Financial Statements and Projections
Operations Management and Implementation Plan
Using course work and making corrections from the weekly feedback, you will add segment H and compile the References page.
You need to complete the following to complete your project:
Communicate recommendations and additional competencies to your organization in a 5-page report (see outline below).
Compile all of the references from Units 1–5 and prepare a References page.
Recommendations and Additional Competencies
Potential Problems and Solutions
The submission details are as follows:
With rock and roll reaching full swing by the end of the fifties and the electric guitar ris-ing to new prominence in the hands of Chuck Berry and Bo Diddly, the stage was set for the de-velopment of a new musical sound, one originating in the bourgeoning surf culture of Southern California. The summer of 1961 sparked an explosion of what would, over the next several years, become known collectively as "surf music" and spread like wildfire across the United States. While it began as almost an extension of 1950s rockabilly and R&B, the genre drew on in-fluences from a wide variety of styles, including Country Western, flamenco, jazz, and doo-wop. To a notable degree, the surfer sound relied heavily on several technological innovations in electric guitar instrumentation orchestrated predominantly by Leo Fender. As a result, a signifi-cant number of surf's early songs were primarily instrumental, but in the years that followed, the broader definition of surf music quickly came to incorporate the vocal harmonies and lyric con-tent that many associate with surfer culture. There is perhaps no one individual more influential in the development of surf music than Dick Dale, a Boston born guitarist living in Orange County, California. While his early performance reflected a more country sound, he soon became inspired by his hobby as an amateur surfer. He sought to recreate in his music the sounds and feelings he experienced while surfing, and according to John Blair's Illustrated Discography of Surf Music, "the result of this somewhat nebulous and certainly subjective approach was the surfing music genre" (Blair, iii). In fact, it was Dale who first used the term "surfing sound," which he did in the summer of 1961 in reference to both the style and sound of his guitar playing. The Dick Dale sound thus became one of "vibration and pulsification, by a heavy staccato sound on the low-key strings of his guitar accompanied by a heavy thunder-like beat" (Blair, iii), or as Dale himself put it, "a heavy, fast machine gun staccato attack . . . [that] provided a fat, full non-stop sound" (Blair, i). This was accomplished in part through what is known as tremolo or double picking, in which the guitarist strums a single note very quickly and steadily without accenting any particular beat. This style of picking was adopted by a vast number of the surf bands emerging at the time and thus became a defining element of the surf music genre. A typical instrumental surf band consisted of two guitarists (a lead and a rhythm), a bass-ist (the surf genre was among the first to implement widespread use of the electric bass), and a drummer. With the early surf bands, saxophones and electric pianos were also common elements. Developments in drum kit technique made appearances in surf music as well, as with the use of a steady back beat (generally in 4/4 time) accompanied by fills that was showing up in rock and roll music at the time. 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, f>GET ANSWER