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This is a coffee I was absolutely salivating to try as soon as I saw an email alert that it was available! The first Geisha coffee I ever reviewed for this blog was from Square One Coffee Roasters, and it was their Panama La Esmeralda Boquete. It was my top-ranked coffee of 2015 for its complexity and delicious vibrant flavors. I was astounded by how much I liked it in a French press, and the Esmeralda Boquete was even the "second-tier" classification of beans from the Hacienda La Esmeralda farm, meaning they were beans that didn't quite meet the classification for being the top quality first-tier, which are exceptionally expensive. I felt like the Boquete beans, at $20/12 oz, was a real bargain, but I have always been curious about if the top-tier beans from this farm would be worth the $100/lb. price. Heart was selling 8 oz bags for $49.50 and while yes, that is a crazy amount to spend on such a small quantity of coffee, I needed to know (and I've spent more for less)!
Since I favored the French press method for the Square One La Esmeralda Gesha, I had a feeling I would also favor the French press for this bag from Heart, but I went back and noted my favorite brewing methods of all the Gesha/Geisha coffees I've had, in the name of science. I left out the Trader Joe's Colombia Geisha from this list because of the stale, disappointing nature of the whole can.
Summary: It's worth trying different methods for your Geishas, and I will continue to do so, but if you don't want to "waste" Geisha beans (I put "waste" in quotes because it's unlikely you'll get a bad cup with any of these brewing methods, really), the French press is most likely to give you a terrific cup.
Onto the Heart Hacienda La Esmeralda!
Whole bean: I did smell these beans whole and ground but I was apparently in such a hurry to brew and taste the coffee, I never wrote down notes. Oops. I do remember the beans had a delicate scent but didn't really smell like they ended up tasting. Sorry for the vagueness!
French press: I loved this. I LOVED this. Smooth, balanced, complex, AND layered. Virtuosic. Symphonic. Slightly creamy in texture, sweet but not overwhelming in any one particular flavor. This is a coffee to savor and sip, for sure. Unlike some coffees that punch you in the face with bright, intense flavors, this coffee creeps slowly into your consciousness. This isn't Richard Strauss or Bruckner, this is Debussy's La mer.
Chemex: This method brought out some slightly sour/tart notes. Orange juice on the front, and it morphs to jasmine tea as it cools. Lovely but not as attractive to me as the french press cup.
AeroPress: Bit intense and bright… I drank this as a concentrate and while I could have added a little additional water, I was terrified of making the coffee bland, which would have felt like a sin at this price tag.
V60: Very sweet cup. Perhaps a bit watered-down in flavor compared to the French press cup, even at a 4:10 extraction, but it was still enjoyable. Smelled like honey and tea.
At the end of my tasting, I made another French press cup and I wasn't imagining it, the French press cup was definitely the exceptional standout here. Wowza.
Summary: If you get the chance to try these top-tier beans from the Hacienda La Esmeralda farm in Panama, make them in a French press. I personally wouldn't waste my time or beans brewing them any other way, now that I know how stupendously good they are in this method. Were these beans worth $50 for 8 oz? I certainly couldn't spend this sort of money on a regular basis on coffee, but I am quite glad to have tried them. I do think there's a point of diminishing returns regarding price point… Coffee that is $20/12 oz is generally MUCH better to my palate vs. coffee that is $10/12 oz, but coffee that is $50/8 oz is only a bit better than the coffee that is $20/12 oz. I DID like these beans better than the cheaper Square One La Esmeralda Gesha, but not enough to justify spending the higher amount regularly. The Heart Hacienda La Esmeralda is a splurge coffee for sure, and it's for this reason I'm unlikely to rank it in my Best Of 2018 list this year – it's unfair to pit it against all the "normal" priced coffees. But make no mistake about it, if you love coffee, this is a farm you need to try if you have the chance.
Review conducted 6-8 days post-roast.


This is part 4 of the new blog series about Carisa and Richard's wedding planning process up until their wedding on August 31, 2013. In addition to sharing with readers their love story and wedding planning adventures, insights and tips for brides and groom's planning their own wedding will also be shared!
Now that you got engaged, have set the date, found a venue, found someone to marry you, you want to make sure that all of your wedding moments are captured for you to enjoy for years to come. Having a photographer at your wedding is essential. Finding a photographer can be tricky. There are so many people (including your friends and family members) that tell you they can shoot your wedding for you. There is a huge trust factor in your photographer. There really isn't a way to recapture your wedding without redoing the entire wedding.
Hopefully, I have convinced (or scared) you into hiring a professional wedding photographer. I finding your photographer, I suggest asking your friends and family (the ones that aren't upset with you for not letting them shoot your wedding) for referrals. After getting a couple of photographer names, take the time to look at their portfolio and see if you like their photography style.
1) Traditional Style (also called classic or posed). These photographers concentrate most of their efforts into posed portraits, and rarely capture candid moments. This style is sometimes viewed as disconnected, old fashion, and can add stress by needing time to setup every shot.
2) Photojournalistic Style (also called modern, documentary, artistic, or fine art). Similarities exist between traditional and photojournalistic approaches. The main expectations of each style are very different; Traditional style is being portrait oriented, and Photojournalism is being candid oriented.
After you decide on the style of photography you like, meet up with the photographer and make sure you want them to be part of your special day. It is an honor for any vendor to assist with a wedding.
Carisa's Diary: We Are Getting Married!!


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El centre històric de Varsòvia (Stare Miasto, Starówka) és el barri més antic de la ciutat. Confronta amb Wybrzeżi Gdańskie, al llarg del Vístula, i amb els carrers Grodzka, Mostowa i Podwale. És l'atractiu turístic més important de Varsòvia.

El cor del barri és la plaça del Mercat, amb restaurants, cafés i botigues tradicionals. Els carrers de la vora mostren l'arquitectura medieval, amb muralles i la seu de Sant Joan.

Completament destruït arran de la insurrecció de Varsòvia del 1944, el nucli històric es reconstruí fidelment per un esforç col·lectiu de la ciutadania. El 1980 el declarà la Unesco Patrimoni de la Humanitat, com a «exemple únic de reconstrucció pràcticament total del conjunt d'un patrimoni arquitectònic històric dels s. XIII al XX».

Història
Varsòvia es fundà al s. XIII. Al principi envoltada per una muralla de terra, abans de 1339 fou fortificada amb murs de maó. Originàriament, la ciutat cresqué al voltant del palau dels ducs de Mazòvia, i posteriorment esdevingué el Palau Reial de Varsòvia.

La plaça del Mercat (Rynek Starego Miasta) és de finals del XIII o primeria del s. XIV al camí que duia a la ciutat nova, al nord. Fins al 1817 l'edifici més important n'era l'Ajuntament, anterior al 1429.

Al 1701 la plaça fou remodelada per l'arquitecte neerlandès Tylman van Gameren, i al 1817 enderrocaren l'Ajuntament. Des del segle XIX, els quatre costats de la plaça del Mercat duen els noms de quatre polonesos notables que hi habitaren: Ignacy Wyssogota Zakrzewski (sud), Hugo Kołłątaj (oest), Jan Dekert (nord) i Franciszek Barss (est). Al s. XIX, pel ràpid creixement de la ciutat, el nucli històric perdé importància com a centre administratiu i comercial i començà a degradar-se. Amb la independència de Polònia, després de la Primera Guerra mundial, les autoritats locals en prengueren cura.

El 1918, el palau Reial tornà a ser seu de la més alta autoritat de Polònia, ara president de la República i la seua cancelleria.

A finals dels anys 1930, començà la restauració de la ciutat vella, que es veié interrompuda per la Segona Guerra Mundial. Durant la Invasió alemanya de Polònia de 1939, gran part del barri antic fou destruïda por la Luftwaffe alemanya, en una campanya de terror que prenia de blanc àrees residencials i monuments històrics. Passat el setge de Varsòvia de 1939, se n'inicià la reconstrucció, immediatament després de la Insurrecció de Varsòvia (d'agost a octubre de 1944): el que restava dempeus fou destruït sistemàticament per l'exèrcit alemany. L'estàtua anomenada «el petit insurgent» (Mały Powstaniec), erigida a la muralla medieval, commemora la insurrecció.

Acabada la guerra, la ciutat vella fou reconstruïda meticulosament pel poble polonès. S'hi reutilitzaren els materials originals sempre que fou possible; rajoles i elements decoratius, rescatats de les runes, s'inseriren als llocs originals. Les pintures vedutistes de Bernardo Bellotto (segle XVIII) i els dibuixos d'estudiants d'arquitectura del període d'entreguerres en foren fonamentals per a la reconstrucció.

Referències

Bibliografia
 Encyklopedia Polski, Kraków, Wydawnictwo Ryszard Kluszczyński, 1996,

Enllaços externs

 (en anglés) Historic Centre of Warsaw.

Patrimoni de la Humanitat a Polònia
Varsòvia

redpajama_set_name: RedPajamaWikipedia


Speaking during an inspection of the ongoing Lagos-Ibadan rail project, the minister said that the major challenge at Lagos seaports was not clearing but inefficient rail line. "The problem at the Lagos seaports is not clearing because goods are cleared on time. The problem is movement of those goods out of port.
"I am not under pressure from anybody. Part of the solution to Lagos seaport is an efficient rail line. You can argue that the narrow gauge is there but it is not efficient.
"The moment we fix this, those goods will be transferred to the rail and the logjam will disappear," Amaechi said.
He said that the Lagos-Ibadan rail line would be extended to the port once the Iju section in Lagos was completed.
"So the pressure is more economic than political or people based. Once they finish Iju, I will push them to go to the seaport.
"Once that is done, there will be no more logjam and business will grow which will give room to more employment," Amaechi said.


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Video Tech Deep-Dive: Live Low Latency Streaming Part 3
HTTP hls+
Jameson Steiner 2020年8月25日
This blog post is the final piece of our Live Low-Latency Streaming series, where we previously covered the basic principles of low-latency streaming in OTT and LL-DASH. This final post focuses on latency when using Apple's HTTP Live Streaming (HLS) protocol and how the latency time can be reduced. This article assumes that you are already familiar with the basics of HLS and its manifest/playlist mechanics. You can view the first two posts below:
Part 1 Fundamentals
Part 2 Chunked delivery with CMAF in MPEG-DASH
Why is latency high in HLS?
HLS in its current specifications favors stream reliability over latency. Higher latency is accepted in exchange for stable playback without interruptions. In section 6.3.3. Playing the Media Playlist File the HLS specification states that a playback client
SHOULD NOT choose a segment that starts less than three target durations from the end of the playlist file
Honoring this requirement results in having a latency of at least 3 target durations. Given typical target durations for current HLS deployments of 10 or 6 seconds, we would end up with a latency of at least 30 or 18 seconds, which is far from low. Even if we choose to ignore the above requirement, the fact that segments are typically produced, transferred, and consumed in their entirety poses a high risk of buffer underruns and subsequent playback interruptions, as described in more detail in the first part of this blog series.
The HLS media playlist for the above depicted this live stream would look something like this:
View HLS media playlist
Road to Low-Latency HLS
2017's Periscope, the most popular platform for live streaming of user-generated content at the time, investigated streaming solutions to replace their RTMP- and HLS-based hybrid approach with a more scalable one. The requirement was to offer similar end-to-end latency as RTMP but in a more cost-effective way; considering that their use case was streaming to large audiences. Periscope presented their solution to high latency issues: which took Apple's HLS protocol, made two fundamental changes and called it Low-Latency HLS (LHLS):
Segments are delivered using HTTP/1.1 Chunked Transfer Coding
Segments are advertised in the HLS playlist before the are available
If you read our previous blog posts about Low-Latency streaming, you might recognize these simple concepts as being the key ingredients for today's OTT-based Low-Latency streaming approaches, like LL-DASH. Periscope's work likely sparked and influenced the following developments around low-latency streaming such as LL-DASH and a community-driven initiative for defining modifications to HLS aiming to reduce streaming latency that started at the end of 2018.
The core of the community proposal for LHLS was the same as the aforementioned concepts. Segments should be loaded in chunks using HTTP CTE and early availability of incomplete segments should be signaled using a new #EXT-X-PREFETCH tag in the playlist. In the example below, the client can already load and consume the currently available data of 6.ts and continue to do so as the chunks become available over time. Furthermore, the request for the segment 7.ts can be made early on to save network round-trip time, even though production had not started yet. It is also worth mentioning that the LHLS proposal preserves full backward-compatibility allowing standard HLS clients to consume such streams. This was the gist of the proposed implementation; you can find the full proposal in the hlsjs-rfcs GitHub repository.
View LHLS media playlist proposal
Individuals across several companies in the media industry came together to work on this proposal with the hope that also Apple, being the driving force behind HLS, would join in and work the proposal into the official HLS specification. However, things came to fruition very differently than expected as Apple presented its own preliminary version, a very different approach during their 2019's Worldwide Developers Conference.
Despite it being (and staying) a proprietary approach, some companies, like Twitch, are successfully using it in their production systems.
Apple's Low-Latency HLS
In this section we'll cover the principles of Apple's preliminary specification for Low-Latency HLS.
Generation of Partial Media Segments
While HLS content is split into individual segments, in low-latency HLS each segment further consists of parts that are independently addressable by the client. For example, a segment of 6 seconds can consist of 30 parts of 200ms duration each. Depending on the container format, such parts can represent CMAF chunks or a sequence of TS packets. This partitioning of segments decouples the end-to-end latency from the long segment duration and allows the client to load parts of a segment as soon as they become available. Compared to LL-DASH, this is achieved by using HTTP CTE, however, the MPD does not advertise individual parts/chunks of segments.
View partial media segment generation in low latency HLS
Partial segments are advertised using a new EXT-X-PART tag. Note that partial segments are only advertised for the most recent segments in the playlist. Furthermore, the partial segments (filePart272.x.mp4) and the respective full segments (fileSequence272.mp4) are offered.
Partial segments can also reference the same file but at different byte ranges. Clients can thereby load multiple partial segments with a single request and save round-trips compared to making separate requests for each part (as seen below).
Preload hints and blocking of Media downloads
Soon to be available partial segments are advertised prior to their actual availability in the playlist by a new EXT-X-PRELOAD-HINT tag. This enables clients to open a request early and the server will respond once the data becomes available. This way the client can "save" the round-trip time for the request.
Playlist Delta Updates
Clients have to refresh HLS playlists more frequently for low-latency HLS. Playlist Delta Updates can be used to reduce the amount of data transferred for each playlist request. A new EXT-X-SKIP tag replaces the content of the playlist that the client already received with a previous request.
Blocking of Playlist reload
The discovery of new segments becoming available for an HLS live stream is usually applied by the client reloading the playlist file in regular intervals and checking for new segments being appended. In the case of low-latency streaming, it is desirable to avoid any delay from a (partial) segment becoming available in the playlist to the client discovering its availability. With the playlist reloading approach, such discovery delay can be as high as the reload time interval in the worst case.
With the new feature of blocking playlist reloads, clients can specify which future segment's availability they are awaiting and the server will have to hold onto that playlist request until that specific segment becomes available in the playlist. The segment to be awaited for is specified using a query parameter on the playlist request.
Rendition Reports
When playing at low latencies, fast bitrate adaptation is crucial to avoid playback interruptions due to buffer underruns. To save round-trips during playlist switching, playlists must contain rendition reports via a new EXT-X-RENDITION-REPORT tag that informs about the most recent segment and part in the respective rendition.
For more detailed information on Apple's low-latency HLS take a look at the Preliminary Specification and the latest IEFT draft containing low-latency extensions for HLS.
We can conclusively say that low-latency HLS increases complexity quite significantly compared to standard HLS. The server will have its responsibilities expanded, from simply serving segments to supporting several additional mechanisms that clients use to save network round-trips and speed up segment delivery which ultimately enables lower end-to-end latency. Considering that the specification remains subject to change and is yet to be finalized, it might still take a while until streaming vendors pick it up and we finally see low-latency HLS in the wild. In short, live low latency streaming using HLS is possible, but at a large cost to server complexity, there are measures being developed to reduce complexity and server load, but it'll take wider spread adoption by major stream providers for this to happen.

redpajama_set_name: RedPajamaCommonCrawl


text:
IFC Pitches Racier Fare for SVOD
Independent Film Channel this fall will launch a subscription video-on-demand service called "Uncensored On Demand," which will offer exclusive content — ranging from movies to TV programs — that has been "literally or figuratively banned" from mainstream media.
IFC, which has just started to pitch the SVOD service to MSOs, stresses that Uncensored On Demand will not be repurposed programming from the mothership network, but edgy and unique content.
"That is one of the differentiating features of 'Uncensored,' " said Kathleen Dore, president of IFC Cos. "We think the product is both perfect for VOD because of the nature of the content, but also because it is an attempt to add to what is very little in the way of unique and original material that is not just repurposed from other networks."
Uncensored On Demand's slate will include feature and documentary films, series and made-for-TV movies dealing with controversial and thought-provoking topics. The selections will also have two to three minutes of commentary that puts selections in a historical context.
Some of the fare set for the SVOD offering includes I Am Curious — Yellow,
the 1967 Swedish film that was seized by customs upon its entry to the United States and was banned in many cities; Talk to Me,
an independent film about phone sex; and Feed,
a film documentary with previously unaired footage of George Bush and Bill Clinton during their presidential campaigns.
Uncensored On Demand, scheduled to launch in September, will have 20 hours of content a month, which will be refreshed each month with 20 new hours, according to Dore.
"We're putting a significant investment in programming for one platform [Uncensored On Demand]," added Gregg Hill, IFC's executive vice president of affiliate sales and marketing.
IFC, a unit of Rainbow Media Holdings Inc., has already launched IFC On Demand, a VOD service that includes a slate of offerings from its indie film library such as Y Tu Mama Tambien,
on the iO: Interactive Optimum platform of parent Cablevision Systems Corp.
Hill declined to offer any specific figures about what monthly license fee IFC will charge cable operators for Uncensored On Demand.
IFC plans to be flexible with MSOs regarding the retail pricing of Uncensored On Demand to subscribers, according to Hill.
IFC Launching `Uncensored' SVOD
IFC Adds Films Unit
IFC Ramping Up VOD Plans
IFC Expands Nonfilm Sked
Studio 4 Pitches Kids' and Fitness SVOD Fare
IFC Earmarks $5M-$6M for Originals
IFC Has Big, Fat VOD Plans
Disney Net Goes SVOD on iO


welcome to katie on the case, a book blog with serially thrilling reviews. although katie likes books of all shapes and sizes, she is an avid reader of mystery-thrillers and is especially a mystery-in-a-small-town-with-big-secrets kinda gal. when katie is not on the case, she enjoys hiking, camping, and hanging out with her kitty and fiance.


In the digital world we live in, there are no excuses for hotel compendium information to be out of date.
One of the key reasons we here at App IT Byte developed Hinfo, was to make it very easy for management at each property to update the content provided in their guest directories.
Hinfo provides unlimited information updates, which is unlimited updates to the content your property provides to us to display in the Hinfo app, under you assigned login for guests to see.
Management at each property would have experienced this scenario multiple times in the past.
You get alerted by a local business or a guest that there is a new phone number or incorrect web address. You acknowledge the changes, but you cannot justify updating your compendiums in every room/apartment to accommodate this single change and only see it worthwhile if there are at least a few things to update.
Hinfo allows you to provide us these changes via an online update form anytime and we will approve the changes soon afterwards.
To provide another similar scenario, you may have just updated all of the details in your paper-based compendiums and you then become aware of another change in details shortly afterwards. There is nothing worse than spending time, effort and money updating something to then be outdated almost immediately.
We recognize that this does happen in the real-world and we do not want to restrict properties having multiple updates in a short period of time, especially if they then don't have any information updates for the next month or two for example.
For the few times that paper-based guest directories get updated, it can take time to make sure the details are accurate, the spelling and grammar is correct, the layout is easy to understand and manually going to each room/apartment to replace the old with the new.
Providing updates through Hinfo eliminates the need to go to each room/apartment to replace the guest directories, especially if you do it after the current guests check out. This is a dramatic time waster.
We take responsibility for the layout and design of the service, so you no longer need too.
By submitting the updated details to us, we also manually approve each update for spelling and grammar with a fresh pair of eyes. This helps us increase quality control on the information your guests will be viewing. All of this adds up to dramatically less labour at each property in maintaining their compendium information.
As you can probably tell, upgrading to a digital hotel compendium with Hinfo will allow you to keep everything up to date and current very easily.


Most of what we know about Standard with Theros is speculation at this point, but the StarCityGames.com Versus Series has given us a glimpse into the future. I grabbed two of StarCityGames.com's part-time prophets to get their take on the issue. Brian Braun-Duin and Chris VanMeter have both had a good taste of Theros at this point, so I asked each of them to pick a couple cards they thought might be major players in Worcester.
A bold prediction followed from Chris. "I think she might overtake Aetherling as a finisher in control matchups, because you can play her on turn 6 and immediately impact the board." If she's capable of ousting the blue Shapeshifter, a holdover from Pro Tour Dragon's Maze, then she'll be one of the most powerful cards in Theros by a mile.
"Whip of Erebos is one of my favorites," Brian said. "Black has a lot of powerful cards that come at the cost of life, so giving your creatures lifelink is extremely relevant in black." Thinking back on other cards in Standard, that makes sense—Underworld+Connections comes to mind immediately, but Theros is bringing along Thoughtseize and Read the Bones as well.
But wait—there's more. "The activated ability on the card is just unreal. It has a nice combo with a couple cards, such as Obzedat and Aetherling, which you can rebuy and then use their abilities to keep forever." That's cute, but can adding "unearth" to your other creatures make the Whip worth its weight? "It still lets you get another trigger off Lifebane+Zombie or hit them for six and gain six with Desecration+Demon," Brian said.
Clearly, he plans to Whip them good.
"It competes with Underworld+Connections, but after playing with both I just think it's better," Chris said. "The exception is that Underworld+Connections can help give you devotion." Depending on how important mana symbols wind up being in Standard, that could be a deal-breaker... but it's safe to say that Read the Bones is a very real card-drawing effect in black.


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Last week, Wisconsin's Government Accountability Board issued an ill-conceived decision  in response to the Center for Media and Democracy's complaint about an American Legislative Exchange Council "scholarship" program that allows corporate lobbyists to provide gifts of travel and perks to state legislators. The GAB agreed that some Wisconsin politicians had improperly attended corporate-sponsored events and failed to properly disclose receipt of ALEC "scholarships," but failed to recognize that the corporate-funded "scholarships" themselves are improper and should be barred.
You can find CMD's complaint here , and the ethic's board response here .
This article originally appeared in The Capital Times .


The jury's selections for the WSD2017 Exhibition have been announced. The jury chose 120 entries for the WSD2017 Professional Designers Exhibition and 60 entries for the WSD2017 Emerging Designers Exhibition, for a total of 180 designs to be displayed from 149 designers across 36 countries. The categories for your submitted works were decided by WSD2017 selection jury, therefore the category of your work may be different from your initial submission. Please check the entire list here : www.wsd2017.com/finalists.
The WSD2017 Exhibition will take place at the Kuandu Museum of Fine Arts at the Taipei National University of the Arts in Taipei from 1 July to 9 July, 2017. The finalists are required to submit the online application for the exhibit in WSD2017 and to take responsibility for bringing their work to Taipei to be included in display.
Kate Burnett is an award winning theatre designer working with a wide range of contexts and audiences. She has designed extensively for regional, national and touring theatre companies; also large scale schools and community performance projects for orchestras, opera companies and art galleries. Between 1994 – 2015 she has curated and co-curated five national exhibitions of design for performance for the Society of British Theatre Designers. Selections from these have been exhibited at the international Prague Quadrennial (winning a Gold Medal in1995, Golden Triga in 2003 and Special Jury Award in 2015), also in regional UK galleries, the Theatre Museum, Covent Garden and the Victoria & Albert Museum, London. For WSD2013, held at RWCMD in Cardiff, Kate was editor of the WSD2013 print catalogue.
Eloise Kazan studied fine arts at the San Carlos Academy of Fine Arts in Mexico City and in 1999 she graduated from a postgraduate design course at the Bristol Old Vic Theatre School in the UK. She has worked internationally as a designer on more than sixty productions including theatre, dance, opera, interior architecture and film. Recent work includes costume design for the Royal Shakespeare Company production of A Soldier in Every Son directed by Roxana Silbert (Stratford-Upon-Avon, UK 2012), costume design for the Croatian National Opera production of Le Nozze di Figaro (HNK, 2016) and the production design for award winning director Deborah Kampmeier's independent feature film Split, released in 2016.
She was a recipient of the top prize for costume design at the Prague Quadrennial of Performance Design and Space in 2007 and was a member of the International Jury at the Prague Quadrennial 2015. She is also a two time recipient of the Mexican National Arts Fund (FONCA) Young Artist Grant for Theatre Design and is an official member of the Mexican NationalSystem of Art Creators(SNCA) since 2015.
Design credits include the Broadway productions of One Flew Over the Cuckoo's Nest, The Old Neighborhood, Buried Child, The Rise and Fall of Little Voice, The Song of Jacob Zulu, A Streetcar Named Desire, The Grapes of Wrath, Speed the Plow, Our Town, Glengarry Glen Ross, The Caretaker and Ghetto. London credits include Waiting For Godot, You Never Can Tell and Orphans on the West End; Speed the Plow and The Grapes of Wrath for The Royal National Theatre; One Flew Over the Cuckoo's Nest and The Man Who Came to Dinner at the Barbican; American Buffalo, and Ricky Jay and His 52 Assistants. Productions for the Peter Hall Company include The Importance of Being Earnest, Measure For Measure, Waiting For Godot, Much Ado About Nothing, and Man and Superman. Mr. Rigdon has extensive design credits Off-Broadway and regionally. He was the resident designer for Steppenwolf Theatre from 1976 to 1997 during which he designed the scenery, lighting, and costumes for more than 110 productions. He is currently the Associate Director/Design for Houston's Alley Theatre where he has designed more than 50 productions. Mr. Rigdon is the recipient of two Tony Award nominations, seven Joseph Jefferson Awards, two American Theatre Wing Design Awards, and the Drama-Logue Award. . Mr. Rigdon is the curator for the American National Exhibit for the 2015 Prague Quadrennial Sceneography Exhibition and he serves as the Vice President International Activities for USITT and head of the US OISTAT Centre. In addition to his design credits, Mr. Rigdon is the John and Rebecca Moores Professor of Theatre and Head of Graduate Design at the University of Houston.
With a profound understanding of literature and the ability to exploit modern technology, Austin Wang graces the theatre playground with his humor, insight and exuberance. Austin is one of a handful of theatre designers who could directly communicate with playwrights and convey his designing philosophy precisely with eloquence.
Austin Wang received a BIAA award in Warsawin 2004. In 2007, he sat on the judging panel of Prague Quadrennial of Performance Design and Space ( PQ) and acted as the convener of the Taiwan team. The Taiwan Exhibition won the Gold Medal for the Best Use of Theatre Technology that year. He was the director of stage design at 2009 Deaflympics in Taipei.In 2014, he received National Award for Arts from The National Culture and Arts Foundation in Taiwan.
Sophie designs for theatre and performance and won the overall Gold Medal at World Stage Design 2013. She is Associate Director and designer for performance company Seven Sisters Group, who are well known nationally and internationally for their site-specific work. She has recently completed her PhD, on theatre designers Jocelyn Herbert and Motley. Her designs were selected to represent Britain at every Prague Quadrennial exhibition of world theatre design between 1999 and 2011.
Sophie is Associate Lecturer at University of the Arts London and visiting lecturer at Royal Central School of Speech and Drama. She curated an exhibition at the Victoria &Albert Museum called When Marcel Met Motley, about the collaboration between Motley and the architect Marcel Breuer.Former Joint Honorary Secretary of the Society of British Theatre Designers, Sophie is a Linbury Prize committee member and was a judge for the 2015 Linbury Prize for Stage Design.
An-huei Tsao is a theatrical lighting designer, received her Master of Fine Arts degree from Yale School of Drama in 1998. Afterwards she returned to Taiwan and worked on theatrical lighting design for performing arts. She has accumulated over one hundred productions for drama, dance, opera and concerts.
Her works represented Taiwan and herself in International Exhibition of Scenography and Theatre Architecture Prague Quadrennial (PQ) and World Stage Design (WSD). 05161973 SZYMBORSKA was selected into the exhibition of WSD 2013 in Cardiff of UK. LITTLE TOWN OF TANSHUI and IRMA LA DOUCE were selected into the exhibition of WSD 2009 in Soul of Korea. THE CHERRY ORCHARD was selected into the exhibition of WSD 2005 in Toronto of Canada. She also was the curator of Taiwan Student Section Exhibition in PQ 2011.
She is currently the full time Assistant Professor at the Department of Theatre Design and Technology in Taipei National University of the Arts (TNUA), and the council member of Taiwan Association of Theatre Technology (TATT).
Patrick is Canadian performance designer, working in a wide range performance styles and scales of production. From site-specific opera to texts from the classical cannon to contemporary devised work, Patrick's work has been recognized across Canada and internationally. Collaborators include: The Banff Centre, Canadian Opera Co, Against the Grain, Ghost River, The Arcola (UK), Theatre Calgary, Alberta Theatre Projects, Buddies in Bad Times, Blue Bridge Rep, The Grand, Persephone, The Belfry, Tarragon as well as various independent ad-hoc collectives.
Patrick designed and curated the Canadian Exhibition at the 2015 Prague Quadrennial, produced by the Associated Designers of Canada (ADC).
As an educator, Patrick has been member of the faculty at the University of Calgary from 2013-2016 and is looking forward to taking up a new post at University of Victoria in 2017. He has also been a guest artist or instructor at the National Theatre School of Canada, Ryerson Theatre School, George Brown, and Sheridan College. Patrick is a graduate of the University of Alberta's MFA Theatre Design program.


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José Calvo de Lara (Sevilla, Corona de Castilla, Monarquía Hispánica c. 1640s - Gobernación de Nicaragua, Capitanía General de Guatemala c. 1720s) fue un comisario general de la caballería que ejercería los cargos de corregidor de Tecpán Atitlán (Sololá), corregidor de Quetzaltenango, alcalde mayor de Verapaz, alcalde mayor de San Salvador (desde 1694 a 1699), alcalde mayor interino de Sonsonate (1699 - 1700), alcalde mayor interino de Tegucigalpa, y gobernador de Nicaragua .

Biografía

José Calvo de Lara nació por la década de 1640 en la ciudad de Sevilla en la Corona de Castilla de la Monarquía Hispánica, se dedicaría a la carrera militar; y más adelante, el 30 de mayo de 1668, sería designado como proveedor general de la armada y flota de las Indias (lo que sería aprobado por el monarca español el 30 de junio de ese año) para ocupar dicho puesto en la flota que ese año haría el viaje al continente americano.

Se asentaría en la ciudad de Santiago de Guatemala. El 26 de agosto de 1672 el presidente-gobernador y capitán general de Guatemala Fernando Francisco de Escobedo lo nombró como capitán de una de las compañías levantadas ante el peligro de un ataque pirata en la costa pacífica guatemalteca; luego, el 5 de noviembre de ese año, el dicho presidente-gobernador le reformó ese cargo. Posteriormente, en 1673 contraría matrimonio, en segundas nupcias, con Micaela de Estrada y Sierra; y ese mismo año, obtendría el cargo de alfarez mayor y regidor (con función de depositario general) de la ciudad de Guatemala, por renuncia de García de Aguilar y de la Cueva, que le sería confirmado por el monarca español el 23 de enero de 1674.

El 4 de mayo de 1680, el presidente-gobernador y capitán general de Guatemala Lope de Sierra Osorio lo nombró corregidor del partido de Tecpán Atitlán (Sololá), tomando posesión de ese cargo el 20 de mayo de ese año, siendo después ratificado para un año más en dicho cargo. Después, el 11 de mayo de 1683, el rey Carlos II envió una recomendación al presidente-gobernador de Guatemala, para que le ocuparse en puestos de su provisión y de que se le encomiende alguna pensión que esté Vacante. El 4 de julio de 1684 se presentó (junto con José Hurtado de Arria y Lorenzo de Montúfar) ante el presidente-gobernador y capitán general de Guatemala Enrique Enríquez de Guzmán para solicitarle que pidiese al virrey de Nueva España el envió de la armada de barlovento para limpiar de piratas el puerto de Trujillo; posteriormente, el 9 de agosto de 1684 fue nombrado por el capitán general de Guatemala como corregidor de Quezaltenango; tomando posesión el 5 de septiembre de ese año, siendo luego ratificado para servir ese cargo por un año más. Más adelante, el 23 de diciembre de 1686, fue nombrado como alcalde mayor interino de Verapaz; tomando posesión el 31 de diciembre de ese año, ejerciendo dicho cargo hasta marzo de 1686,cuando se le concedió licencia para retirarse a su casa.

Sería alcalde ordinario interino y también propietario de la ciudad de Santiago de Guatemala, desde julio de 1687 hasta finales de diciembre de ese año; asimismo, fue regidor (con función de fiel ejecutor) del cabildo de esa ciudad en dos ocasiones. El 10 de abril de 1689 sería designado por segunda ocasión como alcalde mayor de Verapaz, tomando posesión el 16 de abril de ese año; durante su mandato trasladaría indígenas kekchí desde Cahabón hasta ese jurisdicción y establecería a indígenas hablantes de Chol en el valle de Urrán donde fundaría la población que pasará a llamarse Santa Cruz el Chol.

El 25 de octubre de 1689, el monarca español lo designaría como alcalde mayor de San Salvador, para que lo ejerciera luego que concluyese el período para el que había sido nombrado su predecesor José Hurtado de Arria; el 29 de abril de 1692 se le encomendó que llevase a cabo el juicio de residencia de José Hurtado; el 11 de marzo de 1694 la real audiencia guatemalteca, previo dictamen del fiscal de dicha audiencia, lo mandó a llamar para juramentarlo en dicho cargo; y el 18 de marzo  de ese año el presidente-gobernador y capitán general interino de Guatemala Fernando López de Ursino y Orbanejo le nombró como teniente de capitán general de dicha alcaldía Mayor, lo cual sería aprobado por real cédula; tomando posesión el 17 de mayo.

Ejercería el cargo de alcalde mayor de San Salvador hasta el año de 1699; luego de lo cual retornaría a Guatemala, donde el 31 de agosto de 1699 el presidente-gobernador y capitán general de Guatemala Gabriel Sánchez de Berrospe le designaría como alcalde mayor interino de Sonsonate, debido al fallecimiento de su predecesor Francisco Antonio de Fuentes y Guzmán, ejerciendo ese puesto hasta el año de 1700. Cuando regresaría a Guatemala, donde el oidor Juan Jerónimo Duardo (quien se encontraba ejerciendo el liderazgo del gobierno guatemalteco en ausencia del capitán general) le nombró como comisario general de la caballería del batallón de Guatemala, tomando posesión el 2 de abril de ese año; más adelante, el gobierno guatemalteco le designaría ese mismo año como alcalde mayor interino de Tegucigalpa, debido a estar en su juicio de residencia su predecesor Gabriel de Chacarri; luego, en 1703 se desempeñaría como alcalde ordinario y corregidor del valle de Santiago de Guatemala.

Por real cédula de 1706, se le otorgaría el puesto de gobernador interino de Nicaragua, debido a haberse suspendido del cargo a a su predecesor el maestre de campo Miguel de Camargo; luego de haber concluido el tiempo para el que fuese designado como gobernador, probablemente se quedaría a vivir en Nicaragua donde fallecería por la década de 1720.

Referencias

Nacidos en Sevilla
Militares de España del siglo XVII
Militares de la provincia de Sevilla
Historia colonial de Guatemala
Alcaldes de Antigua Guatemala
Alcaldes mayores de San Salvador
Alcaldes mayores de Sonsonate
Historia colonial de Honduras
Gobernantes coloniales de Nicaragua


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In past decades, creators shared their work and often received nothing, or pennies, for it, while the platforms they hosted on monetized it. Now, the changing digital landscape is allowing creators to make a living off of their work, which we'll explain below.
"Creators" includes writers, influencers, artists, photographers, videographers, coders, and just about any type of person who makes something and puts it online for the world to see. Creators have become so much a part of our lives that 30% of Gen Z in the US and UK named YouTuber/Vlogger as the thing they want to be when they grow up.
There's not one thing driving the creator economy. Instead, it's being driven by changes in how we create and consume content, access to new software and media platforms that give more back to the creator, and new ways to make money off your work.
Here are 4 things driving the creator economy:
There are no gatekeepers anymore
Imagine a creator circa 1990. Maybe they're a writer, sending off articles to magazines or book proposals to agents. Maybe they want to be an actor, and they move to Hollywood to try to break into the movie industry. Maybe they're a budding photographer or painter, trying to find an art gallery that will show their work. Or, maybe they're a musician, trying to get a demo tape into the hands of a music industry executive.
They face lots of rejection, especially those who don't look and sound like the gatekeepers thought they should.
Enter the internet.
With the creation of new platforms, creators no longer had to get permission from gatekeepers like publishers or movie execs to get their work out. They could put it out into the world and see if people liked it.
And guess what! People often did!
Things that had no chance of being created by Hollywood or other industries went viral, reaching millions of people and showing the gatekeepers that they were wrong about what people wanted.
Platforms are democratizing
The rise of the internet gave these creators a platform. But it came at a cost.
Web 2 was all about ownership. Especially ownership by big companies. Creators were handed blank social media platforms that they could pour their hearts into filling up with their best stuff.
But after they worked hard to create content and generate a following, they realized that they owned nothing. Their creations often belonged to the platforms, ditto the money generated by their likes and views. Many platforms squeezed every bit of ad revenue they could from the followers and left the creators empty-handed.
And, to add insult to injury, if you were hacked or the platform decided to arbitrarily kick you off, you lost the following you worked so hard to create.
Ahh yes, the joys of creating for social media giants.
But the wind has been changing. And it's been led by an increase in new platforms that empower creators instead of exploiting them. They give new ways for creators to do the work that matters to them, but let them keep ownership of their work and their audience.
This means that creators can do their thing, and instead of needing millions of likes and follows to earn a living from their work, they can do it with a smaller and devoted audience. (Check out the Creators Calculator to see the difference between earning from an online community vs. the major platforms.)
New monetization options
The creator economy is also happening because the ways to make money on the internet are changing.
There were definitely monetization options for creators on Web 2. But many of them were terrible.
Some, like ads, required thousands of views to make a few pennies, but many creators tried them to put a few cents back in their pocket and pay for web hosting if they owned a site.
Affiliate marketing was (and still is) an option too, promoting products that you've used and loved. But this meant that your creativity was stifled by the thing you had to hock. (If you've ever wondered why so many creator websites have well-placed posts on starting a blog, this is why. Blog hosts pay high affiliate commissions, and that's why so many fashion and fitness blogs will still have a post called, "How to start a blog.")
Hey, we all gotta pay the bills.
But it's not exactly conducive to great work.
New platforms mean new ways for creators to make money; for example, by creating an online community or opening a Patreon account, they can put more in their pocket without having to cater to advertisers or affiliate marketers.
This is changing EVERYTHING, and it's happening right now. Creators don't need to rent their influence to advertisers anymore. They can go straight to the end-user, the viewer, and sell something themselves.
But the change goes deeper than this. Technological advances are also giving creators new ways to monetize. One example of this is the rise of NFTs, which allows a digital fingerprint for creations that makes unique ownership possible.
This new tech meant that Zoe Roth, AKA Disaster Girl, could sell the original of a photo taken in 2005 when she was a kid. It's a shot of her standing in front of a burning building and smiling back at the camera maniacally. The meme had been shared by millions of people, but NFT technology meant that she could still sell the original for $470,000 in 2021.
Social tokens are another advance, based in blockchain, that let people hold a digital token that can give the holder certain rights, like access to an influencer, membership in a community, etc.
We'll talk more about these new monetization options below.
The move to a community economy
"Make an online course," "sell an ebook," the podcasters and bloggers were shouting in 2010. The famous book by Tim Ferriss, The 4-Hour Workweek, had just come out. And in those young days of internet business, many of the influencers were swearing that you just had to pop up a course or e-book and you could earn $10,000 a month in "passive income," on autopilot, without lifting a finger!
Sounds too good to be true?
Yeah, it was for most people. Very few creators ever saw that kind of money.
But it also turns out that people weren't just looking for a digital product from the creators they followed. In fact, the fans wanted something a little less transactional and a little more human; they wanted connection.
After they bought the course, they wanted to learn to apply it with the help of the creator and others in the course. Instead of just buying a book from the influencer, they wanted to meet them and ask questions. They wanted access.
It turns out, the big social media platforms were onto something… people do want to feel connected.
But the creator economy leverages new platforms to let people build real, deep, meaningful connections with people who care about the same things, rather than the shallow connections of likes and follows.
This is why Mighty Networks exists, and why we give creators the tools they need to both monetize their work AND build a community of engaged fans.
Try creating your own Mighty Network for free!
One of the first principles of the creator economy is that creators actually own their own work. No more turning it over to big platforms that can profit from them or delete their audience with the push of a button.
In the creator economy, creators own their own work.
But they also "own" their audiences and their communications with them. In the past, creators had to rush to get people off of social platforms and onto an email list so that you'd actually be able to reach them again if something went wrong with the platform.
While email is still a great tool, it's being supplemented with a bunch of other tools that let creators control how and when they reach their audience. And unlike on a social media platform of old, they don't have to pray to the algorithm gods that people in their audience will actually see it.
For example, here on Mighty Networks, Hosts can message all their members, and members actually get notified about new content and offers. This leads to deeper engagement and a stronger community.
Creators aren't just creators; they're also influencers. Sure, they might not feel like an influencer. And they may not have millions of followers.
But if you have an audience of people, no matter how small, that want to hear what you have to say about something, you're an influencer.
People trust influencers. In fact, over half of the people on the planet bought something an influencer recommended in the last 6 months.
In the early days of monetization, influencers often had to sell that trust through advertising or affiliate marketing. And there wasn't really anything wrong with that per se, as long as influencers could sell products that related to them and didn't totally undermine their audience's trust (we talked about this above).
But, as we'll see below, creators don't need third-party ads anymore. They can go straight to their fans and build something that they want and need.
The creator economy works by giving creators more ways to monetize their work.
Imagine if you were going to open a store. And then, imagine if someone came to you and said, "go to all the work to create a space, pay rent, decorate, and for every thousand people that come through the door, you'll get 15 cents."
Who could possibly make a living off of that?
But that was basically the value proposition of Web 2. It worked for a few select creators who were able to bring millions of eyes to their work, and everyone else was left behind.
The creator economy is changing the way creators run businesses, bringing web business in line with how actual bricks and mortar businesses make money. This could be through the things we mentioned above: NFTs, creator coins, or other direct sales of their creations, products, or merch.
The other game-changer is easier access to recurring revenue through membership sites that let creators find members who pay monthly. This gives one more option to create lasting, predictable, revenue for the creator.
The creator economy is about actually giving creators a much bigger piece (or all of) the pie.
Impact vs. Scale
The old web economy worked off of sheer scale; you could earn a living from your work if you could reach millions. The new creator economy is much more about depth.
Above, we talked about the value of community and relationships.
And that's just it. The creator economy is about forming deep relationships with fewer customers and getting paid what you're worth to help them with a transformation or to have them enjoy your creations. And that means that you can earn a living from a few dozen to a few hundred people.
This frees creators up to do what they do best and perfect their craft, instead of being on the attention treadmill duking it out with other creators for the eyes of their followers.
The creator economy is also thriving because of automation. Creators can use software and even AI to automate everything from scheduling to bookkeeping to some parts of course delivery and content (to supplement rather than replace a thriving community).
While small businesses would once require a team to do social media marketing, respond to emails, and schedule appointments, now automation software makes it possible to do most of this work. This means that even more profit gets into the pocket of the creator.
Access to experts
The web has created easy access to experts for hire. Even if a creator is a solopreneur, operating as a single-person business, sooner or later they will probably need to hire a contractor to do something for them.
Platforms like Upwork make it easier than ever to find people with specialties in everything from international business law to digital marketing, meaning that the creator can have expertise on their side when they need it, for a reasonable cost.
Building teams
Not all creators stay solopreneurs. In fact, many will build businesses around themselves and their work that make millions each year. This is a radical shift in the history of the company (AKA "the firm"). In the past, companies were almost always built around shared ideas or a neutral third-party brand.
Some creators are choosing to become big businesses. And, as they grow, many of them discover the need to build a team around them. This might require social media marketers, sales people, production workers like video editors, videographers, or photographers, and others to manage events and a schedule.
In fact, businesses built around a single creator and their brand can end up looking a lot like traditional businesses, with many of the same moving parts. The difference is, it's a person-centered brand.
If you want to know more about how the creator economy works, we did the largest study of creators EVER. Check out the Creator Manifesto!
There's no denying that a big part of the revolution driving the creator economy is about tech, especially software and platforms. We talked a bit about this above. A whole suite of new software is making it possible for creators to build and keep audiences and to monetize their work.
In this section, we're going to list some of the pieces of software or platforms that are making it possible for creators to build their businesses.
It's important to recognize that not all these platforms are created equal. Some of them (influencer and affiliate marketing) work on the old monetization model, but are still considered by many to be part of the creator economy.
(Note that you don't need all of these! You can build a creator business just on one or two of them.)
These are platforms that help connect influencers and brands for sponsored posts and campaigns.
Examples of influencer marketing platforms include:
CreatorIQ
IZEA
Captiv8
Mediakix
These are platforms creators can use to find brands and products to promote, usually receiving a commission per sale.
Examples of affiliate marketing platforms include:
Impact affiliate network
These platforms let creators go straight to their audience to collect revenue and support, in some cases on a recurring basis.
Examples of direct monetization platforms include:
Crowdfunding platforms aren't totally different from the direct monetization platforms above but are usually used to raise a specific amount of money for something over a set period of time. Creators use crowdfunding platforms to launch products or to raise money for a cause they care about.
Examples of crowdfunding platforms include:
This is where we come in! Creating a course or online community is a fantastic way for creators to earn what they're worth–packing more dollars per member than any other social media platform. And we've seen the value of both of these together, creating an awesome course and building a community around it.
Examples of course and community platforms include:
Kajabi
These platforms let creators sell coaching. Whether you want to do 1:1 coaching, build a community for group coaching or set up a network of industry leaders or entrepreneurs for a mastermind group, these platforms will help.
Examples of coaching platforms:
NudgeCoach
A newsletter platform lets you create and sell a regular email newsletter.
Examples of newsletter platforms include:
These platforms let you sell webinars and/or live training.
Examples of webinar and live-training platforms include:
EasyWebinar
The creator economy isn't limited to digital products. There are lots of dedicated platforms that give creators ways to sell physical products and merch, and these are also working their way onto traditional social media platforms through social commerce.
Platforms for selling products or merchandise include:
Fanjoy
Shopify (software for making stores)
If you want to mint your own NFT or social token, there are more and more options for this.
Examples of NFT and creator coin platforms:
Whether they're doing it for good or for fear of being left behind, some social media platforms have jumped on the bandwagon and are giving their creators ways to monetize without leaving the platform.
Traditional social media platforms that are helping creators monetize include:
Facebook Shops
Yoga with Adriene - Adriene Mishler
Adriene Mishler is the world's most influential yoga instructor, with over 10 million subscribers on her YouTube channel. After creating a powerhouse yoga channel, Adriene launched a free private community called Find What Feels Good (FWFG) that has since grown to 211,000 members.
For members who want even more, there's a paid video streaming service that helps people grow even more in their journey with yoga, and also pays to support the free offerings on YouTube.
Read the whole story here
Wealth Builder's Community - Ashley Fox
After graduating from Howard University and working on Wall Street, Ashley Fox was making amazing money. But she was unhappy.
"I felt like I had hit a ceiling," she says. "I did everything I could to work on Wall Street, but I wasn't fulfilled."
That took her on a journey that led her to help financially empower the people Wall Street wouldn't talk to. She launched Empify, which has since delivered financial education to 20,000 people around the world. And last year she launched a Wealth Builder's Community right here on Mighty Networks.
Read more of Ashley's story
Outwild Hub - Courtney Sanford
Courtney Sanford loves the outdoors. When she found herself packing up her Subaru, making treks in search of adventure from her Seattle home base, she realized she had stumbled across a practice of travel and adventure that would stay with her. She shared her story on the Adventurepreneur podcast. Together with its cohosts, she started a retreat they called Outwild, that brought people together to create a value-driven life and enjoy lots of time outside.
When the pandemic hit, it meant the Outwild retreats had to stop for a while. So they created Outwild Hub, a digital space that celebrated life in the physical world and taught people how to create a lifestyle around the outdoors. The community is free to join, and there's a premium membership priced at $150 a year, which includes access to monthly speaker and workshop series, early registration for in-person events, and more.
Read more of Courtney's story
BuJo U - Ryder Carroll
After struggling with ADD from a young age, Ryder Carroll struggled to find resources that helped him focus. He would eventually discover his own system that changed how he organized: bullet journaling.
Bullet journalling grew quickly and helped a bunch of people, but Ryder was finding it harder and harder to connect with the people who were having their lives transformed by it. He launched a paid community that, for $5 a month, helps fellow bullet journalers connect and learn.
Read more of Ryder's story
Mind Cake Vault - Tiffany Johnston
Tiffany Johnston was looking for her path when she landed a job at a local bakery. It was her first time at it, but she quickly developed a love for one treat in particular: the cake pop. It helped her rediscover her creative side and joy in her work that spilled over to the customers–who loved them!
She built a business and a dedicated Instagram following. But people kept asking her, "How do you do it?"
She eventually found her way to Mighty Networks, where she created a thriving community that teaches the ins and outs of cake pops, but also supports entrepreneurs who are building cake-pop businesses.
Read more of Tiffany's story
So you understand the why and the how of the creator economy. But the real question is, what could you build if given the chance? How will you join the creator economy?
There are so many possibilities that it's easy to get intimidated. But don't let that confusion hold you back! In reality, for all the options you have, the creator economy can actually be beautifully simple. You only need to choose one thing to do well. So let's start here.
What do you love to create?
It's a bit cliche, but your jump into the creator economy needs to start with passion. What is it that you're passionate enough about to create content on a regular basis? What would you love to bring people together for? What do you want to be known for?
This is your "niche." It's your expertise and knowledge, or the people who share your interests. If you can identify what it is you would love to create content around, that's the first step.
The good news is that you can create around almost anything and find an audience. Whether the thing you love is Norwegian death metal, pictures of lighthouses, or the newest ethically-sourced fashion, you can find people who want to hear about that thing.
The first step is to figure out what you actually love to create.
How will you serve your audience?
Why will people join you or listen to what you have to say? Is it because they will learn something valuable they need to know? Will they be uplifted by your art? Will you make them laugh, or just distract them from life for a while? Will they finally find people who care about what they care about?
It's important to think about why people are going to what you create.
We like to use what we call a "Big Purpose Statement" to capture numbers 1 and 2, and we baked it into our Community Design™ process.
How can you create and deliver?
Let us save you some time. You can't be everywhere, on every social media platform. You can't do it all.
So be selective about where you create and deliver your content. Ironically, by doing less and focusing, you'll end up doing a lot more.
We'd put in a plug here for spending your time creating content and a community on a platform that actually lets you make a living off of an audience of even 20 or 30 dedicated fans. That's what a Mighty Network is all about.
How will you get paid?
Of all the ways to earn a living in the creator economy, try choosing one or two monetized platforms at the most. Much like content creation, you can't be everywhere. It's important to choose a platform that lets you get started and can grow with you.
While there are a million other relevant questions, these 4 are a really good starting point. Forget about business plans and needing to have every single duck in a row. Too many people can spend all their time planning and never get started.
Try our Community Design™ process to get clear on what you need. Then start!
How will you evolve?
The idea you start with might not be the thing you end up with. Give yourself permission to adapt and grow as you evolve in your journey to becoming a master creator. It's okay. Learn by doing, lean in to what works, and step away from what doesn't.
It's all part of the journey. Get started and adapt as you grow.
We hope this ultimate guide to the creator economy gave you all the info you need, not only to understand the creator economy, but to join it! There's never been a better time for creators to earn a living off what they love.
So here's to you and the beautiful journey you're on!
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Review of Metals Charts and the Implications of the Latest COTs
-- Published: Tuesday, 3 April 2018 | Print | Disqus
Technical analyst Clive Maund reviews the most recent COT reports, and sees gold and silver diverging right now.
We've certainly got plenty to look at in coming days, but perhaps a good place to start is with a review of some of the latest COTs, because of their implications for the immediate future. The following charts make very clear why those in control of publishing COT data hold up its release for three days (the data is always for Tuesday's close) so that those at the top of the food chain can position themselves comfortably to benefit from early knowledge of what's going on before the ordinary shmuck does�observe how the uptrends in both copper and the broad market S&P 500 index presaged by the COTs have already started by the end of the week. In looking at the charts, keep in mind that markets were closed on Friday.
Short-term trend in gold is down, intermediate trend neutral, with long-term outlook very positive. On its latest 6-month chart we can that it has backed off again from resistance, this time from a slightly lower level, with the retreat predicated by the now bearish COTs, or rather it would be if it didn�t take three days for this information to be made public. Taking into account that the COT probably eased on Wednesday's and Thursday's drop, further short-term weakness look likely until this COT has moderated.
Click on chart to pop-up a larger, clearer version.
Silver's price pattern looks less positive than gold's, but its latest COTs look flat out bullish, with the habitually wrong Large Specs having given up on silver completely and now shorting it, which is something we have never seen throughout the history of the site. This is viewed as being very bullish indeed. Even so, silver will probably have to wait for gold to sort itself out before it can mount a significant rally, since it is unlikely to rise by itself while gold languishes. Continued near-term weakness will be viewed as an opportunity to build positions further in silver investments. The latest silver COTs are so bullish that even if silver does drop in sympathy with gold, it is unlikely to be by much.
It's also worth taking a brief look at copper and its COTs because of its implications for metals markets generally. Copper's COT has been decidedly bearish for some time, and it is thus not surprising that the price has dropped back from its December high. However, as it arrived back at an important support level last week, its COTs eased right back from earlier bearish readings to levels that permit copper to turn higher again, and that's what happened last week with another rally starting. With the price near to a still rising 200-day moving average, this rally is believed to have legs and should carry further.
The broad stock market picked up on Friday and advanced off significant support near to its rising 200-day moving average, where a small base pattern formed over the past week. Overall the pattern is viewed as bearish with the two sharp drops so far this year regarded as a warning. However, it is entitled to rally off this support towards its March highs, although it is quite likely that it will turn lower again before it gets to them. Latest COTs quite came in bullish and support the rally scenario, although we should note that these S&P500 index COTs are volatile and can change tack very quickly.
The above represents the opinion and analysis of Mr Maund, based on data available to him, at the time of writing. Mr. Maund's opinions are his own, and are not a recommendation or an offer to buy or sell securities. Mr. Maund is an independent analyst who receives no compensation of any kind from any groups, individuals or corporations mentioned in his reports. As trading and investing in any financial markets may involve serious risk of loss, Mr. Maund recommends that you consult with a qualified investment advisor, one licensed by appropriate regulatory agencies in your legal jurisdiction and do your own due diligence and research when making any kind of a transaction with financial ramifications. Although a qualified and experienced stoc kmarket analyst, Clive Maund is not a Registered Securities Advisor. Therefore Mr. Maund's opinions on the market and stocks can only be construed as a solicitation to buy and sell securities when they are subject to the prior approval and endorsement of a Registered Securities Advisor operating in accordance with the appropriate regulations in your area of jurisdiction.
-- Published: Tuesday, 3 April 2018 | E-Mail | Print | Source: GoldSeek.com


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Detta är en lista över Knäppupp AB:s singlar och EP som givits ut med skivetiketten Knäppupp i skivserien KNEP.

KNEP nr
1. Balladen om Eugen Cork (Povel Ramel och Flickery Flies), 1954
2. När schlagern dog (Povel Ramel, Martin Ljung, Brita Borg och Gunwer Bergqvist), 1955
3. Drevet går drevet går (Povel Ramel och Gunwer Bergqvist) finns utgiven på 4500 serien som 4522
4. Hubertus Rock (Allan Johansson med största Knäppupporkestern)
5. When the saints go marchin in (Tuxedo Brass Band)
6. Tuxedo go and stop (Tuxedo Brass Band)
7. Rock-a-beating boogie (The Ukulele Twins, Almstedt-Lindkvartetten)
8. Det glada fjuttitalet (Bunny Blom)
9. Violett (Sigurd Ågrens orkester)
10. Honeysuckle Rose (Tuxedo Brass Band)
11. Fat Mammy Brown (Brita Borg)
12. Royal garden blues (Spencer Williams med orkester)
13. Closer closer closer (Spencer Williams med orkester)
14. Turning back time (Spencer Williams med orkester)
15. Naturbarn (Povel Ramel)
16 september in the rain (Bob Ellis till Bob Ellis kvartett med fyra tromboner)
17. Tango-kavaljeren (Bertil Boo)
18. Pangbrud från Las Vegas (Mari Ade)
19. Tammy (Inger Berggren)
20. Brita i regnet (Brita Borg)
21. Lyckliga Henriks polka (Sigurd Ågrens orkester med Olle Johnny)
22. Kärlek nål och tråd (Inger Berggren)
23. Hela jag (Bunny Blom)
24. Att vara rolig (Martin Ljung)

26. Morbror Ruben (Yngve Gamlin)
27. Bladbergeri hursa! (Povel Ramel)
28. En schottistrall (Olle Johnny)
29. På en öde ö (Bob Ellis)
30. Down by the river side (Chilos Skiffle Group)
31. Bad road (Jan Allan)
32. Anders Börje sjunger Lillebror Söderlundh
33. Miss Elena (Lex van Spalls orkester)
34. It had to be you (French Jazz Globe Trotters)
35. Pay me my money down (Chilos Skiffle Group)
36. Iron bar (Lex van Spall's Orchestra)
37. Cross your heart (Jan Allan)
38. Tight like this (French Jazz Globe Trotters)
39. Rock med Bob Ellis
40. Vår i luften (Inger Berggren)
41. Struttin with some barbecue (French Jazz Globe Trotters)
42. Mål (Flickery Flies)
43. 6-5 hand jive (Inger Berggren)
44. Ska vi ses igen... nästa lördag? (Bertil Boo)
45. It's allright with me (Almstedt-Lindsextetten)
46. Tatuerarevalsen (Anders Börje)
47. Utsikt från en bro (Brita Borg)
48. Glory land (Chilos Skiffle Group)
49. Kycklingpolka (Sigurd Ågrens orkester) 1958
50. Kvinnorna kring Bunny (Bunny Blom)
51. Vi tälta med Delta (Delta Rhythm Boys)
52. The Big Gerhard (Karl Gerhard)
53. Kari väntar dig (Brita Borg)
54. Piccolissima serenata (Inger Berggren)
55. Bosse Quiding sings the pops (Bosse Quiding)
56. Valspotpurri (Sigurd Ågrens orkester)
57. Rock Fnykis (Martin Ljung)
58. Pikiso (Pia Lang)
59. Takters potpurrier (Sigurd Ågrens orkester)
60. Frankenstein Rock (Brita Borg)
61. Patricia (Bob Ellis och The Relaxers)
62. Stockholm-Broadway

64. Polkorna de gå (Sigurd Ågrens orkester)
65. Susie darling (The Q Brothers)

67. Långdans och Jullekar (Sigurd Ågren och Farbror Anders med barnkör)
68. Knalle Juls vals (Anders Börje)
69. Come prima (Johnny Dorelli con orchestra)
70. Augustin (Brita Borg)
71. When Jack Dailey
72. Hey, hey, hey La Bommie
73. Successi Italiani 1 (Teddy Reno)
74. Chicago (Inger Berggren)
75. Tiger rag (Jan & Kjeld med rytm)
76. I Rosenhult och Solby (Anders Börje)
77. Problems (The Q Brothers)
78. Non dimenticar (Inger Berggren)

80. Cha-cha through the evergreens (Jack Dailey)
81. Schoolboy crush (Bob Ellis och The Relaxers)
82. Basta 'ammore (Inger Berggren)
83. Festival i Cannes (Brita Borg)
84. Tänk dig en strut karameller (Gunwer Bergqvist & Povel Ramel)
85. Banne mig (Brita Borg)
86. Svarta Malins ballad (Martin Ljung)
87. Travel on (Chilos)
88. Sommar, sommar, sommar... (Anders Börje)
89. De tre klockorna (Lily Berglund)
90. Hamlet (Martin Ljung)
91. Den gamla spinnrocken (Bertil Boo)
92. Anders Börje sjunger ur Fridas visor (Anders Börje)
93. Oscar Svensson (Monica Nielsen)
94. Lika kär som jag - Angelina (Sven-Erik Mårdstam)
95. Personality (The Q Brothers)
96. Goodbye, Jimmy, goodbye (Inger Berggren - sång till egen orkester)
97. Kom i cha cha cha (Brita Borg)
98. Kärleksprat (Lily Berglund)
99. Änglaklockor (Bertil Boo)
100. Kromosomtalaren (Martin Ljung)
101. Bilbrudarna (Inger Berggren)
102. Sea of love (Bob Ellis och hans orkester)
103. Fingal Olsson (Martin Ljung)
104. Atom Ante (Stig Grybe)
105.  Sjung med oss Inger : Sex visor av Gösta Severin (Inger Berggren med Bernt Öst och Anders)
106. Dr Kotte slår till
107. Dr Kotte slår till 2
108. Concert d'amour (Inger Berggren)
109. A hot an a holler (The Q Brothers)
110. The five pennies medley (Brita Borg)
111. Marina (Bob Ellis)
112. Flickan med svavelstickorna (Lily Berglund)
113. You'd be so nice to come home (The Linn Tones)
114. You stepped out of a dream (The Linn Tones)
115. Ur filmen Mälarpirater / (Svenerik Perzon, Monica Nielsen, Karl Åke Eriksson)
116. Tom Pillibi (Inger Berggren)
117. Milord (Mari Ade)
118. Skogsmilan (Skogs-Evert Blomberg)
119. Hans Alfredson och Brita Borg
120. Bara mamma vill
121. Fröken Johansson och jag (Lily Berglund)
122. Min cucuzza (Bob Ellis)
123. Lykkeliten (Gunwer Bergqvist)
124. Banjo boy (Jan och Kjeld)
125. Itsy bitsy teeny (Lily Berglund)
126. Jasså (Brita Borg - Martin Ljung)
127. Guben i Låddan (Hans Alfredson och Martin Ljung)
128. En liten Kyss (Brita Borg)

130. Cha-ba-di-cha-ba-da (Inger Berggren)
131. Rosor (Lily Berglund)

133. Invitation till Guatemala (Samtal under dans) (Evert Taube och Brita Borg)
134. Fågelskådaren (Stig Grybe)
135. Refrenger (Per Lindqvist och Lily Berglund med Gastarna)
136. Calcutta (Bob Ellis)
137. Förr i Värla (Bondlåt från Jämtland) (Mari Ade)
138. Ala carte (Hans Alfredson)
139. Han är äntligen äntligen min (Lily Berglund)
140. Ulliga krulliga gubbar (Brita Borg)
141. Romantiserad nutid (Povel Ramel)
142. Kanonkungen (Martin Ljung)
143. Karl Nilsson (Povel Ramel)
144. Eld i berget (Sune Mangs)

147. Hässelbysteppen (Brita Borg)
148. Mälardrottningen (Mari Ade)
149. Seglaren (Stig Grybe)
150. Sverigebruden (Birgitta Andersson)
150. Fötter reklamskiva för Skoströms (Birgitta Andersson)
151. Viking (Martin Ljung)
152. Die Borg (Brita Borg)
153. Den gamla restauranttrion (Povel Ramel, Brita Borg och Oscar Rundqvist)

155. Tindrande barnaögon (Ann-Cristin Ek)
156. Det gamla julkortet (Almstedt-Lind-kvintetten)
157. Tror du på kärleken (Git Skiöld)
158. En liten turistflamenco
159. 55:an Olga (Martin Ljung)
160. Roban (Stig Grybe)
161. Fräckisar (Lissi Alandh och Åke Söderqvist)
162. Sänd på dej (Michael B Tretow)
163. Ta av dig skorna (Povel Ramel)
164. Karls död (Bertil Nelhans)
165. Förvånansvärt (Mikael Ramel)
166. Den sista jäntan (Monica Zetterlund)
167. Håll musiken igång! (Monica Zetterlund - Povel Ramel)
168. ur musikalen Milda makter
169. Kristallen den fina (Kvintetten Olsson)
170. Farbror Olsson (Kvintetten Olsson)

Källor
Knäppupp på Svensk mediedatabas

Externa länkar
Knäppupp på Discogs
Bilder på KNEP 1 - 49   (1954-1958)

Skivserier
Knäppupp


text:
Jail tower proposed by New York City officials
By Jonathan Hilburg (@jhilburg) • August 6, 2018
80 Centre Street, the site of the proposed jail tower (Courtesy Google Maps)
As part of the plan to close Rikers Island by redistributing inmates to smaller jails across four of the five boroughs, the Daily News reports that city officials are looking to build a 40-story jail tower at 80 Centre Street in Lower Manhattan.
Perkins Eastman, along with 17 subcontractors, has been tapped to redesign the smaller community-oriented jails in each borough and orient the new developments toward a rehabilitative model. New York City Mayor Bill de Blasio's office had released a list of preferred community-chosen locations in each borough back in February, but ran into opposition with their sites in the Bronx.
Now the plan for the Manhattan location appears to have changed as well, as the city is looking to top the nine-story 80 Centre Street with a jail tower that could contain affordable housing.
The initial location in Manhattan, an expansion of the Manhattan Detention Complex at 125 White Street, was deemed infeasible for the number of inmates that would need to be housed. Rikers currently houses 9,000 inmates, but the city is hoping to cut that number to 5,000 through bail and sentencing reform and distribute the population throughout the new sites.
Closing the jail has been the goal of vocal activists for whom the facility embodies gross abuses of the criminal justice system. Mayor de Blasio has recently come to support the push for closure.
If the jail tower moves forward–80 Centre St. is one of two sites under consideration–the 700,000-square-foot Louis J. Lefkowitz State Office Building would be gutted and the preserved facade would serve as the tower's base. The granite, art deco building is currently home to the marriage bureau, and was completed in 1930 and designed by William Haugaard; according to the city's official building description, Haugaard kept the building squat to avoid casting shadows on the nearby courthouses and Foley Square.
The jail's vertical shape would mean that men and women would need to be separated on different floors, as would the hospital area, outdoor space, recreation areas, and classrooms. AN will follow this story up as more details become available.
Jonathan Hilburg (@jhilburg)
Web Editor, The Architect's Newspaper
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