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Posted by adgag adgadgvadgv on Tuesday, March 29, 2011







If you don't know much about Justin Bieber's rise to superstardom, James Parker provides a good primer:





How did he do it? With YouTube, that’s how. Kissed in his cradle by the witch of the Web, Justin was throwing up little promo reels by the time he was 12. Singing a Brian McKnight song into the bathroom mirror. Or sitting on some municipal steps somewhere, busking mightily about the Lord: “You’re my God and my Fa-ther!” he bellows through the legs of passersby, the wooden body of his guitar reverberating with his shouts. ...



Bieber wasn’t from the Disney factory, and he didn’t have a show on Nickelodeon, so the marketing plan was skewed toward his already established constituency in social media: lots of Facebooking and YouTubing and sugary tweets to his millions-strong Twitter army.















If you don't know much about Justin Bieber's rise to superstardom, James Parker provides a good primer:





How did he do it? With YouTube, that’s how. Kissed in his cradle by the witch of the Web, Justin was throwing up little promo reels by the time he was 12. Singing a Brian McKnight song into the bathroom mirror. Or sitting on some municipal steps somewhere, busking mightily about the Lord: “You’re my God and my Fa-ther!” he bellows through the legs of passersby, the wooden body of his guitar reverberating with his shouts. ...



Bieber wasn’t from the Disney factory, and he didn’t have a show on Nickelodeon, so the marketing plan was skewed toward his already established constituency in social media: lots of Facebooking and YouTubing and sugary tweets to his millions-strong Twitter army.










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Report: NFLPA to soon begin paying players


The NFL Players Association will reportedly begin paying players in need from its lockout fund beginning April 15.


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Radioactive trench water not confirmed to have overflowed: agency <b>...</b>

Radioactive water that has been filling up underground trenches connected to the crippled reactors at the Fukushima Daiichi nuclear plant has not been confirmed to have overflowed, the government's Nuclear and Industrial Safety Agency ...


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autosport.com - NASCAR <b>News</b>: Raikkonen to compete in NASCAR

Former Formula 1 world champion Kimi Raikkonen will make a surprising move to NASCAR this year, the Finn joining the series with a new team.


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Editor’s Note: Jim Dalrymple has been writing about Apple for more than 15 years. You can follow him on Twitter @jdalrymple and on his Web site at The Loop.


Apple CEO Steve Jobs on Wednesday introduced the iPad 2 at a special event in San Francisco, taking even more momentum away from its competitors.


I’ve had a lot of people in the last 24 hours tell me that the iPad 2 isn’t as revolutionary as the first generation device. Yes, that’s true. But not every device a company releases has to be or can be revolutionary.


Apple has released three revolutionary products in the last decade alone: iPod, iPhone and iPad. I really can’t think of any products from Apple’s competitors that fit in the revolutionary category in that same time period.


People also said that Apple wasn’t very forthcoming with the specs of the iPad 2. Again, that’s true, but there’s a good reason for that—nobody cares.


Well, some people care. Those of us who are geeks care about specs. However, have you ever noticed that when you sit with your non-geek friends and start listing off specs their eyes glaze over and they rest their chin in their hand.


That’s because they couldn’t care less.


The iPad 2 is no slouch either. It lost one-third of the thickness of the previous generation, and therefore it is one-third less than the size of the iPad competitors too. It also has new technologies like a gyro built-in that will launch another round of cool apps.


Yesterday’s iPad 2 announcement wasn’t about the geeks—it was about all the other people who will buy an iPad. What those people want to know is “what can I do with it?”


If it fits into their lifestyle, most people are good with that. Apple showed many ways how the iPad 2 can fit into your lifestyle.


From the very beginning, Apple was very smart with how it marketed the iPad. The first thing it did was get the device into businesses and promote the fact that it could be used to get work done. And it was quite successful with that.


In an analyst call in October 2010, Apple CFO Peter Oppenheimer said the iPad was already being used in 65 percent of Fortune 100 companies. That was four months ago and the iPad has grown since then, so we can only imagine where that number is now.


This strategy allowed Apple to do two things. If it came out with the iPad and pushed the gaming capabilities of the device, the business world would have looked at it as a toy. That would have certainly meant slower adoption. It also allowed them to work on some consumer software, two of which we saw yesterday.


In addition to the iPad 2, Jobs also unveiled iMovie and GarageBand for the iPad. This is what people want to know about—what can I do with the iPad that’s exciting and new.


Obviously, creating movies and being able to edit and share them with friends and family is a very popular thing to do these days. iMovie makes that easy.


Creating music, whether a novice or pro is also a cool thing to do. GarageBand is a great app to get that done and you can move your projects to your Mac and continue working on them.


It’s not just about the hardware. Apple delivers the whole experience that nobody else can. Jobs said yesterday that there are 65,000 apps on its App Store specifically designed for the iPad. That’s a lot of things you can do.


If you think Apple’s competitors are jumping for joy because the iPad 2 isn’t revolutionary, I believe you are wrong. I think they’re scared. Yesterday, they figured out Apple’s strategy too, but a little too late.




I read an interesting article this morning that suggested Apple would change its mind and put Adobe’s Flash technology on its iOS devices within a year. I don’t think that’s going to happen.


In an open letter to users, Apple CEO Steve Jobs gave several reasons why he didn’t want Flash on the iPad, iPhone or iPod touch. They are: Flash isn’t open; the full web; reliability, security and performance; battery life; and touch.


Adobe began shipping Flash Player 10.1 for Mobile last June, but even Laptop magazine admitted that “Steve Jobs was right,” and that “Adobe’s offering seems like it’s too little, too late.” Granted, that report was from six months ago, but it still doesn’t bode well for the technology.


There is no doubt that Adobe is making advances with Flash on mobile devices, but I don’t believe future changes will be enough to get Apple to adopt the technology.


Jobs has been very clear that Apple supports HTML5, an open technology that is controlled by a standards committee, not one company. By building support for that technology into Webkit, Apple is ensuring that mobile Web browsers will be able to access what we’ve come to know as the “full web.”


Webkit is used by Google, Palm, Nokia and RIM, so it has a pretty solid base.


One of the arguments often bantered about when the discussion of the “full Web” comes up is video. There is no doubt that Flash made huge strides over the years in having sites like YouTube encode their videos in Flash. But that’s for the desktop.


As Jobs points out, almost all of this video is also available in H.264 format (a format Flash also supports), so it’s viewable on the iPhone, iPad and iPod touch.


“Add to this video from Vimeo, Netflix, Facebook, ABC, CBS, CNN, MSNBC, Fox News, ESPN, NPR, Time, The New York Times, The Wall Street Journal, Sports Illustrated, People, National Geographic, and many, many others. iPhone, iPod and iPad users aren’t missing much video,” wrote Jobs.


You may ask why other companies adopted Flash for their mobile devices when Apple won’t. That’s easy, they are looking for something they have that Apple doesn’t. Considering how hard it is for tablet makers to compete with Apple, any perceived advantage will work.


I’m not an Adobe hater—I know quite a few people that work at Adobe and I think they’ve done some amazing things over the years. Flash for mobile devices isn’t one of them.


Chris Dawson said he gives “Apple a year until they cave [and adopt Flash]. Android tablets will just be too cool and too useful for both entertainment and enterprise applications if they don’t.”


I have been using my iPhone for years and my iPad for one year. I honestly can’t remember the last time I went to a Web site that wouldn’t load because I didn’t have Flash installed. I can load videos from YouTube and a host of other sites too, no problem.


Apple has sold more than 160 million iOS devices and there are no screaming, angry hordes of users breaking down the doors at 1 Infinite Loop demanding Flash on their devices.


In order for Apple to change its mind and adopt Flash, the technology has to be proven to be indispensable and that it will benefit its users. Apple has proven just the opposite is true.


Editor’s Note: Jim Dalrymple has been writing about Apple for more than 15 years. You can follow him on Twitter @jdalrymple and on his Web site at The Loop.



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In our second installment of The Business of Blogging, we speak to the uber-talented Tommy Ton, founder of Jak & Jil and streetstyle photographer for Style.com and GQ.com


PARIS, France “It was the summer of 1997 and I was 13 years old,” recalls Tommy Ton, now 27, describing the moment when a self-professed comic book nerd from the suburbs of Toronto first became interested in fashion. “My sister asked me to record Fashion Television and all of a sudden Tom Ford comes on and talks about women, and his idea of sex. He was so eloquent in his choice of words. It was love at first sight.”


From that moment, Mr. Ton embarked on what has been described as a something of a fairytale, becoming the world’s most influential street style fashion photographer today. But achieving such success is rarely that simple — or easy.


More than just a skilled photographer with a good eye and encyclopedic knowledge of fashion, Ton has proven himself to be a savvy digital operator with a potent mixture of ambition, work ethic and strategic thinking that has enabled him to discover and hone in on his special talent. His humility throughout it all has endeared him not only to the stylish women he has made famous, but also to fellow fashion bloggers and his growing list of paying clients.


Yes, Tommy Ton is building a business, and he’s proud of it.


At first, Mr. Ton says he simply became infatuated with fashion. “I’d bike to the library, tear out ad campaigns, and make collages of Gucci and Versace,” he explains over dinner during Paris Fashion Week. At age 15, he interned with the Toronto designer Wayne Clark and then in the women’s accessories department of Holt Renfrew, Canada’s leading luxury department store.


From the beginning, Ton has been a fervent but charming networker, not afraid to approach and build relationships with the industry’s top players. “I made an effort so Barbara Atkin knew who I was,” he says, referring to the Holt Renfrew’s highly-respected fashion director. This ultimately landed him a gig in the store’s buying office, furthering his understanding of the fashion business, but still not quite sating his fashion appetite.


“I was there in the Summer of 2004 when web magazines first started popping up,” he says. Ton started taking classes in digital photography and met with friends who did graphic design, before deciding to start Jak & Jil, which was initially conceived in 2005 as a lifestyle website focused on the product and people in Toronto.


“Then my guardian angel came along,” says Ton, referring to Lynda Latner, proprietor of vintagecouture.com. “She hired me because she saw my site and thought I could help her.”


In 2007 when Latner offered to send Ton to Europe to attend the shows in London and Paris, he had his first opportunity to experiment with street photography during fashion week, a trend which was just beginning to take off due to the pioneering work of Scott Schuman and Garance Doré.


“My first show in Paris was Balmain. I had no idea what Balmain was at the time, or what it was going to be, but all the girls were in that that show, like Daria, Irina, and Anja, and they played the Cure on the soundtrack. As soon as that show was done, it was raining outside…and I was dancing in the rain. I just felt so uplifted. I could not believe what fashion could do for you,” recalls Ton nostalgically. “To have that moment in Paris, at your very first show…it was magical.”


Using his “Canadian connections,” Ton also managed to get into Chanel, YSL, Dries van Noten and Rick Owens that first season. But in all the excitement, Ton says he didn’t know who or what to shoot. “I just shot what I thought was visually amazing. I didn’t know who Emmanuelle Alt was, or Kate Lanphear or even Anna Dello Russo.”


Almost immediately after this first trip, the Canadian fashion media took note of Ton’s photography, beginning with Flare magazine editor Lisa Tant. “Because of that trip, I got a page in Flare which gave me a validated reason to go back,” he says.


By 2008 Ton was already seeking a way to stand out from the growing hordes of photographers outside the shows who were mostly aping Schuman’s photographic style. “I thought, ‘I’m so tired of taking head-to-toe shots. No one can touch Scott at those photos — he is the king.’ I wanted my photos to stand out. That’s when I stated taking the candid shots.”


Ton’s landscape-style images focused in on the little details that caught his well-trained fashion eye — a towering Louboutin stiletto here, a pop of colour there on his favourite subjects as they walked into the shows. He rarely asked them to pose. Ton was developing a photographic style that that has now become instantly recognisable as his own, capturing the raw energy and excitement of fashion week. Fellow blogger Tavi Gevinson later remarked, “You always know what a Tommy Ton photograph looks like.”


He re-purposed Jak and Jil into a blog, and started posting two or three of his new style of photographs each day. This caught the attention of influential bloggers like Susanna Lau of Style Bubble and Rumi Neely of Fashion Toast, who helped to spread the word.


Two and half months later, Ton received an email from the head of marketing at Lane Crawford in Hong Kong, asking him to shoot their Spring/Summer 2009 campaign.


“I said yes, but I didn’t even know what my worth was,” says Ton. “After talking to my business friends in the industry, I threw a figure at Lane Crawford. It was a bit too much, but we negotiated, and I was proud of myself because I was able to get an amount that I was satisfied with and which they were willing to pay.”


With his reputation spreading, Ton’s confidence began to grow. “During the Fall/Winter 2009 season, people started to know who I was. Scott [Schuman] actually knew my work. I was officially blogging and shooting for Lane Crawford at the same time. That was the season I knew what I was doing, and I knew what I wanted to shoot. It was the beginning of something.”


Another important shift came the following season in Milan, when Ton was seated in Dolce & Gabbana’s front row, alongside DorĂ©, Schuman and Bryanboy, an image that was plastered in the fashion media around the world, signalling the arrival of fashion bloggers. “That was a huge moment. It was all due to Anna Dello Russo. She was the one who told Domenico and Stefano: ‘These are the people who are changing things.’”


From then on, the front row tickets came in fast and furious. Everyone wanted Ton to shoot at their shows, knowing his images would be seen by thousands of fashion enthusiasts and influencers around the world. The New York Times, The Boston Globe, and others came calling. “They were emailing to buy photos,” he says.


Ton went from ultimate fashion outsider to insider almost overnight.


But the real turning point came a few weeks earlier when Style.com’s editor-in-chief Dirk Standen asked Ton to step into the formidable shoes of Scott Schuman, whose own photography career had gone stratospheric, in no small part due to the platform given to him by Style.com. Schuman had decided to leave Style.com to focus on other projects, and Ton now had the most high-profile streetstyle photography gig in the business.


“Being associated with Style.com is a huge deal for me. It’s what everyone looks at every day. People go to Style.com like you brush your teeth in the morning. It’s something you just do,” enthuses Ton.


By now, the time had come for Ton to seek professional representation. An introduction to elite agency The Collective Shift—which also represents top fashion photographers Inez and Vinoodh and super-stylist Melanie Ward—instantly felt like the right fit. Ton also signed on Trunk Archive to act as his image licensing agency, removing the burden of negotiating image rights and contracts on his own and dramatically increasing what he could earn from selling his images to the likes of American Vogue, Elle UK, and Vogue Nippon.


“Before, I was underselling myself, getting about $50-100 per image.” Today, Ton reports that he can earn from as little as $100 up to $2000. “The the thing I’ve learned is that you have to really consider whether it’s a one page image or a ½ page image or ¼ page image. It’s a really big deal when it’s one image over two pages in Grazia for example, whereas if it’s ⅛ of a page in Vogue, it is much less. I’m lucky to have Trunk Archive to deal with all that now.”


But image licensing only makes up about 30 percent of the revenue he earns. The remaining 70 percent comes from a variety of projects, including his gigs for Style.com, GQ.com, but also for retailers and brands such as Topshop, Selfridges, Sergio Rossi and Saks 5th Avenue.


Ton says he has made an intentional decision not to have advertising on his site. “It’s an association with your brand. I didn’t want my blog to be associated with any type of branding,” he explains.


But would he ever take pay for editorial placement on Jak & Jil itself? “Yes,” he says matter-of-factly. “But that requires a discussion between my agent, my client and me. The thing about the development of the Tommy Ton brand and the Jak & Jil brand is that everything is strategically selected and carefully monitored. We have to see potential growth in it, and understand what’s in it for us.”


When pressed on the criteria he uses for this kind of paid content, so as not to alienate his audience, he pauses to think. “It’s definitely gut instinct. It just has to be of the moment and relevant for the time.” His readers shouldn’t be able to tell the difference, he says, because the images he creates would be the kind he would post anyway. The standards are the same, and the images are just as powerful.


All the same, Tommy Ton also realizes this is his moment and it may not last forever. “I don’t even know if I will be able to earn the money I do now in a few years. I don’t know if I will be relevant or not. I am just lucky that people want to associate with me and their brand right now.”


And what about all that competition from the hundreds of streetstyle bloggers outside the shows? “You always have to stay on top of your game, and the only way to do that now is to have exclusive content,” he asserts. Recently, Ton has been invited to shoot behind-the-scenes at the Proenza Schouler studio and the Victoria’s Secret fashion show.


“I’m not making any money from it, but it gives me access no one else would have. I take a lot of pride in that. I am so, so happy I am invited to do these things,” he says, recalling that 13 year old kid watching Tom Ford on TV back in Toronto. “In some ways I still feel like an outsider, even though I am acknowledged by these designers. I am still in awe of what is going on.”


Imran Amed is founder and editor of The Business of Fashion


The Business of Blogging is a new series on the rarely discussed business side of fashion blogging. Previous articles are listed below:


Susie Bubble









The Found Animals Foundation is an LA-based non-profit devoted to saving the lives of animals and solving the problem of animal overpopulation. Founded by Dr. Gary Michelson, a billionaire entrepreneur with a lifelong love of animals, Found Animals blends compassion with innovation and business sense. The organization does everything from working with local shelters to finding homes for strays to offering multi-million dollar incentives for research on animal sterilization.



The foundation will be opening its first ever "Adopt and Shop" retail space next month, so we caught up with Aimee Gilbreath, Executive Director of Found Animals, to find out a little bit more about the foundation, its goals, and LA's newest "pet shop."



HP: What is Found Animals most committed to?



AG: Our mission at Found Animals is to minimize the number of pets killed in animal shelters. We believe that our society, in the 21st century, can do far better than killing 4 million animals each year at a cost to taxpayers of over $2 billion annually. We look for innovative, entrepreneurial approaches to solving this problem. Over the past three years we have built a world class team of business and science professionals and launched programs that include sterilization, microchipping, owner support, adoption and more. Found Animals considers Los Angeles our test market for programs with plans to export successful ideas.



HP: What is the one thing you are most proud of that Found Animals has been able to accomplish?



AG: I’m most proud of our accomplishments with the Michelson Prize and Grant program. It’s our own version of the X-Prize and offers $25 million in prize money for creating a low cost non-surgical sterilant for use in cats and dogs. In addition, we are offering up to $50 million in grant funding to help researchers develop a prize winning technology. Sterilization is one of the best tools we have in our arsenal to reduce the number of unwanted pets that crowd the shelter system and overwhelm available resources. Unfortunately, current surgical spay/neuter approaches are expensive and often difficult to access for the pets and people who need them most. A “doggie Depo Provera” or “Kitty Norplant” type of product would revolutionize how we manage the pet population.



We created the program from scratch and its world class. Our Director of Scientific Research, Dr. Shirley Johnston, is world renowned in small animal reproduction and our Scientific Advisory Board is comprised of experts in many fields. Our program staff has created a fantastic grant process and we do outreach to scientists worldwide. So far we’ve received over 140 grant applications and a dozen projects have been approved for funding totaling over $5 million.




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This Week&#39;s Health Industry <b>News</b> - NYTimes.com

A look at what's coming up in the drug and health fields.


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PS3 Jailbreak: Hotz strikes back PlayStation 3 <b>News</b> - Page 1 <b>...</b>

Read our PlayStation 3 news of PS3 Jailbreak: Hotz strikes back.


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