Performance and Management free essay sample

Performance and Management A. Policy For Recognizing Employee Contributions The purpose of this report is to use the compensation system we previously developed in Phases I and II to pay people, develop plans that reward performance, add benefits into the mix, and evaluate these results. First we will look at performance-based-pay as a policy for recognizing employee contributions. Performance-based-pay is a pay plan that varies with some measure of individual or organizational performance, such as merit pay, lump-sum bonus plans, skill-based pay, incentive plans, variable pay plans, risk sharing, and success sharing. It is basically a pay plan that moves away from the traditional base pay and across-the-board increases, and focuses more on factors of performance that can increase overall productivity for a company. Performance-based-pay plans can be very effective in creating a positive impact in performance of both employees and a company as a whole, but only is the plan is designed well. In order to be successful, it is crucial that the performance-pay plan be designed to support FastCat’s business strategy and compensation objectives. To design this pay-for-performance plan, we will recommend a specific policy plan that is tailored to FastCat’s goals towards success. We will compare different performance-based plans, which include individual vs. group incentives and merit vs. incentive pay, to see which combinations will help FastCat compete more effectively. a. Emphasis on Individual vs. Group Incentives Two strategies to consider with performance-based-pay plans are providing individual incentives, group incentives, or both. Individual incentive plans involve incentive compensation that is tied directly to objective measures of individual production. On the other hand, group incentive plans are incentive plans that are based on some measure of group performance rather than individual performance. Taking data on a past year as a base, group incentive plans may focus on cost savings or on profit increases as the standard for distributing a portion of the accrued funds among relevant employees. We recommend a mixture of both individual incentive and group incentive pay plans. How the individual incentive plan will work is there will be a year-end bonus pool as function of company performance. The employee’s share in the pool will be based on three factors: (1) employee’s grade, (2) employees personal performance analysis, (3) employee’s tenure at the company. This plan will go hand-in-hand with the group incentive plan we recommend, which will be a profit-sharing plan. A profit-sharing plan is a plan that focuses on profitability as the standard for group incentive. This group incentive plan will encourage employees to work hard as a team to create better company performance overall. We used the balanced scorecard approach to measure the company’s performance. A balanced scorecard approach is a way to look at what contributes value in an organization. It is a corporate-wide overall performance measure typically incorporating financial results, process improvements, customer service, and innovation. We determined that there are eight main elements that must be measured to determine good company performance. These metrics, which are weighted differently based on importance to FastCat’s business strategy, are as follows: (1) revenue growth, (2) labor costs, (3) innovation, (4) customers see FastCat representatives as responsive and knowledgeable, (5) customers value FastCat solutions, (6) employees take pride in working for FastCat, (7) employees have the tools and support to do their jobs, (8) employees understand how to make teams successful. In essence, the individual incentive plan and the group incentive plan work together to increase both individual performance and company performance. The better the company performs based on the balanced scorecard approach, the more money there is for the bonus pool in the individual incentive plan. b. Emphasis on Merit vs. Variable Pay All the pieces of this compensation system fit together Add justification on why this matches FastCat’s business and compensation objectives from problems B. Implementation a. Matching FastCat Jobs With Benchmark Survey Jobs When matching FastCat jobs with benchmark survey jobs we first had to separate the jobs at FastCat into four different job families: engineering, technical, marketing, and administration. We started off with sixteen FastCat positions of the various job families and matched them with the benchmark jobs based on the responsibilities of the job as well as the experience and competencies required to hold the position. For example, take the engineering family. For the Engineer 1 of the benchmark survey job, it is described by the following statements: â€Å"Participates in development, testing and documentation of software programs. Performs design and analysis tasks as a project team member. Typical minimum requirements are a Bachelor’s degree in a scientific field or the equivalent and up to two years of experience. † We compared that to the Usability Engineer in our own organization. Some responsibilities of the Usability Engineer are as follows: â€Å"Contributes to the development and implementation of FastCat web applications,† â€Å"work with FastCat quality assurance to ensure integrity of FastCat software; test, debug, and fix data,† and â€Å"design appropriate software testing strategies. † The position requires a B. S. egree in Computer Science or related field plus at least two years of experience. A competency required of the position is to communicate with team members, support team decisions, and work effectively as part of a team. As the numbers within the families of the benchmark jobs increase (Engineer 2, Engineer 3) the responsibilities, experience, and competencies required of the position also increase. For example, Senior Fellow, the position we assigned the most JE points in the organization to, was matched with Engineer 5, the highest position in the benchmark engineer family. . Determining Relevant Market(s) When selecting market competitors to establish our suggested pay policy line for FastCat our team tried a few different markets before deciding on the one we felt most reflected the values of the company. The first market group we chose to try was all the surveyed industries provided to us by FastCat. This line fit well with our benchmark jobs being fairly close to the line on both the high and low end. The second fit we looked into was just using the data regarding Software companies, this line seemed to fit slightly better than the previous with jobs on both the high and low end of the JE scale being fairly evenly distributed above and below the line. The final fit we tried was software companies with the exception of company 15 because we found that their compensation data created a huge outlier from the average of the other companies. We decided to go with the final fit of only software companies excluding company 15 because we felt this line best reflected our views on which jobs were most important. c. Adjusting our Data for More Desirable Regression Results Our team was rather flexible when making decisions about possible adjustments to our data during and after making our regression results. At first when our team was benchmarking the FastCat jobs against other companies, we felt that a couple FastCat jobs were very similar. We matched two of them with the same survey job titles. The first match was Software Developer and Implementation Consultant, which were both matched with â€Å"Engineer 2†. The second match was with Administrative Assistant II and the Administrative Aide, which were both matched with â€Å"Office Support 2†. When we were entering the data into the software to create a regression analysis, we realized that we would only be able to create this analysis on fourteen jobs, instead of the sixteen that was expected. We initially decided that moving some of our matches around and entering full data for all sixteen jobs would be the proper route to take. Our R? number was not where we wanted it to be after doing this; coming in at less than . 70, and this was probably because it was a bit forced and unnatural for us to change the jobs around just to get the full amount of jobs. Going back to our original benchmarking brought our R? up considerably. When we looked at the new data we saw that there was one major outlier and it was the Senior Quality Assurance Technician. Our team had marked this position at a â€Å"Technician 4† originally, but we all took a look at the FastCat information again and reached an agreement that we had made a mistake in benchmarking the position. What threw us off at first was the statement that the Senior Quality Assurance Technician was, â€Å"at the direction of the Implementation Consultant, which had a rather low amount of Job Evaluation points. We decided to move the position from a â€Å"Technician 4† to a â€Å"Technician 5†. This is the last change we made, and it gave us our final R? of . 882. d. Different Grades and Ranges Regarding grades of pay and the range of pay within those grades we chose to go with 4 grades of 100 JE points each. We found this to be a satisfactory suggestion as the jobs falling within these ranges have a relatively similar importance to the company and should be compensated in a way that demonstrates this. We used 15% as our selected range for all grades, meaning that the amount paid in each grade would range from 15% below to 15% above the midpoint of our pay policy line within that grade. With the results from the selected grades and ranges we had one difficulty; the difference in pay from grade 1 to grade 2 was nearly $10,000. To fix this discrepancy and encourage our lower level employees to stay with the company we chose to use an above market policy of 15% for this grade to close the gap. After completing these steps we had a pay policy that we felt was right to suggest to the FastCat Company for their base wage policy.

The Argument About Writing Service Best

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How to Come Up With a Research Paper Topic Using Reddit

How to Come Up With a Research Paper Topic Using RedditIf you have read the title of this article and are wondering 'How to come up with a research paper topic?' Reddit is a website that allows users to post links to content they would like to see other people's post. With this particular function, the content can be anything from pictures, videos, links, or blogs.One popular post that I have seen has been on the topic of 'Illicit Drugs.' These topics tend to be funny and lighthearted, and are usually full of information about users of illegal drugs. Most users in this type of subreddit are researchers or administrators of websites where these types of drugs are sold or traded. The average user of this subreddit is probably a parent, a teacher, a person who makes an honest living and loves to learn, or a member of the general public.Another great use for reddit for how to come up with a research paper topic is for survey results. This site is a great place to find information regardi ng survey findings, which makes it perfect for researchers looking for pertinent data regarding their subjects. Users of this subreddit often offer advice and suggestions to those who are conducting surveys.Many questions regarding clinical trials are also posted here. This subreddit is a great place to discuss anything related to medical studies and their research. User comments are usually very helpful and detailed, and are frequently filled with the usual information that someone who is researching a potential new drug would be interested in.Of course, the typical research paper topic also has its share of users who have nothing to do with drugs or other research. Users in this section will post images and write in all sorts of terms. They also take part in many 'ask me anything' (AMA) threads, which are discussion forums in which people take part in one-on-one interviews in the hopes of improving the understanding of certain topics.People in this section will post images and wri te in all sorts of terms. They also take part in many 'ask me anything' threads, which are discussion forums in which people take part in one-on-one interviews in the hopes of improving the understanding of certain topics. Users on reddit are in general just as likely to come up with a great idea as anyone else.But how does a researcher get involved in such forum? Well, you must first register an account and give yourself the ability to create posts. In this way, you will have access to anything relevant to research papers and, potentially, future trends in the field.So, how to come up with a research paper topic? Reddit is definitely worth a look.

What to Expect From Topics for Research Paper Philippines?

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How to Write a Sample of a Book Review Essay

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Biographical Narrative Based On The Video Fatal Game Ess

Biographical Narrative Based On The Video Fatal Game Arising lethargic and groggy after their sleepless night at camp six, Mark Whetu and Mike Rheinberger were slow to dress, melt ice, and get out of the tent at three oclock in the morning. They should have left at one at the latest but the wind was too gusty. Unfortunately, by the time they loaded their backpacks, strapped on their crampons and were ready to leave, it was three thirty. Mark, an experienced climber knew they wouldnt summit before one p.m. but he had only been hired as a guide for Rheinberger, who, after seven tries at Mount Everest had still not been able to summit. For Rheinberger, descent was totally unacceptable. Too much labour, too many sleepless nights, and too many dreams had been invested to not summit. He couldnt come back for another try next weekend. To go down now, would have raised one big question: what might have been? Mark was in front of Rheinberger and was growing impatient with his dismal pace. Ahead of them Mark spotted another team, returning unsuccessful from their summit attempt. As the other team passed, they chatted a little. It wasnt until then that Mark realised how late it was. Twelve thirty. They were more than four hours from the summit, if they hurried. Rheinberger was not quitting now. Mark decided not to argue and the duo continued their ascent. At five thirty, when the light was slowly fading, they were so close to the summit. Rheinberger was quickening his pace now as he knew victory was in his grasp. At six oclock, Rheinberger had finally accomplished what he been previously unable to do for the last ten years. But even in this moment of triumph, he was weakening with every oxygen-deprived breath. Down to one knee, watching the sun disappear, he looked like this was what he was sent to earth to do. Alarm soon hit them both, as when they were only meters from the top the light disappeared altogether. Well bevy. Suggested Rheinberger. Its the only thing we can do. Unfortunately he was right. Thought Mark. And so, they bedded down for the night in the death zone. A height where the body is dying starved, from life giving oxygen. When Mark awoke in the morning he knew his feet were frozen. He felt disconnected from the world around him emotionally, spiritually, physically to a degree he had never experienced on any previous expedition. It was the worst night he had ever experienced in his life. He just wanted to get home. Rheinberger was in a worse shape than Mark, but both were still able to stand and make a start for camp five. If they could just get to camp five they would be all right. They only made a hundred or so meters before Rheinberger collapsed. He was in real trouble. Shivering uncontrollably, acting very spacey and irrational, and basically unable to do anything more for himself. Mark was not going to give up easily. He forced Rheinberger to his feet and he tied both of them together. He was going to get Rheinberger down, even if he was going to have to drag him. After another couple of meters Rheinberger tripped and fell, dragging Mark with him. Mark clung to a rock as Rheinberger toppled haplessly over an edge. Let go! Mark shouted in desperation. Youre dragging me down! Luckily the rope broke and Rheinberger only fell a few meters to a ledge. His jacket sprayed open. Mark descended to him and saw the radio. The radio he had forgotten all about. He radioed base camp who were happy to hear from him, as they had feared the worst. They told him to leave Rheinberger and go get some oxygen tanks that were at the first step and take them back up. Rheinberger was in no condition to walk unless he had oxygen, so Mark reluctantly descended to the first step telling Rheinberger that he would be right back. When he arrived there, so exhausted and sore, base camp told him to rest, suck some gas and wait for a man who was coming up from camp five to help. This made Mark

The Life, Music, and Accomplishments Of Lee Morgan

The Life, Music, and Accomplishments Of Lee Morgan Free Online Research Papers â€Å"If it wasn’t for music, this country would have blown up a long time ago, in fact, the whole world. Music is the only thing that spans across all ethnic groups and all languages. Music is the only thing that awakens the dead man and charms the savage beast. Without it, this would be a hell of a world.† -Lee Morgan, January 1972 Edward Lee Morgan, the trumpet player, composer, and band leader who was considered to be a quintessential hard-bopper, was one of the most important jazzmen of his time. In his fast paced life, he played with Dizzy Gillespie’s Big Band, Art Blakely’s Jazz Messengers, released twenty-five albums of his own on the Blue Note label, appeared as a sideman on many more, and was a leader of the Jazz and People’s Movement. Few people accomplish half as much in their lives as Lee Morgan managed to fit into his thirty-three year life. He is undoubtedly worth studying for his music, compositions, and his efforts to change the public’s perception of jazz. Lee Morgan was born on July 10, 1938 (the same year as Freddy Hubbard), in Philadelphia, Pennsylvania. Although he was born in Philadelphia, his roots lie in the south, where both of his parents were from. Both of his parents were from large, poor families and came north to find a higher quality of life. His father was an amateur trombone player and pianist who also played organ for their church. This was important because it gave Lee a gateway to music, and it was also one of the primary factors behind his family’s strong support for his career. When Lee was thirteen years old, his sister gave him his first trumpet. He immediately began studying with his father and sister and soon after enrolled in Mastbaum High School for the Arts. Being in a vocational school enabled him to study music for half of the day as well as play in the school concert band, dance combo, and theater group. Morgan’s first private teacher was a local professional trumpet player named Hyy Wynn who played for the Philadelphia Ice Capades, but wasn’t a good influence for his students. Lee’s childhood friend, Michael La Voe, who also studied with Wynn recalled, â€Å"He would look for any excuse to light up a cigarette while he was giving a lesson†¦ Wynn was a chain smoker and would breathe out massive amounts of smoke to demonstrate the lung capacity needed to play the trumpet.† Outside of school Lee was very active in the local music scene. He began playing professionally when he was fifteen years old. He and bassist James â€Å"Spanky† Debrest led their own group which played mainly at dance clubs and fraternity parties. Lee and James also cut out of school early on Tuesdays to attend jam sessions at Ellis Jollin’s Music City. This put Lee in contact with Dizzy Gillespie and his main influence, Clifford Brown, who Lee visited frequently at his West Philadelphia home. These early contacts were crucial to the development of his career. Also of great importance was Lee’s personal record collection, which he listed in his high school yearbook as his favorite hobby. He was well versed in music from Louis Armstrong to what was current at the time, but his collection was dominated by be-bop wind players. Aside from Clifford Brown and Dizzy Gillespie, he loved Fats Navarro, and his earlier playing actually had some resemblance to Fats in the numerous grace notes, the light tone quality, and the long melodic lines both players shaped. As soon as Morgan graduated high school in 1956, he started gaining recognition as the next great jazz trumpet player. The month he graduated, Clifford Brown died in a tragic car accident, thrusting Lee into the spotlight as his successor. This happened much in the same way Cannonball Adderly was showcased after Charlie Parker passed away. That summer, after playing several engagements in Wildwood and Atlantic City, New Jersey, Lee Morgan and â€Å"Spanky† Debrest subbed with Art Blakey’s Jazz Messengers when the band arrived in Philadelphia missing a bass and trumpet player. At this point, Lee didn’t want to sign a contract, so he did not stay with the Jazz Messengers as Debrest did. Only a few months after playing with Art Blakey, Dizzy Gillespie returned from a tour of South America and hired Morgan to fill Joe Gordon’s seat in his big band. In the liner notes to ‘Lee Morgan Indeed,’ Lee states, â€Å"I’d met him a couple of ye ars before at the [music city] workshop, and he knew about me. He needed a replacement for Joe Gordon, and I needed some big band experience, so it worked out fine.† Lee played at such a level that Dizzy entrusted him to play the trumpet solo on â€Å"A Night In Tunisia,† which was one of Dizzy’s most famous compositions. Nat Hentoff, in the liner notes to ‘Leeway’ recalled, â€Å"My back was to the bandstand as the band started playing Night in Tunisia. Suddenly, a trumpet soared out of the band into a break that was so vividly brilliant and electrifying that all conversation in the room stopped and those of us who were gesturing were frozen with our hands outstretched.† Although joining Dizzy’s band prevented him from attending Julliard, to which he was accepted, no one would disagree that Lee Morgan was a student of music. In the period between his joining of Dizzy Gillespie’s Orchestra and rejoining the Jazz Messengers in 1958 (a span of approximately fifteen months), Lee was on over forty recording sessions. Although many of these were with Dizzy’s band and as a sideman, six of them were with his own group. As a sideman Lee was playing with Hank Mobley, Donald Byrd, Johnny Griffin, Clifford Jordan, Jimmy Smith, John Coltrane, and Tina Brooks. Out of all these recordings, John Coltrane’s ‘Blue Train sessions’ stood out the most because it served as a middle ground between his Clifford Brown influence and the development of his own style. Lee’s eight bar solo break on â€Å"Locomotion,† (example one of the Selected Lee Morgan Excerpts) a twelve bar blues with an eight bar bridge, demonstrates a line similar to one Clifford Brown might play. It has the same constant flow of information, similar punchy articulation, and similar angularity Clifford Brow n used in his playing. He also â€Å"digs† into the time, which is something Brown started. It is also worth noting that the fourth bar in Lee’s second chorus sounds similar to the beginning of the second chorus on Clifford Brown’s â€Å"Joy Spring.† Lee Morgan’s recordings as a bandleader during this period demonstrate his search for an individual sound, although they do not feature his original compositions. It was not until he rejoined Art Blakey’s Jazz Messengers that Lee was truly able to reach an individual artistic statement. Although there were still ties to his influences, at that point he reached his individual style, which he maintained and built on throughout his career without making any dramatic changes. A strong example of his style is the title track of the album, ‘Moanin’ (example 2 of the Selected Lee Morgan Excerpts). It displays his bold, acrobatic, blues-oriented style that essentially defined hard-bop trumpet. He started the solo energetically, in the upper register of the trumpet, while using a lot of space in the first six bars. In the eighth bar Lee presented a motif involving an offbeat, sixteenth note triplet figure, which was based around the simple blues scale and reappeared several times in the solo, with slight rhythmic variations. This solo was also a textbook example of the nuances Lee incorporated into his playing. He frequently used grace notes to build intensity at the beginning and ending of phrases as shown in bars one, three, and fifteen, and sixteen. He also tended to use half valve effects, smears, and staccato notes to accentuate his intense feeling of time. He stayed with the Jazz Messengers until 1961 and recorded on twenty-nine different sessions with the band. He played with tenor saxophonists Benny Golson and Hank Mobley. Eventually trombonist Curtis Fuller was added to the group, and in 1959, Lee convinced Art Blakey to hire Wayne Shorter as the tenor saxophonist. Due to an unfortunate heroin addiction, Lee was forced to leave the group in 1961 because he had become unreliable and his playing began to suffer. He was replaced by Freddy Hubbard. Morgan went back to Philadelphia until 1963 and appeared on few records in this period. He had such a low profile in New York during this two year struggle that one radio announcer thought he had died and held a Lee Morgan tribute that Lee happened to be listening to. He did play a handful of engagements with Jimmy Heath between 1962 and 1963. These performances are interesting because it is the first time Lee played with â€Å"Spanky† Debrest since they subbed in the Jazz Messengers. When Lee Morgan returned to New York in the winter of 1963, he recorded ‘The Sidewinder.’ The title track of this album became his largest commercial success, reaching the top twenty-five on RB billboards. This annoyed Lee because he only recorded the track as ‘filler’ to take up space on the album. The album itself is of great importance to Lee Morgan’s career and to the development of jazz. This recording acted as the spark plug for a new style of music which fused jazz with soul. After recording ‘The Sidewinder’ he went briefly back on the road with Art Blakey but returned to New York to pursue his commercial success. It is important to note that before ‘The Sidewinder,’ almost none of the songs used on Lee Morgan’s albums were his original compositions. However, from this recording on he generally featured his own compositions, which explored the fusion of jazz with soul, in a hard-bop setting. In 1965 Lee Morgan recorded ‘Corn Bread,’ another landmark album for his career. On this album was what is considered to be his finest composition, ‘Ceora.† It is a relatively slow, thirty-two bar (ABAB), bossa nova, with a pretty piano introduction played by Herbie Hancock. The melody of ‘Ceora’ bears resemblance to the standard, â€Å"If Someone Had Told Me.† Lee plays an incredibly lyrical solo that is brilliantly constructed (example 3 of the Selected Lee Morgan Excerpts). He simply outlines the changes while managing to build passionate lines that dig deep into the pocket of the time. Although Lee Morgan continued to preserve the hard-bop tradition throughout his career, his music got progressively more experimental as he grew older. The biggest changes were in the instrumentations he was writing for. In 1969, he hired Bennie Maupin as a woodwind doubler to play tenor saxophone, flute, and bass clarinet. He also started using electric guitar, bass guitar, piano, and organ to achieve different effects. Some of his compositions leaned towards a more modal harmonic structure, but he was never able to fully abandon his blues-focused hard bop style. The biggest problems he ran into in the last phase of his life (outside of a continued struggle with drug addiction) were his tone quality, range, and endurance, which became dramatically worse with time. One factor was that Lee always played unusually loud in his earlier years, which led to the deterioration of his chops. Another obvious problem was his drug use, which left him in a constant state of exhaustion. He eventually reached the point where he fell asleep in the most unusual places, such as pool tables. His girlfriend at the time, Helen Moore (who eventually became his common-law wife), helped him to reestablish himself, and in 1970 he put a band together for the first time in two years. He recorded the album, ‘Live at the Lighthouse,’ at full playing capacity. Equally as important as his playing in the latter part of his career was Lee Morgan’s active involvement in attempting to make the public aware of jazz. Lee was not only a prolific improviser and composer but also an articulate and intelligent person who wanted to see all good music viewed equally. He understood that the media’s view of jazz was a dark, greed-driven social problem that needed to be changed. Michael Bourne wrote in the last interview of Lee Morgan: To Morgan, this dilemma was two-fold, or rather two-faced: lack of respect, and a lack of proportion black American art and the general American culture. Regarding the first lack, Morgan condemned indifference toward music, reinforced by media tokenism, specifically the over exploitation of Duke Ellington and Louis Armstrong as representative jazz personalities. The media viewed jazz as too hard to sell and covered up the problem by hiring a few black musicians to play in the show’s house bands and occasionally bringing famous jazz musicians such as Armstrong and Ellington to play with the house bands. This gave the viewers the false perception that jazz was still an important part of American culture. Lee didn’t resent pop artists for being successful; the movement he helped to lead stood for the exact opposite- they wanted jazz to have equal exposure to the American culture. One method Lee used was through the Jazz and People’s Movement, which included renowned jazz artist Rahsaan Roland Kirk. One action this group took was interrupting talk show tapings, which got an immediate response from host Merv Griffin, who offered both of their bands spots on his show in order to quiet them down. In an interview Lee Morgan gave account of his response, â€Å"I told him, I couldn’t care less if he ever had me on; In fact I would insist on not going on, at least not at first, because right away, people got so pessimistic that not only the public, but the musicians as well thought we were just out there thinking about ourselves. I don’t care if you never show me! Put Dizzy on, Horace Silver, Sonny Rollins, McCoy Tyner, Blue Mitchel, Herbie Hancock- Put somebody on!† Unfortunately, before any substantial results were achieved, the J.P.M. and its protest against the medias’ ignorance and indifference towards jazz artists lost mo mentum in 1971 Before Lee could find another approach to solving this dilemma, he was tragically murdered. Regardless of its lack of success, it is important to be aware of this protest because it shows the ignorance that jazz artists are constantly facing. Because of the controversy it created, it is of some importance to mention how Lee Morgan died. Early in the morning, on February 19, 1972, Lee Morgan was playing at Slugs in New York City. Earlier that night, Lee asked his wife Helen Moore to bring him his gun, because he was afraid of a drug deal that was going to happen. Moore arrived at the club but left soon after. At some point after midnight, she unexpectedly returned to the club, and found Lee sitting at the bar in-between sets with another woman. During the argument that immediately followed, Moore managed to shoot Lee Morgan in the head. He died instantly at thirty-three years old. The loss of Lee Morgan was a tragedy to the jazz community. He added numerous songs to the jazz repertoire, was a prolific performer and composer, and was an important activist in improving the music world. The impact of his music and life lives on and continues to shape modern perspectives on jazz. Biography- Lee Morgan. Blue Note Records. 2007. Apr. 2007 . Blumenthal, Bob. Liner Notes. Rev. of The Complete Blue Note Lee Morgan 50’s Sessions. 13-2. Bourne, Michael. Lee Morgan the Last Interview. Down Beat May 1996: 38-39. James, Michael. Morgan, Lee. Grove Music Online. 2007. Oxford UP. 13 Apr. 2007 . Lee Morgan: Jazz Can Be Sold. Down Beat 9 Feb. 1970. Down Beat. Mar.-Apr. 2007. Lee Morgan Catalog. Apr. 2007 . Lee Morgan. Shout.Net. 25 Apr. 2006. Apr. 2007 . McMillan, Jeff. Delightfulee : the Life and Music of Lee Morgan Diss. Institute of Jazz Studies, Rutgers Newark, 2000. Morgan, Edward L. Jazz Encyclopedia Questionare. Shuster, Fred. When Your Chops are Shot. Down Beat Oct. 1995. Mar.-Apr. 2007 . Uberall, Bernard. The Music of Lee Morgan. Performed by the Whit Williams Sextet. Glenarden Community Center, MD. 19 July 1997. Woody Shaw: Trumpet in Bloom. Down Beat. Apr. 2007. Research Papers on The Life, Music, and Accomplishments Of Lee MorganHip-Hop is ArtWhere Wild and West MeetPersonal Experience with Teen PregnancyStandardized TestingTrailblazing by Eric AndersonThe Hockey GameBook Review on The Autobiography of Malcolm XHarry Potter and the Deathly Hallows EssayRelationship between Media Coverage and Social andThe Relationship Between Delinquency and Drug Use