mihm

CONNECT THEN WORK

We all like people who, when upon meeting for the first time, are curious and have a genuine interest in us. Resist getting right to transactional business and instead get to know the other person first. You’ll find it deepens relationships and accelerates results.

“It can be tempting to get right to work, but a better strategy is to connect with someone as a person and then get to business. So this week, make it personal and make it happen.”

benbrooksny.com

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Tonight, at the Thursday Fright Night, was a viewing of Christopher R Mihm’s “The Late Night Double Feature”.  This was a special treat, since Mr. Mihm makes his 1950s-era “drive-in cinema” movies here in Minnesota. 

After the screening, people could go up to his display table to buy some of his other movies, take pictures, get autographs, etc; but I decided to just smile and head home.  I really wanted to talk to him and tell him that I’m an actor and have also attempted to create some of my own ideas, but I just didn’t think of how I would approach such a discussion.  I’m sure he gets people bugging him for work all the time, so I let it go for now.  Maybe someday if I feel like I’m ready to fully jump back into acting, I’ll send him a headshot and resume.  For now, it was nice to watch someone else’s hard work pay off.

make it happen monday

you know you’re a grown up when you hang up on a receptionist and threaten to yelp about something. who the fuck does that? (i’m turning into my mother) also, paying your bills and realizing you can’t afford that mani/pedi tomorrow, or the comforter that you desperately need from big lots. LOL. 

HAVE FUN

Many people confuse being professional with being stiff, sterile and cold. Get more done (and still be respected) by being fun – people are drawn to the engaging and humorous side of us!

“Sometimes in an effort to be professional, we forget to have fun, but people love others that are engaging and keep it light and have a sense of humor. So this week, have fun to make it happen.”

benbrooksny.com

UNDERSTAND IT

Agreeing to something that just doesn’t feel right is never a good idea. Your intuition and gut reaction should be listened to. Get more information if you need to and don’t agree to something that just doesn’t sit well with you.

“When it comes to making decisions if you don’t understand it, don’t do it. If you need to, find out more information, but always trust your gut. So this week, listen to that intuition, stop if you need to and make it happen.”

benbrooksny.com

LISTEN FIRST

When you hear resistance, objections, or concerns, avoid the temptation to plow over it. Instead, listen and acknowledge it, and only then suggest a solution to assuage the concerns of the other person.

“Sometimes a client or a manager brings us a concern or an objection and we kind of want to push that away. The better thing to do is to listen to it and embrace it and then bring your solution. So try that winning formula and make it happen.”

benbrooksny.com

A Clever New Play About The Post-Apocalypse That You Can See For Free

In the new play “Salvage,” a team of government officials searches through the rubble of New York for precious objects from the time before a catastrophic event devastated the city. And the play asks what defines us, when almost all the physical trappings of our hyper-connected society are lost.

The play’s official synopsis reads thus:

Salvage is a drama about Noma (Sol Crespo) and Akiko (Rachael Hip-Flores), two government officials searching for precious objects through what’s left of a post-catastrophe New York City. When their manager Dennis (Isaiah Tanenbaum) hires Mandy (Mike Mihm), a veteran from America’s many wars, the searchers discover things that make them question their mission, and whether it’s time to let their city go.

“Salvage” is the latest production from playwright August Schulenburg and the Flux Theatre Ensemble, a group with the stated mission to produce “transformative theatre that explores and awakens the capacity for change.” These themes are firing at full blast throughout “Salvage,” which touches upon on a variety of present-day prescient topics: war, terrorism, privacy, unemployment, environmental issues, modern relationships. The title refers not only to the characters’ occupation but to their greater quest for love and purpose in a world gone to ruin.

In “Salvage,” the answer seems to be that we will still be driven by our basest instincts and desires: for a narrative with the backdrop of massive catastrophe, the action is entirely driven by personal emotion and almost completely contained within a single bunker room.

The closest this narrative has to a protagonist is Akiko, and the script seems to be obsessed with her — as are all of the men on her team. Even when Akiko is off-stage, her name is brought up every few moments, or the characters are motivated by her decisions. Akiko’s taped voice narrates the action between scenes, as the character dictates messages to a lost loved one. (I wrote in my notes that she was often seen “Special Agent Dale Cooper-ing.”)

We’re told several times that Akiko is “a brilliant bitch,” ballsy and uncompromising, and we’re meant to assume that she is profoundly soulful because of her penchant for poetry, or something. But the character as written comes across more as fretful and frightfully repressed, a sort of post-apocalyptic inverted Manic Pixie Dreamgirl. It’s hard to grasp why everyone is in love with her, save that she is played by Hip-Flores.

Hip-Flores has “It,” that ineffable star quality of a performer in the element they were born to occupy. I’ve seen her in a few Flux productions now, and was bowled over by her transformation into Akiko — she’s the sort of actor you can’t stop watching, and I fully expect to see her name in massive marquee lights someday. Akiko in lesser hands might fall flat, but with the radiant Hip-Flores as her avatar, we begin to care about Akiko and worry about her welfare as much as the men who adore her.

At the same time, all of the characters in the play manage to spark interest, and the acting is universally strong. Noma, played by a game and vivacious Crespo, is the fun-loving, irresponsibly reckless gal who seems to have popped into the post-apocalypse from a wacky sitcom next door. She’s instantly recognizable as a type, and to Crespo’s credit she induces equal parts eye-rolling and compassionate sympathy.

Also fascinating is Mandy, who’s a hard-bitten, take-no-prisoners veteran of the mysterious wars that post-catastrophe America continues to wage abroad. Wounded and savage in tongue after what he’s seen, Mandy is a complex creation, reflecting the current-day reality of veterans trying to return to their lives after having seen and done the unspeakable at their government’s behest.

Played by Mihm with impressive physicality and to forceful effect, things are never dull when Mandy’s around. Mihm and Crespo engage in an extended scene of such exquisite awkwardness the audience doesn’t know whether to laugh or blush — I think we did both — and Mandy is given the greatest speeches in a play chock-full of evocative writing. Whether his war stories are entirely full of shit is left to interpretation, as are many “truths” that “Salvage” establishes and then upends.

The strength of the play is not in its overarching storyline, but in its gorgeous acting and its capacity to surprise. Seeming at first to adhere to well-worn tropes we recognize, the plot zigs and zags so that we never know what’s coming — apropos for a world where the balance of normal life has been eviscerated. We don’t get a clear view of what precisely happened to destroy New York City, or who was responsible — only the knowledge that the mighty metropolis is now a dangerously toxic wasteland.

Those who occupy its borders are bound by strict regulations, and the team we watch are called “searchers,” people employed to uncover objects that are on government “lists.” It’s hinted that the rest of the country is OK (even if it’s at war), so I’m not sure why the searchers would be risking deadly radiation disease (in the form of the scary-sounding, spreadable “tox”) in order to find stuff in the rubble. But the further suggestion that jobs are scarce, and any employment at all is vital to survival, probably holds the answer. A U.S. government that would risk the lives of its most desperate citizens to satisfy the whims of powerful individuals sounds about right.

For me the play’s biggest surprise is Dennis, the team’s manager, who seems at first the punchline of a joke about the worst sort of pedantic, rules-obsessed boss. Written as a character with traits on the autistic spectrum — he has trouble with parsing emotional nuance, reading intention from expression, and struggles to detect sarcasm, which he describes as “static” — Dennis could be a one-note cliche, but as played by a phenomenal Tanenbaum, he becomes something else entirely.

At times so disconnected from his fraught underlings that he seems half a robot, Dennis is a wealth of hidden depth and, ironically, the most emotionally consistent character in the play. I last saw Hip-Flores and Tanenbaum onstage together in Schulenburg’s A.I.-gone-haywire “DEINDE,” where they played scientists wired in sync into a creepy matrix.

Here, their characters are not in sync at all, save a shared inability to follow their passions, but their visceral chemistry onstage together goes far. I was astonished by Tanenbaum’s Dennis — he is a revelation, who evolves from a fussy, annoying rube into what is arguably the most heroic role in a world devoid of heroes. It is the seemingly detached Dennis, who had little to lose socially before the apocalyptic Event, who is able to function best in the time After.

Schulenburg is an astute and excellent playwright, equally able to balance wry humor and mournful despondency by turns. The play features both snappy, clever dialogue and movingly evocative monologues. It’s clear that as a writer he’s hardwired into the cultural affairs of the moment, especially the encroaching creep of governments into the lives of its citizenry (on ongoing gag about “Safebook,” the only remaining, government-run social network, had me laughing every time).

The clever script could use some reining in, however. The play runs overlong, clocking in at over two hours, with a lot of time spent in character-building and in set-ups to situations that then occur off-stage or not at all. It’s hard not to feel as though some opportunities were missed and resolutions left unresolved. But this open-endedness can be also be a strength, as we’re never sure what will occur next. I like nothing so much from a night at the theater as not knowing how it will end, and on this count “Salvage” is a success. Its ending ultimately left me moved and wishing we could know even more about our characters’ fate.

The production is driven and sustained by its powerhouse performances. It’s hard to picture how the ensemble could be better, a testament to director Heather Cohn, who coaxes both intense intimacy and heightened dissociation from her performers. The cozy, windowless space of the Lower East Side’s Loisaida Center makes for an excellent underground bunker, further embellished by Will Lowry’s scenic design. The sound and lighting, by Janie Bullard and Kia Rogers respectively, are crucial to invoking a world of tape-recorded voice-overs and inconsistent electricity. Becky Byers’ costume design clads the cast in simple modern dress for the post-apocalypse, with cool neon safety suits that the characters are often taking on and off to indicate their departure and arrival from the ruined city outside.

As with every Flux production I’ve seen, an immense amount of time and care has gone into preparing props and set pieces that establish the greater world of the play: we see bulletin boards pinned with the “precious objects” the searchers are looking for, as well as posters warning of safety procedures to counter the deadly toxins lurking above ground.

“Salvage” marks the launch of Flux Theatre’s “Living Ticket,” a revolutionary initiative designed to make theater open and accessible for all who want to see it. You can see the play for free, or pay whatever you can afford. In bid for transparency the company is calling “Open Book,” the back page of the program publishes the production’s budget breakdown, showing what everything from actors’ pay to costumes to marketing and crew meals cost — and comparing the current costs both to minimum and living wage pricing. It’s a fascinating historical object all on its own.

The Flux Ensemble is worth spending money on — and it also deserves your time. Go for the post-apocalypse and stay for the transcendent ensemble — I think you will enjoy what “Salvage” uncovers.

SALVAGE, presented by the Flux Theatre Ensemble, runs through April 25 at The Loisaida Center in Manhattan’s Lower East Side at 8pm. Visit www.fluxtheatre.org to learn more, or click here to reserve your Living Ticket for free. Space is limited, so click fast. Photos by Deborah Alexander.

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The post A Clever New Play About The Post-Apocalypse That You Can See For Free appeared first on Elite Limo Blog.

Thủ thuật SEO Local 2015

See on Scoop.it - Beehiep - My Best interesting !

Tại sao phải SEO LOCAL ?
Gần đây nhiều doanh nghiệp bắt đầu thiết lập kế hoạch tiếp thị ,hướng về lối đi mới năm 2015.


Hiepbee’s insight:

Gần đây nhiều doanh nghiệp bắt đầu thiết lập kế hoạch tiếp thị ,hướng về lối đi mới năm 2015. David Mihm – điều hành bộ phận Local của Moz vừa phát hành khảo sát của mình về yếu tố trong Local Seo, điều này giúp cho có cái nhìn sâu sắc về xếp hạng trong thuật toán.Trong cuộc khảo sát này cho ta thấy thay đổi nhất định của yếu tố tìm kiếm trên website.


See on thuthuatblogspot.com

MANAGER CONTRACT

Remember why your manager hired you (or you were assigned to their team)? It was to help them #GSD and be successful. Too often we focus on our interests, needs and preferences. The smarter move is to focus on advancing your manager's goals (and career) so they’ll be indebted to take care of yours.

“Remember the psychological contract between a manager and an employee is you make your manager successful and then they’ll take care of you. So this week, focus on their needs and make it happen.”

benbrooksny.com

TRUST YOUR GUT

Talking yourself into a bad decision that you know doesn’t feel right is never a smart move. Our #intuition is incredibly advanced and the more we listen to it the better choices we make.

“Too often we listen to our head and not our gut when making decisions, yet our intuition is extremely, extremely accurate. So this week, trust your gut and make it happen.”

benbrooksny.com

What is this?

Back in February 2014, I was leaving a client meeting in the West Village on a snowy morning. I thought to myself “snow days are actually awesome days to get in touch with people.” Then I pulled out my iPhone and recorded a brief 15-second video to share this tip and threw it up on Instagram and Facebook. BAM - this was the birth of Make It Happen Monday (#MIHM).

For context, I was in the process of working with a video production studio on a video project and they had told me I could best prepare by simply practicing being on camera as much as possible. Additionally, a friend of mine in social media marketing also had advised that the best way I could build an audience (including gaining their trust) was to be highly consistent with my posting - e.g. sharing something on the same day of the week, EVERY week.

What resulted was me posting a MIHM video each and every Monday for the remainder of 2014. Over time, my friends and followers on social media began to expect them. Some enjoyed them, some teased me, some rolled their eyes. Regardless, they (and subsequently me) got noticed due to my consistency. As the year progressed I also got more comfortable in front of the camera; my other objective. I still have a ways to go in this regard and will keep working at it.

This Tumblr is a collection of all of my Make It Happen Monday videos that I hope will keep you inspired, insightful, and ultimately effective today and in the future!

benbrooksny.com