Audience Impact Quotes

5 Ways To Build Your Brand on Social Media: 1 Post content that add value 2 Spread positivity 3 Create steady stream of info 4 Make an impact 5 Be yourself

Freedom of Speech doesn't justify online bullying. Words have power, be careful how you use them.

Understand your audience and you will understand the impact of your message on each follower in your social media networks.

Market segmentation matters. “It’s critical to craft your message for a specific audience,

If we all work together there is no telling how we can change the world through the impact of promoting positivity online.

In order to live a fulfilled life, do not focus on the size of your audience; focus instead on leaving an impact on the circle of influence God has given you.

Artists think along the edges of the box, because that's where things get done. That's where the audience is, that's where the means of production are available, and that's where you can make an impact.

As long as your work remains unwritten in your head, it has no effect on anyone. Except you. And not in a good way. Once you let your idea out of the hermetically sealed vault of your brain and out into the fresh air, it will immediately start to evolve. The minute you get it down on a piece of paper, it will change. And once you let it out of the house — once someone else gets to experience it — everything is changed. You are changed. The project is changed. The audience is changed. That’s the alchemy of art.

This is the responsibility we all owe to ourselves– that the purpose of our existence be to positively affect others with our gift and this does not begin when we feel we have become “something”. It begins when we decide to pick our gift and align it with it’s purpose.

Delivering your message with a funny or touching story end is the key to creating emotion and making a lasting impact in their hearts and minds.

Raw, alive and honest to the point of disgusting it's listener, Placebo set out to inspire mystery and confusion. Admitting to relishing groups who could make their audience vomit with the sheer intensity of their musical vibrations, Brian clearly knew how to make an impact. Discussing sonic overload with unsettling enthusiasm, he claimed "Some frequencies can make you physically ill or make your bowels loose. The Swans used to do it. By the end of gigs people would vomit because the frequencies were so nasty.

So I think that a protest,' she went on, 'like a work of dance or a work of music, is something done, at least in part, by the protestor for the protestor.' She saw I was about to interrupt so said, 'One more minute. Let me explain. Of course one hopes and plans for impact, for audience, for change, for efficacy. But, like dance, like music, a protest can be a religious ritual too, one that needn't be derisively looked down upon as magical thinking, but a spiritual act where the act itself is the goal. And that act may on some level be co-opted, but in the subjective world of the protestor it is a way, in itself, to be. Even in solipsism, the subject can be moral. You can call it hokum if you wish, but for the protestor, the protest makes a moral world in which she can abide.

When your mental health becomes impacted by social media then it is time for a detox.

Deliver your message with simplicity and see how powerful impact it has on the audience.

The second reason that deep work is valuable is because the impacts of the digital network revolution cut both ways. If you can create something useful, its reachable audience (e.g., employers or customers) is essentially limitless—which greatly magnifies your reward. On the other hand, if what you’re producing is mediocre, then you’re in trouble, as it’s too easy for your audience to find a better alternative online. Whether you’re a computer programmer, writer, marketer, consultant, or entrepreneur, your situation has become similar to Jung trying to outwit Freud, or Jason Benn trying to hold his own in a hot start-up: To succeed you have to produce the absolute best stuff you’re capable of producing—a task that requires depth.

In order to be successful in the digital space you must produce creative and original content in line with current social and media trends that is innovative enough to have a memorable impact.

It is the sound of the crowd that can be heard in the second, crescendoing rush of the orchestra that follows the final verse, rising from a hum to a gasp to a shout... fusing at last to a shriek (its similarity to the sound of the crowds at Beatle concerts is surely no accident). The onrushing sound of the orchestra at the end of "A Day in the Life" has transcended more than the conventions of Sgt. Pepper's Band. It is the nightmare resolution of the Beatles' show within a show. It is the sound in the eras of the high-wire artist as the ground rushes up from below. There is a blinding flash of silence, then the stunning impact of a tremendous E major piano chord that hangs in the air for a small eternity, slowly fading away, a forty-second meditation on finality that leaves each member if the audience listening with a new kind of attention and awareness to the sound of nothing at all.

The impact on the audience is a sort of emotional hostage-taking: YOU WILL FEEL SOMETHING VERY POWERFUL RIGHT NOW, the eagle sings in the voice of a pennywhistle. YOU WILL SWELL WITH VAGUE BUT IMPORTANT-FEELING EMOTIONS FOR NO DIESCERNABLE REASON.

Whatever you do for the purpose of impacting on others, no matter how little you think it to be or how little your audience may seem, it not only grows but it leaves a lifetime effect which sets you up on greater grounds of success more than you ever anticipated.

They understood that any presentation has to begin by answering a key question for that specific audience: Why does this matter? Why is what the speaker is going to say important? When you collect people in an amphitheater, the grandeur of the setting demands an immediate answer to that question of why.

Artists don't think outside the box, because outside the box there's a vacumm. Outside the box there are no rules, there is no reality. You have nothing to interact with, nothing to work against. If you set out to do something way outside the box (designing a time machine, or using liquid nitrogen to freeze Niagara Falls), then you'll never be able to do the real work of art. You can't ship if you're far outside the box. Artists think along the edges of the box, because that's where things get done. That's where the audience is, that's where the means of production are available, and that's where you can make impact.

When speakers make eye contact with an audience, they will be perceived as being more prepared, more competent, confident, and trustworthy. Eye contact helps to relax the speaker and reminds them that their audience is made up of separate individuals who perceive things differently. Audience response is clearly seen in the expressions of their eyes.

We live, after all, in the present: the present is inevitably the context for our reaction and response, and it matters. Yet one of art’s most compelling features is how it showcases the disjuncts between the time of composition, the time of dissemination, and the time of consideration—disjuncts that can summon us to humility and wonder. Such temporal amplitude understandably falls out of favor in politically polarized times, in which the pressure to make clear “which side you’re on” can be intense. New attentional technologies (aka the internet, social media) that feed on and foster speed, immediacy, reductiveness, reach, and negative affect (such as paranoia, anger, disgust, distress, fear, and humiliation) exacerbate this pressure.

The humorist has solved his problem by joining two incompatible matrices together in a paradoxical synthesis. His audience, on the other hand, has its expectations shattered and its reason affronted by the impact of the second matrix on the first; instead of fusion there is collision; and in the mental disarray which ensues, emotion, deserted by reason, is flushed out in laughter.

Zeynep Tufekci, the UNC scholar who is one of the world’s foremost experts on the impact of emerging technology in politics, has observed that internet platforms enable the powerful to affect a new kind of censorship. Instead of denying access to communications and information, bad actors can now use internet platforms to confuse a population, drowning them in nonsense. In her book, Twitter and Tear Gas, she asserts that “inundating audiences with information, producing distractions to dilute their attention and focus, delegitimizing media that provide accurate information (whether credible mass media or online media), deliberately sowing confusion, fear, and doubt by aggressively questioning credibility (with or without evidence, since what matters is creating doubt, not proving a point), creating or claiming hoaxes, or generating harassment campaigns designed to make it harder for credible conduits of information to operate, especially on social media which tends to be harder for a government to control like mass media.” Use of internet platforms in this manner undermines democracy in a way that cannot be fixed by moderators searching for fake news or hate speech.

The reparative turn, as applied to art, is in many ways a continuation of the orthopedic aesthetic, with the difference being that the twentieth-century model imagined the audience as numb, constricted, and in need of being awakened and freed (hence, an aesthetics of shock), whereas the twenty-first-century model presumes the audience to be damaged, in need of healing, aid, and protection (hence, an aesthetics of care).

We gotta be willing to let it hurt. You know, all this notion that acting is “yeah it’s pretend” and yes we enjoy it and yeah we can have a good time with it. But if you wanna LAND, you wanna make an impact, you want those FUCKERS TO REMEMBER YOU! Then you have to let it hurt sometimes. You gotta get there because that’s all an audience ever wants. Is for you to open up your chest and show them that you have a fucking heart. That’s all we want. A heart. A human being. Not an affectation.

The individual Native person, therefore, carries a strong sense of being a child of God in covenant connection to all of the others in the nation. Jesus, as a “Son of the People,” walks behind the Spirit into the Wilderness, not as a single mystic going out for a private audience with God, but as the representative of the whole nation going out to speak to their parent God. It is crucial to remember these many layers of relationship in the Native tradition embodied by Jesus in order to fully appreciate the impact of what God shows him.

Trump's view of the United States is dark. Among his favorite mantras are that U.S. courts are biased, the FBI is corrupt, the press almost always lies, and elections are rigged. The domestic impact of these condemnations is to demoralize and divide. Americans have never heard a president speak with such persistent scorn about U.S. institutions. But Trump’s audience is a global one. Instead of encouraging others to respect and follow the example of the United States, he invites the opposite. That reversal has a harmful effect, particularly in countries where there are few practical checks on executive power. In such places, the lives of investigative reporters, independent jurists, and others who pursue truth are at risk under the best of circumstances. The danger intensifies when the occupant of the White House ridicules the credibility of their professions. This is not to say that journalists and judges should be beyond criticism, but Trump’s allegations are so thoughtless and broad that they can be—and are—used to discredit entire callings that are essential to democracy.

THE TEN MOST COMMON PROBLEMS Here are the ten most common problems in communications. Read the list. If any of them apply to you, the principles in this book will help you solve them. 1. Lack of initial rapport with listeners 2. Stiffness or woodenness in use of body 3. Presentation of material is intellectually oriented; speaker forgets to involve the audience emotionally 4. Speaker seems uncomfortable because of fear of failure 5. Poor use of eye contact and facial expression 6. Lack of humor 7. Speech direction and intent unclear due to improper  preparation 8. Inability to use silence for impact 9. Lack of energy, causing inappropriate pitch pattern, speech  rate, and volume 10. Use of boring language and lack of interesting material Various polls show that the ability to communicate well is ranked the number-one key to success by leaders in business, politics, and the professions. If you don’t communicate effectively, you may not die, like some POWs or neglected babies we mentioned earlier, but you also won’t live as fully as you should, nor will you achieve personal goals. This was a lesson drummed into me at a very early age.

Now sensitiveness to the state of mind of the public is a difficult thing to achieve or maintain. Any man can tell you with more or less accuracy and clearness his own reactions on any particular issue. But few men have the time or the interest or the training to develop a sense of what other persons think or feel about the same issue. In his own profession the skilled practitioner is sensitive and understanding. lhe lawyer can tell what argument will appeal to court or jury. “The salesman can tell what points to stress to his prospective buyers. The politician can tell what to emphasize to his audience, but the ability to estimate group reactions on a large scale over a wide geographic and psychological area is a specialized ability which must be developed with the same painstaking self-criticism and with the same dependence on experience that are required for the development of the clinical sense in the doctor or the surgeon. The significant revolution of modern times is not industrial or economic or political, but the revolution which is taking place in the art of creating consent among the governed. Within the life of the new generation now in control of affairs, persuasion has become a self-conscious art and a regular organ of popular government. None of us begins to understand the consequences, but it is no daring prophecy to say that the knowledge of how to create consent will alter every political premise. Under the impact of propaganda, not necessarily in the sinister meaning of the world alone, the only constants of our thinking have become variables. It is no longer possible, for example, to believe in the cardinal dogma of democracy that the knowledge needed for the management of human affairs comes up spontaneously from the human heart. Where we act on that theory we expose ourselves to self-deception and to farms of persuasion that we cannot verify. It has been demonstrated that we cannot rely upon intuition, conscience or the accidents of casual opinion if we are to deal with the world beyond our reach.

Narrative and analytical information does not coexist. It cannot; that’s simply impossible. The human brain is unable to be coldly analytical and warmly engaged in a narrative at the same time. This is the secret power of the intrigue frame. When your target drills down into technical material, you break that frame by telling a brief but relevant story that involves you. This is not a story that you make up on the spot; this is a personal story that you have prepared in advance and that you take to every meeting you have. Since all croc brains are pretty similar, you will not need more than one story because the intrigue it will contain will have the same impact on every audience. You need to be at the center of the story, which immediately redirects attention back to you. People will pause, look up, and listen because you are sharing something personal.

As a campaigner, said Dee Dee Myers, who served as Bill's press secretary, Hillary made the mistake of telling audiences what she felt rather than showing them. "The presidency," said Meyers, "isn't all that powerful, except as the bully pulpit. It comes down to your ability to get people to follow you, to inspire. You have to lead. Can Hillary get people to come together, or does she remain such a polarizing figure?" For an answer to that question, all you had to do was ask half the voters in the United States, who didn't like Hillary. In total contrast to Hillary, Bill was brilliant at politics because (1) he liked people, (2) they liked him, and (3) he treated all politics, -- even presidential politics -- like local politics. He'll show up at your birthday party in suburban Cleveland if he thinks you can be useful to him down the pike," said one of his closest advisers. "Can you imagine the impact that has -- his showing up at a middle-class home out of nowhere? You never forget it, and you tell everybody you know about it. These other guys in politics don't get the power of that kind of thing. The ripple effect it has politically over the long term. Bill does. He's been doing that since he was in high school.

I remember standing in the wings when Mother’s voice cracked and went into a whisper. The audience began to laugh and sing falsetto and to make catcalls. It was all vague and I did not quite understand what was going on. But the noise increased until Mother was obliged to walk off the stage. When she came into the wings she was very upset and argued with the stage manager who, having seen me perform before Mother’s friends, said something about letting me go on in her place. And in the turmoil I remember him leading me by the hand and, after a few explanatory words to the audience, leaving me on the stage alone. And before a glare of footlights and faces in smoke, I started to sing, accompanied by the orchestra, which fiddled about until it found my key. It was a well-known song called Jack Jones that went as follows: Jack Jones well and known to everybody Round about the market, don’t yer see, I’ve no fault to find with Jack at all, Not when ’e’s as ’e used to be. But since ’e’s had the bullion left him ’E has altered for the worst, For to see the way he treats all his old pals Fills me with nothing but disgust. Each Sunday morning he reads the Telegraph, Once he was contented with the Star. Since Jack Jones has come into a little bit of cash, Well, ’e don’t know where ’e are. Half-way through, a shower of money poured on to the stage. Immediately I stopped and announced that I would pick up the money first and sing afterwards. This caused much laughter. The stage manager came on with a handkerchief and helped me to gather it up. I thought he was going to keep it. This thought was conveyed to the audience and increased their laughter, especially when he walked off with it with me anxiously following him. Not until he handed it to Mother did I return and continue to sing. I was quite at home. I talked to the audience, danced, and did several imitations including one of Mother singing her Irish march song that went as follows: Riley, Riley, that’s the boy to beguile ye, Riley, Riley, that’s the boy for me. In all the Army great and small, There’s none so trim and neat As the noble Sergeant Riley Of the gallant Eighty-eight. And in repeating the chorus, in all innocence I imitated Mother’s voice cracking and was surprised at the impact it had on the audience. There was laughter and cheers, then more money-throwing; and when Mother came on the stage to carry me off, her presence evoked tremendous applause. That night was my first appearance on the stage and Mother’s last.

Almost immediately after jazz musicians arrived in Paris, they began to gather in two of the city’s most important creative neighborhoods: Montmartre and Montparnasse, respectively the Right and Left Bank haunts of artists, intellectuals, poets, and musicians since the late nineteenth century. Performing in these high-profile and popular entertainment districts could give an advantage to jazz musicians because Parisians and tourists already knew to go there when they wanted to spend a night out on the town. As hubs of artistic imagination and experimentation, Montmartre and Montparnasse therefore attracted the kinds of audiences that might appreciate the new and thrilling sounds of jazz. For many listeners, these locations leant the music something of their own exciting aura, and the early success of jazz in Paris probably had at least as much to do with musicians playing there as did other factors. In spite of their similarities, however, by the 1920s these neighborhoods were on two very different paths, each representing competing visions of what France could become after the war. And the reactions to jazz in each place became important markers of the difference between the two areas and visions. Montmartre was legendary as the late-nineteenth-century capital of “bohemian Paris,” where French artists had gathered and cabaret songs had filled the air. In its heyday, Montmartre was one of the centers of popular entertainment, and its artists prided themselves on flying in the face of respectable middle-class values. But by the 1920s, Montmartre represented an established artistic tradition, not the challenge to bourgeois life that it had been at the fin de siècle. Entertainment culture was rapidly changing both in substance and style in the postwar era, and a desire for new sounds, including foreign music and exotic art, was quickly replacing the love for the cabarets’ French chansons. Jazz was not entirely to blame for such changes, of course. Commercial pressures, especially the rapidly growing tourist trade, eroded the popularity of old Montmartre cabarets, which were not always able to compete with the newer music halls and dance halls. Yet jazz bore much of the criticism from those who saw the changes in Montmartre as the death of French popular entertainment. Montparnasse, on the other hand, was the face of a modern Paris. It was the international crossroads where an ever changing mixture of people celebrated, rather than lamented, cosmopolitanism and exoticism in all its forms, especially in jazz bands. These different attitudes within the entertainment districts and their institutions reflected the impact of the broader trends at work in Paris—the influx of foreign populations, for example, or the advent of cars and electricity on city streets as indicators of modern technology—and the possible consequences for French culture. Jazz was at the confluence of these trends, and it became a convenient symbol for the struggle they represented.

Simonton finds that on average, creative geniuses weren’t qualitatively better in their fields than their peers. They simply produced a greater volume of work, which gave them more variation and a higher chance of originality. “The odds of producing an influential or successful idea,” Simonton notes, are “a positive function of the total number of ideas generated.” Consider Shakespeare: we’re most familiar with a small number of his classics, forgetting that in the span of two decades, he produced 37 plays and 154 sonnets. Simonton tracked the popularity of Shakespeare’s plays, measuring how often they’re performed and how widely they’re praised by experts and critics. In the same five-year window that Shakespeare produced three of his five most popular works—Macbeth, King Lear, and Othello—he also churned out the comparatively average Timon of Athens and All’s Well That Ends Well, both of which rank among the worst of his plays and have been consistently slammed for unpolished prose and incomplete plot and character development. In every field, even the most eminent creators typically produce a large quantity of work that’s technically sound but considered unremarkable by experts and audiences. When the London Philharmonic Orchestra chose the 50 greatest pieces of classical music, the list included six pieces by Mozart, five by Beethoven, and three by Bach. To generate a handful of masterworks, Mozart composed more than 600 pieces before his death at thirty-five, Beethoven produced 650 in his lifetime, and Bach wrote over a thousand. In a study of over 15,000 classical music compositions, the more pieces a composer produced in a given five-year window, the greater the spike in the odds of a hit. Picasso’s oeuvre includes more than 1,800 paintings, 1,200 sculptures, 2,800 ceramics, and 12,000 drawings, not to mention prints, rugs, and tapestries—only a fraction of which have garnered acclaim. In poetry, when we recite Maya Angelou’s classic poem “Still I Rise,” we tend to forget that she wrote 165 others; we remember her moving memoir I Know Why the Caged Bird Sings and pay less attention to her other 6 autobiographies. In science, Einstein wrote papers on general and special relativity that transformed physics, but many of his 248 publications had minimal impact. If you want to be original, “the most important possible thing you could do,” says Ira Glass, the producer of This American Life and the podcast Serial, “is do a lot of work. Do a huge volume of work.” Across fields, Simonton reports that the most prolific people not only have the highest originality; they also generate their most original output during the periods in which they produce the largest volume.* Between the ages of thirty and thirty-five, Edison pioneered the lightbulb, the phonograph, and the carbon telephone. But during that period, he filed well over one hundred patents for other inventions as diverse as stencil pens, a fruit preservation technique, and a way of using magnets to mine iron ore—and designed a creepy talking doll. “Those periods in which the most minor products appear tend to be the same periods in which the most major works appear,” Simonton notes. Edison’s “1,093 patents notwithstanding, the number of truly superlative creative achievements can probably be counted on the fingers of one hand.

If you lose people in one section, they might not see or hear anything else that you have to say. Even if you’re giving a speech, and have a captive audience, losing people in one section is still the last thing you want. There’s no guarantee their attention will return once your explanation returns to form. Or if you’re a teacher and your explanation loses the attention of some students, that can quickly lead to all the kids getting restless. The best explanations connect each section, part by part. But if one link in the chain underperforms, that can impact the whole thing.

Nicolas Tsisios is among the top accomplished food and beverage consultants. Nicolas boasts a commitment to shaping visionary concepts into impactful brands. Merging creative ingenuity with strategic insight, Nicolas crafts captivating brand narratives that resonate with diverse audiences, guiding businesses through the intricacies of energy drink development and culinary enterprises. His forte at the food and beverage consultancy lies in seamlessly translating clients' ideas into cohesive brand experiences, leaving an indelible mark.

Nesta either didn’t know or didn’t care about the sword’s impact on Bryce as she surveyed the carvings. The one closest to them. A female, clearly Fae nobility from the ornate robes and fancy jewelry, stared out from the wall. As if she were addressing an audience, welcoming the newcomers to the tunnel. She was young and beautiful, yet stood with a presence that seemed regal. Long hair flowed around her like a silent river, framing her delicate, heart-shaped face. Bryce shook off the last of her dread and translated the inscription. “Her name was Silene.” Nesta peered at the writing beneath the image. “That’s all it says?” Bryce shrugged. “Old-school Fae. Lots of fancy titles and lineage. You know how they liked to preen.

A well-organized revolt by the major members of its hard side can kill a product entirely. Twitter once bought an app called Vine for a reported $30 million. It let users create and view six-second looping video clips—it was ahead of its time, and not dissimilar from the insights behind TikTok. Like many social apps, the most popular content creators became very successful, and they were important to attract an audience. Unfortunately, a few years in, more than a dozen of the top content creators organized a revolt: Led by creators Marcus Johns and Piques, the group pitched an idea: If Vine paid each star $1.2 million and changed certain features of the app, each creator would post 12 Vines per month. Otherwise, all 18 would leave the platform. “We were driving billions of views—billions—before we left,” DeStorm Power explained of the monetary request.69 Vine turned down the plan, and a few years later, the service was shuttered. The hard side is worth the effort to cultivate. The most successful and prolific members of this side of the network also provide the highest level of service, are willing to make the investments to scale their impact, and ultimately become the defensible backbone of the network—assuming they can be retained. In Uber’s case, the power drivers represented the top 15 percent of drivers but constituted over 40 percent of our trips. They were also among the safest and most highly rated drivers—after all, it was their primary source of income.

Over the years, Facebook has executed an effective playbook that does exactly this, at scale. Take Instagram as an example—in the early days, the core product tapped into Facebook’s network by making it easy to share photos from one product to the other. This creates a viral loop that drives new users, but engagement, too, when likes and comments appear on both services. Being able to sign up to Instagram using your Facebook account also increases conversion rate, which creates a frictionless experience while simultaneously setting up integrations later in the experience. A direct approach to tying together the networks relies on using the very established social graph of Facebook to create more engagement. Bangaly Kaba, formerly head of growth at Instagram, describes how Instagram built off the network of its larger parent: Tapping into Facebook’s social graph became very powerful when we realized that following your real friends and having an audience of real friends was the most important factor for long-term retention. Facebook has a very rich social graph with not only address books but also years of friend interaction data. Using that info supercharged our ability to recommend the most relevant, real-life friends within the Instagram app in a way we couldn’t before, which boosted retention in a big way. The previous theory had been that getting users to follow celebrities and influencers was the most impactful action, but this was much better—the influencers rarely followed back and engaged with a new user’s content. Your friends would do that, bringing you back to the app, and we wouldn’t have been able to create this feature without Facebook’s network. Rather than using Facebook only as a source of new users, Instagram was able to use its larger parent to build stronger, denser networks. This is the foundation for stronger network effects. Instagram is a great example of bundling done well, and why a networked product that launches another networked product is at a huge advantage. The goal is to compete not just on features or product, but to always be the “big guy” in a competitive situation—to bring your bigger network as a competitive weapon, which in turn unlocks benefits for acquisition, engagement, and monetization. Going back to Microsoft, part of their competitive magic came when they could bring their entire ecosystem—developers, customers, PC makers, and others—to compete at multiple levels, not just on building more features. And the most important part of this ecosystem was the developers.

The poison is systemic. My thinking, my judgments, my inclinations, my desires, and my volition have all been in bondage to the poison of sin. I have habituated injecting the narcotic of deception in order to call sin good or permissible. True repentance is consistent change demonstrated over time and is shown to be real when the cup is bumped again and again and something new spills out indicating a new pattern. It is not evidenced in an intense emotional moment when the stakes are high and we have an audience. It means being more concerned for the offended one rather than the self. It requires an understanding of the impact of our sin and a zeal for restitution. It means the exquisite pain of beginning to recognize that God himself has been assaulted by our sin. It means owning responsibility for the breakdown of trust, and knowing that much time will pass before it can be renewed.

Additionally, and for clarification, emotion does not refer to what the story receiver experiences, but rather the emotion felt by the characters or inherent in the circumstances of the story. It is through that emotion that the story receiver experiences empathy with the story. No emotion means no empathy; no empathy means reduced impact of the message.

Jason Kozup is a dynamic figure celebrated for his diverse roles in aerospace, defense, and entertainment. Beginning his career in aerospace and defense, he transitioned to becoming a successful movie producer. With a foundation in Business Management and Marketing, Jason continues to innovate and entertain, leaving a lasting impact on audiences worldwide with his versatile talents.

With her expertise in the performing arts, Hanying Chen contributes significantly to the success of various productions, driven by the goal of sharing meaningful stories that offer support and encouragement. Through her involvement in directing, songwriting, and screenwriting, she endeavors to create impactful narratives that resonate with audiences, providing them with a sense of solace and hope.

AMT Market Research Agency in Myanmar stands as a pivotal player in the dynamic landscape of market research within the country. With a commitment to delivering unparalleled insights and strategic solutions, AMT Market Research has established itself as a trusted partner for businesses seeking to thrive in Myanmar's evolving market. This article delves into the core aspects of AMT Market Research, exploring its services, methodologies, and the significance of market research in Myanmar. Through case studies, client testimonials, and a glimpse into future trends, we uncover the depth and impact of AMT Market Research in driving success for businesses in Myanmar. Introduction to AMT Market Research Agency in Myanmar AMT Market Research is not your run-of-the-mill agency in Myanmar. With a knack for unraveling the mysteries of consumer behavior, they're the Sherlock Holmes of the market research world. Let's delve into what makes them tick. Background of AMT Market Research Founded with a passion for decoding the pulse of the market, AMT Market Research has been shaking up the industry in Myanmar. Their team of savvy researchers leaves no stone unturned in uncovering insights that drive business success. Mission and Vision of the Agency AMT Market Research's mission is simple yet powerful: to empower businesses with data-driven decisions that spark growth and innovation. Their vision? To be the go-to partner for companies looking to navigate the ever-evolving market landscape in Myanmar. Services Offered by AMT Market Research When it comes to services, AMT Market Research doesn't just dip their toes in the water—they dive in headfirst, armed with a treasure trove of strategic insights. Market Entry Strategy From market sizing to competitor analysis, AMT Market Research crafts bespoke market entry strategies that pave the way for success in Myanmar's dynamic business environment. Consumer Behavior Analysis Curious about what makes your target audience tick? AMT Market Research digs deep into the minds of consumers, decoding their preferences, habits, and aspirations to help you tailor your offerings with precision. Competitor Analysis In a market as competitive as Myanmar, staying ahead of the game is crucial. AMT Market Research's competitor analysis services provide a roadmap for outshining the competition and carving out your niche. Importance of Market Research Agency in Myanmar In the bustling landscape of Myanmar, market research isn't just a luxury—it's a necessity. Understanding the economic terrain and growth opportunities is key to thriving amidst the challenges that lie ahead. Economic Landscape of Myanmar Myanmar's economic landscape is a canvas of untapped potential and burgeoning opportunities. Market research serves as the compass that guides businesses through this vibrant yet complex terrain. Growth Opportunities and Challenges With growth opportunities aplenty, Myanmar beckons businesses with promises of success. However, navigating the challenges, be it regulatory hurdles or shifting consumer trends, requires a keen understanding of the market—enter AMT Market Research. Methodologies Utilized by AMT Market Research When it comes to research methodologies, AMT Market Research doesn't settle for the ordinary. Their toolbox is brimming with innovative techniques that paint a comprehensive picture of the market landscape. Quantitative Research Techniques Numbers don't lie, and neither do AMT Market Research's quantitative research techniques. From surveys to data analysis, they crunch the numbers to unearth patterns and trends that inform strategic decision-making. Qualitative Research Approaches

1. Understanding Myanmar's Market Research: The Function of AMT Market Research In the rapidly changing economic landscape of Myanmar, businesses are increasingly recognizing the significance of making well-informed decisions based on complete market insights. One of the central members driving this development is AMT Statistical surveying, a main market research survey in Myanmar which has laid out its presence in Myanmar. With a populace of more than 54 million, Myanmar is a country wealthy in assets and potential. Be that as it may, its market is perplexing, impacted by a heap of elements like social variety, monetary vacillations, and administrative changes. Organizations need accurate data and insights to effectively navigate this complexity, and AMT Market Research meets this need. AMT Market Research has established itself as one of the best market research firms by employing cutting-edge techniques tailored to Myanmar's particular landscape. They use a combination of qualitative and quantitative research methods to get a complete picture of the market. From buyer conduct investigation to cutthroat scene appraisals, AMT gives priceless bits of knowledge that assist organizations with pursuing informed vital choices. market research survey in Myanmar is one of AMT's most distinctive methods. AMT enables businesses to comprehend preferences, purchasing habits, and emerging trends by directly engaging with customers and gathering firsthand feedback. Businesses can strategically tailor their offerings thanks to this grassroots approach, which not only reveals what consumers want but also identifies market gaps. AMT' market research survey in Myanmar, on top of that, are designed to be comprehensive yet effective. They use a combination of online surveys, focus groups, and in-person interviews to get responses from a wide range of people from different demographic groups. By collecting data in a variety of ways, businesses can reach a wider audience while also focusing on specific markets. It is essential to have an understanding of socioeconomic factors in a market that is still in its infancy. In their surveys, AMT Market Research emphasizes the significance of demographic insights. They assist businesses in developing targeted marketing strategies that resonate with their intended audience by taking into account variables such as education levels, income levels, and regional differences. This scientific thoroughness guarantees that suggestions are information driven as well as mirror the social and monetary real factors of the customers. Another thing that sets it apart is the company's dedication to conducting research in an ethical manner. AMT Market Research's core values of honesty, integrity, and dependability help to build trust with clients and respondents alike. Organizations can feel sure that the bits of knowledge gave are precise as well as gathered with deference for members' privileges and information security. The demand for high-quality market research will only grow as the economy of Myanmar continues to mature and the market attracts more attention from around the world. AMT Market Research positions itself as a crucial partner for businesses looking to enter or expand into the Myanmar market and is prepared to meet this demand. They are at the forefront of this ever-evolving sector because of their expertise and local knowledge. In conclusion, AMT Market Research provides essential tools and insights that can aid in strategic planning and execution for businesses trying to navigate the complexities of Myanmar's market. They play a crucial role in shaping the future of businesses in Myanmar through their commitment to ethical practices and comprehensive market research surveys. Associations looking for development ought to think about utilizing AMT's ability to open the potential inside this promising business sector.

Listening to your values can not only amplify the impact of your work, but can also help you to find greater levels of joy and fulfillment in the process.

Often this shift occurs in reaction to apparent failings of previous generations or leadership. We see the outsider criticizing the previous leader or the church in general for a perceived arrogance and harshness and so, to win their respect or to gain a hearing—for the best possible motives of their salvation—we seek to establish ourselves as distinct from those that are disliked, and then present ourselves in such a way that the sinner is struck by our warmth, care and inclusiveness. This will almost certainly lead to growth. We will gain much positive feedback and on occasion great affirmation as the representatives of a kind of Christianity that is so much more appealing. However, the critical thing to note is that this path will always only buy short-term impact at the cost of long-term gain. Very shortly we will either have to display a very different side—in proclaiming the hard edges of a love that clearly has boundaries (to the disillusionment or greater disdain of the community, for having been conned), or we will shift our presentations so as to never disappoint our newly won audience. In doing this we will have taken the first steps on the path of compromise.

I attended a symposium to hear Shilagh Mirgain, Ph.D. speak on Mindful Leadership. Throughout her program, I made sure to make eye contact and smile to support, affirm, and engage with her presentation. When audience members do this for me, it adds an extra punch of dynamic energy that enriches my presentations and improves my performance.

As a professional speaker, my facial expressions are essential for effectively telling stories, engaging audiences, fostering involvement, and connecting on a personal level. One day I decided to get Botox in my forehead to erase a few wrinkles and signs of aging. Much to my surprise and disappointment, I could no longer raise my eyebrows. My face was stuck in a heavy-browed expression, which is the polar-opposite of my joyful spirit and enthusiastic nature. It makes a funny story, but it taught me that authenticity wins over vanity any day!

When I was a young and aspiring speaker, I sought mentorship from a man who had been a Dale Carnegie trainer for decades. Eagerly wanting to know how to improve my stage presence and build my career, I contacted Dr. Joe Carnley in Destin, Florida and invited him out to lunch. After we placed our order at the Harbor Docks Restaurant, he dove right in and gave me some of the best advice of my life. He said, “Susan, you have to make them laugh! When they leave your presentations, you want them to feel better and leave happier than when they came in. Help them enjoy your time together.” He continued to describe the magical power that humor has over the human spirit. When we craft humor into our speeches, we can take our audiences on a journey they will never forget. Immediately after our delightful lunch ended, I drove straight to a Books-a-Million store and headed for the humor section. Since I was not a particularly funny person, I needed all the help I could get. For over an hour I stood there reading titles, flipping through funny books, and enjoying outrageous belly laughs, giggles, and snorts. People were staring, and probably thinking, “I want what she is having!” The humor section was one of the smallest in the entire bookstore, but it may well have been the most important. When I turned around, I noticed the opposite aisle was the “Self-Improvement” section. It ran half the length of the store and displayed hundreds of books. At that cathartic moment, I had a huge "Ah-Ha" moment.

Know your audience! With the high level of cultural sensitivity these days, it is often better to err on the side of caution. If you don’t want your humor to come back and bite you, don’t hurt one person to entertain another. We can have humor without making fun of other people.

My friend Scott Friedman (ScottFriedman.net) is a motivational humorist who specializes in employee engagement, celebration, and customer service. He teaches organizations that when their organizations are happy, they enjoy increased productivity, higher performance, better engagement, and elevated levels of health and well-being among their people. In his book, Happily Ever Laughter, Scott shares, “Personal stories are excellent (and entertaining) catalysts both for communicating big ideas and for presenting your most original humor. Better yet, stories let you provide more substance in less time. Jokes, on the other hand, have less reach substance-wise. Why? Because a joke is meant to entertain. A story, on the other hand, has inherent meaning. Stories allow the audience to get to know you, your imperfections, your flaws, and your foolishness. You can be vulnerable right there with audience watching. You can entertain, enlighten and teach all in the same effort.

Speaking on Stage Speakers and presenters have only a few short seconds before their audience members begin forming opinions. True professionals know that beginning with impact determines audience engagement, the energy in the room, positive feedback, the quality of the experience, and whether or not their performance will be a success. A few of the popular methods which you can use to break the ice from the stage are: • Using music. • Using quotes. • Telling a joke. • Citing statistics. • Showing a video. • Asking questions. • Stating a problem. • Sharing acronyms. • Sharing a personal story. • Laying down a challenge. • Using analogies and comparisons. • Taking surveys; raise your hand if . . . Once you refine, define, and discover great conversation starters, you will enjoy renewed confidence for communicating well with new people.

Spitz and Michael Wadleigh’s documentary film Woodstock

The creative triangle connects three dimensions: the individual, the domain (the particular symbolic system in which the individual works) and the field (other people working in the domain). So imagine, for example, a sculptor called Kate. To assess Kate's chances of becoming recognised as a highly creative artist, we need to consider not only Kate's own talent and originality (the individual), but also the history and current state of sculpture, in particular the kind of sculpture that Kate produces (the domain), and her connections with curators, journalists, critics, art buyers and other gatekeepers (the field) who contribute to establishing who becomes recognised and celebrated. Without a knowledge of the domain, and connection with the field, Kate is unlikely to make an impact.

GARDENS OR FIELDS? Craig Blomberg points out that in Matthew’s parable of the mustard seed, the sower sows his seed in a “field” (agros, Matt 13:31), while in Luke the sowing is in a “garden” (kepos, Luke 13:19). Jews never grew mustard plants in gardens, but always out on farms, while Greeks in the Mediterranean basin did the opposite. It appears that each gospel writer was changing the word that Jesus used in Mark—the word for “earth” or “ground” (ge, Mark 4:31) — for the sake of his hearers. There is a technical contradiction between the Matthean and Lukan terms, states Blomberg, “but not a material one. Luke changes the wording precisely so that his audience is not distracted from… the lesson by puzzling over an… improbable practice.” The result is that Luke’s audience “receives his teaching with the same impact as the original audience.”22

The greatest challenge on the Web in the twenty-first century is to connect with your target audience in a way that enriches both them and you.

People will never respond to you more positively than when you seek to make your impact felt at the human level.

When you just dump information onto your audience, you are not really making an impact on their hearts and minds. But, when you start telling a story, a magic thing happens: They instantly give you their full attention.

If selling books is what it’s all about, then I suggest that writing crossover books, those which speak to most readers, religious or not, will have a far greater impact in the long run, and a well-written piece of crossover will brand an author as a serious writer moreso than a limited-audience piece of specific religious material, a fiction “tract” – for that’s what it often is in its essence. I think the larger question is: do we want to write or do we want to evangelize? I contend that if we write well for the masses, as Christians we’ll evangelize by default.

Sojourner Truth, who squelched the heckler with an oft-quoted speech. In the first place, she said, Jesus came from “God and a woman—man had nothing to do with it.”66 Secondly, Truth asserted that women were not inherently weak and helpless. Raising herself to her full height of six feet, flexing a muscled arm, and bellowing with a voice one observer likened to the apocalyptic thunders, Truth informed the audience that she could outwork, outeat, and outlast any man. Then she challenged: “Ain’t I a woman?”67

How to tell a scary story Even before the birth of horror movies, people already used horror stories to entertain and scare people. The ability to scare people through stories is considered a rare and special talent. Not all storytellers are able to successfully frighten their audience. ●       Voice. Your voice can be an invaluable tool in telling scary stories. The tone of your voice will make it easier for the audience to feel scared. ●       Do your homework. Search for the scariest stories you can find and make a list of them. The more realistic they are, the better. ●       Choose new if possible. The latest stories are great choices since everyone can relate to them. Urban legends can also work, but some of your audience may have already heard the story. ●       Localize it. Change the setting of the story to make it seem like the story took place where you are telling it. You can also tie the story to a local resident. Horror stories about a person’s locality can have a different impact. ●       Don’t overdramatize.  Avoid using words that you do not often use. As a general rule, you have to make it sound like the story makes you uncomfortable inside. ●       Change the setting. You can change the setting of the story to make it similar to the one you’re in. For example, if your town has a local abandoned factory, you can use that as the main setting of your story. Ideally, when your listeners see the factory, they will be reminded of your scary story.

For many years, humans have relied on storytelling to pass on their traditions and share family pastimes. Nowadays, the method for storytelling has drastically changed. Today, if you want to reach a larger audience quickly, you can film yourself straight from home and put it on YouTube or Vimeo.com, and your story could be spread across the world in a matter of days. On a smaller scale, you can tell a story to your coworker or your child just before bed, and each will have a different impact. Below I’ll list a few examples of where storytelling is used and for what purpose.

Ongoing reach is more important than in-the-moment reach because it ensures you can create lasting impact.

The first Superfortress reached Tokyo just after midnight, dropping flares to mark the target area. Then came the onslaught. Hundreds of planes—massive winged mechanical beasts roaring over Tokyo, flying so low that the entire city pulsed with the booming of their engines. The US military’s worries about the city’s air defenses proved groundless: the Japanese were completely unprepared for an attacking force coming in at five thousand feet. The full attack lasted almost three hours; 1,665 tons of napalm were dropped. LeMay’s planners had worked out in advance that this many firebombs, dropped in such tight proximity, would create a firestorm—a conflagration of such intensity that it would create and sustain its own wind system. They were correct. Everything burned for sixteen square miles. Buildings burst into flame before the fire ever reached them. Mothers ran from the fire with their babies strapped to their backs only to discover—when they stopped to rest—that their babies were on fire. People jumped into the canals off the Sumida River, only to drown when the tide came in or when hundreds of others jumped on top of them. People tried to hang on to steel bridges until the metal grew too hot to the touch, and then they fell to their deaths. After the war, the US Strategic Bombing Survey concluded: “Probably more persons lost their lives by fire at Tokyo in a six-hour period than at any time in the history of man.” As many as 100,000 people died that night. The aircrews who flew that mission came back shaken. [According to historian] Conrad Crane: “They’re about five thousand feet, they are pretty low... They are low enough that the smell of burning flesh permeates the aircraft...They actually have to fumigate the aircraft when they land back in the Marianas, because the smell of burning flesh remains within the aircraft. (...) The historian Conrad Crane told me: I actually gave a presentation in Tokyo about the incendiary bombing of Tokyo to a Japanese audience, and at the end of the presentation, one of the senior Japanese historians there stood up and said, “In the end, we must thank you, Americans, for the firebombing and the atomic bombs.” That kind of took me aback. And then he explained: “We would have surrendered eventually anyway, but the impact of the massive firebombing campaign and the atomic bombs was that we surrendered in August.” In other words, this Japanese historian believed: no firebombs and no atomic bombs, and the Japanese don’t surrender. And if they don’t surrender, the Soviets invade, and then the Americans invade, and Japan gets carved up, just as Germany and the Korean peninsula eventually were. Crane added, The other thing that would have happened is that there would have been millions of Japanese who would have starved to death in the winter. Because what happens is that by surrendering in August, that givesMacArthur time to come in with his occupation forces and actually feedJapan...I mean, that’s one of MacArthur’s great successes: bringing in a massive amount of food to avoid starvation in the winter of 1945.He is referring to General Douglas MacArthur, the supreme commander for the Allied powers in the Pacific. He was the one who accepted theJapanese emperor’s surrender.Curtis LeMay’s approach brought everyone—Americans and Japanese—back to peace and prosperity as quickly as possible. In 1964, the Japanese government awarded LeMay the highest award their country could give a foreigner, the First-Class Order of Merit of the Grand Cordon of the Rising Sun, in appreciation for his help in rebuilding the Japanese Air Force. “Bygones are bygones,” the premier of Japan said at the time.

Musician Your musical skills may affect the people around you, causing people to like you better and new possibilities to surface. Every skill point in Musician will increase the impact that your music has on the audience. Stat: Charisma

Horror has always been a popular genre, captivating audiences with its ability to scare and thrill. But what is it about horror that draws us in? Why do we willingly subject ourselves to fear and terror? These questions are at the heart of the philosophy of horror, which seeks to understand the nature and meaning of horror. One of the key ideas in the philosophy of horror is that horror is a way of confronting our deepest fears and anxieties. By exposing ourselves to the worst-case scenarios that we can imagine, we are able to face our fears in a controlled environment. In this way, horror can be seen as a form of therapy, allowing us to process and overcome our fears. However, there is also a darker side to horror. Some philosophers argue that horror is not simply a way of confronting our fears, but is actually a way of creating new fears. By presenting us with terrifying scenarios that we had never considered before, horror can actually create new fears and anxieties that we had never experienced before. This can be seen as a kind of psychological manipulation, where the horror genre plays on our most primal instincts to create fear. Another key idea in the philosophy of horror is the idea of the uncanny. The uncanny refers to the feeling of unease that we experience when something seems both familiar and unfamiliar at the same time. This feeling is often created in horror by presenting us with images or situations that are just slightly off, creating a sense of discomfort and unease. The uncanny can be seen as a way of destabilizing our sense of reality, making us question what is real and what is not. Ultimately, the philosophy of horror raises profound questions about the nature of fear and the human psyche. Why do we seek out fear and terror? What does it mean to be scared? And how does horror impact our understanding of the world around us? As we continue to explore these questions, we may discover that the true horror lies not in the stories we tell, but in the darkness of our own minds.

The Secret on How to Write Comedy In a fashionable context, comedy is a subjective element. Making humans funny is an incredibly difficult job and developing a chunk of comedy is even more difficult. If you are an aspiring comedy writer, there is loads to be found out and Filipino concert in Las Vegas( ticklemecomedy.com) in case you lack that writing skills, there's no way you may produce an excellent comedy piece. So how do you write stuff that is actually funny and will make everyone roll round in laughter? Are there definitely techniques on how to write comedy or steps with a view to decorate your comedic writing? Maybe these are the questions rambling around your thoughts now. Well, happily, there are some easy strategies on for writing humorous cloth. Tips on How to Write Comedy Like all different forms of writing, comedy writing is no one of a kind. It additionally takes exercise to get it right. Some comedic writers might also master the artwork of comedy writing with only a little exercise while a few conflict lots before getting Filipino show in Las Vegas to know it. With that being said, every person who wants to realize the secret to writing high-quality comedy need to consider some easy pointers. Whether you come to be being funny or no longer, the most essential element is which you have discovered how to excellent write comedic cloth and are capable of produce quality comedy pieces. To assist you emerge as a very good comedic writer, beneath are some guidelines. • Choose the type of comedy - One tip on how to write comedic portions is to pick out the type of humor you need to exhibit. There are various forms of comedy along with slapstick, parody, dark humor, edgy humor, own family humor, dry observational humor, and plenty of others. You simply need to select one in your comedy piece and paintings on it. Failure to consciousness on one sort of humor will end result on your audience being careworn. • Use warfare - Another golden rule is to discover the battle in anything and play on the boundaries. Professional comedic writers say that anger is frequently the middle of all comedy. But this doesn't suggest however that you need to be a raging psycho simply so one can realize the way to write comedy. This virtually approach that you got to have the ability to address a conflict in a humorous manner. • Carefully choose your words - Successful comedic playwrights realize nicely the way to maximize the comedic impact. Obviously, they are experts in finding the funniest in everything. Choose phrases that sound funny and discover ways to tweak your paintings to give you actual funny piece. • Know how and whilst to magnify - In comedy, "extra" is generally better. Think approximately conditions that might be funnier if things have been exaggerated a chunk. Something mildly humorous can quickly Las Vegas Filipino shows become hilarious with a little bit of embellishment. • Timing - In comedy, timing is the whole thing. It is a totally critical component in writing comedy. You want to inject the proper joke inside the proper location and in the right time. This is in which your punch traces ought to appear. This also manner understanding whilst to end. But take word that timing depends significantly at the sort of comedy you're pursuing. Practice makes best After being given these few hints on how to write comedy, you need to have a terrific begin composing fine, comedic work. But as the famous adage says "Practice makes best" so preserve to exercise and work at your stuff. You don't always want to be intrinsically humorous to study comedic writing but it'll help.

91. Generous Doesn’t Mean Free Too often, the market pushes creators to give away their work. And too often, we come to believe that giving it away, removing money from the interaction, is the most generous thing we can do. But that’s not the case. Money supports our commitment to the practice. Money permits us to turn professional, to focus our energy and our time on the work, creating more impact and more connection, not less. And more importantly, money is how our society signifies enrollment. The person who has paid for your scarce time and scarce output is more likely to value it, to share it, and to take it seriously. Generous doesn’t require us to reduce friction by making things free. It requires us to bring bravery and passion and empathy to the people we seek to serve. And that often requires tension on the part of the audience. It’s tempting to hide by creating deniability. “What did you expect, it was free . . .” But often, the act of charging for the work creates a generous outcome, because our work is to effect change, not to make ourselves invisible and free.

So if you want to engage your audience’s heart, first show them where they fit into your idea. When people see where your idea impacts them, they will pay rapt attention to the what, where, when, how, and why.

Reach means expanding your audience plus having a lasting impact.

Reach is never static; it is the product of what you do to expand your work and its impact over time.

You will need to create and cultivate your own story online in order to create meaning, impact, and reach over time.

Don't neglect your brand positioning. Your ability to reach and significantly impact your audience hinges on establishing the right positioning for your brand.

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