When Choice Is Demotivating: Can One Desire Too Much of a Good Thing?

Total Page:16

File Type:pdf, Size:1020Kb

Load more

When Choice is Demotivating: Can One Desire Too Much of a Good Thing? Sheena S. Iyengar Mark R. Lepper Columbia University Stanford University Current psychological theory and research affirm the positive affective and motivational consequences of having personal choice. These findings have led to the popular notion that the more choice, the better--that the human ability to manage, and the human desire for, choice is unlimited. Findings from 3 experimental studies starkly challenge this implicit assumption that having more choices is necessarily more intrinsically motivating than having fewer. These experiments, which were conducted in both field and laboratory settings, show that people are more likely to purchase gourmet jams or chocolates or to undertake optional class essay assignments when offered a limited array of 6 choices rather than a more extensive array of 24 or 30 choices. Moreover, participants actually reported greater subsequent satisfaction with their selections and wrote better essays when their original set of options had been limited. Implications for future research are discussed. Ne quid nimis. (In all things moderation.) On the face of it, this supposition seems well supported by --Publius Terentius Afer (Terence), c. 171 B.C. decades of psychological theory and research that has repeatedly demonstrated, across many domains, a link between the provision It is a common supposition in modern society that the more of choice and increases in intrinsic motivation, perceived control, choices, the better--that the human ability to manage, and the task performance, and life satisfaction (Deci, 1975, 1981; Deci & human desire for, choice is infinite. From classic economic theo- Ryan, 1985; Glass & Singer, 1972a, 1972b; Langer & Rodin, ries of free enterprise, to mundane marketing practices that provide 1976; Rotter, 1966; Schulz & Hanusa, 1978; Taylor, 1989; Taylor customers with entire aisles devoted to potato chips or soft drinks, & Brown, 1988). In a typical laboratory study, the intrinsic moti- to important life decisions in which people contemplate alternative vation of participants is compared across two conditions: one in career options or multiple investment opportunities, this belief which participants are given a choice among half a dozen possible pervades our institutions, norms, and customs. Ice cream parlors activities, and a second in which participants are told by an compete to offer the most flavors; major fast-food chains urge us experimenter which specific activity to undertake (Zuckerman, to "Have it our way." Porac, Lathin, Smith & Deci, 1978). The recurring empirical finding from these studies is that the provision of choice increases intrinsic motivation and enhances performance on a variety of Sheena S. Iyengar, Graduate School of Business, Columbia University; tasks. Mark R. Lepper, Department of Psychology, Stanford University. Moreover, the positive consequences of choice are often appar- We gratefully acknowledge the cooperation and assistance of Draeger's Grocery Store located in Menlo Park, California, for generously offering ent even in contexts where the choice itself is trivial or incidental their store as a field site for conducting Study 1. Similarly, Study 2 could (Cordova & Lepper, 1996; Dember, Galinsky, & Warm, 1992; not have occurred without the cooperation and support of Claude Steele at Swann& Pittman, 1977). Indeed, many important theories in Stanford University who generously allowed his introductory social psy- social psychology, including attribution theory (e.g., Kelley, 1967, chology course to be used as a forum for conducting this field experiment. 1973), dissonance theory (e.g., Collins & Hoyt, 1972; Cooper & Further, we would like to thank the numerous graduate students in the Fazio, 1984; Linder, Cooper, & Jones, 1967), and reactance theory Department of Psychology at Stanford University and undergraduate re- (e.g., Brehm, 1966), all presume that even purely illusory percep- search assistants who generously dedicated their time and effort to help tions of choice will have powerful effects (Langer, 1975; Lefcourt, conduct these studies. 1973; Lewin, 1952). Correspondence concerning this article should be addressed to Sheena S. Iyengar, Columbia University, Graduate School of Business, Uris Hall- Although prior research has made a compelling case for the Room 714, 3022 Broadway, New York, New York 10027-6902, or to Mark psychological benefits of the provision of choice, there remain R. Lepper, Department of Psychology, Jordan Hall-Building 420, Stanford some potential limitations to this literature. Consider one seem- University, Stanford, California 94305-2130. Electronic mail may be sent ingly trivial, yet potentially important, methodological character- to [email protected] or [email protected]. istic of prior studies: that the number of options presented in Journal of Personality and Social Psychology, 2000, Vol. 79, No. 6, 995-1006 Copyright 2000 by the American Psychological Association, Inc. 0022-3514/00/$5.00 DOI: 10.1037//0022-3514.79.6.995 995 996 IYENGAR AND LEPPER previous experiments was characteristically small, typically be- (approximately six) as used in past research (e.g., Zuckerman et tween two and six alternatives. It would appear, then, that what al., 1978). In comparison, extensive-choice conditions were opera- prior research has actually shown is that choice among relatively tionalized as contexts in which participants would have some limited alternatives is more beneficial than no choice at all. Pre- reasonably large, but not ecologically unusual, number of options. sumably, of course, constraints on the number of options offered in In addition, to provide a clear test of the choice overload past choice studies were imposed primarily for the sake of conve- hypothesis, several additional methodological considerations nience; however, real-world situations often provide more than a seemed important. On the one hand, to minimize the likelihood of limited selection, sometimes even an overwhelming number of simple preference matching, care was taken to select contexts in options. What happens when the range of alternatives becomes which most participants would not already have strong specific larger and the differences among options become relatively small? preferences. On the other hand, to minimize the potential impor- Certainly, there are cases when even a vast array of choices may tance of effortful information search, care was also taken to select still have beneficial effects. Imagine a group of people who arrive tasks for which "right" and "wrong" choices would be subjective, at a new restaurant, for example, all hoping to order their personal so that the effort involved in making a choice would be largely a favorite dishes. Obviously, the more items offered on the menu, function of personal preferences. Finally, across experiments, we the more satisfied these customers will be, on average. More sought to examine this hypothesis in both field and laboratory generally, in preference-matching contexts, in which people enter settings. Using these criteria, then, the present studies tested the hoping to find some particular product or service they already hypothesis that having a limited and more manageable set of know themselves to prefer, larger numbers of options should choices may be more intrinsically motivating than having an increase the likelihood that they will be successful in their search. overly extensive set of choices. On the other hand, a growing body of research also suggests that people can have difficulty managing complex choices. To begin Study 1 with, research has shown that as the attractiveness of alternatives rises, individuals experience conflict and as a result tend to defer In this first field experiment, consumers shopping at an upscale decision, search for new alternatives, choose the default option, or grocery store encountered a tasting booth that displayed either a simply opt not to choose (Dhar, 1997; Shafir, Simonson, & Tver- limited (6) or an extensive (24) selection of different flavors of sky, 1993; Shafir & Tversky, 1992). Furthermore, consumer re- jam. The two dependent measures of customers' motivation were search suggests that as both the number of options and the infor- their initial attraction to the tasting booth and their subsequent mation about options increases, people tend to consider fewer purchasing behavior. choices and to process a smaller fraction of the overall information available regarding their choices (Hauser & Wernerfelt, 1990). Method In fact, studies show that the selection, evaluation, and integra- tion of information are all clearly affected by the available number Participants and Experimental Site of options; this suggests that, as the complexity of making choices Study 1 involved a field experiment that examined the motivational rises, people tend to simplify their decision-making processes by consequences of limited versus extensive choice in an upscale grocery relying on simple heuristics (Payne, 1982; Payne, Bettman, & store (Draeger's Supermarket) located in Menlo Park, California. This Johnson, 1988, 1993; Timmermans, 1993; Wright, 1975). For grocery store is of particular interest because its salient distinguishing instance, a comparison of the decision strategies of people pre- feature is the extraordinary selection it offers, especially when compared sented with three, six, or nine alternatives revealed that 21% used with large grocery chains. For instance,
Recommended publications
  • Rolling Stone Magazine's Top 500 Songs

    Rolling Stone Magazine's Top 500 Songs

    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
  • 17/9/15 Slagg Brothers Rhythm & Blues, Soul

    17/9/15 Slagg Brothers Rhythm & Blues, Soul

    17/9/15 Slagg Brothers Rhythm & Blues, Soul & Grooves Show Boys Keep Swinging 3:18 David Bowie From 1979 album Lodger Backslop 2:33 Baby Earl & The Trinidads 1958, has autobiographic elements - Berry was born at 2520 Goode Avenue in St. Johnny B. Goode 2:40 Chuck Berry Louis. He has written thirty more songs involving the character Johnny B. Goode, "Bye Bye Johnny", "Go Go Go", and "Johnny B. Blues" 1961. In 1962, the story continued with the arrival of Little Bitty Big John, learning Big Bad John 3:04 Jimmy Dean about his father's act of heroism. Big Bad John was also the title of a 1990 television movie starring Dean. 1966, written, composed, and performed by Cat Stevens. He got the name from his Matthew and Son 2:44 Cat Stevens tailor, Henry Matthews, who made suits him. From 1973 album Don't Shoot Me I'm Only the Piano Player. Donatella Versace named Daniel 3:55 Elton John her son Daniel Versace after this song. Hey Willy 3:28 The Hollies 1971. Hey Willy your mother calls you Billy, Your daddy calls you silly This was originally recorded by LA band The Leaves in 1965. No one has been able to Hey Joe 3:01 Tim Rose copyright it, so the song is considered "traditional," meaning anyone can record it without paying royalties. Hendrix was inspired to sing it after hearing this version. 1967. Original member Syd Barrett wrote this about a cross-dresser who used to Arnold Layne 2:53 Pink Floyd steal bras and panties from clotheslines in Cambridge.
  • Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America

    Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America

    Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
  • [FW3T]⋙ the Jam & Paul Weller: Shout to the Top by Dennis Munday

    [FW3T]⋙ the Jam & Paul Weller: Shout to the Top by Dennis Munday

    The Jam & Paul Weller: Shout to the Top Dennis Munday Click here if your download doesn"t start automatically The Jam & Paul Weller: Shout to the Top Dennis Munday The Jam & Paul Weller: Shout to the Top Dennis Munday The inside story of The Jam and The Style Council by the man who oversaw their careers! Record industry executive Dennis Munday's frank account reveals the trials and triumphs of Paul Weller's career, from The Jam's first single in 1977 to the break-up of The Style Council in 1989. He also writes about Weller's post-style Council solo career with a unique insight. Working for Polydor, the author became a regular presence at the two groups' many recording sessions, effectively becoming an honorary member of both The Jam and The Style Council. Despite a sometimes stormy relationship with the band members - and eventually leaving Polydor - Munday was the vital link between Paul Weller and his record company or years. Here then is a uniquely intimate portrait of a rock hero and two influential groups written by someone who was at the heart of the action. This new edition of Shout To The Top has been updated to include details of Paul's new album 22 Dreams, ongoing changes in the line-up to his band and the emergence of From The Jam, the group featuring Paul's former colleagues Bruce Foxton and Rick Buckler which is touring the world performing a set of Jam songs to great acclaim. Download The Jam & Paul Weller: Shout to the Top ...pdf Read Online The Jam & Paul Weller: Shout to the Top ...pdf Download and Read Free Online The Jam & Paul Weller: Shout to the Top Dennis Munday From reader reviews: Anna Lewis: In this 21st century, people become competitive in every single way.
  • Win a Genuine Bruce Foxton Shirt! Posted in []

    Win a Genuine Bruce Foxton Shirt! Posted in []

    Win a genuine Bruce Foxton shirt! Posted In [] Competition "To coincide with the forthcoming "35th Anniversary of All Mod Cons Tour" we have got a fantastic prize for one very lucky winner. Bruce has donated one of his original stage worn shirts which you can see on the photograph below, this is the white with large black polka dots which was worn as recently as Widnes last month. As this shirt is over thirty years old and has seen lots of active service n stage Bruce wants it made clear that it is well worn in places. This is an original from Melanddi of Carnaby Street and has been worn on stage with The Jam and From the Jam. Any Jam collector knows how rare and sought after this kind of item is, especially with provenance. To enter simply answer the two questions below, email your answers to [email protected] before 12.00 on Wednesday 28th August including your name, address, mobile number and which of the All Mod Cons shows you are going to. Question 1) Name the classic Jam song which appears but was not originally credited on the All Mod Cons album. Question 2) On the original American release of All Mod Cons Billy Hunt was replaced by which song? To ensure this special prize will go to a true fan we have made the question the tricky ones. Normal rules apply. Good luck" Added on 20/08/13 by Guy This article has been read 647 times. | .
  • “What's Going On”—Marvin Gaye (1971)

    “What's Going On”—Marvin Gaye (1971)

    “What’s Going On”—Marvin Gaye (1971) Added to the National Registry: 2003 Essay by Josiah Howard (guest post)* " WHAT'S GOING ON " MARVIN GAYE 0 I . WHAT 'S GOING ON lSI A C'•,••"".M G•v• fl Ben10nl 2 . WHAT' S I-I A PPENING BROTHER 2.U IJ "v~. M Geve l. F L Y IN' HIGH (IN THE FIIIIENOLV SKYI J ·40 IM Gevd e SAVE THE CHILDREN l e4 ,A C••vetena. M Gave R 8...,M>., S . GOD IS LOVE 2 , Jt '"" G•v• A Ga'l'I E s,o,,.,,J J'l.y•I , M E R C Y,,,.EIIICV,,U !THE ECOLOGY ) J . OS IM Gavtl ,,oduc-.dt>yMa,v,.,Ga~• Original album Original label Marvin Gaye A question mark song and album without the question mark in the title, at the time of its release in 1971, Marvin Gaye’s seminal “What’s Going On” was a not-so-subtle statement record: a watershed musical endeavor that broke with Motown Records’ traditions, spoke directly to the volatile times in which it was conceived, and placed its singer/musician/songwriter in the record books. It also has, over the past half century, been reconsidered, reevaluated and recognized as one of the most substantial Pop/Soul music recordings ever set to wax. But it almost didn't happen. Motown records, “the sound of young America” were, throughout the sixties, the most successful soul music label in the world. It was a strategic triumph that came to pass in part because, with very few exceptions (1963’s “The Great March to Freedom: Martin Luther King Jr Speaks” was one), the label’s music was decidedly uncontroversial.
  • June 2015 Vol

    June 2015 Vol

    A Mirror and Focus for the Jazz Community June 2015 Vol. 31, No. 06 EARSHOT JAZZSeattle, Washington Morgan Gilkeson & Adriana Giordano: New Faces of Seattle Jams Photo by Daniel Sheehan 2 • Earshot Jazz • June 2015 EaRSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community Executive Director John Gilbreath Money Makes the World Go ‘Round Managing Director Karen Caropepe Programs Assistant Caitlin Peterkin Artists make the art go ‘round. And Earshot Jazz Editors Schraepfer Harvey, art, for most of us, makes life worth Caitlin Peterkin living. Contributing Writers Halynn Blanchard, The issue of artist compensation Levi Gillis, Jeff Janeczko, Bryan Lineberry, has come to the forefront again here Andrew Luthringer, Peter Monaghan in Seattle, and much of the dialogue Calendar Editor Schraepfer Harvey seems to be centered around working Calendar Volunteer Tim Swetonic jazz musicians. Lists are being made, Photography Daniel Sheehan discussions held, and names being Layout Caitlin Peterkin called. Politicians and city offices are Distribution Dan Wight and volunteers showing public support for our art- their pocket, and that the musician’s send Calendar Information to: ists, no doubt while also supporting talented hand is just one more. email [email protected] or the revenue-producing infrastructure But battle lines are sometimes too go to www.earshot.org/Calendar/data/ of our growing city of music. gigsubmit.asp to submit online easily drawn into bi-polar, “us vs. Though the population and econ- them” camps. I would like to propose Board of Directors Ruby Smith Love omy here are in obvious “boom” (president), Diane Wah (vice president), Sally that we all take responsibility, and Nichols (secretary), Sue Coliton, John W.
  • The Top of the Poppers Sing and Play Punk

    The Top of the Poppers Sing and Play Punk

    Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’.
  • Smash Hits Volume 24

    Smash Hits Volume 24

    November 1-14 1979 30p m> POLICE SPi im BATS LPs to be won Uover forbidden 1 *-.,. Records Mv" Rec . __.. ,«i»i Atlantic L^rs^ur^tohavevou onn !*»-»- »*' BY Chic at verv love you Chorus . er d MV no other *°^lr We'll just ?JJK» no o^er and everv *nev You're 'cause " do * « anc ' <e :«•want to your beckner- "VTn'tI - „ at I didn t tr oe And love" indeed That your ^neW ves to and the you are You «Y AppearanceapP That sinister a«W» Repeat chorus Those ur love dQ ^ forbidden .... ,o«e is : ooh " NlyK hidden g^— iV.WeeVo«r»ov. indeed yes chorus to Vou are a.neat D»ne at chorus U" Hello, I'm Page 3. I'm the page that gives the rundown on the rest of the issue, makes it all sound utterly fantastic and desirable, gets to crack a joke or Nov 1-14 1979 two, and generally acts all snappy and hot to trot. It's a piece of cake in this magazine, 'cause the other pages work so hard to come up with the goods — Vol 1 No 24 now my cousin, who's Page 3 of The Sun, he has a rotten time trying to dream up captions for pictures of nude ladies. (Get on with it — Ed.) OK OK, this time around Page 24 has asked me to tell you about his Quiz; Page 31 has Editorial address; Smash Hits, Lisa 52-55 asked me to remind you about his terrific badge offer — the complete set of House, Carnaby Street, London five W1V 1PF.
  • The Jam Sound Affects Mp3, Flac, Wma

    The Jam Sound Affects Mp3, Flac, Wma

    The Jam Sound Affects mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Sound Affects Country: US Style: Mod MP3 version RAR size: 1448 mb FLAC version RAR size: 1335 mb WMA version RAR size: 1246 mb Rating: 4.3 Votes: 214 Other Formats: MMF FLAC TTA APE MP4 WMA VOX Tracklist 1 Pretty Green 2:36 2 Monday 3:00 3 But I'm Different Now 1:50 4 Set The House Ablaze 5:02 5 Start! 2:29 6 That's Entertainment 3:38 7 Dream Time 3:50 8 Man In The Corner Shop 3:12 9 Music For The Last Couple 3:43 10 Boy About Town 1:59 11 Scrape Away 3:59 Companies, etc. Made By – PDO, USA Phonographic Copyright (p) – Polydor Ltd. (UK) Copyright (c) – Polydor Ltd. (UK) Manufactured By – PolyGram Records, Inc. Marketed By – PolyGram Records, Inc. Published By – And Son Music Ltd. Credits Producer – The Jam, Vic Coppersmith-Heaven Notes First US CD release. 8-page heavy stock paper insert contains all song lyrics. ℗ © 1980 Polydor Ltd. (UK) Printed in U.S.A. Barcode and Other Identifiers Barcode: 0 422-823284-2 7 Matrix / Runout (Outer ring): 823 284-2 01@ Matrix / Runout (Inner ring): MADE IN USA BY PDO Other versions Category Artist Title (Format) Label Category Country Year POLD 5035 The Jam Sound Affects (LP, Album) Polydor POLD 5035 UK 1980 Sound Affects (CD, Album, POCP-2589 The Jam Polydor POCP-2589 Japan 1997 RE) Sound Affects (CD, Album, UICY-77061 The Jam Polydor UICY-77061 Japan 2015 RE) Sound Affects (CD, Album, Polydor, 9846098 The Jam 9846098 UK 2007 RE) Universal Music Sound Affects (CD, Album, 537 421-2 The Jam Polydor 537 421-2 UK Unknown RE, RM, RP) Related Music albums to Sound Affects by The Jam Jam, The - Sound Affects The Jam - Going Underground / The Dreams Of Children Various - Axs Magazine The Jam - Strange Town The Jam - Greatest Hits Associates - The Affectionate Punch Boyzone - A Different Beat Yoko Ono - My Man.
  • The Hartley's Jam Factory

    The Hartley's Jam Factory

    Bermondsey Street Back Stories Number 13: Jam Yesterday – Hartley’s in Bermondsey by Jennie Howells September 2020 The London works of Hartley’s The Jam Factory Chimney As Bermondsey has changed over the years, factories, workshops and warehouses have given way to offices, restaurants and smart apartment blocks. But one sight has greeted residents and newcomers for over a century. It is a high chimney stack that proclaims in bold white lettering, ‘HARTLEYS’. This is the story of Hartley’s jams and preserves – but also of the remarkable Sir William Pickles Hartley. Sir William Hartley – Lancashire-born He was born in 1846 in Colne Lancashire. An early photograph shows a young man of determination and ambition, but he was more than this. He was a staunch Primitive Methodist both in views and behaviour. A lifelong philanthropist and generous contributor to many causes, he made an early decision to devote 10% of his gross income to humanitarian work. This amount was to increase as years went on. Amongst many other initiatives, he funded a cottage hospital, a model village, retirement homes for his workers, a botanical laboratory and a Methodist training college. William Hartley, aged 14 The successful Sir William Hartley A career in jam William left school at the age of 14 and began work in his mother’s grocery shop. He started his commercial career at the age of 16 when he opened his own business in grocers’ sundries. This quickly became successful until deliveries of jam from a local supplier became unreliable. When orders failed to arrive, with characteristic enterprise he began to produce his own preserves.
  • Smash Hits Magazine December 1978

    Smash Hits Magazine December 1978

    1__ M m m U//MKB i 1 B ^ -^ : '«! ^^h im#j L^'*7ii /**J *$ M'W$at*iM': 25p i y L*^^^^^^L^ W H ji.,^ k R?^ \\- fl 1 k words to 2 1 TOP SIN including Instant Replay. DarfH Hurry Up H Elation At Hiirtl- l namOnuaiO* . * T"e d,st, "eco«fe Hanging On The nt el ,f ^ Telephone, Brandy _.^a/bums (A" th^Or Thank You for A . dsinside) TO BE WON Being A Friend A I adio. By Elvis Costello&l Records I was tuning in the shine on the light night dial Doing anything my radio advised With everyone of those late night stations Playing songs bringing tears to my eyes I was seriously thinking about hiding the receiver When the switch broke, 'cos it's old They're saying things that I can hardly believe They really think we're getting out of control Radio is the sound salvation Radio is cleaning up the nation They say you better listen to the voice of reason But they don't give you any choice, cos they think that K's J;-:-, treason So you had better do as you are told You better listen to the radio I want to bite the hand that feeds me I want to bite that hand so badly I want to make them wish they'd never seen me. Some of my friends sit around every evening "MS they worry about the times ahead else Is overwhelmed by indifferen P'dymlse of an early bed r shut up or get cut up t wanna bear about it , .nches on the reel to reel he radio is in the hands of such a tot of fools g to anaesthetise the way you feel adlo is the sound salvation St :j adlo is cleaning up the nation hey say you better listen to the voice of reason ut they don't give yog any choice, 'cos they think th treason ^iKSiisiSS o you had better do as you are told .'ou better listen to the radio - and music by Elvis 2 SMASH HITS Contents MONTHLY December 1978 Vol.