It's really strange. I started this channel a year and a half ago, you know, right before live music shut down, and since then I made well over a hundred videos. But we've never had a chance to talk about growing your fan base with live shows, which, until right before that, was probably one of the most effective ways to do so. But since that whole quarantine thing has happened, it's been useless to focus on this part of music promotion. But if the comments of my videos, forum and discord, which, you know, are all linked below, are any indication of where we're at now, it's time to start booking shows again. You all clearly want to know more about how to grow your audience with live shows. So in this video, I'm going to talk to you about all the things you're missing about booking live shows and teach you how to book shows that grow your audience fast and book shows that are well above the weight class that you should be competing in. Hi, I'm Jesse Cannon, a music marketing nerd who's teaching musicians how to grow their fan base from zero to ten thousand fans, and this is Muse Formation. So one of the reasons the subject of booking live shows is often so messy, and there's such bad information out there, is that so many dorks have one experience, they book like maybe three or four shows, and then they run to one of the dozen or so music blogs, who will print an article from literally anyone who sends them one. And I'm not exaggerating about this.  So let's start by dispelling some of the bad information that floats around so you can understand the best way to book shows today. Many years ago, I worked at New York City's most prominent punk, hardcore, ska, indie rock, whatever we're calling it, concert promotion company Anthony Trance presents. I booked hundreds of shows over the years for top national touring acts at some legendary New York City and New Jersey clubs, where we'd be tasked with filling a certain night at a club. Now, some of you are already like, what the fuck, there's concert promotion booking agencies that don't just work inside the club as an employee, which brings me to my first point. There's no college course book, or for that matter, YouTube video that all the promoters watch and learn how to do their job. This means that what each booking agent wants to see to book you can be totally different from venue to venue, even within the same city and the same genres. And their standards are all different, and they do things totally different from one another to suit their own needs. Some venues and cities have a few different concert promoters fill the nights, and those promoters may book out a few different venues themselves, whereas others only use in-house employees to book them. There's no rules, and the key is you have to talk to the other musicians to learn the landscape in each town where you're trying to book in. This means, and God, this really pains me to say it, that some want to see EPKs.  And what I mean by this is that a lot of the underground DIY show promoters are going to laugh at your EPK, whereas more formal events are going to think you're unprofessional if you don't send one. And a lot of promoters in the middle are just going to want to link to YouTube or Spotify. Some are even going to ignore your links and look at a site like Next Big Sound and other analytics software and see what your numbers are. And they're going to make the decision on whether they want to even listen to your music at all by simply looking at this graph and seeing if you have enough followers. Next Big Sound shows the amount of streams you're getting on sites and your followers on social. If you're not in the range they're looking for for the slot they're booking, you're not going to get listened to. Since like much of the music business right now, many people are now only looking at data instead of actual talent or charisma. The point is, unlike what all these blog and YouTube grifters say, there's no one size fits all of what works to get on a show. And it's extremely genre dependent. The best advice I have is if you're looking to book with more formal promoters, having a solid EPK can be good. But for most people starting off in more underground and DIY type venues, having a solid Spotify, SoundCloud, Bandcamp or some site where things are going relatively well with a good pitch, which we'll get into more later. And most importantly, a video of you doing a charismatic performance where people enjoyed you, as opposed to the deer and headlights imitation I see so often, it's going to be far more helpful to get the gig you want if you have that on your YouTube channel. Of course, if you want to get booked by a promoter, the number one thing to do is be regularly present where they are. If that means handing out fires at their other shows that are similar to your genre and being a presence. Sometimes it means going to the after hours bar or a party to hang out and be a part of the scene that you're in and make sure that you're putting out fires and making people know who you are because truly proximity and the promoter seeing your name and face around is the ultimate hack to getting booked since they see you as part of the community and someone out there doing what matters since the important work really is oftentimes showing up. This truly could bypass everything from having to hear you or to write an email pitch or send an EPK since it shows you doing the work that actually matters since the hustle of promoting shows is a lot of the battle. But since we're talking about the pitfalls of booking, we need to talk about the R word and no, I'm not talking about the one that people use to describe the way Tom McDonald raps. The R word I'm talking about is rejection, which I would argue messes up more musicians than writing bad pitches or having bad numbers or just being a bad fit for a booking. Rejection from a booking agent is not a permanent no. And so many artists give up on ever getting booked somewhere. And this is actually why they don't ever grow or get good gigs is they give up the moment they are rejected. There's one thing in the music business that has an overabundance and that's gigs. And because there's such abundance of gigs, that means there's plenty of opportunities and rejection does not mean rejection forever. Concert performers are so used to the persistent artists that hit them up every month. They think of everyone as those artists and are often so flooded by them, they can ignore the people who only write once a year since that's usually assigned to them that you won't be enough of a go-getter to go out flyer and promote the show since you're not showing the go-getterness to even email them on a regular basis. And if you're casually listening to this video, now's the time to pay a little attention for a minute or two. Musicians look at rejection all wrong. Instead of seeing it as they aren't good enough, you should see it as more progress on the way of getting what you want. Author Stephen King famously posted hundreds of rejection letters on his wall for his early novels since he saw it as the path to get where he is today. He knew he'd have to go through a ton of rejection to become the humongous, ubiquitous artist he is now. He's one of the best-selling authors of all time and he would hang up each rejection letter as a reminder he was getting closer to getting where he wanted to go. Now, something tells me as not the best looking guy he may have got rejected a little bit in the dating world and learned this lesson beforehand, but who am I to be calling anyone not the best looking guy? Since 13 year olds come on this YouTube channel and keep saying the same about me when all they have on their channel is a video of them humping an ottoman like this. Where was I? Okay, let's remember Stephen King is a guy who writes 2,500 words a day every single day of the year. So he's always improving his craft every day. It's since he doesn't put out nearly what he amounts to. He knows the game for his business when he was starting out was to turn out work. He knew to keep improving himself while also putting himself out there and making sure that people know who he is and that he's doing work. As long as you're improving and concentrating on getting yourself out there while improving your songcraft and what matters in your genre, you can make rejection temporary and part of your path. I will say what I know I've said before. The artists who succeed in music are the ones who get a callous to rejection. They see it as not a referendum on their worth, but instead as a badge of their progress. And this is also important to discuss since most of the time the rejection has nothing to do with your own worth. Promoters often only have a few hours to book a show. And let's say that show is not in your genre that week and you're not what they're looking for. Your email pitch may just get deleted and never even read. They've probably never even considered you or whether you're good enough. Other times you may email them and be just what they're looking for and it may go right to the top of the pile and get you in faster because you simply wrote them at the right time. The reasons you may get booked or not or often not attributed to your actual worth. So what you do to make this work is in your favor. So what you do is you show up often since this is a numbers game often times since timing is often a lot of the game. Make sure to keep on top of booking agents you want to be booked by just like we talked about in my video on how to get a music manager which is of course linked on the screen or in the description below. Every time you've made some gains or have something new to brag about maybe a good time to check in with that concert owner you want to get booked by. And remember don't hit them with the same email again and again but instead update them on your progress and continue to improve your pitch since if they're looking at that analytic software and see growth you may now qualify to get that show that you want to get on. But like I said before concert promotions is more than anything else in the music business are used to persistent musicians. So give them what they want. People who continually make their job easier by reminding them of an option to book them. But I feel like I've gotten a very ahead of myself. So let's talk about what you should actually send to a venue. In my video on how to write a successful Spotify pitch I talked about how you develop a pitch that makes you sound exciting to other people. And if you haven't seen that video obviously click it now or in the description below. But this is one of the most important things you can do with your time. That pitch belongs at the top of the email. Then you want to link whatever your streaming sites and socials look best. Whichever three of them are going to do you the best impression that's what needs to be in this email. If the promoter does ask for specific ones be sure to include those. But if you have a great video that shows off how sick your live set is included even if they didn't ask for it. And let me tell you this is the ultimate hack is if you're good live draw attention to this and make sure you have a video that shows it off. And if you haven't made one to capture it that should probably be your top priority if you want to make playing live be a thing that grows your fan base. As I've said before the people in the music business have very little imagination. So if you could show them instead of telling them that is always the thing that's better to be doing especially since a lot of time the interns opening these emails and if they click on that live show and show their boss how sick you are you're probably gonna have a lot easier time booking shows. And lastly the other thing to include is of course that dreaded EPK that I hate so much. If this is prominent in the venues and genre you live in make sure to include that.  So that is probably a good time to talk about where you should be looking to play. In most cities there's an ecosystem of clubs where if you do well at one you then get booked at their bigger venue. And if you do well there you can get the coveted opening slot for a big national touring act or headline that venue yourself. For example this ecosystem in New York City is Bowery presents. Where if you do well in their quote unquote farm league which is this venue called Mercury Lounge this can lead to opening for a bigger act at their more esteemed venues like Music Hall, Williamsburg or Bowery Ballroom. One of the main keys to doing well as sending the ladder to bigger shows is to learn your local ecosystem and make those shows your main focus. Since it's important to play different venues and for different crowds and cities it's often important to play those different venues and make that somewhat diverse. But I would always prioritize the ones where you can ascend the ladder and make those what you focus on the most. But let's also remember too some of those farm league venues are often not associated with the other venue.  There's also merit to playing other venues occasionally, especially if you're playing with a bunch of groups who have an audience that may like your music and is highly susceptible to it. But most of the time musicians just play any show offered to them and don't really consider a strategy. There's so many useless shows that do you no good. Try to get to know the ecosystem of the city you're playing. If the venue is off the radar of other promoters is going to be with seven random bands who you sound nothing like, you're better off staying home and practicing. Since especially if you have a small audience, there's only so many times people are going to come out to see you in a particularly bad show and you shouldn't waste that on these bad shows with seven bands that do you no good when if you get a really good show break, this may be the time that those few people you can bring out really seem to amount to something that does you good. There's plenty of venues where promoters just throw anyone together in hopes of bolstering the bars earnings by a random crowd that does you no good. You have to remember the promoters at the bigger venues that you actually want to play know which venues are like that and they intentionally avoid looking at them. Avoid those at all costs and focus your energy to effective bookings. But to tie this back to getting bookings every time you play anything but the venues you're concentrating on, you may be diminishing your draw from a show at your goal venue. So be sure to have some strategy of playing live and don't just say yes to everything. Most of the groups I've seen build their fan base through live shows have done it very effectively by being very conscious and calculated of when they're playing and what it may mean for their future bookings. And yes, some get a little too rarified and stay home a little too much and miss some growth whereas others just play way too much with way too many different groups. Try to find the happy medium and really give this a lot of consideration. So a lot of what I've talked about here requires you learning the landscape of a particular city you want to get booked in. And the way we do that is of course finding community. And if you don't know what I'm talking about, one of my most popular videos talks about that which is linked on the screen right now or in the description below. While I often tell you finding a community is one of the most important things you can do, this is where it really comes in handy. So let's say you start a conversation with an artist by putting them on your Spotify RS playlist or music and talk shows, you then tag them on social media and you start a conversation. Start exchanging information about what you know about various promoters in each other's cities and hopefully talk about discussing playing a show together at some point. Your community is often little research assistants that you're going to trade information with and try to understand what is going on in each ecosystem in each city for them. Reach out to these other musicians and talk to others and you can find the answers of who are the best people to book shows with as well as who to play with, which brings me to. There's a lot of strategies for playing live shows that bring people out to them and audiences have a great experience at. But the most effective one is to assemble a roster yourself and approach a promoter with it. Remember, if you approach a promoter with, hey, me and these other two artists have been talking and we really want to play together, you're basically doing the promoter's job for them, which goes a long way and can really help your chances of getting booked at a venue. And if you want to go the extra further, consider bringing other things that may bring in people for the show, which is, of course, all genre dependent. But like, for example, maybe jewelry vendors, that popular food truck, a great DJ for between the set, dancers or whatever gets people out, it culturally fits your music. But most of all, it's whatever gets people telling their friends how great a time they had and makes them want to come back to see you again. If you also put a name on the night and do it semi-regularly for marketing and growing your audience, it can be really, really effective if people know what to call something and know how to classify and tell people about it. Doing a bi-monthly night or sometimes every three months night that's a big, big event that people talk about can be a really, really effective way of making people know to show up for something that's really special. Now, remember, assembling these shows goes vice versa. If you're becoming friends with other musicians, they may put you on them in their town, especially if you do right by them in your town. Remember, this really helps your chances of getting a show since you're giving a promoter an easy way to get a bunch of hours of their life booking a show back to them so they can do what concert promoters love to do, which I imagine is catfish people on dating sites and reject them since who else would want this job of concert promoter doing all of this rejection all day? OK, that's it. In the next video in the series, we'll be talking about what to do at the actual shows to make sure you're growing your live show attendance as well as getting more specific on what promoters want to see. And eventually, we'll even start talking about booking tours. But we're also going to be talking about what I missed and other things in future live streams. So any questions you have, please lay them down in the comments and stay tuned for what else is on this channel. So please be sure to like, subscribe and get notified since I want to keep building this conversation and talking about these subjects since there's plenty more videos on this subject coming in the next few weeks. And if you're new here on the screen right now, there's a playlist on how to grow your fan base from zero to 10,000 fans as well as how to kill it on Spotify. Thanks for watching.


Hello and welcome to Physiology Open. In this video, we will talk about the concept of Gibson and equilibrium. Gibson and equilibrium explains how charged particles distribute themselves across a semi permeable membrane in the presence of another charged particle to which the membrane is not permeable. By understanding Gibson and equilibrium, we get to know why concentration of ions is different inside the cells as opposed to its outside environment that is interstitial flow and why this leads to generation of a potential across the membrane. Let's start from the very beginning like when there was no cell, only sea. So the ions are distributed throughout the whole environment. Now with the origin of a cell which is surrounded by a semi permeable membrane, things started to change. So now we have a cell separated from its surroundings by a semi permeable membrane. Now suppose initially both the sides have same ions. For sake of simplicity, we will take only two ions. Okay say on both sides, concentration of ions is same. Say 5 potassium ions on each side and 5 chloride ions also on each side. We are taking very small and arbitrary numbers here. You may think how is it possible? There will be definitely more ions in the sea. Well correct but the concept remains the same. We may start for any number of ions each side but the physical processes will remain the same that is what we are discussing here. So for ease of understanding, we are taking some numbers here. Anyways so where were we? Yeah 5 5 each of positive and negative ions on either side of the cell membrane which is semi permeable. But now inside the cell we add proteins to which the cell membrane is impermeable. We are adding inside the cell because it is the cell which will start producing the proteins. So I am adding say 6 proteins. So now what will happen is that the other ions to which the cell membrane is permeable will redistribute across the membrane. Why will they redistribute? After all their concentration is same on both sides? But see if we are talking about an uncharged molecule say suppose glucose molecules. Then it moves along only its concentration gradient until the concentration on both sides becomes equal. But for a charged substance there are two forces which govern its movement. One its concentration gradient and the other its electrical gradient. Concentration gradient depends on actual number of ions while the electrical gradient depends on the net charge. So since proteins have been added which are negatively charged even though there is no concentration gradient for the ions but the net charge on one side has changed. So there is a development of an electrical gradient. So we said initially there are 5 potassium ions, 5 chloride ions and 6 proteins this side. So we will see how much is the net charge by adding all positive and negative ions. This side there is a net negative charge of 6. Now same thing will do on the other side of the membrane. Here net charge is zero. So see due to proteins which is an impermeant ion or we can say the non-diffusable ion and an electrical gradient of 6 has been established with negativity inside the cell and positivity outside. This negativity will attract the positive ions and repel negative ions. So an electrical gradient for positive ions develops from outside to inside and for negative ions will be from inside to outside. So let's say one potassium ion moves from outside to inside. So here potassium ion will become 4 while inside it will become 6 ions. So you see now due to this difference in the number of ions a concentration gradient for them has developed from inside to outside and electrical gradient will also change. So with the decrease in positive charge outside and increase in positive charge inside there will be an electrical gradient of 4 now from outside to inside and a concentration gradient of 2 for potassium from inside to outside. But what about chloride? See we have said earlier that electrical gradient for chloride that is whether our negative ion is from inside to outside. Even with this change gradient of 4 it is still from inside to outside. So say one chloride ion moves from inside to outside. This will increase chloride ions outside from 5 to 6 and decrease an ion inside so it will become 4 here. So there is a concentration gradient established from outside to inside for chloride. So now for chloride a concentration gradient established from outside to inside of 2 while electrical gradient will decrease from 4 to 2. So at this point you see the chloride concentration gradient is balanced by its electrical gradient and similarly the potassium concentration gradient is also balanced by its electrical gradient. So the net driving forces have become 0. So what has happened at equilibrium? Concentration gradient of ions is balanced by their electrical gradient. So at equilibrium concentration of ions is different on each side. Inside potassium is more and chloride is less while outside it's opposite. Now there are certain general things which we can deduce from this distribution of ions. One keeps on an equation states that in the presence of a non-diffusable ion the diffusable ions distribute themselves so that at equilibrium their concentration ratios are equal. That is potassium inside divided by the potassium outside is equal to chloride outside divided by the chloride inside. Check whether for us it's coming okay or not. Yes 6 by 4 this side and 6 by 4 other side also. Now if we cross multiply on cross multiplying it will give us the Gibbs Tornon equation. Second number of total ions is more on the side of the presence of non-diffusable ion. You count and see this side is 16 ions and the other side is 10 ions. So basically number of osmotically active particles are more on one side of the membrane. This will lead to movement of water from outside to inside and hence cell swelling and rupture. This doesn't happen for a cell because of the presence of sodium potassium ad paste which constantly throws out more ions than what it brings in. But you can imagine what will happen when sodium potassium ad paste stops functioning. It will lead to entry of water, cell swelling and ultimately rupture. Now this difference in concentration of ions which we are seeing here between inside and outside of the cell is also seen across capillary wall since more proteins are present in plasma compared to the interstitial fluid. Thus in plasma a little more concentration of ions is there compared to interstitial fluid. Okay and finally one more point since the equilibrium occurs at the point when electrical gradient is balanced by the concentration gradient that means there remains some difference in charges across the membrane. So a potential is developed across the membrane due to this electrical difference. Now remember two things here in this example we took very small numbers to make you understand but in actuality most of the fluid remains electro neutral and there is only a small difference in charges which accumulate just near the membrane and with this small difference in charges only there is development of the potential. Second the potential generated here is passive see no ATP is acquired it is just passive redistribution of ions which generates the potential difference. But how much potential is developed? Well it depends on the concentration of ions inside and outside the membrane and on the valency of the ion. More on this will be dealt in video on resting membrane potential and Nernst equation. Thanks for watching the video if you like did do like and share the video and don't forget to subscribe to the channel Physiology Open. Thank you.


The Indian Ocean Tuna Commission, IOTC, reports incomplete data on large pelagic fisheries in the Indian Ocean. This leads to misleading conclusions about the state of the fishery and hinders efforts to manage it sustainably. To address this issue, we reconstructed catches of large pelagic species from 1950 to 2020 using data from 42 countries operating 5 major gear types. The reconstructions revealed that distant water fishing fleets dominated large-scale industrial fishing until they were gradually replaced by fleets from Indian Ocean rim countries. Additionally, our analysis showed that the reported data underestimates the total catches by 30%, which is mainly due to extensive discarding practices associated with longlining and gill netting. Furthermore, the reported data does not accurately reflect the taxonomic composition of the catches as it fails to capture important patterns and trends. Finally, we found that sharks continue to be under-reported, making up 51% of total unreported landings and discards in 2020. Therefore, we recommend increased observer coverage and greater support from all member countries to improve. This article was authored by Christina N. Hydrick, Christina N. Hydrick, Jessica Jamie Wake and others. We are article.tv, links in the description below.


glad you could be with us today. This is the session on sorcery and remote access to archives that is part of the CNI spring 2021 plenary day presentations. I'm Cliff Lynch, the director of the coalition and I will be moderating this session. We have a wonderful panel that I will introduce in just a moment. Let me cover a few mechanical things first. We are going to be doing this as a panel. We have a few slides at the beginning and then we will unshare the slides and you can just look at people. There is a Q&A tool at the bottom of your screen. Please use that to pose questions at any point. The way we will run the panel is I will have a few questions for the panelists and then we will move it over to take questions from the attendees after we get through those. There is a chat box. Please feel free to use that for comments or you could also use it for questions. This is being closed captioned and please feel free to turn that on if it is helpful to you. The session is being recorded and as with all of the sessions pretty much at the spring virtual meeting this year, the session will be subsequently available to the public. I think that is all the mechanical things I need to cover. Let me introduce our panelists and then I will introduce the topic just very briefly. We have with us today Barbara Rockenbach from Yale University, Greg Colotti and Tom Scheinfeldt from the University of Connecticut and Dan Cohen from the Northeastern University. The topic at hand is really remote access to archives and there is a wonderful application that was developed by the team at the University of Connecticut and Dan which really at this point it is sort of in its second incarnation and being scaled up but it really served as just this fantastic launching point for a series of conversations last fall about the broader issue of remote access to archives, how that could be achieved both mechanically and organizationally and technically the pros and cons of doing so, discussions about the extent to which this should be a priority, really just a fascinating range of policy and strategy questions for libraries, archives, special collections but also for communities of scholars that rely on these archives and that really in some ways need to use them today in rather different ways than they've used them in the past sometimes. So basically we wanted to and Dan and his colleagues were kind enough to let me participate in those conversations which really was one of the most stimulating things that I had going last fall I think. Our purpose today is to introduce you a bit to the application but the focus is not deeply on the application and much more on the broader questions that it raises and frames. I will just note that there is a pre-recorded video from the December 2020 CNI virtual meeting that introduces the application in a little more detail and that might be useful for those of you who want to go a little deeper in that. With that I am going to turn the turn the conversation over to Tom who will give you a sort of a quick overview of the application and then we will pick up from there. Thanks Cliff that's a great introduction and as you mentioned you know this panel is taking place in the context of all of our work on sorcery which is a melon funded open source not-for-profit application to facilitate access to non-digitized scholarly sources but our purpose here really is not to focus on sorcery but rather on the opportunities and challenges of providing access remotely to archives and special collections opportunities and challenges that our work on this particular application has surfaced and which the application must grapple with so you don't want to spend too much time talking about sorcery per se but as the kind of proximate cause of our asking these questions we thought it probably would make sense at the outset of this panel to give you a brief introduction of the app and the need that it aims to fill. So sorcery is a sort of very specific solution to a very specific problem that scholars face more often than archivists may realize which is access to known archival sources right a source that you know is in the archive and that you can't get physical access to it's a solution to a problem like this one. So this is a screen grab from an h-net thread and the scholar here in question needs access to a source that he already knows sits at the National Archives in London and the question is how does he get it right he's not in London not sure where he is but he's not in London how does he get this source that he knows is there now perhaps the most commonly chosen option at least in the past in in better times was to plan a research trip to London right to fly across the ocean despite all of the obvious disadvantages of time and planning and expense and carbon emissions and and everything and everything else barring that in other other cases the scholar might do as as this scholar did is reach out to colleagues who might be nearer to the source than he is to obtain the document and you know maybe maybe there's a colleague at a university nearby who can send a graduate student to to go take a picture of this take a picture of this document but these kinds of informal networks as I think we're seeing in this in this h-net post are really only open to scholars of the more privileged sort right the sort who have like grad school buddies who now teach in London right the kinds of scholars who have built these professional networks by past attendance at elite institutions and who have had the benefit of frequent conference travel for instance students early career academics contingent faculty independent scholars may not have access to these kinds of informal research methods and so you know you sort of resort to posting a request you know sort of out onto the internet for for help now another and at what might first seem like the most obvious and maybe the best option is to kind of contact the host repository itself to ask for the item to be digitized and sent directly but not all archives offer these services or the level of service that the researcher needs you can see in this post that he contacted the archive and they said you know sorry we're not going to do that much for you they won't do the 20 to 40 pages that he's looking for and even when institutions do offer these kinds of services it can often be difficult for researchers to find information about placing a request on an archives website some archives can provide access in a matter of hours or days for a nominal fee or at no cost others viewing these one-off requests as adjunct to their core functions of assisting on-site researchers or doing mass digitization work can take weeks and costs as much as hundreds of dollars per document especially since these services these kinds of scanning services are often designed around producing high quality images for publication right reproduction copies as opposed to the simple reference copy that this scholar needs and for scholars working in dozens of archives right each which has different systems different services different contact points different contact mechanisms different policies the costs in the hassle of obtaining a document from just one archive that where they really maybe just want one document they don't they're not interested in seeing the whole collection maybe and that may come as I think a shock to some archivist that like sometimes you just want the one thing even though the collections may be you know rich in other ways the researcher just wants that kind of in a very transactional way that one document the costs of you know doing all of that extra work to find out who what and where may be prohibitive and they may ultimately just choose to do without right do without access to that document and that's where sorcery comes in sorcery is designed to provide that scholar on hnet with a shortcut a simple single interface for finding someone who might fill his request it connects that researcher who needs access to a document to a much larger pool of potential helpers who have access to that document much larger than he'll find on a single list listserv or through his individual professional networks it provides the researcher with an easy way to compensate an anonymous colleague who agrees to fill the request and the next time he needs something probably from somewhere else right probably from a different archive he can simply repeat the process for a different item at a different repository now while our initial use case and our kind of initial brainstorm um uh revolved around this uh this case that we see in that hnet request in which a third party like a graduate student would provide the researcher with the request and materials we've always understood that archivists themselves are ultimately best placed and best qualified to do this work right and indeed in covid times they're the only ones able to do this work they're the only ones able to access these documents and so while we had thought of initially the a kind of archivist version of sorcery as a kind of second order project uh when covid hit we sort of switched the script uh and decided to launch the enterprise version of sorcery first and the enterprise version of sorcery will allow an institution's own staff to fill requests placed through sorcery right they'll have the app on their phone they can take a picture directly through through the app on their phone it'll let them set their own pricing free if they choose it'll make it easy for them to collect small payments right um and it'll let them decide whether they have the capacity to fill a request or whether they prefer to release that job to the crowd to the grad student to fill on their behalf so our aim is to help repositories better serve remote patrons by streamlining the reference document provision workflow and to aggregate small dollar transactions that can be sometimes more trouble than they're worth than they're worth and our long-term aim is that source sorcery which like its stablemates omeka zotero and tropey is operated by the corporation for digital scholarship that sorcery will become a core piece of research technology infrastructure as i said at the start sorcery raises as many questions as it answers and indeed as academics ourselves right we build software but that's you know we're doing it in pursuit of larger questions about you know the future of research research in the digital age etc we're at least as interested in the questions and provocations raised by the existence of something like sorcery as we are in making it a successful app and these questions are many and we're going to get into those in just a minute for example how does sorcery work with existing individual use policies right policies say that you can only use this for your personal use what about copyright what is the gig economy entering into the library world mean for librarians and archivists how does this impact the visibility of archival labor what kinds of what about folder level as opposed to item level requests does it integrate with other library systems what are the pricing models etc etc etc and we're asking all of these same questions and we're excited to dig into them more here so with that I thank thank you for your time and your goodwill and your expertise we're eager to listen and learn as much as you from this conversation and if you want to check out sorcery there's there's a beta version at that url all right so i will stop sharing there and we will get into our discussion all right well thanks tom um as you can see this does raise lots of questions and maybe as a place to start before we get into some of the some of the more technical issues i wonder if i could get you all to reflect a bit about how you think the mix will will ultimately settle out between the the number of requests serviced by the by the staff at an archive or special collection as opposed to players in a sort of a scholarly gig economy um I can speculate um I think the first thing to say is it's going to vary very widely from institution to institution so for instance I've spoken with colleagues at the Library of Congress and they have very little you know compared to the volume of requests for this kind of work that they have they have very little capacity to do it and they're more interested in um farming these requests out to the kind of army of professional researchers who are already sitting in the reading room at the Library of Congress who already do this work and just kind of facilitate that and create create a create an easier connection between the remote researcher and those reading room based professional researchers so so for them they they may choose to to do most of the work through third parties for others who have capacity they may choose to do most of it themselves and only use the the the crowd when when necessary but I think it I think it will will vary widely and I think what we're trying to do is give the institutions themselves that choice so when an when a when a request comes in through through sorcery for a document our enterprise partners will have a sort of a right of first refusal period in which a kind of grace period in which they'll they'll be able to sort of determine okay do we have the bandwidth to fill this this request or not if they determine that you know boy we're just swamp this week or two people are out sick this week they can then just release it to the crowd and and and let someone there take it up so that that they can to help them balance resources more effectively I'll just jump in to say that while Yale is not yet an enterprise institution using sorcery we're talking next week actually to to think more about this but I'll say demand is high for this kind of resource and we have a lot of capacity at Yale and we have robust resources but there's just such a high demand and such high scholarly need for this that I think having multiple avenues into increasing access as broadly as we can think COVID has shown us that the the need for digital images for research and for teaching is not a nice to have anymore it's a must have and so I I like these efforts because they do provide the possibility of a broader way to get access to materials than we've had in the past and I'll jump in here to say at Northeastern we have a slightly smaller archives and special collections than Yale but we are very much aligned I think with what Barbara just said you know I think in terms of the future if we could you know ideally the enterprise version sounds great for us because it could streamline our workflows would allow us to you know pull boxes and files in in some kind of sequence that makes more sense as opposed to what's happening now which is just de facto on the ground researchers in the reading room with their smartphone just rapidly taking things making requests and so forth but more broadly and I think important for the context of what Tom just mentioned if we could in a sense aggregate demand for that digitization because as Barbara noted there is a lot of demand out there and in fact I'm hopeful that in this discussion we could talk more about this this sort of aggregation of work and if we could roll that up I mean I would love to hire another archivist or another digitization person based upon the fact that it isn't just happening in a sort of scatter shop shot way on from h-net request but actually could be we could point to something to say hey there's actually a lot of demand out there folks knew that we have great riches in our archives and special collections as the word got out more about that we could actually expand our our actual in-house work which would be great and just you know one other note on that is we're also trying to balance not just the current day use of our archive but the future use of the archive so every scan that happens in that informal way reference scan where someone comes in we don't really know about it doesn't end up in our digital repository or isn't done in a way where maybe we could add metadata to it in the future maybe it starts as just a basic scan but gets metadata in the future then I worry about actually future researchers who also lack that privilege right so if if we were to do it more in-house we'd actually be able to aggregate more digitization for not just current researchers but actually for future researchers and ensure that we're servicing them and their needs as well as the current ones so it's it's a complex I think balancing act that this project raises you want to add anything Greg? I was going to add to it what everyone else has said in that every institution doesn't have enough staff to meet the demands of the questions I've worked in places where I was the the loan arranger and we didn't get a lot of questions but the number of questions we had was still more than I could handle and right the Library of Congress has a lot of people but they have a lot more questions there's I've never worked in a place where there was enough staff to manage all the questions and having something like this would be would have been great in many places that I've worked and we would have outsourced that to so many people because there's a lot of people who know more about your collections than you do let me ask a related question so I know that there are some archives and special collections at various institutions that are not open to the public you have to somehow become a qualified user to do that and you know there are various methods for that often I think at universities sometimes it's it's good enough to be a faculty member or a student at that university if you're from some other university you can get a letter of reference or otherwise qualify as a you know as as having access how does this sort of play out in that economy all of a sudden you've got these credentialed people who essentially can monetize their credential it's a you know it's a great question well I would I would hope ultimately you know I think like you know the work we've done previously with Omeca and Zotero and other other other software projects that this would help to democratize access to some of those to some of those repositories and make it maybe not worth the repositories while to keep the unwashed masses out you know I think the other thing is something like this might also put a different kind of pressure on those on those more closed archives and special collections which is if researchers are making if this allows researchers to make better and more use of the open more open collections the more closed collections are going to see less use and there you know fewer citations of their materials and scholarly books and and articles and and it may put a kind of a kind of peer pressure on those on those organizations to to open up a little so I I mean as I said you know sorcery in many ways is kind of a provocation and in that respect I hope it's a provocation for openness fascinating I'd second that Tom I think that's a could could be a really nice product of sorcery but I also like how it leads you mentioned this in your opening as well that the notion that we need scholars need different kinds of images and so we need the high res preservation archival publication you know all of those types of images but we're in our Yale special collections we're also digitizing on demand and for remote reference and putting that in our digital library and this is yet another kind of image and source and I think there's a I think questions already emerging in the chat around metadata that I'm sure we'll get to but the bottom line is that I think having understanding that different types of images and sources are useful in different contexts this is I think a helpful aspect of this project. Cliff I would also widen your question a bit as well there there are archives that are open but that there are many people including most of the general public who would never think to go into an archive that they sort of see it off limits and so I think another interesting thing that that sorcery brings up is the possibility for different kinds of uses of the archive you know you might have journalists who would be more receptive to say grabbing a document or I think in the best case scenario we we have I mean thanks to my staff in our archives and special collections we have a program called teaching with archives that we run with the boston public schools where we bring well pre-covid we brought students in but then we digitized enough to actually do it virtually to provide the kinds of documents that maybe a academic researcher like myself someone with a history phd might not necessarily go in for a surgical strike but that might be really relevant to their neighborhood or community history or culture that they would want to get and so I think it just opens up the possibility of actually what gets digitized you know barber has an enormous collection and and I think you know professional researchers will probably use her special collections in a very different way say than the general public would so I think that's a that widening is actually a really signature aspect of this as tom put it a sort of democratization of access that I think could be very healthy for all of us yeah why don't we turn a little bit over to the some of the technical and technology issues here I mean it seems that going down this path raises a lot of questions about everything from you know what quality images you won't really want to be keeping what kind of metadata you want whether you whether this is a push towards item level rather than folder level description how this what what kind of management system we want around this to to track the the items that are being digitized and you know where where copies of the images are I'll just I'll just sort of throw that collection of questions open I mean I think you can you can use this as a point of departure for calling virtually every practice around the management of archives into into some question and just get your reflections on that that's a really big question cliff but honestly I think what what we have seen in a lot of the work I've been doing is that you have you have something of a luxury with paper documents or analog documents that you can manage them at a very high level a box level or even a collection level if it's small enough but as soon as you digitize something you're you're required to at least manage it at that item level you at least have to know where that file is and you may not know a lot about that file but I think we can we can sort of split the difference in that if I've if I've digitized a whole box of things I could still have a metadata record that talks about the box but then leads me to all the items because if you came into my archives and you asked for a box you wouldn't ever expect that I would know every single thing in that box you would expect you need to look through that box and so I think I'm not exactly sure how that relates to sorcery but I think that's the issues that we're dealing with in archival management and the shift from analog to digital one thing I'll chime in and say is I think you know and there's a history to this and there's really good reasons for it but I think there's been a bias towards thinking that there can only be one scan of a document online right that that there should be at least one scan of a document online on the library's website right that you shouldn't have multiple copies of of the same item on a website and so if you're going to digitize something you should digitize it at the very highest quality and mount it in the you know whatever the the official repository is with you know sort of high level or or detailed metadata and description and you know that's been sort of the the bias what that hasn't recognized though is that there are often multiple copies of images of of of items taken right like there you know researchers will come into the reading room and take their own cell phone images an archivist or or like an undergraduate assistant might get a request from someone through an email address and take a picture on her phone and email that picture directly to the requester so so there are sort of these parallel digitization efforts going on already at institutions one which is the official preservation digitization workflow with all of its rigor which is the way it should be right and the other is this much more informal much more impromptu much more pragmatic one-off digitization program where people are taking scans of things for use in the moment and for really for reference and so I think what what what what what this app kind of forces us to recognize is there are already already these two digitization workflows going on and then that then the question becomes do they need to be integrated or can they exist in parallel um I think for the present are kind of working um assumption with sorcery is that for the present they can exist in parallel um as as they already in fact do um farther into the future is there a way to integrate these two streams um maybe probably um and that would be for the good but for right now I feel like it's better to just recognize the reality of what's going on and make it more effective and more efficient for the researcher and for the archivist rather than to you know hold up some ideal that has never come to pass or has not yet come to pass and may never come to pass um you know a kind of perfect as the enemy of the good kind of attitude and Tom I just want to chime in really quickly because I've been there and to go into range 85 shelf nine takes me just as much effort to make a good copy as a bad copy that was always the thinking but if we're if we push off the actual copy making that we don't have to do it all we have to do is get the box then we don't care it's no more effort I'm just getting a box out and I don't have to do all these things um and so I think that that lowers the borrow of effort on the archives part to participate in the sorcery because I don't have the burden of creating and managing that object that gets created so and if we if we can get archivists to think like that then oh it's like ah I would I would definitely breathe the sigh of relief you go oh wait that's something I don't have to worry about I'm great well and it addresses attention Tom that you and in a previous call when we discussed this talked about and it's this this inherent tension between our drive now for increased broad access as much as we can provide with very rigorous descriptive and digitization standards and that I think this has been a struggle for for the archives profession and even more so now as we we're really thinking about access equity and issues of just the broadest possible way to particularly and I think about this often an institution like Gail that has great resources has a huge responsibility to make these resources available and so that ability to think this differently to to to um to start to address that tension between access and our rigor is but not lose that rigor I think that's an important part is there's always going to be a place for that but to be able to fulfill that access mandate just seems incredibly important to me right now um Cliff you're muted sorry I didn't click card enough there um there's some wonderful things coming in in the in the comments and a little later when we open this up for the audience I'm gonna I'm gonna maybe read one or two of these as introductions to questions um I want to go two places before we open up for for questions from the audience so the first is that this the the the kind of combination of experiments like sorcery and the pandemic is really you know sort of framing a question about whether we should be assigning much greater priority in the design and um you know arrangement of our services around archives and special collections to support remote access um you know one could envision well we we've already slipped past certain barriers you know it used to be if you really wanted to talk to one of the archivists you probably had to go to the archive to do that now you know we're we're cheerfully having consultations via zoom um uh and reference interviews and things of that nature um I can imagine uh us slipping into a situation where you might actually go through the contents of a folder with somebody physically there and you're on zoom or some similar app uh as they flip through the you know folder now obviously probably aren't going to want to tie up a you know a professional archivist doing that in most cases but um one can imagine um uh the same kind of staff or doing a lot of the front line digitization work could easily do that sort of thing um what what's what's your thought on should we do that is it is it culturally ever going to be possible to do that is is this the the future for archives or part of the a major part of the future for archives so Cliff I think this is really interesting in that it it is about um in a sense rebalancing the people you are serving right and um there's absolutely been in the same way there's tom talked about there being a sort of um you know single very you know gold standard system for digitization of archives and and with full metadata and so forth there's also been a kind of gold standard of interacting with the archive which I absolutely benefited from in in my doctoral work and and it was great like I mean did I like going to archives and spending a long time and having meals with archivists and finding out about boxes that someone hadn't seen before sure that was terrific but I think it's a lot more equitable to say you know what if we were to think about dividing up the time differently and um helping more remote people um or helping again the general public or people in the future and I think Barbara and I have the very difficult task of doing that kind of rebalancing and saying what are we going to devote resources to who are we devoting those resources for and what does that mean actually for our staff and for their labor and for their time and what kinds of things are they doing we certainly don't want to overload them with um 100 online requests versus one in person request just because um you know we're we're helping more people and they're all remote I mean we still need to have some in person things but I think all of us and this is why again sorcery it just raises such interesting questions we'll have to go through that exercise with our staff and with the community of folks who want to make use of our archives and special collections to think about what that division of labor is and I think that's a really interesting question for say the next three to five years and COVID has only accelerated our interest in trying to solve that equation others want to comment on that I'll just say briefly I think Dan that that's very well put that thinking about how we're focusing our time is is going to be a challenge we just posted our AUL for special collections and director of the by-n-a-key position and a part of that job description and that that person's work will be to have a community engagement team to really be thinking about those questions how we ensure that the resources we have are reaching our local community global community in new ways that I think it's just absolutely necessary for us to be thinking about right now so even in the posting of a new position early on in my tenure I really wanted to be thinking with with the special collections team about how we we articulate a community engagement aspect of the special collections work so I want to just before transitioning us to questions from the audience I want to just read read one that was sent a comment that was sent to the panelists that says this is a great project there's a kind of precedent that Mellon funded for many years at the Medici archive in Florence they they did software and policies that would where the archives would digitize materials and the remote scholar would help to digit help to describe the materials as a sort of a quid pro quo and they also developed a fellowship model for people who were heavily engaged with a specific archive I wonder you know many many resource archives particularly do support do have these sort of fellowship arrangements where scholars can you know apply to come and engage with an archive I just I just had a conversation with the Getty who has a similar program around some of their material can we are we going to be able to do those digitally can you imagine being able to you know maybe as a as a first step to to scaling up certain kinds of engagement having digital fellows so I'll I'll I'll chime in on the on the on the first part about about the the the idea of the the Medici archive model of posting things online and having researchers provide metadata one thing we're we're working towards with with sorcery is to stitch it together with our of the other with the other software packages supported by the corporation for digital scholarship so there would there is a there would be a kind of workflow where researchers would would would request an item through through sorcery a an archivist at the institution would scan that and that scan could be provided with some some rough metadata and pushed to a reference a reference archive on the on the institution's website built in omeka so it would be a kind of parallel collection to the main sort of the official collection the Folger who we're working with on this on on on this next phase is doing something like that already where they have a reference image collection so one of the one of the one of the interfaces between sorcery will be with with omeka to to create those kinds of collections the other interface is between sorcery and trophy trophy is a desktop application kind of like iPhoto for archival documents where individual researchers can take all of the take all of the images that they've created while they were in person in the archive and organize them you know build you know idiosyncratic researcher metadata but metadata nonetheless into those into those collections and there we're we're thinking about how how researchers might be able to request items maybe a scan that they took that was that was you know blurry or they missed an item in a series request additional items through sorcery for that collection add them to their collection describe them in the collection and then that would be then in turn returned to the originating originating archive with the with the metadata and posted on the omeka website so there is a there is kind of an interface that you can imagine where where that kind of full circle kind of work can can happen as for remote fellowships i don't know i mean i think some of this could be done remotely you know as dan was describing like you know there's there's nothing like sitting in a in an archive for for you know a week or a month and working with the materials directly i don't i don't think that mode of interaction and that and interaction with the documents but also interaction with the archival the archivist's expertise i don't think that mode of work is ever going to go away for historians but i think it can be supplemented and you could imagine you know a parallel program of fellowships maybe that provides you with a week of special access you know prioritized access through sorcery or something else or whatever through email to an archivist's expertise and that and that i can imagine certainly taking place tom i want to add to that and say yes i think i think you can do digital fellowships and and i know you love and i do too i became an archivist because i love the old stuff and i'd love to pick it up but most people's need is for information and not for that experience especially if you're not a scholar so you look at northeastern which is a large collection of community-based archives that are used by community members who want to do something and they want to and they want to show something and they need that as information and so that same experience if we can if we can get them to think that they don't need that much hand-holding they just need access to the content and so that's i think the other side of this i i think we often again even in how we create we expect everybody is the serious researcher who's going to spend a week it's like most people just want to answer a question and if we can build them tools to answer those questions then we're we're going to serve a lot of people we have a question about i'm going to go to questions now from the audience we have a question about have you interviewed folks who run closed archives globally as you did the development of this we i don't think we've talked to people who run closed archives we you know most of our conversations with archivists have been in us institutions where i think that model is a little less common you know i did my doctoral work in in england where that model is much much more common and i think that's true on the continent as well but that is that's certainly a good idea something we should we should think about doing here's another question i'd like to hear a little more about the opportunities to link these on-demand scans with systems and tools maintained by the archive to help future researchers do the is the right thing to do to connect these to finding aids or other discovery tools um can they end up in some kind of repositories for digitized special collections there it seems like they're quite a few mismatches between what current archival systems do and what they need to do to work with these so i think this gets to this really interesting question about a kind of the the different pipelines right let's say we have one pipeline we don't really we have informal secondary and tertiary pipelines and so forth but i think this group here on this panel has actually had some some sidebar conversations about this very thing which is maybe you end up with a sort of semi-formal secondary pipeline that includes some sorcery reference scans that go into a digital repository at the institution and over time may be connected through various means to finding aids or to metadata along the way and i think this is actually fascinating for the cni crowd because i think there could be multiple modes for those kinds of enhancements of let's call it track two so one could be indeed eventually those scans make their way over to my metadata group and they're given formal metadata over time um some of them may go to crowdsourcing or other techniques and then just to connect it to some other cni panels if you look at the campy project at Carnegie Mellon which is the computer edit aided metadata generation project you could run those through some some machine learning or computer vision techniques to at least get you 80 percent of the way there and we're starting to do tests on these kinds of just raw scans that haven't been given metadata and it's imperfect i'm sure it will get better over time but i think what's really interesting about that campy project which i encourage you to watch their their 20 minute video as well is that it's actually the combination of the human expertise and the computer vision apis that actually get you far along with a lower amount of labor so there could be suggested tags metadata and so forth and then a human expert comes through when appropriate maybe it's a few months in the future and formalizes that metadata so i think for cni this is sort of a perfect combination of in a sense more traditional human expert practices and some much newer digital pipelines and techniques if i could add if i could add just one more oh sorry Greg go ahead i was just saying it's it's again we come back to the question of how much is good enough right and and you might say and i just this came into my head this is pretty radical though you might say we should actually stop doing high resolution scanning and throw everything through the lowest resolution we can find and get it all out there and then oh let the good stuff rise to the top and then we do that now i used to teach digitization years ago and that was like the last thing i ever would have said i would have said get it out do it the best you can so you can use it later but you know that's with the way we can digitize things down the way people want things i don't know it's just an interesting idea i think you know in terms of connecting back to finding aids and other other sources of of discovery one one thing to mention is part of the the motivation for sorcery was the observation that and i think something that i think probably is underestimated by most archivists is that the way one one primary means of scholars finding materials archival materials is not through finding aids in that are prepared by the archives themselves it's through footnotes that are prepared by scholars right so you're reading a book you find a and this was sort of the like one of the original use cases for sorcery you're reading a book you you know just it's a new book that you've been asked to review or something it you know footnote references a document that you think might be interesting to your own work just that one document right and you want to get your hands on it and you go to the institution's website and it hasn't been digitized what do you do that was the that was the use case but there's a there's a seed of an idea here where if you could connect if you could connect the the information that's contained in footnotes to information that's contained in finding aids through this kind of crowdsource process you start to end up with a whole different kind of information ecosystem and to bring the the really the promise of citation full circle so so we're we're we're thinking deeply about that as well there's a whole richness of citation out there in books that's you know semi standardized that could be leveraged for for discovery in other ways yeah that's a really important point here here's a comment I think more than a question but it's it's an interesting one the idea that Greg just raised is not unlike the melon funded project for digital history monographs at UNC press invest just enough in a new book to create a good digital file make it easily discoverable for open access and then if it if it actually gets used if it if it if the reception merits it invests more in a future edition and you know that that that is sort of what what would happen in Greg's scenario as well um it's also interesting that you you get a you get a much better sense of of demand for use if you get this kind of low barrier to entry use I mean certainly any archivist who's curating a specific collection over time can tell you anecdotally that you know these are the kinds of things that people coming in mostly want to look at but this gives you a much better um a much um broader view of that I'm just looking for here here's a comment for our team managing digitization access it's not the scanning time that prevents us from delivering access files the big work is in file naming and structural metadata to manage the scans and get them associated with the right collections records metadata has been the bottleneck for probably the last 10 years once scanner's got once we moved to camera capture which was very quick and that's why dance comment about using AI and things like that to pull some basic information about even a photograph you know man on a horse or something like that um is really good and yeah it's it really isn't that it's the metadata that's the problem yeah and I think that goes to Barbara's comment about this tension between rigor and access um you know I think if it's a question of I think you know honestly it's it's priorities um if if the priority is just getting the material into the hands of the researcher who wants it um maybe maybe you don't describe it maybe you don't connect it to the finding a maybe you don't um you don't you know you just you just don't do those things but the but the researcher is happy um it's it at or maybe you do it at a at a at a lower level or maybe you do it in the ways you know we experiment with ways to do it with artificial intelligence or or or or some assistance from the from the researcher herself or but I but I do think it's it is it is a tension and it's a I think it's a tension where we're we're um trying to uh to provoke I don't think we have these answers um but it's a but it but it's but it's worth exploring um you know where on that um where on that uh continuum of sort of um you know easy easy access and you know complete rigor um we want to be it's not just easy access it's it's easy useful access easy useful access well it's and it's also do we want to provide um you know what level of access right access to I mean the individual researcher who asks for the item doesn't need any more description right right they know they want it like they've already found it they you know they probably know as much about it as the as the archivist does that they don't need it um it's who you're providing access to if you just give it to them you're now not providing access to the to the to the broader to the broader uh public um and we have to ask ourselves is is which value do we care most about do we do we want to meet that need of the individual researcher quickly and easily or do we I think it's it's worth not meeting that need and instead um meeting meeting a longer term need of a of a of a broader public and a future public and these are these are ultimately like everything else uh resource uh uh choices yeah and you know to my mind the wonderful thing about this project is it has framed many of these questions in a very you know sort of tangible way um uh and we haven't been asking them enough until this came along we are past time I'm gonna just give everybody a moment if they want to make a quick closing remark and then I'm going to thank everyone and conclude the session Greg um I just want to say that this is a great opportunity to rethink how we do things and we should keep this discussion going because we like like Tom said we don't have the answers we but we have a lot of questions Laura yes I agree with Greg and I think that um you know what what we're seeing here is just again different needs by different users and different approaches and so having a variety of approaches I think is a very good thing in any any work we're doing and um I think together we'll be able to start to answer some of these questions Tom um I'll just say uh thanks uh to you Cliff and to to everyone in the audience um and also if there's anyone um listening who is interested it was at an institution and is interested in piloting the the enterprise version um and you know working with us to to develop it um we're we're we're very much looking for for those kinds of partners so please please do be in touch and I'll give you the last word I'll just conclude with one more thanks which is I want to thank my staff and actually all the archivists um and librarians and technologists and many others who participated in the workshops that Tom and Greg and and so my staffers ran with support from the Mellon Foundation it's actually um out of you know tough questions that they've asked of all of us and and thinking about the roles that I think we've made progress and certainly there there haven't been full solutions but I I I really have loved the collaboration and thinking through with staff at all levels how this might work and work in the most ethical and productive way so um thanks to everybody who's helped us think through these issues all right well thank you all for your thoughts on this um this is a topic I am sure we're going to continue discussing um at CNI and we're certainly going to want to follow this project and continue learning from it um I thank the attendees for joining us and for all the very thoughtful comments here and uh I'm going to declare this adjourn thank you again


Climate action, effect of climate change in Mumbai city I am Earth and I am unique in the cosmos because my surface temperature is 15 degrees centigrade This enables human life and a thriving biodiversity on my planet unlike other planets like Mercury or Venus However, the increase in greenhouse gases called GHGs like carbon dioxide, water vapor and methane and fewer other gases due to man-made pollution has made me imbalanced and I experience increasing global warming Due to increase in greenhouse gases on my surface, heat is trapped and ocean waters become warm United Nations adopted 17 sustainable development goals SDGs in 2015 which almost all the member countries adopted including India, SDG 13 is climate action Carbon dioxide levels have crossed 400 parts per million whereas world scientists say it should not cross 350 parts per million This has led to heavy rains, droughts and glacier melting My city of Mumbai the most vibrant and multicultural city of India used to experience very pleasant spring season in March and April but now it is only hot and humid The monsoon rains used to come on the 10th of June every year and last for 4 months It is now a bit erratic with very heavy rains and long dry springs Mumbai will experience sea level rise due to ocean warming and land glacier melting Coastlands can be inundated by every 1 meter about 3 feet of sea level rise as seen in the maps I am very optimistic that action and solution by children and adults will be taken To begin with protect the natural forests of Mumbai city unique by itself Plant more trees, save the mangroves, adopt solar wind and other renewable energy Reduce, reuse and recycle Bring nature into the lives of people in education and their daily lives and stop governments from any further destruction of nature Ban on plastics and microplastics threatening Mumbai's marine life and human food chain will bring the balance back Quite a plankton which provides a major part of oxygen to us needs to be saved There are many active people in Mumbai who have cleaned up the beaches and oceans The worst of our beach cleanup is a case in point where even the olive early turtles have come and hatched recently How wonderful It is very important to elect government representatives who will protect forests and natural wealth of the city of Mumbai Bringing more nature into the lives of people is essential to appreciate my unique earth's atmosphere and to restore my natural planet's resistance for climate action


What is going on everybody? Man these slow starts. I'm getting I don't know what's going on with YouTube Doing the same thing every day, but it doesn't always connect welcome everybody. I'm glad you're here good to see you I really appreciate your patience So sorry for starting late. Like I said, I was here unfortunately YouTube was not cooperating. I want to welcome everybody and make sure you hit that subscribe button down there Don't forget to ring the bell turn on all bell notifications to your notified each and every time I go live I was not going to give up. I restarted the YouTube software twice. I restarted the streaming software three times Man, that's frustrating. What are you going to do? Right? Make sure you put something in the box there If you can hear me, let me know that you can hear me out there. I would appreciate that Don't forget to give me a thumbs up that thumbs up means a lot if you give me a thumbs up on here It helps the algorithm. We're going to be talking today about making money making a living actually from your home with affiliate marketing and That's the subject But if you've got any other questions about starting running and growing online businesses, feel free to put that the chat box there I'll be happy to answer any questions on that But that's our subject matter for the day I'm still trying to get my move together for those of you who know I am moving to Texas And we've got about gosh, I think it's like 19 days now something like that That's the big countdown and I will probably be doing these throughout the end of this week Next week. I cannot make promises unfortunately because we've got to get everything together And I won't be able to do as many lives. So, you know stick with me all this week, right? And at least that way you'll get the training for this week Also, let me see here. Let me pull up some of my information for you guys I'm going to give you guys a bunch of steps today on how you can do this affiliate marketing and Let's see here. There we go. There we go. There's all my information You know, let me kind of fill you in on What affiliate marketing is first off affiliate marketing essentially is getting paid for selling products that you don't own I mean, that's a pretty good deal, right? I mean almost sounds illegal, but it's not It is very legal and a lot of people make a lot of money doing this on a daily basis They do affiliate marketing. They've been doing affiliate marketing for years I do affiliate marketing and I also have my products sold as affiliate products. So, you know exactly What is affiliate marketing? Well affiliate marketing is when a publisher or a company Gives you a cut of each sale when you promote them on your site or you promote them through email Or ads or whatever you choose to do There's a lot of different affiliate opportunities from courses To web hosting to books to tapes DVDs Survival food because we have survival food too So there's all kinds of different products out there that you can be an affiliate marketer for But I will tell you you want to go in the right direction and you want to make money in the right way The more effort that you put into your affiliate marketing product You should get paid a higher commission The example I will give you is the lowest Commissions I get are for Amazon. That's the very lowest commissions I get on affiliate marketing However for Amazon, I almost do nothing. All I do is list links in my description So if somebody's interested in those things they can click on one those links They can buy some of those products or any product they buy for the next I think 24 or 48 hours I get a commission on them, but I don't do hardly any effort for that But I don't get paid hardly anything either I'm I mean very very small percentage maybe one two percent now some products like I have a friend of my John Kristyne contacted me the other day and said he was doing a promotion That's usually going to be a 50% commission on any products that I sell of his and vice versa when he sells my products I normally pay about a 50% commission But that takes a lot more effort that may be a webinar that may be emailing my list That's going to be a whole lot more things Then what I need to do for Amazon So keep in mind you want to weigh this out with what you have to do in what you get back for what you do affiliate marketing Is often kind of looked at is like this get rich quick scheme By like these shady sites offering pyramid schemes that promise quick cash with a little effort But that's not what affiliate marketing is. Okay, that certainly exists out there But that's not what I'm talking about when I'm talking about affiliate marketing Successful affiliate marketers, you know, I'll give you an example like Pat Flynn Smart passive income put in a lot of effort towards building an audience and creating quality content that will bring in Sustainable passive income So you got to expect to do a lot of legwork up front But if you play your cards right you can build a solid source of revenue for years to come So, you know when you're getting into this guys don't think that it's a get with get rich quick type thing It is not it's nothing could be further from the truth than that It is something that Takes effort However, you can earn a lot of money you can replace your job or you could actually make millions of dollars doing this I know people that do that right now. They literally make millions of dollars just doing affiliate marketing Now the key to really successful affiliate marketing Is several different things your success is a Neffiliate marketer is tied to how you answer these simple questions Can you find products or services to offer that offer you a great commission rate now? You can but you got to know where to look. I would say look at share a sale I would say look at click bank any of those. Let me put these in here share sale I'll put that in here And I would say also click bank is really good. I would put that in here Now both of those are great sites and there's commission junction. There's JB zoo I mean, there's a whole lot of different ones out there, but those are a couple ones to really get you started Can you find a niche market that is likely to buy what you were offering? Okay, is there a market out there? That's the next thing you got to say is say this one looks like a great product But where am I going to find this audience that maybe it's your email list you've got Maybe it's content that you've been putting out for years that people are interested in and this matches that content Maybe you're going to run ads to this particular niche market So you got to ask yourself that and then the last question is are you able to build content and traffic around these products? Can you do that? Is this something that's sustainable long-term? So it's not flashing the pan kind of stuff guys This is stuff that you're going to have to work on you're going to have to build up It's going to take time today. I've got the big bottle of water here. So I don't have my cup ready, unfortunately But the money could be great. I mean I have a decent list now I mean it's not as big as I want it to be never is as big as you want to be But I have a decent list now and I could go to click bank right now. I ought to do a video on this but literally I could go to click bank right now I could set up some affiliate links I could send out an email and within probably an hour or two I would have money that quick that quick but Understand for the past decade. I've been building up these lists for the past decade I've been working online for the past decade. I've been learning how to do this stuff So anyhow, if you could answer To any of those questions a yes rather than jumping to conclusions immediately Take time and research whether or not others out there are making a sustainable affiliate income from products And the content in that particular niche So, you know, that's that was my thing all along is I if I could see somebody else doing it and they were making money Then of course, hey, you know, so I'm gonna do it too in a sense competition is really a good thing here It'll help you validate your idea and prove that it's worth building a business around So if you find competition out there, don't get scared of it. Don't go. Oh my god, there's competition No, that's a good thing It's a good thing if you have competition because if you have competition that means that people are making money Other people are doing it out there. Now, the next thing I want to talk about is actually getting a favorable Commission rate. Okay. So like I said in the beginning Amazon's commission rate is pennies for each dollar of merchants ice that you sell. It's not much, okay What many people don't know is that there are affiliate opportunities out there that pay commission rates that are much more favorable I mean twenty dollars hundred dollars five hundred dollars or even more So you want to go through these Affiliate networks. I told you about I told you about share a sale. I told you about click bank There's also Commission Junction. There's Rakuten There's E junkie for opportunities and general commissions So there's all kinds of different ones out there, but you got to kind of look around and see what's gonna fit for you You want to use a trustworthy Affiliate site if you're gonna use one these affiliate networks that has all these products on there make sure it's a good one Make sure it's one of the ones I listed You know, I guess there's other ones out there, but I know all of those are solid. They've been around for years You can be assured you're gonna make money out of so I would say let me put it in here Check out the affiliate networks to make sure they are reputable There we go, so it's like that in there too, but that's really super important guys Because you don't want to get in a situation where you're promoting a product and you've made a lot of money And then you don't get paid. Okay, so we don't want that to happen when you use one of these reputable Commission Affiliate networks, you're gonna get paid. You don't have to worry about that. You're not gonna get ripped off So you do want to protect yourself now if you know an individual or if you know a company That is reputable and you want to you know sell their product you can certainly do so we have a reputable product We have a lot of people that sell our products on a daily basis through our survival food company And those particular products we always pay out on you don't have to worry about it But we've been around, you know for over 10 years. We're established next thing you want to do is target a Niche target a niche when you're just starting out a niche market is the obvious way to go look for a market that has clearly defined need and Willing audience. Okay, that's super important Then find the affiliate opportunities that actually match up to that particular niche So you want to go niche first and then product I think too often people go product first and then they try to match it up to a niche And that's not what you should do. You've got to find a niche market. And what is a niche market?  There you go Accountants who work from home is a niche people who are survivalist and Want to protect their family from disasters? That's a niche and that's that's what we sell to because we sell survival food The next thing you're going to want to do is create an effective website or landing page now If you use something like cartra and I do recommend cartra cartra will be in the description when this video is over with Cartra is an excellent tool for doing digital marketing But you could build an affiliate page opt-in page in there in like 10 15 minutes. Okay, so get cartra There is a link to cartra in the description once this video is over with you can watch it and there's a video there That tells you everything about cartra. And if you're interested and you should be okay You could join for only one dollar trial to try it out make sure it's the right thing for you So you're going to either have to do a web page or you're going to have to do cartra I would recommend cartra in the beginning because it's a whole lot less effort And you're not trying to build out an entire site unless you've already got a site if you've already got a site And you've been posting content about single moms who love cats who work from home You know, then of course, you know, you could just use your website You can add another page there and send them to that Next thing you want to do is build an audience through building trust The most successful affiliate marketers build compelling content first That's the first thing they do and then affiliate revenue later. Okay, so they built up this good audience When there is an opportunity to bring something of value to your community and make some money for your efforts Then you're looking at what I think is a great opportunity So you can do that now we do have a blog on survival k food I don't I don't have it kept up as much as I should right now But I also have another blog one jrfisher.com which you can go to and get all kinds of information To build a successful affiliate program. It helps to care about the products you're selling. Okay, so you got to really like them You got to have a legitimate value beyond that quick sale You got to think they had value While you can build an affiliate business around any type of product It does help if you actually use the product and endorse it personally. Okay, so like survival king food I would definitely eat that food. That is good food. Okay. It's it's high quality. It's Humanely processed. It's all natural. It's a really good product.  They love it. Okay. They get it.  Yeah, the only difference is it's online. It's not that it's not You know a real business you got to do that the other thing that you got to look for and I see a lot of people mess this up Okay, this is super important the FTC the Federal Trade Commission in the United States enforces a set of rules that covers the increasingly professionalizing world of bloggers and online influencers you must now at this point, okay This is the rule. This is the law You must now disclose when you have a financial interest in a product or service you feature on your blog This is very important. Make sure you put that on there. This goes for sponsored posts But most importantly for affiliate links, you've got to let people know you gotta let people know that you're making money on this product, okay? many affiliate marketers including copy blogger media and Chris Brogan attempt to use this to their advantage how Well, they use this disclosure as an opportunity to talk about how much they personally love the product They are selling so I would do the same thing if I'm selling a product and I'm repping it and I'm an affiliate I'm gonna say hey guys.  Okay, if you're doing it Like I talk about Cartra all the time, you know, I'm an affiliate for Cartra. I'm make no bones about it Okay, I get a commission if you buy Cartra. However, I use Cartra for all of my marketing every single thing I do every email I send out every sales page. I do every promotion. I do all my video courses are in Cartra I use it every single day. That's why I'm so bought into Cartra and why you should be too Cartra is amazing. It's gonna make you a lot of money if you put forth the effort and you use the tools in Cartra You're gonna do well. That's my disclosure. Okay, cuz I told you a couple minutes ago Hey get Cartra. I want you to get Cartra.  I don't make much money off Cartra I'm not gonna make a living off Cartra by any stretch of the imagination. However, I Do promote it because I like it and I use it and it's literally made me millions of dollars Okay, if it's made me millions of dollars and after 10 years of doing this, you know, I'm getting results Why wouldn't you want to do that? Okay, so I would let me put this in here check out Cartra in the description and Get a trial for only one dollar Okay, it's changed the word Cartra to Cartario. I have no idea why I would do that. Let me change this Cartra There we go, it's in there. Okay, so That is my overview of affiliate marketing guys affiliate marketing is really pretty amazing I think no matter what your business is. Okay, no matter what you're doing I think it's really important that you get involved in Affiliate marketing and the reason I think it's really important is You know number one if you've got a good product and you want to get it out to a lot of people You're gonna want to have affiliates, right? That would make sense Especially if it's a good product you would as many people as possible to get your product If you've got an audience built and you've built up, you know some credibility Why not capitalize on that and sell other people's products, too? So that's another thing you can do is sell other people's products So you don't you don't have to be in just one end or the other you can be in both ends, right? You can offer your products to affiliates and you can have affiliate products that you offer to your audience Okay, why not, you know Capitalize on all that's out there if you have any other further questions You can put them in the chat box right now Feel free to do that if you're not watching this live I know a lot of you aren't you catch this video later on what you're gonna want to do Is put any of your questions comments, whatever in the comment section below the video the comment section It's not there during the live video that only pops up After the video has been I guess the live is over with I guess something like that So that's when that's gonna pop up, but feel free to do that Also, if you're not watching this live or if you are watching it pot make sure you subscribe, okay? Hit that big subscribe button down there It'll be red if you haven't done so. Okay, that's I like a warning. It's like oh my god. You haven't clicked me yet So when you click it, it's gonna turn a light shade of gray and then this bell is gonna pop up next to it So what you want to do? Ring that bell turn that bell on so you get all bell notifications a bell notification is every time I go live like today Every time I upload a video those things, okay? We'll be notified to you. You'll know about those things So that's super important that you do that So that's all I've got for you today. I hope you found this interesting if you did Don't forget to give me a thumbs up give me a comment in the comment section there If you have any questions feel free to ask me any questions. I'll be happy to answer them for you Thank you so much for watching this video today guys. I love that all of you are here I love so much that you guys watch these videos and you continue to watch them and you support this channel If you think it's a channel that a friend or relative may be interested in Share the channel with them and say hey check out this channel this guy's got something worthwhile Thank you so much for being here today guys. I really really appreciate it and I'll catch you tomorrow