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Tag: Brand

  • Shay Mitchell Just Launched a Skin Care Brand for Kids. Not Everyone Is Happy

    Actor and serial entrepreneur Shay Mitchell launched her newest venture this week: Rini, a K-beauty skin care brand designed specifically for children that “families can trust.” The company is already getting mixed reactions from online viewers. 

    The brand—whose name “Rini,” refers to the colloquial word for “children” in Korean—is inspired by “real parenting moments, when we realized the products we wanted for our kids simply didn’t exist,” says BÉIS founder and chief brand officer, Shay Mitchell who has previously been honored on Inc.’s Female Founders list. She co-founded the brand with Esther Song and Matte Babel.

    A press release for Rini points to moments like “birthday parties filled with stubborn face paint to the glitz of princess makeovers and dance recitals in blush and lipstick,” as times when children are often and innocently exposed to harsh and potentially harmful chemicals that aren’t formulated for young and delicate skin. 

    “It’s about nurturing their imagination and confidence, while knowing we’re choosing products made thoughtfully for their skin,” co-founder Song said in the press release.

    All Rini products are formulated by pediatric chemists in South Korea, dermatologist-tested, EU-compliant (a strict standard that prohibits or restricts over 1,700 ingredients), vegan, fragrance-free, and safe for sensitive skin. The brand says it will also share findings from Rini product testing in the “Formula Facts” section for consumers who value transparency when it comes to products for their children.

    Rini debuted with five products, including “the world’s first hydrogel masks created specifically for kids,” available in two formulas: hydrating and after-sun. It also launched an everyday sheet mask, which comes in  puppy, unicorn and panda designs. Each mask is designed in two pieces to “grow with a little face.” The brand anticipates a “complete collection of kid-first care products, inclusive of skin care and creativity-driven play” by 2026. 

    Rini’s launch has already stirred up some reactions from social media users, especially under Shay Mitchell’s Instagram post sharing the announcement where she wrote that Rini’s focus is less about beauty and more about teaching children to take care of themselves. “This has been three years in the making, inspired by my girls, their curiosity, and all the little moments that made me realize how early it starts,” she wrote.

    One user asked whether Rini had conducted focus groups with its target audience. Another user said “We’re living in capitalism’s final boss level where a child’s unblemished face is just another ‘untapped market’. Selling a calming face mask so they can relax from…what exactly? Snack time? Existing?”

    Several users questioned if the brand was treating young children like adults by developing these products, in the age of “Sephora kids”—a phenomenon that refers to the surge of tweens running to beauty counters to buy products containing active ingredients, such as retinol, which are far too potent and unnecessary for young skin.

    Many argue this trend among Gen Alpha is fueled by social media, specifically influencer culture in a world of “get ready with me’s” and lavish holiday wishlists. According to insight tech consultants ATYM, in 2023 alone, Gen Alpha (ages 6-17) spent nearly $4.7 billion on beauty products, per Nielsen data.

    Still, some parents may appreciate Rini’s vision of creating a brand that protects children from harsh and unnecessary ingredients while letting them enjoy “spa” moments with their parents. It’s not the only brand building the growing market for children’s personal care products—Evereden, a kid- and teen-focused brand which sells skin care, makeup, and hair care, recently reported nine figures in revenue after launching in 2017.

    The early-rate deadline for the 2026 Inc. Regionals Awards is Friday, November 14, at 11:59 p.m. PT. Apply now.

    Victoria Salves

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  • Did Joshua Tree’s Invisible House charge $10,000 for a selfie? Here’s what the owner says

    A $10,000 selfie has captured headlines.

    In a series of now-viral videos posted to TikTok, entrepreneur Sean Davis alleged that a luxury short-term rental in Joshua Tree sent him the five-figure bill after someone in his party took a photo in the bathroom and tagged a brand on social media. Tabloids ran with the tale.

    But it’s not exactly true, according to the owners of the mirror-walled monolith that’s known as the Invisible House. They say they charged Davis production fees after he was caught staging an unpermitted photoshoot for his clothing company on the trademarked property back in June of 2021.

    “His intention was to shoot some stuff there and he thought he could get around calling it a production,” said owner Chris Hanley, a film producer whose credits include cult classics “American Psycho” and “The Virgin Suicides.” He spoke by phone from another architectural property he owns on Lamu Island in Kenya.

    Davis said he was surprised his videos generated so much attention, given his modest following. The co-founder of John Geiger clothing and footwear said he reserved the Invisible House for a company retreat but had hoped to make the most of the booking by also shooting content in the surrounding environs.

    During his stay, Davis and three others — a business partner, a photographer and a model — walked away from the home into what they thought was open desert to take photos. They didn’t realize the house sits on 90 acres and unpermitted commercial activity is forbidden anywhere on the property, he said.

    “If you’re respecting the house, why is it a problem if you go use the desert to shoot content with four people and a camera?” Davis said. “It’s not like it’s a huge production.”

    That’s the crux of the dispute: Was it a few innocent photos or an unauthorized production?

    Hanley and his wife Roberta, a screenwriter and director, built the Invisible House in 2019. Part abode, part modern art installation, it has been featured in Architectural Digest and served as the backdrop for more than 100 productions, including campaigns for Hermes and BMW, Hanley said, noting that famed photographer Annie Leibovitz has shot there for Vogue. Some of those shoots have also taken place outside the home — the natural landscape of the property is its own unique work of art, he said.

    The home can be reserved as a short-term rental for roughly $3,000 a night or it can be booked for commercial activity for about $1,000 an hour plus additional costs associated with film permits and site management, Hanley said. Commercial activity also requires paperwork allowing a brand to use the property’s copyrights and trademarks, he said.

    “Everyone knows that you’re not allowed to just shoot there,” Roberta Hanley said. “The house is copyrighted as a visual — the whole place, the whole concept.”

    Although Davis booked the property through a short-term rental platform, security cameras captured him conducting a photoshoot outside, the Hanleys said. He also brought a drone into the house without permits or a licensed pilot, which could have caused damage, they said.

    And while Davis said in his videos that he was billed $10,000 for the accommodations and another $10,000 in fees associated with the photoshoot, the Hanleys provided documents stating he was charged $9,000 in total — $3,000 for the booking, $2,500 in a forfeited security deposit and $3,500 upon signing a separation agreement and release of claims.

    The Hanleys also took issue with Davis’ claim that a selfie triggered the charges. “I’ve had clients call me up saying, ‘you’re not gonna charge me $10,000 if I take a selfie, are you?’ and it’s like ‘What?’ ” Chris Hanley said. “I mean, if you’re just taking a photo of yourself and not promoting a product, that’s fine.”

    But according to Davis, the rental’s management company only checked security footage at the house and realized he’d taken pictures for his brand after a friend’s girlfriend uploaded a photo of her outfit to social media and tagged a different clothing brand. That brand then reposted the content and tagged the Invisible House, he said.

    Davis said he respects the Hanleys and their “sick” home. He also questioned the precise difference between someone posting content to their personal social media account and promoting a brand, saying that it’s become difficult to know where to draw the line. “Most people rent places for content now,” he said, adding that he’s taken photos in and around other short-term rentals without issue.

    But the Hanleys said the rules governing the use of their property are made clear to guests both before and upon booking. And Davis is a good example of why they charge for commercial activity, they said, pointing out that his TikTok account has a couple hundred followers but a post on the controversy received 1.5 million views.

    “It’s impressive, the explosion of excitement he was able to get for himself,” Roberta Hanley said.

    “Maybe we should collaborate on Invisible House sneakers,” her husband quipped.

    Alex Wigglesworth

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  • Unbelievable facts

    Unbelievable facts

    Velcro is a brand name, and the company launched campaigns to encourage people to stop using…

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  • The Narcissistic Culture of “Image” and Excessive Self-Monitoring

    The Narcissistic Culture of “Image” and Excessive Self-Monitoring

    In a world obsessed with public image and attention-seeking, learn about the cultural forces propelling society to become more narcissistic – and how this influences us to be in a constant state of self-scrutiny.



    The idea that our culture is becoming more narcissistic and self-centered is not new.

    Historian and social critic Christopher Lasch’s book The Culture of Narcissism was first published in 1979. By that time, the 1970s were already dubbed the “Me-generation.” Americans were increasingly shifting focus to concepts like “self-liberation,” “self-expression,” and “self-actualization,” while untethering themselves from past traditions and social responsibilities.

    Interestingly, Lasch traces the narcissistic roots in America back way further, starting with the early days of the Protestant work ethic and its singular focus on labor, money, and wealth-building, including the old “pull yourself up by your bootstraps” mantra.

    This early thread of American hyper-individualism continues into the New Age movement at the turn of the 20th century with its focus on personal happiness and spiritual fulfillment, as well as the popularity of Ayn Rand’s “virtue of selfishness,” and the rise of celebrity-worship and fame-seeking that still characterizes much of American life today whether it be in politics, sports, art, or entertainment.

    Things appear to be getting worse. The book was written over 40 years ago, but a lot of the observations in it seem strangely prophetic when looking at the world today. Lasch accurately describes how narcissistic trends have evolved on a societal and cultural level, and you can perfectly extend his theories to explain our modern culture.

    Before you continue reading, remember this is a cultural analysis of narcissistic tendencies and it isn’t focused on clinical or psychological definitions of Narcissistic Personality Disorder (NPD).

    Many people act more narcissistic because that’s what our society rewards and that’s how people think they need to act to get ahead in today’s world.

    One can even look at certain narcissistic tendencies as a survival strategy in an otherwise competitive, atomized, isolated – “every man for himself” – world.

    Now let’s dive into how our modern culture amplifies and rewards narcissism.

    The narcissist craves an audience

    First, the most defining characteristic of a narcissist is that they depend on the attention and validation of others to feel good about themselves.

    Contrary to the popular myth that the narcissist suffers from excessive self-love, the truth is they are deeply insecure and lack true confidence and self-esteem. The main reason they brag, show off, or puff-up-their-chests is only to appear strong when deep down they feel weak.

    As a result the narcissist is obsessed with their image and appearance. They feel they need to “win people over” to be accepted and liked by others, and this requires a carefully manufactured persona they create for the public.

    This deeply rooted “need for attention” plays a central theme in Lasch’s analysis:

      “Narcissism represents a psychological dimension of dependence. Notwithstanding his occasional illusions of omnipotence, the narcissist depends on others to validate his self-esteem. He cannot live without an admiring audience. His apparent freedom from family ties and institutional constraints does not free him to stand alone or to glory in his individuality. On the contrary, it contributes to his insecurity, which he can overcome only by seeing his ‘grandiose self’ reflected in the attention of others, or by attaching himself to those who radiate celebrity, power, and charisma.”

    Without an audience to appreciate them, the narcissist struggles to find their self-worth. They don’t believe in themselves – they need “proof” they are a good or important person through the eyes of others.

    To the narcissist, any attention is better than none at all; even negative attention like gossip, drama, and criticism feeds into their egos by letting them know they are still front and center.

    In a society that rewards attention for the sake of attention (including fame and notoriety), the narcissist grows and thrives. Who knows, that next scandal with a famous celebrity may be their big breakthrough – whatever gets them into the limelight!

    Image-centrism: The society of the spectacle

    One major contributor to the rise of narcissistic tendencies is that our culture is becoming more image-centric.

    Popular ideas on what true “happiness,” “success,” “fame,” “beauty,” and “achievement” look like are based on outward images and appearances increasingly fed into our culture through photographs, movies, television, and advertising:

      “[One] influence is the mechanical reproduction of culture, the proliferation of visual and audial images in the ‘society of the spectacle.’ We live in a swirl of images and echoes that arrest experience and play it back in slow motion. Cameras and recording machines not only transcribe experience but alter its quality, giving to much of modern life the character of an enormous echo chamber, a hall of mirrors. Life presents itself as a succession of images or electronic signals, of impressions recorded and reproduced by means of photography, motion pictures, television, and sophisticated recording devices.”

    This book was written before the internet and social media which have only increased our “image-centrism” tenfold. Selfies, avatars, memes, filters, photoshop, and AI have all continued to add more layers to this hyper-reality between manipulated images and how we choose to present ourselves.

    This constant barrage of cultural images shapes our beliefs and map of reality. It subconsciously puts ideas in our heads about what “happiness,” “success,” and “beauty” are supposed to look like.

    Once these social images are set in our minds, we naturally feel the desire to live up to them.

    Narcissists can often be the most sensitive to these social images because they fear their true self isn’t good enough, so they take society’s picture of “success” and try to mirror that image back to others.

    On the surface, the narcissist is a crowd-pleaser. They don’t trust their own judgement, so if society says this is what “happiness” or “success” looks like, then they will try to mimic it the best they can.

    Everyone has an audience now

    Technology, internet, social media, cameras, and recording devices have created a world where everyone feels like they have an audience all-the-time.

    Family photo albums and home videos were early stages in turning “private moments” into “public consumption,” but now we have people over-sharing every meal, date, and shopping spree on their social media feeds.

    Lasch correctly identifies this trend back in the 1960s-70s, including a mention of the popular show Candid Camera, which was one of the first “hidden camera” TV shows:

      “Modern life is so thoroughly mediated by electronic images that we cannot help responding to others as if their actions – and our own – were being recorded and simultaneously transmitted to an unseen audience or stored up for close scrutiny at some later time. ‘Smile you’re on candid camera!’ The intrusion into everyday life of this all-seeing eye no longer takes us by surprise or catches us with our defenses down. We need no reminder to smile, a smile is permanently graven on our features, and we already know from which of several angles it photographs to best advantage.”

    Life is recorded and shared now more than ever before. Today everyone has an audience and many people can’t help but see themselves as the “main character” of their own carefully edited movie.

    Unfortunately, we have this audience whether we like it or not. Every time we are out in public, someone may whip out their phones, capture an embarrassing moment, and upload it to the internet for millions to watch. You never know when you may go “viral” for the wrong reasons. The rise of online shaming, doxing, and harassment puts people in a perpetual state of high alert.

    That’s a stressful thought, but it perfectly represents this state of hyper-surveillance we are all in, where there’s always a potential audience and you feel constant pressure to showcase the “best version of yourself” in every waking moment, because you never know who is watching.

    Self-image and excessive self-monitoring

    In a world that rewards people solely based on the “image” they present, we naturally become more self-conscious of the image we are projecting to others.

    This leads to a state of endless self-monitoring and self-surveillance. We see ourselves through the eyes of others and try to fit their image of what we are supposed to be. No matter what we choose to do with our lives, the most pressing questions become, “How will this make me look?” or “What will people think of me?”

    While people naturally want to present themselves in the best way possible and form strong first impressions, an excessive degree of self-filtering and self-management can cause us to lose our sense of identity for the sake of superficial acceptance, internet fame, or corporate climbing.

    At worst, we increasingly depend on this these manufactured images to understand ourselves and reality:

      “The proliferation of recorded images undermines our sense of reality. As Susan Sontag observes in her study of photography, ‘Reality has come to seem more and more like what we are shown by cameras.’ We distrust our perceptions until the camera verifies them. Photographic images provide us with the proof of our existence, without which we would find it difficult even to reconstruct a personal history…

      Among the ‘many narcissistic uses’ that Sontag attributes to the camera, ‘’self-surveillance’ ranks among the most important, not only because it provides the technical means of ceaseless self-scrutiny but because it renders the sense of selfhood dependent on the consumption of images of the self, at the same time calling into question the reality of the external world.”

    If you didn’t share your meal on social media, did you really eat it? If you didn’t update your relationship status online, are you really dating someone?

    For many people, the internet world has become “more real” than the real world. People don’t go out and do adventurous things to live their lives, but to “create content” for their following.

    Who looks like their living their best life? Who is experiencing the most FOMO on the internet? In a narcissistic world, we start seeing our “digital self” in competition with everyone else – and the only thing that matters is that it looks like we are having a good time.

    More and more, we consume and understand ourselves through these technologies and images. We depend on photo galleries, reel clips, and social media posts to chronicle our life story and present the best version of ourselves to the world. If the internet didn’t exist, then neither would we.

    In the sci-fi movie The Final Cut people have their entire lives recorded through their eyes; then after they die, their happy memories are spliced together to give a “final edit” of the person’s life. Many of us are perpetually scrutinizing and editing this “final cut” of our own lives.

    The invention of new insecurities

    Everything is being observed, recorded, and measured, so we have more tools than ever to compare ourselves against others.

    This leads to the invention of all types of new insecurities. We are more aware of the ways we’re different from others, whether it’s our jobs, homes, relationships, health, appearances, or lifestyles. We can always find new ways we don’t “measure up” to the ideal.

    New technologies create new ways to compare. Before you know it, you have people in heated competitions over who can do the most steps on their Fitbit, or consume the least amount of calories in a week, or receives the most likes on their gym posts. The internet becomes a never-ending competition.

    Of course, measuring your progress can be a valuable tool for motivation and reaching goals. The problem is when we use these numbers to measure up against others vs. measure up against our past self. Always remember that everyone is on a completely different path.

    It’s well-known that social comparison is one of the ultimate traps when it comes to happiness and well-being. You’ll always be able to find someone who has it better than you in some area of life, and with the internet that’s usually an easy search.

    These endless comparisons touch on all aspects of life and heighten self-scrutiny and self-criticism. Finding and dwelling on even “minor differences” can spiral into a cycle of self-pity and self-hate. If we don’t remove ourselves from these comparisons, then we have no choice but to try to live up to them and beat ourselves up when we fail.

    Conclusion

    The goal of this article was to describe some of the key forces that are making society more narcissistic and self-centered.

    Different cultural beliefs and attitudes incentive certain personality traits over others. Our current world seems to continue moving down a more narcissistic path, especially with the increased focus on “image” (or “personal brand”) that we build for ourselves through the internet and social media.

    Most of the ideas in this article are based on the book The Culture of Narcissism which, despite being written over 40 years, is an insightful look into how these social forces continue to grow and evolve.

    Do you feel like our current society is getting more narcissistic? How have these social forces influenced the way you live?


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    Steven Handel

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  • Redondo Beach mayor dies at 65 of lung cancer

    Redondo Beach mayor dies at 65 of lung cancer


    Bill Brand, the mayor of Redondo Beach, died Friday evening of lung cancer, according to city officials. He was 65.

    Brand had been battling cancer for more than four years, but his health took a “sudden turn” for the worse in recent days, according to a city statement. Brand’s wife and other family and friends were by his side in the end.

    Brand was serving his second term as Redondo Beach’s mayor, after previously serving two terms on the City Council. He had remained in office despite undergoing intense treatments and being hospitalized several times.

    Bill Brand

    (City of Redondo Beach)

    Brand was born in Texas, but had lived in the South Bay since moving there as a child in 1966. “Finding the Seaside Lagoon, he thought that he had found heaven,” the city’s statement said.

    Other officials in the region took to X, formerly Twitter, to mourn Brand’s death.

    “Bill Brand was my dear friend and even though we knew this day would be coming, it hurts to say goodbye,” wrote L.A. County Supervisor Janice Hahn.

    “Elected office can be a challenge, but being Mayor of Redondo Beach came naturally to Bill. He embodied the South Bay,” Hahn wrote. “He was passionate about his work as Mayor, fighting corporate developers to preserve the beach community he loved, but he also made time for surf breaks.”

    County Supervisor Lindsey P. Horvath wrote that Brand had made “a lasting impact on the community [and] all who knew him.”

    County Supervisor Holly J. Mitchell wrote that Brand “was a fighter who kept showing up to serve” even while battling cancer. “We have lost a leader who loved the South Bay and fought with all his heart to protect our environment.”

    Mitchell cited in particular Brand’s role in the recent closure of the AES Redondo Beach power plant, which she said was “just one example of Bill’s lasting impact.”

    Brand got involved in politics first “as a concerned resident, then as a champion for open space,” creating the nonprofit South Bay Parkland Conservancy, the city’s statement said. Only then did he run for office.

    Living to see the closure of the AES plant, which he had fought so hard for, “was an accomplishment of which he was extremely proud,” the city statement said.

    In lieu of flowers, Brand’s family asked for donations in his memory to the conservancy, or to Cancer Support Community South Bay.

    Flags at Redondo Beach City Hall were to fly at half-staff in Brand’s honor. Information on services were not provided.



    Kevin Rector

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  • It’s still wild that Nintendo signed off on Super Mario RPG

    It’s still wild that Nintendo signed off on Super Mario RPG

    Nearly three decades after it was first released on Super Nintendo — and despite a handsome remake for Switch, with completely redone visuals and rerecorded music — there’s still something strangely, but not unpleasantly, off about Super Mario RPG.

    Mario looks all squat and cross-eyed; in fact, the whole Mushroom Kingdom and all its denizens have a sort of squashed, funhouse-mirror look, as if folding them into an isometric perspective has flattened them all out. Early in the game, Bowser’s castle gets run through by a giant, skyscraper-sized talking sword; when did you ever see a sword in a Mario game? Not long after, a Toad makes a joke about forgetting his bazooka at home. His what? Mario’s house is a wobbly, clapboard shack. Mario has a house. It’s all kinds of wrong.

    This adventure, first released in 1996 as Super Mario RPG: Legend of the Seven Stars, was a collaboration between Nintendo and Square (now Square Enix) when both were in their mid-’90s pomp. Nintendo was winding down the SNES after an unbeatable run of in-house classics, from Super Mario World to Yoshi’s Island, while Square was months away from unleashing Final Fantasy 7 on the world. It was a meeting of near equals, and while the characters were Nintendo’s, the turf — turn-based role-playing games — was very much Square’s. The developer had the confidence to make its own tastes and personality felt in Mario RPG, in much the same way it later would with the Disney-crossover Kingdom Hearts games, and in a way few external developers working with Mario ever would again (with the recent exception of Ubisoft’s zany-but-cunning Mario + Rabbids games).

    Image: Nintendo

    So Mario RPG features many elements that feel like foreign bodies, even within the hallucinatory, anything-goes world of the Mushroom Kingdom. Square was allowed to create its own characters for the game — including Mallow, Mario’s first companion on his quest, who claims to be a frog but looks like a cross between a cloud and a cauliflower with stripy pants and a purple quiff. There’s a lovely score by the legendary Yoko Shimomura (Kingdom Hearts, Street Fighter 2) that has a lush, nostalgic quality that’s subtly but profoundly different from original Mario composer Koji Kondo’s folksy melodic playfulness.

    It all adds up to a curio: a game that has long felt like it belongs in a parallel dimension. Released just months before the Nintendo 64’s debut, original SNES copies of Super Mario RPG command high prices on the used market, and it has had only basic and sparing reissues from Nintendo since (it didn’t come to Europe at all until the Wii Virtual Console version in 2008). But it was also influential, laying the foundations for Nintendo’s later (and more tonally controlled) Mario RPG series, Paper Mario and Mario & Luigi. It has the same streamlined RPG systems as those games, the rhythmic inputs that add immediacy to the turn-based combat, and a similar, mildly meta sense of humor.

    Mario is squished flat by a Thwomp on some stairs in Super Mario RPG

    Image: Nintendo

    For whatever reason — perhaps a hunger for any and all Mario content in the wake of the Super Mario Bros. Movie phenomenon, perhaps a newfound willingness to take risks with its mascot — Nintendo is now finally ready to give Super Mario RPG its due and integrate it properly with the Mario catalog, via this full Switch remake. It’s strange to encounter this game (for the first time, in my case) in 2023 on Switch, and it’s great that Nintendo, Square Enix, and whoever developed the remake (which remains unclear, but I’ve asked Nintendo for clarification) have so carefully kept its wayward spirit alive.

    The full 3D graphical overhaul retains the original’s bizarre rendered look, wisely refusing to homogenize or standardize the designs, and retaining its off-kilter character even as it smooths out the animations. Shimomura has completely reorchestrated her score, but you can switch to the chiptune originals, if you like. There are some modern creature comforts, like a frequent autosave, but most of Mario RPG’s archaic, 27-year-old design quirks remain intact. That said, on early evidence, Square’s expert simplification of traditional RPG mechanics seems bulletproof — and the game plays very swiftly, considering its age.

    As smart as the new version is, playing Super Mario RPG feels like a portal to another time — or another timeline, perhaps. A timeline where Mario lives in a shack. I’m still not over it.

    Super Mario RPG will be released on Nov. 17.

    Oli Welsh

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  • Solei Brand Debuts Premium CBD, CBN and THC Infused Tea Collection – World News Report – Medical Marijuana Program Connection

    Solei Brand Debuts Premium CBD, CBN and THC Infused Tea Collection – World News Report – Medical Marijuana Program Connection

    Solei’s First Wellness-Focused Tea Collection Includes Peach Ginger, Lavender Chamomile, and Mint, Perfectly Formulated for #ElevationOnYourTerms

    /EIN News/ — TORONTO, May 11, 2023 (GLOBE NEWSWIRE) — Tilray Brands, Inc. (“Tilray” or the “Company”) (Nasdaq: TLRY; TSX: TLRY), a leading global cannabis and consumer packaged goods company, today premiered a new infused tea collection by cannabis wellness brand, Solei, marking the brand’s first cannabis infused drink line.

    Solei’s new tea collection is a wellness-based product line of caffeine-free teas produced with natural ingredients including cane sugar, premium whole-leaf herbal tea, and tasteful aromatic blends of Peach Ginger, Lavender Chamomile, and Mint, featuring an infusion of unique CBD, CBN, and THC formulations to optimize personal self-care routines. Each premium tea blend is micro-dosed for ease of consumption and is ready to steep however desired – hot or cold, sweetened, or unsweetened, and even as a base to tea inspired mocktails.

    Solei Peach Ginger Green Tea is a CBD infused premium whole-leaf tea blend that brings together sweet notes of peach and a zesty kick of ginger that leaves you with an exceptionally well-balanced taste. Each pack contains five biodegradable pyramid tea bag sachets, each infused with 20 mg of CBD and <1mg THC. Now Available in Alberta, Manitoba, Quebec, and Ontario in 5 x 3g packs.

    Solei Lavender Chamomile Tea is a CBD and…

    Original Author Link click here to read complete story..

    MMP News Author

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  • Four behind bars after meth, marijuana found in separate traffic stops – Medical Marijuana Program Connection

    Four behind bars after meth, marijuana found in separate traffic stops – Medical Marijuana Program Connection

    HORTON, Kan. (WIBW) – One man from Kansas and three from South Dakota are behind bars after meth, marijuana and drug paraphernalia were found in two separate traffic stops in Brown Co.

    The Brown Co. Sheriff’s Office says that around 8 p.m. on Thursday, Feb. 23, officials stopped a vehicle in the area of 5th Ave. and W. 15th St. in Horton for a traffic violation.

    During the stop, officials noted that K-9 Carla indicated that drugs had been in the vehicle and an investigation ensued.

    During the investigation, the Sheriff’s Office said about 6 grams of methamphetamine, pipes, baggies, needles, syringes and marijuana were seized as evidence.

    As a result, officials said John Whipple, 23, of Sioux Falls, S.D., Eric Cournoyer, 39, of Wagner, S.D., and Brand Langland, 56, of Sioux Falls, were all arrested. All three were booked into jail on possession of meth, possession of marijuana and possession of drug paraphernalia.

    The Sheriff’s Office noted that Horton Police and Sac and Fox Police both aided in the investigation.

    Then, around 3:15 a.m. on Sunday, Feb. 26, officials said they stopped another vehicle in the area of 250th and Prairie Rd. for a traffic violation.

    During this stop, officials also said meth, marijuana and paraphernalia were found. As a result, Zach Brown, 40, of Highland, was booked into jail on possession of meth, possession of marijuana, possession of drug paraphernalia and a felony warrant for parole violation.

    MMP News Author

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  • USPA Global Licensing’s Molly Robbins is Finalist in License Global’s ‘The Influentials’

    USPA Global Licensing’s Molly Robbins is Finalist in License Global’s ‘The Influentials’

    Nomination Honors Licensing Executives That Have Driven Change in Brand Licensing

    Press Release


    Dec 12, 2022 07:00 EST

    USPA Global Licensing (USPAGL), the exclusive worldwide licensor and company that oversees the U.S. Polo Assn. brand, is pleased to announce the nomination of Molly Robbins, Senior Vice President of Global Licensing and Business Development for USPA Global Licensing, for License Global’s annual feature, ‘The Influentials.’ This nomination honors those who have driven change and made an impact in the business of brand licensing.

    Winners in nine categories were selected by an expert judging panel and voted on by members in the licensing industry at large. The categories from ‘The Influentials’ encompass all scopes of contributions from individuals that are advancing the quality and sophistication of the more than $315 billion licensing business. Robbins was nominated under the category ‘The Brand Builder.’ This recognition highlights her efforts behind U.S. Polo Assn.’s global partnerships that have garnered an increased consumer reach, revenue growth and ongoing licensing opportunities for the brand. She was in good company, alongside peers from influential licensing titans at BarkBox, Accutime, Crayola and Hasbro, to name a few.

    “Congratulations to Molly on her well-deserved nomination as ‘The Brand Builder,’ for License Global’s annual feature, ‘The Influentials.’ Molly’s contributions toward U.S. Polo Assn.’s international expansion plans are critical in our successful growth strategy,” says J. Michael Prince, President and CEO of USPAGL, the company which manages the multi-billion-dollar U.S. Polo Assn. brand.

    The U.S. Polo Assn. brand continues to expand its reach into more than 190 countries worldwide with some 1,200 stores and 40 total brand sites in 17 languages, and in addition, has 7 million social media followers. In 2022, in conjunction with their global partners, U.S. Polo Assn. opened approximately 100 stores, including the first store in São Paulo, Brazil, as well as stores in Morumbi Mall, the Cheshire Oaks Designer Outlet store in London, England and a 6,000 sq. ft. store in Bergen Town Center in Paramus, New Jersey, which is one of our largest stores globally. The multi-billion-dollar U.S. Polo Assn. brand’s authentic connection to the sport of polo has continued to reach consumers and sports fans around the world.

    “I am honored to have received this nomination from License Global, which highlights my leadership position’s work surrounding U.S. Polo Assn.’s growth in both revenue and brand awareness globally,” says Molly Robbins, SVP of Global Licensing and Business Development for the U.S. Polo Assn. brand. “We are always looking for new opportunities to expand into new categories and global markets through our classic, sport-inspired brand.”

    License Global is the licensing industry’s thought leader, and ‘The Influentials’ list highlights the best and brightest within specific categories. For more information, visit licenseglobal.com.

    About U.S. Polo Assn. and USPA Global Licensing Inc. (USPAGL)
    U.S. Polo Assn. is the official brand of the United States Polo Association (USPA), the nonprofit governing body for the sport of polo in the United States and one of the oldest sports governing bodies, having been founded in 1890. With a multi-billion-dollar global footprint and worldwide distribution through some 1,200 U.S. Polo Assn. retail stores and thousands of department stores, as well as sporting goods channels, independent retailers and e-commerce, U.S. Polo Assn. offers apparel for men, women, and children, as well as accessories and footwear in 190 countries worldwide. Today, U.S. Polo Assn. is ranked the 28th largest licensor in the world and within the top five sports licensors, according to License Global’s 2022 list of “Top Global Licensors.” Visit uspoloassnglobal.com.

    USPA Global Licensing Inc. (USPAGL) is the for-profit subsidiary of the USPA and its exclusive worldwide licensor. USPAGL manages the global, multi-billion-dollar U.S. Polo Assn. brand and is the steward of the USPA’s intellectual properties, providing the sport with a long-term source of revenue. Through its subsidiary, Global Polo Entertainment (GPE), USPAGL also manages Global Polo TV, the world’s leading digital platform with polo and lifestyle content. In addition, USPAGL partners with ESPN and beIN Sports globally to share the sport of polo broadcasts on television and on-demand to millions of viewers around the world. For more polo content, visit globalpolo.com.

    Source: USPA Global Licensing Inc.

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  • U.S. Polo Assn. Mourns the Loss of Her Majesty Queen Elizabeth II and Extends Its Sincere Condolences to the Royal Family

    U.S. Polo Assn. Mourns the Loss of Her Majesty Queen Elizabeth II and Extends Its Sincere Condolences to the Royal Family

    Press Release


    Sep 9, 2022

    U.S. Polo Assn., the official brand of the United States Polo Association (USPA), in conjunction with the USPA and its licensing partner in the United Kingdom, Brand Machine Group (BMG), offer our deepest condolences to the entire Royal Family on the tremendous loss of Her Majesty Queen Elizabeth II.

    Her Majesty The Queen lived a life of extraordinary public service and has been an iconic and illuminating figure not just in the United Kingdom but around the world. She will be remembered globally with great affection and respect for her sense of duty and commitment to her role for more than 70 years.

    “U.S. Polo Assn. has been extremely fortunate to have worked with The Palace in supporting the Royal Family with their philanthropic efforts over the years,” said J. Michael Prince, President and CEO of USPA Global Licensing. “Partnering with both The Duke of Cambridge, HRH Prince William and The Duke of Sussex, Prince Harry to carry on the Queen’s philanthropic legacy through the spirit of polo has been, and will continue to be an honor and a privilege.”

    The sport of polo has been part of the Royal Family’s history dating back many generations.

    “The USPA is saddened to learn of the passing of Her Majesty Queen Elizabeth II and we extend our most sincere condolences to The Royal Family,” notes Stewart Armstrong, Chairman of the United States Polo Association (USPA). “Her Majesty’s impact is both far reaching and immense. It has always been an honor to partner with The Palace on its philanthropic mission, through polo tournaments in the U.K. and the U.S., which benefit so many deserving charities.”

    Her Majesty Queen Elizabeth II was just 25 years old when she inherited the throne. She was 27 when she had her coronation ceremony, with 27 million people tuning in to the momentous occasion just in the U.K.

    “Alongside the people of the U.K. and the Commonwealth, Brand Machine Group mourns the death of Her Majesty The Queen,” added Boo Jalil, CEO of U.K.-based Brand Machine Group (BMG). “Her leadership and sacrifice to duty has been unprecedented, and we thank her for her more than 70 years of service to our country.”

    ### 

    For Further Information, Contact: 

    Stacey Kovalsky – Senior Director, Global Communications, USPA Global Licensing
    Phone +001.561.790.8036 – Email: skovalsky@uspagl.com

    Gina DiGregorio | Head of Marketing, Brand Machine Group
    Phone: +44 (0) 1992 538 003| Email: gina.digregorio@brandmachinegroup.com

    Source: USPA Global Licensing Inc.

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  • Global City Lab Releases ‘2019 Global Top 500 Cities’

    Global City Lab Releases ‘2019 Global Top 500 Cities’

    New York, London and Tokyo are the top three. The United States and China have 66 and 37 cities on the list, respectively.

    Press Release



    updated: Dec 26, 2019

    ​Can a city be branded? Can the value of a city’s brand be measured? An analysis report, compiled by Global City Lab, of the Global Top 500 Cities was released in New York on Dec. 26, 2019. Accordingly, New York is stated as the world’s most valuable city, with a brand value of 2.20 trillion dollars. Furthermore, London and Tokyo ranked second and third, with brand values of 2.02 trillion dollars and 1.91 trillion dollars, respectively. Cities with brand values over 1 trillion dollars include Paris, Los Angeles and Sydney, while Hong Kong has a brand value of 783.63 billion dollars, ranking ninth in the world and first in China.

    A city’s brand is not only a valuable resource of a city but also a driving force for city development, in that the brand value of a city directly affects the flow of capital, information, commodity and talent into the city. A clear city brand strategy can enhance the city’s standing and strengthen its cohesion. Global City Lab is the world’s first professional institution engaged in the evaluation of city brand value, calculating for major cities in each country based on the analysis of six dimensions: economy, culture, governance, environment, talent and reputation. Global City Lab releases the analysis report of “2019 Global Top 500 Cities” every year. ​

    The competition among cities is primarily among their customers. The flow of investors, tourists, international students and professionals always affects the development of a city. In this study, Global City Lab adopted a customer-based brand valuation approach, emphasizing the equity of the city brand relationship and customers’ recognition of the city. The threshold for the list of the top 500 global city brands in 2019 is 19.22 billion dollars. There are six cities with brands exceeding 1 trillion US dollars, 18 with 500 billion–1 trillion US dollars and 164 with 100–500 billion US dollars. More than 60% of city brands are worth less than 100 billion US dollars.

    The 2019 Global Top 500 Cities are distributed across six continents, in which Europe, Asia and North America account for more than 80% of the list. Europe ranks first with 177 cities, followed by Asia with 151 cities, while North America ranks third with 96 cities. With fewer countries in the continent, Oceania has only 19 cities on the list, ranking last. 

    City brands are also a symbol of national power. The 2019 Global Top 500 Cities are distributed in 124 countries, among which the United States ranks first with 66 cities and China ranks second with 37 cities; the aforementioned occupy 20% of the list. Moreover, Japan ranks third with 25 cities on the list, while the United Kingdom, India and Germany rank fourth to sixth. As one of the countries with the world’s largest territory, Russia has only 10 cities on the list. In comparison, as the largest developing country, China not only has the top 20 international metropolises such as Hong Kong, Shanghai and Beijing, but also comprehensively developed second-tier international cities such as Shenzhen, Guangzhou, Taipei and Suzhou, demonstrating its strong momentum of development.

    How to build a city brand? First, the city must be able to tell a story, which needs recognition from local residents, that is, to find out the common language, common impression and common memory to build a consensus. As the chief researcher at Global City Lab, Dr. Xiaoyang Wang from Oxford University said that, city brand is one of the most important intangible assets and is the embodiment of a city’s core competitiveness. Brand building can promote the sustainable development of urban economies. In the era of globalization and information technology, the promotion of a city brand becomes unprecedentedly critical. Building a city brand makes the city possess the characteristics of heterogeneity in the media and the public and highlights the advantages of the city itself during the fierce competition. The construction of a city brand should be a crucial task afforded by urban governance and policymakers.

    City leaders have recognized the importance of a city to build a competitive international brand. As such, urban branding is becoming a very promising public management tool. Global City Lab is a specialized urban research, consulting and evaluation agency based in New York. As a new urban think tank, the mission of the Global City Lab is to provide comprehensive urban expert network services to cities, enterprises and non-profit organizations around the world, especially to provide clients with industry-wide and cross-sector assistance, covering topics from planning, housing, environmental, finance and branding to public policy.

    Source: Global City Lab

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  • Ashby & Graff® Real Estate Releases ‘Holding Hands, Holding Dreams’ Video to Support Pride Month and LGBTQ Community

    Ashby & Graff® Real Estate Releases ‘Holding Hands, Holding Dreams’ Video to Support Pride Month and LGBTQ Community

    Press Release



    updated: Jun 4, 2019

    ​To support LGBTQ Pride Month, Ashby & Graff® Real Estate is raising awareness around diversity and inclusion with the release of its “Holding Hands, Holding Dreams” video that highlights the familiar feelings of thrill that come with first holding hands and first seeing the perfect home for sale. (Watch the video: https://bit.ly/2XkWa7a)​

    The video promotes Ashby & Graff’s belief that its strength comes from a diversity of people, thoughts and ideas. Emphasizing and connecting the joy of holding hands with the joy of finding that perfect home delivers a message that relates to all people.

    However, despite the similar emotions experienced during hand holding, the effects of doing so publicly as an LGBTQ person are anything but similar to members of the majority. Hand holding by LGBTQ people can cause ridicule and in over 1/2 the states in the country, denial of housing or jobs because of failure to include LGBTQ people in anti-discrimination statutes. A recent study found same-sex couples are denied mortgages 73 percent more frequently than opposite-sex couples of similar financial worthiness. A separate study by Freddie Mac and the National Association of Gay & Lesbian Real Estate Professionals found 46 percent of LGBT renters fear discrimination in the home buying process.

    John Graff, CEO of Ashby & Graff Real Estate, stated, “In 2019 – 50 years after the uprising at Stonewall – the LGBTQ community has taken incredible strides toward true equality but there is still progress to be made. We celebrate the gains but recommit to fighting for a better and more equal future on behalf of our employees, clients and their families.”

    Graff continued, “At Ashby & Graff, we embrace and value our differences because it is diversity of thought that strengthens us. Diversity and inclusion aren’t just a corporate policy, they are the fibers that weave the durable fabric of our organization. We are proud to celebrate diversity and the contributions of the LGBTQ community during Pride Month and throughout the entire year.”

    About Ashby & Graff® Real Estate: 

    Ashby & Graff Real Estate is among the fastest-growing independent real estate brokerages in the United States. With agents across Southern California, Ashby & Graff services clients of all budgets, lifestyles and backgrounds. Ashby & Graff is part of the Graff Real Estate Inc. brand collection.

    www.ashbygraff.com

    www.graffre.com​​

    For more information, contact:

    John Graff, CEO
    Ashby & Graff Real Estate
    info@ashbygraff.com
    310-856-9153 ext. 502

    Source: Ashby & Graff® Real Estate

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