These PR sound bites and political clichés are usually concocted in the cauldron of warped Machiavellian PR spin-meisters. As the global media devours the aftermath of the event, the expression is already spiralling out of control. And I am offering you a chance to name and shame the worst offenders.

There is something exceedingly unpleasant and absolutely merciless about the increase in these ugly, meaningless but highly charged phrases. They sow cynicism and create disconnect. The bloated, faceless purveyors of half-truths and supercilious rhetoric need to be outed.

It is time to try and stop the arrogant few treating citizens with contempt. Folks, at the end of the day we understand the stuff of political cliché. I for one can see the big picture, but we must all have a clear vision for our future. We must stop flip-flopping on this issue.

It’s time for a change. It’s time to move forward. It’s time to move on. No more hidden agendas. Let’s take back our streets from the criminals. It’s time to get tough on crime. Our democracy is at stake. No dream is beyond our reach. We must determine the will of the people. We must do what’s in the best interest of the country.

Let’s find the best political cliché! Come forward with your nominations for the best cliché creator. Let’s name and shame the wordsmiths that conjuror these cringe-inducing clichés. Please post ideas in the comment section of the blog. Remember, the voice of the voters must be heard. Each vote is like a human voice. Every vote is precious.

Miley Cyrus is heading off down the well-trodden path of over-sexualised image that has been presented 1000 times before and is well known to end in ruin at least half the time. Even Kylie has got in on the act, kissing Ana Matronic from the Scissor Sisters; a direct echo of Madonna and Britney’s “lesbian” kiss.

Prince Albert of Monaco is doing a karaoke version of his father by marrying an American celeb, who is a pale imitation of Grace Kelly. And then there’s the Princes, William and Harry: William is currently back with Kate Middleton, whom the press insist shares much in common with his mother, Princess Diana; Harry is off clearing mines in a bid to be like his mother. A Freudian could no doubt get some considerable mileage from the undercurrents created by the media’s presentation of them.

And let’s not forget the endless stream of politicians, like Al Gore and Chris Huhne, running off with younger women in a karaoke of every powerful or rich man before them. Late mid-life crises of this sort have been karaoked for centuries, as any good history book will show you.

Add to this litany the pale imitations that are the current England team: a karaoke version of every footballing failure there’s been in this country. This is the most damning indictment of them; they couldn’t even be bothered to fail with originality and style. And goalkeeper failures are hardly new either. Nor are Frank Lampard and Christine Bleakley, who’d like to be the next Posh and Becks but don’t really have the ability to sing the song in the right tune.

It’s a culture of cliché piled on cliché piled on foundations of quicksand. There’s no better example of this than Katie Price, who has got married again thanks to the largesse of OK magazine and surrounded by the same old tired celebs and who is now a karaoke version of herself.

Does nobody worry that so much in the news has been done before, usually with a little more wit and style? I wonder if the media has been run so ragged it now has the attention span of a goldfish, albeit a goldfish that has embraced the concept of “don’t break your neck trying to be clever”? Karaoke ideas are king.

Perhaps I am being too critical. Perhaps we are simply too busy to be original in this time-compressed age and are, thereby, all allowing complacency to suffocate originality. It’s par for the current course.

Karaoke media culture might irritate me – but it’s only because I know we are all capable of so much more.

It doesn’t help that this latest series has seen all the same clichés spilling out onto our screens once again. Too many of the same old freaks are attempting to ‘live the dream’. There’s Janey Cutler, who is clearly is in line to be the next attempted SuBo; there’s a comeback kid in the shape of the drummer who was awful last time but in the running again because everybody loves an underdog; there’s the same old ‘outrageous’ acts that Simon can make a pretence of being turned on by.

And that’s not to mention the endless slew of small, speechless children in tears, dog acts and double acts with one partner is better than the other – whom Simon will invariably offer a ‘choice’ having stopped the act midway through.

I suspect that there is a fair amount of ‘freak show disconnect’ amongst the British public, and that they are getting less and less interested. Has Britain’s Got Talent got enough tricks up its collective sleeve to engage conversation and journalists or has it gone the way of Big Brother and lost interest to formula and over-scripting?

The fact that they use the same old script, from tired critique to equally tired enthusiasm, can pall. All the people who ‘are here to win’, are or want to put their hometown ‘on the map’ need, perhaps, to find a talent for original sentiments. And the judges too: how many times have you heard them say ‘I wasn’t expecting that’, ‘you’ve got three yeses’ or ‘that was my favourite by far’? Frankly, if the judges got goose bumps every time they claimed to, they’d probably develop a serious skin complaint.

Barnum knew that if you put extraordinary freaks together you would have a show. He also knew that you had to have something more than just shock value, cheap laughs and a relentlessly repetitious ‘live the dream’ style script. Talent runs deeper than that, and, though the public like formula, a Saturday night TV show has to have some substance and show some willingness to move forward if it is to survive.

There’s an enormous amount of talent out there – just look at the kid doing a Lady Gaga cover on the net who garnered 8.5 million YouTube hits in three days. He’s doing well because he’s writing his own script, not submitting to the tired formulas of others.

So is the reality bubble punctured? Talent shows have come and gone, but this one has to survive, if only to provide much needed advertising revenue. All shows dip into decline. Has this format got the power to survive longer than most?

One thing’s for certain – if it fails, then we are likely to see significant cracks forming in the Cowell Empire. I will be looking for a demonstration of truly potent PR skills in the coming weeks. Britain’s Got Talent needs to create serious engagement before the audience begin to opt out in far bigger numbers.

“’We wanted normal-looking people, not blond, perfectly proportioned models,’” he told the New York Times a few years ago. And normal for Zieff, who grew up in the Bronx, was a wide, multicultural mix. The Levy’s advertisements, therefore, featured an American Indian, a Chinese man and a black child.

“’I saw the Indian on the street; he was an engineer for the New York Central,” Zieff told the New York Times. “’The Chinese guy worked in a restaurant near my Midtown Manhattan office. And the kid we found in Harlem. They all had great faces, interesting faces, expressive faces.’”

Another of Zieff’s big, early campaigns was for The Daily News, which captured the spirit of Jim Moran on film; each advert featured a person reading the paper and becoming so engrossed that they accidentally did ridiculous things – a petrol pump attendant placing the petrol hose in his customer’s pocket rather than the car, for example.

He was also involved in bringing stars like Robert de Niro and Dustin Hoffman to the fore, thanks to his interest in strange and interesting faces rather than the perfection that was the norm of the time. Zieff, in the face of considerable opposition, created the template for a great deal of today’s advertising.

Modern advertising and PR, which has thrived on the witty, truthful and artfully homespun approach to promotion that Zieff instigated, often forgets one thing that he perpetuated, however; the determination to do something new and radical and his ability to get word of mouth out of it.

He created a buzz with his adverts using models from all cultures and walks of life, a stir that ran hand in hand with the mood of the times. He learned from the past and looked to the future, rightly assessing that in an era where Rosa Parks, JFK and Martin Luther King were changing the political landscape of America, brand promotion should not be far behind. He was always pushing at the boundaries to see where he could take his advertising next.

In an age of digital marketing and instant access to information, an age where that information is overwhelming, an age of recession, publicists and advertisers need to be taking the bold steps into new ideas that Zieff took or they are likely to be left behind.

It is no longer enough to rely on the ideas he created, which have become tropes and clichés thanks to their ubiquitous use. The past should be plundered, yes, but not for the ideas that have become stale with overuse. We should be looking at out of the box thinkers like Moran and Zieff and be inspired to think as hard, fast and wittily as they did, in the hope that we can create something new and exciting, something that will generate that holy grail of the publicity world; awed, surprised, astonished or even just amused word of mouth, something that people will talk about for years to come and that will, with any luck, become cliché in 40 years time.