John Gotti Essay -- Essays Papers

John Gotti If ever there was an incubator for crime it was the Italian Harlem tenements of the South Bronx. In one of those crowded dirty apartments, a young John Gotti seeked an impoverished existence with his parents and eleven sisters and brothers. His father rarely worked and then, only at menial jobs, risking the money that the family did have on gambling. Eventually the family moved to central Brooklyn, which was known as East New York. In East New York, for a poor boy like John Gotti with nothing in the way of prospects, the Cosa Nostra represented something to which he could realistic aspire to gain the power and respect he craved. He started as many young boys did, running errands for the gangsters, molding himself into a young bully with a future. His first major incident with the police occurred when he tried to steal a cement mixer and it fell on his feet, an injury that affected his gait for the rest of his life. He quit school at sixteen and rose to leadership in a local street gang of thieves called the Fulton-Rockaway Boys, named after two streets in their neighborhood. At an early age he exerted his bad temper, dominance and readiness to engage in fistfights. These were just the right characteristics to develop his potential as a Mafia boss. In the mid-1960's, Gotti's boss Carmine Fatico moved his headquarters out to Ozone Park near JFK Airport. Gotti, his brothers, Angelo and Willie Boy became relatively successful hijackers. That is, until they got caught in 1968 and landed in prison. In 1972, when Gotti got out of prison and went back to Ozone Park, the headquarters had been imaginatively renamed the Bergin Hunt and Fish Club. Two important things happened in his life to significantly lift his status in the Cosa Nostra. The first was that his boss Carmine Fatico faced a loansharking indictment, so Gotti became Fatico's man on the street to keep him informed about what was happening at a grass-roots level. The second was that Gotti met Neil Dellacroce, an important under boss to Carl Gambino. Neil accomplished Carlo's violent dirty work from a headquarters in Little Italy's Mulberry Street called the Ravenite Social Club. Neil, who was disappointed that his only son Armond became a drug addict, saw in Gotti a young protà ©gà © who was a younger version of his own violent, macho self. Lik... ...h as traffickers and as users. As a result, they have become more greedy, selfish, more violent. Many have chosen to forsake omerta, the traditional vow of silence and turn in other family members to save their own skins." Mr.Lombardo himself stated that there were no men of honor anymore. He states: "It has changed since I first joined in the 1940's, especially in the last few years with the growth of narcotics. Greed is causing younger members to go into narcotics without the knowledge of the families. These younger members lack the discipline and respect that made "This Thing" as strong as it once was." Bibliography: 1. Ianni, Francis. Black Mafia. New York : Simon and Schuster, 1972 2. Kelley, Robert J. â€Å"Organized Crime : Past , Present, and Future.† USA Today July 1994 3. Mueller, Tom. â€Å"Cosa Nostra† The New Republic 15 April. 1996: 17-18 4. Reuter, Peter. â€Å"The Decline of the American Mafia† Public Interest Summer 1995 5. http://www.naxs.com/people/mmachi/mafia/ 6. http://www.naxs.com/people/mmachi/mafia/ 7. http://www.pressanykey.com/mafia/history.html 8. http://members.aol.com/whizkid01/hist.html 9. www.ganglandnews.com

Music of Mexico and Central America Essay

Musical expressions in Central America and Mexico are very diverse. Types of music in this geographic region have similarities with other types of Latin American music but have their distinctive differences. For instance, the marimba of Guatemala cannot be compared to a charcarera melody from Argentine. Also, it is quite easy to mariachi for merengue and vice versa if one doesn’t know the subtle differences between the two genres. The wide variety of instruments, the varied aspects of texts, poetic structures, languages, and dance rhythms in the music of Central America and Mexico prove the richness of these regions’ culture (Campbell et al.  9). Music tends to reflect the cultural values, behaviors, and surroundings of a given geographic region and its people. For this reason, musical traditions in Central America and Mexico have grown very diverse through centuries. Descendants of Native Americans, Africans, and Europeans who settled in Central America, Mexico, and the entire Latin America retained many features of their musical roots and creative various blends of Latin American music. Latin American songs touch on various themes. Mexico, and countries in Central America such as Belize, Costa Rica, El Salvador, Guatemala, and Nicaragua have many love songs that are passionately sung by people, often with lyrics expressing loneliness, longing, and unconditional love. Aside from love songs, music in the Latin American region also have themes of current events and history, such as the nueva cancion of Chile and corridor of Mexico. Some songs also try to establish a connection between the singer and the supernatural, such as the songs that Chilean female shaman singers sing or the dances and chants that believers of Afro-Brazilian bahia perform. These types of songs are quite different from other musical traditions in the rest of the world but they are quite typical in Latin America. In addition, Mexico and Central American countries also have a huge collection of children’s songs, tribute songs, and songs of the seasons. Instruments used in the music of Central America and Mexico usually involve the guitar. The instrument is quite prominent in most Latin American cultures, especially those influenced by Hispanic traditions. Artists from Mexico and other Latin American countries like Brazil, and Venezuela usually make use of the maracas, clave, and guiro to produce the effect they want. Drums are also very important in the music of the region and various types of drums are used for different genres. Melodies are usually composed of notes in the minor key and rhythms which are crosses of threes and twos. Native Americans are known to produce pentatonic melodies while people of African descent frequently employ syncopation in their musical styles. Perhaps the best known feature of Mexican and Central American music is its ability to make people dance. It’s easy to dance to Latin American music, whether alone or in synch with partners (Campbell et al. 9). Over the years, radio, film, and television have popularized Mexican music to higher levels. Listeners worldwide are able to recognize Mexican music although they sometimes confuse it with other types of music from the Latin American region. The icon of Mexican music is the mariachi – a Mexican musician wearing a charo costume (Hutchinson 1192). Mariachis are known all over the world to transmit the meaning of being a Mexican. This musical group can sing anything, from ballads to songs about the revolution, from songs describing bar scenes to odes to regions and towns. Mariachis are also popular for their uniforms called charros. A charro consists of a bolero-type jacket, tight pants with a belt of intricately woven design, and a wide-brimmed hat filled with ribbons, chains, and silver buttons. This unique Mariachi costume is very similar to the simpler costumes that cowboys wear. Aside from the costume, Mariachis and cowboys also have origins in the same place, which is in Jalisco and other neighboring states (Kermecker 49). A mariachi band usually consists of three or four guitarists. Bands would usually play together for townspeople at gazebos or â€Å"quioscos† in the Main Square or â€Å"zocalo. † Today in Mexico, up to eighteen mariachi musicians can organize in a main square and play any song that the townspeople want to hear. Aside from the guitar, mariachis use instruments such as vihuelas (smaller guitars with five strings), guitarrones (six-string vihuelas with big bellies), violins, harps, and trumpets for the energetic accents of Mexican songs. The term â€Å"mariachi† could have originated from the French word â€Å"mariage,† which would make sense since mariachis usually play at weddings. However, experts today insist that mariachis have existed long before the French came to Mexico. The name might have originated from the Mexican word â€Å"mariachi† which refers to a small platform for musicians and dancing couples. Mariachis can be found all over Mexico, but especially in places such as Garribaldi in Mexico City and in Guadalajara, in the Plaza de Los Mariachis located at the intersection of Independencia Sur and Mina. Visitors at these places can pay mariachis to play them any Mexican song they want (Kernecker 49). Mariachis can employ other Latin American musical instruments to play their songs. They can use the the marimba, a hugely popular musical instrument in Central and South America. Marimbas are xylophones that consist of several wooden plates of different sizes and thickness. Modern versions of the instrument have hardwood bars of uniform thickness and tubular metal resonators that encompass six to seven octaves. Two to five players would play these xylophones with warm, mellow tones (Apel 505). Central America is a geographic region that is located in the southernmost part of the North American continent connecting South America to the southeast. A large part of Central America rests above the Caribbean Plate, making the region geologically active and the site of relatively frequent earthquakes and volcanic eruptions. Cities in Central American countries have been destroyed by earthquakes before, such as Managua, capital of Nicaragua and El Salvador. However, the volcanic lava from eruptions has made the region agriculturally fertile, enabling it to sustain huge populations of people. While modern Latin American music is recognizable throughout Central America, indigenous music in the region have received the least exposure among other types of music in the Western Hemisphere. For instance, Garifuna music from the Garifuna people of Belize, Nicaragua, Honduras, and Guatemala has quite a limited audience. Instruments used in this type of music include tree â€Å"garaon† or drums: the primera which improvises the segunda which produces counter rhythms, and the tercera which takes care of bass lines. Two wires are stretched over the tops of the drums to generate the buzzing sound that is typical of West African music. Other instruments used in Garifuna music are guitars, claves, shakers, scrapers, and bottle percussions (Nidel 291). In terms of modern music, one popular genre is Punta rock which is a dance music similar to Trinidadian Soca. The standard ensemble to play Punta rock includes instruments such as synthesizers, brass, electric bass, and keyboards. The song â€Å"La Punta† of the Punta rock genre became popular in Honduras during the 1980s (Nidel 291). People in Central America absolutely love listening to the marimba. In Guatemala, the xylophone used is considered the national instrument. Marimbas of all sizes and styles are made in the country. Some models are designed to be played by a single player while others are so big that seven people are needed to play them. Musical genres like the meringue and other dance compositions usually rely on the xylophone to produce the bass rhythms (Apel 505). During the later parts of the 20th century, marimba in Mexico became popular in the southernmost state of Chiapas. The instrument is also played in neighboring states of Tabasco, Oaxaca, Veracruz, and in the nation’s capital. Mariachis and other musical groups playing marimba are scattered all throughout the country but they are especially concentrated in Mexico City and Chiapas. In terms of performance, multiple players playing marimbas are more common in Mexico than single players. In Mexico today, marimba music is mostly a regional phenomenon. It is associated with the southern part of the country and is often placed in the same category as popular music genres like jarocho from Veracruz, mariachi from Jalisco, and norteno from northern Mexico (Beck 9). In the state of Veracruz, street musicians called â€Å"ambulantes† typically play marimba for people. These musicians would perform and compete with each other for twenty-four hours a day in the streets and in buildings. The type of marimba in this seaport city is known for its sharp-edged and heavily syncopated style. The unique characteristics of marimba in Veracruz indicate its Afro-Cuban influences (Beck 224). Mexican music is primarily of Hispanic flavor because of the imposition of European musical culture on the natives by Spanish conquistadors. In Mexico today, nobody knows what real pre-Columbian music sounds like. Even the type of music that natives play in Indian communities is noticeably influenced by the Spanish. African slaves though tempered this music by adding their own style to it. Mexicans are proud of these traditional musical genres, although many of them now listen to Western rock and pop (Hutchinson 1192). There are many popular genres of Mexican music that are meant for singing instead of dancing. One is the corrido, a narrative form of music that’s derived from old Spanish ballads. The genre spread throughout the country as armies of the revolution roamed across the land. Corrido has since become a popular mode of expression for regular citizens and artists. Another genre is called cancion which means â€Å"song,† literally. Cancion highlights the romantic and sentimental aspects of Mexicans, and is therefore naturally languid and slow. An example of cancion is â€Å"Las Mananitas,† which is usually sung to serenade people on their birthdays. Finally, there’s the ranchera genre which is a mix of Mexican country and Western styles. The genre was originally associated with the cattle men from the Bajio region. Ranchera featured prominently in many Mexican films from the 1930s to the 1940s and consequently became known all over Latin America as the typical music of Mexico (Hutchinson 1192). The Mexican Film and recording industry are powerful forces throughout the entire Latin American region. They helped several Mexican artists to become household names, drawing fans and profit to the industry. Some of the most popular Mexican artists include Pendro Infante, Pedro Vargas, Miguel Aceves Mejia, Jorge Negrete, and the Trio Los Panchos. Songwriters and composers can also gain popularity in Mexico, such as Agustin Lara who is a prolific composer of romantic â€Å"boleros,† which are Latin dance types of music However, despite the popularity of these artists, mariachis are still the most popular musical groups in the country (Hutchinson 1192). Musica tejana, Texas-Mexican music or simply Tex-Mex has attained a huge following all over Mexico, Central America, and the whole Latin American region today. The genre contains influences from various musical styles, such as bolero, ranchera, and cumbia. It is very flexible and can even draw beats from other genres such as reggae, country, rap, pop, and disco. Musica tejana is also known as â€Å"tejano† music in Mexico, Texas, and other parts of the United States (San Miguel 3). The term â€Å"tejano† may also refer to people of Mexican descent who live in Texas. Musica tejana has been created by Tejanos to reflect the sensibilities of their fellow Tejanos and Mexicans. Tejanos started demanding that traditional Mexican music meet their sensibilities as early as 1920s. Early in the twentieth century, much of musica tejana was formed by accordion sounds. After World War II, Tejano musicians tried to adapt elements of Mexican music to their musical style. Artists incorporated female duet and vocal singing into musica tejana, which was previously instrumental in nature. They also continued to use the bajo sexton and accordion to produce their music. Saxophones, and trumpets later known as â€Å"los pitos† or horn section, were also employed to create musica tejana. During the second half of the century, Tejanos continued to adapt Mexican music by using instruments such as guitars, keyboards, organs, and brass instruments (San Miguel 7). Tejanos have lived alongside Anglos for a long time and conflicts between the two races are discernible in the musica tejana that evolved from this relationship. Corridos expressed the historical conflict between Mexicans and Anglos in South Texas during the late nineteenth and early twentieth centuries. According to experts, old corridos were basically narrative ballads that told the adventures of a hero and were sung to simple tunes. In many ways, singing corridos was a symbolic means to fight the dominant Anglo culture. An example of this type of corridor is â€Å"The Corrido of Gregorio Cortez,† a narrative ballad that tells the story of a hero who single-handedly fought the law of the Anglos and won (San Miguel 8). Traditional Mexican songs like canciones reflected the changes that occurred and the attributes that were retained by Tejanos in the state. Canciones are composed of various types of songs, including: corridos, canciones romanticas, canciones rancheras, and canciones tipcas. The corridor and cancion tipica dominated vocal music by Tejasnos throughout most of the nineteenth century. During the late nineteenth century, the cancion romantica started to emerge and compete with other types of cancion. In the twentieth century however, the cancion ranchera attained a huge following, which made it the dominant type of song among Mexicans in Texas and for those who lived near the border (San Miguel 8). Aside from musica tejana, there are many other musical genres that has gained wide popularity in Central America. One is cumbia, a Colombian style of folk dance music that’s considered to represent Colombian culture, like Vallenato. Cumbia is especially popular in Panama, another country in Central America. The region is mostly inhabited by mestizos who are people of European, African, and indigenous descent. The culture of the Azuero region located in the west of the country has come to dominate Panama. The country’s preference for music such as cumbia is very similar to the musical preferences of its neighboring country, Colombia. The most significant native instrument in Panama is the mejorama, a guitar with five strings, which looks quite similar with the Venezuelan cuatro. The mejorama are often used by musicians in the country to play songs termed â€Å"torrentes. † The most recognized Panamanian musician in the world is Ruben Blades who became a star in the Fania stable of New York musicians. Blades started his career with doo-woop but branched off to different musical styles later (Nidel 291). While it is true that music is the universal language, the music of Mexico and Central America is still very unique in their own social and historical contexts. The mariachi of Mexico reflects the energetic Mexican people and their passionate tendencies. Dances with fast beats illustrate the festivity of Mexican culture while slow and languid songs show the longing of Mexicans for intangible things such as love, honor, and the past. Whether it’s marimba, corridor, cancion or ranchera, Mexican music stands out as among the best and most colorful types of music in the world. Central America also has a rich collection of Latin American music, such as musica tejana, bolero, and cumbia. Each country in this region has a different past that is reflected in their preferred musical styles. As each style crosses and mixes with each other, the music of Central America is bound to get richer in the future. Through modern forms of communication and broadcast such as the Internet, Latin American music in Central America may gather more followers in regions far away from it. The various kinds of Mexican and Central American music all have their own flavors and they must be preserved for generations to come. They contain the spirit of the Latin American culture and must therefore be listened to by new generations of Latinos and other artists and ordinary people outside of the region. Works Cited Apel, Willi. Harvard Dictionary of Music. Cambridge: Harvard University Press, 1969. Beck, John. Encyclopedia of Percussion. London: Taylor & Francis, 1995. Campbell, Patricia Shehan et al. Songs of Latin America: from the Field to the Classroom. Van Nuys: Alfred Publishing, 2001. Hutchinson, Peter. Central America & Mexico 2004. Bath: Footprint Travel Guides, 2003. Kernecker, Herb. When in Mexico, Do as the Mexicans Do: The Clued-in Guide to Mexican Life, Language, and Culture. Columbus: McGraw-Hill Professional, 2005. Nidel, Richard. World Music: the Basics. New York: Routledge, 2005. San Miguel, Guadalupe. Tejano Proud: Tex-Mex Music in the Twentieth Century. College Station: Texas A&M University Press, 2002.

Absolute Power Corrupts Absolutely animal farm

When the animals take over the farm the pigs become the animals’ leaders, as they are the smartest of the animals. Major starts out telling the animals about his dream and convincing them that’s how the farm should be like. The pigs encourage that all animals are equal and have 7 commandments to keep the farm in order. After the animals start to agree with Napoleon more and more, Boxer says â€Å"If Comrade Napoleon says it, it must be right† (Orwell 56) that is how Napoleon gained his motto as â€Å"Napoleon is always right†.The animals became intimidated by the pigs and were too afraid to ever question their decisions. None of the other animals were smart enough to think differently. When Napoleon realizes how much power he has, he starts to take advantage of it. Napoleon starts to tweak the commandments to his advantage. Napoleon creates a rule saying, â€Å"The milk and windfall apples should be reserved for the pigs alone† (Orwell 36). Napoleon has only made this rule to benefit himself and his kind. When Squealer says, â€Å"Surely there is no one among you who wants to see Jones come back?† he is trying to scare the other animals into thinking Napoleons doing the right thing. The pigs should not be treated any better than the other animals. This is what started Napoleons corrupt set of values. Napoleon continues to make corrupt changes to the commandments and rules as he gains more and more authority. When â€Å"Napoleon accepted, through Whymper, a contract for 400 eggs a week† (Orwell 76) it was really unfair to the hens and he should have no control over that. Napoleon did not give any sympathy to the hens even after they revolted.Napoleon started to traumatize the hens for declining to give their eggs. Napoleon brought the situation way out of proportion and brutally starved some of the hens to death to get the eggs on time. Napoleon has no right to put the hens through hell just to because he says so. Napoleon started off as a true leader keeping the farm under control but once his control got so immense he turned corrupt. Napoleon made and changed rules to benefit himself. Napoleon became very selfish and unfair to all the other animals.No other animal ever had the guts or smarts to question Napoleons power and decisions; which worsened the situation and made Napoleon become more corrupt. Napoleon had a stern set of rules but if he happened to break a rule his fellow pigs would use a euphemism by adding a few words to the rule to soften the true meaning. If everyone could quickly turn to page 109, last paragraph. The other animals were not very smart so they were fooled into thinking they had just remembered the commandments wrong in the first place.Napoleon had such corrupt morals that he thought any rule he broke he could simply alter it so he was no longer breaking the rules. Napoleon ends up changing the entire commandments after he had gained all the power and money he wan ted. In the end, the most corrupt thing Napoleon did is when he changed all the commandments to â€Å"All animals are equal but some animals are more equal than others† (134). This brought the farm back to exactly how it had started. This very corrupt decision made the animals think they could not question his unfair decisions simply because some animals are more equal than others.This took away all the freedom and equality that had kept the farm together. â€Å"Absolute power corrupts absolutely† this is exactly what happened to animal farm. Napoleon had started out so against humans and made rules against having any similarities with them. After Napoleon had become more and more corrupt he turned into exactly what he was against†¦ humans. Napoleon let his corrupt decisions get the best of him and alter his mind thinking he was above the rest. The animals were left with no power or leadership and all they had was a selfish, lying, corrupt dictator who acted just as a human.

Discrmination, Diversity, Equality and Inclusion in Health

Discrimination Diversity, Equality and Inclusion To understand what discrimination is, we first have to understand the meanings of diversity, equality and inclusion within our society and social health care. Diversity outlines difference and variety; we are all different we have characteristics that make us individual, these come from and include: race, religion, age, gender, beliefs, appearance, abilities, talents and sexual orientation. These characteristics give us our uniqueness in society, not only as individuals but also within groups and different cultures.Equality means treating people fairly, where everyone can participate and has an equal opportunity to fulfil their potential. To be able to understand what diversity and equality both mean, we have to first acknowledge our own prejudices, values and beliefs, and then we can positively accept difference in our society, and in the role of Social Care Workers. By accepting diversity and equality we support, value and respect se rvice users, thus providing a quality standard of care.Inclusion means including all individuals and groups, treating people fairly and with respect, giving choices, not tolerating discrimination, breaking down barriers and providing a supportive and nurturing quality standard care service. Discrimination can be indirect or direct; it means treating an individual or a group of people less fairly than others, giving a lower standard of service because of how we view them. We can discriminate without realising we are doing it. Indirect discrimination can occur when a condition or practice or requirement is provided through a service, e. . information leaflets only printed in English and not providing the information in other formats. We are indirectly discriminating against some of our service users who may have different levels of communication and need information in other forms, e. g. braille, large fonts, different languages or on audio. Direct discrimination can occur in differen t forms. Sometimes people do not realise that what they are saying or doing can be discriminative to others, e. g. stereotyping and generalisations.What is your initial thought when you see a person dressed in a hoodie, homeless person, a coloured person or an old person? If it is a negative thought or fear, the values and beliefs you hold could turn these into prejudices. You possibly formed an opinion based on an assumption rather than on fact. Values are taught to us usually in childhood and we carry these with us throughout our life. Values, beliefs and any prejudices can be changed, usually through knowledge and life’s experiences. By seeing things from a different perspective and keeping a positive attitude, we can all be open to change.There are other ways discrimination can happen in social care. Through communication: the words and expressions we use, derogatory language, belittling people, patronising, humiliating and disrespecting people. These are all discriminati ve. Telling jokes about particular groups of people, based on their race, age, religion, culture, gender, sexual orientation, ability or disability, is discrimination. We must think about not only what we say or do but also what our colleagues say and do. Stereotyping, generalisations and labelling do not define the people we care for.Calling someone little as in ‘ Little Mary’ because the lady is small in height, this does not define her as a human being. She happens to be small, but is ‘Mary’ first. When people who want to take part in society, employment, education, an exercise or activity, or a service, and are excluded or treated less fairly based on their age, race, ability or disability, gender, sexuality or other prejudice, this is discrimination. The effect of discrimination can lead to isolation, impacting on mental and physical health, stress, lack of confidence and low self esteem.The use of Inclusion and anti- discriminatory practice in social care can help us recognise, support, challenge and change any discrimination. We have to keep an open mind and not allow our own values or beliefs to interfere with how we support clients. Because it is not right for us, does not mean it is not right for someone else. Give people choices, ask them or their family. Read through their care plan which is about their life, likes, dislikes, interests and beliefs. This will help break down any barriers.Sometimes in social care we need to act on behalf of our clients, to help them understand, choose and exercise their right. This could be because of a number of factors. There might be emotional, physical or communication barriers that effectively stop people from accessing help, advice or from making decisions about their life. By doing this we are promoting independence and not dependence. Because we live and work in a diverse society, there are laws, regulations and guidance to help you understand discrimination and how to deal with it.Y our workplace will have policies about this that will include: * Equality Act 2010 (this act supersedes all previous acts and covers all aspects of discrimination) * HCPC (Health & Care Professions Council) formally GCSS code of practice You can ask your manager for further advice about: * Duty of care * Safeguarding * Effective communication * Standard of care Other organisations which can provide further help are: * Citizens Advice Bureau * Law Centre Be respectful, polite and courteous, value yourself and others this will help you deliver quality care.

Legal Regulation of Overtime in Saudi Arabia Research Paper

Legal Regulation of Overtime in Saudi Arabia - Research Paper Example In addition to the law, Ministerial Resolutions are used to supplement the KSA Labor Law. This research focuses on how overtime is regulated and calculated in Saudi Arabia. The Labor Regulation, which is the Royal Decree No. M/51 of 23rd Shaban 1426 Hejra  or 27th September 2005 is the main statute the deals with issues relating to labor. According to the Saudilegal.com website (20150, this law came into force in 2006, thereby overriding the then existing Labor and Workmen Regulation. The Labor Regulation is thus used to guide employer-employee relations, including matters relating to overtime. Under the KSA Labor Law, Article 98 states that if an employer uses the daily work criterion, a worker is not supposed to work for over eight hours in a day. For employers who use the weekly criterion, the law limits the workers to work for not more than forty eight hours in a week. In addition, during the holy month of Ramadan, the working hours for Muslim workers are reduced to not more than six hours in a day or for not more than thirty six hours in a week. Other employees who belong to different religions are not affected during the month of Ramadan. If the employer requests his employers to work hours beyond these limits, then the additional workers hours are deemed to be overtime. The employers are then required to pay their workers for these additional hours. Overtime is usually restricted to only two hours per day (L&E Global, 3). This means that an employee should not be asked by his employer to work for more than ten hours in a single day. Article 99 of the Labor Law provides that the labor minister can change the total number of working hours described in article 98. These hours may be increased from eight to nine hours in a day for certain types of workers or industries. This may be done in cases where the worker is not required to work continuously. In addition, the

Why do you think the way you think Essay Example | Topics and Well Written Essays - 500 words

Why do you think the way you think - Essay Example I do not prefer change when something is working fine for me. I do not analyze or evaluate when something is not clear or accurate to me. I believe that being a narrow minded person there is no harm. I enjoy being a narrow minded, and I have not faced any serious problems in my life yet. I think that everyone has the right in this world to learn or understand others. I have not been into any complex process which makes me think less critically. Being narrow minded I am not open to new ideas. At times, I am dependent on objects, tools and machines rather than ideas of others but sometimes I think the way other people think or have experienced in their life. There are some situations where I lack in gathering information. I do not communicate with others that much regarding the problems I face. I do not search for evidence when making decisions. I do not make analysis on ideas and sometimes lack in understanding the concepts, information and attitudes. I do not judge people extremely quickly. During reasoning, I sometimes make common mistakes and face confusions. My thinking is based on my emotions and as a result I sometimes involve myself in arguments on things which I do not know. Sometimes I face problems in making others clear about my ideas because of lack in confidence. I always get hooked up by the usual and safe things. I have always preferred a safe side. In my life, so far, I have not stretched my efforts towards critical thinking as I think that I am not in th at stage. I always prefer to explore and accomplish things on my own rather than relying on others. I always prefer working with tools, objects etc instead of depending on ideas, people and data. Being a realistic person I am more of a practical mind, aggressive in nature and conservative at times. However, my communication level might be low because I do not tend to get involved in social activities. At

A Larger Slice of the Value for Stakeholders Essay

A Larger Slice of the Value for Stakeholders - Essay Example The role of stakeholders is an important one here as they are trying their best to get the best deal out of the equation. What this suggests is that these stakeholders are persistently looking after the best possible returns and thus the value added fund should provide its best shot within the dynamics of a changing economic basis of the organization. The stakeholders are the saviors of a business and it goes without saying that their role is pertinent to the overall smooth running of the business. If they do not receive the benefits in the wake of the value-added fund and that too in good numbers, their work would not be given the attention that it deserves and hence their role would come down a bit. These are very significant pointers on the part of the stakeholders who are looking to bringing out the best within the resources of the organization and thus giving their best in terms of investments. The expectations of the stakeholders increase drastically and it would be correct to state that managing their expectations at times is a cumbersome process, and more so when the organizations are facing troubled times (Smith 1978). However, when these organizations are doing well within their financial realms, these stakeholders step up the gas and demand their share in a magnanimous way. Therefore expecting that they will be asking f or a reasonable sum is a mistake because every stakeholder likes to get his best return or the value that he is looking forward to. Mature product markets ask for resilience and doing the same thing on a consistent basis. If a market is not mature yet and is still lingering within the growth stage, it would be correct to state that the stakeholders exactly know what to ask of them in the value-added funds that the company is overseeing, and which has played its role in a huge capacity.