In order to successfully implement a change within an organization, the change agent must assess the organization’s culture and readiness for change. In 750-1,000 words, analyze the culture and level of readiness of the organization for which your evidence-based practice project is proposed. You will use the assessment of the organization’s culture and readiness in the Topic 8 assignment, during which you will synthesize the various aspects of your project into a final paper detailing your evidence-based practice project proposal. Include the following: Describe the organization’s culture and explain to what degree the culture supports change. Consider organizational and leadership structure, mission and values, interprofessional collaboration/team engagement, communication, perception of the organization by employees, etc. Select an organizational readiness tool and assess the level or readiness for change within your organization. Identify the readiness tool and summarize the survey results. Discuss the degree to which the culture will support and sustain an evidence-based practice change. Consider strengths and weaknesses, potential barriers, stakeholder support, timing of the proposal, and resources. Provide rationale. Discuss what health care process and systems you would recommend for improving quality, safety, and cost-effectiveness for the organization. Propose strategies to better facilitate the readiness of the organization. Identify the stakeholders and team members for the project. Include what their duties will be in the evidence-based practice project proposal. Explain what information and communication technologies are needed for the implementation and how they will be integrated in the setting by the internal stakeholders. Explain how these will help improve nursing practice and care delivery for individuals and populations for your intervention.
Also essential to this style of surf music are several equipment related elements-particularly an electronic device called a reverberation unit, or "reverb." Developed by Leo Fender in collaboration with Dick Dale and released in 1961, the Fender Reverb Unit allowed musicians to produce "wet"-sounding effects, and brought an echo-like quality to the staccato guitar sound, lengthening the individual notes to create the smoother, fuller sound employed extensively by surf musicians. Also, the tremolo arm (or "whammy bar") was frequently used to bend notes downward, a common element in surf guitar. The Dale/Fender collaboration also produced the first 100 Watt amplifiers, used widely by surf musicians in live performances. When these elements combined, the result was the music made popular by bands like Dick Dale and the Del-Tones, the Chantays, the Ventures, and the Surfaris. As Dale put it, "Surf music is a definite style of heavy staccato picking with the flowing sound of a reverb to take away the flat tones on the guitar and make the notes seem endless. Very heavy guitar strings are used to elongate the sound from the vibration of the strings, not the feedback qualities of an amplifier. It becomes a very in-depth combination of things that, when put together, spells out true surf music" (Blair, iii). At the same time, another kind of music, still with its roots in the surfer culture of Southern California, was developing. Spearheaded by Brian Wilson, this sound-frequently referred to as surf pop or beach music-was of a more vocal style. Unlike Dale and other surf rockers who expressed the sounds and feelings of surfing through their instruments, bands like the Beach Boys and Jan and Dean "communicated what they felt about surfing-and Southern California's youth culture-by singing about it in lilting two, three or four part harmony" (Gault-Williams). These harmonies-often simple in nature, and usually catchy-played heavily into the styles of the numerous doo-wop, R&B, and vocal groups that were so successful at the time. Many of the bands' early songs also featured basic rock and roll instrumentation and rhythmical qualities, tak-ing on the only minimally the style of guitar playing made popular by Dale (the spring reverb sound was most prominent). Aided in part by the existing popularity of the styles that influenced it, this type of surf song garnered widespread popularity of its own despite the mostly localized content of its lyrics. The wide geographic exposure achieved by bands like the Beach Boys "al-lowed the local experience [of living in Southern California] to be vicariously shared by people in other areas of the country and overseas" (Blair, v). With the Beatles and other bands of the British invasion making strong inroads in the mid-sixties, however, the popularity of surf music proved to be short-lived, fading out almost as rapidly as it came into being. While the Beach Boys did manage to retain their popularity on the national stage for a time, their later songs largely moved away from the topic of surfing, many focusing on the new hot rod craze-a fad more accessible to a geographically diverse population than the coastally localized surfing fad. The surf guitar styles of Dick Dale and others like him also receded back to the coast, though resurfacing occasionally (most notably with Quentin Ta-rantino's use of Dick Dale's "Misirlou" in his film Pulp Fiction). Political factors-including the assassination of Kennedy and the onset of the Vietnam War-also contributed to a changing of tastes that accompanied surf music's demise. What follows here are highlights of the brief but shining era of surf music.>GET ANSWER