For the past few weeks, the media has had a field day with a certain “shock jock” radio host and the fallout from his inconsiderate comments. The repercussions of this type of behavior can be alarming, since a certain percentage of the population will always believe what they are told and do not have the tenacity to question the strong and opinionated messages to which they are exposed. Why has this new breed of radio host, ‘the shock jock’, become such a phenomenon, and how widespread will the repercussions of his dogmatic pronouncements be felt?

Once upon a time, every radio host could press a ‘delete’ button, when a caller verbalized something that was deemed too controversial, offensive or politically incorrect. The pendulum has swung the other way now, and the ‘shock jock’ mentality is permeating the airwaves like never before. Some people may just say ‘well don’t listen, change the station’, which is a valid argument. On the other hand, gullible, thoughtless, or just plain lonely listeners take in every word and become desensitized to rants. People who live insular lives, or children and young adults who are not very worldly, are easy targets for those who want to pursue their own agendas. This is especially true of young adults who have not yet taken strong stands on issues of importance to the community.

These formative years as they grow up are important. The skills to filter information based on hate and intolerance are not fully developed and if this type of language is heard often enough, people are at risk of developing negative and intolerant personality traits. It is a type of desensitizer; listeners may not be aware of adopting the personal biases of a crash athlete. A reluctance to challenge their views and take the presenters’ arguments at face value could come to dominate a person’s thought processes.

Personal biases and prejudices are instinctual in the human race. If a radio presenter is passionate about getting his message across to the widest possible audience, or if he is the spokesman for a group of people seeking to influence public opinion, he will be able to subtly manipulate his listeners, conditioning them for an extended period of time. time frame. The ‘shock jock’ cultivates a following over the years of stalwart adherents who begin to believe that the ‘great man’s pronouncements’ are gospel. Once the presenter has reached this happy state of affairs, he begins to wield immense public influence with very little for anyone to ensure that his views on accountability are appropriate or acceptable to the community at large. general.

If daily bouts of vicious diatribe, biased reporting on matters of public interest, and personal attacks on those who oppose their views, are repeatedly fed to the listening public, it can result in a mindset of vitriol and bigotry, where people they get swept up in the heat of the moment and lose their sense of perspective and gullibility. It’s an old age problem…the aim of the ‘shock jock’ is to reach as many listeners as possible, they will seek to appeal to the most basic instincts, biases and prejudices of their listeners, those on the fringes, on the fringes of the society at large, seeking a voice to dispel their own fears and prejudices.

Everyone knows that all discussions and opinions must be fair. Both sides of an argument should always be given equal weight in public forums. The ‘shock jock’ mentality does not incorporate fairness. Their opinion takes precedence over any fair and equitable debate, and very often, a challenging point of view on the air becomes the subject of ridicule by the host. There have been times, when the truth is stretched, manipulated, and poetic license taken, to accommodate the radio host. This is not always obvious to the listener.

Critical thinking skills are crucial for all individuals to reach their full potential in the adult world. This, of course, means being prepared to question and be skeptical of any opinion and point of view presented by radio hosts who claim to have “divine insights” into the debate. Most topics of public discussion should generate a level of sensitive and mature public discourse without being hijacked by radio hosts running their own agendas. Often their focus is purely self-interest or, at best, the opinions of those who pay them to broadcast opinions on their behalf. The ‘money for reviews’ debacle in which radio hosts parrot the opinions of their payers often under the guise of personally holding those opinions or endorsing their products as if using them, has become a modus common operative. for potential sponsors.

The repercussions of this type of transmission on our national airwaves have far-reaching consequences. People can become immune to the softer, tougher facets of human nature. It has the potential to reduce the kindness and tolerance of people who, perhaps through no fault of their own, find themselves in dire circumstances. However, we have the potential to reverse this trend and return to the more positive attributes of our human nature, if we refuse to accept much of the verbal diatribe that is thrown by ‘chock jocks’ on our airwaves. We should look beyond verbal rhetoric and spin by critically analyzing what we are told and forming our own opinions in a fair and non-judgmental manner; we can counteract the negativity and the feelings of inadequacy and hate that radio ‘shock jocks’ seek to instill in us.

A fundamental principle of our society is that everyone should have the freedom of expression. Impact athletes exploit this in a way that demeans our community and use scare tactics to stifle those who would question their biases. They do not hold a special position of privilege or ‘divine right’, they are not elected to the office they hold, and they are only responsible to those who pay their salaries, but they do wield tremendous influence. The time has come to license radio hosts, to hold them accountable for their actions and behaviors, just like all citizens of our community.

Brand refers to specific symbols such as name, logo, slogan, design, fonts, color scheme, symbols and sound to facilitate product identification. It helps differentiate one product from another. The American Marketing Association defines a Brand as “A name, term, design, symbol, or any other feature that identifies one seller’s goods and services as distinct from those of other sellers.” The various concepts of Branding are classified into: –

1. BRAND MANAGEMENT: – It is an art of creating and maintaining a brand. “A brand that captures your mind wins behavior. A brand that captures your heart wins commitment” – Scott Talgo.

2. BRAND RECOGNITION: – If a brand is widely known in the market and in the consumer’s mind, it is called Brand Recognition. let me tell an anecdote:-A lady sitting next to Raymond Heowy at dinner, she struck up a conversation

“Why,” she asked, “did you put two x’s on Exxon?”

“Why ask?” he asked.

“Because,” he said, “I couldn’t help noticing,”

“Well,” he replied, “that’s the answer.”

Source: – Alan Fletcher, the art of looking askance.

3. BRAND FRANCHISE: – When Brand Recognition accumulates to the point where a brand enjoys a critical mass of positive market sentiment, it is said to have achieved Brand Franchise. As Martin Lindstorm rightly said, a global brand building strategy is really a local plan for each market.

4. BRAND EQUITY: Measures the total value of the brand to the brand owner and reflects the extent of the brand franchise. According to Christopher Betzer, “Brand Equity is the sum of all the hearts and minds of every person who comes into contact with your company.”

5. BRAND IDENTITY: – The way a company wants the consumer to perceive the product or brand is called brand value. Characteristics such as color, design, type of logo, name, symbol, etc. they identify and distinguish one brand from another in the buyer’s mind. Lexicom once rightly said that a brand is more than a word. It is the beginning of a conversation.

6. BRAND PROMISE: – If the company agrees to do something for its customers, it is recognized as a Brand Promise. Stuart Agres believed that a brand is a set of differentiating promises that link a product to its customers.

7. BRAND POSITIONING: -This concept is clearly explained by the famous words of Jack Trout: “Positioning is not what you do to a product. Positioning is what you do to the prospect’s mind. That is, you position the product in the prospect’s mind.

8. BRAND DEVELOPMENT: – Measures the infiltration of product sales, generally per thousand inhabitants. For example: if out of 1000 people, 100 buy a product, the product has a brand development of 10%. “A brand house is like a family, each one needs a role and a relationship with the others” – Jeffery Sinclair.

9. BRAND EXTENSION: – An existing strong brand can be used as a vehicle for new or modified products. More than 80% of all new products are categories as brand extensions, emphasizing the importance of their success. Ahuwalia’s finding says: “Broadening a brand makes it important to target an audience that will be able to process and understand a brand’s relationship with the new product. Getting it right the first time is crucial, because early success with a target audience can helps with future extensions. And the wider a mark is, the easier it will be to stretch it next time.”

10. BRAND MARKETING: – Focuses on communicating the brand message to generate awareness and affect attitude. Stephen King feels that a product is something that the customer brings. A product can be copied by a competitor, a brand is unique. A product can quickly become obsolete, a successful brand is timeless.

11. ATTITUDE BRAND: – It is the choice to represent a great feeling that is not necessarily connected to the product or the consumption of the product at all. “Products are made in a factory, but the brand is created in the mind” – Walton Landor.

12. INDIVIDUAL BRAND: – It is to assign a unique/separate name to each product of the organization, which can even compete with another brand of the same company.

13. MULTIBRAND: – Is when the company has more than one product competing with each other in a given market. According to George Bull, “Well-managed brands live on, only bad brand managers die.”

14. PERSONAL BRAND: – It is correctly explained as a process by which people and their careers are marked as a brand. It implies the application of the name itself to various products.

The Independent School Entrance Examination (ISEE) is created by the Educational Records Bureau (ERB). It is used as a component in the admission process of many private schools. There are three levels of the test. The Lower Tier is for students entering fifth or sixth grade; the Middle Level is for students entering seventh or eighth grade; finally, the upper level is for students going from ninth to twelfth grade. Each level tests students’ knowledge in four areas: verbal reasoning, quantitative reasoning, reading comprehension, math performance, and essay writing. Although the format of each test is the same, the material covered in the higher level tests will necessarily be more difficult than that in the lower levels. This article will discuss the material found on the test, what to expect on test day, how to prepare, and how to interpret an ISEE score.

The Verbal Reasoning section of the ISEE contains three types of items: Synonyms, Single-Word Sentence Completion, and Sentence Completion. The next section, Quantitative Reasoning, is made up of what are essentially logical problems. Arithmetic calculations may not be required. In the reading comprehension section, students are expected to read a passage and then identify main and supporting ideas, draw conclusions from the text, define words based on context, identify the organization and logic of the passage, and identify tone, style. and figurative language such as personification and irony. Finally, the math performance section tests students on grade-appropriate math; Problems typically involve arithmetic, algebra, geometry, measurement, and probability. Finally, the essay is based on a message and is not graded, but is sent to the school to which the student is applying.

When taking the test, students must be aware of its structure. Each of the sections is timed. Hours vary for the lower, middle, and upper levels, so parents should find the appropriate information on the ERB website. All tests have two five-minute breaks for students during the test. On test day, students must bring four #2 pencils and two black or blue ink pens (erasable ink is allowed). Most other items, including scratch paper, calculators, and reference materials, are not allowed. Cell phones and other electronic devices are strictly prohibited and may not be brought into the testing room.

Preparation is essential to success on the ISEE. The ERB does not recommend preparing students for levels they are not taking (ie, teaching a fifth grader material from the higher level exam). There is an official guide to help students prepare for the ISEE on the ERB website. If your student requires more help, you should consider an ISEE test preparation program to help reinforce your student’s knowledge and increase their confidence in their abilities before the test. A test preparation program will help your student learn test-taking strategies and apply them to practice tests—ideally, tests that accurately reflect the time and other constraints of the actual test. Taking the ISEE can be stressful for a student, and preparation will help you get the most out of it.

Many people will tell you that there are no shortcuts to success and for the most part they are right. However, for those of you who still have that burning desire to learn how to be funny, then the “remove and reveal” technique is the closest you can get to a tool that you can use to elicit laughs almost instantly. .

What is “Pull Back and Reveal”?

Simply put, it’s when you start a joke or funny story by focusing on a smaller aspect or detail of the situation. Then you draw back the curtain and reveal the whole picture to your audience. This technique is all about surprise and timing.

Here are some other points worth noting:

• What you are “revealing” is a missing information.
• Usually the missing information is something that is very obvious or assumed naturally.
• You want to be careful not to reveal the one fact that creates the surprise.
• It is best to begin with a very brief descriptive situation that has within an element of predictability. Ask yourself, “What is automatically assumed in this situation?”
• Keep it short. Better to be brutally brief! (Now say that 10 times faster.)

Let’s break down pullback-and-reveal in an example. Take the following joke:

“My girlfriend called me to say she thinks she’s pregnant. “Great! I said…but are you ready for that?…It can be hard being a single parent these days.”

The configuration is worded in a way that leaves a wide range of predictable assumptions, including:

1. The person telling the joke is a man.

2. The child is yours.

3. He will help take care of the child.

4. He is really happy with the news.

You can see how the use of assumption n. 3 above takes us from withdrawal to revelation. I hope this helps.

The toolbox meeting is part of the daily routine for offshore oil and gas workers. The main reason is to identify the hazard and ensure that all safety precautions are taken before and during the execution of the works. This toolbox meeting is monitored and supervised by the Safety Officer. Security officer is also another interesting job. For those who are interested in becoming one, below are the security officer duties, responsibilities, and qualifications.

• Functions and responsibilities
• Assist Management in the development and implementation of its HSE plans and advise on safety issues related to the works.
• Coordinate and carry out inspections/audits of facilities and activities to ensure compliance with good and safe work practices in accordance with the legal requirements of the Factories and Machinery Law and all Safety Procedures.
• Have the ability to communicate in spoken and written English and in the local language.
• Give a safety presentation with the aim of improving the health, safety and environmental awareness of all workers.
• Assist in the investigation of accidents, report and monitor their follow-up in accordance with safety procedures.

• Ratings
• Must have 5 years of work experience in a supervisory position in the related field of the oil and gas industry.
• Must possess a recognized Diploma in an engineering discipline or a recognized Diploma in Occupational Safety and Health (OSH) or training and assessment completed by the National Institute for Occupational Safety and Health (NIOSH) and have a minimum of 3 years experience working in OSH or minimum 10 years of work experience in SST.
• You must have attended the following local security courses conducted by the Security Training Institution:
• Monitoring Security
• Accident investigation skill
• first aid
• Basic Fire Fighting and Bachelor
• Have attended the following local courses relevant to its operation:
• Survival at sea.
• Crane and lifting operation.
• scaffolding inspection
• work permit system
• Authorized Gas Tester Certification Course.
• Helicopter Landing Officer (HLO)
• Must have knowledge and skills in:
• Hazard and Effects Management Process/Risk Management
• HSE boxes
• emergency response
• Law, Regulations and Permits
• HSE audit

There is a popular saying among offshore oil and gas personnel about safety. Is “Come in One Piece and come back in One Piece“

1. Visual identity

The relationship of a company/organization with its public is known as branding. Brand identity is the way an organization conveys its personality, essence and tone, as well as its emotions, experiences and memories. Similarly, visual identity graphic design is the visual elements of brand identity that function as the face of a brand, thus it can convey such intangible qualities by means of images, colors and shapes.

Visual identity graphic designers work together with brand stakeholders to design logos, color palettes, typefaces, and image libraries that represent the brand’s personality. In addition to creating regular business cards and company stationery, designers often generate visual branding guidelines (style guides) that provide best practices and examples of visual branding used in different media. These guidelines help ensure brand consistency across all future applications.

2. Marketing and advertising

Graphic design for most people represents the designs made for marketing and advertising. Companies rely on the best marketing efforts to influence the decision-making process of their target audience. Effective marketing allows people to participate based on their needs, wants, knowledge, and satisfaction of a product, service, or brand. Since visual content is more attractive to people, graphic design helps companies/organizations to communicate and promote themselves more effectively.

Marketing designers work together with business owners, managers, directors, and marketing professionals to generate assets for marketing strategies. Some work as freelancers, while others work as part of an internal team or creative group. Other designers specialize in a particular type of media, such as magazine ads and vehicle wraps, or create a wide variety of collateral that is used for both print and digital. They used to be print-focused, but their role has evolved to add more digital assets to be used particularly for content marketing.

3. User interface

The user interface or UI is the way users interact with a device or an application. User interface design is the process of designing interfaces to be easy to use and provide a great user-friendly experience.

A user interface comes with everything that a user interacts with, such as the keyboard, mouse, and screen. However, in terms of graphic design, user interface design focuses on the visual experience of the user and the design of graphic elements, such as buttons, menus, and micro-interactions, among others. The job of a UI designer is to create a balance between aesthetics and technical functionality.

UI designers work on mobile apps, desktop apps, web pages, and games. They work hand in hand with UX designers, designers (who know how the app works), as well as UI developers, who write the code to make it work.

4. Publication

Posts that come in long-form pieces communicate with viewers through public distribution. They used to be in print media like books, magazines, newspapers, and catalogues, but there has been a significant rise in digital publishing in recent decades.

Graphic designers who specialize in publishing coordinate with editors and publishers to make layouts that have carefully chosen typography and accompanying artwork such as graphics, illustrations, and photography. Publication designers can work as freelancers, as members of a creative agency, or as part of a publisher.

French poet Aime Cesaire states that “a crying man is not a dancing bear.” It is easy to confuse sounds, images or words, it is easy to assume that a thing could actually be the opposite of what we perceive it to be. This is why defining a problem is so critical to the troubleshooting process. As Einstein once said that if he had an hour to solve a problem, he would spend 55 minutes thinking about that problem and only five minutes thinking about ways to solve it.

TECHNIQUES FOR IDENTIFYING PROBLEMS

has. Graphic script

Storyboarding requires you to use several large sheets of paper to define a problem. The overall problem is then divided into two to five subtopics, each of which will be written on a large sheet of paper or flipchart. Visually, you will be helped to quickly and easily see the possible solutions for each sub-topic on the sticky notes – one idea per “sticker”. Proceed to attach your ideas to the large pieces of paper or flipchart sheets, as appropriate. This wide range of possible solutions, based on a disaggregated definition of the problem. will help to clarify the basic main problem.

b. Examining assumptions

Generally speaking, when you solve a problem, you should try to list all of your assumptions about the problem. The next step is to look at the problem again without those assumptions. Try doing this in the example below to learn how easy it is to try to help the metaphorical crying man, when the reality is a metaphorical bear growling while dancing.

Imagine you heard about a man who finally got out of jail. His first action was to push a car to a nearby hotel, where he left a large amount of money. His next action was similar to the first: he pushed the car to a house near the hotel and also left some money there. This time, however, he left less money than he had left at the hotel. Can you explain what could be happening in this scenario?

There is another technique for avoiding the box that assumptions are often placed in, often due to their own lack of problems. Ask those affected by the problem to restate the problem without using any of the key terms used by the first speaker. To illustrate, if the original topic was phrased this way: “We may have a drug problem here,” several people might substitute “opiates,” “prescriptions,” “cocaine,” “marijuana,” or any of several others. possible words that may be legitimate interpretations of the word “drug”.

vs Force Field Analysis

Kurt Lewin’s simple diagram requires you to specify what the current problem is, at the top of a piece of paper. Next, you would specify how you imagine that problem will be solved. In other words, what would be the ideal situation? Write the ideal below the actual problem. The next step is to draw a line down the middle of the paper. On the one hand, it will list the forces that prevent you from achieving the ideal. In the next column, you would list the forces that could help you reach the ideal state. (However, be careful not to make the second column a simple inversion of the first.)

MULTIPLE MEANINGS OF A GIVEN TERM

Just as a given word can have multiple definitions, some of which may contradict others, so too can a problem be viewed in multiple ways. The many possible definitions remind us of the need to define problems as completely as possible before embarking on their solution. As Anthony Hincks puts it, “A teddy bear will give you love. A grizzly bear will give you a beating.” Make sure your problems produce “loving” solutions.

“Can we buy this person to make him look more Asian?” While totally insensitive under any other circumstances, these are all-too-real requests that agencies and studios receive from clients struggling to find an Asian face to headline their Asian campaign.

The ivory world of advertising and marketing is slowly losing its grip here in Asia. The lines in the sand are clearly being drawn. Brands can no longer adapt Western campaigns and lifestyles here and are hoping to gain the same populist traction they used to back in the day (read: 90s and early 2000s). We no longer aspire to ‘be like Mike’ or ‘keep up with the Kardashians; we thirst for relationships, we aspire to be inspired by our own culture and long to be spoken to in a language we can understand.

The almighty Consumer stomps on their feet and brands are trying to respond in kind. Localization is no longer a buzzword, but a necessity to produce effective communication campaigns. So the big stock image houses respond, sending in photographers, setting up sets, and stocking their libraries.

At first everything is fine, but then the Internet age had a trick up its sleeve, and it was an avalanche.

Today, the average user is inundated with more than 3,000 pieces of content daily on the various platforms they interact with.

Netflix, tablets, smartphones, digital TVs. Coupled with the fact that the human brain can identify and retrieve an image from memory in less than 1 second, it seriously diminishes the value, currency, uniqueness and staying power of the content. The concept of ‘old’ has taken on a new meaning. Anything more than a week is dated. More than a month? Ancient. Couple of month? Old and irrelevant. One year? Forget this.

What does this mean? It means that consumers demand to be constantly engaged with new and fresh content. This is the reality for brands that want to stay relevant.

Personalization, localization and uniqueness are the three pillars that now support the pagoda of Asian content. Brands can no longer get away with the “business as usual” philosophy.

The emergence of the visual market here in these lands is a response to the transformation of an industry, a transformation that is occurring most significantly in Asia, the nexus of Globalization 2.0. As the region slowly overtakes Europe and the Americas in terms of overall internet users, millennials, smartphone penetration, new technology adoption, and the rapid rise of the connected consumer, the need for visual content that speaks to the Asian perspective has never been greater. is more pressing than it is today. Marketers and managers who are simply lazy and resistant to change will only be left behind.

The rhetoric is simple: if an average user can create 2 or 3 pieces of new content per week in multiple formats, what about a brand with many more resources?

With marketplaces connecting buyers with talent across Asia, crowdsourcing content should no longer be a problem.

Creativity is not just about all things artistic, although that is one element, it is about how we see the world and how we interact with it. Especially when challenges present themselves. In the past I had never considered myself particularly creative, especially in office settings. When I had a traditional job, I cringed at those brainstorming meetings where we had to come up with innovative new ideas for the team or company. He really wasn’t good at it. Or maybe I just didn’t care. I say this because I later discovered that I could find creative ways to help others, or to help others help themselves. I was able to see solutions for people and situations that mattered to me. And when I was inspired to write, I was certainly being creative.

Being creative is about introducing new ideas and concepts, finding different ways of thinking and being, as well as creating things in a more traditional sense, be it inventions, artwork, music, clothes, poetry, or anything else.

Everyone is creative. Your beliefs may tell you otherwise, but if you free your mind from the restrictions of what you say to yourself, you will also be creative.

Similarly, you cannot force creativity, it must be gently coaxed and then freed to come to you in its own time. Creativity should flow naturally.

Top tips to be more creative

1. A little of what you fancy: Forget what others think and try it. If you want to paint, draw, sing, write, dance, decorate, bake… or anything else, give it a try. Don’t think ‘what if’, don’t worry about being good or bad at it, just try.
2. Spending time in nature – a walk in the park, climbing a hill, having a picnic, watching the sunset or moonrise, however you choose to do it – this can spark your creativity.
3. Quiet time: Meditation, yoga, even pilates, activities that quiet the mind will encourage our creativity to come out of its inner hiding place.
4. Adrenaline Rush: Do something different, surprising, exciting or scary. It will make you see the world a little differently and then who knows what could happen?
5. Have a long talk with a good friend – especially if you’re looking for a creative solution to a situation. Talking things out can really give you clarity and understanding, and a fresh point of view is helpful too.
6. Make a mind map: If you want to be more creative, take a large piece of paper and write “how to be more creative” in the middle. Now write a lot of ideas and thoughts about creativity, what it means and how you could take advantage of it. Make your mind map colorful and decorative if you like. Drop everything, even if your conscious mind says it’s nonsense. Spend a good amount of time on this and then sit back and take a look. What thoughts and feelings do you have about being more creative now? What actions could you take?
7. Stay hydrated and get enough sleep: You can’t be creative if your body isn’t happy or you’re too tired.
8. Be patient: don’t give yourself a hard time, have fun, have fun and at some point you will suddenly realize that your creative self is wide awake and hammering away to be heard.

You are already a creative being, follow these top tips to be more creative and see what happens next.

All goods or services are classified within the International Classes (IC from now on). Goods range from IC classes 1-34, while services are in IC 35-45. Let’s take a closer look at one of these classes of trademarks: class 35.

What is international class 35 all about?

Each class has a short title that gives a snapshot of what that class is about: IC 35’s short title is Advertising and Business Services. Pretty vague, huh?

The first part of the description of the IC 35, advertising, is simple. If advertising, marketing, or promotional services are being offered, then this is the class. Now there will be some exceptions, as with everything related to brands.

Tangible advertising goods such as posters, flyers, brochures will NOT be in IC 35 as those items are not technically a service, although they are definitely part of a service; tangible paper advertising goods are in IC 16. Training, coaching, education, etc. on advertising, marketing or promotion is NOT going to be in IC 35 but in IC 41, which is the educational class.

The second part of the description of international class 35, business services, is not straightforward at all. Semantically, all services could be considered business services, right? It in no way says that the trademark powers; at least not at all if those services can fit into a different international classification.

The USPTO has about 1,500 accepted descriptions that fit IC 35; check them out here.

So what business services are there in international class 35?

Ooh, this is a tough nut to crack, as there are definitely some discernible patterns within this class, but there’s also a lot of slapstick here. Here is a general breakdown:

o If your services consist, in part, of the word business, you are likely to be in mark class 35. This includes consultancy, advice, administration, management, development, information, organization, research, planning, etc.

o Employment services are in this class, which includes hiring, recruiting, placement, staffing, and professional networking.

o Retail services that sell ANY product under the sun, which means a physical store, online retail sites, mail order, catalog, wholesalers, etc.