distain for the advertising industry which Lagerfelds work seems to represent, ‘the brands goal is to remove the model’s identity†¦the model is not a person any more but an image whose only value is for selling’ (Finucane, J. 2012). Vermibus’ ideas are reminiscent of the Situationist International’s concepts of the spectacle (Debord, 1957-61) equally, Vermibus’ appropriated posters carry strong connections to their notion of detournement ‘reusing preexisting†¦elements in a new ensemble’ (Debord, 1957-61). Thus Vermibus’ symbolic use of white sprit on adverts, can act as an allegory for reestablishing identity from the spectacle. This notion of brands taking over ones identity is also suggested in the Chanel exhibition video ‘†¦and with each person’s personality the jacket lives through them †¦Ã¢â‚¬â„¢ (Chloe Moretz cited in ‘The Exhibition Opening -The Film’ 2012) presenting the consumer product as a sort of symbiotic parasite using and replacing the identity of the wearer. This relates further to Williamson’s (1995) argument that ‘people are made to identify themselves with what they consume’ (Williamsons 1995 p.13). People become use brands and styles to project their identity through non-verbal communication thus: ‘Advertisements are selling us something else besides consumer goods†¦in providing us with a structure in which we and those goods are interchangeable, they are selling us ourselves.’ (Williamson, 1995 p13) This would explain why so many of the videos produced by Chanel surrounding the Black Jacket exhibition continuously stress the versatility of the jacket ‘†¦ You can do a lot with it†¦it suits everyone’ (Carine Roitfeld cited in Making of – The Video, 2012) conveying almost subliminally that people need to have this item that can fit their already established style; ‘the bohemian look, the Victorian look, the more kinda [sic] fun Kate Moss look†¦Ã¢â‚¬â„¢ (Chloe Moretz cited in The Exhibition opening -the film’ 2012) further promoting its value and illustrating the ‘cannibalistic’ nature of fashion (Zahm, 2003 p. 266), which feed into the spectacle (Debord,1957-61) by assimilating and reproducing the same items and feeling of desire within society. The Chanel exhibitions use of celebrity images differs to that a Vermibus, as it seems to reflect the wider marketing idea that using celebrity endorsements is a ‘strong marketing plus†¦Ã¢â‚¬â„¢ (Jackson, 2009 p191). Along side the photographers the behind the scenes film presents testimonials from celebrities ‘I consider it [the Chanel jacket] a prized possession. I feel very lucky’ (Sarah Jessica Parker cited in Making of- The Video, 2012) enticing the viewer to desire the item. Atkin (2010) contend that this is because humans are prehistorically ‘hardwired’ to want to glean information about how to become successful survivors by watching and copying the most successful in our society, i.e. the celebrities (Star Suckers, 2010). advertisers like Chanel are manipulating this evolutionary flaw to give ‘[a] product which initially has no meaning †¦.value by a person†¦who has a value to us†¦Ã¢â‚¬â„¢ (Williamson, 1995, p.31). In contrast, celebrities are utilized by Vermibus to liberate the human being from the celebrity ‘mask’ evoking sympathy from the audience however, it is not clear how much the celebrity image entices the viewer’s prehistoric urge and interest in Vermibus’ work. In conclusion the two exhibitions on the surface have very different and opposing motivations. However, on inspection both deal with similar themes of fashion photography, advertising and celebrity in different ways. Although it falls beyond the scope of this essay compare every element of the exhibitions it has attempted to demonstrate that Lagerfeld’s approach has strong advertising undertone, while Vermibus’ work is anti-publicist in nature. Therefore, despite displaying work at arts fair, with the purpose of promoting and selling his work, the artist maintains his anti-establishment ethos ‘Being at [an art fair] is another way to attack from within’ (Lamono, 2012) which conveys the fundamental difference between the two exhibitions; they both exploit the image of celebrities to draw attention to their work but while Vermibus’ ideology remains paramount it would seem that for Lagerfeld the financial gain is the principal purpose of the exhibition. References: Anderson, F (2000) ‘Museum as Fashion Media’, in Bruzzi, S. and Gibson, C. (eds.) Fashion Cultures: Theories, Exploration and Analysis. London : Routledge pp. 371-389. Armstrong, L. 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