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This Is Not An Article - How Journalism Has Gone Post-Modern
"Plaster Surrogates" by Allan McCollum
Oh Paris - Pompidou Centre
SwitzerlandSourcesSocietyLE TEMPSCountries
Jonas Pulver
-Essay-
GENEVA - Have you ever heard of Dan Rollman? If so, you are spending way too much time on your computer – just like me.
Dan is a Canadian native who now lives in New York and works in media. On May 28, he caught the attention of Internet addicts when he went viral with a nicely packaged little nugget: a tweet of a vine of an Instagram of a Tumblr post of a Facebook post of a tweet. "Supercalifragilisticexpialidocious" as Mary Poppins would say.
This is a tweet of a Vine of an Instagram of a Tumblr post of a Facebook post of a tweet: https://t.co/eSRouKly3a
— Dan Rollman (@snerko) May 28, 2013
Rollman says he created an "Inception-esque tweet that integrates all major social media platforms." On Vine, users can share 6-second video clips, while Instagram and Tumblr are fixed image platforms. He created a communications tumble and roll, an origami folding on itself, a tweet (-y bird) chasing its own (feathered) tail. A Droste effect pointing at the accumulation of social networks, and showing that while these platforms allow us to share information, they also result in its circularity.
"This is a tweet," Dan writes brazenly. His crypto-artistic confidence is somewhat reminiscent of ready-made art, and French artist Marcel Duchamp. Who knows, surrealist Magritte might even have replied, "This is not a tweet".
Have you ever heard of Allan McCollum? If so, you must be spending a lot of time in museums – at least more than me.
I found out about this American artist on my last visit to the Pompidou Museum in Paris. One of McCollum's creations is exhibited in the 1980s section. It consists of a multitude of little black canvases in framing mats. Typically the kind of work that people allergic to conceptual art would hate, but which turns out really interesting and significant once you have read the explanatory notice (which was very helpful in this case).
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Shapes by Allan McCollum - Photo: Lian Chang
Plaster Surrogates (1985) offers to replace paintings with castings of paintings, which are then reproduced on a large-scale basis, in order to question inspiration, artistic reference and remaking, art after art. It highlights the dialogue between plastic creation and everyday objects, institutional art and industrial products. In other words: "This is not a painting."
Writing about a tweet of a Vine of an Instagram of a Tumblr post of a Facebook post of a tweet in a newspaper (or on the newspaper's website), is like exhibiting a multitude of "fake" paintings with no "real" image in an art museum. At first, you're not sure that you understand, but then, with explanations and context, the whole thing suddenly springs into focus.
In the 21st century, most journalists do not create content anymore, they are more like curators, like those guys at the Pompidou Museum who write the explanatory notices on artworks. Nowadays, the world of media is expanding in multiple directions, becoming faster and volatile as any user can share information through networks.
Consequently, the added value of journalism not only lies in the (verified) facts, but now also depends as much on how they are connected to each other, put into perspective. Being critical about the facts is now as important as reporting them – in content as in form alike. In a nutshell: journalism has become postmodern.
Charlotte Fichou
Based in Lausanne, Le Temps ("The Times") is one of Switzerland's top French-language dailies. It was founded in 1998 as a merger among various newspapers: Journal de Geneve, Gazette de Lausanne and Le Nouveau Quotidien.
"Splendid" Colonialism? Time To Change How We Talk About Fashion And Culture
A lavish book to celebrate Cartagena, Colombia's most prized travel destination, will perpetuate clichéd views of a city inextricably linked with European exploitation.
At a market iIn Cartagena, Colombia
Ricardo Gomez Angel
SocietyEL ESPECTADORSourcesfeatured-postColombiaCountries
Vanessa Rosales
BOGOTÁ — The Colombian designer Johanna Ortiz is celebrating the historic port of Cartagena de Indias, in Colombia, in a new book, Cartagena Grace, published by Assouline. The European publisher specializes in luxury art and travel books, or those weighty, costly coffee table books filled with dreamy pictures. If you never opened the book, you could still admire it as a beautiful object in a lobby or on a center table.
Ortiz produced the book in collaboration with Lauren Santo Domingo, an American model (née Davis, in Connecticut) who married into one of Colombia's wealthiest families. Assouline is promoting it as a celebration of the city's "colonial splendor, Caribbean soul and unfaltering pride," while the Bogotá weekly Semana has welcomed an international publisher's focus on one of the country's emblematic cities and tourist spots.
And yet, use of terms like colonial "splendor" is not just inappropriate, but unacceptable.
I was born and raised in Cartagena de Indias, once a thriving entrepot of goods and slaves, and carry it inside me even if I no longer live there. On a recent visit, I could see a city that is both intact and injured, if not battered, by "development."
The enduring legacy of colonialism
Even from a distance, I have never ceased to observe Cartagena with critical intensity. And no observer could miss an intrinsic ugliness behind its surface beauty, which, for me, relates specifically to the colonial legacy.
The splendor is that of human resilience.
Its signs are everywhere. The churches are a vestige of a process in which a faith imposed itself on a territory, robbing millions of people of their most intimate beliefs and private freedom. The cross was bloody from the start, and the city's very name indicates the grandest of colonial ventures.
Colonialism is etched on the coast's ethnicity and physiognomies — or the "pretty faces of my black people" celebrated in Ismael Rivera song Las caras lindas. The statue of the city's founder (the conquistador Pedro de Heredia) is testimony to Spain's resolve to conquer and impose its ways.
Cartagena's colonial trail cannot be separated from the physicality of the millions of Africans enslaved over two hundred years. Their specter hovers over the city and constitutes its spine. The colonized territory is a land of redefinitions, but also of compromise and resistance. In the mixing of populations, hybridity and the disobedience it supposed, there is splendor: that of human resilience.
Johanna Ortiz's new book, "Cartagena Grace"
The regime of the visible
But what about colonial splendor? I like the word, which describes a splendid, shining quality. It sounds beautiful, and playful. The sociologist and critic Edward Salazar has observed that the processes around clothes making are also an interplay of historical wounds and aesthetic construction. You could say the same of other arts and see Latin America's aesthetic and artistic output as precisely a vast process of negotiation between the pain suffered and the splendor that emerged in spite of it.
Is there anything splendid in the achievements of colonialism? Its arts and architecture convey abundant prosperity, but inevitably, at the expense of hidden elements. The colonial order — which endures in the modern socio-economic system — is the "regime of the visible," says the academic Rolando Vásquez. The colonial period meant exploitation, pain and indignity for millions of subjects, and let us not deceive ourselves into considering it past history.
Exploitation, an essential part of the colonial order, endures in modern and far less aesthetic manifestations than 18th century architecture. In Cartagena, it has duly reinvented itself.
The city is a playground for the rich in this country and the gringos and Europeans who come seeking the beach, the sea and, why not, some "exotic" females. A more-than-favorable exchange rate makes this exercise of power possible.
Splendor for whom?
Where is the splendor today? In the city's ring road or the shantytown districts removed from the old quarter, where all the "fantastic" stuff happens? If the regime of the visible in Cartagena consists of colonial homes in pastel colors, flowered balconies, opulent parks and dreamy beaches, what is the splendor hiding?
What are the city's services like, and how are they linked to its geography? Are there links between services and skin color? Who rakes in the millions of dollars glamorous tourism pours into the city every year? Is it good for the city and its residents that people should see it as a place where you can 'let your hair down' and do as you please? "Splendor, for whom?" local activist Teresa Asprilla recently asked online.
Exoticism is crucial to the colonial mindset.
I would consider two issues here: one, that the idea of splendor is not the right word for the city and its heritage, and two, that design and production of clothes cannot be restricted to the fashion concept defined in Europe and the United States.
I studied fashion in New York, where I realized as a Latin American woman, that the fashion paradigm constituted, like so many areas, a way of seeing and understanding other contexts.
It can foment its own "orientalism," to cite the academic Edward Said's term regarding Western literature and written analyses. It broadly means the subjective "fixing" of others.
This subjectivity will, inevitably and thankfully, prompt reactions, which has led myself and others to consider what fashion and clothing can mean in a regional cultural context. Exoticism is crucial to the colonial mindset. Like the orientalist outlook, it likes to see "the other" as exotic.
Colonialism is also patriarchal: the colonial world may be a place of freedom and adventure, but only for some (white males?). Indeed, the subjection of "exotic" or "peripheral" regions is partly undertaken through the definitions and redefinitions that abound as part of the West's "epistemic arrogance." The "center" and "periphery" debate in politics and developmental studies can thus encompass fashion, tourism and culture, as components of the global economy.
The trap of self-exoticization
It is interesting to see how and why Latin American and even African designers willingly adopt Western exoticism as a sales strategy and to validate themselves inside the "centrist" narrative, which here means the international fashion circuit.
In fact, fashion, cloth-making or couture, if we prefer the French term's tailoring nuance, can choose to transcend the ephemeral and disposable, the branding imperative, exercise of power, and the exploitation and waste production that mark the fashion industry. The modernizing discourse is both arrogant and forcefully binary, with contrasts like history/tradition, fashion/folk styles, center/periphery etc.
In it, fashion is perforce modern and innovative, idolizing desirability and fueling it with constant change and a belief that its only valid source is the West. Anything outside is "ancestral," local' or, well, old-fashioned. It relates to the "unfashionable" world of arts and crafts..
Anthropologist Angela Jansen has identified "self-exoticization" as a powerful marketing tool working both at national and international levels. Nationally, she says, it provides the "local flavor" absent in foreign brands, and abroad, an exotic flavor to catch the foreign eye.
But she also sees its trap, as marketing the local style is tied to cultural differentiation, which is precisely an obstacle to entry into the community of international designers. These usually seek freedom from all restrictions, including cultural ones, on design.
Saul Mercado
Fashion can be political
A decade ago, I myself proposed a critique of local styles sometimes termed Caribbean chic. Dresses worn in the city's dancing festivals are beautifully ornate, even reminiscent of the extravagant outfits of such festive figures as Carmen Miranda. But who are they for? What kind of women should don such elaborate outfits?
Fashion can be political, for the imagery it projects.
Social class is a constant tension in Colombian fashion, and Caribbean chic is certainly not without its class (and race) overtones.
Yet, I believe that a critical view of fashion means accepting the uncomfortable reality of its simultaneous aspects. Johanna Ortiz has enjoyed a decade of global success and shown us that fashion can be political, for the imagery it projects. Her political contribution is to have helped change the image of Colombia as a land of drug lords and violence. With her, Colombian fashion began to enjoy global visibility.
This shows the cultural strength of fashion, which can help entire communities revise their self-image. In a cultural departure, Colombians began to dress in such a way as to honor their identity. And celebrations of the Caribbean style may have contributed to this, but at a cost.
With projects like Cartagena Grace, who is admiring the city if not the élites of Colombia and wealthy travelers? And that is when culture and fashion help perpetuate the colonial perspective — the view from the five-star balcony! Is that what brands like Johanna Ortiz wish to fix with the word "splendor"?
Redefining splendor
The debate is far from concluded, but fashion should know it can break the rules. It needn't equate clothing and stylization solely with the fashion world we know. We can always redefine splendor. There is an abundance of splendor in Latin America, utterly alien to the dictates of Western fashionability.
Our splendor is in our resistance, even if certain labels remain wedded to beauty as a big-business product rooted in Western modernity. Fashion can be more than a fad: it can be a posture in life, critical attitudes, culture, politics and meaning.
There is splendor when design, art and heritage become an opportunity to picture another world, beyond the one that has reached its point of exhaustion.
No Mercy For Conquistadors, But We Can Let Their Statues Stand ›
The Folly Of 'Degrowth' Economics — A View From The Global South ›
Colonization of Colombia – Colombian History - don Quijote ›
Colombian Culture - Core Concepts — Cultural Atlas ›
Colombia — History and Culture ›
Alidad Vassigh
The oldest newspaper in Colombia, El Espectador was founded in 1887. The national daily newspaper has historically taken a firm stance against drug trafficking and in defense of freedom of the press. In 1986, the director of El Espectador was assassinated by gunmen hired by Pablo Escobar. The majority share-holder of the paper is Julio Mario Santo Domingo, a Colombian businessman named by Forbes magazine as one of the wealthiest men in the world in 2011.


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LifestyleChevron Right IconHuman Interest
Meghan loses first round of privacy claim
Published: 01/05/2020 Updated: Friday, 1 May 2020 10:15 PM GMT+10
Meghan is suing Associated Newspapers over articles its Mail on Sunday newspaper printed in 2019. Credit: AP
A London court has thrown out part of the privacy claim brought by the Duchess of Sussex in her legal action against a tabloid newspaper for breaching her privacy.
Meghan is suing publisher Associated Newspapers over articles its Mail on Sunday newspaper printed in February last year that included parts of a letter she had sent to her estranged father, Thomas Markle.
At a hearing last week, the paper's lawyer argued that allegations it had acted dishonestly and had stoked the family rift should be removed from the case along with references to other articles about the royal that Meghan says were false.
"I agree that all three categories of allegation should be struck out of the Particulars of Claim," High Court judge Mark Warby said in his ruling on Friday.
Lawyers for the duchess say the publication of her letter by the paper was a misuse of private information and breached her copyright. They are seeking aggravated damages.
As part of the claim, they had accused the Mail and other tabloids of harassing, humiliating and manipulating Thomas Markle, and contributing towards a fallout between him and his daughter.
The two have not spoken since her glitzy wedding to Prince Harry in May 2018.
The paper rejected the allegation it had acted dishonestly or maliciously by publishing extracts of the letter she sent her father in August 2018 and said it was "remarkable" the claim about the treatment of Markle had been made without the duchess having contacted him to see if he agreed.
"Today's ruling makes very clear that the core elements of this case do not change and will continue to move forward," said a spokesman for Schillings, Meghan's law firm.
"The Duchess' rights were violated; the legal boundaries around privacy were crossed. As part of this process, the extremes to which The Mail on Sunday used distortive, manipulative, and dishonest tactics to target The Duchess of Sussex have been put on full display."
Meghan and Harry are now living in the Los Angeles area after stepping down from their royal roles at the end of March.
The case will still go on to a full trial but no date for it has yet been set.
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If This Is Monday, It Must Be Time for Another 'Death of Blogging' Story
Posted on | February 21, 2011 | 33 Comments
A few weeks ago, it was "The End of Blogging." Now the New York Times offers the latest reiteration of this year's hot meme, "Blogs Wane as the Young Drift to Sites Like Twitter":
Like any aspiring filmmaker, Michael McDonald, a high school senior, used a blog to show off his videos. But discouraged by how few people bothered to visit, he instead started posting his clips on Facebook, where his friends were sure to see and comment on his editing skills.
"I don't use my blog anymore," said Mr. McDonald, who lives in San Francisco. "All the people I'm trying to reach are on Facebook."
Blogs were once the outlet of choice for people who wanted to express themselves online. But with the rise of sites like Facebook and Twitter, they are losing their allure for many people — particularly the younger generation. . . .
Former bloggers said they were too busy to write lengthy posts and were uninspired by a lack of readers. Others said they had no interest in creating a blog because social networking did a good enough job keeping them in touch with friends and family.
Blogging started its rapid ascension about 10 years ago as services like Blogger and LiveJournal became popular. So many people began blogging — to share dieting stories, rant about politics and celebrate their love of cats — that Merriam-Webster declared "blog" the word of the year in 2004. . . .
Blogs went largely unchallenged until Facebook reshaped consumer behavior with its all-purpose hub for posting everything social. Twitter, which allows messages of no longer than 140 characters, also contributed to the upheaval. . . .
Kim Hou, a high school senior in San Francisco, said she quit blogging months ago, but acknowledged that she continued to post fashion photos on Tumblr. "It's different from blogging because it's easier to use," she said. "With blogging you have to write, and this is just images. Some people write some phrases or some quotes, but that's it." . . .
Toni Schneider, chief executive of Automattic, the company that commercializes the WordPress blogging software, explains that WordPress is mostly for serious bloggers, not the younger novices who are defecting to social networking. . . .
"There is a lot of fragmentation," Mr. Schneider said. "But at this point, anyone who is taking blogging seriously — they're using several mediums to get a large amount of their traffic."
(Via Memeorandum.) So what is being explained in this week's "Death of Blogging" story is that people who just want to post videos or photos or whatever, for a readership composed primarily of their personal friends, are using Facebook or Twitter instead of blogging software. But casual cat-blogging and social networking (i.e., creating a personal site to tell your friends what's going on in your life) have nothing to do with the kind of news/politics/current-events aggregation, commentary and citizen journalism that made "blog" the Word of the Year in 2004.
If blogging is dead, how come the traffic at this blog keeps steadily increasing? Shameless blogwhoring, that's why. Schneider's comment about "using several mediums to get a large amount of [blog] traffic" is something I've been doing from the get-go. This post will go out via Twitter and Facebook, and there's a "share" function at the bottom where readers can send it to their own networks.
But I'll also use that Web 1.0 technology, e-mail, to send the link to Instapundit, whose blog is neither dead nor on the wane.
UPDATE:Dan Riehl says:
The [New York Times] wants blogs to go away so badly, they consistently look for ways to suggest that's the case. Having been out here for 7 years, the reality is, they are doing better than ever. The medium is simply maturing.
An analogy about "wheat" and "chaff" might come in handy here. Dan links Scott Rosenberg at WordYard, who says:
The technology press has been keen on the "blogging is dead" (or "dying") meme for some time now, but it's tough to find actual data or evidence supporting the notion.
As with previous iterations of this meme, a lot hinges on what you mean by the term "blog." The New York Times seems to be using a rather narrow, specific meaning — a personal site using blog software — when that definition doesn't fit, for example, Red State or Hot Air. If there is less blogging about "look at these silly pictures of my kitten" because Facebook is now getting the silly-kitten-photo action, OK. But that's not "the Death of Blogging."
I'm looking forward to "The Death of 'The Death of Blogging' Articles."
UPDATE II: Welcome, Instapundit readers! Refutation is so easy.
UPDATE III: Bruce McQuain at Q&O gives the NYT a good pimp-slapping.
Category: Blogging
'Gender Equality,' World Cup Edition
In The Mailbox: 07.12.19


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MUSIC TECTONICS
Client Press Kits
DASH TWO
Make Press Inquiry
DASH TWO is a media buying agency based in Los Angeles, delivering expert solutions for the music and entertainment industries. DASH TWO specializes in online and outdoor physical spaces, usually connecting the two, with campaigns including social media ads, PPC help, video creation and outdoor campaigns utilizing billboards, bus benches, ...
and wild postings in high traffic areas. Their proven approach to media buying is both simple and powerful, grounded in collecting and analyzing relevant data. With a keen understanding of what the numbers are telling them, they proceed to collaborate closely with clients – continually checking, rechecking and refining to optimize campaigns at every possible opportunity.
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812-339-1195 x 206
The Complete Guide to Marijuana Advertising Laws
Every day brings new questions about the legality of marijuana in different states — the drug remains a schedule 1 substance at the federal level, but 11 states have made weed fully legal, and another 22 allow it for medical usage. So it figures that, with the legal status of cannabis in flux, the regulations regarding cannabis advertising change all the time.
It can be difficult to stay up to date on regulations, especially for boutique dispensaries just getting into the business that...
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07/10/201907/10/2019, The Complete Guide to Marijuana Advertising Laws
Every day brings new questions about the legality of marijuana in different states — the drug remains a schedule 1 substance at the federal level, but 11 states have made weed fully legal, and another 22 allow it for medical usage. MORE» More»
It can be difficult to stay up to date on regulations, especially for boutique dispensaries just getting into the business that want to spread the word about their product but aren't sure how to get started or where to even look for guidelines.
We have you covered. We've put together this guide on marijuana advertising laws, which we'll update regularly to ensure you have the latest information. Still have questions? You always can contact us to ask.
Who Determines What's Legal for Marijuana Marketing?
State regulators generally determine laws regarding cannabis advertising. However, not every state has set up such laws. The rate of legalization is outpacing many states' preparedness — they may not have addressed any questions of advertising legality, which means policies will be set via individual case precedent.
For instance, after a billboard in Maryland depicted Michelangelo's Adam smoking a jay, state legislators enacted new standards for pot advertising. Up until then, it was relatively unregulated.
What Regulations Have States Placed on Marijuana Advertising?
Many states model their marijuana advertising laws after already-existing ones governing alcohol advertising. One major consideration is exposing kids to advertisements for controlled substances, including marijuana.
When Colorado became the first state to legalize marijuana for recreational usage in 2014, the state stuck with a guideline the alcohol industry has used for self-governing — no advertising on television programs, radio stations, websites or print publications where the audience includes more than 30 percent of people under age 21.
What Happens to Advertising That Can Be Viewed Across State Lines?
This is an area the states are still working through. It's complicated.
Since marijuana is banned at the federal level, you won't see any national advertising for the substance — i.e., you can't take out an ad in a national sports publication for cannabis because it would probably get the magazine into a mess with federal regulators.
Other regulations vary according to what states the ads will be seen in. You can buy an ad for a dispensary in many magazines that only target Colorado readers. But you can't buy one in a magazine that will be distributed across state lines. Colorado law explicitly states cannabis sellers cannot target people out of state.
How about advertising in a state that has not legalized marijuana for a dispensary located in a state where marijuana is legal? This, again, is tricky and will likely come down to a court challenge some day.
A controversial billboard in Connecticut, where recreational pot use is illegal, reminded travelers that in nearby Massachusetts, they can use it legally. Groups protested the billboard, but it wasn't removed. Some state legislatures are putting such items on their agendas for future sessions — so you can be sure there lobbying dollars will flow there.
Safety Claims Closely Monitored
Whatever type of cannabis advertising you engage in, from online to billboard, there is one regulation that remains consistent no matter what state you choose to advertise in, and that's regarding safety.
You cannot make false claims about your product's safety. You cannot imply the product does things it can't deliver. You cannot mislead people about the effects of marijuana. Every state monitors for these things, and violating such guidelines could lead to fines or being blacklisted by a media company.
Other safety-based regulations in advertising:
No promoting "over consumption" of marijuana
No claiming unproven curative effects of the drug
In some states, posting advertising without a list of possible side effects (i.e., may be habit-forming), much like with tobacco advertising
Will Every Media Property Accept Marijuana Advertising?
No. TV stations, magazines, newspapers, websites and billboard vendors can decide whether they want to accept cannabis advertising dollars.
Rejecting them has not, so far, been proven to violate free speech or any other regulations. So if you try to advertise with a brand whose audience doesn't quite line up with your target, don't be surprised to receive a rejection. (The NFL famously refused a cannabis ad for the Super Bowl; the league has strict policies regarding player marijuana usage.)
Individual State Laws for Cannabis Marketing
Colorado, California and Washington are three of the most prolific states to legalize marijuana, and all have posted rules governing its advertising. Here's the rundown on their current rules, but make sure to check back often, as regulations evolve quickly within new sectors like pot advertising.
What Are Colorado's Pot Advertising Restrictions?
Since Colorado was first to legalize pot, it remains ground zero for the industry. Many things that happen in Colorado wind up imitated in other states. The Marijuana Enforcement Division of Law Enforcement enacted some strict limitations on advertising, including:
No outdoor signage of any kind
No mobile or otherwise location-based advertising
No unsolicited internet pop-up ads
No banners on mass-market websites
No unsolicited leaflets or handbills
What Are California's Laws Governing Cannabis Advertising?
California has the largest economy of any state where cannabis has been legalized. It's attracting a big share of the advertising dollars in the sector, so you should understand the guidelines governing weed marketing in the state. Here's a rundown on regulations in California, which went into effect in January 2019:
TV, digital, print and radio ads for marijuana can only run if at least 71.6 percent of the audience is over 21
Cannabis advertisers cannot include imagery that would attract minors, such as movie or cartoon characters (in other words, SpongeBob can't be your celebrity spokesperson)
No giving away freebies or promoting contests tied to cannabis
Billboards on highways cannot be closer than 15 miles to the border or 15 miles to another state (this is designed to avoid the aforementioned type of controversy seen between Connecticut and Massachusetts)
What Are Washington's Marijuana Advertising Laws?
The Washington State Liquor and Cannabis Board has a comprehensive listing of what's OK and what's not in marijuana advertising:
Hiring agencies to promote videos and using search options like Google Ads is permitted
No advertising on public transit or in shelters
No advertising on publicly owned property or within 1,000 feet of places frequented by those under 21, such as schools or playgrounds
No sign spinners, costumed provocateurs or other people advertising on the streets to bring attention to a business; no inflatable tubes, either
No wrapped vehicles
Direct mail is OK as long as you don't include coupons
Billboards are allowed, though they cannot use certain words or imagery, such as leaf or joint
Keep Up With the Latest on Cannabis Advertising
Marijuana regulations governing cannabis marketing will change and evolve as the marketplace grows and more states approve it for recreational usage. Stay informed by checking back with us periodically for the latest updates.
07/03/2019, 7 Do's and Don'ts of Cannabis Billboard Advertising
07/03/201907/03/2019, 7 Do's and Don'ts of Cannabis Billboard Advertising
7 Do's and Don'ts of Cannabis Billboard Advertising
Cannabis billboards. You've probably seen a few of them now, driving around California or one of the other nine states where recreational marijuana use is legal MORE» More»
Appeared in Advertising Week 360
Cannabis billboards. You've probably seen a few of them now, driving around California or one of the other nine states where recreational marijuana use is legal. And if you haven't seen them yet, you will. Billboards advertising marijuana are about to become all the rage, but if you don't navigate these waters carefully, your company can get in trouble.
Cannabis advertising has proven tricky across other media. Putting an ad in a national publication or buying national TV time, for instance, can put an advertisement for cannabis in states where it's still illegal, a major no-no. Billboards, by contrast, make an excellent delivery point. They're localized to one area, enjoy relatively low regulatory oversight, and also deliver a lower CPM than other forms of media.
Media analysts see huge potential in this market. Mark Boidman, managing director and head of media services at PJ SOLOMON, has projected total ad spending on cannabis advertising will soar from $825 million this year to $3 billion by 2025, and out of home is expected to capture 10 percent of that.
Advertising something that's still illegal at the federal level calls for careful rule following, so keep these dos and don'ts in mind as you decide your goals and come up with your vision.
DO: Check Out Local Regulations Before Making a Buy
Like marijuana legalization itself, guidelines vary greatly between states and municipalities. What's legal in one space may not be OK right across the street. Your agency should thoroughly investigate the regulations governing cannabis advertising. Some restrictions you may run into include:
No cannabis ads in areas where most of your audience is likely to be under 21, such as close to a school.
Your license or permit number may need to be displayed on the sign, to distinguish you as a legal dispensary or cannabis information clearinghouse. California's laws, for instance, include this requirement.
You usually cannot advertise if your license is suspended — another rule you'll find in California.
DON'T: Show People Smoking or Other Controversial Images
Many people subscribe to the theory that controversy can sustain a brand, believing the more attention you get, good or bad, the better off your business is. But since cannabis is such a controversial topic to begin with, you don't have to push the envelope any further. In fact, the more conservative you play it, the more effective your ad may be.
You want to come across as a serious business. Showing someone smoking doesn't put you in that space. Focus on your message rather than shock value, and your billboard will resonate with more people.
TL; DR: Don't court controversy just to do it because it could hurt the industry in the long run. This is an emerging field, and as time goes on, people will become more tolerant of more outrageous messages. But not yet.
DO: Be Witty with Your Message
Now, "conservative" doesn't have to mean "boring." You are a marijuana company, after all, and your distinctive personality will make you stand out. Focus on what sets you apart, and pound on that with smart copy and creative.
In some areas, dispensaries have become ubiquitous. Give people a reason to use your store, site or services specifically. What makes you special? It might be:
Staff knowledge
DON'T: Make Claims You Can't Back Up
Most states have strict laws about false advertising. Marijuana can fall into murky area, though, because it's such a new science. Especially in states where it has become legal for medical but not recreational usage, you may be tempted to play up the herb's medicinal powers.
Make sure you don't go too far. Some states, such as Massachusetts, explicitly ban any claims related to therapeutic or curative impact of marijuana. The Bay State also won't allow the promotion of giveaways on cannabis-related billboards. Again, we can't emphasize this enough — always double check local regulations before you move forward with your board.
DO: Consider Your Branding
Especially in these early stages of cannabis commercialization, dispensaries and clearinghouses need to give people a reason to choose them over someone else. This is the perfect time for you to decide what your company is about and what you want to be known for.
Then practice simple rules of branding to emphasize these qualities across platforms. You will want to:
Use the same color palate across all billboards
Include your logo to get people familiar with it
Employ consistent language and messaging across your boards
DON'T: Use Any Visuals That Look Like They're Trying to Appeal to Kids
One area of high sensitivity for cannabis advertising is anything that looks like it's overtly or covertly trying to appeal to kids. Don't employ cute cartoon animals or really young models. Focus on attracting adults and aim well over 21 to be on the safe side.
DO: Keep Evolving Your Messages and Your Delivery
The legalized cannabis industry is in its infancy, and regulations change quickly. There will be a lot of evolution in this area, and today's dos and don'ts may evolve. Staying informed and making changes when you need them is the only way to ensure your company stays current and reaches the greatest number of potential customers.
05/23/2019, LA Agency DASH TWO Wins First OBIE For Beatles' Billboard
05/23/201905/23/2019, LA Agency DASH TWO Wins First OBIE For Beatles' Billboard
LA Agency DASH TWO Wins First OBIE For Beatles' Billboard
LA's DASH TWO, a boutique agency operating at the intersection of digital and OOH ads, has won its first OBIE Award, for its distinctive work on a Beatles' retrospective campaign. This is the agency's first nomination for the nearly 80 year-old honor recognizing the advertising world's strongest players. MORE» More»
LA's DASH TWO, a boutique agency operating at the intersection of digital and OOH ads, has won its first OBIE Award, for its distinctive work on a Beatles' retrospective campaign. This is the agency's first nomination for the nearly 80 year-old honor recognizing the advertising world's strongest players. DASH TWO claimed the silver, facing stiff, established competition.
Winners were feted earlier this week (May 21) in Las Vegas.
"We're thrilled to have our first nomination result in an award," says founder and CEO Gino Sesto. "This industry recognition for the kind of creative work we do every day means a lot to our team."
The winning installation (video here) featured two different sets of content on a large LA-area billboard. The content changed according to the time of day, from a bold, simple announcement of the Universal Music release, to a nighttime display of iconic Beatles portraits. The shifting imagery reflected the overall messaging in the campaign in an intriguing, unexpected visual way.
(More on the OBIE winners here)
"OOH has always been known as one of the most exciting and challenging advertising mediums for design and creativity," said OAAA Chief Marketing Officer Stephen Freitas. "For many creatives, winning an award for OOH design is a true career milestone, and we're excited to honor those deserving of a coveted OBIE Award."
There were 134 finalists for this year's OBIEs.
About DASH TWO
DASH TWO is a media buying agency based in Los Angeles, delivering expert solutions for the music and entertainment industries. DASH TWO specializes in online and outdoor physical spaces, usually connecting the two, with campaigns including social media ads, PPC help, video creation and outdoor campaigns utilizing billboards, bus benches and wild postings in high-traffic areas.
About the OBIE Awards
The OBIE Awards are one of the oldest and most prestigious honors for creative excellence in advertising. The OBIE name is derived from the ancient Egyptian Obelisk, a tall stone structure that was used to publicize laws and treaties thousands of years ago. Many historians consider the obelisk as the first true form of advertising.
Sometimes a simple idea is enough to express an emotion or message. In fact, sometimes a simple idea can be worth an OBIE Award. These winning campaigns need no explanation, and that's exactly why they are OBIE Award winners.
04/30/2019, Why Google, Netflix and Microsoft Believe in Billboards
04/30/201904/30/2019, Why Google, Netflix and Microsoft Believe in Billboards
Why Google, Netflix and Microsoft Believe in Billboards
When Netflix bought about three dozen billboards on the Sunset Strip last summer, people took notice. Netflix is known as an innovator, a ground-shaker. When it makes a move, especially one people didn't anticipate, everyone watches. MORE» More»
Appeared in Outdoor Advertising Association of America
When Netflix bought about three dozen billboards on the Sunset Strip last summer, people took notice. Netflix is known as an innovator, a ground-shaker. When it makes a move, especially one people didn't anticipate, everyone watches.
Turns out Netflix was, as usual, a harbinger of things to come. Over the past year, at a time when so many businesses have beaten a retreat from traditional advertising such as TV and newspapers, tech companies are running in the other direction, toward one particular traditional medium — billboards.
Why? Well, the short answer is because it's effective, but duh…anytime an influx of spending comes in, it's pretty clear that medium is effective.
The longer answer is that tech companies approach advertising differently than other businesses. They aren't blinded by bells and whistles. They're thrilled by data and results. They're thrilled by innovation. They're thrilled by creativity. And out of home (OOH) advertising has all three.
Let's Do the Numbers: Tech Spending on Billboards in 2018
So before we dive into the "why" behind the tech companies' devotion to billboards, let's examine the "what."
OOH advertising ended 2018 on a tear by any standards, but especially using the ones we've become used to judging traditional media by. These days, finishing even to the previous year is like finishing 5 percent up during the early 2000s.
OOH closed fourth quarter with an astonishing 7.2 percent rise in spending vs. the same period in 2017, according to OAAA. That made it the best quarterly gain since before 2008, when the Great Recession hit. Some other highlights:
Apple was the top-spending advertiser in OOH in 2018, the sixth straight year it has ranked in the top two. Netflix and Google finished in the top 10. Amazon and Facebook made the top 15.
A quarter of all top 100 advertisers were from the technology sector, with Facebook and Oculus both more than doubling the previous year's investment in OOH.
Speaking of spending, Netflix is now a billboard owner, but it's keeping all the inventory for itself. You won't see the streaming company leasing space to a nearby fast food restaurant. It knows the value of that real estate and has kept a steady rotation of advertisements for its latest shows coming through. (And with Netflix forecast to spend $15 billion on content this year, it could run a fresh ad every week and never repeat.)
So clearly tech companies are on board with boards. Now let's look at the "why."
OOH Data: Compelling Evidence Supports Billboards' Results
Big data has been the cool thing in all spheres of advertising for years now. There's a reason for that — it works. When you use big data to analyze, say, when people who like chocolate milk will be shopping, you can hit them up with a chocolate milk billboard at the moment they make their decision. It's much more likely your campaign will be convincing if you know that kind of stuff about your target audience.
And OOH has proven adept at relying on this research. Right place, right time ads make a difference. Consider these OOH advertising facts:
OOH is 382 percent more effective at sending people online to learn about an advertiser than TV
OOH generates $5.97 in spending for every $1 an advertiser drops
55 percent of people who've seen a billboard say they were "highly engaged" by its message
Innovation: Ditching Inaction and Embracing Impulse
Tech companies are driven by results. Most began as startups and haven't had decades and decades to get settled into staid patterns of thinking. They are more nimble and flexible than older companies in more traditional spaces.
Lots of tech companies engage in "design thinking," which emphasizes action over endless focus groups and actually engaging with customers. Digital billboards fit perfectly with this mentality.
Digital OOH offers ways to act immediately on new ideas. You just email your creative to the vendor, and boom! You can have a new billboard up in moments.
Design thinking encourages flexibility and versatility, which is another area where billboards (especially digital) shine. Current creative not doing it for you? Swap in something else. You can experiment as you go along and see what's most effective. Netflix has a great opportunity to do this with its billboard buy.
Creativity: Using Old Media in New Ways
If you want to see innovation in advertising creative, you really need to look at OOH. Yeah, we're biased, we're an OOH agency. But really — the stuff people are doing is cool, and it's getting talked about.
Tech companies like generating buzz. They like being seen as innovative. So while billboards are old media, they're not without flexibility. And that's exciting to these brands. Here are a few examples of out-of-the box campaigns they've run in recent years:
Microsoft posted a billboard that disappeared and reappeared through a shadow effect
Apple took over the side of a building in Vegas to spoof the "What happens in Vegas, stays in Vegas" trop before CES in early 2019, gaining loads of attention
A billboard for Google Play streams music based on what's going on around the board; so, for instance, it might play soothing classical music when there are traffic jams on the highway
These are the types of campaigns that get people talking on social media. They not only raise awareness of product, they also give the companies buzz. And in tech, buzz is currency. Consumers want to know tech companies are on the cutting edge in everything they do.
We'll likely see more tech companies join the stampede of OOH advertisers over the next few years. It's fun to see what they come up with without the type of boundaries that often seem to curtail the creativity of more traditional, formal companies.
04/29/2019, The ABCs of Digital Advertising KPIs
04/29/201904/29/2019, The ABCs of Digital Advertising KPIs
The ABCs of Digital Advertising KPIs
KPIs, or key performance indicators, are data points that help you track progress towards business goals and identify areas for improvement in performance. KPIs can relate to the business as a whole or to specific operational concerns, such as sales and marketing. MORE» More»
Appeared in MarTech Advisor
KPIs, or key performance indicators, are data points that help you track progress towards business goals and identify areas for improvement in performance. KPIs can relate to the business as a whole or to specific operational concerns, such as sales and marketing.
For digital advertising, KPIs typically relate to the cost and effectiveness of digital ad campaigns, or to specific customer or prospect behavior—for example, how long it takes on average for your qualified leads to convert into a paying customer, or how many retargeted ad views it takes before a prospect clicks the ad and visits your site.
Why KPIs Are So Useful to Your Business and Its Marketing
KPIs are important for a number of reasons.
First and foremost, accurate and up-to-date information about marketing and advertising efforts lead to better decisions. Things move quickly in digital advertising, and it's important to be able to try things quickly when necessary, in order to remain agile and responsive to market changes. Armed with current data and information about the performance of your current ad campaign, you can shift more money and effort into the tactics that are producing the best results and away from underperforming contexts.
Secondly, the things that you measure on a consistent basis tend to get more of your time and attention. This ultimately leads to better results as well.
Finally, tracking KPIs in your digital advertising program helps you replicate successes in the future while simultaneously avoiding past failures. Data points that illuminate the specific steps taken in past successful campaigns can then be integrated into future ones for an improved shot at those same results, or better.
Implementing KPIs and (crucially) sharing them with key personnel helps your marketing and sales teams improve their own work performance, optimize your ad campaigns, and ultimately close more sales to realize greater profits.
Specific KPIs to Monitor in Your Digital Advertising & Marketing Program
As a method of data collection and analysis, KPIs are essential tools for businesses of all sizes. Yet not all metrics are right for all businesses. In KPIs as in advertising, there is no one-size-fits-all solution. Your KPIs must be selected based on your industry, your marketing strengths and opportunities, and most of all your company's goals.
That being said, several KPIs in the area of advertising and marketing provide valuable insights for many businesses. Consider whether these metrics help you get closer to your own business goals. These aren't the only KPIs you can track, of course. However, many small business advertisers find these particular metrics a good place to start.
Your conversion rate is simply the percentage of all people who clicked on your ad, who then took the specific action you want them to take. That action might be signing up for your email list, signing up for a free trial of your product or service, or making a purchase.
The conversion rate, expressed as a percentage of the total number, gives you a picture of how effectively your landing page delivers on the promise made in the ad itself. If there is a tight fit between the ad copy and the content of the page that ad leads to when a user clicks on it, your conversion rate should be fairly high.
The formula for CR is pretty straightforward. First, divide your total number of conversions (however that's defined for the campaign or ad in question) by the total number of clicks that ad received. Multiply that result by 100 to express as a percentage.
Represented visually:
Number of Conversions / Number of Clicks) x 100 = Conversion Rate
The ROI of any marketing plan or campaign is a straightforward illustration of what you're getting in return for the expenditures for that campaign. For example, if you're analyzing the ROI of an ad campaign, you're calculating how much revenue you can expect from each dollar you spend on the campaign.
The biggest issue in calculating ROI is specifying which costs should be taken into account in the formula. Clearly, the actual fees your business pays to the display network or ad platform are counted. But what about the fee you paid the ad copywriter? Should you include the licensing fee you paid for the use of the stock images? For the clearest and most accurate data, most experts suggest including all costs directly attributable to the campaign—so, yes, factor in the copywriter and the stock images.
To calculate your ROI, simply add together all your costs for the campaign in question, then subtract those costs from the revenue attributable to the campaign. Divide that result by the total costs of the campaign to reach the final figure.
(Campaign Revenue - Campaign Costs) / Campaign Costs = ROI for Campaign
Cost per Acquisition (CPA)
Another way to evaluate the effectiveness and cost of your ad campaigns is to track the Cost per Acquisition KPI. This KPI measures how much it costs your company in dollars to acquire a single new customer.
This isn't the same as ROI, of course, which measures the revenue generated by your investment into a specific campaign. Here, we're looking at how much money it's costing you in this specific campaign to gain one new customer. If that result is too high, your campaign is less effective, and you'll want to make adjustments to lower the campaign costs or increase the number of customers gained.
The CPA calculation starts with the total campaign costs—that is, the amount in dollars your company spent to acquire new customers through that campaign—and divides it by the total number of new customers gained through that campaign.
Total Campaign Cost / Total Number of Customers Acquired Through the Campaign = Cost per Acquisition ($)
Lifetime Value (LTV)
Customer Lifetime Value (CLV or LTV) is a KPI that takes a view extending beyond the active life of a specific advertising campaign. It measures the value to your company of a single customer over the entire course of their experience with your brand.
From the first purchase all the way through to the last, each customer's value to your business reflects back a metric that helps you determine how well you're holding on to existing customers, as well as to what extent they'll keep coming back. In a sense, it's also a measure of customer loyalty.
The formula for LTV is reflected in two sequential equations:
First, multiply the value of the customer's average purchase by the average purchase frequency rate to arrive at your customer value metric.
Next multiply customer value by average customer lifespan for the LTV.
Average Customer Purchase x Average Purchase Frequency Rate = Customer Value
Customer Value x Average Customer Lifespan = LTV
What About Click-Through Rate (CTR)?
One of the first KPIs to be tracked seriously in the early days of digital advertising, CTR doesn't really relate to your business's fiscal or operational health. In that sense, it may on occasion fairly be termed a "vanity" metric.
Simply put, your CTR in and of itself doesn't reflect any action you want your prospective customers to take. It's far more effective to put energy and attention towards tracking KPIs that reflect actual value to your company, whether that's an impact on profits, revenue, or cost of acquisition.
Choosing KPIs
It's crucial to begin the KPI process by formulating and committing to specific, measurable goals. Those goals can then help you identify the KPIs you want to track. Keep in mind that each KPI is designed to show you the progress your company is making towards those goals.
Once you've selected KPIs to track, you can then start the process of pinpointing how the metrics will be tracked, analyzed and reported. Many CRM programs and marketing analytics solutions will help you process the raw data and represent it in a visually compelling and easily understood way.
04/15/2019, Multifaceted Ad Exec Lauren Berkowitz Joins LA Digital and OOH Agency DASH TWO
04/15/201904/15/2019, Multifaceted Ad Exec Lauren Berkowitz Joins LA Digital and OOH Agency DASH TWO
Multifaceted Ad Exec Lauren Berkowitz Joins LA Digital and OOH Agency DASH TWO
Lauren Berkowitz has joined DASH TWO's LA office, bringing a broad range of experience to the boutique digital/OOH agency. MORE» More»
Lauren Berkowitz has joined DASH TWO's LA office, bringing a broad range of experience to the boutique digital/OOH agency. Berkowitz knows the business inside and out, from publisher ad sales to selling OOH in 280 airports at Clear Channel. Berkowitz has also held positions at Motor Trend Group, American Media, Inc., Adknowledge, Brite Media, & Rouge Media, where she managed sales and the team responsible for the non-traditional OOH media company's Campus Network.
One element of the work connects it all for Berkowitz: "I've always had a passion for solving problems, for creativity. A client comes to me with a need and I get to come up with a solution."
DASH TWO's diverse clients, from fashion and beverages to music and entertainment, mean Berkowitz and her colleagues need to see the entire ad and media landscape when successfully executing campaigns. "This is a unique opportunity to marry all my worlds into one," says Berkowitz. "My approach can be very recommendation oriented, not just about sales or media buys. I get to work with digital and print and billboards, everything. In my past positions, I was always having to go find the answer if I didn't know it. I love that, and it allows me to provide outstanding advice to our customers."
"With DASH TWO's recent growth spurt, Lauren is the perfect addition to our team to help us catapult to the next level," says DASH TWO founder and CEO Gino Sesto. "Her experience and knowledge of how to maximize the impact of everything from coffee sleeves to mobile ads will help us further improve the top-notch service we offer clients."
Along with its innovative work culture, Berkowitz appreciates the gender balance at DASH TWO. "Many more women are being elevated across the media landscape recently. It's been a male dominated industry for so long," she reflects. "In the LA office we have more women than men. It's an unusual balance, and it's wonderful. In general, we have a great blend of personalities and traits, a real family feeling. It's a great environment."
04/09/2018, Wear that Billboard: Coachella Billboards To Be Recycled into Cool Accessories as DASH TWO and Rareform Team up for the First Time
04/09/201804/09/2018, Wear that Billboard: Coachella Billboards To Be Recycled into Cool Accessories as DASH TWO and Rareform Team up for the First Time
Wear that Billboard: Coachella Billboards To Be Recycled into Cool Accessories as DASH TWO and Rareform Team up for the First Time
That Coachella-themed billboard you just passed on your way to this year's festival? You could soon be wearing it or carrying it. What was once a 14-foot tall sheet of plastic will take on a new life as a surf bag, backpack, or iPhone case. MORE» More»
That Coachella-themed billboard you just passed on your way to this year's festival? You could soon be wearing it or carrying it. What was once a 14-foot tall sheet of plastic will take on a new life as a surf bag, backpack, or iPhone case.
DASH TWO, the creative agency behind the placement for many of the artist billboards that line the road to Coachella, has teamed up with Rareform, a Shark Tank alum that repurposes billboards into unique bags and accessories. More than a dozen DASH TWO placed billboards line the I-10 heading into Coachella, which will provide materials for Rareform to produce thousands of products, from totes to laptop sleeves.
"Coachella generates this big burst of creative advertising," says DASH TWO founder Gino Sesto, "and we always thought it should live on in a new way. We're psyched we can finally work with Rareform to make that happen."
"We're looking forward to extending the life of these billboards by making them into things people can use everyday," adds Aric Avedissian, CEO and founder of Rareform.
With Earth Day (April 22nd) coinciding with the final day of Coachella, the two LA-based companies will be teaming up for the first time. It's perfect timing: The 2018 Earth Day target is to end plastic pollution.
The recycling process has its arty side. Rareform cuts the billboard material then assembles each accessory and bag into a unique piece. No two bags or wallets look alike, and customers can select precisely which one they'd like.
DASH TWO is a media buying agency based in Los Angeles, delivering expert solutions for the music and entertainment industries. DASH TWO specializes in online and outdoor physical spaces, usually connecting the two, with campaigns including social media ads, PPC help, video creation and outdoor campaigns utilizing billboards, bus benches, and wild postings in high traffic areas. www.dashtwo.com
Rareform
Rareform is a Los Angeles-based eco-friendly company that repurposes billboard vinyl into one-of-a-kind bags & accessories, including backpacks, duffle bags, tote bags, surfboard bags, iphone cases, wallets, cycling bags, and laptop sleeves. Their mission is to do good, have fun, and make a great bag, sustaining our playground one billboard at a time. www.rareform.com
03/07/2018, From Wild Posting to Social Media Posts: How Digital Agency DASH TWO Uses Outdoor Advertising to Make Bold Brand Statements
03/07/201803/07/2018, From Wild Posting to Social Media Posts: How Digital Agency DASH TWO Uses Outdoor Advertising to Make Bold Brand Statements
From Wild Posting to Social Media Posts: How Digital Agency DASH TWO Uses Outdoor Advertising to Make Bold Brand Statements
In an age of relentless, singular focus on the digital, DASH TWO flies between the tangible impact of outdoor advertising and wild posting, and the digital resonances these ads trigger in thousands of selfies. The digital and outdoor agency shows clients how to set up this virtuous echo from IRL to screen and back again. MORE» More»
In an age of relentless, singular focus on the digital, DASH TWO flies between the tangible impact of outdoor advertising and wild posting, and the digital resonances these ads trigger in thousands of selfies. The digital and outdoor agency shows clients how to set up this virtuous echo from IRL to screen and back again, using ad techniques as old as the printing press and as fresh as the latest social app.
"Outdoor advertising is a big thing because it's tangible. Digital is intangible," says DASH TWO Founder and CEO Gino Sesto. "With a social media post, you might see it or you might not. It comes and goes. People are sick of getting that call from their clients saying never saw their ads. A billboard on Sunset will be there for 28 days. They are two different things, a yin and yang, if you will."
This yin and yang reinforce each other in today's advertising environment. "What we do makes outdoor tie into social. We have had clients who just wanted to be able to post their wild posting or billboards on social media. That was their main goal," Sesto recalls. "Even the models in these ads will go out of their way to take a selfie in front of their own picture. They want to get it up on social media."
To get those perfect posts for clients, Sesto and his team can often be found driving down side streets and through dirt parking lots, scouting out sites to hang an eye-candy mural for a high-end apparel brand or for a European tech company's big US debut. The next day, Sesto and his team might be hanging out with Playboy bunnies in full regalia, posting flyers in memory of Hugh Hefner, or with Janelle Monae in (chic) overalls, gleefully pasting up artwork from Dirty Computer (a recent success, and yes, Monae came out herself to help).
The mix of scrappiness and savvy needed to pull off this kind of campaign comes naturally to Sesto. He grew up obsessed with music, driving hours down California coast to Los Angeles regularly, just to catch a favorite hip hop or rock artist live. When he landed a job at Sony, he found his other passion: the deal. "I love the negotiation, working with the different parties to get the best value," he explains.
He brought this passion into play at music companies and then in the agency world, until the Great Recession hit, and everything changed. He found himself out of a job due to downsizing and thought hard about what to do next. He drew inspiration from his grandfather, who grew up during the Great Depression and never forgot the meaning of a hard-earned dollar despite notable financial success. "He taught me the benefits of frugality," recalls Sesto. "He wasn't into fancy dinners or flashy cars. He watched what he spent and loved life."
This ethos influenced Sesto's own values as he went into business for himself. Tired of the opaque and shady sides of the ad and promo business, he decided that transparency and maximizing small budgets for big impact would be his guiding principles. He had arranged ads of all kinds at his past positions, but found more and more, his clients wanted billboards and other outdoor promo. Really, really wanted it. "You hear this from a lot of entrepreneurs," Sesto says, "but when customers keep asking for something, that's what you learn to do."
Outdoor may sound easy--call a billboard owner, hang a bunch of posters on a wall. But not so fast. "You have to know the site really well, what's around it, what impression it makes. Clients will often have an area in mind, sometimes down to the intersection, but then you have to figure out the logistics," Sesto remarks. Wild posting can get competitive, bordering on cut-throat. DASH TWO has built relationships that run from major media companies to small shop owners in key places. These relationships mean large ad agencies frequently call on the boutique firm to help them implement a wild posting strategy.
The combination of expertise in the physical and digital realms sets DASH TWO apart. "Many of our competitors' core is digital. They are more or less all social," reflects Sesto. "I feel that's a foolhardy way of approaching media because there is so much out there. For lots of brands and other clients, traditional media and social just aren't working. This is why our outdoor business has tripled in the last year or so. People want to expand beyond social media."
People are still engaging with outdoor ads, however, especially in unexpected places or at big, high-energy events like the Coachella Festival, where social media contributes to an outdoor ad's impact. DASH TWO will create several site-specific large-scale ads, as well as get clients on more than a dozen well-placed billboards near the Polo Grounds. "For last year's Lady Gaga mural, fans traveled to take photos," Sesto notes. "It was out of the way, which was exactly what she and her team wanted." It was a destination and an experience, the kind only physical ads coupled with digital media can create.
DASH TWO is a media buying agency based in Los Angeles, delivering expert solutions for the music and entertainment industries. DASH TWO specializes in online and outdoor physical spaces, usually connecting the two, with campaigns including social media ads, PPC help, video creation and outdoor campaigns utilizing billboards, bus benches, and wild postings in high traffic areas. For more information visit www.dashtwo.com
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Ghosts-uk > ONLINE EDUCATION > Miami faculty adapt to online and hybrid teaching; developing tools and techniques that will serve students far beyond COVID-19 pandemic
Miami faculty adapt to online and hybrid teaching; developing tools and techniques that will serve students far beyond COVID-19 pandemic
By Cliff Peale, director of executive communications
Norm Krumpe in the home studio he shares with Jane Keiser (image courtesy Krumpe).
Across all of Miami University's campuses, faculty are changing the way they teach.
In the nursing labs at Miami Regionals, Tina Andrews-Parks used help from the E-campus unit on the Hamilton and Middletown campuses to familiarize herself with SpeedGrader, where she can tabulate and analyze the responses to each question in seconds for her online class. "I won't go backwards to paper testing," she said.
In information systems and analytics, Bob Leonard uses software that enables students to analyze larger data sets in his online courses. "It's going to be great bringing newly developed tools back to the classroom, because students will have that (online) scaffolding in addition to their professor as a resource," he said.
In political science, Monica Schneider has recruited speakers to address her Campaigns and Elections class by video. "Some of these are speakers I would never be able to bring into my class (in Oxford)," she said.
In computer science and software engineering, Norm Krumpe and his wife, math professor Jane Keiser, have set up their own basement studio for online classes, complete with green screen and audio-visual switcher. "I think I'll keep using videos so that classroom time can focus on hands-on activities," he said.
In mathematics, Suzanne Harper uses the interactive whiteboards in Google Jamboard to simultaneously monitor nine student groups in one class, a level of engagement she could not duplicate face-to-face. "I was trying to find a way to mimic that (face-to-face) environment online, with some collaborative spaces they could work in," she said.
Like nearly all universities, Miami transitioned to online learning in the spring 2020 semester when the COVID-19 outbreak hit. Over the summer, faculty tapped resources including eLearning, the Center for Teaching Excellence (CTE) and the Howe Center for Writing Excellence, three groups that partnered to help faculty to learn more about online and hybrid teaching. When the fall semester started online in August and then transitioned to some face-to-face and hybrid classes in mid-September, faculty were ready.
Innovation, care and connection
Suzanne Harper and an example of the Google Jamboards used by student groups in her class (image courtesy Harper).
"Faculty are applying a lot of scrutiny to the way they teach and learn," said Ellen Yezierski, professor of chemistry and director of the CTE. "Students are engaged in some carefully shaped high-quality online experiences. The innovation is great, but it's not enough. The care and the connection are things that have distinguished our faculty, and those are still the most important elements."
The common thread is plain: Miami faculty are adapting to online and hybrid teaching to ensure a commitment to student success that has differentiated Miami for generations. While Miami classes look radically different than they did a year ago, faculty and students are capitalizing on new tools and techniques to serve students, in many cases providing efficiencies or opportunities they did not previously envision.
In many ways, the transformation forced by COVID-19 is accelerating the adoption of innovative and effective teaching practices, such as the "flipped classroom," where group work and lectures take place remotely or online and valuable face-to-face time is reserved for impactful, active engagement with students. In that way, the benefits of this volatile period will extend well past the day when students fully return to Miami classrooms, Provost Jason Osborne said.
"Through the transition to remote learning and now the return to face-to-face and hybrid classes, Miami students and faculty have upheld our exceptionally high standards of academic excellence," Osborne said. "The creativity and innovation we are seeing now will serve students well in the future as we engage even more deeply, both online and in person."
Miami has enabled that transformation with resources to help faculty learn new skills and give them access to technical tools. During the summer, more than 150 Miami faculty participated in either networking or online education sessions through the CTE.
An example of CTE workshops offered this week.
Ryan Baltrip, director of digital learning initiatives and head of Miami's eLearning unit, said there is an ongoing "awakening" among faculty about how technology and new techniques can improve their engagement with students.
Starting in March, eLearning offered training sessions and A-to-Z checklists for online learning. Preparing for fall, eLearning offered classes on the basics of teaching and learning online, as well as one-on-one support for high-priority classes. More than 540 Miami faculty participated.
"They're learning new tools and new approaches," Baltrip said. "The research says that people who go through this kind of learning, it actually improves their on-campus teaching. The secret is, they're focused more on learning about teaching."
The eLearning unit continues to grow, expecting to add six positions to the current staff of nearly a dozen.
The Howe Center for Writing Excellence conducted seminars for faculty members starting in March and extending through the summer on promoting "deep online learning."
"Now that you've had all of this training in how to teach good writing, let's learn how to innovate in an online space," said Elizabeth Wardle, director. "What can we do online that we can't do in person?"
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Leading British investor Neil Woodford's fund firm said on Thursday it backed a takeover of Reynolds American by British American Tobacco , calling the tie-up "inevitable".
The firm's 9.4 billion pound ($11.71 billion) Equity Income Fund, which faced a "challenging October", used a spike in Reynolds' share price to sell out of that firm and reinvested some of the proceeds in its position in BAT.
"Our view is that this deal was inevitable and, although it has happened earlier than we thought, makes a lot of strategic and financial sense. We will be voting in favor of the transaction," the fund said in an update on the firm's website.
The fund was the 7th biggest investor in BAT at the end of July, Thomson Reuters data showed. At the end of October, it had 6.25 percent of its assets invested in the company, Woodford said.
Woodford's view on the deal echoes that of Citi analysts which saw the Reynolds' rejection as a formality and expected the firms to agree on terms next month.
Also in October, Woodford said the fund had sold its position in Swiss pharmaceutical firm Roche , to use the money to increase its investments in other companies including Capita and Paypoint .
At the end of September, Woodford had been the 30th biggest investor in Roche, Thomson Reuters data showed.
The fund lost 1.44 percent in October, the firm said on its website, but remained up 2.4 percent in the year-to-date, with its largest positions in GlaxoSmithKline and Imperial Brands .


A series of portraits I was commissioned to take earlier in the year for the Lancaster University Enterprise Champion Project, and which have now been turned into some great looking posters. The posters will be up on campus in the new college year.
Today as I'm finishing the edit on Becky & Doug's brilliant wedding at Haighton Manor near Preston, I thought I would have a little fun and try making some animated gif's… kids at weddings offer such great opportunities for creative play!


text:
Interstate 29 Guides:
Interstate 29 runs from downtown Kansas City, Missouri, at Interstate 70 to the Canada border near Pembina, North Dakota. It skirts the western edges of Missouri and Iowa, then runs along the eastern edges of North Dakota and South Dakota. Interstate 29's exit numbering begins after the highway leaves its duplex with Interstate 35, however, the interstate is signed from Interstate 70, five miles to the south of the split with Interstate 35. There is an "Interstate 29 Ends" sign just north of the Interstate 70 interchange.
Northbound
Interstate 29/35 North at Exit 4B - Front St. The Paseo
Bridge is just ahead. (Photo taken 11/30/02)
A better view of Exit 4B, seen exactly seven months later.
Interstate 29/35 North as it crosses the Missouri River on
the Paseo Bridge. This bridge was closed for about a week
in January 2003 after cracks in the supports were
discovered. (Photo taken 11/30/02)
Interstate 29/35 North at Exit 5A - Bedford St. (Photo
taken 11/30/02)
Another view of Exit 5A, taken seven months later.
Interstate 29/35 North at Exit 5B - 16th Ave. (Photo taken
11/30/02)
Another view of Exit 5B, taken seven months later. (Photo
Interstate 29/35 North at Exit 6A - MO 210 East - Armour
Rd. (Photo taken 11/30/02)
A better view of Exit 6A, taken seven months later. (Photo
Interstate 29/35 North at Exit 6B - Armour Rd./North Kansas
City. (Photo taken 11/30/02)
Another view of Exit 6B from Interstate 29/Interstate 35
North, taken seven months later. (Photo taken 6/30/03)
Interstate 29/35 North approaching the split of the two
interstates. U.S. 71, also joined with Interstates 29 and 35,
heads to the northwest with Interstate 29. (Photo taken
Seven months later, the original button copy signs are
still in tact, as seen in this June 2003 photo. (Photo taken
Interstate 29/35 North at Exit 8A - Parvin Rd. These signs
retain their original large button copy shields. (Photo taken
Another view of Exit 8A, taken seven months later. (Photo
Interstate 29 and Interstate 35 split here, at Exit 8B.
Interstate 29 will intersect Interstate 635 South in three
miles. (Photo taken 11/30/02)
Another view of Exit 8B, seen seven months later. Nothing
has changed, except that the trees are in full bloom and
the grass is green. (Photo taken 6/30/03)
Interstate 29 North at Exit 1A - Davidson Rd. A 0.2 mile
marker is seen to the left of the sign gantry. (Photo taken
Interstate 29 North at Exit 1C - Oak Trafficway North.
(Photo taken 11/30/02)
Interstate 29 North at Exit 1E - U.S. 69 - Vivion Rd. (Photo
Interstate 29 North at Exit 2A - U.S. 169 North - Smithville.
Interstate 29 North approaching Interstate 635 - 3/4 mile.
Interstate 29 North at Exit 3A - Waukomis Drive. (Photo
Interstate 29 North at Exit 3B - Interstate 635 South -
Kansas. The Sunflower State is located about four miles
southwest of this interchange. (Photo taken 11/30/02)
Assurance shields for Interstate 29 North, Interstate 435
West, and U.S. 71 North just north of Interstate 435's
merge with northbound Interstate 29. (Photo taken
Interstate 29 North/Interstate 435 West at Exit 15 - Mexico
City Avenue. (Photo taken 11/30/02)
Interstate 29 North/Interstate 435 West approaching Exit
17 - Interstate 435 South - 1 mile. (Photo taken 11/30/02)
Interstate 29 North/Interstate 435 West at Exit 17 - Interstate
435 South - Topeka. (Photo taken 11/30/02)
"Missouri State Line" sign as Interstate 29 South enters
the Show-Me State from Iowa. (Photo taken 8/11/04)
"Welcome to Missouri" sign on Interstate 29 South. The
first interchange in Missouri is 11 miles ahead at Exit 116.
Interstate 29 South at Exit 116 - SSR-B/SSR-A - Watson.
Interstate 29 South at Exit 110 - U.S. 136 - Rock Port/
Brownville NE. (Photo taken 8/11/04)
Interstate 29 South at Exit 107 - MO 111 - Rock Port/
Langdon. (Photo taken 8/11/04)
Interstate 29 South at Exit 99 - SSR-W - Corning. (Photo
Interstate 29 South at Exit 92 - U.S. 59 - Craig/Fairfax.
Interstate 29 South at Exit 84 - MO 118 - Mound City.
Interstate 29 South at Exit 79 - U.S. 159 - Rulo NE.
Interstate 29 South at Exit 75 - U.S. 59 - Oregon. (Photo
Interstate 29 South at Exit 65 - U.S. 59/SSR-RA -
Savannah/Fillmore. (Photo taken 8/11/04)
Mileage sign on Interstate 29 South, eight miles north of
Interstate 29 South at Exit 60 - SSR-K/SSR-CC -
Amazonia. (Photo taken 8/11/04)
Interstate 29 South approaching Interstate 229/U.S. 59/
U.S. 71 - 1 mile. (Photo taken 8/11/04)
Interstate 29 South approaching Exit 56B - Interstate 229
South - Next Right. (Photo taken 8/11/04)
Interstate 29 South at Exit 56B - Interstate 229 South -
Downtown St. Joseph. (Photo taken 8/11/04)
Interstate 29 South at unmarked Exit 56A - U.S. 71/U.S. 59
North - Maryville. (Photo taken 8/11/04)
Interstate 29 South at Exit 53 - Business U.S. 71/U.S. 59/
Bus. Loop I-29 - Savannah/St. Joseph. (Photo taken
Interstate 29 South at Exit 50 - U.S. 169 - King City/
St. Joseph. (Photo taken 8/11/04)
Interstate 29 South at Exit 47 - MO 6 - Clarksdale/
Frederick Blvd. (Photo taken 8/11/04)
Interstate 29 South at Exit 46B - U.S. 36 West - St.
Joseph. (Photo taken 8/11/04)
Interstate 29 South at Exit 46A - U.S. 36 East - Cameron.
(Top photo taken 6/30/03, bottom photo taken 8/11/04)
Interstate 29 South at Exit 44 - U.S. 169 - Gower/St.
Joseph. (Top photo taken 6/30/03, bottom photo
Interstate 29 South approaching Exit 43 - Interstate 229
North - Next Right. Interstate 229 provides access from
Interstate 29 to St. Joseph. (Top photo taken 6/30/03,
bottom photo taken 8/11/04)
Interstate 29 South at unmarked Exit 43 - Interstate 229
North - St. Joseph. (Top photo taken 6/30/03, bottom
photo taken 8/11/04)
Interstate 29 South at Exit 35 - SSR-DD - Faucett. (Top
photo taken 6/30/03, bottom photo taken 8/11/04)
Interstate 29 South at Exit 30 - SSR-Z/SSR-H - Dearborn/
New Market. (Top photo taken 6/30/03, bottom photo
Interstate 29 South at Exit 25 - SSR-E/SSR-U - Camden
Point. (Top photo taken 6/30/03, bottom photo
Interstate 29 South at Exit 20 - MO 273 - Atchison/Weston/
Leavenworth. (Top photo taken 6/30/03, bottom photo
Interstate 29 South at Exit 19 - SSR-HH - Platte City.
South - 1 mile. This sign is posted about 1/2 mile north of
MO 92. (Top photo taken 6/30/03, bottom photo
Interstate 29 South at Exit 18 - MO 92 - Platte City. (Top
Interstate 29 South approaching Exit 17 - 1/2 mile. (Photo
Interstate 29 South at Exit 17 - Interstate 435 South -
Topeka. (Top photo taken 6/30/03, bottom photo
Interstate 29 South/Interstate 435 East approaching Exit
15 - 1 mile, and Exit 14 - 2 miles. (Photo taken 6/30/03)
Interstate 29 South/Interstate 435 East at Exit 15 - Mexico
City Avenue. (Photo taken 6/30/03)
14 - Interstate 435 East - 1/2 mile. (Photo taken 6/30/03)
Interstate 29 South/Interstate 435 East at Exit 14 - Interstate
435 East - St. Louis. (Photo taken 6/30/03)
Interstate 29 South at Exit 13 - TO Interstate 435 East -
KCI Airport/St. Louis. The Kansas City International Airport
is located about a mile west of this interchange. (Photo
Interstate 29 South at Exit 12 - N.W. 112th St. (Photo taken
Interstate 29 South at Exit 10 - Tiffany Springs Parkway.
Interstate 29 South at Exit 9B - MO 152 West - Topeka.
Interstate 29 South at Exit 9A - MO 152 East - Liberty.
Interstate 29 South at Exit 8 - MO 9 - N.W. Barry Rd./
Parkville. (Photo taken 6/30/03)
Centerline mileage sign on Interstate 29 South. N.W. 72nd
St. is 1/2 mile ahead, N.W. 64th St. is 1 3/4 miles ahead,
and Interstate 635 is 3 1/2 miles ahead. (Photo taken
Interstate 29 South at Exit 6 - N.W. 72nd St./Platte Woods.
Interstate 29 South at Exit 5 - MO 45 North - N.W. 64th St.
Interstate 29 South approaching Exit 3B - Interstate 635
South, and Exit 3C - SSR-A - 1 mile. (Photo taken 6/30/03)
Interstate 29 South approaching Exits 3B-C - 1/2 mile.
Interstate 29 South at Exit 3C - SSR-A - Riverside. (Photo
Interstate 29 South at Exit 3B - Interstate 635 South -
Kansas. (Photo taken 6/30/03)
Interstate 29 South at Exit 2B - U.S. 169 South - Kansas
City/Downtown. (Photo taken 6/30/03)
Interstate 29 South at Exit 2A - U.S. 169 North - Smithville.
Interstate 29 South at Exit 1E - U.S. 69 - Vivion Rd. (Photo
Interstate 29 South at Exit 1D - MO 283 South - Oak
Trafficway. (Photo taken 6/30/03)
Interstate 29 South at Exit 1C - Oak Trafficway North.
Interstate 29 South approaching Exit 1B - Interstate 35
North. (Photo taken 6/30/03)
Interstate 29 South at Exit 1B - Interstate 35 North - Des
Moines. (Photo taken 6/30/03)
Interstate 29 South at Exit 1A - Davidson Road. (Photo
Interstate 29/Interstate 35 South at Exit 8A - Parvin Rd.
Interstate 29/Interstate 35 South at Exit 6B - West Armour
Rd. (Photo taken 6/30/03)
Interstate 29/Interstate 35 South at Exit 6A - MO 210 East -
Armour Rd. (Photo taken 6/30/03)
Interstate 29/35 South approaching Exit 5A - 1/2 mile, and
Interstate 70 - 2 miles. (Photo taken 6/30/03)
Interstate 29/35 South at Exit 5A - Levee Rd. (Photo taken
Interstate 29/35 South at Exit 4B - Front St. (Photo taken
"Interstate 29 ENDS" sign as Interstate 29/35 South nears
Exit 4A for U.S. 24 East. (Photo taken 6/30/03)
Interstate 29/35 South approaching Exit 3 - Interstate 70/
U.S. 24 East/U.S. 71 South - 1/4 mile. (Photo taken
Interstate 29/35 South at Exit 3 - Interstate 70 East/U.S.
24 East/U.S. 71 South - St. Louis. Interstate 29 comes to
an end at this interchange. (Photo taken 6/30/03)


IOS App Developer: NexStreaming USA, Inc.
It only works for a while! My videos don't work when I click it, it just shows a black screen! This app was a waste of my time! -Gacha KoKo (Subscribe to me on my YT "Gacha KoKo" Have a good day!
Little Bit Of Bugs..But Great!!
So this app Is good but why does it seem that text and shapes that you can overlay stop showing after you leave the app a few times?? Could you fix this problem or give a reason on why it's happening?? It's only happens a few times but it's making me not want to use this app.
It's works so well to animate my Gacha vids! Thank you so much for letting this app be for apple I appreciate it so much!
This app is really good and fun to use but it confuses me a bit though. When I first got it I was really excited. Then I opened the app and so many things started happening. I couldn't figure out what was going on. Once I figured out how to use it I was really happy. When I finished making a video and decided to put it on YouTube, I tapped the export thing and I couldn't find where YouTube was. Then I tried again thinking that it was my iPad that was glitching and I couldn't find it. Then I had to export it to another app just to put it on YouTube. Maybe it did have a place to export it to YouTube and I was just stupid. One last thing that was really annoying was that the water mark is HUGE. I know you're supposed to pay money but it's really inconvenient. Thats all I have to say for now but the app is still good. Byeeeee!
Whenever I sing for the audio, IT TAKES ME OUT OF THE APP, and it only happens when I sing. Do you guys just allow other audio and not bad singing?! I hope you KineMaster developers see this and fix this.
More IOS Apps by NexStreaming USA, Inc.


The Country Tonite Theatre in Pigeon Forge, TN has been one of the most popular and best-rated shows in the area for well over a decade constantly receiving rave reviews and awards such as "Show of the Year", "Best Live Country Show in America" and "Best Show in the Smokies". This family-friendly show features a variety of dynamic singing and dancing, side-splitting comedy, powerful gospel, and American patriotism. Country Tonite is also the only show in town that features incredibly talented youth performers. The shows typically are available at either 3pm or 8pm and last approximately two hours making it a great choice of entertainment before or after dinner. Below you can find a Country Tonite coupon for $10 off each adult admission in your party!
$10 Off Country Tonite – The Biggest Discount in Town!
We are extremely pleased to offer the largest discount in town or online for Country Tonite tickets!
To find more coupons for other area shows and attractions, visit our ultimate guide of discount tickets and coupons to find even more ways to save money on your visit to Pigeon Forge, TN!


Charge Rabbit is a Shopify app that enables store owners to receive recurring payments from subscription/membership products. It was developed by Corknine Development.
Charge Rabbit is an eCommerce solution that enables organizations to earn recurring revenue for memberships and subscriptions for Shopify stores.


Question: Can someone please explain the photos in the yearbook? It seems like it was the gang in 1999, but they never posed for those photos in the first American Pie.
Chosen answer: They have been friends for a long time. They had plenty of time to take pictures. We only see them on screen for a few hours of their lives spread over a short while.


Big Sport Shop.com - your store for authentic University of Minnesota team merchandise. Golden Gophers jerseys, shirts, jackets, hats, football helmets, collectibles, apparel, vintage gear, tees, memorabilia, clothing, hoodies, sweatshirts, womens and kids gear, tailgating gear and more. Start shopping by choosing a Golden Gophers product category below. Click here to view another NCAA team, or visit our home page for more product categories.


Today on the occasion of your Vyasa Puja it is with great pleasure I report to you that once again hundreds of thousands of people have received the great mercy of Lord Caitanya Mahaprabhu on the Baltic Sea coast in Poland. That mercy has taken the form of your books, the holy names, prasadam distribution, and the blissful association of many wonderful devotees. I try to document the great success of the samkirtan movement in Poland in my diary chapters, but the wonders taking place are far too numerous and extraordinary to capture in language. We witness great miracles on a daily basis as people receive your mercy through our humble efforts.
Like the people who come to our festivals, I too was entangled in the vicious cycle of birth and death before I met you. I also experienced the onslaughts of suffering in this material world and I thus understand the great relief people feel when they come into contact with you and your movement. I saw this relief recently in a well-dressed gentleman who approached me with a Bhagavad-gita that he had purchased after my lecture at one of our festivals. As he was asking me to sign it he spontaneously reached out and embraced me. As I put my arms around him to reciprocate, he began crying. He hugged me for a full minute, his body shaking with sobs. Then he stepped back and wiped the tears from his face.
I accepted his gratitude on your behalf, Srila Prabhupada, because I know that the relief he felt was a product of your mercy. The burden of suffering borne by those in the material world is gradually being alleviated by you, the greatest acarya of modern times. No doubt the Lord could have delivered all the fallen souls Himself 500 years ago in His incarnation as Sri Caitanya Mahaprabhu, but out of love He gave this sacred duty to you, and out of your infinite kindness you have entrusted it to us, your disciples and followers. I take my responsibility to this sacred duty very seriously, especially now in the autumn of my life. Each day I sharpen my focus on delivering as many conditioned souls as possible to your lotus feet before I leave this mortal frame.
was the very purpose of your life. You lived and breathed your Guru Maharaja's order to spread Krsna consciousness all over the world. Since your departure, many of your disciples have tried to keep that flame burning. For my part, this determination is manifest in our festival program in Poland, the results of which we offer daily at your lotus feet.
Like anything in this world, those results are sometimes big and sometimes small, but even small achievements demonstrate your ongoing success in introducing lost souls to your Lord. Just the other day Prahlad Nrsimha das read the chart of a gentleman who visited his Astrology Tent at our festival. When he mentioned that the man had a strong propensity for law, the man laughed.
"You're right!" he said. "I'm the chief magistrate in Poznan, one of the larger cities in Poland." He later left the Astrology Tent with a Bhagavad-gita and chanting beads in hand.
That same evening during the final kirtan, I watched a lady rush to our Restaurant Tent from a nearby apartment building in her pajamas and a long robe, her hair in curlers. For a moment I thought the building might be on fire, but a few minutes later she headed back to her apartment armed with two plates of prasadam. After the festival, our cook Rasikendra dasa told me she had just returned from a long business trip overseas. She had taken a nap early in the afternoon and was woken up at 9.30pm by our loud kirtan.
Srila Prabhupada, these small exchanges show how people are attracted to Krsna Consciousness when it is presented in an appealing way. You once said, "We will conquer the world with culture." Here on the Baltic Sea coast, we conduct our festivals with this axiom in mind. Expanding on the basic principles of chanting, dancing and feasting, our festival tour has become a major attraction each summer. Resorts compete to have our event at prime times of the season and many tourists plan their vacations so that they can attend our festivals as we travel along the coast.
I pray that all the devotees on the tour will have the privilege to serve you in this way for many years to come. We often recount the words of the harbor-master of Mrzezyno, a port town we visit each year. Seeing the success of our festival in his town he pronounced a blessing: "May these festivals go on for 100 years!" But to be successful in this service, we need your mercy and help to convince the general populace of the foolishness of material life and the beauty of the Absolute Truth.
With all honesty I can say that I will not be able to live in separation from these festivals which pour the mercy of the Divine Couple upon the conditioned souls. I pray that when this great event winds down, you will send me to another place, perhaps beyond this world, where even more fallen souls are drowning in the ocean of material existence. I do not mind if it is dark and cold, fiery hot, in heaven or in hell, for as long as we can organize another festival of love and bliss, the conditioned souls there will rise above their miseries and dance in ecstasy to the holy names. It has been done before; why not again?
I know how much you desire this movement to be spread. Therefore, as your disciple, I promise to continue working day after day, month after month, year after year towards fulfilling your mission.