Video Creator Quotes

Nolan Bushnell, the creator of the Atari video game system, once stated, ‘Everyone who’s ever taken a shower has had an idea, It’s the person who gets out of the shower, dries off, and does something about it who makes a difference.

The sword master stepping onto the fighting floor knows he will be facing powerful opponents. Not the physical adversaries whom he will fight (though those indeed serve as stand-ins for the enemy). The real enemy is inside himself. The monk in meditation knows this. So does the yogi. So do the film editor and the video-game creator and the software writer.

In fact, every single video MrBeast has uploaded in 2019 has over 10 million views, something no other creator has done before him, not even PewDiePie.

One good piece of content can change your life overnight

Some days I spent up to three hours in the arcade after school, dimly aware that we were the first people, ever, to be doing these things. We were feeling something they never had - a physical link into the world of the fictional - through the skeletal muscles of the arm to the joystick to the tiny person on the screen, a person in an imagined world. It was crude but real. We'd fashioned an outpost in the hostile, inaccessible world of the imagination, like dangling a bathysphere into the crushing dark of the deep ocean, a realm hitherto inaccessible to humankind. This is what games had become. Computers had their origin in military cryptography - in a sense, every computer game represents the commandeering of a military code-breaking apparatus for purposes of human expression. We'd done that, taken that idea and turned it into a thing its creators never imagined, our own incandescent mythology.

Double Fine had found a fourth option: Kickstarter, a “crowdfunding” website that had launched in 2009. Using this website, creators could pitch directly to their fans: You give us money; we’ll give you something cool.

Failure. Never before has a thing gotten such a bad rap as failure. And why wouldn't it? It's failure. In a video game, failure means to fucking die, to drop into a pit of lava while the princess remains unsaved (oh, sexist video games, when will the lady plumber save the prince instead of the other way around?). You fail a class and it's like -- *poop noise* -- you failed, you're held back, time is wasted, money is lost, you suck, you stupid person. Hell with that. Failure is brilliant. Failure is how we learn. Every great success and every kick-ass creator is the product of a hundred failures, a thousand, some epic-big, some micro-tiny. We learn the right moves by taking the wrong turns. Failure should not drag you into the pits of personal despair but rather leave you empowered. Failure is an instructional manual written in scar tissue.

A video game can be created and never make it through research and development. Or else it comes out and no one wants to play it. Yes, video-game creators who’ve had successes are greatly valued. But those who’ve had failures are valued, too—sometimes even more so. Start-up companies often prefer to hire a chief executive with a failed start-up in his or her background. The person who failed often knows how to avoid future failures. The person who knows only success can be more oblivious to all the pitfalls. Experience

At the General Assembly of the United Nations in New York in 2012, just a fortnight after the murder of the American ambassador in Benghazi, President Obama talked about the YouTube video his administration were then still saying was behind the attacks. Talking about the excerpt ofa film called Innocence of Muslims, the President of the United States said, before the world’s assembly, ‘The future must not belong to those who slander the prophet of Islam.’ He didn’t say why it ‘must not’ belong to them any more than it ‘must not’ belong to the South Park creators who made The Book of Mormon or the ageing Monty Python team who made The Life of Brian. But the question was left to dangle.

Bust magazine, back when it was a more outwardly feminist publication, used to ask each of their female interview subjects whether or not they identified as feminist. In 2005, the musician Björk said no, and that interview is still used in these online lists as of this year. Björk is a female artist often credited with being one of the most innovative and daring musicians of her generation, regardless of gender. She has collaborated with and supported women musicians, fashion designers, video directors. She has spoken frankly and openly in interviews about the difficulties of being a woman in a male-dominated industry. She has proven herself to be an exemplary human being and creator, and she is a tremendous role model for young aspiring musicians. If we understand that the problem feminists have with Björk has nothing to do with her actions and is only about her language and way of identifying herself, then we can recognize that this is about a feminist marketing campaign and not a philosophy. Compare

Your success with that initial group, the number that clicks on the video, determines how far and wide YouTube will promote it further. If many of your subscribers click on the video, YouTube will send it out to more subscribers and to some non-subscribers that have watched similar content. If that group of non-subscribers also clicks to watch the video, the platform will expand the reach even further. The platform keeps doing this, continuously using data from who is clicking and how much of the video they watch, to determine how much further to expand your video’s reach. So what does this mean to your niche and why is it important? Think about it from the perspective of someone with no definable niche, a person that posts videos with no clear content strategy. People that subscribe to their channel may do so because they like the creator’s personality but they aren’t likely to be interested in a lot of the content. That means there might not be many of your subscribers from that initial test group that will be interested in the new video. They won’t click through and it will be a negative signal to YouTube…even the subscribers aren’t interested so why push it out to more people? That’s going to make it difficult to grow a channel in the first place if your videos aren’t being promoted much by YouTube. Now think of it in terms of someone that posts videos only

Like all disappearing forms, art seeks to duplicate itself by means of simulation, but it will nevertheless soon be gone, leaving behind an immense museum of artificial art and abandoning the field completely to advertising. A dizzying eclecticism of form, a dizzying eclecticism of pleasure - such, already, was the agenda of the baroque. For the baroque, however, the vortex of artifice has a fleshly aspect. Like the practitioners of the baroque, we too are irrepressible creators of images, but secretly we are iconoclasts - not in the sense that we destroy images, but in the sense that we manufacture a profusion of images in which there is nothing to see. Most present-day images - be they video images, paintings, products of the plastic arts, or audiovisual or synthesized images - are literally images in which there is nothing to see. They leave no trace, cast no shadow, and have no consequences. The only feeling one gets from such images is that behind each one there is something that has disappeared. The fascination of a monochromatic picture is the marvellous absence of form - the erasure, though still in the form of art, of all aesthetic syntax. Similarly, the fascination of trans sexuality is the erasure - though in the form of spectacle - of sexual difference. These are images that conceal nothing, that reveal nothing - that have a kind of negative intensity. The only benefit of a Campbell's soup can by Andy Warhol (and it is an immense benefit) is that it releases us from the need to decide between beautiful and ugly, between real and unreal, between transcendence and immanence. Just as Byzantine icons made it possible to stop asking whether God existed - without, for all that, ceasing to believe in him.

in-house content production team. The company boasts about 1,200 content creators on its network generating 400 million monthly video views. Its channels count 40 million subscribers and generates 120 million unique cookies —  a measurement YouTube itself counts for traffic purposes.

The radioman is the world creator. The radioman interprets moments that almost nobody else sees, and maybe sometimes he invents them. Because everything else is blank. On television, for the fractional percent of announcers who make that leap to the screen, their art becomes ornamentation to the images of the players that everyone cares about and the graphics that can exactly quantify a player's habits, trends, worth. Some of the larger A-ball markets have occasional TV coverage of their games. It's a terrible idea, primarily because it removes the opportunity to imagine beyond the confines of ever-dull reality...It's like watching a recently exhumed video of a child's talent show, the triumph instantly exposed for how small it really was.

Although earlier computers existed in isolation from the world, requiring their visuals and sound to be generated and live only within their memory, the Amiga was of the world, able to interface with it in all its rich analog glory. It was the first PC with a sufficient screen resolution and color palette as well as memory and processing power to practically store and display full-color photographic representations of the real world, whether they be scanned in from photographs, captured from film or video, or snapped live by a digitizer connected to the machine. It could be used to manipulate video, adding titles, special effects, or other postproduction tricks. And it was also among the first to make practical use of recordings of real-world sound. The seeds of the digital-media future, of digital cameras and Photoshop and MP3 players, are here. The Amiga was the first aesthetically satisfying PC. Although the generation of machines that preceded it were made to do many remarkable things, works produced on them always carried an implied asterisk; “Remarkable,” we say, “. . . for existing on such an absurdly limited platform.” Even the Macintosh, a dramatic leap forward in many ways, nevertheless remained sharply limited by its black-and-white display and its lack of fast animation capabilities. Visuals produced on the Amiga, however, were in full color and could often stand on their own terms, not as art produced under huge technological constraints, but simply as art. And in allowing game programmers to move beyond blocky, garish graphics and crude sound, the Amiga redefined the medium of interactive entertainment as being capable of adult sophistication and artistry. The seeds of the aesthetic future, of computers as everyday artistic tools, ever more attractive computer desktops, and audiovisually rich virtual worlds, are here. The Amiga empowered amateur creators by giving them access to tools heretofore available only to the professional. The platform’s most successful and sustained professional niche was as a video-production workstation, where an Amiga, accompanied by some relatively inexpensive software and hardware peripherals, could give the hobbyist amateur or the frugal professional editing and postproduction capabilities equivalent to equipment costing tens or hundreds of thousands. And much of the graphical and musical creation software available for the machine was truly remarkable. The seeds of the participatory-culture future, of YouTube and Flickr and even the blogosphere, are here. The

The value of story—of creator reputation—was vividly demon- strated in a social experiment conducted by the street artist Banksy during a 2013 New York residency. This is an artist whose work has sold for as much as $1.87 million at auction. Banksy erected a street stall on a sidewalk bordering Central Park and had a vendor sell his prints for sixty dollars each. He then posted a video of his experi- ment. Footage from a hidden camera captures some of his most iconic images displayed on a table. Tourists and locals meander by. His first sale doesn’t come for hours. A woman buys two small works for her children, negotiating a fifty percent discount. Around four in the afternoon, a woman from New Zealand buys two more. A little over an hour later, a Chicago man who “just needs something for the walls,” buys four. With each sale, the vendor gives the buyer a hug or kiss. At 6 p.m., he closes the stall, having made $420. In June 2015, one of these stenciled prints, Love Is in the Air—an image of a masked protestor throwing a bouquet of flowers—sold for $249,000. How much of the value of Banksy’s art is tied up in his name, his global brand?

Yes. Were you in here earlier today?” “I was with my parents, yeah. We came first thing in the morning to check out the new releases in the video game section for my dad.” “Okay,” said Hawk. “And did the lasers touch any part of you when you guys checked out?” Emily thought for a moment, and then remembered she had played with it before her father paid for the game. “Yeah, it did. The employee let me run my hand over the lasers a few times before she scanned the game. She told me there were lasers that read the price of the game and I didn’t believe her, so she let me put my hand over them. All the little laser lights formed a grid on my palm. It was pretty cool.” Cuddly laughed. “Pretty cool, and pretty enchanted!” “You mean those lasers are what brought me here?” Emily asked. Hawk turned to face her. “We believe that’s probably what did it. While none of us in the store are entirely sure, we do know it’s how you can get home and back to your normal size though.” “That sounds crazy. There’s no way that’s even possible,” said Emily. “You’re right,” said Cuddly sarcastically. “I guess the talking teddy bear and toy elf don’t know what they’re speaking about, is that it?” Emily remained silent. “Listen,” said Hawk as he walked toward her. “We only have a short journey ahead of us, and most of the time it’s easy to get people back to their homes. This happens quite often, you’d be surprised. But this time, it’s a little more difficult because you woke Officer Onslaught.” “What’s his deal?” Emily asked. “His deal is that he maintains the facility of Prelude. He’s actually a necessity for the business because he keeps a lot of the rodents out. Every now and again, we’ll get a rogue toy in here trying to sabotage the store, and he helps keep them out too.” “So he’s just doing his job,” said Emily. “Right,” said Cuddly. “He’s a robot though, so thinking ain’t exactly his strong suit. He’s can’t think independently. Just a cog in the machine, and you’re technically not supposed to be here so he’s trying to rid the store of you.” “What’s ‘a cog in the machine’ mean?” “It means he’s just a moving part to this store. He’s only valuable as long as he keeps up with the work he’s assigned. He’s a replaceable toy. The second he breaks down, one of the other Officer Onslaughts will take his place, maintaining the status quo.

YouTube is awesome changed my life, YouTube is more than just cat videos, For Creators its an ecosystem no matter the channel size everyone works together. these past 9 months I went from 42 to a 34 waist, stop using my wheelchair plus met awesome friends

You can tell how much viewers enjoy your videos by how long they watch

One of the early stage AI companies Google purchased is DeepMind, based in London. In 2015 researchers at DeepMind published a paper in Nature describing how they taught an AI to learn to play 1980s-era arcade video games, like Video Pinball. They did not teach it how to play the games, but how to learn to play the games—a profound difference. They simply turned their cloud-based AI loose on an Atari game such as Breakout, a variant of Pong, and it learned on its own how to keep increasing its score. A video of the AI’s progress is stunning. At first, the AI plays nearly randomly, but it gradually improves. After a half hour it misses only once every four times. By its 300th game, an hour into it, it never misses. It keeps learning so fast that in the second hour it figures out a loophole in the Breakout game that none of the millions of previous human players had discovered. This hack allowed it to win by tunneling around a wall in a way that even the game’s creators had never imagined. At the end of several hours of first playing a game, with no coaching from the DeepMind creators, the algorithms, called deep reinforcement machine learning, could beat humans in half of the 49 Atari video games they mastered.

A well-organized revolt by the major members of its hard side can kill a product entirely. Twitter once bought an app called Vine for a reported $30 million. It let users create and view six-second looping video clips—it was ahead of its time, and not dissimilar from the insights behind TikTok. Like many social apps, the most popular content creators became very successful, and they were important to attract an audience. Unfortunately, a few years in, more than a dozen of the top content creators organized a revolt: Led by creators Marcus Johns and Piques, the group pitched an idea: If Vine paid each star $1.2 million and changed certain features of the app, each creator would post 12 Vines per month. Otherwise, all 18 would leave the platform. “We were driving billions of views—billions—before we left,” DeStorm Power explained of the monetary request.69 Vine turned down the plan, and a few years later, the service was shuttered. The hard side is worth the effort to cultivate. The most successful and prolific members of this side of the network also provide the highest level of service, are willing to make the investments to scale their impact, and ultimately become the defensible backbone of the network—assuming they can be retained. In Uber’s case, the power drivers represented the top 15 percent of drivers but constituted over 40 percent of our trips. They were also among the safest and most highly rated drivers—after all, it was their primary source of income.

As I’ve said throughout this book, networked products tend to start from humble beginnings—rather than big splashy launches—and YouTube was no different. Jawed’s first video is a good example. Steve described the earliest days of content and how it grew: In the earliest days, there was very little content to organize. Getting to the first 1,000 videos was the hardest part of YouTube’s life, and we were just focused on that. Organizing the videos was an afterthought—we just had a list of recent videos that had been uploaded, and you could just browse through those. We had the idea that everyone who uploaded a video would share it with, say, 10 people, and then 5 of them would actually view it, and then at least one would upload another video. After we built some key features—video embedding and real-time transcoding—it started to work.75 In other words, the early days was just about solving the Cold Start Problem, not designing the fancy recommendations algorithms that YouTube is now known for. And even once there were more videos, the attempt at discoverability focused on relatively basic curation—just showing popular videos in different categories and countries. Steve described this to me: Once we got a lot more videos, we had to redesign YouTube to make it easier to discover the best videos. At first, we had a page on YouTube to see just the top 100 videos overall, sorted by day, week, or month. Eventually it was broken out by country. The homepage was the only place where YouTube as a company would have control of things, since we would choose the 10 videos. These were often documentaries, or semi-professionally produced content so that people—particularly advertisers—who came to the YouTube front page would think we had great content. Eventually it made sense to create a categorization system for videos, but in the early years everything was grouped in with each other. Even while the numbers of videos was rapidly growing, so too were all the other forms of content on the site. YouTube wasn’t just the videos, it was also the comments left by viewers: Early in we saw that there were 100x more viewers than creators. Every social product at that time had comments, so we added them to YouTube, which was a way for the viewers to participate, too. It seems naive now, but we were just thinking about raw growth at that time—the raw number of videos, the raw number of comments—so we didn’t think much about the quality. We weren’t thinking about fake news or anything like that. The thought was, just get as many comments as possible out there, and the more controversial the better! Keep in mind that the vast majority of videos had zero comments, so getting feedback for our creators usually made the experience better for them. Of course now we know that once you get to a certain level of engagement, you need a different solution over time.

For example, in Twitch’s journey, the team deeply focused on creators, giving them better tools and monetization, which in turn caused them to become more active. More satisfied creators meant they would broadcast live video streams more often, bringing in more viewers, which drove further engagement and monetization. It might have been easy to think they should just double down on their marketing spend, but instead the team looked toward amplifying the network effects that engaged its streamers.

Overcrowding works in a different way for creators than for viewers. For creators, the problem becomes—how do you stand out? How do you get your videos watched? This is particularly acute for new creators, who face a “rich get richer” phenomenon. Across many categories of networked products, when early users join a network and start producing value, algorithms naturally reward them—and this is a good thing. When they do a good job, perhaps they earn five-star ratings, or they quickly gain lots of followers. Perhaps they get featured, or are ranked highly in popularity lists. This helps consumers find what they want, quickly, but the downside is that the already popular just get more popular. Eventually, the problem becomes, how does a new member of the network break in? If everyone else has millions of followers, or thousands of five-star reviews, it can be hard. Eugene Wei, former CTO of Hulu and noted product thinker, writes about the “Old Money” in the context of social networks, arguing that established networks are harder for new users to break into: Some networks reward those who gain a lot of followers early on with so much added exposure that they continue to gain more followers than other users, regardless of whether they’ve earned it through the quality of their posts. One hypothesis on why social networks tend to lose heat at scale is that this type of old money can’t be cleared out, and new money loses the incentive to play the game. It’s not that the existence of old money or old social capital dooms a social network to inevitable stagnation, but a social network should continue to prioritize distribution for the best content, whatever the definition of quality, regardless of the vintage of user producing it. Otherwise a form of social capital inequality sets in, and in the virtual world, where exit costs are much lower than in the real world, new users can easily leave for a new network where their work is more properly rewarded and where status mobility is higher.75 This is true for social networks and also true for marketplaces, app stores, and other networked products as well. Ratings systems, reviews, followers, advertising systems all reinforce this, giving the most established members of a network dominance over everyone else. High-quality users hogging all of the attention is the good version of the problem, but the bad version is much more problematic: What happens, particularly for social products, when the most controversial and opinionated users are rewarded with positive feedback loops? Or when purveyors of low-quality apps in a developer platform—like the Apple AppStore’s initial proliferation of fart apps—are downloaded by users and ranked highly in charts? Ultimately, these loops need to be broken; otherwise your network may go in a direction you don’t want.

Influencers and content creators are the millionaires of the future

Next video, please.

At this moment, my fingers are on a computer keboard. I'm going to type "geimu" and try to decide how I want the computer to convert it. Will it be a positive [...] (artful dream), or a negative [...] (receive nothing)? Or will i remain as it always has: [...] (video game)?

A computer program was designed so it couldn’t lose the game. The creators devised this program to try and figure out the best strategy to beat the game. However, when the program was about to lose, it simply paused the game and never unpaused. This was the program’s way of “not losing.

two or ALL the puppies if I could’ve. But whatever, it was just cool to have puppies in the mall. My sister’s gonna FREAK when I tell her about it. Anyways, Fergus and Annie returned to our tournament table with the biggest plate of nachos I’d ever seen in my whole entire life, so me and Emma went and joined them. The four of us dug into the towering mountain of chips and cheese and chicken and onions and queso and tomatoes and salsa and sour cream and guac and jalapenos and O.M.CHEESE, it was SO good! I filled my belly with warm food and then sat back, watching all the people around the tournament having fun. What a great start to a weekend full of friends, puppies, and video games. I mean, seriously, everything was PERFECT, and there wasn’t a single thing that could change that… And immediately, Annie goes, “It was stolen,” but she didn’t know that! Isn’t it funny how some people go to the worst-case scenario first? That’s called “catastrophic thinking” and helps ABSOLUTELY NOBODY in times of stress. So, until we had more details, I thought it best to simply call the camera “missing.” I ran up to Callie, HOPING that maybe she had taken the camera to a Lost & Found box somewhere inside Hacktronics, but nope. Apparently, they didn’t have one. Not good. That meant somebody MIGHT have stolen it. I went to the other players in the tournament and asked if THEY saw anything suspicious, but nobody did! I just couldn’t believe it! How was it possible that NOBODY saw some fool GANK an $800 camera?? That doesn’t even make any sense! Fergus had completely shut down. Annie was angry at me. And Emma was just caught in the middle of it, sitting there, like, “Awkwaaaaaard.” Then, outta nowhere, Annie let me have it. She shouted a bunch of stuff at me that weren’t the kindest things ever, but I fixed all that through the MAGIC of editing…

Tube Mastery And Monetization course help you kick start your YouTube channel from scratch and earn a handsome income out of it What is YouTube Monetization Course? Youtube Mastery and Monetization For Begginers teaches how to start, grow, and monetize a hyper-profitable YouTube channel from complete scratch. It doesn't matter if you don't have any tech skills or any previous business experience , as long as you have a heart to learn YouTube monetizes videos via pre-roll, display, and other advertising formats. Advertisers pay based on clicks and impressions. YouTube gives the content creator 55% of this revenue and takes 45% for itself. Content creators must adhere to advertising guidelines. Matt Par, a successful 20-year-old You Tuber, has been creating engaging content since 2014 and has received multiple silver play buttons along with a gold play button. Matt runs 9 successful YouTube channels, all with diverse content. To start earning money directly from YouTube, creators must have at least 1,000 subscribers and 4,000 watch hours in the past year. Once they reach that threshold, they can apply for YouTube's Partner Program, which allows creators to start monetizing their channels through ads, subscriptions, and channel memberships.For more detail message me

Krissy nailed it and she wasn’t even trying, while I’m over here busting my tush to make videos every single day!

Andrei avoided the internet as well and this evasion only added to his gloom. He loved music, especially old songs, and he loved movies, of all sorts. If he had the patience, sometimes he would read. While most of the pages he turned bored him to sleep, certain books with certain lines disarranged him. Some literature brought him to his feet, laughing and howling in his room. When the book was right, it was bliss and he wept. His room hushed with serenity and indebtedness. When he turned to his computer, however, or took out his phone, he would inevitably come across a viral trend or video that took the art he loved and turned it into a joke. The internet, in Andrei’s desperate eyes, managed to make fun of everything serious. And if one did not laugh, they were not intelligent. The internet could not be slowed and no protest to criticize its exploitation of art could be made because recreations of art hid perfectly under the veneer of mockery and was thus, impenetrable. It was easy to use Chopin’s ‘Sonata No. 2’ for a quick laugh, to reduce the ‘Funeral March’ to background music. It was a sneaky way for a digital creator to be considered an artist—and parodying the classics made them appear cleverer than the original artist. Meanwhile, Andrei’s body had healed playing Chopin alone in his apartment. He would frailly replay movie moments, too, that he later found the world edited and ripped apart with its cheap teeth. And everyone ate the internet’s crumbs. This cruel derision was impossible to escape. But enough jokes, memes, and glam over someone’s precious source of life would eventually make a sensitive body numb. And Andrei was afraid of that. He needed his fountain of hope unblemished. For this reason, he escaped the internet’s claws and only surrendered to it for e-mails, navigation, and the weather.

Kojima: I want the players to experience things that are only possible within video games and that have never been done before. Otherwise, there’s no point in making the game.

Twenty-five years ago, I incorporated a story and a message into video games—two elements largely considered unnecessary. Now, with the sudden rise of mobile gaming, the trend is reversing. It may be that the times have come to a conclusion: “Video games should be for killing time. They will not rise to the level of being culture.

By becoming the tiger, I found a different way to pass on my stories than the one I had so rigidly insisted upon. And so, even as a tiger, I intend to keep on howling into the later generations. Those stories will become new memes, not as prose, but as video games.

Kevin Kelly15 that says, ‘To be a successful creator, you do not need millions of dollars or millions of customers, millions of clients or millions of fans. To make a living as a craftsperson, photographer, musician, designer, author, animator, app maker, entrepreneur, or inventor, you only need a thousand true fans.

The amount of money you can make from AdSense varies. As a typical rule of thumb, creators in the US are paid an average of two dollars per one thousand views.

The best content creators inform, inspire, educate, entertain, and build community all at once.

Many YouTube channels never grow because their creators never take the time to define a target audience and come up with a clear purpose, value, or reason why people should care about their content.

Facebook Marketing Course By taking a Facebook marketing course, you can quickly create a means of income on a huge platform like Facebook. This Facebook marketing course covers a large part of digital marketing. When we talk about social media, we mean Facebook as the biggest online social media platform. Because every month on average 2.96 billion people around the world actively use Facebook and 1.3 billion people use Facebook Messenger. So think about how much of a platform you are getting for free to promote your business. Most of us don't know about Facebook's numerous features and tools, or even if we do, we don't know how to use them. Although it is unbelievable, it is true that if we learn the use of those tools, we can easily increase the sales of our website, Facebook page, or e-commerce site many times. Why learn Facebook Marketing? The interface we usually see on Facebook is only 20% of Facebook. The remaining 80 percent are in various subdomains of Facebook. In our country, no one can use 99 percent of Facebook. It cannot be said that more than 5% of the mangoes are used by the common people. And spammers can use 10 percent. So today I will discuss how to earn from Facebook by using the maximum of Facebook. In 2019, Facebook earned $40 million from Facebook ads alone, after paying content creators, bloggers, publishers, and developers. Which has doubled till now. If the calculation includes the amount Facebook pays to those who create content and make videos on Facebook, the amount would be $1 billion. Have you ever wondered why Facebook gives them so much money? The reason is propaganda. As a result of this campaign, the business expanded. That is not in the words - "propaganda is expansion"! The objective of this Facebook campaign and marketing is to increase sales. The higher the sales, the higher the profit. That's why every company now hires its own social media marketing manager to promote its business and increase sales. A social media marketing manager's salary ranges from around $500 to $3,000. In other words, Facebook has facilitated the way to do business in social media as well as to get a job. How many Types of Facebook Marketing? To know how to use Facebook's features and tools, you need to take a Facebook Marketing Course. Facebook marketing is generally of two types, namely – free Facebook marketing and paid Facebook marketing. In this case, you can do both types of courses. Facebook free and paid marketing is used according to the type of business. Free Facebook Marketing Marketing or advertising on Facebook without spending any money is called Free Facebook Marketing. Let's give an example – “You open a Facebook page for your business, then give it a nice name according to the type of work you do. Then continue to post about your products every day, as well as request your relatives and friends to like your page. Also, ask them to share your page. Give them a little flattery so that they stay by your side and help grow your page by liking-commenting-sharing, etc etc”. But you don't have to spend any money to do them. This is called Free Facebook Marketing. Paid Facebook Marketing On Facebook, those posts that we see under a post (Sponsored) are called paid Facebook marketing. Every company wants everyone to know about their products. So they use paid Facebook marketing in addition to using free Facebook promotion. It is possible to reach very selective customers by using this paid Facebook marketing. For example, "You want your product's customers to be located within the Dhaka Banani area and for both men and women, and you can also give an age limit that people between so and so age will see my ad or post". It is natural that you will not get the benefits that you can enjoy in the case of paid Facebook marketing in the case of free. This is why you need to spend money on paid Facebook marketing.

Usually the hard side will continue to use Airbnb or TikTok because that’s where the demand is, and thus, they are locked into the positive network effects on those platforms. However, the trick is to look closer—to segment the hard side of the network and figure out who is being underserved. Sometimes this is a niche, like a passionate subcommunity of content creators for makeup or unboxing that might be better served with additional commerce features. It could be a low-production-quality, amateur part of the community, like those who are doing #whateverchallenge of the week, who would benefit from basic video editing tools.

The mountain I’ve climbed—the creating of video games—is undergoing a seismic shift, and its form is changing. But I suppose I will keep climbing. Not “because it’s there.” But rather, because it’s not there.

just needed to rizz the Mega-Viddy-Con guests. See? THAT’S why Nathan’s the MAN – because he thinks like a BUSINESS DUDE and not like a YOUTUBER. But what kind of video would win the hearts of convention guests? I should’ve known he was gonna suggest a prank video! That’s what he does – PRANKS! And I know after Kid Youtuber season 6, I swore I was done with prank videos forever, but Nathan’s a pro. He knows what he’s talking about. So, if he says a prank video is what I needed to make, then a prank video I would make, especially if Nathan was gonna guest star in it. Who am I kidding? I’d make a HUNDRED prank videos if I got to make them with McNaters! So, I asked Nathan what kind of prank we were gonna pull, but he was pretty secretive about it. He didn’t want to spoil the surprise. Then he gave me a list about

The ends of the screen continued to exceed the fields of meaning and create others that immediately, and almost through the impetus of their unfolding, cut huge and savage zigzags. Astronomy. The ability of parrots and blackbirds to speak. The diesel engine. The Assyrians. Coffee. Clouds. Screens, screens, and more screens. They were proliferating everywhere, and he had to pay close attention to make sure that no sector failed to be sorted. Fortunately, Dr. Aira had no time to notice the stress he was experiencing. Attention was key, and perhaps no man had ever brought as much of it to bear as he did for that hour. If the circumstances had been less serious, if he had been able to adopt a more frivolous perspective, he could have said that the entire procedure was an incomparable creator of attention, the most exhaustive ever conceived to exercise this noble mental faculty. And it did not require an extraordinary person; a common man could do it (and Dr. Aira would have been quite satisfied to become a common man), for the Cure created all the attention it demanded. It wasn’t like those video games, which are always trying to trick it or avoid it or get one step ahead of it; to continue with this simile, it should be said that the operator of the Cure was his own video game, his own screen, and his own decoys, and that far from defying attention, they nurtured it. Despite all this, the effort was superhuman, and it was yet to be seen if Dr. Aira could hold out till the end.

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Washington Boulevard until he reached another small park that had a view over the lake. He stopped and looked out at the churning grey water. One of the first things the police had done was attempt to trace Scarlett through her phone. Using GPS, they had been able to tell that Scarlett had been at Aidan’s apartment at eleven fifty, but then the signal had gone dead. Either her phone had died at that point or she had turned it off. Aidan wondered briefly if someone had broken into the apartment while he lay listening to his sleep story, but there was no evidence of it. The police believed Scarlett had done it herself. They had asked the phone company to retrieve her messages and call records from the couple of days before she disappeared, but there was nothing that shed any light on where she’d gone. ‘If she was using WhatsApp, it’s all secure and impossible to access or recover,’ the police reminded Aidan, who already knew that fact – and that Scarlett frequently used the app to message her friends. They had searched her laptop too and discovered that she had wiped her search history. Using special data tools they had been able to recover it, but hadn’t found anything interesting. She had mostly been on social media and YouTube, where she had watched a couple of make-up tutorials, various clips by her favourite content creators, and a video about the climate protest she and Aidan had got mixed up in. Aidan speculated that she had been looking to see if she could spot herself. There was nothing to indicate why she had felt the need to delete her history. Maybe it was something she did regularly, out of habit. On day three, someone had come forward to say he had seen a red-headed woman or girl on Lake Washington Boulevard in the early hours after Scarlett disappeared. Apparently, she had been walking down the hill, which made the police wonder if she’d gone back to Viretta Park. Over the next couple of days there had been a lot of activity on the lake. The police had gone out with boats. Divers had plunged beneath the surface and scoured the area close

crouched a bit until I couldn’t see Cob and his agents, and then at the top of my lungs, I shouted, “Oh sick! There’s a rat in the room! It’s as big as a potato!” Everyone in the art class, including Cob and the Glitch agents, freaked. Desks were turned over as students panicked, running wild in every direction. The muffled screams and shouts coming from behind the tribal art masks made things even crazier. It was like a mosh pit at a rock concert. I stood tall in the middle of the chaos because I knew there wasn’t really a rat in the room. It felt a bit like I was wearing some kind of invincibility shield from a video game. It was the only time in my life that I was completely calm in a roomful of crazies, which was the total opposite of how it normally would’ve been. As I made my way to the exit, I let the tribal mask drop to the floor. Checking to see if Cob was following me wasn’t even necessary. His voice was the loudest in the room, screaming something about “potato rats” being the grossest things ever.

I was accidentally at the forefront of a movement that was taking shape—what Li Jin, former partner at Andreessen Horowitz and founder of Atelier Ventures, calls the “passion economy”—“a world in which people are able to do what they love for a living and to have a more fulfilling and purposeful life.” At the time I created Gumroad, online creator platforms were still new, but the rise of no-code solutions has made building and charging for podcasts, video and audio content, online courses, virtual teaching, and virtual coaching almost seamless, so that starting a business around something you love has never been more attainable. You probably have something you enjoy, something that on its face has nothing to do with your “real” job. Maybe it’s marathon running or ceramics or electronic music or another passion that you pursue in your free time. Whatever it is, building a minimalist business around the people you love to spend time with and the ways you love to spend your time depends on being part of a community. You may already be thinking about how to solve the problems of a current community you participate in, or you may simply be planning to join a community based on something you love. Either way, finding your people is really important at the beginning. Not just for the sake of your business but also for the sake of your own well-being. Taking writing and painting classes in Provo reminded me that my community wasn’t just the people in front of me; it was also a wider group who wanted, like me, to “turn their passions into livelihoods.” The real communities I was a part of didn’t care about growth at all costs; that kind of accelerated expansion would have cracked them into a million little pieces. Instead, their priority, like mine, was connecting to each other in ways that allowed for the space, time, and freedom to explore their interests and to eventually transform their passions into businesses in meaningful ways.

So, you mentioned about us being in a video game and being holograms, so there would be a creator who is entirely in control of us, because we are not even real, so we can classify this divergence from reality as… ummm…. A deterministic anti-reality, which is where a creator that is real creates a world that is not real, like a video game.

Okay, well, if we were to be created in a video game, as Martin pointed out, and there is a creator who has created us and has full control over us because we are merely holograms or animations, then giving credence to this anti-reality would actually be illogical,” I asserted. “As I mentioned earlier, I had to agree with Rene Descartes and the phrase ‘I think. Therefore, I am.’ We have the ability to think, and if we were holograms in the deterministic anti-reality, then we shouldn’t be able to feel, reason, acquire consciousness, or interpret sensory experience, but we do. Living in a deterministic anti-reality like a video game would make us have no control over how we think, but we do have control over how we think, not the creator, so we are not holograms or animations that are controlled by someone, because we have control over our thoughts.” “But what if the creator controls our thoughts?” Martin asked. “That is more proof that we are not living in a deterministic anti-reality. It really reminds me of how Rene Descartes devised the phrase ‘I think. Therefore, I am.’ He reasoned that if there was a devil who came to cause him to THINK that he exists even when he does not, then for him to be able to think that he exists, he has to henceforth exist. Likewise, if our thoughts were to be controlled by a creator, then that would mean we would exist, because for our thoughts to be controlled, we would have to have the ability to think, but since we think, we would have to have had some kind of control over our thoughts at some point of our lives. Once again, a deterministic anti-reality is where we have no control over ourselves, because we are non-real beings created by someone who lives in reality, but since there is no creator who has full control over our thoughts, then we don’t live in a deterministic anti-reality. The closest thing to our thoughts being ‘controlled’ is a change of opinion, like what might happen after being persuaded, but because we have control over our thoughts while we are thinking, our thoughts are not being controlled; WE are just changing them based on our own freewills.

Too many people suffer from destination disease. They reach a certain level, earn their degrees, buy their dream homes, and then just coast. Studies show 50 percent of high school graduates never read another entire book. One reason may be that they see learning as something you do in school, just something you do for a period of life instead of as a way of life. We all learned when we were in school. Our teachers, coaches, and parents taught us. We were expected to learn when we were school age. But some tend to think that once they finish a certain level of education: “I’m done with school. I’ve finished my training. I’ve got a good job.” Winners never stop learning, and this is the sixth undeniable quality I have observed. God did not create us to reach one level and then stop. Whether you’re nine or ninety years old, you should constantly be learning, improving your skills, and getting better at what you do. You have to take responsibility for your own growth. Growth is not automatic. What steps are you taking to improve? Are you reading books or listening to educational videos or audios? Are you taking any courses on the Internet or going to seminars? Do you have mentors? Are you gleaning information from people who know more than you? Winners don’t coast through life relying on what they have already learned. You have treasure on the inside--gifts, talents, and potential--put in you by the Creator of the universe. But those gifts will not automatically come out. They must be developed. I read that the wealthiest places on earth are not the oil fields of the Middle East or the diamond mines of South Africa. The wealthiest places are the cemeteries. Buried in the ground are businesses that were never formed, books that were never written, songs that were never sung, dreams that never came to life, potential that was never released.

If you had lived as a new Christian convert during the rule of the Roman Empire, one of your biggest challenges would have been dealing with the pagan philosophical propaganda that surrounded you. I call it paganosophy. In a Greco-Roman city, most statues depicted partial or total nudity. In the gymnasiums, male athletes worked out naked. In fact, the word gymnasium dates back to the Greek word gymnasion, which literally was a “school for training naked.” Pagan Greeks and Romans insisted there was nothing wrong with showing off a well chiseled body. This is an example of what Paul was speaking of when he wrote, “They worshipped and served the creature more than the Creator” (Rom. 1:25). Roman bathhouses were a popular place for men and women in the city to gather. There were times in history when men and women would occupy the same rooms in the bathhouse. At other times, cities would make decrees prohibiting it. We uploaded a highly viewed YouTube video that we taped in Beit She’an, Israel at the excavated ruins of this Roman city that was destroyed by an earthquake in the ninth century. The city’s ancient public toilets (latrines) had been unearthed. In Roman times there were public latrines in different cities for the benefit of the citizens, since only the wealthy could afford private latrines. The toilet seats, made of stone, were a couple feet long, with one end connected to the wall and the stones resting upon a base with water running beneath for drainage. There was enough space to allow a person to sit between each stone. No archaeological evidence indicated that dividers were used, and as people sat side by side on stones in a public latrine, they discussed business. Deals and contracts were made at the public toilet. Some of the terms we hear today were coined at the Roman toilet. When a person says they have to “do their business,” they’re using a term that originated from men who literally conducted business at the toilet. The signage at the Beit She’an site indicates that men and women shared the same large room, with men on one side of the room and women on the other. Today, we find ourselves returning to trends from the Roman Empire, where men are allowed to use women’s facilities, if they claim to identify as a woman that day. Attacks against women in their own facilities confirm that many of these males are there to take advantage of a ludicrous idea being promoted by the same spirits of the ancient Roman Empire.

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