The_king_plays_action_52_snes In The Wonderful World of Disney episode "Adventures in Color", Pongo makes a brief cameo chasing after Ludwig Von Drake after the professor pulled out a large piece of steak to illustrate how dogs see in color.
Story shows how evil greed and animal cruelty are and why it's important to treat pets well. The dogs are also an example of cooperation and teamwork to save the defenseless puppies.
The knowledge gained at the first level is valuable in product-design or choice of the product addition to offerings.
6- Repeat purchases can have a lot to do with the level of satisfaction of the customer at the first purchase. Marketing actions can be devised to measure and improve their satisfaction level accordingly. The number of repeat purchases in itself can be used as a KPI to track performance of the activities on this front.
Description Statistics !--> Report.
Here are the 10 school of thoughts of Strategy formulation.
Hard dog racing track
4 Library of Congress Cataloging-in-Publication Data Hays, Will H. (Will Harrison), The Will Hays Papers [microform]. (Cinema history microfilm series) Held by Indiana State Library. Includes index. Contents: pt. 1. December 1921-March pt. 2. April 1929-September Hays, Will H. (Will Harrison), Archives. 2. Motion pictures-censorship-.-united States. 3. Motion pictures-united States-Distribution. 4. Motion Picture Producers and Distributors of America-History-Sources. 5. Motion picture industry- United States-History-Sources. I. Gomery, Douglas. II. Hydrick, Blair. III. Indiana State Library. IV. Title. V. Series. [PN ] 384'.8' ISBN (microfilm : pt. 1) ISBN (microfilm : pt. 2) Copyright 1986 by Indiana State Library. All rights reserved. ISBN.
To satisfy strict scrutiny, the State must demonstrate that its districting legislation is narrowly tailored to achieve a compelling interest. Shaw, supra , at 653-657; see also Croson , 488 U.S., at 494 (plurality opinion); Wygant , 476 U.S., at 274, 280, and n. 6 (plurality opinion); cf. Adarand, ante , at 227. There is a "significant state interest in eradicating the effects of past racial discrimination." Shaw, supra , at 656. The State does not argue, however, that it created the Eleventh District to remedy past discrimination, and with good reason: There is little doubt that the State's true interest in designing the Eleventh District was creating a third majority-black district to satisfy the Justice Department's preclearance demands. 864 F. Supp., at 1378 ("The only interest the General Assembly had in mind when drafting the current congressional plan was satisfying [the Justice Department's] preclearance requirements"); id ., at 1366; compare Wygant, supra , at 277 (plurality opinion) (under strict scrutiny, State must have convincing evidence that remedial action is necessary before implementing affirmative action), with Heller v. Doe , 509 U.S. 312, 320 (1993) (under rational-basis review, legislature need not "`actually articulate at any time the purpose or rationale supporting its classification'") (quoting Nordlinger v. Hahn , 505 U.S. 1, 15 (1992)). Whether or not in some cases compliance with the Act, standing alone, can provide a compelling interest independent of any interest in remedying past discrimination, it cannot do so here. As we suggested in Shaw , compliance with federal antidiscrimination laws cannot justify race-based districting where the challenged district was not reasonably necessary under a constitutional reading and application of those laws. See 509 U.S., at 653-655. The congressional plan challenged here was not required by the Act under a correct reading of the statute.
Richard T. Davis BNY Mellon.
10 In 1921, while Hays was in the process of reforming the postal service, the American film industry was entering a crucial phase of its growth. It had expanded from a limited presence at the turn of the century into America's most popular mass-entertainment form. The newly founded Hollywood was regularly producing more than 500 films a year, and after the First World War, many of them appeared on screens throughout the world. Movie houses appeared on every corner of every American city; by 1921 the number topped 20,000.. But with success and growth also came scandal. Consider just two examples which made headlines for months: in 1920, Mary Pickford, America's sweetheart, had secretly divorced one star, Owen Moore, and then immediately married another, Douglas Fairbanks. Movie fan magazines of the day claimed her Nevada divorce was a fraud. And in 1921, an unknown movie extra, Virginia Rappe, died during a wild party given by one of the three highest-paid stars in Hollywood, Roscoe "Fatty" Arbuckle. Arbuckle was tried for manslaughter in a series of three sensational trials which lasted more than a year. Aroused by these scandals, the forces of moral conservatism, fresh from their triumph of adding a prohibition against alcohol to the United States Constitution, prepared to challenge the film world; voices began calling for censorship of the movies. The movie industry needed some sort of leader to help them put their house in order, much as major league baseball had enlisted Judge Landis a couple of years earlier, after the Black Sox scandals. Will Hays would be their man, and Charles Pettijohn would provide the necessary connection. In 1921, Pettijohn, as leader of the major movie companies and lawyer for movie mogul Lewis Selznick, father of famed producer David O. Selznick, approached Hays with an offer. (Hays had known Pettijohn from the world of Indiana politics.) On 14 January" 1922, Will Hays accepted a salary of SI 15,000 per annum (about 8600,000 in 1986 dollars), a prepaid life insurance policy, plus an almost unlimited expense account, and on 14 March 1922, he became the first president of the MPPDA, with an office on Fifth Avenue in New York. Hays then hired Pettijohn to be his chief assistant. Hays's first move was to strengthen the finances of the new trade association. He approached New York bankers whom he knew from his days as head of the Republican party and within a week had set up a line of credit which put the MPPDA on stable economic footing. Such quick action impressed his new bosses. Hays then used his political clout to help avert the first crisis facing the new MPPDA pending state legislation in Massachusetts which would have severely censored the movies. In the end, a referendum was held and the voters of that conservative state rejected the legislation by a more than two-to-one margin. Once the tide had been turned in that key northeastern state, Hays was easily able to prevent pending censorship bills in twenty-two other legislatures. He proved that the resources of MPPDA could be effectively used to benefit all member companies. He also demonstrated that with his political connections he was the right man for the job. Hays then moved to create a formal public relations arm of the MPPDA to deal with the religious groups, educational organizations, and other parties so concerned with the presumed negative influence of the movies. Hays himself was the point man in this PR effort: he spoke before countless groups, trying to convince them that the movies could be a positive force. Hays tangled with these reformers in many a public arena and throughout the 1920s more than held his own. Hays proved just as successful in improving relationships within the movie business itself. Following the principles which had worked so well in the post office department, he sought to institute more efficiency and uniformity. Specifically, he pushed for the introduction of standardized exhibition and distribution contracts and arbitration procedures via.