Have you ever wondered what kind of vaping device fictional characters from the movies would use if they started vaping? Our friends at greyhaze.co.uk have and they sent us this infographic! Below is a selection of some of the most well-known fictional movie characters and how they imagine their vaping device would look. They’ve also added in a few special features that you could only find in the fictional world.
Are there any missing characters that you would like to see? Leave your comments at the end of the post below or upload us a video message using this handy recorder button- [vidrack align=”right”]
The usual route to home ownership tends to start with meeting a special someone. When you’re a couple and you want to begin a life together, it makes more sense to get a new home for yourself. You may plan to get a roomier home for the two of you, and especially if kids are part of your plan in the foreseeable future.
What if you’re single? That doesn’t mean that you can’t get a house in Montreal, or a condo in NDG (Notre-Dame-de-Grâce) or anywhere else in Canada. Here are some tips that can help if you’re single and determined to buy your own home:
Get your finances in order. This is the first and most important rule, as money will always be an issue for you especially since you don’t have a partner to share the expenses. It can be problematic to get a mortgage when you’re single since you’re less likely to repay a loan than two people together who both work for a living. So, pay off your credit card debts, raise your credit score, finish paying for your car, and have enough money to put down 20% of the house price as down payment.
Have lots of money in the bank. What if you lose your job right after moving into your own home? You’ll need money for all your expenses while you search for a new job. You need some money in your bank account that’s equal to three to six times your monthly wages. Keep in mind that as a homeowner you have to pay for your home’s upkeep along with home insurance and property taxes.
Make sure to account for all your possible expenses. First-time owners are often unpleasantly surprised when they encounter expenses that they don’t normally deal with when they were apartment tenants. Home ownership can be very costly, especially when you have to remodel your home. It’s also difficult to estimate what you’d have to spend, especially when you have a backyard to maintain.
See if a condo makes more sense for you. In general, a condo unit makes a lot more sense than an actual house if you’re still single. A condo will probably be located closer to where you work. It’ll also be located right in the middle of the city you’re in, so entertainment establishments are conveniently nearer. A condo building can have amenities that you’ll appreciate when they’re nearby, such as a gym or a salon. It also provides you with more social opportunities to meet new people so that you’re no longer single (if that’s what you want, of course).
Be conscious about security. Security is another reason why condos work best for singles as they usually have guards in the lobby to keep out strangers. If you’re living in your own house, you may want to put in a strong lock on your doors and perhaps on your gate. You should make friends with your neighbours, who can call the police when they see strangers in your home when you’re not there. A security camera tied into your smartphone can help as well, though a dog can also be useful.
Look for houses with a friend. Couples have the advantage of having someone to discuss their home options so that they’re more certain of their choices. If you’re looking for possible homes to buy, make sure you call a friend to come along. They can help you think logically so your emotions don’t get the best of you.
Of course, one “side effect” of having your own home when you’re single is that you generally become more attractive to potential partners. Just make sure you buy the right home when you can actually afford it, so you can actually enjoy your new status as a homeowner. For the Silo, Dimitry Karloff.
Social science experts agree — much of what we “say” is never actually spoken.
“Facial expressions and other body language account for more than half of our communication,” says Adam J. Scheiner, M.D.,
www.adamscheinermd.com, an international Oculoplastic surgeon who’s been featured on “The Dr. Oz Show” and “The Doctors.”
“When we look at someone, especially when we’re meeting for the first time, we quickly scan the eye and mouth areas of the other person’s face to make some quick judgments: Are they friendly or a potential threat? Are they trustworthy? We form first impressions within 7 seconds of meeting.”
Those first impressions can become misleading due to the normal aging process and damage caused by stress, diet and environmental factors, particularly sun exposure.
“I call them the three D’s of aging: Our skin begins to deteriorate; our faces deflate, making them narrower and wrinkled; and our eyelids and face descend, causing drooping and sagging,” Scheiner says. “All of these can affect what our face communicates to those around us.”
It’s bad enough to communicate something you don’t really feel, he says. It’s worse when people react to that communication so often, such as saying, “You look so tired,” that you actually begin to believe you are tired, he says.
He shares the three common “miscommunications”:
• “People say I look tired when I’m not.”
As we age, our eyelids can begin to droop and look heavy, Scheiner says. The lower eyelid region often develops fullness below the lower lashes due to changes in the fat around the eye and changes in the facial fat of the surrounding cheek region. A lower eyelid height, heaviness of the upper or lower eyelid, or an eyebrow falling into the upper eyelid space can also occur. Whatever the cause, having baggy, puffy eyes can make a person look tired, sleepy, old or sick.
• “People avoid me because they say I look stern, even angry. I’m neither!”
Whether through genetics or aging, eyebrows may lack or lose the arc that opens up the eye area and the entire face. A fairly straight eyebrow can convey a closed, unapproachable personality.
• “People think I’m sick or have no energy.”
The brain expects to see a smooth curve from the temple to the cheek through the jawline to the chin. Any break in the curve is read as a lack of vibrancy. Normal facial aging causes loss of youthful fullness due to facial fat changes. This can cause a break in the curve that translates as a lack of vibrancy. In addition, poorly injected facial fillers can cause unnatural results.
Cosmetic procedures shouldn’t aim to turn you into something you’re not, Scheiner says.
“For rejuvenation, you simply want your face to communicate how you really feel inside. When you accomplish that, it’s so natural, people
will say, ‘Wow, you look great!’ But they won’t be able to put their finger on why.” For the Silo, Ginny Grimsley.
Adam J. Scheiner, M.D. is world-renowned in laser eyelid and facial plastic surgery for his groundbreaking treatment for Festoons. He wrote the medical text on the condition and treated two complex causes of Festoons for the Dr. Oz and The Doctors TV shows.
Henning Larsen Architects lead a design team in establishing an overall sustainable solution for the renewal of buildings, courtyards, and streetscapes in a selected residential block of Skt. Kjelds Climate Resilient Neighborhood in Østerbro. The competition for Copenhagen Climate Resilient Neighborhood was won with a proposal that serves as a future “showcase” of holistic and sustainable approaches to urban renewal while opening possibilities for realizing the objectives of a sustainable and climate-friendly Copenhagen. In addition to Henning Larsen Architects, the winning team also included Henrik Larsen consulting engineers, TagTomat and V!GØR.
“Copenhagen Climate Resilient Neighborhood , as a flagship project, demonstrates how a holistic and innovative approach to renovation and rainwater management can create a better living environment and courtyard atmosphere in a typical residential block. The designated block in Skt. Kjelds neighborhood therefore became a climate-front runner, implementing new solutions that can inspire other blocks—not only in Copenhagen but also in the many northern European cities where blocks of courtyard buildings are a dominant type of housing,” says Signe Kongebro, architect and partner at Henning Larsen Architects.
The project reflects a holistic approach with focus on energy retrofitting, climate adaption, architecture and daylight. From start to finish, the execution of the project will be implemented in close dialogue with Copenhagen Municipality and especially the residents and the building owners in the block.
The project was based on four main strategic focus points: rainwater management; increasing recreational space by re-configuring parking and introducing green areas; strengthening of the neighborhood’s identity with community gathering points; and, optimization of existing buildings in terms of energy consumption, daylight and indoor climate.
Workshops kick-started the sustainable urban renewal process wherein the team, in close and innovation-driven dialogue with residents and the municipality, began the transformation from traditional residential block to a climate-resilient neighborhood. Throughout the project, physical prototypes, exhibitions, mock-ups, and other visual tools contributed to give the residents a realistic insight into the transformation of their block and keep the process alive and relevant. Connect with Henning Larsen Architects on Instagram and on Facebook.
It can be hard to choose the right exercise regime for you. On top of the time constraints of modern life, the sheer number of options is enough to confuse most of us.
Whether you’re a lone wolf, a team player or looking to become truly zen – this will set you on the right course to fulfilling your fitness needs.
Our friends at gapmedics.com have put together a quiz which identifies which style of exercise matches your personality.
Vegan Cardiologist Heather Shenkman hosts free Carnivores Anonymous 12-Step programs (the next one held on January 22 in Woodland Hills , Los Angeles) to achieve optimum health and tackle food addiction through plant-based eating. While Dr. Shenkman performs complex angioplasties to open up clogged coronary arteries, she prefers to help her patients reduce their risk of heart disease through a healthy lifestyle, including a plant-based diet and regular exercise, in addition to medication when appropriate.
“I am a strong believer in a plant-based diet for heart health,” said Dr. Shenkman. “Join me at Carnivores Anonymous to learn how a plant-based diet has fueled my athletic success, and why I recommend it for all my patients.”
Dr. Shenkman has followed a plant-based diet for thirteen years. She is also an avid athlete, having completed over a hundred events of various distances, from sprint triathlons to Ironman distance triathlons, marathons and ultra-marathons, and several hundred-mile century cycling events.
Carnivores Anonymous meetings brings together a fellowship of like-minded people who share their experience, strength, and hope with each other to recover from eating animal products including meat, dairy, fish, and eggs. The only requirement for membership is a desire to move toward a vegan diet.
“Carnivores Anonymous is a safe and supportive space that enables you to achieve your goals,” said Carnivores Anonymous Director, Marilyn Kroplick M.D. “We encourage everyone to come down to our meeting in Woodland Hills.”
Whether you are a carnivore, vegan, or somewhere in-between, join Carnivores Anonymous and explore food in a whole new way. For the Silo, Alyson Burton. Featured image- Carnivores Anonymous group meeting. photo by Fleur Dawes.
I am sure some of you may have heard this story before, a friend goes out for a walk in the forest and returns back later holding what appears to be an arrowhead. Conversations about the artifact are followed with curiosity to learn more. Questions are asked such as, who made the artifact? How old is it? What type of rock was used to make it? How was it used?
For most people, arrowhead is a popular name used to describe the artifact they have found. In archaeology, arrowheads are generally called projectile points, but we will call them points for now. However, names are given to different types of points based on how archaeologists think they were used. Depending on their weight, size, and shape points can be called a spear, dart, or arrow point. Spear points are normally heavy, large, measure between 8cm to 17cm in length, and most likely tipped the end of a long wooden shaft. Dart points tend to be thick in the middle, light in weight, usually measure from 4cm to 8cm in length, and tipped the end of a long narrow wooden shaft thrown with the help of a dart-thrower. Arrow points are almost always triangular in shape, very thin in the middle, very light in weight, measure 2cm to 4cm in length, and hafted to a short narrow wooden shaft fired from a bow.
So who made these artifacts?
In most cases, they are referred to as Indians. In fact the name Indian was given to the first people met by Europeans arriving in the New World because at first they thought they had landed in India. The name has stayed ever since. Aboriginal is a name used by anthropologists and archaeologists alike when discussing the first people to the New World. We now know Aboriginals lived a hunting-gathering life style whether they lived nomadic or sedentary life styles. We don’t know the original names of Aboriginal groups, but names have been given to their points to distinguish one type from another. Some example names like Hilo, Nettling, and Genesee have been created for specific types of points.
Just how old projectile points are is determined using a technique called radiocarbon dating when uncontaminated organic material is recovered next to a point.
Archaeologists have been able to determine when a point was made in a specific time period based on the results of radiocarbon dating methods, but these are approximate dates. In Canada, the oldest known points are called Clovis points dating up to 11,200 years ago. Similar points have been found in the Great Lakes region dating around 10, 600 years ago.
Most projectile points found in the Lake Erie region of Norfolk and Haldimand County are made from a sedimentary rock high in silica called chert giving the stone a glassy ring to it when two pieces are hit together. What is unique to this region is that almost all points found in Norfolk County were made from chert originating from Haldimand County. Aboriginals either made their points in Haldimand County or picked up chert as rectangular nodules and carried it in tumpline baskets into Norfolk County where stone tools were made, including points.
Chert was only one of several materials used to make these points. Other materials such as wood, bone, and antler were also used, but because they are organic materials most of these points have decomposed over time. There were some attempts to make points from metal such as natural copper, but after contact with Europeans arrow points began to be made from metal products traded with Aboriginals.
Most often projectile points were used to hunt animals because they could create a serious wound to an animal to slow it down, but they were also useful as other types of tools.
While points are sharply tapered, many are wide with rounded or curved cutting edges suggesting as use other than hunting animals. Many points were used every day as knives, scrapers, and even drills because the chert they were made from produced a very sharp edge. However, the one problem with all points is that they break frequently during use and need repairing on a regular basis. This would explain why many broken projectile points been found.
Why are so many projectile points different from one another?
Archaeologists suggest points were used to distinguish one group of people from another. The abundance of points also suggests many were made for the purpose of exchanging and bartering for other resources, especially if they were made from a chert that was considered exotic in colour or resistant to breakage. In fact, chert found along the Onondaga escarpment in Haldimand County and ends in southern New York State was widely transported and exchanged because it was resistant to breakage compared to other types of chert. Lastly, point styles may reflect a response by Aboriginals to adjust the shape or style of the point to changing environments and food resources.
So the next time you get a chance to visit a museum with Aboriginal artifacts with a friend who found a projectile point, or maybe you found a point yourself, think about the amount of history held within this one artifact. Remember, it was made by a person who once lived, breathed, and walked across the very same landscape you live on today. If you look closely at a projectile point imagine what stories it could tell you about the past. For the Silo, Lorenz Bruechert.
THE CASE OF ALAN TURING: THE EXTRAORDINARY AND TRAGIC STORY OF THE LEGENDARY CODEBREAKERAn intimate graphic novel biography of Alan Turing the heroic British codebreaker of World War II, a brilliant gay man living in an intolerant world.He was recruited by the British government to help decipher messages sent by Nazi Germany’s Enigma machines during World War II.
Turing’s work was instrumental in saving countless lives, millions in goods and merchandise, and is estimated to have shortened the war in Europe by four years.The specifics of Turing’s work at Hut 8 were only recently made available to the public—they were declassified in 2012. Authors Liberge and Delalande use this new information to create a graphic biography that is both scientifically rigorous, moving, and accessible. Story by Eric Liberge Illustrated by Arnaud Delalande Translated by David Homel
BECOMING UNBECOMINGby UNA This extraordinary graphic novel is part survivor memoir, part true crime story and a denunciation of sexual violence against women. As seen through the eyes of a twelve-year-old girl named Una, it takes place in northern England in 1977, as the Yorkshire Ripper, a serial killer of women, is on the loose and creating panic among the townspeople.
Becoming Unbecoming explores what it means to grow up a girl in a global rape culture where male violence largely goes unpunished and unquestioned. Through image and text, Una questions and challenges a media and broader society who allow a serial killer, Peter Sutcliffe, to become a “fascination,” while the women he murdered are barely remembered.
UNA (a pseudonym) is an artist, academic, and comics creator. Her self published graphic narratives have explored disability, psychosis, political activism, and violence against women and girls. Becoming Unbecoming, which took seven years to create, is her first book. She lives in the U.K. unacomics.com
AVAILABLE NOVEMBER 2016 ISBN 978-1-55152-647-8 6 x 9 | 280 pp | reinforced paper full-colour throughout $26.95 USD/CAN Published by Arsenal Pulp Press US sales & Distribution by Consortium www.cbsd.com Canadian sales by Ampersand Distribution in Canada by UTP
SUCH A LOVELY LITTLE WARSAIGON 1961-63Written and drawn by Marcelino TruongTranslated by David Homel
This riveting, beautifully produced graphic memoir tells the story of the early years of the Vietnam war as seen through the eyes of a young boy named Marco, the son of a Vietnamese diplomat and his French wife.
Marco’s father is called back to Saigon in 1961, where he becomes Prime Minister Ngo Dinh Diem’s personal interpreter. As the growing conflict between North and South intensifies, so too does turmoil within Marco’s family; his mother’s manic and depressive episodes (she suffers from bipolar disorder) escalate and increase. MARCELINO TRUONG is an illustrator, painter, and author. The son of a Vietnamese diplomat in 1957 in the Philippines, he and his family moved to America (where his father worked for the embassy), then to Vietnam at the outset of the war. He attended the French Lycée in London, then moved to Paris to earn degrees in law at the Paris Institute of Political Studies, and English literature at the Sorbonne.
ISBN 978-1-55152-650-9 9x 11 | 101 pp | paper over board | full-color throughout $23.95 USD/CAN Published by Arsenal Pulp Press US sales & Distribution by Consortium www.cbsd.com Canadian sales by Ampersand Distribution in Canada by UTP
Against a backdrop of horrific crimes and devastating natural disasters, 56 percent of Americans surveyed believe in the devil, 53 percent believe in hell and 43 percent believe in hell as “a place of suffering and punishment where people go after they die,” according to a poll of 1,218 Americans conducted over Memorial Day weekend back in 2013.
Image: dumc.my
The survey also found that Americans don’t hold God responsible for these tragedies with 86 percent believing natural disasters such as the Oklahoma tornado and Hurricane Sandy are a function of nature. Sixty-one percent believe recent terror and crime episodes, such as the London terrorist attack, the Cleveland kidnapping/imprisonments and the Sandy Hook massacre are caused by “the evil in people’s hearts” rather than “divine retribution.”
Equal numbers of respondents (38 percent) believe that people who commit violent criminal acts go to hell, as well as those who don’t ask God’s forgiveness for their sins before they die. More than 61 percent believe they’re going to heaven, while less than 2 percent believe they will go to hell.
Ominously subtitled- “What is to come” Ryden cuts right to the chase with a Premonition preface that begins: “All my life I’ve seen the spiritual realm. I see Angels, and Saints, and other supernatural Beings. I see the souls of dead people.”
Commissioned by the True Life in God Foundation (TLIG), www.tlig.com, established by international humanitarian Vassula Ryden (author of the bestseller Heaven is Real But So Is Hell; released in March 2013), the poll was conducted online from May 23-27, 2013 among 1,218 Americans age 18 and older with a margin of error of +/-2.9%. Respondents were equally split (50 percent) between male and female.
The new survey shows that while a majority of Americans still believe in hell (54 percent), the number is declining. A 2008 Pew Forum on Religion & Public Life / US Religious Landscape Survey showed that 59 percent of Americans believed in hell, and an earlier Pew study reported that 71percent believed in hell as of 2001.
Other key findings include:
• 62 percent believe in heaven and think they are going there.
• 44 percent believe in hell as “a place of suffering and punishment where some people go after they die;”
• The 56 percent overall belief in the existence of the devil and 53% belief in hell was consistent across all the four survey age groups;
• With regard to what causes evil in the world, i.e., the Boston Marathon bombings, Sandy Hook school shooting and 9/11, older respondents (45-60) say people are evil while younger respondents (18-29) say people are sick;
• 41 percent identify the devil as “Satan the fallen angel who rebelled against God and now tempts humans to do the same;”
• 47 percent believe heaven is “God’s dwelling place” while 44 percent believe heaven is “a spiritual dimension where good people go when they die.”
The True Life in God Foundation conducted the survey to help Americans explore the existence and causes of evil in the world. The foundation commissioned Survey Monkey, one of the leading polling companies in America, to survey a cross-section of Americans from every age group, region, ethnicity, religion and household income.
The survey follows the release of Heaven Is Real But So Is Hell , which hit No. 1 on Barnes & Noble online, as well as No. 1 in Christian Orthodoxy on Amazon.[ following its March 16, 2013 release CP] The book details Vassula Ryden’s spiritual journey in which she received visions of heaven, hell, demons and angels, and the battle between good and evil in the world.
Vassula cautions skeptics who scoff at the existence of the devil: “The devil’s most powerful tool is convincing us that he – and hell – do not exist. He works subtly and silently, feeding our doubts and inadequacies, sowing dissension and creating chaos and confusion in our lives. Evil is real, and we have to know how to respond to it.”
Crossroads(1986) Guitar duel between the Devil’s guitarist (Steve Vai) and Juilliard trained “Lightning Boy” (Ralph Macchio)
Vassula believes prayer, forgiveness, reconciliation and service to others are the main tools to overcome the forces of evil.
About True Life In God Foundation
Founded by International author and humanitarian Vassula Ryden, is an international non-profit organization that funds 25 Beth Myriam homes serving the poor in six countries. A Greek Orthodox Christian, Ryden has more than 1 million followers on social media, and has spoken to millions of people in 80 countries, including more than 500,000 in the Philippines alone. An internationally-acclaimed advocate for peace and unity, Ryden was twice awarded Bangladesh’s 2003 Gold Medal Peace Prize for her work in religious tolerance and aid to the poor. She has been endorsed by many government and religious leaders, and has met with leaders at the United Nations, the World Council of Churches and the Vatican, including Pope Francis and his two predecessors. Ryden advocates “unity in diversity” between Catholic, Protestant and Orthodox Christians, and reconciliation between all world religions. For more information visit: www.tlig.com. GG
One of Toronto based photographer Erin Riley’s series of photographs depicting roadside memorials in and around the GTA
Indeed, the prevalence of roadside memorials has increased significantly over the past several decades and there is little doubt that each of us has encountered them at some point. Roadside memorials are essentially visual manifestations of profound suffering and loss. They mark the site where a motor vehicle accident has occurred and the death that resulted from it (however , many memorials, especially in major cities, have little to do with motor vehicle accidents and more to do with cycling accidents, innocent bystanders or anything else that faithfully marks the site of passing).
In areas where large gravestones or plaques cannot be placed, for a variety of reasons, makeshift memorials take their place. These sites grow with each flower, ribbon or object and deplete with the wind, rain or snow; they are in a continuous state of flux. The organic quality of roadside memorials may directly reference the very epehemerality of life itself. Moreover, in their various forms and inclinations, they challenge Western society’s visual seperation of the living from the dead; therefore, as they subsist, roadside memorials carry the spectre of mortality into the public sphere, a space where even speaking of death remains taboo.
Post-mortem/momento mori photography during the Victorian age is a fascinating though dark and unsettling movement.
Roadside markers are a rural and urban feature- this marker is located on Front Road, near St. Williams, Ontario, Canada image: www.thesilo.ca
Encountering the idea of death may be one of the reasons why people take issue with the appearance of roadside memorials. For them, they represent a veritable “distraction” while driving, are considered “unsightly” or a “vandalism of public property”. For the families of the deceased, roadside memorials allow the opportunity to mourn their loved one(s) at the very place of their passing. The level of emotion generated by being near the actual site where a loved one has died is different from standing beside their final resting place in segregated communities of loss that are the modern cemetery.
Not only are roadside memorials, as markers of loss, important to the families and groups that maintained a relationship to the deceased, but they powerfully address the living by acting as memento mori (reminders of death). It is through them that one may better appreciate the present.
Toronto-based photographer Erin Riley’s series of photographs depicting roadside memorials in and around the Greater Toronto Area (GTA) specifically engages the publicization of loss and its visual manifestation. Riley’s images are strikingly beautiful and skillfully composed, yet they raise ethical questions precisely because they aestheticize markers of death sites by transforming them into visual objects to behold. This theme was explored in Jarrod Barker’s April 2010’s Umwelt at the Norfolk Arts Center with a central piece depicting a virtual gallery memorial in conjunction with projected audio/video loop of a recently deceased Deer- struck down by a motorist, the piece becoming essentially a rural memento mori.
Happening upon a recently struck deer- Artist Jarrod Barker aestheticized the site by placing a white linen ‘shroud’ over the victim. This would later become a central piece in the installation of Umwelt April 2010 photo: J. Barker
Another question concerns the identification of deceased individuals and whether or not their names should be made public through the vehicle of art. That being said, Riley’s photographs do provide an eloquent record of roadside memorials within the GTA and speak to their social and cultural value. Ask yourself: where do you stand on this issue?
It would seem that, for the families of the deceased, roadside memorials serve the purpose of exactly that: the memorializatin of a life. [ “even” an animal life CP ] They also serve a function for the living, reminding us that life is fleeting and that the dangers of the road are real. Ultimately, rather than causing drivers to collide, roadside memorials may force drivers to more aware of the consequences of speed, negligence and drunk driving. May roadside memorials continue to stand where lives have fallen. For the Silo, Matthew Ryan Smith.
Working abroad is an exciting and appealing prospect, but for the medical field there are differences that are worth considering. This infographic compares the top 5 countries in which to be a Doctor and looks at the cost of living as well as the quality of life to be found there.
It’s important to make a well-informed decision if you choose to work in another country and this infographic is a fun and helpful place to start. *quoted funds are in US dollars.
Brought to you by our friends at Gap Medics, the world’s leading provider of hospital work experience placements for school and university students.
On December 4, the New York Times ran an article about how Facebook just introduced a new app called Messenger Kids. According to Facebook, this app makes it easier for kids to safely video chat and message family and friends. Per their privacy policy, the app collects registration details from parents such as a child’s full name. It also collects the texts, audio and videos children send, as well as information about whom the child interacts with on the service, what features they use and how long the children use them. In launching this new app, Facebook has ignited a fierce debate about how young is too young for children to use mobile apps and how do parents deal with the creep of technology into family life.
One mother has stepped into the debate with an alternative. Janice Taylor created a website and application called Mazu, which teaches children and families how to use digital media responsibly and become positive digital citizens. She cautions parents and says they need to ask themselves, “do you trust Facebook as a medium to protect your children?”
Bing search engine results for “Facebook messenger kids”
“Facebook’s only goal is to monetize a new user base and beat SnapChat at it. Children should never be used as ammunition in the Social Media war for dominance.” Taylor explains.
Based on the concept that “It takes a village to raise a child,” Taylor takes the position that every adult has a role to play in the well-being of the child and society. Taylor created Mazu to build a healthy digital village for families that is founded in love and core values. “Traditional social media preys on our desires to be liked, to be validated, and to be rewarded. That’s why the ‘Like’ button is so addicting and why we at Mazu don’t have one.”
Since its inception in 2010, Mazu, with over 250,000 users and growing, has evolved and now, through partnerships with professional sports teams, has brought the ‘it takes a village’ mentality online. With a suite of family friendly apps, Mazu connects kids to their family, friends, and teams/ brands they love in a way that is safe, healthy and fun. To date they have raised more than $6 million from non-Silicon Valley companies.
A recent Reuters Facebook post about Facebook Messenger Kids
“We believe that parents matter in the digital lives of their children, that’s why our COPPA-certified apps are created with parents in mind. We believe in the power of family and staying connected,” says Taylor. “By building our products around a set of values and using the community to build each other up, we believe we can create better digital citizens.”
Janice Taylor is a social entrepreneur, mother, inspirational speaker, author, and online safety advocate. She has a Bachelor of Arts in Psychology with an Honors thesis that focused on self-esteem and self-efficacy among women. It was from this research that she sought to create a solution to the issue of social media addiction and how it was affecting women, children, and families. For the Silo, Trina Kaye. Have something to say about this article? Leave us a video comment by clicking record below or use the comment section at the bottom of this page to type us a response.
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This means establishing an online presence is more crucial than ever if you want to keep up with the competition, continue to expand your brand, and generate more annual revenue.
Luckily, we are here to show you how to start a successful eCommerce business, so that you can begin attracting, converting, and retaining loyal customers in no time.
1. Choose a Business Name
After deciding what you want to sell, you’ll need to choose a business name that will withstand the test of time. Make it easy to remember, relatable to your target audience, and personal – to give your business an edge against the competition.
2. Register a Domain Name and Build a Website
Typically, people aim to use their business name as their domain name. However, if that’s not possible, register a domain name that is at least compatible.
At the same time you are registering your domain name, you should be considering the platform you want to build your eCommerce site on. There are plenty of options including Shopify, which is an all-in-one solution, or other more customizable options such as WooCommerce (which is built on the WordPress CMS).
3. Find Products
You will need products to sell in your eCommerce shop. And sometimes, this can be a challenging process because startups can be expensive.
However, for those looking for an affordable way to get an eCommerce shop up and running, there is always the dropshipping method.
With dropshipping services you can find products you would like to include on your eCommerce shop and import them directly.
From there, customers purchase those products, you place an order with a third-party supplier, and they ship the item straight to your customer.
The dropshipping method is popular because it eliminates the need to stock and deliver inventory yourself.
4. Marketing & Retargeting
It is not enough to have an online presence. You need to invest some time into marketing your brand so your target audience learns you exist.
Here are some great ideas to get you started:
Create a “Coming Soon” page
Build landing pages leading site visitors down your sales funnel
Build an email list to stay in touch with customers
Publish consistent blog content to engage customers and build product interest
Utilize multiple social media platforms to interact with customers and share information
In addition, you will need to work on a concept called retargeting. This means finding ways to encourage those that visited your online shop, but didn’t buy anything¸ to come back and make a purchase after all.
According to Kissmetrics, the number one reason people abandon their shopping cart is unexpected shipping costs. Make sure to address all of the reasons people fail to finalize purchases and urge them to come back and try again.
Final Thoughts
In the end, starting an eCommerce shop is relatively easy to do. There are plenty of services and tools available to guide you through the process and make the startup process easier. As a result, you are able to focus on the important things, like getting customers to visit your shop and make purchases. For the Silo, Dimitry Karloff.
Nancy Talbot writes, “On Saturday night, July 12th, 2014, Robbert and I were on Skype and Robbert said he felt that three formations were coming all in one night in different villages—one in corn (maize) and two in “grain.” He told me he “saw” (in his mind’s eye) that one would come in Roosendaal, one in Etten Leur and the other near Zevenbergen in the next few days, and he also “saw” that when their locations were plotted on a Google map they would make a “perfect” triangle”.
Around midnight on July 15-16, Roy happened to be with Robbert when Robbert’s familiar “restlessness” forced him to ask his friend to once again drive him out to find what he was certain would be the three new formations. As they prepared to leave the house Robbert had a clear “vision” of a circle in a corn (maize) field near Etten Leur, and got the street name of “Ettense baan.” As they neared this area Robbert suddenly knew they musts turn left onto a narrow sandy road; when they turned both men started to feel very dizzy and Roy noticed that his mobile phone began acting “weird.” Robbert felt a “UFO was directly over Roy’s car,” almost immediately after which they found a maize field.
As they parked the car Robbert became aware of a “massive” presence of what he felt was a “master-society race” and got the impression that these were the beings he has felt were involved with previous circles in his are)—and felt an additional presence he describes as being “loving and divine guardian angels.” As the men began walking through the 2.5m-tall corn they both became so dizzy they thought they might lose consciousness.
Because the maize circle was deep inside the field and the stalks were high above both men’s heads Robbert says he was guided as if he “were a robot…go here…turn here…stop here,” and they did eventually find the new circle, with all of the corn stalks gently bent over and swirled around, with none broken.
Since he had never been to this field before he began to feel real anxiety as he and Roy stood for awhile on the edge of the circle—fearing that the farmer might come and be angry with them. Robbert also experienced an “electric-like energy” so intensely that his whole body began to shake—and “knew” he was being “once again told” to stay calm…that everything was OK. While still in the maize field Robbert got another “vision” and knew they had to now drive to Roosendaal. For more photos of this Etten Leur circle (#12 Dutch circles of 2014), see Robbert’s website, “graancirkelarchief”: http://www.robbertvandenbroeke.nl/graancirkelarchief
“Here’s the 2nd Dutch cc the night of July 16th” Nancy Talbott
The 2nd of the three new formations discovered the night of July 16th was in Roosendaal, not too far from where Roy & Robbert found the one in Rapeseed/Canola on March l7th, 2014.
As the men were leaving the maize circle at Etten-Leur Robbert again had a “vision” (he apparently literally sees, in his mind’s eye, not only what the new circle will look like, but the area—and often the exact field—where it will be), this time of a ring with 3 circles placed around it.
Once in the right area the men found a field of ripe barley and almost immediately found this 2nd formation, which indeed was made up of a ring with three circles placed around it—just as Robbert had “seen” in Etten Leur. Robbert also clearly saw an “aura” hanging over this circle as they approached it and felt a “welcome” sort of energy and an intense tingling on his arms, as if he had entered an electrostatic field of some sort, and got the impression that this formation was a “preparation” for something bigger.
“He told Roy he felt that this circle had just formed only minutes before.”
He also “saw” an area near Roosendaal where there was a “rotating energy” over this grain field. He told Roy he felt that this circle had just formed only minutes before. As they approached this formation both men became very dizzy again; his phone was also again acting strangely, When they then came to a grain field Robbert saw an “energy UFO” in this case one of a “classic” UFO shape sitting directly over this field, and then told Roy to stop. This circle has an incredible feature—the very thin inner ring is only 10 cm. wide–so thin that no adult human foot could possibly have created it.
They could both feel the intense energy which Robbert described as being both “strong” and “gentle,” and he felt he must go and stand in the center (being very careful not to squash the center standing tuft) for a few minutes. His sense was that he was supposed to function as an “acupuncture point” in this circle also. When they returned home just before 3 am Roy did plot the location of the three new formations on a Google map, and it does look as if the connecting lines form an isosceles triangle….just as Robbert had “seen” they would. For the Silo, Nancy Talbot.
The crime genre has always been a favorite of Hollywood filmmakers and cinema-goers. The juxtaposition of a glitzy, glamorous lifestyle with the ill-gotten gains that fund it makes for compelling heist stories.
Within this niche there are few things more thrilling than a well-executed heist. Regardless of whether you’re backing law enforcement or a charming crew of thieves, the excitement of the event itself is often worth building an entire film towards.
Following the twists and turns of a complicated robbery plot has proved popular enough with audiences to churn out countless variations on the theme with heists taking place everywhere from banks and jewellers to high roller casinos and sports stadiums.
Even if the attempt is ultimately unsuccessful, it’s great to be along for the ride. So, without further ado, here are five of some of the most criminally good heists in modern movies…can you think of any others? Leave us a video comment by clicking the record button or by using the comment section below. [vidrack align="center" ext_id="345" desc="some description"]
H. Richard Milner, a professor, noted researcher and expert on race in education at the University of Pittsburgh believes that “education is the key to addressing inequity and racism in society” and if we are not “working in education to combat racism, we are complicit in maintaining inequity and the status quo.” Are teachers prepared and willing to take this on? Milner notes that teachers “can struggle with tools to advance justice-centered curriculum and instructional opportunities that work against racism” and therefore education programs for teachers must support them “in developing knowledge and skills in ways that centralize race so that students can examine both localized and global perspectives and worldviews.” Additionally, school administrators and policies must be in place that “advance agendas that encourage and expect race-central learning opportunities and especially discourse.” Beyond these stakeholders, Milner recommends that students, community members, families and parents be part of the learning discourse “providing perspectives about their own worlds and experiences.”
This month we opened up the conversation on racism in education to our global Millennial Bloggers. The Millennial Bloggers are based all over the world. They are innovators in entrepreneurship, journalism, education, entertainment, health and well-being and academic scholarship. We asked them: Do we need to talk more about racism in Education?
“When I was 14, in our first class of Literature in English, I remember our teacher saying, rather solemnly, that our subject is called Literature in English, rather than English Literature,” writes Bonnie Chiu. “It was a moment of enlightenment for me. It instilled in me this critical mindset, this yearning to challenge the status quo; and it gave me a sense of agency.”
“We can’t afford to defer the conversation about white supremacy for even a single moment longer. It has proven itself to be the most obstinate social institution in the entire history of America,” writes Francisco Hernandez. “How could we even possibly think we could fight something so tough if we can’t even talk about what it means to fight it?”
“Any nation that can stomach the principle of caste, which is the most brutal ‘classification’ of human beings based on birth anywhere in the world, cannot help but differentiate, and differentiate repeatedly, on the basis of every parameter society can construct in a desperate and insular bid to separate ‘us’ from ‘them’,” writes Harmony Siganporia. “Nothing short of critical pedagogical interventions which would overhaul what we consider to be the very purpose of our educational system, and the resources to channel these interventions into more meaningful curricular design, can help us change these terms of engagement.”
“Textbooks were created by people who lived in a racist society,” writes Jacob Navarrete. “I’m telling you there are better tools. I’d be happy to help you learn how to use them. There is a big world to build outside the cave and we could use your help. It might hurt at first, just like the light does when you exit a dark cave.”
“Racism cannot be explained or understood properly without incorporating a discussion about privilege,” writes Dominique Dryding. “Until educational institutions take the lived experiences of their student bodies seriously and recognize that racism does not only include name calling and physical exclusion, racism in schools and universities will not end.”
Guest Blogger Salathia Carr writes, “Racism is not something that can be swept under the rug. After so much sweeping, your rug becomes distorted. People have become so desensitized regarding racism and injustices because they truly do not know what it is like. Judgment is very easy to make when you’re not living that way. But, if we force discussions about inequality from the very first history class we take, you cannot avoid it.” For the Silo, C.M. Rubin.
The Millennial Bloggers are Alusine Barrie, Sajia Darwish, James Kernochan, Kamna Kathuria, Jacob Deleon Navarrete, Reetta Heiskanen, Shay Wright, Isadora Baum, Wilson Carter III, Francisco Hernandez, Erin Farley, Dominique Alyssa Dryding, Harry Glass, Harmony Siganporia and Bonnie Chiu.
Top Row: C.M. Rubin, Alusine Barrie, Sajia Darwish, James Kernochan
Recently, one of my readers wrote that “there is another kind of generosity that comes much harder to me. I know I shouldn’t be stingy in this way, but I find myself stubbornly so. It’s the generosity of sharing my ideas, my connections, or giving a leg up to those who could benefit sometimes from my knowledge – whether that’s contacts, networks, tips, or the meat of my ideas themselves.”
This concern, of course, is not unique and strikes at the heart of something that all those in creative professions fear and must face. The ownership of ideas is difficult to prove. If you tell someone your plan in confidence and they, in turn, use it for their own purposes, there is very little you can do to show that you are the originator. Spreading this rumor is likely to make you look like the bad guy. It’s no wonder that this sort of generosity is cause for concern.
Arguably, no one would really offer up their original ideas before they have been fleshed out and no one would expect this from another artist. Talking about work in progress in general terms is one thing, but detailing the entire plan is another altogether. There is nothing wrong with being a little protective of your creative capital, it is the lifeblood of what you do.
But what about sharing your networks or some trade secrets that helped you get to where you are today? While you may have worked tooth and nail for everything you’ve gained, there were surely people along the way who said yes at the right moment and assisted your progress. No one can ask more than this, and as an artist of a certain standing, there is nothing wrong with offering this sort of help.
It’s important to ask yourself what you may gain or lose by offering your assistance in any way. While this may not sound like a very altruistic way of thinking, remember that you are indeed running a business and there is nothing wrong with a bit of shrewd thinking. Further, though, when you stop and think about the outcome of sharing your network, it is unlikely that helping an emerging artist by introducing people who might be able to help will in any way affect your position as a more established artist.
No one exists in a vacuum. Even you, who may have scraped and fought your way to where you are today, benefited from the acceptance and help of others. Sure, you may have pounded the pavement endlessly in order to secure your position but that is no reason not to pay forward the success you have achieved. It is too easy to forget, once you have achieved a certain status, the myriad small moments that led you there. While it may seem as though hardly anyone was out to help you in the early days, surely there were some, otherwise you could not be where you are today. Even if it was just a few gallerists who were finally willing to take a chance, there are always rungs of assistance in the ladder to every success, no matter how small.
In our present times, we live in a world where community is very much at our fingertips. The rules of social engagement have definitely changed. This is both a benefit and a burden. While the new landscape of online social engagement can absolutely open up opportunities that didn’t exist prior to this revolution in social connection, the online community can also present a world of its own difficulties. It is impossible to know who you are actually dealing with and with virtually everyone in the entire art world present online, it can easily overwhelm a newcomer to the scene.
For these reasons, there is a lot to be said for good old-fashioned face-to-face interaction. Being the sort of artist who is willing to mentor in the real world sets you apart. Establishing this sort of reputation, for being the one who will gladly share the bounty you have created, seldom reverses one’s own success and frequently opens new doors you may never have considered.
Getting back to the idea of sharing artistic ideas and concepts, this is a bit trickier. As I said before, it may be unwise to give away your nascent, unfruited plans to just anyone. On the other hand, allowing others to view works in progress isn’t likely to cause too much harm.
Arguably, there is no such thing as original art. Even some of the most contemporary artists’ work is derivative of past creations. Marina Abramovic, in her unique style, has absolutely drawn from (and occasionally been accused of copying) works by other artists. Pablo Picasso (and perhaps more famously, Steve Jobs who quoted him) said, “good artists copy, great artists steal.” This doesn’t mean that you should open yourself up to idea theft, but it does mean that perhaps being stingy with your concepts, your network, your position as an established artist, doesn’t count for as much security as you might think. Be smart about things, but in general, it is always a good idea to reach down the ladder and help those coming up behind you find the next rung. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.
Is it ethical for media streaming companies, such as Spotify, to take advantage of IP loopholes, which are known to negatively impact artist revenues?
Values:
>Balance & Fairness
>Legal Values
Loyalties:
a. Duty to service
b. Duty to subscribers
c. Duty to shareholders
d. Duty to Intellectual Property
e. Duty to Art & Commerce
Principles:
Aristotle’s Mean: “Moral virtue is a middle state determined by practical wisdom.” Virtuous people will arrive at a fair and reasonable agreement for the legitimate claims of both sides somewhere in the middle of two extreme claims.The two sides must negotiate a compromise in good faith. “Generally speaking,in extremely complicated situations with layers of ambiguity and uncertainty, Aristotle’s principle has the most intellectual appeal.”
BASIC CONCEPT:
Negotiated compromise.
>>Streaming Media Company
For the Purpose of analyzing an isolated streaming media company, Spotify will be examined through the lens of the potter box. Spotify is a streaming service with cross-platform availability that specializes in music, and generates income from its 20 million premium and 75 million free users, respectively. Spotify boasts an extensive catalogue for free and for a nominal fee. Spotify’s extensive catalogue is made possible due to established agreements between various record labels and media companies. Agreements that are known to negatively affect artists, while benefiting both Spotify & Record labels, plague the music industry. Payout deals between Spotify and record companies range from royalty payout to equity deals.
Spotify does not want to make adjustments to the model of its free service, because if their users are not able to find it on Spotify, they will utilize other streaming services such as youtube, which is likely to have the content. They have identified this free offering as being their driving force for getting new subscribers to the service. New subscribers that turn into increased revenue for record labels, as 70% of revenue from $10 per month subscriptions and advertisements are paid to record labels, artists, and song publishers.
>>Artists—Influence: Art/Media Creators
The Artists on Spotify collectively stream over 30 million songs across 58 different markets. Despite collectively making up a heart from which Spotify thrives, Artists receive 6.8% of streaming revenue, the smallest share of the pie.
Artists receive 10.9% of the post tax payout between artists, labels, and songwriters/publishers. Many artists including Adele, Taylor Swift, the Beatles, and Coldplay have opted for keeping music off of Spotify.
Spotify does not have direct agreements with most artists. The streaming company has agreements with labels, whom are responsible for not only securing licenses to music, but to are also responsible for payouts to artists. So essentially, Spotify pays labels, and the label is empowered with payout to artists. The problem is not that Spotify refuses to fairly pay for royalties; it is the trickling down of payment from labels to the respective artists. Spotify has wholesale access to music catalogues from record labels, which makes it hard to fairly split royalty payments amongst artists that are under contractual agreements with respective label.
Even with leaked contract between Spotify and Sony Music available, it is still unclear how much of payouts to record labels actually get to the hands of the artist. It is clear that Sony Music is getting a hefty payout annually, but the question is still whether or not these hefty payouts are passed on to the artists.
>>Major Record Companies
The music catalogue on Spotify is mostly populated by content from major record labels that include Sony Music, Universal Music Group, EMI, Warner Music, Merlin, and The Orchard. Self-published artists as well as artists from independent labels also help makeup Spotify’s catalogue.
Record companies have begun to further question Spotify’s free model since Taylor Swift and other artists have proactively opposed Spotify’s extensive free offerings to users. Streaming consumers of music increased by 54% between 2013 and 2014 according to the Nielsen SoundScan. Major record companies are often made better deals, which disproportionately disadvantage independent artists and labels.
Executives at major record label such as Universal Music and Warner Music have made statements about the extensive free offering of its licensed music is not sustainable long-term. It was suggested that there needs to be a more clear differentiation between content available to free and premium users. Bjork has suggested that Spotify should not allow access for certain content right when it comes out, but should allow for content to go through certain rounds of monetization before ending up on Spotify, similar to Netflix’s rollout method for its content. Major record labels are currently in the process of renegotiating agreements, and are mostly pushing for adjustments to free service offered.
Their goal is to have the “freemium” model disappear as time persists.
What is the current policy?
A legal agreement between Sony, the second largest record company in the world, and Spotify recently leaked, which further intensifies questions about fair payouts for artists. The contract confirmed that major record companies benefit from the success of the streaming service Spotify. The contract details advance payments of over $40 million, with a $9 million advertising credit. Sony has declined to comment on the leaked contract, as it was illegally obtained. Labels routinely keep advances for themselves according to an industry insider.
The leaked contract detailed agreements between Sony Music and Spotify, but not between Sony Music and artists. Such fruits of private agreements don’t necessarily trickle down to the artist, because in most cases they are not even aware of an under the table deal unless a leak has occurred. Unstated under the table deals are not ethical, because artists do not benefit from funds received on account of their intellectual property. The International Music Managers Forum urges European and American authorities alike to use the Sony leak as an example of why more transparence is necessary.
Artists are not being fairly compensated for use of their intellectual property.
Streaming companies have established a revenue arrangement with major Record Companies that often does not favor artists. The obvious shortfalls with existing policy include the lack of transparency when it comes to agreements between record labels and Spotify. There are no systems of checks and balances for ensuring that labels adequately and fairly share Spotify revenue with artists. There needs to be a streamlined system that puts everything on the table in clear view, for fair agreements between artists, label, and streaming company to be arrived at. Current policy also allows Spotify to take up to 15% off the top from revenue generated from ad sales.
What needs to be changed?
Spotify seems to be fairly paying for royalties, but the flow of cash does not always get to the artists. Substitute apps; try to compete with Spotify, by challenging the freemium model. Other apps such as Tidal aim to provide audience with exclusive content that they won’t find anywhere else. The problem is that apps such as Tidal market themselves as a music-streaming app by the artists for the artists. Nowhere in that equation is the interest of the average potential consumer considered. Artists may receive more money per stream, but the service is double the price of Spotify. Record companies, and artists alike, are moving away from Spotify’s freemium model. The digitization of music is not the problem, as most artists and labels generally trust certain digital services such as itunes, because it translates into revenue for artists with no veil or strings attached. Extensive free offerings seem to be the major issue that involved parties have with Spotify, but it is the only thing that drives traffic according to Spotify. The freemium offerings need to be changed in some way, but in a way that is non-disruptive to Spotify’s commerce. Since Spotify pays its fair share of royalties, a more streamlined agreement between record labels and artists should be established and transparent, as should deals made between Spotify and record labels.
Major record labels need to stop double dipping. Not only do they receive cash advances & royalties, but they also benefit from Spotify’s overall revenue stream as they have equity in Spotify of up to 18%. Billboard magazine interviewed two dozen record executives and they agreed that they were confused as to what Spotify was replacing, whether being a substitute for sales or piracy. Examples of setting limitations of the freemium service have showed signs of slowing down subscription growth rate. Spotify has stated that if artists are not fairly compensated from stream revenue, then it is a result of recording contracts and or label accounting practices. Some major record labels are fine with Spotify using their music to build business, because of their equity; they are looking ahead for profit from a future IPO. The artists would not benefit in the same manner, despite their content being the driving force for the app in the first place.
Click me! Future Art Sound
Scenarios
In a time of changing platforms and distribution methods, consumer trends has undoubtedly been in transition. The radio still accounts for an estimated 35% of music consumption, followed by CD consumption at 20%, free streaming at 19%, and paid streaming at 1%. Multichannel consumers, mostly millennia’s, account for 66% of music consumers. A multichannel consumer may pay for a streaming subscription, and make a physical and/or a virtual music purchase. The most common multichannel consumption combination is free streaming coupled with CD listening which accounts for 49% of multichannel listeners, followed by free streaming coupled with music downloads which accounts for 44%. Millennia’s are also known to engage in both free streaming and downloading.
Evidence
During the first quarter of 2014, Pharrell Williams garnered 43 million Pandora streams, which only paid him $2,700 as a songwriter. A statement from Pandora indicates that all rights holders were paid upwards of $150,000 within the first 3 months, and that the real issue is the financial dispute between labels and publishers. Pandora also indicated in the statement that labels are free to split royalties between themselves and artists, however they see fit. Clearly there needs to be more transparency for the cash flow between streaming company, label, and the artist.
Spotify returns 70% of its revenue to rights holders, with information about each artist to aid in the royalty split process. Streaming companies are engaged in fair due diligence where payment of royalties are concerned. The evidence is as follows:
Actionable Policy
The music industry needs a streamlined agreement between streaming companies, record labels, publishers, and artists. It is imperative that there is increased transparency, especially where cash flow is concerned. Artists should be able to see all cash and data exchanged between streaming company and label. Royalty holders need to publicly split funds amongst themselves and artists. Record labels need to be accountable to both their artists and streaming company, because an artist that feels swindled can create bad blood between the artist and the label and/or the artist and streaming company.
Recommendation
>>Actionable
1. Artists are cut into equity deals based on audience pull to streaming service per qtr
>>Streaming Services should provide analytics with specific data to aid audience pull observation for given artists
2.Major Labels are transparent with cash flow of compensation from Streaming Companies
Is it ethical for media streaming companies, such as Spotify, to take advantage of IP loopholes, which are known to negatively impact artist revenues?
Judgment:
It is ethical for streaming services to take advantage of IP loopholes, which are known to negatively impact artist revenues. Music platform are changing, and as such, better agreements need to be drafted to complement this change. Streaming companies have shown the numbers, and they are paying for royalties, which is essentially paying for the use of the music in their catalogue. Music streaming is an emerging market, which record companies themselves are invested in. The common mode of music monetization is moving away from CD sales, and that is undeniable. Music downloads take up a lot of data, so streaming is the most practical way for consumers to enjoy their music.
The freemium model of Spotify should not be eliminated, but it should certainly be reconsidered, or at least limited in music access. Premium, new, and sought after music should not be as accessible as music that has already exited the promotion stage. Their needs to be some sort of compromise between record labels and Spotify, to better differentiate between premium content and freemium content. Spotify does not want to compromise the availability of its music on either platform, and labels reserve right to pull any of their artists from Spotify as they wish. Spotify should do a better job differentiating free content from premium content, it’s only fair. Spotify should not compromise to the point that it becomes impractical, but should compromise in a way that is cost-effective for all parties. If this were to be attained, streaming companies, record labels, and artists would be happy, circumventing social dilemma. Jordan Muthra The New School University, M.A., Media Studies, Graduate Student
A new study of the dating app Jaumo concludes that superficiality in online dating is just a preconceived prejudice. A survey among North American users shows that the majority of participants do find athleticism attractive but a couple of extra pounds on the hips will not necessarily decrease your chances of finding a date.
What attracts Jaumo users?
What is it, that attracts one person to another? Which body features are most important to most people? To answer these questions, Jaumo carried out a survey among more than 4,400 Jaumo users from the US. Jaumo interviewed them over a period of 4 weeks about their preferences in regards to their own body and personal ideals required of a partner. Users could agree or disagree with the statements outlined in the survey.
Image: whoabooty.com
Jaumo users are not only active flirters.
63 percent of the users find an athletic partner attractive and more than half of the respondents don’t mind a couple of extra pounds on their significant other’s hips. It is noticeable that significantly fewer users, namely 42 percent, consider an athletic body sexy. And the sexes even completely agree on this question!
Raw data from Jaumo Survey.
Hairy is not scary.
On the subject of body hair, the female users are pretty much in total agreement: 76% think chest hair belongs on the male body. The male users see this somewhat differently, but nonetheless, 64 percent of respondents agree. A natural look is also preferred in the downstairs department. 63 percent find a hairy pubic area perfectly acceptable and a total of 70% of the women prefer to see hair when they look down.
The way to someone’s heart is through their stomach.
Vegan, vegetarian, low-carb or meat-eater – with so many varied eating preferences, it may be difficult to find a partner with the same nutritional routine. For 77 percent of the Jaumo users, however, a compatible diet with their partner is seen as a must. For the Silo, Racheal A. Mack.
Jaumo founders Jens Kammerer and Benjamin Roth.
About Jaumo
Jaumo is a dating app founded by Jens Kammerer and Benjamin Roth in 2011. Jaumo has 20 million users in 180 countries around the world, more than 2 million of them in the USA and Canada. The dating app is available for free for iOS at the Apple Store and Android at the Google Play Store. The driving force of the two friends from Germany is to offer an uncomplicated and user-oriented product that binds satisfied customers.
Taiji, Japan – In Defense of Animals denounces the cruel dolphin hunting and killing season that officially opened on September 1 in Taiji, Japan. The hunting season, which goes until March each year, sees the brutal slaughter of hundreds of dolphins.
“The primary motivation for the hunting and killing of dolphins is the captivity industry, where live, trained dolphins fetch a much higher price than dead ones,” says Dr. Toni Frohoff, In Defense of Animals’ Cetacean Scientist. “We call on the captivity industry in the United States to stop contributing to the demand that fuels these cruel hunts.”
Photo- Liz Carter.
During the hunts, wild dolphins are driven into a cove along the coast of Taiji and held, sometimes for days, while “show-quality” individuals are selected and torn away permanently from their families. These individuals are then trained and sold to aquariums in Japan and around the world. Often, some or all of the remaining dolphins are killed and butchered for their flesh, or turned loose into the ocean where they suffer from the significant trauma of severed familial ties or in some cases witnessing the deaths of their podmates.
While demand for captive dolphin entertainment may be declining in certain places within the United States, in others the industry is attempting to gain foothold. The Mississippi Aquarium, slated for downtown Gulfport, plans on including a new dolphin aquarium.
“Promoting captive dolphin entertainment is tantamount to promoting the brutal killing of dolphins that happens each year in Taiji,” continued Dr. Frohoff. “The only way to stop these slaughters is to stop promoting captivity, which in itself causes enormous stress, suffering and premature death for dolphins.”
The quotas for this year’s dolphin hunting season in Taiji, set by Japan’s Fisheries Agency, total 1,940 individuals, including 414 bottlenose dolphins, 450 striped dolphins and 400 pantropical spotted dolphins, according to Cetabase.
In Defense of Animals is an international animal protection organization with over 250,000 supporters and a 30-year history of fighting for animals, people and the environment through education, campaigns and hands-on rescue facilities in India, Africa, and rural Mississippi. For the Silo, Dr. Toni Frohoff.
All photos- Liz Carter.
IN DEFENSE OF ANIMALS • 3010 KERNER BLVD. • SAN RAFAEL, CA 94901 • 415-448-0048
Colorization processed G. Orwell photo- mensxp.com
“The most effective way to destroy people is to deny and obliterate their own understanding of their history.” -George Orwell
The facts of the past cannot be objectively altered regardless of belief or opinion. They can, however, be tainted by those wishing to assume power. It is critical that we understand the past as it happened and do not allow the view to be obscured. Only in this way can we ensure that we do not repeat the mistakes of our forebearers, only in this way do we as a society learn and move on from our past transgressions. Those who would revise the past must be confronted with resistance and overcome with the truth. We are bound by our ancestors to carry their truth along the banks of the future no matter how heavy the burden may be.
Golden Age Rorschach, 2014, 38” x 26”, Acrylic paint over inkjet print mounted on Dibond by Aura Goldenberg.
Aura Rosenberg is based in New York City and Berlin, Germany. Since 1993 she has worked on a project titled Berlin Childhood. Over the years the project has taken on many forms including a published book, souvenirs of Berlin’s Victory Column, photographs, and a film. The title comes from a series of texts by Walter Benjamin written during his exile from Berlin in the 1930s. Rosenberg began creating a photograph to correspond with each text which Benjamin wrote in order to combat his homesickness during exile. Chantal Benjamin, the granddaughter of Walter Benjamin moved to Berlin and contacted Rosenberg. The two became friends and Rosenberg began filming Benjamin and her daughter around the city also in correspondence with the original texts. Presently Rosenberg is editing her archive of footage and recording a narrative soundtrack of Walter Benjamin’s great-granddaughter reading his texts aloud. Rosenberg also creates work based on themes of sexuality. One of her current project is a continuation of an older work titled Porn Rock.
“145 Elm Ridge Drive Toronto” Study Of Politics In Cell Tower Placement by Vid Ingelevics.
Vid Ingelevics is a Canadian artist. Much of his work examines representations of the past. His current long form project titled Freedom Rocks focuses on the history of the Berlin Wall since its removal in 1989. Ingelevics began researching what happened to the wall after it fell and discovered pieces of it across the world including in the United States and Canada. Initially, Ingelevics and his collaborator went to Washington, D.C. to learn about the movement of the remains of the wall. In the years following the removal of the wall there was a strong market for fragments. Pieces of the Berlin Wall now appear in the most unlikely corners of the world. Ingelevics work looks at why fragments of the Berlin Wall move around the world and who pays for this as well as putting the wall in the context of history rather than relegating it solely to the realm of political symbolism. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.
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Featured image- “Touching the Wall”, Berlin, 2014. From the larger project, Freedom Rocks, a collaboration between Vid Ingelevics & Blake Fitzpatrick begun in 2004 that explores the post-1989 history of the Berlin Wall.
It’s hard to imagine how much the latest Google fine really equates to. Really difficult in fact. But don’t worry! We’ve worked that out for you. Surprise, surprise, it’s a lot of money. How many times a day do you say or think “I’ll have to google that!”. Probably a lot. Google has definitely become essential for a lot of us. But it’s become so big a company that it needs to be regulated.
Google’s latest fine, unlike last year’s fine, was handed down by the EU commission in June 2017, is a reported at 2.42 billion Euros. That’s around £2.13 billion GBP or $3.42 billion CDN. Whew! That’s more money that most of us can even fathom. What did they do that was so wrong? Well, they broke competition law, by prioritizing their own shopping services, causing competitors services to drop dramatically. None of which have ever really recovered.
Ariel Ezrachi, director of the University of Oxford Centre for Competition Law and Policy, says “it objects to Google leveraging its power in search to give itself an unfair advantage in price comparison.” That’s one in the eye for Silicon Valley’s “winner takes all” attitude. Google are well equipped to handle a fine though, even one that sounds so hefty. Alphabet, Google’s parent company, made a profit of almost £2 billion in the first six weeks of 2017 alone.
So, it sounds like that fine is just a drop in their considerably large ocean. But it’s still hard to imagine such a huge amount. Which got us thinking. If the average Joe were to be fined in a relative way, what would that look like? Maybe something like this infographic from credit.angel.co.uk. Much easier to understand (and far less than I imagined to be honest!) For the Silo, Danielle Mowbray.
Everyone knows the old saying “to know where you’re going, you have to know where you’ve been” right? This couldn’t be more accurate, and for you to truly relate to Love Powered Co. and where it came from, we feel that you might need to know a little bit about affirmation and about us first.
Our names are Anna Lozano and Lindy Sood and we would like to welcome you to the Love Powered movement. We are friends and soul sisters who realized that together, we have a powerful message to share with the world. Months ago, we started talking about what is lacking in the marketplace when it comes to personal growth products for families. How our children were most certainly gaining positive subconscious programming from stating their daily affirmations, but what about being consciously aware of the words they were speaking?
We wanted them to understand this beautiful new vocabulary. We wanted them to connect with these positive words and statements. We wanted them to link the affirmations to their own daily experiences, to their own unique feelings and emotions, and to how they interacted with others.
Our mission is to create a self-worth movement, powering the next generation of mindful leaders. A better tomorrow starts with our children, and that means we need to do the work now, healing ourselves in the process.
This is so much bigger than a product, it’s a global movement creating a better tomorrow. Welcome home, to our Love Powered family.
How Are We Different?
1. 22 POWERS
Parents & children think of examples and ‘times when’. Going even deeper, we ask ‘How did this make you feel’? By connecting their own experiences to each POWER, and remembering how they felt, it better helps our children to understand the words and statements they are saying, and connect deeper to the meaning behind them.
These are the qualities of emotionally intelligent trailblazers! The POWERS we all have within us, at times, we just need to be reminded of it.
2. CONNECTION
Instead of 1 affirmation per card, we have grouped together 3 related terms + a statement – helping our little ones to grasp the meaning of the words and how they all relate to each other. We are teaching our children a new, beautiful, positive vocabulary.
3. CONSCIOUS AWARENESS
Instead of 1 affirmation per card, we have grouped together 3 related terms + a statement – helping our little ones to grasp the meaning of the words and how they all relate to each other. BONUS! We are teaching our children a new, beautiful, positive vocabulary!
4. EXAMPLES & FEELINGS
We focus on the power of CONNECTION between parent & child. Leave the screen at the door, this is a time to be present, engaged and wholeheartedly connected.
5. AESTHETIC
These cards are so darn adorable and just oh-so-delicious, we are certain that you and your little ones will find it hard to wait to get your hands on them.
“Sophie and I join all Canadians in offering our sincere condolences to the families and friends who have lost loved ones, and our best wishes for a fast and full recovery to those injured [yesterday].
“While we cannot ignore the outrage we feel, together we must renew our commitment to protect the freedom found in societies that promote unity, openness and inclusion.
“Spain, we grieve with you and denounce hate and violence in all of its forms. Canada will continue working with the international community to fight terrorism and build a world where we can all feel safe and secure.”
Air India announced that it has made one simple change that will save the airline $1.5 USD million (Rs 10 crore) and spare hundreds of thousands of animals from short, brutal lives and untimely deaths – it stopped serving non-vegetarian meals.
Air travel is one of the most notorious carbon polluters, which harms wild animals by changing natural habitats and acidifying oceans. Offering a plant-based meal not only saves animals directly by not serving them, but saves more animals by reducing greenhouse gasses and carbon emissions from farming that harm wild animals and the planet. There is a large body of evidence linking meat-based diets with unsustainable levels of greenhouse gas emissions and carbon dioxide production. A study published in the American Journal of Clinical Nutrition shows that meat-based diets use more energy, land, and water than a plant-based diets.
As an environmentally conscious company with a strong track record of promoting environmental sustainability, Virgin Airlines is ideally placed to lead the industry in a transition to plant-based meals. The time has never been better to call on Virgin to go meat-free!
Please join us in asking Virgin Atlantic, Virgin America (Alaska Airlines) and Virgin Australia to take the next step in reducing their carbon footprints. Make plant-based meals the default option on all flights!
1. If you live in the U.S., please call 877 359 8474 (customer service representatives are available 24/7).
After the prompt, press “0” and respond to the auto-prompt by stating “something else” to be connected through to a customer service representative.
Once connected, you can say something like, “Hi, I’m calling to express my support for Virgin Airlines to make plant-based meals the default selection on all flights. This simple switch will cuts costs, dramatically reduce greenhouse gas and carbons emissions, easily address an array of dietary requirements, and reduce waste. Will you please pass my message on to management?”
2. After your call, please send our letter:
Dear Executive Team,
Increasing numbers of consumers are choosing plant-based diets to support the environment and decrease their carbon footprint. Yet, meat-based meals continue to be the default meal option for your airlines. It doesn’t have to be this way.
Just recently, Air India stopped serving non-vegetarian meals, showing this progressive move is one that can be implemented without hardship.
There is a large body of evidence linking meat-based diets with unsustainable levels of greenhouse gas emissions and carbon dioxide production. A study published in the American Journal of Clinical Nutrition shows that a meat-based diet uses more energy, land, and water than a plant-based diet and was less viable for the future. By simply switching from a meat-based meal to a plant-based meal as the default option, Virgin Airlines could go a long way toward decreasing the environmental impact of airline travel.
There are thousands of tasty and nutritious plant-based recipes available that exclude meat, dairy, and egg. These meals could easily address an array of dietary requirements and reduce the number of special meal options that Virgin Airlines currently offers. In addition, plant-based meals cost less and are healthier. In a 2012 study in the Journal of Hunger & Environmental Nutrition, investigators found that meat-based diets cost individual consumers $746USD more per year, and were less nutritious. There is no need to compromise your award-winning service – we are asking you to simply switch the default meal option so that passengers can still select a meat-based meal if they wish.
Offering a plant-based meal as the default option will save you money, increase profit margins, cut tons off your carbon footprint and cement Virgin’s reputation as the premier modern airline.
Not only will this simple switch cuts costs, it also reduces greenhouse gasses and carbon emissions. As an environmentally conscious organization with a strong track record of promoting environmental sustainability, Virgin Airlines is ideally placed to lead the industry in a transition to plant-based meals.
We applaud Virgin Airlines’ commitment to ecological air travel solutions, including the use of biofuel and carbon offsets. We ask that Virgin Airlines again show leadership in the field of environmental sustainability by making plant-based meals the default selection on all flights.
Immediacy? “Nothing important comes into being overnight; even grapes or figs need time to ripen. If you say that you want a fig now, I will tell you to be patient. First, you must allow the tree to flower, then put forth fruit; then you have to wait until the fruit is ripe. So if the fruit of a fig tree is not brought to maturity instantly or in an hour, how do you expect the human mind to come to fruition, so quickly and easily?” -Epictetus
The Worm (2008) and Watershort (2008) are time-contemplative short films by Canadian sound and visual artist Jarrod Barker.
In the natural world, immediacy is rarely a concept. While it is true the Mayfly lives only for a day, it is also true that each fly is one infinitesimal link in the long succession of the species. As humans have increasingly stepped beyond the boundaries of nature, we have begun to forget the importance of waiting and patience. We live surrounded by cheap treasures gotten easily and quickly. But like the Mayfly, these spoils of instant gratification perish quickly leaving us desiring more. No longer do we answer to the rhythm of nature, preferring instead to force the world to step up to our breakneck pace. All the while we are saturated with reminders that “good things come to those who wait” but too often choose to ignore this time tested wisdom.
Stefan Klein works in Berlin. Presently he is examining the concept of waiting. To this end, he has conducted quite a lot of field research. Waiting, he says, “is something that’s so routinely existing in our daily lives but at the same time has this very existential dimension to it so that almost everybody can relate to it but at the same time it’s a very abstract topic.” Another project, titled Introduction to Microeconomics is a book documenting Klein’s repeated ordering and return of a book by the same name. In this way, he examined documentation as a vital element of a whole work. Much of Klein’s work investigates complex systems through performative means. In September, Klein will begin a series of waiting sessions with people from various disciplines. He will meet with guests at a bus stop (a place of waiting) for a conversation. His audience will be comprised of both those who came to see the performance and those who happened to be waiting for the bus. In this way, Klein will access waiting from many perspectives.
untitled watercolor Emilie Clark 2015
Emilie Clark is a New York City based artist who spends part of the year in New Hampshire. Much of her work is based on the work of nineteenth-century natural historians and scientists, most of them women. She also explores the literal interpretation of the word ecology (earth’s household) incorporating historical texts and working in the landscape. In New Hampshire, Clark works in a floating research station surrounded by the natural world. In New York City her experience is quite different though she has noticed similarities in plant species between the two locations. From her research station, Clark collects specimens, makes sound recordings, draws, paints, preserves, and fully immerses herself in nature. This process is rooted not only in creating but in learning.
Brainard Carey
A Few Words to Keep in your Pocket
A work of art, a career, a relationship, anything worth investing our hearts and minds in, must be given time. We must relearn to wait, to fall back in step with the world around us. For the Silo, Brainard Carey.
Brainard is currently giving free webinars on how to write a better Artist bio and statement and how to get a show in a gallery – you can register for that live webinar and ask questions live by clicking here.
Bookends worth having- courtesy of hiconsumption.com
It is amazing to me how many of us aspire to write and publish a book. If you don’t believe me, try this experiment. Mention to five people “I’m thinking of writing a book…” and then wait for the response. Among the (hopefully) positive comments you get back, I bet that three or four people will say “I’ve always wanted to write a book myself.” Even in today’s age of digital distribution it seems like writing a book – a real, in-the-hands book, is a dream of many.
I know for myself I’ve had that dream, too. I am quite sure I can trace it back to several years ago when I actually did author a book. It’s around 30 pages long, and I bound it with denim fabric wrapped around cardboard. It has illustrations and is written in a “choose your own adventure” style with choices that present themselves at the bottom of each page. It was typed with an old manual typewriter and the copyright page clearly indicates that copying or electronic transmission, of any form, is prohibited without the express written consent of the author. I think I was 10 years old at the time.
In my twenties I dreamed about writing a book on the history of the Amiga computer. I contacted several involved individuals for interviews, some of which I actually conducted and others which I just got a general “yeah, sure I’ll do that” response. The project sat on the back burner, only to be moved around to the side when my next project – a book about the history of two of my family members – reared its head. Research started, more family got involved. Yet, it has sat there. I’m still convinced I’m going to write that project (heck, it could even become a movie) but it sits there on the back burner with the other book. I envision the scenario is similar with all of those other people who say “yep, I’m going to write a book too”. Back burners around the world must be filled with these book projects. It’s a good thing that we are moving more towards a digital age because if all of these books actually got written it would likely overflow our libraries.
In my thirties I was approached by someone who had already written a successful book and had been interviewed by some very major radio and television stations. His previous publisher had ripped him off, illegal translations of the book were out there with no profits coming to him, and now that publisher was in the throes of bankruptcy. He had made some improvements, gotten new illustrations and was ready to release the latest version of the book. He just needed a new publisher. He was even going to provide camera-ready files, a term that doesn’t even apply anymore in the industry. He just needed someone to produce a cover and bankroll the whole operation. It wasn’t my own book, but it was a step into the world of publishing that I had dreamed of being a part of since I hammered out the keys on that old Underwood.
Food for thought: even JK Rowling and her first Harry Potter book were rejected….more than once.
To say it didn’t work out as planned would be an understatement. The book did make it into Chapters, but the monies that were paid to the distributor seemed to evaporate as they also filed for bankruptcy. I did manage to get some of the books back. They currently serve as great insulation in my garage, and I’ve considered burning them for heat this winter. The problem lies with how the old model works. The publisher orders and pays for a large number of books, and then hopes the distributor gets them placed at retailers. The retailers may or may not sell them, and to pay for the ones they have sold, they actually return unsold ones – delaying paying anything until the interest in the book has passed. It’s a nasty, dirty business and one that I have no interest in dealing in again.
Yet the call of writing a book – of crafting something from scratch that comes from deep inside the brain – will not go away. It’s no surprise that many of us would love to take a manuscript and submit it to one of the big publishing houses and have them send us a big advance cheque, but if J. K. Rowling can write a hit like Harry Potter and still get rejection letters, what hope does the average citizen have?
Just like that old bouncing Amiga Ball, (seen here on Syd’s shoulder) writing is about ‘bouncing back’ and ‘rolling along’ when inspiration wanes.
When I discovered the self-publishing site www.lulu.com, I thought it was definitely a dream come true. This site allows you to submit press-ready files and have a book produced for a very reasonable cost. In the past, the only way to get a reasonable unit cost (if at all) on a book was to order a minimum of 1,000 units. Now, the average size book can be purchased for 10 to 20 dollars, and it will be professionally produced and bound. How is this possible? Advanced technology has created what the industry calls print-on-demand and it has changed the game on how all of this works.
I wrote about lulu.com and the process itself several years ago and had a reader write back to me and asked about helping her get the files of her book ready. She had a very unique personal story and had, over the years, written the guts of a book about her experiences. She just had a Word file, however, and had no idea on how to produce the final layout document with a table of contents and so on. I told her I could help her out and provided a cost for her to do so and we took it from there.
The experience was a positive one overall. In the end, we had a few kinks to work out (and she always seemed to find something to change) but we produced a companion website and she ordered several copies of the book for her friends and family. It was a positive experience in the end because she now has her book in a real book format, and although she really didn’t sell that many copies, she did it because she always wanted to record her story on paper. She accomplished that.
It fired me up for working on my own projects. I couldn’t decide which one I wanted to tackle first, and then a more brilliant idea hit me out of nowhere. I started working on it. I didn’t have a gameplan other than knowing I was going to work on it until it was done. I was shocked to realize I had spent almost two years doing research alone, but I wanted to produce a quality product. Along my journey I talked to other friends who had also gone the self-publishing route, but had opted for a service called www.CreateSpace.com rather than LuLu. When I looked into the costs of manufacturing, I could see why. CreateSpace.com was much more affordable and for me this was especially important as I was doing a project that was full colour and has a limited audience.
So I switched, mid-book, to a new provider. I noted that CreateSpace.com is actually owned by Amazon, the world’s largest online book retailer. This has to be a good thing, but I’m glad I dug a little deeper into what challenges I might face as a Canadian. It turns out that you are going to need an IRS tax number in order to receive your royalties. That’s understandable. What is not, is the process. I tried calling and was on hold for what seemed like a lifetime, and I finally gave up. I tried faxing. The thing about faxing is you never really know what happens on the other end or where the piece of paper ends up. It’s also so 1999. I waited a few weeks and heard nothing. I tried calling back again and finally got through to someone who told me I actually had the wrong department and would be transferred. After a total of three hours on hold, I finally spoke to another person who asked me a couple of questions and I was a bit confused at the them (since they were not questions on the form). When I showed some hesitation, she went for the kill and referred me to faxing in the application to a different fax number than I had ever heard of. Eventually I just sent the fax to every IRS number I could find. Four weeks later, my number arrived.
I share my pain with you because I am glad that I started the process early on. I would have been devastated to have my project complete only to have it held up from selling due to a paperwork problem. If you are thinking about selling through a major channel like Amazon.com, you are wise to take care of this detail early on.
During the development of my book I took breaks. It can be difficult focusing so much on a single topic and it’s easy to lose your concentration and end up with a scattered project. A colleague approached me about putting together some simple-to-follow steps for a social media presentation I was working on, and I took the opportunity to turn that into a book. It is a small book, called “Mastering Social Media” but it was enough to get my feet wet about working with CreateSpace.com and the process. It turned out to be invaluable experience before my main book was ready.
This past July it finally happened. My book, “Collecting for Dragon’s Lair and Space Ace” was finally released and has been given all five-star ratings on Amazon. I am very proud of the book and all that it took to put together, but I know that the road to get there was not easy. It might seem like it, looking at the final product, but it took all of my experience with the previous books to get there. There are still hurdles… promotion is always a tough thing and reaching everyone you can with such a niche book will be a long slow road.
The best advice I have for those wanting to publish their own book is to just get out there and do it. There are so many options that exist now that the excuses for putting your work out there are now gone. It’s a different world out there – go live in it. For the Silo, Syd Bolton.
This article originally published in the print edn. of the Silo, Summer 2013.
“I am a strong believer in a plant-based diet for heart health,” said Dr. Shenkman. “Join me at Carnivores Anonymous to learn how a plant-based diet has fueled my athletic success, and why I recommend it for all my patients.”
Turing’s work was instrumental in saving countless lives, millions in goods and merchandise, and is estimated to have shortened the war in Europe by four years.The specifics of Turing’s work at Hut 8 were only recently made available to the public—they were declassified in 2012. Authors Liberge and Delalande use this new information to create a graphic biography that is both scientifically rigorous, moving, and accessible. Story by Eric Liberge Illustrated by Arnaud Delalande Translated by David Homel 
This concern, of course, is not unique and strikes at the heart of something that all those in creative professions fear and must face. The ownership of ideas is difficult to prove. If you tell someone your plan in confidence and they, in turn, use it for their own purposes, there is very little you can do to show that you are the originator. Spreading this rumor is likely to make you look like the bad guy. It’s no wonder that this sort of generosity is cause for concern.
But what about sharing your networks or some trade secrets that helped you get to where you are today? While you may have worked tooth and nail for everything you’ve gained, there were surely people along the way who said yes at the right moment and assisted your progress. No one can ask more than this, and as an artist of a certain standing, there is nothing wrong with offering this sort of help.
No one exists in a vacuum. Even you, who may have scraped and fought your way to where you are today, benefited from the acceptance and help of others. Sure, you may have pounded the pavement endlessly in order to secure your position but that is no reason not to pay forward the success you have achieved. It is too easy to forget, once you have achieved a certain status, the myriad small moments that led you there. While it may seem as though hardly anyone was out to help you in the early days, surely there were some, otherwise you could not be where you are today. Even if it was just a few gallerists who were finally willing to take a chance, there are always rungs of assistance in the ladder to every success, no matter how small.
For these reasons, there is a lot to be said for good old-fashioned face-to-face interaction. Being the sort of artist who is willing to mentor in the real world sets you apart. Establishing this sort of reputation, for being the one who will gladly share the bounty you have created, seldom reverses one’s own success and frequently opens new doors you may never have considered.
Arguably, there is no such thing as original art. Even some of the most contemporary artists’ work is derivative of past creations. Marina Abramovic, in her unique style, has absolutely drawn from (and occasionally been accused of copying) works by other artists. Pablo Picasso (and perhaps more famously, Steve Jobs who quoted him) said, “good artists copy, great artists steal.” This doesn’t mean that you should open yourself up to idea theft, but it does mean that perhaps being stingy with your concepts, your network, your position as an established artist, doesn’t count for as much security as you might think. Be smart about things, but in general, it is always a good idea to reach down the ladder and help those coming up behind you find the next rung. For the Silo, Brainard Carey.
A new study of the dating app Jaumo concludes that superficiality in online dating is just a preconceived prejudice. A survey among North American users shows that the majority of participants do find athleticism attractive but a couple of extra pounds on the hips will not necessarily decrease your chances of finding a date.
