Good question.

Now for those of you who are running your own business or considering it, you probably think you’re off the hook when it comes to resumes. The truth is that in some instances people do go without using them, but I can tell you for certain that most everyone has one, even if it’s on their backup hard drive in the garage. Why? Because simply the act of making one makes you think, truly think, about YOU Inc. and what you bring to any business situation and, if one is ever requested, even by investors, you cannot just whip one up in an hour.

Let’s go over some of the basics. Resumes can have many components but let’s start with the core four:

1) Contact Information – Your name, address, phone numbers and email address belong at the top. Make sure spelling is accurate and of course use a professional email! (See my previous story).

2) A Summary of Objective – Depending on the industry, this section is your first chance to actually SPEAK, so choose every word carefully. Write this and then re-write it and then re-write it again. Show it to someone you trust without your resume attached and see how it reads. It should get a point across without sounding arrogant.

3) Work Experience – So much info, so little time! Again every word counts. We will talk about keywords and positive active verbs in a bit, but for now, just make sure you have a list of all experiences, dates, and supervisors.

4) Education & Training – Always necessary, and yet another chance to shine. Not necessarily proud of your academic life? No problem! You can make up for it in other ways – just don’t lie!

There are obviously more parts to a great resume. With every industry demanding different requisites it would be impossible to detail them all here but a little research can help you find out. First off, try perusing www.indeed.com under the “Find Resumes” section. It’s a great site and we will use it again later in your search. Another place to see some sample resumes is a site by Susan Ireland at www.susanireland.com. I don’t know Susan but she is a one-woman resume machine and she has some good resources on her site.

A lot of people ask me about lying on their resumes. I know this needs to be addressed but I don’t want to sound like it’s coming from a moral point of view because this is, after all, your business. I tell my clients who ask me if they should fudge that faux-promotion at their old firm to bump up their credentials, that it just isn’t worth it. If your company grossed $499M under your supervision and you want to round it up to $500M that’s not going to send off any alarms, but if you willingly deceive people you will probably eventually get caught, and if you were in the running for a job and get caught, you won’t be in the running for long. With resumes being sent around in emails people do check on what you say. So my advice is—stick to the truth.

On the other hand you should choose your words carefully and strategically so that you communicate yourself in the best way possible and make even your most ordinary experiences sound like amazing adventures. If you do that, even without a ton of experience or an Ivy League diploma, you too can get ahead.

Jason Veduccio is a hard-working entrepreneur following his dreams, and he wants you to dream, too. Drawing on his experiences working with companies on marketing, technology, hiring, and workplace issues, his regular column will demystify the job search process and identify strategies for moving up the corporate ladder. Founder of In1Concepts, Jason also knows the ins and outs of launching a new business. He welcomes your questions and can be reached at jason@in1concepts.com.

Cloud City: Tomas Saraceno on the Roof. For those eager to enjoy the Met’s panoramic rooftop views of Central Park and New York City — always a great hit with visiting friends and family — we have another site-specific work, part architecture part-art object.

Cloud City opened to the press on, yes, a cloudy day. Two years in the making, it is one of a series by Tomas Saraceno, which he calls, Cloud Cities/Air Port City, and though grounded by steel cables, it looks like it could float off at any time. The 54 foot long Habitat-like structure links 16 see-through, multipolygonal modules and invites visitors to climb and take a dizzying stroll inside, a walk that provides breathtaking vistas of the park and city as well as confusing and disorienting experiences within. What is up? What is down? Distortions, reflections, inside and out, abound.

Saraceno, the Argentinean artist, who lives and works in Germany, was on hand for the unveiling, as were Tom Campbell, Director of the Metropolitan Museum of Art and Anne L. Strauss, Associate Curator in the Department of Modern and Contemporary Art.

Saraceno, inspired by multiple phenomena from clouds and bubbles to bacteria and universes, sees his work as both a visionary model for living as well as an invitation to interact with others in alternative ways. You can decide in what way it inspires you.

Weather permitting, visitors will be able to access the structure for up to 20 minutes by obtaining timed-entry tickets, free with Museum admission. Wear rubber-soled shoes and avoid skirts. Full guidelines are posted on www.metmuseum.org/saraceno

Bellini, Titian, and Lotto. Tucked away in a single gallery on the Met’s second floor are 15 masterpieces of Northern Italian Painting (Bellini, Titian and Lotto) on loan from the Accademia Carrara in Bergamo, an Italian museum northeast of Milan. The artists were working in northern Italy between 1450 and 1550. They incorporate the color and brilliant style of the Venetians with the more naturalistic manner native to Lombardy. Two of my favorites are Lotto’s Portrait of the bejeweled Lucina Brembati as well as Moroni’s Portrait of a Little Girl of the Redetti Family.

The Printed Image in China. Finally, moving to a different Continent, there is The Printed Image in China, a sweeping overview of more than 130 works from the 8th to the 21st Century, on loan from the British Museum. In New York, the Exhibition was curated by Maxwell K. Hearn, Douglas Dillon Curator in charge of the Metropolitan Museum’s Department of Asian Art. Works on view begin with woodblock prints discovered in a Buddhist cave on the Silk Road, include the earliest example of multiple block color printing, as well as anti-war images from the Modern Woodcut Movement and exquisite contemporary prints. It’s a large, rich show full of universal themes and visual marvels.

Printing on paper is said to have been invented in China around 700 A.D. , which means that China is the country with the longest printing history in the world. The exhibition is organized in chronological order and, in addition to reflecting the history of China – from Buddhism to the Cultural Revolution and beyond — demonstrates the interaction of East and West – from the Jesuits to Kathe Kollwitz — along the way.

Photos by Eleanor Foa Dienstag

Cloud City: Tomas Saraceno on the Roof: May 15 – November 4th

Bellini, Titian, and Lotto: May 15 – September 3rd

The Printed Image in China: May 5th – July 29th

There’s no such thing as bad weather, only unsuitable clothing.  Alfred Wainwright

Yoox Collection Summer Rain Jacket

Just the coat for the Hamptons or Westchester, North Carolina, Boston, San Francisco or here-of course. Practical, cheerful, casual. Gives you a waist-always a good thing in a raincoat. Super over white pants, jeans or shorts. Pack it for the boat trip or exploring ruins. 100% polyester, ¾ length rain jacket with detachable hood, asymmetric collar, single breasted zipper closure, multi-pockets, strapped cuffs, drawstring waist; fully lined. $295.00

The way I see it, if you want the rainbow, you gotta put up with the rain. Dolly Parton

Jean Paul Gaultier Trench Coat

Look at the detailing on this coat! Not to mention the wonderful color. In a check room filled with beige and black, you’ll stand out as the artist, the iconoclast. You’ll walk into a restaurant and not want to take it off . Feel eyes follow you enviously in Bergdorf’s or Barney’s. 100% rayon. Good looking spread collar with hook closure, storm flaps at the shoulders, epaulets, belted cuffs, slanted pockets. Double-breasted silhouette with button closures, detachable belt with silver-tone grommets, back storm flap and vent. Italian sizing. $2480.00

Who told you you’re allowed to rain on my parade? Bob Merrill

The Row-Ivory Linen and Cotton Blend “Halifax” Coat

Another perfectly beautiful model you will own until it falls apart. Skillful tailoring, fresh seasonal color, long enough to cover a dress, stylish enough to wear to a modest occasion. Notched collar, tabs at the sleeves, wind and storm flaps, front hammered-satin pockets, detachable waist tie, horizontal slit across back, button fastening tabs at back, asymmetric hem, zippered front. $2790.00

Don’t threaten me with love, baby. Let’s just go walking in the rain. Billie Holiday

Color-of-the-Moment- Orangey Red

Below Left: Michael Kors Hooded Trench Coat (Jacket, Really)

Super color for your complexion. Adds warmth and zip. Good for air conditioned movies and galleries, running errands, poking around garage sales-even elegant ones. Flattering open neckline. Adds to your options. 100% polyester. Roll-tab sleeves, single-breasted styling, removable belt tunnels through sides. Open front pockets with faux button flap, storm flap; fully lined. This is papaya. Also comes in beige and black. On sale $78.90

Save a boyfriend for a rainy day – and another, in case it doesn’t rain. Mae West

Above Right: Draped Trench

Sweet and polished. Lovely over skirts and dresses. Wear to the committee luncheon at Swifty’s or a Christie’s auction. The flounce is particularly attractive and unusual in a rain coat. Batting your eyelashes will not go amiss in this. Feminine double breasted short trench with ruffled peplum. Collar with banana band, single button at the back, wind flap closure, epaulets and labels with button closure. Tencel/cotton/polyester. Unlined. On sale $232.00- less than half!

I think fish is nice, but then I think that rain is wet, so who am I to judge? Douglas Adams

Jane Post Leopard Trench ¾ Jacket

If you live your life in solid colors this one’s for you. Adds dimension to what you’re wearing, seems to be continually on trend, looks especially well with naturals. Practical length. Makes a nice car coat. Dresses up jeans or khakis. 100% nylon. Packs well. Brown tones. Features trim collar, double-breasted button-down front, two front welt pockets, waistline pleats, shoulder epaulets. Belted cuffs, matching detachable waist belt; lined interior. $695.00

Don’t knock the weather; nine-tenths of the people couldn’t start a conversation if it didn’t change once in a while. Kim Hubbard

Max Mara Snack Lightweight Coat

Look what happens to the draping when this coat is closed! Extremely a la mode in both styling and color. A good coat to take abroad, this one might serve nicely over a cocktail dress as well as daytime. Dramatic. Polyester/cotton. Just above the knee. Side pockets, open waterfall center-front with matching belt to cinch at the waist. Loose fit. Sleeves have belt straps and silver-tone buckles. $801.00

As guests of owners Kevin and Teddy, we were invited into their restaurant with an attentive staff and a great sense for genuine hospitality. When my friend and I walked through the door, we were invited to sit either in the open-front end of the restaurant or in the cozy back. We opted for the back space for a bit more privacy, even though the airflow was spectacular at the entrance. As we were seated, we met our friendly waiter and quickly got to perusing the cocktail list. The Orchard House pride itself on a variety of specialty cocktails as well as a wonderful selection of wines and beers.

Christopher and I each started with one of Orchard’s renowned cocktails – I quickly decided on The Sage Lady, while he went for a more whiskey influenced drink, The Derby. The Sage Lady was a lovely, light choice for a warm spring evening. It had Absolute Mango, Combier, lime juice, simple syrup, cucumber, sage and peach bitters. The Derby was a bit more masculine, comprising of Kentucky Bourbon, mint, lime, demerara syrup and coca cola. Both were a great way to start the meal and reasonably priced at about $12 a piece.??After studying the menu a bit, we decided to sample several small plates in order to taste all of the different regions of food available on the menu. We started with a personal favorite, fried pickles.

Pickles are a staple in my diet, whether my dentist wants to know or not. They are a crunchy, easy-to-eat food that never seems to disappoint my palate. The Orchard House’s pickles were sliced thinly, lightly battered and fried – simply delicious. They were served with horseradish and whipped sheep’s milk ricotta.

Next we tried a tapas sized plate called Devils on Horseback, which were dates stuffed with blue cheese and bacon. These were unbelievable. Creamy and rich, these dates were cooked to perfection and offered a lovely savory flavor.The dish It was a stand out in both flavor and presentation!

Next we tried a popular favorite, the crab cake. Orchard’s crab cake was delicious and full of real crab meat. The seafood essence went really nicely with my second citrus-influenced cocktail, an Orchard Fizz — which had sparking wine, Absolute apple, cranberry citrus and lemon bitters.??I was impressed by Orchard’s eye for presentation throughout the meal. All plates were beautifully composed, full of color and natural beauty.

Our second to last dish was a prime example of this. The chef brought out a refreshing avocado salad, featuring grapefruit, heart of palm, and frisee all topped with a lightly spiced carrot dressing. It was a masterpiece.

To finish off the meal, we shared a plate of beef skewers, served with Thai basil dip, jicama, Korean chili and bibb lettuce. The meat fell right off the stick and the sauce complimented the beef marinade perfectly. We were able to sample cuisine from all over the world in one sitting. Very impressive.

The Orchard House
146 Orchard Street
212-777-8600

When you visit, be sure to take a tour. The guides are knowledgeable and bursting with anecdotes that are interesting, educational, and humorous.

Stabler apprenticed as a pharmacist in Leesburg, Virginia, before coming to Alexandria in the late 1700s. Besides medicines, Stabler’s apothecary sold farm equipment, surgical and dental instruments, perfumes, paints and artist supplies, even ice cream. William, Edward’s son, eventually came into the business, along with his brothers and brother-in-law John Leadbeater. After William’s death, in 1852, Leadbeater bought the business from William’s widow and changed the name from William Stabler & Co. to John Leadbeater.

After passing through a small gift shop in the front of the museum (don’t miss the pens shaped like syringes) visitors enter what was once the apothecary. Hard blown glass jars, with gold labels identifying the contents, sit on shelves. Many of the jars still hold the various ingredients, even many substances that would be considered poisonous today.

One case houses medicines and devices that can only be termed primitive. There are implements for bloodletting, once thought to restore balance to the body, glass baby bottles that look difficult to clean and were probably very unsanitary, and nipples for those bottles made out of rubber that we now use for tires. A round tin held a remedy used to treat melancholia that was 60 percent mercury. Even Abraham Lincoln took this prescription until those around him noticed a marked chance in his moods and urged him to stop.

The upstairs areas were once the work rooms. In one, books on medicine and pharmacology line the walls.

The second room looks like something out of Harry Potter, cabinets with drawers labeled with their contents, everything from carrot tops to dragon’s blood. A table is filled with glass jars that would hold whatever mixture the pharmacist created from the ingredients at his disposal.

During the Civil War, Alexandria was soon overrun with Union troops, many of them lining up at the apothecary for something called “Hot Drops,” a cough syrup that contained paprika and alcohol. Even though the drops sold for only one penny, the concoction was in such demand that the pharmacy made more than $1,000 in one day.

At its peak, the apothecary was supplying more than 500 pharmacies throughout the Washington D.C. area. By the 1900s, however, the business felt the competition from commercial pharmacies that were opening. The depression didn’t help. In 1933, the owners walked out, leaving the pharmacy much as it appears today. The Landmarks Society of Alexandria worked to preserve the space and open it as a museum.

Stabler-Leadbeater Apothecary Museum
105-107 South Fairfax Street
Alexandria
703-746-3852

Sullivan’s own “You Are the Reason” we sing our songs, graciously welcomes the room. The vocalist leans forward, warmly registering familiar faces, reaching out. Melody and voice are gentle, feathery. “Hello Young Lovers” (Richard Rodgers/ Oscar Hammerstein) follows with her husband Jim’s name inserted into the verse. “Not everybody can sing a song like that. They can sing it better, but not with the heart I have.” Too true. The iconic lyrics sincerely sound like shared experience. “Just Turn It Around”, another of the writer’s own, was titled by advice her mama used to give. It’s pretty, waltzy, right to the point, and good advice-a country cover waiting to be found: Walk awhile in my shoes/Think of me leavin’ like you’re fixin’ to do.

KT Sullivan initially intended to recite Elizabeth Barrett Browning’s Sonnet XXI, Sonnets from the Portuguese. “I’m a singer, not a reciter of poetry,” she thought telephoning her mother with a request for melody. “They asked Sammy Cahn which came first, the music or the lyrics,” Betty quips, “he said, the telephone call.” Her song has the weight and movement of a chiffon scarf in a breeze. KT’s husband, Stephen Downey, then recites “the hottest love poem ever written,” Robert Browning’s “Now,” followed by a musical version performed by T. Oliver Reid. Both men deliver sensitive, heartfelt renditions.

Stephen Lehew takes the stage aptly cradling a flower. His nuanced musical version of Robert Browning’s “Summum Bonum” is coupled with an equally deft, resonant reading of the poem by Charles Turner. Nicole Mitchell’s “How Do I Love Thee?” XLIII, Sonnets from the Portuguese (Elizabeth Barrett Browning) brings the fullness of a deep, rich operatic voice to the festivities. “We throw this around in the cabaret world, but I can truly say, Brava Diva.” (KT Sullivan)

Steve Ross, identified by his well earned title, the Prince of Cabaret, commented he was “brought in to lower the tone a little.” The artist thoughtfully did just this with eminently wry, mother-centric numbers by Noël Coward, Ian Whitcomb and Kander and Ebb. Truly there is no one with his repertoire, insouciance, and pitch perfect timing. Smiles break out like blossoms.

The show ends with two of Elizabeth Sullivan’s songs inspired by her beloved husband both of which are, in their way, as timeless and powerful as the Browning to which we’d been treated. And the lush, moving “As Long As We Sing,” dedicated to Mabel Mercer. This last, becoming a signature, is performed by the three Sullivan women with their arms and voices around one another’s heady harmony. What a family!

The Browning Society

You Are the One
Vocals –Elizabeth Sullivan
KT Sullivan, Stacy Sullivan, Nicole Michelle,
T. Oliver Reid, Steve Ross, Stephen Lehew,
Charles Turner
With Elizabeth Sullivan & Jon Weber-Piano
The Laurie Beechman Theater at The West Bank Café
407 West 42nd Street
To check out other programs go to the Laurie Beechman website.

For the second year, Charlene Giannetti, co-founder and editor of Woman Around Town, received the prestigious Rev. Mychal Judge Heart of New York Award, for a story or series that is most complimentary of New York City. Charlene was cited for her profile of Deborah Koenigsberger, founder of Hearts of Gold, a non profit that helps homeless women and their families. Charlene won last year for her profile of educator Edes Gilbert.

Charlene also won in the Sports News category for “Mickey Mantle—Reluctant Hero,” a review of Jane Leavy’s book, The Last Boy.

Alix Cohen was recognized for the third year, this time in the Entertainment News category for “Marching to Save Mother Earth,” a review of a Taylor Mac Production at La Mama Theater. In 2011, Alix’s won in the Feature Reporting category for her story, “Vicki Abelson: Move Over Gertrude Stein,” and in 2010, in the Entertainment News category for her review of The Lily’s Revenge—A Flowergory Manifold, a presentation of the HERE Arts Center.

As always, the competition for business news was fierce. For the second year, Merry Sheils was recognized for her financial reporting, this time for “Hedge Funds: A Three Part Series.” Last year, Merry won for a three-part series on ETFs.

An Associated Press team nabbed top honors winning the Press Club’s Gold Keyboard Award for the investigative series, “NYPD Spies on NYC.” The stories by Matt Apuzzo, Adam Goldman, Chris Hawley and Eillen Sullivan fired renewed debate over a central, post-9/11 question: How far should government go to prevent another major terrorist attack in the United States?

An enduring tradition in New York media, the annual New York Press Club Awards For Journalism honor excellence in the craft by writers, reporters, editors, producers, shooters and multimediographers. Entries are considered in more than 20 categories of reporting. Judging is by prominent working journalists, former journalists and academics who are selected for their expertise in each category.

Award presentations will take place Monday, June 11th, at the Press Club’s Awards and Installation of Officers Dinner at Manhattan’s Water Club. More information about the awards and a complete list of winners can be found on the New York Press Club’s website.

Minnie has been ill for some time. She reacts peculiarly around water, is accident prone, and somewhat glazed over, simply cannot adapt to the world in which she finds herself. A Dagwood concoction of humorously named medications seem unable to stabilize the young woman. When Minnie’s not in hospital, she lives with her devoted mother who, oblivious to the fourth wall, reflects and gossips. Mom feels she’s the only one who can ultimately care for Minnie, even going so far as to research surveillance equipment for the girl’s own safety. Pammy, the second daughter, is a high powered paleontologist. Busy as she is, her sister becomes a priority with the occurrence of another incident. When Pammy talks to Minnie about their childhood, we gain insights into the beginnings of this particular evolutionary process.

Though the plot holds no surprises except some marvelously intriguing facts about the evolutionary process and whales in particular, the multi-media eloquence with which it’s supported and illustrated is captivating. A kind of Joseph Cornell compartmentalized box serves as the backdrop, each segmented area containing a prop which is utilized and returned. When Minnie takes a shower behind a drawn curtain, projections create unexpected shadows. The roof of a cardboard house is removed so that Pammy can go home to visit. Transit by car is depicted by moving a toy across a miniature set simultaneously projected larger on the walls. There are fossil bones, a scaled down refrigerator, a crutch whose theft is slightly nutty, and a suitcase whose content is inspired.

Additional projections are so integral and effective one might call them a valued cast member. These are attributed to Scenic and Video Designer, Jim Findlay, whose technical prowess is matched by interpretive visual finesse. While some images are literal, others imply. Both work seamlessly to enrich and clarify. The “Cornell” is wonderful; use of the curtain adds dimensionality.

Music by Marc Mellits is spacey and original. As any which becomes symbiotic, sometimes you’ll be aware of it, sometimes you won’t. Familiar, well chosen tunes additionally add humor.

Director Michele Chivu keeps things moving and distinctive as her characters morph into one another. When faced with a clever prop, she knows exactly how to make the most of it.

Patricia Buckley has dramatized an intriguing reality. (I’d be interested in what Buckley comes up with next). The three women (with brief appearance by a nurse) serve to flesh out Minnie’s plight, symbolic of an ever continuing push-pull by nature. Characters are defined, speech feels specifically attributable. Some monologues seem like jazz riffs—improvised around a core melody. Entertaining as the production is, without further plot development, the piece is too long by twenty minutes.

Photo credit Russ Rowland

Evolution
Sponsored by The Redhouse Arts Center
Developed and Produced by Cherry Lane Mentor Project
Written and Performed by Patricia Buckley
Additional Dramaturgy–Leslie Noble
Directed by Michele Chivu
59 East 59 Theaters
59 East 59th Street
212-279-4200
Through May 20, 2012