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FAQs
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Why was the F-117 retired so quickly?
.“If it don’t look right, then it don’t fly right.” Ancient aviation saying. I thank Donnie Morrow for sharing it with us.Okay, military pilots and people, get ready for a good laugh: the reason the F-117 was retired early was simple:It didn’t look right.Oh, I can hear the gales of laughter right through my screen. Look, you really don’t have to flame me. Just two words will do: you wrong.But look at this:And this:Yuck! That is not a plane a self-respecting USAF fighter pilot could love. One Commenter, Erin Samai, saw this “fighter” at the Farnborough UK Airshow and likened it to a “flying tent.”While we’re talking fighter, I notice that no other Answer gives the real reason this “boutique bomber” —Rajan Bhavnani’s great term—was strangely designated F-117.The reason was that crafty Air Force brass wanted to lure high caliber pilots. Those would be fighter jocks. A jock would see that F and think, ‘Oh boy, I’m gonna be flying some super secret high performance fighter!’ Certainly not a flying tent. Or, more technically, not flying a “stealth attack aircraft,” aka, invisible bomber.Fighter pilots live and love to dogfight, not driving bomb dumpers. Yawn. And there was no way in hell F-117 could dogfight: it carried no weapons for air-to-air combat. So imagine those hi-cal pilots’ dismay when they clapped eyes on the Nighthawk: “WTF is this? Guys, this thing ain’t no fighter! We been hornswoggled!”In Operation Desert Storm, Saudi’s named the F-117 "Shaba,” Arabic for "Ghost."Since other Answers provide such extraordinary technical details—I’ve learned a lot—I shall do what I always do in these circumstances: tell stories.In the late ’70s, I was in flight training at Burbank Airport (now Bob Hope Airport), north of L.A. I chose this field for its interesting array of flight operations: training, airline, corporate (flying “heavy iron,” pilot-speak for biz jets such as Gulfstream, Bombardier, et al) Many of these sleek mini-airliners were owned by movie stars from nearby Hollywood.There was another operation, an extremely secretive one: Lockheed’s famed Skunk Works. The U-2 and SR-71 Black Bird spy planes were designed here by aeronautical super star Clarence L. “Kelly” Johnson. (February 27, 1910 – December 21, 1990) His sinister black hangar stood just across the field from my training base, wreathed in mystery.Johnson (left) with Gary Powers and U-2. On 1 May 1960, Powers was shot down over the USSR, causing a major Cold War incident. The Soviets, in their frantic efforts to down his U-2, shot down one of their own MIG-19 fighters, killing the pilot.“Oh hey! Sure, come on up. I bet we won’t be able to do this in the future ….”At Burbank I befriended the tower controllers and would often climb up to the glassed-in cab—impossible these days, of course. One morning I came up and a controller said, Oh, you missed some fun last night, Cameron.Seems the Air Force had called up and ordered them to douse the lights on the field at precisely midnight. The controllers pointed out that legally they couldn’t do that. The Air Force played their ace: the “national security” card. The controllers didn’t fold. Nope. USAF had to settle for dimmed lights.At midnight, a gigantic C-5 ( for you non-pilots, this is the largest USAF cargo plane) landed and trundled over to the Skunk Works, sticking its monster snout into their black hangar. Tall shrouds were erected to block view of the C-5’s loading ramp. Grim USAF security in trademark blue berets and automatic weapons established a perimeter around the mammoth plane. It hastily gobbled up something skunky and flew off.Lockheed C-5 Galaxy. Its cargo deck is 1 foot longer than the Wright Brother’s first flight.Next day, the field was abuzz as controllers, pilots and ramp boys speculated on That Top Secret Thing snatched from the Skunk Works. Was Lockheed “reverse engineering” an alien craft? Gee, do you think the government really has…alien pilots on ice? Whatever. It was the usual UFO clap trap.Now, this amuses me about our Air Force. They love to go: “DON’T LOOK! THIS IS TOP SECRET!” So, of course, we all look. If that midnight C-5 had just landed at high noon, trundled in like any normal C-5 and, ho hum, gobbled up some plain ol’ package—no shrouds, no blue berets—and took off, well, no one would have batted an eye. No alien nonsense. But no fun for USAF, either.Much later, we’d learn that the skunky thing was Have Blue, prototype of a revolutionary aircraft designed to evade radar detection. Ironically, the father of stealth was Soviet mathematician Petr Ufimtsev. Fortunately for the United States—remember, this was in the Cold War—Lockheed engineer Denys Overholser took Ufimtsev’s work seriously; his own people, the Soviets, hadn’t.Have Blue incorporated decades of secret aeronautical design work. Now, in the belly of that C-5, she was headed for her first flight at a field so secret, it didn’t exist. There, an assemblage of Air Force brass and Lockheed engineers would watch, holding their breath. Then, as Have Blue climbed away, there would be cheers, high fives and hugs, and, sure, a tear or two from aeronautical engineers who had labored so long and secretly on this peculiar airplane.Have Blue. 60% scale F-117 prototype. (Scott Hanson informs me these weird names are produced by a random name generator to remove human bias)Top photo below: Until the advent of Google Earth, the Air Force denied Area 51 existed. “Don’t you look, ‘cause it ain’t there!”Bottom Photo: F-117s at Langley AFB , Virginia. 64 were built.Flash forward a couple of years. I open the Los Angeles Times and, wow, there’s this big article about some USAF plane crashing in the remote mountains above Bakersfield. Now, normally such an event might rate a few lines of copy on page 15. Not this one. What was the big deal?The big deal was that the Air Force had called up all the major news outlets for an important press conference. OK, about what?Well, the Air Force Press Officer told the assembled journalists, we’ve thrown a “National Security Zone” around a crash site up in the mountains. Huh? Say what? One reporter asked to what altitude this zone extended. “To infinity.” WHAT? “Don’t look! Don’t look!” Big article. Much more fun than just saying nothing—which would have been logical given the remote location of the crash.Years later, we’d learn that the unfortunate craft was our little Have Blue. From the first, she had stability issues. Pilots nicknamed her the Wobblin’ Goblin. Luckily the pilot bailed out okay.F-117s were temperamental and required exceptional maintenance.Let’s return to my point about pilots and the (sexual) aesthetics of their fighter jets. Oh go ahead, laugh! I say sex is an unspoken factor here—and sometimes spoken, as you’ll see in a sec.There’s an old adage in the world of business: sex sells. Never truer than in the fighter jet business.In 1993, the Pentagon established a massive $200 Billion winner-take-all Joint Strike Fighter competition. Two candidates, Boeing’s X-32 and Lockheed Martin’s X-35 went nose-to-nose.I looked at them. Now, I’m no fighter jet expert, but without knowing anything about them, I knew, knew the Lockheed would win. Hands down. End of discussion.Boeing X-32Lockheed Martin X-35Why so certain? Well, look at them. The Lockheed is sleek and sexy in its graphite paint scheme, its come-hither canopy and raked tails. It’s a fighter jock’s dream! The X-32 is anything but. It’s more like—forgive me, Boeing—a happily vomiting albino frog with wings. Am I too unkind?In the testosterone-drenched world of fighter pilots, flying a sexy airplane is like going on a hot date. Seen Top Gun? The Grumman Tomcat is as much the star as that other Tom. I’ll go out on a wing: Tomcat was the sexiest airplane ever to fly. Show me another airplane that could upstage a movie star.Beyond the beauty of its lines, swing-wing Tomcat could fly faster—1544 mph and further, 575 mi—than its successor, the uninspiring McDonnell Douglas Hornet, (1190 mph and 460 mi.) And Tomcat regularly blew off Air Force jocks in mock air battles.But Sec of Defense Cheney had an inexplicable hostility toward the plane: it was a Grumman “jobs program.” (Oh come on! What defense program isn’t?) It had “60’s technology”(ever heard of…upgrading?) He denied a last-minute Navy plea to keep a few beloved, yowling Tomcats around.Some say he was bribed by Boeing. Could be. He certainly went to extraordinary lengths to make sure Tomcat never flew again, ordering Grumman to destroy all its machine tooling, making it impossible to build future planes. (Can you imagine being the veteran Tomcat builder ordered to do that?)The only ones flying now (July 2019) are Iranian. Which it is why it’s illegal to own one. Parts. Tomcats can be found on static displays around the country. Note: for those of you interested in owning a fighter, you can have an F-4 Phantom for $3MM.By any measure, the F-14 Tomcat was a magnificent fighter. It’s “variable geometry” swing wings were unique. It certainly deserves a place in the pantheon of fighter greats: Spitfire, MIG-15, Bf-109, P-51 Mustang, Mitsubishi Zero, Sopwith Camel. You probably have other candidates.I am saddened that Mr. Cheney lacked the vision to appreciate Tomcat.Oh, well—’sigh’—we’ll always have Top Gun.Grumman F-14 Tomcat, retired 2006. The Navy misses it…bad.Back to the Joint Strike Fighter competition:Strangely, the drooling jocks didn’t name the Lockheed plane and pilots love to name their craft. Examples: the unlovely Fairchild Republic A-10 is lovingly called Warthog, or simply Hawg. The Boeing B-52—in service 67 years!—is the BUFF: Big Ugly Fat Fucker—oops! I meant “Fellah.”(A pilot wouldn’t be caught dead uttering a warplane’s official name: A-10 Thunderbolt II, B-52 Stratofortress)Warthog firing its Avenger Gatling gun. Google up its unique “BRRRRT!” sound.The jocks did name Boeing’s X-32 and it wasn’t a nice name like Hawg. The test pilots called her…Monica. I tell you, that name was her death knell.Why Monica? A jock would happily tell you with a wink and snicker: she’s got a big mouth, she’s ugly and…she sucks. Scratching your head? Remember Bill Clinton’s presidency? Yeah? Good. That Monica. Aha!Now, if you’re still scratching at my stupid hinting, please Google up “Monica Clinton.” There’s your answer. And dear reader, I’m not being coy; we’re talking airplane sexuality here, not human. We’re not going there.Cool Cat won, of course. (pilots had begun calling her Panther) And to be fair, her win wasn’t all on sexy looks. She could refuel in flight and hover like a helicopter. Monica could do neither.She’s now the most expensive Pentagon program in history: $1 Trillion. Think of all the cool stuff we could have had for that: high speed rail, health care for all, a chromebook XL for every kid in the country. Think!Sure, Monica would have been way cheaper—Boeing had emphasized cost control—but trust me, there would have been a pilot mutiny if Air Force brass had embraced the Vomiting Frog over Panther.Many thanks to Howard Torman for sharing his first-hand knowledge of the Joint Strike Fighter competition.The F-117 was shot down once. It occurred in the Kosovo War of 1998–99 when NATO flew it against Serbia. The historic shoot-down date was 27 March 1999.A Serbian commander of an Air Defense Missile Brigade, former bread baker Colonel Zoltan Dani, made a study of the F-117 ‘s almost invisible radar returns. On Serbian screens the plane looked like a fuzzy sparrow, useless for missile lock. But Dani detected a chink in the stealth “armor:” when the bomb bay doors snapped open, that fuzzy little bird’s radar signature lit bright for a few seconds.Now add NATO complacency. Since F-117 was supposedly invisible, the air staff got lazy and ran the same course to targets in Belgrade, the Serbian capital, on every mission. Fatal. Unfortunately, Dani was an especially clever air defense commander. He now had the Initial Point of the bomb run and a probable course into Belgrade.Serbian “Goa” Surface to Air Missile (SAM)So, when the next Nighthawk came a-bombin’, Dani and crew pounced, hitting it with a brace of well-placed Goas. Badly damaged, the F-117 tumbled out of control, crashing in a field on its back. The pilot, Lt. Col. Dale Zelko (below) bailed out unhurt and evaded capture to be pulled out by USAF Pararescue six hours later.The ultimate irony: Dale Zelko is of Yugoslav ancestry.**Thanks to Desiree Arceneaux for shoot-down details.The gleeful Serbs then invited the Russians and Chinese in for some serious reverse engineering of the dead F-117. That ended the 25 year American monopoly on stealth technology.Despite this costly embarrassment, Nighthawk continued in service for another 8 years. The Air Force had expected at least 13. But the Ghost had been outed and in the most humiliating way: by a tiny Balkan air force (Serbia combines air force and air defense) To add insult to injury, Ghost was downed by obsolete Soviet SAMs. The Air Force was stunned. There were red faces at the Pentagon.Then there was the F-117’s record in combat with its Paveway II laser bomb system. After it’s first several missions, the Air Force crowed that the plane had destroyed 80% of its assigned targets. However, on closer examination this was found to be wildly overstated. Like about 100% wildly.So, here we had this weird black plane which hit targets barely half the time, which had embarrassed the Air Force and which was a bitch to maintain.And what was that impatient roaring in the wings? Panther! The expensive love of the fighter jocks, clawing to take center stage.No pilot ever loved The Black Jet—or at least confessed to. It was a revolutionary freak and revolutionaries are rarely lovable—nor are freaks.Nighthawk had been born in great mystery at the Skunk Works and out at Area 51—mystery made greater by Air Force antics. But now, in late middle age, it’s mystique was gone—and soon it would be, too..Colonel Dani gloating over his kill.“Get me Dimitri on the phone. And that Chinese guy. I can never pronounce his name.”But why did they have to rub it in? Why? The day after the shoot-down, the Serbs, giddy with their spectacular triumph, erected this huge, hand-painted banner over the shattered Nighthawk carcass for all the gathered international press to see:“S O R R Y ! .W E .D I DN’T .K N O W .I T .WA S **I N V I S I B L E!**”JerksThe author gratefully acknowledges the many suggestions and corrections from military and civilian readers. You improved this Answer—a lot! Thank you.** Zelko and Dani would later become friends.
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How do I register my company and logo in India?
Incorporating a company in India is slightly difficult than you may think. Its better you hire a CS, CA or a Lawyer to do it for you. Nonetheless, here is the process:(1) Obtain DIN (Director Identification Number) from Registrar of Companies, Ministry of Corporate Affairs of all the proposed Directors in your Company. (2) Obtain DSC (Digital Signature Certificate) from any of the authorities recognised by Registrar of Companies of all the Directors. (3) Apply in a prescribed format to the Registrar of Companies for the approval of name of your company. You need to provide a minimum of 5 options to the Registrar in this form.(4) Once you receive the name approval from the Registrar of Companies, you need to file the following documents with that office: (a) Memorandum of Association(b) Article of Association(c) Form 32 (Details of Directors)(d) Form 18 (Registered Office details)(e) Form 1 (Compliance with the Act) FEESThe official fees for which you will receive receipts (for a Company with an Authorised Capital of Rs 1 lakh) will be approximately Rs 11,000. Rest of it will be the fee of the working professional. On an average you're likely to spend Rs 5000 to Rs 10000 in addition to the official fee, so that the total price comes out to somewhere between Rs 16000 and Rs 21000.TIME FRAMEIf everything goes smoothly, you can register your Company within 20 to 30 days. However, if an objection is raised on an issue, it may take longer, as well. Good luck!Nitin
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What are some great online tools for startups? Why?
Startups need something that can give then maximum at minimum invest because the number of risks is always high! We understand all your needs and hence we have got this product for you- PayUnow!Be it any startup: food, automobiles, e-commerce, travel, IT, education or homemakers, this one is for you! It is available for FREE for Android and iOS users. Let customers discover you as you upload pictures of delicacies. To collect online payments easily, anytime and anywhere, all you have to do is share a unique business link or website which you will create with us for FREE! Here’s why you should download the app NOW:It is FREEAllows you to create a business website with zero maintenance costHas the lowest TDR in the market i.e 1.99+GST!Lets you showcase your productsAllow you to add contact details and locationMultiple payment options supportedYour customers do not need an app! All you need to accept payments directly in your bank is one link: you can choose this link for FREE!Quick and paperless bank verification and documentationPayUnow is a product of India’s largest Fintech Company- PayU! Join the communtiy of 4.5 lakhs+ businesses like you! We look forward to empowering the SMBs and give them a relief from the hassles of payments so that the only thing you need to focus is your business growth! We are continuously creating a guide to assist you with the best. Learn how to sign up, edit, share and verify by visiting here:
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What would be the best way to promote a Kickstarter, Indiegogo, RocketHub, or appbackr fundraiser?
To give you a bit of background, I did a crowd funding campaign to release a compilation album featuring artists from all over the world. (More info about that project: http://checkthis.com/zhnu)Let's say you have all the promo tools ready. Here are a few tips for how to handle such a campaign:Send a personal email explaining your project to your family, friends, colleagues, ... people who you have a strong personal bond with. And tell them how they can follow your evolution. These people will become the foundations of your project's community.Make sure people can follow your evolution step by step. Share everything you do, think or plan with your community. Don't sell your perks, but tell your story.Discuss the strategy of your crowd funding campaign with your community. This will turn them into strong advocates of your project.Make contests like: "Our best advocate gets the original prototype for free." to make your brand advocates go nuts.Set milestones every few weeks and share these with your community, so that they can live up to each milestone event and help you achieve it.Show who's behind the project. Even if you think you look stupid on video, show your face, show how you're testing an MVP of your project or meeting potential users, how you failed the first twenty prototypes and the smile on your face when the twenty-first worked.Here are a few extra tips from the guy who just raised 7M on kickstarter for his pebble watch. http://www.fastcodesign.com/1669...
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How does understanding the elements of music impact the analysis of a narrative poem?
Scaringly difficult subject to write about, and surely, just as ambivalent. I possess no expertise on poetry nor on music, only what a curious & interested mind gathers over these past few years. Hastily point out mistakes or any others short-comings & fallacies.I will be quick to mention Milton, perhaps a little of Eliot, and lastly, Ezra Pound. The effect & connection between music and poetry has definitively varied throughout history. Sung epos & folklore songs, Provençal & Troubadour poetry,... roughly speaking, and this is my observation, the first wedge between the two has been made when poetry became much more erudite, soaked in words-meaning, and forgot the musical rhythms little behind, not that I value one over another.-- Anyway, 19. & 20. century welcomed the revival of the two, and again established connections. French symbolism, Modernism & new musical techniques ( revolution of style both in literature & music, the avant-garde was united across all fields ). Of course, one of the issues is how much of modern poetry can be marked as "narrative" in the obvious sense. The elements of music is such a vague term indeed…To start off with a quotation from Poe`s The Poetic Principle:Contenting myself with the certainty that Music, in its various modes of metre, rhythm and rhyme, is of so vast a moment in Poetry as never to be wisely rejected - is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music perhaps that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles - the creation of supernal Beauty. It may be, indeed, that here this sublime end is, now and then, attained in fact. We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which cannot have been unfamiliar to the angels. And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess - and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems.&A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with definite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness.And to finish, a section from a letter to James R. Lowell:I am profoundly excited by music and by some poems - those of Tennyson especially - whom with Keats, Shelley, Coleridge (occasionally) and a few others of like thought and expression, I regard as the sole poets. Music is the perfection of the soul or idea of Poetry. The vagueness of exultation aroused by a sweet air which should be strictly indefinite and never too strongly suggestive is precisely what we should aim at in poetry. Affectation which is thus no blemishMustek and Poetry have ever been acknowledg'd Sisters. As Poetry is the harmony of Words, so Mustek is that of Notes... Sure they are most excellent when they are join 'd. Blest pair of Sirens, pledges of Heav'ns joy, Sphere-born harmonious Sisters, Voice, and Vers, Wed your divine sounds, and mixt power employ Dead things with inbreath'd sense able to pierceMilton could have very well be a musician, -his father was-, and his music appeared in print from time to time, one notable contribution was Fair Orian in collection of madrigals in Honour of queen Elizabeth, The Triumphs of Oriana.He was a close friend with a composer Henry Lawes, and the two collaborated on The Masque of Comus, 1634.There is also a distinction to be made between Greek & Roman musica practica, which was performed & sung, and the Pythagorean musica speculativa, theoretical & mathematical understanding, — changed to Christianised harmonia mundi during the Renaissance revival ). Harmonica mundi can definitely be encountered in Milton`s early poetry, At solemn music, Ad Patrem, & passages from 'Arcades', Comus, and 'On the Morning of Christ's Nativity'.From At solemn music:“ … disproportioned sinJarred against nature's chime, and with harsh dinBroke the fair music that all creatures madeTo their great Lord.”See how disproportioned resonates with Pythagorean proportions, and it became disproportioned with the Original Sin and the fall from Eden. The reconciliation between the Classical/Pagan & Christian aesthetics and tradition was one of the foremost issues of early Milton. A passage from On the Morning of Christ's Nativity';The lonely mountains o’er, And the resounding shore, A voice of weeping heard and loud lament; Edgèd with poplar pale, From haunted spring, and dale The parting Genius is with sighing sent; With flower-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn.From Paradise Lost:Celestial voices to the midnight air [...]With heavenly touch of instrumental soundsIn full harmonic number joined, their songsDivide the night, and lift our thoughts to heaven.& in Hell:Their song was partial, but the harmony(What could it less when spirits immortal sing?)Suspended hell, and took with ravishment The thronging audience.Partial music of fallen Angels & Broken music of man. And Book V:Mystical dance, which yonder starry sphereOf planets and of fixed in all her wheelsResembles nearest, mazes intricate,Eccentric, intervolved, yet regularThen most, when most irregular they seem;And in their motions harmony divineSo smooths her charming tones, that God's own earListens delighted.A quick stop with T.S. Eliot and modernism before Pound.Modernism was a turbulent period, literature was chasing music, music was chasing language, and both were born out of impulse to restore expressivity & eloquence that the formality has lost. An important shift has happened, there is no absolute, right or left, right is not the opposite of left, ocean does not kill the fire.Poe & French symbolism played a pivotal role, and I am not confident nor do I know enough to speak about French climate and the effects of Poe in the second half of the 19. century here.Just as literature changed, so did music. Even the so called more traditional composers, like Ravel, are less formulaic and more abrupt, not to mention the likes of Stravinsky. What is very intriguing to me is how well does modern art produce tensions despite the loss of totality & coherence, and how idiosyncratic arbitration took over without losing the profound and human effect of tensity. In this sense, music was not longer a music in musical forms, but rather that of consciousness and its fragmentation.The seeming homelessness of arts in the period is a precondition of the changes that occurred, and this is what T. Hardy called the ache of modernism. There are no happy ends, formulaic tragedies ethically victorious, nor obvious redemption ( debatable, Last part of The Waste Land is an example ). The widening canyon of separation & inability of pristine connectivity is a precondition of the age, and in itself, its product - Postmodernism, a headless human still digging in a graveyard of modernity, seeking hopelessly for a regenerative bone & praying not to find it - he would have to leave. This is why modernism has no green heritage, only skeletons. In Joyce`s terms, Scrupulous meanness. Even the Hegelian aesthetics “in the suspension of equilibrium lies the tendency to return to a condition of equilibrium”, even musical form through dissonance to consonance, is depleted. If one here remembers the quotes from Poe and his posture of indefinitiveness, how it went from his to symbolism and from there to modernism, acclaiming the suggestive aspect.One of the drives of modernism was to thrust poetry back from the street, or jungle, to the sublime, the rightful place, to perform the duties it deserves. The restoration called for a path through prickly subjects, even ironic and laughable, like Prufrock`s underwhelming question, but it manages to pass exactly due to that vagueness, and we sense it as our own.Perhaps all this has been rather imprecise, let me speak about Eliot.So, while poetry attempts to convey something beyond what can be conveyed in prose rhythms, it remains, all the same, one person talking to another; and this is just as true if you sing it, for singing is another way of talking. The immediacy of poetry to conversation is not a matter on which we can lay down exact laws. Every revolution in poetry is apt to be, and sometimes to announce itself to be a return to common speech.... The music of poetry, then, must be a music latent in the common speech of its time.The Use of Poetry and The Use of Criticism: “Poetry begins, I dare say, with a savage beating a drum in a jungle, and it retains that essential of percussion and rhythm” - like music.Fairly, music of poetry may differ from music of music, an awkward saying that while musical elements are important for analysis, but the musical elements in poetry categorically & theoretically & applicably differ from those that we apply to music per se.'From Poe to Valery´, essay:Poetry, of different kinds, may be said to range from that in which the attention of the reader is directed primarily to the sound, to that in which it is directed primarily to the sense. With the former kind, the sense may be apprehended almost unconsciously; with the latter kind - at these two extremes - it is the sound, of the operation of which upon us we are unconscious. But, with either type, sound and sense must cooperate; in even the most purely incantatory poem, the dictionary meaning of the words cannot be disregarded with impunity.Precisely, from The music of Poetry;[m]y purpose here is to insist that a 'musical poem' is a poem which has a musical pattern of sound and a musical pattern of the secondary meanings of the words that compose it, and that these two patterns are indissoluble and one.Simply a level beside the denotation of words. In`The Music of Poetry´ another inspect of this climate is presented:The music of a word is, so to speak, at a point of intersection: it arises from its relation first to the words immediately preceding and following it, and indefinitely to the rest of its context; and from another relation, that of its immediate meaning in that context to all the other meanings which it has had in other contexts, to its greater or less wealth of association.Which can be directly linked to his writings On Dante:In English poetry words have a kind of opacity which is part of their beauty. I do not mean that the beauty of English poetry is what is called mere 'verbal beauty'. It is rather that words have associations, and the groups of words in association have associations, which is a kind of local self-consciousness, because they are the growth of a particular civilization.As many words, music ferries such a rich history of meanings, definitions, and relations that is difficult to analyse the impact. Music in one of the Archetypes, and they are hard to contain. Music is a structure separate of understanding, insofar as it escapes the restraints of conventional meanings. The Music of Poetry is, if one takes a leap of imagination, an objective correlative, if I dare expand the term. If I use a line from D. Davie; "It is language which happens through the speaker and not the speaker who expresses himself through language.”-— Can this also be said about music, when it comes to early Eliot?In an 'Aspects of Rhythm and Rhyme in Eliot's Early Poems', J. Chalker, in sum, `The Use “the steadiness and predictability of musical rhythm” is to produce psychological reassurance in the midst of emotional disturbance.´—Such irony, after reading Prufrock, if I thinks solemnly of rhythm, I would say it conveys anything but the reassurance and predictability, yes, the irony that is serves as a distraction from emotional disturbances, and in this fact lays reassurance.Quite enough of Eliot…Ezra Pound!''The idea that music and poetry can be separated,'' he wrote, ''is an idea current in ages of degradation and decadence when both arts are in the hands of lazy imbeciles.''Opera Le Testament De Villon:He started at least two unfinished operas, Cavalcanti and COLLIS O HELICONII.( Two short recordings of the latter can be found here )Rhythm & Music, “the hardest quality of a man's style to counterfeit”.In his three essays about Music in Transatlantic Review, he strongly focuses & advocates time and time-intervals, arguing:“A sound of any pitch, or any combination of such sounds, may be followed by a sound, or any combination of sounds, providing the time interval between them is properly gauged; and this is true for any series of sounds, chords, or arpeggios”Emphasization of space and rhythm was, by space - `space in between concise images - in juxtaposition´ - one of prime concerns of Imagisme. Reader`s interaction is needed to form a connection between them. ( A short answer about In A Station of the Metro ) Another short poem, Alba:As cool as the pale wet leaves of lily-of-the-valleyShe lay beside me in the dawn.Pound˙s poetry, rhythm & music was always more about reaction than explanation, which, I think, anyone who has read him can agree, and that might very well be the only thing on which we can agree. Therefore Poetry & Music are two in one to achieving this reaction.I will briefly present his own attempt to compose a work based on his own poem, Sestina Altaforte (1909 )Loquitur: En Bertrans de Born.Dante Alighieri put this man in hell for that he was a stirrer-up of strife.Eccovi!Judge ye!Have I dug him up again?The scene in at his castle, Altaforte. "Papiols" is his jongleur."The Leopard," the device of Richard (Cúur de Lion).IDamn it all! all this our South stinks peace.You whoreson dog, Papiols, come! Let's to music!I have no life save when the swords clash.But ah! when I see the standards gold, vair, purple, opposingAnd the broad fields beneath them turn crimson,Then howl I my heart nigh mad with rejoicing.IIIn hot summer have I great rejoicingWhen the tempests kill the earth's foul peace,And the lightnings from black heav'n flash crimson,And the fierce thunders roar me their musicAnd the winds shriek through the clouds mad, opposing,And through all the riven skies God's swords clash.IIIHell grant soon we hear again the swords clash!And the shrill neighs of destriers in battle rejoicing,Spiked breast to spiked breast opposing!Better one hour's stour than a year's peaceWith fat boards, bawds, wine and frail music!Bah! there's no wine like the blood's crimson!IVAnd I love to see the sun rise blood-crimson.And I watch his spears through the dark clashAnd it fills all my heart with rejoicingAnd pries wide my mouth with fast musicWhen I see him so scorn and defy peace,His lone might 'gainst all darkness opposing.VThe man who fears war and squats opposingMy words for stour, hath no blood of crimsonBut is fit only to rot in womanish peaceFar from where worth's won and the swords clashFor the death of such sluts I go rejoicing;Yea, I fill all the air with my music.VIPapiols, Papiols, to the music!There's no sound like to swords swords opposing,No cry like the battle's rejoicingWhen our elbows and swords drip the crimsonAnd our charges 'gainst "The Leopard's" rush clash.May God damn for ever all who cry "Peace!"VIIAnd let the music of the swords make them crimson!Hell grant soon we hear again the swords clash!Hell blot black for always the thought "Peace!"As a remainder, poem’s speaker is the Gascon nobleman and war-loving troubadour Bertran de Born, who lived in the second half of the twelfth century. There is no way Pound would have wrote the poem in 1914, even 1913, with its pro-war orientation, but in the end, it is a traditional subject of epic.If one isolates the ending words of each stanza:peace – music – clash – opposing – crimson – rejoicing [Stanza I]rejoicing – peace – crimson – music – opposing – clash [Stanza II]clash – rejoicing – opposing – peace – music – crimson [Stanza III]crimson – clash – rejoicing – music – peace – opposing [Stanza IV]opposing – crimson – peace – clash – rejoicing – music [Stanza V]music – opposing – rejoicing – crimson – clash – Peace [Stanza VI]crimson – clash – Peace [Envoi]Not to get into a detailed analysis of this one poem and its technical mastery of Anglo-Saxon metre & alliteration, more famous in his translation The Seafarer.“The phrases are short (two to six small, quick bars), often similar but generally asymmetric, and impetuous with anapest driven leaps, creating an almost flickering quality. The sestina form, however, is used for purely structural function. There is no attempt at word painting or at a sonic/cognitive equivalent. The music matches the original poem, one note or chord per syllable, through the third line of the second sestet. From this point musical irregularities gradually encroach upon the monosyllabic relationship with the text. His formal method was to assign one or two extremely brief music segments (each segment consisting of a different chord, or two or three chords with or without a unison note) as a “sonic signifier” to identify each line of Altaforte’s six end words. When the end word appeared in its new position in the following sestet its sonic signifier would appear as a recognizable determinant. . . .“Remembering category #4 concerning “Criticism via music” in Pound’s essay “Date Line,” we can reflect upon the interpretive insights given us when Pound interrelates music and verse.2 As can be seen above, the temptation to read “Damn it all!” as a colloquial emphatic anapest is dissuaded by Pound’s more pungent cretic ( – ˘– ), giving equal emphasis to “Damn-all.” At the end of the line a spondee (two quarter notes) gives accentuation to “stinks peace,” correcting a tendency to slight “stinks” as a moderately unstressed syllable if giving “South stinks peace” the quite natural reading of a cretic. Similarly, in line six of the same stanza, “heart nigh mad” might be rendered a cretic, yet Pound’s musical setting as three stressed syllables heightens the emotional pitch of the poem by raising the tension on “nigh.” . . .“Under the influence of Antheil’s constantly changing time signatures and note durations[applied to the opera Le Testament] the solo violin sestina utilizes a constant shifting of the number of microbeats per bar from 1/4 to 21/32, with a frequency of triple and quintuple meters presaging the metric simplification of his music over the next two years. Yet Pound’s notation is not secure enough to avoid frequent miscalculations of the note lengths versus the time signatures.“A chordal piece with almost no single notes, frequently using triple- and quadruple-stops with one to three open strings, it repeatedly necessitates the use of “broken chords” or arpeggiation. The result is often a scratchy, disjointed, leaping quality as the player prepares the fingers to approach each new multiple stop. Yet the “breaking” of the chord also favors a clarification of the harmony by lessening the biting dissonance to produce a more consonant sound, often focusing on open fifths or, in arpeggiation, the sweetened effect of an incomplete major seventh chord. Although aesthetically clarified by a few interpretive markings (bowings, accents, staccati, glissandi, sordino, string specification), technically the piece is filled with impracticalities: jagged, wide leaps; constant multiple stops; and some extremely difficult quadruple- stops, which at best render the work barely playable, if not unplayable. (These challenging famous last words often eventually offer an extremely good performance!)” . . . ( Sestina Altaforte” Ezra Pound sets his poem to music )Aforementioned unfinished COLLIS O HELICONII;HYMN TO APHRODITEAphrodite subtle of soul and deathless, Daughter of God, weaver of wiles, I pray thee Neither with care, dread Mistress, nor with anguish Slay thou my spirit. But in pity hasten, come now if ever! From afar, of old, when my voice implored thee, Thou hast deigned to listen leaving the golden House of thy father With thy chariot yoked, and with doves that drew thee Fair and fleet around the dark earth from heaven, Dipping vibrant wings down the azure distance Through the mid ether: Very swift they came; and thou gracious Vision Leaned with face that smiled in immortal beauty, Leaned to me and asked, “What misfortune threatened?” Why I had called thee? “What my frenzied heart craved in utter yearning, Whom its wild desire would persuade to passion? What disdainful charms madly worshipped, slight thee? Who wrongs thee, Sappho? “She that fain would fly, she shall quickly follow She that now rejects, yet with gifts shall woo thee, She that heeds thee not, soon shall love to madness, Love thee, the loth one.”( John Myers O’Hara translation 1910, which Pound recommended )Scenario/librettoPound described his third opera as half-finished (GK 368). A libretto, two arias, and three instrumental works are the sum of materials we have to inform the staging of the opera Collis O Heliconii. Pound’s libretto refers only to the Catullus poem (see my comments and transcription of Pound’s libretto, COLLIS xvi–xix; 102–111). The joining of the opera’s central aria in Latin—Catullus’ carmen 61—and a secondary aria in Greek—Sappho’s “Poikilothron”—continued the pairing of languages heard in the second opera Cavalcanti (Italian and Provençal). The composer’s principal motivation for relating the Latin and Greek poems in an opera was to anchor modern English lyrics in the Greek rhythms while demonstrating how a grasp of Latin will refine a poet’s style.The four key actions of Sappho’s Poem 1 are Sappho’s invocation to the goddess Aphrodite; the goddess’s descent from heaven; Aphrodite’s direct address to Sappho regarding her dominance over human will; and Sappho’s invitation to Aphrodite to take action side by side to reverse an unrequited love.The relationship of the Sappho invocation to the Catullan poem, which is widely accepted as an epithalamium, is not an obvious one. But even if we overlook recent scholarship that depicts carmen 61 as a lampoon of an epithalamium, we can find structural resemblances between the two poems. Sappho’s poem provides an authorial match to Catullus’ carmen 61: each poet inserts her- or himself into the poem; each writes in a way that distances the poet as author from the passions written about; and each poem includes a theme of same-sex preference. It was Henry Wharton who first introduced the English reader to Sappho’s love for a female and possibly Theodor Bergk who earlier had done the same for the German reader (Williamson 51–52).2For contrast and drama in his opera, Pound would develop the literary relationship between Sappho and Catullus. He had named them in his 1929 essay “How to Read” as among the essential canon of authors "who actually invented something" (LE 27). In 1934, Pound praised Catullus for his treatment of sapphics: “. . . the only man who has ever mastered the lady’s metre” (ABCR 47). He published the essay “Date Line” the same year, claiming that the musical setting of a poet’s words was a fourth form of criticism (LE 74). Had Pound’s attempts at setting the two poets’ words to music led him to these declarations?Pound’s preference was for us to hear the two poets’ words in the original language, their rhythms and styles brought directly to our ear through the music—the successful formula he had used to dramatize the Cavalcanti–Sordello literary relationship in his second opera. Pound’s pairing of Sappho’s 1 with Catullus 61 removes Sappho from the sphere of influence of Ovid, where most readers became acquainted with her through reading the Heroides. The opera was to place her Latin legacy clearly on the side of Catullus. For more on this, see COLLIS, chapter V, “Sappho.”SapphicsEzra Pound's holograph score of his setting of Sappho Poem 1 from his 3rd opera,Collis O Heliconii.Shown: Introduction to End of Stanza 1 with sapphic stanza and transcription of Pound's lyrics added in red.Beinecke Rare Book and Manuscript Library (YCAL 53, Box 46/1015)Reprinted by permission, Second Evening Art. All rights reserved.Pound’s musical events in the Poikilothron convey a feeling for the meter through quantity and syllabic durations. Only the first stanza (see music score above) corresponds wholly to the sapphic stanza as defined by the Alexandrian grammarian Hephaestion (2nd century A.D.). Here is the sapphic meter as it has come down to us from Hephaestion’s manual of Greek meters, the Enchiridion:– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘ – x – ˘˘ – ˘ – x– ˘˘ – –[The x represents an “anceps” in which the syllable can be short or long.]O’Hara, too, conformed only his first stanza to the Hephaestion sapphic. He maintained the feeling of sapphics through quantity (eleven syllables in the first three lines, five in the fourth), through a liberal use of the choriambic foot – ˘˘ – (though not always in the Hephaestion choriambic position), and through sounds in English that evoke the Greek sounds. Pound follows suit in the music (see the entry on Stanza 4 below).Musical InfluencesWhen Pound approached the setting of a Greek poem accompanied by lyre, he did not attempt to imitate ancient Greek music. Though he had acquired vol. 1 of the Lavignac Encyclopedia of Music which features Maurice Emmanuel’s entry on Greek music, he relied on this text more for its relevance to poetic meter than for compositional ideas.He lent Mary Barnard his own volume, recommending it as the preferred source for understanding how to write sapphics in American English using Emmanuel’s system of musical forms and strategies (Barnard, 56, 58).For his melodies, Pound looked beyond Greece, east to Indonesia. Pound turned his attention to the Javanese scale as had Claude Debussy, but distanced himself from the composer, lamenting that Debussy had turned to composing ‘mush.’3 Debussy had been influenced by performances of the Javanese gamelan at the Paris Exposition of 1889. Access to information about and recordings of world music were random and haphazard, the nascent field of ethnomusicology being represented by only a few key individuals until well into the 1950s.The specific source for Pound’s approach to the Sappho aria, however, is traceable to the Austrian Erich von Hornbostel, one of the earliest musicologists to make field recordings of the music of Indonesia. Hornbostel reported his findings in “Phonographierte Melodien aus Madagaskar und Indonesien” in 1909. Pound most probably learned of him from his friend, the American concert pianist Katherine Heyman, who mentioned Hornbostel in her 1921 bookThe Relation of Ultramodern to Archaic Music (58).4 On July 7, 1924, Pound programmed an arrangement of a Hornbostel Javanese transcription for solo violin, played by Olga Rudge in Paris.5Pound’s Musical Strategy: Modality and TonalityTo the ear accustomed to a diatonic scale, the intervals of Pound’s unusual scale join with the rhythms “to cut a shape in time” (Barnard, 55). Pound’s single accidental of C# in his scale for the Poikilothron aria resembles the transcriptions of Sumatran music compiled by von Hornbostel at the turn of the century.Pound employs six tones —A, C#, D, E, F, (G)—and avoids B altogether. The use of five tones only in stanzas one through four creates a sense of modal music, i.e., a type of scale that is sui generis, where each tone has equal weight, rather than tonal, which is a hierarchical system of music with a central pitch to which the other pitches relate. In modal music the notes do not function as harmony. Only in the fifth stanza does Pound introduce the G to create the sense of a musical key with the stable relationships of the fourth between D and G, and the already present fifth between D and A. The six-tone scale, with certain features acting like a diatonic scale which has seven tones, implies the key of D minor. B is simply avoided and the C# serves as a raised “seventh” step which wants to resolve to D.When the tritone sounds between G and C#, the composer moves from modal to tonal music. In Stanza six, he resumes modality.The contours of Pound’s melodies arise from the qualities of spoken word in the poem—supplication, solicitation, question, demand, and judgment—, the intervallic movement expanding and subsiding with the emotion. The composer brings forward the contours of Sappho’s words through timbre, dissonance, tritone, and accent. Guided by the belief that he can recover the form apart from the formulaic metrics passed down by tradition, he does not attempt to recover ancient Greek melody, but presents new composition as his fifth form of criticism (LE 74–75).Stanza 4: Inner form in Sappho’s Poikilothron:In stanza four, Sappho’s rhetorical devices lead to a highly structured colloquy between the poetess and goddess, even as the language remains colloquial. The composer strives to make this duality salient—structural formality/linguistic familiarity—not only to transmit Sappho to a modern audience but to promote his own interest in Sappho as a mortal poet conversant with the gods.At stanza four we find rhyming patterns in the syllables: otti deute / kotti deute. Here, Pound foregrounds Sappho’s word play by striking the repeating hard surfaces of her Greek consonants—t, d, p, k—against his neo-Sumatran scale, the strangeness of the scale serving to inflect each sound. Sappho’s voice rings out, resonant and striking in her Poundian afterlife, with none of the Ovidian invention and melodrama qualifying her poetic achievement.Stanza 4, lines 3–4, bars 45–49“You asked, what pray tell have I suffered and why pray tell do I call?”Following three breathy vowels on the same pitch, “e-re ot-”, the consonant load of the syllables, “ti”–“dau”–“te”–“pe”–“pon”–“tha,” meets each of the descending pitches with percussive impact. The final syllable pepontha (“have I suffered”) hits the bottom of the singer’s tessitura on A,an octave and a minor sixth below “e-re ot-.” The word kotti (“and what”) rebounds one octave higher on the A, then C# and A again,before a second leap downward to the low A. There follows a third and lesser rebound and descent. The word melodykalemmi (“do I call”), broken by a sixteenth rest, gives the illusion that all is settling down. Pound delivers the last syllable “-mi” on the less-than-resolute e to end the stanza (supported by an A in the violin).Stanza 5: the tritone in Pound’s aria Poikilothron:The Music Column of Make It New 2.1 discussed Pound’s use of the interval of the tritone to insert a critical marker indicating genius within the music. In the Sappho aria, we might expect that when Sappho refers to herself in the poem’s fifth stanza (“kotti moi”), Pound will employ the tritone, and he does not disappoint. He makes the tonality of the tritone salient by preceding it with modality in the preceding four stanzas and in the subsequent sixth stanza.What Pound said:“The more Greek a man knows the better his English cadence is likely to be, and the greater richness, variety, height, precision, colour of his criteria; the greater the variety of his ideas and memories of what verbal melody can be and should be; and the finer his perception of all verbal sounds whatsoever.”(Ezra Pound. “Dust upon Hellas.” Time and Tide XV.45 [November 10, 1934]: 1429–1430).“Greek seems to me a storehouse of wonderful rhythms, possibly impracticable rhythms. If you don’t read it and if you can’t read Latin translations from it, it can’t be helped. Most English translations are hopeless. The best are in prose.”(Ezra Pound. Letter to Iris Barry. July 1916. L 87).( SAPPHO IN POUND’S THIRD OPERA, COLLIS O HELICONII )I would still say that Pound`s musical interest & experimentation ( Classical Greek and Latin, 11th- and 12th-century troubadours like Arnaut Daniel and Gaucelm Faidi, French trouvères like Guillaume le Vinier, and their 14th- and 15th-century heirs like Dante, Cavalcanti and Villon ) were an extended branch, or outgrowth, of his colossal studies in versification. The sound, not semantics!Arthur Daniel, if Pound were asked to give a name of his idea forerunner of whom he said: “when the Provençal [language] was growing weary, and it was to be seen if it could last, and [he] tried to make almost a new language, or at least to enlarge the Langue d’Oc, and make new things possible” —Make it new! The famous motto.OBLIGATORY listening, a different reading of Sestina Altaforte. If you do not hear the music, Sir, God help thee…So, how does understanding of music impact poetry? — Some say intrinsic, and some have not given it a thought or two. Same goes with criticism & analysis.
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What are the best event marketing tactics?
Running effective email campaigns!According to a survey by Lippman Connects, Exhibit Surveys Inc. and Trade Show Executive that generated responses from 160 independent and association show organizers, an average of $308,561 is spent on attendee acquisition, or $32.66 per net attendee. The acquisition costs do not include staff costs, but do involve a wide range of tactics including: social media, direct mail, e-mail, advertising and other agency fees plus website design and postage.This poses as a problem to events that are free or when ticket revenues cannot offset costs given such a high acquisition cost. We often recommend our clients to use EDM, which refers to Electronic Direct Mail, campaigns to boost event attendance. This is by far the most effective and least expensive marketing strategy for events. Let’s hear a few tips of running a successful email marketing campaign from our experts.1. Don’t combine invitation email with other typesWe tried sending newsletters with event registration links inside and found that it didn’t work. A stand-alone email dedicated to invite people to the event will be more likely to catch their attention. However, I have clients who raised awareness of their events by mentioning it in other email types and include the event information in the email signature. You can try that approach but always remember that you will need a separate invitation email for each of your events. The only exception is that you have a series of similar events, say, workshops that people can register for simultaneously.2. Regionalize your emailAs most of our clients are based in Singapore, we noticed that our email open rates increased by 50% to 100% when we use location data in our emails. For instance, you can have an opening line that mentions the location or a local breaking news. You can also mention speakers coming from the recipients’ hometown or offer discounts for attendees from certain cities.3. Craft a irresistible WIIFM subject lineA Disney on Ice email invitation’s subject line says, “Whisk your family away to an enchanted world”. Does it say any word about the event Disney on Ice. No, but people will open the email to find out what it is about because the WIIFM (what’s in it for me) factor is very clear.4. Email sequences to be sent automaticallyLast month, among our salespeople, the best performer didn’t cold call or attended networking dinners. He set up email sequences, and after a click, customers kept coming. This is an example of how powerful an automated email flow could be. Anticipate the possible scenarios after the first email is sent and build a sequence of follow-up emails according to the recipients’ actions.5. Don’t send to the wrong crowdsIt can be tempting to send invitation to as many people as you can find contacts, but you will be running the risks of inflicting unsubscribing from all future email communications and causing general annoyance. I have very bad experience with this social media services company that kept sending me emails in Chinese, and also, the event organizers that sent me invitations to events hosted on the other side of the world.6. List segmentationIn order not to send emails to the wrong audience, you must take good care of list segmentation. An event could be beneficial in different ways to different groups of attendees. A conference might address a wide range of issues that are of interest to a wide range of audiences. Segmenting your contacts based on a few factors, such as buyer personas and, as suggested above, location, will surely increase open rates because you are targeting the right audience.7. Create anticipationAnticipation, and excitement of the coming event are key to full attendance. Learn from the Hollywood movie producers. Your first email may be a teaser to let the audience know something big is coming. Then comes the trailer, followed by the ticket sales. Spike up enrollment by adding special packages, discounts and ‘last chance’! Don’t forget the ‘press conference’ where you feature your ‘superstar’ speakers.8. Social proofHey, if 10,568 other event professionals have attended this conference, I should at least check it out to make sure I’m not missing out on an important opportunity to learn and network. Trust me, social proof works all the time. Period.9. Always follow upUnless you’re their boss, it’s very likely that the recipient is preoccupied with other important things when they receive your email. A follow-up in this case will be much appreciated. That said, you still should watch out for the boundary between being helpful and being annoying. A maximum of 3 follow-up emails is the rule of thumb for many organizers.10. Benefits over featuresSave the event details for the landing page. In the emails, address the audience’s concerns and interests. Benefits of attending the event always come first. Back then we organized a launch of our product with new security features. We tried a few things – announcing the new features and speakers and the like. But the ticket sales was modest. Then we changed the content “10 people were killed in a meeting at [street name] last Saturday. Data security measures need a nudge.” And the ticket sales was flying.11. Avoid a generic emailA generic email trips to the spam folder as it sounds fake and lazy. Ask someone to read your email and if that person finds it familiar, you need to change its content. Tailoring content to recipients gives your emails a more personal feel and increase the likelihood of people signing up. After all, in competition with so many similar events happening, you want to stand out in the crowd, right?
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