Shaolin Soccer Reviewed by Movie Gazette on Friday, November 12th, 2004.
A charmingly daft blend of martial arts and football – offbeat, offkilter and, er, offside.
Twenty years ago, soccer star 'Golden Leg' Fung (Ng Man Tat) made the mistake of his life, deliberately missing an easy penalty kick in exchange for a bribe from fellow player Hung (Patrick Tse Yin), and having his legendary leg smashed in the ensuing crowd riot. Now Fung is a lame has-been, while Hung is a soccer kingpin whose Team Evil seems unbeatable – but when Fung runs into Sing (director/co-writer Stephen Chow), a down-at-heel kung fu enthusiast, he realises that Sing's killer kick and aversion to full body contact makes him a footballing natural. Sing persuades his out-of-shape Shaolin brothers to form a ragtag team with Fung as coach, and soon their renewed sense of confidence and purpose sees them through a series of kinetic victories. Eventually they face Team Evil in the finals – but now that Hung's cheating extends to dosing up his players with performance-enhancing superdrugs, this last match is bound to be explosive. Fortunately shy, not quite love interest Mui (Vicki Zhao) is on hand with her Tai Chi skills to help the Shaolin team beat the odds and achieve its impossible goal.
Sing's dream of popularising Shaolin kung fu with a new, modern form finds perfect fulfilment in 'Shaolin Soccer', which itself blends the ancient fighting discipline with the beautiful game in a hilariously crowd-pleasing hybrid. Exploiting the feel-good familiarity of sports and martial arts clichés (victorious underdogs, cod spiritualism, stylised conflicts, gravity-defying wirework etc.) even as it satirises them, 'Shaolin Soccer' offers the best – and the silliest – of both worlds, and so gets to have its steamed bread and eat it too.
Unlike Sing's flawless footwork, the jokes can be a bit hit-and-miss, but 'Shaolin Soccer' still scores for sheer exuberance and amiability – and in any case, it is the hyperbolic gameplay, more than merely 'enhanced' by CGI, that really brings this film into its own. Players hover in the air, defenders are scattered like nine-pins, goalposts are quite literally moved, balls change direction in mid-flight or even turn into flaming pumas, and entire pitches are transformed by cyclonic kicks into armageddon-like warzones – taking the concept of 'fantasy football' to new extremes. No doubt there are sports pedants who will find themselves echoing the sentiments of one exasperated opponent as he exclaims "Please don't play like this! I really want to play soccer!" – but everyone else will be too busy grinning open-mouthed like monkeys to care very much.
It's Got: On-pitch antics rivalled only by Mui's Tai Chi style of kneading dough; a team of high-flying women with drooping handlebar moustaches; absurdly over-the-top CGI.
It Needs: Laughs that are less hit-and-miss.
This entry was written by Movie Gazette, posted on November 12, 2004 at 12:00 am, filed under Action, Asian, Comedy. Bookmark the permalink. Follow any comments here with the RSS feed for this post. Trackbacks are closed, but you can post a comment.
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Bear Hug Entertainment - Privacy Policy
This is the Privacy Policy (the "Policy") of Bear Hug Entertainment Limited a limited company registered in England and Wales with a registered company number of 11779479 and a registered address at 1 Farnham Road, Guildford, Surrey GU2 4RG (hereafter "Bear Hug", "we" or "us"). This Policy describes the ways in which Bear Hug collects and uses information about you when you visit our websites at www.bearhugentertainment.com and www.alicelegends.com (the "Websites" and each a "Website") or use any of our mobile applications (each an "App").
Bear Hug may change this Policy at any time in which case we shall notify you of any changes to this Policy. The changes will apply to your use of the Websites and/or App (as applicable) after we have given notice. If you do not wish to accept the new Policy you should not continue to use the Websites and/or App (as applicable). If you continue to use the Websites and/or App (as applicable) after the date on which the change comes into effect, your use of the Websites and/or App (as applicable) indicates your agreement to be bound by the new Policy.
For the purposes of data protection legislation, Bear Hug is the controller for the processing of your personal data. Bear Hug has notified the Information Commissioner's Office ("ICO") of its processing of personal data. Bear Hug's registration number is ZA550205.
This Policy was last changed in September 2019.
SECTION A – Your use of the Websites
Information which is collected when you use the Websites: Bear Hug may collect the following information from you via the Websites if you choose to contact us via either Website, namely your name, e-mail address and details of your particular query together with any other contact details that you may provide to us such as your phone number.
Processing ground: Bear Hug relies on the contractual necessity processing ground to collect the items of information listed in 1 above, as this information is required in order for Bear Hug to answer your particular query or support request.
How the information about you on the Websites is used: The information about you described in paragraph 1 is used by Bear Hug:
to provide technical support in relation to your use of the Websites and its Apps and troubleshooting/answer your particular query; and
to, in certain situations, transfer such data to its storage provider and/or combine it with its third party partner's data as described in paragraph 7 below.
SECTION B - Your use of any Bear Hug App
Information which is collected by any App: Bear Hug may collect the following information when you use one or more of Bear Hug's Apps:
information relating to tracking/analytics behaviour as you use the App in question, some of which is collected in cooperation with various third party partners as described in paragraph 7 below. This includes information such as unique device ID, the length of time you spend playing our Apps and other metric/statistical information. Whilst the majority of this information is not personal data, Bear Hug may combine it with e.g., the information in paragraph 4(c) and hence it will become personal data as a result;
if you consent, information that allows our advertising partner (Unity) to serve targeted adverts to you, such information as set out in Unity's privacy policy referenced in paragraph 7 below;
in the future, Bear Hug may also collect your name and e-mail address (collected via Facebook log-in). For certain Apps this feature will be available, although not compulsory, in order to allow you to save your progress and play across multiple devices.
Processing ground: Bear Hug relies on the legitimate interests processing ground to collect the items of information noted in paragraph 4(a). The items collected, in being limited to analytics information of a technical nature do not outweigh your rights and freedoms in having such data collected and are used by Bear Hug to help refine, support and further develop the App for your benefit. Bear Hug relies on consent to collect the information noted in 4(b). Bear Hug relies on the contractual necessity ground to collect the information noted in 4(c) because having your name and e-mail address is required in order to provide the feature allowing you to save progress and hence play across multiple devices. This is because Bear Hug needs some mechanism of verifying your identity to be able to present you with the correct version of the App.
How the information about you on the App is used: The information about you described in paragraph 4 may be used by Bear Hug as follows:
to enable Bear Hug to undertake administration tasks in relation to the management of the App and to provide the services that Bear Hug provides via the App to you, namely to permit you to access and play mobile games via the App;
to, if you consent, serve you adverts that are more personalised to you;
to tweak, tune and facilitate the improvement of the App;
to provide technical support in relation to your use of the App and troubleshooting;
to prevent fraud or illegal activities;
to use such information in anonymised form for its own research and marketing purposes; and
to share with third parties as described in paragraph 7 below.
SECTION C - General
Sharing information with third parties: Bear Hug shall not pass your information to any third party (other than as described in this paragraph). Your information may, subject to Bear Hug's obligations to comply with applicable data protection legislation, be shared with the following third parties:
if you consent, we will share certain personal information with our advertising partner, Unity in connection with the placing of personalised adds. You can remove your consent to this at any time via the Menu within the App. You can find more details on how Unity handles your information, including how to opt-out of personalised adverts and how to contact it in relation to deleting information, in its Privacy Policy;
various external service providers that we engage to provide services for us, including analytics partners such as Google Firebase and Amplitude. Again, you can see the information that Amplitude collects about you and how your information is dealt with in its Privacy Policy, and for Google Firebase in its Privacy Policy and here. The type of information that is collected in co-operation with such service providers depends on the nature of the service that they are providing but generally comprises items such as IP address, device identifiers, interaction with adverts and the game and so forth;
its storage and hosting provider;
having taken precautions to maintain the security of such information, Bear Hug may share this information with its regulator;
in anonymised form, Bear Hug may share the information with:
any third party, in relation to the sale of some or all of Bear Hug's business, or its assets, or as part of any business restructuring or reorganisation. Bear Hug will take steps with the aim of ensuring that your rights continue to be protected if your personal data is transferred in accordance with this paragraph;
law enforcement agencies in compliance with law enforcement.
Links to third party websites and third party adverts: Bear Hug is not responsible for the privacy policies and practices of other sites even if you access them using links from the Websites or App. You should check the policy of each site you visit and contact its owner or operator if you have any concerns or questions. In addition, if you link to the Websites or App from a third party site or via a social network (e.g. Twitter), Bear Hug is not responsible for the privacy policies and practices of the owners or operators of that third party site and recommends that you check the policy of that third party site and contact its owner or operator if you have any concerns or questions.
Security: Bear Hug has implemented technology and policies to safeguard your privacy from unauthorised access and improper use.
Storage and Data Retention: You information is stored by us, via our third party storage provider, in the EEA. Our other third party partners may store data outside the EEA and we have appropriate contracts in place to ensure the adequacy of such transfer. You can ask for your information to be removed at any time by e-mailing us at privacy@bearhugentertainment.com
SECTION D - Contact with Bear Hug
Information Bear Hug collects and uses if you contact us or make complaints: When Bear Hug receives complaints by email it files any relevant document and may retain details of the complainant and other individuals identified in the complaint. Bear Hug will only use this information to process the complaint. Bear Hug shall retain information in relation to a complaint for 6 years after its closure, in a secure environment and access to it will be restricted on a 'need to know' basis.
SECTION E – Contact and Your rights
Bear Hug Details: If at any time you would like to contact Bear Hug you can do so by sending an e-mail to us at privacy@bearhugentertainment.com or write to us at "Data Protection Query, Bear Hug Entertainment Limited, 1 Farnham Road, Guildford, Surrey GU2 4RG". This is Bear Hug's registered address and we are a company incorporated in England and Wales with company number 11779479.
Your Rights: You can contact us using the details set out in the paragraph above if you wish to: (i) access a copy of the personal data that we hold about you; (ii) correct any items of personal data that we hold about you; and/or (iii) have any items of personal data that we hold about you erased or object to our processing of such items of personal data. You may also contact the ICO at any time.


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Mexican pop-rock band Maná has released 9 studio albums, 3 live albums, 7 compilation albums, 5 video albums, 2 box sets and 1 soundtrack album. Throughout their career, Mana has sold over 40 million albums worldwide, becoming the most successful Latin American band of all time. ¿Dónde Jugarán Los Niños? remains as the best-selling Spanish-language rock album in history with 10 million copies sold worldwide.

In a career spanning 35 years, they have achieved 50 No. 1 hits globally and became the first and only act to sell out 7 dates at the Los Angeles Forum as part of a single tour breaking previous records of 6 shows held by both The Eagles and Kanye West. According to RIAA, they have achieved two Latin-Diamond albums: "¿Dónde Jugarán Los Niños?" and "Sueños Líquidos".

Studio albums

As Sombrero Verde

As Maná

Special edition studio albums

Live albums

Compilations, imports, and greatest hits

Box sets

Remix album

Collaborative album

Singles

As Sombrero Verde singles

From Sombrero Verde (album) (1981).

"Vampiro" (1981)
"Long Time" (1981)
"Profesor" (1981)
"Despiértate" (1982)
"Concierto" (1982)

From A Tiempo de Rock (1983).

"Laura" (1983)
"Hechos Nada Más" (1983)
"Me Voy al Mar" (1984)

As Maná

Duets, collaborations, etc.
1995: "Celoso" (Single) from the My Family soundtrack album.
1999: In December 1998, they were invited by Carlos Santana for a duet single called "Corazón Espinado" for his  Supernatural album. The track was composed by Fher Olvera. This gave them exposure in Europe, Asia, and the Middle East. They also appeared on the Grammy Award presentations and The Tonight Show with Jay Leno.
2001: "Si Ella Me Faltara Alguna Vez" (single) from Pablo Milanés from the Pablo Querido album that features Fher Olvera.
2001: Maná and Enanitos Verdes: Combinaciones Premiadas (album).
2002: "Cartas Marcadas" is a song from Shelia Rios from the Con toda el alma album that features Fher Olvera.
2002: "Mirarte", "Tic tac", and "La noche me gusta" are songs from Miguel Bosé from the Sereno album that features Alex González on drums.
2004: In 2003, Maná teamed up with Italian singer Zucchero, which resulted in two duets: a new version of Maná's "Eres mi Religión" and one of Zucchero's "Baila Morena" (single), both of which were released as singles and the latter of which reached the number one position in the French single charts in 2005. "Baila Morena" (single) from Zucchero is from his  Zu & Co. album.
2004: Belén Arjona asked Maná's vocalist Fher Olvera to perform "Vivir Sin Aire" for a duet for her album called O te mueves o caducas (special edition). It was the fifth and last single of her album.
2004: Maná and La Ley (band): Batalla de las Bandas: Superheros del Rock en Español! (album).
2006: On their seventh album, "Amar es Combatir", features a Bachata song titled "Bendita Tu Luz", a duet along with Dominican Singer Juan Luis Guerra, who is widely regarded throughout Latin-America for his significant contribution to merengue and bachata styles of music.
2007: "No Lo Digo Por Nada" is a song by Alejandro Sanz from his El Tren de los Momentos special edition album which features Alex González on drums.
2011: On their fourth special edition album Drama y Luz deluxe edition features with Latin pop/bachata singer/songwriter Prince Royce for Maná's third single "El Verdadero Amor Perdona" (bachata version)

Videography

Videos
1998: Maná: Exitos En Video
1999: Maná MTV Unplugged
2002: Suenos Liquidos Videos
2004: Acceso Total
2008: Arde El Cielo

Music videos
Maná(1987)
1987: "Robot" – director unknown

Falta Amor (1990)
1990: "Rayando el Sol" – director unknown
1990: "Buscándola" – director unknown
1991: "Perdido En Un Barco" – directed by Hector Cardenas

¿Dónde Jugarán los Niños? (1992)
1992: "Oye Mi Amor" – directed by Hugo Massa
1992: "Vivir Sin Aire" – directed by Gustavo Garzon
1993: "Como Te Deseo" – director unknown
1993: "Te Lloré Un Rio" – directed by Gustavo Garzon
1993: "Como Diablos" – director unknown
1994: "Me Vale" – director unknown

Cuando los Ángeles Lloran (1995)
1995: "No Ha Parado De Llover"  — directed by Gustavo Garzon
1995: "Hundido En Un Rincón"  — directed by Juan Carlos Martin
1996: "Déjame Entrar"  — directed by Gustavo Garzon

Sueños Líquidos (1997)
1997: "Clavado En Un Bar"  — directed by Jorge Aguilera
1997: "Hechicera"  — directed by Kiko Guerrero
1998: "Como Dueles En Los Labios"  — directed by Kiko Guerrero
1998: "En El Muelle De San Blás"  — directed by Kiko Guerrero
1998: "Un Lobo Por Tu Amor"  — director unknown

Maná MTV Unplugged (1999)
1999: "Se Me Olvidó Otra Vez"  — directed by Milton Lage
1999: "Te Solte La Rienda"  — directed by Milton Lage
2000: "Cachito"  — directed by Milton Lage

Santana album Supernatural (1999)
1999: "Corazón Espinado" (featuring Maná) — directed by Adolfo Doring

Revolución de Amor (2002)
2002: "Ángel de Amor"  — director unknown
2002: "Eres Mi Religión"  — director unknown
2003: "Mariposa Traicionera"  — directed by Eduardo Flemmer and Pablo Flemmer

Esenciales: Luna, Sol & Eclipse (2003)
2003: "Te Llevare Al Cielo"  — director unknown

Belén Arjona album O te mueves o caducas (special edition) (2004)
2004: "Vivir Sin Aire" (featuring Fher Olvera) — director unknown

Amar es Combatir (2006)
2006: "Labios Compartidos"  — directed by Pablo Croce and Felipe Niño
2006: "Bendita Tu Luz" (featuring Juan Luis Guerra) — directed by Israel Lugo and Gabriel Coss
2007: "Manda Una Señal"  — directed by Wayne Isham
2007: "Ojalá Pudiera Borrarte"  — directed by Joaquín Cambre
2008: "El Rey Tiburón"  — directed by Pablo Croce

Arde El Cielo (2008)
2008: "Si No Te Hubieras Ido"  — directed by Pablo Croce
2008: "Arde el Cielo"  — directed by Dago González and Tim Zimmer

Drama Y Luz (2011)
2011: "Lluvia al Corazón"  — directed by Sam Stephens and Ariel Danziger
2011: "Amor Clandestino"  — directed by Pablo Croce
2011: "El Verdadero Amor Perdona" – directed by Pablo Croce
2011: "El Verdadero Amor Perdona" (featuring Prince Royce) – directed by Pablo Croce
2012: "Mi Reina del Dolor" – directed by Joaquín Cambre

Exiliados en la Bahía (2012)
2012: "Hasta Que Te Conocí"  — directed by Pablo Croce

Notes

References

Maná
Discographies of Mexican artists
Latin pop music discographies
Rock music group discographies

redpajama_set_name: RedPajamaWikipedia


The February talk will be given by Prof. Tim Elliott, Professor of Experimental Oncology at the University of Southampton. Tim will be talking about his research into using our own immune systems to fight cancer.
Cancer immunology studies the interaction between the immune system and cancer cells. The very idea of harnessing the immune system to fight cancer was first pioneered at Southampton in 1974, and since then we have been at the forefront of this field. Our treatments in the form of vaccines and antibodies direct a patient's immune cells to identify and remove cancer. The treatments not only destroy visible cancer cells but also seek out and eradicate hidden cancers in other parts of the body, potentially offering a lifetime of immunity. The process is much less invasive than radiotherapy and chemotherapy, and with reduced side effects. Science magazine named it the "number one global scientific breakthrough of the year" in 2013.
Tim is the Director of the new Southampton Centre for Cancer Immunology which is due to open in 2017. He is a deputy Director of the interdisciplinary Southampton Institute for Life Sciences and a Fellow of the Academy of Medical Sciences.
Tim has incorporated discoveries in the area of antigen processing, T cell regulation and immunodominance into the development of new cancer immunotherapies and is the recipient of a Royal Society / Wolfson Research Merit Award.


text:
Category Archives for "CASE STUDIES"
0	Bare breasts mean business at Starbucks.
I've been a fan of Starbucks since they opened their first store in Portland, in 1987. I don't think there's been a brand, since McDonalds, that has had a bigger effect on our society than Starbucks. It truly is, one of the most iconic brands in the world, and has grown to be one of the most valuable.
Interbrand ranks Starbucks as the 56th most valuable brand in the world. It's market cap of 120 billion dollars.
Notice anything different at your local Starbucks lately? I sure have. The familiar green and white logo on the cups is missing. It's a travesty to brand-conscious graphic designers everywhere.
At first glance I thought maybe it was just a corporate cost-cutting measure — the result of tremendous Wall Street pressure to improve performance. But once I looked a little closer, I noticed something even more revealing:
Starbuck has bared her breasts! The mermaid that's been the Starbucks icon from day one, has gone back to her topless, hippy roots.
There are a lot of other changes going on at Starbucks in Seattle — you might even call it a corporate shake-up — but none are as symbolic as the undressing of the logo.
A great article in Fast Company magazine reveals some of the latest nuances added to the siren logo.
I take it as a sure sign that CEO Howard Schultz is serious about stripping away some of the fat and refocusing on the core of the Starbucks brand .
That little nod to the humble heritage of his company says a lot. The green logo has just two words: "Starbucks Coffee." The retro logo reads "Starbucks Fresh Roasted Coffee." It's a reminder to the world that Starbucks has always been obsessively focused on the quality of it's product.
In his book, Pour Your Heart Into It, Schultz says, "The number one factor in creating a great, enduring brand is having an appealing product. There's no substitute."
I know a few coffee snobs who claim that Starbucks isn't as good as the local guy's Ethiopian Tega & Tula. And they may be right. But I also know that Starbucks beats the hell out of the mom & pop drive-up operations that have appeared on every corner.
At Starbucks, the product is consistent. The coffee is just as good as ever, but the company has made some operational decisions that have had a subtle effect on our perception of that quality. Shultz seems determined to correct that, and if his track record over the years is any indication, he'll pull it off.
Ever since I read his book back in '99 I've used Schultz and his organization as a great example of focused leadership, exceptional execution and textbook branding. He has always been the brand champion in that organization. He was one who introduced the idea of gourmet coffee to a nation of Folgers drinkers, and he has always fought to maintain quality standards even during their hyper-rapid growth.
Shultz is adamant about controlling the brand experience as much as possible, down to the last detail. That's why the company never sold franchises. At first, Shultz didn't even want to sell coffee in paper cups at all, lest it detract from the experience and affect the flavor.
So these new "transformational initiatives" of his are no big surprise.
First thing is to recapture that appealing coffee aroma in every store. Believe it or not, that smell of fresh roasted coffee is every bit as important to the brand as the look of the stores or the music they play. It works on a subtle, subconscious level, but the bottom line is, you won't hang out and enjoy your double half-caf mocha if the place doesn't smell good. So Starbucks is going back to manual espresso machines and killing the sale of breakfast sandwiches.
The Starbucks business model is based on the idea of the third place… that we all need a relaxing getaway that's not home and not work. To me, it's more of a romantic, Vienna coffeehouse experience than a quick, Italian espresso shot. So the roll-out of free wi-fi service is long overdue. Paying for an internet connection at Starbucks was just idiotic to me.
The third and final cornerstone of the Starbucks brand is its own people.
"We built the Starbucks brand first with our people, not with consumers — the opposite approach from that of the cereal companies," Shultz said. "Our competitive advantage over the big coffee brands turned out to be our people."
Starbucks doesn't just talk about treating people well, the company really does. In the retail food service industry, where getting good help is always a challenge, Starbucks leads the way with its pay scale, benefits packages, training programs and retention rates.
"We believed the best way to meet and exceed the expectations of customers was to hire and train great people. That's the secret of the power of the Starbucks brand: the personal attachment our partners feel and the connection they make with our customers."
The company also listens to its front-line employees. The idea for Frappuccino came from the store level. The new website, mystarbucksidea.com, started out as an internal feedback tool for employees. Now anyone can go online and post their own ideas for Starbucks, vote for the best, and see what's being implemented.
Which brings us back to that idea of reintroducing the old logo, circa 1971.
The change coincides with the introduction of a new house blend, called Pike Street Roast, for people who just want a good, robust cup-o-joe. In that context, and with everything else that's happening at Starbucks, the branding throwback makes perfect sense.
The mark was originally inspired by a woodcut image of a Norwegian mermaid, fully exposed. Over the years, as Starbucks grew and became "more corporate," the logo slowly morphed. Eventually the designers gave her long hair, which covered her breasts and made her more palatable to a broad commercial audience.
Now Shultz wants to go back in time. Back to when the company wasn't really worried about offending anyone on Wall Street. Maybe this little flash of skin is just what the company needs.
Updated again in 2011
If you want to recapture the magic of your brand, or build a new one from the ground up, give me a call. 541-815-0075
As the logo evolved, it got too perfect. It lost some of the mystery of the older versions. Lippencott article in Fast Company
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Effective Personal Branding — The corporate head shot is not the ticket.
Recently we had a client who didn't like the photos we had taken for her website. She didn't appreciate the fact that we had done something different than the usual, corporate head shot. She said they didn't look "professional enough" — didn't think it was good personal branding.
The problem is, her idea of "professional" translates to invisible. Because everyone has a boring "professional" portrait. And doing the same thing is the worst thing for your personal branding efforts.
Just because you're in a professional job, such as real estate, insurance or law, doesn't mean you have to look professional in a boring corporate sense. That's classic, rear-view mirror thinking… "well, that's how they've always done it in my business, so I better do it too."
Nonsense. If that's how it's always been done, do just the opposite. Differentiation is the name of the game. Relevance, Differentiation and Credibility. Those are the fundamentals of personal branding.
You'd never differentiate yourself on Match.com with a stiff, corporate photo, so why would you sell yourself that way in professional circles? What sells on Match.com is the same thing that sells in the corporate world: Real life. Personality. Emotions. And Honesty.
Deceptive images might get you one date, but they won't work in the long run.
Realtors are acutely aware of their personal branding efforts. And yet, they're notorious for using crummy, outdated photos.
I rejected a realtor once because of her photo. I interviewed her because she had done a lot of advertising. Her face was everywhere! But when I met her in person I was literally taken aback. She didn't even look like the same person. She was at least 25 years older than she appeared in her photo.
I didn't discriminate because of her age, I rejected her because she wasn't honest with me. She purposely — knowingly — misrepresented herself. And for me, that's a deal breaker. It's not a big leap to think she would also mis-represent my house, or my position in a negotiation.
That's me.
So, no thanks. Next candidate. There are plenty of other realtors waiting in the wings.
I suspect a lot of hiring managers think the same way. It's human nature in a superficial world. We make snap judgments without even knowing we've made them. We are all biased, especially when it comes to looks.
So unless you're super-model hot or as handsome as George Clooney, why would you want to show your face on every ad, every card, every page of the website? Besides ego.
A headshot does nothing to differentiate you from the rest of the realtors, lawyers, consultants or insurance agents with boring corporate headshots.
On the contrary. It lumps you in with everyone else. All the bad moustaches and lousy suits on the guys make you look like you belong in a police line-up. And 90 percent of the women look like they're trying way too hard. (Can you say "photoshop?")
Successful personal branding hinges on authenticity, and there's nothing authentic about most corporate head shots.
Some have argued that Realtors should include a portrait because "they don't have a product to sell. They are the product. "
I suppose that's true to some extent. The problem is, they're all "me-too" products.
That is, they all do exactly the same thing, in the same basic manner. There's no difference in service from one to the other, and most head shots shot confirm that suspicion.
Realtors, dentists, attorneys, and millions of other "professionals" perform a service. How a head shot looks has no bearing whatsoever on their ability to provide a good, valuable service.
A head shot may, or may not, help establish credibility. Someone might say, "well she looked trustworthy," but unless you look remarkably different than everyone else in your market area, it will not help differentiate you from the thousands of competitors.
Rosey is a symbol of strength for our client, Morris Hayden. Works much better than the client's photo ever could.
Instead of showing yourself, why not find something that's more meaningful… an image, graphic or a logo that means something to you, and possibly even conveys a benefit.
Use a symbolic, conceptual image that isn't so darn obvious. A bit of mystery is a powerful marketing tool.
Or better yet, devise a service that actually IS different, and then show that. Find a simple image the conveys that difference at a glance.
If it's not a relevant photo, it's not good personal branding.
If you're selling your services as a bouncer, your physical looks are absolutely relevant. You have to look like a bad ass, so your portrait should be shot in dramatic, intimidating fashion. Black and white. Forced perspective. Arms folded and straight faced.
Same thing if you're a personal trainer. A photo of your physique is proof that you know what you're doing.
But that doesn't work for realtors, lawyers or accountants. No one says, "Wow, she looks like a great realtor!" No one makes a purchase decision based only on your photo, but they will judge you, for better or worse.
So if you absolutely must use a headshot, here's some advice for getting a photo that doesn't look like it came from the Sears portrait studio:
1. Remember, image matters. Execution matters. If you use sloppy, poorly-lit photos on your website or your LinkedIn page, that's going to reflect poorly on you. You'll get judged for that, like it or not.
2. Get a life, and show it. You're not a robot. Get photos that are an accurate reflection of the real you. Use props or interesting settings. Do something that conveys your personality.
3. Save yourself a lot of time and frustration by using a pro the first time. There's a HUGE difference between accomplished amateur photographers and professional photographers who can actually make a living from the images they sell.
4. Realize that women are almost impossible to please when it comes to portraits. If you have a staff of 10 women, nine will be unhappy, no matter what. Show them 90 proofs, and they'll reject every single one, out of hand.
So if you're running the show, don't give them too many choices. Trust the photographer and just show the top three. And whatever you do, don't let them take the photos home for a consultation with their sisters, girl friends or daughters.
5. A good photo reveals your frame of mind. If you're feeling confident, sexy and intelligent, it'll come through. (Assuming you're using a good, professional photographer) If you're defeated, depressed, or angry, that'll show too. So do whatever you have to do to get in the right frame of mind for a photo shoot. Have a glass of wine. Loosen up. Have fun with it.
6. The camera is just not kind to some people. The minute the lens cap comes off, they freeze up faster than a popsicle in Nome. If that's you, look for a photographer who has a photo-journalism background and let her do some candid, newsy shots. Don't pose! Do something natural and let her capture the action.
7. Remember, photography is an art. So be open minded and let the photographer be creative. If you go into a photo shoot with very specific, pre-conceived notions, you'll miss out on a great opportunity to shine.
Bottom line: There is a place for portraits in the marketing world. People like to know that they're dealing with a real person, so the "about us" page of your website is a natural place for those head shots.
Anything beyond that is probably ill advised. Why show your face at all? It's brand recognition you want, not facial recognition. They can always just Google you if they want to see what you look like.
For more on branding fundamentals, try this post. If you want some help with your personal branding, give us a call. 541-815-0075.
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Fake thrills and false advertising — Another automotive marketing misfire.
Automotive advertising, as a category, is notoriously bad. The big brands seldom produce memorable spots, print ads or campaigns. And at the dealer level there's nothing but obnoxious yell & sell retail ads. Many have been accused of false advertising.
Let's look at a campaign for the Toyota Camry… This isn't what I'd call blatantly false advertising. It's more like delusional, wishful thinking.
You have to start with this fact: The Camry is not an exciting car.
In fact, some automotive writers contend that Toyota's building nothing but vanilla-flavored toasters these days. Despite that, the Camry has been hugely successful and was the best-selling car in America for almost 20 years.
Obviously, there's a huge segment of the American car-buying population that does not care about horsepower, handling, sexiness or style. They just want reliable, utilitarian, point-A to point-B transportation.
Plain old toasters on wheels.
My father drives one, and he fits the demographic perfectly… white, suburban 80-year old male who only drives a few miles a month. The last thing he's looking for in a car is a thrill ride.
And yet here comes an ad campaign for the Camry, titled "Thrill Ride."
What a great concept… a car as a high-speed turbulent thrill ride captured in a reality-TV format.
They built an elaborate, hot-wheels style track and then too people for a rid up and down the hills, around the high-G turns, and into consumer's hearts. I want to drive!
I was enamored with the TV commercial at first.
Then I realized it's a Camry commercial.
This is a classic case of a great advertising idea executed for the wrong brand. Some might even call it false advertising.
Once again, we have an automotive brand trying to be something it's not. If this campaign was for the Mazda Miata, then yeah. Maybe it would work.
The whole idea is misaligned with the Camry brand. "Thrill Ride" is not the least bit authentic, nor is it relevant to the people who might really be interested in a Camry. (They might have fond memories of ancient, wooden roller coasters, but they don't want to ride on one.)
And what's worse, the spot doesn't even deliver on its ill-advised promise of being thrilling.
The so-called "thrill course" features one little hill, a banked turn, and a tunnel. There are relatively young, hip people riding shotgun as the Camry inches its way around the course. It's a reality TV on Geritol.
I can understand why the Brand Managers at Toyota would want to appeal to a younger audience. And I can even go along with the premise of being a little bit more fun. But why do it in a way that's utterly fake and out of context?
Why leap all the way to "thrilling?" Consumers are too smart for that. As one YouTube viewer wrote, "So you're basically saying that the only way your Camry will be exciting is to drive it on some mock roller coaster course."
Why couldn't they advertise the car's popularity and reliability and resell value, but in a fun way?
"Among the boring sedans targeting people over 50, the Camry is the MOST FUN!" That, I could buy.
But there's no way Toyota will every convince people that the Camry is thrilling. They could launch one into space and parachute it back to earth, RedBull style, and it'd still be a boring brand.
But in this case, boring is good. People eat it up! Why are they trying to be something else? There are plenty of thrilling cars already on the market that don't sell nearly as well as the Camry.
Bloomberg News reports that in 2014 the era of Camry dominance could run out. There's a lot of competition in the midsize sedan segment from Kia, Honda, Huyndai and the Ford Fusion. Perhaps the Camry spot was a knee-jerk reaction to the Fusion, with Toyota execs saying, "we gotta be cooler and appeal to a younger target audience like they have."
Assuming you built a thrill course worth its salt, the spot would work brilliantly for BMW's Mini brand. The Mini is a car that runs on rails, delivers thrills and is genuinely fun in every way. The analogy works.
With the Camry it falls on deaf ears.
At the end of the commercial one of the actors says, "like maybe I'll look at a Camry differently." That sounds like a line stolen right from the creative brief under the header "objective." I seriously doubt this spot will do it.
And more importantly, why would Toyota want people to look at the Camry differently??? Seems to me, looking at it as the #1 selling car in the country with outstanding resell value and a super-high reliability rating would be plent
So here's some advise for brand managers and business owners concerning false advertising or grandiose claims…
If you're lucky enough to have the best-selling brand in your category, don't pretend to be something else. Don't lighten your offering in order to appeal to a seemingly broader audience. Stick to your core. Resist the temptation to leverage your brand it into some other line of work.
Stick with the core truth.
For example, if you're Guinness Stout you don't start advertising an American-style lager.
If you're Harley Davidson you don't start advertising a new line of lightweight motocross bikes.
If you have the best selling sedan in the country that happens to be a bit vanilla like the Camry, don't try selling yourself as a spicy hot sporty sedan. You're wasting your breath. And it's basically false advertising.
For more on truth in advertising, try THIS post.
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Is "Inspiring Bank" an Oxymoron? The Branding of Umpqua Bank
It's interesting, where people find business inspiration. For some, it's the pages of Forbes or podcasts with big-name entrepreneurs. For me it's the bookstore, or conversations with clients. I don't think anyone looks at bank branding as a source of inspiration.
Most banks are not known for their inspiring interiors or creative marketing practices. The most exciting thing to ever happen at my old bank was the emancipation of the counter pens…
They were released from their chains and replaced with crappy logo pens that are now free to take home with just a purchase of a $10,000 15-year Certificate of Deposit.
Nope. The banking industry is the last place I'd look for business inspiration or marketing insight.
That is, until I met Ray Davis, the the former CEO of Umpqua Bank.
Turns out, Davis is not inspired by bank branding either.
According to Davis, the key question driving strategy discussions at Umpqua Bank has been, "How can we get people to drive by three other banks to get to ours?"
That question has steered the bank's team to look outside the financial sector for inspiration. For instance, Umpqua's brand has been heavily influenced by the retail industry. "Build the branches around interactions, not transactions."
Umpqua Bank has grown from $150 million to $24 billion in assets during Davis' time as CEO. Today it has 350 stores in three states. But perhaps more importantly for the brand, Umpqua has been included in Fortune Magazine's list of 100 best places to work — eight years in a row.
Bankers and banking consultants from all over the world visit the Umpqua headquarters in Portland and the San Francisco branch to see what they're doing and how they're doing it. And what's even more impressive is that executives in completely different industries are also looking to Umpqua for inspiration.
Turns out, we really can learn from a bank when it comes to branding.
So what's behind it? What's turned this small town brand into one of the fastest growing banks in the nation?
"Umpqua started to take off once we realized what business we're really in," Davis said. "I don't believe we're in the banking industry. We're in the retail services business."
When Davis applied for the job at Umpqua he warned the Board of Directors that he was going to throw out all the old conventions of the banking industry and start something completely different. Because he believed they couldn't compete against the big guys in any conventional way.
"Banking products are a commodity," Davis said. "You can't differentiate yourself that way. The big guys are just going to copy any good new product we come up with. But they can't copy the way we deliver the service. They can't copy our experience."
For that, he borrowed ideas from two great retailers… Nordstrom and Starbucks.
Umpqua stores look more like the lobby of a stylish boutique hotel than they do a bank. You can settle into a comfortable leather chair and read all the leading business publications. Have a hot cup of their Umpqua blend coffee. Check your e-mail or surf the web. Listen to their own brand of music and maybe even make a deposit or open a new account. Who knows.
It's a dramatic leap when you compare that experience to the cold, marble standards of the banking industry.
Clearly, Davis knows how to execute. He doesn't talk about "execution" per se, but he obviously has the discipline to match the vision. He's knows how to motivate and how to manage an organization through dramatic changes. And he's built a corporate culture that aligns with the brand promise.
Here are some of the things Davis has successfully implemented and some reasons why bank branding is now on my inspiration radar…
• Random acts of kindness: Local Umpqua teams just do good stuff, like buying coffee for everyone who walks into a neighboring Starbucks. They don't have to ask permission.
• They get their customer service training from Ritz Carlton.
• Every Umpqua employee gets a full week of paid leave to devote to a local charity. That's 40 hours x 1800 employees! Any other banker would do the math and say it's too costly. Davis says it pays off 100 fold. That's bank branding at it's best.
• They have their own blend of coffee. Shouldn't every great brand have its own blend of gourmet coffee?
• Proceeds from Davis' book "Leading for Growth. How Umpqua Bank Got Cool And Created A Culture of Greatness"go to charity.
• They invented a way to measure customer satisfaction. As Fast Company Magazine put it: Umpqua Bank has a rigorous service culture where every branch and each employee gets measured on how well they deliver on what they call "return on quality."
• They embrace design as a strategic advantage. At Umpqua branches, everything looks good, feels good, and even smells good! It's the polar opposite of a crusty old bank. It's a pleasing environment, which makes an unpleasant chore much nicer.
• Davis GETS IT. He knows, intuitively, that his brand is connected to their corporate culture. "Banking executives always ask, 'How do you get your people to do that?' It's the culture we've built over the last 10 years. It doesn't just happen. You don't wake up one day and say, gee, look at this great culture we've got here. Our culture is our single biggest asset, hands down."
• He's a great communicator. Davis doesn't use banking stats to motivate and persuade. He uses stories, analogies and real world examples.
• He embraces the idea of a big hairy audacious goal. In fact, everyone answers the phone "Thank you for calling Umpqua Bank, the world's greatest bank."
So the next time I'm looking for inspiration, maybe I'll skip my usual haunts and head down to the bank for a cup of coffee.
For more inspiration, try THIS post.
For inspiration regarding your own marketing efforts, call me at BNBranding.
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(Judge-er-naught) Noun 1: When you are such a boss, that you don't give af about others loose morals. 2: The state of being non-judgmental regardless of one's surroundings or obvious hypocrisy.
ex. "Said she was vegan, but still downed her protein. Call me the Judgernaught, but I'll see her next weekend."
Get a Judgernaught mug for your cat Rihanna.


This is the shocking moment a TV news presenter falls to the floor as he has a heart attack live on air.
The startling scenes were recorded on a local television channel in Turkey's Eskisehir province.
In the video, sports reporter Sukru Oytan can be seen sat on the left with colleague Guven Sabaz on the right when Oytan puts his head onto the desk in front of him.
Local media report Oytan suffered a heart attack on air and was rushed to a local hospital and is now reportedly in a stable condition.
An official statement from the TV channel read: "Our colleague Sukru Oytan had a pacemaker placed due to arrhythmia 10 days ago. Today during the programme he felt bad and fainted.
"He was immediately taken to a hospital. The doctors reported that his state is stable. We express our best wishes to Oytan and his family."
Father-of-three Hoddle collapsed on October 27, shortly after appearing on Robbie Savage's live show at the BT Sport Studios in Stratford, East London.
He was resuscitated by sound engineer Simon Daniels, who said his "natural instinct" of first aid training kicked in.
Shortly before it happened, the ex-footballer was filmed doing keepy-uppies in the studio.


text:
Breeding & Racing in Germany
Galopprennen
Vollblutzucht
Folgen @turftimes folgen Drucken Redaktion Startseite
David Conolly-Smith: www.galoppfoto.de - Frank SorgeIn order to be of assistance to our growing number of readers from abroad, we are with immediate effect publishing in every issue of Turf Times an English page, giving in compact form all the latest racing and breeding news from Germany in English. It will be written by the well-known racing journalist David Conolly-Smith, who has lived in Germany for many years. He is the German representative of the International Racing Bureau and writes regularly on German racing and breeding for the Racing Post, Irish Field, EBN, TRC and many other publications.
The English page - Stallions on parade
Ausgabe 601 vom Freitag, 17.01.2020
Last weekend´s Irish Stallion Trail was by all accounts a big success despite horrible weather. Just about every Irish stud of note took part, from Coolmore to the Irish National Stud. This weekend sees the Route des Etalons de Normandie, also over two days, with 30 studs taking part and almost 100 stallions parading.
It is difficult to imagine such an event in Germany, although the "Tag des Gestüte" (Stud Open Day) in mid-September is very popular and 13 studs took part last year. Put simply, the quality here is good, but the quantity not enough, and also the distances are too great; there are major studs in Germany next to the Polish border (Görlsdorf) and others within sight of the Alps (Ammerland). Although most of the top stallions stand in the Rhine valley, or close to is, that also extends from the Dutch border down to Switzerland. And at the last count here are only 47 thoroughbred stallions standing in Germany, less than half the number in Normandy alone.
The English page - Statistics show German racing industry still shrinking
The Direktorium, the German racing authority, this week published statistics on the German racing and breeding industry for 2019, and they show clearly that both industries have shrunk alarmingly this century. The peak period was in the mid-1990s, after the reunification of Germany in 1990, and throughout the 1990s racing was booming, but a clear decline set in after the turn of the century. There are various reasons for this, including the rise of internet betting and the huge increase in sports betting (which was previously illegal in Germany), both of which caused a dramatic reduction in tote on course betting turnover, one of the main financial pillars which paid for much of the racing here.
The English page - End of the road for Neuss
Our remarks in this column last week about problems at Neuss have been overtaken by events, and it now looks as if the fixture there on December 8th will go down in history as the last ever in the 144 years of the racetrack. The Neuss town council, which owns the property, gave the race club (Neusser Reiter- und Rennverein) notice a year ago that their lease would not be renewed at the end of 2019 and have now confirmed this. The whole area was redeveloped by the town ten years ago and named Rennbahn-Park, but racing was almost a minor part of the activities staged there, which include an open air theatre with a highly regarded summer Shakespeare Festival. The race club has cancelled its scheduled meeting for this Sunday, and also its five meetings listed in early 2020. These meetings have all been transferred to Germany´s other sand track used for winter racing at Dortmund, with one exception, when Dortmund is not available for non-racing reasons.
The English page - Racecourses are struggling
The German fixture list for 2020 comprises 151 race days, 88 of which are on a Sunday and a great many more on public holidays such as Easter Monday. Midweek racing is now quite rare apart from the week long meetings at Hamburg and Baden-Baden, while most racecourses avoid Saturday racing like the plague, except for those in the former GDR and again Hamburg and Baden-Baden. In all 32 racecourses are listed. Dortmund, which races both in the summer (on turf) and in the winter (on sand) has the most racing, with 14 days scheduled, while nine more have seven or more race days. No fewer than twelve tracks race only once a year; these are small country racecourses who can count on a lot of local support.
The English page - The stallion situation in Germany
The main problem of the German racing and breeding industries at the moment is the way that the whole industry has shrunk this century. The Direktorium this week published the fixture list for 2020, which comprises 151 race days, almost all of them on a Sunday or Bank Holiday. Except for the week long meetings at Hamburg and Baden-Baden, there is now virtually no racing on Saturdays (dominated by football for ten months of the year) or midweek. This is the lowest number of race days for many years, and compares to a high of 325 in 1995. This of course reflects the number of horses in training, now about 2,400 compared to over 5,000 in the late 1990s.
The English page - Younger generations making an impact
There has been no racing in Germany for the past week, and we have only six more racedays to come this year. Five of these are on the winter sand tracks at Dortmund and Neuss and one, weather permitting, on turf at Mülheim on Boxing Day. All of these meetings have an early start, usually before 11 a.m. because they are to be shown on Equidia, the French racing channel, for French punters to bet on, and are heavily subsidized by the PMU. The French need races in the mornings, and as they are putting up most of the money they also dictate these rather unsocial times; he who pays the piper calls the tune. On the whole these races, and also the prize-money on offer, are at a very low level, so they are unlikely to have much impact on the German 2019 statistics.
The English page - Say Good Bye well bought
Owing to various religious holidays, during which gambling is forbidden, Germany has only one day´s racing in the second half of November and that took place on the Wednesday of this week at Dresden. The fixture, traditionally held on Atonement Day, is the penultimate turf meeting of the year in Germany, we now have only Boxing Day (weather permitting) at Mülheim to look forward to, as the racing on the sand tracks at Neuss and Dortmund is, with all due respect, not very inspiring.
The English page - Wonderful Moon a wonderful winner to end group race season
The season is coming to an end, and last Sunday´s Group Three Grosser Preis von Bamberg – Herzog von Ratibor-Rennen was the last group race of the German season and in the meantime the last European group races have also been run. The Ratibor-Rennen, as it is usually known, is an important late season race for two-year-olds and has often been won by top juveniles who went on to major success the following season, such as subsequent German Derby winner Pastorius (Soldier Hollow) in 2011. Pastorius, now standing as a stallion in France, had a runner in last Sunday´s race, the filly Nona, but she dropped out after leading to halfway.
The English page - Hungarian hope comes home
Hungary has played quite a strong role in the history of thoroughbred racing, but this mainly refers to events that took place some 150 years ago. However in the postwar period we can find the Hungarian champion Imperial (Hurry), who won their Derby in 1963 and also won the Hansa-Preis at Hamburg (in those a much more significant race than it is now) in 1964. He can be found in many top pedigrees today, usually in the fifth or sixth generation, as the sire of the Gestüt Röttgen-bred Prince Ippi. winner of Group One races in 1972/3. In a lengthy stud career at Röttgen Prince Ippi managed to sire two champions – Philipo, the German Derby winner in 1986, and much more importantly the filly Anna Paola, winner of the Preis des Winterfavoriten in 1980 and the Preis der Diana the following year.
The English page - Surprising results
There was some interesting racing at Hanover last weekend, but from the German point of view the Group One Criterium International at ParisLongchamp was the event that was most important, as it was won by Gestüt Schlenderhan´s homebred Alson (Areion), the first German-trained Group One winner abroad since the Andreas Wöhler-trained Potemkin (New Approach) won the Premio Roma (since demoted to Group Two) in 2016. In the early years of this decade we had several German horses scoring at the top level – for example Danedream in the Arc and King George, Novellist also in the King George, Pastorius in the Ganay and Protectionist in the Melbourne Cup – but since then this stream of Group One winners has dried up. This result was therefore very significant, and of course a great success for Schlenderhan and especially for trainer Jean-Pierre Carvalho.
The English page - Heavy going at Baden-Baden
After a rainy week, the ground at Baden-Baden´s October meeting was heavy and as a result there some wide margin winners. The very first race of the meeting, a mile maiden for two-year-olds, was won in astonishing style by the filly Emoji (Soldier Hollow), who went clear in the straight to win almost in a canter by 14 lengths. This was her belated debut, but she was preceded by a tall reputation and started at odds-on. Trainer Henk Grewe, whose juveniles continue to fire on all fronts, clearly holds her in high regard and she must be one of his best prospects for next season.
The English page - Baden-Baden in october
The top race last weekend in Germany was the Group Three Silbernes Pferd ("silver horse"), which is now run over 3000 metres at Hoppegarten. The lightly-raced 3yo Ladykiller (Kamsin) made all the running and kept pulling out more when challenged, finally scoring by 1 ½ lengths from the 5yo mare Nacida (Wiener Walzer) and French raider Lillian Russell (Dubawi). It was not the best group race ever run, but still a nice performance by the winner, owned by Gestüt Hachtsee, bred by Gestüt Karlshof and sold as a yearling at BBAG´s October Sale for 33,000 euros. Ladykiller was regarded during the winter as one of trainer Andreas Wöhler´s main candidates for the German Derby (which was in the event won by his Laccario (Scalo)) but missed the race following an operation for the removal of a chip.
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Which incident of my life should I pick up? I was sympathized by and I have sympathized with many. Without getting and showing sympathies life can't move on.People leave forever but life moves on. What is the role of sympathy? – We need it as we need food and water to live in.
I can remember the day when my world shattered with loss of my father. The incident was out of the blue and we didn't have any idea what to do, how to survive, where to go?Mind was blank, the heart was heavy with grief, God looked the cruellest, people looked aliens. I was feeling like floating in the air without gravity, directionless. But, I am alive today with everything I need, happy, peaceful. The sympathetic people around me gave me new life- grateful to them forever.
My turn to show sympathy came around and I did it virtuously as I know what can the absence mean. Plenty of ups and downs in life for everyone needs some people around to support, help and give advice. The distresses can come in many ways, everybody should be prepared for it and know the language to spread the comfort and peace. And I know, most of us try to be kind most of the time.
Have you ever found yourself dumbfounded on hearing some tragedy? Maybe yes. How you expressed your sympathy to the victim? Maybe it was your toughest time. I too came across such incidents, one of which touched me the most perhaps hurt me the most.
It was the 26th of November 2008 when all Indians were shaken with the news of a terrorist attack at Bombay city. The story of bullets, fire, grenades, terror and deaths followed. All were panicked, glued to TV. The country like ours never knows how to tackle this kind of problems. All were going haphazard, the brave journalists were reporting from the spot, and army people were fighting. The battle went on, on 28th there were many bullets fired to clear the terrorists. The operation was led by one Major Unnikrishnan. It was inside the Taj hotel, with few collegy=ues the major fought the battle and he was killed by the perpetrators. The next day his body was recovered from the spot and now Major Sandeep Unnikrishnan is History. A bold brave man died at the age of 31. We all know about him, feel proud and bow our head whenever we hear his name. But how was that day to his parents who lost their only child before any of their dreams came true? How their heart felt, what did they do and how people sympathize with them? As far as I knew, all my friends became speechless, we did not have words to condole the incident!! So many people look the pictures of their parents on television and they could not utter a single word of sympathy. I saw his mother crying and could not figure out whether she is fortunate or unfortunate? A fortunate mother of a soldier and an unfortunate mother of a child who died so young! The words were stuck in the mouth, the heads were down, the eyelids were wet. That November India saw many sacrifices of its brave sons, many families cried, many children lost their father and me, lost all words to sympathize!!
Major Sandeep Unnikrishnan …deserves only Salute.
The word 'sympathize' is so magical!!. Made me think so much yesterday, I recalled so many incidents I came across in life! I tried to realize the importance of it. It is so essential t understand humanity and life !! Thanks to WordPress, it makes me think.


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Shares in CRH soared to a nine-year high on Wednesday, trading on speculation the building materials group is on the cusp of joining Europe's most influential stock market index.
The Dublin-based company's shares rose as much at 4.3 per cent to €30.32 on the Irish Stock Exchange, though it ended the session up 0.9 per cent. The largest company on the Iseq managed to keep the Irish market in positive territory as the FTSE 100 and wider European market declined.
Robert Eason, an analyst with Goodbody Stockbrokers, said market chatter that CRH is poised to join the Euro Stoxx 50 has prompted funds that track the key index to acquire stock in the Irish company so as not to be caught off-guard.
"I think it is placed around 40th [in terms of market capitalisation among eligible companies] at the moment, so it's well in there," he said.
The components of the Euro Stoxx 50, which currently contains no Irish companies, will be decided on market data at the end of the month. The greater extent to which investors are buying into the speculation of CRH joining the index, the greater the chance of it becoming self-fulfilling.
CRH plc is an international building materials group.
The group was formed through a merger in 1970 of two leading Irish public companies, Cement Limited (established in 1936) and Roadstone Limited (1949).
It is headquartered in Dublin.
CRH, which currently has a €24.3 billion market capitalisation, was relegated from the Euro Stoxx 50 index two years ago in favour of Nokia, the Finnish communications and information technology group.
Adidas, the German sportswear giant which is valued at €32.6 billion, and Belgo-Dutch supermarket group Ahold Delhaize,at €27.4 billion, are all but guaranteed to gain positions on the index in two weeks time, unless they fall dramatically, according to market sources.
"The markets now seem to believe that CRH is going to make it as well," said David Donnelly, a senior investment analyst with Cantor Fitzgerald in Dublin.
CRH's strong market run of late was initially prompted by the group's move late last month to raise its first-half earnings guidance by 10 per cent. The company said on July 22nd it now expected to report earnings of €1.1 billion before interest, tax, depreciation and amortisation.
"Recent numbers from peers such as HeidelbergCement and LafargeHolcim have also been quite strong," said Mr Donnelly.
CRH's interim results are scheduled for release on August 25th.
Analysts, on average, forecast that CRH will post a record €3.1 billion of earnings before interest, tax, depreciation and amortisation for the full year as it continues to benefit from its transformational €6.4 billion purchase in 2015 of assets off-loaded by Lafarge and Holcim, in order to appease competition authorities as part of their merger.


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Due to the increasing number of requests for codecs who solve error tag problems, we have decided to list here the most common audio tags and their corresponding codecs.
- Audio Codec Tag 5376 may be requested when 3ivx is missing.
- Audio Codec Tag 2000 may be requested when AC3 Filter is missing.
- Audio Codec Tag 2001 may be requested when latest versions of AC3 Filter is missing.
- Audio Codec Tag 8192 may be requested when AC3 Filter is missing.
- Audio Codec Tag 130 may be requested when Acelp.net Codec is missing.
- Audio Codec Tag 17 may be requested when ADPCM Audio Codec / IMA ADPCM Audio Codec are missing. Learn how to reinstall them from this guide.
- Audio Codec Tag 161 may be requested when DivX MPEG-4 Audio Compressor is missing.
- Audio Codec Tag 353 may be requested when DivX MPEG-4 Audio Compressor is missing.
- Audio Codec Tag 55 may be requested when Fraunhofer MPEG Layer-3 Audio Decoder is missing.
- Audio Codec Tag 85 may be requested when Fraunhofer MPEG Layer-3 Audio Decoder is missing.
- Audio Codec Tag 49 may be requested when GSM 6.10 Audio Codec is missing. Learn how to reinstall it from this guide.
- Audio Codec Tag 1025 may be requested when Intel Music Coder is missing.
- Audio Codec Tag 674F may be requested when Ogg Vorbis is missing.
- Audio Codec Tag 26447 may be requested when Ogg Vorbis is missing.
- Audio Codec Tag 26481 may be requested when Ogg Vorbis CODEC for MSACM is missing.
- Audio Codec Tag 45 may be requested when Sharp G.726 Audio Codec is missing.
- Audio Codec Tag 26479 may be requested when Vorbis Ogg ACM Codec is missing.
- Audio Codec Tag 676F may be requested when Vorbis Ogg ACM Codec is missing.
- Audio Codec Tag 6771 may be requested when Vorbis Ogg ACM Codec is missing.
- Audio Codec Tag 74 may be requested when VoxWare MetaSound Audio CoDec is missing.
- Audio Codec Tag 75 may be requested when VoxWare MetaSound Audio CoDec is missing.
Post a comment about "Audio Codec Tags".


It has been a popular beer in Mexico for decades, and will now be available in the United States. Montejo represents the experience and attributes of the country where it was born: adherence to tradition and culture, pride derived from accomplishments and hard work, and aspirations to achieve greatness. Montejo has a light golden color and is renowned for its crisp, refreshing finish.


The Fasanelli Prize is awarded to the best paper on Ewings tumour, if abstract submissions of good enough standard allow. The abstracts selected for the Fasanelli Prize Session are determined by the SIOP Scientific Committee and presented during the Annual Meeting.
Winners will receive an official certificate.
The abstracts selected for the Nöllenburg Prize Session are determined by the SIOP Scientific Committee and presented during the Annual Meeting.


Launched in 2016, FvD won just two seats in elections to the lower house in 2017. But with more than 95% of votes counted in the provincial elections, it looked sure of being the largest party in the senate along with VVD, the party of the prime minister, Mark Rutte.
Accusing Rutte of ignoring voters, he said the "stupidity and arrogance" of the elites had been punished. FVD campaigned on a platform calling for more direct democracy and less immigration, and against what Baudet refers to as "climate-change hysteria".
A proponent of Dutch-first cultural, social and economic policies, Baudet wants improved relations with Russia, opposes the euro, and has called for the Netherlands to leave the EU – although he has since said he will see how Brexit plays out first.
Newspapers reacted with surprise to the results, which pollsters said could have been influenced by the deaths of three people in a shooting in the central city of Utrecht on Monday. A Turkish-born man has been arrested in connection with the attack.
Authorities have not yet determined a motive but have said they are still taking seriously the possibility that it was terrorism. Baudet, who unlike politicians from other parties continued campaigning after the attack, blamed the incident on the government's lax immigration policies.
The four-party coalition led by Rutte's VVD party lost seven seats to fall to a total of 31 and will now need to rely on opposition parties, including the popular Green Left, which doubled its seats to eight, in order to pass legislation.
The Netherlands has a tradition of flamboyant populist leaders running back to Pim Fortuyn, who was assassinated in 2002. Baudet appears to have taken votes from the country's previous favourite anti-immigration leader, Geert Wilders, whose Party for Freedom (PVV) saw its senate seats slump from nine to five.
The upper houses's final makeup will be determined in May. Analysts have said the populists' improved performance will not easily be translated into increased clout in the upper house, since the other parties have pledged not to work with them.


text:
Competencies of Law Librarianship
Board Agenda Item Submission Form
Board Books & Minutes
Executive Director Evaluation
Legal Responsibilities
Committee/Jury Liaison Assignments
F&B Meetings
Orientation Materials
Chapter Visits & Conferences
Business Meeting Minutes
Nomination & Election Procedures
About Being a Board Member
Conduct of Election Policy
AALL Committee/Jury Volunteer Form
AALL Indexing of Periodical Literature Committee Volunteer Form
AALL Spectrum & Law Library Journal Editorial Board Application
Committee Leadership Toolkit
2018-2019 Committee/Jury Chair & Board Liaison Assignments
2019-2020 Committee/Jury Chair and Board Liaison Assignments
2019-2020 Training Resources
Calendar for Committee Chairs
The A, B, C's of Leading a Distributed Team
Activities & Action Plan Submission Form
Annual Meeting Responsibilities
Roles & Responsibilities of the Chair, Board Liaison & Staff Liaison
Jury Leadership Toolkit
AALL/Bloomberg Law Continuing Education Grant Program Jury
AALL/LexisNexis Call for Papers Committee
AALL Spectrum Article of the Year Award Jury
AALL Spectrum Editorial Board
Annual Meeting Grant Awards Jury
Annual Meeting Local Arrangements Committee
Annual Meeting Poster Session Award Jury
Annual Meeting Program Committee
Appointments Committee
Bylaws and Resolutions Committee
Committee on Relations with Information Vendors (CRIV)
CONELL Handbook Special Committee
Continuing Professional Education Committee
Copyright Committee
Council of Newsletter Editors (CONE)
Diversity & Inclusion Resource Guide
Economic Status of Law Librarians Committee
Emerging Leader Award Jury
Excellence in Community Engagement Jury
Executive Board Administration Committee
Executive Board Executive Committee
Executive Board Finance & Budget Committee
Executive Board Strategic Directions Committee
George A. Strait Scholarship & Fellows Committee
Government Relations Committee
Index to Foreign Legal Periodicals Editorial Advisory Board
Indexing of Periodical Literature Committee
Innovations in Technology Award Jury
Law Librarianship as a Career Guidance Review Special Committee
Law Library Journal Article of the Year Award Jury
Law Library Journal Editorial Board
Leadership Development Committee
Legal Research Competencies Review Special Committee
LexisNexis Research Grant Jury
New Product Award Jury
Scholarship Awards Jury
Volunteer Service Award Jury
Past AALL Presidents
Association Policies
AALL Advertising Policy
AALL Privacy Policy
AALL Spectrum Editorial Policy
AALLNET Linking Policy
Annual Meeting Site Selection Policy
Collaborative Activities & Joint Agreements Policy
Continuing Professional Education Policy
Endowment Fund Investment Policy
Executive Director Compensation Policy
Expense Reimbursement Policy
Meetings & Events Code of Conduct
Permanent Investment Fund Policy
Record Retention Policy
Submission of Briefs Policy
Use of the American Association of Law Libraries' Name Policy
Vendor Relations Policy
Whistleblower Protection Policy
Access to Legal Information
Appellate Court Libraries and State Law Libraries Standards
County Public Law Library Standards
AALL Ethical Principles
AALL Government Relations Policy
AALL Preservation Policy
AALL Research Agenda 2013-2016
Resolution on the USA PATRIOT Act and Related Measures That Infringe on the Rights of Library Users
Resolution In Support of Full FY 1997 Appropriations for The Library of Congress
Resolution on U.S. Supreme Court Slip Opinions
Resolution on the Creation of a National Law Library
Resolution on FY 1998 Appropriations for the Federal Depository Library Program
Resolution Celebrating the Adoption of Texas' Uniform Electronic Legal Material Act
Resolution on FY 1998 Appropriations for the Library of Congress
Resolution on the SUI Generis Protection of Databases
Resolution Celebrating the Adoption of Michigan's Uniform Electronic Legal Material Act
Resolution Celebrating the Adoption of Iowa's Uniform Electronic Legal Material Act
Resolution on the Uniform Electronic Legal Material Act
Resolution Celebrating the 75th Anniversary of the Federal Register Act
Resolution Submission Form
Resolution on the 103rd Annual Meeting & Conference
Resolution In Support of Full FY 1997 Superintendent of Documents Salaries and Expenses Appropriations
Resolution on Sustainability in Law Libraries
Resolution of the FCIL Schaffer Grant
Resolution on OCLC's Policy for Use and Transfer of World Cat Records
Resolution In Memoriam of Robert L. Oakley
Resolution On No-fee FDLP Access To Pacer
Resolution on the 99th Annual Meeting and Conference
Resolution on the U.S. Congressional Serial Set and the Bound Congressional Record
Resolution on Telecommunications and the National Information Infrastructure
Resolution Opposing GPO's Plan To Eliminate Important Titles in Print Prior to Establishing a Reliable Electronic System
Resolution on the 102nd Annual Meeting and Conference
Resolution on the 100th Anniversary of AALL
Resolution on Constitutional Amendments Defining Marriage
Please note that the Body of Knowledge, passed in 2017, has built upon and replaced the Competencies of Law Librarianship.
Revised by the Executive Board April 2010, Tab 17
The American Association of Law Libraries seeks to define the profession of law librarianship and its value to the legal field, today and in the future, by identifying, verifying, and actively promoting competencies of law librarianship. Competencies are the knowledge, skills, abilities, and personal characteristics that help distinguish superior performance. [1] These competencies may be acquired through higher education such as library and information science graduate programs [2], through continuing education, and through experience.The first section, "Core Competencies", includes those that apply to all law librarians, and will be acquired early in one's career. The subsequent sections are related to specific areas of practice. Some law librarians (for example, solo librarians or librarians in smaller institutions) may have multiple responsibilities and need to be proficient in more than one of the "Specialized Competencies." Other law librarians may specialize in just one area or in a subset of one area.Individual librarians may use the AALL Competencies for coordinating their continuing education as they identify areas for professional growth. Employers may use the Competencies to make hiring, evaluation and promotion decisions, and to make recommendations for professional development. The American Association of Law Libraries uses the Competencies as a framework within which to structure professional development programs. This framework provides guidance to ensure that the programs offered will assist law librarians in attaining and maintaining the skills or knowledge necessary for their current and future work.
1 Core Competencies
Core Competencies apply to all law librarians.
1.1 Demonstrates excellent service to users and evidences a strong commitment to continual service improvement by participating in regular training and by collecting, evaluating, and responding to user satisfaction data.
1.2 Recognizes and addresses the diverse nature of the library's users and community.
1.3 Understands, supports, and contributes positively to the evolution of the culture and context of the library and its parent institutions.
1.4 Demonstrates knowledge of the legal system and the legal profession.
1.5 Understands the social, political, economic, and technological context in which the legal system exists.
1.6 Demonstrates knowledge of library and information science theory and the creation, organization, and delivery of information within its technological context.
1.7 Adheres to the Ethical Principles of the American Association of Law Libraries and supports the shared values of librarianship. [3]
1.8 Exhibits leadership skills including critical thinking, risk taking, creativity, negotiation, collaboration, and change management.
1.9 Demonstrates commitment to working with others to achieve common goals.
1.10 Acts within the organization to implement the principles of information management.
1.11 Exhibits an understanding of the importance of a multidisciplinary and cross-functional approach to programs and projects within the organization.
1.12 Shares knowledge and expertise with users and colleagues.
1.13 Displays excellent communication skills and is able to promote the library and advocate for its needs.
1.14 Communicates effectively with publishers and other information providers to advance the interests of the library.
1.15 Recognizes the value of professional networking and actively participates in professional associations and online communities.
1.16 Actively pursues personal and professional growth through continuing education.
Specialized Competencies
Specialized Competencies relate to specific areas of practice.
2 Library Management
2.1 Engages in a continual process of long-range planning.
2.2 Manages all financial resources, including planning and implementing budgets.
2.3 Selects, supervises, and evaluates library personnel, and provides for their training and development.
2.4 Understands the principles of project management and organizes people and resources to accomplish complex tasks.
2.5 Determines and articulates the applicable criteria for delivery of library services, and measures and evaluates the quality of those services.
2.6 Ensures the optimal use of library facilities to accommodate the evolving needs of users and staff.
2.7 Provides leadership, including negotiation and collaboration with relevant members of the organization, to ensure that the library is vital to the parent organization.
2.8 Maintains an understanding of trends, developments, new tools, and emerging technologies in publishing and the information industry.
2.9 Tracks, anticipates, and influences changes in policy and legislation that impact the library and the profession.
2.10 Promotes and markets the library's services and collections in ways consistent with the needs and mission of the organization.
3 Reference, Research, and Client Services
3.1 Provides skilled and customized reference services, including specialized subject services on legal and non-legal topics.
3.2 Evaluates the quality, authenticity, accuracy, and cost of information resources in a variety of formats best suited to the user's needs, and conveys the importance of theseto the user.
3.3 Assists users with legal research using information resources in a variety of formats best suited to the user's needs.
3.4 Consistent with applicable codes assists non-lawyers in accessing the law.
3.5 Aggregates content from a variety of sources and synthesizes information to create customized products for users.
3.6 Creates research and bibliographic tools on legal and related topics in a variety of media.
3.7 Monitors trends in specific areas of the law.
3.8 Monitors and participates in trends in library resource sharing.
4 Information Technology
4.1 Understands the practical application of creating, accessing, and managing information including databases, integrated library systems, client-server applications,hardware, software, web applications, mobile applications, networks, and electronic information resources.
4.2 Evaluates the need for new and emerging technologies and implements required changes.
4.3 Conducts long-range planning and policy formulation for technology services and training needs.
4.4 Evaluates, purchases, implements, and tests software and hardware necessary for accessing electronic information.
4.5 Assists and educates users and colleagues in the use of the library's information systems, both internal and external.
4.6 Diagnoses and resolves library hardware, software, local area network, website and Internet connectivity problems.
4.7 Develops, creates, and maintains the library's online presence.
4.8 Determines technology training needs of users through observation, discussion, and the use of needs assessment tools, and provides training to meet those needs.
4.9 Understands the importance of information technology standards and prefers standards-compliant information technologies
5 Collection Development
5.1 Creates collection development policies intended to meet the needs of users and to the overall mission of the parent organization.
5.2 Makes selection decisions in consideration of all relevant factors, including the library's collection development policy, differences among formats, costs of purchase, upkeep, licensing, and copyright.
5.3 Evaluates information resources in all formats, integrates them to meet the needs of users, and discards or archives them as appropriate.
5.4 Understands the acquisition and management of a diverse collection of legal and non-legal resources. Understands the principles of copyright, licensing, purchasing, and accounting, and creates procedures respecting these issues consistent with the procedures of the parent organization.
5.5 Applies appropriate preservation practices to the library's collection.
6 Cataloging
6.1 Ensures the optimal arrangement of and access to the library's resources to meet the needs of users.
6.2 Improves the power and scope of library services through resource sharing.
6.3 Selects and implements an appropriate level of descriptive cataloging, classification, and subject analysis to meet the needs of the institution and the nature of its legal materials.
6.4 Creates, selects, and manages catalog records according to national standards and accepted practices.
6.5 Selects, implements, and continually improves an integrated library system appropriate to the needs of the institution's users.
7.1 Determines the educational needs of users through observation, discussion, and needs assessment tools.
7.2 Effectively teaches library users and colleagues with differing needs and technological skill levels.
7.3 Knows and applies the principles of adult learning.
7.4 Designs curricula and teaches to meet the educational needs of users, and evaluates the educational process for effectiveness.
7.5 Educates users in cost-effective and efficient methods of legal research.
7.6 Provides training and guidance on the organization and use of legal resources in various formats.
7.7 Trains users in commercial research databases, coordinating with vendors where appropriate.
7.8 Promotes the effective use of new resources and technologies for the retrieval of information.
7.9 Prepares and packages materials such as bibliographies, pathfinders, training scripts, podcasts, webinars and handouts.
[1] Kenneth H. Pritchaerd, CCP. Society for Human Resource Management White Paper, August 1997, reviewed April 1999.
[2] See " AALL Guidelines for Graduate Programs", November 1988; AALL Professional Development Policy, July 1996
[3] American Association of Law Libraries Ethical Principles, 1999


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THE HIT TRACK "DUMEBI" AND FACTS ABOUT THE ARTIST REMA
Dumebi, Dumebi (inserts a danceable beat).. Everyone has probably heard this song in Nigeria. At the moment, it's a hot "kek" song and Rema has become a hot "kek" artist for this banger…
Let's give you some details about this amazing artist Rema. His birth name is Divine Ikubor and he was born in the year 2000. Yes, Rema is 18 years old…woahhh. He was born in the city of Benin.
Sources say that he started performing in churches from a very young age. While he was in secondary school, he formed a live band with his friend called Cent and they performed together until Cent had to leave due to some reasons.
Rema continued singing up until D'Prince discovered him and signed him into the Mavin Records officially. His first project was an EP titled 'REMA-EP". It had 4 songs in it namely "Dumebi", "Why", "Corny", "Iron Man".
The "Dumebi" track was the highlight of the EP as it made waves throughout Nigeria. Rema is a talented and young Nigerian artist with a good fashion sense and we can't get over a fresh sound.
Social media has taken its toll of comparing Wizkid to Rema. Some even say he sounds better than him, hmmmmmm (people are entitled to their opinions anyway).
Rema does sound like Wizkid in a way though, maybe a younger version of his sound. Like the times of "holla at your boy", when Star boy was still riding around with bikes in his music video.
The video of the hit song "Dumebi" was released a while back and people did have a lot to say about it. Some came up with the talk of it being childish, others said it was what not.
Think about this for a minute yeah? Rema is an average 18 year old..Now, what exactly were people expecting? A video in the club with lots of nude women? Of course not.
It's amazing how he chose to express his own Dumebi love in his age range..A field trip with pretty and decent girls doing what 18 year olds should be doing.
Divine Ikubor is an amazing Afro beat artist and we can not get over his sound at the moment. Hopefully, he continues to give us hit tracks that would keep us dancing our legendary "zanku" and "shaku shaku".
Dumebi has been on the charts for weeks now, banging through every speaker in the clubs and in our homes all round Africa. This is a promising start for this young artist and we hope to hear more hits from this amazing "Wizkid sound alike".
Justin Bieber Sells Catalog: A Significant Move
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Dunsin Oyekan: A Loud Voice In The Gospel Music Scene
1 thought on "THE HIT TRACK "DUMEBI" AND FACTS ABOUT THE ARTIST REMA"
Adedokun temitope Michael
Great sound Reama