The elusive buzzword means many things to many people.
The word has changed meaning for me over the years. I used to avoid the term, but after years of private practice, I developed a truer understanding. Most people are in denial about their state of health and confuse "not being sick" with good health. Two key features of wellness are resiliency and action. Meaning that wellness gives one a buffer to prevent illness and recover more quickly. It takes active involvement to maintain a state of well-being. The key is to find the right activities or interventions that will allow you to overcome past trauma. Once there, the energy required to maintain wellness becomes less than the energy required to heal.
To me it means having balance in your body and mind. It's about nourishing yourself physically and mentally so you're able to do all of the things you love doing.
It's a life practice comprised of daily habits that nourish your mind, body and soul: choosing the foods, relationships and activities that feed your physical, mental and emotional well-being. To me, the mastery of wellness means having awareness of and the flexibility to change when you need to.
Staying healthy means being active and trying to excel at all aspects of life. It's not just about being fit. It's about hitting the courts, trails, lake and the field, ideally with my family and friends! Most important is creating experiences to be shared with the ones I love. Right now I'm looking to have more focus and prioritize the most essential things in my life and business.
Wellness is a process of optimizing our physical and emotional health so that we can perform all of the functions of life to our best ability. It requires effort and education. Even though I practice and study Western medicine, I believe in a holistic approach to wellness. I've used cold plunges, massage therapy, acupuncture, Endermologie, Exilis Laser, microneedling skin rollers, LED light therapy, dry brushing and herbal supplements — turmeric for inflammation is my most favorite — and of course the infrared sauna therapy!
I'm both an ordained minister and a certified Zumba teacher, so I think of wellness as nourishing mind, body and spirit. Life has taught me that when we care for all three elements of ourselves, joy and hope have room to dance. Over the past year I've thrown axes with friends, and I played bass in a couple of rock bands. Both of those count as self-care to me. But the most crucial treatment is being part of a supportive community, like the Y and my church (Wildflower). Novelty is fun, but wellness is rooted in the routines and practices that sustain us daily.
Feeling your best in all areas! At the salon I've learned it's not always about the hair when someone comes in. We all want the outside to match the inside. Staying on top of both is what wellness is. I have a holistic doctor I have worked with for the past six years. He and his wife have really taught me to think outside the box when it comes to my health. A healthy dose of Eastern medicine coupled with traditional Western medicine is the perfect balance for me.
The practice of treating yourself kindly every single day. Are you taking inventory of how you feel each day and adjusting accordingly? Tap into how you feel and keep it simple — you don't need much to feel good. This year I'm ditching the scale. For the first time in my life, I no longer measure my success by a number. I feel strong and confident running and lifting heavier weights versus feeling strong and confident because of my weight. My wellness wish for everyone is to ditch numbers: pant sizes, scales and waistlines.
I believe wellness is all about choices. Life is a constant journey involving experiences that can either derail your well-being or contribute to its magnitude. Ultimately, those decisions determine your physical and mental health. It's not about "good" or "bad." It's about acceptance and forgiveness. If you can embrace all that life has to offer, you're on the path to equilibrium, which, for me, is the ultimate aim.


text:
The Banjo on Record: A Bio‑Discography. Edited by Uli Heier and Rainer E. Lotz. Greenwood Press, 1993. 664 pages, $75.00. ISBN 0‑313‑28492‑X.
Rainer Lotz, one of the world's foremost discographers of early recording history, has co‑authored this new volume that will be of considerable value to researchers. Of more value, perhaps, than the title implies. Dr. Lotz has an unfortunate habit of titling his books in a manner that understates their true breadth of coverage. An earlier work, the valuable German Ragtime & Prehistory of Jazz (Storyville, 1985), was criticized by a reviewer in these pages (Vol. 19, No. 2/3) for wandering far afield from the narrow subject of ragtime. Similarly, if you assume that the present volume is a listing of instrumental banjo records, prepare to be surprised. There is everything here from vocal "coon duets" by Collins and Harlan with banjo accompaniment to Nat Shilkret's big 1920s dance orchestra pumping out "Can't Help Lovin' Dat Man," while banjo master Harry Reser plunks along enthusiastically in the background.
Banjo on Record begins with a brief foreword by noted discographer Brian Rust, on whose unpublished 1966 manuscript the present work is based, followed by a preface and acknowledgements; a most informative essay about "The Banjo in Phonograph Recording History" by Lowell Schreyer; a colorful article on the social history and technical development of the banjo by Robert Lloyd Webb; descriptions of the major types of banjo; 46 pages of black & white photographs of banjo record labels (why not photos of the artists?); the main, 530‑page discography, arranged alphabetically by artist; a bibliography; and a helpful 31‑page index of song titles. Despite the book's title, little biographical information is included.
The criteria for inclusion are broad: "all the records issued on cylinders or 78 rpm discs on which the banjo… plays a solo role or a dominant part" (p.xi). The obvious suspects are all here, including Harry Reser (77 pages of listings!), Vess L. Ossman (26 pages), Fred Van Eps (20 pages), Olly Oakley, Eddie Peabody, and Ruby Brooks. Van Eps, incidentally, must be one of the all time champs in terms of recording longevity. His first issue was an 1898 brown wax cylinder, and his last a 1956 LP. There are also hundreds of lesser known artists, some from such unlikely places as Kenya and Calcutta (the scope is international), as well as dance bands and others who for whatever reason used a banjo in one of their sessions. Among those included are Louis Armstrong, Ethel Waters and James Europe's Society Orchestra!
All fields of music are fully covered, except for one. In their foreword, the authors regret the lack of cooperation they received from country music researchers (one wonders who they approached?), and the consequent lack of listings in that field. There are no listings for Earl Scruggs, although Uncle Dave Macon gets four‑and‑a‑half pages.
The banjo was of course one of the most frequently recorded instruments during the phonograph's earliest years, and one of Banjo on Records's great contributions is its inclusion of some very early artists who have been ill‑documented elsewhere. One of these, Louis Vasnier of the regional Louisiana Phonograph Company (c.1891), is of special interest as he was one of the very first black artists to record commercially.
Due to the poor documentation of the early days the entries on many pioneer artists are far from complete, as the authors freely admit. At least we have a start. Unfortunately the authors sometimes present questionable assumptions as fact, so one must be careful even with some of the listings that are given. For example Vess L. Ossman is credited with the banjo accompaniment on several early Columbia discs by baritone Carroll Clark, when there is no evidence of which I am aware as to who plays the banjo on these sides.
Recording dates are also sometimes unnecessarily shaky. Cylinders by the Bohee Brothers, James and George, are dated as "ca. early 1890" allowing the claim to be made that they were "probably the first black artists to have recorded commercially." The reader should be told that this date‑‑and therefore the claim‑‑is based on very shaky evidence and some large leaps of assumption, as detailed in an article by Dr. Lotz published in 78 Quarterly, Vol. 1 No. 7.
Perhaps the most amusing gaffe occurs on page 201, when the authors solemnly inform us that several 1906 titles recorded by the American Record Company were issued on "Indian Records," so named "because of the Red Indian on the label." Nonsense! (The label is in fact "American.") Do we list Victor Talking Machine Company products as "Dog Records"?
Despite the occasional errors and omissions, Heier and Lotz have made an admirable start at documenting an important genre of early recording. Moreover they have cast their net widely enough to make this book useful to early recording researchers in general, not just to banjo enthusiasts. Banjo on Record will be valuable to anyone concerned with recordings which in any way involve the banjo.

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: is there any agora.io php sdk available for live streaming I am making a live streaming web application in laravel.
I want to use agora restful api's in php (laravel) but unfortunately there is no agora sdk available for php (laravel).
i have downloaded agora web sdk that is in react and nodejs. sdk is running but when i try to make broadcast it's showing this message "undefined media"

A: What are you using PHP for? Token Generation? If yes, here's what you're looking for: https://docs.agora.io/en/Interactive%20Gaming/token_server_php?platform=PHP
Agora works fully and solely on the client side eliminating the need for a server.
If you need a simple broadcasting application: https://github.com/digitallysavvy/agora-web-broadcast-demo.
Documentation: https://docs.agora.io/en/Interactive%20Broadcast/start_live_web?platform=Web
EDIT
Now that page has gone, please use the following page:-
https://docs.agora.io/en/Interactive%20Gaming/token_server#token-generator-libraries
You can find core code and sample apps for many different languages including PHP

redpajama_set_name: RedPajamaStackExchange


We've taken over the entire gallery and moved in! W+K Tokyo Ginza is now officially open for business.
Wow, it was quite an experience to actually be in Ginza at this time of day. The locals still holdin up the age old tradition of Japanese entertainment on a friday night.
To celebrate our 10 year history, we decided to show a historical overview of our work from 98-2008. The wall also features significant cultural events that happened in Japan, drawing a parallel between our work and the times we lived in.
This time we're drawing it for reals. Yup, we're drawing this whole wall and turnin' this mutha out in 3 days flat. Here's to some all nighters at the gallery for Woog, Marek and Shuhei-hei. Word up brothas!!! Don't forget to twist them wrists to prevent carpal-tunnel. We'll see you Tres Musketeers in da mornin'.
W+K Toh-kee-yoh in da house! Today a few of us came in to symbolically hammer a few nails on the much debated NAIL ART WALL. Representin' some true W+K brotherhood.


text:
Winter Holidays Resource Kit
Chanukah, Christmas, Eid al-Adha, Kwanzaa, New Year's, Muharram, the Lunar New Year and other seasonal celebrations will soon set the stage for countless news and feature stories in mainstream and ethnic print and electronic media.
As the temperature drops and the year winds down, people worldwide celebrate with a variety of holidays. Seasonal celebrations such as Eid al-Adha (Dec. 8), Hanukkah (Dec. 22-29), Christmas (Dec. 25), Kwanzaa (Dec. 26-Jan. 1), Muharram (Dec. 29-Jan. 26), New Year's (Jan. 31), the Lunar New Year (Jan. 26) are on the horizon and will soon set the stage for countless news and feature stories in mainstream and ethnic print and electronic media.
This holiday season, GLAAD encourages journalists and producers to share the stories and experiences of the lesbian, gay, bisexual and transgender (LGBT) community in their coverage of the many diverse events and celebrations during the winter months. There are many timely stories coming from within the LGBT community to spotlight during this year, including couples in California and Connecticut who will celebrate their first winter holiday season together as married couples.
LGBT community centers and groups across the country arrange holiday events during the winter months, including many gay and lesbian music and performance groups. For over two decades, the San Francisco Lesbian/Gay Freedom Band produces the annual Dance-Along Nutcracker, an all-ages performance where audience members can dress up and participate in the dancing. The event has garnered nationwide coverage, including Good Morning America, The Today Show and the Wall Street Journal. Also, many LGBT and LGBT-affirming churches, mosques, temples or synagogues organize holiday events and services.
Because the holidays are often one of the few occasions that families are able to come together, some LGBT people come out to families over the holidays, particularly when introducing a partner or significant other to family for the first time. While coming out over a holiday has become a humorous Hollywood plot device, a personal story about coming out provides an opportunity for journalists to present a personal angle to discussion of LGBT issues.
At a time of year where people gather together with loved ones, some LGBT people who are isolated from their families because of their sexual orientation or gender identity will instead celebrate the season with their "chosen family." This could include close friends, extended family and other community members. By writing about these gatherings, journalists help increase awareness of the very serious issue of LGBT people estranged from their immediate family, while also allowing inclusive coverage of all families during the holidays.
Besides the joys, stresses and struggles that LGBT and straight Americans share during this season – "popping the question" on a holiday, introducing a new boyfriend or girlfriend at a company party, dealing with holiday travel – LGBT people also have unique stories to tell during this time of year. Here are several story ideas for LGBT-inclusive coverage during the winter holidays:
Cover holiday events held at your local LGBT community center or by local LGBT community groups. For example, many gay and lesbian music and performance groups stage holiday concerts in major cities across the country.
Write about holiday celebrations that are happening at a local LGBT or LGBT-affirming church, mosque, temple or synagogue.
Consider covering the story of a family in which someone has come out during the holidays.
Speak to LGBT people and families about their experience taking a partner or spouse home for the first time to meet their extended family.
Interview a transgender person about their experience coming home for the holidays after starting their transition.
Talk with LGBT people about alternative holiday celebrations that may include more than just immediate family, such as close friends, extended family and other community members who make up the person's "chosen family."
Highlight the struggles of a bi-national same-sex couple that is separated during the holidays due to unfair and non-inclusive U.S. immigration laws.
Profile LGBT community members and their reflections on the upcoming year as they approach their celebrations of Lunar New Year, New Year's Eve, Muharram or other new year's events.
Gay & Lesbian Alliance Against Defamation (GLAAD)
Cindi Creager
(National News)
nationalnews@glaad.org
Parents, Families and Friends of Lesbians and Gays (PFLAG)
Steve Ralls
sralls@pflag.org
www.pflag.org
Children of Lesbians and Gays Everywhere (COLAGE)
Beth Teper
director@colage.org
www.colage.org
National Center for Transgender Equality
Mara Keisling
mkeisling@nctequality.org
www.nctequality.org
Amy Schneider on Jeopardy! (Photo courtesy of Jeopardy! productions)
Jeopardy! champion Amy Schneider talks with GLAAD about her historic winning streak
Courtesy of World of Wonder
GLAAD Video Interview: Season 14 Queens of RuPaul's Drag Race talk Drag Race herstory, answer fun trivia questions, and more


text:
ISAIC: Maybe we can start with introductions. Can you share about yourself?
Concordia: My name is Ed Boraas and I'm the Chief Information Officer and Research and Development Lead for the AI Centre at Concordia University of Edmonton, which is located in Edmonton. We have about 3,500 students in various programs, primarily in undergraduate programs but we also have master's and doctoral programs.
Cybera: Sure, I'm the data science program manager at Cybera, a non-profit company based in Alberta. We manage and operate the research and education network in the province. But for the past 12 plus years, we've been doing above the network type of services, such as cloud computing and recently, we've been heavily invested in data science. I do everything from internal-facing projects around data policies to external-facing projects with clients, which are typically SMEs or other nonprofits.
Pulse Medica: I'm Nir Katchinskiy, the CEO and co-founder of Pulse Medica and here's Chris who oversees the machine learning team. Essentially, Pulse Medica develops a medical device platform for a treatment of retinal disease. Such disease affects 500 million people worldwide and it isn't great. We're trying to change it by developing a medical device that performs image-guided laser surgery driven and enabled by ML. Thus, Machine Learning plays a big aspect of everything that we're doing in terms of diagnostics, creation, or treatment planning, and then the treatment itself.
ISAIC: Thank you. Ed, maybe you can tell us more about AI Pathways Partnerships?
Concordia: So, our relationship with ISAIC is primarily related to AIPP. The program involves training folks in all stages of life to AI and ML. I'm really happy to be a part of something collaborative like that to build educational content for people. Primarily in our case, we are looking for development and support for the student projects and student-led research.
ISAIC: Byron, you mentioned something about cloud computing and it makes me wonder… Can you tell us more about AI projects Cybera has?
Cybera: We typically work with clients through different formats, such as direct consultation for different spaces, including green tech projects and healthcare projects. If there's an alignment of project goals and organizational values, we also work with companies and SMEs through our industry fellowship program. That is now called the Applied Data Science Lab for Economic Development Program and that's how we're connected with ISAIC.
ISAIC: Chris, maybe you can tell us more about Pulse Medica's projects?
Pulse Medica: Most of our projects revolve around the idea of AI and guided surgery. We use AI to control hardware and plan surgeries.
For example, our first project was identifying something called micro aneurysms on retina images, which is a disease called Diabetic Retinopathy. It will cause debilitating degradation of vision. Our goal for this project was to look at these images and detect where in the images we should target for the treatment with our laser system. Another way to do this is to hire an opthamologist and spend thousands of hours annotating images. But we can't really do that because we're an early-stage startup. Instead, we used semi-supervised learning or unsupervised learning to build these models so we can detect areas of the disease and build treatment plans without the need of expert annotation.
Another project we're working on for, an example, would be the Floater tracking. Floaters are blurry squiggles that flow through your eyes as you're looking into a bright light. The key interest for us is to find ways to accurately track these in 2D and eventually, 3D so we can target them for treatment. We have been building AI models to essentially track these in real-time very accurately.
ISAIC: Now, maybe all of you can share the success of your AI projects.
Concordia: The AI Pathways Partnership programs are actually new to Concordia so really, it has been exciting to be able to come in and hit the ground running and deal with a relatively large cohort of students and to be able to meet their needs.The support we receive from ISAIC is really quick and were easily implemented. We have nothing to worry ourselves about the technical details and when it came to building and implementing, ISAIC came to help the large cohort of students.
Cybera: In terms of problem solving, Cybera does quite a range of things from data wrangling to the development of ML proof of concept and prototype projects, working with small data sets, as well as big data sets. We really are trying to apply the state-of-the-art technologies and tools to these problems to solve whatever business problems people are facing.We do our best to engage clients and help them throughout their journey because oftentimes, this was our clients' first foray into data science or AI.
Pulse Medica: Pulse Medica is founded in mid 2020 and we have been operating for about 2 years as a company. We had two successful fundraising rounds. We've built a world class team of engineers - we're about 22 individuals in the company and we essentially have two prototypes that we're going to put into clinics here in Edmonton. We're just in the process of getting approvals from Health Canada. So, it's very exciting so far and a lot of success in terms of ML.
ISAIC: Now, let's shift a little bit to infrastructure. What cloud services have you used before and can you tell us your expectations before ISAIC?
Concordia: We used PLO before in a number of contexts from an IT point of view. We've used the big names that you may have heard before, providing some of our infrastructures for just general campus and campus operations. We also have a really good relationship with Cybera and we used their Rapid Access Cloud. But when we're looking at designing the new course programs, we really need something that has a lot more purpose built in and a much more tailored fit for what we're doing in the ML program. That's how we turned to ISAIC. We needed a partner that understood our needs as an educational institution and who was able to sit down with us to understand what we were trying to accomplish and how we're going to do that to make sure that we're building a solution that fits the needs of our students, rather than just taking something off-the-shelf (that is static). Folks at ISAIC really helped us making sure that we get exactly the right build for our use case.
Cybera: Cybera has a pretty long experience with cloud computing - I think for about 12 years now. We were the first in establishing an open stack production environment in the world and in Alberta. So, we have quite a bit of experience running our own Rapid Access Cloud environment. Internally, we encourage our data science team (data scientists and developers) to use cloud computing infrastructure and resources to manage their data. Cloud computing is great and you should use cloud computing. We also try to leverage cloud computing in our projects, including the data science projects.
Pulse Medica: Regarding data, we have access to one of the largest image databases in the world. We deal with tons and tons of data. In terms of cloud infrastructure, it was really difficult to predict what kind of resources we needed particularly when it comes to the kind of GPUs and memory we need, as well as storing the data, which can be expensive. Being able to explore without a huge capital investment on our part, as well as being able to scale the resources (adding GPUs, etc.) was very important.
We were looking for a local place to store the data and do all of our computations and processes because we're dealing with sensitive patient information. We wanted to make sure that the data is put in a safe place that is local here and that was the opportunity to collaborate with ISAIC.
ISAIC: How did you get to know about ISAIC?
Concordia: Well, some of the partners we've been working with through AI Pathways Partnership are also partners of ISAIC. AIPP has really been the centre of building bridges.
Cybera: Sure. So, based on our experience setting up our own cloud infrastructure service, Rapid Access Cloud, we helped advise ISAIC right from the get go. For example, we discussed the options they might have in terms of setting up their infrastructure and we provided advice and lessons learned in terms of what worked for Cybera and what didn't work well for us. I think ISAIC definitely took the information and turned it to services with really nice products and really nice services that are user-friendly.
Pulse Medica: It is kind of an interesting conversation because what happened was that Pulse Medica was just started and we had this shared space to sit at the University of Alberta (we were a spin-off company from the university). In that shared space, we got to know about ISAIC and we asked them what they were doing. They mentioned infrastructure and long story short, we built a relationship and we have been working together for about two years now.


text:
How to Build an Iconic Brand: The Genius of Tesla's Cybertruck
Sören Stamer
Tesla is on a roll. Yesterday, the iconic car manufacturer became the highest valued American car manufacturer in history. And today $TSLA gained another 4.92%, nearly reaching $500. Truly iconic.
It is worth a closer look at how Elon Musk built the iconic Tesla brand. Entrepreneurs and brand executives can learn a lot from his example, because becoming iconic is priceless. Iconic brands like Tesla receive an insane amount of attention — one that's impossible to achieve through paid advertising alone.
Plus, iconic brands receive that attention completely for free.
WHAT CAN BRANDS DO TO BECOME ICONIC?
To tackle this question, let's deconstruct Tesla's recent Cybertruck launch, which was a brilliant example of how to create something iconic.
Unless you were living under a rock, you doubtless heard about this bold new vehicle and its controversial rollout. Tesla's Elon Musk stunned the world with a futuristic truck right out of Bladerunner; its launch included two broken windows; and the company announced a very compelling price point.
That in itself is remarkable. We all know about Tesla's latest product launch. It's actually very likely that you've read about Cybertruck multiple times and talked about it repeatedly. You might have been shocked by it like most people and nonetheless started to contemplate pre-ordering one just a little later. Or you are one of the 300k who ordered one in the first week after launch when you somehow felt the urge to get yourself on the waiting list.
The two things that you very likely haven't been able to achieve are 1) not knowing about Cybertruck and 2) not having an opinion about it.
So let's take a closer look at the techniques Elon Musk employed to pull this off.
1. BREAK EXPECTATIONS AND PUSH THE LIMIT
Elon Musk decided to push the limits and break expectations in a pretty bold way. For sure, it would have been easy for Tesla to build an electric drivetrain-powered truck that was impressive but conventional. (There are countless designs floating on the Internet.) It certainly would've been a safer bet: no controversy, no downgrading by Wall Street, no complicated path to production.
But that would have been boring, at least compared with Cybertruck. And the truck would have been significantly less recognizable, attention grabbing and entertaining. We would not have talked about it much. And it also would have been much easier for other manufacturers to copy the design.
Tesla has a history of pushing the limits of engineering design. And that is not by accident. Their first car, the original roadster, featured a conventional chassis from Lotus Elise but with an electric drivetrain in place of a combustion engine. The electric drivetrain was new and different enough to grab attention.
The Model S got a new chassis – sleek and recognizable though not futuristic from the outside – and initially featured a visual front that even looked like a grill, a kind of anachronisms for an electric car that got removed a few years later. Tesla likely wanted the Model S to look like a conventional car that happened to be electric, but a surprise was inside: the massive screen in the center console got people talking.
When Tesla launched the Model X, its falcon wing doors stood out as did its bio-hazard mode. Again, Musk generated tons of buzz (and later admitted the car was somewhat over-engineered.)
Model 3 brought another clear break of expectations. While the exterior was very much in line with expectations (a smaller Model S), the interior polarized. It was like nothing else on the market. Tesla decided to build a radically minimalistic cockpit. One big screen was all there was. Again, this decision was pretty polarizing at the time.
But when Ford launched their Mustang Mach-E in 2019 to compete, it's cockpit design had many similarities with Tesla's Model S. What had been extreme had become the norm.
That's where Cybertruck comes in.
Cybertruck pushes the design limits at the very moment that the competition has accepted previously controversial ideas as the new norm. The Cybertruck is so bold, so extreme, so polarizing that no manufacturer would dare copy it. The risks for them, for now, are just too high.
2. POLARIZE
So being polarizing can be a power move — if done right. Done right means it has to be authentic.
Pushing the limits as far as Tesla did with Cybertruck does qualify as positively insane and therefore authentic for Elon Musk, for conventional car manufacturers such a move would simply not be comprehensible. To their customers it would feel literally insane.
The goal is to break existing expectations in a meaningful way to clear a path to a better future. Because in a world of abundance, attention is scarce. Most products are boring. Nobody cares. But one way to break through is to be polarizing. It creates endless opportunities for engagement.
An example: When Twitter launched, people either loved it or found it ridiculous. It polarized. Those who loved it became evangelists. And those who hated it also amplified the conversation. It was impossible to be neutral.
Another example: US presidential campaigns. Bernie Sanders' decision to describe himself as "democratic socialist" was polarizing but generated attention and energized his base. And Donald Trump's ability to polarize enrages but also captures the attention of the world on a daily basis.
There's a catch for brands, though. If it isn't authentic, it will backfire. The polarizing aspect needs to be driven by a genuine sense that what's different is better. In business, it doesn't work to just be provocative. There must be a link to value. The provocation has to fit the core of the brand.
3. TAKE THINGS TO THE EXTREME
Musk's concept for the Cybertruck was extreme: build a truck stronger than an F-150 and faster than a Porsche 911. In a sense, he was attacking two iconic products at once.
Nobody really needed a truck with such specs, but by capturing attention it created desire. Cybertruck wasn't designed to blend in, it was designed to break from the norm by being extreme.
The visual appearance of the car follows the same logic. It is the extreme of planar design. Nothing is round and no edge is smooth.
The genius here is that there are actually benefits the design affords. The exoskeleton — made from stainless steel plates developed for SpaceX rockets — enables massive cost savings, like obviating need for a paint job and significant structural benefits.
Musk's extreme pricing strategy was achievable only because of its extreme design.
4. LEVERAGE POP CULTURE
Elon Musk knows the power of pop culture. Dials in his cars go to 11, a reference to the movie Spinal Tap. His drone ships have names like "Of Course I Still Love You," honoring science fiction author Iain M. Banks. And the acceleration modes of Tesla cars are named "insane", "ludicrous" and "plaid," straight from Spaceballs.
Cybertruck takes this to a new level. The vehicle looks like something from Blade Runner. And, in fact, the post-apocalyptic vibe of the movie inspired the car design and the launch event.
Countless memes evolve around Cybertruck and Elon Musk stokes the fire with a tweet or two here and there. The unique visual language of Tesla's Cybertruck make the perfect canvas for user-generated content.
In an interview, Musk shared that his team ask themselves what the most fun and entertaining way of doing things is? (This is how the company decided to put a Tesla Roadster in space.) So, in that regard, Tesla is an entertainment company first with Musk its main entertainer.
All these pop culture references and unconventional moves are fodder for existing and future fans to talk and laugh about.
It's an important lesson in business: Be anything but boring.
5. CREATE A MYSTERY RIGHT IN THE OPEN
One of the most intriguing aspects of the Cybertruck launch was that Elon Musk had teased exactly the extreme product he launched for quite some time. Interestingly, nobody believed him when he had said that the truck will look like straight out of Bladerunner. Everyone expected something much less controversial.
It's a powerful move say exactly what you plan to do and then do it. It's especially powerful now because consumers are conditioned to discount much of the things brands say. Many product launches feature descriptions like "radical", "unique", "all new", "disruptive" or "one of its kind". But in reality most of these products don't live up to these promises, not even close.
As a result, when Elon Musk teased the Cybertruck specs, everybody discounted his descriptions as well. And that became the mystery: What will Elon Musk really do? Because it can't be what he has told us. That would be "insane".
So, when he did exactly what he'd promised, people were shocked. It's iconic to deliver.
Elon Musk has done a similar thing in 2006 when he published "The Secret Tesla Motors Master Plan" on his blog many years before masterly executing the plan.
6. MASTER MISTAKES
This actually happened: A steel ball shattered the Cybertruck armored car window right on stage in the middle of the launch, but Musk kept his cool with the quip "Ok, it needs some improvement." He defused the misstep with wit and humility.
It's hard to imagine Musk wanted the window to break, but the fact is, it had a net positive impact because of the massive attention it captured. Photos of the Cybertruck with the broken windows went viral.
But a day later, Musk tweeted a short video of the window withstanding the impact of the steel ball right before the event. So he achieved his goal in the end: generating buzz and lots of it.
7. GIVE PEOPLE AN EASY WAY TO COUNT THEMSELVES IN
The unveiling of Cybertruck produced extreme reactions: bewilderment, intrigue, amazement, disdain. But those who loved it had a way to engage right away: pre-order a Cybertruck for $100, fully refundable. Enthusiasts could demonstrate they were different — they were pioneers, embracing the future.
Which they did in troves, with 250,000 pre-orders flooding in the first week, despite naysayers predicting a quick death of the "ugly design." Elon Musk tweeted these figures out, creating intense FOMO (fear of missing out) and driving orders higher.
And speaking of higher, Tesla's stock price afterwards caught fire and reached $420 per share the day before Christmas. Of course, Musk didn't let that opportunity slip by, tweeting out a reference to his own infamous pot-smoking incident: "Whoa…the stock is so high lol".
And it didn't stop there. Yesterday, the Tesla stock price reached $470.
Who said being iconic can't be fun?
If you want to read more about the underlying reasons for Tesla's rise — and why German car manufacturers might be up for a rude awakening — you might like my post from October 2018: Tesla's Iconic Brand is Kryptonite for German Luxury Cars
DisruptionTeslaCybertruckMuskPolarizing
Follow me on LinkedIn Follow me on Twitter Send me a mail Send me a message Print
Managing Director & Founder Sören Stamer is head ninja, top strategist, main innovation engine, and chief optimist of CoreMedia. Technically the company's managing director, he leads the company's vision: forward focused while acutely aware of today's competitive climate. Sören's interest is in the power of massive networks to bring about massive change. A pioneering advocate of social media, he has contributed important thought leadership on web content strategy, digital rights management, and enterprise 2.0. Along with a Master of Business Administration (Diplom-Kaufmann) from the University of Hamburg, he has extensive startup and leadership experience, co-founding CoreMedia in 1996. He is passionate about early childhood education and solutions for society's challenges in the age of A.I. Sören is an award-winning author, speaker, father of four fun kids, and a very happy husband (not as hard as it may sound lol).
Write me a mail soeren.stamer@coremedia.com Follow me on LinkedIn /soerenstamer Follow me on Twitter /SoerenStamer
What is High-Velocity Marketing?
High-Velocity Marketing describes a brand's ability to act and react orders of magnitude faster than before. Are you ready?
eCommerceDisruptionretail techBrandsBrand Orchestration
Brands Communicate in Multiple Languages Simultaneously and Governments Must Do the Same to Save Lives
With a global pandemic underway, governments need to communicate in multiple languages simultaneously. CoreMedia CEO Sören Stamer explains why this is critical and how it's possible.
Disruptionpandemiccovid-19covideconomymultilanguage
Why Your Brand Needs Best-of-Breed Marketing Technology
Because content is so mission critical, marketing technology is more important than ever to give brands a competitive edge - learn what to look out for.
eCommerceretail techbrandBest-of-Breedcustomer experience


On this website we recommend many pictures abaout Nursery Rocking Chairs that we have collected from various sites sfmissionmuseum.org, and of course what we recommend is the most excellent of picture for Nursery Rocking Chairs. If you like the picture on our website, please do not hesitate to visit again and get inspiration from our website.
And if you want to see more images more we recommend the gallery below, you can see the picture as a reference design from your Nursery Rocking Chairs.
Thank you for seeing gallery of Nursery Rocking Chairs, we would be very happy if you come back.
Similar Keyword Nursery Rocking Chairs : best nursery rocking chairs, best nursery rocking chairs 2018, cheap nursery rocking chairs, nursery rocking chairs, nursery rocking chairs adelaide, nursery rocking chairs and gliders, nursery rocking chairs at target, nursery rocking chairs australia, nursery rocking chairs brisbane, nursery rocking chairs calgary, nursery rocking chairs canada, nursery rocking chairs cape town, nursery rocking chairs durban, nursery rocking chairs for sale, nursery rocking chairs ikea, nursery rocking chairs ireland, nursery rocking chairs johannesburg, nursery rocking chairs kmart, nursery rocking chairs melbourne, nursery rocking chairs nz, nursery rocking chairs south africa, nursery rocking chairs uk, nursery rocking chairs with ottoman, rocking chairs nursery ikea, target rocking chairs nursery, wayfair nursery rocking chairs, and more.


text:
Yet another Kodi add-on's domains have ended up in the hands of lawyers
By Jon Porter 2017-07-31T13:59:26.211Z Television
In a pattern that should now be familiar to anyone who's been following Kodi's recent developments, another of its third-party add-ons, Navi-X, has found its domains in the hands of lawyers.
It was the same story with TVAddons. After shutting down back in June, last week the news emerged that its domains are now in the hands of a Canadian law firm.
Similarly, Navi-X shut down back in May. Although its team claimed that it was ending the service voluntarily, it's unlikely to be a coincidence that its domains are now in the hands of that same law firm.
Privacy concerns over piracy add-ons
Having a law firm in charge of domains that are used to stream pirate content is obviously not a good thing for anyone looking to use the service. Controlling the domain means being able to view the traffic coming into it, potentially opening the door for legal action down the line.
However, it's been noted that there are still no guidelines on whether using Kodi to watch pirate content is itself illegal. Selling fully loaded boxes definitely is though, and it's punishable by up to ten years in prison in the UK.
If you want to give the streaming software a go for yourself, then these are the best Kodi boxes. Be sure to check out our guide to the best Kodi add-ons for the best legitimate uses of the software.
Via Gizmodo UK
See more Television news
Amazon Prime Day 2019: UK deals live now ahead of the 48-hour event
The new Nintendo Switch Lite undermines what made the original Switch so special
Nintendo Switch vs Nintendo Switch Lite: is bigger really better?
iPhone 12 could finally see Apple drop the notch
Best Amazon Prime TV shows (July 2019): the best series to watch this month


PULP SUMMERSLAM is the biggest metal festival in The Philippines and have been slamming the airwaves in Manila since 2001, making it the longest standing annual outdoor metal festival in Southeast Asia. Tens of thousands of devoted metalfans show up every year – many following the PULP tradition being dressed up in the most freaky outfits and costumes, which sets PULP apart from many other festivals in the region.
The 2016th edition of PULP SUMMERSLAM goes under the tagline COME OUT AND PLAY and that´s exactly what the TMR crew did at the venue – our reporter Aldie " Acey " Pilena focused on catching the atmosphere by hanging out with the crowds and all the crazy fans to get the real PULP-feeling, while our photographer Val Verzosa was in front of the action on stage – capturing some awesome pics for all you Metal Rebels out there!
Many international metal acts made the super great decision to come out to play in The Philippines this year, genres ranging from rock to black/death metal – a pretty diverse lineup to suit al kinds of metal taste buds.
Enough of the small talk – here´s the text report from our reporter Aldie Pilena hand in hand with smoking hot pics by Val Verzosa – TMR was for the fist time ever officially represented in The Philippines and we can't be more proud. Great job – thanks for this slamming report!
This year's Pulp Summerslam was a blast! That may even seem as an understatement! Man, I can't even think of a word how to describe it, really! Being part of TMR's media team got me access to experience the 16th installment of the loudest and longest-running metal festival in Southeast Asia on April 30th at the Amoranto Stadium in Quezon City, Philippines.
Progressive metal band Protest The Hero from Canada, gothic metal band Lacuna Coil from Italy, black metal band Belphegor from Austria, metalcore band I Killed The Prom Queen from Australia, hard rock supergroup We Are Harlot, deathcore band Veil of Maya, and extreme metal supergroup Act of Defiance all from USA are part of this year's international lineup; while Filipino local bands Kjwan, Razorback, Insekto Pares, Wilabaliw, Greyhoundz, Slapshock and Filipino Rock legend Joey "Pepe" Smith scorched up the stage pretty damn well! How I wish the whole TMR team and audience could experience this!
Speaking of experience, I decided to enjoy the festival with the crowd instead of spending my time at the backstage with the artists. Besides, this year's Pulp Summerslam theme was "Come Out and Play". It was priceless, mind you! Don't get me wrong. I enjoyed being at the backstage, as well, but seeing the crowd going wild, I told myself I gotta be there and experience it myself!
Kjwan and Razorback opened the festival, followed by the Muziklaban champion Insekto Pares with Pepe Smith. The crowd was at their fullest energy! The artists were pumped as well, especially seen on Volumes and I Killed The Prom Queen's set as they climbed the stage scaffolding during their sets! I personally loved Belphegor's set with all the fire happening on stage. Lacuna Coil did a very good job, too! I even squeezed myself into the middle of the crowd just to have a better look of Cristina Scabbia performing live!
Midnight came and I was still amused by these metalheads' energy! Wilabaliw, followed by Greyhoundz, has shaken the whole stadium. The crowd jumped to their songs without any sign of exhaustion. The energy did not seem to diminish at all and is still at its peak while the last band, Slapshock, performed. That was truly a weekend to remember (…or not, 'cause of how much beer the festival goers have consumed)!
The experience was awesome! Not only did I enjoy the music but also enjoyed talking to the people, mostly strangers, I have bumped into. It's good to be united with the music that we all love! I wish to see everyone again at the next slam! Cheers!
Check out the gallery for more great photos, all photo by Val Verzosa!


text:
Dollhouse Wiki
Dollhouse Branches
This article is about the secret facility. For the TV series of the same name see Dollhouse (series).
Branch Leader's: Adelle DeWitt - LA Branch
Matthew Harding - LA Branch (temporary) Stewart Lipman - D.C. Branch
Affiliated with: The Center
Rossum Corporation All Dollhouse Branches Freemont College Rossum Research Lab
Location's: New York City, Los Angeles, Chicago,
Miami, Seattle, Cleveland, Washington DC, London, Berlin, Paris, Budapest, Toronto, Edmonton, Vancouver, Sydney, Mumbai, Bangkok, Johannesberg, São Paulo, Hong Kong, Tokyo, Akranes, Dubai
Also known as: Washington Dollhouse
Dollhouse New York, L.A. Dollhouse Los Angeles Dollhouse D.C. Dollhouse
Cover Rossum Regional Office
LA Branch Status: Operational till an unknown period some time prior to the year 2019 Became active when safe haven residents return.
La Branch Controlled by; The Center/Rossum Corporation 1970s-Unknown
Adelle's Group - Unknown but prior to the year 2019 Whiskey - Unknown Whiskey & Actuals - 2019 Abandoned - unknown - 2020 Alpha's Group 2020 - unknown
Other Branches Controlled by: The Center/Rossum Corporation/Rossum Regional Office
Other Branches Status: Operational 2010 - Unknown
The Dollhouse is a secret global operation consisting of at least 23 branches, while maintaining its cover as a regional office for The Rossum Corporation. The LA branch is run by Adelle DeWitt.
Dollhouses are the home to the Actives whose fantasy-fulfillment services are sold at exorbitant prices. It serves as an office for the staff and as a kind of maintenance facility for Actives not out on engagements. They live, eat, sleep, shower and train together there.[1] The Dollhouse can be contacted by "shifty and rich" clients for the purpose of engaging a Doll for assignments, although the Actives occasionally also do pro bono work.[2] The Dollhouse is very selective about its clientele and performs thorough background checks.[1]
According to a leaked and since discarded pilot script, each assignment is supposed to last only 10 hours; engagements seen on-screen have lasted as long as three days. Each Doll supposedly voluntarily gives up five years of his/her life to work for the Dollhouse after which they get "a ridiculously large sum of money and no memory of anything they did for the Dollhouse."[1] However, a former Active will still have "Active architecture" in their brain. Dolls that do not perform satisfactorily are "sent to the Attic", like other people Rossum is unhappy with. According to the urban legend that surrounds the Dollhouse, it has been around in Los Angeles since the 1980s.
1 Dollhouse Standard Operating Procedures
3 Dollhouse Locations
4 Dollhouse LA Branch - Rossum Corporation Disbanded
Dollhouse Standard Operating Procedures[edit | edit source]
All clients are vetted and all proposed engagements, while confidential, are subject to a risk assessment on behalf of the Doll. After payment has been discussed (a substantial surcharge is added for risk to Actives), programmers such as Topher Brink assemble an appropriate personality and parameter and imprints it on a Doll. All Dolls sent out on engagements are monitored by their handlers. Handler intervention in an engagement triggers and immediate debriefing to determine if the Dollhouse has been exposed, and ends the engagement. Otherwise, an engagement ends when a specified time interval has passed, at which point the Active goes to find their handler, or with the completion of an objective, in which case the handler will approach the active and mention the word "treatment." The Active then returns to the Dollhouse to be wiped and to receive medical treatment for any injuries suffered during the engagement.
Organization[edit | edit source]
While DeWitt is in charge of the Dollhouse in Los Angeles, she is not the ultimate authority of the organization. There are at least twenty similar facilities worldwide, including Manhattan, Washington D.C. and Dubai, which are all part of the same organization. Their business is fantasy fulfillment, but their purpose is shrouded in mystery. DeWitt mentioned that profits from the Dollhouse fund "research." The assumed headquarters or "the Center" of the organization was mentioned in Briar Rose and said to be in Tucson, AZ.
The Dollhouse has an unspecified arrangement with the pharmaceutical firm Rossum Corporation.
Dollhouse Locations[edit | edit source]
There are 23 Dollhouse locations worldwide. (S2: "A Love Supreme")
Confirmed Locations:
D.C. Dollhouse: Adelle DeWitt and Topher Brink travel to this facility in the episode "The Public Eye".
Dubai Dollhouse: the 23rd and newest Dollhouse, Matthew Harding announces its opening in "Meet Jane Doe" and requests that several of the LA Actives be transferred there for its grand opening. Its director is Taliq Raj Amin.
L.A. Dollhouse
Manhattan Dollhouse: Mentioned by Nicholas Bashford in the episode "Haunted". He states he is a client there.
Tokyo Dollhouse: Mentioned in "The Attic".
Dollhouse LA Branch - Rossum Corporation Disbanded[edit | edit source]
At some time prior to the year 2019 the LA branch of the Dollhouse had severed ties with the rest of the organization and had become a safe house for former Actives. Adelle DeWitt who did not share the organization's low regard for the Actives became a de facto leader for the group/facility. The facility was later abandoned for an unknown purpose, but not before several Actives were backed-up (it is unknown if non-actives were backed-up as well) and hidden within the kitchen. The Dollhouse then remained presumably undisturbed until the year 2019 when a group of Actuals found the facility and decided to set up their base of operations there. They later met Claire Saunders, who had now reverted to Whiskey, who gave them instructions for a location known as Safe Haven.
As seen on screen, the Dollhouse seems to serve a set of specific purposes, mainly to develop the technology necessary to bring about Rossum's ultimate agenda. However, the branches on screen seem to also serve as a specific purpose unique to the branch. As seen throughout the series, the Los Angeles branch, the L.A. Dollhouse, seems to be a general "go to" branch, with actives frequently sent on "errands" at the behest of Rossum or it's allies. The D.C. Dollhouse, the Washington, D.C. branch of Dollhouse has been portrayed to operate on achieving the political aspect of Rossum's agenda, such as modifying the personality of Daniel Perrin to ultimately clear and perhaps eventually, pass laws in favor of Rossum.
In continuation of above, with only twenty three branches worldwide, the Dollhouse branches seem to be more of a regional facility, covering certain territory, rather than a city or state. This can be assumed by the fact that the Rossum Corporation itself, or rather several of its executives, employ the L.A. branch and it's actives to their own merit rather than any that could potentially exist in Arizona.
Interestingly, despite the fact that they serve the same ultimate purpose and are operated under the watch of the same parent organization, the Dollhouse branches seem to be rivals, rather than allies, in their policies and operations.
As noted within the article, the Actives of each branch (at least the D.C. and L.A, Branches) use a different set of names; likely to stress the differences between each branch and for the purposes of programming. As witnessed at L.A., however, names can be recycled and used on multiple actives, although likely not at once.
↑ 1.0 1.1 1.2 10 Facts about Dollhouse - Spoiler Alert!. pinkraygun.com (2008-05-15). Retrieved on 2008-09-23.
↑ Spelling, Ian (2008-06-02). Joss Whedon offers a sneak peak at his brand-new Dollhouse. Sci Fi Weekly. scifi.com. Retrieved on 2008-09-23.
Retrieved from "https://dollhouse.fandom.com/wiki/Dollhouse?oldid=14261"
More Dollhouse Wiki
0 Alpha
1 Dollhouse (series)
Dollhouse Wiki is a FANDOM TV Community.


text:
The Purpose of Copyright
Lydia Pallas Loren
The newspaper you read this morning, the television show you watched last night, the movie you are going to see this weekend, the computer software you use to prepare your letters or send your email, the music you listen to in the car on your way to work: they are all copyrighted. Copyright permeates our lives and yet, despite its impact on our lives, relatively few people, including lawyers, have sufficient knowledge or understanding of what copyright is. And far too many people, including lawyers, have major misconceptions concerning copyright. These misconceptions are causing a dangerous shift in copyright protection, a shift that threatens the advancement of knowledge and learning in this country. This shift that we are experiencing in copyright law reflects a move away from viewing copyright as a monopoly that the public is willing to tolerate in order to encourage innovation and creation of new works to viewing copyright as a significant asset to this country's economy. The most recent example of this shift is the new Digital Millennium Copyright Act, sign by the President on October 28, 1998.
Understanding the root cause and the dangers of this shift requires exposing the most fundamental and most common misconception concerning the underlying purpose of the monopoly granted by our copyright law. The primary purpose of copyright is not, as many people believe, to protect authors against those who would steal the fruits of their labor. However, this misconception, repeated so often that it has become accepted among the public as true, poses serious dangers to the core purpose that copyright law is designed to serve.
The core purpose of copyright law is not difficult to find; it is stated expressly in the Constitution. Article I, section 8, clause 8 of the United States Constitution provides that Congress shall have the power: "to promote the Progress of Science and useful Arts, by securing for limited times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."
This clause is the constitutional basis for the Copyright Act and also the Patent Act. It is the only clause in the grant of powers to Congress that has a stated purpose. Section 8 of Article I gives Congress the power to take such actions as declare war, coin money, raise and support Armies, and provide and maintain a navy. Yet none of these other grants say for what purpose the power is to be exercised. The copyright clause, in contrast, is very specific about its purpose. The exclusive rights that are granted to authors are "to promote the Progress of Science and useful Arts." To fully appreciate this clause, one must understand "science" in its eighteenth century meaning. At the time of the writing of the Constitution "science" denoted, broadly, knowledge and learning. So the core purpose of copyright law, as expressly stated in the Constitution is: to promote the progress of knowledge and learning.
Why did the founding fathers feel the need to state the purpose of copyright and patent, expressly, when none of the other enumerated powers has an express purpose stated? One probable reason lies in the history of the monopoly of the copyright.
A Quick Trip Back in History
When the printing press was introduced into England in 1476, the need for protection of printed works was inevitable. The probable genesis of copyright law was the crown's grant of a letters patent, the printing patent, giving one entity a monopoly on the printing of certain works. Of course, a fee for that monopoly was paid to the crown, thus making the letters patent a source of revenue for the crown.
If the crown could grant these patents, the guild of booksellers, called the Stationers' Company, found that they could agree among themselves to allow a monopoly on works. The members of the Stationers' Company were almost all of the printers in England; if they agreed to respect one another's claims to particular works it was a de facto monopoly. Thus, the idea of a "copyright" started out as a member of the guild registering the title of the manuscript or "copy" with the guild. Registering a copy with the guild gave that printer the exclusive right in the copy. Thus copyright as first used was a noun – the exclusive right in the copy, whereas today many think of copyright more as a verb – the exclusive right to copy.
A bookseller's registration of the copy with the guild gave the bookseller the exclusive right to print and vend the work as a matter of private law, agreed to by members of the guild. The problem with private law, however, is that it can only be enforced among those who have agreed to it. The bookseller's private law copyright was no exception. It was enforceable only among the members of the Stationers' Company. Because of this limitation, the booksellers often sought public affirmation or codification of their private law.
In 1557, the desires of the booksellers and the desires of the crown coincided. The crown perceived the need to gain greater control over "the dangerous possibilities of the printed word" and so granted a royal charter to the Stationers' Company that limited most printing to only members of the company. This charter also empowered the company to search out and destroy "unlawful" books, which gave the guild the public enforcement mechanism for its private law. If a nonmember was printing a work that had been registered with the company by a member, the nonmember could now be stopped. It also meant that if a work which was disagreeable to the crown was being published, it too could be stopped. This arrangement provided the crown with added policemen to enforce its goal to control printed works. Censorship was born.
The power of censorship and press control through the Stationers' Company copyright lasted for over 150 years. Finally, in the early 1700s parliament refused to continue to support the monopoly that the stationers had enjoyed for centuries and the power of censorship that the crown had enjoyed along with it.
Copyright in the United States
The framers of the United States Constitution, suspicious of all monopolies to begin with, knew the history of the copyright as a tool of censorship and press control. They wanted to assure that copyright was not used as a means of oppression and censorship in the United States. They therefore expressly provided for the purpose of copyright: to promote the progress of knowledge and learning.
With the stated goal firmly fixed in the Constitution, the task of accomplishing that goal was given to Congress. The means for achieving that goal are also stated in the Constitution. The promotion of the progress of knowledge and learning was to be accomplished by "securing for limited times to Authors …. the exclusive Right to their … Writings." The monopoly of the copyright would be tolerated, but only as a means to an end. The Constitution adopts a Field of Dreams approach to the creation of works of authorship – the idea that "if you protect it, they will come." By establishing this marketable right to the use of one's expression, copyright supplies the economic incentive to create and disseminate ideas. As the Supreme Court has recognized: "The immediate effect of our copyright law is to secure a fair return for an 'author's' creative labor. But the ultimate aim is, by this incentive, to stimulate artistic creativity for the general public good."
In fulfilling the constitutionally mandated goal of copyright law, Congress has had to ask, as one early legislative report did, two questions: "First, how much will the legislation stimulate the producer and so benefit the public; and second, how much will the monopoly granted be detrimental to the public?" As Judge Walker of the Second Circuit recently summarized: "The copyright law seeks to establish a delicate equilibrium. On the one hand, it affords protection to authors as an incentive to create, and, on the other, it must appropriately limit the extent of that protection so as to avoid the effects of monopolistic stagnation." The founding fathers wanted copyright to be a mechanism by which our democracy would grow and flourish – a way in which our storehouse of knowledge is stocked.
The Dark Side of Copyright Today
Modern-day copyright harbors a dark side. The misunderstanding held by many who believe that the primary purpose of copyright law is to protect authors against those who would pilfer the author's work threatens to upset the delicate equilibrium in copyright law. This misunderstanding obviously works to the benefit of the content owning industries, such as the publishing industry, the music and motion picture industries, and the computer software industry. This fundamental misunderstanding is perpetuated by the stern FBI warnings at the beginning of video tapes, by overly broad assertions of the rights in the copyright notices, and by the general lack of public discourse about the balance required in copyright law if copyright is to fulfill its constitutionally mandated goal of promoting knowledge and learning.
This dark side, this pervasive misconception, is turning copyright into what our founding fathers tried to guard against – a tool for censorship and monopolistic oppression. This may sound extreme to some, but consider the beginnings of copyright in this country. The first Copyright Act in the United States granted only the exclusive right only to print, publish, and vend a copyrighted work, and it lasted for only fourteen years, with the possibility of a second fourteen-year term. No exclusive rights to perform the work or to create an adaptation of the work were granted, only the right to print, publish, and vend for, at most, twenty-eight years.
Under current copyright law, not only do copyright owners have the right to publish and distribute the work, but copyright owners also have the right to control the public performance of a work, to control the making of adaptations of the work, and to control the reproduction of the work independent of what is done with that new copy. And, as a result of the Copyright Term Extension Act passed in October, 1998, now the basic term of copyright lasts for the life of the author plus seventy years. This new term is a far cry from the original maximum term of twenty-eight years, and results in a much larger monopoly and a much longer time that the public must wait for any given work to enter the public domain.
Congress also has created additional criminal sanctions for copyright infringement with the passage in December 1997 of the No Electronic Theft or "NET" Act. Under this new legislation, an individual who is engaging in willful infringement can be held criminally liable even if that person is not engaging in the infringement for profit or commercial advantage. For the previous century a profit motive had always been the touchstone of criminal infringement. Now, if, over the course of any 180-day period, someone willfully infringes copyright by reproducing or distributing one or more copies of one or more works which have a retail value over $1000, they can be found criminally liable.
Most recently, in October 1998, the President signed the Digital Millennium Copyright Act. Among other additions to the Copyright Act, the Digital Millennium Copyright Act provides both civil and criminal legal sanctions for the circumvention of technological measures employed by copyright owners to control access to their works. Except in narrow and specifically prescribed circumstances, a violation of federal law occurs regardless of why such circumvention is undertaken. This legislation seriously impedes the access to copyrighted works and the non-copyrighted elements of those works, thereby threatening the ultimate aim of copyright, the promotion of the progress of knowledge and learning. The Digital Millennium Copyright Act also permits copyright owners to force internet service providers to remove material from the internet and the world wide web when the copyright owner believes the material is infringing.
The Importance of Balance in Copyright Law
The ever-expanding scope of rights granted to copyright owners and lengthy duration of this statutory monopoly leads necessarily to an added importance of the rights granted to users of copyrighted works during the term of copyright if copyright law is to remain consistent with its constitutionally mandated goal. While the rights granted to copyright owners are broad, those rights are expressly made subject to rights of the users of copyrighted works which are detailed in 14 separate sections of the Copyright Act.
The most important of the rights of users is that of fair use. Yet fair use is the least specifically defined and least understood of users' rights. The Copyright Act provides that certain kinds of uses of copyrighted works, called fair uses, are not an infringement of copyright, despite the fact that the use may involve copying, adapting, performing, or displaying the copyrighted work. If a particular type of an activity is a fair use, then the copyright owner of the work has no right to demand that the use first be authorized by the copyright owner or to demand the payment of a fee for engaging in that type of use. The Act lists four non-exclusive factors for courts to consider in determining whether any particular use is a fair use and thus not an infringement of copyright. (The four factors are: (1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and (4) the effect of the use upon the potential market for or value of the copyrighted work.) A court is required to examine these factors in adjudicating an assertion of infringement by the copyright owner on the one hand and the assertion of fair use by the alleged infringer on the other.
Of the four factors to be considered in a fair use analysis, two concern money, and, in the fair use analysis of most courts, the two non-monetary factors are often not that relevant to the outcome of the case. But this focus on money, coupled with the general misconception that copyright's primary purpose is to protect authors against those who would pilfer their work, threatens further detriment to achieving the constitutionally mandated goal of copyright. If the use at issue is something for which the copyright owner desires to charge a fee and is able to show the court a simple and efficient means of paying the fee, the copyright owner can often defeat an assertion of fair use. This results in a situation that permits the copyright owner to narrow the rights of fair use by providing a licensing scheme for the types of uses that should not require permission from the copyright owner. If copyright is to continue to be the engine of the progress of knowledge and learning in this country, Congress and the courts should not permit the right of fair use to be limited in this manner.
An argument in favor of more rights for users of copyrighted works and correspondingly fewer rights for copyright owners, often is countered by the copyright owning industries with an argument based on an economic analysis of copyright law. The argument goes like this: the greater the monopoly you permit, the greater are the financial rewards and therefore the greater the incentive to create. Thus, with broader monopoly rights, greater numbers of works are created and disseminated resulting in greater knowledge. To this there are, at least, three responses.
First, the conclusion that a greater numbers of works will be created when there are greater monopolies fails to account for the negative implications of broad monopolies on creative expression. When the scope of the copyright monopoly becomes too great, the creation of new works is, itself, hampered. After all, each creator of a new work builds in some way on the works of the past. With overly broad monopolies, new works that build upon old are not created, creativity is stifled, and thus the net value to society is lessened. We have, what Judge Walker referred to a "monopolistic stagnation."
Related to this first response is another concerning the conclusion that greater monopolies will result in greater levels of creativity. Creative individuals produce new works for a variety of reasons. The kinds of increases in monopoly rights of copyright owners empirically have not been shown to increase the production of new works. It seems unlikely that a creative individual, in determining how to spend her limited time and resources thinks, "ah, now that my copyright lasts for seventy years after my death I will invest more in creating more works." The greater scope of these monopolies instead benefits large corporate owners of significant numbers of copyrights. The majority of the copyrights are obtained by assignment from the original creators of the copyrighted works, after the works have been created. The amount paid for the assignment of the copyright depends, in part, on the projected profitability of the exploitation of the work, but it has not been shown that greater monopolies necessarily result in a net gain of new creative works.
Finally, even if greater monopolies would result in greater numbers of new works being created, the conclusion that greater knowledge will result also is flawed. When the scope of the copyright monopoly becomes too great, there are uses which would result in a net gain to society, but the benefits of those uses are dispersed among all members of society. Because of this dispersion of benefit, it is extremely difficult for the full value of that particular use to be internalized in any bargained-for exchange between the copyright owner and the would be user of the copyrighted work. If the scope of the copyright owner's monopoly is too broad, then those beneficial uses will not occur. The kinds of uses which have those disperse external benefits are the uses that, if permitted, would in fact further the goal of copyright, to promote the progress of knowledge and learning.
Copyright interpreted not with a focus on the ultimate aim of the progress of knowledge and learning, but instead with a focus on the monetary rights of copyright owners, results in uses that would be a net gain to society not taking place. The recent paradigm shift reflects a short term view of the copyright monopoly. If the monopolies granted to copyright owners are larger, then obviously the content owning industry can generate more revenue. This increase in revenue results in a larger gross national product, a smaller trade deficit, and greater employment. However, the threat of monopolistic stagnation looms very real and the ability of the content owning industry to charge monopolistic prices increases as competitive works are cabined in by broader monopolies granted to everything from literature and motion pictures to computer software.
Copyright and Censorship
Copyright interpreted in light of the fundamental misconception of copyright and a focus on monetary issues also poses a serious threat of censorship, private censorship, enforced by our federal courts through assertions of copyright infringement and enforced by internet service providers who will remove material from cyberspace to appease a copyright owner and maintain a statutory exemption from copyright infringement liability. To bring this theoretical discussion down to concrete examples, the stories of two cases, one litigated and one not litigated, are illuminating.
The first is the story of the litigated case concerning a parody version of Roy Orbison's song "Oh, Pretty Woman" recorded and distributed by the rap group 2 Live Crew. Before recording its parody, 2 Live Crew sought authorization to use the song from the copyright owners of Pretty Woman, but their request was rejected. 2 Live Crew went ahead and recorded their parody anyway and, as a result, found themselves sued for copyright infringement. 2 Live Crew asserted the defense of fair use and the district court agreed and dismissed the lawsuit. The district court held that the parodic nature of 2 Live Crew's song was meant as commentary and criticism of the original, and thus was a fair use and not an infringement of the copyright. 2 Live Crew was not as fortunate in front of the court of appeals, which reversed the finding of fair use, finding that the harm to the copyright owner's market for the copyrighted work outweighed any parodic purpose that might be found in 2 Live Crew's song. 2 Live Crew, however, had the financial wherewithal to file a petition for certiarori with the Supreme Court, and fortunately for 2 Live Crew the Supreme Court was willing to review their case.
In its opinion, the Supreme Court emphasized that parody can provide social benefit by shedding light on an earlier work, and in the process, creating a new one. The Supreme Court recognized that "2 Live Crew's song 'was clearly intended to ridicule the white-bred original' and 'reminds us that sexual congress with nameless streetwalkers is not necessarily without its consequences. The singers . . . have the same thing on their minds as did the lonely man with the nasal voice, but there is no hint of wine and roses.'" Another way to understand the Court's ruling is that the Court determined that commentary and criticism in our society has disperse external benefits that must be taken into account when determining fair use. The value to society of permitting people to comment on other people's work through parody has general benefit in society that is spread among all people. That aspect of the value of parody cannot be captured by the creator of the parody to assist in paying a license fee to the copyright owner in order to obtain permission to use the work that is being parodied. The general value of permitting parody is a disperse external benefit that cannot be internalized in any bargained-for exchange.
Someone aware of this case prior to reading this article, unless extremely knowledgeable in this area, would probably think the Supreme Court ruled 2 Live Crew's parody constituted fair use. While the Supreme Court did reverse the court of appeals ruling that 2 Live Crew's song was infringement, the Supreme Court did not rule that the parody was fair use. The Court remanded for further proceedings. And, on remand, the district court was directed to consider the possible market harm for the non-parody rap versions of Pretty Woman that might be licensed by the copyright owner. There were no proceedings on remand; rather, the case settled with 2 Live Crew entering into a license with the copyright owners of the song for future sales of their parody.
While the Supreme Court in the 2 Live Crew case repeatedly warned against overemphasizing monetary issues in the context of a fair use analysis, lower courts have continued to focus on harm not only to the market for the original, but also on harm to markets for other uses of the work that the copyright owner might be interested in licensing. These courts focus on protecting the copyright owners in various, yet to be exploited markets. These courts are focusing on the misconception of copyright – that it is intended to protect authors from those who would pilfer their works.
2 Live Crew was fortunate. The group had the resources to fight all the way to the Supreme Court that repeatedly emphasized the importance of the promotion of the progress of science and the useful arts as the ultimate aim of copyright. But, in the end, even for 2 Live Crew's parody, a license from the copyright owner was the result. The need for a license, of course, grants to the copyright owner the power to deny that license which is the power to censor certain kinds of speech.
If doubts remain about the validity of the argument that copyright is increasingly being used as a tool of censorship dangerously threatening to impede rather than promote knowledge and learning, a second story should be considered. This story provides an example of a loss to the general storehouse of knowledge, sought to be stocked, not locked, by copyright.
David Stowe, a professor in the Department of American Thought and Language at Michigan State University, sought to show the conflicted cultural politics of big band jazz in the 1940's. Specifically, he wanted to show the sexism and racism that was pervasive in the big band culture of that time through the use of various cartoons that had appeared in Down Beat, a jazz monthly magazine. Down Beat normally grants permission for use of excerpts from its magazines and doesn't even charge a fee. However, in Professor Stowe's case, upon reviewing the content of the material, the magazine declined to grant permission, at any price. The reason? The drawings made the magazine "look bad." Unlike 2 Live Crew, for Professor Stowe the risk of going ahead and using that material and having to litigate his rights, with the risk also of being found to be an infringer, were too high. Society lost out on an enhanced scholarly work because a copyright owner was able to censor Professor Stowe's work.
Stories like those of Professor Stowe abound in academic circles. The amorphous application of the four fair use factors and their unbalanced emphasis on money, given that the pervasive misconception of copyright's purpose is shared by some judges, makes reliance on the doctrine of fair use unsavory to those who we would most like to see use it – scholars writing works to benefit the general public storehouse of knowledge. The risk of a suit are high, the costs of litigation enormous, and the risk of being found to be an infringer not negligible. All of this leads to a power of censorship in the hands of copyright owners.
This power of censorship at the hands of copyright owners has recently entered the realm of digital technology, and again the copyright owners have been given a very large stick with which to convince others to assist them in censoring potentially critical works. Under the recent Digital Millennium Copyright Act, copyright owners are given a very effective tool for censoring speech in cyberspace. Copyright owners can, in effect, force internet service providers to remove material from the internet and the world wide web posted by anyone simply by sending the internet service provider that is storing the material a written notice asserting a good faith belief that the material is infringing. If the internet service provider fails to expeditiously remove or disable access to the claimed infringing material, the internet service provider itself can become liable for any infringement that might be found. Clearly internet service providers will err on the side of removing any material claimed to be infringing. But this removal occurs without an independent judgement of whether infringement is in fact occurring. The only judgement is that of the copyright owner. While a counter notification to the service provider from the person who posted the alleged infringing material requires the service provider to replace the disputed material fourteen days later, the copyright owner can stop the reposting merely by filing a court action within those 14 days. Adjudication is not required to keep the material out of the public's reach.
The significance of the ability to censor speech in cyberspace is extremely important. Cyberspace empowers individuals to reach millions of others with their messages without having to rely on expensive and often content-selective publishing entities. Yet in this potentially equalizing forum we now have legal rules in place that permit copyright owners to halt speech merely by asserting a claim of copyright infringement.
The Future of Copyright
I am not advocating an elimination of copyright protection. The protection granted to copyright owners is essential in providing the economic incentive for the creation of works. But in determining the scope of the monopoly rights granted to copyright owners, given the extreme length of the monopoly, we must not lose sight of the true purpose of copyright – to promote the progress of knowledge and learning – and we must all realize that too broad a monopoly will impede rather than promote that progress on which this country was founded.
Initially the base of this country's economy was land; there was, after all, so much of it. Then, the base of the economy became manufacturing, the industrial age. Now, we have begun what is referred to as the information age. The way information-based products are protected is through intellectual property, including copyright. The economic importance of copyright has led to additional rights for copyright owners, longer terms of copyright protection, and legal protection for the technological locks put on works in digital media.
With each request for an expansion of the copyright monopoly, whether an expansion in scope or in length, the question must be asked: will the significant cost to the public of the increased monopoly be outweighed by the additional works that will be created and disseminated as a result of a greater incentive provided by that increase in the scope or duration of the copyright monopoly? In this equation the disperse benefits generally of a greater informed citizenry achieved through limits on the copyright monopoly must be factored in.
The economic importance of copyright will only continue to grow and the contours of the rights of copyright owners and users will continue to change with much debate about the direction that change should take. In all of this debate, however, we should not let a fundamental misconception of the primary purpose of copyright law in this country shape our rules to the detriment of the true constitutional aim of the limited statutory monopoly of the copyright: to promote the progress of knowledge and learning.
Comments, thoughts or questions? Email us now!
Physical & Mental Wellbeing
Copyright © 2020 Open Spaces Publications, Inc. All rights reserved. Reproduction in whole or in part without permission is prohibited.
Join the Open Spaces
mailing list for
occasional updates on
newly-posted articles!


text:
Home / Wines / Type / White Wine
Most Relevant Most Popular Product Name A - Z Product Name Z - A
12.0 12 Products
Sparkling Wine 1
White Wine 11
Red Label 5
Yellow Label 2
Bilyara 1
Eaglehawk 3
Zero Alcohol 1
Multi-Region Blend 2
South East Australia 7
South Eastern Australia 1
From light and zesty with a focus on fruit, to complex, full-flavoured and enhanced with subtle hints of oak, there's a white wine for every palate. The perfect match with salads, seafood, poultry and light meats, white wine suits long lunches, lazy days and elegant evenings.
Yellow Label Chardonnay 2022 Yellow Label Chardonnay 2022
Qty 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99
Red Label Chardonnay 2021 Red Label Chardonnay 2021
Red Label Semillon Sauvignon Blanc 2021 Red Label Semillon Sauvignon Blanc 2021
Yellow Label Sauvignon Blanc 2022 Yellow Label Sauvignon Blanc 2022
Bilyara Sparkling Brut NV Bilyara Sparkling Brut NV
Eaglehawk Riesling 2022 Eaglehawk Riesling 2022
Red Label Pinot Grigio 2022 Red Label Pinot Grigio 2022
Zero Sauvignon Blanc NV Zero Sauvignon Blanc NV
Red Label Sauvignon Blanc 2022 Red Label Sauvignon Blanc 2022
Eaglehawk Chardonnay 2021 Eaglehawk Chardonnay 2021


A fabulous creamy white freshwater pearl coin teamed with a smaller round pearl and a pretty diamanté.
I adore pearls, the way they catch the light and seem to change colour to suit the outfit you are wearing! So I love to turn a beautiful natural pearl into a piece of wearable jewellery.


Combined with my staples, this is many days worth of food, without that much labor (the garbanzo beans are cooking while I write this- multitasking!). What does your shopping cart or messenger bag look like? And have you seen these articles from the past few days?
–Cook County (Chicago) Health Department: become a vegetarian!
–FBI tracking videotapers as terrorists?
I'm also working on a post about New Year's Resolutions, should be up before the end of the week. Oh yeah, happy new year!
market probably has the least detrimental (and most delicious) results.
else do we have that's purple?' was asked, I got a little nervous.


Below are the common M2E Pro myths which have been kindly forwarded to us by Magento community members. We treat these rumours as a signal of our team moving into the right direction. If you have heard something which is not mentioned below, please let us know and we will gladly add it for convenience of other users.
No one is reinventing the wheel in e-commerce :) The rule to success on eBay & Amazon is simple: content is king, customer experience comes before price, and execution is the key! Need help? Just simply talk to us.
The m2e team does not have sales or marketing executives, they do not run offline group meetings or publish white papers.
As the old saying goes: "Those who can't do, teach". On a serious note, at m2e, we genuinely believe in the power of Magento ecosystem and knowledge sharing without "cold calling", "hard selling" or "contact data collection". We provide advice and help on request and make it truly customer-centric. Our marketing tools are Google and "word of mouth" and not "marketing dollars".
Synchronisation depends on eBay & Amazon API connection limits and a Magento server configuration, not the M2E system as such. Furthermore, M2E connects Magento systems directly to marketplaces while most of other solutions are "cloud-based" (i.e. data duplication) and what some "m2e alternative suppliers" may be demonstrating is synchronisation between Magento and their cloud, not the actual marketplaces. From the technology perspective, all solution providers are using the same API's and thus there should not be a much difference in data being sent and received.
M2E is a certified Magento connector..
M2E Pro is a solution which seamlessly integrates Magento e-commerce platform with various marketplaces. In addition to that, M2E Pro offers real-time inventory management, Amazon FBA support and automatic re-pricing which is far beyond "certified Magento connector" definition.
M2E provides no dedicated onboarding and account management..
Think of M2E as of an ECO System. By choosing M2E you join community of hundreds of system integrators and freelance developers around the world. Your business will NEVER depend on a sole software vendor which guarantees top quality at unbeatable price. M2E team can also provide dedicated onboarding and account management.
M2E is a partner of Channel Advisor and is serving mostly medium sized businesses.
M2E and Channel Advisor do not have any partnership agreements in place and both companies operate in the same customer segments. Some of M2E customers have over 800,000 listings through M2E Pro and some of our customers archive sales exceeding 75,000,000 a year. In addition to that dozens of well known brands use M2E Pro solution daily.
M2E is mostly "Magento to eBay" while Amazon are weak.
This was the case (i.e. "Magento to eBay") back when we started in 2009, but not anymore. Given the popularity of our eBay solution, we have decided not to confuse our merchants by introducing m2A (i.e. Amazon). So, M2E Pro is a complete solution deeply integrating with eBay and Amazon. More marketplace platforms to come shortly.
M2E supports only 3 marketplaces while other systems integrate with 50,100,200 marketplaces.
This is VERY common trick misrepresenting facts or cleverly taking text out of the context. M2E Pro solution currently integrates with 3 main marketplace platforms (eBay and Amazon) with the number of supported systems or actual marketplaces being over 30. So the number of marketplaces is over 30 (i.e. eBay UK, eBay USA, Amazon DE, etc) and not 3!
M2E is no longer a partner with Magento or eBay while the other solution provider is.
M2E has remained a technology and strategic partner for Magento, eBay and Amazon. We have very good working relationships with above mentioned companies and often these companies drive our roadmap or introduction of new features. Absence of eBay sponsorship allows M2E team to dedicate more time to other marketplaces and our working schedule is now heavily influenced by our customers. M2E is a customer driven solution!
M2E fees are very low if compared to the other solution providers due to m2e features limitations.
M2E Pro solution has become one of the largest multichannel providers in the world by a number of customers using our system daily which allows our team not only to support small and medium businesses by providing "Fee 10K plan" but also to deliver the cutting edge solution at very competitive rates. More customers means M2E has enough revenues to grow and to reinvest back in "research and development".
M2E Pro is not a cloud based system where a marginal cost of an additional user is just an additional cost of CPU and Memory. Each M2E Pro customer is TRULY unique in terms of business they do and systems they run. Many merchants operate highly customised environments and some do not follow Magento API forcing the M2E Pro Team to address inconsistencies to make customer's systems to work smoothly. M2E Pro has a client-server architecture, data processing is taking place outside of Magento and completely invisible to the end users. Many take m2e pro scalability and reliability for granted but it takes much more than just a "connector" to archive this.
To date (01/10/2017) we have exceeded 117,000 M2E Pro software downloads and have over 41,000 unique eBay and 14,000 unique Amazon accounts which have connected to our system with some of our customers turning more than 1,000,000 $ in sales monthly... Now you can do the rest of the math yourself.
If a user has a limited knowledge of Magento, eBay and/or Amazon - then the use of any multi channel solution would be a challenge.
Using external help depends on a customer's preference. Over 8,000 active m2e pro merchants are SME's who solely rely on their own, in-house resources. A learning curve takes time but pays off in the long run. M2E Pro always advises to DIY (do-it-yourself) because this helps customers to get the most out of our highly customisable solution.
By system design M2E Pro utilises load-balancing mechanism, which makes Magento or Hosting systems negative impact impossible.
M2E Pro, by systems design, uses only Magento Core functionality and does not override it. An interesting fact is that with 81,000 downloads (as of 01/12/2015), m2e pro is among the top 5 most downloaded and installed Magento extensions of all time. This would not be possible if there was the evidence of conflicts with other extensions or Magento Core.
So if all the answers to all the above-mentioned questions are 'Yes' then it should not take more than one work day to list a Magento catalogue with around 10,000 SKU's and provide basic training to users.
Synchronisation delay is not a limitation of M2E Pro but rather dependency on a server configuration. You can synchronise your data and orders as often as every 5 minutes.
M2E Pro starting from version 6.x does not use Magento Cron at all.
IT'S JUST A SIMPLE DATA FEED WHICH ONLY SYNCHRONISES ORDER AND INVENTORY.
M2E Pro is all about task automation, convenience and cutting errors along with time spent on listing management to the bare minimum. We have developed a unique policy based concept allowing you, our customer, to take full control over inventory and orders from "one page", literally.
We are more than happy to help installing and configuring your M2E Pro for you. Please visit our support page for more details.
NO PREMIUM SUPPORT, TAILORED ACCOUNT MANAGEMENT OR CONSULTING.
We have developed a number of premium services that would suit any business of any size. Also there are over 150 System Integrators across the world that can help with M2E Pro related tasks. Please visit our support page for more details.
AMAZON IS VERY SIMPLE & UNDER-DEVELOPED.
NOT A CLOUD BASED SYSTEM AND THUS DIFFICULT TO INTEGRATE.
This is actually the opposite. M2E Pro is a 3rd generation system, which brings users a lot of flexibility in terms of what solution to use and does not leave customers with only one option available once a system has been initially set and configured. M2E Pro uses Magento system as a master database allowing our merchants to retain full ownership over their own data and system.


text:
New Folgers "Peter" Commercial In Heavy Rotation
In: Christmas, Grocery, News
Tagged: Christmas, coffee, P&G
ORRVILLE, Ohio – Peter is officially home again.
In his last Christmas trip home during the Roaring Reagan year of 1986, Peter was dropped off in an old VW bug in a Norwegian sweater. When he got home to his nice mansion in the early morning, he went into the kitchen and made Folgers coffee with his little sister. They then took the coffee up to his parents.
The 2009 version of the commercial this time has "Peter" returning from volunteer work overseas. The commercial was made by Saatchi & Saatchi, Folger's agency.
"This one is based on a real-life story," says J. M. Smucker spokesman Maribeth Badertscher, and based on the real case of a son returning from mission work. She says it is in heavy rotation during holiday programming. In our case, we saw it airing on ABC's Paul McCartney special Thanksgiving night.
In the 2009 Brandweek Directory, the Folgers brand was listed among the top superbrands, with a $37.3 million ad budget. Folgers, founded in 1860, last year was sold by Proctor & Gamble to J.M. Smucker for just under $3 billion. Smucker has purchased other iconic P&G brands including Jif and Crisco, all of which it is revitalizing.
Actor Greg Wrangler, who played the 1980s Peter and makes a career in California acting and doing corporate video and commercials, had not seen the ad when we emailed him last week. He did the ad for a defunct agency, the late, great Cunningham & Walsh. Cunningham & Walsh merged into N.W. Ayer, also disappeared. It was Cunningham & Walsh that made Folgers into a household name.
Earlier this year, The New York Times' Stuart Elliott reported that Smucker was be reviving the Folgers "Best Part of Wakin' Up'" advertising theme. The classic, happy theme was launched in 1984, making 2009 its 25th anniversary. Part of the revival was the redo of a number of Folgers commercials, including the Peter commercial and another commercial where a dancer wakes up.
Sadly, the commercials are not online with YouTube; a link to YouTube from the April 27 column in The New York Times that talks about the famous Folger's dancer video has been taken down with the notice: "This video is no longer available due to a copyright claim by Saatchi & Saatchi North America." We were gonna check in on Saatchi to see if they would post this video but got tired poking through their Lovemarks to get a person to interview and ask.
Funny an ad agency would charge its clients to run an ad on TV, but then ask YouTube to take it down. But hey, at least Saatchi's made a nod to one of the more popular commercials of all time. (Read some more about the commercial at the blogs Le couer de la vie, TVSquad and Miss Banshee.)
Note: Link to our original Q&A with the old Peter, Actor Greg Wrangler.
A&P's Jane Parker Brand Returns for Christmas Pillsbury Spritz Air Freshener, Bad Brand Extension P&G: Fix What's Under the Hood A&P Has a Fruitcake Strategy Jane Parker Fruitcakes at A&P Folgers "Peter" Actor Greg Wrangler Tells of Classic Xmas Commercial
Previous Post: Got a Squibb Toothbrush?
Next Post: Some Russell Richards BBQ Sauce
Trying to find out who the new actor is doing the Folger's Christmas commercial?? I know I've seen him before….? Can't place him tho… Want to say he played someone on the military?? Either that or where is he from???