What Market Has the Best Potential For Selling Paphos Or Cyprus Property?

As Cyprus joins the United Kingdom and most of the world’s property and financial markets downward slide, we are beginning to experience the effect of the current crisis. The word in Cyprus until recently was that the problem will not have an effect or very minimal effect on Cyprus. People in the business of finance, property sales, developers and tourism – basically Cyprus’s whole economy – started to feel the ramifications of the crisis. However, no one was ready to admit they were in a bind. These groups knew their prior year’s numbers, stats and budget and to acknowledge the problem was to let on to Cyprus’s problem and would begin the ball rolling on a steep downward slope. All efforts to fix the slumping Cyprus housing market was directed towards Russia, however I will tell you why this shouldn’t be our main and only focus.

At the beginning of 2008 Cypriots finally declared the housing market and business in general was suffering. One year later, the bandwagon of naysayers is now full and everyone in the property business is taking a ride. An earlier start to fix the problem may have had a small beneficial impact on property sales, but since all efforts are solely concentrated on Russian clients many are missing out on Cyprus’s bread and butter – the British market.

All I have heard is how the Russians have replaced the Brits as the main buyers and that all of the sudden I should stop trying to sell homes to the UK market and start working on infiltrating Russia and gaining business from the nouveau riche. Cyprus home owners, builders, developers and agents all made up their minds and decided that the Russians are their saviours, buy their property and set them free. The communist party even won the presidency. This may as well be a fact, but from my experience in Cyprus, I have more Russians contacting me to sell than buy. The problem is that the Russian economy is also beginning to feel the downturn as oil prices plunge in addition to many other countries such as Bulgaria, Spain, Greece and other countries all vying for the same Russian Rouble. It is obvious that the entire globe is feeling the effect.

Dubai is becoming the next favourite place since “That’s where all the real investors are!” The “real investors” are everywhere, and the serious investors already know where to look. If you need clients there is no better place than your own backyard, meaning Cyprus can not abandon their main target market. Yes, the UK is currently struggling; however there are still many more people than any where else with plans of retiring and buying property in Cyprus. Most are waiting to see what is going to happen with the economy and some are just not able to sell their existing homes. Although many companies are abandoning the UK as their primary target, it is a mistake because the two countries share an amicable relationship and Cyprus offers many incentives such as tax breaks that many retirees can not overlook. The size of the British market, the upcoming baby boomers set to retire and history of the British on the island convinces me to continue concentrating my marketing resources there. I will accept the bad times as well as the good and not abandon our favourite market for a new one with no history.

Recording and Selling Music 101

“Aside from the creative and technical aspects of recording an album, there are legal and contractual issues that must be considered before even entering the studio. The artist or label paying the expenses of recording must be sure that everyone is on the same page regarding whether fees and/or royalties are to be paid and, if so, how much is to be paid to each party.”

–Howard Hertz, Entertainment Attorney

Depending upon the individual focus of their practices, attorneys may take cases that involve Intellectual Property and Contracts in respect to the music industry. Very often, composers and performing artists are neophytes when it comes to the economic and legal issues of this industry. Therefore, in this article, we will address the basics of recording, manufacturing, and sales to break even on a CD of recorded music. I (Dr. Sase) will address the economic issues.

As well as being an economist, I am a musician who has released original music and has produced/engineered the music of other artists. In addition, I own and operate a small recording studio. For the legal elements in this article, we welcome Howard Hertz, Entertainment Attorney at Hertz Schram PC in Bloomfield Hills, MI.

For the benefit of our readers, we will keep the techno-speak and accounting math to a minimum. Instead, we will present the big picture and will offer a basic understanding of what is involved in this market. In this way, we hope to help attorneys to educate clients, family members, or friends who may wish to attempt a career in this field. (Some of our readers may be interested in putting out CDs, vinyl, and downloads of their own music.) Therefore, without ado, we present “Essentials of Recording Music” for your reading pleasure.

Producing Recorded Music

In starting, it is good to make a “low-fi” recording at every rehearsal and gig. Often, performers use a pocket digital recorder, the type employed to record lectures and meetings. As the newer digital models can hold six hours or more, one can turn it on and let it be. If the material and its performance sound acceptable under such primitive conditions, the recording passes the 1960s pocket-transistor-radio test. Importantly, any verbal notes about changes to song structure or arrangements will be included for future reference.

A digital video recorder serves well for the same purpose. In the world of the Digital Audio Workstation (DAW), the video recording also provides an excellent scratch track. Being able to watch and follow movement and changes frees musicians, producers, and engineers from the old mechanical-sounding click track and helps to achieve a more natural and expressive feel in the multi-track overdubbing process.

Led Zeppelin guitarist Jimmy Page acted as the band’s producer. He got massive drum sounds from drummer John Bonham by recording him in the hall of Page’s medieval home, Hedley Grange. Forests, beaches, living rooms, practice rooms, bathrooms, and other places provide wonderful places to experiment and develop new musical parts. Generally, the recording studio does not. Even if you have your own studio that allows you to work off of the clock, it is usually best to do the work-up somewhere else, just to maintain perspective.

In the early 1950s, guitarist Les Paul invented multi-track, sound-on-sound recording–with the assistance of his friend, crooner Bing Crosby–in Paul’s garage. In an interview, Paul emphatically stated, “I never walk over to that machine until I know what I’m going to do and I never use the machine to find it. I find it and then go to the machine and use it. I never let the machine tell me. I tell the machine what to do.”

Therefore, prepare all of your instrumental and vocal parts in advance and develop a work schedule that includes contingency plans when you enter the studio, which is the final place in which you may be able to maintain creative control. If you need to make last-minute changes, you can keep them to a minimum in order to avoid excessive pressure and confusion during a session.

We can borrow a good parallel of detailed planning from the motion-picture industry, the one that interfaces the most with recorded music. Filmmaker Alfred Hitchcock worked as a director in the studio system. He was responsible not only for his own time but for the time of many other professionals working together on the same project.

In advance of shooting, “Hitch” storyboarded every shot of a scene before stepping onto the sound stage. For example, in the famous shower scene in the film Psycho starring Janet Leigh, there are fifty-two individual shots in the course of three minutes and ten seconds (Famous Shower Scene from Psycho (1960) Dissected in 52 Shots, on YouTube).

The master storyboardist worked out every detail, including chocolate syrup for blood, and framed each shot in advance of rolling the cameras. A major part of Hitchcock’s greatness came from his ability to maintain creative control in exchange for tight management of budget through planning. Planning pays when time is money.

Returning to the recording studio, it is a good idea to have more material prepared than you intend to record. Life happens. Sometimes, with a bit of good fortune, you move through the tracking faster than expected. At other times, a piece does not come together satisfactorily. When this happens, the piece needs to be shelved until it can be reworked. Given the time and physical cost of preparation, travel, and coordinating the schedules of the producer, recording engineer, musicians, and other participants in a session, contingency plans constitute a valuable asset.

On this point, the Time-Is-Money factor spills over to the matter of equipment by having spare cables, batteries, and fuses available on short notice. One of Murphy’s Laws states that such items have the notoriety to fail at critical times.

When it comes to recording, experience remains one of the best teachers. Practicing against previously recorded tracks that one will hear during the actual recording session is often the most economical way to prepare for a take. Usually, sound-on-sound projects will gel best when they are built upon percussion that is recorded against a scratch and/or click track. Then, the track is followed upward through the spectrum of pitch (lowest to highest frequency) with the addition of bass, keyboards, guitars, background vocals, and other instruments before the lead instrument or vocal is tracked.

Offering an instrumentalist or vocalist a copy of the best mix to date without the scratch or click tracks (i.e., the one that s/he will record against), saves confusion, frustration, and time. This work mix allows the musician to develop parts creatively and to get acclimated to nuances of tempo, rhythm, and volume before the session. Usually, this results in more productive takes and fewer of them. The additional cost to the project for this preparation is the minor cost of burning a CD or making an MP3 copy of the mix. The benefit of time saved for all involved far outweighs this cost.

Whether or not you are paying out of pocket for studio time, you are making an investment of your own time as well as the time of other musicians, producers, engineers, and techies working together on the project. Therefore, everyone should show up, should arrive on time, and, if possible, should get there a bit early.

The studio is a professional work environment. Please give the other music professionals the same respect and courtesy that you would give to your attorney, medical doctor, or dentist. If you must delay, postpone, or cancel, please do so in a timely manner.

Professional time for postponements or cancellations is usually twenty-four to forty-eight hours. Equal to the importance of showing up and starting on time is to know when to stop work on individual tracks as well as on the session as a whole. Tiredness is a vague and relative term. However, sensing the point at which the marginal net benefit of tracking an additional take reaches zero is a professional trait worth developing.

If you are not acting as your own producer and/or engineer, make the time with this person(s) to share your vision, needs, and concerns in advance. Use this time to go over production notes, equipment requirements, and other mundane items before the session commences. Everyone involved should understand the depth and scope of their responsibilities before the session begins. Delays eat up time for all and… Time Is Money. Therefore, make sure that you are on the same page with your producer and engineer.

Furthermore, note the limitations of the studio and its equipment. It is wise to know the kind and amount of tracks, microphones, signal processors, and other essentials. If you plan to use any unfamiliar equipment, make the time to research it. If possible, work with this equipment beforehand. A recording session is no place for unpleasant surprises. For optimal planning, you should know of any limitations in case you need to simplify your planned mix.

When the red recording light goes on, it is important to be technically precise in performance in order to remain within budget. However, bear in mind that we are making art. Playing with feeling and emotion from the heart is of paramount importance. Producing art commercially requires walking a fine line between the pragmatic and the ethereal. As a result, the genius in producing music is 99% perspiration.

Work with the technology, not against it. Generally, it is best to keep playing through a flop rather than to stop and start over. Part of the art of recorded music is “punching in” a short section of retake or digitally copying and molding a few notes into the track in a seamless manner. As long as most of the take has the necessary artistic integrity, the pragmatism of “time is money” works out.

In shaping the sound, remain focused on the lead line that prevails at the time. Usually, the vocal takes the lead except during intros, outros, and solos. Developing the accompaniment against a preliminary take of the lead line is a way to achieve a fluent and natural sound. Also, such an accompaniment provides a solid understructure that gives flexibility and independence to the musician who is rerecording the final takes of the lead lines.

This being said, it remains most economical to achieve a desired sound during the original tracking. Usually, it is more costly to return to a mix in order to rebuild or repair parts of it before the final mix-down to stereo. It is better to record clean and then to add effects and other “sweetening” afterwards.

Treat the production of recorded music with the same regard with which any other successful professional or business entrepreneur would treat their concerns. As in many competitive markets, the revenue per downloaded track or CD collection remains relatively constant across the span of all artists. The album Born This Way by Lady Gaga, one of the top-ten sellers of the year, hit the market at an equivalent retail price as the album MDNA by Madonna, one of the bottom ten.

As a result, the economic task of controlling the profit per unit falls fully on the cost side of the equation. Since music production is mostly about time cost, any action that can safely shave cost without destroying the integrity and quality of the product should be considered seriously. Note: these actions include keeping guests out of the session, making backup copies of takes frequently, and keeping thoroughly written notes throughout the course of the project.

In order to finish a good product, expect editing, mixing, and other post-production work to take the lion’s share of budgeted time. When we add together all of the production and post-production time, we should anticipate an investment of forty to fifty hours per track. In other words, a total of 500 hours for the entire album can be considered the norm. This is why having open access to a home studio for most of post-production is highly valued.

Part of this value comes from the fact that ears tire easily; consequently, prolonged post-sessions that require acute listening produce diminishing returns. Any work beyond mundane cutting, splicing, and adding fades and plug-in effects demand the perspicacity of fresh ears. Tired ears usually result in a substandard mix that will require costly reworking.

When do you know when the mix is done? This question is like asking a chef if the soup is done. It is a matter of knowing. We could define that point in a commercial recording as the one at which a constrained optimum is reached. It is the point at which the artistic vision is achieved subject to practical budgetary constraints; you know that the soup is done.

For some engineers, this point comes when they play it through a pair of crappy old car speakers. For others, this point may be defined as when you play the recording for others who have not heard it previously and it feels right to them as well. In any event, you will have gotten the best vocal and instrumental takes, have used your studio wizardry to achieve maximum sound, and feel that the music is ready to be unleashed on the world.

Complementing the technical and economic side of recording is the legal perspective. My guest contributor Howard Hertz explains that a tangible contribution to a recording (known as the master) or song (the composition) may result in copyright ownership or performance rights being held by any person contributing to the work.

In order for the artist or the record label to emerge from the studio with an album that s/he or it fully owns and therefore may distribute for sale to the public, agreements should contain proper “work-for-hire” language. (Essentially, a work for hire means that the contributor relinquishes ownership claims on the master or composition by stating that all work was performed for equitable compensation.)

Hertz emphasizes that these agreements must be signed by all producers, engineers and side-person musicians who have worked on the project. Typically, the artist or label should own the copyright to the master recordings contractually. On the other hand, the copyright ownership in the underlying composition may be owned by multiple writers of that piece of music. However, if agreed to in writing by all parties involved, the artist or label may “buy out” these rights.

Often because of the potential complexity of such agreement, a “split sheet” for each work is filled out after the recording of the composition. This sheet lists the determined percentage of the song or instrumental that was written by each contributing party as well as the percentage of the publishing rights that is owned by the publisher of each party involved. Then, the split sheet is signed by all of the contributing parties, thus making the determined, assigned split a binding agreement.

This is a very important point. It is often overlooked by many casual or informal musical groups that lack the understating of business law, which will treat them as a General Partnership. Operating as such an entity implies that all partners are held to have equal shares if no written agreement exists. In respect to the business of music, Mr. Hertz iterates that, if there is no written and signed agreement to the contrary, then a composition is owned in equal shares by each writer who contributed words or music irrespective of the percentage of their actual contribution.

Hertz provides this illustration: “[I]f three writers contribute to a work and have no signing to the contrary, they each own one-third of the copyright, even if one of the writers only contributed one line of lyrics and might have likely agreed to a five or ten percent share of the song if it was put in a split sheet.” A word of wisdom to all musicians and audio producers and engineers: have a qualified entertainment attorney on your side to guide you through these choppy waters.

Replicating and Marketing the Final Product

The 500 hours of time, energy, and artistic angst discussed thus far buries itself as a sunk cost, which is the non-retrievable fixed cost associated with producing recorded music for sale. In producing recorded music, most of the cost is upfront, fixed, and sunk. This includes all costs incurred to the point of making the glass master and cover artwork that is used to replicate the CDs commercially.

The amount that an artist needs to invest to get to this point depends upon the location of the studio (New York or Los Angeles versus everywhere else in the country), its amenities, and its reputation. Reportedly, the current high end is about $3,000 per hour. Ignoring incidentals, this would necessitate a project budget of $1.5 million (500 hours x $3,000 per hour). Based upon sales expectations to recover this cost, there are not many artists who would go “Gaga” over this price tag.

The average studio cost per hour in urban areas outside of New York and L.A. seems to fall in the monetary range of $75.00 to $150.00 per hour. This brings the average cost down to about $50,000.00 for the project, assuming that the artist(s) does double duty as producer/engineer.

If an artist is also a producer/engineer, s/he may be able to get the music out for around $20,000.00. This can be done by either using a budget-conscious studio priced at $50.00 per hour or by investing the $20,000.00 in his/her own Digital Audio Workstation, some good microphones, pre-amps, and acoustic sound-control material.

For many musicians entering the field of recorded music, the latter has become a very viable option. Given the simplicity of the style of music and the musical arrangements that they use on their recordings, some artists do manage to get their music ready to go out the door for about $10,000.00. For the sake of comparative discussion, let us work with these last three figures and assume that the artist works as an entrepreneur and manages the entire release.

The replication of CDs has become a highly competitive business. The price per 1,000 copies has dropped to around $1,000.00 depending on the type of packaging chosen. This gives us a unit fabrication (making the physical CD) cost of $1.00 per CD. However, there are promotional costs involved. A major but effective promotional cost is giving away free copies strategically to radio stations, clubs, and individuals as a way of priming the proverbial pump. Also, using social media like YouTube and Facebook is “free” advertisement.

For the sake of simplicity, let us assume that the promotional cost for a CD that contains ten songs averages $.50 per CD. The more CDs that are manufactured, promoted, and sold, the more money that must be invested in the project. In other words, the manufacturing and promotion costs vary with quantity. Therefore, we refer to these costs as variable costs that, on average, total $1.50 per CD.

In our example, let us say that the artist averages net revenue of $10.00 per CD. This suggests that the CD could be priced at $14.00 for sale through one of the popular online stores, distributed as digital downloads, or sold at live performances. We can phrase our economic question as a break-even analysis. In the business world, a break-even point of three to five years is considered reasonable. Therefore, looking at our artist as a start-up business, let us anticipate a break-even point at four years, forty-eight months.

What we want to know is this: How many CDs will our artist need to sell over the next forty-eight months to break even? How many CDs will s/he need to sell per month to achieve this goal? As the variable cost per CD is taken to be $1.50, the key determinant in this calculation is the upfront sunk/fixed cost of producing the master recording. If we take this fixed amount and divide it by the difference between the price at which the CD is sold and the combined cost of manufacturing and promoting each CD, we will arrive at the break-even quantity that must be sold.

If the recording costs amount to $50,000, then a total of 5,882 CDs must be sold at a rate of 123 discs per month. If our artist economizes or sets up his/her own project studio for $20,000, then only 2,353 CDs must be sold at a rate of 49 discs per month. If our artist is able to achieve a product of marketable quality for only $10,000, the break-even amount drops to 1,176 CDs sold at a rate of 25 per month, about one per day. If an artist has sufficient musical talent, and recording skills, and experience, s/he may be able to achieve this goal at a barebones studio that charges $25.00 per hour.

The Great Beyond

We have focused on what may be called an Entrepreneurial Indie Label, one in which an artist or group does everything from production to direct sales (e.g. merch tables at gigs) except for two chores. The first is fabricating the CDs through a company such as Discmakers, Inc. The second is selling some of these CDs with the help of a music-marketing service such as CDBaby Inc. These CDs then will be sold online, as digital downloads, and at brick-and-mortar stores.

The next step up the ladder is for the small entrepreneurial music company to sign with a major or minor label. At this point, a good entertainment attorney to represent the artist(s) becomes indispensable. As Mr. Hertz stated in our opening quote, “The artist or label paying the expenses of recording must be sure that everyone is on the same page regarding whether fees and/or royalties are to be paid and, if so, how much is to be paid to each party.”

Currently, the record industry is reinventing itself in the Digital Age. This age has brought affordable means to artists in order to accomplish what only million-dollar recording studios could do previously. Online distribution has become feasible and preferable to many artists through CDBaby, iTunes, Amazon, and other venues. What these turns in events leave to major labels is what they continue to do best-finance, promote, and distribute product to large markets.

In her blog, recording artist Courtney Love, Love’s Manifesto, she states, “If a record company has a reason to exist, it has to bring an artist’s music to more fans and it has to deliver more and better music to the audience. Previously undiscovered artists benefit from the huge promotional break a major has to offer. It takes a ton of funds to break a new artist–funds most artists don’t have on their own.”

In determining which artists to sign, labels consider the sales potential of an artist. This decision usually is based on what the artist accomplished before. A rough rule of thumb remains that major labels sign artists who have made verifiable sales of at least ten thousand albums on their own. In addition, labels consider plans for touring in order to market product to a wider audience as well as feedback received on the artist’s music through social media.

Rerecording/mastering, fabrication, distribution, tour support, and other promotional investments all require capitalization. Nonetheless, the business is comparable to a roulette wheel. A wheel has thirty-six black-and-white numbers plus a green “0” and a “00.” The gambling houses win on these last two. Their odds of winning are 5.26%–the two green numbers divided by the total of thirty-eight numbers on the wheel. In the record industry, only 10% of all recordings released make it to the break-even point. Only about 5% of releases turn a profit. This subsidizes the 90% that lose money.

Therefore, cash advances bestowed upon artists are determined by the ability of the artist, the costs that may be recoverable from an artist, and the probability of success in a marketplace that ultimately relies on the 5% of releases that eventually become profitable. An advance is an ADVANCE. Essentially, it is a loan that is repaid through royalties (percentage of the sales) that hopefully are earned on future record sales. Under their contract with an artist, the record label is going to want to be paid back, and paid back first.

The label will keep all artist earnings from sales until the various costs are repaid. Furthermore, in multi-album deals, the repayment can be recovered across multiple albums and advances. This method of securitizing the investment made by the record company is known as cross-collateralization. Apart from a few exceptions, every cent invested on promoting an album, from video-production costs, radio promotions, and billboard signs to tour support, is recoupable from artist-royalty points. As a result, most artists make $0.00 from their royalty points until recoupment by the label is complete.

So, how do artists go about making money from their recordings? Very simply, they can achieve this goal by remembering that what they are involved in is a business. Furthermore, this business takes place in what economists refer to as a perfectly competitive market-the market sets the price for similarly situated products and that price is relatively constant at any point of time.

Due to this market quality, revenue increases at a constant rate as greater quantities of a recording are sold. As a result, there are only two ways to increase profits. One is to sell greater quantities of the product and the other is to decrease the costs of production, manufacturing, promotion, and distribution.

We hope that we have edified our readers about the physical, economic, and legal aspects of the recorded-music business. Thank you to my guest contributor, Howard Hertz, for his enlightening contributions to this article.

Benefits Of Selling Products In The Information Marketing Business

In my opinion, the best home business in the world is the information marketing business. What is “information marketing”? Well it’s simply the process of selling instructional information in the form of: books, eBooks, CD’s, DVD’s, newsletters, seminars, and even membership sites. This is the ultimate lifestyle business.

And it’s even better on the internet. Many people have been running their own information marketing business offline for decades. But with the advent of the internet, it has taken information marketing to a totally new level. The main component of the information marketing business is something called, “information products”.

As I stated earlier, information products are simply products that deliver instructional information. It doesn’t matter what niche you’re in or the kind of products and services you sell – you can use info products to boost your sales and profits, along with adding another income stream into your business.

For example, a bakery shop owner could offer a free report (another form of information product) about how to make red velvet cupcakes. Then for every person who requests this information, the bakery shop owner can send out the free report, plus a copy of their menu – that already includes the red velvet cupcake that they can buy from their offline store, or website.

And the list goes on and on. Almost all businesses that I know of can use this very same approach to boost their sales, and add a new revenue stream. You can even make this your entire business, and sell products for hundreds of dollars – depending on your niche, and the components of your product.

You can get high profit margins with information products and the business of info marketing. Products are very cheap to produce also. You could sell a CD for $19, and have it only cost you 50 cents to reproduce it. Don’t believe me? Well, consider this for example.

Have you ever seen those late night infomercials about ab workouts or real estate ventures and etc? Well, those people are simply selling information products. They’ve exited out of the real estate game and the bodybuilding game, and are now making the bulk of their money selling information products.

Yeah you may buy their $19 product and they send you a lot of stuff, but more than likely after you order, a telemarketer will call you and try to upsell you on a $2,000 product, showing you the “real” secrets. This is nonsense – but this is how they REALLY make their money.

I don’t want to assimilate them as “sharks”, but I just want you to be aware of how information products are popular online. It’s easy for you to get started selling your information products, you just need the right guidance, and a good marketing plan to sell your products.

And yes, you can use information products in your business to boost your sales and add another stream of income in your life. Be sure to use them today – because they are very profitable. I even sell them in my business.

Good luck with selling information products today.

Maxim Magazine – Number One Selling Men’s Lifestyle Magazine

History of Maxim

Maxim magazine started its circulation barely two decades ago in 1995. An international monthly men’s magazine, MAXIM has its origins in the United Kingdom. Today considered the first and last word in men’s magazines, MAXIM is exalted in its ranks owing to the distinct, bare-all approach it takes while showcasing the biggest names in fashion, cinemas, music, sports and more. The MAXIM editions are available in Argentina, Canada, India, Indonesia, Israel, Belgium, Romania, Czech Republic, France, Germany, Bulgaria, Brazil, Greece, Italy, Korea, Mexico, Netherlands, Poland, Russia, Serbia, Philippines, Singapore, Spain, Thailand, Ukraine, and Portugal.

Felix Dennis was the brain behind the MAXIM in 1995; as he went on to introduce the publication to audiences in the US. By1997, the popularity of the magazine was soaring, as Dennis cleverly inserted appealing tags such as: sex, sports, beer, gadgets, clothes and fitness.

MAXIM magazine was then sold to Quadrangle Capital Partners LP in 2007 and is currently in the hands of a publishing giant called Alpha Media Group Inc., controlled by creditor Cerberus Capital Management LP.

The MAXIM Purpose

MAXIM has poised itself as the home of everything sexy, amusing, racy and fantabulous. It really is all you’ll ever need including super-sexy cover shoots of world-famous gorgeous models or celebrities together with their behind-the-scene videos. You’ll never turn down the hottest ladies on the planet!

MAXIM is the bridge between cutting edge and adventurous; racy and rollicking; smoldering and stupendous. It also lets you in on the other things you need to be aware of including news that matters, sports, TV, movies, music, video games, food, alcohol, crazy stunts, celebrities, gadgets, gear, sex, cars and so much more. You can always count on MAXIM for that teasing amount of danger and stupidity. From the finest drinks on the planet to the buzz in the entertainment industry MAXIM has it all mapped out.

Fun is serious business at MAXIM

They take their fun seriously at MAXIM, with the homepage bearing testimony to the craziness that makes the publication.

MAXIM boasts of an amazing archive of all of the best celebrity interviews with Hollywood A-listers, sporting superstars, legendary comedians, sexy starlets, and the strange yet wonderful people that give you advice on everything useful and surprisingly weird. A subscription to MAXIM gives you access to what most men want – humor, wit, sports, entertainment, gadgets, rides, and beautiful women.

Impact of MAXIM

The rising popularity of MAXIM saw several similarly themed titles springing up. Many men’s publications in the U.S. attempted to create their editorials to keep up with the growing trend.

MAXIM on digital

In 2005, MAXIM was launched across cellular carriers in twenty European and Asian countries. This was the start of the digital publishing era; MAXIM realized that, in UK, there was a future for the brand in the digital market. So, as the print magazine was losing its sheen, publishers launched the digitized version and gained a huge consumer base; extending this to every part of the world.

The shift in trend from print to digital is evident in the current market scenario. Many of the publishers are making the transition cautiously enabling them to benefit from increased revenue streams. A digital magazines offers storage of thousands of magazines in the cloud; instant access and easy reading on your mobile devices whenever and wherever you want.

You can gain access to your digital magazines on practically any mobile device of your choice: iPad, iPhone, Android, Windows 8 devices, other tablets, or on the web. Switch to the digital version of your favorite Maxim magazine and be an active part of the green revolution!H

Most Oil Sellers and Brokers Fail – Crude Oil Selling Procedures That Sell in Today’s Internet Era

Most Crude Oil And Petroleum Product Sellers, Brokers and Agents, in the International “Secondary” Oil Market, Do Not Make Any Sales Or Income. Do You Ever Wonder Why?

A MAJOR “HIDDEN SECRET” OF OIL SELLERS & BROKERS: MOST DO NOT MAKE ANY SALES or INCOME

Crude oil and petroleum products sellers, and their brokers and agents, who operate in the so-called “secondary market” of the international oil market today, do not usually speak about this, or like to do so. Or like the fact about this to be known. In deed, many of them would rather that it be kept obscured, or simply misrepresented. But, the fact is that one distinctive part of their business “reality” is this: as a group, they frequently close no deals nor make any sales for the oil product they purport to have available to sell, and, in fact, the vast majority of them often go for months, even years, or perhaps for ever, without ever landing even a single sales contract or deal. It is probably what might simply be called “the open secret” of the oil selling industry!

C. Keila Nakasaka, a California attorney and real estate investor and entrepreneur, who conducted extensive market research and investigations into the D2 diesel oil trade to see if he could prudently recommend taking up the commission broker’s job to his clients, says he came away from his research greatly disillusioned and disappointed. According to him, the “stories that these brokers concoct are that the seller has some direct connection with a refinery. Some even claim that the seller is, in fact, one of the leading energy companies in Russia… [but] what bothered me [the most] is that almost every one of these brokers failed to be forthcoming. They often misrepresented themselves as mandates, direct representatives, and even buyer and sellers.”

Probably the principal and most sensitive thing about which most such sellers and intermediaries (the agents, facilitators, mandates, brokers, etc.) are least “forthcoming” and “misrepresenting” about, is concerning the number and volume of sales deals they have ever closed, if any, or the income they have earned in the trade, if any. Simply put, almost all of these operatives generally close no deals, and earn almost nothing. Most of them go for months, even years – or forever – without successfully closing any sales deals, not to speak of earning even a dime in commission income!

As Nakasaka put it, describing his findings: “Another factor which I thought was odd was that most of the brokers I spoke with never closed a D2 deal despite their months and sometimes years in this business. There was one broker who claimed that he had pending deals, and two who stated that they did in fact close these deals. However, I did not find them credible.”

MAJOR REASONS FOR THIS, WHICH ACCOUNT FOR WHY MOST “SECONDARY MARKET” SELLERS & THEIR INTERMEDIARIES NEVER CLOSE ANY DEALS

Why is this so – that they make no sales or income? Many factors account for it. They could roughly be summed up as follows:

1. MOST SELLERS (and their intermediaries) ARE FAKE, ANY WAY, WITH NO CRUDE OR OIL PRODUCT TO SELL

A fact that is by now well-established and not subject to any disputation whatsoever among credible experts in the industry, is that the overwhelming majority of selling offers peddled by crude oil and petroleum product “sellers” in the so-called “secondary” oil markets, and their brokers, agents, and other intermediaries, are fake and bogus. In deed, some objective studies and research have put its extent at a whopping level of some 99.999999 percent of all offers presented for sale. Probably the only thing of much redeeming value that could be stated about this, is that with particular respect to those who act as foreign brokers and intermediaries in the business, some of them may often be engaged fraudulently in the business but innocently and unwittingly, mistakenly believing that the deal or selling operation is authentic and legitimate, when it actually is not.

2.LACK OF PROPER TRAINING, SKILLS OR KNOWLEDGE IN THE FUNDAMENTALS OF THE BUSINESS

Put very simply, perhaps nowhere is the saying that “we live in a wide interconnected world” more applicable today than in the world of the international buying and selling of crude oil and petroleum products. For the most part, virtually all that one needs in order to become a “seller” of crude oil or petroleum product, or his agent, legitimate or not, who are operating out of any part of the world, is simply to have an access to a computer and an Internet connection. That’s just about all! Unfortunately, however, one dire negative effect of this so-called “revolution of the Internet” (among many others), has been that many who now claim to be, or operate as, “sellers” or the sellers’ “brokers” or “agents,” are largely uneducated or semi-illiterate, untrained and unskilled, and are lacking in any knowledge of the proper fundamentals of international oil trading.

Kamal J. Southall, one of the foremost experts on the subject, whose book, “Trade Fraud, Financial Fraud, and the Joker Broker,” is one of the most authoritative texts on the phenomenon, puts it this way:

“Have you noticed that as you’ve searched Google and libraries, and looked high and low, finding bits of information here and there, you encounter interesting phenomena: very little practical information on the art and science of dealing in International trade as an independent trader exists in any comprehensive way. Certain practices, documents, and procedures; mysterious acronyms such as “NCND” or “MPA,” are thrown back and forth, badly corrupted model documents and forms may filter your way, but the reality is that most attempted home based traders, brokers – or, more properly, intermediaries – learn through highly expensive ‘trial and error,’… often re-inventing the wheel each time, in that ever-elusive search for a deal and knowledge on how to close that deal.”

Southall estimates, citing another expert’s calculation, that out of some one million individuals currently trying to make it as brokers or trade intermediaries in the world, “perhaps no more than 1% has the training and skill needed to ever close a deal… [meaning that] the overwhelming majority, are trading blindly, [hence] deals are collapsing… and more to the point, [oil dealers are] being defrauded – sometimes massive..”

Mr. R. Ambardar, a broker of over 10 years of wide experience in international market development and advisory services, calls “lack of experience and knowledge” one of the principal reasons why many brokers and facilitators fail in crude oil endeavors. “Many people are attracted into this business because of [the tales they hear about the] kind of money one can earn on account of successful deals. Many agents fail, [however], to understand that requirements to succeed in this business are very demanding, [and that] Only those who have years of hands-on experience and thorough knowledge of the industry can strive to do well as middle-men.”

A great many number of brokers, Ambardar adds, forget that “To become a ‘Facilitator’ in oil business,… what you actually need is right knowledge and expertise [since this is what will help] you hook up genuine buyers and sellers. One should be in the industry for long to have acquired knowledge related to the dynamics of this business.”

Consequently, one fundamental way in which this general lack of competence or knowledge about the basics of the oil trade manifests itself, is in the inability of the average person among the string of brokers and agents and intermediaries that operate in the trade, to craft good deals and successfully close sales deals even after several months or years in the business.

3. BYE AND LARGE, MOST BROKERS AND AGENTS LEARN THEIR CRAFT FROM THE INTERNET, AND THIS HAS SOME SERIOUS DRAWBACKS

There is, for the average contemporary seller’s agent or broker, one other serious shortcoming and negative consequence that emanates directly out of the fact that the primary source of their education and training by which they learn the workings of the oil trading business, is essentially the Internet. Again, Kamal J. Southall sums up these negative consequences this way:

“The expertise in recognizing a questionable trade lead or tender request from a strong one, is generally lacking through the Internet, [and] there is no critical filtering of the leads you end up reading. Anything that can be put out there, is put out there, from the genuine to the questionable, to the fraudulent. Moreover, the nature of the “broker network” is such that information is often passed about with little critical filtering, lack of knowledge of proper trading procedures and the general tendency of information to become corrupted as it trades hands, [and this] leads to dangerous results.”

4.LONG STRING OF BROKERS, AGENTS AND MIDDLEMEN, MOST OF WHOM UNDERCUT EACH OTHER.

Partly as a result of the virtual lack of any objective requirements for qualification as an agent or middleman in the trade, and the ease of entry into it, these operators generally tend to function in a climate of little or no rules or standards, and of loose or no ethics, in which the “dog eat dog” mentality seem to prevail – a climate in which each broker, agent, or mandate, being only selfishly concerned with just his own personal gains and self-interest, is constantly trying to undercut and circumvent the other in deals. Thus, often leading to the ultimate detriment of ALL the parties involved in an offer, as ALL of them, as a whole, and not just one party or the other, invariably wind up the losers since NO deal at all is had with any buyer.

“[One] reason why it’s difficult to ascertain the truth [concerning the oil product market],” reported C. Keila Nakasaka, the California attorney and entrepreneur who investigated the industry in 2010 for possible recommendation of the trade to his clients, “is that there are multiple brokers involved in any given transaction; and they’re all afraid of circumvention. Hence, it’s almost impossible to know the end buyer or seller. Now, I understand that sometimes it requires teamwork to put a large transaction together, but what bothered me is that almost every one of these brokers failed to be forthcoming. They often misrepresented themselves as mandates, direct representatives, and even buyer and sellers.”

THE “JOKER BROKER” CHARACTER

Sure, admittedly, there’s no question that the phenomenon of having a lengthy string of players, including brokers, agents and intermediaries, in a business transaction, is a necessary aspect of international business. Even more so, especially, in today’s Internet world in which we are all so interconnected globally. Certainly, in oil sales transactions, it should come as no surprise or anything unusual to anyone that such operations, because they often tend to involve huge sums of money and elaborate logistics, would sometimes require teamwork to put the transactions together. And hence, should sometimes involve a multiple number of parties – traders, agents, intermediaries, brokers, mandates, buyers, distributors, etc – to conclude a deal. However, what is different here, is not so much the fact that in the Internet crude oil dealings one encounters a string of too many brokers and middlemen. Rather, it is the fact that most of these brokers and middlemen or intermediaries that get involved in it, typically act and behave in the detrimental manner of what is known as the so-called “Joker Brokers.”

As Kamal J. Southall put it, “But the experience of the underground string of international brokers trading meaningless offers and circumventing each other, left and right, illustrates well the term “Joker Broker” and resembles, often, a Zoo full of monkeys.”

Adding that “the character, [which is] often scorned as ‘the Joker Broker,’ is one thing most people encounter very quickly in their forays into the world of trading,” Southall, the author of a classic on the “Joker Broker” character, gives a definition and explanation of the essence of this “Joker Broker” behavior, this way:

“Defined in the first instance as a bit of a time waster, the joker broker is an individual who knowingly or unknowingly peddles and plies deals and products that, in the vast majority of instances, are non-existent, or badly defined. Characterized by a tendency to bluff his way through transactions, the Joker Broker is one… [who goes about] plying deals often involving a string of brokers from one end of the planet to another, and yet not a single one has verified the very existence of the goods at hand.”

.One significant result of this?

With a multiplicity of brokers and chain of agents often involved in a trade, and each party operating selfishly and undercutting and sabotaging each other in a working environment in which each party is untrusting of the other in a transaction, and is scared of being circumvented by the other; most deals which the “secondary” market sellers and their brokers and agents undertake, are automatically doomed to failure, even from the very beginning. And often do fail.

5. PERVASIVENESS OF “The Joker Broker” MENTALITY AMONG THE INTERNET BROKERS, AGENTS & OTHER INTERMEDIARES

However, probably the most fundamental and central factor which accounts for why most intermediaries involved in the “secondary” oil market are generally not able to, and do not, close any sales deals or earn any income or commission as brokers and agents even after several months or years of peddling their oil product, could simply be condensed into one broad term: namely, the powerful pervasive grip that the “The Joker Broker” mentality has come to have on the brokers and agents, most of whom today are merely Internet-based brokers and agents.

What Is meant by this?

Put very simply, many brokers and agents, driven and limited by the fact that they generally lack much training or knowledge in the fundamentals of international trading, and by the fact, in today’s Internet era, that their only “qualification” for assuming the mantle of being a “broker” or “agent” in the oil business, is simply that they have an access to the Internet and a computer, often behave in their conduct of the oil selling operation, in a manner that “resembles, often, a Zoo full of monkeys” – in the words of Kamal J. Southall, the author of a classic on “‘the Joker Broker” character. A common characteristic of these brokers and agents, is that they peddle, knowingly or unknowingly, crude oil deals and products that on the face of it, are in most instances seemingly non-existent or questionable, or at least badly defined, while yet acting as though all is well with the product they offer, and that there’s absolutely nothing for the prospective buyer to worry about concerning it. They are mostly blinded by greed and false belief that they “are going to be super rich next week or next month” by doing nothing, other than, just shoving around a few copied documents on the Internet usually passed down to them from other jokers, none of which any of them has usually verified as to the very existence of the goods they purport to be selling.

Apart from the fact that a good many of them would, whether they do it knowingly or not, frequently try to push fake deals on the Internet, they generally act out of many misconceptions and beliefs which are simply not true, usually passed down to them from other jokers. Many times, mainly concerned with “making a quick, fast buck,” they are innocently and naively trying to close a deal for someone who they believe or merely hope to be real, but who is, in fact really not. But oftentimes, they are too proud or conceited to simply accept or concede that their own beliefs and procedures are simply incorrect, refuse to change their ways, and continue to waste their time and others’ time for months and years still trying to push deals – until, perhaps, it finally begins to dawn on them that for so long no deals have been closed, or are likely to be closed, and not a dime of income has been, or would be, earned!

But above all else, perhaps the most detrimental factor that results in the lack of business or income for most “Internet” crude oil brokers and agents, is the fact that, lacking much experience or real understanding of the true workings of international business or the way it actually works, they are often totally unrealistic and impractical about the conditions and requirements they demand of, or expect that, prospective buyers would accept in order to buy the products they purport to have for sale. That is, they often present sales offers and proposals that are so impracticable, unworkable and outrageously unreal, and are totally contrary to the way normal and legitimate business has traditionally been done in the real world.

As one analyst put it, “Some of them [the “Internet” brokers or joker brokers] are quite entertaining [in the notions about business workings they present], and remind us of the Nigerian scam artists. The world simply does not work like that.”

EXAMPLE OF JOKER BROKER OFFER THAT CAN’T WORK

The following is a good example of the Joker Broker-type of offer that the oil sellers and their brokers and agents, most of whom operate mostly online today, typically demand of intending buyers. It is presented in the form of the transactions PROCEDURES they demand that the would-be oil buyer should meet and follow, such as these:

TRANSACTIONS PROCEDURES:

1) The Buyer submits ICPO (Irrevocable Corporate Purchase Order) & banking details

2) Seller issues FCO (Full Corporate Offer) on his letterhead with full contact details.

3) Buyer returns the FCO duly signed and stamped.

4) Seller and buyer sign contract.

5) Seller and buyer exchange the Proof of Product (POP) and Proof of Funds (POF) in the following sequence/order:

6). First: Seller issues POP to the buyer. Second: After buyer verification and within 7 banking days, buyer’s bank issues POF to seller’s bank.

7) Buyers bank opens non-operative Letter of Credit (L/C) to seller’s bank/or Bank Guarantee (at seller’s choice).

8) Seller issues 2% Performance Bond (PB) to activate L/C.

9) Shipment commences as per the agreed contract.

TO TODAY’S BUYERS, THIS IS WHAT THESE PROCEDURES ARE SAYING TO THEM

In point of fact, actually the procedures such as the above-outlined, are “standard” and should, in NORMAL and proper circumstances, ordinarily be a workable and acceptable set of terms and conditions or requirements for a credible prospective buyer to do business by. However, here’s what brings about the big difference here: there is one very serious and fundamental factor that is grossly missing here. And that is this: typically, such offer requiring the intending buyer to comply with these procedures, is made, NOT by or from by a known or established or even readily identifiable person or entity, or necessarily by an AUTHENTIC crude seller or supplier. But merely by an Internet “seller.” It is typically presented by someone who merely writes (or phones) and claims, usually via some Internet connection or communication (a portal, email or website), that he is a crude “seller,” or the broker or agent of one, who supposedly has some oil available to sell. And it is typically presented by someone who, invariably, would present virtually no tangible evidence or proof whatsoever establishing his (or her) bona fides and credentials as an authentic seller, or an intermediary of one, nor shows any real track record of having previously performed in the crude oil selling business, or any other products.

Thus, in effect, what is essentially happening here, is that a set of well-meaning procedures which have legitimately been designed by the industry professionals to be used by LEGITIMATE crude sellers, and have traditionally been used by RELIABLE and respectable crude sellers and buyers alike to do business, have suddenly been hijacked by a new breed of “Internet” brokers and agents – Joker Brokers – who now demand that prudent crude buyers are to adopt precisely those same procedures in transacting business with them! To put it another way, were these Internet brokers and crude “sellers” to have been some of the so-called oil Majors – such as Chevron, Valero, Shell Oil, Exxon Mobile, British Petroleum, Total Oil, etc. – meaning companies and business entities that are well-known, already established, readily recognizable, reputable and trustworthy, there would have been absolutely no problem or question about the crude buyers using those “standard” procedures and conditions set forth above in doing business with the Internet sellers and brokers. However, that is not the case all, here. Rather, quite to the contrary, these Internet-type brokers and agents (and the purported sellers whose offers they peddle), are largely Internet-based; and are generally obscure operations, or even non-existent, with no known identity, no recognized base of operations, or established record or history of past performance as crude sellers.

WHY THE INTERNET BROKERS’ PROCEDURES LARGELY DON’T & CAN’T WORK WITH BUYERS

Yet, this is, in the vast majority of instances, the kind of supposed crude “sellers” who want and ask that would-be buyers should be submitting to those same procedures and conditions in dealing with them. Clearly, that’s a ridiculous “Joker Broker” type of day-dreaming – virtually no credible crude oil buyer anywhere in the world would accept to submit an ICPO (Irrevocable Corporate Purchase Order) to a mere unknown, unproven, dubious Internet “seller” of crude oil to solicit business with such an entity. And certainly, no credible crude oil buyer anywhere in the world would accept to submit its Proof of Funds or financial and banking details to such an entity, or to even sign a contract with it – an entity about whom it knows practically nothing, and whose bona fides, credentials or existence as a supposed crude oil supplier, is largely dubious and unestablished.

A major, well-known, recognizable, or reputable entity or crude dealer, yes. But NOT an obscure, dubious, unknown entity, largely existing merely on the Internet.

Analysts at the JokerBroker.com website, which is a site devoted to extensive compilation of a database of the most notorious “Joker Brokers” persons and companies, sums it up this way, describing why most credible crude buyers would generally reject accepting such procedures and conditions often demanded of them by Internet brokers, outright:

“When a deal starts off with “send ICPO with BCL or Soft Probe, [POF], NCND and IMFPA,” this is “broker language.” Those that know broker language know what this means: “I’m a joker broker. I don’t have any real product for sale, and I don’t know anyone who has any, so I want you to give me an Irrevocable Purchase Order with your full financial details disclosed, so I can run around with your order and your money in my hands looking for product, and the next thing you see will be your company and banking details exposed to the whole world, running around unsecured on the Internet between thousands of other joker brokers.”… That is what this language means. I suggest you learn the language, and please do not send me even one “deal” which starts off with this procedure. Please just put them straight into the rubbish bin, which is exactly where I put them whenever anyone sends them to me.”

Kamal J. Southall, author of “Trade Fraud, and the Joker Broker,” describes the following as “some of the most notorious Joker Broker Documents”:

“The Irrevocable Purchase Order/IPO ICPO: Sometimes known as the Irrevocable Corporate Purchase Order, such a document simply does not exist. Or to put things more rudely, the ICPO is crap. There, we have said it, let the chips fall.”

SUMMARY

Here’s what might probably be called “the open secret” of the so-called secondary market oil industry: as a group, the crude oil and petroleum products sellers, and their long string of brokers, agents and intermediaries, generally close no deals nor make any sales or income out of the oil product they purport to sell, frequently after several months, even years, or perhaps for ever, of doing the business. There are several reasons which account for this. They range from the fact that most oil sellers and their brokers and other intermediaries, are fake operatives with no crude or petroleum product to sell, in the first, to lack of proper training and knowledge by these operatives in the fundamentals of the business, to the existence of certain serious drawbacks and shortcomings inherent in the fact that, bye and large, the principal source by which most brokers and agents today learn their craft today as oil dealers, is merely the Internet.

However, probably the most fundamental and most central factor of all which accounts for the above reality, could simply be condensed into one broad term: namely, the powerful pervasive grip that the “The Joker Broker” mentality has come to have on the brokers and agents, most of whom today are merely Internet-based brokers and agents. Typically lacking much experience or real understanding of international business or the way it actually works, and frequently blinded by greed and false belief that they “are going to be super rich next week or next month” by doing nothing, other than, perhaps, simply shoving around a few copied documents on the Internet, the conditions, requirements, and procedures often proposed by the “Internet” brokers and agents for prospective buyers to buy from a seller, are usually unrealistic, impracticable, outrageously unreal, even laughable and ludicrous atimes. They are unworkable conditions and requirements that are completely contrary to the way normal and legitimate business has traditionally been done in the real world. And consequently, credible buyers generally reject outright the sales offers coming from such Internet sales operatives, thus resulting in common lack of sales or commission income for such operatives, month after month, and even year after year.

For example, most of the selling offers one gets today for the sale of oil, are usually from Internet “sellers” – persons who merely claim, via an Internet communication, that they are “sellers” of crude or petroleum products with some product to sell, but typically have NO known identity, show no credible record or history of past performance as an AUTHENTIC crude seller or supplier, nor present any solid evidence that the supposed seller even exists. Yet, these mere “Internet” sellers would typically demand and expect a serious buyer of oil, to simply sign an “ICPO,” and enter into a binding contract with them committing itself to obligations valued in the several hundreds of millions of dollars with such a yet unproven and dubious Internet “sellers” (or brokers and agents), or to submit its most sensitive financial and banking details to them, etc! Demands which, clearly, virtually no credible crude oil buyer anywhere in the world would accept or submit to with merely a dubious, unknown, yet-to-be-established entity! On top of all that, add to that the reality that those harsh conditions are being demanded of intending buyers by the sellers and brokers in an oil industry that is, by all credible accounts, full of too many fakes and fraud in the contemporary oil selling industry!

And so, here you have it: why most supposed “secondary” market Internet oil sellers and their brokers and agents typically make no sales or income in their stint into crude oil and petroleum product selling business today in this Internet era, for months and years.

FOR A FOLLOW UP

WISH TO FOLLOW UP ON GETTING A CRUDE OIL OR PETROLEUM PRODUCTS SELLER OR BROKER WITH WORKABLE, REALISTIC PROCEDURES THAT A CREDIBLE BUYER CAN READILY ACCEPT? Please see the instructional information in the author’s resource box below

How to Make Money Online by Creating and Selling Short Reports

How to Make Money Online With Short Reports

Writing short reports and selling them for a low price is one of the most powerful ways of making money online fast. In this post we will see how to write a short report and set it on autopilot so that it makes money 24×7.

What to Write About?

Look around you. What inspires you the most? What are your passions, how do you spend most of your time, is it reading? fishing? cooking?

Are you an expert in anything? Do people ask you for suggestions about something? There are literally thousands of ways to find inspiration, if you want to!

A great way to write a report that sells is by concentrating on something that focuses on relieving pain or solving a problem, that kind of stuff.

But before you get all excited and start creating a report, just make sure that the topic you are going to write about is in demand. One way to do that is by using a keyword tool. There is a free keyword tool out there which is more than enough for this purpose. The tool is Google Keyword Planner. Using this tool you can easily estimate the number of people searching for a particular topic and keyword each month. If you want more professional insight and want to find highly profitable keyword ideas go for paid tools like LongTailPro or Market Samurai. LongTailPro is a professional keyword tool which gives you keyword ideas and its profitability scores. You can also use this tool for getting blog post ideas, research a profitable niche for your next site and much more.

How to Write the Report

You can easily create a report using free tools like OpenOffice suite or a paid one like Microsoft Office. Create a document in word format and then export it in PDF format when saving the document. That’s it. Your report is ready. Don’t forget to add pictures and media where necessary in your report.

How Many Pages?

When you are just beginning try to keep it short. Anything between 20-30 pages should do. Remember it’s about the quality, not quantity.

How to Price Your Report

For a 25-30 page report you can price anything between $5-10, considering you are an amateur and nobody in the industry knows your name. Once you become popular you can even charge $100 for a short report provided it is a high voltage content.

How to Sell Your Short Report

You can opt for a cheap web hosting account and register a domain name. Once you are done with that you can hire a designer to create a sales page for you (which is going to cost you heavily) or buy Optimizepress ($97 for 3 domains).

Optimizepress gives you flexibility and you can create as many landing pages and squeeze pages as you want. It is easy to design. Another option is Leadpages which costs $37/month.

Once your landing page is ready subscribe for e-junkie which costs you only $5/month for one item. It is a digital product delivery system which delivers your report to the customer’s email once the payment has been processed. Remember, e-junkie doesn’t process payments. For accepting payments use the PayPal business account which can be easily connected to e-junkie and which is free to get started. This is only a one time setup. Set it up and it will earn you money on autopilot. PayPal does take a commission for each transaction carried out, but it is definitely worth it.

Once you start making enough money with your first report you can make several similar type of reports in different niches. By this way you have got a decent online business for you which earns on autopilot and supplies you with a continuous stream of passive income.

Newsletter Titles & Advertising Headlines Selling Words & Phrases to Sell Almost Everyone Anything

Advertising headlines and newsletter titles use headlines screaming key selling phrases and incentive words to spur attention and highlight attention. The stimulating headlines and selling titles induce a driving force to read on. The ultimate goal of the advertising is to sell almost everyone worth selling anything you have of benefit to buy.

The real king of prospecting methods is where the buyer sees your ad and calls you. This key mode is called hot sales prospecting. You are the one called by the prospect. This is exact opposite of cold calling. With cold calls, you make calls that try to interest or pressure the recipient of your call to talk further with you. Hot sales prospecting is dependent on using selling word and incentive phrases to knock the pupils out of prospects eyes. The headlines and titles, along with sub-titles are crucial to display encouragement to reinforce the product or sell the service you are offering.

The mode of advertising could be in business publications, newsletters, newspaper, emails, promotional news, direct mail, or ads placed with social media groups. If you can portray honesty, integrity, trust, and develop an impulse to purchase then you become a true direct sales person. You have to walk the walk and talk the right talk, or clients will not easily be convinced.

Key selling phrases and incentive words are available in the lists below. It is up to your talents to insert them into your enticing advertising headlines and stimulating newsletter titles so prospective clients virtually grab the phone to call you.

The first sell list of headline and motivating phrases include: faster than lightening, feel like superman, fascinating, fast turnaround, follow your dreams, for experts only, feeling goose bumps, financial abundance, fire your boss, first brace yourself, final piece of the puzzle, fair and balanced, few and far between, feel independent, financial IQ, fills the gaps, forecast the future, formula for success, fortune to be made, first time offered, fly out of the nest, and focus on the prize.

Additional stimulating headline phrases and killer key selling words include: free solutions, four star, free newsletter, fraction of the price, giant sized, freedom to earn more, getting smoked?, fresh start, full featured, futuristic, genuine, frees up cash, fulfill your cravings, gutsy, flexible choices, foot stomping, grunt work, full of vim and vigor, fully classified secrets, goldmine, and funded with security.

When you use hot sales prospecting, target your advertising at people matched for your product. In many lines of sales when your selling headlines results in prospect calls it really pays off big. Commonly sales run a minimum of 70%. You can play small time and cold call all day long hoping for a hit. Big hitters still strike out, but they aim for home run selling. Become inspired to spend less time prospecting and more time following up on prospect phone calls and new referrals.

How to Make Money Selling Christmas Trees

Would you like to earn $10,000 to $20,000 profit every December? You can do it by operating your own Christmas Tree Lot in your area. Even in a bad economy, people shell out big money during the Christmas Season. You would be surprised how many families buy $200 Christmas Trees every season.

The National Christmas Tree Association records show that millions of U.S. families plan their Christmas traditions around a real Christmas tree. That means that a lot of real trees will be sold this year starting around the end of November. 24 percent of consumers will buy their trees from a Christmas Tree Farm, while 68 percent will buy their tree from a retail lot. The remaining small number of consumers buy their trees over the internet.

If you don’t mind hard work, you can earn your share of the profits in this industry. You will be extremely busy during the month of December, but you can profit up to $20,000 from one Christmas Tree Lot. Some Christmas Tree Lot owners started with one lot and have grown their business to 10 or 20 lots. Some of these people currently profit over $300,000 a year even though they have only been in business less than five years.

If you don’t know what type of tree to sell, here is some information that can help you.

The most popular Christmas Tree is the Fraser Fir. It is a native southern fir and very similar to Balsam fir. It grows naturally at elevations above 5,000 feet. This tree has dark green needles, 1/2 to 1 inch long and ships well. The tree has excellent needle retention along with a nice smell.

The second most popular is the Douglas Fir. Unlike true firs the cones on Douglas fir hang downward. Douglas fir grows cone-shaped naturally, has 1 to 1-1/2 inch needles that are persistent and has a sweet scent. The Douglas fir tree is shipped to nearly every tree lot in the Unites States.

The Balsam fir is a beautiful pyramidal tree with short, flat, long-lasting, aromatic needles. The Balsam fir has to have cold winters and cool summers. Balsam fir has a nice, dark green color and is very fragrant.

The Colorado Blue Spruce is most familiar to people as an ornamental landscape tree. The tree has dark green to powdery blue needles, 1 to 3 inches long and a pyramidal form. The Colorado blue spruce is often sold “living” and with an entire root ball, so it can be planted after the holidays. The spruce was chosen and planted as the official living White House Lawn Christmas tree. The young tree is pleasingly symmetrical, is best among species for needle retention.

The Scotch Pine is the most planted commercial Christmas tree in North America. However, it is not the most popular. Scotch pine tree has stiff branches, two bundled dark green needles 1 to 3 inches long that are retained for four weeks. The aroma is long-lasting and lingers through the entire season. Scotch pine does not drop needles when dry which is a nice characteristic.

The Eastern red cedar is mainly a regional favorite and has been a traditional Christmas tree of the South. Branches of eastern red cedar are light but compact and forms a pyramidal crown when it is young.

White spruce is a tree of the northeast US and Canada. It is a regional favorite because it grows into the best shapes in the wild. White spruce has green to bluish green needles but crushed needles have an unpleasant odor. Another problem with the spruce is it has poor needle retention.

Eastern White Pine is grown mostly in the mid-Atlantic states for commercial Christmas trees. It retains needles throughout the holiday season but has little or no fragrance and not a good tree for heavy ornaments. This tree is bought by people who suffer from allergic reactions to more fragrant trees. The White pine is the largest pine in United States

The White fir is one of the longest-needled firs and is a significant portion of the Christmas trees used in California. The fir has a good shape with a nice aroma and good needle retention.

The Virginia pine has only recently been used as a Christmas tree. It tolerates warm temperatures and has been developed as an alternative to the Scotch pine. The foliage is usually dark green. Virginia pine is one of the most purchased Christmas trees in the Southeastern United States.

The Noble fir is also sometimes used. It has upturned needles, exposing the lower branches. The tree is high in beauty, has a long cut life and its stiff branches for using heavy ornaments.

To be successful, you will need to planning for your Christmas Tree Lot in Late summer, or fall.

For more information, on how to get started, go to: http://www.americanbusinessbuilder.com/christmas_tree_sales_business.htm

Start a Business Selling Tutus

Lets face it, the economy doesn’t seem to be getting better and sometimes stay at home moms options are very limited when it comes to trying to bring in a second income. More and more women are turning to home based businesses to help ease some of the burden off their spouses.

Putting your creativity to the test and selling your creations can prove to be a successful money maker.

I started selling tutus on Craigslist, eBay and by word of mouth. The response was surprising and I was making close to $500 a month when I first started. It may not seem like much, but to a stay at home mom, that extra cash helped usgreg through tough times. My husband was self employed and worked from home, so the income he was bringing in at the time wasn’t steady. That extra couple of hundred dollars would cover groceries.

So whether you just want a little bit of extra money or you want to make it a full time business, making tutus to sell can be that home business your looking for.

Keep in mind that everybody and their mommas are making tutus, however there is still a market even when you’re first starting. Eventually you can create your very own tutu designs that will set you apart from the competition. Viewers spot lack of quality right away. Put a lot of effort into perfecting your technique and making sure you pay attention to detail when making your tutus.

What’s great about learning to make tutus is that even if you’re not as successful in selling them, you can still make the best gifts and save money since tutu materials are relatively inexpensive.

Here are some of the materials you will need to make a tutu

Rolls of tulle: 6″ by 25-yard rolls are best

Optional: Cutting Mat, Rotary Cutter and Quilters Lip Edge Ruler: The rotary cutter and mat make clean and even cuts. You can use Fabric Scissors if you cannot find the rotary cutter, mat and ruler. It will take much longer to cut though.

1/2″ Width Roll of Elastic. You can use an elastic headband for waist if you want a 100% non sew tutu. Non roll elastic is best. I would go no wider than 3/4″ width elastic

Needle and Thread: Sew ends of elastic together or use Stretchy Headband for a no sew waistband

Elastic Waistband Construction:

1: Measure and cut elastic 2-3″ smaller than measurement, that way the waistband will be snug around the child’s waist. Overlap the ends of the elastic at least 1/2-1″ and sew both ends of elastic together. This is the only time you will be sewing. If you’re unable to sew, use a stretchy headband.

2: You will need between 1-3 rolls for a baby/toddler tutu. For 4 years and up, start with 3-4 rolls. This estimate is for slightly above knee length tutus. Adjust number of roll accordingly.

To cut the length of the strips, you can place at least two rolls evenly on top of each other on top of the cutting mat and unroll the tulle. Line up the tulle edge on the 0″ mark of the cutting mat and cut the tulle to the desired length using a rotary cutter. Placing a quilter lip edge ruler where you want to make your cut and rolling the rotary cutter using the edge of the ruler as a guide can help prevent accidents.

The length of the tutu can be calculated by multiplying the desired tutu length by 2 and then adding an additional 2″ to compensate for the knot you will be tying. Example: tutu length (12″) x 2 = 24 + 2 = 26. Cut each strip to 26″ long. Your measurement may be different.

3: Fold the tulle strip in half to resemble an upside down “U”. Bring the folded end behind the elastic waistband. This will create a loop behind and above the top edge of the elastic.

4: From the one folded strip, you will notice two “tails” hanging. Take both tail ends of the tulle strip through the loop you have created and pull down to tighten. Make sure not to pull it too tight as that can over stretch the elastic. It takes some practice getting it right.

5: Tying double knots is another way to attach your tulle to the waistband. Continue to tie your knots until you reach the other side. You can tie additional knots to fill in any bare areas. Aim to tie at least 4-5 knots per inch of your original waist measurement. So if you have an 20″ waistband, you should be able to fit between 80-100 strips.

If the waistband over stretches, cut the elastic and resew to the original waist measurement.

Embellish your tutu once you’ve completed the steps above.

Once you’ve perfected your technique, you can start thinking about selling your tutus. Look around online and compile a list of tutu sellers and see what they charge. This will help you determine a fair price.

Start off by selling online or post photos of your tutus on your Facebook account. You’re bound to get some word of mouth advertising on there. Advertising at local ballet schools might be one route to go. Just make sure it’s not just a basic tutu. Take beautiful photos, because no matter how beautiful a tutu may be, no one is going to see that in a poorly lit and cluttered background. Find what catches your eye and improve on it.

My new favorite website to get ideas is Pinterest. Use it and when you create your website, you can start using Pinterest as a marketing tool.

One more important thing about selling… Make sure the materials and tutus are labeled in accordance with new CPSIA labeling laws for children’s products. As of February 2009, all children’s products sold must conform to all aspects of the law and safety standards, including the new lead content and phthalates limits. This is governed by the CPSIA.

Most tulle manufacturers should state on their website if their tulle conforms with CPSIA standards.

The Important Difference Between Marketing, Selling and Advertising

I’ve heard the same sentence from many small business owners: “I’ve tried that, it doesn’t work for my business”. The practice of advertising is a mystery to most small business owners. For them it’s hard enough trying to perfect the process of doing business with their clients; the acquisition of new clients is a whole other challenge. Most business owners aren’t fully aware of the difference between advertising and marketing.

Let’s take some of the mystery out of the practices.

One of the most misunderstood aspects of the process is the distinctions between: marketing, advertising and selling:

Marketing: is the overall collection of tools used to build your business. Marketing has one overall objective – to drive clients through the process of noticing your business, purchasing from your business, enjoying the products or services of your business successfully enough to tell their friends and family and come back for more if applicable.

Some of the tools of marketing include:

1. Advertising

2. Public Relations

3. Direct Mail

4. Personal Sales

5. Internet

6. Print Promotions

7. Education

Advertising: Advertising doesn’t sell to your audience, it is a tool similar to the male ostrich tail; its job is to get you noticed for the specific things you do well. Advertising promotes the distinguishing features, benefits and advantages of your offer to a wide market. The goal of advertising is to bring in valuable leads for the selling process to take place.

I’ve sold Yellow Page advertising to business owners who initially felt that Yellow Page ads brought a lot of callers who were just shopping around. They didn’t want to waste time with “looky loo’s”.

If someone takes the time to make a phone call or send you an email regarding your product or service, why treat them with disdain? These folks are looking for the right answers to their problems. Even more important, they each know about 250 other people personally. Each opportunity to make a connection or a sale should be treated as equally important.

Selling: Once advertising has attracted the potential buyer, the selling process takes over. This is done either by personal sales or the use of point of purchase materials (ie., a store display, video demonstration etc.). Selling should come into play after a prospect has been determined to be right for the product or service.

The mystery and confusion begins when a business owner must decide what tools to use in the process of client acquisition. To whom should you advertise? Where should you advertise and why? How do you advertise? What kind of return should I expect to make on my advertising program? When do I use the other tools of marketing to bolster my advertising program? What should my ratio be between advertising and selling?

To whom should you advertise? Let’s be very clear about this one. You should never put a single dollar into advertising until you know who you will eventually sell your product or service to. You should not even be in business if you have no clue who you want to do business with.

Marketing is used to identify your ideal market. Sure, you may not get 100% of your ideal market, but if you know who will most likely benefit from what you have to sell or service, you can get more of them.

For example, if you’re a chiropractor in a big city, your ideal market might be the couple in their late 40’s to early 60’s that’re health conscious and active. They are looking to stay fit and are open to CAM’s (Complimentary and alternative medicines.). They may have an unfavorable view of the current healthcare system and wish to take a proactive approach to health maintenance. So let’s say after determining your ideal market, you identify 15,000 of them in your market region. So now you have 15,000 likely prospects to reach on a regular basis.

Where should you advertise and why? If you wanted to find a 34 year old Buddhist from Cambodia where would you look for one? The question may seem a bit silly but you know that you wouldn’t start by going to all the mosques in the area.

Sometimes you do have to eliminate all the unlikely places to search until you get to the most likely ones.

You must, of course choose the targets of your ad programs based on how many of your intended prospects will likely see your message. If the local health club in your area has a demographic membership of over 3,000 45 to 65 year olds, you might want to advertise in their monthly newsletter. If they don’t have a newsletter, you may want to sponsor one for them.

Remember the “The best place to go fishing is where the fish are biting”. Take the time to know about your target audience and their buying habits.

How do you advertise? Imagine that your very expensive Mercedes breaks down and the mechanic says that it’s your fuel pump. He needs to change it so he’s going to take a blow torch and cut through your hood, crack open your engine block and then replace the fuel pump. Once he’s done, he’ll weld all the parts back together and get your vehicle back to you.

Would you give this guy the OK to go to work on your vehicle? Of course you wouldn’t. Once you determine what you need to do, you have to be careful about how you execute the solution.

Coming back to our chiropractor, if he finds that the best way to reach the 15,000 couples ages 45 to 65 in his area is through the Yellow Pages; then he needs to decide if it’s cost effective, timely and competitive.

The goal now is to figure out the best way to reach all or most of those 15,000 ideal prospects.

Will he get comparable results from the repeated exposure in the health club newsletter where he’ll have a captive audience and no competition?

There’s no reason not to use both the Yellow Pages and the health club newsletter if they pull their weight economically. The goal of advertising is to gain valuable leads for the selling process to take place.

What kind of return should I expect to make on my advertising program? My answer to my clients to this question is usually a shocker; the answer is a big fat zero (0). How can a business owner spend so much money on advertising and expect no money in return?

This is the basis of the confusion between marketing, advertising and selling. Advertising’s value in the marketing mix is in lead generation. When properly used as such, the measurement of its effectiveness is in how many leads are generated.

This is why it’s so important to distinguish between the various tools of marketing. If our chiropractor had 20 leads coming in each day from his ad campaign and the front desk had a lousy conversion ratio, I bet that he’d blame his ad for not pulling in more clients.

Gauge your response rate when quantifying advertising results. Measure the number of leads coming in and adjust the ad copy to test for better results.

When do I use the other tools of marketing to bolster my advertising program? Advertising should never be used alone. Please remember that the average adult has to deal with over 2700 messages a day from all types of media.

Marketing should be seen as a combined effort to reach the minds and hearts of your target market. You should be using at least five of the seven tools of marketing every week. Depending on the age of your business and your business plan, you should be budgeting 10 to 15% of your estimated annual revenues for marketing. If you just opened your doors in the last five years, crank that up to 20%. There’s a reason that Pepsi and Coke spend over 400 million a year each to satisfy their shareholders bottom-line.

What should my ratio be between advertising and selling? Think of the relationship between advertising and sales as a complimentary one. If your advertising is generating a large number of leads, tailor your sales strategy to convert at least 30% of your leads while capturing all your leads for systematic follow-ups.

Keep in mind that at any given time, 3% of your market is ready to commit to your product or service. The goal is first to convert the 3% of your leads. Then to work on selling to the ones who are on the fence. Whether through personal sales, direct marketing, or point of purchase sales, your ratio will be determined by several factors, the offer, the product or service and the immediate need of the prospects and of course, price.

Don’t get too anal about the ratios. The most important thing to remember is that marketing is an inexact science. You will have to keep testing and trying for better results as the market changes.

Determine the value of a new client and the life time value of your clients. Once you do that, be sure that your marketing efforts are bringing in enough new business to cover the cost of getting new clients and that your sales efforts cover the cost of keeping you in business.

Tweak the numbers and track consistently. If your estimated marketing budget is $37,500 for the year, and your estimated revenue is $250,000 then you have a standard starting point.

At the end of the year your numbers should add up. If you haven’t made the $250,000 don’t simply blame your advertising, look at your leads list and determine if you’ve converted the required number into sales.

If you don’t have a leads list then we need to re-evaluate your purpose for advertising.

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