With its abundant snowfall, extensive trail system and numerous snowmobile-oriented hotels and resorts, ’s Northwoods has become a regional and even national draw for snowmobilers and their families. In fact, the readers of Snow Goer magazine have perennially rated it among the “Best Area Catering to Families” and “Best Trail Riding Area” destinations in , with many towns, resorts and restaurants receiving individual recognition.

This season, ’s status as a snowmobiling destination will be further enhanced by two new laws: a 55-mph nighttime speed limit and an 88 decibel noise limit.

“These new laws will make snowmobiling in even more enjoyable,” said Wisconsin Department of Tourism Secretary Jim Holperin. “Safer, quieter trails are better for riders, better for private property owners along the trails, better for the environment and better for the tourism industry. Everybody wins.”
’s snowmobile trails are impeccably maintained by local snowmobiling clubs and link every corner of the state. A model for states and provinces worldwide, this extensive trail system runs across public and private land and when the entire state is blanketed with snow, totals 22,000 miles.

One of ’s better known areas for snowmobiling is , “Snowmobile Capital of the World.” Like much of the Northwoods, the area boasts a landscape of dense pine forests and frozen lakes. With more than 500 miles of trails in the immediate vicinity, it is a rider’s paradise. is also home to the annual World Championship Snowmobile Derby, which draws hundreds of competitors from around the globe along with 50,000 fans who watch the races every January. The area has a number of luxurious resorts catering to snowmobilers, including the Derby Inn, as well as the Wild Eagle Lodge and the Chanticleer, all of which provide easy access to the well-groomed snowmobile trails.

A half-hour west of is the Minocqua/Woodruff/Arbor Vitae area, another popular home base for visiting sledders. Surrounded by the Northern Highland/American Legion State Forest on the north and east and the Lac du Flambeau Indian Reservation on the west, this Northwoods hotspot offers world-class trail riding during the day as well as a lively nightlife, including gaming at the Lake of the Torches Resort Casino in Lac du Flambeau and indoor waterpark fun at the Waters of Minocqua resort.

No town takes “apres-sled” activities further than Hurley, however. Located on the border in , this former lumber and mining town is known for the traditional “first ride of the season,” the annual Red Light Rally, a colorful event that highlights Hurley’s infamous boomtown history, as well as the stunning trails in the . Fortuitously positioned in the Lake Superior Snowbelt, the Hurley area receives an average of 200 inches of snow per year, making it a great destination for early and late season getaways. Hurley offers a wide variety of lodging options, including the Hurley Inn, Days Inn, Eagle Bluff and Haven North Condominiums.

Though perhaps best known as the home of the American Birkebeiner, ’s largest cross-country ski race, the Cable/Hayward area is equally renowned among snowmobilers. Offering hundreds of miles of trails – many running through the – and dozens of luxurious snowmobile-oriented resorts, Cable and are favorite locations of many snowmobilers in the Twin Cities area – and beyond. The area boasts a wide variety of hotels and resorts, including the Lakewoods (a perennial Snow Goer “Best Resort” selection) and the Telemark in Cable and the Whiplash and Grand Pines in . Vegas-style gaming is available at the Lac Courte Oreilles Casino, Bingo Lodge & Convention Center near .

Lovers of theater, symphony and opera won’t have to go to to see some of the biggest names and productions on stage this winter. ’s performing arts facilities will host a wide variety of major artists and touring Broadway shows during the 2006-2007 season.

The Fox Cities Performing Arts Center in (920/730-3760; www.foxcitiespac.com) is calling its month long run of Disney’s “The Lion King” starting in May 2007, its most eagerly awaited show ever. With an unforgettable score including Elton John and Tim Rice’s Oscar-winning song “Can You Feel the Love Tonight” and “Circle of Life,” this Tony Award-winning Broadway show is sure to sell out fast. Newsweek calls “The Lion King” “a landmark event in entertainment.” Also coming December 12-17 to the Fox Cities is George Wendt of “Cheers” and Richard Thomas (John Boy from “The Waltons”) in “Twelve Angry Men.” The play follows twelve jurors in a murder trial forced to sit in a room for the duration of their deliberations as they decide guilty or not guilty. Molly Ringwald stars in “Sweet Charity,” a Broadway musical that offers fun, laughs and good times, February 20-25. Ringwald is best known for her roles in such memorable films as “Pretty in Pink” and “Sixteen Candles.”

Another Elton John and Tim Rice production is headlining November 9-11 at ’s for the Arts (608/258-4141; www.overturecenter.com). Winner of four Tony Awards, “Aida” is a musical bursting with contemporary energy that tells of the love triangle between Aida, a Nubian princess stolen from her country, Amneris, an Egyptian princess, and Radames, the soldier they both love. Aida’s Grammy Award-winning score by Elton John and Tim Rice is their first collaboration since writing the music for “The Lion King.” Starting January 5, the will present the Broadway favorite, “Cats,” for a five performance run. Based on the poetry of T.S. Eliot and a score by Andrew Lloyd Webber, this show won seven Tony Awards and has thrilled millions of audience members worldwide. Hubbard Street Dance Chicago comes to the Overture April 25 and magician David Copperfield will dazzle audiences with two performances April 26.

Starting November 21-26, “Mamma Mia!” returns to the for the Performing Arts (414/273-7206; www.marcuscenter.org) in . Based on the music of ABBA, the hit musical takes the stage for a six day run at Uihlein Hall. The Marcus will also present “A Cudahy Caroler Christmas” from November 24 to December 31. This show is moving into a bigger venue this year due to its popularity. “A Cudahy Caroler Christmas” is the story of Stasch Zelinsky who is on a quest to bring the true spirit of Christmas back to his little suburb in one final concert. The Marcus starts the 2007 season with the much anticipated “Dirty Rotten Scoundrels,” January 2-7. The New York Post called the nationally touring Broadway musical “One of the liveliest, funniest, best-performed musicals in years.”

Casinos and Dinner Theaters
Wisconsin’s casinos and dinner theaters will also be busy this winter. Casinos throughout the state attract nationally known performers, such as Aretha Franklin, Pat Boone, Shania Twain and others. Oneida Casino (920/494-4500; www.oneidabingoandcasino.net) in offers everything from Zydeco accordion players and rock and rollers to honky tonk and polka bands this winter season. A Sawyer Brown Christmas comes to Oneida Casino on December 19. It has also hosted such bands as Everclear, Cheap Trick and Los Lonely Boys.

Aretha Franklin, David Lee Roth, Natalie Cole and Richard Marx will all be performing at The Northern Lights Theatre at Potawatomi Bingo Casino in Milwaukee 1-800-PAYSBIG ext. 7922; www.paysbig.com) over the coming weeks. This winter catch the “5th Annual Brian Setzer Orchestra Christmas Extravaganza” November 20 or “A Peter White Christmas featuring Rick Braun and Mindi Abair” November 30. Las Vegas-style revues and country stars such as Dwight Yoakam draw a wide range of audiences to the Ho-Chunk Casino (1-800-746-2486; www.ho-chunk.com) just outside of Wisconsin Dells. The Mohican North Star Casino (1-800-775-CASINO; www.mohicannorthstar.com) east of brings in stars of country music, Pro-Am Boxing and dance parties to keep guests entertained during the cold months.

If visitors are looking for dinner and a show in one stop shopping, has them covered. A must for the Christmas season is the annual “A Fireside Christmas” at the Fireside Dinner Theater (1-800-477-9505; www.firesidetheatre.com) in between and . Running through December 23, audiences will be delighted with an evening of beautiful sets and costumes, singing, dancing, and heart-warming stories performed by a cast of some of the country’s best young professional singers and dancers. Starting December 28 and running through March 18 at the Fireside is “Hollywood Sings.” This all new spectacular live band revue pays tribute to movie musicals of the past and present with singing, dancing, comedy and fantastic music.

In , just over the border from the Twin Cities, St. Croix Off Broadway Dinner Theatre (715/386-2394; www.stcroixoffbroadway.com) is performing the world premiere of “A Don’t Hug Me Christmas Carol” from November 30 - December 31. The show features 17 original songs and themed menu to compliment it.

The newest addition to the dinner theater family in Wisconsin is Wisconsin Dells’ Broadway in the Dells (608/253-2006; www.broadwayinthedells.com). Broadway in the Dells kicks off the holiday season with “Christmas in the Dells,” which touts the only live nativity scene in the Midwest, complete with camels, sheep and donkeys. The original New York City style Christmas spectacular features traditional and contemporary holiday favorites from around the world. Living up to the family-friendly reputation of the Dells, the dinner theater will bring the long-running, classic film, “Wizard of Oz,” to the stage next summer. Families will love the classic story of Dorothy and Toto’s magical journey “Over the Rainbow” as they make their way home to Kansas.

Also new to the dinner theater scene is the Janesville Armory (608/741-7400; www.janesvillearmory.com). The Armory will be an exciting entertainment venue offering three distinct dining experiences. The Drill Hall Theatre will combine elegant dining in a theater setting with professional productions. Modern, casual dining and an outdoor patio will be featured in the Bunker Lounge. And fine dining, specializing in American and French cuisine, can be found in the sophisticated atmosphere of Lieutenants Restaurant.

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Combined spending on blog and podcast advertising totaled $20.4 million in 2005, according to custom media research firm PQ Media. Ad spending in these areas is expected to balloon another 144.9 percent to $49.8 million this year. The study, “Blog and Podcast  Advertising Outlook,” is the result of six months of primary research and the first installment in PQ Media’s “Alternative Media Research” series. Blog advertising accounted for 81.4 percent of ad spending among the three areas—blogs and podcasts  collectively termed “user-generated online media” by the study.

“Blog and podcast advertising are being driven by some of the same factors boosting the growth of the overall alternative media sector: continued audience fragmentation, the perceived ineffectiveness of traditional advertising”

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by Sue Tinnish

847.394.9857

stinnish@ameritech.net

 

 

You want new ….
You want different …
You want innovative …
You want to borrow from something done before…

Many of us have only a passing familiarity with the principles of copyright law and the area of intellectual property. The Internet’s technology, ease and flexibility have made it incredibly easy to have access to, copy or even forward information. For the first time, the average person sitting at a computer can gain access to a wide range of every type of copyrighted material and can easily copy or communicate that material virtually instantaneously.

In a digital format, it’s not so easy to determine if a work has been copied. Original photocopy machines left tell-tale signs that a work was a copy. Later, color copies made near perfect originals. Now it is next to impossible to ascertain whether and at what point in the process a copy has been made or a performance has occurred.

From students to authors to people involved in planning meetings, copyright law is important to understand. There is a price to innovation and in many cases it’s determined by copyright laws or other areas of intellectual property rights.

Copyright or © is a legal protection for authors. Copyright law affords protection from “copying” of material. Ideas and facts are not protected by copyright laws. Individual words can not be copyrighted.  Copyright only protects the particular way an author expresses facts or ideas. Ultimately, copyright laws allow authors to profit from their work.

Like many laws, copyright laws have been amended since first created in 1790. Some parts of the law are ambiguous or poorly written. And no law can cover all situations in all circumstances. (And hence lawyers can make a profitable living!)

Materials that are protected by copyright include:

• Writings

• Musical works

• Cartoons

• Plays

• Photographs

• Maps

• Artworks, sculpture

• Movies

• Pantomimes and choreographed works

• Recipes

• Architectural drawings

Copyright law protects published and unpublished works. Copyright protection for all works created after 1978 begins the instant a work is created – whether it is registered or not with the US Copyright Office. It is not even necessary to publish the copyright notice.   Some works may not be copyright protected but exist in the public domain. Public domain works are available for copying or using without gaining permission from the author.

How do you tell if a work is copyrighted? Unfortunately, there is no straightforward rule. To understand when a copyright has expired, you need to know when the work was published.

• Everything published in the before 1923 is in the public domain.

• Works published in the between 1923- 1963 and not renewed are in the public domain.

• All unpublished works by authors dated over 70 years are in the public domain.

• Foreign works published before 1901 are in the public domain.

• Foreign works published 1909-1923 with copyright notice are in the public domain.

• Copyright protection for current works (published after 1977) generally lasts for the extent of the author’s life plus 70 years.

• Works made for hire – that is works that are created as part of a job are protected for 90 years from the date of publication or 120 years from the date of creation whichever comes first. Examples: Training materials.

Examples of Public Domain works:

• Louise May Alcott’s Little Women

• Leonardo DaVinci’s Mona Lisa

• The Lone Ranger but not E.T. or Hopalong Cassidy

• Any facts

Copyrightis a complex issue. If you find a work that you want to copy, adapt or otherwise use and it is not in the public domain, you have three alternatives:

1.       Find something that is in the public domain

2.       Obtain permission to use the work

3.       Use the work without permission relying on the principle of the “fair use” which allows copyrighted material to be used for free in limited situations.

Fair use is a concept only legally recognized in the . No other country in the world gives the public latitude to use copyrighted works without permission.   Under the fair use privilege an author is permitted to make limited use of another author’s work without asking permission.

When is it fair to use someone’s materials?

• When you comment or criticize

• For news reporting

• For research or scholarship

Three other considerations for fair use:

• The type of work – factual works (technical, scientific) vs. works of fancy (novels, poems, plays)

• The amount and importance of the material used

• The effect of the use of the material on the potential market or the value of the copyrighted works

People sometimes unknowingly violate copyright laws. The wide amount of information available via the web and electronic distribution makes it easy to have access to information and to add it to a presentation, brochure or other marketing information.

You may not realize that you are infringing upon an author’s rights. Here are some flagrant examples of violating copyright laws:

• Copying training materials (this is an example of a work made for hire) to reduce the cost of purchasing additional materials from a training company.

• Photocopying of articles from magazines for mass distribution.

• Using a song as background music in a video production.

Works on the Internet do not automatically qualify to be considered public domain. Nor does out of print mean out of copyright.

If you are concerned about copyright issues, you can: 

• Research the topic in more depth using these resources:

1.       US Office of Copyright http://www.copyright.gov/
US Office of Copyright

2.       Brad Templeton writes a brief introduction to copyright law at http://www.templetons.com/brad/copyright.html
Brad Templeton’s Intro to Copyright Law

He also has the 10 Myths about Copyright which is definitely worth a read at http://www.templetons.com/brad/copymyths.html
Brad Templeton’s 10 Myths

3.       Copyright website at http://www.benedict.com/
Copyright Website LLC

4.       Using Copyrighted Works For Meetings, Seminars & Conferences by J. Wesley Cochran, Professor of Law, Texas Tech University, August 1999 at
http://www.unc.edu/~unclng/copy-corner12.htm
Prof. Cochran

• Ask permission to use the work. (This can be time-consuming.)

• Use royalty-free content. You can purchase for a one-time fee for unlimited use (with some restrictions) of music, stock photos or graphics in presentation materials.

• Use works of the United States Government. By statute, U.S. Government works are not protected by copyright. This would include photographs from NASA, database and statistics (like the US Census data).

• Gain explicit agreements from your speakers that protect your organization from claims that the speaker used copyrighted materials (e.g., a PowerPoint® presentation) without permission. Speaker agreements also should ensure that the sponsor has the right to record and replay the presentation or reproduce the handouts for distribution or sale to non-attendees. Speaker agreements also should include language that allows the sponsoring organization to reproduce the presentation materials in any form or media (e.g., on the sponsor’s Web site). This idea  taken directly from Association Meetings, Dec, 2000 by Jed R. Mandel at http://www.findarticles.com/p/articles/mi_m0CXQ/is_6_12/ai_68965444

• Link Well. Links to web sites may be freely reproduced for hyperlinking. Always proper cite a website and depending upon your usage notify the web page provider. Also avoid deeply linking to a specific page. Some websites prohibit deep linking which allows you to avoid the home page.

• Obtain Music Licensing. Unless a song is clearly within the “public domain,” any music–live or recorded–played at an event is subject to copyright protection. Event sponsors may need copyright licenses from one or all of the music licensing organizations (ASCAP, BMI, or SESAC). Each organization has a “playlist” of music for which it is authorized to give licenses on behalf of copyright owners. They can provide you with a blanket license tailored to the meetings industry.

·         Research sources for Public Domain works:

1.       The on-line Books Page at www.digital.library.upenn.edu/books
On-line Books

2.       www.ibiblio.org contains links to many websites with public domain materials
www.ibiblio.org

3.       Wikipedia contains many links to public domain at http://en2.wikipedia.org/wiki/wikipedia:public_domain_resources
Wikipedia Public Domain

4.       Audiovisual and sound recordings at the National Archives and Records Administration (NARA) at www.archives.gov
NARA

5.       Maps at the US Geological Survey (USGS) at www.usgs.gov or the National Archives Cartographic and Architectural Branch at www.nara.gov
USGS

6.       Art works through web searches using the artist’s name or check Art History Resources on the Web at http://witcombe.bcpw.sbc.edu/arthlinks.html
Art History Resources

Strive for new, different and innovativemeetings.  But respect other people’s work.  Plagiarism is an ethical issue. While you may no longer be in school and concerned about plagiarism, you should give credit for ideas and facts that you borrow from authors. 

SEAL Inc.

847.394.9857

stinnish@ameritech.net

 

Do your meetings fall victim to Corporate Attention Deficit Syndrome? 

The message of your meeting is the most important aspect of your meeting. Food, drink, sleeping rooms…yes these are all important. But the ultimate reason for a meeting is to deliver a message. Even an incentive trip to the most exotic, luxurious destination would go awry if the “message” sent to the participants wasn’t correct.

The message must be well crafted (clear, articulate, and consistent).
The message must be delivered (physically heard).
The message must received (fall upon receptive ears).

Presenters or paid speakers certainly shoulder responsibility for crafting their messages. But how can you create the optimal environment to allow that message to be heard and received?

 

Today’s meeting audiences are typically filled multi-tasking and over-tasked individuals.  Many have likened the challenge of getting and keeping our audiences’ attention as Corporate Attention Deficit Syndrome.

The book, The Attention Economy, outlines what we pay attention to and divides our attention into 6 types:

• Attraction (victory, super models)

• Aversion (car wrecks)

• Captive (bad weather, movies)

• Voluntary (hobbies, print advertising)

• Front of Mind (discussion, task at hand)

• Back of Mind (to do list, commuting)

The authors, Thomas Davenport and John Beck, promote the idea that understanding and managing attention is now the single most important determinant of business success.

You can help meetings be an attraction.  You can help create environments where our audience feels they are participants not captives.

The majority of people are visual learners (60%). They retain information best when they can “see” the information. Numerous surveys show that retention increased by 70 - 80% when visuals are used. That’s one reason every speaker seems to use PowerPoint. (In addition, to the fact that speakers find it a great crutch!)

Beyond PowerPoint, consider changes in your meetings to make presentations more visual so you and your presenters shine:

• Stories This is not your traditional visual. However, stories woven within a presentation create pictures in people’s minds. Stories work to grab attention and create emotional connections. When done in support of a point in the presentation, stories help increase retention and interest.

• Props Props help make information tangible. Props should illustrate or emphasize a key point. Several suggestions for presenters when using props:

1.       Make sure the prop is large enough to be seen

2.       Allow sufficient time for the audience to see the prop

3.       Don’t let the prop become a distraction from you or your presentation

• Handouts Handouts need not be the PowerPoint slides reproduced. Handouts can include background information, supplemental charts and statistics, anything that supports the presentation. Handouts have the following advantages:

1.       Handouts can help fill in gaps in the audience’s knowledge and understanding of the topic

2.       Add to the presenter’s creditability

3.       Keeps everyone focused

4.       Serve as a place to take notes

• Flip Charts The old fashioned flip chart is still a work horse in small to mid-sized meetings. Flip charts allow a presenter to:

1.       Create group interest and attention

2.       Focus the group on key points

3.       Allow people to visually trace their conversation

• Change the scenery The same part of your brain that controls long-term memory also controls large motor skills. Who among us hasn’t sat through a mind-numbing presentation? When a presenter asks the audience to move, they get their attention and re-awaken the part of their brain that controls long term memory.

• Questions Questions ask the audience if the picture is complete for them. Presenters can ask rhetorical questions or they can ask the audience to respond to a question. Additionally, PowerPoint slides can be crafted in such a way that each slide asks questions thereby inviting the audience to reflect and possibly express their opinions and feelings.

You can fight Corporate Attention Deficit by creating visually more interesting meetings.  Work toward well crafted (clear, articulate, consistent), well delivered (physically heard) and well received (fall upon receptive ears) messages.  Both you and your meeting participants will be glad you did.

Establish yourself as an expert in front of meeting professionals. We are seeking articles on the following meeting topics immediately. If your article is selected, we will provide your name as the author and a link to your website from our populare Heres Network Cities. We are seeking the following topics:

 

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SEAL Inc.

847.394.9857

stinnish@ameritech.net

 

Innovative meetings occur where there is a good match between speakers, topic, your requirements/needs, desired outcome and the setting with a twist of the right chemistry.

The best speakers create in audiences the desire to change, the confidence to act, and the knowledge or tools to succeed. Speakers can impact people’s:

·          Attitudes (how they feel)

·          Knowledge (what they know)

·          Actions (what they can or will do)

Before even previewing or considering a single speaker, be clear on your objectives for hiring a speaker. “Because we always have a keynote speaker.” is not a good reason to hire a speaker again this year.

Clarify why you want to hire a speaker. Select speakers who will deliver the outcomes you want/need. Some common objectives include the desire to:

·          Entertain (change how they feel)

·          Motivate (change how they feel)

·          Promote a cause or organization (change how they feel and what they know)

·          Educate (change what they know; perhaps what they do)

·          Shift behavior (change what they do)

Many other sources (including speaker bureaus) offer checklists that cover logistics, legal issues and also content. This checklist is intended to help you hire a speaker who is the best match with your meeting. This checklist of 20 questions will help you create an innovative meeting.

Checklist for Innovative Meetings

1.       What size of a group do you work with?

2.       What level of people do you work with?

3.       Are we an attractive audience for you? Why? Most top speakers don’t accept every engagement even if they are available. They select audiences with whom they have the greatest chance of success.

4.       How would you characterize your “style” of speaking?

5.       What is your focus? Are you more of a “special event” speaker? Do you focus on keynotes? Do you offer ongoing, long-term training as well? Most speakers operate a three-pronged business: Keynoting, workshops and consulting.

6.       Do you specialize by topic or industry?

7.       How long is your “typical” program?

8.       How do we make sure your program works?

9.       What will you do to make your message relevant to our group?

10.    How will you create an empathetic connection with the audience?

11.    How will you create involvement and interactivity? Professional speaker Patricia Gardner says “People don’t want to listen to a lecturer.” That requires speakers to use techniques and tactics that involve the audience.

12.    What will you do to finish on time?

13.    How can you help us promote this meeting?

14.    What else do we get when hiring you? Some options include:

·          Deliver one or two “breakout sessions” or a spouse program

·          Introduce other speakers

·          Emcee the event that they are part of

·          Host a book signing

·          Meet and greet at a reception

·          Coach other internal speakers either in advance or on-site

·          Moderate a panel

·          Sign autographs

·          Appear in the sponsor’s booth to increase the value of their sponsorship

15.    What are the pros and cons of having you speak to our organization more than once?

16.    Will you customize your program for our organization? Content, titles, introductions, props and visuals are areas that can be customized? For example, your organization’s name, logo, and meeting theme can be incorporated in the handout.

17.    What type of pre-program research do you conduct?

18.    Do you provide handout masters and/or finished handouts? Who pays for the handouts?

19.    How do you accommodate hearing and sight impaired audience members (i.e., Handouts in Braille, audio tapes, etc.)?

20.    Will you be accessible to all attendees before and after the event?

Ultimately when narrowing down your selection, ask yourself these questions to help guide your decision:

1.       Have I considered a widely-diversified group of potential speakers? Does the pool of speakers address the type of diversity in my audience?

2.       Do I have a match between Content (topic), Style (delivery), and the Call to Action (outcomes)?

3.       Is the speaker entertaining as well as informative?

4.       How does our location/site influence our selection of a speaker and that speaker’s success? How will a rugged, individualist speaker play in a tony, urban 4-star property? Can I use our site to help build a theme or thread running throughout the meeting?

Does the speaker have verifiable references that increase my comfort?

These questions will help you get a great match between your speakers, topic, requirements/needs, desired outcome and the setting while maximizing that all important twist of chemistry.

Do you announce a meeting and find either no one shows up on time, they come with their own agenda, or the meeting goes on and on? If this is true in your case, then worry no more.

Here are six steps to help you develop successful meetings:

1. Establish a realistic and specific objective. Ask yourself, ‘What do I want to accomplish?’ or ‘Why am I calling people together at this time?’

Do I want:

• to solve problem(s). * to inform. * to gain feedback. * to orient.

• to motivate. * to reward. * to buy. * to sell.

Then decide the best mode to accomplish your objective. Ask yourself which best suits your needs:

• a conference with a panel(s) of speakers?

• a half-day workshop? Or a full-day seminar?

• a staff meeting that includes your immediate staff?

• a staff meeting that includes your department or division?

• a staff meeting that includes everyone from all levels of the entire organization?