Horse racing was so popular and influential between 1930 and 1960 that nearly 150 racing themed films were released, including A Day at the Races, Thoroughbreds Don't Cry, and National Velvet. This fast-paced, gossipy history explores the relationship between the Hollywood film industry, the horse racing industry, and the extraordinary participation of producers, directors, and actors in the Sport of Kings. Alan Shuback details how all three of Southern California's major racetracks were founded by Hollywood luminaries: Hal Roach was cofounder of Santa Anita Park, Bing Crosby founded Del Mar with help from Pat O'Brien, and Jack and Harry Warner founded Hollywood Park with help from dozens of people in the film community. The races also provided a social and sporting outlet for the film community -- studios encouraged film stars to spend a day at the races, especially when a new film was being released. The stars' presence at the track generated a bevy of attention from eager photographers and movie columnists, as well as free publicity for their new films. Moreover, Louis B. Mayer, Bing Crosby, Fred Astaire, Betty Grable, and Don Ameche were all major Thoroughbred owners, while Mickey Rooney, Chico Marx, and John Huston were notorious for their unsuccessful forays to the betting windows.
The next Cooking with H5P and Pressbooks webinar takes place Thursday, April 29 at 9:00 am PT (check for your local time). For this episode, we invited into the kitchen Steel Wagstaff, Educational Product Manager for Pressbooks. From his position, he will be able to share much about the features and capabilities of Pressbooks, how H5P integrates with it, examples worth looking at, and maybe some insight into future directions for the platform.
Let’s hear it for the electronic versions, which give us infinite space though!
They’ve just opened up the entire conference program with links to all of the sessions and videos for those who’d like to watch them.
You’ll see my presentation video embedded above. If you’d like you can also watch it in the custom player made for the conference, though I notice that it doesn’t replay the live chat.
Due to scheduling issues beyond my control just before the conference, I had to shorten my hour-long workshop down to a 20 minute talk. I intend to do a couple of separate hands-on workshops at upcoming Domain of Our Own meetups so that people can implement the moving pieces I demonstrate into their own websites. Let me know if you’re interested, and I’ll let you know when they’re scheduled.
I’m hoping that when the next conference rolls around at least some of us can participate using our own domains and not need to rely on Twitter’s infrastructure.
I posted a link to the slides last week if you’d like to follow along that way and have links to some of the resources. (You should also have access to some of my notes/rough transcript as well as alt-text for some of the images included.) The slides still have some context and links to portions of the original version that got cut out.
For those unaware of the conference or topics, it was two days of great presentations about the topics of Open Education Resources (OER) and A Domain of One’s Own which is focused on giving teachers and students to websites and underlying technology of their own for daily personal and professional use. Those interested in the IndieWeb may particularly find the Domains track enlightening. Others interested in teaching, pedagogy, and publishing will get a lot out of the OER tracks.
The publication of scientific results is an essential task of scientists. The peer review of a publication by other scientists ensures its quality. Their publication is proof of their achievements. In addition, it provides the basis for discussions within a scientific community and serves as a basis for further findings. It is therefore desirable for the publication to be dissiminated and received as widely as possible.
I got a note from the senior executive editor at Yale, who has been my main contact throughout the process of getting my book published. Peppermint Kings has not been flying out of the warehouse so…
These days the idea of bestseller means selling in the range of 10,000 books. The average book released these days sells only 250 copies, so if you’re over that, you’re doing well.
It’s also incredibly uncommon for any publishers to put any serious money behind promoting their titles unless PR opportunities are falling off the trees for them. (This means that unless you’ve been selling a million copies of everything you write, they probably don’t care.) Many publishers will assign you a pro-forma publicist to help when they can, but don’t expect much from them. Most publishers will tell you to hire your own book publicist (usually for about $1,500-3,000 a month).
My guess is that the first run of your book was probably 1,000 to 2,000 books, which will bring the cost of raw printing down to $2 a copy. If you need copies of your book and they’re remaindering them, you might offer the publisher $1-2 a copy plus shipping to get 50 or 100 copies for yourself for hand sales over the next decade (for speaking engagements, etc.) or selling a few copies from your own stash on platforms like Amazon, Abebooks, Alibris, etc. The cost of keeping a book in print these days is usually around $12 a year and then they print them on demand.
Some of the methods you mentioned, talks, online readings, etc. can be useful marketing for both you and your book(s). Look around your local community/state for book events, fairs, bookstores that invite authors, etc to supplement this.
Depending on your next title, it might be worth hiring a publicist if you’re going the route of a text accessible to a broader public.Often this can be a reasonable risk but getting copies into reviewers’ hands can be helpful, as can radio or print appearances. Another option is to pay for adds in appropriate print magazine outlets related to your material.
It’s an uphill slog, but getting a publisher to take most of the risk and offering you all the free amenities of editing, proofreading, typesetting and distribution can be worth it in the end to get your material out.
When choosing your next publisher/editor, have a bit of this conversation with them at the outset to see what expectations they have for themselves. Don’t tip your hand though by letting them know prior sales numbers.
Since you’ve got your own website/newsletter/social media presence, you should also look into affiliate accounts with the bigger online platforms. Chances are you’re actually selling most of your own copies, you may as well get a 4% or larger cut of the referrals you’re giving. Your link on this page alone could give you a reasonable little return on top of the boilerplate 7% you’re probably getting from the publisher.
In the coming months and years, we’ll be working to further enable choice for creators, including giving them the power to choose not only how someone wants to create or monetize audio, but also where specific content is able to be consumed, ensuring creators have an opportunity to decide if they are aligned with the platforms distributing their content.
The open RSS standard has provided immense value to the growth of the podcasting ecosystem over the past few decades. ❧
Why do I get the sinking feeling that the remainder of this article will be maniacally saying, “and all of that ends today!”
Annotated on April 19, 2021 at 09:34AM
We also believe that in order to democratize audio and achieve Spotify’s mission of enabling a million creators to live off of their art, we must work to enable greater choice for creators. This choice becomes increasingly important as audio becomes even easier to create and share. ❧
Dear Anchor/Spotify, please remember that “democratize” DOES NOT equal surveillance capitalism. In fact, Facebook and others have shown that doing what you’re probably currently planning for the podcasting space will most likely work against democracy.
Annotated on April 19, 2021 at 09:13AM
In the coming months and years, we’ll be working to further enable choice for creators, including giving them the power to choose not only how someone wants to create or monetize audio, but also where specific content is able to be consumed, ensuring creators have an opportunity to decide if they are aligned with the platforms distributing their content. ❧
So this means you’re going to use simple, open standards and tooling so that not only Anchor and Spotify will benefit?
Or are you going to build closed systems that require the use of proprietary software and thus force subscriptions?
Are you going to Balkanize the audio space to force consumers into your product and only your product? Or will producers be able to have a broad selection of platforms to which they could easily export and distribute their content?
Annotated on April 19, 2021 at 08:57AM
Thus, the creative freedom of creators is limited. ❧
And thus draconian methods for making the distribution unnecessarily complicated, siloed, surveillance capitalized, and over-monitized beyond all comprehension are beyond the reach of one or two for profit companies who want to own the entire market like monopolistic giants are similarly limited. (But let’s just stick with the creators we’re pretending to champion, shall we?)
Annotated on April 19, 2021 at 09:07AM
tl;dr: Anchor: We’re doing this not so much because creators say they want it, but because we really, really want it. P.S.: We don’t care at all what our listeners think, and so have nothing to say about their freedom.
Hopefully the changes are a well-balanced solution for both my readers and me. One that allows readers to get what they’d like what they’d like and when, and for me to be able to own the relevant data and relationships rather than selling it off or heavily farming it out to one of the newsletter silos like Substack. Hopefully it also cuts down on the manual portions of the problem that I’ve had in the past.
Part of my concern is that, depending on the day, I can be posting just a few items to my website while other days will see 50 or more posts. (It’s amazing how many posts you have when you try to own everything that you post publicly to the web.) Naturally not everyone may be interested in all of my content, and people will have different preferences on how often they receive updates.
To kick off some new options, I’ve updated the email sign up process to allow people to choose some broad categories of content and types they may be interested in receiving. Most of these categories only have a smaller handful of updates within a month, so those indicating some of the specific categories as a preference will only receive them on a monthly basis.
If you’re subscribing to everything, the status updates, the link blog, or portions of the social stream those will be delivered in a weekly newsletter, so readers will get as much as possible without missing out on anything.
I’m starting to collect the preference data for the future, but I’ve also got a beta section of the sign up form to specify the frequency with which you’d like to receive updates. (Note: this isn’t fully functional yet as there are some plumbing issues to handle.)
Folks who are subscribed should start seeing the changes propagate to their subscriptions within the next month.
Caveats and Potential Issues
I’ve been receiving less interaction from those who had previously subscribed to my old WordPress.com website over a decade ago, so I’m leaving those subscribers behind (you should receive an email about this separately). If you find you’re in that old group, just sign up and select the content categories or types you’d like to receive from the new system.
I’m sure there will be some initial bumps and bruises in the transition, so bear with me and don’t hesitate to send your feedback in a way that makes you most comfortable. I’m sure some of my custom posts may not work as well with the newsletter, and hopefully I’ll get those sorted out shortly too.
If you’d like to change your preferences at any time, know that there’s a link at the bottom of the newsletter for changing them. If you would prefer some other custom newsletter with specific categories, content types, or frequency, feel free to email me, and I can set you up with something that most closely meets your specific needs.
Eventually I hope there will be a more streamlined system that will allow people to choose categories, post kinds, and frequency options (daily, weekly, monthly) to suit their specific needs.
Other Subscription Methods
I’m still providing a number of different ways (RSS, email, etc.) of helping people to subscribe to what they’d like to receive, so take a look at all of those if you have other needs. If you have questions or need some custom help for receiving exactly what you’re looking for, don’t hesitate to reach out.
As always, thanks for reading!
To sign up/subscribe, visit our subscription page.
Ben Affleck confirmed that his film based on the McDonald's Monopoly scam starring Matt Damon is still in development and a new draft is in.
Directed by James Lee Hernandez, Brian Lazarte. With Tim Adams, Mark Devereaux, Jan Garvin, Chris Graham. An anonymous tip to FBI agent Doug Mathews speaks of a con surrounding the much beloved McDonald's Monopoly game and its mysterious mastermind; a man going by the moniker of "Uncle Jerry."
I’ll give the rest of it a shot, but for those who don’t have time, read the article instead.
I’ll also note that this documentary is a separate effort from the feature film that Matt Damon and Ben Affleck are developing.
I’ve noticed that @AeonMag does this. It would definitely be cool to see other outlets practicing this too.
Examining the consequences of 'White Jesus' in America.
In a time where monuments are being toppled, institutions and icons reconsidered, we turn to a portrait encountered by every American: "White Jesus." You know, that guy with sandy blond hair and upcast blue eyes. For On the Media, Eloise Blondiau traces the history of how the historically inaccurate image became canon, and why it matters.
In this segment, Eloise talks to Mbiyu Chui, pastor at the Shrine of the Black Madonna in Detroit, about unlearning Jesus's whiteness. She also hears from Edward Blum, author of The Color of Christ: The Son of God and the Saga of Race in America, about how the image came dominate in the U.S., and psychologist Simon Howard on how White Jesus has infiltrated our subconsciouses. Lastly, Eloise speaks to Rev. Kelly Brown Douglas, womanist theologian and Dean of the Episcopal Divinity School at Union Theological Seminary, about the theology of the Black Christ.
This is a segment from our October 1st, 2020 program, God Bless.
The horned man in question is none other than 32-year-old Jake Angeli, a familiar face at pro-Trump rallies and a purported QAnon conspiracy theorist sometimes referred to as the “QAnon Shama…
It might be interesting to see them build out some UI to make a less corporate Goodreads-esque site as well.
For a long time now, I’ve linked to Amazon when linking to books, especially on my /reading page. The reasons: It was an easy default and I always knew that if something existed at all there would be a greater than 99% chance one could find it there. As an author, I know from direct experience tha...