You Are What You Eat Essay Example | Topics and Well Written Essays - 1500 words

You Are What You Eat - Essay Example It is no longer dominated by small, carefully-run family farms producing some wheat, corn, dairy and perhaps eggs and poultry fed and being raised in a free-running farm area., but rather, it is dominated and run by huge multinational food processing companies whose aim is to make more profit and compete for a global position in terms of the best companies. These companies forget that they are dealing with nourishment products for the health of millions of Americans and therefore be more cautious and humane in the food they produce and even how they produce and package it.In their greediness to expand their business, these food companies engage in lying behaviors and techniques since they are aware that majority of the people are ignorant when buying food from supermarkets and others have no clue of the nutritional content and simply trust the company or the product in the supermarket. The lies are therefore numerous and they often start here during production and even transportation and preservation. If you look at a tomato, you may think of a green ripened vegetable that is going to nourish your body and you may feel pretty optimistic purchasing this item to eat or sharing it with your family. In actuality, that is more like a concept of a tomato. By this I mean this tomato may have been picked days earlier in another country by migrant farmers- before it was ripe. Then ripped by ethylene gas, shipped off in a semi-truck soaked with more toxic chemicals and now sits under fluorescent lights.

Introduction speech Essay Example for Free

Introduction speech Essay On September 30, 1993, a miracle that was unexpected happened. I’m going to tell you about an amazing and wonderful person; me!! I’ve known this person my entire life. Many people can consider me many things. Today I’ll tell you about my daughter, Vanessa, my family, and some of my hobbies. Now let me tell you about my daughter. My daughter Vanessa Rose was born on May 13, 2005, she weighed 7 pounds, she was 20 inches long, and born at 6:15 in the morning. She is now 2 Â ½ years old. I got her first name Vanessa from the little mermaid from the evil girl that took Ariel’s voice away from her and tried to steal her prince. I got her middle name Rose from the flower. It’s my favorite flower and it fit with her first name. Vanessa and I have a really close bond. We enjoy playing on her little computer, playing blocks, teaching her colors, teaching her the alphabet, and her numbers and shapes. She’s very active and loves to help clean, read books, color, and dance. There’s never a day that she sits still. My plans for Vanessa are simple, I want her to make the best out of her life, make mistakes in order to learn from them, go to school , graduate, get a career, get married, have kids, and die of a natural cause at a very old age. Now here’s a little bit about my family. I live with my mom, my stepdad, my little sister, and Vanessa. My mom, Kim, and I have a strained relationship, even though I’m her daughter, it’s very hard for her to understand that I am a mother and need to do things on my own without her help. But she’s still my mom and even though I don’t show that I appreciate her as much as she wishes I would, I do appreciate her for everything she’s done for me. My stepdad, Jim, and I have an odd relationship; even though he and my mom aren’t married he’s like another dad to me. Although my dad is still in the picture he’s not there for me as much as Jim is for me. I appreciate him a lot and thank him for being there for me. My little sister, Gabi, and I have a strong relationship. I’m always looking out for her and she always looks out for me. I trust I can tell her a secret and she won’t tell anyone else. She also can tell me secrets and she knows I won’t tell anyone either. She looks up to me as a role model and she always wants to be included. Even though she may bug me at times, I still love her to death and would go to the ends of the world and back. Now I’m going to tell you about some of my hobbies and what I like to do. A couple things I like to do are watch TV and movies, play on the computer, spend time with my daughter, spend time with my boyfriend, listen to music, text on my phone, and sleep. I like to watch TV and movies with my family and my boyfriend. On the computer I go on Facebook and MySpace everyday. I listen to all different types of music. What I listen to depends on the mood that I’m in. My favorite TV show is Family Guy because they’re really funny and my favorite characters are Stewie and Brian. My favorite movie is The Titanic because it’s really sad but romantic at the same time. It also shows that the worst of times can be changed into the best times of your life. In conclusion, today I’ve told you about my daughter, my family, and my hobbies. I’m an amazing and wonderful person. Many people can consider me many things and I hope that you can come to understand me better by hearing this.

Examination Of The Motifs In Till Eulenspiegel Music Essay

Examination Of The Motifs In Till Eulenspiegel Music Essay After an unsuccessful premiere of the opera Guntram in 1894, Strauss was consistently looking for new material for an opera. It appears he became more concrete about plans for an opera after finding the Eulenspiegel material from the chapbook Ein kurtzweilig lesen von Dyl Ulenspiegel [an amusing reading of Dyl Ulenspiegel] from 1515. The opera libretto for Till Eulenspiegel remained only a sketch, but the symphonic poem became a triumph. Franz Wà ¼llner conducted the premiere in November 1895. He asked Strauss for a few programmatic explanations, but the composer restricted himself to enunciating the two Eulenspiegel themes at the beginning. Further, he said that it would be impossible to produce a programme for Eulenspiegel. So this time we will leave the audience to crack the nuts themselves the rogue hands out to them. 615. Up that ladder. See him hang, he is running out of breath, one last convulsion. Till, the mortal, is no longer In my work I have decided to focus on Till Eulenspiegel ´s melodic motifs and their interpretations presented by Mathias Hansen, Thomas Armstrong and Michael Kennedy (see bibliographical references at the end). I have compared and examined them in reference to points on which they agree or disagree and I have integrated my own ideas by implying text to the score. In the first few bars we can find disagreement between the different observations. Mathias Hansen writes that the six introductory bars do not play a role until the epilogue in bar 633. It is true that this introduction does not take over the function of a ritornello in the sense of a Rondeau, but I disagree with the claim that this once upon a time theme has a separate status in the story. The opening phrase is in a folk-lore character taking as back to the times when Till was a historical figure. The first half of Tills theme, starting in bar six, is hesitant, however the second, identical entry is confident and self-assured, as if Till was checking the scene before appearing. Das war ein arger Kobolt wrote Strauss himself under this phrase (He was a wicked Goblin) and the above musical example portrays Till according to Strauss description. Thomas Armstrong notices that prologue is based on the second Till theme in bar 46/47: By writing this theme in its simplest form, we can easily detect that the prologue is a conclusion of it: Hansen also notices the Till-chord, which is the dominant chord in bar 47/48 (related to C and leading to the F home key); further on, he shows the relationship between this chord and the Tristan-chord: written in another tone or interval position, the harmony of the Till-chord corresponds with the one from the Tristan-chord. Strauss: Till EulenspiegeWagner: Tristan und Isolde The section between bars 51 -111 Strauss uses for exposition of the Till themes. One interesting thing is noticed by Armstrong, who shows the appearance of the wicked goblin theme in bar 53, starting with the clarinet and continuing with the first violins, further developments takes place in bassoon and lower strings part. Hansen also refers to these theme in his observation on bar 63 (et sqq) where a compressing through a massive overlapping of the first part of the wicked goblin theme takes place. Hansen writes that the passage from bar 46 et sqq. is dominated by one motif Regardless of its meaning, it [material compression] tries to integrate approximately every note in the context relating to motifs. Such complexity, that tries to dissolve the contrast of primary and secondary material, of foreground and background of a piece, is emerging emphatically in Strausss way of composing Till  [1]  . Hansens dissolving of foreground and background material might be suitable for the passage he is describing; however, if we think of Strausss Don Quixote, which was written two years after Till, we can find a quite clear separation of primary and secondary material. Strauss even assigned the characters of the piece to instruments: there is Don Quixote, who is represented by the solo cello and his squire Sancho Panza, who is described by the solo viola and the bass clarinet. In Till Eulenspiegel the whole passage from bar 46 to bar 134 includes figures that imply use of verbal text; this musical narration finds the words and their meaning in the actual notation of the music; e.g.: Bar. 71 et sqq.: Till is ready for his first prank Bar. 81-85: But when? But where? Bar. 98 et sqq.: Tills zest for action Bar. 105-109: Till is thinking of a crude prank Bar. 111 133: Just you wait you bootlicker! War ten mal! (just you wait) This is when the first true episode takes place. Clarinets rush upwards, cymbal clashes and Till mounts a horse andà ¢Ã¢â€š ¬Ã‚ ¦jumps! (137et sqq.) Riding roughshod through the market square as the beginning is presented in the string section: Strauss noted down in the score Away in seven-league-boots for bar 151 and 152 notes that depict that theme are assigned to the flutes, the oboes and the clarinets and refer these two bars to the first part of the wicked goblin theme. There is a pause in bar 154 when Till hides himself in a mouse-hole and carefully puts out his head. Armstrong explains the pause in bar 154 with the words: Till seems to be lost. I would rather say that the break has the character of Phew that was a near thing! Starting from bar 157 until 169 Till is again in the heart of a new adventure. Strausss note on that passage: He emerges in disguise as a priest, oozing unction and morality lets us expect a musical caricature. On the contrary, whatever the clarinet, the bassoon and the violas play in a folksong-way of simplicity it has nothing to do with open mockery or cautious irony. The repeated inclusion of the first part of the wicked goblin theme does not radiate the effect of a caricature. With his note The knave peeps out of [his disguise] at the big toe, Strauss must have meant the figure in bar 191: It is when D clarinet presents Tills second theme revealing who is under preacher disguise! The chromatic runs of the horn, trumpets and violins (bars 196 198) show how dangerous Tills practice of mocking religion is at that moment. 9 bars later a glissando in solo violin opens another adventure: Bar. 209 et sqq.: Till the cavalier, exchanging sweet courtesies with beautiful girls Tills horn theme is presented in a romantic way Till felt in love with one of the girls and the music is coated with harmonically richer material. When Till is mistreated by the girl, his themes stomp through the orchestra until the four horns seem to be shaking their fist at the world and this is when in bar. 287 288: He [Till] vows he will take revenge on all mankind The most promoted part of the tone poem starts here (bar 293 et sqq.). Strauss brings the rhythmical energy of the motifs into play. Till is amongst the Philistines whose motif is played by bass clarinet and four bassoons (bar 293 299). Tills horn motif is now played by strings as if Till was asking the pedagogues his questions; this is how Strauss puts it: After he has posed a couple of atrocious theses to the philistines, he leaves them to their fate dumbfounded. The music of this section portrays pointlessness of pedagogues calculations; They have been cornered by Till and left puzzled. Concerning the Philistines, a series of variations develops, in which the formative force is in the rhythmical richness of creation, some of them are composed as canonical variations: In the following passage Strauss tries to create a deceptive silence after the council of the Philistines decided to end Tills days. Till is waiting cautiously for revenge, he takes advantage of this situation and does more and more mischief, rather than trying to become an ordinary citizen. The first Till theme sounds again, Till reappears first in first horn in F in bar 429, then in bar 436 horn in D presents Tills theme enriching the tonality. Starting in bar 429 (et sqq) Till appears again for new pranks and these know no bounds anymore. Consumed by disappointments, he does not appear as a harmless humorist, but as a revengeful human being in a fools costume. It gives a feeling of wildness and in this broadening atmosphere Strauss develops an intensity and complexity of motives combinatory that is difficult to beat. Armstrongs description is also in this direction: The music is keyed up to a higher pitch of excitement than ever. Tills last stretch of development, some 140 bars in length, shows Strausss music in full and unhesitating flight.  [2]   Trying to describe this long passage, I would put the following words: Bar 410 to 429: There is a deceptive silence From bar 486: Till is very successful From bar 546 Till gets up to more and more mischief, he becomes more high-spirited, livelierà ¢Ã¢â€š ¬Ã‚ ¦ à ¢Ã¢â€š ¬Ã‚ ¦and even daredevil (bar 555 et sqq.) He feels like the lord of the world, even a god! (Bar 567 et sqq.) Fanfares in trumpets and horns: Straus puts an extra emphasis on this passage by expanding the brass section by three trumpets and an optional second quartet of horns. The boldness and arrogance of Tills behaviour is growing. He gets arrested and faces judges accusations (bars 573 581) accompanied by violent side-drum roll that lasts for fifteen bars. Till wants to keep his nonchalant attitude but starts to realize he has gone too far. The biggest penalty is given pictured in music by second Tills theme instrument D clarinet playing upward notes falling into major seventh chord (bars 615 616), when Till is going up the ladder to be hanged. This is when D clarinet reaches its highest A flat, holding it awhile and starts to move down, accompanied by the flute-trill (bars 619- 620) that describes Till running out of breath. This passage does not only sound like a sharp cry, though, it also portrays the breathlessness of Till. None of the authors specifies the epilogue. Kennedy refers the epilogue to Till himself: A gentle epilogue recalls the works fairy tale opening, as if to remind us, before he scampers away, that Till was not such a bad fellow.  [3]   Armstrong writes similarly: It is Tills characteristic tune with the devil taken out of it, so that it seems almost tender. This epilogue shows the composers insight at its keenest  [4]  . The epilogue recalls and extends Once upon a time version of Tills second theme (bar 632 et sqq). The atmosphere is similar to the one from the opening of the piece with it folk-lore narration and charm. In my opinion, Strauss composed the following content: Once upon a time, there was a foolà ¢Ã¢â€š ¬Ã‚ ¦he diedà ¢Ã¢â€š ¬Ã‚ ¦but through this story, he is still alive. Hansen and Werbeck have differing opinions about the form of Till Eulenspiegel. Hansen describes the form as follows: Basically, there are only two central events, and they are actually a combination of theme and motif those two of the hero, of which Strauss informs Wà ¼llner in his letter  [5]  . Walter Werbeck tries to explain the form more accurately: Strauss composes neither an authentic sonata rondo nor a traditional rondo chain  [6]  . The element of a rondo that is missing is ritornello, but if we see rondo as representation of two themes then we might be dealing with a variant of rondo in Till Eulen spiegel. Walter Werbeck continues: One could easily describe the first part of Till as a free variation form, or, preferably, as a form in which rondo and variation are combined as follows: A (Exposition); Aà ¢Ã¢â€š ¬Ã‚ ² (market scene, variation 1); B (sermon scene, episode 1); A à ¢Ã¢â€š ¬Ã‚ ²Ãƒ ¢Ã¢â€š ¬Ã‚ ² (love scene, variation 2); and C (Philistines, episode 2). Strauss also drew on principles of sonata form. As evidence we might cite especially the emphatic recapitulation of the initial horn theme in bar 429 that opens the second part of the piece.  [7]   Both Hansen and Werbeck divide the piece in the same way into two main parts. Whereas Hansen only tells us approximately where his second part starts, Werbeck gives us the exact bar number (429) of his division. Hansen is content with the division into two central events; Werbeck, however, tries to show that Till is undoubtedly much more than a sonata rondo. The composer combines sonata form, variations and rondo. These forms cannot be seen separately they overlap and penetrate each other to varying degrees. At some points the form of a set of variations dominates, sometimes as sonata or as rondo. Warbecks quotation As Till Eulenspiegel, the protagonist of the tone poem, resists societal norms by mocking them with continuous pranks, so does the composer thwart the expectations of those who want to pin him down to the norms of a rondo  [8]   seems to be especially appropriate here. Trying to fit Till into a rondo form, the following division makes sense: 1. Prologue and Exposition; bar 1-111, the fool is introduced 2. Variation I; bar 112-178, the upsetting of the market place 3. Episode I; bar 179-206, the mockery of the sermon 4. Variation II; bar 207-288, Till in love 5. Episode II; bar 289-409, the confusing of the professors 6. Recapitulation (Variation III); bar 410-594, Till goes on his way 7. Coda (Episode III); bar 595-632, Till is arrested and hung 8. Epilogue; bar 633-658 At this point I would like to summarise the themes of Till Eulenspiegel: The wicked goblin theme and its modifications: BASIC FORM: NARRATIVE: AS A CAPER: HE LIES IN WAITING AT A GALLOP RELIEVED, AT A SAFE PLACE IN LOVE AS AN OATH OF REVENGE IN A CONFIDENT WAY UP THE LADDER FURTHER THEMES: Till Eu len spie gel, till Eu-len-spie gel, Till Eu-len spie-gel NAMING OF TILL NEW PRANKS IN LOVE COURTING AGAINST THE PHILISTINES DECEPTIVE SAFETY MISCHIEVOUS Richard Strausss Till Eulenspiegel appears as a masterpiece in composers career. In this piece Strauss used yet the biggest orchestra with massive woodwind section and optional second horn quartet. It is in some way symbolical that after serious labour on Guntram Strauss composes such a spectacular work inspired only by a folk legend. Richard Strauss himself leads us well and truly to believe in something with his title Nach alter Schelmenweise in Rondeauform [after an old rascal manner in rondo form]. Whoever thinks that Strauss came to a compromise with the traditional form will notice quickly that any pattern is avoided. It is not the form of the rondo with the methodical; umpteen times reprise of the theme, the unity is reached by the consistent development of the melodical-thematical elements. These elements, which come in the most varying forms, in the bravest disguises and the rhythmical and harmonical transformations, are the two main themes. Strauss uses the specific sound character of an instrument in the score very carefully. This is what gives the whole tone poem the humorous colour. When the notes become alive, everything sounds so simple, natural and unconstrained. Strauss makes high demands on the musical intelligence of the musicians playing his works.

Internet & Society: Technologies and Politics of Control Essay

Internet & Society: Technologies and Politics of Control From the moment Internet file-sharing became a reality, exploding into millions of homes and dorms, something changed. Internet file sharing brought with it the opportunity to access for free what had previously cost money. Beyond that, file sharing created a social norm that music and digital media ought to be free. How did this happen? How did file sharers warp reality and forever create this notion that digital media, notably music doesn’t require the money it always had before? Through this paper, I will attempt to prove that the social norms of the Internet public were corrupted by code, by deceptive P2P programs that mask reality for the sake of prosperity. It is this warped social norm that plagues the future of digital media tomorrow. By examining the programs that have forced this revolution (Napster, LimeWire, KaZaA) much can be learned and understood about where and how society failed to recognize its Internet world is in fact an extension of the physical world, and the same rules of civility and morality ought to apply. It is my contention that the P2P networks created an atmosphere built around harmonious sharing—using the ideas of strength in numbers and anonymity to create richly stocked P2P networks. Finally, after careful analysis and discussion of the facts, I will offer suggestions on moving forward and hopefully solving the chaos and problems faced by the present system (or lack thereof). In â€Å"Code and other Laws of Cyberspace†, Lawrence Lessig outlines the four modalities of regulation—law, markets, norms, and architecture. Law has the ability to regulate behavior through penalty and markets create incentives for people to behave in particular... ...the Internet and online file sharing no longer be a chaotic jungle of copyright infringement, but an extension of community and relationships as we understand these terms in the offline world. Works Cited Goulder, Alvin. â€Å"The Norm of Reciprocity: A Preliminary Statement† American Sociological Review 1960. Levin, Daniel. â€Å"Building Social Norms on the Internet†. Yale Journal of Law & Technology. 2001-2002. Steiner, Peter. â€Å"On the Internet, Nobody Knows You’re a Dog†. The New Yorker 5 July 1993. Strahilevitz, Lior Jacob. â€Å"Charismatic Code, Social Norms, and the Emergence of Cooperation on the File-Swapping Networks†. John M. Olin Law & Economics Working Paper No. 165. The University of Chicago Law School. http://law.uchicago.edu/lawecon.index.html Takahashi, Nobuyuki. â€Å"The Emergence of Generalized Exchange† American Journal of Sociology 2000.

Magnatism & The Things We Think We Know About It! :: essays research papers

Magnatism & the Things We THINK We Know About It! Magnatism is a wonderous natural phenomanon. Since days before scientific discoveries were even written down the world has been playing with the theories of magnatism. In these three labs we delt with some of the same ideas which have pondered over for long before any of us were around. In these conclusions we will take a look at these ideas and find out what exactly we have learned. To understand the results of the lab we must first go over the facts about magnatism on the atomic level that we have discovered. The way magnatism works is this: magnatism is all based on the simple principle of electrons and there behavior. Electrons move around the atom in a specific path. As they do this they are also rotating on there own axis. This movement causes an attraction or repultion from the electrons that are unpaird. They are moving in two directions though causing a negative and positive charge. In the case of magnatism though we find that these elements have a lot of unpaired electrons, in the case of iron, Fe, there are four. What happens then in the case of a natural magnet the unpaired electrons line up or the magnet in a specific mannor. That is all the atoms with unpaired electrons moving in a direction which causes a certain charge are lined up on one side and all the atoms with the opposite charge move to the other side. The atoms then start to cancel each other out as they approach the center of the magnet. This all happens at the currie point where these atoms are free to move and then when cooled and the metel becomes solid the atoms can no longer move (barely) causing a "permanent" magnet (as in the diagram on the next page). This same principle can be applied to a piece of metal that has been sitting next to a magnatized piece of metel in that over the long time they are togather the very slow moving atoms in the metal situate in the same fassion also creating a magnet. Now that we know the basics lets begin with the experiments. Part one of the lab started us on our journey. In this part we took an apparatus with wire wrapped around it put a compass in the middle of the wire wraps. The setup was arranged so that the wraps were running parralel with the magnetic field of the earth, that is they were north-south. With this setup we

Ethnic Marketing in Indonesia Essay

Indonesia’s national slogan  « Bhinneka ika tungat.  » that means unity and diversity, is a strong local motto that celebrates differences, specially the demographic one. This slogan was adopted at independence in 1945. This can indicate in a first approach a strongly united population, a country where people are allowed to practice and conserve their ethnic Identity. But this never was the general case in Indonesia. There is this insidious ordinary racism in the country that takes place in their everyday living. Because this sacred diversity is however limited to ethnic groups with claims to a territory: this includes the Javanese, the Sundanese and the Madurese. There are other local groups that are not as significant. For the other groups that can not have the same claims, it is another story especially when it comes to the Chinese Indonesian. Being migrants with powerful and strategic positions, they are often excluded by the population or they exclude themselves. If this is how the Indonesian society can be perceived, it isn’t the same when it comes to the marketing approach. It can be said that it is not that simple to talk about ethnic marketing in Indonesia when it is related to physical characteristics. If the comparison was made with Singapore, It is much easier to identify that a person belongs to a certain ethnic group when she is shown in an advertisement. It becomes more delicate when the ethnic groups have a lot of similarities. Even if Chinese, Indo or Arab origins Indonesians are not accepted everywhere or not recognized as true Indonesian by a part of the society, they still have their place and are represented for marketing purposes. We can give an example of Western Union: For the first Ad, adressed to the chinese Indonesian poulation, the person is an office working man, we would rather think that he has a good salary and is educated. The emphasis here is about the importance of the speed of the transaction. For the second Ad, more adressed to Indonesians with claims of territory, The main character is a little girl that due to the received money, could go to school. It shows the importance that is taking girls education in those groups. When it comes to the language, companies that operate at a national level generally use Indonesian or English for their advertisement campaigns. The use of a specific language related to a group is more likely to stay in the frame of small companies that operates in very restricted areas.

Advertising in Outdoor Media

Advertising in Outdoor Media Out-of-home advertising (or outdoor advertising) is made up of more than 100 different formats. Outdoor advertising is essentially any type of advertising that reaches the consumer while he or she is outside the home. This medium is in contrast with broadcast, print, and Internet advertising. Out of home advertising, therefore, is focused on marketing to consumers when they are â€Å"on the go† in public places, in transit, waiting (such as in a medical office), and/or in specific commercial locations (such as in a retail venue).Outdoor advertising formats fall into four main categories: billboards, street furniture, transit, and alternative. Billboard advertising is a traditional out of home advertising format, but there has been significant growth in digital out of home advertising (billboards and place-based networks) in recent years. Traditional roadside billboards remain the predominant form of outdoor advertising. Street furniture is made up of formats such as bus shelters, news-racks, mall kiosks, and telephone booth advertising. This form of outdoor advertising is mainly seen in urban centers.Additionally, this form of advertising provides benefits to communities, as street furniture companies are often responsible for building and maintaining the shelters people use while waiting for the bus. Transit advertising is typically advertising placed on anything which moves, such as buses, subway advertising, truck-side, and taxis, but also includes fixed static and electronic advertising at train and bus stations and platforms. Airport advertising, which helps businesses address an audience while traveling, is also included in this category.Municipalities often accept this form of advertising, as it provides revenue to city and port authorities. Finally, alternative advertising includes ads in stadiums, on gas pumps, bike racks, rest areas, and other non-traditional formats. Alternative advertising provides a way to addres s consumers in places they may not expect. DOOH Digital out-of-home refers to dynamic media distributed across placed-based networks in venues including, but not limited to: cafes, bars, restaurants, health clubs, colleges, arenas, gas stations, and public spaces.DOOH networks typically feature independently addressable screens, kiosks, jukeboxes and/or jumbotrons. DOOH media benefits location owners and advertisers alike in being able to engage customers and/or audiences and extend the reach and effectiveness of marketing messages. It is also referred to as Digital Signage. The reason that this category is growing so rapidly is because busy people are typically busy at home and with the introduction and acceptance of digital video recorders, it has diluted the frequency with which traditional television commercials are viewed.Every day more TV viewers are skipping past commercials with their DVRs which in turn has made out-of-home advertising all the more appealing. A Nielsen media research study in 2009 showed that 91 percent of DVR owners skipped commercials. As a result, traditional TV advertisers are hungry for an effective substitute, and digital out-of-home ads appear to be one of the solutions. DOOH also includes stand-alone screens, kiosks, and interactive media found in public places.The availability of inexpensive LCD screens with built-in media players has opened the door for companies to add interactive video messages in Point of Purchase (POP) Displays. The displays allow consumers to get additional information at the moment of decision on a product or service. Growth in the DOOH industry has been increasing in 2009, with more POP manufacturers, advertisers, and content developers moving to digital. Non-Digital Out-Of-Home Non-digital out-of-home refers to other types of media distributed across physical spaces.These are: Airship Advertising – An airship can provide one of the physically largest out-of-home advertising platforms. Bulletin – Bulletin billboards are usually located in highly visible, heavy traffic areas such as expressways, primary arteries, and major intersections. With extended periods of high visibility, billboard advertisements provide advertisers with significant impact on commuters. Bus advertising – Firmly establish brand awareness and generate quick recall with high profile exposure near point of purchase locations. Commuter rail display – Reaches a captive audience of upscale suburban commuters.Additionally, reaches lunch-time patrons, shoppers and business professionals. ComPark advertising – ComPark is a device used for car park advertising; which is placed onto the parallel lines of a bay and is able to gain instant exposure from motorists that have just parked their vehicle. The ComPark also serves as a guide to assist motorist in adhering to the parking bay size. Lamppost banner advertising – Lamp columns are sited everywhere, allowing advertisers and ev ents to use banners to target precise geographical locations and create massive promotional awareness.Mobile billboard – Mobile billboards offer a great degree of flexibility to advertisers. These advertisements can target specific routes, venue or events, or can be used to achieve market saturation. A special version is the inflatable billboard which can stand free nearly everywhere. This product can also be used for outdoor movie nights. Poster – Target local audiences with these billboards, which are highly visible to vehicular traffic and are ideal for the introduction of new products/services.Marketers use posters to achieve advertising objectives and increase brand awareness by placing multiple units in strategic locations while lowering the cost per thousand impressions. Premier panel – Premiere panels combine the frequency and reach of a poster campaign with the creative impact of a bulletin. Premier square – Bright top and bottom illumination on a premiere panel provide extra impact after dark. Street advertising – The use of pavements and street furniture to create media space for brands to get their message onto the street in a cost-effective approach.Taxi advertising – Taxi advertising allows advertisers to highlight their products, whether brand awareness, or a targeted message, directly to areas where people work, shop, and play. Wallscape – Wallscapes are attached to buildings and are able to accommodate a wide variety of unusual shapes and sizes. These billboard advertisements are visible from a distance and provide tremendous impact in major metro area. Other types of non-digital out-of-home advertising include airport displays; transit and bus-shelter displays; headrest displays; double-sided panels; junior posters; and mall displays.