Results You Can See For Yourself From Capitol One Credit Card
If you want a credit card company that believes that their customers are their bread and butter. If a credit card company that is constantly improving their service to their customers appeals to you. If you want a credit card company that is in the top 100 World’s most Innovative companies list, then look no further. Capitol One credit card is all that and more.
Let’s take a closer look at some of the criteria for each credit class. We’ll start off with those whose credit needs improvement. If your household income is more than $10, 000. 00 and you have had credit for one year, whether a line of credit, a credit card or a loan. And in addition to that, if in the last two years you have paid back debt to creditors with no defaults. If you also haven’t had more than two missed payments on your credit in the last three months, then you fit in the category of “credit needs improvement”.
Second we’ll look at those whose credit needs to be established or re-established. If you’ve never had credit, such as credit card, loan or line of credit. If you’re new to Canada or have recently had credit problems, possibly even bankruptcy, then this is where you fit in. You can still get a credit card from Capital One. You may be required to pay some security funds, but you can still get a credit card to help you build your credit, and reward you for good credit behavior.
If your gross income is greater than $30, 000. 00, and you have not had any defaults in the last seven years, you’re off to a good start. Now let’s add to that six years of ongoing credit, and no changes in the last nine months. Great! you’re almost there. As long as you’ve made all your payments, and made them on time for at least the past three months, then you’ve made it. Soon you’ll be reaping those rewards of good credit management.
On the other hand if you’ve had ongoing credit for more than ten years, with no defaults in the last seven years. You’ve had no missed or late payments in the last six months, and your household income is more than $40, 000. 00. If your credit situation hasn’t changed in at least nine months, then you fit in the category of ” Excellent credit”. If you’ve had ongoing credit for more than three years, with no defaults in the last seven years. If you’ve had no late or missed payments in the last three months, and your household income is more than $30, 000. 00 then you make it into the category of “Excellent and good credit”.
Simply stated, the interest rates vary based on the category you’re in, as well as the things you use your card for. For example, if you use your card to buy parts for your vehicle, or put gas in it, that’s a purchase, and has an interest rate of let’s say prime + 3%. Now if you run out of money at the fair, and you run over to the bank machine and get a cash advance, that’s gonna have an interest rate of let’s say prime + 12%. These amounts are just examples, to let you see how it works. The prime rate that you can find in Globe and Mail’s business section in the business report on the 25th of every month, is the prime that Capitol One uses.
With such a wide range of credit cards, it’s not hard to believe that they really do have a credit card suited to every person. It’s no wonder they have over 46 million satisfied customers world wide. The bottom line is that credit is convenient, and in this day and age almost a necessity. With their secured credit cards, they really can guarantee you approval. Quite simply, it’s worth checking out.
While the Historic America pattern also comes in pink or blue, there’s something about the sepia brown of old photographs that conjures up the true essence of history. This 20-piece dinnerware set accommodates four diners, enough to set in motion a lively discussion of America’s past and present. Each piece depicts a different setting or landmark of significance in American history. For example, t…
Lady Antebellum (Dave Haywood, Charles Kelley and Hillary Scott), The critically acclaimed trio, co-wrote and produced songs together with veteran producer Paul Worley and some of Music Row’s most awarded songwriters. Need You Now,The leading single and title track to the groups Sophomore album is taking the country music world by storm, spending 5 consecutive weeks on the US Country singles chart…
Digitally remastered and expanded two CD commemorative Collector’s Edition of the classic 1971 album, released to coincide with the classic LP’s 40th Anniversary. Disc One features a NEW, previously unreleased stereo mix of the album. Disc Two contains additional recordings from 1970-71 and includes unheard stereo mixes. EMI. 2011….
Disc 1:Boys BetterEvery Day Should Be a Holiday [the Tony Lash Mix] – (remix)Not If You Were the Last Junkie On EarthGood MorningGodlessGet OffBohemian Like YouWe Used To Be FriendsScientist [...
Disc 1:Mississippi DeltaFancySon of a Preacher ManOde to Billy JoeTouch em With LoveYou`ve Made Me So Very HappyGirl From CincinattiIn the GhettoHushabye MountainI Wouldn`t Be Surprised
Disc 1:When I`m Dead and GoneLazy AfternoonBodang BuckMister MisterHeritageI`m Letting You KnowLet It RideDream Darlin` DreamWho You Got to LoveInternationalMalt and Barley Blues
Disc 1:Gambler, TheThrough the YearsLadyLucilleCoward of the CountyI Don`t Need YouWe`ve Got TonightCrazyIslands in the StreamShe Believes in MeEvery Time Two Fools CollideYou D…
Disc 1:Blood from a CloneUnconsciousness RulesLife ItselfAll Those Years AgoBaltimore OrioleTeardropsThat Which I Have LostWriting`s on the WallHong Kong BluesSave the WorldSave the …
Disc 1:Cover of the Rolling Stone, TheSylvia`s MotherCarry Me CarrieMillionaire, TheOnly SixteenLittle Bit More, AMore Like the MoviesIf Not YouCouple More Years, AWalk Right InSleep…
Disc 1:Caught Somewhere in TimeWasted YearsSea of MadnessHeaven Can WaitLoneliness of the Long Distance Runner, TheStranger in a Strange LandDj VuAlexander the Great (356-323 B.C.)
It`s October 1960, say, or 1961, in a seaside Argentinian city named Santa Fe, and The Mathematician–wealthy, elegant, educated, dressed from head to toe in white–is just back from a grand tour of Europe. He`s on his way to drop off a press release a…
The history of the modern U.S. Capitol, the iconic seat of American government, is also the history of America’s most tumultuous years. As the majestic new building rose above Washington’s skyline, battles over slavery and se…
Disc 1:He Rides the Wild HorsesSilence on the LineTen Seconds in the SaddleOur First YearI`m CountryBlue Eyes and FrecklesHippies in CalgaryCowboy`s Got to Ride, AYellow Stud, TheRunning …
Three years after Jackie Robinson crossed the color-line in baseball, little known cager Earl Lloyd, picked in the ninth round of the 1950 NBA draft by the Washington Capitols, became the first black basketball player to play in the newly integrat…
Released to coincide with {$Frank Sinatra}’s 75th birthday, the three-disc set {^The Capitol Years} has an abundance of classic {$Sinatra} performances. There is plenty of wonderful music here, and the box is somewhat of an effective sampler, but to reall
{^The Best of the Capitol Years} is an effective distillation of the three-disc set {^The Capitol Years}. Featuring singles and album tracks, the disc contains a fair number of highlights from one of {$Sinatra}’s most creative periods. Although the albums
Spanning two discs and 40 songs, The Capitol Years is the most thorough retrospective of Dean Martin’s Capitol recordings. From “Memories Are Made of This” to “Return to Me” and “Volare,” all of his major hits for the label are included, as are several al
1990 remastered collection gathering 20 tracks originally recorded in 1958 when Keely was teamed with two of Capitol’s top arrangers, Nelson Riddle & Billy May. Capitol.
Spanning two discs and 40 songs, The Capitol Years is the most thorough retrospective of Dean Martin’s Capitol recordings. From “Memories Are Made of This” to “Return to Me” and “Volare,” all of his major hits for the label are included, as are several album tracks, lesser-known singles, and a handful of rarities. The collection may have a few too many songs for some casual fans, but it’s the only album that presents all the important Capitol tracks with care, thought, and first-class sound. ~ Stephen Thomas Erlewine, Rovi
This set anthologizes Otis’s late-’50s rise to rock & roll fame, thanks to his shave-and-a-haircut special “Willie and the Hand Jive.” Like every other style of R&B Otis drifted into, he excelled at it — “Castin’ My Spell,” “Crazy Country Hop,” “Willie Did the Cha Cha,” and “Three Girls Named Molly” are catchy rockers. Otis had a terrific band — guitarist Jimmy Nolen (later James Brown’s main axeman), pianist Ernie Freeman, drummer Earl Palmer, and a tight horn section (along with singers Marie Adams and Mel Williams) gave him all the help he could possibly need. ~ Bill Dahl, Rovi Performers: Curtis Counce – Bass; Fred Harmon – Sax (Tenor), Sax (Baritone); George Washington – Trombone; Jackie Kelso – Sax (Tenor), Sax (Baritone), Sax (Alto); Johnny Otis – Vibraphone, Drums, Vocals, Piano; Marcia Lee – Vocals; Marie Adams – Vocals; Mel Williams – Vocals; Paul Lopez – Trumpet
The Dandy Warhols began their career on the indie label Tim/Kerr and eventually founded their own independent imprint, Beat the World, but a big chunk of their albums were released by one of the most major of majors: Capitol Records. Best of the Capitol Y
The Dandy Warhols began their career on the indie label Tim/Kerr and eventually founded their own independent imprint, Beat the World, but a big chunk of their albums were released by one of the most major of majors: Capitol Records. Best of the Capitol Y
The first of two discs (released simultaneously and sporting nearly identical covers) recaps {$Leo Kottke}’s early years from 1970-1975 when he recorded for the {@Capitol} label. As is indicated by the title, this features only {$Kottke}’s amazing fretwor
The title of Capitol’s 2006 collection The Best of Linda Ronstadt: The Capitol Years is a little misleading: this isn’t a mere single-disc overview of hits; this double-disc set is a virtual complete recorded works of Ronstadt’s stint at Capitol between 1
Released to coincide with Frank Sinatra’s 75th birthday, the three-disc set The Capitol Years has an abundance of classic Sinatra performances. There is plenty of wonderful music here, and the box is somewhat of an effective sampler, but to really appreciate what the singer achieved during the ’50s, it is necessary to listen to the original albums. ~ Stephen Thomas Erlewine, Rovi Performers: Frank Sinatra – Vocals
This two-CD set packages the Aladdin and Capitol tracks of the warblers from Newport News, VA. The 45 tracks released from 1951 to 1958 encompass all their hits and misses. The songs are not in chronological order, which is a real bummer; instead, they’re
2008 digitally remastered two CD set featuring all three albums recorded by the singer/songwriter for Capitol Records. Best known for penning ‘Ladies Love Outlaws’, a hit for Waylon Jennings in 1972, Lee’s solo career kicked into full gear with two critic
Tall, blonde drink-of-water {$Dolores Gray} starred in films and musicals throughout the ’40s and ’50s and made a respectable armful of minor charting songs for {@Columbia}, {@Decca}, {@RCA Victor} and {@Capitol} during her career. A dedicated B-lister, {
Selection of 24 tracks recorded by one of the most successful arangers and band leaders, Nelson Riddle. Includes ‘Let’s Face The Music And Dance’, ‘You Are My Lucky Star’, ‘Am I Blue’ and many other tunes cut for capitol records in the 60′s. EMI. 1993.
Harry Belafonte’s influence on pop music is much more far reaching then many realize, as he was one of the first performers to bring worldbeat rhythms to the U.S. charts in the postwar era. Born in Harlem but spending a good part of his childhood in his mother’s native Jamaica, Belafonte grew up straddling cultures and musical styles, and bridging perceived differences became his calling card as an entertainer. His silky smooth mixture of jazz, folk, pop, and art song, often with impossibly infectious West Indies-styled accompaniment, coupled with his charismatic good looks and easy, hip coolness and sharp racial and political sense, meant he was never reduced to being a mere commodity, even though he spent his whole career on major labels. But before he spearheaded the calypso boom in the U.S. in the late ’50s with his RCA recordings, Belafonte tracked eight songs in two sessions (on July 19 and December 20) for Capitol Records in 1949. There was nothing even vaguely Caribbean about these sides, and they featured Belafonte crooning songs like Jerome Kern’s “They Didn’t Believe in Me” over lush orchestrations by Pete Rugolo. All eight of these tracks are included in this set, along with 14 tracks from Lord Flea. Lord Flea (Norman Thomas) was born in Kingston, Jamaica, but moved to the U.S. as a young man, and playing a kind of jazz-inflected mento with an energetic, banjo-led island band, he toured the club circuits and recorded some 20 singles for various small labels before landing at Capitol Records long enough to record one album, Swingin’ Calypsos, in 1957. That Lord Flea played Jamaican mento and not calypso didn’t bother Capitol any, since the label was simply looking for a way to cash in on the calypso movement then sweeping the U.S. (fueled, ironically, by the success of Belafonte, an artist they let get away). Lord Flea’s entire Capitol catalog is collected here — one single, one album. It makes for a curious combination with the Belafonte tracks, which are closer to Bing Crosby than they are to anything remotely calypso. But then Lord Flea’s tracks aren’t calypso, either. His versions of island classics like “Monkey,” “Jump in the Line” (a hit for Belafonte), “Donkey Bray,” and the others included here are pure Jamaican mento given a very slight uptown jazz twist. The Belafonte tracks are far from essential but Lord Flea’s are definitely worth hearing. They form a sort of testimonial, since Lord Flea/Norman Thomas died just two years after Capitol issued them. He was 27. ~ Steve Leggett, Rovi
Sammy Davis, Jr. was as much a visual entertainer as he was an aural one, and his incredible energy and vitality seemed muted somewhat on his various recordings, a case of trying to bottle lightning when it won’t ever stand still. That being said, this set of Davis’ earliest recordings, done over five sessions in 1949 for Capitol Records, shows Davis was already a pretty versatile and charismatic singer even at the age of 23. Davis had been tearing it up in live shows with the Mastin Trio when he came to Capitol’s attention, and although he was then an unknown artist, the label obviously had faith in his commercial potential. Amazingly, the full range of Davis’ eventual palette is already in place here, and the 1949 sides embrace the standard pop songs and ballads that Davis loved but they also veer off into blues and bebop territory and feature a nascent shot at the jazz scat vocals that became a Davis specialty. An extremely gifted performer and musician (Davis was quite proficient on drums, trumpet, and vibraphone, sang in a natural low baritone, and could tap dance with the rhythmic precision of a percussionist), he puts a lot of good-willed swagger into sides like “Be-Bop the Beguine” (not a reinterpretation of Cole Porter’s classic tune so much as a comment on it) and the R&B-tinged “We’re Gonna Roll,” then turns sugary sweet for the effective ballad “You Are My Lucky Star.” After these sessions, Davis wasn’t to enter a recording studio again for five years, a spell broken when he began his long association with Decca Records in 1954. In his later years Davis was often less than kind to these first recordings, but they’re hardly throwaways, and they stand, in fact, right in line with the best of what he did for Decca. ~ Steve Leggett, Rovi
There is no definitive Glen Campbell compilation, but this 130-minute, two-disc set from England comes very close to it, and also forms a perfect compliment to Razor & Tie’s Glen Campbell Collection: 1962-1989 (which it overlaps amazingly little). With 46 songs, selected from various singles, starting with Campbell’s first pop/rock hit “Universal Soldier” and rarities such as the beautiful flops “Guess I’m Dumb” (co-authored and produced by Brian Wilson) and “Less of Me,” along with various album tracks and B-sides, it’s as good a cross-section of his sound (including two duets with Bobbie Gentry) and his successes as you can find. What’s more, by ranging freely through the hits and the album cuts, it shows off Campbell’s strengths in various idioms, from the country-ish “Just Another Man” and the more pop-focused “It’s Over,” to the brilliant “Reason to Believe” and non-LP sides, such as “You’re Young and You’ll Forget” sandwiched in between “Wichita Lineman” and Campbell’s own “Everytime I Itch I Wind Up Scratching You.” “True Grit,” the title-song of the film in which he co-starred, is very much a piece with the best of his singles from that era, immersed in rich melodic textures, supported by moderately dense orchestration backing a superb vocal performance. Disc two is intriguing for its inclusion of the Jimmy Webb songs Campbell recorded during the early ’70s (beginning with “Honey Come Back”) that didn’t become hits, and which haven’t been heard often (if at all) on CD; they make a logical core for the second half of Campbell’s Capitol history, and have generally been ignored along with most of that history (other than “Rhinestone Cowboy” and “Southern Nights”), and “As Far As I’m Concerned,” “It’s Only Make Believe,” “Just Another Piece of Paper,” “Last Time I Saw Her,” and “Dream Sweet Dreams About Me” are among the best sides Campbell ever recorded, and are comparable to his finest work from the 1960s. The sound is crisp, state-of-the-art fidelity circa 1998, which makes it comparable (or superior) to most of the rival compilations out there from American Capitol. The annotation is also reasonably thorough, and the packaging is neat and unpretentious. This British release is worth tracking down, though its virtues are also both sad reflections of the lack of respect with which American Capitol has usually treated Campbell’s catalog. ~ Bruce Eder, Rovi
Vocalist/guitarist Dave Mustaine formed the thrash-metal band Megadeth after he was fired from an early version of Metallica. Although Megadeth never scaled the commercial and critical heights of his former band — which probably added to the sting of the firing — it still achieved steady mainstream success. The only constant in Megadeth besides the moody Mustaine is bassist David Ellefson. The fluctuating lineup has included guitarists Al Pitrelli, Marty Friedman, Jeff Young and Chris Poland and drummers Jimmy DeGrasso, Nick Menza, Chuck Behler and Gar Samuelson. 2000′s Capitol Punishment: The Megadeth Years is a terrific best of that collects two new songs, “Kill the King” and “Dread & The Fugitive Mind,” and 12 others from the band’s seven full-length Capitol Records albums. (Nothing from the soundtrack and tribute-album compilation EP Hidden Treasures is included.) The running order of this bitterly titled Capitol contract wrap-up is interesting because the songs are in reverse chronological order, and this shows how Megadeth has evolved musically. The newer material utilizes different instrumental textures and tempo changes while the early songs are full of the power, aggression and, uh, “spit” and vinegar of youth. “Kill the King” (not a Rainbow cover) rumbles along while relying on a catchy chorus. It wouldn’t be surprising if the roaring “Crush ‘Em” becomes a sports-event anthem. “Use the Man” is a harrowing warning about drug addiction, and Mustaine should know because he’s a former heroin addict. Latter-day Megadeth is highlighted by “Trust,” “A Tout Le Monde” and “Train of Consequences.” 1992′s Countdown to Extinction was Megadeth’s most commercially successful album and it’s represented by “Sweating Bullets” and “Symphony of Destruction,” which actually charted as a single. Early stunners are “Hangar 18,” “Holy Wars … The Punishment Due” and “Peace Sells.” The liner notes include lyrics but, unfortunately, no photos. ~ Bret Adams, Rovi Performers: Al Pitrelli – Vocals (Background), Guitar; Chris Poland – Guitar; Chuck Behler – Drums; Dave Mustaine – Vocals, Guitar; David Ellefson – Vocals (Background), Guitar (Bass), Bass; Gar Samuelson – Drums; Jeff Young – Guitar; Jimmy DeGrasso – Vocals (Background), Drums; Marty Friedman – V
All 111 tracks — and not a weak one among them — that Rose Maddox cut for Capitol Records between 1959-1965, including seven numbers (one live) with Buck Owens, spread among four CDs and topped off with a 16-page booklet. As usual, the quality is excellent, in addition to the material being exceptionally attractive. Maddox’s singing (sometimes joined by her brother, John, or Buck Owens) is powerful throughout, whether she’s introducing new numbers like “Custer’s Last Stand” or “Lies and Alibis,” or covering familiar territory like Hank Williams’ “Whoa Sailor” or “Honky Tonkin’,” or Woody Guthrie’s “Philadelphia Lawyer.” Her honky tonk numbers are in a class by themselves, among the boldest material in this vein ever cut by a woman, and hearing it, it’s easy to understand why her influence crosses generational lines in country music — she was well ahead of her time. But it’s also filled with surprises: her wonderfully robust and raspy rendition of “Honky Tonkin’,” which could melt a lumberjack’s chain saw, but also features a jewel of a mandolin break that would be a blessing on any bluegrass record; a frantic, rockabilly-flavored version of Williams’ “Move It On Over” that ought to be part of any serious rock & roll collection; an enticing (and rocking) version of Tommy Collins’ “Down Down Down” (never on any album); a stunningly moving version of “Please Help Me I’m Falling,” which was later buried by Hank Locklin’s version, recorded after but issued just a few weeks ahead of Maddox’s; a dozen gospel numbers (most notably “That Glory Bound Train”) that are among the most sincere, exuberant, upbeat, and rousing songs of their kind ever assembled in one place; and a killer live rendition of Buck Owens’ “Down to the River” cut at an Owens concert in Bakersfield in September 1963. The complete contents of her albums — including The One Rose, Glorybound Train, and Rose Maddox Sings Bluegrass — are here, along with the dozens of tracks that the label never found room on its roster to release. The booklet is also fascinating, explaining how Maddox came to record so much and release so little during her years with Capitol (more than a third of the contents here have never been heard before), and how she came to be dropped from the label along with other country legends like Hank Thompson. ~ Bruce Eder, Rovi Performers: Rose Maddox – Vocals
All 111 tracks — and not a weak one among them — that Rose Maddox cut for Capitol Records between 1959-1965, including seven numbers (one live) with Buck Owens, spread among four CDs and topped off with a 16-page booklet. As usual, the quality is excell
Disc 1:When I`m Dead and GoneLazy AfternoonBodang BuckMister MisterHeritageI`m Letting You KnowLet It RideDream Darlin` DreamWho You Got to LoveInternationalMalt and Barley BluesRock OnHappy Birthday Ruthy BabyConversationWhen I`m Alone with YouFixerFaith and GravyKlondikeReader to WriterChangesFriends of MinePiper of DreamsJimmy`s SongSparrowWham BamBack on the Road Again
In his book Judy Garland: The Day-by-Day Chronicle of a Legend, Scott Schechter wrote for August 1955: “Judy signed a…recording contract with Capitol Records, where she would make her finest recordings.” As annotator, co-producer, and co-compiler of Classic Judy Garland: The Capitol Years 1955-1965, Schechter is able to give substance to his assertion, as he and co-producer/co-compiler Cheryl Pawelski construct a double-disc chronicle of Garland’s Capitol recordings. The strictly chronological collection begins with the sessions for her first Capitol album, Miss Show Business, and concludes over nine years later with songs from her duo show with her daughter, Liza Minnelli, at the London Palladium in November 1964. In between, the compilers are careful to balance well-known staples of Garland’s concerts and re-recordings of her early signature songs with rarities, including two previously unreleased songs, another previously unreleased performance, and four songs new to CD. Although Garland’s tenure at Capitol was commercially successful, capped by the number one 1961 album Judy at Carnegie Hall, the label rarely released singles on her, so she did not score hits in the conventional sense. The compilers make a point of selecting at least a couple of tracks from every album project, whether it was finished and released or not, and they have dug up such rare British releases as the single “Comes Once in a Lifetime” from the musical Stop the World — I Want to Get Off and an EP of songs from the musical Maggie May. But they don’t forget Garland favorites like “Over the Rainbow” and “The Man That Got Away,” although, of course, the Capitol versions are remakes. Some people still may feel that Garland made her finest recordings for Decca and MGM in the 1930s and ’40s, but this album makes a strong case for her Capitol years. ~ William Ruhlmann, Rovi
The Capitol Reef National Park is a mighty section of the Earth’s crust that extends for around a hundred and sixty kilometres. The scenery of Southern Utah in the United States is like a great reef, a fantastic world of rock that originated around sixty-five million years ago when the powerful movements of the Earth created these unusual mountains.In addition to deep canyons and valleys, over the course of millions of years spectacular rock walls with numerous cliffs, towers and needles emerged. Everywhere the beautiful, warm colours of the stone make this region’s natural landscape even more magnificent.Several vantage points in the relatively well-developed northern section of the park provide wonderful views across the winding course of Fremont River. . Due to the valley’s ingenious irrigation system the area was famous for its gardens and the special quality of its fruit.Each night the breathtaking rock world of Capitol Reef is gradually covered by a magical light until the darkness finally lays its nocturnal cloak across the fascinating rocks. Source: Travel Video Store
The Megadeath Capitol Punishment guitar tab book songbook matches Megadeath’s best-of CD features note-for-note transcriptions with guitar tablature and lyrics for 14 hits including “Almost Honest,” “Crush ‘Em,” “Dread & the Fugitive Mind,” “Hangar 18,” “Holy Wars…The Punishment Due,” “In My Darkest Hour,” “Kill the King,” “Peace Sells,” “Sweating Bullets,” “Symphony of Destruction,” “A Tout Le Monde,” “Train of Consequences,” “Trust,” and “Use the Man.” Includes photos.
Liza fans, brace yourselves: not only does this collection include the albums •Liza! Liza!; It Amazes Me•, and •There Is A Time• in their entirety, you’re also treated to rare and unreleased recordings from •Judy & Liza Live at the London Palladium•, as well as fan favorites from the soundtrack to •New York, New York•! Includes •Try To Remember; It Amazes Me; My Shining Hour; Nobody Knows You When You’re Down and Out; Watch What Happens; Love At Last You Have Found Me•, and more, plus sleeve notes by music critic Will Friedwald! Note to our customers who bought our aborted reissue of •Live at the London Palladium• album—while we regret that we weren’t able to reach an agreement with the estate for our reissue, we are glad that at least some of this material (four tracks) is coming out.
Thanksgiving Day comes once a year in the U.S., but every day there are people in our lives who deserve our thanks. Sometimes a simple “Thank you” is appropriate. At other times, it is more thoughtful to be creative in expressing appreciation. It’s just good business.
Here are some suggestions for thanking people at work, at home, and in the community.
1. When you say “Thank you” tell the person specifically what it is you appreciate and why you appreciate it. “Thank you for going to the Post Office for me. It saved me a lot of time.”
2. Send an e-mail note. When I sent a thank you note to my staff in the Pentagon, the energy level shot up.
3. Send a hand-written thank you note. These are noteworthy because so few of us take time to write and mail them.
4. Place an unexpected phone call just to say “Thank you.” Connecting verbally adds warmth to your appreciation even if you reach voice mail.
5. Present a small certificate. Half-page certificates take up less space if displayed and are as meaningful as full sized certificates. They tend to draw attention because they are different.
6. Give a single flower from your garden, flowerpot, or florist, with a verbal “Thank you” or a note.
7. Put a candy bar or piece of fruit on the desk of the person to be thanked, with or without a note. (Be sure the person is not on vacation!)
8. Bake some cookies. This is especially effective when men bake and present a few cookies in thanksgiving.
9. Say something nice about the recipient of your thanks to someone else when the person you appreciate can overhear you. This is especially powerful in a business setting.
10. For special occasions, present a US flag that has flown over the Capitol. It is a unique, reasonably priced item which few people own. A certificate of authenticity is provided in honor of any special occasion you designate. Call your congressman’s office and ask for it. If you don’t have a local contact, call 202 224-3121 and ask for your congressman or congresswoman by name. When you reach that person’s office, ask to purchase a flag. They’ll know what to do!
