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Innovar : Revista de Ciencias Administrativas y Sociales
Print version ISSN 0121-5051
Innovar vol.1 no.se Bogotá 2008
Recognition and recall of product placements in films and broadcast programmes
Reconocimiento y recordación de los productos exhibidos en películas y en programas emitidos por televisión
Reconnaissance et évocation de produits placés dans des films et des programmes de télévision
Reconhecimento e recordação dos produtos exibidos em filmes e em programas emitidos por televisão
D. L. R. van der WaldtI; L. D. Du Preez; S. Williams
IDr De la Rey van der Waldt is Subject Head: Communication Management in the Department of Marketing and Communication Management, Faculty of Economic and Management Science, University of Pretoria, Republic of South Africa. This article is based on a survey conducted by L. D. Du Preez and S. Williams as part of their honours degree project. Email: firstname.lastname@example.com
Replicated from Innovar, Gogotá, vol.18 n.31, p.19-28, Jan./June 2008.
The purpose of this article is to investigate product placements in films and broadcast programmes regarding recognition and recall of product names. The sample consisted of undergraduate male and female students aged 18 to 24 attending a tertiary level institution in Pretoria, South Africa.
The findings showed that even though there was no perfectly positive relationship between the prominence and recognition of products placed in films, someone watching a film was more likely to recognise a product if it were to be shown audio-visually. It can therefore be concluded that if a product is placed more prominently in a film, the recognition thereof will be higher.
This study can be a benchmark as it is one of the first studies conducted in South Africa regarding the perception of product placements in film.
Key words: Product placements, recognition, recall, film, television, advertising, new media, consumers.
El propósito de este artículo es investigar la exhibición de productos (product placements) en películas y en programas emitidos por televisión, para determinar el grado de reconocimiento y recordación de los nombres de estos productos. La muestra estuvo comprendida por un grupo de estudiantes de pregrado de una institución universitaria de Pretoria, Sudáfrica. Las edades del grupo oscilaban entre 18 y 24 años, con individuos de ambos sexos.
Los hallazgos mostraron que a pesar de no existir una relación perfectamente proporcional entre la prominencia y el reconocimiento de productos mostrados en una película, un espectador es más dado a reconocer un producto si se muestra en una combinación de estímulos auditivos y visuales. Por tanto, se puede concluir que si un producto se exhibe de manera prominente, su reconocimiento posterior será más alto.
Este estudio puede tomarse como punto de referencia sobre la comprensión de los "product placements", por constituirse en uno de los primeros estudios realizados en Sudáfrica en este campo.
Palabras clave: Exhibición de productos, reconocimiento, recordación, películas, televisión, propaganda, nuevas tecnologías de comunicación, consumidores.
L'objectif de cet article est d'étudier le placement de produits (product placements) dans les films et les émissions télévisées, afin de déterminer le degré de reconnaissance et d'évocation des noms de ces produits. L'échantillon, un groupe d'étudiants et d'étudiantes universitaires de Pretoria, Afrique du Sud, correspondait à une tranche d'âge de 18 à 24 ans.
Selon les résultats obtenus, même s'il n'y a pas de rapport totalement proportionnel entre la proéminence et la reconnaissance de produits placés dans un film, le spectateur est plus enclin à reconnaître un produit lorsque celui-ci apparaît accompagné de stimulus auditifs et visuels. Ainsi, il est possible de conclure que lorsqu'un produit est placé de façon proéminente dans un film, plus tard il sera reconnu davantage.
S'agissant de l'une des premières études réalisées en Afrique du Sud dans ce domaine, elle pourra servir comme point de référence pour comprendre les « product placements » dans les films.
Mots clé: Placement de produits, reconnaissance, évocation, films, télévision, publicité, nouvelles technologies de communication, consommateurs.
O propósito deste artigo é investigar a exibição de produtos (product placements) em filmes e em programas emitidos por televisão, para determinar o grau de reconhecimento e recordação dos nomes destes produtos. A amostra esteve conformada por um grupo de estudantes de graduação de uma instituição universitária de Pretoria, África do Sul. As idades do grupo oscilavam entre 18 e 24 anos, com indivíduos de ambos os sexos.
As descobertas mostraram que, apesar de não existir uma relação perfeitamente proporcional entre a proeminência e o reconhecimento de produtos mostrados em um filme, um espectador de filmes é mais propenso a reconhecer um produto se este é mostrado em uma combinação de estímulos auditivos e visuais. Portanto, pode-se concluir que se um produto é exibido de maneira proeminente em um filme, seu reconhecimento posterior será mais alto.
Este estudo pode ser tomado como um ponto de referência sobre a compreensão dos product placements nos filmes, por constituir-se em um dos primeiros estudos realizados na África do Sul neste campo.
Palavras-chave: Exibição de produtos, reconhecimento, recordação, filmes, televisão, propaganda, novas tecnologias de comunicação, consumidores.
1. Introduction
A study by Russell (2002: 307) indicates that prominence plays an important role in the recognition and recall of product placements in films because firms spent more than US$1.5 billion on product placements during 2005, followed by Brazil and Australia with a spent of $285 million and $104 million, respectively (ABC Arts, 2006: 1). The advancement of new technological devices as communication vehicles will cause traditional advertising to become less significant (Hornick, 2006: 1). The biggest advantage of product placements is the fact that the message has a wide reach and a long life with declining cost per exposure (Wiles & Danielova, 2006: 3).
Product placements in film, according to Balasubramanian (1994: 2), can be seen as "hidden but paid" messages that include product names, products, or the name of a firm aimed at film audiences via the unobtrusive entry of product identifiers through audio and/ or visual means for promotional purposes.
According to Dodd & Johnstone (2000: 142) and Mc- Kechnie & Zhou (2003: 350), the advent of digital television, the Internet, the growing numbers of commercial radio stations and increased household penetration of internationally broadcast cable and satellite channels, as well as video cassettes and DVD players, have significantly increased the choice of where to place product advertising in a medium. It has also highlighted the need for communicating more effectively with potential consumers. A typical film with international distribution can reach over one hundred million viewers as it moves from box office to video/ DVD to television (Vollmers & Mizerski, 1994: 98). In order to reach this vast number of consumers and to secure competitive advantage among them, advertisers should seek to exploit previously under-used channels of communication. One of these channels is product placement (Dodd & Johnstone, 2000: 142).
Product placements make a significant contribution to the story line of a film, adding realism and credibility, thus facilitating memory (Russell, 2002: 308). There are three ways in which products can be featured in a film, which are identified by Smith (1985: 85): the product itself, a logo is displayed or an advertisement is placed as a background prop.
DeLorme & Reid (1999: 2), Belch & Belch (2001: 459- 460), and Fill (2002: 724) put forward a number of advantages of product placements. The advantages of product placements include: Exposure to the product means that the levels of impact can be high because cinema audiences are very attentive to large-screen presentations. On average, the life span of the film is estimated at three years. When this is combined by the video and DVD rental market and television broadcasting of the feature film, it is extended for a much longer period. The frequency of placement in the feature film relates to the manner in which the product is presented or used in the film, and it could be repeatedly exposed during all the film. Product placements could also be a support for other media. Source association is another advantage of product placements. When film attendees see their favourite film star using the product, the impact of this exposure could be high. The cost for placing products in feature films may range from free samples to millions of ZA Rands. The cost per minute of this form of advertising can be very low in comparison to other media, due to the high volume of exposures it generates. Average recall of products that were placed in feature films showed approximately 38% the next day (Gupta & Lord, 1998, in Belch & Belch, 2001: 459). Bypassing regulations is another advantage of product placements in a feature film. Product placements allow for cigarettes and alcohol manufacturers to expose their products, circumventing these restrictions.
However, according to DeLorme & Reid (1999: 2),
the disadvantages of product placements are that marketers and advertisers have limited control over the product placement process. It includes the inability to guarantee the release date or the success of a particular film, the possibility of a product being edited from the film, the risk of negative or unclear product portrayal in the film setting, the difficulty in measuring effectiveness, and the lack of audience selectivity in the film medium.
From the disadvantages mentioned above, management can easily identify the obstacles that they may be faced with when working with product placements.
2. Research problem and objectives
Little published information exists in a South African context on product placements in films (EbscoHost, Emerald and Science Direct search engines [Accessed: January-February 2008]. Van der Waldt (2005: 13) states that attention should be given to recognition and recall as a focus of future research. It is therefore necessary that marketers determine which product should be placed, where, and in which film, with the intention to increase recognition and recall of these placements in the mind of film attendees. This study was undertaken to investigate the usage of products in films and the perception of males and females in this regard. The researchers aimed to answer the following research questions:
Do film attendees recognise products placed in films?
Do film attendees recall products placed in films?
3. Literature review
3.1 Recognition
According to Dodd & Johnstone (2000: 143), product recognition can be seen as a person's ability to identify a product name in a film. In order to a product to be effectively recognised in a film, it should have a reasonable length of exposure time, as well as having a well-integrated placement such as audio, visual or audio-visual. Product recognition requires an individual to differentiate or discriminate encountered stimuli from a set of extraneous and possibly distracting stimuli (Dodd & Johnstone, 2000: 143). Products, previously demonstrated by others, should have some defining feature in order to it to be recognised.
Products or product recognition depends significantly on the objective and subjective nature of product placements in media such as films as identified by D'Astous and Chartier (2000: 33). The length of time that a product is shown can be seen as objective in nature and depending on the extent to which a product is placed in a scene of a film, and whether the film attendee could or could not miss the product can be seen as subjective in nature. Products can be built into a film indirectly through creative placements such as outdoor billboards advertising the product or through on-set placements where a product is placed in its natural environment, such as a bottle of Pepsi on a kitchen table. This latter type of placements also adds realism to the product and film (Dodd & Johnstone, 2000: 143).
Depending on the stimuli received during a film, a film attendee may or may not identify different products strategically placed within a film. Six major categories regarding differences in the way in which products were placed in films leading to the recognition of them emerged in an analysis conducted by D'Astous & Chartier (2000: 33). It was found that recognition of products depends on subtlety, length, and integration within the scene of a film, personal judgement, product awareness and the verbal announcement of the product's name within the film.
Previous research by Gupta & Lord (1998: 49) has shown that recall and recognition will be higher when a product placement includes both an audio and a visual compared to that of only a subtle visual usage. Prominent visual placement is where a product is easily identified by its position and size and when it is included in a major scene within a film. A subtle visual placement of the product has a limited time of exposure and is often used as a background prop without audio reinforcement. For example, where a vehicle passes a billboard on a highway and one could only subtly see the advertisement flashing in the background.
This research attempted to evaluate the recognition a film attendee had when viewing a product that is placed prominently.
H1: The likelihood of a film attendee recognising a product placed in a film is higher when the product placement is more prominent.
3.2 Recall
According to Aaker (1996: 10), product recall is a person's ability to recollect product names used in a film that has been viewed. It has been found that a film attendee's recall is higher when a product placement is repeatedly vis-à-vis than when it is shown once. Product recall relates to consumers' ability to retrieve the product from memory given the category, and the needs fulfilled by the product as a cue (Aaker, 1996: 10). Hence, cues such as product categories, a purchase or usage of a product or scenes from a film may aid the recall of those products stored within it (Dodd & Johnstone, 2000: 143). It requires consumers to correctly generate the product from memory when given a relevant cue. Product awareness can provide a host of competitive advantages for the marketer. According to Aaker (1996: 174), three distinct advantages are: it provides the product with a sense of familiarity; the salience of a product will determine if it is recalled at a key time in the purchasing process and product awareness is an asset that can be remarkably durable and thus sustainable. One influencing factor can be a person's memory and recall. Repeated exposure of a product within a film plays an important role, and Balasubramanian (1994: 21) emphasises that recall is considered a crucial gauge of a product placement's effectiveness.
Product association is one of many means that a marketer can use to stimulate their products in the mind of a consumer. According to Bovée, Houston & Thill (1995: 248), product associations can be defined as perceptions and images that people link with particular products. Marketing programmes that link strongly create a positive product image, favourable, unique and admirable associations to the product in the consumer's memory (Keller, 2003: 70). The association attached to a company and its products can therefore be key enduring business assets.
Alba & Chattopadhyay (1986: 363) found that a film attendee's recent and repeated exposure to a product increases its salience and thereby increasing his/her product recall. Product salience is seen as the prominence or level of activation of the product in the memory (Berry & Miller, 1998: 3). All human beings are involved in decision-making processes in their everyday life that incorporates memory processes. Atkinson & Shiffrin (1971: 84) state that incoming information from the external environment travels via the sensory memory into the short-term memory (STM). Salient information is then passed to the long-term memory (LTM) where it can be stored during several minutes or many years (Atkinson & Shiffrin, 1971: 84). A film attendee has a greater probability of STM recall if the exposure is recent, whereas the more frequent a film attendee is exposed to the stimulus over time, the greater the chance of recall via LTM.
H2: Repeated exposure to product placements within a film will increase a film attendee's recall.
4. Method
Non-probability convenience sampling was used to select 18 to 24 years old students, at a tertiary institution in Pretoria, South Africa. Respondents were chosen at random, being those students who attended a specific lecture that was on a predetermined date. A sample size of 223 responses realised. The respondents were shown 11 film clips of well-known films. Once these clips had been viewed, they were requested to complete the questionnaires allocated to them. The researchers were present throughout the data collection process, so that queries could have been answered and this was done without intentionally provoking bias. The film clips shown as well as the questionnaires that were completed were all conducted in English.
The use of scenes in a film clip had been selected to help stimulate recall and recognition in the minds of the students. Examples of various products were included in the clip. The first clips shown to the respondents came from the film How to lose a guy in 10 days. The product name is Coca Cola (duration: 36 seconds). The setting is at a refreshment counter at a basketball game. The story: A man runs to the refreshment counter and orders a Coke with no ice. The salesman pitches all the specials offered with Coke. The man gets frustrated and repeats that he wants a Coke with no ice, pays and takes the already poured Coke from the salesman and runs back to the basketball game.
The second product name is People Magazine (duration: 15 seconds). The setting is in a bathroom. The story: A man turns the water on in the shower while conversing with a lady who is seated on the toilet lid. The People magazine is shown from a magazine rack behind her, next to the toilet.
The second film clips came from the film S.W.A.T. The product names are McDonald's and Dr Pepper (duration: 24 seconds). The setting is at a traffic department. The story: Man sitting at a reception desk in the traffic department eating a McDonald's meal. The meal and a Dr Pepper are openly displayed on the desk in front of the man.
The third film clips came from the film Gone in 60 seconds, where Porsche featured (duration: 20 seconds). The setting is in an automobile dealership. The story: Three men drive to the dealership and forcefully enter the display room. They break open the Porsche key storage compartment and proceed to steal a silver coloured Porsche. Relevant non-verbal variable: Breaking open a branded key box and stealing a Porsche. The brand name, Jack Daniels also featured for 30 seconds in a bar setting. The story: The bar lady pours a tot of Jack Daniels, places her hand on top of the bottle while conversing with another man. The man pays for a customers drink and leaves the bar. The customer proceeds to ask for his drink, the bar lady instead drinks it herself.
Kate & Leopold is the fourth film clips that the respondents were exposed to. In the scene Gillette Foamy and Colgate were shown for 31 seconds in a bathroom setting. The story: A man reads the instructions on the bottle of how to use Gillette Foamy shaving cream. He proceeds to follow the instructions.
The fifth clips came from the film What Women Want. In this scene, various products were shown, such as: Anti-wrinkle cream, mascara, moisturising lipstick, bath beads, quick-dry nail polish, at home waxing kit, Wonder Bra, home pregnancy test, hair volumiser, pore cleansing strips, Advil, pantyhose, Visa Card (duration: 22 seconds). The setting is in a boardroom on a table. The story: A lady explains the contents of the beauty kit that each member in the boardroom has in front of them. While she is mentioning each item in the beauty kit, each member analyses the relevant contents.
Just Married was the sixth film clip that the respondents were exposed to. Two scenes were selected. The first was in a bedroom, where Nike was prominent (duration: 10 seconds). The story: A man is busy studying at a desk in his room, while a dog continuously pulls at the man's pants showing his Nike shoes. The second scene featured Pepsi (duration: 21 seconds) in a lounge setting. The story: A man and his father are talking in the lounge with a Pepsi being displayed in front of them on the table.
The seventh clips came from Swordfish. Three scenes were selected depicting Heineken, Smirnoff Vodka, Marlboro cigarettes, Nokia and Yellow Cab. Heineken (duration: 16 seconds) was shown in a "trailer" home setting. The story: A lady opens the fridge in the "trailer" home to take out a refreshment. She proceeds to take one of the many Heineken beers in the fridge and opens and drinks it. Smirnoff Vodka and Marlboro cigarettes (duration: 22 seconds) in a lounge setting. The story: A lady speaks to her former husband over the telephone while smoking a cigarette and pouring herself a glass of Smirnoff Vodka with an empty box of Marlboro cigarettes lying on the table. Nokia and Yellow Cab featured for 16 seconds in another scene on a merry-go-round. The story: A little girl is sitting on a merry-go-round using her Nokia Mobile telephone to call for the number of a Yellow Cab.
The eighth clips, that contained a number of various products, is the film Bend it like Beckham. Playstation, Vodafone, Ford, Amstel Beer, Master Card, and Adidas featured for 36 seconds in a soccer stadium setting. The story: A soccer tournament is taking place, where T-shirts, sponsored by Vodafone, are worn by the soccer players as well as the spectators and the rest of the logo's are found as advertising banners surrounding the soccer field.
In another scene, Lucozade Sport, Adidas and Reebok were shown for 11 seconds in a training session on a sports field. The story: A coach wearing a Reebok sweater is training soccer players. He walks towards a lady sitting in the grand stand above a Lucozade advertising banner and the lady who takes over the exercises is wearing an Adidas top.
Two Weeks Notice was the ninth film clip in which the GQ Magazine was shown (duration: 15 seconds) at a formal business function. The story: Two ladies approach a man and proceed to ask him to sign the GQ Magazine. The last film clips came from The Italian Job. The Mini Cooper was shown in one scene for 16 seconds in an automobile workshop. The story: A man is approached by another who offers him money to open up a storage container that contains Mini Coopers.
Specific products at different prominence and intensity levels were included to test whether this affected the respondent's perception of product placements in film. Lights in the venue were dimmed in an attempt to simulate the cinematic experience.
5. Results
Scenes from the above films were viewed by respondents with the aim of determining the respondents' ability to recall specific products placed therein. "Fake" products were intentionally placed in the question to test the respondents' ability to recall the actual products within the clip.
5.1 Product recognition
Recognition is determined by how prominent a product placement is in a film scene. This was determined by placing products in two separate categories, namely, prominence and subtlety. Prominence was described as a product being shown audibly and visually, whereas subtlety was described as a product being shown either audibly or visually. In Table 1, the percentage recognition by the respondents is shown for the various products.
The fake product names that did not appear in any scene represented a relatively low percentage of recognition among the respondents. The names of products that were only audible received relatively low percentages as opposed to those products that were visible and those that were both audible and visible to the respondents.
5.2 Product recall
Recall was tested by the ability of the respondents to remember the product names that appeared in scenes from the film clip. Table 2 includes product names that were given to the respondents and they were then asked if they could recall/remember it. The table consists of product names that appeared in the above mentioned film clips.
Sixty one percent of the total respondents recalled viewing Heineken in the film clip, which represented a relatively high percentage of recall among the respondents. This product was repeatedly shown in the film clip. The respondents (27.4%) recalled viewing "cigarettes" in the film clip, which represented a very low percentage of recall among the respondents. This product was repeatedly shown in the film clip. Thirty five percent of the total respondents recalled viewing Nokia mobile in the film clip, which represented a relatively low percentage of recall among the respondents. This product was only shown once off and not repeated in the film clip.
Nearly 62% of the respondents recalled viewing Vodafone in the film clip, which represented a relatively high percentage of recall among the respondents. This product was repeatedly shown in the film clip. Sixty percent of the respondents recalled viewing Lucozade Sport in the film clip, which represented a relatively high percentage of recall among the respondents. This product was repeatedly shown in the film clip. The respondents (21%) recalled viewing Ford in the film clip, which represented a very low percentage of recall among the respondents. This product was repeatedly shown in the film clip. Although the brand name Nike did not appear in the film clip, 34% mentioned that they recall the brand name.
Nearly 40% of the respondents recalled viewing Jack Daniels in the film clip, which represented a relatively low percentage of recall among the respondents. This product was repeatedly shown in the film clip. Sixty two percent of the respondents recalled viewing Porsche in the film clip, which represented a relatively high percentage of recall among the respondents. This product was repeatedly shown in the film clip.
6. Hypotheses testing
A 0.05 level of significance was used in the hypotheses testing.
H1: The likelihood of a film attendee recognising a product placed in a film is higher when the product placement is more prominent.
As there was a relationship between product placements being more prominent and being less prominent, it could be defined as a one-tailed hypothesis. Recognition was tested on whether the item was only shown visually, only mentioned audibly or both audibly and visually in the scenes in a film clip.
H2: Repeated exposure to product placements within a film will increase a film attendee's recall.
The formulation of this alternative hypothesis stated that there was a relationship or correlation between variables. As there was an increasing relationship between repeated exposure of product placements and that of an attendee's recall, it could therefore be defined as a one-tailed hypothesis. The non-parametric Cramer's V test was considered for this hypothesis to test the strength of the relationship between the repeated exposure of product placements and that of an attendee's recall. As this method only tests for the strength of the relationship, a Chi-Square test had to be conducted to determine the significance level of the variables. As the variable repeated exposure falls into the category of nominal data only a non-parametric test could be used and, for the purpose of this study, the Cramer's V and Chi-Square tests were selected. The Cramer's V test was used to test the strength of the relationship being measured and as it is a non-parametric test no assumptions have to be met. Table 3 depicts the results of the Chi-Square test measuring the two-tailed p-value for the recognition of products as well as the recall thereof within film clips.
There is a significant relationship between the prominence of a product and a film attendee's recognition of a product placed in a film as the p-value was calculated to be 0.00 on a 95% confidence level. There is a significant relationship between repeated exposure of a product and a film attendee's recall of a product placed in a film as the p-value was calculated to be 0.00 on a 95% confidence level.
The Cramer's V test measures the strength of relationships. In Table 4, the results for the strength of recognition of product placements as well as recall in the film clips are illustrated.
If the Cramer's V value is 1 there is a perfect relationship between the variables, but this test showed a value of 0.26 and therefore the relationship is relatively weak. The p-value of the Chi-Square test was shown as the significance value for the Pearson Chi-Square from the table above. This value of 0.00 needed to be converted to the appropriate one-tailed p-value, as this hypothesis is directional. To increase the accuracy of the calculation below, the full p-value as calculated in SPSS was used. Since the one-tailed p-value of 0.00 was smaller than the significance value of 0.05, the null hypothesis can be rejected. As shown above in Table 4, it can be concluded that there is a significant relationship between the prominence of a product and a film attendee's recognition of a product placed in a film. It can also be concluded that the strength of the relationship is not very strong as the Cramer's V value was 0.26. The Cramer's V statistic is a measure of the association between 2 variables and takes on values between 0 and 1; with 1 indicating perfect association. It can therefore be concluded that the strength of the relationship is not very strong as the Cramer's V value was 0.26 (Kanfer, 2007: personal E-Mail).
This test showed a value of 0.28 and therefore the relationship is not strong. The p-value of the Chi-Square test was shown as the significance value for the Pearson Chi-Square from the table above. This value of 0.02 needed to be converted to the appropriate onetailed p-value, as this hypothesis is directional. The resultant p-value is 0.01 and is smaller than the significance value of 0.05. The null hypothesis can be rejected and it can be concluded that there is a significant relationship between the repeated exposure of product placements and that of an attendee's recall. The more often and the longer that an attendee is exposed to the product the better their recall and recognition.
7. Limitations of the research
The survey was limited to the products shown in scenes of a film clips that was compiled from ten wellknown feature films that attracted and many young respondents within the given age group. Random selections of brand names that are familiar and used by this target group were selected as stimulus material. A larger sample with specific target characteristics can be considered from numerous other films. The ordinary class situation was not a true experience of the cinema theatre, and the short film clip was also not experienced as a feature film. As a result, the respondents could have been more attentive towards product recognition and recall.
8. Conclusion and recommendations
New technologies, integrated marketing communications and social trends are likely to cause product placement to increase. To fully analyse these changes and implement marketing strategies thereof, benchmark studies are needed. In that context, the present research might establish a benchmark regarding perceptions of product placements with regard to product recognition and product recall of products placed in a film. The findings show that even though there is not a perfectly positive relationship between prominence and recognition of products placed in films, a film attendee is more likely to recognise a product if it is shown audio-visually than if it is only shown either audibly or visually. Film attendees' ability to recall a product is shown to be more likely, if the product is repeatedly shown throughout the film than if it is only shown once. The relationship between recall and repeated exposure is not perfect, but it is positive. The following recommendations can be considered.
Marketers can place their products in films to increase film attendees' awareness and recognition, but as it was found that there is not a very strong relationship between recognition and prominence of products in films, recognition does not necessarily increase in proportion to whether the product is placed audibly, visually or audio-visually. A product is more likely to be recognised if it is prominently shown through audio and visual means.
Marketers can place their products repeatedly in films to increase awareness and recall of film attendees, but the number of times the product is repeated does not necessarily indicate the number of times the film attendee will recall it. A product is more likely to be recalled if it is shown repeatedly than if it is only shown once off.
For future research, marketers should take into consideration that only a few factors were discussed in this study to determine a film attendee's perceptions of product placements within films, namely, product recognition and product recall. Marketers can break the clutter of advertisements in traditional media, by strategically placing products in new, more unconventional media as to complement the marketing strategy. Product placement as a solo marketing effort with little integration into the IMC strategy of the organisation is worthless. It is recommended that marketers could also include the following variables to broaden the investigation of this topic thereby having a deeper understanding in this regard:
- Realism could be investigated to determine whether product placements make films seem more realistic, as well as the cinematic experience more true to life.
- Product awareness could be more specifically focused on with the intention of shedding more light of the perception film attendees have with regard to product placement in films as a captive audience with little influence from external noise.
- The impact of product placements in the escalating mobile media usage should be investigated.
- The rise of citizen-generated media on Youtube, product placement based sponsorship of citizen media is going to be an issue for marketing, legislators and academics to pursue further.
- A larger and more heterogeneous sample can be used which is more representative of the South African population. A sample that will include more ethnic groups can be considered as a main variable in a study surrounding the perception of product placements in films. All age groups should be considered with the aim of determining different perceptions that specific ethnic groups have towards product placements in films. This is paramount in a country with more than 11 official languages and more than 23 distinctive and homogeneous cultural groupings.
- A film attendee's intention to purchase a product once it has been viewed in a film can be explored by researchers as to detect the causal impact of the exposure to the product and the purchase thereof.
- Brand salience is another factor that can be included in future surveys.
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Delorme, D. E. & Reid, L. N. (1999). Moviegoers' experiences and interpretations of products in fi lms revisited. Journal of Advertising, 28(2), 1-30. Retrieved March 6, 2004, from http://weblinks3.epnet.com/citation.asp?tb=1&_ug=dbs+buh+sid+33E64EB3%2DB13D
Dodd, C. A. & Johnstone, E. (2000). Placements as mediators of product salience within a UK cinema audience. Journal of Marketing Communications, 6,141-158.
Ebscohost. (2008). Accessed January 13, 2008, from http://0-ejournals.ebsco.com.innopac.up.ac.za/Home.asp
Emerald. (2008). Accessed January 13, 2008, from http://0-www.emeraldinsight.com.innopac.up.ac.za/
Fill, C. (2002). Marketing communications: contexts, strategies and applications (3rd ed.). London: Prentice Hall Financial Times.
Gould, S. J., Gupta, P. B. & Grabner-Kräuter, S. (2000). Product placements in movies: a cross-cultural analysis of Austrian, French and American consumers' attitudes toward this emerging, international promotional medium. Journal of Advertising, 29(4), 41-58.
Gupta, P. B. & Lord, K. R. (1998). Product placement in movies: the effect of prominence and mode on audience recall. Journal of Current Issues and Research in Advertising, 20(1), 47-59.
Hornick, L. A. (2006). The evolution of product placement: consumer awareness and ethical considerations. Retrieved September 6, 2006, from http://eidr.wvu.edu./eidr/documentdata.elDR?documentid=4542-8k-/
Kanfer, F. H. J. (2007, august 28). Cramer V (personal e-mail). Department of Statistics, University of Pretoria, South Africa.
Keller, K. L. (2003). Strategic product management: building, measuring and managing product equity (2nd ed.). Upper Saddle River, NJ: prentice-hall.
Mcdaniel, C. & Gates, R. (2001). Marketing Research Essentials (3rd ed.). Cincinatti, Oh: South-Western College.
Mckechnie, S. A. & Zhou, J. (2003). Product placement in movies: a comparison of Chinese and American consumers' attitudes. International Journal of Advertising, 22, 349-374.
Nelson, M. R. & Mcleod, L. E. (2005). Adolescent product consciousness and product placements: awareness, liking and perceived effects on self and others. International Journal of Consumer studies, 29(6), 515-528. Retrieved September 6, 2006, from http://0-www.blackwell-synergy.com.innopac.up.ac.za/doi/full/10.1111/j.1470-6431.2005.00429.x
Russell, C. A. (2002). Investigating the effectiveness of product placements in television shows: the role of modality and plot connection congruence on product memory and attitude. Journal of Consumer Research, 29, 306-318.
Schejter, A. M. (2004). Product placement as an international practice: Moral, legal, regulatory and trade implications. Retrieved September 6, 2006, from http://www.web.si.umich.edu/tprc/papers/2004/304/productplacementtprc.pdf./
Sabinet. (2008). Accessed february 7, 2008, from http://0-search.sabinet.co.za.innopac.up.ac.za/
Science Direct. (2008). Accessed January 16, 2008, from http://0-www.sciencedirect.com.innopac.up.ac.za/science?_ob=BrowseListURL&_type=subject& subjColl=14& zone=brws&_acct=C000005298&_version=1&_urlVersion=0&_userid=59388& md5=6dcfe4cc6b2182dfdade5ff066154ef0
Smith, B. (1985). Casting Product for special effect. Beverage World, 104, 83-91.
Source Watch. (2006). Product placement. Retrieved August 28, 2006, from http://www.sourcewatch.org/index.php?title=Product_placement
Van der Waldt, D. L. R. (2005). The role of product placement in feature films and broadcast television programmes: an IMC perspective. Communicare, 24(2), 1-16.
Vollmers, S. & Mizerski, R. (1994). A review and investigation into the effectiveness of product placement in films. In K. W. King (ed.), The Proceedings of the 1994 Academy of Advertising Convention (pp. 97-101). Athens, GA: University of Georgia.
Wiles, M. A. & Danielova, A. (2006). The impact of product placement on firm market value. Retrieved September 1, 2006, from http://kelly.iu.edu/marketing/


text:
Welcome to Pluto Press Australia
Enid Lyons: Leading Lady to a Nation
Anne Henderson
This is the story of an extraordinary woman mother of twelve, Prime Ministers wife, first woman member of the House of Representatives and the first woman in a Federal Cabinet, radio broadcaster, newspaper columnist, author of three books - Enid Lyons was for many years the best known woman in Australia.
'Australias House of
Representatives and Senate now includes many women MPs on both sides.
Even so, it is still a media highlight whenever a female first comes
into vision. In 2007, it was Julia Gillard as Australias first deputy
prime minister, and in 2008 it is Quentin Bryce as
Australia's first female governor-general.
Enid Lyons regarded herself as feminist but was also conservative. She was a pacifist and a Fabian underneath her conservative outlook on families and moral life. Enid could be strong on principle but also surprisingly tolerant. She had views on mothering that were ahead of their time.
The story of Joe and Enid Lyons is full of dramatic extremes without being risqué. Anne Henderson has also uncovered new information which indicates a family secret. There will be controversy over this and much interest.
What the reviewers are saying:
Roy Williams, The Australian:
Joseph (Joe) Lyons, prime minister of Australia from 1932 to 1939, is one of our least known former leaders. He won three federal elections decisively and was immensely popular with the public. But there is little serious scholarship devoted to him, and even less to his vibrant and extraordinary wife.
Enid Lyons is the subject of Anne Henderson's captivating new biography. Enid lived from 1897 to 1981 and her story is a 20th-century Australian epic. Told by Henderson in tandem with Joe's story, it stirs and fascinates on four levels: romance, family saga, sociopolitical history, and case study of profound religious faith. Henderson argues convincingly that Joe and Enid were, and remain, "Australia's outstanding political couple".
Michelle Grattan, The Age:
Joe and Enid Lyons were ahead of their times as an Australian political power couple. Hendersons portrait is sympathetic without being cloying, with the most interesting section the Lodge days.
Stephen Wilkes, The Canberra Times:
This book unavoidably approximates a dual biography of a couple whose public lives were seamlessly intertwined. Rather remarkably, it downgrades the role of its principal subject without detracting from her reputation. Its admirably hard-headed tone contributes to the small revival in the repuation of Joe as a prime minister whose reassuring steadiness suited the slow recovery from the depths of Depression. The result is a fine study of the best sort of partnership, a truly equal one.
Wayne Crawford, The Mercury:
'In Enid Lyons: Leading Lady to a Nation', author Anne Henderson has introduced Dame Enid Lyons to a new generation of Australians, most of whom would be unfamilair with her remarkable life.
Anne Henderson has been Deputy Director of The Sydney Institute and editor of The Sydney Papers since 1989. She is the author of From All Corners: Six Migrant Stories (Allen & Unwin, 1993), Educating Johannah: A Year in Year 12 (Allen & Unwin, 1995), Mary MacKillops Sisters: A Life Unveiled (HarperCollins, 1997), Getting Even: Women MPs on Life, Power and Politics (HarperCollins 1999), The Killing of Sister Irene McCormack (HarperCollins 2002) and An Angel in The Court The Life of Major Joyce Harmer (HarperCollins 2005).
Among her essays of note are Dads Wake in Fathers: In Writing (Tuart Press, 1997) and the biographical chapter on Prime Minister Joe Lyons for Australian Prime Ministers edited by Michelle Grattan (New Holland 2000) and the UKs New Dictionary of National Biography (OUP). She was a contributing editor with Ross Fitzgerald of Partners (HarperCollins, 1999) and will be a contributor in the forthcoming Growing Old Disgacefully eds, Ross Fitzgerald & Lyndal Moore (ABC Books 2008).
|Site Copyright © 2004 Pluto Press Australia ABN 71 071 248 041
Conditions of Use/Privacy | Problems? Contact webmaster

subset: commoncrawl


text:
Henry Overholser Mansion405 NW 15th Street
Oklahoma City, OK 73103
overholsermansion@ preservationok.org
Tuesday through Saturday
10 a.m. to 3 p.m.
Tours are offered at 10 a.m., 11 a.m., noon, 1 p.m., and 2 p.m. Tours begin at the Carriage House and last 30 to 45 minutes.
Reservations are requested for parties of ten or more.
(age 65+)
(age 6–18)
|Group Rate (25+)
(under 6)
Use of drones over Oklahoma Historical Society property is not permitted without written approval of the facility director.
Henry Overholser Mansion
Completed in 1903 for one of Oklahoma City's truly remarkable figures, the Overholser Mansion is a glimpse back in time to the life one of the men responsible for the thriving city we know today. The home showcases original furnishings, stained glass, and ornate canvas painted walls. Preserved to honor the "spirit of the 1889ers," the Overholser Mansion is an opportunity to discover this remarkable family at an extraordinary time in Oklahoma City's history.
In 1901 Henry Overholser purchased land north of Oklahoma City for the purpose of building a home. W. S. Matthews, an architect trained at London's Kensington Academy, supervised the construction and furnishing of the three-story, French chateau-style house. Decorative arts included Brussels lace curtains, English carpets, and French stained-glass windows. The furniture reflected the high style of the period. The mansion has been a focal point of Oklahoma City society since it was opened with a gala reception in 1904. It was often used to entertain prominent cultural figures such as opera singers Ernestine Schumann-Heink and Amelita Gala-Curci.
Later, the mansion served as the official residence of US Senator Mike Monroney from 1956 to 1968. The mansion was acquired by the Oklahoma Historical Society in 1972 through funds raised primarily by the Oklahoma Chapter of the American Institute of Architects. Restoration and operation of the mansion has been aided through the efforts of the National Society of Colonial Dames of America; Historical Preservation, Inc.; the Women's Architectural League; and Friends of the Overholser.
The Overholser Mansion is located on the northwest corner of N Hudson Avenue and NW 15th Street. It is operated by Preservation Oklahoma, a private non-profit dedicated to preserving Oklahoma's historic places. For more information, visit www.preservationok.org or www.overholsermansion.org.
Visit The Encyclopedia of Oklahoma History and Culture to find out more about Henry Overholser.
Education Program: Overholser and the Built Environment
Preservation Oklahoma promotes the awareness of the importance of caring for our past to provide for a better future. The education program and tour at the Henry Overholser Mansion gives students and teachers an opportunity to discover the results of preservation and establish a sense of place with direct contact.


text:
live4all necesitaba un nuevo diseño de página web y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 11 diseños de 6 diseñadores freelance.
landing page design for cellphone service signup
i need a landing page where users can sign up to receive fun facts to their cellphone. we offer 7 days trial
the current page located here.
the sign up process is 3 steps
1. user enters his cellphone number >clicks sign up
2. user types in the pin code he received on his cellphone > clicks to verify
3. user is resisted (after completed the 2 steps successfully)
so the design 1 page with 3 different steps as mentioned above
we are a company that delivers fun mobile content to users cellphone via text messages
our new service is fun facts , where users can receive all kind of fun facts to their cellphone
for example " Did you know that. The sun is about 5 billion years old."
many people using this service because it's fun , friendly & entertaining
the design should be clean & friendly the landing page can be in different colors
it should contain :
on step 1
- carrier name drop down menu
- cellphone filed
- CAPTCHA (to avoid spam)
- sign up button
- the title should be something like
Fun Facts to your cellphone .
- it should mention the price $9.99/month
-supported carriers logos ( at&t , Altell , Boost, Cellular One, Dobson, Nextel,Sprint, T-mobile, Verizon Wireless)
-a picture that represents the service.
on step 2
- filed to enter his PIN code
- verify button
on step 3
- text that saying, thank you ! you're now resisted to b4u.com fun fact
i need the final design in PSD fromat.
the design should be your own (not copied) all the images that you'll use should be ligal & copyrighted (use istockphoto or similar)
- be original
- be creative :)


text:
Bright True Yellow. 2 ounce bottle
Pulse Pigments have been specifically developed to be workable, color-fast, and produce a consistent result. Great flow rate, and solid adhesion coupled with a long open time makes it easy to use. Pulse Pigments provide a wide color range that can be mixed into an unlimited array of tints and shades. A simple water based dispersion pigment.
Bright True Yellow. 2 ounce bottle.
*All colors may appear different in the bottle than they do on the screen.
Out of stock
Bright True Yellow. 2 ounce bottle
|.25 lbs
|1.5 x 1.5 x 4 in


text:
Quote:The term Eskrima is the Filipino spelling which comes from the Spanish word esgrima, "fencing". Arnis is thought to derive from the phrase arnés de mano, Spanish for "harness of the hand". The origin of the name Kali is not certain, although some suggest it is related to the traditional weapon called a kris, keris, or kalis. Another explanation is that the word is a portmanteau of the Filipino words kamot, or kamay meaning hand or body, and lihok, meaning motion. This explanation may be a more recent innovation, retroactively fitting an acronym to the existing name.
Quote:well the words themselves are different..I dont know what arnis means but kali = weapon and escrima = stick
Offering stun guns, pepper spray,
tasers and other self defense products not available in stores.
Online distributor of self defense supplies like videos,
stun guns, Tasers and more.
Surveillance, Hidden Cameras, Nanny Cams, Digital Recorders, Spy Equipment,
Pocket DVR's and more
Stun Gun
Wholesale Directlhy to the Public! Stun gun and Taser Guns and personal protection products. Keep your loved ones at home safe!


text:
PHILLIPSBURG, NJ – Hunterdon is pleased to announce the promotion of Jeff Rancan to the position of sales manager for both the on-premise and off-premise sales divisions of the company. Jeff has been a valuable asset to the Hunterdon team for the past seven years as both a sales rep and the on-premise sales manager. During this time he has contributed significantly to the company's growth and success. His hard work and dedication have helped to establish Hunterdon as New Jersey's premier craft beer distributor.
Since taking over the on-premise sales manager role, Hunterdon's on-premise business has grown approximately 40% each year. In addition, he has helped build one of the most knowledgeable sales teams in the state. Each of Hunterdon's twenty-three sales reps has benefited from Jeff's extensive knowledge of craft beer, draft systems and the beer industry. Jeff received his Cicerone Certification in 2011 and has since then helped over a dozen sales reps pass the exam. He has also greatly enhanced the level of awareness and education about craft beer among retailers throughout the state.
"Jeff's passion for craft beer combined with his industry experience and significant contributions to Hunterdon over the past seven years make him ideally suited for the sales manager position. The craft beer scene is booming and Hunterdon is growing rapidly. We are very happy and proud to have Jeff on board and would like to congratulate him on his promotion," stated Hunterdon Co-Founder and Company President Michael Short.
About Hunterdon Distributors
Founded in 1996, Hunterdon has raised the bar for craft beverage availability and selection in the state by providing the most diverse and sought-after portfolio the market has to offer. The company currently represents over seventy domestic craft brands, hundreds of imports and a unique line of micro-distilled spirits, sakes, ciders and meads. Hunterdon continues to focus on bringing quality products to the New Jersey consumer.


text:
This weekend has probably been filled with the most heartbreaking moments and also the dizzy heights of happiness all in one day.
How is that possible you ask?
Try selling your first pony and bringing home your new pony!
We always knew Alyssia would out grow our gorgeous little 12.2hh pony 'Jazz' and I know many of you have been following their progress together over the last few years.
Jazz knows her job inside out and really had been there, done it and worn the t-shirt.
She's just the first safe pony parents dream of. She's an angel with hooves.
I know some mums prefer tricky ponies believing their children will become a better rider because they are not riding 'push button' ponies but when you have a little girl who had her confidence taken away by a bolting riding school pony, I can assure you that's not what you want.
There's a time and place for a tricky pony and this isn't one of them.
I will always be eternally grateful for Jazz for giving my daughter such confidence and putting the fun back into riding.
We've had many wonderful times together over the last few years and we've enjoyed riding our horses out in stubble fields in a very fast pace together, plus lots of wins at pony club and local shows.
Jazz has taken a frightened little girl who had to have mummy hold her on a lead rein to bombing round show jumping courses at Epworth Show.
Together they have bonded and become an awesome little duo.
Now Jazz has moved onto pastures new where she will continue to teach little girls to fall in love with ponies and to become brilliant riders through the confidence she instills in them.
We are lucky to keep in touch with Jazz , she's not far away and it makes it easier to let her go knowing this and, of course, Alyssia has a new pony.
I can't wait to tell you all about Mara next time.


text:
No products
Here is the motto; plenty of space in the smallest room in handy DIN-A5 format.
A multi-purpose and secure lockable safe for your precious laptop, documents, cell phone, glasses your faithful Companion on all tours - in City or adventure.
Absolute comfort through round-shaped and padded full leather strap and ergonomic carrying handles.
Available in 6 weeks, place your order now
Warning: Last items in stock!
Availability date:
Shoulder bag 2802
Here is the motto; plenty of space in the smallest room in handy DIN-A5 format.
A multi-purpose and secure lockable safe for your precious laptop, documents, cell phone, glasses your faithful Companion on all tours - in City or adventure.
Absolute comfort through round-shaped and padded full leather strap and ergonomic carrying handles.
Recipient :
* Required fields
or Cancel
|Dimension (DxWxH)
|5x16x22 cm
|300 g
|Leather Type
|Kashmir Calf Leather
The potentially excellent leather bags are very comfortable to wear fit well and provide full range of motion.
Kashmir Calf Leather is known as fine, soft supple but extremely solid and sturdy leather.
The selected Hides of Kashmir Calf are re-tanned and aniline through dyed. These noble Hides are then manually tampon through a special technique, which evolves the natural beauty of leather. This gives the leather a unique look. Each skin, even each part of the skin has its own luster and it is therefore a real unique.
Dudra East is located about 5 km away from Kashmir, in Punjab, Pakistan. The Punjab is known for its best hides worldwide. It has a special breed of cattle, due to their way of life and the climatic conditions.
The cow is physically small. In order to survive, an animal has to go several Kilometres daily. Here, it is exposed to the bareness of nature, which means, it must bear the temperatures up to 50°C in summer and below 0°C in winter. The temperature difference between day and night is very serious. All this influence the hides of cattle: These remain relatively thin - have a thickness of about 1.4 - 1.6 mm - ideal for leather goods, because the skins must not be split. This leather is lightweight: A whole Calf's skin, about 1.4 m², weighs about 400 g, but is so robust that Dudra East ensures you a2 years Quality Guarantee for each bag.
Contrary to usual Leather industry, Dudra East avoids any cleavage: Through a careful selection of the skins, we decide which skin is suitable for which article without cleavage. Please note: even thin Leather is very tough and durable, if its thickness consists of a whole skin. We use the largest possible pieces of leather for our products, as everyone knows that the joints are the weak points.
Responsibility for people and the environment is also emphasized here: the noble and selected Calf skins are tanned by experienced tanners using biodegradable treatment agent - no pollution. It is not "embellished" with plastic covering colours. These valuable skins are through dyed with water soluble aniline dyes. Our leather has natural graining and thus, it is real natural leather. Of course, it is Chrome V1, PCP and AZO colours free.
We avoid every unnecessary feeding: Instead the backside of leather is very finely buffed with a special technique therefore it is velvety and absolute lint-free.
Our leather has its natural grains. All natural characteristics such as scars, wrinkles, insect bites, etc. remain visible.
Through a special process, the leather is impregnated with wax. Finally, it exerts its natural beauty - it is particularly supple, moisture and heat resistant.
Dudra East leather is skin friendly and does not cause allergies.
100% Halal Leather. Leather and lining of Dudra East products confirm to Islamic Halal Law.


text:
0870 042 1865
Contact PPS Rail directly by calling 0870 042 1865 at 13p/min- Customer Service / Complaints Number
alternative call them on their own number: 01925813897
PPS Rail OFFICIAL WEBSITE:
Follow This Link
All logos and names are trademarks of specific entities and used for reference only(we're an independent site and are by no means affiliated with any company or government entity listed), all images of third party brands are sourced from public domain sites like Wikipedia etc. Our site offers themselves at individual rates to different contact options offering our personal routing numbers in addition to the ones offered by things and is a Phone Number directory. By use of our website and numbers you agree with our terms and conditions.


text:
OAKLAND — Move over, PG&E, or at least prepare to share the power lines.
Alameda County is pursuing a plan to become its own energy purveyor for county residents. A new public agency would set its own customer billing rates, buy and sell its own electricity and procure its own clean power from rooftop solar panels and wind turbines along the Altamont Pass.
The startup agency envisioned by environmentalists would not be the first in California, but it could be the biggest in scope and population served. That is, if state lawmakers don't pass a bill this summer imperiling the Bay Area's "community choice" energy movement before it can turn on the switch.
The Alameda County Board of Supervisors unanimously voted Tuesday to take the first step in so-called Community Choice Aggregation, launching a $1.3 million feasibility study that could end with the formation of a new joint powers authority.
Pacific Gas and Electric Co., the giant investor-owned utility, could lose much of its hold over the region if the plan takes shape. PG&E would still distribute electricity and maintain transmission lines on its East Bay grid, and keep reading meters and sending the bills, but the role of choosing and buying energy for most Alameda County customers would shift to the public agency.
"If you have a CCA program, run by a local agency, that local agency doesn't need to pay high-powered CEOs, it doesn't need to maximize shareholder profits at the end of the year," said Bruce Jensen, the county planner helping to craft the new model.
That means rates that are competitive with PG&E, possibly lower, Jensen said. It also means the county of more than 1.5 million people can invest in cleaner, locally produced energy and the jobs that come with it. Residents would have the choice of opting out of the CCA and sticking with PG&E. The boundaries of the agency would depend on which cities wanted to join.
Proponents are pushing the county to be ambitious in developing its own clean energy sources, from its sun-drenched urban and suburban rooftops to wind farms on the Diablo Range.
Alameda County's resources "are much more varied and much more plentiful" than other places that have tried, said Oakland activist Al Weinrub, coordinator of the Local Clean Energy Alliance. "That means there's a lot that could be developed."
Marin County pioneered the concept in 2010, and its Marin Clean Energy authority expanded across the bay to include Richmond in 2012.
Rates are now lower than PG&E, and more than half the energy comes from renewable sources. Environmentally conscious residents can pay a few dollars extra each month if they want to run their homes on 100 percent renewable sources, and those who plug their solar panels into the grid get more money back than they do from PG&E's program.
The pioneer program is working "brilliantly" in Marin after surviving a "very protracted misinformation campaign discouraging potential customers from joining," said Corte Madera resident Leslie Alden, an aide to the late supervisor who spearheaded the program.
"We battled," Alden said. "The motivation for us was climate change and reducing our greenhouse gas emissions. We were thrilled to do it arm in arm with PG&E, but they said no."
A similar agency launched in Sonoma County this spring. Advocates in Santa Cruz, San Benito and Monterey counties are in the early stages of creating their own Monterey Bay program, and San Diego has explored the idea. San Francisco was on the brink of launching its own, but its attempts to wrest power from PG&E in the utility's historic home were log-jammed by politics.
PG&E so far is taking a cordial approach to Alameda County's plan, in part because of a California law that in 2012 banned utilities from using ratepayer funds to fight community power efforts. More actively questioning the project are PG&E union crews represented by the International Brotherhood of Electrical Workers Local 1245. The union rejects the Marin model, arguing that it has not created any union jobs and is not as green as proponents make it out to be. The agency buys most of its renewable energy through credits on the market.
PG&E already provides "some of the nation's cleanest electric power," said utility spokeswoman Tamar Sarkissian.
About 20 percent of PG&E's portfolio now consists of renewable sources, according to the California Public Utilities Commission, and the company is heading toward the state's 33 percent benchmark by 2020. Adding its nuclear and hydroelectric sources, PG&E describes more than half its portfolio as carbon-free.
"At the same time, we respect the energy choices that are available to our customers," Sarkissian said. "We'll continue to cooperate with local governments as they consider pursuing and developing a CCA program."
However, a bill moving through the state Legislature could endanger Alameda County's plan and other local initiatives by forcing customers to "opt-in" once a new Community Choice Aggregation agency takes effect, rather than automatically enrolling them before allowing them to opt out. The bill passed the Assembly in late May with support from local Democrats including Assembly members Bill Quirk, D-Hayward, Rob Bonta, D-Alameda, and Joan Buchanan, D- Alamo, none of whom were available for comment Friday. Assemblywoman Nancy Skinner, D-Berkeley, was the only lawmaker representing Alameda County who voted against it. The state Senate is expected to vote on the bill this summer.


text:
On what would be a fateful afternoon more than a year ago, a fellow animal control officer received a call for a stray dog in traffic. When he arrived, he found a scrawny, half-grown Great Dane puppy running in terror from everyone who approached. When he finally cornered her, she fought wildly and tried to bite but he was able to get her into his truck.
At the shelter, the dog shrank in fear from everyone. She was about six to eight months old and unable to cope with the slightest challenge. Her behavior probably came from lack of socialization. Dogs who don't receive critical exposure to a variety of positive experiences during puppyhood have no idea how to deal with anything new. She didn't know what a leash was and was terrified of everything. She sat through her stray-hold without being claimed and was too freaked out, with the potential to bite, to be adopted.
Something in the dog's total helplessness and depression spoke to me and I took her home to foster.
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Her coat had a moth-eaten appearance and the vet found that she had mange as well as a respiratory infection. In addition to her other issues, she required daily medications and horrible smelling dips. Getting a freaked-out dog with mile-long legs into the tub for a twice-weekly bath and dip was an experience.
Having fostered and re-homed hundreds of dogs, our family is used to visiting canines but the Dane, whom we named Tyra, was almost completely unresponsive other than fighting the baths. She showed no interest in me, my family or my other pets. I finally got her walking on a leash and she followed me dismally until I stopped and then she would lie down and refuse to move.
We spent a great deal of time coaxing her with treats and gentle handling but she remained traumatized and shutdown. It seemed that, for her, life was just something to be endured. She showed no joy in any of the usual things that dogs like to do. Most dogs want to bond with me within a day or so but the days passed with little progress. It was my husband's meatballs that finally brought her around to the fact that people could be a good thing. We had offered her a variety of delicious treats with no success but Paul saw her sniffing the air while he was cooking and offered her one. To our surprise, she ate it and asked for more.
I brought Tyra to work with me every day, and the staff offered her endless treats and affection. Gradually, her true personality began to blossom and she came out of her shell. A truly delightful and intelligent Great Dane started prancing through life like she owned the world. Her coat began to shine and she started to gain weight.
Sadly, during the time that we were fostering Tyra, our beloved rescue Doberman, Luci, passed away due to kidney failure. Shelter workers are usually full-up with other peoples' unwanted pets and our home was no exception. We certainly didn't need another dog, especially one as big as a donkey, but Tyra worked her magic on us until we couldn't part with her.
She continues to accompany me to work, curling her huge body up in her bed in the cab of my dog truck. Often her presence helps to coax in loose dogs who are afraid to come to me. She is now one of the happiest, silliest dogs I've ever known. She has doubled in size and her joy knows no bounds. She crashes through the house, bashing walls and clearing coffee tables with her ecstatically lashing tail. Tyra makes Golden Retrievers look depressed!
She is still learning and we spend time each day with training and confidence-building exercises. Some very fearful dogs don't improve to the extent that she has, but every dog can make improvements with patience and work. Fostering is a wonderfully rewarding way to make a difference in the life of a needy animal and it sometimes results in a beloved new family member too.


text: I am using VS2008 to develop web application with vb.net under .net 2.0 and Crystal Report 7.0 reportclass. I have changed some wordings in a Crystal Report template (file1.rpt) which is included in the source program of vb.net (in a .soln file) in testing environment. Now I want to apply the change in the Crystal Report template (file1.rpt) to production, the compiled program . Just figure that I can't find the Crystal Report template at all. All I found are aspx file. Can anyone please advise do I find and change the Crystral Report template in production environment? Thanks.


text:
Is this the nastiest presidential campaign ever? That's a toughie. Past campaigns have set the bar so low that, to quote a senior adviser to Mitt Romney, "I don't think a world champion limbo dancer could get any lower."
Actually the adviser Eric Fehrnstrom was only describing President Barack Obama's campaign. But it takes two to tangle. Besides, there's certainly nothing new in politics about taking low blows on the way to higher ground.
That's why I'm skeptical of Team Romney's finger-wagging over Obama's alleged loss of the high-minded ideals of his 2008 campaign. Obama never promised to be a patsy. That's not, as an old saying goes, the Chicago way.
Fehrnstrom was complaining about a pro-Obama ad produced by Priorities USA, a pro-Obama super PAC, that, I agree, deserves to be criticized. It tries to blame Romney for the death of a woman whose husband lost his job and health insurance after a Bain Capital takeover. That's a stretch because, among other inconvenient facts, Romney was not connected to the closing.
Yet what's significant about these dust-ups is the Obama campaign's reaction: No apologies. Instead, campaign spokeswoman Lis Smith jabbed the Romney campaign's "faux outrage" as "extremely hollow." She went on to criticize the Romney campaign for questioning whether the president understands what it is to be American, attacking his patriotism and questioning his support of free enterprise.
After years of getting beat up by the Grand Old Party's Machiavellian operatives like Karl Rove and the late Lee Atwater, Democrats appear to be getting tough.
You could hear that after Vice President Joe Biden gave Team Romney something new to complain about: a quip colorized with a little Ebonics in which he chastised Romney's softness on bank regulation: "He said in the first 100 days he's going to let the big banks once again write their own rules," Biden orated to the crowd. "Unchain Wall Street. They're going to put y'all back in chains."
The multiracial audience laughed and Republicans pounced. Some accused Biden of playing the race card. Romney called Obama a "disgrace" who should "take your campaign of division and anger and hate back to Chicago."
Yet Biden would only concede that he meant to say "shackles," not "chains," because he was actually quoting recent Republican rhetoric. Indeed, in a Dec. 19, 2011, USA Today op-ed, Romney himself called on Americans to "remove the shackles of government" and "become the Opportunity Society that we once were." Yes, that shackles metaphor does get around.
In fact, I, for one, wish that the Romney campaign were as deeply concerned about the racial implications of their recent welfare ads. They accuse Obama of ending work requirements for welfare recipients. He didn't. Yet political history shows "welfare" to be more racially loaded in politics than "shackles" or "y'all."
And what's up with Romney's accusation that Obama "robbed" or "raided" Medicare of $700 billion "to pay for Obamacare?" It would be more accurate to say the administration is "slowing the growth" of Medicare spending by $700 billion over the next decade. If that's so bad, Romney might ask, why did his running mate, Rep. Paul Ryan of Wisconsin, sensibly include the same $700 billion estimate in his own proposed budget?
But don't hold your breath waiting for campaigns to become more gentle or thoughtful. Everyone complains about attack ads, it seems, but they must work or campaigns would stop producing them.
That's especially true in this, the year of the Incredible Shrinking Undecided Voter. Most voters have made up their minds, leaving a narrower-than-ever sliver of undecideds for campaign operatives to "educate" with their ads.
A NBC News/Wall Street Journal poll, for example, found the remaining undecided may be as few as 3 percent, compared to 12 percent in late July 2008. A Pew survey found 5 percent undecided, down by half from four years ago. The fighting gets more vicious when the number of still-persuadable voters shrinks that small.
It might be cheaper, some have suggested, for the campaigns to simply hand a large check to each of the remaining undecideds in battleground states and give the rest of us a rest. That's got my vote.
But, again, don't hold your breath. Just hold your nose.
Email Clarence Page at firstname.lastname@example.com.


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One week of preseason down, less than four to go before the Houston Dash start life in the NWSL against the Portland Thorns at BBVA Compass Stadium on April 12.
For head coach Randy Waldrum and all associated with the Dash, these early days are about setting a tone, establishing a rhythm, developing relationships and forming habits. It's a daunting, exciting time. Waldrum and the Dash staff are not just building a roster, they are creating a culture.
A task that would be a challenge if they had an entire season, let alone the few weeks left before the reigning NWSL champions visit Houston. But the Dash do not have to look far for a blueprint to follow. In fact, they need only gaze most mornings from their training field at Houston Sports Park across Mowery Road to the Dynamo's pitch, where longtime head coach Dominic Kinnear can be found drilling, cajoling and encouraging his players.
In the coming years the Dash would love to own the kind of playoff record held by their parent club. "Dom's done a great job here obviously, not only the success but he set a culture, he set the bar, the standards he wanted each of his teams to live up to," Waldrum told reporters last week.
"That's what you do, you create a culture with a standard that you want your teams to be. Those things take a little bit of time but that's certainly something we're going to try to emulate here."
The Dash's squad construction is following the Dynamo template, with an emphasis on the quality of the unit not the star power of a few individuals. "People look at our roster, we'll still miss a marquee name like an Alex Morgan or an Abby Wambach," Waldrum told HoustonDynamo.com.
"But I think we'll have something very similar to what Dom's built on the men's side where you've got a team that fights for each other; not a bunch of stars who are well known nationally or internationally but a group that collectively could be a really good team together. So I'm excited about it, I'm very excited about the first year."
Much of the first week was spent whittling 17 trialists down to the current total of 10. Many had traveled long distances at their own expense to try and earn a spot on the roster. There are 25 players in camp at the moment, with several of the Dash's internationals yet to arrive. Canada goalkeeper Erin McLeod is expected to arrive in Houston on Tuesday. Ultimately, Waldrum will have a squad of 20 players. So the ten trialists might be battling for just one or two places.
"Seventeen, all here on their own dime, it says a lot about the willingness of trying to make it here in this pro league—these players have been here for a full week paying for everything," said Waldrum. "That's the difficult part of it, that they have to do it that way, but it's an opportunity of a lifetime for them. The league is so new, the excitement of having a chance to get in is great for those players."
Trialists wore different colors to the contracted players last week but the mood of cheerful enthusiasm appeared to be universal. "The effort's been great, the chemistry's been good with the team so there's a good foundation that we can build on here. If that chemistry's not good you've got a lot of problems. So a lot of credit to our veterans, the way they've come in and taken the young players under their wings. That part has been fantastic," Waldrum said.
"We are an expansion team and it's going to take us a little bit of time to do it. But I think that's why we paid so much attention to the character of the players and the type of players we recruited in the expansion draft."
The Texas-born former Notre Dame coach is vastly experienced but admits that the logistics of giving birth to a franchise at such short notice have been demanding. "Trying to pull a team together has been a little bit of a challenge because we came in so late. We're starting to settle down with where we are," he said.
"First week was good, I thought the level of the trialists that we've brought in was really good. Some hard decisions there with some cuts. The players that we picked in the expansion draft, I think we hit it pretty well on the head with what was available and what we got, I'm happy with that group. Our college draft choices have looked pretty good as well so far. We're still going to miss a couple of pieces, being an expansion team."
This Wednesday may provide a first hint of how the jigsaw is shaping up, with an evening scrimmage against Rice University. When he is not coaching and assessing on the field, Waldrum is scouting for new signings off it.
"All my spare time is watching video and on the phone to agents and international prospective players trying to see who's a possibility and how quickly we can get them," he said.
At some clubs, preseason seems to drag on, resembling an interminable succession of training sessions and exhibitions before the real fun starts. For the Dash, it's flying by. Because every day truly matters. The upside to the uncertainty is that with a completely new beginning, anything really is possible.
Tom Dart is a contributing writer to HoustonDynamo.com. Former editor and reporter for The Times of London and reporter for SI.com, Dart currently freelances for The Guardian.


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Rainy morning feels like the ultimate desert gift. Particularly after that seemingly endless heat streak this summer. So good to be home.
September 21st, 2016
September 20th, 2016
September 20th, 2016
The Parallel Planar Configuration are installed at both Andrea Rosen Gallery, and in the Wonder Valley cabins. In the gallery they exist as formal abstract sculptures and in the cabins they serve as platforms for living. For more info on how to spend time with them in the desert email firstname.lastname@example.com


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Costumes, Party & Events is the web's most unique store for Halloween costumes, accessories, make-up, wigs and masks as well as party supplies, wedding supplies, party and seasonal decorations and event rentals. Costumes, Party & Events is a division of the Ehrle's Party & Carnival Supply, Inc. Costumes, Party & Events offers Halloween Costumes, Halloween Accessories, and Halloween Decorations seller. Beyond our Halloween products, we also offer Party Supplies, Birthday Party Patterns, Wedding Decorations, Wedding Supplies, Holiday Decorations, Holiday Costumes, Anniversary Decorations, Helium Tanks, and Party Event Rentals. The Ehrle's company is one of the best party supply businesses in the country, selling Party Supplies including Halloween Costumes for more than 55 years. Beginning with our brick and mortar store in Tulsa, Oklahoma we have expanded to offer our products all across the United States with our newest division, Costumes, Party and Events. This website is the premier website for shopping for all of your Halloween needs.


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My cherry pitter is quaint. Right up until I made this batch of preserves, I had convinced myself that "quaint" was a desirable quality in a cherry pitter.
That's it. In case you don't know (and, looking at that piece of equipment, how would you?) here's what a cherry pitter is supposed to look like. At about cherry number four, this little instrument started reminding me a bit too much of a certain medical instrument whose name I'll spare you. I gave up.
I didn't completely give up, I just started pitting them with my hands by gently pulling them into halves and knocking out the pit. This took less time than using my "pitter" and ended up being the perfect thing for these preserves since my sweet cherries were a little on the large side.
I adapted this recipe from Christine Ferber's Mes Confitures and Mrs. Wheelbarrow. If you've ever peeked at Mes Contifures you'll know that while it contains gorgeous recipes and really smart methods, it does not follow USDA approved processing guidelines. For this missing piece, I consulted Mrs. Wheelbarrow who had also adapted a Ferber recipe for water-bath canning.
I love that each time I can, I feel like I learn something new. Something I'm still learning to have the patience for is *cough* skimming foam *cough*. Perhaps you noticed. Still, I'm really proud of these preserves!
Bourbon Cherry Preserves
- 2 2/3 lbs sweet cherries
- 3 3/4 cup sugar (I used organic)
- 2 T lemon juice
- 1 oz bourbon
Cooking Directions
- Pit the cherries with your hands by halving them and removing the pit.
- Stir them with the sugar and lemon juice in your preferred preserving pot and allow it to sit at room temperature for about an hour.
- After an hour, place the pot over med heat, stirring frequently until the sugar dissolves. Once the sugar dissolves you may want to stir it less and increase the heat slightly. Bring it only to a simmer.
- Remove from heat, let cool to room temperature, and refrigerate overnight.
- The next day, place 5 spoons on a small saucer in the freezer.
- Strain the cherries from the juice and return the juice to the pot.
- Reserve the cherries in a bowl and boil only the juice for 5 minutes.
- After 5 minutes add the cherries to the juice, return to a boil, and boil for 5 minutes.
- Remove the jam from the heat and check the set of the preserves using the spoon test*. (Mine needed about 2 minutes past the initial 5) If the set is too loose, boil for another 2 minutes, remove from the heat, and repeat the test.
- When you are happy with the set, add the bourbon and let the jam cool for 5 minutes while stirring intermittently.
- I processed this in a water bath canner for 10 minutes, but as this was not the official recommendation of the original recipe (ie: this is not a tested recipe), this can be frozen or stored in the fridge if you prefer.
*spoon test info here


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The radian r100 Car Seat is designed with your childs security and safety as top priorities. Premium covers and thoughtful safety features like a steel alloy frame, aluminum reinforced side walls, energy absorbing EPS foam, and memory foam put your mind at ease as your little one travels safely in style and comfort. And if you want to avoid those bulky car seats, look no further as the sleek and narrow design of the radian r100 allows for 3-across fit or plenty of room for passengers. Our cover designs are inspired by European fashion, are more comfortable with soft fabrics and offer better longevity and durability.
Keeps everything organized and easy to find when you need it. Our seatback organizer does it all with seven full sized pockets and two drink holders in a washable, waterproof fabric. The top fastens around any headrest while the bottom fastens around the seat for a secure fit. Folds for easy storage in seat back pocket when not in use.
Lock Tite chest clip helps position harness straps for optimal performance. It's super strong and curved for a comfortable fit. For all harness webbing up to 1.5". Made of nylon and crash tested.
This collapsible storage bin pops open when needed for those extra toys or for trash. The drawstring top keeps items secure. Water resistant fabric. Collapses flat for storage and travel. 7" W x 8" H. Takes Bag It disposable trash bags (not included).
Designed specifically for the new 2012 Radians. Now you can have as many as four cup holders on each RadianRXT, RadianR120 or RadianR100 seat. Accommodates cups, juice boxes, crayons or toys.
Today's contoured vehicle seats often tilt infant carriers back towards the rear of the seat, positioning infants at an incorrect angle. Sit Rite helps to level rear facing child safety seats and position infants at the proper angle.Forget rolled up towels. Sit Rite will not flatten during tightening and installation, and the dense foam construction adds firm, lateral support to the vehicle seat to help discourage sideways tipping. Sit Rite fits all rear facing safety seats and infant carrier bases and is LATCH/UAS compatible. Crash tested.
The first back seat mirror that rotates 360 degrees and pivots on a ball and socket for the perfect angle to view an infant, without moving your rear view mirror. Attaches securely to the middle of any headrest. Easy View does not block rear visibility and does not need to be positioned directly over a child. The shallow convex shape offers the largest, clearest reflection of any back seat mirror. See your baby and see the road easily with Easy View.
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Designed to keep books and toys neat and organized. It has a deep cargo bin for toys and lots of pockets for smaller things, too. It also has insulated drink holders and the entire cargo area is waterproof – just in case. Travel Pal fits between two child car seats and it's big enough to hold everything for both children.
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Tattoo Nation: A rich look at body art – and a free movie, too.
The Fulginiti Pavilion Gallery has a unique mission of presenting art in a way that brings deeper understanding of the body and mind to the students and faculty who pass through the building, headquarters for the University of Colorado's Center for Bioethics and Humanities.
Eric Schwartz' "Tattoo Nation," currently on display, fits right in, taking the concept of art-and-body literally. The show features Schwartz' photographs of people inked up in "black and grey" tattoos, a style that originated within the Chicano pachuco gang culture of Texas and Arizona.
The body art is serious and impressive and Schwartz' work explores its deeper meaning as "a reclamation and reappropriation of the body, an affirmation of group identity and solidarity, a spiritual "manifesto" proclaiming the bearers deepest beliefs and aspirations, and an iconographically essentialized form of autobiography."
Schwartz, who works in still and moving images, made a corresponding documentary on tattoo culture, also called "Tattoo Nation" and the gallery will screen it at 3:30 p.m. Friday, Nov. 1, and again at 6:30 p.m. on Saturday, Dec. 7. It's a rare opportunity to see how the two art forms complement and contrast.
It's all free. The exhibit is up through Dec. 19 and the Gallery is located on the Anschutz Medical Campus, 13080 E. 19th Ave., Aurora.
More info at 303-724-3994 or on the Fulginiti website.


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Posted by Editor on 11/23/05
Cooke Off T-Mobile Roster
T-Mobile jumped the gun a bit when they announced on their website that Nicole Cooke would be joining Lyne Bessette, Judith Arndt and Kim Bruckner as one of the stars for the revamped women's squad in 2006.
"We have several talented athletes on board and as sometimes happens, we were not able to align Nicole's personal goals with those of the team," regrets Bek. "We wish Nicole the very best in her future racing career."
As mentioned in previous reports, Canada's Amy Moore will also be on the team, as will American Rebecca Much, silver medalist in the Junior time trial at the 2004 Worlds, and U.S. Espoir national ITT champion.
Perras Signs with Kodak Gallery/Sierra Nevada
Courtesy Louis Bertrand
2003 Canadian national road champion Dominique Perras has signed for one more year with the Kodak Gallery/Sierra Nevada Pro cycling team. Perras recently finished second overall at the Herald Sun Tour, surrendering the yellow jersey to Simon Gerrans in the penultimate stage.
Joining Perras at KG/SN is fellow Canadian sprinter Martin Gilbert. A National track team member, Gilbert was a stage winner and overnight leader in the 2005 Tour de Beauce.
Rollin Joins VC Roubaix
Dominique Rollin, 2004 Espoir time trial champion and winner of this year's Quebec-Montreal, has signed with the amateur French squad VC Roubaix. VC Roubaix is managed by legendary pro directeur sportif Cyrille Guimard.
Wedgewood Cycling Team Adds Amino Vital for 2006
The Wedgewood Cycling Team is pleased to announce the addition of Amino Vital as a sponsor for the 2006 season.
"To have a brand like Amino Vital support us is fantastic, the whole team is very excited to be riding with their products" explained Philip Meyer, a director of the Wedgewood Cycling Team and General Manager of the Wedgewood Hotel. "Amino Vital supports many great individual athletes and teams in North America including World #1 Triathlete Hunter Kemper and the Colavita Pro Men's and Women's cycling teams. "We all feel very proud to have them join our team and support cycling & cancer research in British Columbia" Meyer continued.
"We are pleased to be a sponsor of the Wedgewood Cycling Team" says Darin O'Callaghan (Marketing manager in Canada). "The team provides us with an excellent group of spokes people for the brand"
Amino Vital will also become involved in the Westside Classic road race in Vancouver which is slated for Sunday June 18th 2006, the Tour de Gastown, the Jericho Classic Cyclo Cross race and "An Evening Of Champions 2006"
For more information on the Wedgewood Cycling Team and our fundraising efforts for the BC Cancer Foundation please visit www.teamwedgewood.com
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