"Dugas credits the reemergence of Shakespeare's plays and his rise to fame in the 1700s to economic factors surrounding the theater business including the acquisition and adaptation of Shakespeare's plays by the Tonson publishing firm, which marketed collector's editions of his work, spurring a price war and rousing public interest"--Provided by publisher.
Tom Peters says, Jon Spoelstra knows his stuff. Pat Williams, founder of Orlando Magic says, I consider Jon the top marketer in the world. The Wall Street Journal says, Mr. Spoelstra is one of those guys who thinks 'out of the box'. In this revised edition, Jon provides a real-world game plan for increasing your top line with marketing and promotion ideas that break through the clutter and get your customer's attention. His 17 Ground Rules—tested and proven—in sports and business, show how to differentiate yourself from your competitors. The focus is on measurable results that impact your bottom line—without big marketing and advertising budgets. Going beyond marketing theory his approach encourages you to push the outrageous envelope to gain immediate sales. Not just for sales and marketing folks —this book is for anyone who influences the course and attitude of your company.
From Charlaine Harris, the #1 New York Times and USA TODAY bestselling author behind HBO’s hit series True Blood and NBC’s Midnight, Texas, the first in a series of mysteries that hits as hard as its heroine... Lily Bard has no illusions about her little town being safe, or peaceful, or full of goodness. Shakespeare, Arkansas, was nothing but a name on a map when she moved here. But Lily has kept her head down in Shakespeare for four years: cleaned houses, blocked unwelcome memories, and honed her body into a weapon with goju karate. It’s as long as she’s lasted anywhere since the nightmare that changed her life, and she’s willing to dust around the skeletons in her neighbors’ closets—provided they mind their business about her past, too. But when a dead body is dumped practically in her front yard, she can’t look away and leave it to innocents to find. And as the investigation creeps closer to Lily, her clients, and the secrets they all keep, she knows her hard-fought peace is in danger. She’s living in close quarters with a murderer. The police are sniffing around her history. And once again, all eyes are on Lily Bard. She could leave town, and give up on the home she’s begun to make. Or she could stay, and root out the killer herself...
The strange fate of Boulanger and Pugno's La ville morte /Alexandra Laederich --Serious ambitions : Nadia Boulanger and the composition of La ville morte /Jeanice Brooks, Kimberly Francis --From the trenches : extracts from the final issue of the Paris Conservatory Gazette /translated by Anna Lehman --From technique to musique : the institutional pedagogy of Nadia Boulanger /Marie Duchêne-Thégarid --Nadia Boulanger's 1935 Carte du tendre --36 rue Ballu : a multifaceted place /Cédric Segond-Genovesi --"What an arrival!" : Nadia Boulanger's New world (1925) --Modern French music : translating Fauré in America, 1925-1945 /Jeanice Brooks --For Nadia Boulanger : five poems by May Sarton --Friend and force : Nadia Boulanger's presence in Polish musical culture /Andrea F. Bohlman, J. Mackenzie Pierce --"What awaits them now?" : a letter to Paris /Zygmunt Mycielski --A letter from Professor Nadia Boulanger /translated by J. Mackenzie Pierce --The Beethoven lectures for the Longy School /translated by Miranda Stewart --Boulanger and atonality : a reconsideration /Kimberly Francis --Why music? Aesthetics, religion, and the ruptures of modernity in the life and work of Nadia Boulanger /Leon Botstein.
FELIMID MAC FAL IS BACK . . . WITH THE BEAUTIFUL PIRATE GUDRUN BLACKHAIR AT HIS SIDE! I am called Felimid mac Fal. I am a bard of the old blood, a lesser degree of Druid. Where I come from, bards have been known to sing armies to defeat or victory and kings off their thrones or on to them. Descended from the faery folk, the Tuatha de Danann, my line's been poets and harpers in Erin since the world was new, and magic's in our heart-marrow. She is called Gudrun Blackhair . . . as well as names a good deal less polite. She is the most dangerous pirate on the open seas, master of the enchanted ship Ormungandr, and the woman of my heart. If you wish to know more than that, ask the ballad, singers and gossip mongers at any tavern. Half of what you hear will be fact, half will be lies, and even I can no longer separate the two. Yet this story perhaps the strangest of them all, of shapeshifters and sorceresses and the sea-dwelling Children of Lir, is naught but the gods' own truth. . . . on my honor as a bard.
Kevin Long and Mary T. Christel offer active drama approaches that position students to engage with a rich text through low-risk speaking and improvisation activities as a part of any ELA classroom. Shakespeare didn't write his plays for readers; he wrote individual "cue scripts" for actors who hadn't read the entire play but had to perform on the fly with almost no rehearsal. Those cue scripts have become the written form of his dramas, compiled originally in the First Folio of 1623. And the actors' cues for meaning, emotion, and emphasis are still embedded in Shakespeare's language, ripe for discovery by today's students. Shakespeare's plays rightly remain a staple of the ELA curriculum, but evolving standards and youth culture itself challenge teachers to put students--not a text--at the center of a reading experience in order to support diverse readers and learners. How can we do this? Experienced educators Kevin Long and Mary T. Christel introduce us to the Folio technique, which builds on active drama approaches that position students to engage with a rich text through low-risk speaking and improvisation activities. Without requiring students to become actors, the Folio technique helps them to discover the clues the Bard built into his works that allow actors to efficiently understand their characters' text, context, and subtext. Teachers can use excerpts from the First Folio along with a mass market paperback or digital edition of a play to help students get closer to Shakespeare's intentions; understand the language, action, and emotions of the characters; and perhaps even explore the challenges the Bard's modern editors face. The book offers suggestions for using parallel text, graphic, and abridged editions of Shakespeare's works, as well as activities using cue scripts and a variety of viewing experiences. A deep dive into the rich resources available for teaching Shakespeare's plays, Bring on the Bard is for every high school teacher--early career to veteran--looking for new, hands-on activities to draw students of all ability levels into the work and world of Shakespeare.
Billan doesn't know what to do--he's a bard, but somehow, he's lost his ability to rhyme! He cannot recite and serenade without that most important skill! Billan must set out and find a solution to his problem, but who will be able to help?
Few professional firms are able to consistently grow their fees and profits. Based on the concept of relationship marketing, The Rainmaker's Toolkit gives readers the tools, techniques, and strategies to help win and close bigger deals, helping them dramatically increase the odds of success...and sustain that level of accomplishment from year to year. The Rainmaker's Toolkit helps readers identify and maximize the potential growth opportunities in their companies and gives them a step-by-step system for building a high-profit practice. The book shows readers how to: * Identify high-profit customers and build lifelong relationships with them * Stand out from competitors by differentiating their firm, services, and people * Build a million dollar referral network. Packed with more than 80 reproducable tools and templates, The Rainmaker's Toolkit shows how to find the gold hidden within every company.
