#insights on interview process

[messupandlearn]

W.I.T. Wednesday 01

Welcome to W.I.T. Wednesday—where we share Wisdom, Ideas & Tips to level up your skills! 🚀 Today, we’re diving into HR & recruitment—specifically, how to conduct an interview that helps you find the right candidate (without it feeling like an interrogation).

Step 1: Prep Like a Pro 📋

Before the interview, make sure you: ✅ Review the resume & portfolio – Know their experience so you can ask targeted questions. ✅ Define the role clearly – What skills, qualities, and culture fit are you looking for? ✅ Prepare structured questions – A mix of behavioral, technical, and situational questions works best.

👉 Pro Tip: Use the STAR method (Situation, Task, Action, Result) when evaluating answers—it helps candidates give clear, structured responses!

Step 2: Start With a Warm Welcome 🤝

Interviews can be nerve-wracking. Help candidates feel comfortable by: ✔ Introducing yourself & the company culture. ✔ Outlining the interview process (so there are no surprises). ✔ Kicking off with a casual question—"Tell me about yourself" is a classic for a reason!

Step 3: Ask the Right Questions 🎯

💡 Behavioral Questions → "Tell me about a time you handled a challenging project." 💡 Technical/Skill-based Questions → "How would you handle [specific job-related scenario]?" 💡 Culture Fit Questions → "What type of work environment helps you thrive?"

👉 Avoid: Vague, yes/no, or overly hypothetical questions. You want real insights, not rehearsed answers!

Step 4: Listen & Observe 👀

A great interviewer doesn’t just hear answers—they read between the lines. 👂 Are they confident in their responses? 💡 Do they align with the role’s expectations? 🌱 Are they eager to learn and grow?

Step 5: Wrap It Up Professionally 🏁

Before ending, always: ✔ Ask if they have any questions (a strong candidate always does!). ✔ Explain the next steps & timeline—when will they hear back? ✔ Thank them for their time & interest in the company.

👉 Pro Tip: Send a follow-up email with a quick thank-you + next steps to keep things professional and engaging.

Recruiters, What’s Your Go-To Interview Question?

Drop it in the comments! 👇 Let’s help each other refine our hiring game. 🚀

[criticalbeauregard]

agatha definitely didn’t need to kiss rio to use her powers on her or take billy’s place. she chose for it to be the last thing she ever did. she wanted to let rio back in so bad but she is so stubborn that the only way she could actually do it was with the promise of death swiftly after.

[uhbasicallyjustmilex]

“i believe in the idea that old bits of equipment have songs built into them already, like a ghost in the walls.”

[glorious-blackout]

Interviewer: Could Slovenia be a dark horse? Käärijä: That would be awesome. If Bojan would raise the trophy I would be so proud of him.

These two... 😭

Source

[daddy-long-legssss]

I learned that you can make it to that kind of level and remain in tact as a human being. And I learned that Sheffield’s people are very similar to Irish people. We bumped into them at the same pub a fair few times. But I believe it goes beyond that.

— Grian Chatten from Fontaines D.C. on what they learned after touring with Arctic Monkeys [x]

[sophaeros]

the strokes for guitar magazine jp, june 2020 - english translated interview

2001-2020: The Strokes' Impact

The Strokes made their spectacular debut in 2001 with "Is This It." They loudly proclaimed the dawn of a new era of rock and roll with the onset of the 21st century, and swept the music scene with their unique sound reminiscent of the Velvet Underground and Television, creating a movement known as the "garage rock revival." Now they have released their long-awaited new album, "The New Abnormal." This article explores the appeal of Albert Hammond Jr. and Nick Valensi, the two guitarists who presented a new form of rock and roll guitar.

What Is The Strokes?

The cool and creative twin guitar technique that symbolizes the beauty of rock and roll

What was new about The Strokes? It was the style of the two guitarists who played the leading roles in the band's sound, Albert Hammond Jr. and Nick Valensi.

Text by Tomoki Takahashi

In the rock scene of the early 2000s, where the so-called garage rock/rock and roll revival whirlwind swept through, the greatest thing that made The Strokes stand out was their cold-hearted creativity, which symbolized the explosive music of rock and roll with perfect beauty. And just like Julian Casablancas' vocals, which seem to be embodied in the cool texture of the city of New York and the history of rock, the superb guitar work of the two guitarists, Albert Hammond Jr. and Nick Valensi, which could be called a geometric pattern of sound, has continued to function as an important core of The Strokes' musical world.

"Hard to Explain" features garage rock guitar tones filled with dry heat, creating an exquisite space with the lead melody and chords in relation to each other. "Someday" drives the dynamic rhythm that is unique to rock and roll not with sound pressure, but with the grain of the performance and the arrangement of the notes. "The Modern Age" redefines the riff as an accelerator of the beat, not as a wild weapon. Their 2001 debut album Is This It revived the old music of rock and roll at the dawn of the 21st century, loudly declaring its "resurrection."

Albert Hammond Jr. emotionally plays the essence he inherited from The Beach Boys, John Lennon, Buddy Holly, and others, holding his guitar high like a jazz guitarist. Nick Valensi lowers his guitar stance and pours the influence of his predecessors such as Jimi Hendrix and George Harrison into mysterious phrases. The two players' playing styles, which make heavy use of arpeggios and single-note phrases and emit contrasting hues, lead to a unique sense of tension and pop, like the art of balancing five different artists.

The Strokes' 2nd album, Room on Fire (2003), showed a balanced relationship between wild frenzy and tight, solid structure in songs like "Reptilia" and "12:51". Their 3rd album, First Impressions of Earth (2006), unleashed the golden rules of the sound they had created into a hard rock dynamism, as symbolized by songs like "Juicebox", creating a stadium-level scale that reached number one in the UK and number four in the US. This was the moment when The Strokes, who had come out into the world as a refreshing counter to rock and roll, came to dominate the royal road of the scene in both name and reality.

After that, the Strokes continued to experiment musically, starting with the electronic approach of Angles (2011) with songs like "You're So Right" and "Games." The friction that occurred during the production of "Angles," in which they sought to go "beyond," continued to cast a shadow over them, and their fourth album Comedown Machine (2013) and EP Future Present Past (2016) were unable to fully demonstrate their appeal.

However, The Strokes have been reborn with their latest album, The New Abnormal. The call-and-response of the thick octave sound and delicate, weeping phrases ("The Adults Are Talking"), the guitar that mysteriously intertwines with the synth sound and raises a dense melancholia ("Brooklyn Bridge to Chorus"), and the sense of liberation woven beyond a simple arpeggio ("Bad Decisions"), each one of them comes with a powerful affirmation. Rock and roll can be endlessly new — The Strokes have clearly embodied this, even now in 2020, or perhaps especially now.

Interview: Albert Hammond Jr.

Albert, one of the band's sound pillars, talks about the struggles of the latest work

The Strokes have just released their new album, The New Abnormal, for the first time in seven years. This time, we interviewed Albert Hammond Jr., one of the band's leading lights. He said, "Our guitar playing was born out of natural conversation," but what does that really mean?

Interview and translation by Tomohiro Moriya

I have also approached composing in a manner similar to that of filmmaking.

──This album has an electronic feel like the previous album "Comedown Machine" (2013) that used a lot of synths, but with the simple guitars that are typical of The Strokes, I think it is a work that presents the state of modern rock and roll. Was there a clear concept different from the previous album? No, I have never thought of it that way. In fact, I don't even think that "Comedown Machine" was such an electro-pop album. I don't generally label things, and I don't see the point in many people calling music that didn't sell well "this is indie rock!" Isn't "indie rock" a way of saying music that somehow didn't succeed? Even if it's a demo that doesn't sound very high quality, there's something exciting about it. I also think that it can be valuable music to people with different sensibilities.

──I agree. When you hear something at the time when you want to do something, you get excited and feel it's very new, right? What's more, you can encounter music that takes you to another place. I think there are many elements to talking about something. For example, when you talk about where you are in life, if you start talking about "why you are there now", you can't explain it with just one thing. It's a series of small events that lead you to your current position. So even with this interview, if you had done it before we went into the studio, I would have felt differently at the time.

──So, please tell us about your guitar playing on this album. The Strokes are known for their short, simple riffs and arpeggios, as well as their catchy phrases that are easy to remember. This album is also full of that. I had a hard time creating guitar parts for all the songs (laughs). However, the most unique part I felt was the layered guitar in "Eternal Summer." I played several parts on the guitar to create different grooves, and among them there was a phrase that I thought, "I don't know if I'll use it now, but I might use it after I add the vocals."

──I see. So you reserved judgment for the time being. Yes. The idea of "splicing together guitar parts that could be used later to give texture" was similar to the way movies were made. So "Eternal Summer" was a song where we thought about what materials we could use when we were editing it, and in that sense it was a very unique approach.

──I felt that the arpeggio-like riff intro of "Bad Decision" was a killer tune that exuded the early Strokes style. Julian had originally had the idea in some form, and I combined it with an arpeggio-like riff that I had prepared for another song. At first I thought it was a bad idea and opposed it, but in the end it worked out the best.

──The single note phrase in the B melody also has the power to completely change the atmosphere of the song. Nick plays the part I wrote there. Instead, I play the chords. There are some parts where we switch places like that, and it's not the result of any particular thought. It's just something that came out of a natural conversation I had with someone. I don't think it's enough to just play the guitar. We're trying to do something cool and surprise each other.

──Are there any other songs that left an impression on you during the production? Another one I remember clearly is "Brooklyn Bridge to Chorus." I play a solo in the intro, and Jason Leder (the engineer for this album) recommended that I use a pedal that produces a synth-like sound. It sounds like a wailing saxophone, and it sounds really weird. That was pretty cool.

Speaking of those sounds, there's a wah-like sound on "Why Are Sundays So Depressing." How was that done? It could have been a Nord keyboard played by Julian. Nick also plays some crazy sounds on this song... No, wait! Let's play the song and listen to it (starts listening to the song). That wah-like sound here! That's definitely something Nick played on guitar. Interestingly, on "Not the Same Anymore," there's a sound that sounds similar to the backing solo I played, but that's a keyboard. But personally, I don't feel like there's a lot of keyboards on this album as a whole. Instead, there's a pad synth. I use it especially in the chorus to create atmosphere and ambience.

──It's true that synth-like sounds play a big role in "At the Door" and "Ode to the Mets" along with the guitar. It's not like it's the main sound in all songs. But we don't think that we're a guitar-based band, just playing the guitar isn’t enough. We try to do something cool and surprise each other. Some people might think that The Strokes are a band driven by the rhythm of the guitar, but to me, Nikolai's bass is also great, and we're not a band that's all about the guitar.

I like amps whose looks and sound match up.

──Please tell us about the equipment you used. Did you use the Japanese-made Fender Stratocaster that you've been using since your debut? Well, I guess you could say it's my main guitar (laughs). Yes, I played most of the time with that guitar. I used other guitars for dubbing, but I don't remember them at all.

──A few years ago, Fender released a signature model that faithfully reproduced your main guitar. Have you used it? I replaced the pickguard on it with a mirror finish, and I always have it on standby as a backup guitar during live performances... No, it's no longer a backup, but I use it for a few songs in my set list. It's a pretty reliable favorite guitar.

──By the way, regarding guitar tones, will you ever go back to the "dry garage sound" of your early days? Until now, we have often been lumped together with the term "garage sound", but personally, I have never thought of it that way. Even when I listened to the music of bands that were said to be "garage sound!", I never felt a vibe similar to ours. The bands that were closest to our vibe were Guided by Voices and Bob Marley, and we have been looking for a sound and rhythm like them.

──Guided by Voices is a so-called lo-fi sound band, isn't it? Yes, our sound is quite similar to Guided by Voices, but the feeling that the songs give and what Julian is trying to convey are similar to Bob Marley. It doesn't just hit you as a sound, it shakes you from the bottom of your heart.

──Going back to the topic of the equipment you used, what effects did you use? Oh, God! I don't really care about that, and I don't remember it. In a word, I don't care about that. I'm always thinking about what parts I'm going to play, and people around me are saying, "Shouldn't this sound a little heavier?" (laughs). I'm always thinking about how to play to make the song good, and I think about how to construct the sound afterwards. That said, there is a delay and distortion that I always use... I don't remember the exact model name, but I remember that the distortion was Jekyll & Hyde. I'll probably keep using this forever. Well, for me, the name of the pedal is not that important (laughs). But Nick, in contrast to me, uses quite a lot of effects.

──What about the amps? Did you use the Fender Hot Rod Devil that you always use? I might have used it at the time of dubbing. But for the main recording, I'm sure I didn't use it. What kind of amp did I use...? You might think I'm a pretty strange guitarist, but I've never really cared about amps (laughs). I use what I like, but if I had to say, I might like amps that look and sound the same. It's good to have knowledge that "this kind of amp will sound like this," but in the end, I think it's a matter of trial and error to play it and see if you like it.

──In the end, it's all about feeling. However, in this recording, I actually used an amp that I've never used before, what was the name of it...I can't remember at all (laughs). Ah, but I'm always aware that the sound changes a lot depending on how you set up the microphone, rather than the amp itself. I also get inspired by the tone, so when I record, I usually use several amps with clean sounds and set up several microphones. For live performances, I use the Hot Rod Devil and that amp, um, what was it called...the one Pete Townshend used...

──A Hiwatt? Yes, that's it! I have a Hiwatt and a Hot Rod Devil running side by side, and a tech operates my pedal board, which is organized in a rack on the side of the stage. Once I know what the sound is going to be, I can play it without having to operate it or worry about the sound.

──The Strokes have also been confirmed to perform at this year's Fuji Rock Festival. Finally, please say a few words to your Japanese fans. I remember the last time we played. It was many years ago, but I also met Jack White, who performed with the Raconteurs. We love Japan, and we love the Japanese audience. We'll be closing the night with our new album, and it'll be a fantastic festival night that we can be proud of around the world. I'm thinking of going to Japan in a few days and hanging out a bit!

Gear: The Strokes' Early Equipment

Here's a look at the gear the duo used to create The Strokes' signature sound.

Albert Hammond Jr.

Guitar: Fender Stratocaster

It has been Albert's companion since he got it in 1999.

The symbol of Albert is his Olympic White Stratocaster with a rosewood fingerboard. This is a Japanese-made Fender made in 1985, and is thought to be a model based on the specifications of the late 1972 model, judging from its large head, bullet truss rod, and two string guides. He apparently acquired it in 1999, the year the Strokes were formed, and owns several Stratocasters similar to this one (although manufactured in different years) as subs. In addition to this one, he also uses guitars such as the White Falcon and Mustang in his solo projects, but as he said in the interview on the previous page, he almost always uses this Stratocaster with the Strokes. According to an interview about his first album (published in the May 2002 issue of this magazine), at the time he only chose the center pickup and strung a thick .012 gauge string on the first string. In 2018, a signature model based on this one was released by Fender.

Effects: Early signature sound created with a single distortion pedal

At Albert's feet in the early Strokes. From the right, there are three amps: BOSS TU-2 (tuner), Visual Sound Jekyll & Hyde (overdrive), and MXR Micro Amp (clean booster). The band's signature sound was created with just one distortion amp. The amp he mainly used was the Fender Hot Rod DeVille 212, as it still is today.

Nick Valensi

Guitar: Epiphone Riviera

Nick's main instrument equipped with a P-94

Nick's main guitar is an Epiphone Riviera made in the 90s. His style of holding the guitar low contrasts with Albert, who holds his Strat high. Like Albert, he apparently acquired it around 1999, when the Strokes were formed. The Riviera was made in 1962 to compete with the ES-335, but this guitar is a rare one with two P-94 pickups, which are P-90s arranged to humbucker size. It is unclear whether Nick modified it himself, but Nick himself says that it is "the best guitar Gibson could not have made" (from the May 2020 issue of this magazine). Incidentally, this signature model was also released by Epiphone for a while. He also used a cherry-finished Riviera with two mini humbuckers in live performances, although not often.

Gibson Les Paul Special

Classic TV Yellow

In the early Strokes, Nick played almost all of the Rivieras shown above during live performances, but he can also be seen playing this Gibson Les Paul Special. Perhaps he preferred P-90 pickups? He also played this guitar in the music video for "Someday" (from Is This It). The photo shows a live performance in 2002.

Gibson Les Paul Custom

Used around the 3rd album

Nick can be seen playing the Gibson Les Paul Custom in many photos taken around 2006, around the time of the release of their third album (First Impressions of Earth). Perhaps the heavy humbucker sound of this guitar was necessary to reproduce the songs on his third album, which were geared towards a harder sound. The PU selector was set to the rear.

Effects: Uses the same Jekyll and Hyde as Albert

Nick's pedal board is made up of exactly the same equipment as Albert's (left). The only difference is that an amp channel changeover switch (for Fender Hot Rod DeVille 212) has been added to the pedal board. However, Nick, who has been using a lot of effects since his fourth album, has a board with many spatial effects added, such as Electro-Harmonix's Memory Man (analog delay), which can be seen on overseas websites.

Playing Analysis: Albert & Nick's playing style analysis

Here, we analyze the guitar playing of Albert and Nick with reference to the latest work The New Abnormal. Of course, the guitar solos are simple and easy to remember, but you should also enjoy the unique harmony created by the twin guitars.

Transcription and commentary by Toshikake Horisawa

Arpeggios & Riffs

Melodious duetReference time: 0:38~

A twin guitar ensemble excerpted from "Bad Decisions." The top line of the example is based on the two-chord arpeggio that continues from the intro. The rhythm pattern in bars 1 and 2, which seems to be the basic form, is also applied to the F chord in bars 3 and 4. The bottom line of the example is the Rch chord stroke that overlaps in the chorus. Rather than grouping the two chords in close positions, it seems to move in parallel while keeping the chord form of the 1st to 3rd strings.

Straightforward Arpeggio & Octave PlayingReference time: 0:56 ~

A combination of arpeggio and octave playing inspired by "Brooklyn Bridge to Chorus." The first two bars in the top row could be fingered from the 5th fret on the 2nd string, but I chose this position because I could feel the nuance of a gliss-up at the end of the 2nd bar. The 3rd bar is a fixed-form arpeggio, and the 4th bar is an irregular pattern based on the Am form. The bottom row is a parallel movement of the octave form on the 5th and 3rd strings.

Guitar solo

Simple harmony played on 1st and 2nd stringsReference time: 2:00~

This is a simulation of the solo from "Brooklyn Bridge to Chorus," which uses the same four-bar cycle chord progression as the intro. The phrasing is difficult to pinpoint, but it is thought to be a combination of fingering and position changes for two notes on each string, with the first string at the center. The eighth bar, which concludes the solo, is a harmony between the first and second strings using a third interval. Keep your index finger on the first string, and move to the second string by switching between your middle and ring fingers. The bass notes in the fourth and eighth bars descend from C to B to G, but the chord and name are all C△7.

Solo with repeated position changesReference time: 2:57~

A solo in the style of Why Are Sundays So Depressing. As symbolized by the upbeat hammering and pulling, the top line of the example uses a lot of position changes, with phrasing above the 3rd string. The position is lowered with a gliss down, and then returned to the original position with a staccato. Measures 3-4 are a repeat of measures 1-2, but the nuance of the semitone bend has been differentiated. As the gliss down can also be seen in the bottom line of the example, a position above the 3rd string was chosen, but if you want to keep fingering compact, try replacing the 10th and 9th frets on the 3rd string with the 6th and 5th frets on the 2nd string.

Disc Guide: The Strokes Collection

Finally, we will introduce the seven albums and EPs that The Strokes have released so far.

Text by Masashi Tsuji

"The New Abnormal"

2020 Sony/SICP-6321

The latest album shows the presence of the champion of rock and roll

The Strokes' latest full album, their first in about seven years since their fifth album, is a masterpiece that fully displays the charm of The Strokes. This album is packed with one of the answers the band has found after continuing to search for a new direction with their fourth and fifth albums. It is a re-presentation of modern rock and roll guitar. They released their first album in 2001, using that dry garage-rock sound as their weapon, but that was 20 years ago. We felt it was new at the time, but as time passes, we process that sound as something nostalgic. That is why The Strokes continued to experiment with electro-pop on their fourth and fifth albums, and tried new guitar approaches and reinterpretations to break away from the label of "nostalgia." Of course, this album can be said to be an extension of that, if we simply interpret the beats and effect sounds. However, the guitar is cooler, hotter, and more melodic than any of their previous albums, and the twin guitar combination and composition have improved by a lot. You should listen to "Bad Decision" no matter what. We have a feeling they will remain mainstream into the 2020s!

"Is This It"

2001 Sony/BVCP-21216

The first album presented the aesthetic of stripped-down style

With this first album, The Strokes announced the beginning of a new era of rock and roll in the 21st century. The guitar was stripped down to the bare minimum with simple riffs, arpeggios and chord backing. One of their signature songs, "Last Nite," only combines two octave phrases. However, the new sensibility that made it "cool" was unique even at the time.

"Room on Fire"

2003 Sony/BVCP-21324

Enhances melodic phrases

The second album was released after two years. Compared to the first, the atmosphere of the songs seems to have become more serious. However, the guitar is dominated by arpeggios and single note riffs that emphasize the melodic aspects, and the overall harmony is maintained so that the songs do not lean too much towards darkness. "Reptilia" is a symbol of this. The technique of using dynamic arpeggios to make the songs even more exciting would be used frequently in subsequent works.

"First Impressions of Earth"

2006 Sony/BVCP-21454

3rd generation specialized in solidity

This third album was the last time they played with a simple sound that could be described as "The Strokes-like". However, there was a change from their previous album. The songs were mainly based on rough and hard beats, and the rhythmic body often led the songs. The guitar stands out with its fast-paced playing that gives a boost to the solid beat. In particular, "Juicebox" features chords strummed with a distorted sound that is more distorted than ever before, showing a glimpse of a hard rock approach.

"The Angles"

2011 Sony/SICP-3046

The start of the new Strokes

This is their 4th album, their first release in 5 years. When I heard the first track, "Machu Picchu," I couldn't believe it was really the Strokes. From the intro, the beat has a futuristic feel to it, reminiscent of electro and techno... The guitar sound is also different from the previous ones, with fuzz, pitch shifters, and deep reverb interwoven to create an 80s atmosphere. It's fitting to call it an experimental work, and it's a fresh start as the new Strokes.

"The Comedown Machine"

2013 Sony/SICP-3789

The fifth installment in a quest for balance

The overall atmosphere of 5m continues from the previous album, but the guitar sound has a strong raw sound. There are signs of the band struggling to find a middle ground between the Strokes' previous albums (1st to 3rd) and the previous album, which was full of electro. You can see this in "80's Comedown Machine," which tries to incorporate a raw, hard distortion sound into the "80's" atmosphere as the title suggests.

"Future Present Past"

2016 Import

A devastating EP

This 4-song EP delighted fans as a sign that the Strokes were becoming more active. The meticulously layered guitar phrases and the synth sounds mixed in create a beautiful ensemble, highlighting Julian Casablancas's sweet voice. "Oblivion" also features an emotional guitar solo with picking harmonics. Even though it's just an EP, it's a destructive piece.

[sanstropfremir]

i was wondering if you already talked/like the jpop group psychic fever :) idk i feel like you'd like them but if not are there any jpop groups you listen to?

girl i have no clue what is going on with exile tribe i wouldn't even know where to start lmao. i do listen to a few of their units, including psychic fever, but it's mostly ballistik boyz just bc animal is my own personal crack. the occasional jo1 and ini song makes it into my rounds, but i'm mostly a jrock and j...indie? i guess? listener. queen bee and i dont like mondays are two of my mostly listened groups, plus a variety of other artists like taichi mukai, eill, fujii kaze, rung hyang, etc. highly recommend every queen bee song, idlm's black humor and fashion albums, and taichi mukai's the last album. and now im hijacking my own post bc this is now a psa about avu chan's boy group ryugujo!! genuinely fr the only boy group ever actually. highly highly highly recommend literally every song they have and their new ep just dropped last month!

other songs that fucking rip that are not just me linking their entire spotify page:

me linking their entire spotify page anyways:

also highly recommend watching their show 0 year 0 class, bc it is genuinely inspiring and enjoyable to watch someone actually want to teach trainees how to be idols and succeed. and not just how to be idols, but how to be better people as well. k survival shows could never and actually any other survival show could never. flawless 10/10 no notes avu chan i need you to take down the entire survival/audition show industrial complex immediately.

[glassrunner]

i didn’t get the role at meta :’) contemplating killing myself tbh!

[literalsunhobi]

i'm not joking when i say i could listen to namjoon talking about music for hours even tho i don't speak korean

[jasonaaronpro]

#43 - In-Depth with Sam Posthumus: Art and Inspiration

Join us for an in-depth interview with artist Sam Posthumus, who shares his journey, inspirations, and how his art raises awareness and inspires reflection. Tune in to discover the impact of his powerful work!

Join us for an exclusive interview with Sam Posthumus, a renowned artist whose work reflects a deep connection with various themes. Sam discusses his artistic journey, inspirations, and the impact of his work on his audience. Viewers will gain insight into the creative process behind his powerful pieces and learn how art can be a catalyst for change and reflection. Posthumus Art official:…

[theseoblogspace]

Top Author Interviews: Insights and Revelations

Imagine this: it’s a warm summer afternoon, and you’re lounging on a deck chair in your backyard, with a refreshing drink in one hand and a captivating book in the other. The sun gently kisses your skin as you immerse yourself in the pages, eagerly turning each one to uncover the next twist in the story. Suddenly, your phone chimes with a notification. Curious, you pick it up and find an email…

[not-a-space-alien]

Here are some simple questions you can ask in an interview when they ask you "So do you have any questions?" (Hint: Always ask a question)

Why is this position open? (Lets you know if the work environment is toxic bc the last person quit cuz they couldn't take it anymore. It's open because the workload increased/the company grew is a good sign--not only are they successful, but they hire new people instead of just working their current employees to death.)

What are the primary goals/measurements of success for this position? Ie, what you have to do to get a "good job/thumbs up, you're doing your job. (Lets you cut to the core of what the job actually is for your own information and demonstrates you're interested in doing a good job.)

What do you think will be the hardest part of the job? and/or What do you think are the most essential skills to have for this position? (Gives you a chance to follow up with saying how you have those skills/are good at the hard part/are prepared to do a good job/are well suited for the challenge.)

What do you (the interviewer) like and dislike about working here? (Gives you more insight into the working environment, gives them a chance to be introspective, gives you a chance to follow up with saying why you think you're a good fit for the working environment.

Very last/if you don't have any other questions: Do you think there's anything else I should know? and When can I expect to hear back from you? (leads into the natural conclusion by discussing timetables and the next steps of the interview process.)

Bonus: If there's anything you think is particularly cool about the work there, especially if it's something you went to school for, let your enthusiasm bleed through a little bit and/or ask more questions about the technical stuff, it will probably win you points. If you can fake it that might work too.

[the-clock-of-the-time-dragon]

Ariana Grande said in an interview regarding the loathing era of Glinda and Elphaba's relationship that they are immediately fascinated with each other and part of what makes them initially have a negative reaction is that they both recognize in the other aspects of themselves, and parts they don't yet accept or feel comfortable with. Now, I will be the first to say: that sounds gay af. But in a serious analytical sense: that interpretation by Ariana is incredibly insightful because when you think about it, yeah — Elphaba wants the beauty and popularity that Galinda has (but feels wrong for it because she finds it shallow and dumb and thinks she's above that, so she just suppresses it in the hopes that the Right People will be able to look past her unpopularity and value her for her) and Galinda truly wants not only the intellectual recognition but the peculiar power to say NO to established reality that Elphaba has (but she is constantly being overlooked and prejudged as a shallow airhead, and despite receiving plenty of surface-level attention and affection feels like an outsider: like she's always wearing a mask, never fully connecting with anyone because her truest self is much too ✨🌈Unusually and Exceedingly Peculiar🌈✨ to ever let anybody else witness). They're both the first and only ones to see what the other wanted everyone to see in them, and in the process fall in love both with each other AND with those hidden centers of themselves.

They don't loathe each other — they loathe what the other makes them feel, which is twofold: the ✨🌈Sudden and New🌈✨ feelings, obviously; BUT ALSO some very deep-seated, old feelings that nobody else could (or would) ever confront.

tl;dr: it's the good ol' sapphic experience of "Do I Wanna Be Her or Bang Her?™" — except the "be her" would involve radical self-acceptance (hard pass), and neither of them have figured out that "bang her" is an option yet. Which is what makes their relationship so beautiful: they don't merely complete each other in the "they fit together like puzzle pieces" way — they complete each other in the "they helped each other to fall in love with the parts of themselves they'd spent their whole lives loathing" way. "Handprint on my heart" and all that. The best possible resolution to the "Do I Wanna Be Her or Bang Her?" conundrum: "We're Being Us Together AND We're Banging".

[businessabroad]

UN Job Opportunities - How to Increase Your Odds #9

Cracking the UN Job Code: Tips to Boost Your Employment Prospects

Pursuing a career at the United Nations can sometimes feel like solving a complex puzzle. In "UN Job Opportunities - How to Increase Your Odds - UN Jobs #9," we offer you the missing pieces to complete your UN career puzzle.

The competition for UN jobs is fierce, but with the right approach, your application can shine. From drafting an application that resonates with UN recruiters to networking your way through the UN ecosystem, our video is a treasure trove of actionable advice.

Enhance your qualifications, align your professional ethos with the UN's mission, and understand the nuances of their hiring process. It's time to transform your UN job aspirations into reality. Tune in and take a significant step toward a career that can change the world.

#UNCareerTips #MakeAnImpact #JobsAtTheUN

Here are all the videos in this course.

The Benefits of Working at the United Nations

UN Duty Station: What it is and What you Can Expect

The Process of Getting A Job at the United Nations

How to Apply For A Job At The United Nations

United Nations Levels and Salary - What are they?

Type of Contract at the United Nations

United Nations Steps and Contract Negotiation

United Nations Jobs, Job Role, and Posting Locations

UN Job Opportunities - How to Increase Your Odds

Best Places for Your Family to Live

How are you Competing Against

United Nations Official Languages

This is What the UN's Application Process is Like

How to success your test at the United Nations

Before Passing Your Interview at the United Nations

How to Successfully Interview For a Competency-Based Job

List of Questions used in Competency-Based Interview

What to do After the Interview at the United Nations