A ‘Lead’ in Marketing jargon, means ____

1. A ‘Lead’ in Marketing jargon, means _____

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MCQ-> Study the following information carefully and answer the questions given below : Following are the conditions for selecting a Marketing Manager in an organisation The candidate must…………. (i) be at least 25 years and not more than 35 vears old as on 01.12.2011- (ii) be to graduate in any discipline with its least 55% aggregate marks. (iii) have completed Post Graduate Degree/Diploma in Management with specialisation in Marketing Management with at least 60% marks. (iv) have post qualification work experience of at least 5 years as Assistant Marketing Manager in an organisation. in the case of a candidate who fulfills all the conditions except……….. (a) at (ii) above, but has secured at least 50% in graduation and at least 65% in Post Graduate Degree/Diploma in Management with specialisation in Marketing Management, his/her case is to be referred to Head-Marketing. (b) at (ii) above, but is not more than 40 years old and has work experience of 8 years as Assistant Marketing Manager. his/her case is to be referred to Managing Director. In each question below, details of one candidate arc provided. You have to take one of the following courses of actions based on the conditions given above and the information provided in each question and mark the number of that course of action as your answer. You are not to assume anything other than the information provided in each question. All these cases arc given to you as on 01.12.2011. Mark answer : a: if the data provided arc inadequate to take a decision. b: if the candidate is not to he selected. c: if the candidate is to be selected. d: if the t-tise is hi be referred to Head Marketing. e: if the cast is to be relerred to Managing Director. Now read the information provided in each question and mark your answer accordingly.Medha Gosavi was born on 8th March 1982. She has been working as Assistant Marketing Manager in an organisation for the past six years after completing her Post Graduate Degree in Management with specialisation in Marketing Management with 70% marks. She has secured 53% marks in B. Com
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MCQ-> Questions are based on a set of conditions. In answering some of the questions, it may be useful to draw a rough diagram. Choose the response that most accurately and completely answers each question. Seven bands were scheduled to perform during the week long music festival at XLRI. The festival began on a Monday evening and ended on the Sunday evening. Each day only one band performed. Each band performed only once. The organizing committee had the task of scheduling the performances of the seven bands - Cactus, Axis, Enigma, Boom, Fish, Dhoom and Bodhi Tree. The festival schedule followed the following conditions: the performance of Bodhi. Tree, the home band of XLRI, did not precede the performance of any other band. Among the visiting bands three were rock bands and the other three were fusion bands. All three bands of the same genre were not allowed to perform consecutively. Boom, which was a rock band, refused to perform immediately before or after Fish. Meet, who was a lead vocalist with a rock band, refused to perform after Angelina. Angelina, the only female lead vocalist in the music fest besides Bony, was with the band Enigma. Angelina refused to perform after Thursday citing personal reasons. Ali, who was the lead vocalist of a rock band, was not with the band Dhoom, and did not perform on Saturday. Sid, the lead vocalist of the rock band Cactus, could perform only on Monday. Rupam, the only male among the lead vocalists of the fusion bands, was with Fish and performed on Wednesday. None of the bands performed in absence of their lead vocalist.All of the following statements can be true except:
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MCQ->A ‘Lead’ in Marketing jargon, means _____....

MCQ-> The highest priced words are ghost-written by gagmen who furnish the raw material for comedy over the air and on the screen. They have a word-lore all their own, which they practise for five to fifteen hundred dollars a week, or fifteen dollars a gag at piece rates. That's sizable rate for confounding acrimony with matrimony, or extracting attar of roses from the other.Quite apart from the dollar sign on it, gagmen's word-lore is worth a close look, if you are given to the popular American pastime of playing with words — or if you're part of the 40 per cent who make their living in the word trade. Gag writers' tricks with words point up the fact that we have two distinct levels of language: familiar, ordinary words that everybody knows; and more elaborate words that don't turn up so often, but many of which we need to know if we are to feel at home in listening and reading today.To be sure gagmen play hob with the big words, making not sense but fun of them. They keep on confusing bigotry with bigamy, illiterate with illegitimate, monotony with monogamy, osculation with oscillation. They trade on the fact that for many of their listeners, these fancy terms linger in a twilight zone of meaning. It’s their deliberate intent to make everybody feel cozy at hearing big words, jumbled up or smacked down. After all, such words loom up over-size in ordinary talk, so no wonder they get the bulldozer treatment from the gagmen.Their wrecking technique incidentally reveals our language as full of tricky words, some with 19 different meanings, others which sound alike but differ in sense. To ring good punning changes, gag writers have to know their way around in the language. They don't get paid for ignorance, only for simulating it.Their trade is a hard one, and they regard it as serious business. They never laugh at each other's jokes; rarely at their own. Like comediennes, they are usually melancholy men in private life.Fertile invention and ingenious fancy are required to clean up ‘blue’ burlesque gags for radio use. These shady gags are theoretically taboo on the air. However, a gag writer who can leave a faint trace of bluing when he launders the joke is all the more admired — and more highly paid. A gag that keeps the blue tinge is called a ‘double intender’, gag-land jargon for double entendre. The double meaning makes the joke funny at two levels. Children and other innocents hearing the crack for the first time take it literally, laughing at the surface humour; listeners who remember the original as they heard it in vaudeville or burlesque, laugh at the artfulness with which the blue tinge is disguised.Another name for a double meaning of this sort is ‘insinuendo’. This is a portmanteau word or ‘combo’, as the gagmen would label it, thus abbreviating combination. By telescoping insinuation and innuendo, they get insinuendo, on the principle of blend words brought into vogue by Lewis Caroll. ‘Shock logic’ is another favourite with gag writers. Supposedly a speciality of women comediennes, it is illogical logic more easily illustrated than defined. A high school girl has to turn down a boy's proposal, she writes:Dear Jerry, I'm sorry, but I can't get engaged to you. My mother thinks I am too young to be engaged and besides, I'm already engaged to another boy. Yours regretfully. Guess who.Gag writers' lingo is consistently funnier than their gags. It should interest the slang-fancier. And like much vivid jargon developed in specialised trades and sports, a few of the terms are making their way into general use. Gimmick, for instance, in the sense either of a trick devised or the point of a joke, is creeping into the vocabulary of columnists and feature writers.Even apart from the trade lingo, gagmen's manoeuvres are of real concern to anyone who follows words with a fully awakened interest. For the very fact that gag writers often use a long and unusual word as the hinge of a joke, or as a peg for situation comedy, tells us something quite significant: they are well aware of the limitations of the average vocabulary and are quite willing to cash in on its shortcomings.When Fred Allens' joke-smiths work out a fishing routine, they have Allen referring to the bait in his most arch and solemn tones: "I presume you mean the legless invertebrate." This is the old minstrel trick, using a long fancy term, instead of calling a worm a worm. Chico Marx can stretch a pun over 500 feet of film, making it funnier all the time, as he did when he rendered, "Why a duck?"And even the high-brow radio writers have taken advantage of gagmen's technique. You might never expect to hear on the air such words as lepidopterist and entymologist. Both occur in a very famous radio play by Norman Corvine, ‘My client Curly’, about an unusual caterpillar which would dance to the tune ‘yes, sir, she's my baby’ but remained inert to all other music. The dancing caterpillar was given a real New York buildup, which involved calling in the experts on butterflies and insects which travel under the learned names above. Corvine made mild fun of the fancy professional titles, at the same time explaining them unobtrusively.There are many similar occasions where any one working with words can turn gagmen's trade secrets to account. Just what words do they think outside the familiar range? How do they pick the words that they ‘kick around’? It is not hard to find out.According to the writer, a larger part of the American population
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