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.

Why Inclusion & Diversity Is An Executive Priority

Creating inclusive, respectful and engaging workplace cultures is essential for an organisation’ success. Seems just right on paper but how do companies define and create this culture, empowering employees to feel motivated?

Storytelling. With Benefits

We review the latest production of “Carmen” at the English National Opera at London’s Coliseum, and note that its message and moral, is just as relevant. “Carmen” remains a story of all of our times.

Valentina Peleggi strides into the orchestra ensemble. She acknowledges  the gentle applause, motions to her orchestra to stand briefly – and then quickly we are off!  It is fast, furious, the melodies, swiftly move from one to the next. And there is a difference. There is an anxiousness. This is no Mozart comedy.

And then Micaela – played by the excellent Nardus Williams, making her ENO debut – gently walks into view, amongst the military who are setting the scene. And the opera proper, begins…

‘Carmen”, for me, has always held a soft spot. It was my first opera I ever truly studied as a kid. It has a universal message. In that sense, this production rarely touches the emotional deepens of say a Puccini, or a Verdi. But it may not need to to. It is storytelling after all, and it is family storytelling, the little children swarming early on, and inclusion later.

Having said that, there are some superb emotional moments; Sean Panikkar excels as Don Jose, the sadness in his “La fleur que tu m’avais jetee”, and chemistry with Nardus Williams. Plus the spot on performance and leadership of Ellie Laugharne and Samantha Price, as Frasquita and Mercedes respectively.  It is crisp, very tight, very controlled, and it is a journey about sexual and emotional control.  A story indeed.  With benefits.

Inclusion and Diversity. The two words that will make the biggest difference to your Business. And about which you know – nothing.

Almost every medium to large  company – when asked “what are its biggest assets” – will answer; “our people”. And yet nowhere, amongst  the public targets and mission statements and KPIs of any company, will you find any value or acknowledgement to look after the wellbeing of its same employees.

This small Note now – is the first of a series of much longer articles where we look at  key aspects  of the Office Family that will take your business forward in 2020.