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Alceste Ayroldi, longtime contributor to Italian magazine Musica Jazz has published an extended interview of SG. It covers The Lark, At First, authors John Steinbeck and Peter Watson, Arvo Pärt, and the difference between modern jazz in the US and Europe among many other things.
The interview is in Italian and can be found at Musica Jazz's Musica Jazz's interview. An English version is provided here:
AA: "Could you tell us something about your musical and life background?"
SG: Well, basically, I grew up in the countryside in the Northern part of Jutland in an academic home with very little music. My mother nonetheless wanted us kids to 'live full lives' and sent me and my sisters off to piano lessons in the local music school. I caught on pretty early, but with very little music around me, I didn't really get serious about it until my early high school years.
I was drummer for a while also and was made aware of jazz and improvisation by a drum teacher through a play-along tape. Improvising was highly interesting! But my initial reaction was not to seek out recordings of actual jazz music, rather I went to the back of the library and found books on jazz theory. I read all I could find and it was very alluring, this notion of freedom of expression under certain stylistic boundaries. Later on came actual recordings, but for me, the ideas and concepts very often precedes the sensory experience and to be honest, I took quite a while for me to be able to relate to the actual sound of jazz.
I was already an institutionalized music student and so followed the beaten path and eventually ended up in Copenhagen with a masters degree in jazz piano and a desire to become part of scene and to make my mark. Then came At First.
"Go on…"
My decisive inspiration for At First was a very short piece by Sergei Prokofiev, the first of the Visions Fugitives, which has a peculiar mix of ambiguous harmony underneath a very clear-cut melody. The chords are behaving outside of functional harmony, moving in parallel and always on the brink of suggesting other key centers. Basically it's an exploration of how to colour a very simple melody with very simple building blocks creating a sense of subdued tension and for me, it proved to be a starting point in terms of working with melody and harmony. I find that many contemporary jazz composer's have a tendency to dive headfirst into very laden sounds, that are all a world unto themselves and sometimes clarity of expression is lost to my ears.
So for me personally, stumbling upon certain pieces of modern classical music gave me a way of developing a harmonic concept that takes a step back from functional harmony and the innovations of the fifties and sixties and find sound a somewhat distinct sound that is prominent on most pieces on At First.
"From At First to The Lark, what is changed in your way of composing?/ What's the story that The Lark tells? There is a common line between the songs?"
…but for my second album, I wanted to tackle a limitation to my way of writing and hearing music. Put shortly, most of my melodies up until that point were very dependent on the chords they essentially just formed part of. It's like a reading in a foreign language, certain words you understand only because of the context they are in and you are clueless as to their meaning when you read them on their own.
So I wanted to write melodies with enough integrity and meaning to stand for themselves. Also, I worked away from the piano using a range of techniques to get away from having my hands direct the proceedings. A lot of the compositions have lines of unequal lengths, which create a more fluid feeling, something I am looking into doing much more in the future.
And I came up with the idea of portraying people in melodic lines, like a musical amalgam of everything these people mean to me. It's a curios thing, that's is not really that easy to do, because the impression you have of other people is complex and often contain contradictions.
Also, as is always the case for me when writing there was an element of catharsis. I had to say goodbye to a person very close to me and wish her luck, and had to express myself about certain individuals who might need a few words of advice. Other melodies are homages to people I admire.
"Something is changed in your band. Would you talk about your musicians that played in The Lark?"
There is a very fundamental difference between the way a guitar and flügelhorn convey the emotional content of a melodic line. The quality of a jazz guitar sound lends a melody with a certain kind of subdued intensity, whereas the horn is obviously more outspoken. So I wrote pieces specifically for the two different musicians in front, guitarist Per Møllehøj, and flügelhorn/trumpet player, Mads La Cour. They are in very different ways brilliant people and improvisers, I feel very grateful that they took part.
The group is completed by my old friends – drummer, Andreas Fryland and bassist, Tapani Toivanen. We met utterly coincidentally five years ago and immediately found a common understanding. Andreas and Tapani both have a very strong ability to find the emotional core of a song and project it, something that not too many players I meet can actually do with this music. We are very much a band thats plays songs, not one of pyrotechnical bliss, although I actually see us going in a direction of a more outwardly orientered approach for the next album.
"Stroke me the title (and music, of course) of The Madonna & The Whore. What do you mean?"
That one is a reflection on the fact that we all have the potential to be saints and sinners. It was directly inspired by an interview between Arvo Pärt and Björk, in which Björk is the interviewer. Pärt at one point talks about a two-part melody, where one voice is sin and the other is forgiveness and I took upon me to write a piece based upon that concept.
"Apart from classical music composers, who else inspires you?"
Currently, John Steinbeck is a huge inspiration. His way of depicting very basic aspects of human life in a surprisingly inventive usage of the English language has got me absolutely stunned at times. Something about his blend of humanity and artistic ambition really speaks to me.
Also, the writings of Peter Watson, who every few years releases another brilliant account of the history of ideas, or art history, culture is hugely important to my well-being. I seem to escape into a world of knowledge on the broadest topics imaginable when the everyday practicalities get to me. Unfortunately I have no talent for remembering what I read.
In terms of music, I must admit that I take inspiration from the people in my vicinity. Fundamentally, I find it most inspirational to contemplate the artistic choices of musicians that I also know personally. Also, I very easily get overwhelmed by the amount of brilliant music that is out there and tend to reduce my world to a scope I can handle. So if do look for inspiration in music, I often take it very slowly, one artist at a time.
"The Lark: you mean the bird, or fun – amusement? Why this title?"
The Lark is a person who used to be very close to me. The album is dedicated to her, simply.
"How important is it for you the improvvisation in music and in the lifestyle?"
It's a peculiar thing, improvising in music for me. And I am talking about free improvising, however problematic that term might be.
I am a highly structured person in almost all aspects of life. I live by a strict self-imposed schedule of when to practice, to write, to play and to take time off. Also, I live in a world in which the mediated self is becoming increasingly important, and spending a great deal of time on constructing and maintaining an image of yourself is just an integrated part of life.
So on the surface of it, it seems improvising in music is a way of letting go of schedules and restrictions. I think it is more complex than so, because improvising is actually the mental space where I am forced to take stock of where I really am as a musician and as a person. It's an activity I do, because I there have to face up to what I can actually create as a musician, and of what I actually feel like as a person. So I find it not as a matter of letting go, rather for me it takes tremendous effort of actually facing myself on a fundamental level through music. And through that 'facing myself' then facing others in as honest a ways as I can.
"Do you think that the concept of jazz music improvisation is different between Europe and U.S.A.?"
I think we should generally avoid too broad conclusions in the differences here; it seems the level of integration between the European legacy from classical music and the American innovations is now very solid as a result of so much traffic going on in the last decades. From my experience though, there is a certain degree of a sense of obligation in the American jazz discourse and educational systems – the individual musician is obligated to pay homage to a great deal stylistic innovations that came prior before even being entitled to calling herself a jazz musician, whereas for instance on the Danish jazz scene I find we tend to act from a notion of jazz as being merely a conceptual entity.
In other words, the notion of jazz as being 'an improvised contemporary music form characterized by high levels of instrumental proficiency and a inclination towards innovation' is all 'we' need to get going here, whereas you might argue that there is a predominant notion in American jazz of having to do your homework before you aspire to innovate.
"Apologize me for this question: is it hard to be a jazz player in Denmark? I would ask it, because most italian jazz players says that in Italy is very hard to play jazz…"
Tricky one…Well, I do actually think that we have much to be grateful and Scandinavia in terms of support for the arts. Obviously, the job is tough and the level of competition seems to be increasing, but it is definitely doable to have a life in and with jazz in Denmark, but of course, it's a life of continuously working hard to improve and to carve out a distinct voice for yourself all the while trying to not get too concerned with workings of the music business, while still somehow taking it very seriously.
"What are your future plans?"
I am currently preparing my next album, which will be a study into fluid non-metric rhythmic realities. Also, it will explore ways of using hypercomplex content while still creative settings that are inducive to a sense of free improvising for the players. It's based on very tiny fragments of Messians Catalogue d'Oiseaux which had me completely stunned when I encountered them a few months back. Trumpet, flügelhorn, drums and prepared piano, with highly exciting people, fronted by polish trumpeter on the rise, Tomasz Dabrowski.
Also, I have some very exciting sideman appearances coming up, I join a Danish group and Ralph Alessi in June and have a Polish tour with guitarist Gilad Hekselman and a Polish group in the Fall. Also in the works is the follow-up album to The Lark, new songs are appearing every once in a while.


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Finalists in the Rail HR Awards 2013
Apply now
13 November 2013
The Rail HR Awards celebrate the outstanding achievements and recognises the excellent work consistently carried out by the best talent in rail HR, recruitment and training. There are 12 awards in total and Ford & Stanley are proud to announce that they have become finalists for Recruitment Campaign of the Year and Recruiter of the Year 2013.
Recruitment Campaign of the Year
The Recruitment Campaign of the Year award highlights the exceptional work that our rail team have achieved over the past 12 months with key client, ESG Rail. ESG Rail, based in Derby are a rapidly-growing, rail consultancy that specialise in passenger and freight rolling stock engineering across the UK and mainland Europe. As a part of their growth plan, ESG partnered with us in the early part of 2013 following an introduction at a rail event in the autumn of 2012.
We spent a considerable amount of time working with ESG to understand their employer/employee value proposition to help establish and define the "message" we were going to take into the marketplace for their recruitment campaign. This message was defined to enable us to attract the best possible talent and the highest calibre of managers within the industry. From this EVP, we were able to increase ESG's brand awareness within the marketplace and establish the business as an employer of choice. This was demonstrated by increasing ESG's direct candidate applications by 100%. We recruited 3 senior management positions for ESG in the first 6 months, Director of Railway Approvals, UK Head of Sales and Head of Project Management, all of which are key positions within the business.
Recruiter of the Year
Daniel Taylor, who heads up the rail division, has become a finalist in the Recruiter of the Year award for his contribution to the rail industry, in particular, his significant, positive and lasting impact on his clients and candidates. Since joining Ford & Stanley in late 2011, Daniel has played a pivotal part in the growing success of the business and its dedicated rail division. Daniel has introduced 35 senior white-collar professionals into the rail industry within 8 rail clients in the last 10 months and has established 1st tier and Master Vendor agreements with 6 new major rail organisations this year alone through his continued dedication to networking / developing warm relationships within the industry. Daniel has demonstrated a sheer determination to establish Ford & Stanley as the number one rail specialist in white collar recruitment in 2013.
Having recently been promoted to the Head of Practice - Rail, Daniel continues to build his specialist team on the core values/foundation of "relationships" which has been key to his team's success this year.
Head of Marketing, Hannah Dimond commented about the nominations: "We have been blown away by the support we've had from our candidates and clients in the nomination process. We joined the process very late on and the fact that we have managed to become finalists based on the positive comments alone, is a real accolade. The rail team have had a phenomenal year and I am glad their efforts have been recognised in this way. Everyone at Ford & Stanley would like to thank those that have contributed to us becoming finalists and also, wish the rail team all the very best for the awards ceremony in December."
An update will follow the official awards ceremony will be held on Friday 6th December 2013 at the ICC Birmingham.

subset: commoncrawl


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Originally released as a part of the Sonic series' 20th anniversary, the popular Nendoroid Sonic the Hedgehog is now set to be rereleased!
The Nendoroid also comes with various extras from the game, such as an item box, a ring, chaos emerald and half-way point marker! He also comes with parts that allow him to be posed in his famous running pose! Combine all these with the included extra expressions to recreate some of your favorite scenes from the game.
This product can be purchased from the following stores:
■ GOOD SMILE ONLINE SHOP Orders
This product will be available at the GOOD SMILE ONLINE SHOP.
Orders can be placed between the 28th May 2013 (Tues) from 12:00 until the 12th June 2013 (Wed) at 21:00. Please see the GOOD SMILE ONLINE SHOP page for more information regarding shipping and shipping costs: GSC ONLINE SHOP Product Page
■ GOOD SMILE ONLINE SHOP Limited Edition Bonus!
All preorders of this item from the GOOD SMILE ONLINE SHOP will receive a special Nendoroid More Clip 1.5 as a bonus! It's a limited edition orange color only available through the GOOD SMILE ONLINE SHOP!
* The image included here is a sample image only and may differ from the final product.
* The specifications of the Nendoroid More Clip may change without notice.


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1957 CHEVY 3800 1 TON FLAT BED PICK UP California TRUCK barn find Chevrolet
Price: - Item location: Kingsburg, California, United States
- Make: Chevrolet
- Model: Other Pickups
- Trim: 3800 FLAT BED
- Year: 1957
- Mileage: 40,078
- Engine size: 6 CYLINDER
- Drive type: RWD
- Vehicle Title: Rebuilt, Rebuildable & Reconstructed Want to buy? Contact seller!
1957 Chevrolet Other PickupsYou will need to pick this up in person or send someone to pick it up for you. I am in Kingsburg California 93631, 20 miles south of Fresno right off of the 99 freeway. You might try putting it up for bid to the mom & pop independent shippers on uship.
1957 CHEVY 3800 1 TON FLAT BED PICK UP California TRUCK barn find. Been stored a long time. Last tag is 2002, having sat for 15 years I'll leave the getting it running to the new owner. All I did was clean it. Has an older restoration. Tires are all in need of replacement. Papers are long gone, sold with bill of sale only. It does roll. I see a little rust in the lower portion of doors. They put a sun roof in it during prior restoration. 12 foot long bed, 7 foot 11 1/2 inch wide. I got the vin & the year off of old insurance card that was in truck. Offered as described & pictures are part of the description.


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- Curator's blog
- Amphibian Species of the World on Twitter
- What is the right name?
- Running log of additions and changes, 2020
- Logs of changes and additions, 2014–2019
- How to cite
- How to use
- History of the project
- The big changes in amphibian taxonomy (2006–2013): versions 5.6 and 6.0
- Scientific Nomenclature and Its Discontents
- Structure of the taxonomic records
- Contributors, 1985 edition
- Contributors, online edition
- Versions
- Museum abbreviations
- Links to useful amphibian systematic, conservation, collection management, informational, and/or regional sites
- Links to useful FREE library sites
- Copyright and terms of use
Oreobates cruralis (Boulenger, 1902)
Hylodes cruralis Boulenger, 1902, Ann. Mag. Nat. Hist., Ser. 7, 10: 396. Holotype: BMNH 19184.108.40.206 (formerly 1901.8.2.44), according to J.D. Lynch IN Frost, 1985, Amph. Species World: 283. Type locality: "La Paz, Bolivia, 4000 m."; considered to be in error by Lynch, 1989, Milwaukee Public Mus. Contrib. Biol. Geol., 79: 9, but confirmed by De la Riva, 1990, Boll. Mus. Reg. Sci. Nat. Torino, 8: 261-319.
Eleutherodactylus cruralis — Stejneger, 1904, Annu. Rep. U.S. Natl. Mus. for 1902: 582-583, by implication; Gorham, 1966, Das Tierreich, 85: 67; Gorham, 1974, Checklist World Amph.: 51.
Eleutherodactylus (Eleutherodactylus) cruralis — Lynch, 1996, in Powell and Henderson (eds.), Contr. W. Indian Herpetol.: 154. Lynch and Duellman, 1997, Univ. Kansas Mus. Nat. Hist. Spec. Publ., 23: 223.
"Eleutherodactylus" cruralis — Heinicke, Duellman, and Hedges, 2007, Proc. Natl. Acad. Sci. USA, Suppl. Inform., 104: 3.
Oreobates cruralis — Padial, Chaparro, and De la Riva, 2008, Zool. J. Linn. Soc., 152: 749.
English Names
La Paz Robber Frog (Frank and Ramus, 1995, Compl. Guide Scient. Common Names Amph. Rept. World: 74).
Humid rainforests at the foot of the Andes from southeastern Peru to the Departamento Pando and La Paz, Bolivia (see comment).
In the Eleutherodactylus discoidalis group of Lynch, 1989, Milwaukee Public Mus. Contrib. Biol. Geol., 79: 1-25. See account by Lynch, 1989, Milwaukee Public Mus. Contrib. Biol. Geol., 79: 7-9. Cei, 1987, Monit. Zool. Ital., N.S., Suppl., 21: 249-250, discussed characters that distinguish this species from Eleutherodactylus discoidalis. In the Eleutherodactylus (Eleutherodactylus) conspicillatus series, Eleutherodactylus discoidalis group of Lynch and Duellman, 1997, Univ. Kansas Mus. Nat. Hist. Spec. Publ., 23: 223. De la Riva, Köhler, Lötters, and Reichle, 2000, Rev. Esp. Herpetol., 14: 45, suggested that Eleutherodactylus cruralis is a composite in Bolivia. Lavilla and Cei, 2001, Monogr. Mus. Reg. Sci. Nat. Torino, 28: 105, noted that records of this species from Argentina are referrable to Eleutherodactylus discoidalis. Köhler, 2000, Bonn. Zool. Monogr., 48: 114-115, provided a brief account and mentioned that the undescribed species confused in Bolivia with Eleutherodactylus cruralis is an undescribed member of the Eleutherodactylus discoidalis group (now named as Eleutherodactylus ibischi—J. Köhler, personal comm.). Padial, Gonzales-Álvarez, Reichle, Aguayo-Vedia, and De la Riva, 2004, Graellsia, 60: 169, provided the record for Pando Department, Bolivia. Heinicke, Duellman, and Hedges, 2007, Proc. Natl. Acad. Sci. USA, 104: 10092-10097, removed this species from nominal Eleutherodactylus but did not provide a new generic name. Padial, Köhler, Muñoz-Saravia, and De la Riva, 2008, Zool. J. Linn. Soc., 152: 353-365, reported on acoustic variation among members of the "Eleutherodactylus" discoidalis group and suggested that nominal Eleutherodactylus discoidalis is composed of three species: one from the Amazonian slopes and adjacent lowlands, and two restricted to inter-Andean valleys in central Bolivia (of which one of these is now Oreobates granulosus). See account by Padial, Chaparro, and De la Riva, 2008, Zool. J. Linn. Soc., 152: 749-753. See Duellman and Lehr, 2009, Terrest.-breeding Frogs in Peru: 97-98, for brief account.
External links:
Please note: these links will take you to external websites not affiliated with the American Museum of Natural History. We are not responsible for their content.
- For additional sources of information from other sites search Google
- For images search CalPhoto Images and Google Images
- To search the NIH genetic sequence database, see GenBank
- For additional information see AmphibiaWeb report
- For information on conservation status and distribution see the IUCN Redlist
- For related information on conservation and images as well as observation see iNaturalist; for a quick link to their maps see iNaturalist KML
- For access to available specimen data for this species, from over 350 scientific collections, go to Vertnet.


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So we've arrived at the end of this challenge. Notwithstanding, I missed two days at the end. We were crazy busy here at home. I know, I should practice what I preach (i.e. the disease of busyness) It hits home quite often. Nonetheless, we've arrived. The discipline of this last month has pulled me out of my stagnant period where I only wrote sporadically. A big thank you to Write 31 days for starting this challenge!
Hopefully I can continue this momentum and post three times a week. Hold me to it!
I would like to end this challenge with a great and urgent call within the call of "Being who God created us to be so we may set the world on fire." And it goes all too well with yesterday's Gospel reading.
Here it is, Luke 19:1-10, the story of Zacchaeus, the tax collector:
At that time, Jesus came to Jericho and intended to pass through the town. Now a man there named Zacchaeus, who was a chief tax collector and also a wealthy man, was seeking to see who Jesus was;
but he could not see him because of the crowd, for he was short in stature. So he ran ahead and climbed a sycamore tree in order to see Jesus, who was about to pass that way. When he reached the place, Jesus looked up and said, "Zacchaeus, come down quickly, for today I must stay at your house." And he came down quickly and received him with joy. When they all saw this, they began to grumble, saying, "He has gone to stay at the house of a sinner." But Zacchaeus stood there and said to the Lord, "Behold, half of my possessions, Lord, I shall give to the poor, and if I have extorted anything from anyone I shall repay it four times over." And Jesus said to him, "Today salvation has come to this house because this man too is a descendant of Abraham. For the Son of Man has come to seek and to save what was lost."
Within the layers of richness of this text, there can be found the reality of a man, a sinful man at that, who desired, more than anything, to see this Jesus. This Jesus because he probably only knew of Him from all the talk and buzz going around of this man who was healing the sick, driving out demons and preaching about mercy.
However, Zacchaeus had a difficulty. He was short in stature. So, in a very practical way, he climbed a tree. He wanted a good glimpse of Jesus. The tree was his help.
Then Jesus approaches him and says "Zacchaeus, come down quickly, for today I must stay at your house." Just like that. Jesus came to him. Called him by name. Jesus was coming to his house! What joy!
But what happens next is what is most important here, it's a miracle actually! Just in this simple encounter, even without Jesus actually setting foot in Zacchaeus house, Zacchaeus confesses his sins, repents and begins to tell Jesus how he will make reparation for what he has done wrong. Just with this simple encounter! One look! One word! Just like that, Jesus transforms Zacchaeus!
That is the thing with Jesus. When a heart is open. When the heart is eager to meet Him, curious to know Him, than Jesus can transform!
So here is the clincher for you. Zacchaeus used a tree. The tree was the instrument to help him see Jesus better. He used nature. In reality there are so many ways to encounter Christ today. But probably the most effective, the most powerful way, is through our witness! By telling others of this Jesus, sharing our own story of encounter with Him, we can bring many more Zacchaeus' to Christ!
So many have a difficulty out there, that is keeping them from meeting Jesus. Think of the countless things that keep hearts closed. Zacchaeus was short, but so many of us our short in so many ways beyond stature. We are proud. We are angry at God. We are unwilling to take responsibility for our lives. We are caught up in the things of the world or we simply cannot believe that the God of the universe can love us.
So let us be the instrument that others use to get to know Him, who is the one that makes us into the the person we were created to be. Let us help others to overcome their "shortness" so that they may see Him clearly. So that Jesus Christ may say"today I must stay at your house." That he may stay forever in the home of their hearts.
Let us draw people to the source of life, the Author of love and of peace. Let us help others to be God's true creation so that, along with them, we can all set the world on fire. And what else does it mean to set the world on fire, than to bring the fire of Jesus' love to all of humanity.
(This post was inspired by my pastor's homily given on 10/30/2016 at Ss. Cyril and Methodius Catholic Church, Sterling Heights, MI.)


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Dyson Speaks
Here's part of what he had to say:
(What happened today?)
"We played bad. Personally, I played like (expletive)."
"We couldn't get the ball up the middle, and we gave them a lot of 3's."
(You've struggled the last few games. Are you OK physically?)
"Umm … somewhat. But, the last couple of games, I've just been playing terrible."
(How did you feel about being benched for the final 16 minutes of the USF game?)
"It hurt. My last regular season game, and I was on the bench."
(Will this team be ready for a potential NIT game next week?)
"We can definitely come out and play, but it just sucks to know that the (inaudible)."
(Have you been confused on the court the last few games?)
"I don't know if I was confused, I just felt like I didn't know what was going on. I can't really put it into words. I turned the ball over too many times, couldn't get a shot. It's probably a game that I'll never forget."
(Do you understand why Coach Calhoun benched you vs. USF?)
"I really don't know, I mean … I don't know."
(When did you find out you'd be playing today?)
"Right before the game."
Labels: Jerome Dyson, Jim Calhoun


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"Then they that feared the LORD spake often one to another: and the LORD hearkened, and heard it, and a book of remembrance was written before him for them that feared the LORD, and that thought upon his name. And they shall be mine, saith the LORD of hosts, in that day when I make up my jewels; and I will spare them, as a man spareth his own son that serveth him." (Malachi 3:16-17)
This precious promise occurs at the end of the Old Testament, a time of wholesale apostasy on the part of the people of Israel. But there was a believing remnant. Today, Christians again are in a minority (as always), and it does us well to study the former situations, paying attention to the nature of the remnant as well as God's response to them.
Notice first the attitude of these believers toward God. We see that they "feared" God when they "thought upon his name." Who could help but do the same as the work and character of God are pondered? Further, a proper attitude and walk with God lead to true fellowship. They "spake often one to another." Too often it seems that mere friendship replaces true Christian fellowship as entertainment of guests replaces true hospitality. Human relationships can never attain the fullness possible unless they center around the Lord.
Next, note God's response to the dear saints in our text. He hearkens and hears, evidently paying special attention to the attitudes ("feared the LORD") and the words ("spake") of the saints. Then He registers their history in a special "book of remembrance." We will all give an account one day, but we may be assured that the good will be remembered, for it is in God's special book of remembrance.
Likewise, we are assured of salvation: "They shall be mine," He says. We will be spared while others are being judged. The mighty Lord of hosts holds us as dear to Him as "jewels." JDM
From Days of Praise


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I did a podcast interview with Rod Khleif of Lifetime Cash Flow through Real Estate Investing. Rod has graciously agreed to allow me to post the link to the interview here. I hope you enjoy listening in.
Listen in here>> https://itunes.apple.com/us/podcast/ep-98-tom-hopkins-returns-tom-is-recognized-as-worlds/id1097449598?i=1000381280696&mt=2
Here's some of what you will learn:
- First and most important thing to learn to improve your sales skills.
- How to use The Chamber of Commerce as a resource.
- Selling is not what most people think it is.
- The 2 extremes in personalities and temperaments.
- The traits of the best sales people.
- The greatest investment a person can make.
- The importance of Practice.
- Practice, practice, practice, (lessons learned from watching Tiger Woods practice golf.)
- Repetition is the mother of skill.
- The importance of using scripts and elevator pitches.
- How to overcome your fear of sales.
- Using rituals to improve your confidence.
- What is a shower card?
- The importance of gratitude – count your blessings every day.
- People say yes to your enthusiasm and excitement before they say yes to your technical skills.
- Consider doing 2 things at once.
- The steps to truly master the art of selling.
- How to get started in selling for absolutely nothing.
- The basics of negotiation.
- What is the difference between an objection and a negotiation point?
- "5 Words to Live by, Do What You Fear Most. It's what most Top Producers Do!"
- We all have 86,400 seconds in a day. Do the most productive thing possible at every given moment.
- Focus and set priorities – don't waste time.
- "Work harder on yourself than you do on your job to become a person people like and trust and want to listen to." – Tom Hopkins
- Love people and use money. Never love money and use people and you will make all the money you could ever spend." – Tom Hopkins
- "You're in the people business, work on the skill of getting along with people."
- The things that have made the biggest difference in my life.
Book recommendation: How to Master the Art of Selling