Young PR Pros Need to Know the Business of PR, Not the PR ...

Guest post by Michael Shmarak, Principal of Sidney Maxwell Public Relations

If I were to meet most of the people reading Mikinzie?s blog, I would bet that most are working for a PR firm are within a particular practice or segment of an agency.

  • Your team might have one of the following labels?Consumer, Corporate, Technology or even Digital/Social Media.
  • You?re learning a lot about the client through the lens of your work and (in the process) you are building industry knowledge.
  • What?s more, as you get older, you are trying to make yourself more marketable for whatever your next job might be.

Now, let?s look at your clients.? They have labels of their own?and not just marketing and PR/communications ones.

  • Some of the more common labels are Finance, Human Resources, Operations, Supply Chain, Manufacturing and Legal.
  • These are the systems that keep companies in business.
  • These people are constantly working to make their companies matter to the influencers who matter most to them?not to mention the people who run the company.

Anyone notice a difference here?? Your clients are in the business of business. Your agencies are in the business of PR, communications and social media. As many of you embark on what can become a long and prosperous career, you all have a golden opportunity to bridge a divide that has been way too big for way too long.

When I worked at large agencies, it was required that my team knew what my clients did, made, sold, et.al., and I pushed for them to learn as much about how things were done/made/sold.? Today, my team knows as much about the client?s operations as they do about its marketing function.

Why?? Because the more we know about how a client operates, the more of an opportunity there is for us to create better programming.? We read a client?s financial statements as much as we do their press statements so we can see who the players are, what issues are facing our clients and how they are dealing with them.

If you want to move ahead in your career, I strongly encourage you to read any business periodical?in print and online?to have you start thinking about how your efforts, intelligence and knowledge can contribute to your clients? bottom lines.? Most people would tell you to get an advanced degree to learn the world of business.? If you want to do that, knock yourself out, but it might not be right for you.

However you do it, get to know your client?s businesses as much as possible.? When you get promoted, you?ll be able to prove what you REALLY know.

Have some thoughts on this? ?Leave a comment below or tweet me @SidMaxPR.

If you ask Michael Shmarak?s daughter what Daddy does for a living, ?Daddy gets paid to make other people look good;? that?s not far from the truth.? As Principal of Sidney Maxwell Public Relations, Michael creates, distributes and merchandises meaningful content about a wide variety of clients.? He does this using a wide variety of traditional and social communications practices and initiatives, with the ultimate goal of doing what is needed to help clients move their businesses and ideas forward.

Source: http://prgeekspeak.com/2012/03/06/young-pr-pros-need-to-know-the-business-of-pr-not-the-pr-business/?utm_source=rss&utm_medium=rss&utm_campaign=young-pr-pros-need-to-know-the-business-of-pr-not-the-pr-business

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Video: Rush Limbaugh apologizes on-air

>>> after a written apology over the weekend, rush limbaugh apologized again today on the radio to the young woman he verbally abused over contraceptives and insurance. but the story goes on. we hear tonight from nbc's anne thompson .

>> reporter: today, on the air, rush limbaugh said he's sorry.

>> i again sincerely apologize to ms. fluke for using those two words to describe her.

>> reporter: not once, not twice --

>> i genuinely apologize for using those words.

>> reporter: but three times in the first hour of his radio show . apologizing to sandra fluke, the georgetown law student who spoke out in favor of government-mandated contraception coverage.

>> i should not have used the language i did about sandra fluke.

>> reporter: this is what he said about fluke last week.

>> it means your a slut, right. it means you're a prostitute.

>> reporter: it followed a paper apology over the weekend, but neither stopped advertisers from abandoning the radio host . today, aol joined the growing list of companies suspending advertising on the show. aol's statement echoing what some of the others said, that mr. limbaugh's comments are not in line with our values. republicans aren't rallying around the conservative icon either.

>> the big myth about rush limbaugh is he can't deliver a pizza, let alone a vote, a lot of noise.

>> reporter: what some call noise makes limbaugh a lot of money. he's paid more than $56 million a year. premier in a statement today said it respects limbaugh's right to express his opinions but adds, he did the right thing by apologizing. on "the view" today, fluke dismissed limbaugh's apology on his website.

>> i don't think that a statement like this issued saying that his choice of words was not the best changes anything.

>> reporter: an apology he says is heartfelt, she says is the result of pressure from sponsors. anne thompson , nbc news, new

Source: http://video.msnbc.msn.com/nightly-news/46633957/

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Wedding Loans- Specialized loans for Particular Weddings | Fire ...

?Marriage can be an athenic weaving together of households, of two souls with their specific fates and destinies, of time and eternity?everyday existence married on the timeless mysteries of the soul?

This can be how Thomas Moore describes the term marriage ceremony. Your perceptions about marriage ceremony might be identical or various towards the one held by Thomas Moore. For a few, wedding could imply a time for celebration, as they are going to be marrying the individual they have got picked out. You?d probably certainly wish to celebrate it from the very best method stuffed with pomp and present.

Wedding ceremony would be the biggest day within your daily life. You want the day to become ideal. Before, the mothers and fathers accustomed to bear all the expenditures of their children?s marriage. On the other hand, time has modified, now an increasing number of couples are by themselves taking on this task. Couples who?re earning may not have sufficient price savings to finance their wedding. Wedding cash loans might help you find the cash you may have been looking for to finance wedding ceremony.

Marriage ceremony personal loan is a specialised personal loan that aims to cater towards the borrowers who have to have finance for organising weddings or meeting repayments of the marriage ceremony already held. Marriage ceremony financial loan performs to be a wedding financer, it offers mounted sum to debtors to satisfy their wedding expenses. Vast majority of the couples incur charges on wedding ceremony photography, marriage ceremony gown and bridal dress in, reception, wedding ceremony cake and so forth.

Wedding ceremony loans present you with the choice to borrow possibly a secured or an unsecured wedding ceremony financial loan. A secured marriage ceremony mortgage requires a borrower to put a collateral these as car, residence or savings account in opposition to the mortgage. Unsecured marriage ceremony personal loan just isn?t secured by any collateral on the borrower. Unsecured wedding financial loan gives you borrowers to borrow as little as ?250 into a utmost of ?25,000. Unsecured financial loan is very best suited to tenants who do not need any collateral to place to be a protection. Householders can enjoy the benefits of the two secured and unsecured marriage ceremony bank loan. Couple can make use of the dollars for things such as want to lose weight fast or whichever they pick out.

Marriage ceremony preparing is a crucial aspect you need to focus on ahead of you decide which loan to get. You could enlist the assistance of any relatives and buddies members to assist you with wedding ceremony scheduling. It will be useful when you do marriage ceremony setting up perfectly ahead with the wedding ceremony day. Organizing a wedding might help you in pinpointing what fees will probably be incurred.

The reimbursement period of a wedding ceremony loan is spread more than a period of 5 to ten years that makes it much easier for borrowers to pay back the bank loan. Arranging to the repayment expression along with the wedding ceremony method may be helpful. Wedding ceremony mortgage gives various repayment selections. You may choose the one you find the most suitable and suitable. Hold the wedding costs in control, while you should bear the personal loan stress in your individual.

Making use of to get a wedding personal loan on the web is essentially the most effortless option offered for cold sore remedies. Taking a web-based loan might help conserving both equally the time and attempts on the borrower. You might be just essential to refill an easy and short application form on the web. On the web lenders will supply you when using the personal loan final decision within 24 several hours or just take a most of 72 several hours. When shopping for just a loan, often choose it through the full charge on the financial loan and never just the monthly payment. Gather numerous loan rates from numerous loan providers, which are out there cost-free of value or for nominal expenses. Create a complete comparison involving the various financial loan prices and decide on the one which you come across most suitable matching your anticipations and needs. Make sure you read contracts carefully, and make sure you recognize the terms and conditions. It come to be simpler to get a loan whenever you possess a excellent credit score score. Nevertheless, individuals with adverse credit history may also obtain a marriage ceremony financial loan.

Marriage ceremony financial loans accompanied with a bit of revolutionary pondering, creativeness and effort may also help you make superb weddings, which stays speak on the town for the upcoming several weeks!

post written today by Francesca Batanes

Tags: cash loan, cash loans, cash loans online, fast cash loans, loans online, online cash loans, online loans, quick cash loans, small cash loans

Source: http://firehousewine.com/uncategorized/wedding-loans-specialized-loans-for-particular-weddings/

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Objective And Scope of AS-19A | Free Articles Directory

Objective And Scope of AS-19A

AS-19 is mandatory in respect of all assets leased during accounting periods commencing on or after 1-4-2001. Leasing is a prime example of the use of the principle ?substance over form? to record a transaction. Though in legal form, the lessor is the owner, in substance, the lessee enjoys all the rights as an owner of the asset. Leasing finance leases) therefore in substance is a financial loan from the lessor to the lessee. AS-19 requires this common mode of off balance sheet finance to be brought in the books q>f the lessee as an asset and a corresponding borrowing. AS-19 should be applied in accounting for all leases other than (a) lease agreements to explore for or use natural resources, such as oil, gas, timber, metals and other mineral rights, and (b) licensing agreements for items such as motion picture films, video recordings, plays, manuscripts, patents and copyrights, and (c) lease agreements to use lands. A characteristic of land is that it normally has an indefinite economic life and, if title is not expected to pass to the lessee by the end of the lease term, the lessee does not receive substantially all of the risks and rewards of ownership. A premium paid for such a leasehold represents pre-paid lease payments which are amortised over the lease term in accordance with the pattern of benefits provided. This Statement applies to agreements that transfer the right to use assets even though substantial services by the lessor may be called for in connection with the operation or maintenance of such assets. On the other hand, this Statement does not apply to agreements that are contracts for services that do not transfer the right to use assets from one contracting party to the other.

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Source: http://mywhatis.com/objective-and-scope-of-as-19a/

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Making use of the internet marketing together with online marketing

Finding a internet marketing college degree isn?t something that is serious how you will would commonly have an regular college degree at school, however it?s essentially suggested by many people prosperous advertisers so you can get a college during internet marketing rather than paying thousands of dollars in college. The fact is that internet marketing is to can produce web sites, add content, add your own affiliate marketer back links, and nearly create fast revenue the instant that you choose to so that you can just about all right up. However, this may not be a straightforward business to be successful in, and that is las vegas dui lawyer should really you will want the suitable education. Certain amount is definitely a fantasy whatsoever. It can be basically a phrase employed so you can get customers to pay for their internet marketing coaching web sites. The particular online marketing is among the these internet marketing methods that is similar to video marketing. Yet podcasting is usually more quickly. Together with video marketing, you really it, get a website marketed onto it, edit the item, after which it publish the big video data file to internet sites similar to Video hosting sites and Metacafe.

Although with podcasts, it can be never been easier. Anything you undertake is usually listing you (as well as some other person), talk about your internet-site info after the podcast, next publish the Mp3 format data file to i-tunes as well as the remaining portion of the podcast directories. This can be a quite strong approach within your business once you know ways to still do it. Having a podcast, it is every bit one other way to get a website info to choose from to the public. You see people within your specialized niche hangout at a number of places from the internet. Most internet advertisers outline digital marketing as being the marketing of merchandise and products and services on the internet. This kind of narrow definition mirrors the revenue and advertising angle which has permeated so much of online business. Promoting on the internet is one portion of online advertising and marketing (other individuals include things like online personalized advertising, online revenue advertising and marketing, and online coverage), and online advertising and marketing is one area of the whole internet marketing software.

It ought to be spotted especially which ?online promotion? and ?online revenue promotion? differ. Online marketing isn?t a one particular activity, none can it be the sum of numerous; quite, is it doesn?t outcome of the connection of countless pursuits like design and style, enhancement, online marketing, and online revenue. A profitable business man or woman who features their very own eating plan 100 % with his as well as her products/services almost never features any moment to spend on doing engineering, and definitely will take comfort in the knowledge that their online marketing strategies are being handled by way of people from a Search engine optimization company that are knowledgeable, get pleasure from accomplishing this sort of operate, uncovered time for them to observe all the new changes happening during this niche, and work out these individuals help clients. Digital marketing has reached new height over the years.

Source: http://cimada.org/making-use-of-the-internet-marketing-together-with-online-marketing/1959/

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Hello-Hello World (for iPad)

One of the earliest language-learning apps to reach the Apple iPad, Hello-Hello World (free for app; subscription plans for content starting at $9.99 per month) aims to get you learning a new language through reading, listening, and speaking both with the software and with other learners around the world. Hello-Hello World takes a hybrid approach by blending typical language software content, like flashcards and fill-in-the-blank exercises, with crowd-sourced interaction. The crowd, made up of language enthusiasts around the world, upload voice recordings of them practicing their new language, and if you happen to speak that language, you can give them feedback. And vice versa, of course. It's a lot like Livemocha (2 stars, from $29 per month for online access) in this respect. There are inherent problems with seeking feedback from inexperienced pseudo-teachers, although Hello-Hello does a much better job of mitigating those problems than Livemocha, which is why it's better.

The Hello-Hello World iPad app may not be an ideal way to learn a new language through and through [try Editors' Choice Rocket Languages Premium (4.5 stars, $99.95 for lifetime Premium membership) for that] but it does serve as a good way to study and practice words and phrases on the go.

Languages to Learn
The Hello-Hello World iPad app has 11 languages that you can learn: Spanish, French, Italian, German, Chinese, Japanese, Portuguese, Dutch, Russian, Indonesian, and English.

Hello-Hello uses a crowd-sourced approach that relies on users helping out other learners. For example, seeing as my native tongue is English, I can review audio recordings that speakers of other languages who are trying to learn English have uploaded. I listened to a few recordings from people around the world who wanted feedback on their English. The problem?as I learned from Livemocha, which has a similar feature?is that if I write or record a verbal response in English, the learner may not be able to understand it. His or her grasp of English may not be good enough yet. Likewise, I may be able to practice my rudimentary German using Hello-Hello, but if a fluent speaker gives me a detail response to my pronunciation in German, I'll have no idea what she or he is trying to tell me. This cross-lingual feedback only works when the replies are "Good!" or "Keep practicing!" but not when you want to share more detailed instruction with a beginner.

Hello-Hello does make a very noble attempt to always have at least one professional person give feedback when users upload an audio file. I did see some user-uploaded content that had zero replies for at least a week, so some may slip through the cracks, but the idea is right. In my experience with Livemocha, I never saw professional replies from in-house experts. Another problem with Livemocha is that I sometimes saw errors, like incorrect translations or grammar (they're easy to spot when the words are inconsistent on the same page). I hardly saw this at all in Hello-Hello. Once, I noticed some odd feedback to a Spanish language learner saying the double 'l' can be pronounced as 'j' or 'zh' (Argentine accent) or 'l,' but she neglected 'y,' which is the most common pronunciation.

App Structure
Hello-Hello has some good content, mostly for practicing words and phrases, but it's not structured in a way that's easy to access over many months. When using software to learn a new language, it's critical to know what path you will take and where you are on that path?your progress?at all times.

The hodge-podge of different learning components in Hello-Hello makes it impossible to see your path or progress. You can jump around at any time, which some people may like, but when you're new to the app, it's impossible to know where to start or turn next after you've completed a module. Additionally, there are no markers to remind you when you have completed a lesson, nor which lessons you've started but haven't yet completed.

This lack of structure is the primary reason I don't think Hello-Hello World for iPad would be of much value to anyone trying to learn a new language for the first time. For first-time learners, Rocket Languages Premium, Rosetta Stone TOTALe, and Pimsleur Comprehensive are better options.

The pick-up-and-put-down nature of Hello-Hello World, however, is valuable for reviewing a language you already know to some extent. You can move around at your leisure and hit areas that seem interesting.

Source: http://feedproxy.google.com/~r/ziffdavis/pcmag/~3/fpCtBGrY9w0/0,2817,2401091,00.asp

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Ind. town hard to find, but tornado leaves mark

Cindy Lanham examines her Ford Explorer that was flung roughly 100 yards onto a neighbor's property during a tornado that flattened her home on Saturday, March 3, 2012, in Daisy Hill, Ind. Lanham and her husband escaped the previous day's twister by hunkering down in the basement, which was the only thing that remained after the storm that swept away much of Daisy Hill passed (AP Photo/Jim Suhr)

Cindy Lanham examines her Ford Explorer that was flung roughly 100 yards onto a neighbor's property during a tornado that flattened her home on Saturday, March 3, 2012, in Daisy Hill, Ind. Lanham and her husband escaped the previous day's twister by hunkering down in the basement, which was the only thing that remained after the storm that swept away much of Daisy Hill passed (AP Photo/Jim Suhr)

Cindy Lanham picks through the ruins of her tornado-destroyed home on Saturday, March 3, 2012, in Daisy Hill, Ind. Lanham and her husband escaped the previous day's twister by hunkering down in the basement, which was the only thing that remained after the storm that swept away much of Daisy Hill passed (AP Photo/Jim Suhr)

Cindy Lanham displays a kitchen wall hanging she plucked from the ruins of her tornado-leveled home on Saturday, March 3, 2012, in Daisy Hill, Ind.. Lanham and her husband escaped the previous day's twister by hunkering down in the basement, which was the only thing that remained after the storm passed (AP Photo/Jim Suhr)

Cindy Lanham salvaged a kitchen wall hanging from her tornado-leveled home on Saturday, March 3, 2012, in Daisy Hill, Ind. Lanham and her husband escaped the previous day's twister by hunkering down in the basement, which was the only thing that remained after the storm passed (AP Photo/Jim Suhr)

(AP) ? This is a town that's almost impossible to find, even if you're trying. But a massive tornado did.

Daisy Hill's name evokes beauty, winding along Blue River Road before it eases into Honey Run Road. But a twister nearly swept the tiny Indiana enclave away, leaving its mark with fickleness by what it tore apart and what it left unblemished.

"There ain't nothing left," said Rick Stansberry as he took a break from the chain saw he used to clear away a once-towering pine tree that toppled onto headstones in Daisy Hill's cemetery.

Many of the small towns dotting the southern Indiana landscape felt the brunt of Friday's violent storms that barreled across the Midwest and South, killing more than 35 people.

But at first glance, the devastation here might go unnoticed. You have to go past the small waterfall and up the dirt road that slopes sharply skyward before you get to a crest. That's when the startling damage of this otherwise scenic trove of about a dozen homes comes into view.

Miraculously, no one died in Daisy Hill. They hunkered for cover and held on until it passed.

Dorothy Nelson and her daughter Lisa Yates ran into the basement of their brick home and hid beneath the cedar steps in a bathroom hardly larger than a closet. Each put pillows over their head and braced. Yates grabbed the sink while draping herself over her mom.

When the air grew quiet again, the women made their way up the stairs and were smacked with the aftermath.

The roof was gone. Foam insulation covered the floor and kitchen table, so saturated by rain it felt like sand. A ceiling fan dangled above the living room couch. Glass shards were everywhere. A downed power line snaked across their front yard.

On Saturday, as the two counted their blessings and picked through the rubble, Nelson held up a chunk of dishware, then wondered: "This is my good china. Where did that come from?"

Equally curious were her eyeglass lenses left on the kitchen table. The frame on the floor. In a hutch, her finer dishes were untouched.

"You want to see something amazing? Look at that flower," Nelson implored as she pointed to a potted purple-and-white bouquet, unscathed on the counter. "That flower didn't move."

Nelson then cried as her thoughts turned to her husband, the household's handyman before his death a year ago. He put in the basement bathroom because it was in the sturdiest place in the house, as if he had a premonition that someday it might be put to use and save lives.

"We're still in shock," Yates, 46, said. "But we have family, and we're gonna be all right."

Across the narrow road, amid a debris field with mattresses and occasional heaps of everyday life that looked like they went through a blender, Cindy Lanham bundled up against temperatures in the 40s as she helped her family rustle up their belongings. Only the foundation of her home of 12 years remained intact.

Her scrapbooks, the house's insurance papers and her quilts were nowhere to be found. But she had her life and credits the cellar for that.

As the storm barreled down, she and husband crouched in the basement corner, put their arms over their heads and held on. Moments later, they looked up and saw only sky through where the floor had been.

Debris gashed her husband's head, though on Saturday he still gritted it out without the stitches his wife believed he needed. Lanham escaped with just a cut arm.

"We came out, and it was kind of a blur," she said, choking back tears. "Of course, it was all gone."

Their basement was inundated with rainwater a couple feet deep. A rocking chair rested toppled in the muck, along with an overturned water heater.

Lanham shook her head before her son handed her the keys to her Ford Explorer. It had been found in a neighbor's yard, at least 100 yards away. The discovery gave her an instant of joy.

"That's what I was looking for," she crowed.

But rebounding from the tornado could be a challenge for Lanham, whose mother died three weeks ago just 11 days after being diagnosed with cancer.

"It ate her up," she said, crying before collecting herself and pressing on.

"We prayed for sunshine today," she smiled. "And we got it."

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/386c25518f464186bf7a2ac026580ce7/Article_2012-03-03-Severe%20Weather-Daisy%20Hill's%20Disaster/id-fad849186c9f4769a9783e5b4578fc85

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Afghan attacks on US troops undermine trust level (AP)

[unable to retrieve full-text content]AP - Afghan duplicity has cost the lives of six American troops over the past week and betrayed the trust that's an essential element in the international coalition's formula for winding down the decade-long war.

Source: http://us.rd.yahoo.com/dailynews/rss/usmilitary/*http%3A//news.yahoo.com/s/ap/20120303/ap_on_go_ca_st_pe/us_us_afghan_trust_gap

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'Galileo' Lives In A New Production

Copyright ? 2012 National Public Radio?. For personal, noncommercial use only. See Terms of Use. For other uses, prior permission required.

IRA FLATOW, HOST:

This is SCIENCE FRIDAY. I'm Ira Flatow. Up next, an old play that's even more relevant today. An off-Broadway production of the play "Galileo" - Bertolt Brecht - just opened here in New York. It stars F. Murray Abraham in the title role. Brecht wrote the play in 1938. That's more than 70 years ago. I saw the play this week. And I'm no theater critic, but the message and the theme of the play about a Renaissance-era astronomer written by a Cold War-era playwright, it feels like it could have been written last week.

History, as they say, has a way of repeating itself. Society is still grappling over the role of science and truth and scientists who challenge the status quo. You can swap out astronomer for climate scientist in the Galileo story, and you get the picture. And that's one of the reasons why my next guest chose to stage a new production of "Galileo." Brian Kulick joins me here in our studio. He's the artistic director of the Classic Stage Company and director of "Galileo." He's also associate professor at Columbia University School of the Arts. Welcome to SCIENCE FRIDAY.

BRIAN KULICK: Oh, thank you. So nice to be here.

FLATOW: Thank you. Also with me is actor Robert Dorfman. He plays Cardinal Barberini and the pope in the play.

ROBERT DORFMAN: That's right. Good to be pope.

(SOUNDBITE OF LAUGHTER)

FLATOW: Nice Jewish boy like you, as you said at the top...

DORFMAN: (Unintelligible).

FLATOW: ...getting to play the pope. That must have been interesting for you.

DORFMAN: Fabulous, really.

(SOUNDBITE OF LAUGHTER)

FLATOW: Well, we'll talk - we'll get to - let me ask - Brian, let me ask you: Is this - when you decided to stage the play, was the political climate about science about the same as it was? And was that one of the reasons why you decided on...

KULICK: Well, I've been very curious about this issue of truth. And it was interesting to hear Mr. Mann talk about truth versus fact and these sorts of issues. But one of the questions for us was, you know, how does the truth and an inconvenient truth, like the sun revolving around - the Earth revolving around the sun or the inconvenient truth of global warming, how does that truth move through the world? And so I was curious because Galileo has one of those great extraordinary moments where he has a very inconvenient truth to tell: How does it get told? How does it get stopped? What do we have to do?

One of the characters in the play says don't you think the truth even if it is the truth would get by without us. And Galileo says no, no, no. Only - as much truth as we push through gets through. And so for me today, one of the big questions is global warming and how do you keep pushing that truth along? So that was one of...

DORFMAN: Yeah.

KULICK: ...the reasons I started to investigate the play.

FLATOW: Robert, how much did you have to study about - you played the cardinal and the pope and a lot of other parts in that play.

DORFMAN: That's right.

FLATOW: Everybody played a bunch of parts in that play.

DORFMAN: Well, you want to study the play, and you want to study the subject. A few years ago, I did a play by a prolific young playwright Itamar Moses called "Outrage," where I actually played Bertolt Brecht writing this play.

(SOUNDBITE OF LAUGHTER)

DORFMAN: So I did a lot of research on Brecht himself in those days (unintelligible) all that reading. So this time, I had remnants of that knowledge. I really studied the period and the cardinal, the pope himself.

FLATOW: What's interesting about Brecht writing it was his words are so - he himself must have really studied scientific method because the wording he uses shows he really did know what he was talking about.

DORFMAN: Yeah. I mean to my ear, my unscientific ear...

FLATOW: Yeah.

DORFMAN: ...it certainly seems that way. But I think he was probably talking as much about his relationship to the science of his day as a parallel universe to Galileo's. I mean, the atomic bomb was upon us.

FLATOW: Tell us a bit about - the set is fantastic. The set is teetering around, and there are these wonderful planets that hang down from the ceiling.

KULICK: Well, we're very fortunate to have Adrianne Lobel, who's an extraordinary designer, probably best known for her work in opera with Peter Sellars - "Nixon in China," projects like that and also "Doctor Atomic" about Oppenheimer.

FLATOW: "Doctor Atomic."

KULICK: And what - when Adrianne and I got together and she sat in the space, she said to me - the first thing she said do you remember when we, you know, being in, like, third or fourth grade and everything stopped in the classroom and everyone made a solar system out of paper mache. And she said I want to do that at CSC. I want to turn your theatre into a solar system. And she showed me the next day these sort of large orbs that she wanted to make and suspend and have rotate and move about in the space.

And it was such a beautiful and such a simple elegant idea to sort of hang these massive spheres that could then be used as Galileo was talking. It just seemed too - it just felt like it evoked the right spirit of the piece.

FLATOW: Mm-hmm. And it's a very intimate play, Robert, and the actors move around. They get very close to the audience.

DORFMAN: That's right. It's like the Milky Way, you know? The audience seems sort of like a foggy lit mass.

(SOUNDBITE OF LAUGHTER)

DORFMAN: And every once in a while a face pops out like a star and tells you how you're doing.

(SOUNDBITE OF LAUGHTER)

FLATOW: Are you aware? You're obviously aware.

DORFMAN: Oh, yes. Yes. Because the light spills. It's a three-sided theater. It's a beautiful space to play classic stage. So the audiences are very - the audience members are very much a part of it.

FLATOW: Yeah. And as Mr. Abraham said that night when he - during a talkback, he said every audience has been different.

DORFMAN: Yes.

FLATOW: And you're almost afraid to laugh at the - you know, there's a joke line there.

(SOUNDBITE OF LAUGHTER)

FLATOW: But the topic is so serious.

DORFMAN: That's right. And thoughtful.

FLATOW: And thoughtful. You know, it's purposely, I imagine, (unintelligible) sort of break the mood a little bit, right?

DORFMAN: Mm-hmm. Yeah.

FLATOW: But you're almost afraid to laugh at the joke line.

KULICK: That's interesting. Well, Brecht, you know, was a big believer in not only getting a message across but getting it across in an entertaining, engaging fashion. So, you know, he'll do anything to get a point made. And one of the best ways to make a point is through a joke, and so there are quite a good ones in the piece.

FLATOW: And are you aware when the joke goes flat, when this audience doesn't say a thing when they should be laughing?

DORFMAN: In a word, yes.

(SOUNDBITE OF LAUGHTER)

KULICK: You know, the interesting thing is you never know what an audience response is until the very end. And sometimes we ? "The Cherry Orchard" just recently - a wonderful actor, Alvin Epstein, said one night was so quiet. There's not a laugh to be had. He said he came backstage. He said, what a nice people (unintelligible). They didn't have time to get an audience, so they painted an audience.

(SOUNDBITE OF LAUGHTER)

KULICK: So we would at least think that there was somebody there.

FLATOW: We have some on our SciArts site at sciencefriday.com - go to our Science Art. We have a whole site dedicated. We have some pictures of the stage on there that people can see the set. We were doing a little research and Googling around, and there was a Yahoo post. It must have been written by a student working on a term paper because it said: Help, is Galileo a hero or not?

(SOUNDBITE OF LAUGHTER)

FLATOW: Is he a hero or is he not a hero? Because that's what the play is all about, right?

KULICK: Exactly. Yeah. Right.

DORFMAN: The retelling of the story is pretty heroic, but he himself would say he is not a hero.

FLATOW: Yeah, he did say that.

KULICK: He's a great anti-hero...

FLATOW: And in the end, where his student tried to resurrect him as a hero, he said no.

DORFMAN: That's right.

FLATOW: He was very vehement about I am not a hero. And this play was translated by...

DORFMAN: Charles Laughton.

FLATOW: Charles Laughton.

DORFMAN: That's right.

FLATOW: The famous British actor.

DORFMAN: That's right. He was the original translator working in concert with Bertolt Brecht himself in L.A., where the play was written.

KULICK: And Brecht and Laughton had met, and he'd mentioned "Galileo" as a subject, and Laughton became very intrigued, and that's what sort of started that collaboration.

FLATOW: Yeah. Were there alternative endings to the play?

KULICK: There are. There are. This is the most rewritten of Brecht's plays, and there are several endings. The one we are using is the 1947 American ending. There is 1950 East German Berliner Ensemble ending, which is a little bit more upbeat, I think. But I think Brecht said sometimes you have to say no so loudly that the audience will scream back yes. And so his 1947 version is a pretty strong no as a provocation to an audience.

DORFMAN: Yeah. I often think because he got out during the fascist regime that he felt a little guilt, and he became a little more forgiving of those who were implicated.

FLATOW: Talking with Brian Kulick, who is here in the studio with us. He's artistic director of the Classic Stage Company and their - and director of "Galileo," which is in New York now. And also actor Robert Dorfman, who plays Cardinal Barberini and the pope in the play. How long is it going to be running, Bob?

DORFMAN: Two more weeks, until March 18.

FLATOW: March 18, and these things are too short, you know?

(SOUNDBITE OF LAUGHTER)

FLATOW: As I say, we do a lot of the science and the arts theater, and we find out they're running two weeks, three weeks, a month or something like that, and then - and because Brecht is not staged very much in this country.

DORFMAN: Not enough. Not enough. And the interesting thing is, I think, a combination of Murray or - and also the play, but we sold out before the reviews even came out.

FLATOW: No kidding. How is that, as an actor, when you tackle a play like this that's been done so many times, you expect a certain amount of criticism and interpretation? It's not like this one. It's not like that one.

DORFMAN: That's a great question. I think everybody has a very strong opinion about Brecht and how Brecht should be played. But I think one of the important things about Brecht is he always said about his theater that he called it - we call it Brechtian theory, and he liked that as opposed to - there's another method of acting, which is called Stanislavski method. The method seems to suggest that if you follow this recipe, things will - your acting will come out just right.

Brecht was a little allergic to the idea of methodology and was more interested in the idea of just certain theories and what they would provoke and that as a theory it's going to evolve. It's going to grow. It's going to change over time. And so what Brecht might have needed in the '40s, which was an idea of less emotion, coming from a world which might too emotionalized, maybe the problem today is there isn't enough emotion in the argument.

FLATOW: Right. Let's go to the phones. Billy in Brooklyn. Hi, Billy.

BILLY: Hi. How's it going?

FLATOW: Hi there. Go ahead.

BILLY: I just had a quick question on how you came up with this production when I feel like the public is kind of disinterested in space and the cosmos, especially with the death of NASA and such. I was wondering if you could speak on that.

KULICK: Oh, sure. No. I mean, you know, for me, this idea of a major figure like Galileo who was able to communicate a very difficult idea, an idea that didn't want to be consumed or absorbed at that period of time, was fascinating to me. And one of the questions that I had going in was, who are the Galileos today? Who are the Galileos now who can help us with all of these facts and help us find the language to continue to keep moving us forward? Because I agree with you. I do feel that we're sort of stuck in a sort of ideological gridlock, and how can science and how can the language of science be mobilized in such a way to help us move forward?

FLATOW: Mm-hmm. Of course, whenever you do something about science, you do something where you'd like to get a lot of attention, you need to find somebody who have star power and who'll bring the audience in. And before I go on, let me just remind everybody that this is SCIENCE FRIDAY from NPR. How did - did you have to convince F. Murray Abraham a lot to come and do this play?

KULICK: You know, no. That was one of the wonderful things is that we did - Robert and I and a couple of other actors got together with Murray, and we read it, and we finished it. And he said, let's do it, you know. It was that simple. It's a great role for him. It fits him like a glove.

DORFMAN: Yeah.

FLATOW: Yeah. What's it like working with him?

DORFMAN: He's a very skillful, talented actor on stage. He's always in the moment. He's unpredictable. And offstage he's a very generous and good man, a sweet man. He's tough, and he's - it's been great.

KULICK: Yeah. He's one of, I think, you know, he's one of the last the Mohicans. He's this rare breed of actor who is completely and totally emotionally committed from a moment-to-moment basis and at the same time has tremendous technical skill that could go toe-to-toe with any English actor, you know. So it's this extraordinary combination of these - of intuition and technique, you know, joined in this man.

DORFMAN: He's particularly suited to this role. It's hard to know where Murray ends and Galileo begins.

(SOUNDBITE OF LAUGHTER)

FLATOW: And what was the toughest part for you in getting into this role?

DORFMAN: Well, like you say, I'm a good Jewish boy from Brooklyn, by the way, bar mitzvahed, and I'm asked to play the pope? And...

KULICK: I think all religious figures in this are played by Jewish actors.

(SOUNDBITE OF LAUGHTER)

DORFMAN: As it should be. You know, and to see the world through that prism of, you know, the debate between religion and science has been going on and continues for a millennium. But there's legitimate points of view from both sides and finding the pope's point of view in this particular case, because he was a fan of Galileo's but he had to come down against him.

FLATOW: Yeah. It's interesting, very interesting scene where you're donning the pope's garb and slowly, slowly as you don the garb, you're going from more of a liberal to a more conservative viewpoint in a matter of moments.

DORFMAN: Yeah. Pope Urban was a great egoist and a prolific spender, and he believed in nepotism, but he was also liberal. He believed - he wanted to believe and support Galileo's findings, but there was an awful lot of pressure from the outside, the more conservative base, if you will, to hold the reins on Galileo.

KULICK: And the other interesting thing, which doesn't get developed in the play, is how deeply religious Galileo was, that even though he was putting forth these ideas, he still deeply believed. It was only under his breath during the Inquisition when they got to the point where they wanted him to recant, he sort of said under his breath, and yet it moves.

FLATOW: I was expecting that to happen in the play - but it doesn't. You don't get to that part.

KULICK: Yeah, Brecht is very wily in the second half of the play. I always feel like the play - he starts it almost in a way to get an MGM movie, you know? Here's this guy. He's exiled. He's in Hollywood. He's working with Laughton. This will be his chance to, you know, get Louis B. Mayer.

DORFMAN: The pitch. It's the pitch.

KULICK: Yeah. And the first act almost functions like a great MGM biopic. But Brecht can't help being Brecht. So as he writes the second half, he starts to just play with the audience. So these scenes that you think you should see, like the great trial scene, you don't see. You see his workers waiting for - to hear the news. And so he keeps shifting the point of view to show you from a 360-degree vision of who Galileo is from people like as high as the pope to a street vendor on a corner. And so he subverts himself. He subverts the piece in that respect.

FLATOW: Mm-hmm. And then there's a dance in the play. Was that original?

KULICK: There is an infamous, famous musical number, which, I think, over the course of the productions, several choreographers have been fired, famous choreographers.

(SOUNDBITE OF LAUGHTER)

KULICK: It's notorious. It's one of the hardest sequences to make work.

FLATOW: Well, it worked in this play. I highly recommend it if you've got - it's on for another few weeks, so if you're in New York area, go to Classic Stage Company. You can go to our website at sciencefriday.com. You can see some scenes, a couple of scene from there. And it's rare to see this play produced, and it's done so very well by you folks.

KULICK: Thank you.

FLATOW: Congratulations. Brian Kulick is the artistic director of the Classic Stage Company and the director of "Galileo." Robert Dorfman plays Cardinal Barberini and the pope in the play. And it's a great play. Thanks for coming in today.

KULICK: Thank you so much.

Copyright ? 2012 National Public Radio?. All rights reserved. No quotes from the materials contained herein may be used in any media without attribution to National Public Radio. This transcript is provided for personal, noncommercial use only, pursuant to our Terms of Use. Any other use requires NPR's prior permission. Visit our permissions page for further information.

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Source: http://www.npr.org/2012/03/02/147815864/galileo-lives-in-a-new-production?ft=1&f=1007

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