Event Management Of Rio Carnival Festival Tourism Essay Essays

Event Management Of Rio Carnival Festival Tourism Essay Essays Event Management Of Rio Carnival Festival Tourism Essay Paper Event Management Of Rio Carnival Festival Tourism Essay Paper Introduction: The event selected in order to finish this piece of work is the Rio Carnival. This is one of the celebrated festivals and it is held before Lent and it is known as one of the biggest festival where the participant populace is more than two million in Numberss each twenty-four hours. The festival is one of the oldest 1 every bit good. Before traveling in to farther item of the event and covering the subject as of different required angles the research worker will give a brief history about event direction and the progresss which has taken topographic point with the transition of clip and debut of latest engineerings. ( Getz, 2007 ) Life is full events that are non merely interesting but full of attractive forces and escapade for the populace. There has been a batch said and discussed and largely one might happen finishs under enormous force per unit area as they are non certain how to cover by agencies of these events and salvage them as of going a touristic merchandise. In the yesteryear, major events have been victim of different unwanted actions which has non merely spoiled the image of the finish but in add-on the celebrity of the event has been affected to a great extent. In the present universe where engineering through media has covered all the amusement facets for public and public can bask the event as of the parturiency of their place merely by sitting in forepart of their telecasting sets, still the existent joy is for unrecorded amusement as public want to take part and be portion of the colourful environment which can non be captured or experienced through telecasting no affair how good they are ca ptured. A superior quotable Event Management method offers an organisation with the aptitude to feel Events, acknowledge them, and so take on a suited control disturbance or action to avoid an happening and/or service break. Suitable activities or behaviors can consist of an action to let go of an event or to follow an event. Well-organized service processs base on the timely handling of the several activities indispensable to avoid confrontations and service outages. ( Reisinger, 2009 ) As Event Management offers the capableness to feel incidents before clip, an association can configure engineering to prolong an Event Management process to trip an event after it has been automatically noticed and be automatically allocated to the suited resolver cabal for action before any definite service break or outage happens. Using engineering to prolong an Event Management process makes it likely for a few activities to be observed by freedom which can help eliminate the demand for dearly-won and supply concentrated existent clip monitoring , whereas at the similar clip, dropping inaccessibility or down clip. Inside Event Management there are some altered sorts of events to manage which include: Normal Operation Events: These sorts of events can consist an automatic proclamation that a planned work load occupation has ended as usual or a consumer has logged into an contraption that they had the right point of admittance to, or an electronic mail has attained an awaited receiving system. Standard procedure events are important to detect since they might stand for a breach of policy or non observation to a development. ( Richards et al. , 2010 ) Exception Events: These sorts of events might consist user enterprises to entree an application with an incorrect watchword excessively many times or, a device s CPU is above an acceptable use rate or a Personal computer scan reveals the installing of improper package. ( Reisinger, 2009 ) Unusual Events: These sorts of events typically represent something unexpected and necessitate immediate notice such as server memory use within 5 % of the highest expected public presentation degree, or the decision clip of a dealing 10 % longer than normal. The cardinal point with any of these event sorts is that instant action should happen in order to either raise an incident record or a dismiss and log of the event for farther monitoring and trending. The Benefits of Event Management: By officially using these cardinal activities of an Event Management class, organisations are able to augment effectual efficiencies by going more practical at pull offing operations that cognition mistakes and service outages. In today s multifaceted IT environments, the grade of informations being produced on a day-to-day footing can be resistless plus unmanageable devoid of controlled and quotable procedures and the engineering to back up those procedures. Millions of trade s trades that rely on IT prop up are conducted every twenty-four hours. Devoid of an accepting of critical concern procedures, pull offing events turns out to be an unproductive best conjecture enterprise. ( Getz, 2007 ) An lineation of what the festival/event is: The carnival held one time a twelvemonth in Rio de Janeiro in Brazil is the for the most portion well-known party in the universe, turning year-on-year and pulling 100s of 1000s of foreign every bit good as national tourers. In the hebdomad about festival 80 % of the annual ingestion of beer is intoxicated plus 70 % of the annual tourer net incomes are composed, doubtless demoing the significance of the event cheaply? To Brazilians festival and dancing are every bit important as football, which is truly stating something! A The roots of festival: The name carnival comes as of the Latin word carnelevare intending abstention as of the feeding of meat and domestic fowl. Carnival hebdomad is held to hold by agencies of the start of the Roman Catholic period of Lent, 40 yearss prior to Easter. Lent is conventionally a period of abstention, supplication and self-evaluation for Christians and represents the 40 yearss that the Bible tells us Jesus spent in the desert defying the enticements of Satan. As the day of the months for Easter vary each twelvemonth so do those for the chief carnival weekend. There are several parades and parties by plus following the chief labeled events in the Sambodromo, some of which are free plus held in the street in assorted territories about the metropolis or as pattern weekends in the cardinal site itself. ( Dunne L et al. , 2002 ) Carnival as a celebration of music, dancing, misbehavior every bit good as extremes plus day of the months back to the ancient Roman carnival of Saturnalia which was introduced in 217 BC to raise the assurance of battle-weary Romans following overcomes by the Carthaginians. It was classically a hebdomad of feeding, imbibing every bit good as the deride turnaround of the communal order, slaves being given several farther autonomies for case Several Roman Emperors such as Augustus and Caligula tried to shorten the celebrations to 3 yearss but were met by agencies of such chaos plus were forced to go the residents to their societal assemblage. ( Getz, 2007 ) Rio Carnival today: Even though Rio Carnival may non be the lone party in Brazil, is still expensive well-known. Equally far as the participants are considered, biggest carnival in footings of member is held in Recife in the North where in 2006 1.5 million people took portion. The Rio event has developed repeatedly since its happening back in the seventeenth Century furthermore every twelvemonth it grows in size and more country and obeche schools turn out to be mixed up in the spectacle.A Blocos ( Blocks ) are bantam or in-between sized fold of instrumentalists and terpsichoreans drawn as of vicinities who parade with a disputing subject, slogan and point. They could be clothed in fiting T shirts or in excess inordinate outfit and there are now over 100 Blocos, legion of whom do non even travel away as of their street or vicinity while exposing. Hundreds of local people congregate and escort them in their difficult work. ( Richards et al. , 2010 ) Over profoundly financed obeche schools are immense groups of performing artists which participate in parade competitions in a peculiarly built Sambodromo. These schools procession held on the 4 major darks of the carnival, along with the rubric parade individual held on the Saturday dark. The official resistance can be alienated into 10 classs and a victor picked as of each distribution after being reconsidered on each of the followers ; beating set, Samba vocal, Harmony, Flow and spirit, topic of the twelvemonth, Overall feeling, Floats and props, Costumes, Vanguard group and Flag carrier. There are 4 Judgess in each group and these people sit in booths along the parade path in the Sambodromo. Great standing is awarded to the victors and the competition is taken really critically with monolithic sums of efforts, exercising and money invested. ( Reisinger, 2009 ) Entrance tickets for the Sambodromo parades are awarded and as such are dearly-won even in the low-cost bleacher seats which cost some hundred dollars. Topographic points in the VIP boxes run to 1000s of dollars as they offer the witness much more ease and handiness of installations, unfastened saloon, 3 class dinner etc. for what is a lengthy of sing. Tickets and some hotels often sell out month s in progress so if you want to travel guarantee a longer manner in progress. The stakeholders: Keeping in head the nature of the event it turns out to be clear that the stakeholders are fundamentally the tourers and local audiences that come as of everyplace to bask this event, its coloring material and the different parade and dances which are the really major portion of this festival. ( Bichou et al. , 2007 ) Social-cultural benefits and issues linked with festival: The modern universe is confronting menaces like terrorist act and mark violent death and there are many parts of the universe where the felons wait for such mega events so that they can acquire a opportunity to do harm on high graduated tables. The harm can be anything like robbing, killing and even bomb blasts which are usually the cardinal focal point for terrorists in today s universe. The community may ever experience itself at hazard during such plans and events as the ratio of offense is higher and it s hard to follow and command due to the size of event. Talking about benefits, festival like Rio brings concern to the state and enables the alien to understand the civilization of the native people. Not merely does it pull people for long clip but even in the four ( Getz, 2007 ) What tourists might comprehend as an effort to acquire closer to the reliable and to interrupt through to the back part, hosts will frequently comprehend as a misdemeanor, an violation on private and personal infinite, and these differing perceptual experiences shape the power dealingss flanked by hosts and tourers. Merely as objects are altered as they are placed in the forepart and false dorsum parts, the hosts are alienated through their functions in the concern: they become anders, person other than what they one time were. This position of how hosts and their civilization are changed allows me to turn up the cardinal impression of genuineness in the review of the touristry concern in the plants in my acquisition. The three writers portray touristry as doing those who live and work in the concern anders. Returning to the impression of forepart and back parts, so, I argue that the creative persons portray the echt back part as a infinite that has been lost or is threatened by touristry, as it is bit by bit becomes anders and is turned into a false, staged back part. The acquisition depicts touristry and its impacts as a menace, implicitly observing a failure to protect the genuineness of the back part as of touristry. Discussion on how the festival event can assist to further cultural apprehension There are many possible ways in the carnival may assist in order to further cultural apprehensions. The universe has turns out to be little small town and as a consequence people have turns out to be closer to each other with the aid of Information engineering. That is the chief cause behind the fact that people want to cognize about each other s civilization values and beliefs as they find cognizing about these cultural values really interesting. In order to acquire the cultural understandings events like The Rio Carnival plays a cardinal function as non merely the fact that its is really attractive but at the same clip it s one of the celebrated and large festival that automatically attracts the attending of people as of all over the universe and they want to cognize about it, how it started and the other linked civilizations with it. ( Bichou et al. , 2007 ) Peoples as of all over the universe as mentioned earlier fly to Brazil to bask this festival. This gives them chance to cognize about the local civilizations and the different interesting facts that may be associated with these civilizations which may change after every hundred stat mis depending on the locals of the state and different cultural beliefs which they may possess. Recommendations for extenuating negative societal and cultural impacts of the event festival Contemporary universe faces some serious menaces. These menaces can be terrorist act, robberies, violent deaths and other issues. Terrorists are ever in hunt of such festivals and societal assemblages where the figure of participants irrespective of the fact that they are performer or audience. This merely for the ground that the more large the assemblage is the bigger will be the degree of devastation which may be caused by these terrorists. Therefore, it turns out to be the duty of the event direction squad and the concerned governments to do certain that all the available latest tools and other installations like information engineering and directions and security techniques are adopted in order to do certain that the event direction is successful at the same clip is safe as of any sort terrorist activity which may do the loss of cherished lives. ( Getz, 2007 ) Decisions: Sing the elaboratenesss of IT organisations at present, there is a strong demand of all right Event direction pattern and the demand for engineering enabled processs is critical for best possible operational effectivity. The intent of an Event Management class is to perceive events of important service factors and respond immediately to direct those events. At present we want informations gathered, concurrent, processed and so analyzed as much fleetly and right as possible. Effectiveness commence with anterior readying to acquire an thought that which services are indispensable and entail supervising along with usual reassess Sessionss to maintain these regulations clear, precise and applicable. ( Reisinger, 2009 ) Technology contributes a great trade in heightening the Event Management procedure by computerising the existent procedure actions themselves ( for illustration event acknowledgment, event proclamation and automatic incident formation ) , and through analysing the consequences as of some other associated processs ( such as Configuration Management ) . Incorporation with other patterns ( peculiarly Incident Management, crisis Management, Accessibility Management, Configuration Management and Service rank Management ) is crucially important to vouch that events are handled expeditiously and that the maximal degrees of handiness and service are kept. ( Getz, 2007 )

Lone Pair - Chemistry Definition

Lone Pair - Chemistry Definition A lone pair is an electron pair in the outermost shell of an atom that is not shared or bonded to another atom. It is also called a non-bonding pair. One way to identify a lone pair is to draw a Lewis structure. The number of lone pair electrons added to the number of bonding electrons equals the number of valence electrons of an atom. The lone pair concept is important to valence shell electron pair repulsion (VSEPR) theory, as it helps to explain the geometry of molecules. Sources Albright, T. A.; Burdett, J. K.; Whangbo, M.-H. (1985). Orbital Interactions in Chemistry. New York: Wiley. p. 102. ISBN 0471873934.Ansyln, E. V.; Dougherty, D. A. (2006). Modern Physical Organic Chemistry. Sausalito, CA: University Science Books. p. 41. ISBN 978-1-891389-31-3.Kumar, Anmol; Gadre, Shridhar R.; Mohan, Neetha; Suresh, Cherumuttathu H. (2014-01-06). Lone Pairs: An Electrostatic Viewpoint. The Journal of Physical Chemistry A. 118 (2): 526–532. doi:10.1021/jp4117003

Debate on Health Care Management Term Paper Example | Topics and Well Written Essays - 2500 words

Debate on Health Care Management - Term Paper Example The paper is subdivided in sections including the introduction, the main body, the conclusion and eventually recommendation. The introduction introduces the subject matter to be handled in the discussion. The body analyzes various health care scenarios and their implications on the current problems affecting the industry. The conclusion captures the main points discussed in the body and the recommendations highlights the changes to be made on the industry to make it better. Introduction Everybody in the society aspires to receive the best medical care whenever she or he needs. This is not achievable to everyone because access to quality healthcare comes at a cost. On the other hand, the world is continuously changing but the healthcare system used by majority of Americans was created in the 1940s. During that time, Americans did not change their jobs frequently, as is the case today. In addition, the number of retirees was low, which meant that the retiree benefits were not costly to the employer. This has changed and coupled with increasing life expectancy, employers are finding it hard to offer retiree benefits. The cost of provision of quality healthcare has been escalating over the years, which means that most people cannot afford it. Enacting of changes such as leading health lives will result in trimming the costs involved in the provision of these services (Shortell & Kaluzny, 2006). Scenario 1: Business as Usual The fluctuations between the government intervention and the market fixes on health care policies affect the efforts at cost containment in the health industry. The government through its health care policies has increased the population of the organized health care plans, increasing the competition in the health care industry. The government has facilitated this through eliminating certain laws, which banned selective contracting. The managed care systems supported by the United States government imposes prices for purchasing the services and t he cost the providers get paid (Fuchs, 1988). Multiple payments, health delivery and insurance schemes as well as the health care being financed by both the public and the government have led to high health costs in the country. This system of health care system is expensive because the government cannot effectively manage the total health expenditure, affecting service utilization and heath care availability (Fuchs, 1988). The health care providers in the industry strive to maximize the reimbursement of the government for the services delivered to the managed care organizations. In contrast, the government seeks to contain the cost increases in the industry; thus, there exists counteractive forces among the players negatively influencing the efforts to contain costs. The cost containment has remained a primary challenge in the country (Major Characteristics of U.S. Health Care Delivery, n.d). The health care market responded to the government interventions, which increased competit ion in the industry by initiating price discounts on the health care services that they offered to their clients. The rising cases of obesity besides the swift expansion of the providers make health care spending to rise. The gains made in managing the chronic diseases through developments and innovations in technology and

Analysis of the market for Beats Essay Example | Topics and Well Written Essays - 1500 words

Analysis of the market for Beats - Essay Example The product has been featured in numerous music videos and ad campaigns that have created a very high profile image for the brand and its products (Libby, and Tregarthen 34). The numerous endorsements by celebrities have made it very glamorous to be associated with the brand. That explains the large number of young people wearing the headphones and earphones around their necks. School going children and young working adults all possess or wish to own a pair of Beats headphones or earphones. Other than the popularity that the product has gained from celebrity endorsements, the brand produces high-quality products. The sound quality of the audio devices is much higher when compared to the competitor products. The bass produced by the earphones is appreciated by music lovers of specific genres such as hip-hop, dance and electronic music. The market in the United Kingdom is promising for products produced by Beats. In fact, the BPI released statistics that suggest that companies dealing with technology would enjoy transacting business in the United Kingdom. The UK has 64.1 million resident citizens. Of this population, 12% are young adults who are between the age of 16 and 24. This accounts for 7.1 million young adults which are the target market for beats. In the past five years, according to BPI, there was an increase in sales made by the technology sector accruing to $11 billion. The sales in smart-phones and tablets accounted for the majority of growth in the technology sector. Music was among the key driving factors for this massive growth in sales. This is because the United Kingdom was found to purchase more music related products than other first world countries by approximately 25%. All these facts indicate that Beats doing business in the United Kingdom would be a profitable endeavor. Beats  is  a household name in every country on the globe. However, this does not mean that it is the only producer of quality audio devices; especially in the United

Essays --

Inequality can be traced as far back as possible. It can also be described as disparity. This disparity can be in terms of income, wealth, class etc. Economic inequality can be described as the disparity between income of individuals or household within and outside a country. When â€Å"income inequality† is mentioned, most people think about it in a within the country context, but in a world that is becoming more integrated, economic inequality between countries is becoming more relevant. In a world where other people’s income and wealth affect our perception of life, one might ask the question, â€Å"is economic inequality the biggest issue of our time†. The history of economic inequalities between countries can be traced back to the 18th century and has taken different forms since then, especially, in the 19th century till date. Firstly, the Lorenzo curve. This is a model use for measuring inequality. It was developed by Max Lorenz in 1905. The Lorenz curve is usually in a form of graph on which the cumulative proportion of income is plotted against the cumulative proportion of population on the in which their axes ranges from [zero (0) to one (1)] or [0% to 100%]. The Gini index, another method of measuring inequality is derived from the Lorenz curve. The Lorenz curve is shown in the graphical illustration (figure 1) below. The first calculation of inequality across world citizens were done in the early 1980s (Berry, Bourguignon and Morrisson, 1983; Grosh and Nafziger, 1986). This is because in order to calculate global inequality, one needs to have data on (within country) national income distributions for most of the countries i n the world, or at least for most of the populous and rich countries. But it is only from the early to mid-... ...5) is shown below. Above are the steps (faster growth of smaller countries, global redistribution and 21st century trilema) that makes up part of future possibilities of global economic inequality. If A and B, then no C. Migration is the outcome of current unequal globalization. If B and C, then no A. Unequal globe can exist if people do not know much about each other’s living conditions or costs of transport are too high. (Milanovic, 2011, p. 56) If A and C, then no B. Under globalization, people will not move if income differentials are small Described above, is the economic inequality between countries. Points explained under this topic include the history, current information, trends and its future directions and with these points explained above, one might still ask, â€Å"is economic inequality the biggest issue of our time?† and if so, how can we solved this?. â€Æ'

Superhero and Comic Book

Superhero By Numbers – Lisa Watson and Phil Stocks January 29, 2009 by angelan Abstract: This paper reports on results of a statistical analysis correlating superhero characteristics such as powers, motivations, weaknesses, and costumes with commercial viability as represented by comic book sales and number of appearances in new media such as cinema and television. Results indicate that features of a character have little impact in the comic book market, and that new media trends support a move away from god-like, untouchable heroes to heroes displaying more human frailties and highly visual super abilities.Introduction The superhero is an ingrained part of popular culture that has seen resurgence in the last decade through the introduction of prominent characters to new audiences through expanded media. There was a time when superheroes were entrenched firmly in the comic book medium. However, advances in technology and changes in distribution channels have changed the superh ero industry considerably. With comic books barely achieving a fraction of early sales volumes, publishers are trying to revive their comic book heroes by taking them from the â€Å"Silver Age† to the silver screen and other fora.However, with greatly advanced media come great financial risks. In order to secure their investments, the sponsors of these types of ventures must have a solid understanding of the modern superhero audience and what it is looking for in an iconic protagonist. Heroes and villains express cultural values regarding what society reveres as admirable and fears as deviant (Klapp 1962). Bradford Wright’s (2001) book â€Å"Comic Book Nation† outlines the evolution of comic book stories and characters mimicking cultural change; however, this discussion was done retrospectively (as were others).These types of observations tell us that what was popular during the golden age of comic book heroes will surely not be desirable in today’s socie ty. It would be useful if publishers were able to determine what readers are drawn to now so that they might better meet the demands of this generation of reader. Empirically studying the popular appeal of superhero traits can give us insight into our society and trends within its development. What makes a character popular or prominent as we enter the Aquarian age? How important is boundless virtue or courage in the face of insurmountable odds?How relevant is the softer, vulnerable side of a character? Do readers have preferred super powers? Is an Achilles’ heel necessary? Moreover, what characteristics are enduring? Answers to these sorts of questions should provide the insights that will tell companies which avenues should prove the most lucrative and least risky to pursue in bringing superheroes back to the masses. The aim of this study is to analyse trends in superhero characteristics empirically in order to establish current popular superhero traits.Following standard p ractice for writing academic articles in the applied social science of marketing, study findings are then used to develop a series of managerial implications for businesses. In this instance, findings may be used to reduce risk in choosing existing heroes to introduce to modern audiences, or to create a new breed of hero that is better able to reach the target readers, viewers and players of the future. Literature Review Superheroes made inroads into popular culture in the 1930s at newsstands around America.The â€Å"Golden Age† of comics set a precedent of seemingly indestructible superheroes who held secret identities and were dedicated to upholding truth and justice (Bongco, 2000). After struggling to maintain reader interest through the early 1950? s, the â€Å"Silver Age† of comics saw revamping and reintroduction of characters thought to be buried deep in the archives at the Hall of Justice, this time bringing some more human qualities to the fore. Now, â€Å"wh en you think of Superman, you most likely think of the Superman that was in vogue when you were a child.There’s been a Superman for every decade since the character was created† (Fingeroth, 2004, p. 20). Even today, one man’s Dark Knight is not necessarily another boy’s Batman. The eighties and nineties saw a bold break from tradition as comic publishers started directly targeting more mature readership by introducing not just human struggles within the characters, but hints of amoral and anti-heroic tendencies as well (Bongco, 2000). Do superhero fans of today prefer the altruistic heroes of yesteryear like Spiderman, the bad-boy good guys like Wolverine, or looking into the darkest depths of the Dark Knight?The comic book companies that own our superheroes have used in-your-face tactics to increase sales figures before. The Justice League of America and The Avengers were, after all, â€Å"the fictional result of the real world commercial desire to gathe r the company’s most popular heroes into one magazine or animated series† (Fingeroth, 2004, p. 104). However, when companies are betting multi-billion dollar budgets on public interest in particular superheroes, they should be sure they are choosing wisely. Only the most popular of the comic book superheroes can make it to the silver screen or video game monitor.Which character is the right one? Which iteration is the right one? Or should we abandon our superheroes of yesteryear and create new ones, like Buffy the Vampire Slayer, exclusively through new media to show us the way? It is impossible to have a discussion of superheroes without the issue of gender being raised. Superwomen generally are parts of super teams rather than stand alone characters, and often they are in relationships with male counterparts. However, both partners need not be super, and significant others can be used as plot devices in stories.Therefore, it is worth exploring whether being in these s orts of relationships increases a character’s popularity. What do we look for in our superheroes? Kevin Smith (2003) has a simple view: â€Å"altruism and clothes† (p. unknown). On a more serious note, Fingeroth (2004) asserts that strength of character, positive values, and a determination to protect them start the list. So what separates superheroes from our other heroes? Bongco (2000) offers a costumed, secret identity (p. 102). Fingeroth (2004) argues that they have to possess skills and abilities that normal humans do not.Physical, mental and sensory attributes may be heightened. They may have superhuman powers that can range from magical gifts, to scientifically engineered mutations, to high-tech equipment or weaponry combined with an inexplicable ability to walk away from every battle unscathed. But most importantly, they always have to win in the end. By considering a wide range of these characteristics, we hope to be able to determine which combinations of the se characteristics are related to commercial success in a modern market. Method A database of superheroes was constructed incorporating a wide range of superhero characteristics.The purpose of this article is to determine what characteristics are most popular and commercially viable in today’s market. Marvel and DC Comics make up two thirds of the comic book market; thus it was decided that limiting characters to those in these comics would not be detrimental to sampling frame representativeness. An initial breakdown of character attributes and super abilities, including numerical rankings, was derived from information from fantasy role-playing games written for the Marvel and DC universes, specifically Marvel Super Heroes by TSR, Inc. , and DC Heroes by Mayfair Games.Independent variables included attributes and powers listed in the role playing games, as well as variables for their secret identities, weaknesses, motivations, costumes, significant others, and whether they ar e human, not human or mutant. The Marvel Super Heroes template and numeric scale was used and DC characters were translated from the DC Heroes system into the Marvel one. Both systems relate their numeric rankings to feats accomplishable in real-world terms (e. g. , able to lift 100 tons) and the attributes and powers are similar enough that this translation is formulaic and involves negligible speculation.Costume variables consisted of whether the heroes wear a cape and whether their costumes are primarily spandex. Significant other variables included whether the significant other is aware of their secret identity and whether he or she is used as a plot device; however, because not enough information was readily available about this variable it could not be used in the final analysis. Cape and secret identity were dichotomous (yes/no) variables. Weaknesses, motivation, humanness and spandex were short scales. Weakness scaled from none to debilitating (0-2). An example debilitating weakness is Superman’s vulnerability to Kryptonite.An example intermediate weakness is Iron Man’s alcoholism. Motivation ranged from none-given (0) to vigilante/revenge (1) to sense of duty (2) to desire to serve (3). Humanness extended from not human (0) to mutant (1) to human (2). Spandex ranged from no spandex (0) to sometimes appears in spandex (1) to all spandex all the time (2). Because the majority of superpowers are unique, they were grouped according to common attributes: powers derived from weaponry or equipment, the power to manipulate matter or energy (external to oneself), powers that are inherent to one’s physical body, powers of the mind, and magical powers.The very common powers of being impervious to harm and being able to fly were given separate entries. These variables were regressed on dependent variables representing commercial popularity to see which combinations of characteristics should prove most successful in the current marketplace. Tw o dependent variables were used to determine characters’ commercial success. The first was the collective number of movies, television programs and video games in which they have featured as main characters. The sampling frame for this data was the Internet Movie Database (http://www. mdb. com, 2005). The second variable was an estimated comic book sales figure for 2004. It used the monthly Top 300 comic sales lists published by ICV2. com (2004) to calculate the total number of Top 100 comic issues sold in 2004 that featured each of the heroes as central characters (based on title characters for individual titles and feature characters in the case of group titles). While these data can not be entirely accurate, they should provide reasonable estimates of heroes’ market popularity in popular media.Results There are 75 heroes in our database; some individual data points are missing for some characters. This sample is small for the number of independent variables in our a nalysis. Therefore, the first step was to conduct a factor analysis to group individual measures together to create a smaller, but still representative, variable list. A principal components analysis with a varimax rotation was used. It yielded 9 factor components. Factor loadings above 0. 400 may be seen in Table 1.The first factor was labelled â€Å"Physical Attributes,† incorporating health, strength, fighting ability, endurance and agility. Wearing a cape also loaded onto this factor, suggesting that particular fashion item is reserved for only the most powerful of superheroes. Apparently the new cape-less trend started by top superhero designer Edna â€Å"E† Mode has not yet caught on with the big boys. The second factor, â€Å"Sensory Attributes,† included karma, intuition and psyche, which may represent such characteristics as â€Å"spidey senses. † The third factor included resources, reasoning ability, popularity and motivation.This combination s uggests someone who is smart, rich, resourceful, charming and philanthropic, and was thus labelled â€Å"Appeal. † The fourth factor seemed to consist of the most stereotypical traits of a superhero: being bullet proof or indestructible, the ability to fly, and a desire to help protect mankind. As such, it was decided to call this factor â€Å"Golden Age† attributes. Factor five consisted of powers derived from weapons and/or equipment and the power to manipulate matter and/or energy, and was thus labelled â€Å"External Powers. † The sixth factor was labelled â€Å"Secret Identity. Powers associated with the body loaded negatively with secret identity, suggesting that characters without superhuman defences are more likely to require secret identities to protect themselves. The next factor, labelled â€Å"Mysticism,† included magical powers and powers of the mind. These powers were also associated with capes, which are still used by such modern media mag ical superheroes as Harry Potter. At first glance, factor eight appeared to be a bit of a mosaic of collected variance; however upon further inspection it is quite enlightening.This factor encompasses a weakness combined with powers related to the character’s body and high endurance. This factor captures the Achilles heel of the character, along with the struggle to overcome it; thus it was assigned the label of â€Å"Tenacity. † The ninth factor demonstrates the humanness of the character. Amusingly, wearing spandex is positively related to being human. It must just fit better under a wider variety of everyday street clothes. [pic]These factors were used as independent variables in two regression models relating the factors first to appearances in movies, TV shows and video games (new media), and then to comic book sales volumes (as outlined in the method section). Neither of the dependent variables was normally distributed, so natural log transformations were conduct ed on each of them before analyses were conducted. When the superhero factors were regressed on the new media variable, residual analysis uncovered a non-random error distribution that suggested weighted least squares was required.Thus, a weighted least squares regression analysis was conducted using unstandardized residuals as the weighting factor. The model returned an adjusted R? value of 0. 77, meaning that 77% of the variance in new media appearances for superheroes could be explained by the nine superhero factors (Table 2). Four factors had significant effects on how often a character appeared in new media. Sensory abilities, external powers and humanness had positive relationships with new media appearances. It is easy to see why external powers would be desired in today’s visually focused media.Interestingly, the Golden Age factor had a negative relationship with new media appearances, with Golden Age characteristics making a character 35% less likely to appear on scr een. Some of our favourite superheroes have been recreated and revamped over the years. An example of a Golden Age character shedding these stereotypical powers in new media would be the television program Smallville, in which Superman can’t fly and has not yet devoted his life to saving mankind. This example is also an apt one for demonstrating the appeal of the other two factors, humanness and sensory attributes.Directional results indicate that audiences want characters to be less untouchable and more human and to have an innate ability to understand their fellow man. They want to empathize in some way with the protagonist in the story. These results could describe the hardened street smart Batman or the gentler Tobey Maguire version of Spiderman, both of whom are due to make reappearances at the box office, and both of whom will be sporting spandex. Alternatively, these results could be used as a skeleton around which to build new characters to debut in video format. [pic ]A second regression analysis was conducted using comic book sales figures estimates as the dependent variable. The mass audience for movies is a much broader one than the comic book niche market, and as such is looking for more sophisticated superhero stories. Thus, what these two audiences are looking for in superhero characteristics may also be very different. As in the first analysis, the 9 superhero factors were regressed on the transformed dependent variable, in this case Top 100 comic book sales. Linear regression results did not require weighting. Results can be seen in Table 3.Only one of the measured superhero factors, tenacity, played a significant role in determining comic book sales. The ability to overcome weakness in the face of insurmountable odds is something that comic book fans have come to expect from their superheroes over the decades. When writers gave their characters flaws in the Silver Age it was meant to make them look even better when they beat the bad guy (Lang and Trimble, 1988). Apparently the formula still works. These results indicate that changing superhero characters, or developing new ones, will have little effect on sales. pic] This stagnancy with respect to characters may be caused by a general shift among comic book fans away from emphasizing characters and more towards purchasing issues based on their artists (Brown, 1997). Alternatively, this is a small market that is steeped in tradition. Fans involve themselves heavily in these products and are quick to point out inconsistencies. They may simply not be open to change, meaning that the superheroes themselves are hardly considered at this point, so long as they are consistent.In short, this small market is not where growth will happen and is not representative of a broader audience so pursuing alternative characters in this medium could prove to be a waste of resources. Managerial Implications Apart from shedding light on current cultural values, these findings can be ap plied commercially. While results suggested that the comic book market is not strongly character driven, results indicated that characters have a major impact on on-screen popularity.Television and movie audiences seem to want to see heroes that are intuitive human beings that have powers that are external to themselves, whether they stem from equipment or the ability to manipulate matter or energy outside of themselves. They are no longer interested in god-like characters that can fly and can’t be killed. This combination includes mutant characters. Results can be applied to choosing existing characters to introduce into these media, developing new characters specifically for those media, or altering existing characters to better suit the wants of the audiences viewing those media.For example, Iron Man fits these criteria, making him a perfect choice for an upcoming silver screen venture. Findings also suggest that Professor X would be a more popular character if he were to develop the ability to move things with his mind. Alternatively, an entirely new breed of superhero could be introduced to the world. A league of new and improved, culturally customized superheroes to rise from the wake of Buffy the Vampire Slayer and Harry Potter, never having been restricted by the walls of a comic book panel.Limitations There are several issues that require the reader to interpret these results with caution. First, for reasons of practicality, we use quite a small sample of the most well established characters created by the two biggest comic book publishers for our analysis. Therefore, innumerable other superheroes developed by them, smaller companies and independents, as well as those that did not originate in comics, but in some other medium such as television or movies, are not accounted for.Next, much of our analysis was based on comic book sales figures, the overwhelming majority of which were published by Marvel and DC; however, these sales figures were us ed as a surrogate measure of character popularity. It must be recognized that collectors now often consider the comic book artists rather than the characters that they create when purchasing issues, as well as purchasing multiple copies of those they believe will be valuable (Brown, 1997).Thus, character popularity may not be as highly correlated with comic book sales figures as we assume in our analysis. Similarly, Marvel, DC and the majority of the new media depicting those superheroes come from North America. As such, our results may not be generalizable across cultures. Finally, audience demographics for Marvel Comics, DC Comics and the various other superhero media discussed here are proprietary, so we are unable to consider how the audiences for these media are similar or how they differ in our analysis.Instead we are making an assumption that there are differences and inferring that comic book producers have been successful in their bids to increase the superhero audience thr ough the use of new media channels. Future Research This study could be expanded to include a more representative sample of heroes from a wider range of publishers and media if a consistent system for quantifying many of the superhero traits could be agreed upon. Findings would be much more robust and reliable if this were achieved. Demographic or cross-cultural comparisons of preferred superhero traits and media could also be introduced.Villains should also be included in any future analyses. These additions would make the findings more inherently interesting because â€Å"comic book evildoers†¦help define the comic book hero† (Fingeroth, 2004, p. 15). Should further sociological analysis be of interest, a longitudinal study of these characters’ traits, their associated artists and their evolutions could be compared empirically to the observations provided to date and used to attempt to predict current popular trends and their changing sociological implications f or now and into the future.Little empirical work exists in the realm of superheroes as they relate to popular culture, leaving endless opportunity to test the many sociological theories being advanced about them. References Bongco, M. 2000. Reading Comics: Language, Culture, and the Concept of the Superhero in Comic Books. New York, NY: Garland Publishing. Brown, J. A. 1997. Comic Book Fandom and Cultural Capital. Journal of Popular Culture 30 (4): 13-34. Fingeroth, D. 2004. Superman on the Couch: What Superheroes Really Tell Us about Ourselves and Our Society. New York, NY: Continuum.Grinfeld, M. J. 1997. Superheroes Impart Life’s Lessons. Psychiatric Times 14. Klapp, O. E. 1962. Heroes, Villains, and Fools: The Changing American Character. Englewood Cliffs, NJ: Prentice Hall. Lang, J. S. , and Trimble, P. 1988. Whatever Happened to the Man of Tomorrow? An Examination of the American Monomyth and the Comic Book Superhero. Journal of Popular Culture 22 (3): 157-173. Smith, K. 2003. The Superhero. Rolling Stone, May 15. Wright, B. W. 2001. Comic Book Nation: The Transformation of Youth Culture in America. Baltimore, MD: Johns Hopkins University Press.

India is second largest producer of cement - Free Essay Example

Sample details Pages: 6 Words: 1818 Downloads: 1 Date added: 2017/06/26 Category Finance Essay Type Narrative essay Did you like this example? After china, India is the second largest producer of cement with approx capacity of 151 million tonnes every year to be a gigantic industry. As govt. of India promotes better infrastructure in every sector, the cement industry is growing at a very faster pace and is analysed a big booming industry in future, it is predicted that cement production will rise to 236 MT in FY11. 70% of the total cement production in India is produced by around 20 big players e.g.- Acc, ultratech, Birla, jaypee, india cements, Gujarat Abuja, century cements, madras cements, Grasim . Don’t waste time! Our writers will create an original "India is second largest producer of cement" essay for you Create order In the early 1889 a small Kolkata based company started manufacturing in India. After the first World War the importance and thrust of this industry was known and started to grow in terms of installation, capacity, production and manufacturing units. This stage was referred to as the Nascent Stage of Indian Cement Industry. In 1927, Concrete Association of India was set up to create public awareness on the utility of cement as well as to propagate cement consumption. In 1956 price and distribution control system was established for the industry to make fair prices for the customers and manufacturers. A couple of years later, government introduced a three-tier pricing system with different pricing on cement produced in different cost plants. BACKGROUND AND S.W.O.T ANALYSIS OF J.K CEMENT Æ’ÂÂ  J.K cement is a part of J.K ltd which was founded by Lala Kamlapat Singhania. Æ’ÂÂ  First commercial cement production in 1975 at nimbahera (Rajasthan) with production capacity of 0.3 million tonnes Æ’ÂÂ  Commissioned a second grey cement plant at our Mangrol plant in 2001, with a production capacity of 0.75ÂÂ   Æ’ÂÂ  White cement plant was completed in 1984 with a capacity of 50,000 tons. Æ’ÂÂ  One of the largest producers of cement in northern india STRENGHTS Æ’ÂÂ  Holds export market in Nigeria, Bangladesh, Singapore, Tanzania, Sri lanka, south Africa, Nepal and UAE. Æ’ÂÂ  Producer of high quality white and grey cement. Æ’ÂÂ  Backed by state of the art technology and highly skilled labour or manpower. Æ’ÂÂ  Strong brand name and quality of products Æ’ÂÂ  Follows extensive marketing with excellent distribution network. Æ’ÂÂ  Holds a good knowledge in the cement industry, with advanced working models developed buy technical experts Æ’ÂÂ  Experienced and stable management structure with a focus on corporate social responsibility. Weakness Æ’ÂÂ  Unable to match the production capacity of the other big competitors in the industry. Æ’ÂÂ  Need of more capital requirement for more projects and plan expansion. Æ’ÂÂ   Less mergers and acquisitions than other companies to build a healthier network. Opportunities Æ’ÂÂ  Strong and rapid growth of economy focusing on to build infrastructure would give a rise in the revenues to the companies Æ’ÂÂ  New upcoming plans and strategies by private and public sector will increase the demand of cement in future as predicted by the experts. Æ’ÂÂ  Advanced technologies adapted by the company would play vital role in reducing the cost of production and time consumption. Æ’ÂÂ  Government liberalisation and relaxation in the duties will make the company more profitable. Threats Æ’ÂÂ  Easy entry by new companies offering lower prices. Æ’ÂÂ  Inflation in the country gives price rise to the production which can give fall in the demand. BACKGROUND AND S.W.O.T OF ULTRA TECH CEMENT Ultra tech cement is a part of Aditya Birla group which was incorporated on 24 august 2000 as LT cements which demerged and vested in the year 2004 later management tools were operated by Grasim, together with this new company it later on become the largest cement producer in india. Æ’ÂÂ  In 2004 14 Oct the company name was changed to ultra tech cements Æ’ÂÂ  In May 2006 Narmada cement amalgamated with ultra tech cements. Æ’ÂÂ  Cement business of Grasim demerged and vested in Samruddhi Cement Limited in May 2010 Æ’ÂÂ  Samruddhi Cement Limited amalgamated with UltraTech Cement Limited in July 2010. ÂÂ   UltraTechs subsidiaries are Dakshin Cements Limited, Harish Cements Limited, UltraTech Ceylinco (P) Limited and UltraTech Cement Middle East Investments Limited. (Source https://www.ultratechcement.com/about_us/index.htm) STRENGHTS Æ’ÂÂ  Ultra tech cements is one of the largest exporters of cement in Africa, Europe and Middle East which are considered as strong market economy. Æ’ÂÂ  UltraTech Cement Limited has an annual capacity of 48.8 million tonnes. It manufactures and markets Ordinary Portland Cement, Portland Blast Furnace Slag Cement and Portland Pozzalana Cement. It also manufactures ready mix concrete (RMC).ÂÂ   Æ’ÂÂ  The company has 11 integrated plants, one white cement plant, 12 grinding units and five terminals four in India and one inÂÂ  Sri Lanka. Æ’ÂÂ  Ultra techs have a strong brand image and excellent advertising campaign team (Source https://www.ultratechcement.com/about_us/index.htm) WEAKNESS Æ’ÂÂ  Ultra tech cements faces a drought of high skilled manpower. Æ’ÂÂ   Weak supply of cement in the market, main reason improper management. Æ’ÂÂ  Dominated by government policies. OPPORTUNITIES Æ’ÂÂ  Maintain its present market share nationally and internationally and increase in future. Æ’ÂÂ   It can collaborate with government of different countries for undertaking future govt. projects and increase its sales. Æ’ÂÂ  Can come up with economical cement for targeting the rural market. THREATS Æ’ÂÂ  Other big players in the industry like ACC, AMBUJA, and LAFARGE can absorb the market share of ultra tech cement in future if the company fails to adapt its external variables to grab the new emerging opportunities. VERTICAL ANALYSIS OF ULTRATECH CEMENT Balance Sheet of UltraTech Cement in cr Mar 09 ÂÂ   Mar 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   12 mths ÂÂ   12 mths ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Sources Of Funds ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Share Capital 124.49 2.17 124.49 2.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Equity Share Capital 124.49 2.17 124.49 2.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Share Application Money 1.68 0.03 1.99 0.03 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Preference Share Capital 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Reserves 3,475.93 60.52 4,482.17 72.14 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Revaluation Reserves 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Networth 3,602.10 62.71 4,608.65 74.18 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Secured Loans 1,175.80 20.47 854.19 13.75 ÂÂ   ÂÂ   ÂÂ   ÂÂ   UnsecuredÂÂ  Loans 965.83 16.82 750.33 12.08 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Debt 2,141.63 37.29 1,604.52 25.82 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Liabilities 5,743.73 100.00 6,213.17 100.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Mar 09 ÂÂ   Mar 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Application Of Funds ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Gross Block 7,401.02 ÂÂ   8,078.14 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Less: Accum. Depreciation 2,765.33 ÂÂ   3,136.46 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Block 4,635.69 ÂÂ   4,941.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Capital Work in Progress 677.28 ÂÂ   259.37 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Investments 1,034.80 52.20 1,669.55 77.52 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Inventories 691.97 34.91 821.7 38.15 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Sundry Debtors 186.18 9.39 215.83 10.02 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash and Bank Balance 104.49 5.27 83.73 3.89 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Current Assets 982.64 49.57 1,121.26 52.06 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Loans and Advances 395.71 19.96 374.92 17.41 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Fixed Deposits 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total CA, Loans Advances 1,378.35 69.53 1,496.18 69.47 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Deffered Credit 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Current Liabilities 1,860.59 93.86 1,992.60 92.52 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Provisions 121.8 6.14 161.01 7.48 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total CL Provisions 1,982.39 100.00 2,153.61 100.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Current Assets -604.04 ÂÂ   -657.43 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Miscellaneous Expenses 0 ÂÂ   0 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Assets 5,743.73 ÂÂ   6,213.17 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Contingent Liabilities 355.07 ÂÂ   420.26 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Book ValueÂÂ  (Rs) 289.22 ÂÂ   370.05 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Horizontal analysis of ultratech cement Key Financial Ratios of UltraTech Cement ÂÂ   ÂÂ   ÂÂ   Mar 09 Mar 10 % change ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Investment Valuation Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Face Value 10 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Dividend Per Share 5 6 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Operating Profit Per Share (Rs) 140.03 158.86 13.45 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Operating Profit Per Share (Rs) 512.95 565.75 10.29 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Free Reserves Per Share (Rs) 267.12 350.75 31.31 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Bonus in Equity Capital ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Profitability Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Operating Profit Margin(%) 27.29 28.08 2.89 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Profit Before Interest And Tax Margin(%) 21.9 22.24 1.55 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Gross Profit Margin(%) 22.24 22.56 1.44 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash Profit Margin(%) 20.41 20.43 0.10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Cash Margin(%) 20.41 20.43 0.10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Profit Margin(%) 15.06 15.3 1.59 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Net Profit Margin(%) 15.06 15.3 1.59 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return On Capital Employed(%) 26.45 27.22 2.91 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return On Net Worth(%) 27.13 23.73 -12.53 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Return on Net Worth(%) 27.8 23.27 -16.29 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return on Assets Excluding Revaluations 289.22 370.05 27.95 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return on Assets Including Revaluations 289.22 370.05 27.95 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return on Long Term Funds(%) 27.93 27.43 -1.79 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Liquidity And Solvency Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Current Ratio 0.59 0.67 13.56 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Quick Ratio 0.34 0.3 -11.76 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Debt Equity Ratio 0.59 0.35 -40.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Long Term Debt Equity Ratio 0.51 0.34 -33.33 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Debt Coverage Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Interest Cover 12.75 14.97 17.41 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Debt to Owners Fund 0.59 0.35 -40.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Financial Charges Coverage Ratio 13.74 16.75 21.91 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Financial Charges Coverage Ratio Post Tax 10.7 12.94 20.93 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Management Efficiency Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Inventory Turnover Ratio 22.89 22.65 -1.05 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Debtors Turnover Ratio 31.71 35.04 10.50 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Investments Turnover Ratio 22.89 22.65 -1.05 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Fixed Assets Turnover Ratio 0.86 0.87 1.16 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Assets Turnover Ratio 1.11 1.14 2.70 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Asset Turnover Ratio 0.86 0.87 1.16 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Average Raw Material Holding 28.87 29.94 3.71 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Average Finished Goods Held 6.35 7.29 14.80 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Number of Days In Working Capital -34.05 -33.61 -1.29 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Profit Loss Account Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Material Cost Composition 20.05 22.61 12.77 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Imported Composition of Raw Materials Consumed 0.72 3.01 318.06 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Selling Distribution Cost Composition 19.67 20.98 6.66 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Expenses as Composition of Total Sales 9.7 6.83 -29.59 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash Flow Indicator Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Dividend Payout Ratio Net Profit 7.45 7.96 6.85 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Dividend Payout Ratio Cash Profit 5.6 5.87 4.82 ÂÂ   ÂÂ   ÂÂ   ÂÂ   EarningÂÂ  RetentionÂÂ  Ratio 92.73 91.88 -0.92 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash EarningÂÂ  RetentionÂÂ  Ratio 94.5 94.04 -0.49 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Cash Flow Times 1.62 1.1 -32.10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Mar 09 Mar 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Earnings Per Share 78.48 87.82 11.90 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Book Value 289.22 370.05 27.95 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Vertical analysis of J.K cement BALANCE SHEET OF JK CEMENT in cr Mar 09 ÂÂ   Mar 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   12 mths ÂÂ   12 mths ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Sources Of Funds ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Share Capital 69.93 3.99 69.93 2.88 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Equity Share Capital 69.93 3.99 69.93 2.88 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Share Application Money 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Preference Share Capital 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Reserves 838.27 47.89 1,018.58 41.96 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Revaluation Reserves 277.85 15.87 265.24 10.93 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Networth 1,186.05 67.76 1,353.75 55.77 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Secured Loans 436.86 24.96 937.61 38.62 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Unsecured Loans 127.54 7.29 136.11 5.61 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Debt 564.4 32.24 1,073.72 44.23 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Liabilities 1,750.45 100.00 2,427.47 100.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Mar 09 ÂÂ   Mar 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   12 mths ÂÂ   12 mths ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Application Of Funds ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Gross Block 1,215.75 ÂÂ   2,052.21 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Less: Accum. Depreciation 0 ÂÂ   0 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Block 1,215.75 ÂÂ   2,052.21 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Capital Work in Progress 35.06 ÂÂ   225.28 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Investments 10.74 0.61 5.99 0.25 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Inventories 136.13 7.78 237.62 9.79 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Sundry Debtors 53.04 3.03 81.87 3.37 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash and Bank Balance 125.2 7.15 131.67 5.42 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Current Assets 314.37 17.96 451.16 18.59 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Loans and Advances 598.53 34.19 233.62 9.62 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Fixed Deposits 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total CA, Loans Advances 912.9 52.15 684.78 28.21 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Differed Credit 0 0.00 0 0.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Current Liabilities 382.69 21.86 514.95 21.21 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Provisions 43.74 2.50 28.54 1.18 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total CL Provisions 426.43 24.36 543.49 22.39 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Current Assets 486.47 27.79 141.29 5.82 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Miscellaneous Expenses 2.44 0.14 2.69 0.11 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Assets 1,750.46 100.00 2,427.46 100.00 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Contingent Liabilities 581.86 ÂÂ   106.5 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Book Value (Rs) 129.88 ÂÂ   155.66 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Horizontal analysis of J.K cement Key Financial Ratios of JK Cement ÂÂ   ÂÂ   ÂÂ   Mar 09 Mar 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Investment Valuation Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Face Value 10 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Dividend Per Share 3.5 6 71.43 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Operating Profit Per Share (Rs) 46.33 62.8 35.55 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Operating Profit Per Share (Rs) 214.06 261.24 22.04 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Free Reserves Per Share (Rs) 109.98 134.13 21.96 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Bonus in Equity Capital ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Profitability Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Operating Profit Margin(%) 21.64 24.03 11.04 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Profit Before Interest And Tax Margin(%) 17.93 19.07 6.36 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Gross Profit Margin(%) 18.14 19.35 6.67 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash Profit Margin(%) 12.86 16.8 30.64 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Cash Margin(%) 12.86 16.8 30.64 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Net Profit Margin(%) 9.4 12.19 29.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Net Profit Margin(%) 9.4 12.19 29.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return On Capital Employed(%) 19.6 17.6 -10.20 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return On Net Worth(%) 15.71 20.81 32.46 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Return on Net Worth(%) 15.71 20.81 32.46 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return on Assets Excluding Revaluations 129.53 155.28 19.88 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return on Assets Including Revaluations 169.26 193.21 14.15 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Return on Long Term Funds(%) 19.6 17.6 -10.20 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Liquidity And Solvency Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Current Ratio 2.14 1.26 -41.12 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Quick Ratio 1.78 0.82 -53.93 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Debt Equity Ratio 0.62 0.99 59.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Long Term Debt Equity Ratio 0.62 0.99 59.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Debt Coverage Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Interest Cover 5.28 5.48 3.79 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Debt to Owners Fund 0.62 0.99 59.68 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Financial Charges Coverage Ratio 6.24 6.72 7.69 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Financial Charges Coverage Ratio Post Tax 4.56 5.49 20.39 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Management Efficiency Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Inventory Turnover Ratio 11 7.69 -30.09 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Debtors Turnover Ratio 27.14 27.08 -0.22 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Investments Turnover Ratio 11 7.69 -30.09 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Fixed Assets Turnover Ratio 1.23 0.89 -27.64 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Total Assets Turnover Ratio 1.02 0.84 -17.65 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Asset Turnover Ratio 1.23 0.89 -27.64 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Average Raw Material Holding ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Average Finished Goods Held ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Number of Days In Working Capital 117 27.85 -76.20 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Profit Loss Account Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Material Cost Composition 10.91 10.92 0.09 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Imported Composition of Raw Materials Consumed ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Selling Distribution Cost Composition 24.28 25.21 3.83 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Expenses as Composition of Total Sales ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash Flow Indicator Ratios ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Dividend Payout Ratio Net Profit 20.11 21.67 7.76 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Dividend Payout Ratio Cash Profit 14.7 15.72 6.94 ÂÂ   ÂÂ   ÂÂ   ÂÂ   EarningÂÂ  RetentionÂÂ  Ratio 79.89 78.33 -1.95 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Cash EarningÂÂ  RetentionÂÂ  Ratio 85.3 84.28 -1.20 ÂÂ   ÂÂ   ÂÂ   ÂÂ   Adjusted Cash Flow Times 2.9 3.45 18.97 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Mar 09 Mar 10 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Earnings Per Share 20.36 32.32 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   Book Value 129.88 155.66 ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   ÂÂ   BENCHMARK ANALYSIS 2009 2010 current ratio of J k Cement 2.14 1.26 current ratio of utratech 0.59 0.67 quick ratio of JK cement 1.78 0.82 quick ratio of ultra tech cement 0.34 0.3 debt equity ratio of JK cement 0.62 0.99 debt equity ratio of ultra tech cement 0.59 0.35 long term debt equity ratio of JK cement 0.62 0.99 long term debt equity ratio of ultra tech cement 0.51 profitability ratios of JK cement Operating Profit Margin(%) 21.64 24.03 Profit Before Interest And Tax Margin(%) 17.93 19.07 Gross Profit Margin(%) 18.14 19.35 Cash Profit Margin(%) 12.86 16.8 Adjusted Cash Margin(%) 12.86 12.86 Net Profit Margin(%) 9.4 12.19 Adjusted Net Profit Margin(%) 9.4 12.19 Return On Capital Employed(%) 19.6 17.6 Return On Net Worth(%) 15.71 20.81 Adjusted Return on Net Worth(%) 15.71 20.81 Return on Assets Excluding Revaluations 129.53 155.28 Return on Assets Including Revaluations 169.26 193.21 Return on Long Term Funds(%) 19.6 17.6 profitability ratios of ultra tech cement Operating Profit Margin(%) 27.29 28.08 Profit Before Interest And Tax Margin(%) 21.9 22.24 Gross Profit Margin(%) 22.24 22.56 Cash Profit Margin(%) 20.41 20.43 Adjusted Cash Margin(%) 20.41 20.43 Net Profit Margin(%) 15.06 15.3 Adjusted Net Profit Margin(%) 15.06 15.3 Return On Capital Employed(%) 26.45 27.22 Return On Net Worth(%) 27.13 23.73 Adjusted Return on Net Worth(%) 27.8 23.27 Return on Assets Excluding Revaluations 289.22 370.05 Return on Assets Including Revaluations 289.22 370.05 Return on Long Term Funds(%) 27.93 27.43 Inventory turnover ratio of JK cement 11 7.69 Inventory turnover ratio of ultra tech cement 22.89 22.65 debtors turnover ratio of JK cement 27.14 27.08 debtors turnover ratio of ultra tech cement 31.71 35.04 investment turnover ratio of JK cement 11 7.69 investment turnover ratio of ultra tech cement 22.89 22.65 fixed assets turnover ratio of JK cement 1.23 0.89 fixed assets turnover ratio of ultra tech tech cement 0.86 0.87 total assets turn over ratios of JK cement 1.02 0.84 total assets turn over ratios of ultra tech cement 1.11 1.14 assets turnover ratio of JK cement 1.23 0.89 assets turnover ratios of ultra tech cement 0.86 0.87 ANALYSIS