The Men of Rule in William Shakespeare’s “A Midsummer...

In William Shakespeare’s â€Å"A Midsummer’s Night Dream† two worlds are contrasted throughout the play. The Athenian state is governed by order, law, and reason; the forest or Fairy world lies within the realm of the imagination where anything is possible. While both worlds run parallel in the play, their inhabitants are influenced by one another. Their rulers, Theseus and Oberon, play critical roles in the events of the story. Theseus acts compassionately with a sense of duty, order and respect; his initial rulings for Hermia provide the exposition for the comedy (May 75). Oberon acts compassionately as well, but acts on a whim and resorts to trickery if it suits his desires; his actions direct the complication in the plot (May 75). Their†¦show more content†¦Unlike Theseus, Oberon does not try to reason with Titania. He uses trickery and magic to distract Titania and settle this dispute. Oberon applies a drop of magic â€Å"liquor †¦in her eyes† (II.1.178) which makes â€Å"the next thing†¦she†¦ looks upon / †¦. She shall pursue it with the soul of love† (II.1.179-181). Oberon plans to â€Å"take this charm from off her sight / I’ll make her render up her page to me.† (II.1.183-185). Oberon acts and bases his decision on acting selfishly and irrationally out of his own desires. Oberon and Theseus have very different moral stances, and thus base their decisions and actions on very different thought processes. As long Oberon gets what he wants he will act and impose his own decisions. Theseus must be asked to intervene and urges methodical decision making. As rulers, Theseus and Oberon, have many subjects and minor characters surrounding them. These subjects include Oberon’s wife, Titania, and Theseus’ fiancà ©e Hippolyta, as well as the various members of their courts. Hippolyta is a Queen of the Amazons, captured in battle. Theseus acknowledges that she was a captive taken against her will and his early relationship with her he was not particularly honourable. â€Å"I woo’d thee with my sword/ And won thy love, doing thee injuries (I.1.16-17). He vows to make amends, â€Å"But I will wed thee inShow MoreRelatedThe Men of Rule in William Shakespeare’s â€Å"A Midsummer Night’s Dream†1491 Words   |  6 PagesIn William Shakespeare’s â€Å"A Midsummer Night’s Dream† two worlds are distinctly contrasted throughout the play. These worlds serve to be the extremes both in thought and action. One world is the Athenian state; which is governed by order, law and reason; wh ereas, the forest or fairy world lies within the domain of imagination, where anything is possible. While both worlds are paralleled in the play, they have complex interactions in which the characters succumb to influences to influences from bothRead MoreWilliam Shakespeare s A Midsummer Night s Dream1068 Words   |  5 PagesMacbeth to Beatrice from Much Ado About Nothing. Both females are mentioned numerous times when discussions on Shakespeare’s plays comes about. One female character, though, is overlooked time and time again. Although not seen as a strong character, it is due to both historical context and male dominance that forced Hippolyta into the role she played in A Midsummer Night’s Dream by William Shakespeare. Firstly, a quick summary of the events in the play. There are four main couples in the play: HelenaRead MoreSociety in A Midsummer Night’s Dream by William Shakespeare1721 Words   |  7 PagesWilliam Shakespeare uses his word craft and characters as outlets addressing social issues, race, class, and or gender. Through his plays, he emulates the real world and is able to manipulate his worlds to allow his audience to see everything from all sides. In A Midsummer Night’s Dream and discussed in â€Å"Jack shall have Jill;/Nought shall go ill† by Shirley Nelson Garner, in order for the world of men and patriarchal society and hierarchies to be secure and be well, the homoerotic relationships andRead MoreThe Theme of True Love in A Midsummer Nights Dream by William Shakespeare744 Words   |  3 PagesThe Theme of True Love in A Midsummer Nights Dream by William Shakespeare The overriding theme of the play A Midsummer Nights Dream by William Shakespeare deals with the nature of love. Though true love seems to be held up as an ideal, false love is mostly what we are shown. Underneath his frantic comedy, Shakespeare seems to be asking the questions all lovers ask in the midst of their confusion: How do we know when love is real? How can we trust ourselves that love is real when we areRead MoreA Descriptive Bibliography Of Shakespeare s A Midsummer Night s Dream 1542 Words   |  7 PagesA Descriptive Overview of Shakespeare’s â€Å"A Midsummer Night’s Dream† William Shakespeare was born April 1564 and grew up in Strafford-upon-Avon. He wrote â€Å"A Midsummer Night’s Dream† in his early years as a playwright. He also wrote the play is a mixture of romance and comedy. It tells the story of four young people who fall in love with each other with the aid of magic. Shakespeare managed to create a dream world for the audience using the characters tied to a plot filled with antics andRead MoreWilliam Shakespeare s A Midsummer Night s Dream1404 Words   |  6 Pages1590’s, A Midsummer Night’s Dream is one of William Shakespeare’s most delightful and eccentric pieces of work (The Life of William Shakespeare). While some of Shakespeare’s contemporaries disregarded the play as â€Å"insipid† and â€Å"ridiculous†, this romantic comedy has been successful in the theater from its first production to the present day† (Worthen 186). Shakespeare lived during the Elizabethan age, and during this era, learning and literature were thriving in London under Queen Elizabeth’s rule (TheRead MoreFemale Sexuality in Shakespeare4830 Words   |  20 PagesQuestion Compare and contrast the representation of female sexuality in Cymbeline, the Sonnets, and one of the plays: A Midsummer Night’s Dream, Richard II, Hamlet, Antony and Cleopatra, Measure for Measure or King Lear.       Both Cymbeline and A Midsummer Night’s Dream  (AMND)  are both set in a patriarchal environment where both genders grapple for control. Valerie Traub defines the distinction between gender sex and gender behavior as â€Å"Sex refers to the . . . biological distinctions betweenRead MoreWilliam Shakespeare is a renowned poet, playwright and actor. Many believe that he was the most2400 Words   |  10 Pages William Shakespeare is a renowned poet, playwright and actor. Many believe that he was the most zealous writer in the English language and also the most significant playwright in history. Shakespeare wrote his plays for an assorted audience, he manipulated complex and universal themes such as patriarchy and gender roles while placing emphasis on women’s quest for power, equality, happiness and identity. Shakespeare embarked on issues that everyone could relate to, hence, his stylistic techniquesRead MoreWilliam Shakespeare s A Midsummer Night s Dream1397 Words   |  6 PagesShakespeare’s comedies, like those of most Renaissance playwrights, involve love and its obstacles. Much of the comedy in A Midsummer Night’s Dream derives from the attempt of Lysander and Hermia to remain together while overcoming the adult authority figure who attempts to hinder the love of a young couple. The overcoming of an obstacle functions as a common motif in Renaissance comedy. The audience must wonder, however, whether Lysander and Hermia, as well as Demetrius and Helena, actually loveRead More A Midsummer Night’s Dream Essay: Order and Disorder1377 Words   |  6 PagesOrder and Disorder in A Midsummer Nights Dream Order and disorder is a favorite theme of Shakespeare. In A Midsummer Nights Dream the apparently anarchic tendencies of the young lovers, of the mechanicals-as-actors, and of Puck are restrained by the sharp Athenian law and the law of the Palace Wood, by Theseus and Oberon, and their respective consorts. This tension within the world of the play is matched in its construction: in performance it can at times seem riotous and out of control The Men of Rule in William Shakespeare’s â€Å"A Midsummer... In William Shakespeare’s â€Å"A Midsummer Night’s Dream† two worlds are distinctly contrasted throughout the play. These worlds serve to be the extremes both in thought and action. One world is the Athenian state; which is governed by order, law and reason; whereas, the forest or fairy world lies within the domain of imagination, where anything is possible. While both worlds are paralleled in the play, they have complex interactions in which the characters succumb to influences to influences from both of them. The ruler’s of these two worlds, Theseus in Athens and Oberon in the Fairy world, play critical roles in the events of the story in which their actions and decisions transform the lives of the young lovers. Theseus’ initial rulings for†¦show more content†¦Egeus specifically asks Theseus’ help telling him that he comes â€Å"Full of Vexation†¦with complaint / against my child† (I.1.22-23). However, Oberon merely o versees the lovers and decides to meddle without provocation. The rulers’ personality differences can also be seen in the way they deal to decision making and problem solving. Theseus looks for reason; whereas, Oberon acts on impulse. When sorting out the dispute about Hermia’s marriage he advises Hermia to be make a wise and well thought-out decision. He says, â€Å"question your desires, / Know of your youth, examine well your blood† (I.1.67-68). This suggests that Theseus values reason and contemplation before acting upon one’s desires. On the contrary, Oberon clearly acts on his emotions instead of logic like Theseus. This is seen in his first argument with Titania. Shakespeare never reveals why Oberon wants the boy for himself; however, he does provide a valid reason for Titania to keep the boy for himself as he was the son of a friend of hers whom died in childbirth (May 77). Oberon acts on his obvious jealous and own desire to use magic to distract Titania and get what he wants. Oberon does this by a drop of a magic â€Å"liquor †¦in her eyes† (II.1.178) which makes â€Å"the next thing†¦she†¦ looks upon / †¦. She shall pursure it with the soul of love† (II.1.179-181). His plan is then to â€Å"take this charm from off her sight / I’ll make her render up her page to me.† (II.1.183-185). Oberon acts and bases his decisionShow MoreRelatedThe Men of Rule in William Shakespeare’s â€Å"A Midsummer Night’s Dream† 1322 Words   |  6 PagesIn William Shakespeare’s â€Å"A Midsummer’s Night Dream† two worlds are contrasted throughout the play. The Athenian state is governed by order, law, and reason; the forest or Fairy world lies within the realm of the imagination where anything is possible. While both worlds run parallel in the play, their inhabitants are influenced by one another. Their rulers, Theseus and Oberon, play critical roles in the events of the story. Theseus acts compassionately with a sense of duty, order and respect; hisRead MoreWilliam Shakespeare s A Midsummer Night s Dream1068 Words   |  5 PagesMacbeth to Beatrice from Much Ado About Nothing. Both females are mentioned numerous times when discussions on Shakespeare’s plays comes about. One female character, though, is overlooked time and time again. Although not seen as a strong character, it is due to both historical context and male dominance that forced Hippolyta into the role she played in A Midsummer Night’s Dream by William Shakespeare. Firstly, a quick summary of the events in the play. There are four main couples in the play: HelenaRead MoreSociety in A Midsummer Night’s Dream by William Shakespeare1721 Words   |  7 PagesWilliam Shakespeare uses his word craft and characters as outlets addressing social issues, race, class, and or gender. Through his plays, he emulates the real world and is able to manipulate his worlds to allow his audience to see everything from all sides. In A Midsummer Night’s Dream and discussed in â€Å"Jack shall have Jill;/Nought shall go ill† by Shirley Nelson Garner, in order for the world of men and patriarchal society and hierarchies to be secure and be well, the homoerotic relationships andRead MoreThe Theme of True Love in A Midsummer Nights Dream by William Shakespeare744 Words   |  3 PagesThe Theme of True Love in A Midsummer Nights Dream by William Shakespeare The overriding theme of the play A Midsummer Nights Dream by William Shakespeare deals with the nature of love. Though true love seems to be held up as an ideal, false love is mostly what we are shown. Underneath his frantic comedy, Shakespeare seems to be asking the questions all lovers ask in the midst of their confusion: How do we know when love is real? How can we trust ourselves that love is real when we areRead MoreA Descriptive Bibliography Of Shakespeare s A Midsummer Night s Dream 1542 Words   |  7 PagesA Descriptive Overview of Shakespeare’s â€Å"A Midsummer Night’s Dream† William Shakespeare was born April 1564 and grew up in Strafford-upon-Avon. He wrote â€Å"A Midsummer Night’s Dream† in his early years as a playwright. He also wrote the play is a mixture of romance and comedy. It tells the story of four young people who fall in love with each other with the aid of magic. Shakespeare managed to create a dream world for the audience using the characters tied to a plot filled with antics andRead MoreWilliam Shakespeare s A Midsummer Night s Dream1404 Words   |  6 Pages1590’s, A Midsummer Night’s Dream is one of William Shakespeare’s most delightful and eccentric pieces of work (The Life of William Shakespeare). While some of Shakespeare’s contemporaries disregarded the play as â€Å"insipid† and â€Å"ridiculous†, this romantic comedy has been successful in the theater from its first production to the present day† (Worthen 186). Shakespeare lived during the Elizabethan age, and during this era, learning and literature were thriving in London under Queen Elizabeth’s rule (TheRead MoreFemale Sexuality in Shakespeare4830 Words   |  20 PagesQuestion Compare and contrast the representation of female sexuality in Cymbeline, the Sonnets, and one of the plays: A Midsummer Night’s Dream, Richard II, Hamlet, Antony and Cleopatra, Measure for Measure or King Lear.       Both Cymbeline and A Midsummer Night’s Dream  (AMND)  are both set in a patriarchal environment where both genders grapple for control. Valerie Traub defines the distinction between gender sex and gender behavior as â€Å"Sex refers to the . . . biological distinctions betweenRead MoreWilliam Shakespeare is a renowned poet, playwright and actor. Many believe that he was the most2400 Words   |  10 Pages William Shakespeare is a renowned poet, playwright and actor. Many believe that he was the most zealous writer in the English language and also the most significant playwright in history. Shakespeare wrote his plays for an assorted audience, he manipulated complex and universal themes such as patriarchy and gender roles while placing emphasis on women’s quest for power, equality, happiness and identity. Shakespeare embarked on issues that everyone could relate to, hence, his stylistic techniquesRead MoreWilliam Shakespeare s A Midsummer Night s Dream1397 Words   |  6 PagesShakespeare’s comedies, like those of most Renaissance playwrights, involve love and its obstacles. Much of the comedy in A Midsummer Night’s Dream derives from the attempt of Lysander and Hermia to remain together while overcoming the adult authority figure who attempts to hinder the love of a young couple. The overcoming of an obstacle functions as a common motif in Renaissance comedy. The audience must wonder, however, whether Lysander and Hermia, as well as Demetrius and Helena, actually loveRead More A Midsummer Night’s Dream Essay: Order and Disorder1377 Words   |  6 PagesOrder and Disorder in A Midsummer Nights Dream Order and disorder is a favorite theme of Shakespeare. In A Midsummer Nights Dream the apparently anarchic tendencies of the young lovers, of the mechanicals-as-actors, and of Puck are restrained by the sharp Athenian law and the law of the Palace Wood, by Theseus and Oberon, and their respective consorts. This tension within the world of the play is matched in its construction: in performance it can at times seem riotous and out of control

Mcdonalds 10k Free Essays

Morningstar ® DocumentResearchS Table of Contents UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D. C. 20549 FORM 10-K FOR ANNUAL AND TRANSITION REPORTS PURSUANT TO SECTIONS 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 x ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2010 OR ? TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period fromto Commission File Number 1-5231 McDONALD’S CORPORATION (Exact name of registrant as specified in its charter) Delaware (State or other jurisdiction of incorporation or organization) One McDonald’s Plaza Oak Brook, Illinois (Address of principal executive offices) 36-2361282 (I. We will write a custom essay sample on Mcdonalds 10k or any similar topic only for you Order Now R. S. Employer Identification No. ) 60523 (Zip code) Name of each exchange on which registered New York Stock Exchange Registrant’s telephone number, including area code: (630) 623-3000 Securities registered pursuant to Section 12(b) of the Act: Title of each class Common stock, $. 01 par value Securities registered pursuant to Section 12(g) of the Act: None (Title of class) Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes x No ? Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Act. Yes ? No x Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days. Yesx No? Indicate by check mark whether the registrant has submitted electronically and posted on its corporate Web site, if any, every Interactive Data File required to be submitted and posted pursuant to Rule 405 of Regulation S-T ( §232. 05 of this chapter) during the preceding 12 months (or for such shorter period that the registrant was required to submit and post such files). Yes x No ? Indicate by check mark if disclosure of delinquent filers pursuant to Item 405 of Regulation S-K is not contained herein, and will not be contained, to the best of registrant’s knowledge, in definitive proxy or information statements incorpora ted by reference in Part III of this Form 10-K or any amendment to this Form 10-K. Indicate by check mark whether the registrant is a large accelerated filer, an accelerated filer, a non-accelerated filer, or a smaller reporting company. See definitions of â€Å"large accelerated filer,† â€Å"accelerated filer† and â€Å"smaller reporting company† in Rule 12b-2 of the Exchange Act. (Check one): Large accelerated filer xAccelerated filer ? Non-accelerated filer ? (do not check if a smaller reporting company)Smaller reporting company ? Indicate by check mark whether the registrant is a shell company (as defined in Rule 12b-2 of the Exchange Act). Yes ? No x The aggregate market value of common stock held by non-affiliates of the registrant as of June 30, 2010 was $70,073,280,631. The number of shares outstanding of the registrant’s common stock as of January 31, 2011 was 1,043,298,941. DOCUMENTS INCORPORATED BY REFERENCE Part III of this Form 10-K incorporates information by reference from the registrant’s 2011 definitive proxy statement which will be filed no later than 120 days after December 31, 2010. Source: MCDONALDS CORP, 10-K, February 25, 2011Powered by Morningstar  ® Document ResearchSM Table of Contents Part I. Part II. Part III. Part IV. McDONALD’S CORPORATION INDEX Page Reference Item 1Business1 Item 1A Item 1B Item 2Properties6 Risk Factors and Cautionary Statement Regarding Forward-Looking Statements3 Unresolved Staff Comments5 Item 3 Item 5 Item 6 Item 7 Item 7A Item 8 Item 9 Item 9A Item 9B Item 10 Item 11 Item 12 Item 13 Item 14 Item 15 Legal Proceedings6 Market for Registrant’s Common Equity, Related Shareholder Matters and Issuer Purchases of Equity Securities7 Selected Financial Data9 Management’s Discussion and Analysis of Financial Condition and Results of Operations10 Quantitative and Qualitative Disclosures About Market Risk27 Financial Statements and Supplementary Data27 Changes in and Disagreements with Accountants on Accounting and Financial Disclosure48 Controls and Procedures48 Other Information48 Directors, Executive Officers and Corporate Governance48 Executive Compensation48 Security Ownership of Certain Beneficial Owners and Management and Related Shareholder Matters48 Certain Relationships and Related Transactions, and Director Independence49 Principal Accountant Fees and Services49 Exhibits and Financial Statement Schedules49 52 53 Signatures Exhibits All trademarks used herein are the property of their respective owners and are used with permission. Source: MCDONALDS CORP, 10-K, February 25, 2011Powered by Morningstar  ® Document ResearchSM Table of Contents PART I ITEM 1. Business McDonald’s Corporation, the registrant, together with its subsidiaries, is referred to herein as the â€Å"Company. † a. General development of business During 2010, there have been no material changes to the Company’s corporate structure or in its method of conducting business. In 2010, the Company has continued the process it began in 2005 to realign certain subsidiaries to develop a corporate structure within its geographic segments that better reflects the operation of the McDonald’s worldwide business. . Financial information about segments Segment data for the years ended December 31, 2010, 2009, and 2008 are included in Part II, Item 8, page 40 of this Form 10-K. c. Narrative description of business †¢ General The Company franchises and operates McDonald’s restaurants in the global restaurant industry. These restaurants serve a varied, yet limited, value-priced menu (see Products) in more than 100 countries around the world. All restaurants are operated either by the Company or by franchisees, including conventional franchisees under franchise arrangements, and foreign affiliated markets and developmental licensees under license agreements. The Company’s operations are designed to assure consistency and high quality at every restaurant. When granting franchises or licenses, the Company is selective and generally is not in the practice of franchising to passive investors. Under the conventional franchise arrangement, franchisees provide a portion of the capital required by initially investing in the equipment, signs, seating and de? cor of their restaurant businesses, and by reinvesting in the business over time. The Company owns the land and building or secures long-term leases for both Company-operated and conventional franchised restaurant sites. In certain circumstances, the Company participates in reinvestment for conventional franchised restaurants. A discussion regarding site selection is included in Part I, Item 2, page 6 of this Form 10-K. Conventional franchisees contribute to the Company’s revenue stream through the payment of rent and royalties based upon a percent of sales, with specified minimum rent payments, along with initial fees received upon the opening of a new restaurant or the granting of a new franchise term. The conventional franchise arrangement typically lasts 20 years, and franchising practices are generally consistent throughout the world. Over 70% of franchised restaurants operate under conventional franchise arrangements. The Company has an equity investment in a limited number of foreign affiliated markets, referred to as affiliates. The largest of these affiliates is Japan, where there are more than 3,300 restaurants. The Company receives a royalty based on a percent of sales in these markets. Under a developmental license arrangement, licensees provide capital for the entire business, including the real estate interest. While the Company has no capital invested, it receives a royalty based on a percent of sales, as well as initial fees. The largest of these developmental license arrangements operates more than 1,750 restaurants across 18 countries in Latin America and the Caribbean. The Company and its franchisees purchase food, packaging, equipment and other goods from numerous independent suppliers. The Company has established and strictly enforces high quality standards and product specifications. The Company has quality assurance labs around the world to ensure that its high standards are consistently met. The quality assurance process not only involves ongoing product reviews, but also on-site inspections of suppliers’ facilities. A quality assurance board, composed of the Company’s technical, safety and supply chain specialists, provides strategic global leadership for all aspects of food quality and safety. In addition, the Company works closely with suppliers to encourage innovation, assure best practices and drive continuous improvement. Leveraging scale, supply chain infrastructure and risk management strategies, the Company also collaborates with suppliers toward a goal of achieving competitive, predictable food and paper costs over the long term. Independently owned and operated distribution centers, approved by the Company, distribute products and supplies to most McDonald’s restaurants. In addition, restaurant personnel are trained in the proper storage, handling and preparation of products and in the delivery of customer service. McDonald’s global brand is well known. Marketing, promotional and public relations activities are designed to promote McDonald’s brand image and differentiate the Company from competitors. Marketing and promotional efforts focus on value, food taste, menu choice and the customer experience. The Company continuously endeavors to improve its social responsibility and environmental practices to achieve long-term sustainability, which benefits McDonald’s and the communities it serves. The Company has disposed of non-McDonald’s restaurant businesses to concentrate resources on its core business. In February 2009, the Company sold its minority ownership interest in Redbox Automated Retail, LLC, and in April 2008, the Company sold its minority ownership interest in U. K. -based Pret A Manger. †¢Products McDonald’s restaurants offer a substantially uniform menu, although there are geographic variations to suit local consumer preferences and tastes. In addition, McDonald’s tests new products on an ongoing basis. McDonald’s menu includes hamburgers and cheeseburgers, Big Mac, Quarter Pounder with Cheese, Filet-O-Fish, several chicken sandwiches, Chicken McNuggets, Chicken Selects, Snack Wraps, french fries, salads, shakes, McFlurry desserts, sundaes, soft serve cones, pies, cookies, soft drinks, coffee, McCafe? beverages and other beverages. In addition, the restaurants sell a variety of other products during limited-time promotions. McDonald’s restaurants in the U. S. and many international markets offer a full or limited breakfast menu. Breakfast offerings may include Egg McMuffin, Sausage McMuffin with Egg, McGriddles, biscuit and bagel sandwiches and hotcakes. Source: MCDONALDS CORP, 10-K, February 25, 2011Powered by Morningstar  ® Document ResearchSM Table of Contents †¢Intellectual property The Company owns or is licensed to use valuable intellectual property including trademarks, service marks, patents, copyrights, trade secrets and other proprietary information. T he Company considers the trademarks â€Å"McDonald’s† and â€Å"The Golden Arches Logo† to be of material importance to its business. Depending on the jurisdiction, trademarks and service marks generally are valid as long as they are used and/or registered. Patents, copyrights and licenses are of varying remaining durations. †¢Seasonal operations The Company does not consider its operations to be seasonal to any material degree. †¢ Working capital practices Information about the Company’s working capital practices is incorporated herein by reference to Management’s discussion and analysis of financial condition and results of operations for the years ended December 31, 2010, 2009, and 2008 in Part II, Item 7, pages 10 through 27, and the Consolidated statement of cash flows for the years ended December 31, 2010, 2009 and 2008 in Part II, Item 8, page 30 of this Form 10-K. †¢ Customers The Company’s business is not dependent upon either a single customer or small group of customers. †¢ Backlog Company-operated restaurants have no backlog orders. †¢Government contracts No material portion of the business is subject to renegotiation of profits or termination of contracts or subcontracts at the election of the U. S. government. †¢ Competition McDonald’s restaurants compete with international, national, regional and local retailers of food products. The Company competes on the basis of price, convenience, service, menu variety and product quality in a highly fragmented global restaurant industry. In measuring the Company’s competitive position, management reviews data compiled by Euromonitor International, a leading source of market data with respect to the global restaurant industry. The Company’s primary competition, which management refers to as the Informal Eating Out (IEO) segment, includes the following restaurant categories defined by Euromonitor International: quick-service eating establishments, casual dining full-service restaurants, 100% home delivery/takeaway providers, street stalls or kiosks, specialist coffee shops and self-service cafeterias. The IEO segment excludes establishments that primarily serve alcohol and full-service restaurants other than casual dining. Based on data from Euromonitor International, the global IEO segment was composed of approximately 6. 3 million outlets and generated $868 billion in annual sales in 2009, the most recent year for which data is available. McDonald’s Systemwide 2009 restaurant business accounted for approximately 0. 5% of those outlets and about 8% of the sales. 2 Management also on occasion benchmarks McDonald’s against the entire restaurant industry, including the IEO segment defined above and all other full-service restaurants. Based on data from Euromonitor International, the restaurant industry was composed of approximately 13. 1 million outlets and generated about $1. 79 trillion in annual sales in 2009. McDonald’s Systemwide restaurant business accounted for approximately 0. 2% of those outlets and about 4% of the sales. †¢Research and development The Company operates research and development facilities in the U. S. , Europe and Asia. While research and development activities are important to the Company’s business, these expenditures are not material. Independent suppliers also conduct research activities that benefit the Company, its franchisees and suppliers (collectively referred to as the System). †¢Environmental matters Increased focus by U. S. and overseas governmental authorities on environmental matters is likely to lead to new governmental initiatives, particularly in the area of climate change. While we cannot predict the precise nature of these initiatives, we expect that they may impact our business both directly and indirectly. Although the impact would likely vary by world region and/or market, we believe that adoption of new regulations may increase costs, including for the Company, its franchisees and suppliers. Also, there is a possibility that governmental initiatives, or actual or perceived effects of changes in weather patterns or climate, could have a direct impact on the operations of our restaurants or the operations of our suppliers in ways which we cannot predict at this time. The Company monitors developments related to environmental matters and plans to respond to governmental initiatives in a timely and appropriate manner. At this time, the Company has already undertaken its own initiatives relating to preservation of the environment, including the development of means of monitoring and reducing energy use, in many of its markets. †¢Number of employees The Company’s number of employees worldwide, including Company- operated restaurant employees, was approximately 400,000 as of year-end 2010. d. Financial information about geographic areas Financial information about geographic areas is incorporated herein by reference to Management’s discussion and analysis of financial condition and results of operations in Part II, Item 7, pages 10 through 27 and Segment and geographic information in Part II, Item 8, page 40 of this Form 10-K. e. Available information The Company is subject to the informational requirements of the Securities Exchange Act of 1934 (Exchange Act). The Company therefore files periodic reports, proxy statements and other information with the Securities and Exchange Commission (SEC). Such reports may be obtained by visiting the Public Reference Room of the SEC at 100 F Street, NE, Washington, D. C. 20549, or by calling the SEC at (800) SEC-0330. In addition, the SEC maintains an internet site (www. sec. gov) that contains reports, proxy and information statements and other information. How to cite Mcdonalds 10k, Papers

Century Study of Music free essay sample

Session 6 20th Century To be specific focusing on five performances: First one comes before this period. Laying down framework that comes later: A concert at the Carnegie Hall, 1938, called Spirituals to Swing. Second one, in 1939 another concert-same title. Then we come to Post war period A concert, in 1953 that became known as Jazz Massey Hall, Canada. Referred toot times as the quintet of the year the five musicians that played were some of the foremost Bebop musicians at the time. Both live events. Subsequently those tunes became part of the Males Davies repertoire.Coming into sasss another studio performance called Ascension, which was led by saxophone player, John Chlorate, who was very much associated with the new thing, I. E free improvisation. Finally-beyond the period Sun Ra-1989. In those pieces we go a little bit before the period and a little after taking us Into the popular level of the digital era-early asss. * Chose these specific performances because they encapsulate something very important that was happening in Jazz very new, blue, consolidating. Place in social context as well as musical and artistic concepts. A very general outline Ideologies (or frameworks of Ideas we might apply to what was going on). Placed In a sort of logical order, although no need as Grass roots Jazz carries on to this day-is referring to early 20th century. -Grassroots Pragmatism (Practical, matter of fact way of approaching and assessing music. Jazz grassroots dimension. Sasss onwards Increasing commercial Interests In Jazz.Particularly In the asss and asss led to two things: *African-American essentialist (Spiritual swing concert) an ideology, put black Americans first (form of music comes from these people) in a ay counterpoised to commercialism if you look at racial politics of America at that time white people making big bucks out of the white musicians. *Normalization (beginning of Bebop). This Is where musicians keen to put themselves outside of the commercial nexus- after hours In little clubs they would evolve a new type of music.Idea putting themselves on the margin and musicians aspiring to being considered as artists despite the racist snobbery that suggested they would find it more difficult to be genuine artists-this is part of the normalization and the sod you attitude, as they were not actually thinking in immemorial terms, the first and foremost thing was not to make money out of the music. America, enormous amount of promotion of Jazz example of how wonderful America was. Happy to use Jazz in a propaganda sense. E. , Communist world doesnt know this kind of music and they were happy to use Jazz in that propaganda sense because one of the big criticisms that the Russians/communists had was that in America people are not all equal and you Just wanted to look at the racial issue. America was happy to come back with, well yes theres an awful lot of black peop le hat play this music as well, so it was good propaganda which led to some extraordinary results. *Backlash to all of that, against this in the asss where Jazz became very associated with the freedom movement and the civil rights movement.This is very much where Free Jazz, Free improvisation and really Ascension-Sun Eras work were associated with that. *asss asss Finally, Jazz becomes multi-dimensional , in the asss, asss, maybe. Ref (15:00) To some degree-black Americans musicians- searching for the history in the roots, in relation to freedom in the civil rights-made heir Journeys through Africa, and tried to find ways in which the two types of music enmeshed. * Two famous examples-albums recorded by Jazz musicians perhaps a Jazz sax player and made albums with drummer ensembles etc, so you get this kind of fusion. Asss If you look back as far as the asss, you get another Jazz fusion Jazz Rock-Miles Davies, one of the first people that got on to that one. * Very good rock guitarists like John McLaughlin would perform with Miles Davies Jazz band-introduces a very different feel to it. Miles Davies-interesting career-had made a hip hop record by the mime he died in the asss. Multi-dimensional things that come in, in Jazz. The boundaries of the genre had melted somewhat. Repertoire became very fluid. Wasnt Just Jazz tunes/blues/or 32 bar popular song forms/Jazz classics, but an enormous amount else that was allowed in to the repertoire.Quote from two Jazz critics political propaganda-linking music with politics-Cold War stuff. Normalization. An interesting essay by American -Norman Mailer, came out in 1957, called The White Negro: Superficial reflections on the hipster. All about normalization-this is al about white people, when white people feel disaffected. *Pose of resistance because they were not happy with mainstream society, we are taking this stance against it, in order to do so they were parodying taking on black expression/ black culture.Telethons Monk-We want music they cannot play. Pre Beatnik, person that represented it the most was Dizzy Gillespie Jive talking, black berets, extra words syllables one of the fatuity words was a Rooney! Meant to be hip. Record shops in New York displaying Bebop spoken here. were promoted by John Hammond. John Hammond- wealthy man-quite young at that mime. Promoted many performers: *Billie holiday-later on Bob Dylan and then later in the asss Bruce Springiness. He was plugged in to what was happening both in Jazz and popular music. He thought unconventionally for his class and was outraged at the condition of black people in America at that time-how difficult it was to get on if you were black and particularly if you were a musician and particularly in the Jazz world. Hammond motivations for putting on this concert was to give African Americans some respect, some profile and to acknowledge that one of Americas contributions to USIA had come from black people-this is how he wanted it to be seen. Wasnt easy to get sponsorship- both these concerts were at Carnegie Hall-the pucker concert hall in the Unites States, therefore the most expensive to hire and despite the fact of him being wealthy himself he was trying to raise some support/sponsorship. He didnt manage to get anyone from the commercial world possibly due to racist reasons as the concert was going to be for an integrated audience and there had to be black and white and a lot of the commercial sponsors opted out. He did get a pompons in a way from a very predictable source-a Journal called the new masses. A journal that was produced by the American Communist Party.They agreed to finance it, although not entirely surprising if you think of the philosophy of equality and all the rest. What Hammond was trying to do with these concerts: *To write or establish a narrative of Jazz, in other words a story that would be its history, it would be the story that Jazz told about itself. In a way if your trying to give a sense of dignity, youre trying to put a group of people on the map, you need to tell a story about them. Very often these stories are invented but Hammond intentions were absolutely pure , no doubt he was politically, socially, artistically committed to the plight of black people in America.On the other hand he did write a narrative -(its in the title: Spirituals To Swing. ) Hammond did tell a story of Jazz that we have been telling ever since and has sometimes got in the way of the way we think about Jazz. Its in the title: Spirituals To Swing. The narrative was (in the title) (sasss was the swing era, era of big bands Tommy Dorset- Glen Millard) big by todays standard with 20 to 30 musicians. Played for dancing So swing was where the story had got to.What he was trying to prove in these concerts was this: * There was a story that started in West Africa ( when we talked about early Jazz, it was emphasized that there was also a white European, very strong influence in Jazz) Undoubtedly the people that led this formation of this style where African Americans. All of them had been very heavily Ragtime might have been a compromise between black American rhythms and European parlor music but Hammond didnt say anything about the European bit. *sasss back then people were much more static. Didnt travel around the world the way we do today.If you were putting something like this on today and you wanted to represent the fact that the music came from African roots, youd have bought a few plane tickets and flown a troop of African drummers over from iambi to New York, they would have done their concert and gone home. Would have been impossible to organist that project those days. At the beginning of one of (maybe both) those concerts he put a gramophone player on the stage-played very rare recordings of African tribal drumming-to give people some idea of this is where it started even though they loudest actually get the people there that played this.So this is how it started: You go to a posh concert at Carnegie Hall-you wouldnt be paying peanuts to go there-you got all these Jazz stars that are on the bill. -It starts with someone walking on the stage and putting a needle on the record. There onwards he tried to show that there was a logical development from that point -To slavery- the slave trade black people in the Southern States singing work songs/call and response/early versions of gospel coming up to early versions of blues. He tried very hard to get hold of the lees singer, Robert Johnson(legendary in asss/inspiration to asss rock bands, e. Rolling stones) He was a bit of a legend in his own time-very hard to trace him. Hammond went around to try to find this character but in the end they found that he had only Just died. They found another singer called Big Bill Brown/fantastic guitar player singer and he took Robert Johnson place. Other people invited to perform in his concert The Golden Gate Quartet, four black singers who sang gospel songs in a more modern style. If you had been around asss years or even a hundred years earlier you would not have heard the same style that The Golden Gate did. -Plays audio clip Mitchell Christian Singers, What More Can My Jesus Do. This was recorded at this concert. Old style with lead singer and harmonistic voices alongside. Plays more audio from those concerts: Harmonica player Sonny Terry/ well known as a fantastic blues-harp player/had most peculiar style of falsetto singing, wasnt that uncommon. People that came to the concert (particularly left-wing white intellectuals, must have thought it extremely primitive and loved it for sure for that reason. Plays Sonny Terry percussionist laying a washboard. Lots of different techniques used, thimbles on fingers/bells attached to boards etc. Not many knew much about this in those days-fairly common for us now. So what you have got with these concerts: -The African roots -The beginnings of blues and gospel progress from those forms to a modern swing band. The band they got to do this was Count Basis and his orchestra. They were difficult to get but Hammond was promoting them himself, obviously why and how he got them to play. Basiss music was very blues based, although like a swing band in some respects, it was like an overgrown blues band in other respects. Probably had at least a couple of each sax, two tenors, two altos possibly a baritone, probably didnt use soprano very much those days.Perhaps two trumpets, trombones and a rhythm section But Count Bastes own tunes were all based on the 12 bar blues sequence plays audio: One Oclock Jump. Other musicians were involved as well: -Benny Goodman- white clarinet player. It wasnt that there was a color bar against the whites, the idea was to tell this story in the black context. Benny Goodman was considered the king of swing on the clarinet. There were other examples of mainly black musicians Plays audio-Count Basiss One Oclock Jump-fast swing movement but very rehearsed, e. We heard a key change -Some room for improvisation as it is very riff based -If band is riffing behind you, playing key phrase over and over then lot of scope to put a solo over it. -Typical of the time, what you will hear is they are not long protracted solos -Dont give musician much opportunity to expand -Modern Jazz solos tend to go on much longer -Kind of a rehearsed improvisation -More of a composition with some room for improve Lots you can say about these Spiritual of Swing concerts: In one very particular way the beginnings of rock and roll actually owed something to these concerts. There was a whole style of piano playing in the States -Very Urban -Not that many people doing it -But common enough to go in to a bar and hear someone playing Boogie Woozier _Which was basically a speeded-up form of 12 bar blues -Typically with those left hand patterns and right hand cliches *What never happened in Boogie Woozier was: -Groups of musicians started to play together in these concerts -Three very famous Boogie pianists not so sure if they even knew each other before the concert -JohnHammond managed to get three pianos on the stage and got all three playing -You get this fantastic three voice Boogie Woozier Then there was the big shouter Big Joe Turner got up and sang with these Boogie Woozier pianists -It does sound a bit like early rock and roll -Without that shuffling back beat that was so typical. Discuss this in two weeks time) This concert really profiled that music -spread it and made groups were there hadnt previously been groups -Lots of people there -Most importantly the musicians were put in contact with one another -So very quickly they began to bring this very urban blues style together And that really is the first hint of rock and roll. So, John Hammond may have done a whole lot more than essentially profile black music. He might of been a pioneer in the rock and roll world.Thats that concert. A recap He tried to create a narrative of Jazz, he gave it a history. Not entirely accurate but a nice story to tell. (1953) We move on to Jazz in Massey Hall in 1953 Discusses bebop itself before moving on to this concert. -Has given already a couple of hints as to what the origins of bebop were: -One was a opposed quotation of Telethons Monk who said: We wanted to play something they couldnt. 2 -When he said they couldnt actually reflects something of the history of Jazz.What actually happened to Jazz -Entrepreneurs, impresarios, people in other words from the commercial area had heavily moved in and marketed Jazz. -In particular the swing bands were there was some room for improve but if you played in the majority of swing bands and particularly those led by white musicians, improvisation almost disappears-listen to Glen Millard or Dodders band for e. G -Part of the reason for that is that they were selling a product. Improvisation is notoriously unreliable, one day brilliant, next day not so. If you are selling records you want your customers to know what they are getting. -At least in the more popular dimension of things _-But majority of Jazz musicians if they wanted to make a living at all by playing music found themselves at one time or another in one of these swing bands. _AI the famous Jazz musicians in the bebop era, like Charlie Parker (alto sax player) Dizzy Gillespie (trumpet player) both of whom we hear. -Many many others, bass players drummers the lot, at some time or another went on this swing band thing to make a paving. Read somewhere it was something of a treadmill, read that Benny Goodman band toured 365 days a year -They had a gig every day including smash day and on Sundays would play in the afternoon and evening. -Evening performances very long, often went on after midnight. Then they would pack up their gear and on a train to some other part of the Country in time for the next gig. -Every day of the year and playing the same stuff. -It was hard work they were very hard-working bands. -There was the audience for it. On the whole they were playing dance halls. The music of course was quite simplified. Minds -you had to be blended good. -You wouldnt be able to stand the touring schedule if you were struggling for notes or techniques. (sasss) What you actually hear if you listen to those bands that toured in the sasss: -You hear excellent musicians/also hear quite a formulaic music. So this is where a lot of early black Jazz musicians where earning their living, and what tended to happen is you would do your gig and then after hours you would go to one of these clubs. A very famous one in New York, called Moutons. -Musicians who wanted to play one of their own stuff and didnt want to be on this readily all the time, playing same riffs day after day. However they met together after hours. You get this very high technique but were musicians bursting forth, as they were very creative artists who were being very frustrated by the fact that they were playing this formulaic music, so this is one of the very strong origins of bebop. Often the tunes they played (despite the fact that they would often play a 2 bar blues sequence or other popular tunes that were very well known, usually the 32 bar popular tune formula but they would start to play outside the chords. Particularly sax player, Charlie Parker who was very good at introducing chromaticss or little shifts. E. G the pianist may be playing a chord of G but then very briefly you might play something a semitone above it and then back to G. -A lot of what they did was trying to see how far outside the chords they could get. Also playing in many cases, very very fast.Plays an audio from a concert a few years before it. -Plays Charlie Parker Coalescence tune was derived from a very well known love song-Lover Come Back To Me . Was usually performed very slowly. -You would get a ironer like Being Crosby or a heart throb that would croon this song very gently. However, once Charlie got hold of it the tune is unrecognizable but what you do have is the chord sequence . The important thing here, is that you have got a new tune, a very fast and a very complicated tune-very difficult to play and based on a very conventional chord sequence.Plays audio. Performances regarded as a little bit heroin-fueled. *Gave is the sax solo and trumpet solo, trumpet solo was Miles Davies when in his teens. Miles Davies had moved to New York to be near this kind of music went to he Jailbird school of music, trained them to the highest caliber-classical musicians. He only did a year there and dropped out and went and got a real music education amongst the Jazz players. Charlie Parker was a very tragic case, a heroin addict and killed him in the end. So, thats a good example of bebop, kind of all about chops, its showy, very fast. The chord changes which would normally be quite simple if it was an original love song but first he is doing it at twice the speed and adding, passing chords in. -Very hard to describe this. You can analyses it musically and see what sasss is the date of this. So bebop was well on the way by then as an established style and there were vast numbers of players. -Was true what Telethons Monk had said, that they wanted something that white musicians couldnt play and it was true for only a very brief period because there were some very excellent white musicians who got into that style and became very well known for it. On the other hand it was very much run by black musicians . (1953) So by 1953 when this concert took place, bebop was very much an established Jazz idiom and the people who were in the quintet, the five of them were all really well known in their own way. One of them was Charlie Parker who we Just heard on the alto sax, the trumpeter that we shall hear is Dizzied Gillespie, they had Matt Roach on drums on Lingua on bass, Bud Powell on piano. Monk was a very idiosyncratic player but he didnt play here !!!!