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Make Your Social Soar With These Laws of Brand Storytelling
Jessica Gioglio, co-author of The Laws of Brand Storytelling, joins the Social Pros Podcast to discuss the need for and evolution of brand storytelling.
In This Episode:
Jessica Gioglio
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Full Episode Details
Brand Storytelling Is About the People
It is not uncommon to hear the term "brand storytelling" used in discussions about social media and content marketing. Most businesses are coming to understand that storytelling is one of the most powerful ways to capture the attention of potential customers.
Telling interesting and original stories may feel daunting, especially if your business is a B2B company. Remember, though, that businesses are made up of people, and people have stories! Whether you are selling directly to customers or to other businesses, you are connecting people to people.
In the words of Jessica Gioglio, author of The Laws of Brand Storytelling, you have to approach this as a journalist. The most unique and interesting thing about your business is the people who comprise it. By tapping into their experiences, you can find truly special and inspiring stories that show your customers who you are and keep them engaged!
Why storytelling has become more than just advertising.
Why storytelling isn't just for B2C.
How influencer marketing has affected the way businesses tell stories.
Why your strategy shouldn't center around a single platform or channel.
Why your reactive and proactive social channels should be consistent.
How to balance your internal culture with the various cultures of your customers in storytelling.
How to adapt successful practices without copying other brands.
Quotes From This Episode
"Storytelling isn't necessarily about projecting your desired image of your company or your products. It's not about dropping overly branded stories into marketing campaigns. It's really about bridging the gap between how you talk about your business and your customer experience." — @savvybostonian
There are a lot of misconceptions around what truly is storytelling versus different elements of content that you tell. Click To Tweet
"As someone within your business, you need to adopt the mindset of a journalist." — @savvybostonian
The Laws of Brand Storytelling
JessicaGioglio.com
Carmen Collins on the Social Pros Podcast
The Big Two:
What's your one tip for becoming a social pro?
Remember why you love social media, and stay true to yourself!
If you could do a Skype call with any living person, who would it be?
Choosing to stick with her answer from the last time she was on Social Pros, Jessica would love to talk with Oprah. She looks up to her as a great and charismatic storyteller and would love to learn from her!
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Influencer Marketing Mistakes Great Brands Don't Make
Influencer marketing is all the rage, but it's also VERY EASY to botch the job. Based on our many B2B and B2C influencer campaigns, this tight eBook will save you from sadness.
Jessica Gioglio: Brands tend to tell two different types of stories, their macro stories and their micro stories. Macro stories are at the core of your organization's DNA. They highlight your company's story, your founding myth. These are the stories about, the story of your founders, what drove them to launch your business, kind of your why, and the foundation for everything that your company does. Really that's where you want to see a consistency with your brand's storytelling. However, micro stories are the lifeblood of your storytelling strategy. They are that always on approach to building on your macro story. Jay Baer: You'll hear more about brand stories and how they can tell them better in this episode of Social Pros. I'm Jay Baer from Convince & Convert, joined as always by Adam Brown from Salesforce Marketing Cloud, joined this week by Jessica Gioglio, who's the coauthor of a fantastic new book, The Laws of Brand Storytelling. Adam, what a show. Adam Brown: What a show. We're lucky, Jay, to have so many smart people on this show. Jessica is certainly one of them. Brand storytelling is a topic we talk about often here, but I think Jessica, like we just heard, made a great articulation between macro and micro types of stories, and some of the mistakes that brands make, and the opportunities that so many brands have when they bring more than just the marketing or the comms people into the storytelling effort. Jay Baer: Her new book is spectacular. As I mentioned in the show, I absolutely recommend it unconditionally for Social Pros listeners. If you listen to the show, you're going to love the book, The Laws of Brand Storytelling. Super relevant to the work that you do. You're going to enjoy this episode coming up, Jessica Gioglio, coauthor, The Laws of Brand Storytelling, this week on Social Pros. Jessica Gioglio, coauthor the extraordinary new book, The Laws of Brand Storytelling. Welcome to Social Pros. So great to have you here. Congratulations on another extraordinary book with your pal, Ekaterina Walter. This book is super practical, super useful, very timely. I got to tell you, if there's an audience in the world that needs this book, it is the listeners of Social Pros. It will be their Bible. They'll never take it off their desk. Welcome and congratulations. Jessica Gioglio: Thank you so much, Jay. That is just the best introduction. I'm so thrilled to be back on Social Pros, and excited to talk things all social media and brand storytelling with you today. Jay Baer: It's always great to have you. Jessica was also a long time contributor to the Convince & Convert website. Some of our most popular posts of all time were written by her, so thank you as always for your support and your friendship. She's joining us live from London Town. How long have you been in London now? Several years. Jessica Gioglio: I have been in London 3.5 years now. Can you believe it? Jay Baer: Wow. That is crazy. Jessica Gioglio: It feels like it's just flown by. Jay Baer: Despite the fact that her Twitter handle is still SavvyBostonian, because she started off as sort of like a Boston expert, and became such an expert, she moved to London. SavvyLondoner, really, should be your Twitter handle now, but I guess- Jessica Gioglio: I know, or JessicaGioglio or something like that, but you know what? I actually felt like my last name is so hard to spell- Jay Baer: It is. Jessica Gioglio: SavvyBostonian, you know what? I might not live in Boston anymore, but I am always going to be a Bostonian at heart, so it's part of my brand. Jay Baer: Fun fact, though- Jessica Gioglio: Yeah? Jay Baer: For a lot of people, savvy is also hard to spell, so I get it, but I'm just saying. Jessica Gioglio: Yeah. Jay Baer: Just going to throw that out there. Jessica Gioglio: I welcome the debate. I've been challenged so many times on it. You know what? Just sticking with it. Jay Baer: We should do a whole show on that, Adam, on people having Twitter handles now that aren't their name still, and just clinging to, "You know what? I refuse to change. I don't care. I'm going to keep on keeping on." Adam Brown: Steadfast with keeping it stable. Jay Baer: Yeah, I think it's great. Adam Brown: Mm-hmm (affirmative). Jessica Gioglio: Exactly. Jay Baer: Jessica, you've been doing this kind of work for a number of years. You have been a major contributor to the social media and digital marketing success of some of the world's most iconic brands. You know this as well as anybody. Why do brands need this book? What are they still doing wrong? Jessica Gioglio: A big inspiration for us in writing this book was that brand storytelling's changed. A lot of people seem to be taking the topic of storytelling and confusing it with content or content marketing. Really we believe brand storytelling used to be about this big product launch or polished commercial. We still think companies believe this to be true. We really wanted to write a book that laid down the law, that talks about how storytelling isn't necessarily about projecting your desired image of your company or your products. It's not about dropping overly branded stories into marketing campaigns. It's really about bridging the gap between how you talk about your business and your customer experience. Customers are more empowered than ever before, and your brand isn't necessarily what you say it is anymore. It's what consumers say it is. Really in the book, we talk about how you can leverage storytelling to capture customers' hearts and minds, and prioritize emotional connections with your customers, so to be in the moment, have those authentic conversations, and to share relevant, inspiring stories that move and motivate people to take action. Jay Baer: Does the rise of influencer marketing mean that brands have to focus less on their storytelling because other people are telling them, or do they need to focus on having a more consistent story, so that the fact that all these different people are telling the story, it actually makes sense across the board. Jessica Gioglio: I think that's a great question. We see a lot of brands are leveraging influencer marketing. They should be. I think there's a lot of value in influencer marketing. I think the key, though, is brands tend to tell two different types of stories, their macro stories and their micro stories. Macro stories are at the core of your organization's DNA. They highlight your company's story, your founding myth. These are the stories about, the story of your founders, what drove them to launch your business, kind of your why, and the foundation for everything that your company does. Really that's where you want to see a consistency with your brand's storytelling. However, micro stories are the lifeblood of your storytelling strategy. They are that always on approach to building on your macro story. That's where you can have a little bit more flexibility in the types of stories that you tell. When you think about influencers, I think it comes down to the goals that you have. Are you leveraging influencers around a specific campaign initiative or a specific area of your business that you want to highlight? Or are you really trying to, perhaps your brand isn't really perceived in a certain way, and you really want to speak to that core of your why, then I would leverage influencers in that capacity. To answer the question is a bit of flexibility. It really comes down to your goals. Are you looking for them to tell that macro story, or are you looking for them to tell those core elements of the micro stories that you tell as your business? Adam Brown: Jessica, one of the things you said earlier was, "laying down the law," in brand storytelling. The name of your book is The Laws of Brand Storytelling. Jay Baer: The law. Adam Brown: I like that device, but I'm curious, what is that biggest mistake that you find that marketing and communications folks make when they think they are storytelling, where in reality, they aren't. You mentioned the macro macro. We talked about influencer. When you come into an organization, what's the first thing you see, and you go, "This isn't brand storytelling." Jessica Gioglio: I think I mentioned before, a lot of times people mistake content with storytelling. I was just at Web Summit in Lisbon, which is this week long event, one of the biggest marketing events in Europe as well as startup and tech, but a lot of people were on stage from mega brands, just talking about, "We do storytelling around this." Then you go and actually look at what they're doing on social media or other channels, and you're like, "This isn't actually really storytelling. It's just content." I would say there's a lot of misconceptions there around what truly is storytelling versus what is purely different elements of content that you tell. I also think there's a misconception that brand storytelling is only a marketing function. I think we as marketers, and I'm guilty of this. I started my career in marketing and PR. We tend to naturally gravitate towards storytelling, but if you truly want storytelling to be ingrained in the customer experience that you provide as your business, you really need to look across all the different elements of your company from sales to human resources to customer support, and think about how even your employees or your suppliers or your partners can be ingrained in telling that consistent, cohesive story, and sharing that about your brand. I also think another misconception is around stories being boring. "I don't actually want to tell stories. I just want to do content and do marketing and do sales, because we don't have an exciting story to tell." I see that a lot as an excuse. I think the people who say that, or say, "My industry or my business isn't exciting," really aren't looking across their business to pull those stories and have that journalistic mindset to bring that out. Adam Brown: To that point, I think oftentimes, and I fall into this fault, we think of brand storytelling as being purely a B2C type thing. This is a consumer. Storytelling is around the consumer. But to your point, storytelling can be very much about that B2B side. It can be about embedding that story into the fabric of an organization throughout the organization. Jessica Gioglio: Oh my gosh, absolutely. I think that's one of my frustrations when people say, "I'm in B2B. My brand is not interesting. It's not something that I can tell stories around." I think some of the top brand storytellers out there are the ones in the B2B space. You have brands like GE, HubSpot that do great jobs. Cisco even has done some amazing efforts and brand storytelling. I actually, I think it's all about really coming down to knowing who you are, knowing your purpose, and really understanding what messages are going to resonate with the end buyer. At the end of the day, even if it's B2B, it's essentially human to human, so what are the stories that you can tell about your business in the B2B space to actually resonate with the end buyer. Jay Baer: I'm glad you mentioned Cisco. They do such a great job. Carmen Hill from Cisco, who runs their talent brand program, was a guest on Social Pros a few months ago, one of my favorite episodes of 2018. Go to SocialPros.com or wherever you get your podcasts, and look for that episode. Carmen Hill at Cisco. You'll learn a lot about the ins and outs of their program. Jessica, I love what you talked about that content marketing and brand storytelling aren't the same thing. I think we get so concerned about platform now. We think, "Wow, what are we going to do on Instagram? Wow, what are we going to do ... Now we got to do stories all the time. Oh man, we got a podcast. [inaudible 00:10:34] podcast?" We tend to think about platform first, and then think about how we can wedge a story into that platform. I suspect that you and Ekaterina would advise people to think about the story first, and then worry about the platform, but how do people actually make that shift in the real world? How do you change your process or your thinking to not get seduced by, "LinkedIn is our strategy," and it's not a strategy, it's just a platform? Jessica Gioglio: You know Jay, it's not an easy question to answer. This is something pretty much every company struggles with. It's all about, "We think we want to run a contest on Instagram. We want to do this tactical campaign." I think that's the key right there is you have to get out of this tactical mentality and really start with the strategy. We have a goal. We have a new product coming out. We want to tell an employee driven story about how we're a great place to work. You need to start with the objective is what are we trying to achieve. What is the story that we want to tell? Then you have to drive down a bit deeper and say, "Okay, well, what are the right channels that we can actually pull in to do this?" I think, for me, a great example came from Oreo actually in the UK. I might have even covered this for Convince & Convert. I have to ... I think I might have. But Oreo actually, there was a solar eclipse happening in the UK, and Oreo said, "You know what? If you think about it, the Oreo cookie actually looks a lot like an eclipse, right?" If you think about what the Oreo cookie could be covering essentially the eclipse, the moon covering the sun. They actually ran a storytelling driven campaign using a bunch of different channels, including out of home billboards in Piccadilly Circus, where really showing, they wanted to tell this story of what was happening in the eclipse, basically using the Oreo cookie as the eclipse star of the show. I thought they did such a great job, because they paired out of home in Piccadilly Circus with this kind of virtual billboard. They actually also eclipsed The Sun newspaper. There's actually a newspaper in the UK called The Sun. They did a translucent cover with actually the Oreo cookie eclipsing the sun, which I thought was incredibly ... Whoever came up with that idea really deserves a raise, because that was incredibly clever. Just makes me smile as a marketer. Then what they did is they leveraged other social media channels to really pulse out unique content and creative, talking about what's happening with the eclipse in real time. The reason why it actually worked really well in the UK, in addition to being creative, is it was actually an overcast day in the UK, so nobody could actually see the eclipse happening. Oreo had done all of this planning, and people actually tuned in to watch the billboards in Times Square and their social media channels, to actually learn what was happening with the eclipse, where the sun was in relation to the moon, and how this was happening. Just the whole idea of taking into Oreo is kind of wonder filled and kind of creative piece to their kind of storytelling, it worked incredibly well. I think that's a great example of how you took the initiative of there's going to be this major event happening, how can we tell a story using our products that don't necessarily make it feel like we're hitting people over the head with our products, and we're doing it in a way that actually adds value. I think that's actually quite a clever way to take a real time event and tell a brand story around it. Adam Brown: Jessica, I also think that's a great example of the make lemonade out of lemons, where you have a situation here where you're likely going to have a lot of chatter that is negative around, "Hey, we can't even see the frickin' moon, frickin' sun," type things. I think that brings me to a question I have. I think too oftentimes, I think a lot of people think that social is a great platform for brand storytelling because you have that interaction and engagement, but you also have the challenge with it of interruptions. Storytelling is typically one person telling a story to many people, but when you get interrupted, and you get distracted, it can create some challenges. How do you work with your clients, and how do you consult your clients to be able to accept that and to think ahead, much like Oreo did in your perfect example? Jessica Gioglio: I really talk to them about prioritizing your channel mix, and really thinking across every channel. The irony is I do specialize in social media, but I think businesses today need to think across all of their online and offline channels, because the thing is, social media channels, in a way, could be rented land. You, at any time, could see Instagram or Facebook or Twitter could change their algorithm or the way the channels work, and that could have a big impact on your business. It just happened with Instagram where we're actually starting to see they're cracking down on bots and fake likes, which I think is a positive thing, but brands are probably seeing their engagement levels on the platform changing. I know personally, with my couple channels that I have, I've seen the engagement change a bit, which isn't necessarily a bad thing in this context, but if you put all your eggs into one basket, you do run the risk of diminishing the success of your efforts. I really talk a lot to my clients about diversification, prioritizing that channel mix. What's the right kind of channel mix really based on the demographics of people that follow you on different channels? This is where maybe owned channels, like your website, your blog, as well as looking at social media channels, perhaps looking at other ... In the book, we talk a lot about well what other kind of real estate do you have, from email to perhaps even what's happening in your stores, to what's printed on your products, as well as looking at different things like podcasting, or audio skills. What types of things could you be investing in to actually tell stories on? I think that's where businesses really need to look forward as is the future, because what you do is you really test and learn across all of those channels. You see what's resonating. You see maybe the connectivity between them as well, because for example you might see a lot of retailers, maybe they want to run a storytelling kind of driven campaign, but they maybe want to print something on a mirror in a fitting room in a clothing store, where share your story about how you're getting ready for work using this hashtag. Maybe they measure the success of can they actually generate user generated stories from customers through leveraging that real estate in store. You really measure what's being successful. That's where you can actually double down a bit maybe on specific channels, but you need to have some of that experimentation first, before you can really go there. Jay Baer: Jessica, I love the book because it is so practical. It is set up in such a way that you can get so much value out of it. There's all these examples. I just really like it. I've written lot of books. I've read a lot of books. I just really like the way it's put together. The Laws of Brand Storytelling is an absolute must read for Social Pros listeners. You break it up into a series of sort of batches of laws per the thesis, per the title. One of my favorite sections of the book is the discovery laws. I think it's such a great point, because I find that a lot of times brands and businesses have a story, it's just they don't think it's a story because they're too close to it. Can you talk a little bit about some of those laws, and how because people say, "I don't, we don't have a story." No, you do. It just doesn't seem like a story to you. Jessica Gioglio: Yes. That's the thing is the first question I get, especially when I'm speaking or consulting around storytelling, is, "Well, where do we find great stories?" You, as someone within your business, really needs to adopt the mindset of a journalist. You need to be observing what's happening around you. You need to get to know everyone within your company. You need to do a lot of networking, and one to one meetings, and ask for advice. I remember when I first started at Dunkin' Donuts, my boss at the time, she asked me to do coffee breaks. I mean the irony of working for a coffee company, but she's like, "Do coffee meetings with these 20 people across the company." She really set me up for success there, because she had me immediately start to meet with them. I got to get to know them. I learned about what they were doing. I started hearing all these amazing stories coming out. What if you could take that inspiration and start to meet people across your company, people that are doing very different things and interesting things? I guarantee you, would find tons of interesting stories. You also want to think beyond just the walls of your organization. Obviously there are huge organizations with offices around the world, but also think about, go speak to your employees, but also think about what are your customer case studies. Study stories from your partners, other industry peers, influencers that love your products. Why are you doing specific things that you're doing? What nonprofits are you donating for? What causes do you stand for? All of those things could actually result in remarkable stories. That's what's really sparked me, and especially when I was at Dunkin' Donuts. I guess now we should say Dunkin'. Once we started creating that culture internally of ... I was running the blog, and I started getting a lot of proactive suggestions saying, "Hey, there's this amazing crew member in this store in Massachusetts that's been there for 25 years, and she's noticed this really interesting trend, and you should really talk to her." The field marketing managers and the operations managers were the ones that started feeding these stories to me, because I created the culture of getting to know them. That's really the advice I give to people. It's easier said than done, but you have to start somewhere. The more that people start seeing these stories being told, the more people will want to volunteer them. Jay Baer: Yeah, when they realize that this is actually a safe space, and that those stories are treasured and welcomed, it's amazing. They start coming out of the woodwork. One of the things that Adam and I wanted to talk to you about is, because you've now been in the UK for 3.5 years, if you have observed any storytelling differences between US brands and brands in Britain or EMEA at large. Jessica Gioglio: Absolutely, sure. We've put a ton of examples from the UK in our book. I think, selfishly, when you're living somewhere, of course you're kind of immersed in the local media culture. You know, what I would say? After living in the UK for 3.5 years, the Brits definitely have a very distinct sense of humor and ways of communicating. If you ever want to get a little bit of a fun insight into British culture, there's a Twitter account called So Very British Problems. It is a very self-deprecating look at maybe some things you might not necessarily realize about British culture. People maybe are a bit shyer in some ways, and have different kind of self-deprecating, or a bit kind of a sharp and fun sense of humor. You just have to understand some of those quirks. That's where maybe you see some of that playfulness coming through in the campaign. I think I mentioned it, with the Oreo one, they really focused on a timely event in the UK. You actually, with that eclipse, you actually couldn't see that in the US. There was one that we highlighted in the book that came from Tesco. Jay, I think you're going to love this example. I think I actually covered this for Convince & Convert as well. Jay Baer: You did. Jessica Gioglio: Tesco has the most brilliant customer service strategy. They're very used to responding to very cheeky and funny customer complaints on their Facebook page. So much so, they've actually created this culture where now customers actually want to be a bit cheekier in how they talk about their customer service complaints. One that I absolutely loved was there was this man that found a worm in his cucumber. He actually named it William, and decided to have this entire worm funeral for William the worm. Tesco was so touched by it that they actually sent him a sympathy card with a poem on it. Then another example from Tesco as well is, a woman ... I mean how great is that though? When you actually start telling little ... Brands could look at customer service issues as a negative. We want to immediately take this offline. We don't want to shine a spotlight on this. We just want to solve the issue and move on to the next. I think what was so brilliant about that is, if you actually look at the engagement of every single back and forth between the customer and Tesco about this, they were getting thousands and thousands of likes and subsequent comments. It was almost As The Page Turns, where people were like, "How is Tesco going to respond next?" "How is the customer going to respond next?" Then they start seeing pictures of the little backyard burial they had for William the worm, and the cucumber, the sympathy card with the poem that Tesco sent. It became this wonderful storytelling endeavor based off of a customer service inquiry. I think, at the end of the day, if you are a grocery store ... For people who are wondering, "What is Tesco?" "Why is there a worm in the cucumber?" They are a grocery store, very much like a Stop & Shop or something, 7-Eleven, maybe 7-Eleven, Stop & Shop hybrid in the US. Customer service complaints are going to happen. When you have that many customers shopping at you each and every day, it really comes down to how you handle it. I love that they've created this culture where they write poems back to customers. They say, "I'm so sorry about this," and they answer in a very clever way. There was another one where there is this delicacy in the UK where there's this thing called a Scotch egg. It is literally a- Jay Baer: I know the Scotch egg, mm-hmm (affirmative). Jessica Gioglio: They are actually delicious. Jay Baer: Yes. Jessica Gioglio: I was very skeptical at first, but I think if you come to the UK, you have to try one. Jay Baer: Breaded, fried egg, with sausage in the middle. Jessica Gioglio: Yes, and tweet Jay and I when you've tried one, with your picture of you trying one. [crosstalk 00:24:17] Yes, it's an egg, breaded and fried. They can be just with the egg, or they can also have sausage inside of them with the egg, also surprisingly delicious. Adam Brown: Delicious. Jessica Gioglio: A customer actually got a hollow Scotch egg, and she was actually sharing this picture where she was like, "Tesco, it looks like it is mocking me." Basically almost like the O, that kind of shocked emoji with the O face. "Like it is mocking me." They're like, "No, we actually think it's screaming at you, 'Where is my egg?'" They wrote this entire Shakespearean poem back to her, which I actually had to read out loud when we were filming our audiobook. It's like, "O egg, o egg, wherefore art thou egg? Deny thy bread crumbs," and it goes on. Imagine me recording the audio book for our book, with Ekaterina next to me, trying not to giggle as we get through an entire Shakespearean poem about a hollow Scotch egg. I love that. I think the one thing I will say though, is I did actually give some constructive criticism to Tesco in the book, because their customer service strategy is so on point, and they tell these amazing stories around customer service complaints, but then you go on their social media channels, and honestly, the content's not bad, but it's a bit dry. It's just all about recipes and food and celebrating food. It's like if some of these things are getting tens of thousands of likes, and there's articles in the newspaper in the UK being generated about somebody's hollow Scotch egg, wouldn't you want to maximize that a bit, and maybe bring some of that spirit into your content strategy? Jay Baer: Yeah. Jessica Gioglio: That's why I've actually dug into them a bit, because I think we almost get a bit too rigid in our ways as companies. If we see that there's these amazing copywriters and creative spirits on the customer service team, what else could they do for us? How can we bring them into the fold, and bring that spirit into other things that we do. Jay Baer: Sometimes peoples' reactive social feels a lot different than their proactive social. That's because in some cases, as listeners know, it's a different team. It's literally a different team, maybe even in a different location, with a different DNA, and a different leadership style, and things like that. From the consumer's perspective, they're like, "Wow, this feels a little strange," because this actually feels like two different companies, which is not really the ideal set of circumstances. Jessica Gioglio: No, not at all. Adam Brown: I think you've brought up something, Jessica, that's very interesting, and I think your book that you and Ekaterina wrote, kind of articulates that. That is, so much of this is that culture, it is about instilling that culture in an organization whereas, whether it's the customer service people, whether it's the marketing people, whether it's the other front line employees, they can be cheeky. They can be appropriate. I want to ask you how, when you work with organizations, you create, or try to facilitate that spirit of culture? We've talked about two things here. We've talked about getting all these different parts of the organization to do this, but also to the point that Jay brought up earlier, when you're dealing with a multi-region, multi-national company, everybody kind of sees sarcasm, everybody sees humor a little bit differently. How do you reconcile and bring all that together? Jessica Gioglio: A lot of what we talk about in the book is, you actually can look to the culture of your organization to inspire your storytelling, because the culture you create internally will have such an impact on your company's reputation externally. We highlight companies like Zappos and HubSpot, that have these amazing, focus-on-the-company culture, and that becomes kind of a core value and a story that they live, right? Zappos, all of their brand's storytelling is around their culture and how they create their employees. However, for other companies, it might actually be a bit different. We actually have, in the second chapter of our book, we have kind of the storytelling framework. We talk a lot about kind of codes of culture as well, and looking at how you can tap into pop culture, and things that are happening in the world, and really the right way to do that, and how to kind of really look at the customer insights around your business, your products, what's going on in the world, as the right way to kind of shape how you go in a direction with storytelling. Because, I think there needs to be a happy medium between the two, because the culture you have internally, plus what's happening in the world and how customers are perceiving you, all needs to be taken into account before you can really tell stories that resonate, if that makes sense. We spotlight a few examples in the book of companies that really go too far down the path between projecting a specific image. I don't know if you guys remember Radio Shack, when they decided they were going to rebrand themselves as The Shack. They were like, "This is a nickname that our customers call us." And customers were like, "No, we don't. We don't actually call you that. Nobody says that." Jay Baer: No. Nobody says that. Adam Brown: And how'd that work out, by the way? Jessica Gioglio: And The Shack takes us to this deep, dark place where bad things happen. So, it completely just kind of crashed and burned on them. So, I think you need to have [inaudible 00:29:09]- Jay Baer: Do you think, okay, do customers call Dunkin Donuts "Dunkin"? Or is that the same situation? Jessica Gioglio: Actually, I will tell you they do. So, it's tough for me. I have to be careful because I'm not employed by them anymore. But, when I was there running social media- Adam Brown: Which means you don't have to be careful. Jessica Gioglio: Yeah. I can just see the article now, "Former social media manager says blank." But, no, actually when I was working there, customers do call them "Dunkin." They call them "Dunkin," they call them, "DD." You know, "I have to go to Dunkin today." "I'm going on my Dunkin run." It very much is ingrained in the culture. I would say that when I saw that they made that announcement, I wasn't really surprised. I think actually, if you think about brand positioning internationally, as well, when you have a brand name like Dunkin Donuts and you have donuts in your name, when you go to markets where your brand equity isn't kind of, as strong as say in the United States, they just think, "Oh, you're a donut shop." But, actually, they do make amazing donuts, and they're always going to make amazing donuts, but we actually have amazing coffee, we have amazing breakfast sandwiches. So, I think it does actually help when you go into new markets where the brand's not known as well. It allows you to kind of start that story with more of a blank canvas, I would say. Jay Baer: One of the things you talked about in the book that I found a little bit surprising, is that you say, when you're working on your stories and your social media, that you shouldn't benchmark against industry peers. And that is sort of a fundamental kind of piece of the social media audit and analysis program, typically as, all right, how are we doing versus other people who sell donuts, or other grocery stores, or other auto dealers, what have you. And you say, "Don't worry about that so much." Why do you say that? Jessica Gioglio: You know, we say that because we want you to be true to your business, and drive innovation in the spirit of who you are, what's your purpose, what's your culture, and how do you want to tell the story of what makes your organization thrive. I think, on a high level, especially when you're at a large company, there's always going to be an element of that benchmark measuring. You know, how do we stack up compared to our competitors and our peers? But when you think about telling great stories, if you're only kind of measuring yourself against your competitors and not really thinking out of the box, I think you're missing the mark, and you're missing an opportunity to really take it to the next level. Jay Baer: Well, and certainly you can't copy somebody else's story, [crosstalk 00:31:34], right? I mean, you might be able to copy some of their tactics or approaches, but you can't be like, "Yeah, even though I don't sell cookies, I'm going to use this Oreo strategy." That doesn't really make sense. Jessica Gioglio: Well, and right, but how much did that happen, right, because the minute Oreo did "the dunk in the dark," every other business out there was like, "What is my dunk in the dark moment going to be?" It's tough, because we speak at conferences, we write books, we're sharing kind of the best practices of other businesses, and I always think about the idea of borrowing brilliance. How can you take a great idea and make it your own? And not necessarily say, "Okay, well, we're just going to try and news jack everything. We're going to replicate what Oreo did. We're going to have 365 days of Ford, and the car painted as a different thing- Adam Brown: Of Dr. Scholl's. Jessica Gioglio: Yeah, or, donuts, you know ... You could do that with basically, many consumer products or brands, right? But it's not going to resonate, right? And you have to to remember, consumers are faced with more messages across more channels than ever before. If you truly want to differentiate yourself, you have to be unique. You have to be special. And that's why we're really trying to lay down the law in this book, and push businesses to step out of their comfort zones a bit, and really think about what are those once-in-a-lifetime stories that are unique to my business? What makes me special? What makes me different? What's my unique value proposition that I'm not just trying to copy competitor X, Y, or Z, and basically kind of respond back to them. You do see some businesses, like Wendy's out there trolling other brands, and that's been a really kind of clever endeavor. But again, if every business just starts trolling each other, we're just going to be fighting all day on social, and no one's going to really care anymore. It's working really well for them because they're first to market. I think you have to really go back to the drawing board and think about what's unique to you, and that's what we're really trying to do with this book. Jay Baer: I love. I don't know everything, but I do know this, same is lame, as we talked about [crosstalk 00:33:27]. Figures- Jessica Gioglio: I love that. I might steal you, [crosstalk 00:33:30], and steal that and quote you on that one. Jay Baer: Feel free. Adam Brown: New title, ladies and gentleman. Jay Baer: Jessica Gioglio, who is the extraordinary co-author of The Laws of Brand Storytelling, a book that I cannot recommend to you enough, Social Pros listeners. I guarantee you're going to love it. You're going to keep it on your desk, highlight it, mark all the pages that apply to your brand. You're going to love it. Go get it right now. It's available all the places and ways that books are available, including in audio read by Jess and her co-author, Ekaterina Walter. Last two questions, the questions that we ask everybody on the show. Jessica, first one, what one tip would you give somebody looking to become a social pro? Jessica Gioglio: I would give them the tip of, oh this is such a tough one. I feel like I have like 10 in my mind right now and I have to narrow it down, but you know what I would say, I think you really need to stay true to yourself. I think the biggest differentiator in my career if, my whole story is I actually started out by running a lifestyle blog called The Savvy Bostonian. I became a micro-influencer in Boston before that was actually a thing in social media. And, you know what, I did that because I was always very creative. I loved writing, I love storytelling. I loved kind of sharing content that I felt added value to people's lives. That to me was always my North star. I think if you're an aspiring social pro, I think you need to really think about why you want to get into the business. Why do you love social media? What gets you excited about social media, and how can you really specialize in that area that excites you about social media? You know, as you advance in your career, you really do need to be well-rounded, but I think when you're starting out, you know, I'll give an example. When I was at Dunkin, I had an intern who was incredibly creative with video. He actually helped us launch our Snapchat and our Vine, because he was so amazing and saw video in a different way. So, I think if you can specialize in that way, it's going to really help you advance in your career, and really kind of showcase to an employer what differentiates you and allow you to make your unique mark on a business. So, that's the best tip I can give you is, start there and then really invest in learning in the rest of the business and become well-rounded from that kind of USP that you have at the start. Jay Baer: I love it. Adam Brown: Last question, Jessica Gioglio, Laws of Brand Storytelling, go get it, is, if you could do a video call with any living person, who would it be and why? Jessica Gioglio: Gosh, you know what, I'm struggling with this one, and I'm sure I could come up with a better answer, but you know, I think I said this the last time I was on Social Pros, but I still stick by it, and it's Oprah. Because I just think she was one of the first great storytellers, and just the charisma, and the way that you feel like you know her, and you're a friend of hers, and she just has this warm kind of way of telling stories and speaking with credibility and authenticity, that I think we can all learn from and mirror kind of in our lives and in our work. Jay Baer: The most influential celebrity by far, according to the research that we did in the book Talk Triggers, wasn't even close. It was Oprah, and then a big, giant gap. So, well said, yes. We need Oprah on the show. Adam, surely Marc Benioff knows Oprah, and you could just call your boss's boss, and say, "We need Oprah on the show." Adam Brown: We need Oprah. I remember Oprah when she was a reporter at WSM-TV in Nashville, where I grew up. Jay Baer: Man. If you could've [crosstalk 00:36:47]. Adam Brown: She was in the field, Pat Sajak was on weather, and John Tesh on sports. Jay Baer: Wow, [crosstalk 00:36:53]. That's a powerhouse line-up, man. That is like, an unbelievable crew. Adam Brown: Late '70s, Nashville, Tennessee. Jay Baer: Wow. That is impressive. You're moments away from greatness, Adam. Adam Brown: Yeah, yeah. I watched the programming, therefore I am, [crosstalk 00:37:07], I'm great, too. Jay Baer: Close enough. Jessica, congratulations on a terrific book. Fantastic to have you back on the show. Again everybody, go grab The Laws of Brand Storytelling. Anything else you want people to know about the book, or where to get it, or anything like that, before we let you go? Jessica Gioglio: Sure. The book is available on Amazon and in select retailers in the U.S., so go out and find it. If you have any questions at all, Ekaterina and I welcome kind of feedback on social media, your questions, so please keep 'em coming to us. Jay Baer: Fantastic. Go get it, ladies and gentleman. Thanks so much for being here. We have another fantastic guest next week on Social Pros. Don't forget, go to socialpros.com to listen to every single episode going back forever and ever and ever, including I mentioned, [Carmen Hill 00:37:49] from Cisco. You can go grab that episode as well as tons of other ones. As I mentioned recently, we are going to very soon start doing this show on video on YouTube, so you'll be able to see our guests and Adam and myself, so look for that coming up shortly. Until then, I am Jay Baer from Convince and Convert, he is Adam Brown from Salesforce Marketing Cloud, and this has been Social Pros. PART 3 OF 3 ENDS [00:38:13]
Episode 404 - Social Pros Podcast
How to Spot Social Media Fads vs. Trends
Burnout is Real Among Social Media Managers
How to Use Social Media to Create a Fanocracy for your Brand
Secrets to Success When Publishing Content on LinkedIn
6 Top 2020 Social Media Trends


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Benbrook Public Library is able to provide wireless printing. There are three different ways to print wirelessly.
Pick up your prints at the Benbrook Public Library's Print Release Station. Click on Release a Print Job and type in your email address. There is a coin machine that accepts dollar bills and change - no pennies. Pay for your print, and then select the Print button to print your job. We do accept payment by credit card, as long as it is over $1.


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World's Toughest Rodeo
CINCH World's Toughest Rodeo comes to Wolstein Center on April 12-13. More than an eight-second ride, fans can expect the absolute best in cowboy and animal athletes competing to be the "Toughest in the World," all hoping for the ultimate opportunity to compete at the National Finals Rodeo in Las Vegas for the World Champion title.
Rodeo fans are encouraged to come early for the pre-show (FREE with a ticket) from 6:00 p.m. to 7:00 p.m. each night. Fans will have the opportunity to meet and greet the cowboys, cowgirls, and specialty entertainers, get autographs and have special photo opportunities. The pre-show also includes pony rides, a peek behind the scenes, special giveaways, and much more, including the chance for fans to sit on a LIVE bull in the chutes and get actual proof with a picture!
To purchase tickets click HERE!

redpajama_set_name: RedPajamaCommonCrawl


The snow is burning white.
was it fun SAS clan with the excavtor ????????????
People understand what is an zombie survival game ???????????
Salvation City: Three Men, Three Hours. Will the succeed, or will they perish?
Will there be a writing contest?
Past DayZ-This is my story.
A Tale of Bravery... and Disappointment.


Are you a travel writer interested in creating a guest post for Gypsy Giraffe? Would you like me to write a guest post for your blog? I'm always eager to work with and support fellow travel bloggers, so drop me a line and let's get started!
I'm an avid reviewer on sites like Amazon, TripAdvisor, and Hotels.com. If you're interested in an in-depth review of your hotel, restaurant, tour, or attraction, use the contact form below to get in touch!
As a published author and blogger, I understand exactly how important editing is in the writing process. I also understand what it's like to need assistance but be confined to a budget – and that's where I can help!
Content Editing: An in-depth document check for factual errors, inconsistencies, plot discrepancies, theme development, sub-plot integration, etc.
Whatever the scope or length of your writing project, I would be happy to discuss your needs and find a price that works for both of us.
Do you have another idea of how we can work together that isn't covered here? I'm always open to new ideas and suggestions, so don't be shy!
Please feel free to contact me via any of my social media channels, or directly using the form or email address below. I promise a prompt response to your inquiry.


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Spurious notions of 'national character' aren't helping
Are Australians racists? Well, yes. And no. Some are, some aren't. It's a mind-numbingly circular question, but just the sort of mind-numbingly circular question that those in the social commentary business love. (Six idiots dress up in blackface on Hey Hey it's Saturday, and that's the first half of Q&A over with, two weeks' worth of columns in quality broadsheets, and a comfortably full switchboard on ABC radio talkback.)
Let's try to wrap up this question now. It would be fair to assume that somewhere between one and 22 million people within Australia's territorial borders are racist. It's faintly ludicrous to attribute any sort of character to a collective group of people. Either the characterisations end up as utterly banal — Australians like barbecues! — or completely nonsensical.
A columnist trying to get to the bottom of the recent spate of attacks on Indian students in Melbourne writes that Australia 'has a cultural tradition that in large part is underpinned by aggressive opportunism'. Michael Leunig reckons: 'Our culture has thrived on the stabbing impulse.' But on the other hand John Brumby has argued that 'Victorians are committedto tolerance' in an article condemning racially motivated attacks by some of those apparently tolerance-committed Victorians.
Maybe 'we' are racists, but 'we' also must be pretty cluey. A recent article discussing the Howard government's environmental policies says that 'the Coalition's new-found eco-friendly initiatives were deemed greenwash by the electorate'. Very perceptive. Makes you wonder why a full 22 per cent of the electorate believe in witches, at least according to a Nielsen poll late last year. Headlines in the National Times declare that 'we will forget Haiti', that 'we give our kids names fit for puppies' and that 'we love to click on' Naomi Robson. I don't plan on doing any of those things.
The idea that Australia has any sort of national character obscures our understanding much more than it facilitates it. Individuals, actions, and laws can be objectively racist. Nationalities cannot. After all, even the clearest example of racism in this nation's history, the White Australia Policy, had its opponents, particularly among the free trade movement.
Of course, national circumstances — politics, history, geography, religious belief, sheer bloody luck — can influence the cultural attitudes of individuals within that nation. But you only have to watch our Prime Minister's awkward attempts at Australianisms to see how artificial these national tropes can be.
Personalities do not change at national borders. How many times have you been told by recently returned overseas holidaymakers that 'the people were just so friendly'? There are more than 3,000 hits for 'the people are friendly' on the Lonely Planet website. There is just one for 'the people are unfriendly' — you won't want to go on holiday to Rome.
A 2005 study in Science sought to test views about national character against personality traits of individuals within that nation. The study found that 'Perceptions of national character are not generalisations about personality traits based on accumulated observations of the people with whom one lives'; in other words, there was no correlation between a belief that Australians are extroverts, and the number of Australians you've met who are actually extroverts. And the study found that people vastly exaggerate what little differences do exist between countries. There is much greater variety of character within a nation than between nations. If you don't believe that, compare Mark Latham with Kevin Rudd. Hard to believe they're from the same party, let alone the same country.
It would be nice to believe all Australians recognise that democracy should be tempered by the common law, political power and judicial power should be in constant opposition, and human rights need constant and aggressive defence. But once again: 22 per cent of Australians believe in witches. This isn't just a complaint about vapid rhetoric. When faced with reports of attacks on Indian students, it would probably be better to avoid all this empty navel-gazing about the possibility that racism is inherent in our national character, and focus on what concrete political failures may have tolerated those attacks.
Victoria has the lowest number of police per capita in any Australian state. That is surely more a factor in the state's urban violence problem than any 'cultural tradition [of] aggressive opportunism'. A psychological profile of Australia's national character — if it's even possible — is of absolutely no use when we can't get basic policing right.
Author Chris BergPosted on May 5, 2010 July 23, 2017 Categories ArticlesTags Spectator Australia
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Council of Europe marks 20 years of action against cybercrime
Council of Europe Strasbourg 9 November 2021
Twenty years after it was adopted, the Budapest Convention remains the most relevant international treaty that protects individuals and their rights against crime online. The Council of Europe's annual conference on cybercrime, which every year brings together cybercrime experts from all over the world, will be held online from 16 to 18 November. It will begin with a special event, organised in co-operation with the Hungarian Presidency of the Committee of Ministers and dedicated to the 20th anniversary of the Convention and to the forthcoming Second Additional Protocol on enhanced co-operation and disclosure of electronic evidence.
The Convention has had a global impact. It has helped strengthen and harmonise countries' legislation on cybercrime, enhance the effectiveness of international co-operation in investigating and prosecuting crimes committed via the Internet, and to foster partnerships between the public and private sectors (see The Budapest Convention on Cybercrime: benefits and impact in practice).
To date, 66 countries have ratified the Convention on Cybercrime, two have signed it and ten have been invited to accede (Benin, Brazil, Burkina Faso, Guatemala, Mexico, Niger, Nigeria, New Zealand, Trinidad and Tobago, and Tunisia). More than 140 countries are working with the Council of Europe to reinforce their legislation and capacity to address cybercrime.
The purpose of the forthcoming Second Additional Protocol to the Cybercrime Convention is to provide sharper tools to investigate cybercrime and obtain justice for victims, by ensuring that perpetrators face a substantially greater risk of being held to account. It is expected to be adopted by the Committee of Ministers on 17 November.
When participants gather on 16 November to mark the anniversary of the Convention, they will be addressed by the Council of Europe Secretary General Marija Pejčinović Burić, ministers, attorneys general and other senior officials from around the world.
Speech by the Secretary General
Podcast with Alexander Seger, Head of Cybercrime (more videos)


3d printing is a process that is readily available, though often takes a considerable amount of time to process and print, if ordering from a overly busy vendor. Recognising this problem, a team at the UC Berkeley campus in the States created Dreambox, a high-tech, one-of-a-kind vending machine.
What's so special about this vending machine? It creates 3d prints from uploaded renderings that start the moment designs are uploaded, eliminating the lead-time many consumers often face when ordering from an online vendor or print shop.
Users interested in using Dreambox must upload their design to the cloud-based computing system installed in the machine. Uploaded renderings are then processed, printed, and stored in a locked drawer in the lower half of the machine. When the print is complete, users are messaged an unlock code which opens the drawer containing their 3d print model.


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Peter Mettler (born September 7, 1958) is a Swiss-Canadian film director and cinematographer. He is best known for his unique, intuitive approach to documentary, evinced by such films as Picture of Light (1994), Gambling, Gods and LSD (2002), and The End of Time (2012). "His peripatetic lens is ever gravitating toward outsiders in search of ecstatic states," writes José Teodoro in Brick, "strange spectacles that defy straightforward documentation, and sacred places that promise some metaphysical deliverance. There are precedents for his methodologies—the films of Chris Marker and Werner Herzog come to mind—but Mettler's gifts as an open and unobtrusive interviewer and his capacity to discover shared sensibilities between people of vastly diverse cultures and creeds feels singular."

Mettler has worked as a cinematographer on films by Atom Egoyan, Patricia Rozema, Bruce McDonald, and Jennifer Baichwal, and has collaborated with numerous other artists, including Michael Ondaatje, Fred Frith, Jim O'Rourke, Jane Siberry, Robert Lepage, Edward Burtynsky, Greg Hermanovic, Richie Hawtin, Neil Young, Jeremy Narby, Franz Treichler and Emma Davie. Since 2005, Mettler has extended his artistic practice to the realm of live digital image-mixing, collaborating with a diverse array of musicians, dancers, poets, and multimedia artists in a wide range of locales, from theatres and cinemas to dance clubs and wilderness retreats.

Mettler was part of a loosely-affiliated group of filmmakers to emerge in the 1980s from Toronto known as the Toronto New Wave.

Early life
Mettler was born in 1958 in Toronto, Ontario, where he was raised. His parents were Swiss immigrants. He made his first films at the age of sixteen before studying cinema at Ryerson Polytechnical Institute (1977-1982). While Mettler was at Ryerson, he spent summers loading cargo onto airplanes in Zürich. In the midst of his studies he took a year off to work at a heroin rehabilitation home in a repurposed twelfth-century Swiss monastery.

Career

Scissere

Mettler's transformative experience at the heroin rehabilitation home provided the inspiration for his first feature Scissere (1982), "a narrative film that feels like an experimental piece, a collage of micro-tales of schizophrenia, addiction, study, and solitude," which he dedicated to Bruno Sciessere, one of the facility's patients. Scissere was the first student film included in the Toronto International Film Festival (formerly known as the Festival of Festivals), and received the Norman McLaren Award for Best Canadian Student Film.

Eastern Avenue

Mettler followed Scissere with Eastern Avenue (1985), an intuitive travelogue diary: a form that would become a hallmark of his filmmaking style. With stops in Switzerland, Germany and Portugal, "the film presents a freely flowing series of impulsive, impressionistic images: urban and rural, artificial and natural." Throughout the 1980s, in addition to working on his own personal projects, Mettler would also collaborate as a cinematographer on several key films in the Toronto New Wave cinema, such as Atom Egoyan's early features Next of Kin (1984) and Family Viewing (1987).

The Top of His Head

Following Eastern Avenue, Mettler wrote and directed The Top of His Head (1989), a feature drama that follows a satellite salesman's "unexpected spiritual odyssey" after meeting a radical performance artist. As with Mettler's subsequent films, The Top of His Head explores the nature of human perception and technology's ability to liberate and enslave experience through the power of recording media. "The images are dazzling," writes Bruce Kirkland. "Forced telephoto perspectives on industrial wastelands jar the eye. Extreme close-ups turn a drop of water into a micro-universe." The film received three Genie Award nominations.
Tectonic Plates

In 1992, Mettler adapted the stage play Tectonic Plates by Robert Lepage, in collaboration with Lepage and Theatre Repère. Rather than document a performance or adapt the stage narrative into screen drama, the film, shot on location in Venice, Scotland, and Montreal, "seeks to articulate cinematically the intersections of theatre and cinema, past and present, culture and nature, interior and exterior, representation and reality." "The result," writes Vit Wagner in the Toronto Star, "is an intriguing and visually tantalizing collage that bridges the two media in a way that structurally underscores Lepage's themes of convergence, separation and transformation." The play is a series of vignettes that draw inspiration from the movement of geologic tectonic plates. This metaphor expanded Mettler's associative approach to narrative, which would be developed further in his later documentaries Picture of Light (1994), Gambling, Gods and LSD (2002), and The End of Time (2012).

Picture of Light

Picture of Light (1994), Mettler's "meditative, at times profoundly beautiful non-fiction adventure film," was made as a result of a chance meeting at a dinner party with the Swiss artist, collector and meteorologist Andreas Züst, who proposed that Mettler capture the aurora borealis on film. Mettler took up the challenge, braving arctic temperatures and constructing a special time-lapse camera system capable of operating in severe nighttime conditions during the film's photography in Churchill, Manitoba. A "beguiling and often breathtaking documentary about the meaning and mythology of the Northern Lights," Picture of Light laid the foundations for Mettler's exploratory essay style, and was widely acclaimed, winning numerous awards. In 2017, the film was one of eight Canadian classics screened at the Toronto International Film Festival as part of its celebration of Canada's sesquicentennial.

Balifilm, Krapp's Last Tape

Between Picture of Light and his next major project, the colossal Gambling, Gods and LSD, Mettler crafted the transfixing and elegant 28-minute Balifilm (1997). Weaving various images captured during travels in Indonesia with a soundtrack of Gamelan music, the film "may be the closest Mettler has come to a cinema of trance."

Mettler and Atom Egoyan reunited once more as cinematographer and director, respectively, for an adaptation of Samuel Beckett's monodrama Krapp's Last Tape (2000), which starred John Hurt, as part of the Beckett on Film series.

Gambling, Gods and LSD

Gambling, Gods and LSD (2002), an epic project some ten years in the making, is a three-hour long meditation on transcendence shot across three continents in a dizzying array of locations, including Toronto's airport strip, where Toronto Airport Fellowship Church congregates dance and swoon at an evangelical service, Las Vegas, where crowds gather to witness a demolition, Zürich, where addicts speak of their marginal existence, and southern India, where Mettler's approach to street life and worship becomes more observational. The final cut was derived from a 55-hour long assembly of unique footage, which Mettler said was like "composing a piece of music". "The finished film is long by conventional standards," wrote Cameron Bailey, "but it has the immersive feel of a great concert, or religious experience, or dream." Gambling, Gods and LSD received a Genie Award for Best Documentary.

Image Mixing

After Gambling, Gods and LSD, Mettler became interested in developing an improvisational approach to cinematic montage within a live context. Using material from his own films, including countless hours of outtakes and an immense personal trove of diaristic video, alongside a virtually unlimited range of found footage sources, Mettler creates audiovisual mixes through live improvisation, often accompanied by an improvising musician, such as Fred Frith, or a DJ, such as Biosphere. Since 2005, Mettler has worked with the software company Derivative to develop an ever-evolving image-mixing software platform. Mettler regards the work of image-mixing as a way of processing material in an image-saturated culture: "you're taking images that are coming at you from the world and making them your own. You're possessing the things that are bombarding you all the time." Mettler's image-mixing work has developed almost entirely in live, ephemeral contexts, but a "hallucinatory portal sequence" in The End of Time (2012) gives viewers a hint of some of the ways in which this work manifests. Most recently, Mettler has toured across Europe performing Yoshtoyoshto, a live event fusing image, story, and music produced in collaboration with anthropologist Jeremy Narby and musician Franz Treichler.

Manufactured Landscapes, Petropolis

Mettler served as cinematographer on Manufactured Landscapes (2006), director Jennifer Baichwal's documentary travelogue, essay film and portrait of Edward Burtynsky, the Canadian photographer famous for his large-format images of industrial landscapes and their impact on the environment and on human existence. Among the film's numerous international accolades was a Cinema Eye Honors Award nomination for Best Cinematography for Mettler.

Shot entirely from a helicopter, the Genie Award-nominated Petropolis: Aerial Perspectives on the Alberta Tar Sands (2009) found Mettler returning to a somewhat more experimental form, examining the titular subject, the world's largest industrial, capital and energy project, exclusively from a great distance and at a great height. Largely wordless, the film is at once bleak and wondrous, a study in both feats of industry and ecological malfeasance. "The object of the documentary isn't the vast domain of the oil sands, one visible from space and part of a post-terrestrial, post-human landscape," writes Georgiana Banita, "but something very human indeed, dependent on the viewers' ability to make sense, literally, of what they see on the surface of the earth, whose every mound and fracture the film painstakingly resisters." "Like Mettler's previous epics of exploration Gambling, Gods and LSD and Picture of Light," writes Jerry White in Cinema Scope, "Petropolis is a work animated by the powerful desire to discover the unknown, and [...] by an equally powerful humility before the formidable challenges that this unknown throws up against our senses and the technology that seeks to extend those senses."

The End of Time, Broken Land

Mettler's 2012 film The End of Time drew upon the associative, essayistic techniques that defined both Picture of Light and Gambling, Gods and LSD as a means of exploring the elusive nature of time through science, art, history, anecdote and interview, and various ontologies and beliefs. Mettler visits numerous locales, such as CERN's Large Hadron Collider in Geneva, the site of the Detroit workshop where Henry Ford invented the Model-T, the home of a Hawaiian hermit untroubled by encroaching lava, and a Hindu funeral held near the alleged site of the Buddha's enlightenment. The End of Time, writes critic Adam Nayman, "exists in the twilight zone that is home to much of the best non-fiction filmmaking: at once rousing and sobering, baffling and precise, epic and intimate." The film's final stop is Mettler's childhood home, where he visits his mother, then in her eighties, to ask about her sense of time's passage. Time is there to enjoy everything you possibly can, she says. "Is that the right answer?"  Mettler closes the film on a note of ambiguity. "Like the scientists with whom and about whom he makes his films," writes scholar Jerry White in Of This Place and Elsewhere, "and like the philosophers who seem to be his constant companions, [Mettler] is always open to the wonder of an unpredictable result."

Following The End of Time, Mettler served as cinematographer on Broken Land (2014), a documentary about life and migration along the Mexico-U.S. border, co-directed by Stéphanie Barbey and Luc Peter.

Becoming Animal

Shot entirely in Wyoming's Grand Teton National Park, Becoming Animal (2018), co-directed by Mettler and Emma Davie, is a dialogue with, rather than an adaptation of, ecologist and philosopher David Abram's eponymous book. Weaving images of wildlife and places where wilderness intersects with tourist culture, along with commentaries from Abram, Mettler and Davie, Becoming Animal observes the sensory relay between man, animal and the natural world and considers what's at stake when we forfeit our connection to nature. "Cinematographically beautiful," the film, Ellen Lande writes, "offers insights and observations into the philosophy of modern man and how far away from nature we have placed ourselves."

Filmography

Feature films

Short films

Reverie (1976), 20 minutes.
Lancalot Freely (1980), 20 minutes.
Gregory (1980), 25 minutes.
Balifilm (1997), 30 minutes. Best Short Film, Duisburger Filmwoche.
Away (2007), 3 minutes. Co-produced by the National Film Board of Canada.
Trace of the future (2014), 3 minutes. Produced by Visions du Réel, to celebrate the festival's twentieth anniversary.

Cinematography (selected)
Open House (1982), directed by Atom Egoyan.
Next of Kin (1984), directed by Atom Egoyan.
David Roche Talks To You About Love (1985), directed by Jeremy Podeswa.
Knock Knock (1985), directed by Bruce McDonald.
Passion A Letter in 16mm (1985), directed by Patricia Rozema.
Family Viewing (1987), directed by Atom Egoyan.
Artist on Fire (1987), directed by Kay Armatage, with Joyce Wieland.
Leda and the Swan (1997), directed by Alexandra Rockingham Gill.
Krapp's Last Tape (2000), directed by Atom Egoyan.
Manufactured Landscapes (2006), directed by Jennifer Baichwal. Also credited as creative consultant.
Into the Night (2006), directed by Annette Mangaard.
National Parks Project: Gros Morne (2009), directed by Ryan J. Noth. Series pilot.
Broken Land (2014), directed by Stephanie Barbie & Luc Peter. Also credited as artistic collaborator.

References

Further reading
White, Jerry, Of This Place and Elsewhere, (Toronto: Wilfrid Laurier University, 2006).
Pitschen, Salome, Annette Schøonholzer, Peter Mettler: Making the Invisible Visible, (Lucerne, Switzerland: Verlag Ricco Bilger, 1995).

External links

1958 births
Living people
Canadian cinematographers
Film directors from Toronto
English-language film directors
Upper Canada College alumni
Toronto Metropolitan University alumni
Directors of Genie and Canadian Screen Award winners for Best Documentary Film

redpajama_set_name: RedPajamaWikipedia


text:
Do Push Notifications Boost Mobile App Engagement?
by Ayaz Nanji
Users who enable push notifications from mobile applications average 88% more launches of those apps compared with users who disable push notifications, according to a recent report from Localytics.
The increased usage is even more pronounced for certain app categories. For example, e-commerce apps register a 278% lift in engagement on average when push notifications are enabled and music app engagement jumps 177%, the analysis found.
Other categories, such as sports and health & fitness apps, register smaller average boost in engagement, though the increase is still significant (36% and 34%, respectively).
Below, additional key findings from the report, which was based on data from 28,000 iOS and Android apps.
62% of users who have enabled push notifications will return to an app the month after installation if messaged, compared with only 32% of users who have not enabled notifications and who are not messaged.
Four months after their first session, 36% of push-enabled users are still engaging with an app on average, compared with only 14% of non-push users.
21% of push-disabled apps are only used once, compared with 11% of push-enabled apps.
53% of users who have enabled push-messaging come back to an app at least 11 times on average.
About the research: The report was based on data collected in July 2014 from 28,000 iOS and Android apps.
Continue reading "Do Push Notifications Boost Mobile App Engagement?" ... Read the full article
Ayaz Nanji is a digital strategist and a co-founder of ICW Media, a marketing agency specializing in content and social media services for tech firms. He is also a research writer for MarketingProfs. He has worked for Google/YouTube, the Travel Channel, AOL, and the New York Times.
LinkedIn: Ayaz Nanji
Twitter: @ayaznanji
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People use their smartphones for a wide range of different activities during the workday, from sending emails and managing their calendars to checking social media and playing games, according to recent research from AdColony.
Five SMS Campaigns for B2B Marketers to Try
B2B marketers may love email, but it can take a while for prospects to open one, even if they're interested. If you want to get people's eyes on your message in seconds, there's no better way than SMS. Here are five SMS campaign ideas.
How SMS Automation Bridges the Gap Between Your Sales Team and Customers and Supports Digital Transformation
Your buyers incorporate mobile into their everyday work, so it makes sense that your marketing and sales communications should, too. SMS can transform your efficiency—and it's even more effective when combined with automation.
Audiences' Attitudes Toward Mobile Ads and Apps [Infographic]
The most acceptable mobile ad format are rewarded videos (i.e., users receive some sort of reward in exchange for time spent viewing), according to recent research from AdColony.
Why B2B Apps Need App Store Optimization Now More Than Ever
Recent work-from-home initiatives have created record demand for telecommuting, team chat, and employee tracking apps. If your B2B company has an app, it's time to look into app store optimization (ASO) to maximize your potential customer base.


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text:
Supreme Court Rejects Latest Challenge to Affordable Care Act: What Are Employers' Obligations Going Forward?
June 26, 2015 | Jacob M. Mattinson
Litigation & Dispute Resolution Healthcare Health Plans & Accountable Care Healthcare Regulatory & Compliance Health & Welfare Benefits
On June 25, 2015, the Supreme Court of the United States upheld one of the main pillars of the Affordable Care Act (ACA): the tax credits that allow millions of Americans to afford health care insurance on the public exchanges. In King v. Burwell, Chief Justice Roberts, writing for a 6–3 majority, held that middle- and low-income individuals who purchase health care insurance through a federally facilitated health care exchange are entitled to the same tax credits that are available to purchasers through state-run health care exchanges. The ruling puts to rest one of the remaining challenges to the general framework of the ACA. Accordingly, employers should continue to plan for compliance with the current and upcoming obligations required under the ACA.
The ACA introduced three key reforms intended to decrease the number of uninsured Americans:
A pair of insurance market regulations: the guaranteed issue and community rating requirements, which bar insurers from denying coverage to any person because of his or her health, and from charging a person higher premiums for the same reason
A requirement that individuals maintain health insurance coverage or pay a penalty to the Internal Revenue Service (IRS), unless the cost of purchasing insurance exceeds 8 percent of that individual's income
Provision of refundable tax credits to individuals with household incomes between 100 percent and 400 percent of the federal poverty line, to make insurance coverage more affordable
The ACA also requires the creation of an "exchange" in each state, where people can compare and purchase individual health insurance policies. Under the ACA, an exchange is either established and administered by a state or, as a default, by the federal government. The ACA provides that the tax credits "shall be allowed" for any "applicable taxpayer," but only if the taxpayer has enrolled in an insurance plan through "an Exchange established by the State under [42 U.S.C. §18031]." In 2012, the IRS issued a regulation interpreting this provision, stating that the tax credits are available to individuals regardless of whether the exchange is established and operated by a state or the federal government.
Large employers have watched King v. Burwell with particular interest because the employer mandate—which became effective in 2015—is intertwined with the issue of available tax credits for individuals purchasing coverage through an exchange. The ACA's employer mandate requires employers with 50 or more full-time employees (100 or more full-time employees in 2015) to provide adequate coverage to their full-time employees or pay a penalty. If a full-time employee either is not offered coverage or is offered coverage that is not affordable and of minimum value, and that full-time employee purchases coverage through an exchange and qualifies for a premium tax credit, the employer is subject to a penalty. If premium tax credits are only available to individuals who purchase exchange coverage in one of the 16 states, plus the District of Columbia, with a state-run exchange, this effectively means that employees in the remaining 34 states without a state-run exchange cannot trigger penalties under the employer mandate.
The petitioners in King v. Burwell are four individuals who reside in Virginia, a state that did not elect to run its own exchange and relies on the federal exchange. The petitioners challenged the IRS regulation, contending that the federal exchange does not qualify as an "Exchange established by the State," and therefore they should not receive any tax credits. Petitioners contend that without the tax credits, the cost of buying insurance for them would be greater than 8 percent of their income, exempting them from the ACA's coverage requirement. The district court rejected the petitioners' challenges to the IRS regulation, and the U.S. Court of Appeals for the Fourth Circuit affirmed that decision.
Summary of the Supreme Court's Opinion
In King v. Burwell, the Supreme Court held that the ACA's tax credits were intended to be available to individuals regardless of whether they purchased insurance under a state exchange or federal exchange. The majority noted that the tax credits are one of the ACA's key reforms, and whether they are available on federal exchanges is a question of deep "economic and political significance." The Supreme Court determined that Congress did not intend to delegate to the IRS responsibility for interpreting whether the ACA makes tax credits available on federal exchanges.
First, the Supreme Court determined that the phrase "an Exchange established by the State under [42 U.S.C. §18031]," when read in context with the overall statutory scheme of the ACA, was ambiguous, as it could be interpreted to mean that tax credits applied only to state-established and operated exchanges, but it also could be read to mean all exchanges—both state and federal. Because of this ambiguity, the Supreme Court was required to look to the ACA's broader structure to determine whether one of the "permissible meanings" of the challenged phrase produces a "substantive effective that is compatible with the rest of the law."
The Supreme Court's majority found that that the ACA's overall statutory scheme compelled the Supreme Court to reject the petitioner's limited interpretation of the challenged provision because "it would destabilize the individual insurance market in any State with a Federal Exchange, and likely create the very 'death spirals' that Congress designed the Act to avoid." If petitioners' interpretation of the provision was followed, then one of the three key reforms under the ACA (the tax credits) would not be available to any individual who purchased insurance from a federal exchange. In that event, a second key reform—the coverage requirement—would also not apply in a meaningful way, as many individuals would be exempt from the coverage mandate without the tax credits. Under petitioners' interpretation, only one of the three key pillars of the ACA would apply in states utilizing the federal exchange, and the Supreme Court determined that it was implausible that Congress intended the ACA to operate in such a manner. Because Congress made the guaranteed issue and community rating requirements applicable in every state, and because those requirements only work when combined with the coverage requirement and tax credits, the majority found that it "stands to reason that Congress meant for those provisions to apply in every State," regardless of whether the state or federal government runs the exchange.
The Supreme Court's majority noted that the petitioners' arguments about the "plain meaning" of the challenged provision were strong, but determined that while the meaning of the challenged phrase may seem plain "when viewed in isolation," such a reading turns out to be "untenable in light of the [ACA] as a whole." The majority concluded that because Congress passed the ACA to improve health insurance markets, not destroy them, the tax credit provisions must be interpreted in a way that "is consistent with the former, and avoids the latter."
Employers' Obligations Under the ACA Going Forward
The Supreme Court's rejection of this latest challenge to the ACA means that the ACA's requirements for individuals and employers will be fully effective going forward. Employers should take this opportunity to review their plans for compliance with ACA requirements, including the following:
Employer Mandate: Under Code Section 4980H, applicable large employers may be subject to a penalty if at least one full-time employee receives a cost-sharing reduction or premium tax credit for coverage purchased under a state or federally facilitated health insurance exchange because that full time-employee is not offered affordable, minimum value employer group health coverage. The ACA defines a full-time employee as an employee who is employed on average at least 30 hours of service per week. The IRS will calculate any penalty due on an annual basis through a combination of employer and individual information reporting, and will notify the employer of any assessed tax penalty. For more information, click here.
Information Reporting: Large employers, plan sponsors of group health plans providing minimum essential coverage, and health insurance carriers must submit annual reports about employer-provided health insurance to covered individuals and to the IRS. The first reports for the 2015 calendar year are due in early 2016. Employers should track and collect employee, dependent and plan coverage data necessary for this reporting. For more information, click here. The IRS will use the information reported by employers and insurance carriers to determine compliance with the individual shared responsibility requirements, eligibility for premium tax credits, and any penalty that an employer may owe under the employer mandate.
Cost-Sharing Limits: The annual out-of-pocket maximum under a group health plan is capped under the ACA ($6,600 for 2015 and $6,850 for 2016 for self-only coverage). Starting in 2016, the self-only annual maximum must apply to all individuals covered under a group health plan, regardless of whether the individual has self-only or family coverage. For more information, click here.
Cadillac Tax: Employers should continue to assess how they will prepare for the 40 percent nondeductible excise tax on high-cost health plans. In order to avoid triggering the tax, employers should evaluate plan design decisions such as adoption of high deductible health plans (which will likely not trigger the high-cost dollar threshold for the tax), elimination or modification of health flexible savings accounts, pre-tax and employer contributions to health savings accounts, and onsite clinics (all of which appear to count towards calculating the tax), as well as adoption of more robust wellness and prevention programs to address the overall cost of claims.
Plan Design Decisions: Employers' health care plan design strategy will continue to evolve now that the exchanges and premium subsidies are here to stay. Key decision points include the following:
Should employers continue to offer coverage to spouses, which is not required under the ACA, but which adds additional costs to the employers' bottom line (e.g., reinsurance and PCORI fees)?
How will employers manage their employees' work force hours (i.e., ensuring employees who are not offered health care work less than 30 hours per week)?
Will employers offer medical coverage to pre-65 retirees or send those retirees to the exchanges, where they may qualify for premium subsidies without triggering penalties for employers?
As a backdrop to all of these compliance obligations, employers should document all of their plan design decisions in order to be able to
demonstrate on audit that their benefit plans comply with the market reforms already in effect under the ACA, such as the elimination of pre-existing condition exclusions, elimination of lifetime and annual caps on essential health benefits, and coverage of children up to the age of 26. Employers will also need to demonstrate that their plan's eligibility language is consistent with the employer's reporting of coverage to the IRS and its compliance with employer shared responsibility requirements.


I am searching some rules which I could use with my big ancient and medieval1/72 armies..
Ancient From byblical to Fall of rome, and then medievals up to Renaissance..
And also some Fantasy armies with monsters, wizards and so on.
By the way i found Lion Rampant and Dragon Ramoant interesting but maybe no good for so big forces??
I would give kings of war a look, its very fast playing and works for big forces, and the rules are free here on mantics website http://www.manticgames.com/free-rules.html. Fantasy warlord is good if you want detail and also Armies of Arcana by works well and has a good troop generation system so you can use anything you want. If you are considering warhammer it may be good to check out the older editions (1-3) so you can use the inbuilt troop generation system.
i also purchased a copy of "Hail CAesar".. You played that?
For Warhammer.. I used 1st Ed of W. Ancient Battles..never saw the second ed.
Not played Hail ceaser but i have herd lots of good things about them. You can find Armies of Arcana here http://www.lonegunmangames.com/rulebook.php. As for warhammer, try getting hold of the fantasy versions from the 80s, it sounds weird but they play well enough and arnt ridged when you are working out what you want in a force, you can 'stat up' anything you like using the rules in the book. If you want to use historic armies all the rules are there you just have to build a force using the generation rules and equipment lists and can freely add fantasy elements if you want to. Hope thats some help.
I also picked up Dragon rampant recently, looking forward to trying it out. It looks alot like Lion rampant so will play well. I find them great rules for larger skirmishes. Armies of Arcana is quite hard to get hold of but like warhammer you can do anything you want with the rules to make the game you like. The points system looks complicated to begin with but is quite simple when you use it.
The latest set of rules I got hold of was "To The Strongest!" it is a pretty fluid game because it does away with measuring, fighting is between opposing units on a gridded battlefield. Also uses playing cards instead of dice for activating for movement or fighting and resolving combats.


Essential SEO Tips - Survive the Penguin Update!
Does it seem like your website took a search engine hit in the last few months? The Penguin update may be to blame. This modification to the search engine algorithm was first implemented in mid April of this year and the effects are still being felt across the web. You can get your website up to speed with an inbound marketing partner and the tips from these articles.
The latest tweak to the Penguin search engine module happened just last week – and here's how to deal with it. In three easy steps, the Search Engine Journal covers the essentials for recovering from the Penguin update. Creating better quality links, focusing on keyword variations for your website and make sure anchor text and links aren't over optimized are the keys.
In this in depth look at Google's most recent changes, Barry Schwartz analyzes the most important changes in the search engine algorithm and how to sort out the general updates from the Penguin related updates. According to his analysis, there's an emphasis on high quality content and improvements to how search terms are being scored in ranking.
SEOMoz's Whiteboard Friday is always a good place to get factual, practical tips on search engine optimization – and this edition is no different. Featuring a talk from Rob Kerry, the Penguin edition of whiteboard Friday goes over the basic changes seen with Penguin. Building high quality backlinks to overcome any poor off-page SEO in years past seems to be the best approach. Building a better campaign for your website and taking a more long term approach to link building and content creation can be the best approach.
The value of real, natural links is the biggest lesson from the Penguin updates. This article takes a look at the history of similar updates, why quality web content and links are important and how to protect your site from future, similar updates.
If you only have time to scan a list of tips for repairing SEO damage from Penguin, this is the article for you. Search Engine Roundtable culled a dozen tips from top resources and compiled them into one recovery list that is actionable and specific. Tips include cleaning up link profiles, scaling back internal link anchor text, writing better content and adding more social elements (like Google+ sharing).
Cleaning up your link profile is one of the main ways to recover from the Penguin update, and this article can show you what to avoid. If your backlink profile includes comment spam, guest posts on questionable sites and links from spammy article marketing sites, you may be in danger. Eliminating these links by editing the original source and getting an inbound marketing partner can move you toward stronger rankings in the future.


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Glen Alpine is een plaats (town) in de Amerikaanse staat North Carolina, en valt bestuurlijk gezien onder Burke County.

Demografie
Bij de volkstelling in 2000 werd het aantal inwoners vastgesteld op 1090.
In 2006 is het aantal inwoners door het United States Census Bureau geschat op 1077, een daling van 13 (-1,2%). Deze stad heeft met 10,09%, het hoogste percentage Miao, een Chinese bergvolk, in Amerika.

Geografie
Volgens het United States Census Bureau beslaat de plaats een oppervlakte van
4,8 km², geheel bestaande uit land. Glen Alpine ligt op ongeveer 365 m boven zeeniveau.

Plaatsen in de nabije omgeving
De onderstaande figuur toont nabijgelegen plaatsen in een straal van 24 km rond Glen Alpine.

Externe link

Plaats in North Carolina


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Stamfords offer a tailor made service to suit the individual needs of each landlord, with competitive fee structures designed for the first time landlord and those with a portfolio of properties. We have an excellent reputation for our professional standards and personal service, but most importantly we are enthusiastic and focussed on finding the highest calibre tenants and the best market rents.
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This year's Slush has turned out to be very successful for Oulu and health companies from the region. Slush is the annual event held in December in Helsinki. This time the health start-ups, Maknee and Nukute, have left home with awards for the greatest company pitches.
Slush has a reputation of being the world's leading startup event and prime meeting spot for founders, investors, top tech talents, executives, and media. Even though, it takes place during the darkest time of the year in Finland, this event is full of unique energy. The main goals are to enable meetings between founders and investors and to build a world-wide startup community.
The second day of Slush was filled with numerous side events and it was particularly fruitful as the day ended with three pitching awards for Oulu.
First Eila Erkkila, Deputy Chief Physician at the City of Oulu, gave a presentation at the HealthxSlush18 side event: Moving on up – partner with public sector for growth in health. This pitching competition was aimed at the public sector and health companies with the goal of providing concrete examples of projects and other initiatives that could be carried out to secure better health care services. The three-minute long pitching included, for example, ideas on utilizing mobile applications for the benefit of patients and it was evaluated as the most interesting.
The program then continued with the pitchings perfomed by health start-ups in "shark tank." Companies had the opportunity to come together with the health public sector and corporations to look for new ways of cooperating and working together. The main idea was to think of how to accelerate health innovations and move on to the next level of better services for the benefit of all the citizens. It shortly became clear that Nukute was the favorite of both the judges and the audience at HealthxSlush.
That wasn't the end of good news on that day as the winner of the Life Science Pitching competition for life science-based startups and pre-startups was announced. The pitching performed by Jérôme Thevenot secured the prize of €30,000 to another Oulu-based company, MAKNEE. The competition focused on bringing together the curious scientific community and the business world to inspire concrete action and contribution to the society.