NEW PANDEMIC ADVISORY BOARD TAKES SHAPE

The Pandemic Security Initiative Introduces Scientific Advisory Board Founding Members, Leading Scientists Join Together to Prepare for the Next Global Pandemic

In Cambridge, MA; Lebanon, NH; and New York, NY – Celdara Medical announced today the launch of the Pandemic Security Initiative’s Scientific Advisory Board (SAB), a group of outstanding scientists and infectious disease experts. The SAB is an integral part of the initiative, and informs the initiative’s priorities, approaches, and opportunities for collaboration, all in the pursuit of pandemic preparedness.

Amidst a second wave of Covid-19 infections with still no definitive end in sight, the key structural issue in resolving pandemic scale threats continues to be the lack of commercial incentive for proactive development of diagnostics, prophylactics, and therapeutics, especially for diseases without incidence.

ARE SMALL ARTICLES THE FINANCIAL LIFELINE FOR CHARITIES?

 

We look at how the subtle growth of paid-for online Content, will be the revenue stream of choice for the charity and giving market. We focus on the SHEKINAH homeless charity in Plymouth and ask; is their model the way forward?

Charities are not backward when it comes to asking you and I for money. Every charity has it’s “please give me” column, it’s “terrible hardship” note, or “aspirational” look what we can do with your £5.00, and the list goes on.

They all sound so desperate and deserving in equal measure.

The problem is that in current times, the ordinary guy and family, have less disposable money to make the sort of contributions they used to do. And what is worse there is the hesitation of “what am I actually getting for my money. Feel-good factor is all very well but what about feeing your kids?

For many families, there are today’s choices, when for many, there is no comparison, and no option.

Except that maybe there is.

The growth of online Content has spawned a new payment process that allows Charities (and others), to charge nominal sums, in an instant, to read some of their published material. Instead of ticking the box to give a sum of money, the reader ticks the box to read something that stimulates him, that helps him understand better the charity involved – and in return, his small contribution, goes towards making a difference.

The SHEKINAH charity (shekinah.co.uk) uses the EXODOX (exodox.link) platform in Stockholm, to be the payment gateway. And it works like this.

SHEKINAH create a suitable article – which they publish either on their own site or on a third party News site, They install an EXODOX plugin – and create their unique payment account. They link their article to their payment account. And when you or I visit the Charity or News site, we click on the article, and pay usually £1.00 or so, to access the Content.

It is simple and immediate and you wonder why nobody had thought of this before. Maybe we were all waiting for “tap and go” and familiarity of card based transactions for pretty much not a lot.

But lots of “not a lot” mount up to “quite a lot”, thanks for asking.

The latest SHEKINAH article can be accessed at: https://www.thelibraries.co.uk/financial/society-does-not-depend-on-government-society-depends-on-society/

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Is it time we change the way we reach out to our clients? We have some better ways to boldly go…

It is a simple truth rarely understood, that if you are going to start sending out and relying on, written communication, to keep in touch with your customer-base; then at least make  it easy to read, and interesting.  That’s not too much to ask, is it?

The recent months of lockdown have seen a plethora, an avalanche of offers of Seminars, Webinars, online Discussion, in our inboxes every day, and all of these announcements have two things in common.  They are worthwhile and could well be helpful.  And they are absolutely boring and do not reach out to grab us and hold our attention.

Which is why the attached Image that accompanies this Article, is so key. It is a standout piece of graphic art commissioned by one of clients, The Futureshapers (www.thefutureshapers.com) – that our Team member, Ben, designed – with the aim of saying “look, it is time to go in a new direction, out of your comfort zone, and don’t be afraid to do that, if you want to stay successful in 2020… and of course beyond”.

There are two keys to this new process. First, your technical quality of delivery, be it a graphic (as above, say), or an Article, .. or a Video Interview, whatever… has to be spot on. It can seem “rough around the edges” but that in itself needs care to deliver that level of insouciance. And it has to be different.

That is because life itself is now different, for all of us. People are questioning what they did the things they did before, and coming up with new ways of working, and of keeping in touch.  Which means that – whatever is your size of company – you too have to recognise that, and act accordingly. Sometimes, you are too close to your own business, to see the broader or more varied options.

It is very rare that  in these pages we talk about our own business – but at ProfoMedia, we focus on original communication, and we can deliver this for you. Our numbers are on our Contact pages, do take a moment to call and have a chat. 

About A Cat…. We launch our NEW “Chapters”

Welcome to “Chapters” – our new facility where we at ProfoMedia, publish individual chapters of established and upcoming authors’ new books.

“About A Cat” is the sequel to the very popular “About A Dog”, published by Austin Macauley, and available in Waterstones UK, and The English Bookshop in Sweden,  and other independent book sellers.  Here online, is the first chapter. You can pay to download it here and now. We will be publishing a new Chapter of this book – every month. So, make a date!

“About A Cat” looks  in humour, at the  difficulties of Boh the cat, struggling to adapt his serene life where he was in control, to one that was now shared by a little dog who didn’t speak Cat. It is funny, delightful but quite dark, understandable but curious in the way Boh the cat sees life. It is ideal as a small Gift, great for children’s bedtime reading, and the graphics are superb!

Here below is the initial sample; you just click on the Title, and click to purchase. Simple!

ABOUT A CAT

The Saving of Boh.

Richard Bloss. Ben Bloss

Copyright Richard Bloss and Ben Bloss 2019.The right of Richard Bloss to be identified as author of this work has been asserted by him in accordance with section 77 and 78 of the Copyright, Designs and Patents Act 1988.All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the author in writing.Any person who commits any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.

Richard Bloss is the CEO of the ProfoMedia Press Agency. With three other books to his name, including the Russian Tourist guide to London, published by Russian Mind Magazine – “About A Cat” is the sequel to the already popular “About A Dog”.

Ben Bloss is a Graduate of Stafford University, majoring in Comic Book design. He runs his own Art Studio processing Comics for corporate communication.

ABOUT A CAT. THE SAVING OF BOH

A Story of Friendship. And a Cat

CHAPTER ONE; THE AWAKENING

Boh the cat knew that today was not the best day to kill squirrels. He slightly opened one eye. The eyelid moved upwards slowly. There was a pause. The other eye remained shut, or maybe a millimetre of distance between the eyelid and the cheek below. There was a silence in the rest of the utility room. Boh closed both eyes. He knew what time it was.

It was too early. The glimmer of light through one of the windows said that dawn had arrived, but only just. It was not enough light to wake up the rest of the household, and there were no noises to say that breakfast was coming any time soon.

Boh stretched out in his bed, perched high above the washing machine, thought for a second, and snuggled back down on his blanket. He was not interested in the Dog below. It was not yet time for the ritual of fighting for food and this morning he was prepared to let the dog have his one moment of pleasure – growling to stop him invading his space as they both woke up and made a play for their Master’s attention for bragging rights of who got fed first.

IS OUR NEW REALITY – A REALLY GOOD IDEA?

It is a fact not commonly understood, that a business that battens down the hatches in times of troubles, will end up in a worse place when the troubles are over – than from where it started. We look at how today’s problems can be tomorrow’s answers.

FIGARO HERE. FIGARO THERE. NOBODY DOES MOZART BETTER THAN ENO.

We review the latest new interpretation of this classic Opera, at London Coliseum’s English National Opera.

The trick in delivering “Marriage of Figaro, is not that everybody knows the story – it is that, it doesn’t matter if they don’t. The opera itself excels when it is just funny, absurd, stupid, ridiculous, – Brian Rix farce with melodies. At what point does an audience get bored watching people hiding behind doors? Actually, – never. They keep laughing. The young couple in front of me told me this was their first ever opera. This was no academic analysis. This was a night out. It does not get better than this. Heavens, don’t we need it at time like this!

This new production minimises the set, to focus on the simple reality of; have lots of doors, have people coming and going, from wherever and whoever, you have no clue. And make sure the singing is tight, crisp, – absolutely choreographed. Simples. Unusually for ENO, the opera opens straightaway into the Overture, there is no clever preamble – and then you understand. As soon as the doors start to open, close, total organised chaos ensues, and it never lets up.

And yet it is clearly more than that. Listening to Hanna Hip in discussion a few weeks earlier talk about her assessment of Cherubino, this opera depends on drama, of the protagonists reaching out to their audience. This is echoed by the complex but deliberate direction – the movement of the singers is like a jigsaw of interlocking and non-interlocking pieces – set against a pure white background of just four doors, that open, and close.

Despite the fact that for several, this was their first night Debut at ENO – Kevin John Edusei as Conductor, Bozidar Smiljanic’s debut as Figaro, and Louise Alder as the standout character Susanna – this delivery is everything that ENO does well, a sort of relaxed but very fast and spot on performance, that combines the many subtle and little touches, and letting the glorious music and melody take you along for the ride.

I loved the interplay of of Figaro and Susanna, and the small choral groupings towards the end of Act 2 were mesmeric. Even the Act 1 choreographed photo-shoots in the Overture, were clever, different, you wanted to lean in and see where all this nonsense is going.

I cane away wanting to come back and see the production for a second time – I am sure like a good movie, I will “get” even more, now that I know what is happening. Then again, who’s to say I will be any the wiser second time around?

OPERA AS IT SHOULD BE.

We are privileged to be part of the first night of the new production of  Verdi’s little known “Luisa Miller” at ENO, and ask; why has it taken so long for this superb emotional journey, to be given its  place in our modern Italian repertoire.

The young lady rushes down the steps at Charing Cross tube and bundles into the last Bakerloo carriage. She is finely dressed. She sits down quickly, next to me, there is a colour in her cheeks and she looks perplexed,  almost excited.

I ask “You went to the Opera then?”

She can hardly get the words out of her mouth; “Oh yes!   Wasn’t it absolutely fantastic!!”

You could argue that the essence of opera, is the use of voice, to transform our soul. What starts as the random singing in the shower, is the embryo of the fine tuned and perfect journey that  opera – on a good day –  can become, … can reach heights we had not envisaged.

This was not a good day. 

This was an exceptional day. A stunning and riveting musical expression that ranks  among the very best of my own many decades of witnessing ENO opera. The Direction had a tightness and absolute sync with the onstage protagonists, that drove our two protagonists, Luisa and Rodolfo forward, intertwined with a precise orchestra, and a developing and increasing symbolism from light to dark, white to black, good to evil, that is recognisable only after the event, when you get home and say to yourself : “yes indeed – that was fantastic!”

This discussion note, is not a musical critique. There are others who can do a better job than I – and my role is merely to express my feelings as a human being, of an evening that unfolds.

This modern and superbly edgy production of “Luisa Miller” has melody, a flow and inevitability that pulls you along, the chemistry between all of the protagonists, and I could name them all, the  phenomenal singing, that is so convincing in terms of emotion expressed that you know you are with Luisa in her bewilderment and despair, are alongside Rodolfo in the final scene and are powerless to intervene. We are mere bystanders watching a human tragedy that has long since gone beyond musical expression.

There is only one Harewood artist, Nadine Benjamin, and perhaps that is for the best. This opera needs experienced hands. Even then, Nadine comes to the stage as exemplary in Porgy and Bess. This is no lightweight cast. Elizabeth Llewelyn as Luisa  already has a stellar reputation in Italian opera. Baritone Olafur Sigudarson is an international Classical sInger of the Year, and I can go on.

And yet, my standout moment, is not the signing, or even the music. It is the cleverness, the subtlety, the little touches that you pick up here and throughout this production.

I left the auditorium, it was raining, and I hurried across the square down to the tube station entrance. A northbound train was already  arriving and the rear doors just stayed open long enough.