If you are looking to expand your workforce, don't let years of experience or training stand in the way of potential rockstar candidates. Photo: Getty Images
For many businesses hiring and finding the right talent is a huge undertaking, and with the competition in the marketplace it has become ever increasingly difficult to find the right fit for your company both from a technical standpoint and a company culture fit. That coupled with the great resignation and many employees looking to retire it can leave you short staffed and stressed. But thankfully, there is a new generation of employees that are graduated and looking for work: Zoomers. Now generation Z or Zoomers as they are called, bring some exciting new things to the table that you really want to consider for your own workforce. Here are the top three reasons that I think are important to look at the younger generation of candidates. They Understand the Digital Landscape. Candidates new to the workforce may lack formal experience in many business software platforms, but as a generation that grew up with iPads, cell phones and personal computers, technology is an inherent skill set for younger candidates. They understand the ins and outs of software and are able to pick up new platforms with ease. They all used technology in their college courses, and are comfortable using email and various project management tools. They may prove invaluable in helping pick platforms for your growing business by keeping up with trends and the newest software developments on the market. When interviewing a younger candidate ask them what platforms they have worked with in the past and look for similarities in your own software lineup. For instance if a candidate is skilled in one design program, they can likely operate others with ease once they are given the opportunity to learn. They Will Help Strengthen Your Company Culture. Younger workers often value work-life balance, open communication channels and value-centric leadership and will seek out opportunities for such in their careers. If this is something that is important to you as a leader and a business owner, Zoomers will not only seek out positions with your company but will help strengthen your culture by holding themselves to the same values. There is an opportunity to put younger workers in HR and management positions as they will help uphold the culture and help create value within the business. They Are Independent. Workers that value technology and work life balance also tend to be more independent in their work habits. They are creative and able to research and solve their own problems (thanks to their innate ability to Google). Which means that managing them is a breeze. Give them the tools to do their job well and the ability to have a good work-life balance and you will have a happy employee that creates value for your business. If you are looking to expand your workforce, don't let years of experience or training stand in the way of potential rock star candidates. With the right coaching and training, the younger workers entering the workforce might be just what your business needs to reach their goals even faster. May 4, 2022

3 Reasons to Hire a Zoomer Employee

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04/28/2022 | 05:16pm EDT
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TORONTO, April  28, 2022  (GLOBE NEWSWIRE) -- ZoomerMedia Limited (TSXV:ZUM) (the “Company”), the leader in serving the interests of the 45+ “Zoomer” market in Canada, today announced its financial results for the second quarter ended February 28, 2022. Consolidated Results
For the six months ended February 28, 2022 the Company generated revenues of $26.8 million, operating expenses of $21.0 million and Adjusted EBITDA of $5.8 million. Net income for the same period was $3.6 million. For the comparative six months ended February 28, 2021 the Company had revenues of $25.4 million, operating expenses of $18.6 million and Adjusted EBITDA of $6.8 million. Net income for the six months was $3.4 million. EBITDA and Adjusted EBITDA are non-IFRS earnings measures which do not have any standardized meaning prescribed by IFRS and therefore may not be comparable to EBITDA or Adjusted EBITDA presented by other companies. EBITDA represents earnings before interest expense, income taxes, depreciation and amortization. Adjusted EBITDA excludes the gain on sale of property and the unrealized gain or loss on equity instruments. These measures are important to management since they are used by potential investors to evaluate the Company’s operating performance and ability to incur and service debt, and as a valuation metric. Investors are cautioned that this non-IFRS financial measure should not be construed as an alternative to other measures of financial performance calculated in accordance with IFRS. Additional Information
Detailed financial information and Management’s Discussion and Analysis for the six months ended February 28, 2022 can be found on SEDAR’s website at www.sedar.com . The financial information included in this release is qualified in its entirety and should be read together with the interim consolidated financial statements for the six months ended February 28, 2022, including the notes thereto. About ZoomerMedia Limited
ZoomerMedia Limited (the “Company” or “ZoomerMedia”) is a multimedia company that serves the 45plus “Zoomer” demographic through television, radio, magazine, internet, conferences and trade shows. ZoomerMedia’s television properties include; Vision TV, a multi-cultural, multi-faith, family friendly specialty television service; ONE TV, offering fitness, healthy living and entertainment programs; JoyTV in Vancouver, Victoria, Surrey and the Fraser Valley, and FAITH TV in Winnipeg, both devoted to broadcasting Christian and local programming; and TVL Channel 5, a linear television channel guide available to Rogers households in Ontario and New Brunswick. ZoomerMedia’s radio properties include CFMZ-FM Toronto - The New Classical 96.3FM, CFMX-FM Cobourg - The New Classical 103.1FM, CFMO-FM Collingwood - The New Classical 102.9FM, Canada’s only commercial classical music radio stations serving the Greater Toronto Area (GTA), eastern Ontario and Collingwood, CFZMAM 740 Toronto and CFZM-FM 96.7FM Toronto - Zoomer Radio, Toronto’s “Timeless Hits” station. ZoomerMedia also publishes ZOOMER Magazine, the Company's flagship magazine that caters to the 45 plus market, On The Bay Magazine, a regional lifestyle magazine published quarterly for the 20 towns and villages of Southern Georgian Bay, Ontario, as well as Tonic Magazine ("Tonic"), a regional health and wellness magazine published every two months and distributed across the City of Toronto. ZoomerMedia’s online properties include www.EverythingZoomer.com , Canada’s leading provider of online content targeting the 45 plus age group, and the newly acquired www.blogto.com , the premier news and entertainment website catering to the interest of the Greater Toronto Region. ZoomerMedia has trade show and conference divisions that produce the ZoomerShows, annual consumer shows directed to the Zoomer demographic and ideaCity, an annual Canadian conference also known as 'Canada's Premiere Meeting of the Minds'. Cautionary note on forward looking statements
The TSX Venture Exchange does not accept responsibility for the adequacy or accuracy of this release. No stock exchange, securities commission or other regulatory authority has approved or disapproved the information contained herein. Certain statements made in this report are ‘forward-looking statements’ which may include, without limitation, any statement that may predict, forecast, indicate or imply future results, performance or achievements, and may contain the words ‘believe’, ‘anticipate’, ‘expect’, ‘estimate’, ‘project’, ‘will be’, ‘will continue’, ‘will likely result’ or similar words or phrases. Forward-looking statements involve risks and uncertainties, which may cause actual results to differ materially from the forward-looking statements. The risks and uncertainties are detailed from time to time in filings by ZoomerMedia Limited with provincial securities commissions. New risk factors emerge from time to time and it is not possible for management to predict all such risk factors, nor can it assess the impact of all such risk factors on the Company’s business or the extent to which any factor, or combination of factors, may cause actual results to differ materially from those contained in any forward-looking statements. Such risks, uncertainties and other factors include, but are not limited to, the following:
the risks inherent in magazine publishing;
the risks inherent in the operation of Internet media properties;
the risks inherent in the operation of television broadcast properties;
the risks inherent in the operation of radio broadcast properties;
the risks inherent in the operations of affinity partners with respect to royalty revenue;
the risks inherent in the operation of consumer shows generally,
the competition within the media industry for the baby boomer generation’s business;
the risks associated with governmental regulation of the publishing, internet, radio broadcasting and television broadcasting businesses;
the results of legal claims made by or against the Company;
the dependence of the business on the continuing operation of its computer systems;
the dependence of the business on key personnel; and
the emergence of public health crisis and emergencies, such as Covid-19
Given these risks, and uncertainties, investors should not place undue reliance on forward-looking statements as a prediction of actual results. ZoomerMedia Limited does not intend and does not assume any obligation to update these forward-looking statements. For further information, please contact:
Terence Chan

ZoomerMedia Limited Announces Second Quarter 2021-22 Financial Results

Toronto, Ontario, CANADA
TORONTO, April  28, 2022  (GLOBE NEWSWIRE) -- ZoomerMedia Limited (TSXV:ZUM) (the “Company”), the leader in serving the interests of the 45+ “Zoomer” market in Canada, today announced its financial results for the second quarter ended February 28, 2022. Consolidated Results
For the six months ended February 28, 2022 the Company generated revenues of $26.8 million, operating expenses of $21.0 million and Adjusted EBITDA of $5.8 million. Net income for the same period was $3.6 million. For the comparative six months ended February 28, 2021 the Company had revenues of $25.4 million, operating expenses of $18.6 million and Adjusted EBITDA of $6.8 million. Net income for the six months was $3.4 million. EBITDA and Adjusted EBITDA are non-IFRS earnings measures which do not have any standardized meaning prescribed by IFRS and therefore may not be comparable to EBITDA or Adjusted EBITDA presented by other companies. EBITDA represents earnings before interest expense, income taxes, depreciation and amortization. Adjusted EBITDA excludes the gain on sale of property and the unrealized gain or loss on equity instruments. These measures are important to management since they are used by potential investors to evaluate the Company’s operating performance and ability to incur and service debt, and as a valuation metric. Investors are cautioned that this non-IFRS financial measure should not be construed as an alternative to other measures of financial performance calculated in accordance with IFRS. Additional Information
Detailed financial information and Management’s Discussion and Analysis for the six months ended February 28, 2022 can be found on SEDAR’s website at www.sedar.com . The financial information included in this release is qualified in its entirety and should be read together with the interim consolidated financial statements for the six months ended February 28, 2022, including the notes thereto. About ZoomerMedia Limited
ZoomerMedia Limited (the “Company” or “ZoomerMedia”) is a multimedia company that serves the 45plus “Zoomer” demographic through television, radio, magazine, internet, conferences and trade shows. ZoomerMedia’s television properties include; Vision TV, a multi-cultural, multi-faith, family friendly specialty television service; ONE TV, offering fitness, healthy living and entertainment programs; JoyTV in Vancouver, Victoria, Surrey and the Fraser Valley, and FAITH TV in Winnipeg, both devoted to broadcasting Christian and local programming; and TVL Channel 5, a linear television channel guide available to Rogers households in Ontario and New Brunswick. ZoomerMedia’s radio properties include CFMZ-FM Toronto - The New Classical 96.3FM, CFMX-FM Cobourg - The New Classical 103.1FM, CFMO-FM Collingwood - The New Classical 102.9FM, Canada’s only commercial classical music radio stations serving the Greater Toronto Area (GTA), eastern Ontario and Collingwood, CFZMAM 740 Toronto and CFZM-FM 96.7FM Toronto - Zoomer Radio, Toronto’s “Timeless Hits” station. ZoomerMedia also publishes ZOOMER Magazine, the Company's flagship magazine that caters to the 45 plus market, On The Bay Magazine, a regional lifestyle magazine published quarterly for the 20 towns and villages of Southern Georgian Bay, Ontario, as well as Tonic Magazine ("Tonic"), a regional health and wellness magazine published every two months and distributed across the City of Toronto. ZoomerMedia’s online properties include www.EverythingZoomer.com , Canada’s leading provider of online content targeting the 45 plus age group, and the newly acquired www.blogto.com , the premier news and entertainment website catering to the interest of the Greater Toronto Region. ZoomerMedia has trade show and conference divisions that produce the ZoomerShows, annual consumer shows directed to the Zoomer demographic and ideaCity, an annual Canadian conference also known as 'Canada's Premiere Meeting of the Minds'. Cautionary note on forward looking statements
The TSX Venture Exchange does not accept responsibility for the adequacy or accuracy of this release. No stock exchange, securities commission or other regulatory authority has approved or disapproved the information contained herein. Certain statements made in this report are ‘forward-looking statements’ which may include, without limitation, any statement that may predict, forecast, indicate or imply future results, performance or achievements, and may contain the words ‘believe’, ‘anticipate’, ‘expect’, ‘estimate’, ‘project’, ‘will be’, ‘will continue’, ‘will likely result’ or similar words or phrases. Forward-looking statements involve risks and uncertainties, which may cause actual results to differ materially from the forward-looking statements. The risks and uncertainties are detailed from time to time in filings by ZoomerMedia Limited with provincial securities commissions. New risk factors emerge from time to time and it is not possible for management to predict all such risk factors, nor can it assess the impact of all such risk factors on the Company’s business or the extent to which any factor, or combination of factors, may cause actual results to differ materially from those contained in any forward-looking statements. Such risks, uncertainties and other factors include, but are not limited to, the following:
the risks inherent in magazine publishing;
the risks inherent in the operation of Internet media properties;
the risks inherent in the operation of television broadcast properties;
the risks inherent in the operation of radio broadcast properties;
the risks inherent in the operations of affinity partners with respect to royalty revenue;
the risks inherent in the operation of consumer shows generally,
the competition within the media industry for the baby boomer generation’s business;
the risks associated with governmental regulation of the publishing, internet, radio broadcasting and television broadcasting businesses;
the results of legal claims made by or against the Company;
the dependence of the business on the continuing operation of its computer systems;
the dependence of the business on key personnel; and
the emergence of public health crisis and emergencies, such as Covid-19
Given these risks, and uncertainties, investors should not place undue reliance on forward-looking statements as a prediction of actual results. ZoomerMedia Limited does not intend and does not assume any obligation to update these forward-looking statements. For further information, please contact:
Terence Chan

Social media has become a viable alternative to live gigging as a route to comedy stardom. But can viral success ever be a true substitute for hard graft on the circuit? Nigel Ng: ‘Every time I get hate on the internet it’s an opportunity to market myself.’ Photograph: Linda Blacker
Nigel Ng: ‘Every time I get hate on the internet it’s an opportunity to market myself.’ Photograph: Linda Blacker
Lara Olszowska
Thu 21 Apr 2022 09.00 EDT
“You know, I think I might be famous in Pakistan,” says standup comedian Finlay Christie. In 2019, Christie became the youngest winner of So You Think You’re Funny? and now, at just 22, is honing OK Zoomer , his first hour-long set ahead of the Edinburgh festival fringe. But people in Pakistan don’t know Christie through his award-winning standup, and that’s not how I came across him either. I first saw his sketches on TikTok , the social media platform that has become a shop window for British comedians, and where he’s racked up 174k followers and counting. Sign up to our Inside Saturday newsletter for an exclusive behind-the-scenes look at the making of the magazine’s biggest features, as well as a curated list of our weekly highlights. Content on the platform primarily takes the form of 15- to 60-second videos: hardly enough time to deliver a proper routine, but more than enough for a video sending up everything from the corniness of 90s sitcoms to the emetic tone British ads adopted in the pandemic. (“For all the zeros and NHS heroes – Britain, here’s one for you.”) This simple formula bears little relation to traditional standup comedy, but it has worked wonders for Christie: “My videos spread to other platforms without me knowing,” he says. “One got posted on Reddit, and Al Jazeera got in touch asking if they could show it.”
Finlay Christie: ‘Stuff on stage has to be punchline-heavy … videos can be generally amusing.’ Photograph: Rebecca Need-Menear
TikTok began as a boredom cure for the young comic. “I just got addicted to the app,” he says. “At one point I was spending eight hours a day on it.” It quickly became an outlet for his old standup ideas and a space where he could exercise total creative control. “The best stuff is all online, because it doesn’t have to be OKed by loads of different people,” says Christie. “Stuff on stage has to be punchline-heavy; the laughs have to be in an obvious place, whereas videos can be generally amusing.” OK Zoomer examines his generation and, in his own words, “why everyone seems so depressed and nihilistic all the time”. “Why wouldn’t we be?” he says. “We grew up accepting the world is fucked.” One 19-year-old fan’s reaction to the show says it all: “People think we’re all snowflakes. Finlay proves that we’re not.”
Herein lies the distinction between the two comedy worlds. On one side, the traditional storyteller, leading the audience to a punchline. On the other, the young creatives behind a ring light making relatable videos packed with references to internet memes, pop culture and their inner anxieties. Before comedy went online, its natural home was the open-mic night or smoke-filled club. Success would mean a tour or Edinburgh fringe show, and then, if you truly made it, arena tours and TV. But social media has disrupted the industry, allowing audiences to preview comics in 15-second increments or 280-character musings before ever seeing their routines. And TikTok is the real gamechanger, with acts going from the phone screen to TV screen without having to hone their act on the circuit. For Samantha Baines, the live environment was ‘overwhelming, draining and stressful’. Photograph: Steve Best
This shift has provoked a mixed response from established comics and industry experts. “If you write a sitcom, or have three comedy specials, or do a tour, you have more substance, in my opinion,” says Duncan Hayes, executive producer at United Agents. Historically, comedians won these coveted commissions by proving their acts worked on the road, which meant at least two years of regular gigging and often a lot more. This often had a homogenising effect; riskier bits can be more trouble than they’re worth and the live environment can be hostile towards certain acts, particularly women and people of colour. For comedian and podcast host Samantha Baines, 34, not only is gigging “an expensive hobby” until you make it, but the live environment “got a bit scary”, given all the late finishes to shows and travelling solo around the country to perform. When she was offered a lift home from one show, it was in exchange for sitting on a male comic’s lap. When she won a comedy competition in an otherwise all-male lineup, the organiser joked it was “because of her big tits”. Post-Covid, Baines has retreated from doing standup and now hosts The Divorce Social podcast . “I did feel like even a few years before the pandemic I’d have to put my comedy armour on before a gig,” she recalls. Baines is deaf in one ear, and the live environment became “overwhelming, draining and stressful” for her. Subtitling is the norm on TikTok and Instagram reels, making the online environment far more attractive to the deaf community, in contrast to the lack of British Sign Language and captioning at live events, not to mention the number of venues still without accessible entrances. Ania Magliano: ‘social media comedy isn’t less valid or less challenging.’ Photograph: Matt Stronge
By amplifying new voices, TikTok is helping to foster a generation of comics who are not only more diverse but also more emotionally revealing, reflecting the influence of confessional online content. Like Christie, standup Ania Magliano, 24, found TikTok in the pandemic and has used it to grow her audience. Her Edinburgh show, Absolutely No Worries If Not , “is about family, being bisexual, and who I am, rather than a comment on society”, she says. “I think a lot of comedy is about perspective, and these are perspectives we haven’t heard on stage before. This isn’t the woke brigade saying we need one of everyone on every lineup – it’s just better comedy.” She acknowledges there are those in the industry who are dismissive towards comics who are “content creators first and then start doing comedy”, but she doesn’t think “social media comedy is less valid or less challenging”. However, not everyone in the industry shares this sentiment. Writing in the Spectator , seasoned comedian Geoff Norcott, 45, argued that “on Twitter, rewards are given for pithy humour and clear thinking. On TikTok, credit goes to someone nodding their head in time with their cockapoo.” Standup comic and GB News contributor Simon Evans, 56, is similarly sceptical. “It’s not actually been good for standup comedy,” he says. “I think there might be the capacity for some degree of confusion, or for people to be slightly deceived thinking this guy is a great comedian on TikTok and then it turns out the hour-long show isn’t the greatest.”
Whether TikTok is a positive force in the industry is a matter of taste. But for an individual’s career there’s no question of its growing importance. No one understands this better than Nigel Ng , 31, who, after 10 years in comedy, “blew up in July 2020” after posting his first video in the character of Uncle Roger. This cantankerous caricature of a man is “who I would have become if I never left Malaysia”, says Ng. Uncle Roger’s cutting criticism of western attempts to cook Asian cuisine catapulted Ng into TikTok superstardom. “I’m fortunate enough to play to bigger rooms now,” he says, “and also perform in many more places around the world.” He is currently on his first international tour, the Haiyaa World Tour, having sold out venues throughout the UK, the US, Europe, Asia, Australia and New Zealand. Yet Ng is not one to rest on his laurels. “A fun little goal I have would be to sell out Madison Square Garden because the initials spell out MSG, the Asian cooking ingredient. Imagine that – Uncle Roger selling out MSG. “In this day and age, you can’t do just standup any more,” Ng says. For him, performing live and posting online go hand in hand, because “as a standup you go into content creation with very thick skin already”. In fact, he welcomes online hate. “Every time I get hate on the internet, it’s an opportunity to market myself. We work in the economy of attention, so that’s what our currency is.”
The only thing worse than an onslaught of negative comments for a video, he suggests, would be to receive none at all. “[If you’re] bombing on stage people can boo you and you still have to do your time. What’s the worst on the internet? The thumbs down button?”
Ultimately, performing live and producing content are almost entirely separate arenas, overlapping only in the simple fact that the goal remains the same: to make people laugh, and to help people forget about their lives for the length of a joke or routine. And yet no amount of online praise will ever beat the real thing. “A laugh is worth 10,000 likes!” says Ng. Given that he has more than 40m on TikTok alone, it’s hard to argue with that. Topics

‘A laugh is worth 10,000 likes’: the TikTok hopefuls trying to make it big in comedy

The Atlantic
Plus: Fox News in Spanish and violent octopus slums
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This is an edition of Up for Debate, a newsletter by Conor Friedersdorf. On Wednesdays, he rounds up timely conversations and solicits reader responses to one thought-provoking question. Soon after, he publishes some thoughtful replies. Sign up for the newsletter here. Question of the Week
What worries you most about the direction of the country? And/or what makes you most optimistic about its future? Email your thoughts to conor@theatlantic.com . I’ll publish a selection of correspondence in an upcoming newsletter. Conversations of Note
Shanghai is under severe lockdown, and its residents are suffering from food shortages as China continues to pursue its “zero COVID” policy in the world’s third most populous city. In the Los Angeles Times, Liam Gowing, who teaches English in Shanghai, paints a dire portrait of life there, where fear is palpable amid near-daily mandatory COVID testing. Residents aren’t scared of the virus, but they dread the strategy that is being used to combat its spread, “implemented by placing anyone who tests positive, regardless of their condition, in centralized quarantine facilities.”
Before the government changed the policy that separated COVID-positive children from their negative-testing parents, some families developed a tactic of their household using a single toothbrush to share germs, to prevent being split apart. On social media, locals shared videos of various residents crying out in anguish over the lockdowns, demanding food, calling for “freedom.”
… The majority of us are leading surreal lives, prisoners in our own homes. We awaken at 5:59 and jam our thumbs on the grocery delivery app Meituan trying to place orders before the day’s offerings disappear. Unable to find basic provisions, we spend our mornings awaiting sporadic handouts of frozen meats and vegetables. Or we resort to online buying cooperatives, soliciting essential drinking water or splurging on $26 watermelons from those individuals who somehow manage to acquire passes that allow them out of lockdown. We spend our evenings checking the startlingly accurate COVID Distribution Map app, watching the red dots that indicate positive cases proliferate around us. And yet, as the case numbers continue outpacing the government’s ability to cope , authorities double down on the empty promise of “zero COVID.”
In the Financial Times, Robin Harding argues that the West is at risk of missing the significance of what is happening in the city, and the economic consequences it might hold for us:
One of the biggest inflationary shocks to hit the world economy in the early days of the pandemic was supply chain disruption caused by shipping delays at ports. Shanghai is the biggest port in the world. Although its terminals are working in a “closed loop” bubble—where staff have no contact with the outside world—there are problems with logistics across the region, so vessels have begun to queue up in the waters offshore as they wait to load or unload. Factories across Asia will have to wait for components. Europe and the US will feel the disruption with a time lag of some weeks or months. That will manifest itself as an inflationary shock at a moment when western economies already have too many others to deal with, from the jump in commodity prices caused by the war in Ukraine to their own labour market disruptions after the pandemic. Explaining teenage depression
The share of American high schoolers who report “persistent feelings of sadness or hopelessness” has spiked over the past decade, Derek Thompson observes, citing new data from the CDC. Why are Americans witnessing “the highest level of teenage sadness ever recorded”? The more overwhelming the world feels to parents, the more they may try to bubble-wrap their kids with accommodations. Over time, this protective parenting style deprives children of the emotional resilience they need to handle the world’s stresses. Childhood becomes more insular: Time spent with friends, driving, dating, and working summer jobs all decline. … Outwardly, teens are growing up slower; but online, they’re growing up faster. The Internet exposes teenagers not only to supportive friendships but also to bullying, threats, despairing conversations about mental health, and a slurry of unsolvable global problems—a carnival of negativity. Social media places in every teen’s pocket a quantified battle royal for scarce popularity that can displace hours of sleep and makes many teens, especially girls, feel worse about their body and life. Amplify these existing trends with a global pandemic and an unprecedented period of social isolation, and suddenly, the remarkable rise of teenage sadness doesn’t feel all that mysterious, does it? Ethan Strauss takes on the perhaps related matter of depression in elite Zoomer athletes, some of whom are rich, famous, and doing what they love for a living, yet are still unhappy. His working hypothesis :
The premise, in not just journalism but all kinds of professional-class settings, is that group sympathy at scale is some magical elixir. Dismissal of grievance is the opposite, a poison that must be viciously opposed … The therapeutic language has been going strong in these spaces, and, to quote one television psychologist, “ How’s that working for us? ”
The Zoomer athletes appear no more happy for the large-scale sensitivity to their pain. We, the media, might just be enablers of unhealthy behavior, most especially when we’re trying to promote “mental health” through celebrity avatars. We eat up nearly every celebration of their narcissism, and encourage solipsism like it’s the path to enlightenment. So we get what we incentivize: Athletes who talk a lot about their sadness in between LARPing as righteous revolutionaries. And yet I still feel horribly for the athletes, but most of all their non-celebrity generational brethren. They’ve all come of age in a narcissism trap, using devices that were designed to be highly addictive, powerful contraptions that stoke obsessive inward focus. At least old-school television was about other people. The IG scroll is about you, either explicitly or implicitly. For most people, the self is a road to hell. A Spanish-language conservative radio station
At UnHerd, Alex Perez writes about Americano, “America’s first Spanish-language conservative radio station,” which launched recently in Miami under CEO Ivan Garcia-Hidalgo, who thinks America’s Republican-trending Hispanics will eagerly tune in to a “Fox News in Spanish.”
Perez’s analysis:
It’s tempting for a network, or a Republican politician, based in Miami to focus on the concerns of Cuban-Americans—they, and the Mexican-Americans along the Rio Grande Valley, are the two Hispanic demographics usually cited when pundits speak of the rightward shift. But if the Right strictly focuses its efforts on the interests of these groups—which sometimes, but not always, dovetail—their rhetoric will be far too insular to reach a broad-based Hispanic coalition. In my recent listens to Americano’s programming, it’s clear that the station is in Miami, but not of Miami, which bodes well for its future prospects. Instead of placing too much emphasis on a single Hispanic group, Americano is melding “America first” Trumpian Republicanism with the socially conservative elements that have traditionally appealed to disparate Hispanic demographics. For instance, on the night I caught the 8pm show “Entre Nosotras”, the three female presenters were joined by a former officer from the Phoenix PD to discuss the border crisis and the attendant drug scourge precipitated by President Biden’s porous border policy … Trump-like takes on immigration—which are very popular with Hispanics—and the machinegun-like, emotionally charged delivery of the presenters will appeal to old-school talk radio veterans.

China’s Lockdowns Matter to the West

GrubHub Seamless

Penn State University

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Various Inc.

Product Hunt

Paddy Power

Three Screen Games

IBM Research

406 startup failure post-mortems

Hardware and software for restaurant management, bookings, staffing, mobile restaurant payments, inventory management, cloud kitchens, and more. On-demand food delivery services are excluded from this collection.

Restaurant Tech

Zoomer is a technology and logistics startup focused on helping high volume delivery restaurants wow their customers and grow their business.

Date	Round	Amount	Investors	Revenue	Sources
2/2/2017	Asset Sale		EatStreet	0 FY undefined	1
1/27/2017	Dead		Subscribe to see more	0 FY undefined	10
8/28/2014	Seed - II		Subscribe to see more	0 FY undefined	0
7/2/2014	Seed VC		Subscribe to see more	0 FY undefined	10
7/2/2014	Seed	$99M	Subscribe to see more	0 FY undefined	10

Date	2/2/2017	1/27/2017	8/28/2014	7/2/2014	7/2/2014
Round	Asset Sale	Dead	Seed - II	Seed VC	Seed
Amount					$99M
Investors	EatStreet	Subscribe to see more	Subscribe to see more	Subscribe to see more	Subscribe to see more
Valuation
Revenue	0 FY undefined	0 FY undefined	0 FY undefined	0 FY undefined	0 FY undefined
Sources	1	10	0	10	10

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