Posts made in February 2021

For use by 360 Magazine

What Keeps Men From Picking Up Their Household Mess

By Andi Simon, Ph.D.

For many of the women I have been working with during the pandemic crisis, the biggest complaint has been: “Why doesn’t my husband help pick up the mess?” “Don’t men even see the toys all around them, the dishes in the sink, the clothes needing folding?” And when they finally lend a hand, it is hardly neat or “the way I would have done it.”

Well, ladies and gentlemen, the cultural dilemma is upon us, exaggerated during the current stay-at-home, work remotely era caused by COVID-19. What wives, moms and girlfriends might have silently dealt with in the past has become a major issue when both partners are now at home together. Differences are more apparent, irritations closer to the surface.

As an anthropologist, and a wife, and a mother, I know all too well how difficult it is to change habits in adults. Once we learn our habits, they take over and drive us. My husband is a wonderful teammate but loves to leave his cabinets open, his clothes folded but not so smoothly, and his office … well let’s not discuss that. I do confess, at times my office is as big a mess as his, which is OK as long as each of us stick to our own disorderly worlds.

In a recent Atlantic article, “The Myth That Gets Men Out of Doing Chores,” Joe Pinsker writes about how these male-female differences originate partly from how boys and girls are raised, and partly from how men and women simply see things through different lenses. While some contend that boys are naturally messier than girls, there is little research to support that. If anything, boys and girls (and men and women) can both make a mess in the bedroom, the bathroom and the kitchen — indeed, making messes comes naturally to both sexes. Cleaning them up, less so.

The issue is that boys and girls are taught differently what it means to be “neat” or “messy.” There is nothing inherent in either of those words. We learn what they mean as we grow up, and the ones teaching us play a major role in handing down those cultural values about what we should or should not be doing to create order in our lives.

What matters is how we “believe” that we as humans create and manage our physical and social order, at home and outside of it. Watch boys at a sporting event — lacrosse, soccer or anything — and they learn quickly how to pack their sports bag and keep their equipment in good shape (or be yelled at by the coach). Girls do the same. In the office, men can be very neat, or not. I have had bosses with horrible office order and others who were so immaculate that it was weird. The same has been true of male or female bosses.

The question then becomes: Why do we think women should pick up the toys, fold the laundry and close the cabinets, while the guys watch their ballgame and drink their beer with a mess all around them? Humans are culture-creating and culture-living creatures. As children, we learn from parents, teachers and friends what is valued and for whom. If boys are allowed to have messy rooms because, well, they are just boys, they will quickly learn that boys can be messy, ignore the mess, and not be expected to restore order to it. If girls are told that they must clean up their rooms before they can do something they want, they learn other rules and other norms.

It really is true that what we see our mothers and fathers, and others, doing is what we mimic, in business and in life. It becomes embedded in our psyches, sometimes without our even realizing. If girls and women repeatedly hear that cleanliness is next to godliness, they will learn that making the bed, tidying the kitchen and cleaning up messes are positive reinforcements for how good and acceptable they are. Boys don’t learn this. In fact, if a boy neatly picks up his toys and then is called a sissy, what value judgement is that passing along?

So then, if you have a man in the house who repeatedly ignores the kids’ mess on the floor, think hard about what both of you are teaching your kids about personal responsibility, beyond neatness and messiness. You might during this at-home period be able to change their futures by providing them with unbiased values and beliefs about what men and women see and do. Remember, it is easier to change the kids than the guy. I would advise, though, that in your corrections to the latter, tread carefully but quickly, before the opportunity evaporates.

About Andi Simon

Andi Simon, Ph.D., author of the book Rethink: Smashing the Myths of Women in Business, is a corporate anthropologist and founder of Simon Associates Management Consultants. A trained practitioner in Blue Ocean Strategy®, Simon has conducted several hundred workshops and speeches on the topic as well as consulted with a wide range of clients across the globe. She also is the author of the award-winning book On the Brink: A Fresh Lens to Take Your Business to New Heights. Simon has a successful podcast, On the Brink with Andi Simon, that has more than 125,000 monthly listeners, and is ranked among the top 20 Futurist podcasts and top 200 business podcasts. In addition, Global Advisory Experts named Simons’ firm the Corporate Anthropology Consultancy Firm of the Year in New York – 2020. She has been on Good Morning, America and Bloomberg, and is widely published in the Washington Post, Los Angeles Times, Forbes, Business Week, Becker’s, and American Banker, among others. She has been a guest blogger for Forbes.com, Huffington Post, and Fierce Health.

movies, 360 magazine

Valentine’s Day Movie Favorites

The movie experts at Redbox have just released some interesting movie insights, just in time for Valentine’s Day. They asked movie watchers what their favorite romantic comedies are from the 1990s and 2000s. Redbox is also running a campaign where they are promoting the most romantic films for Valentine’s Day. Check out their list below which features movies for all of your romance movie needs.

Which is your favorite romantic comedy from the 2000s?

1.           Sweet Home Alabama

2.           My Big Fat Greek Wedding

3.           50 First Dates

4.           Crazy Rich Asians

5.           Hitch

Which is your favorite romantic comedy from the 1990s?

1.           Pretty Woman

2.           There’s Something About Mary

3.           The Wedding Singer

4.           10 Things I Hate About You

5.           Sleepless in Seattle

Redbox is also running a swoon-worthy Movies You’ll Adore campaign now through 2/14, visit their website for more information. It includes:

  • Valentine Faves At The Kiosk: Wild Mountain Thyme, Love & Monsters, After We Collided, The Broken Hearts Gallery, The Photograph, Crazy Rich Asians
  • On-Demand Deals: Love Simon, The Other Woman, The Fault in Our Stars, 27 Dresses, This Means War
  • Meet Cutes: I Still Believe, The Secret: Dare to Dream, Overboard, Long Shot, When Harry Met Sally
  • Galentine’s Picks: Girls Trip, Pitch Perfect, Mean Girls, Bridesmaids, Legally Blonde
  • Teen Romance: Twilight, Words on Bathroom Walls, Cruel Intentions, After, The Perks of Being a Wallflower
  • Bromances: Bill & Ted’s Excellent Adventure, Top Gun, Friday, Step Brothers, Fight Club
  • Fantasy Films: The Shape of Water, Edward Scissorhands, Practical Magic, Ghost, Ella Enchanted
  • Break-Up Movies: 500 Days of Summer, Eternal Sunshine of the Spotless Mind, Forgetting Sarah Marshall, He’s Just Not That Into You
  • Romantic Thrillers: Fifty Shades of Grey, Gone Girl, Mrs. & Mrs. Smith, Unfaithful, Obsessed
  • Time Travel Love: Groundhog Day, 13 Going on 30, About Time, The Lake House, The Time Traveler’s Wife
  • Period Romances: Pride & Prejudice, Belle, Ammonite, Gone with the Wind, Shakespeare in Love, Sense & Sensibility
  • Tearjerkers: Titanic, A Star is Born, All My Life, Me Before You, Romeo + Juliet, City of Angels, A Walk to Remember, Brokeback Mountain
Kaelen Felix Self Portrait for 360 Magazine

Artist Kaelen Felix

As a native of St. Louis, Missouri, Kaelen Felix is a graduate of Memphis College of Art with a Bachelor of Fine Art in Illustration (2018). When she was an undergraduate, she interned for Jabberblabber Earth Family Magazine, a monthly magazine with over 100,000 readers in the tri-state area. In October 2017, her illustration of their Jabberblabber character was featured on the front cover of the grandparent issue. That publication is an achievement for Kaelen as an undergraduate while looking back; she couldn’t be more thrilled to be a part of it. The experience allowed her to define her artistic skills and to pursue a career in publishing.

Ms. Felix began her career as an artist when she was two years old! Six months later, Kaelen discovered her calling is to pursue art in illustration for books. As a child, art came naturally to Kaelen. Her tenacious desire allowed Kaelen to use her artistic ability to create storytelling book scenes from her imagination. She would often pay attention to how the light was casting on dolls and toys. She would create still-life and draw from observation for hours. Kaelen’s desire to spend a whole day on art made her heart complete as it showed her passion for capturing the light source and balancing the shadows became evident she could do it! Her favorite artist from the impression period, Vincent Van Gogh, inspired her whimsical style. The intricate details in her woodwork and water show her forte for a whimsy pattern.

Kaelen’s illustration career officially started in 2018. After completing undergrad, Kaelen collaborated with a remote author to illustrate a 32-page children’s book, A Colorful Balloon Ride (2018). At 23, Kaelen became a published illustrator and then collaborated with another children’s book author and created a 60-page book, Freddy the Foster Frog: Finds a Friendly Family (2020).

Currently, Kaelen is working on several collaborative projects, illustrating book 2 of the Freddy the Foster Frog series and acting as an illustrative editor for a soon to be published children’s book. In December 2020, Kaelen became an award-winning Best Book Illustrator for Freddy the Foster Frog from the SABA (Sound Advice Book Awards) in England!

Kaelen is a current intern for 360 Magazine (remotely), which is an edgy and fashion-forward company located in downtown Los Angeles, California. She illustrates topics such as celebrities, food, culture, and present news topics that coincide with political and other climate-changing current news. She thrives on creative and innovative illustrations that create a stylized and pop-art feel similar to Andy Warhol. Kaelen loves taking on any new challenge while being an intern at 360 Magazine as she embraced their well-known publications, print magazine, and brand identity.

Kaelen has a wide range of experience from illustrating magazine work to illustrating and designing two children’s books. Ms. Felix strongly believes collaboration is the key to creating a cohesive portfolio of work illustration or design. When illustrating the books, she always has a process of starting with reading the manuscript story, then it becomes a matter of how many illustrations need to be done in a timely or monthly manner. Finally, it comes down to a deadline and meeting that goal to be proficient in the business world. The process for all her commissioned pieces starts with brainstorming an idea from imagination and putting that idea on paper. She converses back and forth with clients to ensure their goals and visions are met! If she gets the final approval then, she applies the small thumbnail sketch onto the larger paper or digital platform.

Her inspiration as a kid also came from animals living in eco-friendly environments and creating characters with child-like style in my whimsical way. As far as the digital designs go, those vary in terms of how the style and vision come about from the client. Especially for 360 magazine, it’s a matter of not overthinking the process and trusting her instincts to create a work the magazine’s audience would be attracted to.

Ms. Felix works in areas from traditional illustrative mediums to digital graphics and print production art materials. Her areas of expertise include production art, illustration, print production art, and graphic art/design; she has over a couple of years of experience in those fields as she continues to work on fine-tuning her craft. Ms. Felix hopes to continue her illustration work while learning more about graphic design, brand identity, and the print packaging experience in a creative field from five to ten years down the line. Someday, she too is hoping to publish her own children’s book from her animal illustrations on her website! It’s always been a long-term goal to become a published illustrator and designer, and the Memphis College of Art, coupled with 360 Magazine allows her to follow her dream since the day she knew it could happen.

For more information on her upcoming publications, illustration, designs, and more: check out her Twitter, Instagram and LinkedIn.

Glastress illustration done by Kaelen Felix for 360 MAGAZINE

2021 U.S. Premiere of Glasstress

Some of the world’s leading contemporary artists are invited to breathe new life into centuries-old glassmaking in Venice ― maestros of glassblowing from the legendary Berengo Studio residency help artists manifest their visions.

Among the 34 artists: Ai Weiwei, Fred Wilson, Joyce J. Scott, Jimmie Durham, Ugo Rondinone, Fiona Banner, Vik Muniz, Monica Bonvicini, Jake & Dinos Chapman, Laure Prouvost, Renate Bertlmann, Thomas Schütte, Loris Gréaud, and Erwin Wurm.

  • There is every reason this year to have a world view,” says Irvin Lippman, the Boca Raton Museum of Art’s Executive Director, as South Florida boldly ushers in the new year with the national premiere of Glasstress 2021 Boca Raton.
  • Three years in the making, with 2020 being such a challenging year to coordinate an international exhibition of this size and scope, the effort serves as an important reassurance that art is an essential and enduring part of humanity.”
  • “This is also a tribute to the resilience of Venice’s surviving the floods and continuing to make art through the pandemic,” adds Irvin Lippman.

The new exhibition runs January 27 through September 5, 2021 and the Museum will feature online initiatives for virtual viewing. Watch the video here featuring interviews with some of the artists in the new exhibition. The 34 artists in this new, never before seen edition of Glasstress were all invited by Adriano Berengo to work alongside his master glass artisans at the Berengo Studio on the island of Murano in the Venetian lagoon. Most of these works in glass have never been seen elsewhere, and were handpicked by Kathleen Goncharov, the Museum’s Senior Curator who traveled to Italy in 2019.

With incredible energy, the Studio has brought a new vision on how to stimulate today’s leading artists into thinking how the medium of glass can be made into dramatic and provocative works of contemporary art. Most of these artists have, during their careers, been invited to participate in the Venice Biennale. Some of the works were created during the pandemic lockdowns, with artists collaborating remotely via Zoom with their glass artisan partners after initial on-site work at the studio in Venice.

“Unlike the past and the present, what comes next for our world presents itself as constant possibility, always transforming as we move forward in time,” says Adriano Berengo. This concept of transformation has always held an affinity with glass, a medium which – as the name Glasstress suggests – exists in a state of constant tension. Life needs tension, it needs energy, and a vibrant exchange of ideas.”

The exhibition presents 34 new works that explore some of today’s pressing subjects, including human rights, climate change, racial justice, gender issues and politics. The Boca Raton Museum of Art has dedicated more than 6,500 square feet of exhibition space to this collection. A fully illustrated catalogue is also available.

The mission of Glasstress is to restore the visibility and reputation of Murano glass, after decades of closures of ancient, centuries-old glass furnaces. Instead of creating decorative objects with glass, these artists are invited to create original works, often on a massive scale. They collaborate with glass masters whose expertise has been developed over generations in Venice. Most of these artists have never worked with glass, so they unite their artistic ideas with the technical expertise of their skilled collaborators.

The results are breathtaking. The first installation visitors to the Museum will encounter is Sala Longhi by Fred Wilson. He created this series at Berengo Studio after the Biennale exhibited his work about Black residents of Venice from the Renaissance to the present. This installation features an ornate white chandelier with 29 glass panels that mirror 18th-century Venetian artist Pietro Longhi’s paintings. Instead of canvases, Wilson shows the viewer only the whites of the eyes of his Black subjects through cutouts in black reflective glass.

“We have brought Glasstress to countries around the world for ten years, seeking to expand and enliven international awareness of the variety and richness of contemporary artists using glass in their creative practices,” adds Adriano Berengo. “In the past, its place in the art world might have seemed uncertain. But now in this latest edition of Glasstress, the first after a global pandemic, one thing we know for certain: glass endures. Life is fragile, just as glass is fragile, yet in this fragility there is also strength.”

“It is in this spirit of experimentation that Glasstress Boca Raton 2021 explores the limitless potential of glassblowing. “We realize how far we have come as we approach the 60th anniversary of the American studio glass movement that launched in 1962 through the efforts of Harvey Littleton and Dominick Labino,” adds Irvin Lippman. “This presentation of Glasstress is also a tribute to them.”

This show also unveils the Museum’s new acquisition for its collection, created in the Berengo Studio – Glass Big Brother, a sculpture by Song Dong, one of contemporary Chinese art’s leading figures. The large-scale ceiling installation is 11 feet long and reaches all the way to the floor. Thirty surveillance cameras are ensconced from top to bottom, looking out at all directions around the chandelier.

The installation Rosemarie’s Divorce, by Renate Bertlmann, unites aspects from Rosemarie’s Baby (1983), her multi-part installation about the ambivalent relationship between mother and child, and Discordo Ergo Sum, a field of knife-roses she exhibited at the Venice Biennale in 2019. The monstrously enlarged glass pacifier is an image she has used since the mid-1970s referencing sexuality and motherhood. It is flanked by two knife-roses made of deep black glass.

The Italian artist Monica Bonvicini’s deeply psychological work addresses themes of sexuality, power, and relationships in male-oriented domains. Her visits to sadomasochist nightclubs with Gay male friends are the inspiration for Bonded. She won the prestigious Golden Lion award at the 1999 Venice Biennale. DNA HAS NO COLOR is a new statement from Nancy Burson that is a powerful work about the illegitimacy of racism. This is a continuation of the project that Zaha Hadid commissioned Burson to develop for the London Millennium Dome. Burson is known for biology-related work, including her use of cutting edge facial morphing technology for art that shows what individuals would look like as a different race.

The Pandemic Oculus, (2020), by Tim Tate, whose work explores the worlds of loss, memory, recovery, and hope. As an HIV-positive man, he lived through the worst of the AIDS epidemic during the 1980s and 1990s, and now through the current pandemic. In the Museum’s exhibition catalogue, the artist states that Pandemic Oculus also honors the many unsung heroes around the world: nurses, teachers, essential employees, grandparents caring for children so that parents can work, and so many more. Tate is the co-founder of the Washington Glass Studio in Washington, DC. He is also the co-moderator, along with William Warmus, of the 21st Century Glass group on Facebook, which has shared and discussed over 10,000 images of sculptural glass from around the world.

Erwin Wurm’s wry sense of humor permeates his most famous works and has served him well in creating a poignant cultural commentary throughout his career. Wurm produced this triad in cold hard glass at the Berengo Studio. They are smaller versions of the massive bronze sculpture of a hot water bottle with legs, Big Mutter, that he created for the Venice Biennale in 2020. In the exhibition catalogue, the show’s curator Kathleen Goncharov describes these “mothers” as neither warm nor comforting . . . their stubby little legs imply flight when called upon to be caregivers.

At the Berengo Studio, Jimmie Durham created a series of eight giant cougar heads suspended on metal armatures. Caught in suspension as they gaze at one another, their collective roar remains frozen between them. The cougar is one of the most sacred animals in Cherokee mythology, and the influence of Native-American culture vs. Western rationalism is evident in his work. The artist’s long trajectory includes his work during the civil rights movement and as a political organizer for the American Indian Movement. In 2019, Durham was the recipient of the Golden Lion for Lifetime Achievement award at the 58th Venice Biennale.

In the Museum’s exhibition catalogue, curator Kathleen Goncharov describes Prune Nourry as no stranger to illness . . . her work always dealing with science and bioethics from a feminist perspective, a focus that has intensified since her breast cancer diagnosis in 2018. At the Berengo Studio, she created River Woman, a transparent skeletal sculpture based on an anatomical drawing of the human vascular system. While its form may be human, the arteries resemble rivers, streams and trees that suffer in their own way too, from human abuse rather than disease.

Ugo Rondinone represented his home country in the Swiss Pavilion at the 52nd Venice Biennale (2007). In this work, the twelve glass horses cast in beautiful shades of blue all face different directions, creating delicate light games with their reflections and shadows in continuous motion. In the context of this installation, the reappearing motif of a horse (which has a long tradition in the history of art), evokes alienation and a subversive twist emblematic of Rondinone’s works.

Ai Weiwei's

DNA HAS NO COLOR, Nancy Burson (2019) for 360 Magazine

Purchase our Glasstress issue HERE.

AC_LatinoCovid by Allison Christensen for 360 Magazine

Antibody Cocktail May Prevent Symptomatic COVID-19 Infections

An antibody cocktail being tested at UVA Health and other sites was able to block 100% of symptomatic COVID-19 infections among people exposed to the virus, early results from the clinical trial suggest.

In addition, those who developed asymptomatic infections accumulated far less virus in their bodies than usual and saw their infections resolve within a week, according to interim data released by the cocktail’s manufacturer, Regeneron Pharmaceuticals.

“This is the first treatment shown to prevent COVID-19 after a known exposure, and offers protection for unvaccinated individuals caring for a family member with COVID-19,” said UVA Health’s William Petri Jr., MD, PhD, one of the leaders of the trial at UVA. “We expect that Regeneron will file for Emergency Use Authorization from the FDA so that this drug can be used outside of the context of a clinical trial.”

Antibodies for COVID-19

The phase 3 clinical trial aims to determine if the antibodies will prevent COVID-19 infection in people who have been exposed but not yet developed the disease. This is known as “passive immunization.”

Regeneron’s new analysis, which has not yet been published in a scientific journal, looked at outcomes in approximately 400 trial participants. Of 186 people who received the antibodies, none developed symptomatic COVID-19. Of the 223 who received a placebo, eight developed symptomatic COVID-19, the company reports.

Asymptomatic infections occurred in 15 of the antibody recipients and in 23 of the placebo recipients. Overall rates of infection, including both symptomatic and asymptomatic infections, were approximately 50% lower in the antibody group.

Among those who developed infections, placebo recipients had, on average, a peak viral load (the amount of virus in the body) that was more than 100 times greater than antibody recipients. The antibody group also recovered more quickly–all the infections resolved within seven days, while 40 percent of infections in the placebo group lasted three to four weeks, Regeneron said.

The cocktail also appears to shorten the duration of viral shedding, the time when the virus is being manufactured in the body. The viral shedding period was nine weeks among antibody recipients and 44 weeks among the placebo recipients. While people with COVID-19 are not infectious for this entire time, reducing the duration of viral shedding may shorten the period when they can spread the disease.

There were more adverse events reported among placebo recipients than among antibody recipients – 18 percent and 12 percent, respectively. Regeneron attributed this to the larger number of COVID-19 infections in the placebo group.

There was one death and one COVID-19-related hospitalization in the placebo group and none in the antibody group. Injection-site reactions were reported among 2 percent of both groups.

“We are profoundly grateful to the nurses and staff of the UVA COVID-19 clinic, led by Dr. Debbie-Anne Shirley,” Petri said. “Their day-to-day support made our participation in this trial possible.”

About the Clinical Trial

Phase 3 clinical trials, such as the one under way at UVA, examine the safety and effectiveness of new drugs and treatments in large numbers of people. Positive results in the phase 3 trial could spur the federal Food and Drug Administration to make the antibody cocktail available for post-exposure COVID-19 prevention.

The antibody cocktail is not a vaccine and is not expected to provide permanent immunity to COVID-19.

The team conducting the study at UVA is led by Petri and Shirley and includes Gregory Madden, MD; Chelsea Marie, PhD; Jennifer Sasson, MD; Jae Shin, MD; Cirle Warren, MD; Clinical Research Coordinator Igor Shumilin; assistant Rebecca Carpenter; and COVID-19 Clinic nurses Michelle Sutton, Elizabeth Brooks, Danielle Donigan, Cynthia Edwards, Jennifer Pinnata, Samantha Simmons and Rebecca Wade.

To keep up with the latest medical research news from UVA, subscribe to the Making of Medicine blog.

mail by Purdue University and Adranos Inc. for 360 Magazine

Adranos’ Indiana Manufacturing Plant

Adranos Inc., a Purdue University-affiliated company that has developed a high-performance, solid rocket fuel called ALITEC for long-range missile and space launch systems, announced plans Wednesday (Feb. 3) to construct a facility in the Purdue Research Park of West Lafayette to manufacture ALITEC in support of various launch systems, including hypersonic systems.

The company has obtained $5.1 million in land, funding and tax credits collectively from Purdue Research Foundation and the Indiana Economic Development Corporation.

Adranos will use these incentives to construct its facility in the Purdue Research Park. Adranos expects to serve a broad customer base, including the major military branches and relevant aerospace and defense contractors. The facility will support ongoing efforts that Adranos is currently performing through its rocket motor research and development division.

Adranos plans to create up to 50 new jobs by the end of 2025.

“ALITEC’s performance benefits make it an ideal solution for any solid rocket system that is seeking to extend range, increase payload capacity or reduce rocket form factor,” said Chris Stoker, CEO of Adranos. “This facility will enable us to scale these solutions to the large volumes that will be required by our customers.”

Expansion of Adranos’s manufacturing capabilities aligns with the state of Indiana’s goals of increasing defense spending and becoming a leader in the development of hypersonic technologies. Adranos is currently performing work sponsored by the Department of Defense to evaluate ALITEC in both solid rocket boosters for hypersonic programs and in air breathing systems called solid-fuel ramjets, which use solid rocket fuel. As demand for ALITEC grows, so too will defense spending in the state.

“Indiana is committed to embracing disruptive technology like Adranos’s ALITEC to bolster its economic industries and position the state for long-term global competitiveness and economic growth in the defense sector,” said retired Major Gen. Omer C. (Clif) Tooley, IEDC President of defense development. “Indiana is ranked No. 1 in the nation in tech job growth among small firms, and as a state we’ll continue supporting innovative companies like Adranos and securing our spot as a top place to grow and innovate.”

Similarly, Adranos’s growth aligns with PRF’s mission of innovating and commercializing technologies developed at Purdue University. By supporting Adranos’s efforts to establish a production facility, PRF is enabling the transition of ALITEC production from laboratory scale to production scale.

“Adranos is another exciting example of an innovative company that touches many parts of the Purdue commercialization ecosystem,” said Brian Edelman, president of the Purdue Research Foundation. “We are thrilled that this new facility in Purdue Research Park will help further advance the Adranos technology and boost the state’s economy.”

Recently, Adranos won more than $3.2 million in government contracts, was named to Pepperdine University’s most fundable companies list, and took the grand prize at the Army’s inaugural xTechSearch competition.

Technology used by Adranos is licensed through the Purdue Research Foundation Office of Technology Commercialization, which patented the technology. Adranos is located in Purdue Research Park.

IEDC offered Adranos up to $525,000 in conditional tax credits and up to $200,000 in training grants based on the company’s job creation plans. IEDC also offered up to $500,000 in conditional tax credits from the Hoosier Business Investment tax credit program based on the company’s planned capital investment in Indiana. These tax credits are performance-based, meaning the company is eligible to claim incentives once Hoosiers are hired and investments are made. The company has also been awarded $75,000 in Small Business Innovation Research matching grants from Elevate Ventures, and received $20,000 in funding through the Elevate Purdue Foundry Fund.

360 football illustration for sports articles

THE ECONOMIC SUPER BOWL

In midst of a pandemic that devastated society, including sports, the total wealth of 64 billionaire sports barons shot up by $98.5 billion, or over 30 percent. Taxpayer subsidies for stadiums of 26 billionaire team owners have totaled $9 billion since 1990, with most in last decade.

We won’t know the winner of this year’s Super Bowl till Sunday, but we already know the big winners in our COVID-ravaged economy include dozens of billionaire sports barons.

On the eve of the big game, and after 10 plus months of the pandemic, 64 billionaire owners of major league sports franchises—including the AFC champion Kansas City Chiefs’ Hunt family and the NFC champion Tampa Bay Buccaneers’ Glazer family—have enjoyed a $98.5 billion rise in their collective net worth, a 30 percent increase, as millions of fans have fallen ill, lost jobs, neared eviction, gone hungry and died due to the coronavirus.

The 64 billionaires, who together own or co-own 68 professional sports franchises, had a combined wealth of $426 billion on January 29, 2021. This number is up from $326 billion on March 18, 2020, roughly since the start of the pandemic lockdowns, according to a new analysis by the Institute for Policy Studies (IPS) and Americans for Tax Fairness (ATF), and data analysis from Forbes and Wealth-X. (Note: The increase in total billionaire wealth from March to January was $100 billion, but has been adjusted to $98.5 billion because an additional billionaire reached that status in January 2021.)

The sports billionaires’ private gain in the midst of so much public pain is particularly galling since many of their franchises have been the beneficiaries of taxpayer handouts. Over the past several decades, according to data maintained by Field of Schemes, 28 pro sports teams owned by 26 billionaires have received $9 billion in taxpayer subsidies (see Table here) to help build or update stadiums and arenas and make other investments that billionaires could presumably afford on their own. These publicly subsidized team owners have seen their wealth increase $45 billion since mid-March.

For the full report go to Pandemic Super Bowl 2021: Billionaires Win, We Lose.

Over the past five years—when a lot of sweetheart tax deals were cut—the collective wealth of sports billionaires shot up $165 billion, or 67 percent. Their combined wealth of $247 billion in March 2016 had grown to $426 billion by January 29 of this year. (Nine billionaires on the list in 2021 were not billionaires in 2016, accounting for the $14 billion discrepancy.)

The $98.5 billion wealth gain by 64 sports franchise billionaires since March 2020 could pay for:

  • A stimulus check of $1,400 for over 70 million Americans—almost half of the 153 million people who likely will be eligible under the pandemic relief plan proposed by President Biden based on the 2020 stimulus payments.
  • More than one-third of the $290 billion cost of providing $400-a-week supplements to existing unemployment benefits through September, as proposed by President Biden in his COVID rescue plan.

March 18 is used as the unofficial beginning of the pandemic because by then most federal and state economic restrictions responding to the virus were in place. Moreover, March 18 was also the date on which Forbes estimated billionaire wealth for the 2020 version of its annual report. That report provided a detailed baseline that ATF and IPS have been comparing periodically with real-time data from the Forbes website. [See past reports here] This methodology has been favorably reviewed by PolitiFact.

Last March is when the nation’s emergency response to the deadly virus threw professional sports, along with the rest of society, into turmoil. Thousands of low-paid stadium and arena workers lost their jobs as sports seasons were cancelled and curtailed.

The long winning streak of America’s billionaire sports owners is just part of the dominance of a national dynasty of 661 U.S. billionaires whose wealth has grown by $1.2 trillion, or 40%, during the pandemic. The number has climbed from $2.9 trillion on March 18 to $4.13 trillion, as of January 29, 2021 (see link here for all data).

Though only one of their teams will lift the Lombardi Trophy as Super Bowl champs this year, both the Chiefs’ Hunt family—specifically, Ray Lee Hunt and W. Herbert Hunt—and the Bucs’ Glazer family will continue their long reigns among the nation’s biggest economic winners. The Hunts’ net worth is estimated by Forbes at $6.3 billion, up $482 million during the COVID crisis. The Chiefs received $250 million in taxpayer subsidies for stadium renovations in 2006.

The Buc’s Glazer family is worth an estimated $1.7 billion, according to Wealth-X. Taxpayers provided a total of $218 million in subsidies for construction and renovation of the Buccaneer stadium in 1998 and 2015.

Sixty U.S. billionaires—roughly one in ten of the country’s 661 total billionaires—own one or more major league professional sports teams in the National Football League (NFL), National Basketball Association (NBA), Major League Baseball (MBL), and National Hockey League (NHL). Four other billionaires—three from Canada and one from Germany—own four additional teams.

“These billionaire sports barons have seen their wealth rise as their fans lose their lives, livelihoods, health and wealth,” said Chuck Collins, director of the Institute for Policy Studies, Program on Inequality.  “As a country, we should be investigating pandemic profiteering and taxing windfall gains during these extraordinary times.”

“The Super Bowl brings the whole nation together, but we have not come together as a country to beat the pandemic,” said Americans for Tax Fairness executive director Frank Clemente. “Billionaire sports owners have continued their long winning streak of ever-growing fortunes while fans at home are losing their lives and livelihoods. Real team work would require billionaires to pay their fair share of taxes so we can get the whole U.S. back to its winning ways.”

“Every year, wealthy sports team owners rake in more than two billion dollars in taxpayer subsidies for new stadiums and arenas that, according to innumerable economic studies, provide zero measurable economic benefit to the public,” said Neil DeMause, co-author of Field of Schemes: How the Great Stadium Swindle Turns Public Money Into Private Profit, and editor of the stadium news site. “Letting billionaire owners socialize their costs and privatize their profits has allowed the rich to get richer, while starving local governments of revenue to pay for schools and other genuine public needs.”

Tax reform that ensures the wealthy pay their fair share—the principle President Biden’s tax plan is built on—would transform a good chunk of those huge billionaire gains into public revenue to help heal a hurting nation. But getting at that big boost in billionaire fortunes is not as simple as raising tax rates: tax rules let the rich delay, diminish and even ultimately avoid any tax on the growth in their wealth. What’s needed is structural change to how wealth is taxed.

The most direct approach is an annual wealth tax on the biggest fortunes, proposed by Senators Elizabeth Warren and Bernie Sanders, among others. Another option is the annual taxation of investment gains on stocks and other tradable assets, an idea advanced by the new Senate Finance Committee chair, Ron Wyden. Even under the current discounted tax rates for investment income, if Wyden’s plan had been in effect in 2020 America’s billionaire sports owners would be paying billions of dollars in extra taxes this spring thanks to their gargantuan pandemic profits last year. Another reform is needed to significantly strengthen the estate tax so that the riches accumulated by these ultra-wealthy sports franchise owners pay their fair share of taxes when these dynasties get passed onto their heirs.

Money illustration for 360 Magazine

Top Five Tech Billionaires Worth More Than 80 Poorest Countries Combined

The COVID-19 has played a significant role in wealth redistribution, with tech companies and their founders emerging as the biggest winners. While aviation, real estate, and hospitality industries have been pushed to the bottom of the global rich list, the tech industry billionaires have witnessed the largest wealth gains in the last year.

According to data, the combined net worth of the five wealthiest people in the US tech industry hit $567 billion in February, more than the gross domestic product (GDP) of the 80 poorest countries combined.

Jeff Bezos’ Wealth Surged by 65% Year-Over-Year (YoY) and Hit $187 billion in 2021

As the COVID-19 spread, the world has relied on many technological tools across different sectors­–from business and education to commerce and health care. Tech companies that have provided the best solutions amid the pandemic witnessed the most significant revenue surge, while their founders got richer, to the tune of billions.

Amazon products have become one of the most demanded in the world during the pandemic, as it keeps providing tech items, groceries, and entertainment to people amid lockdown. Because of the high demand for its services, the company had to hire an additional 175,000 workers to keep up with surging demand.

According to the Forbes billionaire list, the COVID-19 has helped Amazon founder and CEO Jeff Bezos to grow his wealth by $74 billion in the last year, with his net worth reaching $187 billion this month. The International Monetary Fund data shows this figure is closest to New Zealand and Iraq’s GDP, which ranked 52nd and 53rd globally with $193.5 billion and $178.1 billion, respectively.

Bill Gates, the Microsoft founder, is the second wealthiest person in the US tech industry, and globally. The net worth of the billionaire working with the WHO and drug makers to defeat the coronavirus is currently standing at $120billion. Statistics show Gates’ wealth grew by $22billion in the last year and is now closest to Morocco’s GDP, which ranked 59th globally.

As the fifth-largest tech company globally, Facebook has also witnessed impressive growth in 2020. The Facebook shares rose by 26% in the last year, pushing its CEO’s fortune up by $39 billion to $93.7 billion. This figure means that Mark Zuckerberg’s wealth is $700 million above Puerto Rico’s GDP, which stands at $93.9 billion.

The chairman, chief technology officer, and co-founder of software giant Oracle, Larry Ellison, and co-founder of Google, Larry Page, ranked as the fourth and fifth tech billionaires globally, with $84.9 billion and $80.4 billion in net worth as of this month. Their wealth is the closest to Sri Lanka and Dominican Republic’s GDP, which ranked 66th and 67th globally, with $81.1 billion and $77.8 billion, respectively.

Top Five Tech Billionaires Worth more than GDP of Sweden, Thailand or Belgium

According to Forbes and International Monetary Fund data, the cumulative wealth of the top five tech billionaires also surpasses the GDP of several countries considered to be economic powerhouses. For example, their combined net worth is bigger than the GDP of Austria, Norway, or United Arab Emirates, which ranked 28th, 33rd, and 35th globally with $432.8 billion, $366.3 billion, and $353.9 billion, respectively.

Statistics show that the five tech billionaires’ wealth is the closest to Poland and Sweden’s GDP, which ranked as the 23rd and 24th economies globally. The two countries’ gross domestic product stood at $580.9 billion and $529 billion in 2020.

Gabrielle Archuleta illustration for on-line games article for 360 MAGAZINE

How the gambling houses have shaped the popular taste

The casino industry has evolved a lot over the last few centuries. In Europe during the 18th century, the underground gambling halls morphed into the first legal casinos. Eventually, the same thing happened in the United States, with Nevada’s fledgling Las Vegas providing entertainment for the workers of the nearby Hoover Dam.

From those sawdust-covered floors, modern casinos developed with names like the Golden Nugget in the 1940s. The giant integrated resorts we know today began springing up in the 1980s, and online casinos came into existence in the late 1990s.

Today, most of Europe and a growing number of US states have legalized online casinos, though New Jersey continues to lead the way on this side of the pond, with more than 23 online casinos to choose from in NJ.

At every stage along the way, these casinos have influenced pop culture, changing what we watch, what we read, and what we listen to.

Casino’s Influence on Language

You may be surprised at just how many casino-related words and phrases you use in your everyday conversations. Casino and card games have been around for the best part of a millennium, with blackjack being the descendent of several card games that go back as far as the 13th century AD. 

Having been around for such a long time, words and phrases while playing these games have worked their way into the common vernacular. 

For example, “hedging one’s bets” is a phrase we use regularly to explain when we’re not committing to one particular option to protect ourselves from a negative outcome. In betting, you may hedge your bets by wagering on two opposing outcomes, while in life you might take a job interview while staying at your old job until you see which is the better option. 

All commonly used phrases include “all bets are off,” which can mean no one is sure about the outcome of an event; and “poker face,” which describes someone who is not displaying any emotion.

Casino’s Influence on Music

Speaking of poker faces, Lady Gaga’s hit song is one of the most recent examples of the influence of casino games in music. But there are plenty of others

The country and western singer Garth Brooks had a hit with Two of a Kind Working on a Full House back in 1990. The song leaned heavily on references to poker hands to discuss his relationship with his wife (two of a kind) and the fact that they planned to build a life together (a full house). The song contained betting references all the way through, with links like “I’m her wild card man” and “a real hot hand.”

Other popular songs that have been created by the influence of casinos and casino games include The Gambler by Kenny Rogers, House of Cards by Tyler Shaw, and Ace of Spades by Motörhead.

Casino’s Influence on Movies

Perhaps the most obvious influence that casinos have had on popular culture is in movies. Hollywood loves to set a movie in Las Vegas and its casinos, with at least 92 movies set in the city since 1941. 

Popular examples include Ocean’s Eleven (and its 21’st century remake), Viva Las Vegas, Diamond Are Forever, The Godfather, Casino, The Hangover, and 21. 

Writers often find the excitement and mystery that casinos offer are a great setting for their stories, with films like Ocean’s Eleven and Casino entirely based around the inner workings of the gaming business. 

Others, including many James Bond movies, use casinos in certain scenes as they offer a great way to show the characters outwitting their rivals. A casino setting is also one of the few places where a protagonist and villain could sit in the same room and talk without being forced to attack or fight each other.