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23 Strange Answers
23 ♦ Strange Answers Lawyer Plum was there and one pair of heirs when Otis Amber danced into the game room. “He-he-he, the Turtle’s lost its tail, I see.” Turtle slumped low in her chair. Flora Baumbach thought the short, sleek haircut was adorable, especially the way it swept forward over her little chin, but Turtle did not want to look adorable. She wanted to look mean. The dressmaker fumbled past the wad of money in her handbag. “Here, Alice, I thought you might like to see this.” Turtle glanced at the old snapshot. It’s Baba, all right, except younger. Same dumb smile. Suddenly she sat upright. “That’s my daughter, Rosalie,” Flora Baumbach said. “She must have been nine or ten when that picture was taken.” Rosalie was squat and square and squinty, her protruding tongue was too large for her mouth, her head lolled to one side. “I think I would have liked her, Baba,” Turtle said. “Rosalie looks like she was a very happy person. She must have been nice to have around.” Thump-thump, thump-thump. “Here come the victims,” Sydelle Pulaski announced. Angela greeted her sister with a wave of her crimson- streaked, healing hand. Turtle had convinced her not to confess: It would mean a criminal record, it would kill their mother, and no one would believe her anyhow. “I like your haircut.” “Thanks,” Turtle replied. Now Angela had to love her forever. Most of the heirs had to comment on Turtle’s hair. “You look like a real businesswoman,” Sandy said. -
Indie TV: Innovation in Series Development Aymar Jean Christian Northwestern Univeristy I Spent Five Years Interviewing Creators
Indie TV: Innovation in series development DRAFT Aymar Jean Christian Northwestern Univeristy I spent five years interviewing creators of American web series, or independent television online,1 speaking with 134 producers and executives making and releasing scripted series independent of traditional network investment. No two series or creators were ever alike. Some were sci-fi comedies created by Trekkers, others urban dramas by black women. Nevertheless nearly every creator differentiated their work and products from traditional television in some way. Strikingly, whenever I ask if any particular creator inspired them to develop their own show independently, I heard one response more than any other: Felicia Day. Indie TV creators revere Day for her innovation in production and distribution: she developed a hit franchise, The Guild, outside network development processes. The Guild, a sitcom about a diverse group of gamers who sit at computers all day to play an MMORPG in the style of World of Warcraft, ran for six seasons, from 2007 to 2013, and spawned a music video, DVDs, comic books, a companion book, as well as marshaled the passions of hundreds of thousands of fans. By the end of its run, The Guild had amassed over 330,000 subscribers on YouTube, though it could also be seen on other portals. In my work I have seen The Guild emerge as central to the online indie TV industry’s case for itself as antidote to what ails Hollywood. Day initially pitched to Christian, A.J. (forthcoming). Indie TV: Innovation in Series Development, in Media Independence: 1 working with freedom or working for free?. -
TOWN of RYE – BOARD of ADJUSTMENT MEETING Wednesday, May 6, 2020 7:00 P.M
Draft BOA Minutes of 5/06/2020 TOWN OF RYE – BOARD OF ADJUSTMENT MEETING Wednesday, May 6, 2020 7:00 p.m. – via ZOOM Members Present: Chair Patricia Weathersby, Vice-Chair Shawn Crapo, Burt Dibble, Rob Patten and Greg Mikolaities Note: Member Charles Hoyt was also present to speak on one of the applications but was not sitting for the meeting. Present on behalf of the Town: Attorney Michael Donovan, Planning/Zoning Administrator Kimberly Reed and Building Inspector Peter Rowell I. CALL TO ORDER Chair Weathersby called the meeting to order via Zoom teleconferencing at 7:00 p.m. Statement by Patricia Weathersby: As chair of the Rye Zoning Board of Adjustment, I find that due to the State of Emergency declared by the Governor as a result of the COVID-19 pandemic and in accordance with the Governor’s Emergency Order #12 pursuant to Executive Order 2020-04, this public body is authorized to meet electronically. Please note that there is no physical location to observe and listen contemporaneously to this meeting, which was authorized pursuant to the Governor’s Emergency Order. However, in accordance with the Emergency Order, I am confirming that we are providing public access to the meeting by telephone, with additional access possibilities by video and other electronic means. We are utilizing Zoom for this electronic meeting. All members of the board have the ability to communicate contemporaneously during this meeting through this platform, and the public has access to contemporaneously listen and, if necessary, participate in this meeting by dialing in to the following phone number: 646-558-8656 or by clicking on the following website address: www.zoom.com ID #889-7293-9456 Password: 860305. -
How to Pitch TV Series in Hollywood
How to Pitch TV Series in Hollywood Partner, Citizen Media Bob Levy 目 次 1. American TV Pitch Format ....................................................................................... 2 1-1. Section 1: Personal Way into Series ................................................................... 4 1-2. Section 2: Concept of Series ............................................................................... 6 1-3. Section 3: World of Series ................................................................................ 10 1-4. Section 4: Characters ........................................................................................ 13 1-5. Section 5: Pilot Story ........................................................................................ 18 1-6. Section 6: Arc of First Season/Arc of Series .................................................... 24 1-7. Section 7: Tone ................................................................................................. 26 1-8. Section 8: Sample Episodes .............................................................................. 28 1-9. Q&A Conversation ........................................................................................... 30 2. TV Pitch Strategy .................................................................................................... 31 ‐1‐ 1. American TV Pitch Format Introduction While American TV has changed significantly in the past 15-20 years, the way new ideas for TV series in the U.S. are bought and sold has not. Since the beginning -
Ditch the Pitch Habits 5
DITCH THE PITCH A GuideTHE to SuccessfulART OF FUNDRAISINGIMPROVISED PERSUASION by STEVE YASTROW 1 TABLE OF CONTENTS Introduction 3 The Six Ditch the Pitch Habits 5 #1 Think Input Before Output 6 #2 Size Up the Scene 8 #3 Create a Series of “Yeses” 10 #4 Explore and Heighten 12 #5 Focus the Conversation on Your Donor 14 #6 Don’t Rush the Story 16 Summary 17 About Steve Yastrow 18 About eJewish Philanthropy 19 Adapted from Steve Yastrow’s book Ditch The Pitch. http://yastrow.com/books INTRODUCTION A friend of mine, who is on the board of a local charity, once gave this reason for turning down a lunch invitation from me: “I have an appointment with a potential big donor, and I’m going to meet with him and deliver my shpiel.” I almost told my friend (but didn’t) that this was a sorry excuse for missing lunch with me, since he would most likely be wasting his time. Why did I think this? Because a “shpiel,” which is just a nice Jewish word for a sales pitch, is a very ineffective way to persuade someone to give money to a cause. Leave your shpiel at home. Nobody wants to hear a sales pitch. Do you? When was the last time a hard sell worked on you? When was the last time you enjoyed hearing someone’s sales pitch? When was the last time someone “convinced” you to do something? Your donors don’t want to hear sales pitches. More importantly, they are usually not persuaded by sales pitches. -
Examining the Broken Sales-Cycle in the Saudi Arabia Automotive Market
International Journal of Business and Management; Vol. 9, No. 8; 2014 ISSN 1833-3850 E-ISSN 1833-8119 Published by Canadian Center of Science and Education Examining the Broken Sales-Cycle in the Saudi Arabia Automotive Market Fadye Saud Al Fayad1 1 Management and Information Technology Department, Jubail Industrial College, Saudi Arabia Correspondence: Fadye Saud Al Fayad, Management and Information Technology Department, Jubail Industrial College, Saudi Arabia. E-mail:[email protected] Received: May 12, 2014 Accepted: June 22, 2014 Online Published: July 25, 2014 doi:10.5539/ijbm.v9n8p41 URL: http://dx.doi.org/10.5539/ijbm.v9n8p41 Abstract This study examined the subject of the Saudi Arabian new vehicle market. The topic addressed involved the sales-cycle within the new vehicle purchase process in Saudi Arabia. The specific research problem identified a break-down in the sales-cycle or, alternatively, a dysfunctional approach to the final step in the sales-cycle which involves the post-purchase stage where the consumer typically makes referrals or recommendations to family, friends and colleagues regarding the product or service in question. In this case, the data collected for this study in the form of an informal, anonymous survey of people that have purchased a new vehicle in the Saudi market found that the satisfaction rates with dealers were an abysmal 50 to 60% depending on the specific aspect of service quality addressed. The secondary data found that there are more than 700 thousand new vehicles sold in Saudi Arabia on average annually and this figure is expected to surpass one million in several years. -
F HEADQUARTERS of the FBI, DEPARTMENT of JUSTICE
f HEADQUARTERS OF THE FBI, DEPARTMENT OF JUSTICE BUILDING, 1 WASHINGTON, D.C. V-Uti InU No~ 2 The Federal Bureau of Investigation, United States Department of Justice, is charged with the duty of investigating violations of the laws of the United States and collecting evidence in cases in which the United States is or may be a party in interest. The following list indicates some of the major violations over which the Bureau has investigative jurisdiction: Espionage, Sabotage, Violations of the Neutral i ty Act and simi lar matters related to Internal Security National Motor Vehicle Theft Act Interstate transportation of stolen property valued at $5,000 or more National Bankruptcy Act Interstate flight to avoid prosecution or testifying in certain cases White Slave Traffic Act Impersonation of Government Officials .... Larceny of Goods in Interstate Commerce Killing or Assaulting Federal Officer Cases involving transportation in interstate or foreign commerce of any persons who have been kidnaped Extortion cases where mail is used to transmit threats of violence to per- sons or property; also cases where interstate commerce is an element apd the means of communication is by telegram, telephone or other carrier Theft, Embezzlement or Illegal Possession of Government Property Anti trust Laws Robbery of National Banks, insured banks of the Federal Deposit Insurance Corporation, Member Banks of the Federal Reserve System and Federal Loan and Savings Institutions National Bank and Federal Reserve Act Violations, such as embezzlement, abstraction -
The Pitch: How to Analyze Ads
DOCUMENT RESUME ED 406 258 SO 026 517 AUTHOR Rank, Hugh TITLE The Pitch: How To Analyze Ads. 2nd Edition. REPORT NO ISBN-0-943468-03-5 PUB DATE 91 NOTE 160p.; For the first edition, see ED 240 596. AVAILABLE FROMCounter-Propaganda Press, Box 365, Park Forest, IL 60466. PUB TYPE Guides Non-Classroom Use (055) EDRS PRICE MF01/PC07 Plus Postage. DESCRIPTORS *Advertising; Art Education; Communications; Consumer Education; Content Analysis; *Critical Thinking; Evaluation Methods; Higher Education; Language Arts; Mass Media; *Persuasive Discourse; *Psychology; Secondary Education ABSTRACT This book probes the ways ads persuade people to purchase, and attempts to teach individuals to become more discerning consumers. Critical thinking, when applied to analyzing ads, benefits consumers by helping them recognize patterns of persuasion and sort incoming information in order to get to the hidden message. The book s basic premise is that all people are benefit-seekers and persuaders are benefit-promisers. There are four dynamics of benefit-seeking behaviors: (1) protection, or keeping a perceived "good";(2) relief, or getting rid of a perceived "bad";(3) acquisition, or getting a new "good"; and (4) prevention, or avoiding getting a new "bad." The book identifies a five-part strategy of the basic pattern of advertising ("Hi, Trust Me, You Need, Hurry, Buy"), discusses the vocabulary of advertising, and provides exercises, discussion topics, and quiz sheets as learning and assessment tools. (DQE) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** a NINA Ci Led, NII M -... MEMIN, .A.I iiilirin, 'UNI VW /1iMMI MaW ' UM N.Nue MM. -
Fox Entertainment Group (A)
The Anderson School at UCLA POL 2003-7 Fox Entertainment Group (A): Vertical Integration in the Television Industry Copyright © 2003 by the Regents of the University of California. Daniel Granof (MBA candidate ’03) pre- pared this case under the supervision of Professor Olav Sorenson for the purpose of facilitating class dis- cussion, rather than illustrating either effective or ineffective handling of a business situation. Fox Television Network In 1985 Rupert Murdoch, after acquiring the Twentieth Century Fox studio for a total of $575 million through his holding company, News Corporation (NewsCorp), decided to start a fourth broadcast network on the advice of Barry Diller, the highly sought-after ex- ecutive recently recruited to Fox from industry leader Paramount Studios. NewsCorp purchased Metromedia from media mogul John Kluge, gaining control of seven key in- dependent TV stations in several large East Coast cities and Los Angeles. Fox quickly lined up 88 additional independent stations to become its network affiliates and launched the Fox Television Network in 1986. Initially the network reached only 60% of the coun- try and aired original network programming only one night a week, on Sunday. Everyone in the industry thought Diller and Murdoch crazy. At the time the big three networks had a combined television viewing share of 93%. To attract viewers away from them, Fox chose to go after two key demographics: youth, a group coveted by advertis- ers, and African-Americans. As Diller said, “We had to air shows that demanded your attention, that yanked you by the throat to get you to change the channel.”1 Peter Chernin, a loyal executive who would eventually become Murdoch’s second in command, concurred: “We’re in the attention-getting business. -
Can Nothing Be Something Great?
Key Questions June 28, 2021 Can Nothing Be Something Great? Brett Hillard, CFA®, CAIA®, Managing Director, Portfolio Strategy and Multi-Strategy Research Doing nothing doesn’t seem like good investing currently experiencing the summer doldrums, a common advice. But sometimes, standing pat is the best occurrence at this time every year. However, after what game plan for an actively managed portfolio. seems like a few decades of events compressed into the last 18 months and a protracted period of extreme Described as “a show about nothing,” Seinfeld was a volatility, a decline in turbulence is refreshing: It can sitcom that aired on NBC from 1989 to 1998. While the provide an opportunity to refocus on the core tenets of comedy was technically about a group of friends and the long-term investing, such as the benefits of asset minutiae and nuisances experienced in daily life, no allocation, rebalancing, and the fact that actively doing particular theme or lesson was to be learned. nothing is doing something. In season four, the actual creation of the show is parodied At times, the financial media can become hyper- when NBC asks Jerry Seinfeld to create a sitcom. In the consumed with the market topic du jour (meme stocks, episode “The Pitch,” Jerry and his friend George Costanza hedge fund blow-ups, soaring lumber prices, etc.) as (a character based on Larry David, who helped create these appear entertaining, especially compared to Seinfeld) discuss a possible premise after noticing that discussions about long-term asset allocation and salsa and seltzer sound similar, which could create rebalancing. -
Crazy Ex-Girlfriend (2015-2019) Published May 10Th, 2020 Listen Here at Themcelroy.Family
Still Buffering 211: Crazy Ex-Girlfriend (2015-2019) Published May 10th, 2020 Listen here at TheMcElroy.family [theme music plays] Rileigh: Hello, and welcome to Still Buffering, a cross-generational guide to the culture that made us. I am Rileigh Smirl. Sydnee: I'm Sydnee McElroy. Teylor: And I'm Teylor Smirl. Sydnee: Uh, I understand from Twitter that I am supposed to as for a vibe check now? Is that what I saw? Rileigh: Oh no. [laughs] Yes. Sydnee: Uh, tweeted by you? Rileigh: I made—okay. So, I don't know if this has happened to you while in your Animal Crossing games. Welcome to another episode about Animal Crossing. Um… Sydnee: It's not really. Rileigh: It's, not but… Teylor: Yeah. Sydnee: [laughs] Rileigh: I wish. Um, we—[laughs] one of my villagers said, "I feel like my catchphrase is getting pretty stale. Do you have a suggestion for a new one?" And immediately thought, "I want… this rhinoceros to ask me for a vibe check every time we speak." So I made her catchphrase "Vibe check?" And then something happened, and it has been passed among all of my villagers, so now every single villager on my island, whenever I'm talking to them, ends their phrase with, "Vibe check?" Sydnee: [laughs quietly] Teylor: [laughs] Rileigh: And it is very good! [laughs] Teylor: That's pretty cute. Sydnee: What does that—does that just mean, like, "How are you?" Rileigh: How are your vibes? Vibe check. Sydnee: I've never heard that. Rileigh: It's a… oh. -
10. Pitch and Voicing Determination of Speech with an Extension Toward Music Signals Pitch Andw
181 10. Pitch and Voicing Determination of Speech with an Extension Toward Music Signals Pitch andW. J. Hess Vo 10.2.3 Frequency-Domain Methods: This chapter reviews selected methods for pitch Harmonic Analysis ........................ 188 determination of speech and music signals. As 10.2.4 Active Modeling ........................... 190 both these signals are time variant we first define 10.2.5 Least Squares what is subsumed under the term pitch.Thenwe and Other Statistical Methods ........ 191 subdivide pitch determination algorithms (PDAs) 10.2.6 Concluding Remarks ..................... 192 into short-term analysis algorithms, which apply some spectral transform and derive pitch from 10.3 Selected Time-Domain Methods............. 192 a frequency or lag domain representation, and 10.3.1 Temporal Structure Investigation.... 192 time-domain algorithms, which analyze the signal 10.3.2 Fundamental Harmonic Processing. 193 directly and apply structural analysis or determine 10.3.3 Temporal Structure Simplification... 193 10.3.4 Cascaded Solutions 195 individual periods from the first partial or compute ....................... the instant of glottal closure in speech. In the 1970s, 10.4 A Short Look into Voicing Determination. 195 when many of these algorithms were developed, 10.4.1 Simultaneous Pitch the main application in speech technology was the and Voicing Determination............ 196 vocoder, whereas nowadays prosody recognition in 10.4.2 Pattern-Recognition VDAs ............. 197 speech understanding systems and high-accuracy 10.5 Evaluation and Postprocessing .............. 197 pitch period determination for speech synthesis 10.5.1 Developing Reference PDAs corpora are emphasized. In musical acoustics, pitch with Instrumental Help................. 197 determination is applied in melody recognition or 10.5.2 Error Analysis..............................