Christmas Cookie

Talking Points
15 December 2005
Prepared by Americans for the Arts

1. Each child in the United States should receive a quality arts education.
While we agree that children should be educated in the fields of math, science and literature, we maintain that a well-rounded education cannot be achieved using these three disciplines alone. Arts education makes an enormous impact upon childhood development, whether it is cognitive or life skills. Knowledge of and exposure to the arts not only increases one’s quality of life but also one’s ability to learn and understand the world around them.

2. Arts education increases knowledge in other areas such as math and reading.
In 2001, a survey was taken of high school students who completed the SAT assessment test. Those who reported being involved in music appreciation classes scored an average of 63 points higher on the verbal sections of their SATs and 44 points higher on their math sections. This statistic was true independent of age, gender or race.

3. Arts education helps keep kids off of the street.
At risk fourth-graders, fifth-graders and sixth-graders that were enrolled in classes in which the arts were integrated used more self-regulatory behaviors during classes than their peers. This means that they were better at paying attention, persevering, problem solving, self-initiating, asking questions, taking positive risks, cooperating and being prepared.

In general, low socioeconomic status students have a higher drop out rate than higher socioeconomic status students. However, when involved in high levels of arts education 3.5 percent of low socioeconomic status eighth-graders dropped out by the 10th grade. Whereas 3.7 percent of high socioeconomic status eighth-graders who were involved in low levels of arts education dropped out by the 10th grade. This marks a radical reversal in traditional social class structured roles. Arts help level socioeconomic bias.

4. Support of the arts helps keep Iowans employed.
In January of 2005, 24,153 residents were employed in the 4,135 arts-related businesses in Iowa. Without sound education in the arts, these people could not be employed, nor would the citizens of Iowa be interested in supporting them.

5. The No Child Left Behind Act includes the arts as a core academic subject but does not define what “the arts” entails.
Many legislators are not even aware that art is one of the core subjects listed in the No Child Left Behind Act. The list of subjects is not given until the glossary of the bill and even then it does not define what it means by “the arts.” This leaves the issue open for a lot of interpretation. In the face of choosing either funding a government standardized tested subject such as math, or subjects like dance and theater, the choice is clear for many officials.

6. School boards must hear our support of arts education. Unless school boards know that parents support arts education they will continue to cut its budget. The best way to let your school officials know that arts matter to you and your family is to attend school board meetings and voice your opinions. Parents’ lack of presence at school board meetings implies to the school board a lack of interest in the subjects at hand. A lack of interest in a subject is all but an open invitation to slice its budget, especially if funds are tight. Remember, 89% of United States households think arts education in schools is a good idea. We just have to let our local officials

Dear Mr. Anger,
I am writing on behalf of Americans for the Arts with a feature idea that I am sure will interest your readers. Specifically our story will help parents determine whether or not their children’s schools are depriving them of a proper education. Next year our public schools will be required under the No Child Left Behind Act to test every student in verbal and math proficiency. Americans for the Arts can help them outperform their peers in other states - but only with the assistance of parents and government officials.

The Problem
On Jan. 8, 2002, President George W. Bush signed the No Child Left Behind Act into effect. It listed nine areas of “core subjects” our nation’s children should be learning in public schools. However it only tests children on two, math and reading. In order to boost scores (and thus federal aid) many schools are pouring budgets into these disciplines. This leaves art with a small budget – especially because nowhere in the No Child Left Behind Act does it define what “the arts” means. School boards are then left to discern the extent of the meaning – and funding – of the programs, oftentimes with disastrous effects.

In 2001, a survey was taken of high school students who completed the SAT assessment test. The results were startling. Those who reported being involved in music appreciation classes scored an average of 63 points higher on the verbal sections of their SATs and 44 points higher on their math sections. This statistic was true independent of age, gender or race. By cutting funds for the arts in order to boost math and reading skills, officials are in reality lowering test scores – and more importantly knowledge – in all three areas.

The Solution
School boards cannot know that the public supports arts education unless the public makes their voices heard. Support for arts education is widely valued – 89 percent of all households think it is a good idea . Parents just need to become actively involved in their children’s education by attending school board meetings and making their opinions known.

The Result
Enhancing arts education in schools does not merely help children improve their test grades.
(continued)

Arts education keeps inner city kids off the streets and increases test scores, academic excellence, cognitive reasoning ability and social skills.

It also helps keep Iowans employed. As of the beginning of this fiscal year, 24,153 residents were employed in the 4,135 arts-related businesses in Iowa. Without the continuing support of Iowa’s youth, many of these companies will no longer exist.

I hope you will consider pursuing the idea of arts education. I would be happy to arrange an interview for you with a representative from Americans for the Arts. Please feel free to contact me at aparrott@butler.edu at any time. In the meanwhile, you might find it interesting to visit www.artsusa.org to find out more about arts education in the United States.
Americans for the arts is a not for profit company devoted to providing an adequate arts education for every child, raising money for the arts and fostering community development through the arts.

Americans for the Arts
Op-Ed Piece
Andrea
JR 328
15 December 2005


Who Wants Their Child to be “Average?”
Sometimes Meaning the Best is not the Same as Doing the Best


In 2001, a survey was taken of high school students who completed the SAT assessment test. The results were startling. Those who reported being involved in music appreciation classes scored an average of 63 points higher on the verbal sections of their SATs and 44 points higher on their math sections. This statistic was true independent of age, gender or race. With numbers like these, it may seem obvious that arts education in the schools is a must.

Some government officials are attempting to integrate the arts into the public school system. In 2002 President George W. Bush signed into law the No Child Left Behind Act, an act that details the nine “core subjects” our nation’s children should be learning in public schools. Art is considered one of these core subjects. However, of these core subjects, schools are only required by law to test in the subjects of reading and math. The better a school does, the more funding it receives. This has caused both emphasis and funding to shift toward the two aforementioned subjects and away from other subjects, such as art. Perhaps this act was created with good intentions, but the effects have been devastating to the arts world. According to Americans for the Arts, nationwide funding for arts programs was cut from $355 million to $274 million in the 2004 fiscal year.

So why this discord? National officials such as President Bush praise arts education, but the very programs meant to aid them end up robbing them of precious funds. One main problem is that many legislators are not even aware that art is one of the core subjects listed in the No Child Left Behind Act. The list of subjects is not given until the glossary of the bill and even then it does not define what it means by “the arts.” This leaves the issue open for a lot of interpretation. In the face of choosing either funding a government standardized tested subject such as math or subjects like dance and theater, the choice is clear for many officials.

Another problem comes right from your very own school council. Just because the meetings are available for the public to attend does not mean that the details and discussions of budgets and programs will be made public. And many parents do not attend the meetings. Their lack of presence implies to the school board a lack of interest in the subjects at hand. A lack of interest in a subject is all but an open invitation to slice its budget especially if funds are tight. The best way to let your school officials know that the arts matter to you and your family is to attend school board meetings and voice your opinions.

After all, a recent poll by Americans for the Arts showed that 89 percent of all households “believe that arts education is important enough to be taught in schools.” For public schools not to fund a subject about which American citizens feel so strongly is ludicrous at best.

Arts education keeps inner city kids off the streets and increases test scores, academic excellence, cognitive reasoning ability and social skills. Americans for the Arts seeks to promote all three of these things by achieving three main goals: to raise money for the arts, to provide an adequate arts education for every child and to foster community development through the arts.
Math and reading are important life skills. But they are not the only life skills. Government officials support arts education too. However they cannot know whether or not they have public support unless we give it to them. It is important to advocate education for the arts in public schools in both our words and our actions.

Andrea
Children’s Art Education –
Americans for the Arts Backgrounder
December 15th, 2005



Whether or not to include the arts in the curriculum of public schools has become a controversial issue in recent years, especially with the passing of the No Child Left Behind Act (NCLB) in 2002[1]. Those who support teaching of art in public schools say it is essential to proper mental development and a well-rounded education and point out that “the arts” are included as core requirements in the NCLB. These proponents include professional artists, parents and national advocacy groups such as Americans for the Arts. Those who are opposed to arts education in public school cite the need to cut back on unnecessary programs in the face of shrinking budgets and point out that although the arts may be included as a core requirement, they are not included in most state standardized tests, thus are of less importance. These opponents include politicians and parents.



History of the Issue

Q: What has caused funding for public schools’ arts programs to shrink in recent years?

A: On Jan. 8, 2002, President George W. Bush signed the No Child Left Behind Act into effect. Starting in the 2005 to 2006 school year, all public schools in the United States are required to test on reading and math skills. The better students score on their tests, the more funding their school receives[2]. This has caused emphasis and funding to shift toward the two aforementioned subjects.


Q: What subjects are defined as “core requirements” in the No Child Left Behind Act?

A: English, reading or language arts, mathematics, science, foreign languages, civics and government, economics, arts, history and geography[3].



Q: Why have the arts been left out or severely cut back from some public education funding?

A: There are many reasons, but one of the most common is the public’s lack of attendance at school board meetings. Just because the meetings are available for the public to attend does not mean that the details and discussions of budgets and programs will be made public. Oftentimes, parental presence at school board meetings is the only contact with the public the board has. If parents are not there to voice their interests, it is often assumed that the public is apathetic to an issue[4].

Although the arts are included as a Core Academic Subject, it is up to each individual state and local district to determine exactly what “the arts” means within the bounds of the NCLB, so many areas of traditional art instruction can easily be wiped out. Since many areas or art instruction are often neglected, politicians are often unaware that government funding exists or even that the arts is considered a Core Academic Subject[5].



Q: Are there standards in place for what schools should provide in regard to arts programs?

A: In 1994, a set of standards called the National Standards for Arts Education was developed by the Consortium of National Arts Education Associations. They detail curriculums for students in grade levels Kindergarten through fourth, fifth through eighth, and ninth through 12th in the subjects of visual arts, theater, dance and music. State standards are still individually determined and are, for the most part, still being individually set[6].








Impact on Self-interest

Q: Does arts education have public support?

A: A recent poll by Americans for the Arts showed that 89 percent of all Americans “believe that arts education is important enough to be taught in schools.[7]”



Q: Does arts education have economic support?

A: In January of 2005, 24,153 residents were employed in the 4,135 arts-related businesses in Iowa. Without sound education in the arts, these people could not be employed, nor would the citizens of Iowa be interested in supporting them[8].




Q: How would increases in arts education affect Americans for the Arts?

A: Americans for the Arts has three main goals:
Raise more money for the arts
Provide an adequate arts education for every child
Community development through the arts
By increasing arts education in public schools, Americans for the Arts would be fulfilling one of their three main goals. From there, they could focus on community development and consequentially raise more money. With the extra money, they could reach more at-risk children and more remote parts of the country and expand their research and service abilities[9].




Positions of Key Publics Opposing or Somewhat Opposing Issue
Q: Who opposes arts education programs in the schools and why?
A: According to their official handbook, the Libertarian party opposes all government spending on “the arts” for several reasons. The most notable of which is their postulation that government arts funding has a negative economic impact. According to the handbook, although a government subsidized arts program might draw visitors and gain a small economic boost, it is not more than the small amounts of money taken from “countless enterprises that have been fractionally impeded by that same study, because together they paid it.[10]”



Q: What are other reasons why arts education programs are not favored?
A: Some people argue that arts education only minimally teaches students valuable knowledge[11] or that the information given to students is irrelevant to them. For example, according to Barbara Herrnstein Smith, president of the Modern Language Association,
“Classic literature is always irrelevant to underprivileged people who are not classically educated. It is an undeniable fact that Homer, Dante, and Shakespeare do not figure significantly in the personal economies of these people, do not perform individual or social functions that gratify their interests, do not have value for them.[12]"

Also, some argue that arts education is much too costly. In 2005, the U.S. Government approved $35.6 million for “Arts in Education” for the 2006 fiscal year[13].



Positions of Publics Favoring or Somewhat Favoring Issue
Q: Who favors or somewhat favors arts education?
A: Many groups, including parents and advocacy groups such as the Americans for the Arts, Support Music and the ArtsEdge campaigns.


Q: Do art education programs lower standardized test scores in other areas that are sacrificed in order to make time in students’ schedules?
A: In South Carolina, schools that have added arts education to their curriculum in lieu of other disciplines suffered no declines in standardized test scores – even in those that lost scheduling time due to arts education programs[14].
Nationally, students who reported participating in music appreciation scored 63 points higher on verbal and 44 points higher on math sections of the SAT than their average classmate[15].
Nationally, students who reported participating in music performance scored 57 points higher on verbal and 41 points higher on math sections of the SAT than their average classmate[16].
In Chicago in 1998, more than 60 percent of students who were given a curriculum that included arts education scored at or above the average math score levels in the Iowa Tests of Basic Skills assessment. Those schools without arts education curriculums contained 40 percent of students who scored at or above the average math score in the Iowa Tests of Basic Skills[17].


Q: What other evidence is there concerning the advantages of arts education?
A: According to the National Assessment of Educational Progress, children who participate in the arts for at least three hours, three days each week for at least one full year are:
4 times more likely to be recognized for academic achievement
3 times more likely to be elected to class office within their schools
4 times more likely to participate in a math and science fair
3 times more likely to win an award for school attendance
4 times more likely to win an award for writing an essay or poem[18]


Involvement/Positions of Government Agencies
Q: What positions have legislators taken on arts education?
A: Although many legislators have been outspoken in support of arts education, their levels of support vary and oftentimes their collective actions do not match their words.
Due to differences between bills in the U.S. House of Representatives and the U.S. Senate, on November 17th, 2005 zero funding was granted on a bill that would have funded the Arts for Education program[19]. As of December 15, 2005 the bill has yet to be resolved.


Q: What positions have Governors taken on arts education?
A: Many Governors have good intentions regarding arts education. However, they are not always well educated on the situation of the arts world.
On January 10, 2005 California Governor Arnold Schwarzenegger appointed Muriel Johnson to be the new director of the Arts Council, saying

“California is home to many tremendously talented artists and I look forward to working with her to support them and give Californians more opportunities to enjoy their work[20].”

However, California’s State Arts Council has such a limited budget that it cannot afford to diversify existing programs, much less create new ones[21].

According to Florida’s First Lady, Columbia Bush,

"Art education blended with traditional school subjects can inspire young artists. The arts enrich our children's education.[22]"

However, during Florida Governor Jeb Bush’s term in office, he has reduced Florida’s arts education funding from $28 million to $5.9 million[23].


Q: What positions has George W. Bush taken on arts education?
A: In September of 2002, President Bush issued a strong statement of support for arts education in the form of an official letter deeming October to be National Arts and Humanities Month[24]. According to the letter,
“The arts enhance our lives, stimulate our creativity and allow us to express our emotions, thoughts and aspirations through countless forms of artistic expression.[25]”
In January 2004 First Lady Laura Bush announced to the National Endowment for the Arts that President Bush was to request a grant of $18 million for an arts education project[26].
However after passing through Congress, the grant shrunk to $2 million[27]. President Bush is supporting arts education. But the legal process appears to be severely slowing our nation’s progress in the field.

Laws Surrounding the Issue
Q: What laws support arts education?
A: In 1965, the U.S. government signed into law an act that founded the National Endowment for the Arts. Its mission is to provide:
a public agency dedicated to supporting excellence in the arts, both new and established; bringing the arts to all Americans; and providing leadership in arts education[28].
This is the official arts organization of the U.S. government.


Q: What sorts of things has the National Endowment for the Arts funded or sponsored?
A:
Since 1990, 39 of the 58 recipients of National Book Awards, National Book Critics Circle Awards and Pulitzer Prizes in fiction and poetry were awarded Arts Endowment Literature Fellowships, often 10 to 20 years earlier.
Sponsoring the design competition for the Vietnam Veterans Memorial, the most visited tourist attraction in the nation's capital.
Giving early and critical funding to:o The Sundance Film Festivalo Steppenwolf Theatre Companyo Minnesota Public Radio's A Prairie Home Companiono Spoleto Festival U.S.A.o PBS's Great Performances series
Creating and funding the American Film Institute[29]

Q: How many arts-related pieces of legislation were put before Congress last year and of those, how many contained provisions for monetary grants?
A: As of August 22, 2005 there have been 1,402 arts-related bills put before state and nationwide levels of government. Of those 1,402 bills, 492 have been enacted. Of those 492 enacted bills, 189 provide some sort of monetary pledge, be it appropriations, bond authorities or grants[30].


Q: What other important arts related state level laws were passed?
A: This year in Arkansas, the Visual Art or Music in the Classroom (H 1034) law was passed. This requires that accredited instructors teach all music and art classes and that all primary school students must receive at least 40 minutes of art or music classes per week[31].
Also, in Iowa a law (IA H 862) was enacted which allows for $50,000 from the Healthy Iowans Tobacco Trust and the Tobacco Settlement Trust fund to be used toward various music education programs across the state[32].

Phase I
Activity 1. – The Problem
The Apple iPod has successfully made its way onto the market. It has passed the introduction phase, and is now well into the growth phase. Although national chains have been convinced to carry it, and some consumers have even been persuaded to switch from their old brands of mp3 players to buy it, there are still many challenges that lie ahead.

The most notable problem is the fact that the average consumer cannot differentiate between the iPod and the competitive brands of mp3 player. Especially now, when the competition, Dell, has put their own brand of pocket-sized music player on the market.

Apple iPod must establish its own definitive brand – and that brand must have significant advantages over its competitors, especially Dell brand media players. If this is not done as soon as possible, iPod may easily slip into the ranks of the forgotten, generic technology toy.
Activity 2. – Key Audience
The key audience of the Apple iPod includes younger people, ages 16 to 26, who have (or whose parents have) middle range incomes and live in urban areas. These are the early adopters and early majority of consumers.

It is important to target the younger set without targeting too young of an age group. Those who are too young may not be able to buy an iPod for themselves, nor be able to care for one properly. Parents will not buy expensive gifts they think their children will break immediately. Perhaps another, smaller, more durable iPod might be created for this age group when the regular iPod takes off.
The 16 – 26 age group is the perfect group to target for iPod use. Those who are 16 have just begun to come of age. They are the ideal group to give the iPod as a gift – a notoriously hard to shop for age – as well as one about to need graduation presents.

As for the higher end of the range, many 22 year olds find themselves fresh out of college and beginning a new job. What better way to spend their newfound expendable income than on the iPod – which give the image of being still young and trendy yet also professional and stylish.

Urban areas are important to sell to, since the iPod is in addition to many things, a commuter accessory. There is a reason it is shaped to perfectly fit in a backpack or coat pocket. In addition, its characteristic white case is unmistakable as one walks down the street. By convincing city dwellers to purchase the iPod, Apple gains thousands of free impressions each and every day from its user’s comings and goings.

The iPod is competitively priced with other media players in its class. With a little saving it is accessible to all ranges of the middle class.
Activity 3 – Analyze and Explain the iPod
Attributes:
The Apple iPod has many distinctive attributes, but the one that should be focused on in this growth phase is its simplicity of design, specifically, the clickwheel. This device is innovative – no other media player on the market uses this device. It is simple use; all that is required is the touch of a finger. This makes iPod’s small shape and design perfect for all levels of the target market – who happen to be very fitness-conscious and gadget friendly. Since it is so light and easy to use, it is well designed to listen to while exercising. The wheel is hard to miss as it takes up the entire lower half of the iPod. This wheel is also reminiscent of the touch pads used in Apple laptops. This lends to the product’s credibility, Apple is a long established and trusted brand.
“Inside Info:”
It is not well known that the iPod is not limited to use for music. It can also be used as a hard drive for either PC or Mac computers. Thus, one can back up software, store music as files and generally use the iPod as a USB connectable floppy disc. This would be very handy for someone who was in a pinch, and suddenly needed 20, 40 or 60 gigabytes of storage.
History:
The iPod is still relatively new to the market. However, so are most of its competitors. Interestingly enough, two major companies rejected its concept before Apple picked up the idea. The iPod moved from idea to completion in just six months, under tight secrecy. Its unveiling was awaited in anticipation although only a handful attended the ceremony.
Competition:
Even as iPod entered the market, there was much rivalry. Discmen were still common, and several small mp3 players had already come onto the scene. Soon after its arrival, Sony and Dell introduced larger versions as well. These are its main competitors – although Sony does not have as large a viewing screen, and Dell does not have as convenient of a menu navigation system.
Activity 4 – Positioning Strategy

In the growth stage of the iPod, perhaps the best positioning strategy is to use the product’s attributes and characteristics. Since the main signifier of the growth phase is the advent of competition, iPod must be sensitive to other media players on the market. Not only must it compete with tried and true favorites such as walkmans and Discmans, it also must compete with the newer mp3 players. There are even some others that are produced by other computer companies, such as Dell.

As mentioned before, Dell’s media players also feature a large LCD screen and thus a clear navigation menu. This and other competitors sometimes have larger storage, or are offered for a lower price. In order to stand out, iPod must emphasize its unique features, such as its clickwheel, large digital display menu, Apple dependability and its sleek design.
Activity 5 – Creative Strategy Document
The Business Problem
1. The Key Fact
iPod is an mp3 player that has recently entered the market. It must separate itself from its many competitors so that it is not swallowed up in the sea of high performance mp3 players. In other words, iPod must create a brand based upon its benefits.
2. The marketing problem advertising can solve:
To get new users to buy the iPod by identifying and emphasizing its unique attributes.

The Creative Strategy
1a. What is the iPod in reality?
A small sized mp3 and i-Tunes player
Capable of holding 20, 30 or 60 gigabytes of music (depending on the version)
Capable of being used as a portable hard drive for Mac or PC computers
Contains a rechargeable battery with an eight hour battery life (charge life lowers slowly over time)
Capable of storing address and phone books
Contains built in “notepad” program
Built by Apple Computers
First designed in 2001
1b. What is the iPod as perceived?
Has a large LCD screen
Easy to use clickwheel
Many worry about the battery’s shelf life
Stores lots of music
Pretty – Has an aesthetically pleasing shell
Trendy/Hip
Celebrity Endorsements
2. Who are the prospects?
The target market of the Apple iPod includes younger people, ages 16 to 26, who have (or whose parents have) middle range incomes and live in urban areas. They are most likely in school – be it college or high school. Although this age group enjoys new technologies, they have little time to spend trying to figure out detailed instruction manuals. They need quick, easy, plug-in-and-go, dependable, adaptable, durable machines. In other words, they need an mp3 player to match their hectic lifestyle.

3. The Competition
There are many other mp3 players on the market. Some can hold more songs than iPod. Some are smaller than iPod. Their largest competitor is the Dell Digital Jukebox. It comes in as many storage size increments as iPod, and it also has a large LCD screen. However, they have come onto the market later than the iPod and therefore have slightly less credibility. Dell has begun to include them in their software/hardware packages for the computers they sell so the edge of being affiliated with Apple will soon be eliminated. They are also priced slightly higher, but they have a better payment plan option than the iPod. IPod must find a way to stay ahead of the Jukebox.

4. Competitive Consumer Benefit
The Apple iPod is easier to use and better looking than the other media players on the market.

5. Benefit Support / The Reason Why
The iPod has a clickwheel and large screen so you can navigate its menus with only a finger. If you know the menus, you don’t even have to look at the iPod to operate it, you can twirl the dial while its still in your pocket. Also, it is very easy to learn how to operate – especially because many laptop computers have similar technology to control their mice.

6. Target Market Incentive Statement
To active young adults, the iPod is the media player that can be used simply, quickly and easily.

7. Tone
The tone of the advertising should be energetic, offbeat, and trendy. This will show the 16 – 26 year olds that the iPod is fun, easy to use, and make them feel good as they go about their day-to-day life.

8a. Communication Objective – Main Point
Observers of the advertisements should take away that the iPod is easy to use.

8b. Communication Objective – What Action Should Be Taken
The observers of the advertisements should want to buy an iPod in order to easily organize, store, and play their music collections.

9. Legal Requirements
Perhaps a disclaimer stating that the battery life may not be sustained indefinitely – that after use it can wear down – but that replacement batteries are available. Also maybe a disclaimer about the storage capacity for each iPod – that the number of songs available depends upon each song’s length and information attached, the number of songs advertised to be able to be held per iPod is an average.
Activity 6 – Creative Concepts
a. Finger dialing clickwheel – “All your music at the touch of a finger.”
This underlines the simplicity and ease of use of the iPod. Also, the design will be highlighted, since the advertisement would require an up-close shot.
b. “iPod – Easy as 1, 2, 3.”
This concept would need to go with a song such as the Beatles’ “I saw her standing there” – something that counts off to begin. Perhaps show a youth operating their iPod in time with the music. It is a little more energetic than the first advertisement, and helps display the benefits of the music.
c. “My whole life in an iPod.”
This advertisement would feature testimonies of youths. Each would tell about how important music is to their life, for various reasons (concertgoer, classical musician, kid in a rock band, marching band, etc) and then explain that their entire music collections were on their iPod. This shows not only the ease of use (i.e.: why they have all of their music on their iPod rather than CDs or their computer) but also the storage capacity and durability of the iPod.
Activity 7 – Advertising Strategy

During the growth stage of the iPod, the advertising strategy is mostly centered upon the image approach. The advertising should make the consumer feel good about the iPod, and not directly tell them to go out and immediately buy. This is because an iPod is not generally an impulse purchase - not exactly in the price range of a CD or a DVD. It is more likely something one would ask for as a birthday or Christmas present, or something saved up for over a period of time. It is not as if the direct response end of things ought to be completely ignored – the ultimate goal IS to get consumers to buy iPods, but it should not be the focus of the advertisement. Instead, they should focus on showing the benefits of owning an iPod – not explicitly telling the consumers how wonderful it is. They will draw their own conclusions and from them make decisions about planning for an iPod in the future.
Activity 8 – Media Types

The two types of media for the iPod campaign should be print and television. These two vehicles will reach many people, in many places and in many different ways. The television ads will be costly, but not so much that Apple cannot afford it. They can be targeted to air during shows where the viewing audience is very specific. They also have the advantage of being able to demonstrate the use of a product, instead of just showing one part of it. Good times to play these advertisements would be during such shows as MTV’s Total Request Live, or Laguna Beach. The print ads can also be placed in media targeted specifically toward the target audience – even more so than TV. For example, Rolling Stone magazine targets music enthusiasts of a certain age group, while Alternative Press magazine targets audiences of a different age group and with different musical tastes. Either of the themes for these two media should have the possibility of being extended into another form of advertisement. For example, the television ad should be able to easily be translated into a series of billboards.
Activity 9a. – Creative Execution – Print
Activity 9b. - Creative Execution – Television
Activity 10 – Questionnaire
Phase II
Activity 1. – The Problem
The Apple iPod has grown to reach its mature phase. Sales have leveled off, and remain constant. Many national chains carry the iPod, and many users have switched from their old brands of music player and become loyal to iPod.

However, this is just the problem. Many of the people who were likely to be persuaded to buy the iPod already have – or have bought the competitor’s media players. There is no perceived reason to buy another one.

Apple iPod must now refresh its image by adding new features. At the same time, it must maintain its loyal customers and brand essence. Other competitors are likely to be in similar phases of growth, and as iPod is the number one media player on the market, they will be looking to overrun the iPod in any way they can. IPod must change while at the same time remain at the top of its class.
Activity 2. – Key Audience

The key audience for the iPod is similar to the audience in the growth phase of its product life cycle. The main audience is still 16 – 26 year olds in urban areas from families of middle income.

However the type of consumer has changed – these people are now the “late majority” and “laggards.” They like to know that a product is tried and true and not just a passing fad. They are more financially conservative – and are likely to have saved money to buy their iPods.

Also, another sub-audience to examine is a little older and a little more extensive – perhaps 27 to 40. These people either the “late majority” as before, or perhaps they never considered buying an iPod for themselves. For example, parents might jump to buy an iPod for their children, but never consider owning one themselves. They need to see that a music player would improve their lifestyle and that the technology is easy to use.
Activity 3 – Analyze and Explain the iPod
Attributes:
There are now more than five versions of the iPod. There are many different volumes of storage capability ranging from 2 to 60 gigabytes, depending on how much one is willing to spend. Some versions can even store and play photos and movies along with and in addition to music. Some are smaller and pocket sized, some are more durable and some only play songs in ‘shuffle’ mode. There are several colors available ranging from white to pink to green to black. Also, for the enthusiast, several have been endorsed by celebrities.

“Inside Info:”
It is not well known that the iPod is not limited to use for music, photos and video. It can also hold one’s address book, planner, and a small “notebook.” These are handy attributes, and although they are not perhaps main selling points, they are very nice features that most of the competition does not offer. These items seem to make the iPod one electronic stylus/pencil away from being a Palm Pilot.

History:
In 2004, Apple launched a series of successful commercials featuring spirited youth dancing silhouetted against a brightly colored background. The iPod stood out in white.

Another memorable marketing move was BMW’s inclusion of an iPod interface in all of their new vehicles. This interface allowed drivers to play their music through the car’s sound system, as well as control the device through the steering wheel (this feature has now expanded to include many mainstream car brands) (….Continued on p. 4)

(History, continued) Several notable versions of the iPod introduced since its launch include: iPod Shuffle, iPod Mini (in 5 bright colors), iPod photo, iPod video, iTunes, a music player promoting legal downloads, iPod Speakers, car hookups, pretty carrying cases, docks for home stereo equipment and the all new iPod Nano.

Competition:
IPod’s major competitor has now emerged in Dell’s Jukebox. Not only have they released several rival products, such as the Dell DJ Ditty (versus the iPod Shuffle), Jukebox with FM Tuner, Pocket DJ Jukebox (versus the iPod Mini) along with many add-ons such as armbands, car converters and et cetera. They also sell many of their music players along with their computers. However their main competitive selling point comes in the fact that their music players do not play iTunes songs. They play mp3 format songs only – those compatible with Microsoft Windows Media Player. They have recently gained an exclusive contract with Yahoo Music and were also featured on the hit MTV reality show, Real World.
Activity 4 – Positioning Strategy

Perhaps the best positioning for the iPod in this stage of the product life cycle is to integrate two strategies into one. The iPod would benefit most from mainly concentrating upon the product attributes, but also positioning using a new use or application. This has helped keep the iPod current in the past, for example with its introduction of the iPod Shuffle. This helped bring the iPod brand into the world of the Flash media player, as well as opening up new ways to use the iPod, such as while exercising or doing other jobs for which using one’s hands is necessary (the Shuffle has a convenient cord to tie around one’s neck).

It would behoove iPod to come out with a new feature that could be emphasized and applied to enhance and grow the way in which it is already used. Dell already has a media player with features iPods do not have – the Jukebox with FM radio. In order to stay current, iPod needs to one-up their competition.

This problem has been solved by creating the iPod Camera, a device that not only stores and plays music like a ‘normal’ iPod, but also can take and store photos for later editing. An accessory is also available that includes a printer docking bay station so that users can quickly and conveniently make prints in their homes.

Activity 5 – Creative Strategy Document
The Business Problem
1. The Key Fact
Apple iPod must stay current in the world of mp3 players, and to do so it plans to introduce a new version of the iPod with innovative features – the iPod camera.

2. The marketing problem advertising can solve:
To get new and repeat users to buy the iPod by identifying and emphasizing its new and unique attributes – taking and printing personal photos.

The Creative Strategy
1a. What is the iPod Camera in reality?
A small sized mp3 and iTunes player
Capable of holding up to 60 gigabytes of music
Capable of being used as a portable hard drive for Mac or PC computers
Contains a rechargeable battery with an eight hour life (drains slowly over time)
Capable of storing address and phone books
Contains built in “notepad” program
Can take and store photos
Comes with a detachable flash
With accessory printer, can print photos with clarity
Built by Apple Computers
First designed in 2001

1b. What is the iPod Camera as perceived?
The iPod Camera is yet to be introduced. However there are several attributes perceived to describe all iPods in general:

Has a large LCD screen
Easy to use clickwheel
Many worry about the battery’s shelf life
Stores lots of music
Pretty – Has an aesthetically pleasing shell
Trendy/Hip
Has many celebrity endorsements
Cutting edge – always has new designs

2. Who are the prospects?
The target market of the iPod Camera includes younger people from urban areas who are members of the late majority, ages 16 to 26, who come from families with middle range incomes and live in urban areas. They are most likely in school – college or high school. This group is more financially careful – and will have waited to make sure iPods were not passing fads before buying.

Also, the secondary group of slightly older consumers should be included, those who might have considered buying or have bought an iPod for their children or younger relatives, but have never thought to buy one for themselves. For example, the camera function could be very attractive to a new father who wants to stay hip and also take and share pictures of his newborn.






3. The Competition
As of yet, there is no direct competition to the iPod Camera. No digital music player can also take photos. However, there are three main indirect competitors. First, the other media players, especially the Dell line of products. These players can hold much information, have a large screen, and are also constantly creating new ideas, innovations and add-ons to their Jukebox. They have also had several successful celebrity television endorsements. Their weaknesses include the fact that they do not yet have, nor have begun developing a camera-capable media player.

Second, the digital camera. These cameras can take and store thousands of photos, dock on printer stations, and be easily connected to a computer. Their resolutions may be better than the iPod Camera’s and they may store more photos, depending on the brand. Many camera users are very loyal. However, digital cameras require extra software installed on a personal computer. If customers already have iTunes, the iPod Camera makes it so that no new software is necessary. Also, many families may view the iPod Camera as a supplement to their digital camera, not a replacement. Or possibly a combination gift given to a youth who might not be trusted with the very expensive family digital camera quite yet.

Finally, the cellular phone industry. Many cell phones feature a camera function, and many more feature fancy ring tones and songs. Most people already have a cell phone and a cell phone plan, and many are loyal in that they will not break their contract at the drop of a hat. However, the pictures taken by a cellular phone are usually not of the best quality, and they cannot be printed at an inexpensive price. Also, the quality and number of songs stored on a cell phone is very poor compared to an iPod.



4. Competitive Consumer Benefit
The iPod Camera allows users to easily and quickly store their music and photo collections, as well as to take photographs, which no other media player, digital camera, or picture phone on the market can do.

5. Benefit Support / The Reason Why
The iPod has already proven itself easy to use and a great way to store and play music collections. The integrated camera allows for a much wider range of functions with no noticeable physical size change to the iPod. This makes it very portable and durable. The detachable flash allows the iPod to be versatile under many conditions.

6. Target Market Incentive Statement
To active young adults, the iPod Camera is the versatile media player and camera that can be used simply, quickly and easily.

7. Tone
The tone of the advertising should still be energetic, offbeat and trendy. However, to accommodate the new features, it should also be somewhat simple, clear and bold. This will show the target audience that even with the new camera feature, the iPod is still fun and easy to use, as well as practical and flexible under many conditions.

8a. Communication Objective – Main Point
Observers of the advertisements should take away that the iPod Camera is practical and easy to use.

8b. Communication Objective – What Action Should Be Taken
The observers of the advertisements should want to buy an iPod in order to easily create, organize, store, and play their music and photo collections.

9. Legal Requirements
The same legal disclaimers as before should still apply – those concerning the battery life and song capacity. Perhaps also a disclaimer about photo capacity as well, since it runs along the same lines – the larger photo size you store the fewer will fit on your iPod. Also maybe some sort of disclaimer about the photos one takes on the camera – that Apple is not responsible for the photographs you take and that if you take certain pictures (for example pornography, or secret information such as ATM PINs without the agreement of the person being photographed) you can get in serious trouble.

Activity 6 – Creative Concepts

a. “Say cheese!”
This concept would feature a series of people standing in front of landmarks, smiling cheesily. Then, it would move to a shot of the iPod Camera standing alone on a background and display the text “say cheese!”



b. “A part of your family photos from now on.”
This advertisement would feature the iPod Camera enlarged and standing in line next to a family posed photo at a birthday party or in front of a Christmas tree. This emphasizes the ability to take important photos – even those as significant as family portraits. It also is more offbeat than the previous one – more in line with the ‘old’ iPod advertisements and perhaps more appealing to the young adult audience.
c. “Now you really CAN fit your whole life in an iPod.”
This advertisement would feature users who had large amounts of sentimental photos and all of their music in their iPods. Also, perhaps a short story about each user. This is more sentimental than the other two concepts, and emphasizes the practicality and ease of use of the iPod – ‘if these people can use the iPod, so can I!’
Activity 7 – Advertising Strategy

During the maturity stage of the iPod’s life cycle, the advertising usually focuses upon the direct response approach. This is the stage in which users already know the basic attributes of the product, and have already drawn most of the conclusions they are going to draw from advertising. This is also true for the iPod. However, the iPod has just developed new features. This is a time in which consumers must draw new opinions and conclusions for themselves about the new features. Also, those who have already purchased the original iPod may want to save up their pennies to buy the iPod Camera. Perhaps the best approach would be to create an ad that built the image of the iPod and its attributes, which finished by mentioning the iPod store. A mixture of both Image/Perception and Direct Response approaches.

Activity 8 – Media Types

The two types of media for the second iPod campaign should be print and television. These are beneficial because once again, they can reach a wide range of audiences. For example, there are some television shows that a large range of adults, such as Whose Line is it Anyway, and late night talk shows such as Letterman, Leno, or Conan O’Brien. Also, many of the ‘older’ group of adults mentioned previously still watch shows geared toward the ‘younger’ adults, such as music video award shows.
Print ads are beneficial because they are very versatile. The same ad can be printed many times in many different types of magazine – and is easily transferable to newspapers, direct mail, or et cetera. Magazines are especially helpful because they last for a long time – oftentimes more than one person reads each copy. Also, it is easy to know how many copies are in circulation and can be assumed to have been read. Other media, such as radio, can only make educated guesses as to their audience sizes.

All Feelings Were Not Created Equal

Andrea
EN 185
11/18/5


There are two endings to Jane Austen’s novel Persuasion. The first, printed with the original edition, was pulled shortly after its release. It was then replaced by the ending we see in our copies today. Their outcomes are almost identical. However their ends are reached by vastly different means. It is in this difference that we can perhaps better see why Austen chose the second novel ending as opposed to the first. Although the original version is full of suspense and agony, these feelings provide the same effect as might a cheap parlor trick. Amusing for a moment, but all too soon forgotten. Not so in the second version. Not only does it mesh more cleanly with the rest of the novel, it is ultimately more effective both thematically and dramatically mainly because of its depiction of the main character, Anne.
The first difference one might note in the two endings is the fact that Anne physically is not in the same location, nor in the same mental state. In the first edition, Anne is stopped by Admiral Croft on the street and made to come to his home. This seems to be a rather random occurrence. What if Admiral Croft had not seen her walking down the street? This leaves us to question whether or not Anne and Captain Wentworth ever would have rejoined. So much is left to chance in a novel whose very title implies a sense of planning, awareness, and purpose. In the second version of the ending, Anne is delayed by the fact that she has “promised to be with the Musgroves from breakfast to dinner.” (166) She is in a large room, discussing love and romance with Captain Harville when Captain Wentworth decides to profess his feelings. This is not the result of a random sighting on the street, but rather stems from something Anne does throughout the novel, on an everyday basis. That is, discuss philosophical matters with her acquaintances. It is proper, and orderly and calm, much more consistent with Anne’s previous experiences in the novel.
On the subject of propriety, it is worth noting Captain Wentworth’s actions and composure. In both endings, they are quite different, the second ending matching much more consistently with the themes of the novel than the first. For example, in the first version, after declaring his affections for Anne, he seems rather out of character – abrupt and almost awkward. He is almost bear-like, grabbing her hand and blurting “Anne, my own dear Anne.” (189) This might be seen as a valid show of affection in many other cases, but this is coming from the utmost gentleman, calm, cool and intellectual. It seems much more likely that such a man would “pour out his feelings” (176) in a love letter as he does in the second version; and then seal the deal on a long walk. Walks, as is displayed many a time in the novel, are one of Anne’s favorite pastimes. Not, having “silent, but very powerful Dialogue,” (189) as is their manner of conversation in the original ending.
It is foreseeable that one might argue that the original ending is much more dramatic than the second version, thus more effective and the better of the two. After all, Captain Wentworth is placed in the most awkward of situations. Not only is he shy about his feelings toward Anne in the first place, but there is his “awkwardness of giving Information of this sort to one of the parties (‘of this sort’ meaning asking if she were engaged).” (188) And what if he had never found out that Anne still cared for him? It was to have been his last day in Bath! (192) Oh! Agony!
But whose agony is this? Certainly Captain Wentworth’s, and if Austen has done her job, so too the reader. But this story is not about Captain Wentworth’s point of view. It is a story about Anne, and Anne’s feelings, and Anne’s experiences. Although we are affected by Wentworth’s agony, this empathy is fleeting, because we do not know him beyond the scope of topical reports. Our feelings are intense, but fleeting. We have no reason to feel otherwise. The second ending is much more moving, and creates a much longer lasting impact. In the first version, Anne is indeed shocked to see the Captain, but her overwhelming desire is to “stifle feelings and be quietly polite,” (187) and leave as soon as possible. Once confronted by Wentworth, “Anne listened, as if her Life depended on the issue of his Speech,” (188) but this is not overly dramatic for her, this is how she listens to every word he utters. In the second, her entire world is turned upside down. For her, this ending provides a world in which “every moment provide[d] fresh agitation.” (173) She can barely speak, she cannot sit down (sitting down is “worse than all!” (173)), and is forced to “plead indisposition.” (173) Walking with another man is described as “almost cruel” (174) and when she finally does get the chance to meet the Captain in person, the best she can muster is to “command herself enough to receive [Captain Wentworth’s] look, and not repulsively.” (174) The woman couldn’t even force a smile, she was so overcome with emotion. Eventually, she becomes so “exquisitely happy” (175) that “an interval of meditation, serious and grateful was the best corrective of everything dangerous in such high-wrought felicity.” (179) Everything our main character has ever dreamed has come true. This is one of the most important moments of our main character’s life. The entire novel is about Anne’s dreams and experiences leading up to this moment. It only makes sense that we should see it through her eyes, and not those of another.
Although both endings are dramatic, it is the current ending that is truly the most. Although both Wentworth and Anne are madly in love neither are in such a way as to be clumsy, hasty, or un-collected. They have desperately fallen for each other in a civilized way. In other words, in a way consistent with the decorum of the preceding novel, thus making the scene more effective because it is more believable. It is dramatic and long remembered because we know Anne’s thoughts, we know her desires, we know her actions and thus we share her experiences in a much more powerful way than any other character in the novel. Austen chose the second ending because this is Anne’s story, and in that version, it came through with the most clarity.

Final – Take Home Exam

AA 301 – Fall 2005
Andrea
13 December 2005

1. Elements of a good grant proposal.
First and foremost, if one is writing a grant, especially to a specific organization, there is most likely a proposal format that is to be followed, a form that must be filled in, or both. It is important to abide by these guidelines because it aids in the ease of readability of the grant. If there is a format that should be followed, and one does not, the grant will most likely come off as sloppily done, or worse, that you don’t care enough about your organization to warrant giving one’s organization money.
That being said, there are many different types of grant proposal form. It would be impossible to go through all of them here. However, there are several common elements found in most grant proposals, no matter what type. First of all, one must let the granting organization know who one’s company is, and what it is they do. One must remember that although one’s company may be applying, for example, for an arts grant, it may be a barber, or a lawyer or a schoolteacher that is reading the grants. This base of background information will help to add support to one’s arguments and requests for money later in the grant.
Secondly, one must include what the organization plans to use the money for. Why does one’s organization need money? One must take care to apply for grants from organizations whose missions align with their project goals. For example, the Indianapolis Council for the Arts is more likely to donate money to a children’s production of The Nutcracker than a grade school science Quiz Bowl. If one cannot come up with a connection between the granter and one’s organization, perhaps one needs to find a different company from which to apply for donations. Also, one must include a detailed sketch of the planned purpose of the money. Most organizations will not give money away for no reason. They want to be sure of what they are funding. Also, one must include details of how one plans to evaluate their proposed activity/event/etc. Granters want to make sure there are clear, outlined goals, and that there are clear, outlined ways of making sure the organization meets those goals.
Third, one needs to include their organization’s budget. Often, it is from the current year, although one may also need to include the previous year’s budget. Also, the budget for the proposed project needs to be included. Granters want to see that the organization will spend the money wisely. They also want to see that the organization has made an effort to come up with some funds themselves. Organizations that have financially planned and budgeted, as well as worked to support themselves have a far larger chance of being awarded money than those that have not.
Finally, one must show how their organization is looking toward the future. Granters like to support companies that have made or are planning to make an effort to better themselves, and to grow and expand. In general, they want to see that your company has learned from its mistakes and plans to avoid making those same errors in the future. In line with this idea, one must be sure to make the grant proposal concise, free of errors, and above all, confident. Again, if one does not take the care to proofread their grant proposal, granters most often take this as a sign of a lack of commitment and organization. Those proposals that are long winded may seem over confident – if one’s company is so well off and exuberant, there is no reason to give it money. On the other hand, long windedness can also be taken as groveling, which demeans one’s company. One should not have to throw one’s company in the mud just to earn a dollar. Be confident, but not cocky. One’s grant proposal should convince the granter that their organization deserves the money, not desperate, or greedy.

2a. What do you do first?
First and foremost, set down a definition of what planning should mean to the dance company, “By planning we mean X.” If employees know why it is important to plan, and what it is that is being planned, they are more likely to participate and provide valuable input. Also, one must set boundaries of what exactly is going to be planned. Are we planning for every aspect of our company, or just long-term budget goals? Making a list of specific things to be planned and strove for helps to ensure nothing is missed and everything is done thoroughly.
The second thing one must do is to make sure that the mission statement and vision statement of the company is up to date and current. Have we been following these statements? If not, what have we done to stray from them? Is this a good thing or a bad thing? If it is a bad thing, how can we plan to return to our mission, and if it is a good thing, are we prepared to change our mission to accommodate our changes? Also, we need to examine our bylaws. Are they current? How can we change them to accommodate and grow in the future? Or do they already do so?
In this vein, we need to be sure there is a clear, accurate knowledge of where the company is currently. How much money is in our bank account, what was in our bank account last year, and how much can we realistically plan to grow by next year, if no changes are made. In other words, we need to understand the budget. Will we need to do more marketing to ensure that we have enough money to complete our goals? Will we need to do more fundraising? If so, how? We must also know what goals our company has for the future. Are we pleased with the size we are today, or do we want to grow and expand? If so, how? Is our board sufficient? Are they serving our company well, or do we need to change the structure of the board to prepare for the future? Are our employees working to their full capabilities? Are their job descriptions accurate? Will we need to accommodate for more employees in the future, or will we need to rearrange to prepare for less.
After we have taken a complete survey of where our company stands, and are sure that everything is up to date, we can then begin to lie out our plan. Where do we want to be in five years? Ten years? What are our long-term strategies, and what are our short-term tactics. Set out measurable goals and objectives, how to complete them, and measurable means to evaluate their levels of success. This is the time to clear up any and all issues that may arise. If these are not cleared up during the preparation of the plan, they may lead to an ambiguous goal and failure in the future.
From all of these things, set several meaningful, concise goals and objectives, and make sure everyone knows their part in them, and how to achieve them. Ensure that these goals can be evaluated and added to (or subtracted from) in the future. In order for continuous growth to occur, continuous evaluation and examination must also occur.

2b. Long Range Plan.
Goal:
To increase awareness of our dance company among the residents of our town.

Objective:
To stage free performances in the city square every year for the next five years during the Fall Festival.

Goal:
To improve the public opinion of classical ballet among the citizens of our town by 40% within the next five years.

Objective:
To develop a mentoring program for youth in our town’s public schools by January 2010.

3. Role of Board of Directors
At the Coral Ridge Spay and Neuter Clinic, there are 15 board members. Their job is, essentially, to be the collective C.E.O. of the Clinic. They determine and update the Clinic’s mission and purpose, hire and fire the Executive Director, decide the program of events for each year, plan fundraising events, plan the budget, and develop plans to promote the Clinic to the community. This may seem like a weighty charge, but as described below, no one person has to do it all themselves.
As aforementioned, the board is comprised of 15 members. Many of these members are also in committees. These committees include the finance committee, public relations and marketing committee, the planning committee, and the programs committee.
The finance committee is comprised of four board members. One is an accountant, one is a retired lawyer, one is a businessman (Hills Bank and Co.) and one is a small-pet veterinarian. Their job is to determine the budget every year, evaluate spending from month to month, and to approve/deny all large purchases and investments. When requested, the finance committee also aids the programs committee in developing fundraising events, in regard to their financial feasibility. The businessman provides insight into the various ways to manage money properly, the lawyer provides insight on how to do so legally, and the veterinarian provides advice on whether or not the apportioning of money is feasible for the Clinic. The accountant is also the Treasurer, and in addition to the insight she brings to the committee, she also reports the findings of the group to the entire board.
The programs committee is comprised of three members. These include a PTO member, the head of a local prominent business (Dane’s Dairy and Ice Cream), and a Biology graduate student from the University of Iowa. Their job is to plan, develop and either oversee themselves, or delegate the task of overseeing all programs the Clinic conducts during the year. In addition, the business leader helps to bring innovative ideas to the Clinic, the PTO member helps to make these ideas interesting to one of the Clinic’s largest audiences (children and their families) and pitches ideas to the school board, and the Biology student helps to make sure all information presented is accurate.
The public relations and marketing committee is comprised of three members. These include a public relations professional from a local company (ACT Assessment and College Entry Exams), a large-animal veterinarian, and a local opinion leader and homemaker known for his outspoken position as an animal rights activist. Their job is to pitch the Clinic’s events, programs, and other various messages to the local media. Any news release, any pitch letter, any newspaper ad goes through them. They are the unified voice of our organization, giving the Clinic’s news to the community, be it good or bad. The public relations professional and the homemaker help spread news through their already established contacts, and the veterinarian helps to provide legitimacy to all medical information given.
Finally, the planning committee is composed of four members. They include a local businesswoman (Salvation Army), a Preveterinary professor from the University of Iowa, an English teacher from Iowa City West high school, and a Coralville city council member. Their job is to head the revisions of the mission statement, vision statement, and bylaws. This committee also oversees the staff, in regards to how well they have completed their jobs and tasks. They do the research behind and make all recommendations regarding hiring and firing of the Executive Director – they help to make sure she is doing her job. The businesswoman and city council member help by bringing their knowledge of the organization of successful companies and organizations, and the Prevetnerinary professor helps to integrate technical medical information into policies while at the same time translating it into language anyone can understand. The English teacher is also the Clerk. In addition to maintaining the minutes of all board meetings, she also sends copies to all board members and employees of the Clinic. This knowledge allows her to help advise upon decisions with the support of facts from past board meetings. She is better able to help predict what should and should not be amended. Her writing skills also aid in making all documents read more fluidly, and without error.
Although each member of the committees has been described as helping in a specific way, they are not limited to one sole task. Each member is expected to help in various ways, and each group works as a team, a sum of all its parts.
The president of the board is not assigned to a committee. He sits in on various committee meetings, rotating between committees from week to week. His job is to keep the committee members on track, and is the direct line of contact from the Executive Director to the board.
Many levels of income are represented, as well as many different races. There are seven females and eight males on the board (and the Executive Director is female).
4a. Mission Statement – Arts for Kids, Inc.
The mission of Arts for Kids, Inc. is to increase the knowledge of the Fine Arts among youth in Nowhereveille City. It will enhance their learning and understanding of the world around them by providing a cost-free after school arts program.

4b. Mission Statement – Middleburg Theatre Company
The mission of the Middleburg Theatre Company is to increase awareness of the theatrical arts in Middleburg. It will do so by providing a community-based performing arts company and offering classes and performance opportunities for those of all ages, incomes and skill levels.

Grant Application

Organizational Profile and Administration:
The Coral Ridge Spay and Neuter Clinic (hereafter, “the Clinic”) was founded in August 2004. We are located at the corner of the Coralville Strip (Hwy. 6), and 4th Avenue. The Clinic is an animal clinic that spays or neuters cats or dogs at low or no cost. The Clinic also acts as a temporary animal shelter, providing overflow service to the Iowa City shelter as well as meeting the Coralville area’s temporary animal control needs. Our goal is to eradicate stray and unwanted animals in the Iowa City and Coralville metro area. The Clinic also strives to provide community education. If the community does not know that their pets need to be neutered, and how to care for their animals, we cannot solve the stray and unwanted pet problem.
The clinic has four full-time staff members, a team of volunteers, and a board comprised of 15 individuals. Their titles and responsibilities are as follows:
Executive Director – Program planning, open communication to the board of directors, public relations
Volunteer Coordinator – Manages volunteers and volunteer responsibilities.
Head Veterinarian – Oversees the spay and neutering operations, ensures a high level of safety and guides the student veterinarian volunteers
Office Manager – The face of the clinic, secretary, receptionist, completes business paperwork, mails in and out.
Volunteers – Clean the clinic, provide basic care for animals, and assist in mailings
Board of Directors – Assures maintenance of the Clinic’s mission, hires Executive Director, provide performance reviews of Executive Director, plan and monitor resources

As the board of directors, in cooperation with the Executive Director, plans activities for the Clinic, they also set objective, quantifiable goals. Our programs are evaluated by how well and completely we have met these goals.
Since the Clinic is a relatively new organization, steps to strengthen our institutional capacity have centered upon public awareness. These include:
o A pet look alike contest at Coralville’s 4th of July festivities
o Visiting all elementary schools in the Iowa City Community School district (public and private) with our stray animals
o Ads in several local newspapers (Gazette, Press Citizen, Daily Iowan)
o Held a school district wide donation drive to help feed our stray animals
o Spoke at all Iowa City community schools on the proper treatment and care of pets
o Participated as a sponsor of the Hospice Road Races
We have a partnership with the University of Iowa Biology and Preveterinarian Programs. We provide their students with the learning experience of hands-on clinical procedures. They provide us with capable and enthusiastic students to assist in the spay and neutering procedure.

Community Outreach
The Clinic aims to eradicate stray animals in the Coralville and Iowa City area by providing free or low cost spaying and neutering. Without this service, those with little expendable income would not be able to afford the fixing procedure for their pets. Unfortunately, many times those who cannot afford to spay or neuter their pets end up with many puppies or kittens on their hands that they can ill afford, and these animals generally end up on the streets or in shelters. We must reach out to those in need if we are to eliminate the stray animal population. The Clinic does so on a regular basis through its Iowa City Community School District mini-lecture circuit. Through this program, we can address and educate children of all ages, income levels, and ethnic backgrounds.
The proposed project, the Coral Ridge Art Fair (hereafter, CRAF), will expand on this not by only educating families of all shapes and sizes in the arts and proper animal care, but also raising funds to help pay for the spaying or neutering of pets with lower income families (or no family at all!). It will do so by providing free and varied arts opportunities as well as animal education programs. CRAF will be held in ST Morrison Park in Coralville, which provides not only handicapped access, but also is located on a main bus route. Because of its location, economic, physical and geographic restraints are minimized. For those unable to leave their houses, highlights will be broadcast on the local news channels.

Community Arts Project - Project Goals
The mission of the Coral Ridge Spay and Neuter is decrease the population of stray and unwanted pets in the city of Coralville, Iowa and surrounding areas. It will proactively improve the animals’ quality of life by providing low cost spay and neuter surgery as well as temporary shelter facilities.
Unless we create public awareness, we cannot carry out our mission statement. The Clinic must create awareness of its existence in order for citizens to take advantage of its services. CRAF is designed to simultaneously raise awareness of the Clinic and promote Coralville and Iowa City as a destination for the arts enthusiasts of Iowa. Coralville has no art museum, or art fair. Without a proper showcase for the artists of the area, or even world-renowned artists, Coralville cannot uphold its status as a quickly growing community. The CRAF will provide an opportunity to simultaneously further both the animal welfare cause and the arts community.

Proposed Activities
The CRAF will feature a weeklong exhibition of local and regional artists’ work featuring animals – both in abused situations and in happy homes. Some of the art will be for sale at a silent auction at the close of the week. This will bring local and regional artists together as well as set the tone for the week’s theme of animal wellness. In addition, CRAF will host several painting and craft-making workshops for adults, teens, and children. These will focus on art with animals as the focus, and crafts one can do about the home to make it safer and more pet friendly. There will also be a “portrait with your pet” service. This will consist of either a photograph taken by a professional photographer, or a painted portrait of attendants, pets, and various combinations of such. If attendees have no pet of their own, they can “borrow” one of several stray animals brought by the Clinic.
Since the Clinic is just over a year old, as well as being completely not-for-profit, we have undergone major fundraising drives to help pay for staff and promote the CRAF. Our donors include:
o Local families and sponsors
o Funds from the school district wide donation drive
o PetCo Animal Supply Store
o University of Iowa
o KCRG News Channel 9
o The Press Citizen
o The Humane Society of Iowa City

The Proctor and Gamble Company will also provide funds matching our highest donor. The Humane Society’s donation consists of a fleet of 20 volunteers, bringing our total to around 40. The University of Iowa and the Press Citizen have donated space in their respective newspapers and publications. All other donors have given financial donations, which will be used primarily for marketing, to provide accommodations, and secure artists from across the state and country. Grant monies provided by the Iowa Arts Council would fund the latter.

Marketing
The Clinic will use an integrated approach to market the CRAF. Ads are to be placed in:
The Iowa City Press Citizen (Newspaper)
Des Moines Register (Newspaper)
Daily Iowan (Newspaper)
KGAN (Local News Channel)
KCRG (Local News Channel)
KRUI (Local Radio Station)
Hancher Auditorium
Riverside Theater
Dick Blick Art Store
The Coral Ridge Mall
Sycamore Mall
Old Capitol Mall
Wesley House Free Lunch Program
Salvation Army locations throughout the city
Iowa City Community School District Monthly Mailings
University of Iowa Listserv
University of Iowa Hospital’s Noon Notes

This plan was developed with our target audiences in mind. These include K-12 students in the Iowa City Community School District and their families, and students, faculty, staff and families of the University of Iowa. Through careful research of several reference guides, such as Bacon’s and Zip Code Demographics, we have discerned that the two largest pet-owning populations were the aforementioned groups. These also are coincidentally two of the lowest household income demographics in Johnson County. In our first year of existence, 2004-2005, we served 489 animals from 450 families. In the next year we hope to increase the number of animals neutered or spayed to 600. By placing our advertisements in the three malls mentioned, we will reach a target audience with perhaps a slightly larger expendable income. However, we will post our ads during peak sales periods, such as the day after Thanksgiving and the day after Christmas so that those with lower incomes that might be looking for sales will also be exposed to them. By placing ads in the Free Lunch Program and Salvation Army locations, we will reach those whose pets may need to be spayed or neutered or are interested in the arts, but do not have schoolchildren or are not in school themselves. By placing ads in the local theaters and art stores, we will reach those who are interested in arts, or have pets, but again may not have children in school or be in school themselves. To place these many ads, we have collaborated, as aforementioned, with the University of Iowa, KCRG TV, and the Iowa City Press Citizen.

Project Evaluation
The success of the CRAF will be evaluated in several ways:
Attendance Counts – Our goal is 5000 visitors
Art Sales – 100% of Silent Auction pieces
New Additions to our mail and E-mail lists – 1000 households
Appointments for animal spaying or neutering – 100 pets
Evaluation Survey handed out on site as well as posted on our website – Approval rating of 65%
Volunteers will tally the total for each category. They will then report their findings to the Executive Director, who will prepare a report for the Board of Directors. A written report will also be made available to the Iowa Arts Council.

Questionnaire Research Project
Executive Summary

In July of 2005, Register’s Annual Great Bike Ride Across Iowa (RAGBRAI) commissioned the L.E.M. Research Company to create a survey to determine the level of safety and safety knowledge especially concerning the Ride Right campaign. The purpose of this questionnaire is to form the base of a campaign to improve safety conditions on RAGBRAI, thus minimizing death and serious injury on the ride.

It was determined that the most beneficial form of survey to be conducted for RAGBRAI would be the probability sample type, in specific, the systematic random sample. In this way we can generalize our results to the entire population (as one could not with a non-probability survey) without actually having to spend the time and money to survey the entire population (as one would in a census). The margin of error would be acceptably low – six percentage points.

A question bank was created, to allow for greater flexibility and diversity of choice when creating the questionnaire. There are several topics covered, all relating to RAGBRAI, including 15 awareness questions, 17 attitude questions, 16 behavior questions and six classification criteria questions. These questions are written in nominal, interval, ordinal or ratio form.

The questionnaire is a 25-question survey containing seven awareness questions, four attitude questions, four classification questions, and 10 behavior questions. Topics range from the Ride Right campaign, to the emergency procedures on RAGBRAI XXXIII, to age and location.

Next, a discussion was created, detailing the definitions of nominal, ordinal, interval, and ratio levels of measurement, as well as awareness, attitude, classification and behavior questions. Along with each definition, a reasoning behind their selection rate for the questionnaire was included.

Following the discussion, L.E.M. created a recommendation section. Here, they suggested the survey be sent out to 500 RAGBRAI participants by January of 2006, so that results could be tabulated in time to improve RAGBRAI XXXIV.

In conclusion, finally, L.E.M. Research Company has included three bar graphs, emphasizing several main points. The first graph depicts the number of each type of question criteria selected for the questionnaire. The second graph depicts the number of each level of measurement selected to be included in the questionnaire. These two graphs support the reasoning put forth in the discussion section of this report. The third bar graph depicts the number of bicyclists in Iowa, as compared to the average household. This emphasizes the points made in the Background section of this report.

Background

RAGBRAI is an annual bicycle ride, held the last week of July, which spans the state of Iowa. RAGBRAI began as the column idea of Des Moines Register writers Donald Kaul and John Karras. The ride was originally supposed to happen only once. However, it was so immensely popular among its 300 initial participants, it is now in its 33rd year. RAGBRAI was the world’s first cross-state bike ride, and has inspired approximately 200 others worldwide.

Approximately 2,000 riders pedal across the state annually, from the Missouri to the Mississippi river. The tour is approximately 475 miles long, varying with the yearly route. Participants can join teams, among whom it is traditional to sport gaudy outfits, which coordinate to match even gaudier tour support busses.

The mission of RAGBRAI is to host an enjoyable, memorable cross-state bicycle ride. RAGBRAI, although founded by the Des Moines Register, is a not-for-profit organization. All profits go to charities throughout the state, specifically those whose goals include families with children, literacy campaigns, and community enrichment.

The target market of RAGBRAI is essentially that of its parent newspaper, the Des Moines Register. The circulation of which is 152,885 on a daily basis (Bacon, 559). Their readership extends across the state of Iowa, especially concentrated in the Des Moines area.

In Des Moines, households report the lifestyle of “Bicycling Frequently” at an Index of 111, meaning they bicycle frequently at a rate 11 percent higher than the average household in the United States. They also have a rank of 53 for this activity, meaning out of 210 demographic market groups, they participate in bicycling frequently less than 52, and more than 157 of the groups (LMA, 730). A depiction of Des Moines, and other Iowa towns frequency of bicycling compared to the average United States household can be seen in the graph on page 28 of this report.

These same people living in the Midwest spent $8.12 per household on bicycles in 2001. In that same time period, people living in the Midwest also spent $31.98 on “participant sports on trips.” As far as the age of this target audience, the households who spent the most on bicycles in 2001, $16.99 per year, contained at least one person who was 35-44 years of age (HS, 261, 220).





Problem/Opportunity

Over the years, RAGBRAI has become immensely popular, growing many times larger than anyone at the Des Moines Register ever predicted. The problem is, no one knows exactly why.

Are the participants drawn to the scenic Iowa landscape? The welcoming residents populating the overnight and pass-through towns? Or is it something less picturesque, for example the enormous beer gardens and concert stages?

This is a problem indeed, but it is a positive one, and we can guess its causes. However, from it stems a more serious problem. As previously stated, each year, RAGBRAI grows larger. It becomes more and more difficult to accommodate so many people in the confines of a two-lane highway and the tiny towns encountered along the route. Over the 33 years RAGBRAI has crossed the state of Iowa, 25 people have died. Countless more have been seriously injured. Obviously, this trend needs to be minimized at all costs. We need to know what we can do to provide the safest RAGBRAI possible and still maintain our current levels of fun, excitement and enjoyment.



Objectives

First and foremost, to decrease deaths and serious injuries among RAGBRAI riders 100% by the end of July, 2015.

Secondly, to increase our (RAGBRAI official’s) understanding of what RAGBRAI riders enjoy most (and least) 30% by July, 2006.

To do so we aim to fulfill several output objectives:
To conduct a questionnaire survey of 500 RAGBRAI riders by January of 2006.
To conduct 10 focus groups consisting of RAGBRAI riders by January of 2006.
To feature a contest in the Des Moines Register asking readers to write in about their reasons for returning to RAGBRAI during December of 2005.






Methods

There are three ways in which one could go about collecting samples from one’s target market. These include probability-based samples, non-probability based samples, and a census. Below, we examine the positives and negatives of each in regard to a sample of the population of RAGBRAI, and make a recommendation of which type to choose for our particular questionnaire.


Census Sample
A census is a collection of information from all members of a population.

The use of a census would provide results completely accurate to our sample size. The margin of error would be zero. The sample size would be 2,000. However, it is very hard to get 100 percent completion rate in a census, and to do so costs enormous amounts of time and money – well beyond the means of RAGBRAI’s budget. We do not suggest that we use a census to survey our target population.


Non-Probability Based Sample

Non-probability based samples are samples in which the probability of selecting any sampling element is not known. For example, in a type of non-probability sampling known as quota sampling, a key characteristic of the target public is specified, then elements are selected to insure that the sample reflects the distribution of that characteristic in the population. If we were to select our population for our survey using non-probability sampling, we would walk along RAGBRAI asking people to fill out our survey until we reached a certain, predetermined number of participants. For example, ten riders, ten drivers, and ten citizens of the town. There is no way to guarantee the sample accurately represents the population of interest.

This type of sampling is beneficial in that it is quick to complete, convenient, and very inexpensive. However, it is best only used for scanning and detecting potential problems, since it cannot be generalized to a greater audience. It is for this reason that we do not suggest non-probability sampling to survey our target population.


Probability Based Sample

Probability based samples are those which are drawn from a target population in a way that the probability of selecting any particular element is equal and known. The advantage of this type of sampling is that it can use statistical tools to estimate the characteristics of a very large population based on a relatively small population. However probability sampling is more expensive to conduct than non-probability sampling, and if the sample of the target population is too low, data can be inaccurate.

For a target population the size of RAGBRAI’s, 2,000, we would recommend a sample size of 500 people. It is at this point that the levels of margin of error flatten, and adding more people to the sample would begin to be redundant. If one were to ask a question with this number of people and desire a 50 percent survey outcome percentage (50 percent of respondents answer in a particular way), the margin of error would be +/- 3 percentage points.

This type of sampling is the type that we recommend be used for our target population. In specific, we recommend using a systematic random sample. To use this type of sampling, we will draw up our list, i.e.: registered RAGBRAI riders in 2005. We will then select a number at random, x. We will count to the xth name on our list, and select it to do our survey. We will from there count another x names, and select another name to add to our survey pool. This process will be repeated until we reach our recommended 500 participants.

Focus Group Report
Executive Summary

On The 25th of October 2005, the MPSJ Company conducted a focus group session in the Eugene Fairbanks building on the campus of Butler University. The purpose of this study was to determine the attributes and benefits consumers prefer concerning chewing gum. The group was moderated by Ciara Jones, Ashley Martin, Andrea Parrott and Nick Schellinger. There were 11 participants, nine females, two males, whose ages ranged from 18 to 22. Each participant completed a pre-survey, which can be found in Appendix A, on page [skldfjs] of this report.

The room was arranged according to the seating graphic in Appendix E, found on [page#]. Each participant was given a nametag and instructed on the basic purposes and rules of conduct of the focus group. The participants then introduced themselves and shared their funniest or most recent experience with gum in order to become more comfortable with their counterparts. They were then asked a series of questions by the moderators, and discussed four main topics concerning gum.

The first main topic concerned the taste of the gums. Six types of gum were sampled, from various brands and flavors. They were asked questions regarding shape of gum pieces, flavor, texture, and their purpose for chewing gum. Participants concluded that they preferred a soft, smooth textured stick of gum, with a moderately minty taste, such as spearmint. Graphics of the various types of gum used have been included in Appendix D, on page [osadfaj] of this report.

The second main topic concerned the package of the gum. Three types of packages were studied in this section, the traditional “5-stick” package, the “blister” package and the “envelope” package. Graphics of the three types of package used in this test are included in Appendix D, on page [] of this report. It was concluded by the participants that they preferred a package that was simple, discrete, portable and bore a color reflecting the flavor of gum inside.

The third main topic concerned the ways in which the price of a package of gum affected consumers’ purchase decisions. Participants were asked several questions regarding the number of pieces per package, price in respect to the quality of gum and reasons for buying gum. It was concluded that although the preferred price for a package of gum varied due to value and quantity of the gum, they would not buy a pack with a price higher than two dollars.

Finally, the fourth main topic for discussion concerned the effectiveness of gum advertising on the consumer. Participants were shown several gum commercial and asked several questions concerning their thoughts and opinions. Asdkfjaklsdfjfjlaskjdfkasjdkflj

Based upon the findings of our research group, it is recommended that…. More suggestions can be found in the Recommendations section on page [ddd] of this report.


Background and Opportunity

The MPSJ Company was hired by Wrigley’s, the makers of Extra chewing gum to conduct research concerning which attributes in gum consumers find most attractive. With many different flavors and packaging styles available, Wrigley’s desired to know how to better its product by meeting its consumers wants and needs. By focusing on breath freshening gum, MPSJ Company looked at what qualities make gum appealing to buyers.

When looking at 11 students aged 19-22, MPSJ Company found that all of the students used gum as a means of freshening breath and many also used gum chewing as a leisure activity. MPSJ Company conducted a focus group comprised of the 11 students to see which qualities of gum and its package played a part in their buying patterns. In the focus group four topics were used to determine the students’ ideal gum. The topics were taste, packaging, pricing and advertising.

Prior to the focus group, the moderators hypothesized that the students would enjoy a gum that provided fresh breath for an extended period of time, packaging that was convenient and hassle-free, a low cost and that advertising played a role in the type of gum they purchased.

Through the focus group, the MPSJ Company found that the target audience provided much quality information about how young adults use breath freshening gum. It helped moderators to gather information about which qualities in gum taste, packaging, pricing and advertising could be combined together to create an ideal gum for consumers.


Method


Conclusions: Taste

Participants were asked about their opinions regarding gum’s taste and texture. The taste trials revealed that consumers prefer a larger, softer piece of gum that provides fresh breath and is not overwhelmingly minty.

Consumers have expectations on a gum’s texture and ability to freshen breath, in general and for certain products/flavors. The taste trials sparked many thoughts on gum, however the topics of flavor and texture were the most repeated and had the most emphasis placed on them.

When it came to reasons for chewing gum, an overwhelming number of participants said they chewed gum to freshen their breath. When asked why they chew gum one participant stated, “For breath freshening because I eat lunch and then have to go to class and I can’t brush my teeth so I chew gum.”

For shape of gum in general consumers seek a stick of gum as the most ideal form. Trial C led one participant to say “ I feel like the size, I feel like I am getting jipped (small piece), like the other ones(sticks) look bigger and I’m like Yeah, I got a nice stick of gum!”

For the texture of gum in general, consumers prefer a softer, smooth stick of gum. After trying a coated piece of gum one participant said “ I don’t really like how the coating on it is really hard. I prefer a softer gum.” Another stated, “the shell was in my teeth, it was kind of gross, and I felt like I was chewing really loud like a cow.” Consumers strongly prefer sticks of gum to tablet forms and agreed that the stick forms had the best textures. Participants also stated they prefer their gum to remain smooth while chewing. Trial B was said to be “really thick. It was just too hard to chew.”

For flavors of gum consumers prefer mint over bubble gum. The amount of mint flavor is very important to consumers. When the amount of mint is very strong as it was in Trial E, comments such as, “ I don’t like this gum, it is too minty” and “it’s too intense for me, I don’t like it” were stated by participants.

Several participants stated that spearmint gum was their ideal gum with a flavor that is “the perfect amount of like being sweet and minty.” Consumers do not like gum the is overly sweet and sugary. Consumers believe that cinnamon and spearmint flavored gum is ideal when it comes to breath freshening.


Conclusions: Packaging

Participants were asked about their preferences regarding packaging design and durability. It was determined that the ideal gum package is simple, discreet, easily portable, and bears a color reflecting the flavor of its contents.

According to the participants, an ideal gum package is simple. For example, one participant commented, “I don’t like this kind (Sample A) because it not only has this silver wrapping, but a paper wrapping, so that is extra trash.”

Participants preferred packages with one hard outer covering containing individually wrapped sticks of gum. The consensus was that extra wrappings around the sticks provided unnecessary waste, “I don’t like carrying around a wrapper after I eat. I feel like I have trash in my pocket.

These extra wrappers also caused the gum package to be awkward and spill easily, “With this one (Sample A), when you try to pull [a piece of gum] out, the whole thing will come out so then you just lose the outer protective thing. Then you have just a lot of loose gum around.”

However, having the single wrapper encasing the gum was important. The participants did not like gum in the “blister” style packaging (Sample B), “It feels like I am taking a pill, and it’s not what I would think of as gum packaging.”

According to the participants, an ideal gum package also needs to be discreet. Sample B, in the “blister” packaging was determined to be too noisy, “If you are taking a test and it is quiet, this is going to be the loudest gum [wrapper].”

According to the participants, an ideal gum package needs to be easily portable. There were two schools of thought on what being “easily portable” meant to the participants. These varied by their means of carrying the gum, and their subsequent built-in storage devices.

Those who mostly carried gum in their pockets preferred Sample A’s “5-stick” style of packaging. These participants were primarily male. They preferred this style because “I don’t carry my purse all the time. You can just slide it in your pocket and just carry it wherever you need to go.”

These participants’ feelings can be summed up in the quote, “My jeans have a little pocket and that is fine with me.”

Those who primarily carried gum in their backpacks or purses preferred Sample C’s “envelope” style of packaging. These participants were primarily female. They preferred this style because of its efficiency in keeping the gum encased in the outer wrapper.

A common assertion was that “With the sticks of gum all of them will fall out of the package so then I’ll just have a bunch of loose pieces of gum just floating around in my backpack. And then it sticks to my binder because sometimes they open and smash. I don’t like that.”

This group of people also liked the slim design of the “envelope” package because of its compatibility with compartments already built into their purses or backpacks, “I like the [envelope] packages because you can put them in things, like I could put them in my wallet if I wanted to take it somewhere. You can’t take the huge pack of Wrigley’s or whatever it is and put it anywhere. It’s kind of bulky.”

According to participants, the color of an ideal gum package should match the flavor of gum wrapped inside. They associate each different flavor with a unique color. For example, one participant said, “The color of the package should match the flavor. Like if I am buying spearmint gum then I like my package to be green. If I buy bubble gum, I’d like my package to be pink.” Another participant emphasized this point, saying “Sometimes I may not even read what it says on the package, I just look at the color and am like ‘Oh, I’m sure that is cinnamon.’”

The ideal gum package would be simple, discreet, easily portable, and bears a color reflecting the flavor of its contents. Producers of gum should consider making a small, slim package, able to fit in the pocket of a pair of jeans, while still featuring the “envelope” design’s signature flap. This would allow consumers to place gum in their pockets without worrying about damage. Producers should also consider making several different colors of package, so that they could coordinate with many flavors of gum.


Conclusions: Price

During this part of the focus group, participants were asked to evaluate how the price of gum affects a purchase. Members of the target market connect the value and quantity of gum and its packaging to its price when purchasing gum, but think that a package of gum should not cost more than $2 because it is normally an extra purchase when buying other items.

When looking at how much gum should cost, members of the focus group showed that the quality of gum and its packaging reflects its cost. “Orbit is the most expensive gum I have ever bought. I like the flavor better and I like the packaging better,” one member said. When talking about gums like Double Bubble that are handed out at parades, the members looked at the quality of this gum when determining what they would pay for it. “It’s gross so I wouldn’t pay more than 25 cents,” a member said of Double Bubble. Another member added, “It doesn’t keep its flavor very long.” With regards to packing, the group also decided that nicer packaging is a legitimate reason for a higher price. One member said, “Like the stick gum is in a cheap cardboard laminated package so it is going to cost more for them (Orbit/Eclipse) to put it in a box.” “To an extent I think quality and packaging affects the price of gum,” a different member added.

The group also discussed its reasoning for buying gum and how that can play a part in how much they spend. “I don’t think about how much money I spend on gum. I just grab it. Price doesn’t matter at all, unless I only have a dollar and I want to get gum. Then I get whatever is cheapest,” one group member said. The group participants said that they rarely go to the store just to buy gum. It is an extra buy that they pick up when buying other products. Because of this reason, price does not matter much to them. “Usually when I am going to buy gum, I am buying other things so an extra $2 or so isn’t going to matter.” The group also discussed how they will buy more expensive gum if it is convenient for them. “If you go to a CVS or even a gas station, gum is more expensive than if you bought it at Wal-Mart so I kind of feel like I am getting ripped off,” one participant said. Another member added, “If I’m at CVS I am not going to make a special trip somewhere else just to buy gum. Now if I am going to CVS and Wal-Mart I will wait to buy gum at Wal-Mart. But if I am just going to CVS, I am not going to be pleased, but I will still buy it.”
Even though the group said they would pay higher prices if it is convenient, they think no package of gum should be more than $2. Gum should be inexpensive. Bulk packages of gum can be more expensive, but should not cost much. One group participant said, “I feel like I spend $1.79 for the 10 pack in bulk. But for that I am getting 50 pieces of gum. But with these (15 stick pack) that is too much money.” Another group member agreed with bulk packages being more expensive, but should not cost too much. “I would not spend over $2 for something like this (15 stick pack) and more than $2.50 for the 10 pack. It’s not a necessity of life. I don’t live or die buy gum.” For a single package of gum, the group found that it should not cost more than $1. “It’s like $1.19. I always thought a package of gum should be under $1,” one member said.