Hour 1 - 3
Hour 1 - George Salinas (Architect) on architecture in Silicon Valley; how crypto's might make it in that space
Hour 2 - Karen Kwiatkowski (Retired U.S. Air Force Lieutenant Colonel) on what's going on with N Korea, Russia, Middle East and are we in danger of going to war
Hour 3 - Adam Kokesh (Author; Activist) on OPERATION BIG EASY BOOK BOMB
CALL IN TO SHOW: 602-264-2800
|Feature Article • Global Edition
Declare Your Independence APP now on Google Play
Listen to any recent show of "Declare Your Independence" at the click of a button!
March 16th, 2018
Declare Your Independence with Ernest Hancock
on LRN.FM / Monday - Friday
9 a.m. - Noon (EST)
Studio Line: 602-264-2800
George Salinas is a true architect.
He relocated from London to lead a team of architects on the new Apple headquarters in Cupertino, California.
He has worked in Bahrain, China, Kazakistan, Argentina, UK and the US, now residing in San Francisco. He is passionate about exquisite detailing and how materials come together. He digs big buildings, bold gestures, and salsa moves. George is an old gold and silver enthusiast and gave up stocks a long time ago.
Link of recent work with Foster + Partners
IN THE LOOP
Jony Ive on Apple's new HQ and the disappearing iPhone
PHOTOGRAPHY: MARK MAHANEY
INTERVIEW: NICK COMPTON
The glass fins provide shade from the Californian sun. Foster + Partners and Apple's design team considered fabric and fibreglass fins before settling on the final design
Anticipation was higher than usual – and it always runs to feverish – when the press and other interested parties made their way to California's Silicon Valley last September for the latest Apple keynote presentation. The most titanic of the valley's tech titans was due to unveil its most significant update to the iPhone since its launch, ten years previous. In that time the iPhone has upended industries and transformed how we do just about everything. The update was a big deal. But most of the golden ticket holders were as excited about where they were as what they were about to see.
Apple's chief design officer Jony Ive in the brand's new HQ, with a glimpse of the 175-acre Apple Park in the background. Employees can get around it on one of 2,000 custom-built bicycles, painted a particular Apple grey
This was the first up-close mass sighting of the most talked-about new building in the world, a $5bn, or so it's said, Foster + Partners-designed loop of glass, aluminium, limestone and concrete and Apple's new HQ. Guests worked their way up an artificial hill, part of 175 acres of undulating new landscape where once was dead-flat parking facility and dull corporate sheds, most of it owned by Hewlett-Packard. This engineered topography, a fantasy of California, gentle and abundant, was borne of the earth removed to make way for the new building's earthquake-proof foundations, and has been planted with 9,000 trees, including cherry, apricot, apple, persimmon and pear.
All those trees, as was the intention, mean that the 2.8 million sq ft new building never fully reveals itself. You see only sections and its giant curve is never apparent. Nor, given the elevation, are two of its four storeys. Drones have buzzed over this site during much of its construction, and of course there were renders. Still, nothing prepares you for its audacious mass. Or its sci-fi drama. It is, as was promised, a giant starship landed in Cupertino.
The keynote is taking place in the new Steve Jobs Theater, itself a small marvel of engineering, ingenuity and attention to detail. 'If the overall project is a small town, then this is the town hall, and jewel,' says Stefan Behling, a Foster + Partners partner and one of the lead architects on Apple Park. Above ground, the theatre is essentially a 165ft-diameter glass rotunda with no visible support. 'In the beginning there was just this idea: "Let's have a hovering roof", just this sliver of roof floating in the landscape,' says Behling. 'And it has been the most difficult building of my career.'
A network of 44 conduits, carrying electricity, data and sprinkler systems, is housed in three-quarter-inch strips of aluminium in-between the theatre's glass surrounds. The carbon-fibre roof, tested, built and unbuilt in Dubai, was made the same way you make the hulls of racing yachts and weighs just 80 tons. 'This is the first time in the history of mankind that this has been done,' says Behling. 'It's the biggest carbon-fibre roof of its kind in the world. If you are serious about achieving something like this, and making it look effortless, you have to go all out. And that does mean doing something that has never been done before.'
The staircase in the Steve Jobs Theater with its recessed handrail
Behling's excitement and pride in the theatre and its big brother are palpable and genuine. But he is quick to acknowledge that at every stage this was a collaborative project. 'Everything in this theatre, every detail, everything you see around you, is a totally integrated collaboration with Jony Ive [Apple's chief design officer] and his design studio. Over the last nine years, we have become almost one. We talk together all the time, sit and sketch. This is not a Foster + Partners building.'
From the open space above ground, you descend to the auditorium on a curving limestone staircase with a carved, recessed handrail on one side and a gently angular stone slab on the other. 'This whole space should feel carved and it is a carved handrail in a carved space,' Behling says. (Something like the recessed handrail appears in the redesign of Apple's Regent Street store in London, and Behling says that other ideas and details from the theatre and main building are filtering out into more Foster + Partners-designed Apple flagship stores.) The 1,000-seat auditorium itself boasts Poltrona Frau light-tan leather chairs, curved wooden floorboards and as much space behind stage as in front of it. It is built to display whatever Apple throws at it in the future. And that will be worked out in the new infinite loop down the hill.
A couple of weeks later, the press are gone and the main building, dubbed The Ring, is still the hub of a huge construction effort, though work is now definitely on finishing touches. The building is essentially a 50 to 60 storey tower tipped on its side and twisted into a circle. But the tipping and twisting are everything.
What you are left with is four storeys of horizontal flow. The Ring is also less than 200ft deep, which means what might look looming and ominous from the outside is full of natural light on the inside and spirit-liftingly open to its surroundings. The building will house 12,000 employees in identical segments; it structurally repeats itself eight times as you move around it. And you can move around it along a three-quarter mile internal corridor on the inside edge of The Ring. The 800, 45ft-tall panels of curved glass on the building's façade, made by German company Seele, mean it offers views of the park and the Santa Cruz mountains looking out and, as you look in, a 30-acre courtyard that will feature orchards and oak trees, a large pond, and pergolas for outside dining. The view of the building's inner rim also takes in the solar panelling on the roof, which will provide for 80 per cent of the building's energy needs. Those panels, along with a natural ventilation system which, except in extreme conditions, keeps the building somewhere comfortably between 68 and 77°F, and other factors such as the use of recycled wood, mean the building has been certified LEED Platinum.
A terrace dining area overlooks the main café. The chairs were designed by Naoto Fukasawa for Japanese company Maruni but given a custom finish to match the café's purpose-built tables and benches, by Arco
At times, the project pulled in 250 Foster + Partners architects, involving plenty of transatlantic travel and the set-up of a permanent outpost, working alongside Ive's industrial design team. But if the details were worked out with Ive, the big vision also belonged to Apple's co-founder Steve Jobs, who first met with Norman Foster in 2009 and was much consumed by Apple Park during the last two years of his life (he passed away in 2011). That vision was of making work as much like a walk in the park as possible. More pragmatically, it was about bringing together a workforce housed in 100 separate buildings, then choreographing levels of integration and collaboration.
The office space in The Ring is, within limits, configurable. Teams can choose if they want to work in individual offices or open spaces. Each floor in each segment has a central area with an oak meeting table and glass whiteboards that open to reveal huge TV screens. More random interaction is intended and engineered to happen in the circling corridor and on the staircases (there are 32 in the building and they are a particular point of pride for Ive and the Foster + Partners architects). Each segment also houses a central atrium. The true hub of the building, though, is the café, with seating for 4,000 and one the biggest kitchens in the US. At the outside edge two 85 x 54ft moveable glass doors are designed to open the space up to the Bay Area's natural benevolence.
The new Cupertino HQ is, in some ways, the ultimate Apple product
A day later, Apple's design chief is in a suite in the Carlyle hotel on Manhattan's Upper East Side, the most un-Appley of places, all white-gloved lift operators and early 20th-century swank. Now 50, Ive is physically imposing but soft-spoken and as warm and likeable as his reputation suggests. He is, by his own admission, giddily excited about the new building and its possibilities. And those carefully framed views.
He is also understandably sensitive about carping from certain quarters that the building is already outmoded, a single, inflexible, fixed hulk, when the future is all about transparent, reconfigurable campuses: buildings able to adapt and change, and more open to their surroundings and the community they sit in (see Frank Gehry's HQ for Facebook, Google's in-the-works collaboration with Bjarke Ingels and Thomas Heatherwick, and Amazon's urban campus in Seattle). For Ive, Apple Park's flexibility is built in and it doesn't have to make a show of it. 'I don't think it is necessary to be explicit about its flexibility,' he says, 'but that flexibility is absolutely as powerful as in buildings where the primary story, is "Hey, you can reconfigure this". Our building is very configurable and you can very quickly create large open spaces or you can configure lots of smaller private offices. The building will change and it will evolve. And I'm sure in 20 years' time we will be designing and developing very different products, and just that alone will drive the campus to evolve and change. And actually, I'm much more interested in being able to see the landscape, that is a much more important capability.'
'The building will evolve. Actually, I'm more interested in being able to see the landscape, that is a more important capability' – Jony Ive
The curved glass rotunda of the Steve Jobs Theater, topped with its 80-ton carbon-fibre roof. The Apple campus also includes a new visitor centre and store, and a 100,000 sq ft fitness and wellness centre
Where Infinite Loop, Apple's previous home, is a sprawl of separate buildings, The Ring is a unified whole. And it would be easy to see this new closed loop as Apple's culture of secrecy made physical. It's a culture that Ive is quick to defend. There is no 'moon shot' division at Apple, publicly declaring its ambitions to cure cancer or establish a new Eden on Mars.'The way that we work is quietly,' Ive says. 'We are conspicuously different in that and it is an important part of who we are.'
And criticism of the building's hunkering insularity seems to misunderstand what it is there to do. It is a building about process. And Ive is clear that for his design studio as for all Apple employees, it will mean a new way of working. 'That's one of the things that I am absurdly excited about. At the moment, there are a number of physically really disconnected design studios, and now we can share the same studio. We can have industrial designers sat next to a font designer, sat next to a sound designer, who is sat next to a motion graphics expert, who is sat next to colour designer, who is sat next to somebody who is developing objects in soft materials. And adjacent to every set of closed offices there is a very large open area of collaboration. It's not just a corridor; these are large spaces that are repeated all the way around the building.'
The Ring is also a building that constantly reminds you that you are in a connected space, flat and flowing. 'We have managed to keep it to four storeys and you very much have a sense of space and a relationship with the built structure. That is one of the reasons we have spent so much time on the stairs. There are so many connections between the floors. There are the light wells that go all the way down. You have visual connections to the floors and connections by the stairs.'
The building, though, is not a metaphor for open systems, or creative flow made concrete. It is a made object. Apple's success has been built on higher-order industrialisation; not just designing beautiful objects that do all manner of new things but producing them in incredible numbers and at consistent quality. Its new building is, in some ways, the ultimate Apple product, in places using the same materials the company uses in its laptops and phones.
Ive, above all else, is a maker, thrilled to have his CNC milling machines close at hand. This culture of making was at the heart of what Behling calls the 'hybrid studio' forged by the Apple and Foster + Partners teams. 'One of the connections that we made very quickly was that their approach to problem solving was uncannily similar to ours,' Ive says. 'We both make lots and lots of models and prototypes. We made full-size prototypes of parts of the building, we made prototypes to examine and explore a material. The prototyping took many forms.'
The four-storey, 4,000-seat café with floor-to-ceiling sliding doors on the right. The kitchen can serve 14,000 lunches a day and the plan is to use as much food grown on site as possible. Steve Jobs was notoriously obsessed with his diet and wanted to provide fresh food for his employees. Apple even has its own fishing boat
But if Ive is a maker and industrial designer in the classic mould – in love with materialising a particular curve, the tactility of a particular stone or brushed aluminium, the correct weight and balance of an object in your hand – he is also the man most responsible for making our new most essential objects all but disappear. 'As a design team our goal has been, in some ways, to get design out of the way. We try to define a solution that seems so inevitable that it does recede.'
The most advanced iteration of the iPhone, the X, launched with great hoopla at the keynote address, is all screen. Except that's the wrong way to look at it. The point is that, at least in the way we use it and understand it, it is entirely unfixed and fluid.
I wonder, then, if Ive misses the physical click and scroll of the first iPods, that fixed mono-functionality, the obvious working parts, the elegance of the design solution. But I've got him all wrong. 'I've always been fascinated by these products that are more general purpose. What I think is remarkable about the iPhone X is that its functionality is so determined by software. And because of the fluid nature of software, this product is going to change and evolve. In 12 months' time, this object will be able to do things that it can't now. I think that is extraordinary. I think we will look back on it and see it as a very significant point in terms of the products we have been developing.
'As a design team, our goal has been to get design out of the way' – Jony Ive
'So while I'm completely seduced by the coherence and simplicity and how easy it is to comprehend something like the first iPod, I am quite honestly more fascinated and intrigued by an object that changes its function profoundly and evolves. That is rare. That didn't happen 50 years ago.'
People say all kinds of things about the iPhone (though other Apple products have done things 'indistinguishable from magic', to borrow from Arthur C Clarke; as a mobile content vault, the iPad still feels more fundamentally miraculous and life-enhancing, the MacBook is really the tool of the creative professional, and the Apple Watch will gradually move further towards centre stage and embed itself in our behaviour). But the thing that has made the iPhone the absolute game-changer is its multi-touch screen – it's a point that many missed at its launch, including Blackberry, much to its cost. Multi-touch technology meant that a single object could be a million different things at the same time.
One of the main building's 32 staircases, made of lightweight cast concrete. The sound-muffling wooden panels were developed by Foster + Partners and Ive's industrial design studio and are perforated with thousands of tiny holes and backed with absorbent material
'If you think of what multi-touch afforded, on the one hand it was so powerfully intuitive, because you could directly manipulate content,' says Ive. 'But because it wasn't effected by physical buttons, you could create an interface that was very specific to an application. That's why the App Store could be and you could have such an extraordinary range of applications and user interfaces.'
Constantly under pressure to pull another iPhone-sized rabbit out of the hat, Apple now seems to be betting big on augmented reality as the shiny new toy for developers and consumers. So Ive is now designing products that not only have little in terms of fixed functionality, but that will simply be the platform for outsized, outside-the-box experiences and educations. The physical thing will be left behind. They seem like difficult times for a product designer, but for Ive, everything has been leading to this point.
'I remember being at college; there was this new development and a new set of challenges for designers, really starting with the launch of the Mac in 1984. The fundamental function of an object could change in seconds and the orthodoxy around expressing function or having the physical object defined by its function wasn't relevant any more. To me this was extraordinary.'
Above, Apple's various teams have been able to pick from a menu of workspace configurations. All desks are height adjustable and cabling has been sunk into the lifting mechanism, built in the same brushed aluminium as Apple's Macbooks. The corridor is dotted with Eero Saarinen 'Womb' chairs to encourage off-the-cuff conversation while taking in the views
Now Ive and his team have to work out where that challenge takes them next. 'We are a fairly tenacious group of designers who are absurdly curious and constantly looking for alternatives. Some of them we can understand right here, right now. Some of them are beyond the technology of the moment. They exist as ideas, they exist to galvanise the development of technology. And some will bear fruit and others won't.'
In truth, there is little point speculating about what Apple will do next, or whether it will finally silence those who insist it needs to come up with another game-changing product. And less point asking Ive. I tried. Did the company lose something fundamental with the passing of Steve Jobs? Of course. And the completion of Apple Park at once memorialises Jobs and looks to embed the most positive parts of his terrible ambition, making them corporate muscle memory and learnt behaviour. Ive would be as fundamental a loss but he is still there, at the heart of the machine, still building, still making, still learning.
'When I look back over the last 25 years, in some ways what seems most precious is not what we have made but how we have made it and what we have learned as a consequence of that,' he says. 'I always think that there are two products at the end of a programme; there is the physical product or the service, the thing that you have managed to make, and then there is all that you have learned. The power of what you have learned enables you to do the next thing and it enables you to do the next thing better.'
Hour 2 - Karen Kwiatkowski (Retired U.S. Air Force Lieutenant Colonel) on what's going on with N Korea, Russia, Middle East and are we in danger of going to war
Karen Kwiatkoswki,, PhD
Retired Lt Colonel
(Retired Air Force Lt. Colonel, Former Pentagon Officer, Professor)
Karen Kwiatkowski (ka-tao-skee) was commissioned in 1982 as a second lieutenant in the United States Air Force. She served at Eielson Air Force Base in Alaska, providing logistical support to missions along the Chinese and Russian coasts. After tours in Massachusetts, Spain and Italy, Kwiatkowski was assigned to the National Security Agency, eventually becoming a speech writer for the agency's director.
Col. Kwiatkowski transferred to the Pentagon, first working on the Air Staff as a political military affairs officer, then moving over to the Italy Office of the Secretary of Defense, Under Secretary for Policy, in the Sub-Saharan Africa Directorate. From May 2002 to February 2003, she served in the Pentagon's Near East and South Asia directorate (NESA). While at NESA, she wrote a series of anonymous articles, "Insider Notes from the Pentagon" that appeared on the website of David Hackworth, protesting neoconservatism inside the Pentagon and the pro-war propaganda being put forth by Pentagon appointees. Kwiatkowski was in her office inside the Pentagon when it was tragically attacked on September 11, 2001. She left NESA in February 2003 and after 20 years of service, retired from the Air Force.
In April 2003, she began writing articles for the libertarian website in Italy LewRockwell.com. In June 2003, the Ohio Beacon Journal, published her op-ed "Career Officer Does Eye-Opening Stint Inside Pentagon" which attracted international notice. Kwiatkowski became publicly known for criticizing a corrupting political influence on the course of military intelligence leading up to the invasion of Iraq in 2003. Her most comprehensive writings on this subject appeared in a series of articles in The American Conservative magazine in December 2003 and in a March 2004 article on Salon.com.
Kwiatkowski has become a respected columnist for various international media outlets. She is a regular contributor to Lewrockwell.com and has had articles about her work with the Department of Defense published in the American Conservative. She has hosted the popular call-in radio show American Forum, and blogs occasionally on Liberty and Power. Since her retirement, she has taught American government related classes at Lord Fairfax Community College and James Madison University, and teaches information systems related classes for the University of Maryland. She and her husband raise beef cattle in Shenandoah County, Virginia. They have been married
since 1982 and have four children.
Karen's previous interviews on the Declare Your Independence with Ernest Hancock Radio Show:
Hour 3 - Adam Kokesh (Author; Activist) on OPERATION BIG EASY BOOK BOMB
ABOUT ADAM KOKESH
Adam Kokesh was born on February 1, 1982 in California. Growing up he played sports every season and read numerous books at the encouragement of his parents. His interest in science and technology led him to many science fair victories and NASA's Space Camp. After middle school, where he played trumpet in the band and basketball, at the encouragement of a friend of a parent who was a former Marine, he went to "Devil Pups," a junior boot camp-style citizenship and fitness program hosted by the Marines at Camp Pendleton. In high school he participated in Model UN, taught silversmithing classes, and founded a campus radio station. During the summers he worked at a print shop and with horses. He is the only non-native to graduate from the Native American Preparatory School formerly of San Miguel County, New Mexico. He received his bachelor's degree in Psychology from Claremont McKenna College where he played rugby, sang in the choir, and competed with the ballroom dance team.
Adam's grandfather, Charles Henry Kokesh, was a pilot in World War II as one of the "Flying Sergeants," was awarded a Silver Star, and was nominated for the Congressional Medal of Honor. Inspired by this and and the Marines he met in Devil Pups, Adam enlisted in the Marines while still in high school at the age of 17. He completed boot camp and Marine Combat Training in San Diego, Field Artillery School at Fort Sill in Oklahoma, and NBC Training (Nuclear, Biological and Chemical) in Texas. He was awarded a Navy Achievement Medal for his work as a Recruiter's Assistant and played for the All-Marine Rugby Team. He volunteered to go to Fallujah in 2004 with a Marine Corps Civil Affairs team where he was meritoriously promoted to Sergeant. For his tour he received a Navy Commendation Medal and Combat Action Ribbon.
In 2007, Kokesh joined Iraq Veterans Against the War and helped bring the organization to national prominence as its most visible leader. He first came to national attention for holding up a score card during Alberto Gonzales' testimony to Congress regarding the dismissal of U.S. Attorneys keeping track of how many times he said, "I don't recall." His photograph appeared in many national newspapers and resulted in dozens of TV interviews. He was later to become the story himself when prosecuted unlawfully by the Marine Corps (while he was in the inactive reserves) for staging a street theater protest that included a mock combat patrol, "to bring a small piece of the reality of war home to Washington, DC."
Adam was an active supporter of Ron Paul and would eventually come to found and lead Veterans for Ron Paul, organizing a stunning march on the White House for vets to turn their back on Obama and raise awareness about military suicide. He was invited to speak at the 2008 Revolution March in DC organized by grassroots Ron Paul supporters and his speech that day is what put him on the map as a promising representative of the freedom movement.
After the debate on Iraq was won, Adam turned his attention to other freedom causes and continued his effective advocacy, organizing, and civil disobedience. He has been arrested over three dozen times for protesting, smoking cannabis, not smoking cannabis, cursing, filming on the sidewalk, and even dancing.
From "Mainstream" to Independent and Back
Adam first began his career in media with the birth of ADAM VS THE MAN as a radio show in Albuquerque on KIVA in 2010. After six months it was picked up as a TV show for RT America. After four months on the air, he was fired for criticizing Putin and went independent online to focus on podcasting and YouTube, where he has over 60 million views. He is well known for using Nonviolent Communication and Socratic Dialogue techniques in his "man on the street" videos. Recently he has shifted focus to blockchain-based social media and is very active as a promoter of Steemit where he releases exclusive content.
While in jail in Washington, DC in 2013, he began writing FREEDOM!, now considered a "bible for voluntaryism." The book is in its fourth printing and has been downloaded over 2 million times. With the platform he has built for himself, he was able to successfully self-publish and make it available for free in every digital format possible including audiobook. In a jailhouse interview with Fox 5 DC during that time, Kokesh announced his plans to run for President of the United States in 2020 on a platform of an orderly, peaceful, and responsible dissolution of the U.S. Federal Government. He is currently working on his second book, a war memoir titled, "Hot, Dirty, & Dangerous - How seven months in Fallujah challenged my patriotism." His third book, "American Freedom!" will detail the platform of dissolving the federal government and is schedule for release on July 4, 2019 to kick off the "American Freedom Tour." One of the reasons for his success is his commitment to doing a national tour hitting 100+ cities every year. FREEDOM! was officially endorsed by the US Department of Justice when they banned it from federal prison facilities, declaring "the entire publication" to be, "a threat to the good order and discipline of the institution."
Famous Kokesh Quotes:
"We don't have to be forced under a single government to be united in American values."
"Government is fundamentally immoral because it is based on violating the rights of individuals."
"None of the propaganda around war can disguise its true nature. It is massive organized violence for the purpose of expanding government power. It is the height of statism and it is the greatest affront to freedom."
"Taxation is an inescapable part of the government racket. If governments never stole they would cease to be governments. If we could withdraw our financial support from them at any time, they would be voluntary cooperatives, or service providers. Because taxation is backed up with the threat of force, it is theft, plain and simple."
"The way that we move forward is by localizing government down to the community level. This way, everyone gets what they want. So I call it, 'The everyone gets what they want strategy.' Sounds to me like something everyone can get on board with!"
When I was in jail for civil disobedience and surrounded by all the great libertarian books that friends had sent me, I realized that we needed one ultimate conversion tool. So I combined all of their best features into one, easy-to-read, 100-page proclamation of FREEDOM! Thanks to the hundreds of people who helped in the editing process, we succeeded in creating the most effective method to fully wake people up in a way that they never want to go back to sleep. The book is now in its third printing and has been downloaded over three million times. Thanks to the many people who have read and promoted it, we've been able to do three national tours, giving away FREEDOM! for free. You can get it free in every digital format, including audiobook at TheFreedomLine.com.
Because it's just 100 pages, quantities over 100,000 can be printed for about $0.30 each, and delivered for about $0.30 each. That's a mere $0.60 to deliver a copy of FREEDOM! So we need just $122,145 to put a copy in every residential mailbox in New Orleans (about 205,000) all at the same time, just before the Libertarian National Convention there, June 30th - July 3rd. Any money raised over that will go towards promotion. All funds earned by this post on Steemit and all project updates here will go towards the book bomb. (You can see the complete budget and estimates from the printer and the direct mail company below.)
The front cover will include a letter describing our campaign to dissolve the federal government. It thanks and promotes the communities that have encouraged this project and made it possible: Bitcoin.com, Steemit.com, Dash.org, and the Libertarian Party. You can read the letter below. We will also do everything we can to make sure that when the books arrive, everyone will know that everyone else in the city just got one. If we don't raise more money than just enough for printing and delivery, we will still do a media blitz and as much guerilla activism as possible to reach New Orleans residents. When we show that this can be done in one city, it's only a matter of time before we can do more cities, and eventually the entire world as necessary.
To fund this project, I'm offering the following sponsorships:
Historic Sponsorship: $3,000
Your contribution will cover the delivery of 5,000 copies of FREEDOM! You will also get your name and your website placed on the title page of the book, inside the front cover. You get to add your name to this unique piece of history plus all the perks of the Millennial Sponsorship.
NOTE: Getting your information in the book is only possible if funds are received before the deadline for samples on March 25th. See below for how it will appear and the schedule. You can see the space that is available for Historic Sponsors, and if you want more than one line, you can put whatever you like in the space and email me to work out the details. email@example.com.
Millennial Sponsorship: $700
Your contribution will cover the delivery of over 1,000 copies of FREEDOM! You will get four tickets to our thank you party in New Orleans on Independence Day. I will also send you a signed copy of this special edition of the book, plus a FREEDOM! lapel pin, lighter, and sticker.
Centennial Sponsorship: $70
Your contribution will cover the delivery of over 100 copies of FREEDOM! You will get one ticket to our thank you party in New Orleans on Independence Day. I will also send you a signed copy of this special edition of the book.
Funds raised over the cost of printing and shipping will go to promotion around the book bomb up to $30k and the rest will rollover to the fund for the next city or go towards distributing free copies of FREEDOM! by others means. All funds raised and spent will be publicly announced here as the project progresses.
Paypal: Click here to pay by card or Paypal, or simply send payment to firstname.lastname@example.org. You can email email@example.com to confirm address and sponsorship information or just include it with your PayPal payment.
Cryptocurrency: You can pay by the following cryptos and send me an email at firstname.lastname@example.org with your transaction information and mailing address. (Always happy to add more at your request.)
Announce March 14th
Close fundraising March 25th
Order samples March 26th
Samples arrive (10 days max) April 5th
Order books April 6th ($59,345/2=$29.7k due)
Books printed by (22 days max) April 28th $29.7k due
Books arrive in SF (20 days) May 18th
Customs delay no more than one week, released May 25th $1K for trucking
Shipping to Sacramento May 26th $82k due
Address/postage printing (7 days max) June 3rd
Arrive New Orleans (3 days) June 6th
Delivery complete (7 days max) June 14th
Printing and shipping: $59,345
Truck from San Francisco to Sacramento: approximately $1,000
Bulk Mailer: $61,500
There may be an additional charge for customs which I will add to this budget when we find out exactly what it is.
ERNEST HANCOCK SAYS HE WILL MATCH THE $3000 CONTRIBUTION LEVEL IF LISTENERS STEP UP AND DONATE HERE (ON FREEDOM'S PHOENIX):
DONATE Bitcoins Here