Mighty boosh the crunch episode speakers

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Content:

• Little Hands Clapping
• The Rant Box
• The meaning and origin of the expression: When it comes to the crunch
• FIS / LAUNCH FILM
• Highlights of my year
• 22nd July 2008 - 31st July 2008
• 'I turned into this horrible caricature': Jarvis Cocker on the Pulp explosion
• A message to the TV industry
• Parents. 2005, August
• 90% believe flexible working boosts employee morale

WATCH RELATED VIDEO: The Mighty Boosh - Radio Show EP 2 - \

Little Hands Clapping

Express your opinion about the following. Do you agree that this topic can be of interest for women only? What gender stereotypes are reflected in the text? Identifying aspects of communication. Read the following newspaper article and get ready to dwell on the main elements of the communicative episode under consideration.

Thirty years after the introduction of the Sex Discrimination Act, the Equal Opportunities Commission wants new laws to close the gender gap. Its annual survey of women in senior management has found the number in oppositions is continuing to rise.

But the EOC says parity with males will be decades away without further legislation. Among the FTSE companies, just This is up from 8. At that pace, it would take 40 years to achieve gender equality on the boards of Britain's largest listed companies. Yet these figures should not be used to justify costly regulation to force companies to appoint more women directors.

Setting any sort of target would ignore individual company circumstances. It would also lead to token appointments that could damage the interests of employees and shareholders — male and female alike. Nor is it clear that measures against gender discrimination would produce equal numbers of male and female directors. Much more could be done to help staff combine careers and parenting, as many successful businesses have shown.

But it would take radical changes in child-rearing practices to put men and women on a completely equal footing in the jobs market. That said, there is a shocking lack of diversity in the boardroom. Research commissioned by the Financial Times recently showed that the typical non-executive director is a year-old white male with a background in finance.

Such individuals are — of course — estimable but boards need a much wider pool of knowledge and experience. As James Surowiecki pointed out in The Wisdom of Crowds, homogeneous groups are great at doing what they do well but become progressively less able to investigate alternatives.

Bringing in new blood — even if less experienced — makes the group smarter. A study of large US companies found boards with women directors were better than all-male boards at influencing management.

They are also better at recruiting and retaining women employees — a competitive advantage in the war for talent. Defenders of the status quo rightly say there is a shortage of women with board experience in big companies. And boards overwhelmingly seek specific sector or industry knowledge in recruiting non-executive directors.

Companies that tap into this wider gene pool are likely to be rewarded with superior performance. Dwell on the role of figurative language and abstractions in the text under consideration. Can you say that the article is characterized by immediacy?

Analyse the text according to the discourse type parameters. What gender stereotypes are reflected in it? According to an article in the Daily Mail, there are some things you will never hear women say, such as: Would you please stop sending me flowers? And there are some things you can never hear from a man, for example: Hi, Mum, I just rang for a chat. Read the following statements. Which category do you think the Daily Mail put them in? Add at least five more examples from your own experience and ask your groupmates to classify them accordingly.

The only thing on telly tonight is football. I saw this gorgeous suit in that shop in town. I was struck by something that Commissioner Kroes said in Cologne last month.

She was speaking about the central role that the media now plays in society, and she said this:. It is also at the heart of democracy and cultural diversity. The media industries in general, and broadcasting in particular, are going through an extraordinary period of change. The EU regulatory framework has served audiences well. But this is a timely moment to ask whether it remains appropriate for the new world of digital convergence and on-demand services into which we are moving at such speed.

In this debate I can speak only on behalf of the BBC and its audiences. It is expected to fulfill public purposes that go well beyond the provision of high quality television and radio programmes and online content.

These public purposes are set out in some detail in the new BBC Charter — in effect its constitution — which was put in place 18 months ago. The public purposes range from sustaining citizenship and civil society, through promoting education and learning and stimulating creativity and cultural excellence, to representing the UK, its nations, regions and communities, and bringing the UK to the world and the world to the UK.

The BBC is also tasked with delivering to audiences the benefits of emerging communications, technologies and services. This brings me to my second point: It is clear that the BBC can only deliver these high public purposes if it remains independent. This is the essential fuel of an informed democracy.

And impartiality in news provision cannot be sustained without full editorial independence. The independence of the BBC is guaranteed by the Charter — and that it includes independence from government. Of course government has a role — but that role is closely defined. It is to set the Charter — there is a new Charter every 10 years or so — and to set the formula that defines the license fee for the Charter period.

One of the key roles of the Trust is to defend the independence of the BBC from undue pressure from any quarter. As you know it was created by the new Charter as the replacement for the Governors, who, for 80 years, had directed the work of the BBC.

The Governors played an important role. But that system of governance came to be challenged as the media sector became more complex. It was a structure which, rightly or wrongly, created an impression that the interests of the BBC Governors were too closely aligned with those of the BBC managers whose work they directed.

There were questions over whether this structure was capable of ensuring value for money, or of fully guaranteeing the impartiality of BBC news coverage. But there were two issues in particular that created the desire to modernise its constitution. The first was that the BBC had to become more responsive to the changing needs of all its different audiences. And the second was that it had to become more responsive to the legitimate concerns of other investors in the UK media sector.

Although we are part of the BBC, as Trustees we are entirely separate from the Executive that manages its day to day operations. Our role is to represent the interests of those who have invested in the BBC and pay for its services through the license fee.

I mean, of course, the British public. We see a key part of our role as setting stretching challenges for the Executive on behalf of audiences, as well as providing rigorous examination of the proposals that the Executive put forward. This process of robust challenge and scrutiny on behalf of the audience is a public manifestation of our independence from the Executive and helps to build public trust in our judgements.

We now have 18 months of experience of the new structure. How is it working in practice? Let me give you an example. Amongst the findings, one thing we learned was that some audiences feel the BBC serves them less well than others.

This is in part a demographic issue — but most striking was the geographical element of this. In short, audiences tend to feel less warmly about the BBC the farther away they live from London. This seems to reflect a widespread view — expressed frequently to me by members of the public — that too much BBC decision-making is based in London, and that BBC programming gives too much weight to a metropolitan way of thinking.

As Trustees we have responded decisively to this very clear message. We have supported plans to move very significant amounts of production and control of airtime out of London. Our aim is that by the end of the Charter period in around 50 percent of BBC production should take place outside London.

We have also prompted the Executive to make significant changes in BBC journalism to ensure that our news gives a truer and more accurate picture of life throughout the UK, and fully reflects the fact that powers have been devolved from Westminster to new legislative bodies in Scotland, Wales and Northern Ireland.

Taken together, these changes are taking the BBC in a new direction — a direction set by its audiences, and mediated by the Trust as the representative of those audiences. A similar journey has begun in regard to the relationship between the BBC and other organisations active in the UK media market.

There will always be areas of direct competition between what the BBC provides and what the market supplies. Convergence and market changes are bringing new areas of competition as both public and private providers seek to make the most of the opportunities created by the digital revolution.

On this general issue, our fundamental position as Trustees representing the interest of audiences is this: audiences clearly like wide choice in their media diet and deserve to get the benefits of competition and innovation, so the BBC must not use its market power in a way that restricts audience choice. And we have the power to ensure this happens. The power to approve new BBC services used to lie with government.

But under the new Charter it rests with us. This is a significant strengthening of the independence of the BBC. The process of approval involves a Public Value Test. This is one of the most significant innovations introduced by the Trust.

It is an open and transparent process that allows all interested parties — including commercial interests — to make their case before we take our decision on whether or not to approve a proposed launch. The Public Value Test exemplifies the Trust approach of taking decisions based on strong evidence, after careful and open consultation with all interested parties, and with a clear commitment to publish not just our conclusions but also our detailed reasoning so that the whole process is itself open to scrutiny.

There is a public value assessment and there is a market impact assessment. The public value assessment weighs the potential citizen value of the new service, and whether it is a good use of scarce BBC resources. The market impact assessment — carried out by the industry regulator, Ofcom — examines the potential impact on others in the market.

Only if there is objective evidence to support a judgement that the public value created by a proposed new service is greater than its potential negative impact do we give permission to launch a new service. The final decision rests with the Trust. We applied a Public Value Test before we agreed to the launch of the BBCiPlayer, the successful service that allows audiences to catch up via the internet with BBC programmes they may have missed on transmission — that PVT process resulted in significant changes to the original proposal.

The Rant Box

Express your opinion about the following. Do you agree that this topic can be of interest for women only? What gender stereotypes are reflected in the text? Identifying aspects of communication.

The meaning and origin of the expression: When it comes to the crunch

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FIS / LAUNCH FILM

In a room above a bizarre German museum, far from the prying eyes of strangers, lives the Old Man. Caretaker of the museum by day, by night he enjoys the sound of silence, broken by the occasional crunch of a spider between his blackened teeth. The Old Man, the respectable Doctor Ernst Frohlicher, his greedy dog Hans, and a cast of grotesque and hilarious townsfolk all find their lives thrown together as they uncover a crime so outrageous that it will shock the world. From its sinister opening to its explosive denouement, this dark tale blends lavishly entertaining storytelling with Rhodes's macabre imagination, entrancing originality, and magical touch.

Highlights of my year

A selection of negative criticism of Stewart Lee drawn from on-line message boards, and also from print and broadcast media, from June — June All the quotes herein have been culled principally from internet message boards and, in some cases, from local and national papers, and broadcast media, , but principally from the latter two years of that period, when I was on television sometimes. Multiple posts from the same critic have sometimes been compounded. Some posts from apparently different commentators on different message boards appear to use the same material, suggesting much of the content either derives from a central content bank, or is produced by the same commentator in a series of different identities. Some punctuation has been inserted to attempt to render the comments comprehensible, whilst trying not to compromise the wild and unfettered spirit of gay abandon that so characterises the original missives. Ah well.

22nd July 2008 - 31st July 2008

White Winter Hymnal — Fleet Foxes. Rule the World — Take That. Why be blue — Carlene Carter. Mykonos — Fleet Foxes. Snare Drum — Lucy Wainwright Roche.

'I turned into this horrible caricature': Jarvis Cocker on the Pulp explosion

Updated: GMT, 9 May I was having the time of my life. Then I realised that none of it, not even the fame, was making me happy,' says Jarvis Cocker of hitting the bigtime in Cocker has never given the impression of being the most sunshiny of characters.

A message to the TV industry

They are positioned as a mark of trust in the construction industry, assuring a certain standard is achieved when it comes to the installation of interiors in new buildings; in the same way as Gas Safe is a mark of trust for gas engineers. Motion Graphics. Graphic Illustration. Product Launch. Things To Come.

Parents. 2005, August

This isn't a particularly old phrase. The first citation I can find of the phrase in that form is from The Times , July What is 'the crunch' exactly? Crunch isn't commonly used as a noun, but it seems that the word was taken up by Winston Churchill, who was fond of using it to describe challenges; for example, he was reported in The Daily Telegraph as saying in Of course, Churchill was a widely reported and influential author and speaker and his use of language was much imitated. The phrase when it comes to the crunch directly followed from his earlier mode of speech. In more recent times the comedy team The Mighty Boosh made a joke out of pretending The Crunch was a real place.

90% believe flexible working boosts employee morale

The tape was submitted to the Supreme Court by two senior executives from meat-packing giant JBS as part of a plea bargain deal, according to O Globo newspaper, in which information is offered in exchange for reduced sentences. The paper provided neither a transcript nor a recording. The presidential press office vehemently denied the allegations.