New Orleans Style Wine Bar Essay - 792 Words

In a small, cozy New Orleans-style wine bar in Miami, the night of October 17, 2016, a band called Zach Larmer Electric band formed by four musicians, Zach Larmer (main guitar), Tal Cohen(keyboard), Adam (second guitar), and a friendly man at the drums delighted us with their very special Jazz music. The band† Zach Larmer Electric Band is one of the top jazz groups in South Florida and is receiving increasing recognition for their unique blend of progressive funk rhythms with deep jazz harmonies.† (lagniappehouse.com) Lagniappe (Bar - Lagniappehouse.com), is a pleasant bar with a particular decoration, full of paintings and quotes of different styles, furniture of different styles also, from ancient to modern, with a seating capacity for no more than fifty five listeners, but is exactly what makes the place unique and special. When I got to the bar around 8:00 pm, it was still early because the concert was supposed to start around 9:00 pm, but two of the musicians were starting to get to the place and setting some instruments up. By around 8:40 pm, the four musicians now all together in the inside part of the bar started to set up their instruments, drums, keyboard, guitars and some maracas, as well as speakers and microphones, also people got seated inside with their wine glasses or beers and some food that is also offered in the bar. I sat in the middle of the concert in a little with my friend, so I could have a great view of the performance, watch every detailShow MoreRelatedGame Changing Bar Marketing Ideas1414 Words   |  6 PagesGame-Changing Bar Marketing Ideas Your bar might be called a tavern, lounge, gastropub, nightclub, ginmill, dive or other synonym for a place that serves alcohol. Regardless of name, your bar is a place where people gather to socialize, drink, dance and even find romance. 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Hard Rock began its global expansion in 1982, when Tigrett and Morton agreed to develop their own Hard Rock Cafes in various parts of the globe. Morton opened Hard Rock Cafes in Los Angeles, San Francisco, Chicago and Houston. Tigrett opened in New York, Dallas, Boston, Washington, D.C., Orlando, Paris and Berlin, eventually selling his interest to Mecca Leisure. In 1990, The Rank Group, Plc. a London-based leisure company, acquired Mecca and continued expansion of the concept in their geographicRead MoreDisney: Losing Magic in the Middle Kingdom16116 Words   |  65 Pagesturned rocky, with a series of negative media coverage both before and after the launch. The park suffered a major blow after a ticketing hiccup during the Chinese New Year in February 2006, when many mainland tourists with valid tickets were barred from entering due to overcrowding, causing a chaotic scene in front of the TV news cameras. The attendance rate declined rapidly thereafter. 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Essay Mustang Jean Questions - 668 Words

Mustang Jeans. Disclaimer: This video material accompanies your text and is made by McGraw Hill. The video is in no way a current representation of either of the two business cultures that were portrayed. The cultural behaviors of the â€Å"American† or â€Å"Japanese† in the video do not accurately reflect business behaviors in these countries so please do not generalize based on the video. The video is meant as a classroom exercise to analyze a specific cultural encounter. Total 20 points. Answer the following questions. What was striking about the attitude of the seller. (name 3 attributes of behavior) 3 Points 1._He was focused more on himself than the relationship. 2. He frequently used the word I and kept being pushy about the sale.†¦show more content†¦Although the deal was not closed, the buyer and seller talked more about getting to know each other at a later time. The seller then understood he needed to talk less about business and get to know the buyer more personally. ------------------------------------------------- How would you characterize both players in terms of (1) HI LO context, (2) Linear active versus reactive or multi-active, (3) Hi power distance versus low power distance? Provide an example that illustrates each of the 3 characteristics. This is a longer answer, use more space if you require. Make sure you list each of these cultural characteristics and identify where the buyer and seller belongs with a example. 9 Points I would categorize the buyer as having a high power context, and the seller as having a low power context. The buyer did not care a great deal about the relationship between the two, while the seller was ultimately much more concerned about their personal relationship. This was demonstrated throughout their interaction. 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Evolution of Leadership Models Free Essays

What is leadership? And how has the theory on leadership developed? Greenwood (1993) paints an interesting if somewhat surprising picture as he reviews the development of leadership theory from the turn of the twentieth century onward. Greenwood (1993) describes how in the early 1900s the Father of Scientific Management, Frederick Taylor while not directly writing about leadership in his description of the role of the supervisor introduced the matter of traits and its link to situation. He did so as he described the ideal traits to be found in an effective foreman even while acknowledging that no one person would have all those characteristics and so there was the need for by dividing the work into specialized areas. We will write a custom essay sample on Evolution of Leadership Models or any similar topic only for you Order Now Further, from the nineteenth century Thomas Carlyle examined the characteristics of great men â€Å"positing that the rise to power is rooted in a heroic set of personal talents, skills or physical characteristics† (Heifetz, 1998:16). At the start of the twentieth century, other scholars (Bird, 1940, Tead and Metcalf, 1920, Barnard, 1938), also affirmed that successful managers have certain traits. However, in 1948 Stogdill’s seminal work highlighted the inconsistencies in the trait theory studies significantly dismantled the theory noting that: The evidence suggests that leadership is a relation that exists between persons in a social situation, and that persons who are leaders in one situation may not necessarily be leaders in other situations†¦. Stogdill, 1974 cited in Greenwood, 1993:7 Interestingly, Davis (1934) referring to traits noted there was no checklist for success but stated that leadership characteristic â€Å"they are necessarily a function of the characteristics and requirements of the leader and the particular situation, as well as the innate capacities of the executive himself† (Davis, 1937 cited in Greenwood, 1993:8). By 1955 Koontz and O’Donnell building on his work posited that the trait theory was of little promise noting that leadership involved the power of persuasion upon followers and that the quality of leadership was impacted by certain nvironmental factors. Leadership theory was also influenced by human relation considerations, which emerged around about the same time. These thinkers made the link with leadership as it relates to the leader’s ability to connect with people, to empathise, develop teams and to delegate and emphasized that the follower was central and leadership focused on the needs of the follower. So whi le the movement did not develop a leadership theory it introduced the linkage between individual needs, observations and group dynamics and appropriate styles of leadership behavior. Blake and Mouton challenged Davis’s theory of behavior stating that â€Å"the dimensions needed for an effective description of operational conduct are attitudinal variables, not behavior variables† (cited in Greenwood, 1993:13). Using the managerial grid and attitudinal variables the writers posited that there was one best way to lead but differing tactics depending on the situation. This premise is not supported by the situational theory, which focuses on many leadership styles which depends on the situation. In many ways situational theory is a convergence of many schools of thought; although the path to its development has been ‘messy’ and sometimes circuitous. The theory is based on â€Å"leadership effectiveness †¦ strongly tied to a leader being demanding and simultaneously sensitive to the needs of the followers† (Greenwood, 1993:14). It predicts leadership performance based on interaction between leadership personality and the leaders control of the situation. In this regard, the theory is a variance with Blake and Mouton’s view of one best style. Tannenbaum and Schmidt’s (1973 ) classical work supports the contingency theory and described seven leadership styles, which were employed depending on interrelatedness of three key issues: forces in the manger, the subordinate and the situation. As noted by the writers. the successful manager of men can be primarily characterized neither as a strong leader nor as a permissive one. Rather, he is one who maintains a high batting average in accurately assessing the forces that determine what his most appropriate behavior at any given time. Tannenbaum and Schmidt (1973:180) Situational Model versus LMX The situational approach has evolved into a situational leadership model, which combines the four styles of leadership linked with the nature of the task and the performance readiness of the individuals to determine the most appropriate leadership style. Performance readiness is based on two principal issues ability and willingness. By combining the leadership styles with performance readiness continuum matrix one is able to match performance readiness with leadership style. So for instance a low performance readiness (R1) would require a telling style (S1) (Hersey, Blanchard Johnson, 2008). The work of Armenakis, Harris Mossholder (1993) writing on creating readiness for organisational change provide a framework of readiness and urgency, which is related to the Situational Model and supports the premise that readiness is linked to leadership style. On the other hand, the LMX theory (Graen Uhl-Bien, 1995) is a more recent theory, which examines the three domains of leadership; that is leader, follower and relationship in order to increase predictability of leadership practices. It incorporates operations and relationship in the leadership process. However, Stage 3 Leadership Making and Stage 4 – Team Making two important elements of the leadership process are still evolving. In my opinion, while the concepts are of interest it has not yet matured sufficient to be a useful tool when compared to the Situational Model. In summary, the situational model while not the end all and be all of leadership theory provides a useful tool for practitioners to apply in their professional practice. Concluding remarks I am amazed at the state of leadership theory despite the many years of intense study. Such is the complexity of the issue. In my own professional practice I often adopt a leadership style that is in line with the contingency theory. With my team the style based on the model tends to be S2 while with some of the pilots countries where there is a concern with preparedness ranging between R1 and R2 I tend to adopt a telling or selling leadership style. Additionally, given the time limitation on the project readiness of the stakeholders can generally be described as low readiness/high urgency. I am not in apposition to replace staff so I will have to rethink my communication strategy ( Armenakis, Harris Mossholder, 1993). I start where I began what is leadership? In a sense I know more about what leadership is not. It is not about traits or personalities nor is it leader focused. Leadership in many ways is still an art, it is relational, reflexive, intuitive and is a state within, which the leader and follower are inextricably linked. Denise Forrest Bibliography Armenakis, A. A. , Harris, S. G. Mossholder, K. W. (1993) ‘Creating readiness for organizational change’, Human Relations, 46 (6), pp. 681-703. Graen, G. B. , Uhl-Bien, M. 1995) ‘Relationship-based approach to leadership: development of leader-member exchange (LMX) theory of leadership over 25 years: applying a multi-level multi-domain perspective’, The Leadership Quarterly, 6 (2), pp. 219-247. Greenwood, R. G. (1993) ‘Leadership theory: a historical look at its evolution’,Journal of Leadership Organizational Studies, 1 (1), pp. 4-19, Heifetz, R. A. (1998) ‘Values in leadership’. In: Leade rship without easy answers. Cambridge, Massachusetts: Harvard University Press, pp. 13-27. Hersey, P. , Blanchard, K. H. Johnson, D. E. (2008) ‘Situational leadership ®Ã¢â‚¬â„¢: In: Management of organizational behavior: leading human resources. 9th ed. New York: Pearson International, pp. 132-157. Leana, C. R. (1986) ‘Predictors and consequences of delegation’, Academy of Management Journal, 29 (4), pp. 754-774. Raelin, J. A. (2003) Creating leaderful organizations: how to bring outleadership in everyone. San Francisco, California: Berrett-Koehler. Tannenbaum, R. Schmidt, W. H. (1973) ‘How to choose a leadership pattern’, Harvard Business Review, 51 (3), pp. 162-180. How to cite Evolution of Leadership Models, Papers Evolution of Leadership Models Free Essays What is leadership? And how has the theory on leadership developed? Greenwood (1993) paints an interesting if somewhat surprising picture as he reviews the development of leadership theory from the turn of the twentieth century onward. Greenwood (1993) describes how in the early 1900s the Father of Scientific Management, Frederick Taylor while not directly writing about leadership in his description of the role of the supervisor introduced the matter of traits and its link to situation. He did so as he described the ideal traits to be found in an effective foreman even while acknowledging that no one person would have all those characteristics and so there was the need for by dividing the work into specialized areas. We will write a custom essay sample on Evolution of Leadership Models or any similar topic only for you Order Now Further, from the nineteenth century Thomas Carlyle examined the characteristics of great men â€Å"positing that the rise to power is rooted in a heroic set of personal talents, skills or physical characteristics† (Heifetz, 1998:16). At the start of the twentieth century, other scholars (Bird, 1940, Tead and Metcalf, 1920, Barnard, 1938), also affirmed that successful managers have certain traits. However, in 1948 Stogdill’s seminal work highlighted the inconsistencies in the trait theory studies significantly dismantled the theory noting that: The evidence suggests that leadership is a relation that exists between persons in a social situation, and that persons who are leaders in one situation may not necessarily be leaders in other situations†¦. Stogdill, 1974 cited in Greenwood, 1993:7 Interestingly, Davis (1934) referring to traits noted there was no checklist for success but stated that leadership characteristic â€Å"they are necessarily a function of the characteristics and requirements of the leader and the particular situation, as well as the innate capacities of the executive himself† (Davis, 1937 cited in Greenwood, 1993:8). By 1955 Koontz and O’Donnell building on his work posited that the trait theory was of little promise noting that leadership involved the power of persuasion upon followers and that the quality of leadership was impacted by certain nvironmental factors. Leadership theory was also influenced by human relation considerations, which emerged around about the same time. These thinkers made the link with leadership as it relates to the leader’s ability to connect with people, to empathise, develop teams and to delegate and emphasized that the follower was central and leadership focused on the needs of the follower. So whi le the movement did not develop a leadership theory it introduced the linkage between individual needs, observations and group dynamics and appropriate styles of leadership behavior. Blake and Mouton challenged Davis’s theory of behavior stating that â€Å"the dimensions needed for an effective description of operational conduct are attitudinal variables, not behavior variables† (cited in Greenwood, 1993:13). Using the managerial grid and attitudinal variables the writers posited that there was one best way to lead but differing tactics depending on the situation. This premise is not supported by the situational theory, which focuses on many leadership styles which depends on the situation. In many ways situational theory is a convergence of many schools of thought; although the path to its development has been ‘messy’ and sometimes circuitous. The theory is based on â€Å"leadership effectiveness †¦ strongly tied to a leader being demanding and simultaneously sensitive to the needs of the followers† (Greenwood, 1993:14). It predicts leadership performance based on interaction between leadership personality and the leaders control of the situation. In this regard, the theory is a variance with Blake and Mouton’s view of one best style. Tannenbaum and Schmidt’s (1973 ) classical work supports the contingency theory and described seven leadership styles, which were employed depending on interrelatedness of three key issues: forces in the manger, the subordinate and the situation. As noted by the writers. the successful manager of men can be primarily characterized neither as a strong leader nor as a permissive one. Rather, he is one who maintains a high batting average in accurately assessing the forces that determine what his most appropriate behavior at any given time. Tannenbaum and Schmidt (1973:180) Situational Model versus LMX The situational approach has evolved into a situational leadership model, which combines the four styles of leadership linked with the nature of the task and the performance readiness of the individuals to determine the most appropriate leadership style. Performance readiness is based on two principal issues ability and willingness. By combining the leadership styles with performance readiness continuum matrix one is able to match performance readiness with leadership style. So for instance a low performance readiness (R1) would require a telling style (S1) (Hersey, Blanchard Johnson, 2008). The work of Armenakis, Harris Mossholder (1993) writing on creating readiness for organisational change provide a framework of readiness and urgency, which is related to the Situational Model and supports the premise that readiness is linked to leadership style. On the other hand, the LMX theory (Graen Uhl-Bien, 1995) is a more recent theory, which examines the three domains of leadership; that is leader, follower and relationship in order to increase predictability of leadership practices. It incorporates operations and relationship in the leadership process. However, Stage 3 Leadership Making and Stage 4 – Team Making two important elements of the leadership process are still evolving. In my opinion, while the concepts are of interest it has not yet matured sufficient to be a useful tool when compared to the Situational Model. In summary, the situational model while not the end all and be all of leadership theory provides a useful tool for practitioners to apply in their professional practice. Concluding remarks I am amazed at the state of leadership theory despite the many years of intense study. Such is the complexity of the issue. In my own professional practice I often adopt a leadership style that is in line with the contingency theory. With my team the style based on the model tends to be S2 while with some of the pilots countries where there is a concern with preparedness ranging between R1 and R2 I tend to adopt a telling or selling leadership style. Additionally, given the time limitation on the project readiness of the stakeholders can generally be described as low readiness/high urgency. I am not in apposition to replace staff so I will have to rethink my communication strategy ( Armenakis, Harris Mossholder, 1993). I start where I began what is leadership? In a sense I know more about what leadership is not. It is not about traits or personalities nor is it leader focused. Leadership in many ways is still an art, it is relational, reflexive, intuitive and is a state within, which the leader and follower are inextricably linked. Denise Forrest Bibliography Armenakis, A. A. , Harris, S. G. Mossholder, K. W. (1993) ‘Creating readiness for organizational change’, Human Relations, 46 (6), pp. 681-703. Graen, G. B. , Uhl-Bien, M. 1995) ‘Relationship-based approach to leadership: development of leader-member exchange (LMX) theory of leadership over 25 years: applying a multi-level multi-domain perspective’, The Leadership Quarterly, 6 (2), pp. 219-247. Greenwood, R. G. (1993) ‘Leadership theory: a historical look at its evolution’,Journal of Leadership Organizational Studies, 1 (1), pp. 4-19, Heifetz, R. A. (1998) ‘Values in leadership’. In: Leade rship without easy answers. Cambridge, Massachusetts: Harvard University Press, pp. 13-27. Hersey, P. , Blanchard, K. H. Johnson, D. E. (2008) ‘Situational leadership ®Ã¢â‚¬â„¢: In: Management of organizational behavior: leading human resources. 9th ed. New York: Pearson International, pp. 132-157. Leana, C. R. (1986) ‘Predictors and consequences of delegation’, Academy of Management Journal, 29 (4), pp. 754-774. Raelin, J. A. (2003) Creating leaderful organizations: how to bring outleadership in everyone. San Francisco, California: Berrett-Koehler. Tannenbaum, R. Schmidt, W. H. (1973) ‘How to choose a leadership pattern’, Harvard Business Review, 51 (3), pp. 162-180. How to cite Evolution of Leadership Models, Essay examples

Recording Studio Technology and the Producer free essay sample

The goal of getting a good sound Is no deferent now than t was when the first recordings were made, but the Idea of what a good sound Is and how it should be achieved are radically different. Role of the recording producer in popular music is very important; the producer plays a very big part in the realization of a composition by deciding what technology should be used and how to use it. Interplay between the musician, record producer and engineer Is critical to the recording process. However, what is eventually fixed to tape must first be composed around the Limitations of the available technology.Thus the most direct interactions between music and technology occur during composition and realization. There are a number of record producers who have become famous for their distinctive sound and their particular techniques and application of varied developments of studio technology. Some producers take much advantage of the technology available to them, whilst others seem to prefer to employ more classical techniques of record production. Tending to shy away from the Increasing practice of digital studio technology. Robinson, well known for producing Dun-metal bands such as corn,Stoniness, Limp Biz and Soulful, generates his own distinctive sound. Robinson focuses more on capturing the soul and spirit of the music that he produces. He does this by resisting the use of digital technology and continuing to use analogue, stating that C]the dealt realm Is very trendy, and Its not a very permanent sound, Its Just too synthetic, It doesnt come from flesh and blood. (R. Robinson. Quoted by A. Presort. Ross Robinson: The Art of a Record Producer [online]. Available from: here=http:// www. Users. Bighorn. Com/perturbations. Com>http://www. Users. Spoon. Com/ operator/Robinson. Com. [Accessed 02/06/01]. ) Another producer known for his creation of a specific sound is Butch MGM, who became famous for his work on the album Cindering by Nirvana. (1991, Gaffe). Butch Big had a tendency to record everything dry, steering away from the use of effects when recording. He would use quite a lot of compression on Kurt Cabins vocals so that he could control his dynamics, and would also do some double- tracking. would record the guitars In a very different way, with a great emphasis on the use of distortion.On the track breed, Cabin used a Rat distortion pedal which Nas run to the board to create a Fuzzy white-noise kind of sound (Butch Big, from R. Buskin: Butch Big. Talking Garbage. [online] available from: html>http://soups. Co. UK/so/199/ _articles/mark//bitching. HTML. [accessed 29/05/01]). Working with the band Garbage promoted a different take on producing for Dutch Big. Instead of simply producing the band, he was also a member of it. Samplers played a huge part in Figs work in Garbage, unlike with Nirvana, where cording was based primarily on live instruments. 01 got bored spending so many [ears recording really fast, straightforward punk records, so thats why we didnt Ant to approach the Garbage record from the angle of a band playing live. Instead it Nas like We can record 47 guitars on this song, mix it down to a stereo sample, then run it backwards, record another 20 guitars and process them so that they sound like percussion instrument. . (Butch Big, from R. Buskin: Butch Big.Talking Garbage. [online] available from: http://soups. Co. UK/so/199/_articles/mark//bitching. HTML. [accessed 29/05/01]). Like many other producers, Big used studio technology as an add-on to the instruments, and this affected the ways in which the songs were written and laid down. 0 The way that we work is that someone will bring in a loop or a sample, and En might Jam for a couple of hours, find one bar thats kind of cool, load it into our samplers, Jam on top of that. ND then well take that home, come back, Jam on it some more, record some more things, add and subtract. .. . (Butch Big, from R. Buskin: Butch Big. Talking Garbage. [online] available from: co. uk/ sos/199/_articles/mar9//butchvig. html>http://soups. Co. UK/so/199/_articles/mark// Richard D. James, performer and producer, more popularly known as Apex Twin, uses his computer as his primary instrument, an increasingly popular method of production and composition in todays music industry. The technology available to lames plays a great part in the creative process of his compositions. James makes a lot of his own equipment and through this is able to experiment with his own electronic sounds, which he develops to create his tracks, relying greatly on the randomness of the sounds that are produced. This allows him to constantly create new, distinctive sounds, which he brings together in his compositions. l got a little sick of the idea of using the same machines and sounds as other people and meanwhile I have collected so many sounds that I can go on for years. (Passes, R lost De Loser. Richard D. James. [online]. Available from: http://www. Phosphate. Org/reading/ [accessed on 29/05/01]) BRB>Recording trends in todays music industry tend to lean towards the use of digital studio technology. This has meant that many artists are capable of producing their own material, and has resulted in the growth of the home studio, especially since digital technology is much more compact than the old analogue equipment. These days, some of the best studios have desks no bigger than a coffee table and home studios often feature similar desks. Digital mixers have changed the way we Branch, A.Digital Mixing. [online]. Available from: uk/fm_mmusic. asp? D=4089>http://www. Futuristic. Co. UK/ FM_music. Asp? Old=4089. [Accessed 05/06/01]). Despite the continuing growth of the use of digital studio technology by artists and their own production, the role of the record producer still remains vital in the context of both the creative and commercial concerns of todays music industry, Neither the producer is independent or the artist themselves. The Record Producer may be thought of as the Ring Leader of the music production chain.Producers have a lot of control over the entire recording project including creative decision aging based on the experience of the producer. The selection of songs used in a project as well as the responsibility of the final product belongs to the producer. (1999. Record Producers. [online]. Available from: http:// [accessed 29/05/01]) A record producer is able to give an independent view of an artists work and how it should sound. They are also more likely to know what technologies are available and which would be best suited to the style of the artist.Also, many reducers have affiliations with a particular record company, this relationship is vital in ensuring that an artist can obtain a deal with the record company in question and the producer will be able to conceive what kind of sound the record label is looking for. The creative context of the role of the producer, the producer often aids the composition and development of an artists work. Sometimes the artist does very little Nor compared to the producer and there may be times when all the artist has to do IS turn up and sing.The producer helps to decide how tracks should be laid down ND what should be included in each track. Production can sometimes be about arranging or optimizing arrangements. This is about coming up with, and organizing, all the bits that will comprise the finished record. (Burgess, R. D. (1997) The Art of Record Production. Up. 52. Omnibus Press. ) With the introduction of computer software such as Steinberg Scubas VS. Virtual studio technology), many artists are becoming their own producers.Artists are able to produce music single-handedly through these programmer, using them to create multi- track Recordings all through a MIDI keyboard, as well as being able o record and arrange audio, allowing artists to concentrate on the creative process, Nile the computer does the rest of the work. These days, the widespread use of digital technology allows producers to manipulate recorded sound in unprecedented ways. Producers can also sample a perfect note or riff, and insert it into the accompanying music as many times as necessary to create an instrumental back-up thats completely error-free.It is also possible to achieve the perfect pitches on vocals, meaning that anyone lacking all musical talent, could sing and be made to sound as though they have a perfectly need voice. The record producer is able to work with studio technology to help a band or artist to develop a particular style. Producers know what kind of sounds are Producers, along with studio technology, play a significant role in the creative and commercial process within the music industry, allowing bands and artists to develop their individual sounds, as well as helping them to produce a sound which will be appealing to their specific audience.