Month: July 2016

Affiliate Marketing Board Benefits

It seems like almost everyone in the world is on the Internet, this is because millions of dollars are spent by people every day on the Internet.

Many of these people use the Internet as a way of saving some money and trying to buy all of the things that they love on the limited amount of money that they have.

Since everyone is thinking about saving money when they are shopping through this method, there is a great potential to make money by simply offering products that customers are looking for at a lower price. Keep in mind that every dollar counts, the ability to offer an item at a discount of just one dollar may give you the potential for millions of orders that will give you a very successful venture.

This can be done with marketing where you are connecting with other businesses to offer products to an established base of customers with a affiliate marketing board. Using these board will allow you to connect with businesses that will provide you with a portion of the profits that are made on each sale.

One of the hardest things to do is find a new person that is looking for a product that is already offered. An affiliate marketing board will help you discover businesses that offer products that you can sell to start your own business. If you want to make money on the Internet, you will need to know which businesses will help you generate large profits and a great board can provide you with this.

Source by Anjali Khanna

How to Make Your Retail Store Famous

 Make your retail store famous and customers will beat a path to your door. That is what most of us think at least. We see fame as delivering financial success.

Of course, this is not true for all fame. What I am interested in this article is fame for the right reasons, fame which can be turned into viable commercial success. The other fame, notoriety for wrong doing of some sort, is usually not good for any retail business.

The fame I am talking about is fame which attracts traffic which converts to money through your cash registers. For a retail business this is the only fame which matters.

So how do you make your retail business famous?

Here are some suggestions for generating fame for your retail store. Some focus on big fame while others focus on more narrow, local, fame.

Be a larger than life personality. Live and act large and beyond what people expect. This means living the life of a personality. Some people achieve this by dating fame, others achieve it by constantly being in the right place. This type of fame can be somewhat false but it can also attach an aura of success to you business.

Be a superman. Help out in your community and the broader community beyond. When there is a need discussed on talk back radio, call up and offer to help. When there is a story in the local newspaper which indicates help could be useful, offer to help. When there is a telethon on TV, make a big and bold donation. Get known as the go to person for those in need.

Be large online. If your retail store operates in a special interest niche, build a strong online presence with a blog and website where you live beyond the size of your business. Take on a new personality of almost super hero proportions by offering advice and help. Get known for always being available, always having an opinion and being the genuine expert in your field.

Be heard. Contact newspapers and TV stations with relevant comments on topical stories. Pitch yourself right and you could become the go to person for comments on your area of expertise. This media coverage makes you famous and trusted.

Become the home of something. Make your retail store stand for something relevant to your niche, a product or service which sets you apart, makes you special. You could serve the largest of something. There could be a challenge associated with what you do or offer which gets customers in vying for the honour. This type of competition gets talked about.

Stand for something. This applies to all points. Your retail business will not become famous if it does not stand out by standing for something. So, start with your business before you embark on a mission to make your store famous.

Being famous makes commercial sense if done right and in a way which connects with people in your retail niche. Spend time planning and go about this in a way which supports rather than detracts from your business.

Go on, make yourself and your retail store famous. Enjoy life in the spotlight.

Source by Mark T Fletcher

Published in Tips by sima alaka.

Writing a Compelling Independent Film Prospectus to Entice Investors

The fun part of your pre-production process is over and now it’s time to focus on the business aspect. And make no mistake about it: As fun and rewarding as movie making is, it is a business. Your potential investor is excited to be a part of the film industry; however, their main objective is to make back every penny they invested in your production with a substantial profit on top of it. And it’s your job to prove to them you will do just that.

The cover page: Simple and direct. If you have a.png of your screenplay title written in a font that characterizes the theme/genre/mood you want to convey, boldly splash it across the top. If you have formed an LLC for your production, on the next line down from your title write in caps “(YOUR SCRIPT TITLE) THE FILM LIMITED LIABILITY COMPANY.” On the next line write “A company specifically established for the funding of the feature film (your script title). On the third line down place your company number. Not having an LLC isn’t necessarily a deal-breaker, but it adds credibility to your production. In most states an LLC can be formed for around $250.00.

The contents page: You will list every section of your prospectus on this page along with the page number where it is found. Be mindful that you will be revising and editing your prospectus, so make sure that the page numbers are correct as your text rolls back and forth over page breaks. The best way to check is to create a PDF of the presentation document and confirm everything matches up.

The artwork page: If you have the DVD cover or sheet (movie poster) artwork complete, insert an image on this page. You could also insert a pic of the cast in wardrobe.

Your introduction: This is your pitch. Make this around two pages, expressing your passion for the project without going overboard (ex: “This will be the best horror movie ever made in the history of cinema!!!”) Tell your investor why you believe in this project, why it is unique and why it will be successful. Don’t go into plot details; that comes later. Here is an intro paragraph I wrote for a prospectus which you are free to tweak and borrow:

Traditional filmmaking is very often a frustrating process for both large studios and smaller production companies like (production company). Fortunately, for the micro-budget film producer seeking public financing, the road less traveled is the road to success. Once financing is secured, a major hurdle is removed for our production company, freeing us to focus on the artistic portion of the film venture and, ultimately, allows us to create a worthy product for distribution and sale.

Risk summary: Remind your investor right up front that you will do your best to make this production a success but there is no guarantee of ever seeing a profit.

Resume of principles: Write a short bio for each person in charge of your production with a pic of their face. This could just be you. Insert any relevant links that add to your credibility such as your IMDb profile.

Narrative biographies: List everyone on the production crew with a quick one line bio, relevant links and their film credits.

Business structure: If you have an LLC, you must state that you are seeking an active investor in a member-managed limited liability company. In an ideal world you would have a passive investor who hands you over a stack of green and lets you run with it, but in the real world most people like to have a hand in how their money is spent. If you state that you are seeking a passive investor in your prospectus, then you will be faced with a load of red tape and the SEC will come down like a hammer if you don’t follow protocol exactly. The main selling point of the LLC is that all members are protected from liability for acts and debts. If you do not have an LLC, then write a brief paragraph outlining the business contract and attach a copy at the end of your prospectus PDF marked as “Appendix A.”

Film synopsis: Write a half page synopsis of your feature film. Make it vibrant – really sell your story. Your investor must love the concept if he/she is going to fork over the dough.

Screenplay rights: State simply: “(Production company) has sole control and exclusive ownership of the screenplay (screenplay title) and any and all rights associated with said script. Write your WGAw registration number followed by “Writers Guild of America, West.” Include the registrants full name.

Market snapshot: You’re going to have to do some research here. If you are writing a prospectus you should have a budget with a fairly good idea of how much this production is going to cost. Look for other movies of the same genre as your script that have roughly the same budget and have made considerable profit. List each of these with a brief description of the film, the production budget and the profit to date. The more referenced the better. Remember, your investor wants to make money and this is your opportunity to show him/her it has happened and will happen again if they shell out the money.

Investor tax incentive: This is your KO. The American Jobs Creation Act of 2004 was signed into law, creating a tax incentive expressly applicable to feature films: 181 of the Internal Revenue Code. This incentive was created to combat “runaway film” projects: Productions intended for release in the United States but are filmed in other countries. Section 181 permits a 100% write-off for all audio-visual work performed in the USA. In a nutshell: Your investor gets to recoup all of their investment money the next time they file their taxes. Pretty sweet – and a definite selling point for you.

Marketing plan: Sure, we made a movie…now what are we going to do with it? The fact that you have sought out an investor means that you have probably looked into negative pickup deals with distributors and found it darned unappealing. If you have a good head for business and/or a background in marketing, explain your strategy for distributing and selling your movie. Otherwise, you’re going to have to set aside at least 50% of your production budget, hand it over to a marketing firm and have them handle that end. Regardless, a portion of the money you are asking for needs to be allocated for the marketing of the finished product.

Budget: Okay, your investor is excited. Now you hit them with the hard numbers. Write a brief paragraph stating the dollar figure you need and that the budget is available for them to review (believe me, they will review it thoroughly…).

Locations: list all the specific shoot locations so that your investor has a good feel of the logistics involved in the production.

Timetable: Here is an example:

Development: Two months (completed)

Pre-Production: Three months (current status)

Production: Forty-five days

Post-Production: Three months

Sales and revenue: You’re not using a distributor, which means you will be producing the DVDs yourself. There are plenty of DVD manufacturing companies online who will create both your DVD and case for reasonable bulk rates. Break down the manufacturing cost and set your price point. Price point is crucial: Set it too high and you won’t move units; set it too low and you’ll move units but destroy your profit margin and turn off your investor.

Writing a feature film prospectus isn’t easy but it is necessary and if you do it right you have just given yourself a boost over 99% of the other filmmakers out there vying for the same cash pool.

Source by RJ Wattenhofer

How to Make a Man Obsessed With You! Here Are the Tricks Every Woman Must Learn

Chasing after your dream man will only end in disappointment. Even if you do like a man at any party you should ensure that he chases after you.

Use these tips on how to make a man obsessed with you and watch your dream man try to win you even as you enjoy the chase.

Use your eyes to hypnotize him

You can beckon your man even if he is standing at a distance from you. You should ensure that you look at him at regular intervals and lock your eyes with his the moment he looks at you. Let your eyes wander hypnotically over his body before you shift your gaze. Your man will now realize that you want him to approach you.

Talk to him with your eyes

Even as he introduces himself to you and enters into a casual conversation, make sure that your eyes tell a different story. Talk to him with your expressive eyes that indicate what you actually want to do with him. This will drive him wild and he will now start chasing you with every ounce of his energy.

Remain formal and out of reach

Evan as your eyes give him the come- hither look, you should physically retain your distance and act formally with him. You should convey a feeling that you want him but he cannot have you as this will drive him crazy with desire and make him obsessed in winning you.

Humor him and get closer to him

If his jokes are truly laughable then laugh by all means and use it as an excuse to lightly touch his arms before flipping your head back. Most men still love this routine and your man too could enjoy the attention that you are showering upon him.

Say yes to a date without shouting or dancing

If your enamored man now asks you for a date then do not start shouting or dancing with happiness. Instead, a shy smile with your positive answer will have him leaping into the air.

Dress to kill

You should make sure to go in for a makeover that simply improves your looks instead of changing them drastically as your man would have fallen for you due to your specific looks. However, get a makeover to improve your skin texture and wear the best clothes possible to take your man’s breath away on the first date and make him obsessed with you.

Do not offer yourself to your man

Do not think that by yielding physically and mentally that your man will fall in love with you. Instead, reveal all your facets slowly and mysteriously with each consecutive date so as to keep the fires of desire burning bright within your man.

Source by Russell Jackson

Published in Tips by sima alaka.

How To Make Mexican Mixiotes

Mixiotes are wonderful to eat and if you enjoy traditional Mexican foods you will love them. The word “mixiote” refers both to a meat stew and to the wrapping used to contain each stew. This wrapping is made from the outer layer of a maguey leaf.

If you cannot buy these leaves from a Latin food store you can use “papel para mixiotes” which are plastic baggies. If you use those to steam your bundles, wrap each one in foil before you steam them.

Making these mouthwatering treats is easier than it sounds. They taste so good that you will want to make a lot. They freeze well too. You can use beef, lamb, or chicken for them.

The following recipe calls for mixiote leaves but you can use plastic baggies and aluminum foil for the same results. You will also need avocado leaves and you can get these wherever you buy your fresh chili peppers. These delicious little bundles make a fantastic dinner and because this is one of the most authentic Mexican food recipes it is also nice to serve at a dinner party. These little treats will certainly be a conversation starter.

What You Need:

  • 12 mixiote halves or 12 plastic baggies and 12 foil squares
  • 12 halved chicken breasts or 12 chicken thighs
  • 4 finely chopped cloves garlic
  • 2 oz achiote paste
  • 1 cup bitter orange juice or 3/4 cup regular orange juice with 1/4 cup vinegar
  • 6 stemmed, de-seeded guajillo chilies
  • 6 stemmed, de-seeded ancho chilies
  • 1 chopped onion
  • 1 roasted, peeled, chopped tomato
  • 6 sliced carrots
  • 12 new potatoes in 1 inch cubes
  • 3 1/2 cups water
  • 12 dried avocado leaves
  • 1/4 teaspoon each dried oregano, thyme, and marjoram

How To Make Them:

Salt and pepper the chicken and prick the pieces with a fork in several places. Puree the orange juice with the garlic, spices and achiote paste and transfer the mixture into a bowl.

Put the chicken pieces in this marinade. Put the chilies in a pot with the water and bring it to a boil. Turn the heat down and simmer them for twenty minutes, covered. Puree them in a blender with the tomato, onion, and salt. Strain them into the pan and simmer the mixture for ten minutes.

Soak the mixiotes for ten minutes or until they are pliable, then put an avocado leaf in each one, as well as a piece of marinated chicken, some potatoes, and carrots and some sauce. Tie the packages with string. If you are using plastic baggies, wrap each one in aluminum foil and seal them well.

Fill a pot with water and put the mixiotes on a rack or tamale steamer. Cover the pot and steam the bundles for an hour and a half or two hours. Chicken thighs take longer than chicken breasts. Remove the aluminum foil and put each mixiote in a bowl. Each person unwraps their own and lets the liquid flow into their bowl with the meat. Serve tortillas and sliced avocado on the side.

Source by Christine Szalay Kudra

Published in Tips by sima alaka.

"Tipping the Velvet" Is First Alternative Lifestyle Film With an Educational Message – Part 2

Tipping the Velvet – 4 Stars (Excellent)

What makes Tipping the Velvet an excellent film is its talented cast with a great presentation, and it has a life-changing, meaningful message by a lesbian about innocence, desire, passion, betrayal, empathy, change, independence, resourcefulness, vision, love and happiness while retaining a sense of self-worth and self-esteem.

It is incredibly unusual to see an alternative lifestyle film with a happy ending.

I review controversial films because they are ultimately about relationships and relationships are the foundation of our lives.

As I grow older I understand that the most important things in my life have nothing to do with money or material things, and everything to do with my relationships involving my wife, my children, my grandchildren, extended family and friends. What matters over the long haul is the well-being of people, not whether we agree or disagree with their lifestyle choices.

The BBC has done a tremendous service in bringing this movie to television with the quality of a BBC broadcast that includes great writing, great sound, great cinematography, great direction and a great cast.

Based on Sarah Waters’ acclaimed debut novel, Tipping the Velvet was adapted by Andrew Davies, an Emmy award-winning British screenwriter who has also written “Doctor Zhivago”, “Bridget Jone’s Diary”, “Sense and Sensibility”, “Vanity Fair” and “Pride and Prejudice”. Davies is a very talented heavyweight.

Tipping the Velvet tells the story of Nan Ashley (Rachael Starling, the real life daughter of Diana Rigg) who shucks oysters and serves customers at her father’s seaside restaurant in Victorian England during the 1890’s.

Nan’s mundane life turns upside down when she sees an extraordinary performance by an attractive traveling male impersonator named Kitty Butler (Keeley Haws). Nan’s innocent interest is fueled when she is asked by Kitty to become her dresser while she is performing in Whitstable.

When Kitty is recruited by Walter Bliss (John Bowe), and heads to London to become a big time entertainer, she invites Nan to accompany her as her dresser. Nan falls in love with Kitty, joins her act as a performer and ultimately the two become secret lovers. For Nan the relationship is euphoric and her happiness real until she returns from a vacation trip home and discovers that Kitty and her manager Walter have become lovers and are to marry.

Nan’s initial innocence and desire are now confronted by betrayal and rejection. Despite being devastated, Nan awakes from her stupor and asserts her independence by walking the streets of London disguised as a young man for hire, performing oral sex so she can survive. When she is assaulted, Nan is rescued by a rich widow who gives her every comfort in exchange for lesbian sex. Nan becomes a prisoner and slave to her passions for pleasing and being pleased.

Eventually there is a tiff and the widow, Diana Leathaby (Anna Chancellor), throws Nan out, where she is left penniless and alone to fend for herself with nothing but the clothes on her back. Despite her misfortune, Nan vows to survive. Nan now learns the plight of those in need and turns for help to the only person she can remember, Florence Banner (Jodhi May), who she had met earlier in better days.

Florence and the brother Ralph Banner (Hugh Bonneville) reluctantly take in the battered and exhausted Nan for a night, but Nan is determined to change her ways. She becomes resourceful in convincing Florence and Ralph that she can clean, cook, and watch the baby that the Banners are raising.

Nan’s vision is to make herself so indispensable that she will remain welcome in the Banner home despite her 7-year journey from innocence to unbridled passion to debauchery, recovery and finally well-being and acceptance. Ultimately Nan and Florence fall in love. Then Kitty returns to Nan’s life once again when Kitty, wishing to resume her torrid relationship with Nan, learns that Nan is back performing on stage.

Nan is then forced to decide between the attractive, passionate Kitty and the more loyal, loving Florence. For once, Nan makes a wise choice in staying with Florence, finding the love and happiness she wanted but had never possessed. The ending is what makes Tipping the Velvet an excellent movie. When all is said and done, Nan and Florence survive in their relationship as well-adjusted adults who find each other and continue living with their self-esteem and self-worth intact.

Other than a few awards from lesbian theater groups, Tipping the Velvet was ignored by the critics, and especially Hollywood. This is why I write reviews, to separate the wheat from the chaff and recognize substance in film making wherever it exists.

The more knowledge and understanding we have of people, races, cultures, mores and lifestyles, the sooner we come to understand that we are all connected. We tend to value acceptance and tolerance only when it is taken from us. “Too often we enjoy the comfort of opinion without the discomfort of thought.” John F. Kennedy said it, and I believe it.

And what does “tipping the velvet” mean? See the movie, not to find out what tipping the velvet means but because it is an excellent film on alternative lifestyles. Support films that increase understanding and acceptance.

(Editor’s Note: This is Part 2 of a 2-Part Review.)

Copyright © 2007 Ed Bagley

Source by Ed Bagley

The Purpose Of A Motivational Speaker

A motivational speaker is a person who speaks on a professional basis to large groups of people. Here we look at what a motivational speaker is and what you need to possess in order to be successful in this profession.

Anthony Robbins is one. So is Deepak Chopra and Bob Proctor. The same can be said of Rene Godefroy and countless others. What do these people all have in common? They are all motivational speakers.

A motivational speaker (which is also sometimes referred to as an inspirational speaker) is an individual who speaks professionally at any number of different types of engagements. The speeches are geared towards motivating and inspiring the members of the audience. In some cases they are also morale boosters and/or a call to action. This is especially the case when the audience gathered is a group of employees.

When these speakers are called in to talk to businesses the goal is to communicate strategies that the company espouses and to make the relevant points as clear as possible. They also give a speech to lift up the workers and to convey a positive message that makes everyone want to cooperate as a team.

A motivational speaker can be a valuable asset to any company or corporation, be it large or small. He or she can also help to inspire people in a personal manner to seek improvement in their own lives. Once they become well known many public speakers have no problem filling an auditorium of avid and eager listeners.

This profession is one that does not necessitate any special training or any formal education such as college or university. You also do not need to obtain certification or anything of that nature to seek work in this area. However most individuals who choose to pursue the motivational communication occupation have skills pertaining to public speaking and are able to address and captivate any size audience. If you do not have a commanding presence and you cannot keep people’s attention and focus and you do not have a way with words then this is probably not the right field of work for you.

This type of work is all about the power of communication and the role it plays in everyone’s lives. Those who wish to delve into this profession need to look closely at how they communicate. If this area of your life requires improvement then this is where you must start.

Those who excel at being a motivational speaker to others and motivating others are not necessarily the most talented, smartest or educated individuals. What they can be described as are people who know how to communicate their message to others with a great deal of clarity, inspiration and confidence. They know how to influence others in a positive, uplifting and fulfilling manner.

Some people are naturally born with a knack for knowing how to communicate why others need to learn how to cultivate it throughout their lives. To be a motivational speaker you first must master the art of communication. Having charm and making others feel at ease also plays a significant role in being successful in this area.

Words are powerful and can move an audience to evoke strong feelings if you develop the ability to be a leader in this field. A person who wishes to speak on a professional basis must know how to reach people on a level that they can relate to.

Source by Andrew Stratton

Looking Back Through 2000 Seasons of Slavery of Africans by Various Other Races in Ayi Kwei Armah

Ayi Kwei Armah’s TWO THOUSAND SEASONS, is ‘a deeply profound and monumental text’ projecting a pluralized communal voice [we] speaking through the history of Africa, its wet and dry seasons, from a period of one thousand years. The title itself represents the enormous arc of time covering the long and awful years in African history that were traversed and endured. This pan-African epic sums up the African experience for the past two thousand seasons reduced effectively to ‘a thousand seasons wasted wandering amazed along alien roads, another thousand spent finding paths to the living way.’ Written in allegorical tone, it shifts from autobiography of disconnectedness and reconnectedness and realistic details to philosophical ponderings, prophesying a new age of hopeful regeneration. This wide span of African history reduced to just two hundred pages has given rise to doubts as to its authenticity as a novel even though it interpretes history creatively.

Ayi Kwei Armah was born in the twin-harbour city of Sekondi-Takoradi in Western Ghana in 1939 to Fante-speaking parents. On his father’s side, he hails from a royal family in the Ga tribe. His secondary schooling was at the prestigious Achimota College. In 1959 he proceeded on a scholarship to the GROTON SCHOOL in Massachusetts. Next at Harvard University he received a degree in sociology. He moved to Algeria to work as a translator for the magazine Revolution Africaine. Back in Ghana, he got engaged at the Ghana Television as a scriptwriter and later taught English at the Navarongo school. He became editor of JEUNE AFRIQUE magazine in Paris from 1967-8. He then proceeded to Columbia University where he obtained his M.F.A. in creative writing. In the 1970’s he taught at the College of National Education, Chang’omgo, Tanzania and at the National University of Lesotho. He lived in Dakar, Senegal from the 1980’s and taught at Amherst and University of Wisconsin at Madison.

Armah’s writing career started in the 1960’s. He published poems and short stories in the Ghanaian magazine OKYEAME, and in HARPER’S, THE ATLANTIC MONTHLY, and NEW AFRICAN. Then in 1968 he published his first novel THE BEAUTIFUL ONES ARE NOT YET BORN which emerged as a modern African classic.

TWO THOUSAND SEASONS is a novel of loss and redemption. ‘Woe the race, too generous in the giving of itself, that finds a highway not of regeneration but a highway to its own extinction,’ he warns and goes on to trace the paths taken: the many false ones and the true ones.

The place of origin, the home, is an unspecified sub-saharan African country. The story truly begins with the coming of the predators who bring in ruin. First, we have the Arabs, then the Europeans – ‘White all. And always the weak and complicit locals keep showing from the first a ‘fantastic quality […]: fidelity to those who spat on them,’ thus helping to bring ruin from within.

The first predators appear as beggars. Their pitiful appearance is misleading. Cunningly and patiently, they took hold using their religion to inspire and hold sway over the weak, turning them against their fellow Africans. The predators reduce them ‘to beasts’ by starving their minds with their foreign religion and ‘indulging their crassest physical wants. These beasts- the perfidious askaris, who keep the locals subjugated throughout the thousands of seasons – are pathetic, but though the others contemptuously call them ‘white desert-men’s dogs’ they become the willing and often very effective tools of the predators.

Armah thus keeps showing the African to have contributed to the demise of his own culture by being ever so willing to deal with the [white] devil and by selling out to his fellow man.

The ‘white man from the desert’ patiently makes inroads, returning stronger and wiser each time. The locals do not know how to protect themselves:

This time again the predators came with force – to break our bodies. This time

they came with guile also – a religion to smash the feeblest minds among us,

then turn them into tools against us all. The white men from the desert had

made a discovery precious to predators and destroyers: the capture of the mind

and the body both is a slavery far more lasting far more secure than the

conquest of bodies alone.’

Revolts of great ferocity were common. The predators’ gluttony leads to their own

undoing – yet that undone is never enough. Success is limited. The next wave of predators are seemingly always at the ready. But the local never seem to get any wiser.

Leadership is as much a problem in this text as it is in BOUND TO VIOLENCE. The rulers for whom Armah reserves nothing but contempt are the worst. ‘The quietest king, the gentlest leader of the mystified, is criminal beyond the exercise of any compassion.’ This holds perfectly true for his prime example, the greedy fool, Koranche.

The whites, coming after the Arabs, are not merely predators but destroyers – the armed colonial European powers. And Armah is certain: ‘There is nothing white men will not do to satisfy their greed’-or: ‘Monstrous is the greed of the white destroyers, infinite their avarice.’ Fortunately for them then, there is little Koranche and his flatterers won’t do to satisfy their greed either:

Among the white destroyers there was no respect for anything we could say.

They had come determined to see nothing, to listen to no one, bent solely on the

satisfaction of their greed, of which we had ample news. But the king was

infatuated with the white destroyers and would not heed the people’s will, as

quick in its expression as it was clear to tell the white men to go.

Among the destroyers are missionaries, too, with a different poisonous religion.

Wise Isanus warns time and time again of the dangers ahead but no one listens.

‘Have we forgotten the cause of our long wandering? Did we not learn near the desert how priests and warriors are twin destroyers, the priest attacking the victim mind, the warrior breaking bodies still inhabited by resisting wills?’ ‘All honest people who have come to us have come because they sought to do themselves good among us, as part of our people, and they said so. These white men, they do not want to be part of us. But here they have come claiming they have crossed the sea from wherever it is they come from just to do us good. They are pretenders. They are liars. We have asked them for nothing. We should not have let them come among us. They have no desire to live with us. They will live against us’ [p153-154]

”The whites intend a lasting oppression of us’…He told us in the town Poano he had heard a white man, a missionary whose white greed was so subtle it looked forward to the ending of the open trade of human beings, to the beginning of a subtler destruction. This white missionary thought there would be far greater profit in keeping the victims of the trade here on our land, having the kings and courtiers use them to mine and grow whatever the whites need, then offering the product to the white destroyers… Isanus said this white missionary would be busy finding ways to eternalize our slavery through using our leaders in a cleverer kind of oppression harder to see as slavery, slavery disguised as freedom itself. The whites intend a long oppression of us.” [p163]

[The narrator] ‘Our choices in the life we were ready to begin would not be many: we could fit into existing arrangements, abandoning our dreams of that better world, dreams of our way, the way. Or we could try to realize the way. That would mean fighting against the white road, the white people’s system for destroying our way, the way.

We listened to Isanus. We did not know that the knowledge contained in his words was immediate, urgent knowledge. We thought we would have time to absorb it, time to adjust to its meaning. We had none.

Isanus tried to warn us but we misjudged him. We thought there was a distance between his words and reality, a space for us to manoeuvre in. There was none….He warned us to stay completely clear of the new arrangements, the positions which had already become mere jobs for parasites.’

[Isanusi] ‘The way things have become, if you do not want to be parasites you need time in which to think of what else there is to be. And above time, courage to do what you conclude you ought to do which is more difficult….’

[Isanusi] ‘If you knew who you were, you would accept no invitations from [B]lack men who call white people friends. Bloody interests feed such unnatural friendships. You will live to be their victim.’ [P164-166]

Later, after they have been sold into slavery by their king and escaped ‘his words came back an echo to what we had lived to know.’ Finally, they are determined not to look into the past, or ‘return to home blasted with triumphant whiteness.’ They would ‘seek the necessary beginning to destruction’s destruction.’

Isanusi seeing how long the road ahead is, warns that this generation ‘would not outlive the white blight, that only the groundwork could be loud, the beginnings undertaken. Despite the treachery of chiefs and leaders, of the greed of parasites that had pushed us so far into ‘the whiteness of death’ there is some hope for the future – though not an immediate one, ,

Despite unspeakable horrors, oppression and betrayals as in BOUND TO VIOLENCE, this novel unlike the latter is a story of the triumph of the human spirit and the will. Enslaved, there is a daring escape from the ship followed by the rescue of the others. The white predators are thus beaten at their own game. Arms stolen from them are then turned against them. Inspite of continuing treachery, successes along with small movements emerge along the way. Much of this is dramatically related. It is a stirring often horrifying, often touching read.

The shared norms, values and ancestral background reposed in BOUND TO VIOLENCE are retained in TWO THOUSAND SEASONS. This could be best examined in the style of the opening paragraphs of the first chapter with its preponderant communal’we’.

We are not a people of yesterday. Do they ask how many single seasons have

flowed from our beginnings until now? We shall point them on the proper

beginnings until now? We shall point them on the proper beginning of their counting. On a clear night when the light of the moon has blighted the ancient woman and her seven children, on such a night tell them to go alone into the world. There have them count first the one, then the seven, and after the seven all the other stars visible in their eyes alone.

After that beginning, they will be ready for the sand. Let them count it grain

from single grain.

And after they have reached the end of that counting we shall not ask them

to number the raindrops in the ocean. But with the wisdom of the aftermath have them ask us again how many seasons have flowed by since our people were

unborn.

As Ngara states, the preponderance of the first person plural ‘we’ throughout the story points the narrator out as ‘a collective voice in the true tradition of African communalism.’ Armah’s narrator, speaking for the group, exemplifies one of the book’s important messages – the truism that strength, survival and even beauty are to be found in togetherness. We therefore have the continuous emphasis on their common background throughout the text by means of such phrases as ‘our people’, ‘our origins’ and ‘our history’. With the first person, the writer immediately creates the illusion of a speaker actually addressing a listener – in this case a reader, as posits Mensah. But then we also get the impression of a teller involving an audience in his narration as he keeps asking: ‘Do they ask how many single seasons we have flowed from our beginnings till now?’ This also gives the narrator a more than usual degree of immediacy of a direct address of a living voice.

This effect is enhanced by the rhetorical use of repetition in ‘On a clear night when the light of the moon has blighted the ancient woman and her seven children, on such a night tell them.’ The most recurrent repetition is that of ‘the way’, ‘our way’, and ‘reciprocity’. This sometimes lends the tale some philosophical twist as could be sensed in: ‘Its farthest meaning, that meaning large enough to hold all other meanings, was the meaning of the way itself: the call to reciprocity in a world wiped clean of destroyers innocent again of predators. What was the meaning of the way? Its clear meaning was destruction’s destruction. It’s closest meaning: the search for paths to that necessary beginning.’

Here, ‘meaning’ has been often repeated. But we also detect the use of another rhetorical device, that of rhetorical questions as exemplified below:

Which shall we now choose to remember of the many idiocies our tolerance

has supported? Shall we remember Ziblin the heavy one, heavy not like a living elephant but like infirm mud, he who wanted every new bride’s hymen as his

boasting prize, but turned the tears of women into laughter when they found

massive would-be king had not the blood in him for entering the widest open

door? Or shallow remembrance be of Jezebo, he who for the solace of his

shriveled soul wanted all coming into his presence crawling on their knees. Or of Bulukutu, he who gave himself a thousand grandiose, empty names of praise

died forgotten except in the memories of laughing rememberers?

Through this device we are given the feel of a communal experience with the narrator involving the audience by asking them questions. But indeed the questions themselves are disguised statements for they in fact do what they ask to be done.

The recourse to proverbs at a time when the need for consciousness is being emphasized is significant:

Of unconnected consciousness is there more to say beyond the clear recognition this is destruction’s keenest tool against the soul? That the left hand

should be kept ignorant of what its right twin is made to do… That the heart detached should beat no faster even when limbs familiar to it are moved to heinous

acts. That our left eye should be set to see against its twin not with it… That the sight of the eye should be unconnected, cut off from the mind’s embracing consciousness – what is that but death’s white in delirious triumph?

The wisdom of the sayings is warped to shock the audience into realizing the destructiveness of unconnected consciousness.

Armah sustains the effect of recreating in writing the speaking voice throughout the work thus making it one of the most oral works ever written. It is not just any speaking voice. It is formal and dignified and invested with authority. This is in the tone, the contemptuous tone in which the narrator discusses questions about the antiquity of Africans. ‘Just as only a fool would endeavour to count the stars or the grains of sand on the shore or the raindrops in the ocean, so only a fool would wish to count the years in order to arrive at the immemorial epoch when the African people originated ,’ It is a tone suggestive of wisdom as well as impatience with the folly of Europe’s ways. This passage also exemplifies another device Armah uses to invest the narrator with authority which is the deep knowledge displayed about African things. The reader is throughout the novel overwhelmed by the narrator’s encyclopaedic knowledge of Africa’s rivers, trees, peoples, names and its history thus recreating the voice of the court historian, the griot or at least sagacious grandparents telling the young of the village tales of yore. AS Robert Fraser observes: ‘where before we searched in vain for an instance of recognizable authorial intervention, the writer here takes upon himself a role of obtrusive commentator from the very first sentence.

BIBLIOGRAPHY

Fraser, Robert, THE NOVELS OF AYI KWEI ARMAH, London, Heinemann,

1980

Ngara, Emmanuel, STYLISTIC CRITICISM AND THE AFRICAN NOVEL,

London, Heinemann, 1982

Palmer, Eustace, THE GROWTH OF THE AFRICAN NOVEL, London,

Heinemann, 1979

Lindfors, Bernth, ‘Armah’s histories’ in AFRICAN LITERATURE TODAY no 11,

1980

Mensah, A.N., ‘Style and Purpose in Armah’s TWO THOUSAND SEASONS’ in

AFRICAN LITERATURE TODAY no 17 ed. Eldred Jones

Omotoso, Kole, ‘Trans-Saharan Views; mutually negative portraits’ in AFRICAN

LITERATURE TODAY no 14, 1984

Wright, Derek, ‘ Ayi Kwei Armah’s TWO THOUSAND SEASONS: A Dissent’

Source by Arthur Smith

How the Internet Affects Traditional Media

Traditional Publishing, REST IN PEACE

This is the headline that greets you when you land on a web page erected as a memorial to commemorate the decline of Traditional Media. A photograph of a man who seems to be in distress and who’s possibly just lost his job accompanies this headline. If this does not paint a bleak picture, go on to read the 548 headlines that all sing to the same tune as the following:

  • Bad Times: NYT Says Revenue Fell 13.9% Last Month

    – Forbes.com

  • Men’s monthly magazine Arena to cease printing after 22 years

    – Guardian.co.uk

  • Cosmopolitan UK publisher to cut 100 jobs

    – Guardian.co.uk

There’s even a website entitled Newspaper Death Watch that chronicles all the publishing and newspaper houses that close down. All rather morbid wouldn’t you say?

The Deadly Spell

Let’s take a quick look at Traditional Media and how the Internet cast it’s deadly spell.

Back in the old days, we’re talking 500 years ago; Gutenberg revolutionized the printing industry by inventing the printing press. This meant bibles could be produced at a fraction the time it used to. This also meant more copies in a shorter time and the Word of God got further reach in a shorter time. Newspaper houses and Magazine publishers still use a printing press today (well thank you captain obvious).

Much later, shortly after the advent of electricity, the world was blessed with another few media breakthroughs, namely radio then a few years later, television. Marketers and Advertising agencies had it all figured out as they devised Integrated Marketing Campaigns with astronomical budgets. Ah, the good old days. Well, much to the dismay of many of these agencies, this media landscape started to change.

Behold! Enter The WWW

At first a website was seen as a cute way to put your company brochure online and on top of that the disastrous dot bomb era created skepticism that labeled the Internet as a bad media and business channel.

Fortunately, since then the Internet has matured. Now, in countries where broadband has achieved high levels of household penetration, the web has become the consumer medium of choice.

Why? Because people can do research, shop online, watch videos and connect with friends all in the comfort of their own homes. People can choose what media they want to consume, where and when they choose too, especially with mobile connectivity. Marketers can no longer dictate what advertising messages people get subjected too.

Social Media, The New Black

Then there is the phenomenon of Social Media. It changed the media landscape forever. Social Media websites have allowed consumers to connect with friends, family, colleagues and peers in ways that were never imaginable a few decades ago.

Technology has empowered the consumer to become the Prosumer. Prosumers are consumers who produce content such as videos, photos and blogs that can be instantly distributed and shared amongst millions of people via social media platforms. This is also known as user-generated content or UCG.

Here is an interesting bit of trivia about the reach of Traditional Media vs. the Internet and Social Media.

Years it took to reach a market audience of 50 Million:

  • Radio – 38 Years
  • TV – 13 Years
  • The Internet – 4 Years
  • The iPod – 3 Years
  • Facebook – 2 Years

So How Does The Internet Affect Traditional Media?

The Internet has decreased the need for Traditional Media because it enabled consumers to join social societies within their neighborhoods, across their countries and internationally. It has empowered them to converse at their leisure, 24/7, with friends.

Considering all that’s been said, the demise of Traditional Media can largely be attributed to the following factors:

  1. Decline in readership: The distribution of free news and information on the web has led to the decline in readership for traditional publications.
  2. Decline in revenues: The decline in readership means advertisers will spend their money elsewhere and this leads to a decline in ad revenue.
  3. Real-time updates: Traditional Media can’t compete with instantly updated user-generated content that’s immediately available for the world to see.
  4. The rise of UGC websites: People have the freedom of unlimited real time commentary on content while Traditional Media is static and is a one-way communication tool.
  5. Online Audio/Video channels: People can choose what they want to watch and listen, when they want to and where without any advertising interrupting their experience.

Simply put. The Internet has revolutionized the way things get done today. It has revolutionized the way we do business, the way we communicate and has broken down the walls of Traditional Media.

A recent example is the decision by Unilever UK to fire Lowe, their Ad agency of 15 years, in favor of crowdsourcing – which means it has thrown the brand creative pitch open to agencies and basically any person who can think of an idea, worldwide. This is done on the Internet of course.

Traditional Media will still be around for a while, but the Internet is getting more and more integrated into our daily lives.

Think about this. You could do without the Mail & Guardian or the MensHealth Mag for quite some time, perhaps live quite happily without it? But you just dare cut that ADSL connection…

Source by Piet Alberts

Ellen Reid Smith: My Inspiration to Roping a Kick Ass Internet Marketing Career!

Ellen Reid Smith brought the cowgirls of yesteryear to my attention in an incredibly inspiring book, Cowgirl Smarts, How to Rope a Kick-Ass Life.

The book was given to me by an old cowgirl friend of mine on a much-anticipated and well-earned camping trip. We were sitting at the campfire watching the embers of the fire go out as we finished up our lengthy conversation on the ups and downs, and ins and outs of our lives.

I was at a crossroads in my life and needed something or someone to give me something to hold on to. I needed to be inspired, but more importantly, I needed to be ignited.

“Here’s a book that is right up your alley,” my friend said, read it in bed, it will wake you up.” She handed me Cowgirl Smarts, How to rope a Kick Ass Life. Well it did more than wake me up. It jolted me into high gear.

From the moment I picked up that book, I knew my life had reached a pivotal moment. The wall of Jericho fell from around me. All my answers were in the palm of my hand in black and white in Ellen Reid Smith’s written words. I read it from cover to cover. I didn’t want the book to end. I wanted to read more and more.

To inspire and guide me throughout my life, I have read a library of self-help, inspirational and motivational books from the most brilliant minds of our times. I got a lot out of those books but they never grabbed me by the scruff like Cowgirl Smarts, How to Rope a Kick Ass Life.

Not only is it brilliantly written, it is captivating, innovating, motivating, inspiring and true.

Ellen Reid Smith writes about a group of individual pioneering cowgirls, who against all odds, with their cowgirl smarts, broke down barriers and succeeded in their quests. They had nothing but their intense desire, their passion, and their willingness to weather many storms in an era when women had no rights and were subordinate to cowboys.

Ellen then goes into detail about the lessons learned from each cowgirl in order for us to grasp the same principles, and keep on keeping on.

These pioneering women, just to mention a few for recognition purposes and to put their names before you include, Elizabeth Johnson Williams, Bertha Kaepernick Blanchett, Wilhemenia Mathews, Adele Von Ohl Parker, Fanny Seabride, Prairie Rose Henderson, Dora Rhodes Waldrop, Lucille Mulhall, Fox Hastings.

Why did they affect me like they did? I think it’s because they acted and elbowed their way in on our behalf. They made the impossible possible. They made it so we have no barriers.

The question now is who’s going to write about us? Having said that, then who’s going to take our place? We have more at our disposal than any of these cowgirls would have imagined. They would be riding high on the crest of a wave with the reins between their teeth in this era.

If Ellen Reid Smith were to write about us what would she write? Do we have enough material between us to put it in a book to ignite the women of the future? What’s our purpose? What are we going to do with our God-given intensity?

Perhaps we should work on that material and expect our names to go on into the next century for another cowgirl to pick up as she leaves a burnt out campfire.

Ellen Reid Smith, by researching and sharing the stories of the pioneering cowgirls of the wild-west has given me more than I would have possibly imagined. She thought me how not to be stopped. Thank you Ellen, I owe you one.

Source by Annette C O’Leary-Coggins