Oprah's Announcement is a Great Lesson in PR

January 24, 2011 -- Oprah Winfrey dropped a bombshell on her audience today when she announced that she had a half-sister of whom she had no previous knowledge. Depending on your viewpoint (or the level of your cynicism), this was either a classic TV moment or a classic Oprah moment: a dramatic reveal, lots of tears, getting to know the sister named Pat, and much time spent on the background of this event.
However, I come at it a different way. I propose that this event is a perfect example of good public relations, such as Oprah and her team have practiced so expertly in the past. Mainly, it supports the notion that a person or organization often should disclose developments or news proactively in order to maintain control of it. Winfrey said as much at the top of the program. She said that she was revealing the news proactively because she and her family wanted to do it on their terms. Based on my own experience, I believe that this was an extremely wise decision.
"I'm telling you today because once the blogs and all the media get hold of this news, there is no telling what they will do with it," Winfrey said. Her strategy aligns with my own, based on my own duties as a media or communications leader. I have often advised my customers and employers that, just as there is no such thing as a perfect vacuum in nature, neither is there one in news. When a story breaks and there is a shortage of information, people will fill it however they can, whether with innuendo, unsubstantiated sources or even misinformation. At that point, you have lost control of your message, and you are now playing catch up. This problem is exacerbated with the social media, where anyone with a Twitter account can send an erroneous message around the world.
Unlike Winfrey, Jay Cutler, quarterback of the Chicago Bears, has allowed such a lack of control to victimize him. He left yesterday's NFC championship game complaining of a knee injury. But many observed that he seemed to be walking with no apparent pain. It was also observed that he was disengaged from the game, not even advising or interacting with his back-up quarterbacks.
Sports talk radio is now abuzz with conjecture about his "heart," his ability to play big in a big game. Some time soon, an examination of his knee will be made public, and if he does not have a major injury, he will be pilloried both in the Chicago media and across the nation.
Oh, I'm sorry, too late, Jay -- That has already happened. Now you are points behind in your PR game and little time left to fill the gap. Is that a familiar feeling?
When many public officials and other figures were caught doing something they should not have, we have often used this term afterward: "The cover-up is worse than the crime." It is an oft-told tale, yet the large majority of people do not learn from it. Maybe this time, the lesson from Oprah will take.

The Power of Poltical Words: Kennedy's Inaugural Address at 50

Quick, how many U.S. Presidential inaugural speeches can you recall? Other than the words "With malice toward none, with charity for all," from Lincoln's second inaugural, do any phrases jump to mind?

I didn't think so.

This week, on January 20, we observe the 50th anniversary of John F. Kennedy's inaugural address. Though I was a child, I remember how it caused a stir. Now, a half-century later, I know the speech to be stirring still, a testament to speech craft that communicators should continue to study and revere.

Why does this speech, just shy of 14 minutes, stand the test of time? You can't say that it was the national swoon with youth, when the youngest man elected President succeeded the then-oldest in Dwight D. Eisenhower. (Twenty years later, Ronald Reagan would become the oldest man elected President.) That zeitgeist is lost to us today. It's not even all the themes comprised in the address, as some are anachronistic. For example, Kennedy pledged a measure of militarism that might not be tolerated or appreciated today.

No, the secret to this speech's longevity is its art employed by the writers. (I am purposefully vague here, as the authorship is not completely certain. For decades, the speech was credited to Ted Sorensen, which he denied. Indeed, there are notes in Kennedy's own hand that indicate he was actively involved in writing the address's key phrases.)

As you listen to the speech through this link on YouTube, hear the various devices. One common device is the use repeating phrases that conclude in different sentiments: "The world is very different now. For man holds in his mortal hands the power to abolish all forms of human poverty and all forms of human life."

As is common in these sorts of speeches, Kennedy strikes a conciliatory pose, offering to stand above the fray. When he says, "We observe today not a victory of party, but a celebration of freedom," he practically dares his opponents to diminish his disputed victory.

There is also the power of the repeated word. Look at this use of the simple word "any": "Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear burden, meet any hardship, support any friend, oppose any foe, to assure the survival and the success of liberty. This much we pledge -- and more."

Similarly, look at his use here of the words "both" and "problems":
"Let both sides explore what problems unite us instead of belaboring those problems which divide us. Let both sides, for the first time, formulate serious and precise proposals for the inspection and control of arms, and bring the absolute power to destroy other nations under the absolute control of all nations."
It is both an invitation to negotiation and a challenge to it.

And of course there is that use of the antimetabole (called tongue-in-cheek by some, the "reversible raincoat"), which repeats words in successive phrases, but transposes their order for effect. Of course, the most famous example of this produced the most-quoted phrase: "Ask not what your country can do for you; ask what you can do for your country." Another example, seldom cited, simultaneously expresses strength and conciliation: "Let us never negotiate out of fear, but let us never fear to negotiate."

We often forget that much of the success of the speech depended on Kennedy himself and his ability to deliver such lofty rhetoric. His voice would rise when needed, and he punched the words that needed emphasis. And yet again, there was Kennedy's youth. As I listened to the speech today, I really had not remembered how high his voice was. This was a man with the energy and enthusiasm to deliver on these problems.

But beyond the craft, I believe the the speech stands up because of the optimism, the ideas that this was still the American century in 1961. "Let both sides seek to invoke the wonders of science instead of its terrors," Kennedy intones, an appropriate sentiment during the paranoia of the Atomic Age. "Together let us explore the stars, conquer the deserts, eradicate disease, tap the ocean depths, and encourage the arts and commerce," he called, and Americans believed that there was nothing we could not do.

Sadly, the speech was sadly prophetic of his rudely interrupted term of office when he said that "All this will not be finished in the first one hundred days. Nor will it be finished in the first one thousand days; nor in the life of this Administration; nor even perhaps in our lifetime on this planet. But let us begin."

Today, polls show that Kennedy still ranks as the best of the post-World War II presidents. This surprises me, but perhaps the answer lies in this speech. In an era when many so-called political stars speak without wit, compassion, or solutions to the problems they cite, the inspirational words from a man whose best was yet to come are all but irresistible.

ROYAL TREATMENT: Lessons from "The King's Speech"

The King's Speech is a movie about a man finding his voice. It is about friendship. It is about mutual respect. It is about integrity and the sometimes dubious value of "professional certification." It is a movie about courage. In fact, one of the most remarkable things about this wonderful film is that it touches all of these themes so deftly and warmly.

The main architect of the English language, William Shakespeare, wrote in Twelfth Night, "Be not afraid of greatness: some men are born great, some achieve greatness and some have greatness thrust upon them." Prince Albert, cum King George VI (the father of the current Queen), had greatness dubiously thrust upon him when his brother, King Edward, abdicated the throne to marry American socialite Wallis Simpson. But Albert (known as Bertie to his family who treated him cruelly) did not seek, did not want, and was not prepared for this royal role for one reason: He spoke with a ferocious and painful stammer. It was difficult for him to get out a simple sentence. He wondered aloud, how could he lead a nation when he could not even speak to them?

Bertie's caring and supportive wife, Elizabeth (played lovingly by Helena Bonham Carter), wants to spare him public humiliation, so she seeks out so-called "professional" speech therapists. Despite their credentials, they seem to be little more than hacks. One prescribes the soothing and relaxing qualities of cigarettes to Bertie. Another employs the tried, trite and untrue method of putting marbles in his mouth. No one seemed able to help.

Then Elizabeth finds Lionel Logue, a struggling (if not failed) actor, and to boot, an Australian, an emigre to the England from their penal colony. Portrayed by the great Geoffrey Rush, Lionel has no academic credentials, but his confidence, skill and humanity are the stuff of success.

To begin, he insists on interacting with Bertie on a first name basis. No titles here. (Having worked in hospitals myself, I found that this practice was important. I learned not to use the title "Doctor" and to address physicians by their names, forcing them to deal with me as a colleague.) Furthermore, Lionel is firm with his patient, insisting on excellence and never patronizing him. He believes that Bertie can be successful, and he wants Bertie to believe it, too.

As Prince Albert, Colin Firth gives an inspiring performance. As the father of a son who has triumphed over stuttering, I could feel his frustration at the inability to get out a simple sentence. I sympathized with his stumbles over a conga line of consonants. But I could also sense the satisfaction that comes with overcoming this problem. (I have learned from my son and others that, like alcoholics, there are no "former" stammerers. One beats the condition every day through sheer determination.)

At one point in the film, Lionel's honor is called into question. He is accused of taking on the job merely to have the cache of a royal client. But at this very moment we realize that Lionel has acted exactly opposite to that charge. He assumed this assignment because of commitment to his craft rather than the bloodlines of his student. (In fact, Lionel displays a measure of disdain for royalty, which is not unusual for someone from outside England.) Furthermore, he becomes Albert's friend, confidante and counselor. Through their interactions, we learn the roots not only of Albert's speech but also of his underlying uncertainty.

After all the preparation is done, and when it comes time for the new King George to inform the British Empire of their entry into World War II, director Tom Hooper makes us feel not only the historical import of the event, but Albert's singular success. The camera follows his walk to the recording studio through long corridors strewn with cables, symbolizing his long journey to get to this moment. As Albert speaks, Hooper cuts to visuals of listeners who would fight this war for the Crown: factory workers, truckers and the middle class. We also see signs at the transmitters that show how the message is being broadcast to the colonies of the U.K., a symbol of the reach of the new King's power.

One could argue that Albert was born great just by virtue of his royal lineage. But he had greatness thrust upon him in an unusual turn of unforeseen and unprecedented events. Through his own courage and the help of a loving partner-in-life and a new-found friend, he achieves his own measure of majesty. It is a simple story made great by the telling, a footnote to history that we may not have known. As a speaker and communicator, this film resonates with me. As a man, as a husband, and as a friend of others, I find it unforgettable and inspiring.

(As an extra bonus to you, my loyal readers, here is a link to the actual speech by King George in which he rallied the English people to enter the War, made available through the BBC archives. It is important to know that this wonderful script was written by David Seidler, who was a stutterer himself, but was inspired to fight his situation by this very event. Unfortunately for all of us, he promised Elizabeth the Queen Mum that he would not make his script known until she was gone. However, she had the temerity to wait until 2001 to pass, when she was 101. Otherwise, we may have enjoyed this story much earlier.)
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Getting the Holidays Right

Francis and Julia Rocchi, Christmas, c. 1989

My wife, Marie, and I always tried to de-emphasize the gift-giving aspects of Christmas in favor of the spiritual side and the importance of family. One year, my daughter innocently and inadvertently taught me that we were heading in the right direction.
We lived in upstate New York at the time. A few short days before Christmas, I had to make a run to the mall to pick up some last-minute gifts. There was much to do. We had pageants, Mass and other activities at our church, school and community. We would spend Christmas Day together, just the four of us. Then we would hit the road to be with our families back in Philadelphia. I had very little time that day, but I was able to spare a hour or two to get some final items. I grabbed my daughter Julia, about 7, and we were off.
The mall was amazingly quiet given that it was just before Christmas. Luckily, that allowed me to get what I needed. Julia asked if she could see Santa Claus. Since we had time to spare, it was no problem.
I let her go, and she had Santa all to herself. I observed from a distance, and I could see that she was quite animated, really chatting up the old man, so I could only imagine what kind of booty she wanted for Christmas.
When I went to retrieve her, she went off to see some decorations. I asked Santa privately, out of her earshot, what she asked him for.
"Oh, she didn't ask for anything," he said.
I was taken aback. "She sat with you a long time. What was she talking about?"
"She was telling me all about how you were going to church tonight, how you were going to be together for Christmas and then travel to be with family. Most kids spend their times telling me about what they want. But she was totally focused on family."
Hm. I guess Marie and I got it right that year.
I have been reminded of that story every Christmas since because, I'm sorry to say, our view of the holiday is looking more and more unusual. To say it is about gifts is a cliche. To say that we don't keep Christ in Christmas is even more obvious. But in the end, I don't know if any of us know what this holiday means any more. Perhaps it has come to mean nothing.
When I turn on the television, I see so many images that are unrelated and even random. There are saccharine movies on Showtime or The Hallmark Channel. Cartoon specials about Rudolph the Red-Nosed Reindeer, Frosty the Snowman and The Polar Express. They all add up to...

Nothing in particular. In the end, they do not comprise a unifying image of Christmas. The radio is just as bad, with songs about lists of things that kids want, grown-up lists of things we want, a seductress that wants cash from Kris Kringle, and people being blue because someone they love is not with them for the holiday (Merry Christmas Darling, All I Want for Christmas is You, Blue Christmas, etc.). But why do these people want someone with them at this time of year? Either they don't need to say it out loud because we know intuitively, or they don't say it because they don't know themselves. Karen Carpenter sang that logs on the fire filled her with desire. But desire for what? Why bother?

However, during that one Christmas, our daughter (and later our son, Francis) showed us that we were able to cut through the Yuletide clutter. By taking them to church, singing "Happy Birthday" to Jesus, hearing religious music more than the secular, and showing them many more Nativity scenes than pictures of Santa, we have had a modicum of success in fighting a distinctly myopic view of the holiday. I only hope that we can do the same with other holidays. I like to remember that the Fourth of July and Memorial Day are not just long weekends, but were actually created to honor heroes. But I guess I'll take one battle at a time.

The end-of-year holidays can be significant to all of us, as most of us can find their roots in our individual cultures. I hope you find your own special meaning in these days, and I wish you all health and happiness in the new year.

BAH! HUMBUG on all-Christmas radio!

I generally hate to add any negativity to this lovely season, but here goes...

I have come to hate all-Christmas radio broadcasting.

There, I said it. I have become a Christmas Crab on this subject. And believe me, I love Christmas. I sing it every year with my group, A Cappella Pops. I have more CDs than my family care for me to have, and I play them constantly. One of my biggest coups in life was getting a car with a multi-CD play that even scrambles the selections. Oh, Joy! Now I can have a wide variety of Christmas music playing during all of my drive time. (Add this to the long list of things that drive my wife nuts.)

However, my idea of Christmas music is not the same as radio programmers. To me, Christmas is about being with family, and believe it or not, I actually believe it is about celebrating the birth of Christ, the seed of the Christian faith. I believe this just as I regard Hanukkah as the remembrance of a miraculous victory rather than eight days of gift-giving.

Yes, I snap my fingers to Mariah Carey singing "All I Want for Christmas is You," but not once an hour. Once a week will do, thank you. And while I believe that the season is captured in the lovely "O Holy Night," I don't think the song was composed so that Celine Dion could pop several arteries proving she can hit the high note at the end.

Now the all-Christmas stations start their assault on Thanksgiving and stop sharp on midnight of Christmas Day. (By the way, people in Europe treat Christmas as a season, not a one-day event. Hello, the 12 days of Christmas? Anyone hear of that?) That's a long time to endure mind-numbingly bad music, such as "Do They Know It's Christmas," or "Grown-Up Christmas List." And please don't get me started on "Grandma Got Run Over by a Reindeer."

So, excuse me, Radio Programmers, I will pass on your secular selections until you show more awareness of what the season is all about. In the meantime, dear readers, I direct you to a performance of what I regard as one of the greatest Christmas songs of all time, In the First Light, as performed by Glad. Enjoy, and happy holidays.

SWIFT JUSTICE -- This Entertainer has Earned her Leading Status Through Careful, Consistent Image Management

Several years ago, a good friend who lives in the Reading, Pa., area had a visitor to his home. He and his son are both musicians, and a young female friend of the son came to their home. "Would you like to listen to my music?," she asked. "I wrote some songs, and I'd like to play them for you."
He listened, and yes, they were pretty good songs. He also liked the young lady, thinking she was sweet and polite.
A few years later, her parents took a huge leap of faith and moved from Pennsylvania to Nashville to support her dream of being a songwriter. It paid off big, for their daughter, for themselves and for all of us.
The title of this post and the accompanying photo tip my hand, I'm sure. Yes, the young lady in question is Taylor Swift, who has just been named by Entertainment Weekly magazine as the Entertainer of the Year.
I cannot imagine anyone more deserving. Think of her accomplishments in the past year alone: A Grammy for Best Album of the Year, and three more in a variety of categories. A new album, Speak Now, which sold more than a million copies in its first week (PLATINUM IN ONE WEEK!) and for which she wrote all the songs. An appearance in a hit movie, Valentine's Day. Hosting Saturday Night Live, and showing herself to be a pretty capable sketch comedian. A successful tour. Surviving and even deftly handling a zeitgeist moment when rapper Kanye West publicly dissed her at the MTV Video Awards, calling Swift unworthy of her trophy when compared to Beyonce.
Most people view the world through their own prism, and mine tends to communication and marketing. What amazes me most about this artist is the consistency of her vision and her subtle self-confidence. This is most evident in her careful stewardship of her own image and messaging, staying calm in every situation.
Would you argue that she owes that to her handlers? I don't. She stood on that stage alone at the MTV Awards when West dishonored her, and she handled the situation with more grace and restraint than we have the right to expect from a 20-year-old. Also, I was impressed by her calm control during her in the course of her interview with EW. Her expressions were articulate, her words as well-chosen as you would hope from a successful songwriter. She diminished the interviewer's suggestion from others that she saved the music business: "I write music about my life and love and relationships, and...(t)hat's where I have to draw the line as far as what I am and what I am not."
The interviewer also asked how she felt about being linked to Kanye West. She replied, "The one choice that I do have, that I continue to make, is to not talk about it."
The interviewer next asked if she had heard his new record. Underlining her point, she simply replied, "I don't want to talk about him."
End of story. Point well made, Ms. Swift.
I don't own one of her albums, although I listen to her and catch her on the tube when I can. (Let's get real; I'm not part of her target demographic.) But I look forward to watching her grow as an artist and a cultural force. I dare say she is off to an astounding start.

We Need Leslie Nielsen, a Hero for These Challenging Times

Okay, so I was in an airport in Boston maybe 30 years ago, waiting for my plane. I had gone for a job interview, and when it was over, I called my wife, Marie, and told her how it went.

When I got off the phone, I was wandering the concourse when I looked over and saw a crowd of people staring at a man who was sitting alone. He was tall, grey-haired and pretty handsome. It was Leslie Nielsen, star of the movie Airplane! and the TV show Police Squad.

People were just looking at him, poking each other and not doing anything in particular. But no one was talking to him. I thought What the Hell, and I walked up to him and stuck out my hand.

"Mr. Nielsen, I know you have no idea who I am, but my name is Pat Rocchi, and I just wanted to tell you how much I enjoy your movies and how much pleasure you have brought into my life."

He was taken aback at this. I don't know if it was the audacity I had to just walk up to him and tell him how much I liked him or if it was the frank admiration of his work. He gathered himself for a moment before he rose and said, "Well, thank you; thank you very much.'
He paused for a moment and, groping for something to say, he told me, "You know we have a new Police Squad movie coming out." He was referring to his then-upcoming film, The Naked Gun.

Being a movie buff and a fan of the TV show, I was aware that it had been in production. "Yes, I was aware that you were working on it. How is it?" (Such a small-talk thing to say, as though he would respond with, "It sucks. Don't go see it.")

His eyes lit up. "It's very funny, very funny. I think you'll enjoy it." In fact, I did. It is still none of my favorite comic movies of all time, just for the sheer silliness of it.

I had to ask him about his foray into comedy at a later part in his career. "Mr. Nielsen, I remember you as the Swamp Fox (an old Disney show about the American rebel, Francis Marion), and you were always so upright and serious. How do you like this new role in comedy?"

With that, he broke into a big, broad, absolutely sincere smile. "I love it," he said, quickly adding with a sly wink, "I like being dumb and stupid for people!"

We exchanged a few more pleasantries and, not wishing to overstay my welcome, I shook his hand and thanked him for his time. But one thing disappointed me. "You know, I just got off the phone with my wife, and she is also a big fan. She will never believe I met you."

He thought for a moment and then said, "Well, let's see if we can convince her." With that, he reached into his pocket and pulled out a handful of change. I was thinking, "Will he give me a quarter, and I must tell Marie that it came from Leslie Nielsen?" But he poked around the objects from his pocket, and pulled out a lapel pin that was a replica of the badge he wore in his TV show, Police Squad. He handed it to me and said, "Here. Give that to your wife, and she will know that you met me."

I was incredulous, gratified and delighted, all at once. I shook his hand again, laughing, and said, "Well thank you very much, Mr. Nielsen. I will always treasure it."

And I have. Never more than I do today. I wear it occasionally to an event just as a conversation starter, and the story never fails to get a laugh, as well as some appreciation for Mr. Nielsen's graciousness that day. He really has given me a lot of enjoyment over the years through his work, but that little encounter with me, an average fan of no particular import, makes me remember him very specially. I'm glad we had him, and I will miss him. Thank goodness for the permanence of film and video.

By the way, if you can, I suggest you search for the six-episode series of Police Squad on video, either streaming or by purchasing the DVDs. As my personal friend Leslie Neilsen told me, "It's very funny, very funny."

Leslie Nielsen died on Sunday, November 29, 2010, in Fort Lauderdale, Fla., of complications from pneumonia. He was 84 years old.

127 Hours -- More Than a Disarming Film

Many years, someone I knew who had seen The Deer Hunter, Michael Cimino's Oscar-winning film allegory on Vietnam, was asked what it was about. "Oh, it's about a soldier who blows his brains out," was the succinct reply.

Well, actually no, The Deer Hunter was about much more than that, if one cared to analyze it beyond the obvious. But many films over the years have become known for a single aspect or scene (think "Bob&Carol&Ted&Alice" or "Portnoy's Complaint"), overlooking the work's deeper attributes.

There is a similar shorthand about a film currently on the local screens. Danny Boyle's 127 Hours tells the story of Aron Ralston (shown above), an adventurous hiker and outdoorsman whose arm is pinned between a canyon wall and a rock. He is trapped there for several days until he rescues himself in a most agonizing, courageous and unthinkable way.

I will skip the obvious story detail for now. I want to tell you instead about how the film begins, with Ralston's hurried exit from his job and his home to go off into his own little world, the outside world of rocks and trails and pools of water. In this beginning, Ralston encounters a couple of young women hiking the same Utah rock formations that he is. Ralston introduces them to a shimmering underground pool that they would not have found without him. Yes, this is Aron's world, a world that exists only in the exterior. The pool is cool and deep. Aron, on the other hand, appears to be quite shallow.

Soon after leaving the girls, Aron fins himself in his dilemma. He climbs into a deep crevice. He first tests the footing of a rock at the entrance. It seems secure under his feet -- after all, as he had observed earlier, these rocks had been there for millions of years. But as the poet Robert Burns noted, the best-laid plans of mice, men and climbers gang aft agley. The rock falls into the crevice and improbably traps him against the wall by his arm. He is stuck there for days, facing a seemingly certain death, until he frees himself by cutting off his arm -- as it turns out, ingeniously so -- with a painfully dull knife.

This is the plot turn that everyone seems to know. However, if you go to see this film -- and I heartily recommend that you do -- jus for this spectacle, you may overlook the real genius of Danny Boyle's film-making. Boyle's masterpiece and best-known work, Slumdog Millionaire, took viewers on a breakneck view of life in the slums of India. In 127 Hours, Boyle instead takes us on an inward journey of a man who had focused only on the Great Outwards. With his subject confined to a single space, the camera and the screenplay are forced to look at Ralston and his somewhat self-made jail. We learn from Ralston's ruminations about how he has neglected others in his life: The mother whose phone message he ignored. The ex-girlfriend who presciently said that he would be a lonely man one day. The co-worker who was only a blip on Ralston's self-absorbed radar. Ironically, his self-centeredness helped trap him, as other people may have known where he was if he had only reached out to them.

Ever-resourceful, Ralston uses his tools to survive and perhaps even document his ordeal. He records his travails on his video camera, creating a message to his parents, telling them (perhaps for the first time?), that he loves them, just in cse he doesn't survive this ordeal. He scratches his name on the canyon wall, perhaps believing that he would indeed escape this situation.

The smallest conveniences become a treat for him. He comes to appreciate a daily 15-minute does of sunshine on his leg as though he is feeling it for the first time. He looks forward to the daily flight path of an eagle, one of his few companions even over his head. All of these reactions are captured in James Franco's nuanced portrayal of Ralston, a performance that is a revelation of this talented young actor.

But when he rewinds his video camera, Ralston gets a glimpse of what he may have been missing in his life. The girls left a message for him at the pool on his video camera, and he learns that they could see through him almost as soon as they met him. It is an insight he himself has never had.

The actual escape scene is enthralling. Yes, many of us have heard that people fainted in theaters at the sight of Ralston's amputation. However, it is entirely tasteful and artful. Through the use of prosthetics and the craft of film-making (the sound of Ralston's escape may shock you more than the sight of it), Boyle tells you all you need to know about the amputation.

Roger Ebert in his own review that 127 Hours is "an exercise in conquering the unfilmable." That is true in so many ways. While Boyle captures the vast beauty of the expanses of Utah, he also narrows his focus to the small space that Aron Ralston occupies, and then goes even more deeply into the soul of a troubled man who finds his way out of more than one confinement. It is a breath-taking cinematic achievement.

Where Have I Been?

Wow! It's nearly two months since my last blog post. I have been beset mostly by overwork since then, and it raises a reverse important philosophical question: If a Blogger doesn't make a sound, is it because s/he got lost in the forest?

Seriously, I have been much more productive in my work in 2010, having help guide a health care organization through its messaging, contributed to a hospital system's accreditation application, served as COO of my acappella singing group, and in the course of all this, I produced ONE QUARTER of the posts that I did in the previous year. Does this mean I have less to say, and therefore less to contribute?

I have to admit that the answer is yes. Put simply, I am not thinking as much as I had. I have reflected less on all the issues that surround all of us. Oh, some things bubbled to the surface. I was absolutely outraged by the way Andrew Breitbart ambushed Shirley Sherrod. The mid-term elections were shameful in their cacophony, and the bullying of gays and others upset me very much, as it reminded us of how defenseless we all may be. But mostly, I was too preoccupied to feel that I had much to contribute.

I also forgot the mantra for all writers: ALWAYS BE WRITING! I had lost my discipline (or my energy?) to put something, ANYthing down on paper or the ether just to stay in the practice of writing. Sure, I was doing that for my clients, but not for you, dear friends, and I missed it. (I HOPE you also missed me.)

I promise that 2011 will be different. I have a few things on my docket that will give me the opportunity to stay in touch. For example, I hope to finish my second book in the new year, and that will be on organizational communication. Second, 2011 is the centenary of Marshall MacLuhan, probably the greatest communication philosopher of all time. I intend to honor him throughout the year.

Finally, I plan to return to Italy to visit my family. That means brushing up on my Italian, which I learned only a few years ago (and even then, I was speaking on an elementary level). That should contain more than enough fodder on communication.

In retrospect, I am happier that I didn't just babble on these last few months just for the sake of writing. I believe that I will have much more to say that is worthwhile.

Just promise you'll let me know if I'm incorrect. ;-)

BULLYING -- A Message from Ellen DeGeneres

Please spread this important message from Ellen DeGeneres. Thank you.