#Legal Marketing Podcast

[roysexton]

“Podcasts should not just exist to placate someone’s ego… If it’s not bringing in a lead or awareness or audience growth, you need to pull the plug or re-tool.” Thank you, Jeff Vidler and Signal Hill Insights!

Thank you, Jeff Vidler and Signal Hill Insights, for this lovely shout out. Full article here. EXCERPT: “A total of 1,418 CMOs, content marketers and podcast producers registered for the first-ever conference or summit dedicated specifically to branded podcasts. For the first time, branded podcasters from around the world connected online to learn from the experts – and fill the chat box with…

[nationallawreview]

B.S.ing with Bob Major [PODCAST]

When Bob Major founded Major, Lindsey & Africa in 1982, he could not have envisioned what the organization would become and the impact it would have on the legal profession. In this episode of B.S.: Beyond Stereotypes, Bob shares his journey with Merle Vaughn, including his childhood in Texas and Oklahoma, his Stanford education, and how both influenced his outlook on life personally and…

[lmccannabisyoutube]

Dope As Yola : The First Mainstream Cannabis YouTuber (Documentary)

https://youtu.be/WEL6IpvUvxw

[transmutationisms]

oh i would actually be curious to hear your thoughts on lolita book covers in that case. i do get the sense that some of the covers are designed to uncritically titilate and seem to misunderstand the text, but that could obviously be an assumption on my part lol.

oh i agree that the cover designs tend to run counter to nabokov's intentions, both in the text and in the literal instructions he gave about covers lol. they pretty clearly rely on putting some young girl on display, which is exactly what nabokov did not want to do visually; they also tend to suggest dolores as some kind of seductress (sultry gazes, pouty lips, &c). clearly this is precisely the opposite of what the text tells us about her.

however when evaluating these visual choices i find that many people portray them as some kind of originary and culturally polluting act: that is, a narrative emerges that the problem here is people misinterpreting 'lolita', and then publishing it with covers that will do harm to young girls &c. i think this is lazy analysis and fundamentally makes idealist assumptions overestimating the effect of cultural products (books, book covers) on problems, like the sexualisation of children, that are in fact grounded in material relations, such as in this case the status of children as legal property and the total power granted to adults over them. that is to say, these broader conditions are at root the reason that cultural products like the cover of 'lolita' look the way they do, and chalking it up to individuals not understanding the book is never going to get us very far; and also, although some of these covers are pretty egregious, they are the reflection rather than the cause of the sexualisation of children, a problem that would continue to exist even if every edition of 'lolita' ever printed just said "humbert humbert is an unreliable narrator and dolores haze is a child he is preying on" on the cover.

fundamentally i also think this sort of conversation often elides some more interesting points about whom these covers communicate to and what they say. you suggest they are meant to "titillate"; although i would agree dolores is often shown as sexual, desirable, and seductive, i'm not sure that's the same as assuming the cover is trying to arouse the potential reader. for one thing, to put it bluntly, this style of cover tends to be associated more with books marketed to women than to heterosexual men. and more broadly, and this is something the lolita podcast really fails to understand imo, the phenomenon of people reading 'lolita' and relating themselves to dolores is not mutually exclusive with this type of rhetorical construction of dolores-through-humbert's-eyes. that is, often what appeals about dolores is, i think, precisely the fact that through her, people find a way of discoursing about or simply re-enacting the kind of sexualisation that they are already subjected to or have been in the past, whether or not at a level as explicit and extreme as what nabokov depicts.

i'm not really interested in a simple moral condemnation of the people who design these covers; that critique writes itself. they are obviously bad and facile, and reflective of precisely the culture of child sexual abuse that nabokov's text condemns. but if we are interested in the reception of these objects, or interrogating the cultural meaning and implications of their existence, i just think there's a lot more going on here than what the podcast portrays as a simple sort of 'broadcast' model of mass media wherein the 'lolita' book cover and trope is beamed out to unsuspecting innocents who are then exposed to its nefarious elements. dolores appeals to people for lots of reasons, some prurient, some pitying, some openly self-projective, and these are not mutually exclusive with one another nor are they mutually exclusive with readings that reproduce elements of the very lolita character that humbert creates and uses to silence and re-write dolores. we can be uncomfortable with that and refuse to talk about it but if that's the position someone wants to take then i'm not likely to be interested enough in their opinions to, like, listen to their podcast about this book lol.

[passerkirbius]

Where are all the Audio Fiction Fandoms?

To be clear, this isn't me complaining, and I know, there are plenty of fandoms for audio fiction podcasts and the like.

But I have always found it weird how few shows get the big, self-sustaining kinds of fandoms, the ones where there's always at least a little trickle of fanfic and fanart. So weird, in fact, that I've been thinking about it on and off for the last 5-6 years, and I have a few theories I'd like to share with y'all as to why, and to see if I can't get some feedback from the audio fiction fans on Tumblr.

Theory 1: Audience Size

The first theory is mostly about demographics - fundamentally, a fandom has to be large enough to sustain itself, and only a certain number of audience members are going to become the kind of fans who make fan works, so ultimately, an audio fiction show needs to get popular enough before fan works start appearing.

There's plenty of support for this theory, of course - Welcome to Night Vale, Wolf 359, The Adventure Zone and The Magnus Archives are titans in the fiction podcast space, and indeed they have big fandoms. But, with that said, there's plenty of other podcasts that are just as big that don't have fandoms, so this can't explain it all.

Theory 2: Audience Distance

This one is similar to the first, but subtly different. A few creators in the space I've talked to have noted that they'd never make fan works of their friend's shows - that feels weird, like deliberately treading on their friend's work. They don't have this feeling when playing in big fandoms, or fandoms where they don't know the creator. This implies to me that fans need a certain level of distance from creators in order to feel comfortable playing with that fictional space. While this is less the case now with the fall of Twitter, a lot of shows, for better or worse, used social media as the primary pillar of their marketing, as well as using Patreons with special access as part of their monetization strategies.

In short, it's never been easier to get close to the creators of your favourite shows, and for smaller shows, the most exuberant fans - the kinds who might make fan works - are also the kinds of fans who will take those opportunities to get closer to the creators. In short, there just might not enough social distance for fans to be comfortable creating works, not at least until the audience grows sufficiently that a creator simply cannot be that close with their entire audience.

This theory I'm not so sure about these days - this one is probably a lot more dependent on the generation of fandom you belong to. Older generations of fandom are more likely to have this queasiness around creator closeness, because they were creating in a time where fandom was a shadow realm, desperately hidden from The Powers That Be, and "No Copyright Infringement Intended" was carved into fan works as an eldritch attempt at legal protection.

Theory 3: Audience Age

To be clear - there are fans of all ages out there. But it is clear to me that fandom trends young, and part of that is just the time needed to participate in fan culture - creating and consuming takes a lot of time, time that tends gets scarcer and scarcer as you get older (there are obvious exceptions of course - stay-at-home mothers have consistently been a major force in fandoms!). It's possible that audio fiction fans just tend to trend older, and thus don't have the time available to create and consume fan works.

Honestly, I'm not sure how relevant this one is - Audio fiction is becoming more popular with younger audiences and slowly shedding the "old fuddy-duddyness" that surrounded it when I was first getting into the space. And, ya know, there are audio fiction fandoms out there, so obviously either the youth aspect of fandom isn't a thing, or it is, but audio fiction audiences are still trending young anyway.

Theory 4: We're getting what we need!

A lot of academic discourse often focuses on the idea that fandoms create for a reason - and that reason is often to focus on parts of a fiction that the original text, for whatever reason, doesn't. The most obvious form of this is the many, many, many examples of ships and erotic fanfiction. You, as a fan, watch a show, see something between two characters, and get frustrated that the show isn't giving you more of that, won't make what is clearly obvious to you, explicit. So, you consume and/or create fan works that help relieve that tension instead.

Or, in shows where the focus is primarily on plot advancement or action, you feel a desire to get to know the characters better - you see the stirrings of these characters, you want to know them better, but the show just isn't the type of show to give you that slow, character-heavy scene/episode that you know would give you exactly what you need, so, again, you go consume and/or create fan works to fix that.

It's very possible that a lot of audio fiction is already built to give these sorts of fan audiences what they want. There's already romantic relationships, characters are openly queer, the nature of the audio medium means that character-heavy scenes are something that the medium directs creators towards, so there's already a lot of character engagement. So, for many fandoms, there just isn't much need to create fan works - there's no tension between what the show is and what it could be.

Theory 5: We can make our own at home!

One interesting theory is that one reason that people make fandom is because, fundamentally, the creators understand that they're not going to be making a film, or a TV show, or a book. They have creative urges, and they're not in a situation in life where they're likely to overcome the enormous barriers to entry in mainstream media, so, in combination with the stuff in theory 4, they play in other people's worlds instead. They know that there's already an audience who will consume their work (they're part of that fan community, after all!), so they can get that validation of creation without needing to create their own TV show or film or book, etc.

Podcasts, however, are different. Now, it's not true to say that podcasts have low barriers to entry - to create a podcast, there's a lot of skills you either need to learn yourself, or find collaborators with those skills. But, those barriers to entry are much lower than visual media. At the very least, audio production is significantly cheaper and less complicated for an equivalent runtime.

Better, podcasts have absurdly low barriers to publication - There are no gatekeepers to satisfy, no distributors you have to convince. Once your thing is made, pretty much no one can stop you from distributing that work. You don't even really need to pay for a podcast host - there's a few free podcast hosts now. So, once you've done the work, pretty much nothing stops you from publishing said work.

So... If you're a creative fan, who loved a show but thinks you can do better? Well, you can! You don't need to play in other people's spaces, you can be inspired by the podcasts you listen to to create your own original work, in the same medium and genre.

What do y'all think? Which of these feel right, which of these feel obviously wrong? Are you part of a audio fiction fandom? What does your fandom feel like to you on the inside? As a audio fiction creator, it's kinda hard for me to get into the inside of fandom culture, so insider perspectives would be super neat for me, so please reblog this to anyone you feel might have an interesting perspective on the whole thing!

[galaxygolfergirl]

Watcher's Expenses

I didn't major in accounting: I took three classes and it grinded my brain to a fine powder. However, after graduating with a business admin degree, being a former eager fan of their videos, and from a cursory glance over their socials, there's a lot to consider in their spending behavior that really could start racking up costs. Some of these things we've already noticed, but there are other things I'd like to highlight, and I'll try to break it down into the different categories of accounting expenses (if I get something wrong, let me know. I was more concentrated in marketing 🤷‍♀️). I'm not going to hypothesize numbers either, as that would take out more time than I'm willing to afford-- you can assume how much everything costs. Anyways, here's my attempt at being a layman forensic accountant:

Note: All of this is assuming they're operating above board and not engaging in any illegal practices such as money laundering, tax evasion, not paying rent, etc.

Operating Expenses

Payroll: 25+ staff salaries and insurance

Overhead Expenses

CEO/founder salaries

Office space leasing or rent (In L.A, one of the most expensive cities in the US)

Utilities (water, electricity, heating, sanitation, etc.)

Insurance

Advertising Costs

Telephone & Internet service

Cloud Storage or mainframe

Office equipment (furniture, computers, printers, etc.)

Office supplies (paper, pens, printer ink, etc.)

Marketing costs (Social media marketing on Instagram, Youtube, SEO for search engines, Twitter, etc. Designing merchandise and posters, art, etc. )

Human Resources (not sure how equipped they are)

Accounting fees

Property taxes

Legal fees

Licensing fees

Website maintenance (For Watchertv.com, Watcherstuff.com, & Watcherentertainment.com)

Expenses regarding merchandising (whoever they contract or outsource for that)

Inventory costs

Potentially maintenance of company vehicles

Subsequent gas mileage for road trips

Depreciation (pertains to tangible assets like buildings and equipment)

Amortization (intangible assets such as patents and trademarks)

Overhead Travel and Entertainment Costs (I think one of the biggest culprits, evident in their videos and posts)

The travel expenses (flights, train trips, rental cars, etc. For main team and scouts)

Hotel expenses for 7-8 people at least, or potentially more

Breakfasts, lunches and dinners with the crew (whether that's fully on their dime or not, I don't know; Ryan stated they like to cover that for the most part)

Recreational activities (vacation destinations, amusement parks, sporting activities etc.)

The location fees

Extraneous Overhead costs (not sure exactly where these fall under, but another culprit, evident in videos and posts)

Paying for guest appearances

Expensive filming & recording equipment (Cameras, sound equipment, editing software subscriptions, etc.)

The overelaborate sets for Ghost files, Mystery Files, Puppet History, Podcasts etc. (Set dressing: Vintage memorabilia, antiquated tech, vintage furniture, props, etc.)

Kitchen & Cooking supplies/equipment

Office food supply; expensive food and drink purchases for videos

Novelty items or miscellaneous purchases (ex. Ghost hunting equipment, outfits, toys, etc.)

Non-Operating Expenses

These are those expenses that cannot be linked back to operating revenue. One of the most common examples of non-operating expenses is interest expense. This is because while interest is the cost of borrowing money from a creditor or a bank, they are not generating any operating income. This makes interest payments a part of non-operating expenses.

Financial Expenses

Potential loan payments, borrowing from creditors or lenders, bank loans, etc.

Variable Expenses

Hiring a large amount of freelancers, overtime expenditure, commissions, etc.

PR consultations (Not sure if they had this before the scandal)

Extraordinary Expenses

Expenses incurred outside your company’s regular business activities and during a large one-time event or transactions. For example, selling land, disposal of a significant asset, laying off of your employees, unexpected machine repairing or replacement, etc.

Accrued Expenses

When your business has incurred an expense but not yet paid for it.

------------------------------------------------------------------------------------------------------------------------

(If there's anything else I'm missing, please feel free to add or correct things)

To a novice or a young entrepreneur, this can be very intimidating if you don't have the education or the support to manage it properly. I know it intimidates the hell out of me and I'm still having to fill in the gaps (again, if I've mislabeled or gotten anything wrong here, please let me know). For the artistic or creative entrepreneur, it can be even harder to reconcile the extent of your creative passions with your ability to operate and scale your business at a sustainable rate. That can lead to irresponsible, selfish, and impulsive decisions that could irreparably harm your brand, which is a whole other beast of its own.

My guess at this point is that their overhead and operation expenses are woefully mismanaged; they've made way too many extraneous purchases, and that they had too much confidence in their audience of formerly 2.93 million to make up for the expenses they failed to cover.

It almost seems as if their internal logic was, "If we make more money, we can keep living the expensive lifestyle that we want and make whatever we want without anyone telling us we can't, and we want to do it NOW, sooner rather than later because we don't want wait and compromise our vision." But as you can see, the reality of fulfilling those ambitions is already compromised by the responsibility of running a business.

And I wrote this in another post here, but I'll state it again: Running a business means you need to be educated on how a business can successfully and efficiently operate. Accounting, marketing, social media marketing, public relations, production, etc; these resources and internet of things is available and at your disposal. If they had invested more time in educating themselves on those aspects and not made this decision based on artistic passion (and/or greed), they would have not gotten the response they got.

Being a graphic designer, I know the creative/passionate side of things but I also got a degree/got educated in business because I wanted to understand how to start a company and run it successfully. If they’re having trouble handling the responsibility of doing that, managing production costs, managing overhead expenses, and especially with compensating their 25+ employees, then they should hire professionals that are sympathetic to their creative interests, but have the education and experience to reign in bad decisions like these.

Anyways, thanks for coming to my TedTalk. What a shitshow this has been.

[sgiandubh]

Labor of love

I was very interested to see what S told Mark Gillespie on the last episode of the latter's WhiskyCast podcast, @bat-cat-reader immediately shared with us.

It was a most instructive 35 minutes. I listened to all of it, because I wanted to also hear Gillespie's tasting notes forThe Sassenach. And I regret nothing: once you get past the traditional (and a bit obnoxious) 'why The Sassenach?' question, you're in for some interesting news.

You can listen to it here, by the way:

Before anything, who is Mark Gillespie?

One of the most respected professionals in the very small world of alcohol specialized podcasters, with a 37 years work experience in media and broadcasting, spanning household names such as CNN, Bloomberg, Wall Street Journal, Gallup and MSNBC. But also, and this I found very interesting, given the current context, the owner of CaskMedia, a firm specialized not only in media production, but also marketing and PR.

The podcast was recorded at The Metropolitan Club's library, moments before the Keepers of the Quaich dinner, where S was a keynote speaker. So not 'just there for the Haggis Ceremony ' - a 'guest of honor' is never invited just for the show, people should have known better, eh?

S's 7 minutes interview starts at the 09:32 mark. Comments in brackets are mine.

Gillespie surely doesn't like to beat around the bush and after the customary niceties, asks a million-dollar question:

MG: 'I have to ask: did you have the troubles (problems?) in Germany straightened up?'

SH: ' Ha, ha, ha [not an organic giggle, but hey - gotta do what you gotta do, eh?]. Well, I am not entirely sure I should talk about it [speaks very quickly and through his teeth - visibly annoyed/nervous; not entirely sure I got it all correctly, so feel free to amend in comments], ah... ummm... not as yet... not as yet...ummm...we did fall into an issue with the name Sassenach, which was similar to a big brand in the US... ah!... in Germany, sorry... of a beer brand... I...I personally don't see the similarity [neither do I, S...neither do I], but I am sure once people taste our whisky, they'll know what it is, whatever the name is on it.'

Yes, this interview was probably rehearsed. Yes, Gillespie might have sent the questions to S/his people in advance for reviewing. No, he could not speak about a legally complicated situation before the final settlement with that Schoppingen beer brewer (penalties are probably still to be fixed and paid, but I will check that, so don't take my word for Gospel truth, yet). I will write separately about this whole thing, because I still think that was a very questionable decision of the EUIPO. Not because it royally pisses me off (so fucking unfair!), but because I really fail to see the proper legal reasoning and basis for it. His answer was perfect, under the circumstances. Absolutely perfect.

Anyways, FWIW, it would seem some sort of solution has already been found ('whatever the name is on it') and that most probably would be to rebrand it. And sell it on the German/EU market under a new name.

Lallybroch (https://trademarks.justia.com/981/67/lallybroch-98167525.html), perhaps? Time will tell, but that could explain this recent trademark application I didn't have time to properly look into, yet:

Further ahead (and fast forward through the cask version release, these things bore me to death), we land on another (as yet) unexploded ordnance:

MG: 'I have to mention your show MIK that you do with Graham McTavish, you visited a bunch of distilleries during that one... any visit in particular stands out?'

Now I am not very sure if that question was the best possible one, since that SAG-AFTRA strike is still an ongoing situation. And his answer was quite clever, changing the focus on their visit to Laphroaig's distillery on Islay and waxing lyrical about the casks, the peat, the landscape, etc. But other than a perfunctory and logical 'we', I heard absolutely nothing about McTavish, and it could have been so damn easy to further change the subject and mention his bourbon, with a few kind words. Therefore, I think things are pretty obviously not exactly on the sunny side, between the two. And I guess we all know why.

To end this long post on a cheerful note, I almost forgot to mention something very important. Answering a listener's question about Sassenach not being available in Rhode Island/part of New Jersey, S said something very interesting: 'obviously you can get it online, (...) we've just signed a deal with Southern Glazer's, so we're rolling it out. It is a limited batch, so you know, every year we do do a release and it is very limited, so it does tend to sell out pretty quick. But yes, it is available (...), but obviously you're not gonna see it in every bar, restaurant or retailer, because we just don't have enough of it. But online you can get it and great delivery service, it's very quick.'

I am taking two things home from this last answer: demand exceeds supply, which is both a blessing (solid yield, room for expansion) and a curse (lackadaisical market presence). On short to mid term, distribution will concentrate on the online market, with the help of Southern Glazer's superb infrastructure.

Remember the older guy he had lunch with in MIA, in May? You should, if you didn't focus on Mordor's inept babble about shirts, ballerinas and the like. That guy was instrumental into arranging the deal with Southern Glazer's. Just the biggest wine and spirits distributor on the US market, mind you.

Don't believe me? Check this out:

That company was founded in Florida. Its HQ is still in MIA. He didn't go there because he was looking for ballerinas at his birthday dinner. He went there because when these people are available to meet you, well: you leave everything aside and you damn GO.

Now who the hell is writing fanfiction, eh? You really should be ashamed, madam.

I rest my case.

[arctic-hands]

Thirty minutes and 9 paragraphs into an excited list of alternatives to Spotify's monopoly re: music, videos, podcasts, audiobooks, for weenies like me who are nervous about pirating, and my app crashes.

Well now I'm on a laptop and I swear to god if this crashes too I'm calling it a conspiracy.

LEGAL ALTERNATIVES TO SPOTIFY:

Music: There are virtually limitless options here. Buy music directly from the musicians/band! If they don't sell mp3s directly from their site, they almost certainly have CDs for sale, so buy those and rip the mp3s to your computer (if your computer doesn't have a CD slot, you can buy an external one for fairly cheap). Go to a new/used music store, they still exist!, and buy albums there. Buy old albums from ebay! Go to goodwill or other thrift stores and browse there collection of cast-off music for cheap, you never know what you'll find. Hell, browse their cheap vinyl if you prefer their sound and get a vinyl-to-MP3 conversion device if you like. They even have conversion devices for cassette tapes, if you find a treasure that was only ever released on tape. Once upon a time I would have said Bandcamp for MP3 or even physical albums (I once upon a time got an AUTOGRAPHED TO MY NAME CD of Lauren Ruth Ward's Well Hell album), but they recently union busted and a lot of artists pulled their stuff from them. I don't really know anything about 7Digital's business practices, but they are another seller of MP3 music, as well as MP4, FLAC, and WAV.

Music DEVICES: If you just want to manage everything on one device, your phone, get the free VLC app! It's open source and is absolutely wonderful. I only ever used it for music, but it's capable of much more than I realized, and it's open source and ad-free! And the audio files are tiny, even when I was running out of room on my sixteen gig old phone, I still had a substantial music library on it before before I got a dedicated music player.

Which brings me to my next point: MP3 PLAYERS STILL EXIST! I own two! My first one is a twenty-dollar SanDisk Clip Jam (an established and sturdy brand), my current is a thirty-dollar Phinistec Z6 (that just came out of nowhere it seems). Each have their pros and cons, and there are so so so many options out there. Some are smart, some don't even have wifi (neither of mine do). Some have expandable card slots for even more music. Some are extremely basic, some have a plethora of features. Some are cheap but still decent in sound, some are high-end for that true audiophile experience. Some have touch screens, some have buttons, some have no screens at all. Some only use wired earphones, some only use bluetooth, some (like the Z6) can use both! There are so many brands out there even in Twenty Twenty-four. Even the random brands cropping up online are some really good shit, and I bought both of mine used bc I have concerns about the lithium industry. Oh, and some are regular battery powered. And you don't need iTunes or anything, I just use the basic Windows Media Player to rip my CDs or put mp3s music on my player. In fact I've been avoiding Apple players because I'm worried they'd brick older devices, especially ones with wifi. But there are so many options out there, it's impossible to name them all.

Audiobooks: YOU DON'T HAVE TO USE AUDIBLE! Libro.fm has a similar business model (an optional subscription fee with a free credit every month, or the option to buy book without a subscription for a little bit extra price), and you can direct the profits to the indie bookseller of your choice! I have mine set to go to Baltimore's anarcho-feminist bookstore, Red Emma's. How to listen to the audiobooks you buy? Libro has an app you can listen to directly from! AND they have the option to directly download from the site (meaning no program you have to install) the book in non-proprietary mp3/mp4 files so you can listen to it on any device that can use those files! THAT INCLUDES MP3 PLAYERS! Almost every music player on the market now not only plays audiobooks, but has sections on the device specifically for them! Some, like the Clip Jam, are even proprietary audible-compatible if you still use or already have books there (check audible's site, and you'll have to go thru a registration process). I was listening to audiobooks on both my CJ and the Z6 (the Z6 doesn't have a section for them, but still played them), but I recently bought an e-ink/e-paper (meaning no backlit LED screen causing eye strain or insomnia) ereader, a Pocketbook Touch HD 3, and that is mp3/mp4 capable for audiobooks, and is easier to maneuver books with since it's meant for books. ALSO: the library apps Hoopla and Libby also have audiobooks you can listen to via phone or computer/browser, depending on your library's catalog. Some ereaders can even have the apps for them, and if they have audiocapabilities you can use the ereader for that too.

Podcasts: There are so many apps for this. I have Podcast Addict (I don't remember off the top of my head if it's on apple, I use android, but there are still so many apps). Literally I only had to sacrifice one podcast when I stopped using spotify, PodcastAddict has everything else I've ever listened to or want to listen to in the future. You can download them for offline use on your phone, and, you guessed it, MOST MP3 PLAYERS HAVE PODCAST SECTIONS TOO. MINE DO! There are still ads at the beginning and end, but I usually skip over them without care.

Video: This one is a bit trickier as YouTube is also a monopoly, but what I do is just watch yt on my phone's Firefox browser with UBlock Origins adblocker installed. Sometimes yt gets into a hissy fit with adblocker, but UBlock usually gets ahead pretty quickly thus far. And if in the periods Origins is losing, I just find something else to do. I'm sure someone else has recommendations for videos, they're just not a big part of my life right now.

Anyway, don't let the horrid beast that is spotify monopoloize the audio industry OR your time! There are options, and even if you're not a luddite like me that hates having everything on my smartphone bc I'm worried about privacy or companies yoinking their stuff off my devices via wifi (like Amazon did once with their copies of, of all things, Nineteen Eighty-four about a decade ago) at the whim of corporations. You HAVE OPTIONS! YOU HAVE THE POWER TO CONTROL YOUR MEDIA AND REJECT MONOPOLIES!

[grits-galraisedinthesouth]

The Stench is REAL: Rotten Eggs + Reeking Weed Factory+ Bad Pipes = "It smells. Bad. VERY bad. VERY VERY bad."

The irony of bridezlla Rachel MEgain Markle kicking up a fuss over a one (1) hour "spectacle" inside the Queen’s "musty" chapel, only to acquire a 1st homebuyer loan for an odorous property.

"It smells like offal that has been rotting in the sun. It makes my stomach churn," a local from the Montecito area reportedly told The Mirror. "I’ve seen lots of homeowners closing their windows when it wafts over."

"According to the New York Post, the smell is wafting over from a nearby bird refuge (which is situated on a 42-acre stretch of saltwater marsh). Specifically, the refuge is the Andrée Clark Bird Refuge, which happens to be one of the largest wildlife refuges in the U.S. Cameron Benson, the City of Santa Barbara's clean water manager, told the Mirror that stagnant water can contribute to the smell, and that the “odor issues are sporadic and sometimes they are worse in some conditions."

"Last year, it was reported the Duke and Duchess of Sussex live just minutes from a legal weed factory base in Santa Barbara, California. 

The couple's mansion is just up the road from the 20 large greenhouses full of the plants - leaving the luxury suburb reeking. 

Neighbours made a string of complaints, sparking the company to install new “odour control systems”.

The Meghans, Dorito & Markus can get high just by standing outdoors as "...one resident complained that the stench was so bad that they had to pull over while driving along the road."

Imagine taking out a $14.65 million dollar loan on your VERY first home: a 9 bedroom, 16 bathroom mansion and you are CanNOT use your property for business purposes. No Spotify podcasts, NO staged Megflix/Netflix zoom calls, NO staged juggling acts outside the windows, NO book interviews, NO staged instant messages from Beyonce, NO Easter egg hunts, NO cooking shows, NO Variety photo shoots---- only 1 chicken coop interview with NOprah.

The 14,500sq ft, or 1,350sq m, main house sits on 7.4ac of grounds that include a pool, tennis court, tea house and children's cottage.

Money Pit : "The pair have paid a lot less for the property than a previous owner: in May 2009 it sold for more than $25 million. It was put on the market in 2015 for $34.5 million but failed to sell. It was relisted at the start of this year for $16.975 million, selling to the Sussexes for $2.325 million less than the asking price at $14.65 million."

From asks @the-cat-with-the-emerald-tiara-1 Royal Organic Weed "Harry's Choice"

Poll Error: The 4th answer "Money Pit of Montecito"

[kiefbowl]

You are probably aware of this given your interest in the topic, but some other interesting things to look at for the fucked up fertility industry (and how they absolutely don't give a fuck about their patients/clients or the children they produce):

This piece from reveal specifically talks about how fertility clinics downplay something as basic and fundamental as the health risks of twins and triplets.

https://revealnews.org/podcast/misconceptions/

Sarah Zhang (excellent science writer) has written a lot (mostly for The Atlantic) about fertility ethics and legal issues. In this piece, she talks about a case where a clinic mix up led to a couple using the wrong samples to conceive, and that only coming to light years later, and the ensuing legal case

https://www.theatlantic.com/science/archive/2019/07/ivf-embryo-mix-up-parenthood/593725/

I think I've already seen you talk about The Retrievals, but good lord that's fucked up.

Yes I did listen to the The Retrievals!! I think last month or the month before. Really lays bare how medicine is not exempt from cultural beliefs, with the juxtaposition of real medical issues (pain from lack of anesthesia) and the constructed medical issue (you want to conceive a baby) - the patriarchal constructed idea taking precedence over real women's pain. Highly recommend any feminist listen to it.

It definitely should come to no surprise to any feminist that the for-profit fertility and adoption industries looooove to lie, much like any industry! It comes in the form of lobbying, creative marketing, and of course just straight up lying to your customers. The fertility industry and the plastic surgery industry in my mind are holding hands in this way, that recovery from any of these procedures is easy, no worries, like magic. And of course, the over reliance on detached clinical language when it suits them (like in ads to egg donors...a sort of "you aren't using them, who cares!") just to flip to over reliance on pathos when it suits them ("we understand your internal need to hold a baby in your arms, it's more powerful than science" sort of talk), when really neither the emotional nor physical repercussions should be taken lightly. It's easy to persuade a young 20 something who needs money that her genetic material totally has no emotional weight, dude. just like it's easy to rely on the magical thinking that already exists in the cultural conscience to persuade women that pregnancy is sort of a nebulous, a baby is just small and then it just gets big, who knows what goes on in there process, instead of a long set of very specific biological processes that require many of your resources. Like, it really is your blood and energy and hormones making this baby, not just your "womb" doing "magic".

One of the things I find alarming is if you search "risks of egg donation" is how the results from all sorts of different .coms and .orgs are all over the place, with few linked sources, and a general blase attitude of how there are few proven risks to date...but also the process requires you to give yourself hormonal injections every single day for minimum two weeks. I'm not saying you should start believing conspiracies and think "well definitely there are risks being ignored and hidden on purpose", I'm just saying it follows a pattern in women's health, where things are understudied and the more convenient narrative is believed over trying to get data. What do we actual know about injecting hormones every day for two weeks (at least) for the long term? I don't know!!! There doesn't seem to be any serious data anywhere. Could be low risk, could be high risk, who cares!!! Do it three or four or five times for $$$ and you can find out in 5 or 40 years, if you're even believed.

[roysexton]

“What will brand podcasts look like in 2024?” … plus I *may* offer a musical homage to “The Little Mermaid” … inaugural Brand Podcast Virtual Summit organized by Lower Street

Such an honor to have participated in this panel yesterday. Truly a robust and fun conversation about podcasting for brands. You can catch the replay here. What will brand podcasts look like in 2024? Find out with the industry’s finest. Roy Sexton – director of marketing at Clark Hill, Lynn Teo – CMO at Northwestern Mutual, Nick Howard – podcast architect and senior manager at Boston Consulting…

[nationallawreview]

Episode 3: How Law Firms Can Benefit From CRM Technology With Chris Fritsch of CLIENTSFirst Consulting [PODCAST]

Episode 3: How Law Firms Can Benefit From CRM Technology With Chris Fritsch of CLIENTSFirst Consulting [PODCAST]

Welcome to Season 2, Episode 3 of Legal News Reach! NLR Managing Director Jennifer Schaller speaks with Chris Fritsch, Founder of CLIENTSFirst Consulting, about how law firms can thoughtfully and successfully integrate customer relationship management systems, or CRMs, into their daily operations—boosting contact management, business development, and client service in the process. We’ve included…

[spacetimewithstuartgary]

New SpaceTime out Friday....

SpaceTime 20231110 Series 26 Episode 135

Mineral salts and organic compounds discovered on Ganymede

NASA’s Juno spacecraft has discovered mineral salts and organic compounds bubbling to the surface of Jupiter’s largest moon Ganymede.

New space deal reached between Australia and the United States

The United States and Australia have signed a bilateral technology Safeguards agreement providing the legal framework for American commercial space vehicles to launch from Australian soil.

New Russian space station to fly in four years

Russian President Vladimir Putin says the first segment of the Kremlin’s new space station should now be in orbit by 2027.

November Skywatch

The constellation of the winged horse Pegasus, the giant galaxy M31-Andromeda barrelling towards us, and three meteor showers in one month are among the highlights of the November night skies on SkyWatch…

SpaceTime covers the latest news in astronomy & space sciences.

The show is available every Monday, Wednesday and Friday through Apple Podcasts (itunes), Stitcher, Google Podcast, Pocketcasts, SoundCloud, Bitez.com, YouTube, your favourite podcast download provider, and from www.spacetimewithstuartgary.com

SpaceTime is also broadcast through the National Science Foundation on Science Zone Radio and on both i-heart Radio and Tune-In Radio.

SpaceTime daily news blog: http://spacetimewithstuartgary.tumblr.com/

SpaceTime facebook: www.facebook.com/spacetimewithstuartgary

SpaceTime Instagram @spacetimewithstuartgary

SpaceTime twitter feed @stuartgary

SpaceTime YouTube: @SpaceTimewithStuartGary

SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States.  The show reports on the latest stories and discoveries making news in astronomy, space flight, and science.  SpaceTime features weekly interviews with leading Australian scientists about their research.  The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network.  Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor.  Gary’s always loved science. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on his career in journalism and radio broadcasting. He worked as an announcer and music DJ in commercial radio, before becoming a journalist and eventually joining ABC News and Current Affairs. Later, Gary became part of the team that set up ABC NewsRadio and was one of its first presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth.  The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually.  However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage.  Rather than continue with the ABC, Gary resigned so that he could keep the show going independently.  StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016.  Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

[mariacallous]

Apple has a Spotify problem—and it just cost the iPhone maker a $2 billion fine from the European Commission.

For years, the two companies have been at war as the streaming service lured users away from Apple’s iTunes and accused the tech giant of exploiting its dominance to stifle innovation. In their long-running conflict, each has made incursions into the other’s territory. When Apple launched its own streaming service, Apple Music, in 2015, Spotify claimed Apple was able to undercut the platform’s prices because Apple didn’t have to pay the same App Store fees as rivals. In 2019, Spotify began an ambitious podcast spending spree, splashing out on high-profile shows, in another direct challenge to Apple.

The feud’s early days were civil, with few barbs traded in public. “We worry about the humanity being drained out of music,” said Apple CEO Tim Cook in 2018, a cryptic comment widely interpreted as a jibe at Spotify’s heavy use of algorithmic recommendations. But Spotify became more outspoken as EU politicians started to call for laws to reign in Big Tech. The €1.8 billion ($1.9 billion) fine on Apple announced by the European Commission today shows that its tactics are working. The fine originates in a legal complaint filed with the European Commission by Spotify in 2019, challenging the restrictions and fees Apple places on developers listing their apps in the App Store. Today the European Commission agreed, saying that Apple’s App Store restrictions amount to unfair trading conditions that may have led iOS users to pay significantly higher prices for music streaming subscriptions.

“For a decade, Apple abused its dominant position in the market for the distribution of music streaming apps through the App Store,” said Margrethe Vestager, the EU’s competition chief, in a statement. “They did so by restricting developers from informing consumers about alternative, cheaper music services available outside of the Apple ecosystem.”

Apple’s App Store rules restrict music streaming companies and other apps from informing their users on Apple devices about how to upgrade or sign up for subscription offers outside of the app. Instead, app users can only see sign-up options for in-app subscriptions via Apple’s payments system, where prices are likely to be higher because Apple takes a cut. Some app makers, including Spotify, do not offer in-app purchases because they don’t want to pay this commission. "Some consumers may have paid more because they were unaware they could pay less if they subscribed outside the app,” Vestager said. “This is illegal under EU antitrust rules.” Apple, which says the EU has failed to provide credible evidence of consumer harm, has pledged to appeal.

Big Number

The fine is far bigger than expected, prompting Apple’s stock to drop 3 percent on Monday. Media reports based on unnamed sources had predicted a penalty of around €500 million. It’s also one of the biggest fines the EU has ever issued against a tech company, ranking below only two Google fines of $5.1 billion and $2.4 billion. Vestager explained in a press conference that the scale of the fine is intended to prevent the company from breaking rules in the future. She added that the amount includes a “lump sum” to “achieve deterrence.” $1.9 billion amounts to 0.5 percent of Apple’s global turnover, she said.

Although Spotify CEO Daniel Ek has expressed disapproval of Apple’s business tactics, he’s also something of a reluctant figurehead in Europe’s fight against Apple. The self-described introvert has adopted the role of spokesperson for disgruntled European app developers who finally feel their complaints about Big Tech are being heard.

On Monday, Ek posted a video on X in which he described Apple as a threat to the open internet. “Apple has decided that they want to close down the internet and make it theirs, and they view every single person using an iPhone to be their user and that they should be able to dictate what that user experience should be,” he said. Ek also claimed Apple wants to effectively levy a tax on Spotify while exempting its own music service, Apple Music.

Apple hit back at Spotify in a statement posted to its website. The company pushed back on the idea that Spotify had suffered as a result of its policies, instead describing the platform as an App Store success story, pointing out that Spotify’s app has been downloaded, redownloaded, or updated more than 119 billion times onto Apple phones.

“We’ve even flown our engineers to Stockholm to help Spotify’s teams in person,” Apple’s statement said. For all that, Apple says, Spotify pays them nothing. “But free isn’t enough for Spotify,” the statement continues. “They also want to rewrite the rules of the App Store—in a way that advantages them even more.”

Spotify is one of the few European consumer tech companies with a significant global business, so people in the continent’s tech community listen when it speaks out. Spotify’s latest criticisms are spurring more European developers to complain about what they consider to be unfair treatment by the tech giant—putting the European Commission under even more pressure to act. “Apple holds app providers ransom like the Mafia,” Matthias Pfau, CEO and cofounder of Tuta, an encrypted email provider based in Germany, told WIRED last month, echoing frustrations also voiced by US app developers such as Epic Games.

For Apple, Spotify’s success today is potentially an omen of future action from the EU. This week marks the deadline for compliance with Europe’s Digital Markets Act, a new antitrust law designed to prevent the internet from coming under the control of only a handful of big—usually American—platforms. The new law gives Europe the power to fine tech companies up to 20 percent of their global turnover, meaning future fines could make dwarf $2 billion levied on Apple today.

“This is the commission saying, ‘We're going to be tough, particularly on Apple,’” says Max von Thun, Europe director of the Open Markets Institute, of the decision today. “I see this as kind of small compared to what's to come.”

[ghost-of-you]

Relistening to SGFG after listening to the podcast episodes of those years and watching interviews: an exercise in me holding back tears

Like, they’ve got some real catchy songs on that album but also, it’s full of some of the most heartbreaking songs. TGWCW is one of my favorite songs, but “is anyone there at all” makes me want to start sobbing and then I’ll lose my contact in my eye again and I’ll cry even harder, thereby making it even more difficult to find my contact again. Broken Home, my beloved. Permanent Vacation, extremely catchy but also sounds like a song about dying. Even Fly Away kind of feels like “oh god just get me the hell out of here, I don’t even care where so long as it’s somewhere else.” Invisible doesn’t even need a mention really

That's actually something I'm always thinking about. The podcast definitely made it worse. I think a lot about jet black heart and the way they were 19 when the song was released. They were barely legally adults writing a bunch of heartbreaking music, jbh, invisible, broken home, tgwcw, even osco and some specific lyrics in other songs of the album too. Ashton talking about how he planned his escape, that paired with how Mike said they escaped from the bus in the rolling stone interview, actually the whole 2015/16 podcast puts everything about them in that era in such a devastating light. They wanted out. And the way they were feeling like that while being marketed as this hot young band. Legit with you, the first time I heard the full album after the podcast I was in tears the whole time. Invisible is highkey the saddest thing I've ever heard. I don't think anything will ever make me feel the same way as "another day, the walls are built to keep me safe, I can't escape, it's too late". I seriously feel the urge to time travel to 2015, wrap them up in a blanket and they'll them it's gonna get better.

[timewarpagain]

I am so sick of people trying to lecture others about being involved/interested in this whole mess. "PaRaSoCiaL ReLaTiOnSHiP" this "Entitlement™️" that, "yeah lol I like the Try Guys but I Don't Get why people care so much about-".

First of all, stop feigning ignorance as if the concept of gossip or community is foreign to you, you just come off as a try hard. I highly doubt you've gone your entire life without engaging in some sort of gossip or news that you heard about but didn't directly involve you. Like yeah we get it you're socially enlightened and Not Like Other Fans.

And you're right to an extent that fans aren't "entitled" to know every detail about a person's personal life. But considering the implications of the rumor (before it had been revealed to be true), the people involved, the fallout, and the very messy way the attempted coverup had been handled by the creative team, it's natural that people would be curious about what's going on. Like, you might have a point if this was some rando on the street or some lesser-known celebrity, or even one of the other Try Guys, but that doesn't really apply here. Ned's whole persona/Brand was built around him being a wholesome man in a group of guys who break down toxic masculinity and don't care about any preconceived notions about what it means to be a guy. Ned unabashedly loving and doting on his wife and child[ren] was a huge part of this. So many times in the media you get men who really seem like they don't care for their wives: the "Ball and Chain", "marriage is terrible", "Wife is a Nag", etc. crap, not to mention the amount of men who think that doing the bare minimum of parenting deserves praise or referring to taking care of their own kids as "babysitting".... but Ned wasn't like that. He outwardly cherished Ariel and their kids and never missed an opportunity to talk about them.

Ned cheating broke that sort of trust that he built with the viewers, destroyed the Wholesome Family Man image he projected, screwed over the Guys and their company, and most importantly hurt Ariel and their kids. And you could make the argument that we shouldn't be surprised by this because we didn't know everything about Ned's home life, and that private relationship issues should stay private, and to an extent I agree. However, that doesn't really work here because of multiple reasons.

If you remember the Paula Deen scandal, it's very similar to what happened here (and before you start screeching at me I'm not saying racism and cheating are the same thing). Paula Deen's image was that of a friendly and warm Southern grandmother, but when it was revealed that she'd used racial slurs in the past, it damaged that image and Food Network had to let her go. Ned's persona of being a devoted husband and caring family man is pretty much destroyed, and retroactively sours all the previous videos with or about Ariel and his kids. Second, he made no attempt to try and hide that he was cheating. He was out in public at a Harry Styles concert for fuck's sake. Did he really think no one would recognize him?

You can bitch and complain about "entitled fans" and "HE DOESN'T OWE YOU ANYTHING" or whatever, but that doesn't apply here. They've marketed their family, marriage, and children into videos, podcasts, books, and shows. You can’t make a career based on people’s investment in your relationship and then beg for privacy when you fuck it up. And considering that they also have a Patreon, I think the viewers have a right to know who they're giving their money to so they can make an informed decision about where it goes.

To add onto that, not only did he cheat on Ariel, but he cheated with an EMPLOYEE that he was the supervisor of, which is a legal and ethical nightmare. And his actions affect nearly everyone: Ariel and the kids, Alex's fiance, the company that now has to do some insane damage control and rebranding, lost his job, and destroyed his friendship with Keith, Zack, and Eugene.

Over a fling.