In this report, the United States Whiskey market is valued at USD XX million in 2016 and is expected to reach USD XX million by the end of 2022, growing at a CAGR of XX% between 2016 and 2022.
with sales (volume), revenue (value), market share and growth rate of Whiskey in these regions, from 2012 to 2022 (forecast).
United States Whiskey market competition by top manufacturers/players, with Whiskey sales volume, price, revenue (Million USD) and market share for each manufacturer/player; the top players including
The report puts special emphasis on the most important details of the United states whiskey market report 2017 market, filtered out with the help of industry-best analytical methods. A detailed and professional overview of the United states whiskey market report 2017 market has been compiled by industry experts and presented in the most concise manner to present only the details that matter the most. The report analyzes the industrial chain supporting the United states whiskey market report 2017 market in detail, and includes accurate information about the aspects such as production capacity, efficiency in the utilization of the available production capacity, manufacturing chain, demand and supply dynamics, and industry policies affecting the United states whiskey market report 2017 market.
The report examines in detail the impact of the key drivers and restraints and the major trends that govern consumer choices of the past and the future on market’s overall development over the report’s forecast period. The research publication also examines the costing of key products available in the United states whiskey market report 2017 market with respect to the profit gained by producers, as well as the regulations affecting it. The cost-profit relation is analyzed in greater depth by regional-level segmentation, leading to data that explains the condition of the market in a specific geographical area. This data can be used by the reader for making focused market policies. The relation between key applications of the market and the industry chain is also analyzed with respect to each regional market, to provide a proper understanding of way the market functions.
The study also presents detailed insights into the competitive landscape of the United states whiskey market report 2017 market and the geographical distribution of the United states whiskey market report 2017 market. Business profiles of some of the key players in the market are profiled, including a detailed SWOT analysis that presents an overview of the potential growth trajectory of the market leaders in future years. The study also presents detailed data about the business operations and financial structures of key vendors of the market, presenting an overview of the competitive landscape and aiding in formulating efficient market strategies.
It’s probably an incurable disease of the soul that I flew all the way out to Wisconsin from Florida only to spend hours looking through the QZAP archive for the place I’d just left. Pouring over Queer Zine Explosion, Larry-Bob’s painstakingly detailed queer answer to factsheet 5, I noted anything I saw with an address south of Delaware and east of Oklahoma, more or less, with particular attention to the seaboard states which make up the South I’ve always lived in. As one of the members of Gainesville’s Civic Media Center zine collective, I work with the Travis Fristoe zine library, documenting and preserving the personal, punk, political, art which came to the CMC from around the country but especially Gainesville, Florida and the south. Though the Fristoe collection contains work by queer creators, it was not an explicit collection mandate at the collection’s inception, so I was excited to see what Southern zines QZAP was home to, and what queer Southern zines made their way to national circulation.
My favorite Southern zine I found at QZAP was One Mint Julep, the solo zine by Hugh McElroy, who made up one-half of Picklejar, a queer, Southern, kid liberation zine by high school friends in Washington, D.C. When his collaborator went up North for college, Hugh stayed in D.C., and he continued to write about what queerness and Southernness meant to him. Hugh fiercly articulates what many queer Southerners know- that the South is too often dismissed for its supposed backwardsness, despite the often radical community and coalition building work done here. Hugh is frustrated with his peers in D.C. who hide or change their accents and refuse to claim a Southern identity, and that frustration comes through in OMJ's various meditations on community, dating, home, and family in D.C.
The all-but-last page of One Mint Julep is one of those pages where you have to show somebody, because it hits you exactly where you live. Hugh has drawn, in scratchy pen, maybe ballpoint, a bird-headed, winged creature on tall, leaf-capped, vine-like legs, rising up from the gabled roof an old plank house, surrounded by bats, moon (sun?) behind it like a knock-off halo, fighting a tiny winged creature. Slices of typed text across the page, layering it with this beautiful, joking, angry, little poem about being from the South, some of which goes “i live in a swamp/ kudzu ate my car last night…. I sip sweet mint julep/ to keep me cool and to/ fire me up” and breaking finally into a half-paragraph of exploding frustration saying exactly what i want to say: the North isn’t any better, and we’ve got to stay here and fight, because the South is ours. I took a picture and sent it to my friend, a sweet queer Florida boy who once, when I said I grew up in the south, gave me a Look of withering dismissal and said “you’re from North Carolina.” He loved it, too.
Fi Taylor was a 2018 QZAP Scholar-in-Residence. They are currently working as a union organizer and community librarian at the Civic Media Center in Gainesville, FL.