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Eliminating The Barriers To Telehealth & Patient Retention
During the ongoing national pandemic, healthcare is in a period of rapid evolution, bringing telehealth to the forefront of patient care. Telehealth is a proven strategy to improve health outcomes, but it’s gated behind socioeconomic privilege and leaves behind many of our community’s most vulnerable patients. One such disparity is the inability of many Americans to access digital health care. This silent epidemic affects lives daily. Many patients, especially those in rural communities, face obstacles when trying to get the care they need. From access to reliable transportation and affordable child care to financial instability and lack of culturally competent providers, there is no shortage of hurdles standing in the way of disadvantaged populations accessing quality care. Well-implemented telehealth services can offer a clear path through these common barriers to care while improving health outcomes and boosting patient retention. “We know that mobile health intervention is an effective tool for retaining patients in care, but it’s only as effective as it is accessible,” said Richard Walsh, our CEO. “It would be negligent to assume that every individual has access to the devices, internet, or knowledge necessary to engage in telemedicine.” Like other leaders in the industry, we know telehealth is a privilege, but at Continuud, we believe it should be a right.” As Nathan Walsh, our CXO, said, “During a public health crisis such as this, we have to be proactive in ensuring that underserved communities have access to the care that they need in every way possible.” Through our research and conversations with community health leaders, we have identified 4 common barriers to telehealth success: access to video-ready phones or tablets, access to a reliable & affordable internet connection, an understanding of how to use the device to access services, and trust in technology being used for health services. Our solution is to create a platform that not only solves these problems but also enhances the patient experience and drives the best possible outcome of telehealth intervention. Our platform, Access, provides 8-inch tablets with an unlimited data connection to patients. Each device ships with a secured environment and limited functionality customized by the health care provider to include the tools that patients need to access care. We have created a simple deployment and warehousing solution to make it easy for organizations to get started quickly. Our end-to-end deployment and recall services handle every aspect of the platform so organizations can remain focused on serving their patients. The platform supports patient-by-patient interface customizations, so each patient’s experience is tailored to their unique treatment plan. We have device insurance and same-day replacement built into the program to account for loss, theft, and damaged devices, so organizations will always have access to the inventory they need to serve their clients. At Continuud, we offer an integrated ecosystem designed from the ground up to enable health care providers to work more efficiently toward a common goal of driving positive health outcomes in their communities. Continuud is known throughout Indiana for our innovative approach to connecting high-risk populations to care and implementing strategic technology to help retain and learn from patients so providers can evolve with the needs of their patients. To learn more about our platform, click here to visit our homepage. If you would like to schedule a demo with our team to talk about the platform in greater detail, click here.
A selection of 30 films celebrating the past 20 years of Japanese cinema streams online throughout the U.S. on Japan Society’s virtual cinema, including films by Hirokazu Kore-eda, Naomi Kawase and Takashi Miike Plus, online U.S. premieres of Sion Sono’s Red Post on Escher Street and Yukiko Mishima’s Shape of Red, a special focus on Kiyoshi Kurosawa and a selection of breakout films by up-and-coming filmmakers Red Post on Escher Street © 2021 “Red Post on Escher Street” Film Partners Japan Society and the Agency for Cultural Affairs, Government of Japan (ACA), in collaboration with the Visual Industry Promotion Organization (VIPO), announce the inaugural ACA Cinema Project online film series 21st Century Japan: Films from 2001-2020, streaming nationwide on Japan Society’s Virtual Cinema from February 5-25, 2021. As Japan’s film industry enters the third decade of the new millennium, this 30-film online series takes a look back at the last 20 years of Japanese cinema to celebrate some of the most remarkable narrative fiction films and filmmakers that define the era. Covering a wide range of production styles and genres—from small budget independent debuts to festival favorites and award-winning major studio releases—this diverse slate of feature and short films offers a guided tour of modern Japanese cinema, including special spotlights dedicated to the work of Kiyoshi Kurosawa and a selection of breakout films by up-and-coming filmmakers. A large majority of the films included are streaming in the U.S. exclusively on Japan Society’s Virtual Cinema. Series highlights include the online U.S. Premiere of Red Post on Escher Street, the latest film by cult favorite director Sion Sono (Love Exposure, 2009)—a comically reflexive, wildly unhinged, return-to-roots feature about a talented young director undergoing the production of a new film. Red Post on Escher Street is co-presented with Grasshopper Film, who will screen the title in tandem with Japan Society as part of the newly launched Projectr Movie Club from February 5-18. In addition, director Yukiko Mishima’s female-driven romantic drama Shape of Red makes its online U.S. premiere—a steamy tearjerker about a tenuous love affair adapted from the novel by Naoki Prize-winning author Rio Shimamoto featuring popular stars Kaho and Satoshi Tsumabuki. Billed as “Special Screenings,” these titles are planned to include pre-recorded video Q&As with the respective film’s director. Other highlights include harder-to-see gems by some of Japan’s most internationally prominent filmmakers, including: Hirokazu Kore-eda’s 2009 Doona Bae-starring fantasy drama Air Doll; Naomi Kawase’s 2014 Cannes competition title and self-proclaimed masterpiece Still the Water; Takashi Miike’s 2005 family-friendly monster adventure film The Great Yokai War; Shinya Tsukamoto’s 2015 adaptation of Shohei Ooka’s famous anti-war novel Fires on the Plain; trailblazing gay director Ryosuke Hashiguchi’s 2001 LGBT-themed comedic drama Hush!; and the award-winning 2006 murder mystery drama Sway by Miwa Nishikawa, whose latest film Under the Open Sky (2020) premiered at the Toronto International Film Festival. “While it’s impossible to really capture the last two decades of Japanese narrative fiction filmmaking in its full breadth, we are excited to share at least the tip of the iceberg for these three weeks in February,” says K. F. Watanabe, Deputy Director of Film at Japan Society. “Online or otherwise, a large majority of these titles remain unavailable to watch with English subtitles in the U.S., so I hope this series provides an opportunity to create new fans of filmmakers such as Naoko Ogigami or Shuichi Okita and expand any preconceptions of what modern Japanese cinema can offer.” Katsura Toda, Senior Specialist for Arts and Culture at the Agency for Cultural Affairs, says, “The ACA Cinema Project was launched with the hope of sharing the diverse appeal of Japanese films to audiences around the world and to create more opportunities for these films to be seen. We are pleased to present U.S. audiences with the works of a great variety of directors—including well-established masters, filmmakers with distinctive voices and rising stars of the 21st century—and hope that many people will be able to encounter Japanese films in a fresh way.” $99 All-Access Passes with a 21-day rental window go on sale January 29 through February 4. $8 individual tickets with a 3-day rental window go on sale February 5. Individual tickets for Red Post on Escher Street and Shape of Red are $12. Japan Society members receive a 20% discount on all tickets via coupon code. All films screen online at japancuts.japansociety.org in Japanese with English subtitles unless otherwise noted. All titles available within the U.S. from February 5-25 unless sold out or otherwise noted. Titles also available beyond the U.S. are noted below. Lineup and other details are subject to change. For complete information visit japansociety.org. View the full film line-up here. Screeners available for most titles. Please send all press inquiries to Michael Lieberman at pr.lieberman@gmail.com. For inquiries regarding Japan Society and its Virtual Cinema, please contact Allison Rodman at arodman@japansociety.org.
Best-selling author Peter Singer talks with the Brunswick Review about winning the increasingly crowded and contentious war for attention What do Isis and Taylor Swift have in common? According to author and digital-security strategist Peter Singer, both the terrorist organization and pop star are fighting for your attention online and employing similar tactics to try and win it. ISIS kicked off its 2014 invasion of Mosul with the hashtag, “#AllEyesonISIS.” More recently, the terror group posted photos of its members holding cute cats in an effort to make them more relatable – tactics familiar to most celebrities and online marketers around the world. These online battles, the rules governing them, and their real-world impact are the focus of Mr. Singer’s latest book, LikeWar, which he coauthored with Emerson T. Brooking, at the time a research fellow with the Council of Foreign Relations. “A generation ago people talked about the emergence of cyber war, the hacking of networks. A ‘LikeWar’ is the flip side: the hacking of people and ideas on those networks. Power in this conflict is the command of attention,” says Mr. Singer, who in addition to his writing is also a strategist and Senior Fellow at the New America Foundation. Pretty much everyone who posts online – from governments to marketers to reality TV stars – is a combatant in this fight for virality, according to Mr. Singer. Triumph in a “LikeWar” and you command attention to your product or propaganda or personality. Lose and you cede control of the spotlight and the agenda. Mr. Singer recently spoke with Brunswick’s Siobhan Gorman about the trends he’s seeing in LikeWars around the world, and what companies can do to avoid being on the losing end. What were you most surprised by in researching LikeWar? One of the more interesting characters in the book was at one time voted TV’s greatest villain: Spencer Pratt, a reality TV star on MTV’s “The Hills.” He’s basically one of these people who became famous almost for nothing. But what Pratt figured out really early was the power of narrative, which allowed him to become famous through, as he put it, “manipulating the media.” In the same week, I interviewed both Pratt and the person at the US State Department who’s in charge of the US government’s efforts to battle ISIS online. And Pratt, this California bro who’s talking about how to manipulate the media to get attention, understood more of what was playing out online than the person at the State Department. Spencer Pratt, a reality TV star… understood more of what was playing out online than the person at the State Department.” How much have online conflicts changed the rules in the last few years? First, the internet has left adolescence. It’s only just now starting to flex its muscles and deal with some of its responsibilities. The structure of the network changes how these battles play out. So, it’s this contest of both psychological but also algorithmic manipulation. What you see go across your screen on social media is not always decided by you. The rule makers of this global fight are a handful of Silicon Valley engineers. Another aspect of it is that social media has effectively rendered secrets of any consequence almost impossible to keep. As one CIA person put it to us, “secrets now come with a half-life.” Virality matters more than veracity; the truth doesn’t always win out. In fact, the truth can be buried underneath a sea of lies and likes. And the last part is that we’re all part of it. All of our decisions as individuals shape which side gets attention, and therefore which side wins out. But you highlight that this is playing out differently in China. Exactly. There are two different models shaping the internet, and shaping people’s behavior through the internet, playing out in the West and in China. Essentially, internet activity in China is all combined. Look at WeChat, which is used for everything from social media to mobile payment; it’s Amazon meets Facebook meets Pizza Hut delivery. And you combine that with an authoritarian government that’s had a multi-decade plan for building out surveillance, and you get the social credit system, which is like Orwellian surveillance crossed with marketing. The social credit system allows both companies and the government to mine and combine all the different points of information that an online citizen in China reveals of themselves, and then use that to create a single score – think of it as your financial credit score of your “trustworthiness.” For example, if you buy diapers your score goes up, because that indicates you’re a parent and a good parent. If you play video games for longer than an hour your score goes down because you’re wasting time online. And it’s all networked. Your friends and family know your score. It creates a soft form of collective censorship; if your brother posts something that’s critical of the government, you’re the one who goes to him and says, “Knock it off ’cause you’re hurting my score.” And you do that because the score has real consequences. Already it’s being used for everything from seating on trains and job applications to online dating. Your score literally shapes your romantic prospects. So, you have this massive global competition between Chinese tech companies and other global tech companies not only for access to markets, but also for whose vision of the internet is going to win out. How can companies win a “LikeWar”? Everyone’s wondering: What are the best ways to drive your message out there and have it triumph over others? The best companies I’ve seen create a narrative, have a story and have emotion – in particular, they have emotion that provokes a reaction of some kind. It’s all about planned authenticity. That sounds like a contradiction, but it’s about acting in ways that are genuine, but are also tailored because you’re aware that the world is watching you. A good comparison here is Wendy’s versus Hillary Clinton. Wendy’s is a hamburger chain – not a real person – but it acts and comes across as “authentic” online and has developed a massive following. They’re funny, irreverent. Yet Hillary Clinton – a very real person – never felt very authentic in her online messaging. And that’s because it involved a large number of people – by one account, 11 different people – all weighing in on what should be tweeted out. Inundation and experimentation are also key. Throwing not just one message out there, but massive amounts of them. Treating each message as both a kind of weapon, but also an experiment that allows you to then learn, refine, do it again, do it again, do it again. How do you measure and gauge battles online now? Is it just volume? It all depends on what your battle is, what your end goal is. Is it driving sales? Is it getting people to vote for you, to show up to your conference? This is what the US gets wrong about Russian propaganda and its disinformation campaigns. We think they’re designed to make people love or trust a government. From its very start back in the 1920s, the goal of propaganda coming from the Soviet Union, and today Russia, has been instead to make you distrust – distrust everything, disbelieve everything. And we can see it’s been incredibly effective for them. First, we need to recognize that we’re a part of the battle. In fact, we’re a target of most of the battles. How effective have disinformation campaigns actually been in the US? What can be done? One of the scariest and maybe saddest things we discovered is that the US is now the story that other nations point to as the example of what you don’t want to have happen. There’s no silver bullet, of course. But one example was something called the Active Measures Working Group, a Cold War organization that brought together the intelligence community, diplomats and communicators to identify incoming KGB disinformation campaigns and then develop responses to them. We’re dealing with the modern, way more effective online version of something similar, and we haven’t got anything like that. There are also digital literacy programs. I find it stunning that the US supports education programs to help citizens and kids in Ukraine learn about what to do and how to think about online disinformation, but we don’t do that for our own students. What can people like you or me do? First, we need to recognize that we’re a part of the battle. In fact, we’re a target of most of the battles. And we need to better understand how the platforms work that we use all the time. A majority of people actually still don’t understand how social media companies make money. The other is to seek out the truth. How do we do that? And the best way is to remember the ancient parable of the blind man and the elephant – don’t just rely on one source, pull from multiple different sources. That’s been proven in a series of academic studies as the best way to find the facts online. It’s not exactly new, but it’s effective. Where will the next online war be fought? The cell phone in your pocket, or if we’re being futuristic, the augmented reality glasses that you wear as you walk down the street. It’ll come from the keepsake videos that you play on them. If you want to know what comes next in the internet there have always been two places to go: university research labs and the porn industry. That’s been the case with webcams, chat rooms and so on. What we’re seeing playing out now are called “deep fakes,” which use artificial intelligence to create hyper-realistic videos and images. There’s also “madcoms,” which are hyper-realistic chat bots that make it seem like you’re talking to another person online. Combine the two, and the voices, the images, the information that we’ll increasingly see online might be fake, but hyper-realistic. The tools that militaries and tech companies are using to fight back against the AI-created deep fakes are other AI. So, the future of online conflict looks like it’ll be two AIs battling back and forth. Let me give you a historic parallel, because we’ve been dealing with these issues for a very long time. The first newspaper came when a German printer figured out a way to monetize his press’s downtime by publishing a weekly collection of news and advice. And in publishing the first newspaper, he created an entire industry, a new profession that sold information itself. And it created a market for something that had never before existed – but in creating that market, truth has often fallen by the wayside. One of the very first newspapers in America about a century later was called the New England Courant. It published a series of letters by a woman named Mrs. Silence Do-good. The actual writer of the letters was a 16-year-old apprentice at the newspaper named Benjamin Franklin, making him the founding father of fake news in America. In some sense it’s always been there, using deception and marketing to persuade people to your view.
Why posting to multiple channels drives virality of online videos
Back in the summer of 2012, South Korean pop star Psy released a music video on YouTube. Running at just under four minutes, “Gangnam Style” rapidly became a global sensation. Within just two months of its release, the video was attracting a daily average of nine million viewers. In late September, Guinness World Records confirmed it to be the “most liked” video on YouTube. By December it had become the first piece of content on the platform to garner more than one billion views. As of 2020, the Gangnam Style video has been seen by more than 3.7 billion people around the world. Pys’s official YouTube channel has around 14.1 million followers—a significant user base. But even assuming that each one of these followers had watched the video several times and shared it with others, it still doesn’t account for the sheer volume of views the video has racked up over time. So what’s going on? What is behind the super virality of Gangnam Style and other pieces of content that, like it, appear to defy the rules of probability on the social web? Rajiv Garg, associate professor of information systems & operations management at Emory’s Goizueta Business School, has put a new hypothesis to the test. And he’s found that there’s a clear link between virality and what he calls the “spillover effect” of posting content onto multiple platforms at specific times. “We know that when celebrities and popular figures post videos, there’s likely to be a strong response from their follower base, depending on the content. But over time, user consumption reaches a saturation point—the novelty simply wears off. And this happens around 10 days after a video is posted,” Garg said. “Yet some videos just keep on going, getting successive waves of views on the same platform in quantities that eclipse the follower base. We hypothesized that this is affected by launching on different sites and platforms, but we really wanted to understand the mechanisms behind this and figure out why this activity was occurring on the original platform as well as others—as in the Gangnam case.” Together with Vijay Mahajan (McCombs, UT Austin) and Haris Krijestorac (HEC Paris), Garg looked at the diffusion patterns for viral content on the social web. First analysis confirmed that content sharing by users was the chief primary driver of virality; indeed, views typically increased after a video would appear on a second or third platform. But this didn’t explain why those views were growing back on the original platform too. In fact, the finding ran contrary to the established view that platforms compete for content—that posting to one platform leeches user views from another. “The reasoning until now has been that social platforms cannibalize content. In other words, when you post Gangnam Style onto Vimeo, you’ll get fewer views on YouTube as a result,” Garg said. “Users will move to the other platform and watch it there instead.” But in fact, the opposite was happening. Intrigued, Garg and his coauthors deployed synthetic control—a comparative statistics methodology—to test the causal effects of sharing content to one platform versus posting it to multiple sites. This methodology involved posting 381 viral videos on 26 video-hosting sites. In addition, they ran a randomized field experiment with 30 videos that were randomly seeded onto new platforms at random times. The results across both methods were consistent. Users who were finding the videos once they had been posted to a second (or third, or fourth) platform were still sending viewers to the original platform to view the content. And viewers were coming in droves. “What seems to be happening is that content is going viral as it’s consumed on the original platform—YouTube, say—and then shared to other channels. Here, on the second channel—Vimeo, Daily Motion or others—these videos reach new audiences,” explained Garg. “But for whatever reason, once they’ve discovered the video, many of these new users prefer to go to the original channel and watch it there. And this is happening consistently and in highly significant numbers of users.” This spillover effect could be due to a number of things, says Garg. It could be that for certain audiences, content is simply more readily discoverable on certain platforms—but that these platforms are not the first choice in viewing preferences. It could also be that the content is visible to users but not viewable on the second platform. “Say Gangnam Style is seen on YouTube by a viewer and shared. It then appears on Vimeo, and a second user discovers it; but maybe this user doesn’t like Vimeo or perhaps Vimeo isn’t available in their region or country. What happens then?” noted Garg. “The simple answer is that these new users end up Googling Gangnam Style and find it on YouTube—the original platform. The novelty and virality of the first wave of users has died down, but this new wave of users comes in, creating a spillover effect that boosts the popularity of the video all over again.” Looking again at the results of their analyses, Garg and his colleagues were able to determine that the spillover effect is strongest immediately after a video is introduced onto a secondary platform, as well as at the 18- and 42-day marks. “We analyzed the effect of introducing a video onto a new platform on the increase in views it generates on the original platform over time,” said Garg. “It appears the spillover mechanism is strongest during the first week but experiences spikes later on. In the long-run, we were able to generate twice as many views back on the original platform as we would otherwise have expected. So the effect really is huge.” It is also limited, however. The researchers found diminishing impact in posting content to a succession of different platforms. By the time the video is shared to a fourth or fifth platform, Garg and his coauthors saw no returns. The findings are nonetheless hugely significant for content creators, he says. “We’ve seen that content shared on different platforms sends users back to the original, and that debunks the idea that online channels cannibalize each other’s content,” Garg noted. “And we’re able to say with precision that this effect is strongest during the first week with later spikes, suggesting these may be the best times to introduce content onto new platforms.” Content creators looking to ‘viralize’ their material would do well to take a strategic, omni-channel approach based on these insights, says Garg. Multi-platform sharing is an effective way of spreading word of mouth content and reaching new audience bases—and not just nationally, he stresses. “The effect is not limited to borders or languages. Savvy content creators can create their first ripple on a YouTube or Vimeo and, as the views start falling off, go on to propagate to a second or third channel, including foreign ones,” he said. “The spillover effect is just the same. Staging and staggering your content this way, you reach completely new audiences, many of whom will spill over onto your original platform.” If you are a journalist looking to cover this topic – then let our experts help with your story. Rajiv Garg from Emory’s Goizueta Business School is available to speak with media – simply click on his icon now to arrange an interview today.
October is Disability Awareness Month - contact a UMW expert if you are covering
One in four Americans lives with a disability, according to the Centers for Disease Control and Prevention. At the University of Mary Washington, it’s one in eight. “With those sorts of numbers, it’s mind-boggling [that] disability doesn’t have more automatic inclusion when people think about diversity,” said UMW Professor of English Chris Foss. As the Americans with Disabilities Act’s 30th year and October’s Disability Awareness Month shine a light on one of the country’s most underrepresented groups, so does a new UMW course. Offered for the first time this fall, Intro to Disability Studies (IDS) delves into the 21st-century experience of a diverse population, exploring cognitive, sensory, mobility and other differences as just as essential to the human condition as gender and race. The 16-week course fans out across disciplines, examining disability throughout the lifespan in historical, political, social and other contexts. Years in the making, the class is team-taught by faculty and staff – from art history, education, English, historic preservation, psychology and the Office of Disability Resources (ODR) – who’ve poured their time and passion into the topic in hopes it gains traction. “It took a lot of meetings, discussion and work on Google Docs to pull this together,” said Professor of Art History Julia DeLancey, who borrows from her first-year seminar, “The Beauty Difference Gives Us,” to deliver an IDS session on how disabilities affect artists’ work. If you are a journalist looking to cover Disability Awareness Month and the Americans with Disabilities Act’s 30th year, then let the experts from the University of Mary Washington help with your story. Dr. Julia DeLancey and Dr. Chris Foss are available to speak with media about this important topic – simply click on either icon to arrange an interview today.
As the persistent turmoil of protests grips America on an almost daily basis, people are becoming more aware of issues, getting engaged and taking sides. Be it around the dinner table debating, marching in the streets or even arguing on a national news panel – topics like Black Lives Matter, masks during COVID, the upcoming election or a host of other hot-topic issues are all part of the American conversation these days. It’s easy and even healthy for people to debate the issues – but for a business to pick a side on a controversial topic, it’s a much different picture. One recent example was Nike’s support of NFL quarterback Colin Kaepernick. However, Nike also had the resources to bolster their support. They had a multi-million-dollar ad budget, a public relations machine generating hours of earned media – and the company was, for the most part playing to its core audience. Though there was push-back, Nike was rewarded with increased sales and its stock surged. For almost a decade now, Chick-fil-A has also boldly taken a stance with its opinion on gay marriage. The restaurant chain has faced mountains of negative press and protests, but the fast-food giant’s bottom lined never suffered. It still sees sales over 10 billion a year. For Nike and Chik-Fil-A and their deep pockets to wade into the fray with an opinion – it’s one thing, but for a small business to share how it feels, there’s a matter of weighing risk versus reward no matter how important the topic might be. “It may well be that it’s harder for entrepreneurs to create a viable business model for their venture in a more polarized context, says Giacomo Negro, a Professor of Organization & Management at Emory University’s Goizueta Business School. “If your business is more hybrid—if you’re supportive of a cause without being overtly affiliated with it—then it could be harder to engage other customers or clients who are uncomfortable doing business with a firm that is even vaguely linked to a specific social group or movement. Similarly, the core supporters of the cause can look at the same organization as not authentically engaged with them.” His findings certainly suggest that existing in a “gray zone,” where you take neither one side or the other, is a hard place for organizations to thrive in times of social change. “If protest activates the cultural boundary surrounding a group’s identity, then increasing protest participation will threaten the viability of precisely those organizations trying to engage inside and outside audiences,” Negro said. “At the same time, bridging inside and outside audiences also conveys a confusing identity and a more limited commitment to pursuing goals relevant to either audience.” With a global pandemic impacting all aspects of national and local economies – small businesses are under pressure to sustain and survive like never before. And if you are a journalist looking to cover the state of small businesses in America and whether or not small business has a role to play in protests and politics in America – then let our experts help with your coverage. Giacomo Negro is a Professor of Organization & Management at Emory University’s Goizueta Business School and is an expert in the area of economic sociology. His resent research study research study, “Which Side Are You On? The Divergent Effects of Protest Participation on Organizations Affiliated with Identity Groups’ focuses on this very subject. Professor Negro is available to speak with media about this topic – simply click on his icon to arrange an interview today.
STORY: The CAA School Safety Patrol team receives international award for their work
Scoring top marks in the category of Communications/PR Campaign of the Year, for Events and Observances, CAA School Safety Patrol ® team was awarded the Gold Stevie Award in the 17th Annual Business Awards for their work on CAA School Safety Patrol 90th Anniversary Campaign. The team worked on campaign elements like, alumni videos, a vest redesign, a choreographed dance called ‘The 45’ Dance and an float entry into the Toronto Santa Claus Parade. The award recognizes the achievements and positive contributions of organizations and working professionals worldwide. This year, the winners were chosen from a pool of over 3,800 nominations from 63 nations and territories. Some quotes from the judges on our entry: "All activities promoting the 90th anniversary reached perfectly their targets and especially the dancing must have leveraged the activities to something cool and awesome – just as kids said… Great ideas, at the same time simple and engaging! Great job." "Impressive and innovative campaign, very interesting!" "Most thrilling and engaging anniversary celebrations for an extremely important cause - safety of the school going kids. Thoroughly enjoyed the videos." The CAA School Safety Patrol program was developed to protect, educate and empower elementary school children on safe road-crossing practices. Along with CAA, the police, school boards, teachers, busing consortia, parents, and approximately 20,000 dedicated student volunteers give their time to ensure road crossings and school buses remain safe for young Ontarians. Approximately 900 schools in Ontario participate in the CAA School Safety Patrol program and works with over 50 partners to help deliver the program. For more information, visit https://www.caaschoolsafetypatrol.com/.
As a Black wildlife conservationist and field biologist devoted to the study of birds, Corina Newsome, a graduate student at Georgia Southern University, has long been confronted with the lack of diversity in the natural sciences. However, earlier this year, social media became a powerful interface for Newsome and a group of fellow Black scientists around the country, who discovered one another online and quickly formed a camaraderie. “We all met on Twitter,” Newsome explained. “I happened upon a tweet or post and I’m like, ‘Is that a Black person?’ Turns out they’re a Black scientist in herpetology or ornithology or whatever, so I immediately connected with them and said, ‘Hey, can we just know each other?’” Soon after, a video of a racially motivated confrontation in Central Park recorded by science editor and avid birder Christian Cooper went viral, and the network of 30 scientists banded to launch Black Birders Week on May 31. The group of virtual events, coordinated with hashtags like #BlackInNature, #AskABlackBirder and #BirdingWhileBlack, celebrated Black birders and naturalists from around the globe while pushing for inclusion and safe spaces in the outdoors. “For far too long, Black people in the United States have been shown that outdoor exploration activities, such as birding, are not for us,” Newsome stated in a video posted on social media to announce the weeklong initiative’s kickoff. “Well, we’ve decided to change that narrative. A group of Black birders, explorers and scientists got together to start the first-ever Black Birders Week. Help us to show the world, especially the next generation of young, Black birders and nature enthusiasts, that we exist, that they are welcome and that this space belongs to them, too.” The response was monumental as a multitude of Black scientists and naturalists shared their favorite birds, nature shots and professional settings online. “Black Birders Week showed us we are not actually alone,” said Newsome. “It created a community of Black people around the world. Just being on my phone and seeing a Black family outside or a Black professor somewhere teaching ornithology, people doing the thing that I do, encourages me. That makes me feel like it is possible to do well.” Newsome quickly became one of the recognizable faces of Black Birders Week and was featured in The New Yorker, Washington Post, National Geographic and NPR, among other media outlets. She also participated in a virtual roundtable discussion hosted by the National Audubon Society and included Cooper and fellow Georgia Southern student Alex Troutman. Online responses from the organization’s 1.4 million Facebook followers were largely optimistic, however there was some backlash. “We got comments from people saying we are creating division by talking about this,” Newsome said. “The division was already there. Now you know about it, and you’re uncomfortable. But we’ve been uncomfortable.” Such candor has especially captured the attention of students. “The most overwhelming, positive responses have been from young, Black people in college or pre-college who are interested in the sciences, messaging me or emailing me and saying, ‘It’s meant so much to see you doing your work,’” she said. Newsome noted that multiple wildlife and government agencies have also reached out, demonstrating that they are in the process of making structural changes within their organizations to expand diversity efforts. “Seeing these things actually materialize has been mind-blowing, and again, that’s because of the work of the group, the collective work of this movement,” she said. “I think that the one really encouraging element of that has been them choosing to use their platform to amplify our voices at the expense of losing some of their constituents.” While Newsome’s passion, “the thing that lights a fire under me constantly,” can be found at the intersection of wildlife conservation and human rights, birds continue to be her feathered muses. “They weigh sometimes a fraction of an ounce,” she said. “They are so physically fragile, yet they make some of the most physically intense migrations on the globe, from the tip of North America to the tip of South America. Birds as tiny as a hummingbird that weigh a tenth of an ounce fly over the Gulf of Mexico nonstop for over 18 hours. Just think of how much they’re accomplishing, even though they are easily one of the most fragile creatures on the planet. It feels oxymoronic, but it’s real. “Birds remind me that things that seem impossible happen.” If you are journalist and would like to know more about this particular story simply reach out to Georgia Southern Director of Communications Jennifer Wise at jwise@georgiasouthern.edu to arrange an interview today.
Canadian's Digital Behavioral Shifts in Relation to the The Coronavirus Pandemic
This article is part of a series of insights that reveal a Canadian perspective on the impact of the COVID-19 pandemic on consumer behavior and significant audience shifts across digital platforms. Things are moving fast. Following our last update regarding digital media consumption during the Coronavirus pandemic, this article will highlight some of the major category changes reflected as of the week March 16 - 22, 2020. Key Insights from Our Analysis Digital consumption continues to grow: the visits and minutes curve is not flattening Key content categories such as news, social media, and government are being driven by higher engagement: metrics include visits and duration More engagement with news sites: sites categorized as local, business/finance, and general news are main drivers Categories that focus on entertaining, kids, food, financial advice, and children’s education are also seeing growth: growth comes from increases in aggregate unique visitors, visits and minutes Automotive manufacturers, real estate, sports and travel entities have seen decreases: however, they are poised for major increases and a bounce back. Mobile platforms are driving growth: some differences between desktop and mobile engagement Canadian's total digital consumption continues to grow When we analyzed Canadian total digital media consumption to compare the percentage change between the week of March 16, 2020 and the first weeks of January 2020, February 2020, and March 2020, we found that overall digital engagement is not flattening. Even comparing the beginning of March against mid-March, we can see visitation, visits, and engagement continuing to grow. Looking at the total digital consumption trend over time, we can see growth in total minutes spent online while total visits have remained relatively flat. Media Consumption Growth by Category There are several content categories that we are seeing major growth in each of the time periods: These digital categories of news/information, social media, entertainment, government and games are showing continuous growth. The need for ongoing news and information updates, government information, flocking to social media to bring community together and message, and the need to be entertained with visitation and engagement on Entertainment and Games Entities. News and Information Category Insights To look at the news/information category a bit closer – it is amazing to see the category growth over the past few weeks of Canadians going to news entities to get updates. The hockey stick growth from the start of March 2020 is very evident. The news and information growth is being driven by local news, general news, and business/finance news. That being said – technology, politics, and weather are also seeing growth. Through these time periods, we are also seeing some other categories that are showing significant growth. Many of the categories are a result of many Canadians being home bound and isolated, and with families with kids having the kids at home. Platform Variance for Media Consumption One of the areas that we have been asked most about is whether we find any variances between desktop and mobile platforms. When reviewing the data, there is greater engagement with mobile platforms in the week of March 16 compared to other weeks. Amidst the global COVID-19 pandemic, we are seeing a significant increase in digital consumption amongst Canadian consumers. The data trends show Canadians are flocking online with significant growth in news entities, instant messaging, social media, government resources, entertainment, music destinations, video, and financial websites. What this means for marketers and advertisers is a significant opportunity to reach Canadians who are highly engaged and are looking for relevant and timely content. It comes down to delivering the right message, at the right time, in front of the right audience, in brand safe environments.
Maintaining intimacy in your relationship while in COVID quarantine
Whether you’re social distancing, in quarantine, or in lock down like I am here in Barcelona, I have been thinking about how we can all keep up our intimate relationships with ourselves and our partners during this time. It’s important for us to try to find joy and satisfaction in our daily routines (indoors). So I have put together an intimacy guide to help us all get through this period – whether you’re single, a couple living together or part of a couple living apart there should be something to help you. For the couples living together I can assure you that Netflix & Chill will get boring pretty quickly, so work your way through this list and keep the intimacy spark alive while you’re both stuck indoors. 1. Take a shower together and have some good, clean fun in the bathroom. 2. Cuddle through it. We’re all for social distancing but if you live with your partner, now is not the time to stop cuddling. 3. Sleep in different beds. Sometimes its good to have time apart and a good night’s sleep in separate beds. It can make it even more special when you do actually share a bed together. 4. Give each other massages with some natural oils. 5. Watch some adult movies together and maybe act out some of the moves after. For couples living apart I know it must be tough if you’re living apart and you can’t see each other due to quarantine, but thanks to technology there are lots of ways you can remain intimate with your partner, no matter the distance. 1. Send nudes! Need I say more? And while you’re at it you can send some intimate texts telling your partner exactly what you’d like to be doing if you were together. 2. Video call and enjoy being in each other’s company. 4. Write a list of all the intimate things you want to try together after quarantine. 5. Do the test to find out your love languages and learn about each other’s. 6. Ask each other the infamous 36 questions that lead to love. 7. Send each other love letters (via email if you can’t post!) For single (or self-partnered) people Now is the perfect time to fall even more in love with yourself… 1. Please, repeat after me: Don’t text your ex! Now is not the time to overthink your beak-ups and send a message to your ex. 2. Explore your body and re-discover your pleasures. Touch new parts of your body and find new erogenous zones. 3. Write a bucket list of all of the things you want to try alone. 4. Have a date night with yourself. Cook yourself a nice meal, listen to music, drink wine, massage your feet and write a list of all of the things that you love about yourself!
