Tony Badilla via Twitter(OAKLAND, Calif.) — Surveillance cameras captured a fast-acting transportation worker on Sunday as he rescued a man by pulling him off the tracks just a split second before an oncoming train hit him.The video shows Bay Area Rapid Transit transportation supervisor John O’Connor jumping into action at the Oakland, California, station after a man stumbled and fell onto the tracks as a train approached.O’Connor, 24, miraculously grabbed the man by his shoulders and lifted him up to the platform safely with just seconds to spare. He said the train was about 60 feet away when the man fell.“I just looked at him and said, ‘He’s not going to make it.’ Let me see, because it’s hard to get out of there,” O’Connor told reporters Monday. “It is not like you could just jump up and get out of there. You know, I was just fortunate God put me there and he got to see another day.”O’Connor said he was conducting a bit of crowd control at the Coliseum BART station following an Oakland Raiders game Sunday night when he saw the unidentified man fall.He said it feels “a little awkward” to be called a hero because first responders like police officers and firefighters save lives on a daily basis with very little recognition.“I feel humbled in having been given an opportunity to save someone’s life, but it feels a little awkward to be declared a hero,” O’Connor said. “I’d like to think that anybody else in that situation would have done the same thing.”However, he said he does have a few words of wisdom for the man he saved: “Today is the first day of the rest of your life. Try to use a little more caution and go out and do something good with your life. Enjoy the rest of the days God blessed you with.”A BART spokesperson said the man who fell underwent a medical evaluation after the accident. Police said he was fine, but intoxicated.Copyright © 2019, ABC Audio. All rights reserved.
Credit unions have always been viewed in a different light. Our members typically rate us highly from a member satisfaction standpoint and many of our members choose us because we are not-for-profit organizations that are mission, member and community focused. That focus of “people helping people” is even more important in the eyes of members and potential members in these times of divergent attitudes, discourse and uncertainty.A PwC survey found that financial institutions’ actions during the pandemic have affected trust and loyalty. Of those surveyed, 1 in 3 cited that they had been considering a switch before the pandemic, but because of their financial institution’s actions in 2020, they had no intention of leaving. The reasons for staying put include an increase in trust felt for their financial institution because of the community involvement and the personal communication during the pandemic. The survey also showed that credit union members were the most loyal and least likely to be moving their financial relationship with only 8% of members saying they’d consider making a switch. We should celebrate that, but not rest on our laurels. Here are three areas to concentrate on now to gain and maintain trust and build meaningful and long-lasting relationships:Communicate Personally, not Promotionally – A NerdWallet study reported that 3 out of 4 Americans said that they would change their financial behavior after the pandemic. Make the shift now to providing content that is focused on information and education rather than promotion and that will help members alter their financial behavior for good. Now that we are past the initial months of the crisis, we need to maintain our member focus by continuing to communicate that we are here, we are listening and we are ready to help our members in ways that can make the most difference in their financial lives and the well-being of their families. Position Your Products to Help – A Phoenix Synergistics study found that consumers were interested in getting financial counsel from their financial institution but only 1 in 5 had asked for help. Position your lending offers, for example, as a way to help members save. Talk about how refinancing an auto loan with you could put more money in their month and then add up the savings to show how much a lower monthly payment could save them over a year. Find a way to weave financial education messaging into all your communications so you are providing financial advice in a relevant way and maintaining members’ trust in your credit union.Demonstrate People Over Profits in Your Community – An eConsultancy report found that now, more than ever, consumers are looking to do business with brands that put people over profits. Members must think of you as demonstrating depth in support of your community. This does not mean that you need to show up with the big check. That’s not the expectation right now. But your members do need to see that you are supporting your community. Help spread the word if your local food bank needs help or there is a community wide call to give blood. Provide your employees opportunities to volunteer and as a credit union support your community where and however you can. Living your values and consistently demonstrating your dedication to the communities you serve through your actions rather than words, goes a long way to maintaining trust and loyalty for your members. 2SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr,Bryn C. Conway Bryn C. Conway, offers more than 15 years of experience as a former credit union executive with extensive background in strategic planning, brand development, member experience, retail delivery and public … Web: https://www.bccstrategies.com Details
These are just some examples of the fluidity of opinion about film that the general public can raise at its leisure. With the right audience and platform, you might not find the definitive consensus on whether these movies are good or bad. Still, the value of people’s opinions is much more democratized. And streaming and media giants take notice with their PR and social media strategies, especially the increasingly corny Netflix Twitter account. OK sure, but what is good? What films are worth remembering? And who gets to decide this? I’ll start with the last one by telling you to look at yourself. By being part of the discussion surrounding film and media, the public has an even greater sway over what stays relevant. Have you seen that meme of the two-photo collage that features a group of men fighting with the caption “Discussing ‘Twilight’ in 2009,” and then a round-table meeting, seemingly serious in nature with the caption: “Discussing ‘Twilight’ in 2019”? I’ve done this on several occasions, so this isn’t an attempt to shame. But why is the knee-jerk reaction after watching something to look to those we deem “greater” than ourselves or with opinions more “viable” for an answer? Shideh Ghandeharizadeh | Daily Trojan But with distribution models shifting from solely theatrical releases to completely streamed or hybrid releases, the answer to what gets included in the canon of great film (and this includes great bad movies as well!) lies in its own purpose — what we can remember about the film and how that is a reflection of our culture. While streaming giants are encroaching more and more on the discussion of what stories get to be told and what don’t, the increased accessibility to programming puts the power in the viewer’s hands. The films that are celebrated because they are accurate, far-ranging and impactful may or may not float to the top. Still, now more than ever, the average viewer (that’s you!) can guide film culture to what is truly remarkable and worth celebrating or push what isn’t to sink. It’s great that there are myriad sources to discuss, debate or illuminate the themes and topics of films, and the internet and proliferation of streaming services are partly to credit. But when superiority complexes lend themselves to debates on if a film is good or bad, these services use this debate to their advantage. On the flip side, they will approach a filmmaker that had critical but maybe not as far-reaching mainstream success as possible — take, for example, Dee Rees’ journey from “Pariah” to “Mudbound” — and pour their heart (if they have one) and money into these future projects because they see dollar signs come with critical acclaim and runs through the award circuit. One thing that I’ve seen following me over my shoulder in my time as a film student at the sunny School of Cinematic Arts is the looming declaration: “This is what you should be watching if you want any sort of credibility as a film lover.” Beyond the canon’s roots in majority-white academia and Hollywood pats-on-the-back (which niche streaming services like Criterion and schools like USC do little to address), it often leaves people discouraged and confused after being told to invest their time in something that is simply unapproachable or not for them. I saw that. You just clicked the link to read a review after you watched the movie. Did you want to see what the great film critic of the day thought, or did you miss something while watching and are now scrambling to find an explanation? (The Scholar’s Stone floats because it is fake and hollow, it’s a metaphor.) Maybe this is the time to introduce the column. I’m Lauren, I’m a cinema and media studies senior and I’m going to use this to try to challenge you (and myself) as to where film culture and study should be situated, and how that’s going to shape history and the business of entertainment to come. The reverse sort of cultural evaluation can lead to intense scrutiny as well. When Noah Baumbach’s “Marriage Story” was continuing its Oscar campaign, a certain scene at the pinnacle of the two main characters’ divorce proceedings brought with it a bout of intrusive thoughts (see Hunter Harris’ “This One ‘Marriage Story’ Line Plays on a Loop in My Head”) and memes that lead to warring camps discussing the film’s goodness and badness. For better or for worse, the scene was used to analyze other texts, including the true identity of Baby Yoda. Either way, the film had its moment on Twitter and other social media sites for quite a while, though it might not have been the sort of spotlight the director or critics lauding the film agreed with. Lauren Mattice is a senior writing about film culture. She is also the digital managing editor at the Daily Trojan. Her column, “Film Schooled,” runs every other Wednesday. It may seem silly, but that in itself is a reflection of the continued conversations that were being had about the movie, including how it shaped the process of adaptation, young adult culture and laid some of the foundations for leading actors Kristin Stewart and Robert Pattinson to build their “reputable” indie careers off of. And despite its abysmal 49% Rotten Tomatoes and 56 Metascore ratings, the general public ate it up — to put it in numbers, it made $408.4 million worldwide at the box office on a $37 million budget. Remember when I used the word microcosm? Well, speaking of streaming services, part of their development and distribution strategies hinge on the ability to generate these sorts of conversations. Film Twitter will eat up indie darlings right out of festivals’ hands — for the most part — and these services will take what’s most promising and offer distribution deals worth tens of millions of dollars. Now that that’s out of the way, the increased accessibility to films and television is a double-edged sword, a battle in which the gatekeepers of “great cinema” are steadily losing and the general public seems to gain a greater edge. Now I’m not saying that friendly discussions between peers should be banished because they are major media corporations’ tools, at least not in this column. These talks are simply a microcosm of a larger issue: What films get included or left out of the canon of “really great films” should not be because of the few’s opinions, of the elite, of these companies.