Category Archives: Culture

Managing A Team: Rules To Strengthen Cohesion! 

Building a team is never easy, but it is one of the most important tasks within any company.  

No matter how small or big a specific company is, some people do their best to deliver high-quality services and products, while working together.  

Using a “Rage Cage” this Montreal company sets team members up with a variety of hand held weapons and lets them loose to destroy all kinds of items such as mirrors and glassware. See link below for details.

For great results, people need the right atmosphere, the right knowledge, and a great working atmosphere that enables them to learn and make mistakes (and learn from them), while at the same time they are experiencing different team challenges and great moments.  

Plunged into darkness in this Montreal Restaurant, team members must work together. For details see the link below.

For a team to be successful and deliver, there must be a certain level of team cohesiveness, that enables people to be productive, effective, and communicate properly.  

Not sure how some teams achieve this? Check the tips listed below to learn and implement.  

Success Comes With Great Team Building 

Teams that have fun, are teams that deliver. This is why team-building activities are so important.  

Yes, some teams only need a weekly coffee to help them bond, while others need more frequent and more intense activities.  

Learning to relax and breathe effectively. That’s the services offered by this Montreal team building company. See the link below for more info.

On the other hand, if you want to help your employees to bond further, while also they are exploring something new at a more durable pace than you should think about team building activities Montreal – team bonding experts know that the average person will spend 90,000 hours working throughout their life, which is why knowing co-workers is important, and no better way to get to know someone than through fun activity, such as cooking class, exploring the outdoors or doing some charity work.  

For example, some teams are really into an active lifestyle and they need activities that will push them to work together and go for that medal (this is why competent sports are great team-building activities).  

This Montreal company teaches teams how to sculpt ice. For details see the link above.

Establish The Rules 

Every organization needs rules. Thanks to rules things happen. This is why teams should have their own rules, no matter how small or big they might be.  

For a team to be great, they need essential rules that will help them stay on track.  

If everyone knows the rules and follows them success is inevitable. For rules to be mindful, there must be goals.  

Next to this have clear expectations and make sure that everyone understands their role within the team.  

Establish Honest Communication 

Communication is the key when it comes to working with people. Open and honest communication is something teat people appreciate and expect. This is why a clear line of communication is so important as much as having the right tools to keep everything communication-related in one place.  

Be transparent as much as possible, without putting extra pressure on team members.  

Ensuring communication creates a feeling of group cohesion. Why? This way everyone has a strong sense of belonging and inclusion.  

Last But Not Least… 

Do not forget to reward people. People love to see that their efforts are being appreciated and seen. This is why implementing any kind of reward and recognition system is important.  

Have monthly work reviews, and reward the most productive team members as an example for doing great work. For the Silo, Bill Gordon. Featured image- Allez Up! Indoor climbing for team building.

David Hockney The Moon Room Exhibition GRAY Chicago

Jul 10 – Aug 22, 2026

David Hockney, 2nd May 2020, 2020. © David Hockney Studio.

David Hockney, 2nd May 2020, 2020. © David Hockney Studio.

Once, when we were just sitting outside the house, we put all the lights off in the house to see the moonlight more clearly. The moon could then be seen to cast shadows of the trees on the grass, so with my backlit iPad I could draw it. This would have been virtually impossible without it. 

David Hockney —

In the spring of 2020, David Hockney was inspired by the sight of an unusually large moon—a supermoon, occurring when the moon is closest to Earth. Recalling the moment, the artist reflected on the challenge of capturing the experience through photography, emphasizing drawing’s unique ability to convey the intensity of perception: “I was looking at the moon for quite a while, and when you do that, you see this halo around it that you don’t see in photographs at all because it’s too far. That’s an example of the way lenses push things away. In a lens view, it would be disappointingly small… My niece said that she tried to photograph a big moon, and I said, ‘Well, no, you have to draw it, like the sunrise. It can’t be photographed because it is the source of light.’”

IPad Used for Immediacy

Our friends at GRAY announce David Hockney: The Moon Room opening in the gallery’s Chicago location on July 10, 2026. The exhibition centers on a recently released series focused on the artist’s observations of the moon. Created in 2020 at his Normandy studio in France, Hockney used his iPad to make daily paintings of the surrounding landscape, working en plein air to capture the changing seasons as illuminated by moonlight. Hockney turned to the iPad for its immediacy and responsiveness, a medium that bridges the disciplines of painting and drawing while accommodating the spontaneity of working outdoors, especially in the dark. The exhibition will remain on view through August 22, 2026. This is Hockney’s sixteenth exhibition with GRAY.

Throughout his career, Hockney has consistently engaged with new technologies, particularly those designed for widespread use and accessibility. From his early experiments with Polaroid cameras, photocopiers, and fax machines to his pioneering use of digital tools such as the Macintosh computer and Photoshop, his practice has continually evolved alongside technological innovation. Since 2009, the iPhone and iPad have become central to his work, enabling an expansive body of digital drawings and paintings. Introduced in 2010, the iPad, in particular, afforded the artist greater scale and precision, while its playback function reveals the temporal unfolding of each composition, offering insight into the process of its making.

The Moon Room was first presented by Florence Calame-Levert in David Hockney: Normandism, presented from March 3 through September 22, 2024, at the Musée des Beaux-Arts de Rouen in Normandy, France.

ABOUT DAVID HOCKNEY

David Hockney (1937-2026) is considered one of the most influential and defining figures in contemporary art. His seven-decade career and prolific oeuvre is characterized by formal invention, an intellectual inquiry into the nature of depiction and perspective, and a sustained commitment to celebrating and portraying the world around him. Hockney’s formal training began at the Bradford School of Art (1953–57), followed by the Royal College of Art in London (1959–62), where he graduated with a Gold Medal distinction and subsequently emerged as one of the seminal talents in the new generation of British artists.

The 1960s saw a pivotal shift in the development of Hockney’s distinct artistic style, away from early experiments with abstract expressionism to figuration and linear mark making, particularly following his move from London to Los Angeles in 1964, where he began documenting the city’s seductive charm from the position of an outsider. This new environment inspired his iconic renderings of the Southern Californian lifestyle (Beverly Hills Housewife, 1966) and the celebrated swimming pool series (A Bigger Splash, 1967) which became widely acclaimed as canonical works. His subject matter frequently explored themes of romantic and sexual intimacy, often leading to large-scale double portraits (Christopher Isherwood and Don Bachardy, 1968; Mr and Mrs Clark and Percy, 1971) as well as the naturalistic style Hockney adopted by utilizing photography as a preparatory medium (Portrait of an Artist (Pool with Two Figures), 1972), which he soon considered too reliant on photorealism.

Concurrently, the mid-1960s marked the start of Hockney’s enduring contributions to opera and theatre. His comprehensive stage designs often involved intense periods of concentration, sometimes lasting more than a year for a single production. Beginning with Alfred Jarry’s Ubu Roi (1966) for London’s Royal Court Theatre, Hockney went on to create a series of landmark productions, including the iconic staging of Igor Stravinsky’s The Rake’s Progress (1975) for Glyndebourne, and Giacomo Puccini’s Turandot (1990) for Los Angeles Opera. Many of his designs, spanning ten opera and ballet productions – are regarded as the definitive visual interpretation and remain in performance rotation decades after their debut.

Hockney’s interest in theatrical space evolved into a broader engagement with figurative abstraction and art-historical references, exemplified by his initial use of ‘reverse perspective’ as a pictorial device in Kerby (After Hogarth) Useful Knowledge, 1975. Hockney’s intellectual curiosity and desire to investigate perception and depiction initiated a long and exploratory relationship with photography and perspective. The 1980s heralded a deep experimentation with photography as Hockney pioneered his photographic collages, employing a Cubist language that combined multiple viewpoints to create two-dimensional images, suggesting the passage of time and challenging the fixed-point perspective inherent to the camera lens and the observer in Western art (Pearblossom Hwy., 11–18th April 1986). As Hockney further explored the semantics of representation across diverse cultural traditions, he synthesized East Asian pictorial conventions in painting with the established customs of European and Western art.

From the late 1990s into the early 2000s, Hockney expanded his practice into the study of art-historical technique, focusing particularly on the optical devices employed by Western artists from the fifteenth century onward. Approaching the subject not only as a scholar but as a master practitioner deeply versed in the physical processes of image-making, Hockney brought a rare technical insight to the analysis of historical works. His ability to critically assess draftsmanship, perspective, light, and mark-making from the perspective of an artist allowed him to identify visual evidence that had often escaped conventional academic interpretation. These investigations culminated in his influential publication Secret Knowledge (2001), which set out a comprehensive theoretical framework concerning the use of optical aids by the Old Masters and further established his significant contribution to the field of art history.

Hockney’s return to Yorkshire in the early 2000s resulted in a renewed dedication to the landscapes of his native land, portrayed in the intensive Midsummer: East Yorkshire watercolour series (2004) and expansive, multi-canvas oil paintings (Bigger Trees near Warter, 2007). The proliferation of evolving digital technology, specifically the iPhone and iPad, became central to Hockney’s practice from 2007 to the present day. He embraces these tools for immediate plein air drawing, resulting in vast series such as The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) and his later iPad frieze A Year In Normandie (2020–2021), the ninety-metre-long panoramic iPad painting inspired by the Bayeux Tapestry during his tenure in his Normandy studio (2019-2023), further demonstrating his commitment to pushing the boundaries of digital media.

After relocating to London in 2023, his work has been celebrated by major international retrospectives, including the pioneering multimedia presentation at London’s Lightroom (2023) and the monumental David Hockney 25 at the Fondation Louis Vuitton in Paris (2025). Exceptional in scale with over 400 works spanning seven decades of groundbreaking creativity, the exhibition offered deeper insights into Hockney’s continual reinvention of artistic media in pursuit of immediacy and a closer connection with both his subjects and himself.

Hockney’s late career has been defined by his unwavering commitment to and vigour for the discipline of painting. Following the Paris retrospective, a show of new paintings in November 2025 at Annely Juda Fine Art in London, Some Very, Very, Very New Paintings Not Yet Shown in Paris, revealed the most developed stage yet of Hockney’s exploration of ‘reverse perspective’ as a pictorial device. In 2026, London’s Serpentine North Gallery exhibited Hockney’s most recent paintings alongside his panoramic iPad frieze, A Year in Normandie, linking Hockney’s profound observations of seasonal change in Normandy with his current studio work in London.

From painting, drawing, printmaking, set design, and photography to evolving media ranging from fax machines to iPads, Hockney synthesizes exceptional draftsmanship with keen observation, a sophisticated understanding of art history coupled with an embrace of modern technology. David Hockney’s enduring oeuvre reflects his underlying enthusiasm for life and investigative curiosity encapsulated by his signature phrase, “Love Life.”

David Hockney’s work can be found in numerous distinguished public collections around the world, including the Museum of Fine Arts, Boston; the National Gallery of Australia, Canberra; the Art Institute of Chicago; the National Portrait Gallery, London; The Tate Gallery, London; the J. Paul Getty Museum, Los Angeles; the Los Angeles County Museum of Art; the Walker Art Center, Minneapolis; the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Centre Georges Pompidou, Paris; the Philadelphia Museum of Art; the Museum of Contemporary Art, Tokyo; the Museum of Modern Art, Vienna; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and the Smithsonian American Art Museum, Washington, D.C. 

Canada Post Crisis Runs Deep

Untying the Gordian Knot: Reforming Canada’s Postal Market
  • Canada Post’s financial crisis is bigger than declining mail volumes and rising costs. Drawing on economic evidence and interviews with policymakers, industry executives, and Canada Post leadership, this paper finds that the corporation’s statutory letter monopoly, universal-service obligations, and postal charter have created a rigid regulatory framework that is increasingly incompatible with a competitive postal market.
  • Economic evidence does not support maintaining Canada Post’s exclusive privilege in letter delivery. This paper argues that postal services do not exhibit the characteristics of a natural monopoly and that greater competition would improve efficiency and support long-term financial sustainability.
  • Canada should commercialize Canada Post by eliminating its letter monopoly, creating an independent postal regulator, and preserving universal service through a competitively neutral subsidy program that ensures continued service to high-cost regions.

Introduction

Low and decreasing mail volumes have led Canada Post to a tipping point.1 Canada Post provides two core delivery services: mail and parcels. Despite a 21 percent increase in the number of Canadian addresses between 2006 and 2023, mail volumes fell by 60 percent (Canada Post 2024). Meanwhile, Canada Post’s parcel market share has plummeted from 62 percent to 29 percent since 2019, with the COVID-era expansion of low-cost couriers (Canada Post 2024). Concurrently, ongoing labour strife threatens to worsen Canada Post’s already uncompetitive cost structure.

The result? Canada Post has accumulated more than $6.1 billion in cumulative operational losses since 2018, including more than $1.6 billion during fiscal year 2024/25 (Canada Post 2025). In mid-2024, Canada Post CEO Doug Ettinger warned that the corporation would run out of cash by July 2025. In response, the federal government provided an emergency $1.05 billion loan in contravention of Canada Post’s governing legislation (Previl 2025). Subsequent additional cash injections have failed to sustain the postal service beyond February of this year. Canada Post will likely require hundreds of millions more to merely stave off insolvency through the end of the 2025/26 fiscal year.

Canada Post’s legislated pillars, universal service, and financial self-sustainability, are collapsing. Reform is necessary. The federal government is alive to these concerns. In September 2025, Joël Lightbound, the minister of Government Transformation, Public Works and Procurement, who is responsible for Canada Post, instructed it to produce a “transformation plan” within 45 days (Public Services and Procurement Canada 2025). The minister approved Canada Post’s response.

Further, Minister Lightbound announced three changes aimed at stabilizing Canada Post’s finances: (1) authorizing Canada Post to convert roughly four million addresses that still receive door-to-door delivery to community mailboxes – more than 75 percent of Canadians already receive their mail through community, apartment, or rural mailboxes – producing nearly $400 million in expected annual savings; (2) ending the moratorium on rural post office closures (no projected annual savings provided); and, (3) reducing delivery frequency for non-urgent mail (some $20 million in annual savings) (Public Services and Procurement Canada 2025). These changes are well underway.

These are important first steps. However, they will not address the most significant, underlying causes of Canada Post’s lack of financial self-sustainability. And even if the federal government’s projected cost savings are realized, and Canada Post’s 2025/26 fiscal year operating results remain otherwise unchanged, Canada’s national postal service is still expected to lose more than $1 billion annually. Clearly, this is not a comprehensive solution.

Instead, this Commentary looks to the core of the problem. It proposes reforms to Canada’s postal market that are more likely to restore the organization’s financial independence and reduce the need for federal government transfers. Specifically, it challenges Canada Post’s statutorily protected postal monopoly. Contrary to commonly held beliefs, the postal market is not a natural monopoly. A natural monopoly exists where a single firm can supply the market at a lower cost than two or more firms, typically because of economies of scale and network effects. Common examples include utility companies, railways, and more recently, search engines and social media platforms. On this basis, I propose eliminating Canada Post’s monopoly as a step towards renewed viability.

As part of my research for this Commentary, I conducted 13 interviews with current and former government decisionmakers, industry executives, and former members of Canada Post’s leadership team. These conversations informed my assessment of the merits of various policy options and, ultimately, my recommendation of two solutions. First, Canada Post should be “commercialized” through eliminating its regulated monopoly and relieving the corporation of its universal service obligations.

Second, Parliament should establish an independent postal regulator. Canada is the only major Western economy without one. A postal regulator would separate ownership from regulation, addressing the potential conflict of interest that arises when the government sets both service targets and financial benchmarks. However, privatization may offer significant benefits only after addressing the structural problems inherent in Canada Post’s existing regulatory framework.

These two reforms, alongside Minister Lightbound’s recently announced changes, offer practical and politically sensitive solutions to Canada Post’s formidable challenges. This Commentary focuses on the role of Canada Post’s regulatory framework in its current financial difficulties and explores legislative reforms that could complement operational changes.

Regulatory Context and Current Challenges

“It’s a Gordian knot. The current framework doesn’t provide Canada Post with a clear path back to profitability. It’s up to the politicians now. Without them, management and the union will bring us further out to sea.”

– Former CEO, Canada Post Corporation
(Author interview)

Any discussion of Canada Post’s governance should begin with the two sets of laws that most significantly shape its performance: the Canada Post Corporation Act (CPCA) and the Canadian Postal Service Charter (Charter). The CPCA was enacted in 1981, converting the postal service from a government department into a wholly federal government-owned corporation: the Canada Post Corporation (CPC). The former post office department yielded significant annual losses, prompting Parliament to include section 5(2)(b), requiring CPC to operate on a financially self-sustaining basis without government support.

Governance

The CPC operates as a quasi-autonomous and unregulated organization. The minister of government services, public works, and procurement appoints CPC board members with the approval of the federal cabinet for a term not exceeding four years. Cabinet also appoints the chairperson for a term of its choosing. The board appoints the CPC CEO and is responsible for managing the corporation.

The corporation’s board proposes postal rate increases and decreases subject to ministerial approval. Over the past two decades, the minister has usually provided the requested increases without much opposition (interview with former minister of Public Works and Government Services, 2025). That apparent lack of rate-making scrutiny reflects a broader trend toward limited ministerial oversight. The minister is “required” by law to approve CPC’s annual strategic plan. Yet, since 2019, the minister has failed to approve any of the CPC’s six strategic plans.

The reason?

Presumably, a lack of political will to make difficult decisions about a Crown corporation that has, until recently, attracted little attention from successive governments. Those strategic plans included politically fraught decisions such as the elimination of door-to-door delivery, a change that the federal government only recently accepted as necessary to stem CPC’s fiscal hemorrhaging. Another explanation is a desire to preserve positive relations with the Canadian Union of Postal Workers (CUPW), a key voting bloc representing more than 50,000 workers across Canada with the power to shut down postal service nationwide.

CPC has no independent regulator. The minister, responsible for Canada Post and its primary overseer, sets service targets and financial benchmarks. Customer complaints are reviewed by CPC’s ombudsperson, who, in turn, reports to CPC’s board. In both cases, a clear conflict of interest exists.

Exclusive Privilege

The CPCA constructed a postal market with two primary pillars. First, section 14 granted CPC an exclusive statutory monopoly over the collection, transmission, and delivery of letters weighing under 500 grams. Multiple exceptions to the monopoly exist, including for express and overseas mail. Combined with CPC’s postal monopoly, limited ministerial oversight of the postal ratemaking process may explain the 98 percent increase in inflation-adjusted mail prices since 1981 (Geloso 2024).

Universal Service

Sections 5 and 19(2) of the CPCA established a universal service obligation (USO) requiring that CPC provide service to all regions, including high-cost remote areas, at “fair and reasonable rates.” Almost all national postal service operators are subject to some form of USO (General Accounting Office 1996). Under a purely market-based system, carriers are likely to prioritize low-cost, high-profit urban and suburban areas to the detriment of higher-cost, low-profit rural counterparts. However, under the current system, the USO is binding. Ensuring equitable standards for rural and urban communities, regardless of the merits of the policy objective, results in higher costs.

Service Charter

In response to political fallout over an attempted privatization and heightened anxiety regarding potential service reductions, the federal government introduced the Canadian Postal Service Charter in 2009 (Transport Canada 2009). The Charter compounded the challenges inherent in the CPCA’s rigid, non-commercial structure. Notably, it expanded the USO to prescribe fixed five-day-per-week delivery and replaced the “fair and reasonable” pricing mandate with a uniform price for all similarly sized letters, irrespective of distance (Interview, Vice Chair, Strategic Review of Canada Post Corporation, 2025).

The Charter’s prescriptions have limited CPC’s ability to influence its corporate strategy, reduced financial transparency through facilitating inter-regional subsidization, and discouraged possible market entry (Interviews, FedEx executive and former CPC CEO, 2025). Put differently, the Charter led Canada Post to increase postal rates for urban and suburban customers to avoid imposing significant rate increases on rural customers that would reflect the higher cost of serving those areas. Possible new entrants, such as FedEx, are deterred from entering the letter delivery market, in part, because of this artificially high cost structure.

Furthermore, the CUPW has strenuously rejected management-led efforts to amend the Charter to reduce delivery frequency and address its increasingly uncompetitive labour-driven cost structure (Interview, former member of CUPW’s leadership team, 2025). Estimates of Canada Post’s cost base suggest that it already exceeds those of its legacy courier (150 percent) and gig worker (400 percent) competitors in the parcel market by a wide margin (Lee 2024). Continued above-market pay raises will expedite CPC’s impending fiscal reckoning and inevitably increase the severity of future cuts necessary to restore fiscal balance.

The core regulatory issue remains the Gordian knot ensnaring CPC: the combination of an increasingly demanding USO and a statutory postal monopoly. I now consider whether that monopoly is warranted before exploring possible solutions to these challenges.

Exclusive Privilege and Natural Monopoly

“The efficiency rationale for exclusive privilege no longer exists. It’s rent seeking. Without Section 14, Canada Post could not subsidize parcels and the bottom would fall out.”

– Vice Chair, Strategic Review of the Canada Post Corporation (Author interview)

This section demonstrates why technological justifications for CPC’s section 14 monopoly are no longer valid. Two primary justifications are offered for protecting a government postal monopoly: (1) the presence of a natural monopoly and (2) the existence of economies of scope (Iacobucci et al. 2007).2 Neither is supported by an economic analysis of Canada’s postal market. In the latter case, the emergence of value-added e-commerce providers has reduced the economies of scope between mail and parcels (Glass et al. 2021).3

Natural monopoly exists where a single firm can supply the market at a lower cost than two or more firms, typically because of economies of scale and network effects. Where a single firm can construct and operate the postal network at a lower cost than multiple firms, that firm is said to have sub-additive costs. Advocates of statutory postal monopolies argue that entry should therefore be restricted to achieve the most efficient market structure – a single firm (Sidak and Spulber 1997). Curiously, if this claim were true, restricting entry would be unnecessary, as prospective competitors would not be able to compete with the monopolist. The existence of a natural monopoly would instead warrant some form of price-cap regulation to limit abuses of market power (Iacobucci et al. 2007).

Historical analyses of mail delivery (Mill 1848) and letter pricing (Coase 1939) through the 19th and early 20th centuries consistently observed that the postal market was a natural monopoly. These analyses reasoned primarily through first principles and seldom relied on empirical evidence. More recent US analyses have all but exclusively concluded that postal service is not a natural monopoly (Miller 1985). Indeed, there seems to be broad agreement that most EU postal services do not constitute natural monopolies (Dieke et al. 2008). A 2023 study similarly found that the UK postal market was not a natural monopoly, at least with respect to local delivery and sorting, the activities most likely to be characterized as a natural monopoly (Ennis 2023). Few analyses of Canada’s postal system have attempted to answer whether Canada’s own postal market is correctly classified as a natural monopoly. However, a seminal 1997 analysis at Yale University found that it was not (Sidak and Spulber 1997).

Moreover, since the 1980s, economists have increasingly accepted that many markets (i.e., telecommunications, electricity generation, garbage) or segments within these markets once thought to be natural monopolies are, in fact, inherently competitive. In turn, the existence of competitive markets may obviate the need for regulation (Iacobucci et al. 2007). Where a market, or segments within a market, are competitive, a more efficient outcome can be realized through liberalizing entry into the segments – competitive markets will naturally drive prices toward an efficient equilibrium without government intervention – and adopting more limited, price-based regulation within inherently monopolistic ones.

In 1996, the US Congress debated the US Postal Service’s possible privatization. Its review focused primarily on whether the US postal market was a natural monopoly. Canada’s model interested legislators, and CPC’s former CEO, Georges Clermont, was called to advise on how to approach the natural monopoly question. Clermont stated that Canada Post is a wholesale and retail provider of delivery services comprising three components: (1) long-distance transportation; (2) regional sorting and transportation; and (3) local collection, sorting, and delivery (Sidak and Spulber 1997).

A subsequent Canada Post CEO agreed that Clermont’s geographic and activity-based framing remains the most appropriate for assessing the existence of natural monopoly in Canada’s postal market (Interview, former CPC CEO, 2025). As I argue below, none of these components, considered individually or collectively, exhibit the properties of a natural monopoly.

Long-Distance Transportation: CPC relies exclusively on contracts with competitive transportation providers to ship its products across the country, including airlines, trucking companies, and railroads. These third-party providers also coordinate package exchange. Any customer is equally capable of obtaining these services. Therefore, contracting for long-distance transportation does not evidence natural monopoly properties.

Regional Sorting and Transportation: Regional sorting and transportation of mail is not a natural monopoly. While there may be economies of scale at the individual sorting plant level, this does not suggest that a single provider should own all the sorting plants within a region. The technology used in CPC’s sorting plants resembles that employed by global retailers such as Amazon (Interview, former CPC CEO, 2025). Few have called for the wholesale supply of merchandising to be performed by a single retailer. Further, while there may be network effects from a single transportation system operator, multiple carriers service regional transportation demand, as evidenced by Canada’s competitive parcel delivery market.

Local Collection, Sorting, and Delivery: In the absence of natural monopolies in the long-distance and regional components, the postal market can be classified as a natural monopoly only if one exists in its local component and does so in sufficient magnitude to compensate for the absence of increasing returns to scale in the other two (Stigler 1951). Clearly, this is not borne out.

Local service involves inward sorting, door-to-door delivery, and pick-up. The economies of scale in each are minimal given the absence of significant, non-regulatory entry barriers and the intensive use of low-skilled labour (Adie 1990). The large number of local carriers in Canada’s parcel and express mail markets supports this conclusion. At most, economies at the local level would support having an individual firm service each locality.4

Further, if there were vertical economies from merging local and regional servicing, this would not justify horizontal integration across localities but rather the development of multiple vertically integrated networks. Alternatively, local economies of scale could potentially justify replacing CPC with a patchwork of provincial postal operators regulated by their respective provincial governments. Such a system would at least create an opportunity for the provinces to learn from one another, as is common with other regulatory bodies such as Canada’s securities commissions.

Supporters of Canada Post’s letter monopoly may point to the fixed costs associated with building sorting plants and procuring a parallel system of community mailboxes as evidence of the existence of a natural monopoly, at least at the local level. However, this view is flawed. Here, a single supplier is not necessarily more efficient. Instead, an economically efficient access-pricing regime may well address these concerns, offering service to a community at a lower cost and with better service than CPC could offer on its own.

This Commentary ultimately recommends a subsidy scheme to ensure adequate service for rural communities. This is not an admission that natural monopolies exist in Canada’s rural and remote postal markets. Instead, it acknowledges that no market participant will supply those high-cost regions absent market-based incentives and legislation compelling them to do so. Put differently, the subsidy scheme reflects the existence of a market failure in Canada’s rural and remote postal markets, not a natural monopoly.

No component of Canada’s postal market reflects the existence of a natural monopoly. Therefore, there are no efficiency-based grounds for restricting competition under section 14. Instead, exclusive public provision can only be justified on equity grounds such as preserving universal service and uniform pricing. The next section demonstrates how these objectives can be better achieved without a regulated monopoly’s distortionary impacts.

Recommendations

“Canada Post is at a tipping point. Inaction by successive governments, including my own, has created only bad options. Privatization won’t yield the value it previously would have. Canadians and CUPW won’t tolerate service and route cuts. We need a third way.”

– Former minister of Public Works and Government Services (Author interview)

This section examines the policy reforms that may best address the issues identified in the previous sections, including CPC’s declining financial self-sustainability and the looming threat of so-called “cream-skimming” – the tendency of carriers to serve only the most profitable regions while avoiding remote areas.

First, a brief word on Minister Lightbound’s postal reforms. Both the federal government and CPC leadership are intent on pursuing at least three changes to help stabilize Canada Post’s finances: (1) converting some four million addresses that still receive door-to-door delivery to community mailboxes; (2) ending the moratorium on rural post office closures; and (3) reducing delivery frequency for non-urgent mail. The minister projects that the changes, if implemented, will generate more than $400 million in total annual savings. This amounts to around one-quarter of the 2024/25 losses. These are welcome developments and the most serious proposals in two decades to reform CPC’s operations to address the corporation’s long-term financial challenges, but they don’t go far enough.

This Commentary is not focused on operational reforms. Instead, it focuses on moving the public debate beyond targeted operational changes and toward the broader, structural reforms to CPC’s enabling legislation, mandate, and governance; that is, reforms necessary to more thoroughly address these longstanding challenges. Consider the scale of the challenge. Even if Canada Post implemented each of the federal government’s proposed operational reforms and realized the projected cost savings, it would still lose more than a billion dollars a year if its recent financial performance otherwise remained unchanged.

The minister and Parliament have four principal alternatives they should consider: (1) acquiescing to some or all of CPC’s and the CUPW’s recent demands; (2) privatizing CPC; (3) commercializing CPC; and (4) establishing an independent postal regulator.

I discuss the feasibility of each in turn. I then recommend creating a Canadian postal regulator and commercializing CPC by eliminating its postal monopoly and implementing a competitively neutral subsidy program to avoid cream skimming while preserving universal service. While privatization has some benefits, the federal government should pursue this option only after first addressing the structural problems inherent in CPC’s existing regulatory framework. A private postal operator, freed of universal service obligations and guaranteed its monopolist position, would invariably abuse its market power by maximizing its returns through higher rates and lower service standards, absent an effective check from government or from the discipline of competing in a free market.

(1) Do Not Grant All Targeted Management or Union Concessions

In its 2024 Annual Report, CPC management requested that the government amend both the CPCA and Charter to permit the introduction of Ramsey-style pricing while maintaining its postal monopoly. (Ramsey pricing is a form of price discrimination wherein the monopolist charges consumers different prices based on their willingness to pay.) Firms adopting a Ramsey-based pricing strategy set prices relatively high for products with inelastic demand (e.g., monopoly products) and relatively low for products with elastic demand (e.g., competitive products). CPC’s leadership has attempted to justify increases to mail prices as a means of offsetting otherwise uncompetitive pricing in the highly competitive parcels market (Interview, former minister of Public Works and Government Services 2025).

The government should reject this request because inverse elasticity-based pricing does not account for a monopolist in one market competing with others in separate markets (Waverman 1980). Ramsey pricing would be flawed because it relies upon a price elasticity of mail demand predicated on a regulated ban on entry, one that reflects neither customers’ true willingness to pay nor the opportunity cost of other suppliers. Without first repealing CPC’s exclusive privilege, Ramsey-based postal ratemaking would harm both consumer welfare and adjacent competitive markets.

CUPW has recommended expanding CPC further into seemingly unrelated and often competitive markets, including food delivery in rural areas and EV charging (Interview, former member of CUPW’s leadership team, 2025). This should also be rejected. Despite CUPW claims to the contrary, such proposals would compound existing structural cost challenges. CUPW’s proposal further incentivizes anti-competitive cross-subsidizing of competitive services through increased letter prices. Pairing Ramsey-style letter pricing with expanded entry would exacerbate these undesirable incentives.

(2) Do Not Privatize Canada Post. Alternatively, Defer Privatization Until After Its Commercialization

Privatization should be rejected for four reasons. First, political opposition. Former prime minister Stephen Harper’s rural caucus led the opposition to the 2005-2007 privatization effort, raising the spectre of decreased service to remote communities (Interview, former minister of Public Works and Government Services, 2025). Current Conservative, New Democrat, and Bloc Québécois leadership have each expressed opposition to privatization. Increasingly, there is also an emerging popular consensus favouring increased state economic intervention (Guriev and Papaioannou 2022). Clearly, this is not a favourable political climate for privatization.

Second, CPC’s implied equity value has plummeted following a post-2018 streak of $6.1 billion in cumulative operational losses (Canada Post 2025). Privatizing CPC today would yield comparatively limited proceeds, especially without accompanying reforms that would allow a private operator to dramatically increase the corporation’s profitability. CPC’s collective agreements lock in cost structures that are significantly above market – particularly with the post-COVID-19 expansion of gig worker delivery platforms – restricting the ability to reduce salaries and pension expenses as part of a turnaround strategy.

Some privatization proponents argue that the proceeds of any transaction are less relevant than the competitive discipline that would result from transforming CPC into a private company (Interview, former CPC CEO, 2025). The argument has some merit. Instead of focusing on incremental reforms that would increase the corporation’s value as part of any go-private transaction, the federal government could simply avoid being pulled further out to sea by terminating a large chunk of its financial commitments if Canada Post were transformed into a private company.

However, privatization has yielded mixed results across peer jurisdictions. President Donald Trump was purportedly considering a bid to privatize the US Postal Service in early 2025 (Miron 2025). But Postmaster General David Steiner, a Trump appointee, has since clarified that the administration is not actively considering a privatization bid, perhaps because of concerns regarding reduced mail service to Republican-leaning rural counties (Wang 2025).

Meanwhile, the United Kingdom approved the 500-year-old Royal Mail’s sale to Czech-based EP Group in December 2024. Universal service commitments were retained as part of the sale (UK Department for Business and Trade 2024), which followed Royal Mail’s partial privatization in 2013. Royal Mail’s pre-tax profits remained relatively unchanged at some £250 million in the first six years following its partial privatization before increasing significantly to some £710 million in 2021 and 2022 and then plummeting to a £110 million loss in 2023 (Wales 2024). Following the 2024 sale, International Distribution Services (IDS), Royal Mail’s parent, posted an after-tax profit of £367 million in the fiscal year to the end of March. The turnaround was driven in large part by IDS’s cost-cutting measures, including voluntary departures and reduced delivery standards for certain non-priority letters (Barrons 2025).

Context matters.

Privatizing national postal operators has yielded mixed results in other European jurisdictions (Institut de recherche 2014). Market entry following privatization has been limited in many European markets. The market share of former postal monopolists has remained roughly the same in England (95 percent), Sweden (93 percent), and Germany (91 percent), following market liberalization (Institut de recherche 2014). The inference? The economic, political, and regulatory contexts in which privatization occurs vastly affect the results of any reform.

Third, wholesale privatization should be rejected because incremental reform is preferable, providing an opportunity to transition smoothly and without disruption. This Commentary recommends eliminating CPC’s exclusive privilege. Privatizing first without deregulating would be the worst possible outcome. A private regulated monopoly would necessarily be less allocatively efficient than its public alternative (Adie 1990). Indeed, a private postal operator, freed of universal service obligations and guaranteed its monopolist position, would invariably abuse its market power by maximizing returns through higher rates and lower service standards absent an effective check from government or the discipline of competition.

Finally, privatization would fail to address the structural problems flowing from the CPCA and its Charter. It would, however, make CPC more efficient while operating within a flawed system. Ultimately, if the federal government chooses to pursue CPC’s privatization, it should do so only after first addressing the structural problems inherent in CPC’s existing regulatory framework.

(3) Commercialize Canada Post by Decoupling Universal Service from the Postal Monopoly

Commercialization is the policy most conducive to Canada Post’s greater economic welfare. I recommend deregulating the postal market by eliminating CPC’s exclusive privilege under section 14 and relieving CPC of its incumbent universal service obligations. Delivery to rural communities would be maintained by compensating carriers under a subsidy scheme. Transitioning toward market-based competition would also require amending the postal charter to permit prices to float freely. Precedent exists. The EU adopted both changes in its 2013 decision to outlaw postal monopolies across the continent, with encouraging results (EU Postal Services Policy 2024).

Decoupling universal service from CPC’s postal monopoly would pressure CPC to end its alleged cross-subsidization practices, drive down urban delivery prices, and increase transparency regarding the costs of rural servicing, creating stronger incentives for management to control costs (Iacobucci et al. 2007). Significant additional benefits are likely to follow. Urban and suburban customers would benefit from lower prices. CPC could reduce letter prices and become more competitive against private sector rivals in an open letter market. Additionally, CPC’s board and the federal government would be armed with better data on the profitability of local and regional markets as they consider further reforms.

Still, market entry following deregulation across European jurisdictions has been inconsistent (Iacobucci and Trebilcock 2012). One common observation? Coupling deregulation with rules requiring equal access to community mailboxes tends to facilitate entry through lowering initial fixed costs and reducing consumer switching costs. However, a FedEx executive noted that FedEx and its primary competitors, UPS and DHL, intend to enter the letter market following deregulation even without access to existing Canada Post facilities. They have already lobbied the minister to remove section 14 to pre-empt entry (Interview, FedEx executive, 2025). Moreover, even if entry did not materialize, the mere threat of entry may still impose competitive discipline upon CPC.

Opponents of commercializing CPC will argue that under a more competitive market, higher-cost rural areas will either lose service altogether or receive service too infrequently. This threat of cream-skimming must be addressed under any deregulation plan. One possible solution is a subsidy regime. A competitively neutral subsidy model would effectively decouple universal service from a postal monopoly. Indeed, two-thirds of the Universal Postal Union’s membership operates their postal markets with some form of subsidy scheme to preserve universality (House of Commons 2024).5

Canadian precedent for a similar scheme already exists. Under section 19(1) of the CPCA, the federal government directly compensates CPC for providing free or heavily discounted postal services to parliamentarians, blind Canadians, periodicals, and certain other groups. These transfers should be expanded to subsidize delivery to high-cost rural communities.

How might such a regime be structured?

Two possible designs are worth considering. Each would prevent cream skimming and address market failures by allowing prices to float freely, reflect local servicing costs, and then compensate either the resident or supplier for the difference.

A. Direct Transfers: First, the federal government could provide direct transfers to residents of high-cost rural and remote areas. Tax-based transfers are administratively simple, requiring only an expansion of existing deductions such as the Northern Residents Tax Deduction. However, pairing upfront costs with year-end compensation may prove politically unpopular and produce results similar to those seen under Canada’s carbon-pricing regime.

B. Competitive Tender Process: A second, superior approach would have the federal government solicit competitive bids to service specific high-cost areas for a defined term.6 This would resemble the subsidy model employed in Canada’s telecommunications market post-deregulation (Sidak and Spulber 1997; Iacobucci et al. 2007).7 The winning bid would be the one requiring the lowest government subsidy. A competitively neutral tendering process, centrally administered and funded by the government, would maintain universal service at no direct cost to residents and address the political concerns under the direct transfer model.

Of course, before pursuing either option, the federal government should carefully assess the costs of administering such a scheme. Specifically, the federal government should scrutinize whether the total administrative cost would be materially less than CPC’s current financial costs. One additional benefit is that a subsidy scheme would spread costs across the entire tax base rather than concentrating them on ratepayers and the corporation. This would reduce the likelihood of a future CPC fiscal reckoning, with increased rural and remote servicing costs absorbed by the federal government and its immense fiscal capacity, thereby eliminating one of the major drivers of CPC’s uncompetitive cost structure.

(4) Establish a Canadian Postal Regulator

Canada is the sole major Western economy lacking an independent postal regulator. In 2016, Parliament called for its creation (House of Commons 2016). Why does one still not exist a decade later? Presumably, a lack of political interest from successive governments. The minister should enthusiastically champion its creation, either alongside deregulation or as a standalone measure to enhance customer service, improve corporate governance, and address potential conflicts of interest in the ratemaking process. Moreover, CPC’s complaints-focused ombudsperson should report to either the regulator or the minister, rather than CPC’s board.

A postal regulator would separate ownership from regulation, addressing the potential conflict of interest that arises when the minister sets both service targets and financial benchmarks (Campbell 2002). Consider the current situation. The minister responsible for Canada Post must grapple with an immediate fiscal crisis while also ensuring that Canadians receive the service standards they expect. In practice, one objective must be prioritized at the expense of the other. An independent regulator narrowly focused on overseeing compliance with the Charter, for example, would create stronger incentives for CPC to meet those targets rather than justify non-performance by pointing to competing financial obligations.

More generally, successive ministers have assigned limited political significance to their CPC oversight responsibilities. Very few have acted as an effective check against potential CPC rent-seeking (Interview, former minister of Public Works and Government Services, 2025). Perhaps this helps explain why successive ministers approved a cumulative 98 percent increase in inflation-adjusted mail prices since CPC’s creation (Geloso 2024). Standing athwart against a two-cent increase in letter prices attracts little praise from voters, the news media, or caucus colleagues.

Canada Post has received little public scrutiny in the past decade except during its recent fiscal reckoning and the occasional eruption of rural opposition to proposed service reductions. An independent regulator tasked exclusively to oversee Canada’s postal market would reduce the likelihood of another decade of inattention and inaction, improving the odds that future problems are addressed before they become crises.

Jurisdictional overlap with existing labour relations boards, the federal Competition Bureau, and consumer protection agencies would need to be considered in determining the regulator’s powers. Within a deregulated and fragmented postal market, a regulator would likely perform a narrow set of roles focused on ensuring a level playing field, monitoring competitors’ compliance with the CPCA, and administering the proposed subsidy program in a manner similar to the Canadian Radio-television and Telecommunications Commission (CRTC).

However, if the statutory monopoly is preserved, the regulator should be vested with expansive ratemaking powers and the authority to order disclosure of CPC’s internal cost analyses. Sector-specific expertise would be a welcome improvement over comparatively limited ministerial oversight. Put differently, Parliament should create a muscular watchdog capable of preventing CPC from cross-subsidizing competitive services with monopoly rents.

Concerns about expanding the federal bureaucracy and the costs of establishing a new agency may be partially allayed by housing a leanly staffed regulator within an existing agency. The CRTC would likely prove the most natural fit given its expertise in developing and overseeing access-pricing regimes, including those that could govern competitor access to Canada Post’s community mailbox network.

Conclusion

“Let the marketplace decide who should be in the game and who is best.”

– Georges Clermont, Former CEO of CPC (Author interview)

Canada Post is at a tipping point. Technological innovation has made reform necessary. However, changes to its corporate strategy will not yield lasting results without first addressing the structural problems created by the application of an outdated Canada Post Corporation Act and an inflexible Canadian Postal Service Charter to an increasingly uncompetitive postal service.

Economic analyses do not support an efficiency rationale for maintaining Canada Post’s statutory postal monopoly. Reform should begin there. Modernization demands that Canada’s postal service be commercialized, governance improved, and universal service preserved through adopting new approaches to long-standing problems. To advance those objectives, I recommend creating a Canadian postal regulator and commercializing Canada Post by eliminating its postal monopoly and implementing a competitively neutral subsidy program to prevent cream skimming and preserve universal service.

For The Silo, by Erik De Lorenzi/ C.D. Howe Institute.

The author extends gratitude to Colin Busby, Don Drummond, Paul Johnson, Ian Lee, John Lester, Peter MacKenzie, Tom Wilson, Tingting Zhang, and several anonymous referees for valuable comments and suggestions. The author retains responsibility for any errors and the views expressed.

References

Adie, Douglas. 1990. The Mail Monopoly: Analysing Canadian Postal Service. Vancouver: Fraser Institute.

Associated Press News. 2024. “UK Government Approves $4.6-Billion Takeover of Royal Mail by a Czech Billionaire.” December 16. 

Barron’s. 2025. “Royal Mail Owner Profit Jumps As Czech Billionaire Takes Over.” September 1.

Campbell, Robert M. 2002. “The Post Modern: It’s Time for Serious Postal Reform.” Policy Options. July.

Canada Post. 2024. Annual Report 2024. Ottawa: Canada Post.

__________. 2025. Annual Report 2025. Ottawa: Canada Post.

The Canadian Press. 2025. “Feds Greenlight $673 Million to Keep Canada Post Afloat This Year.” May 8.

Coase, Ronald. 1939. “Rowland Hill and the Penny Post.” Economica 6(24).

Dieke, Alex, Antonia Niederpruem, and James Campbell. 2008. Study on Universal Postal Service and the Postal Monopoly. Fairfax, VA: George Mason University School of Public Policy.

Ennis, Sean. 2023. “The Natural Monopoly Paradox: Incumbent Inefficiency and Entry.” SSRN Working Paper No. 4364914. February. 

European Commission. 2024. “EU Postal Services Policy.”

Geloso, Vincent. 2024. “Time to finally privatize the inefficient and ailing Canada Post.” The Globe and Mail. September 24.

Glass, Anthony, Alessandro Nicita, and Filippo Maria Gori. 2021. “Is Postal Service a Natural Monopoly? A 30-Year Retrospective on Panzar’s Seminal Paper.” Rutgers University Working Paper No. 14. March.

Guriev, Sergei, and Elias Papaioannou. 2022. “The Political Economy of Populism.” Journal of Economic Literature 60(3). September.

House of Commons. 2016. The Way Forward for Canada Post: Report of the Standing Committee on Government Operations and Estimates. Ottawa: House of Commons. December.

__________. 2024. Canada’s Postal Service: A Lifeline for Rural and Remote Communities: Report of the Standing Committee on Government Operations and Estimates. Ottawa: House of Commons. December.

Iacobucci, Edward, and Michael Trebilcock. 2012. “The Role of Crown Corporations in the Canadian Economy: An Analytical Framework.” University of Calgary School of Public Policy Research Papers 5(9). March.

Iacobucci, Edward, Michael Trebilcock, and Tracey Epps. 2007. Rerouting the Mail: Why Canada Post is Due for Reform. Commentary 243. Toronto: C.D. Howe Institute. February. 

Institut de recherche et d’informations socioéconomiques. 2014. Should Canada Post Be Privatized? Montreal: IRIS. April. 

Lee, Ian. 2024. Canada Post: The Tipping Point Has Arrived. Seven Recommendations to Prepare the Post for the Future. National Association of Major Mail Users.

Mill, John Stuart. 1848. Principles of Political Economy. 2nd ed.

Miller, James. 1985. “End the Postal Monopoly.” Cato Journal 5(1). Spring/Summer. 

Miron, Jeffrey. 2025. “Should the US Government Privatize the Post Office?” Cato Institute. February. 

Oster, Sharon. 1994. “The Postal Service as a Public Enterprise.” In Governing the Postal Service. Washington: American Enterprise Institute Press.

Previl, Sean. 2025. “Canada Post gets financial lifeline from Ottawa up to $1B amid struggles.” Global News. January 24.

Public Services and Procurement Canada. 2025. “Government of Canada instructs Canada Post to begin transformation.” Sept. 25.

Sidak, J. Gregory, and Daniel F. Spulber. 1997. “Monopoly and the Mandate of Canada Post.” Yale Journal on Regulation 14(1). Winter.

Stigler, George. 1951. “The Division of Labor is Limited by the Extent of the Market.” Journal of Political Economy 59. June.

Transport Canada. 2009. “Government of Canada Introduces New Canadian Postal Service Charter.” September 12.

UK Department for Business and Trade. 2024. “Royal Mail Remains Based in UK in Deal to Bolster Key Services.” December 16.

United States General Accounting Office. 1996. U.S. Postal Service: A Look at Other Countries’ Postal Reform Efforts. Washington: GAO.

United States Senate Committee on Governmental Affairs. 1996. Hearing before the Subcommittee on the Post Office and Civil Service. 104th Congress. Washington, DC: US Government Printing Office.

Wales, Bethany. 2024. “Royal Mail: Has privatisation delivered success for crown jewel as £3.5bn takeover looms?” CityAM News. June 2. 

Wang, Hansi Lo. 2025. “New U.S. Postal Service head says he doesn’t believe in privatizing the mail agency.” NPR. July 18. 

Waverman, Leonard. 1980. Perspectives on Postal Rates. 7th ed. Toronto: Roger Sherman Press.

What Dog Breeders Don’t Tell And Trainers Don’t Teach

Could You  Lose Your Homeowner’s Insurance Because of Your Dog?

In many years, dog bites accounted for more than one-third of all homeowner’s insurance liability claims in the United States, according to the Insurance Information Institute and State Farm. In Canada numbers are not readily available but there is a strong chance we are not far behind.

“Those claims can be financially hard on the homeowners and  tragic for the dogs, which is especially troublesome when you know that bites aren’t a ‘bad dog’ problem – they’re a human ignorance problem,” says Melissa  Berryman, a dog bite specialist who designed and teaches a safety and liability  class for dog owners. She’s the author of “People Training for Good Dogs: What Breeders Don’t Tell You and Trainers Don’t Teach”.

“In all of my years as an animal control officer, I’ve never  come across an incident with a dog that was not preventable,” she  says. If we look back a decade during an especially peak period, there were 360,000 nonfatal dog bite injuries treated in emergency rooms in the United States, according to the Centers for  Disease control, with claims totaling into the hundreds of millions of dollars.

“Regardless of provocation, dog owners are largely held  liable and see their insurance canceled or their premiums increased. To be  reinstated premiums can go up and insurance companies often require them to get  rid of the dog.  And, often, that means the dog is euthanized.”

Here's a look at some of the contents inside Melissa's book. CP
Here’s a look at some of the contents inside Melissa’s book. CP

Pet owners can prevent this common and unnecessary tragedy by understanding a dog’s perspective and acting accordingly.

She offers five tips to reduce dog bite incidents:

• Remember, dogs aren’t trying to protect a home when they react negatively to strangers or visitors: Dogs place no value on your home, car, or the valuables they might contain. When they’re in a home or car, they are trapped in an enclosed area and will respond to perceived threats with an automatic fight-or-flight response. It is the owner’s responsibility to train dogs to calmly signal someone’s approach and then to assert authority over the situation.

• Consider your dog’s “rank”: Dogs have superior/subordinate relationships similar to the military.  Rank of family and guests dictates a dog’s behavior towards them.  A high-ranking dog, a “general,” won’t tolerate insubordinate behavior from a perceived low ranking “private’’ child or guest. Bites often occur when human “privates” try to take food or toys away, hug or pull a “general” type dog by the collar off of furniture.

• Yelling can exacerbate a dog’s agitation: Your dog doesn’t know you’ve ordered pizza, so when the delivery person arrives, your dog is agitated by the threat at the door and starts barking. When you yell at your dog to stop barking, he interprets this as agitation on your part; he understands tone, not language. That only increases a dog’s anxiety and vulnerability. When the door opens, the dog bites because it thinks you and he are both feeling threatened and you’re both going to attack the threat. It’s best to happily reassure your dog when someone arrives and leave the greeting of guests to you, and not the dog.

• How you treat strangers influences how your dog treats them: Dogs respond to their owners’ behavior, which gives them signals about whether or not a situation is safe. When the dog’s owner meets a stranger and interacts formally with that stranger, as many of us do, dogs can view this as the behavior of foes, or as apprehension, such as that of prey. Owners holding leashes tightly unwittingly place their dog in the dangerous fight stance of the fight or flight response.  It’s best to relax and act like a friend when meeting strangers, which will elicit a friendly response from a dog.

“Dogs react based on their pack positions, the handling ability of their owners and the situation and context,” she says. “People have the power to recognize this and redirect the interaction to that of friends.”

The cover of Melissa Berryman's book.
The cover of Melissa Berryman’s book.

By understanding and respecting how dogs’ instincts and natural behaviors differ from ours, dog owners can prevent bites and insurance headaches, Berryman says.

A Massachusetts animal control officer for nearly ten years, Melissa Berryman is a national dog bite consultant who founded the Dog Owner Education and Community Safety Council and works with communities ,rescue groups, dog owners and bite  victims.  For the Silo, Ginny Grimsley.

Did Book VOSTOK Warn President Obama Against UAP Investigation?

Vostok By Steve Alten Rebel Press February 17, 2015 ISBN-10: 1681020009 ISBN-13: 978-1681020006
Vostok
By Steve Alten
Rebel Press
February 17, 2015
ISBN-10: 1681020009
ISBN-13: 978-1681020006

What is it about the idea of UFOs & UAPs that makes people nervous? While there have been many documented incidents over the years (with no other logical explanation), commercial pilots rarely report sightings for fear of losing their job. Steve Alten, New York Times bestselling author, isn’t afraid to talk about it. In fact, he weaves classified information on UFOs throughout his riveting book, Vostok.

Back in 2015, Obama Advisor John Podesta revealed that his biggest regret since leaving office was “keeping the UFO issue a secret.”  But at the same time, a shocking book by NY Times bestselling author Steve Alten was released that blew the lid off those secrets. The author’s source – Steven M. Greer, M.D., the world’s foremost authority on Extraterrestrial Intelligence (ETI) and the same person who provided the extensive briefing to John Podesta on UFOs shortly after President Obama took office in 2009.

Dr. Greer

Dr. Greer, an emergency room physician who left his medical career to dedicate his life to disclosing the truth about UFOs, also briefed James Woolsey, President Clinton’s first CIA director, along with the heads of the Defense Intelligence Agency, the Head of Intelligence Joint Staff, members of the Senate Intelligence Committee, and a select number of Congressmen.

Best-selling author Steve Alten incorporated over thirty hours of private interviews with Dr. Greer into the storyline of Vostok (Rebel Press). Fans of thrillers will be drawn into the story – Vostok is a very real 15 million-year-old sub-glacial lake located beneath two-and-a-half miles of ice in East Antarctica. Incredibly, there is also a magnetic anomaly inside the lake that has baffled experts as to what it could be. Three scientists are selected to venture into this underwater realm in a submersible. What they discover will keep readers frantically turning pages…  

But Vostok is much more.

The thriller exposes a secret transnational Cabal which draws an estimated $80 billion usd Black Ops budget from US taxpayers with no congressional oversight. Made up of bankers, oil oligarchs, and members of the military industrial complex, the Cabal has used its influence to improperly seize over 5,100 US patents, many for new energy devices that would replace fossil fuels. As a result, clean free energy systems that would literally transform the planet (and the dominant U.S. macro-economy) have been black-shelved, their inventors threatened… and worse.
 
According to the author and his source, “presidents Clinton and Obama were both ‘warned off’ pursuing their UFO investigations; Clinton when CIA Director William Colby was murdered after he decided to cross the powers-that-be, and Obama on his trip to Norway to accept his Nobel Peace Prize when a Scaler weapon blast (an ET technology reverse-engineered decades ago) caused the Oslo night sky to light up with a blue spiral.” Vostok names names, along with the locations of super secret military bases where ARVs (Alien Reproduction Vehicles) are harbored and may one day be used in the ultimate false flag event.
 
Yes, truth is stranger…and far scarier…than fiction.

For the Silo, Jarrod Barker.

Supplemental- BBC’s The Lost World of Lake Vostok

Purchase VOSTOK E-book from Amazon

Featured image- A Hidden Sea Shows Why Finding Alien Life May Be So Difficult. Credit: Shutterstock | The Daily Galaxy –Great Discoveries Channel© Daily Galaxy IN

Blue Chip vs. New Chip: Modern Equivalents of Classic Favorites

Recently, much of the value growth in collector cars is coming from newer vehicles. While cars of the ’90s and 2000s may seem wildly different from vintage cars, some of these newer collectibles actually share many attributes with “blue chip” classics we know and love. Learn more below via this article from our friends at Hagerty.

Note prices below are in USD.

In the investment world, the term “blue chip” applies to companies with good reputations and solid financials, as well as a track record of stability and long-term growth. Dependable places to park money, in other words. In the car world, blue chip has come to signify something slightly different. Essentially, they’re high-end vintage cars which, like their stock market equivalents, are well-known and have a long-term record of desirability and growth. We define Blue Chip Index as “the automotive A-list… a stock market-style index that averages the values of 25 of the most sought-after collectible automobiles of the postwar era.”

Recently, though, a lot of the value growth in collector cars is in newer vehicles, stuff from the very end of the 20th century and the very beginning of the 21st. Many of them share several attributes with traditional blue chip classics; they’re just newer. So, here’s a hand picked handful of these “new chip” collector cars pitted them against classic counterparts.

Blue Chip: Toyota 2000GT
New Chip: Lexus LFA

Toyota GT front three quarter
Broad Arrow

These high-revving coupes both represent the peak of Toyota in their respective eras, and both were coincidentally created with help from Yamaha. Both were extremely expensive when they were new and both had a very low production run—just 351 units for the 2000GT, 500 units for the LFA.

The 1967–70 Toyota 2000GT was also the first Japanese vehicle to sell for more than $1M at auction (in 2013), and a 2000GT race car is the only Japanese car to top $2M at auction. In the world of vintage Japanese cars, it’s king, and in our price guide it currently carries a condition #2 (excellent) value of $1M even.

The 2011–12 LFA is the clearest modern equivalent to its Toyota-badged predecessor. The LFA’s ascent to the seven-figure club happened later, during the first part of the 2020s, but today it carries somewhat similar values. For a base version of the LFA, the current #2 value is $775K. For cars with the track-tuned Nürburgring Package, it’s $1.65M.

Hagerty MarketplaceBrowse all auctions

Blue Chip: Shelby Cobra
New Chip: Ford GT

1964-shelby-289-cobra front three quarter
Broad Arrow

Both the 1962–67 Shelby Cobra and 2005–06 Ford GT are low-ish-production, high-performance, mostly uncompromising cars from Ford’s vast performance portfolio. The Cobras famously took the fight to Corvette and Ferrari on the race circuits of the 1960s, and Cobras for both road and track have been among the most valuable vintage sports cars money can buy for several decades now. With about 1000 of all types built, Cobras are also rare, but common enough that they make regular appearances on the market. Condition #2 values vary depending on engine and configuration, but range from just under $1M for early 260- and 289-powered cars up to the mid- to high-$2M range for the fire-breathing 427 Competition and S/C versions.

The Ford GT is an homage to the GT40 racers that won Le Mans 40 years prior, but in terms of production and price it arguably has more in common with the Cobra. Ford built 4038 examples of the GT, so they come to market regularly, and condition #2 values range from $471K for a base model to $622K for the blue-and-orange Heritage Edition. Unlike the 2017–22 Ford GT, the 2005–06 cars have also consistently risen in value for many years, so the “blue chip” label seems appropriate.

Blue Chip: Lamborghini Miura
New Chip: Bugatti Veyron

1972-lamborghini-miura-p400-sv front three quarter
Broad Arrow

The Miura was a genre-defining supercar, creating the template for high-powered, mid-engine, wild-looking Italian exotics when it debuted 60 years ago. Lamborghini built 762 Miuras from 1966 to 1972, and the current median condition #2 price for one is $2.9M, nearly triple what it was a decade ago.

What the Miura did for supercars in the 1960s and ’70s, the 2006–15 Veyron arguably did for hypercars in the 2000s. Like the Miura, it was a top performer with a top-shelf price tag in its day, and although both cars were extremely fast, they were never meant for the race track. The Veyron has a similar, sub-1000-unit production run (450 in the Bugatti’s case), as well as similar values, with #2 numbers ranging from $1.65M to $2.35M.

Blue Chip: Corvette L88
New Chip: Corvette C7 ZR1

Red Corvette L88 front three quarter
Mecum

Offered for three very short years, from 1967 to ’69, the extremely expensive and never-advertised L88 package represented the pinnacle of what a Corvette could be in the ’60s, offering a race-tuned 427 and heavy-duty everything. Today, values reflect that. The 1967 model (20 built) is the most expensive production Corvette of all, with a #2 value of $2.2M for coupes and $2M for convertibles. For the 1968 (80 built), it’s $444K for coupes and $509K for convertibles. And for the ’69 (116 built), it’s $442K for coupes and $549K for convertibles.

The C7 ZR1 doesn’t have the same direct racing connection as the old L88, but it is another rare (2953 built), short-lived model that was also peak Corvette when it was built, thanks in large part to its 755-horsepower supercharged LT5. It is also arguably peak front-engine Corvette, full stop, as it was the C7’s sendoff and built only for the 2019 model year, before the mid-engine C8 debuted for 2020. It’s certainly the fastest front-engine production Corvette. And, like the rest of the C7 lineup, was the last Vette available with a manual. Condition #2 values for the 2019-only ZR1 are $227K for convertibles, and $220K for coupes.

Blue Chip: Mercedes-Benz 300SL
New Chip: Porsche 911 GT3 RS (997)

1955-mercedes-benz-300-sl-gullwing-coupe
Broad Arrow

The 300SL was among the fastest things on four wheels in the 1950s and early ’60s, as well as one of the most expensive. But with more than 3000 examples of all types built from 1954 to ’64, it’s also not particularly hard to find a 300SL for sale. In fact, the 300SL occupies a unique place in the classic car market in that no other vehicles in the $1M-plus segment come up for sale so regularly, so 300SLs can be a useful barometer for what’s going on at the top end of the market. We even created a 300SL Index to provide insight about the market as a whole. Depending on year and body style, current #2 values for these German favorites range from $1.35M to $1.85M.

A more modern German favorite is Porsche’s hallmark track-oriented 911, the GT3.

Specifically, the GT3 built on the 997 platform from 2007 to 2012. The second-generation GT3 continued the formula of less weight, sharpened controls, naturally aspirated engine, rear-wheel drive, and manual gearbox. For 2010, the engine grew from 3.6 to 3.8 liters and other upgrades were added in the “997.2” version (earlier cars are known as “997.1”). There were even quicker “RS” versions of both, and in 2011 Porsche introduced a GT3 RS 4.0, with nearly 500 hp and a production run of just 600. More than 8000 of these 997 GT3s of all types were built, but less than half of them were the RS and RS 4.0 models, which currently carry condition #2 values of $305K (997.1 GT3 RS), $350K (997.2 GT3 RS), and $825K (GT3 RS 4.0).

Blue Chip: Plymouth Hemi Cuda
New Chip: Dodge Challenger Demon 170

Plymouth Hemi Cuda front three quarter
Mecum

No offense to the Bowtie and the Blue Oval, but “Hemi” is the first name in high-displacement American muscle cars from the late 1960s to early ’70s. The 1970–71 Hemi Cuda was the last gasp of the original 426 Street Hemi, and the last of unrestricted Mopar muscle. By muscle car standards, Hemi Cudas are also quite scarce, with just 666 built in 1970 and 114 in ’71, so values are naturally top shelf by muscle car standards—especially for the ultra-rare convertibles, with barely two dozen built over two years and #2 values of $2.5M (1970) and $3.05M (’71). Coupes are closer to earth, but still expensive at $245K for the 1970 and $376K for the ’71.

The Challenger Demon 170 occupies a similar position in Mopar history, a little over 50 years later. This was the last gasp of the Hellcat era, and in the 2008–23 Challenger’s impressive production run, the last example built was the 2023 Demon 170. Its 1025 hp and 945 lb-ft are shocking numbers for a mass-produced Dodge, though production was relatively low, at 3000 units (plus 300 for Canada). Prices started at roughly $100K, but the collector car market never slept on these, and the #2 value is already up to $141K.

For the Silo, Jarrod Barker.

Interview With Bruce Bailey: Bringing Canadian Artists to the Global Stage

Making Connections

For more than two decades, Bruce Bailey has played a crucial role in connecting Canadian contemporary artists with audiences beyond the country’s borders. Through exhibitions, institutional partnerships, artist residencies, philanthropy, and collecting, he has worked across Toronto, Montreal, Venice, Barcelona, New York, and London to expand international exposure for Canada’s most promising artists.

His involvement has taken many forms, including organizing exhibitions for emerging artists, sponsoring Canadian Pavilion presentations at the Venice Biennale, supporting museum acquisitions, and establishing Espacio Bruce Bailey in Barcelona as a residency and exhibition space for international exchange. Over the years, artists including Kent Monkman, Shary Boyle, David Altmejd, Geoffrey Farmer, Jeremy Shaw, and BGL have been connected to projects and institutions Bailey has supported.

Questions and Answers

Q: You founded Bruce Bailey Fine Art Projects in Toronto at a time when many younger artists struggled to gain institutional visibility. What were you trying to create?

Bruce Bailey: I wanted artists to have a serious presentation before the market fully formed around them. In many cases, commercial galleries were hesitant to take risks on younger artists whose work was still developing. I felt there needed to be a place where ambitious exhibitions could happen without immediate pressure from sales expectations. With Kent Monkman, for example, I organized Dance to the Berdashe in Toronto in 2008. Years earlier, I had already started collecting his paintings and introducing his work to museums and collectors. The same thing happened with artists like Ryan McGinley and Christian Jankowski. These were artists making very strong work before institutional recognition arrived. The idea was always to help build momentum for artists by placing their work in front of curators, collectors, museum directors, and critics who could continue supporting them afterward.

Q: Your work has often involved bringing Canadian artists into international conversations. Why has that mattered to you?

Bruce Bailey: Canadian artists have always deserved greater visibility internationally than they often receive. There is extraordinary work being produced here, although artists sometimes face structural limitations tied to geography and market size. I became involved with supporting Canadian Pavilion presentations at the Venice Biennale because Venice remains one of the few places where curators, museum directors, collectors, and critics from around the world gather in one concentrated setting. When David Altmejd represented Canada in 2007, or when Geoffrey Farmer, Shary Boyle, BGL, and Stan Douglas later participated, those presentations carried importance far beyond a single exhibition season. The exposure can influence museum acquisitions, future exhibitions, publications, and international representation. Supporting those projects was especially important, with the artists speaking to global audiences as representatives of Canada’s cultural life.

Q: In 2016, you established Espacio Bruce Bailey in Barcelona. What role does that space serve today?

Bruce Bailey: Barcelona offered something very specific. It has a strong cultural history, an international population, and proximity to major European institutions and collectors. I wanted to create a setting where artists from Canada could spend time working, exhibiting, and building relationships outside North America. The residency and gallery space are located in the Gothic Quarter, which brings people from many countries into contact with the program. Some artists arrive with established careers, while others are still developing. The conversations that happen there can be very productive, exposing artists to curators, writers, collectors, and other artists they may never encounter otherwise. I have always believed artists benefit from spending time outside familiar environments. It changes their view of the work and often changes the scale of their ambitions.

Q: Your collections have been shown in places such as the Montreal Museum of Fine Arts and in Venice. How do you approach collecting?

Bruce Bailey: I collect work that continues to hold intellectual and emotional weight over time. I am interested in artists who build complete visual languages rather than producing work that responds to short-term trends. The exhibitions drawn from my collection at the Montreal Museum of Fine Arts were important. They provided public access to works that would otherwise remain private. For Every Atom Belonging To Me As Good Belongs to You brought together many different artists and generations in a museum context. Earlier, Disasters of War connected works by Jake and Dinos Chapman with Goya’s print series, addressing violence, history, and political imagery across centuries. Museums matter because they allow the public to encounter work slowly and seriously. That experience carries enormous value.

Q: Your fundraising efforts have supported museums, opera, and ballet organizations across Canada. How do you view that role?
Bruce Bailey: Public institutions require long-term support if they are going to take risks artistically. Acquisitions, exhibitions, catalogues, educational programs, and performances all depend on philanthropy at some level. With Bruce Bailey’s Canadian Fête Champêtre, the intention was to create something ambitious enough to generate substantial support for institutions while also bringing together people from different parts of cultural life. The Montreal Museum of Fine Arts was central to those efforts, though support also extended to organizations like the Canadian Opera Company and Canada’s National Ballet School. I have always felt the arts ecosystem functions best when different disciplines interact with one another. Visual art, music, dance, opera, architecture, and literature constantly influence each other. Supporting one area strengthens the broader cultural environment around it, and ultimately benefits the arts scene as a whole.

For the Silo, Jarrod Barker.

Featured image Photography by Arseny Jabieve.

Vehicle Millennials Once Mocked Makes Major Comeback

Millennials are abandoning SUVs for the one vehicle they swore they’d never drive: the minivan.

For years, North Americans were told bigger was better. Three-row SUVs became the default family vehicle, and automakers poured billions into the category. Consumers followed in droves. But now a surprising reversal is underway. The same generation that spent decades mocking minivans is increasingly choosing them over SUVs, and experts say the shift reveals something much larger about the state of the North American consumer in 2026.

Faced with persistent affordability pressures, elevated borrowing costs, expensive insurance premiums, and rising household debt, many families are abandoning image-driven vehicle purchases in favor of practicality, value, and long-term cost savings. The result? The minivan is making an unexpected comeback!

Why Minivans Are Growing Again
ce van 2.png

The growth comes after decades of decline and signals a notable shift in consumer priorities. Industry analysts cite several major factors:

  • Better cargo space than most three-row SUVs.
  • Easier third-row access.
  • Sliding doors favored by parents.
  • Better fuel economy versus large SUVs.
  • Lower purchase prices compared to similarly equipped SUVs.
  • Strong hybrid offerings from Toyota and Kia.
  • Rising affordability concerns among younger families.

What makes this trend especially compelling is who is driving it. Millennials, many of whom grew up riding in minivans and spent years rejecting them as uncool, are now among the key buyers fueling the segment’s resurgence. As the oldest members of Generation Alpha enter their school-age years and family transportation needs evolve, functionality is increasingly outweighing perception.

Costly SUVs Are Pricing Out Families
SUV prices have steadily climbed since 2021, with three-row options outpacing overall car price inflation. As once-mainstream options like the Suburban and Expedition become more associated with luxury pricing, families looking to pack into a single vehicle have turned to minivans like the Chrysler Pacifica, Toyota Sienna, and Kia Carnival.

Kia Carnival with impressive seating capacity.

The rise of hybrid minivans has also changed the minivan’s reputation from gas guzzler to economical, Earth-friendly choice. Toyota’s hybrid Sienna is also available with all-wheel drive, a combination northern families would have once only dreamed of. For 2026, the hybrid Toyota Sienna gets up to 36 miles per gallon. Ten years ago, the Sienna was good for just 21 miles per gallon. Times are changing! Anyone want to talk about advanced style and design- look back over 30 years ago to the Previa.

The economics are difficult to ignore. Many popular minivans offer significantly more usable passenger and cargo space than comparably priced SUVs, often while delivering better fuel economy and a lower purchase price. For families already grappling with inflation and high monthly expenses, the savings can add up to thousands of dollars annually.

Automotive retail analysts and consumer advocates Zach and Ray Shefska at http://www.caredge.com/ emphasize the following factors:

  • Millennials Are Suddenly Embracing Minivans
  • This Trend Reveals About America’s Financial Reality in 2026
  • SUVs Are Becoming the New Status Symbol Consumers Can No Longer Afford
  • Minivans Deliver the Best Value for Families Today
  • Cargo Space, Insurance Costs, and Fuel Economy Matter More Than Ever
  • Is This a Temporary Shift or the Beginning of a Long-Term Consumer Reset?
  • Rising Household Costs Are Changing Vehicle Buying Decisions
  • The Minivan IS the Family Vehicle North Americans Are Reconsidering in Record Numbers



The minivan story is not really about minivans. It is about a generation confronting economic reality and making purchasing decisions based on value instead of image. The comeback of the vehicle many Millennials once swore they would never own may be one of the clearest indicators yet of how dramatically the North American consumer is changing.

For the Silo, Karen Hayhurst.

Truly A Hit Record Maker- The Classic Roland TR-707

Released by the Roland Corporation in 1985, the Roland TR-707 Rhythm Composer contains 8-bit samples of real drums. This low resolution gives it a lo-fi sound that sets it apart from later and cleaner sounding sample playback drum machines.

A desirable, vintage drum machine spotlight via our friends at tonetweakers.com

The 707 sounds similar to other classic early to mid ’80s digital drum machines like the LinnDrum, Oberheim DMX and Oberheim DX (which is also available on tonetweakers website), but with a lower price tag. Professionally serviced and systematically tested to ensure full functionality, this classic unit now works like new again and is ready to play.

Little brother to the legendary Roland TR-808 and Roland TR-909, the 707 fits perfectly into the iconic Roland X0X ecosystem and is a must for any serious fan of Roland machines from that era. This example also includes its original cardboard box — a rare bonus for collectors.

The 707 was featured on classic pop (you might be surprised to learn that many rock and pop hits did not use acoustic drums but sample based drum machines and drum computers instead) and house tracks like “Need You Tonight” by INXS, ”Move Your Body” by Marshall Jefferson, and “Washing Machine”. Also reportedly used by electronic music legends Vince Clarke, Aphex Twin, Daft Punk and Jay Wires 😀

Much like the classic TR-909, this MIDI drum machine is a classic. 

Used on countless pop, techno, house, new wave, synthpop, hip hop and other recordings from the mid 80s thru today. Its appearance and user interface are best compared to that of the 909. It’s a great studio drum machine but also an excellent portable live tool with the ability to trigger external sounds on a MIDI sampler or synth – perfect for the gigging techno musician.

Features:
15 great drum sounds
16 pads for tap entry or step entry (lights indicate position)
Can also be used to sequence your MIDI synthesizer or sampler – great for live use!
Pattern Mode – create lots of your own loops!
Track Mode – arrange your loops into songs!
Accent
Shuffle (variable)
Flam
Cartridge Port (fits the optional M-16c, see my other auctions below!)
MIDI In / Out
DIN sync output to synchronize with TB-303, TR-808, TR-606, CR-8000 and other fashionable Roland gear!
stereo out
10 additional individual audio outputs
phone out
start/stop input jack
sync out/tape save jack
sync in/tape load jack
DC in

For the Silo, Jarrod Barker.

How 1972 Change To Horsepower Measurements Affects Today Muscle Car Values

A multitude of factors conspired to hamstring the American muscle car market in the early 1970s, most of all a 1972 change in how horsepower was measured. Here’s how that rating change affects the values of eight familiar collector cars.

Let’s Dig In!

Hagerty Marketplace

As anyone who’s ever wrung out a small sports car will tell you, horsepower isn’t everything. Driving is more about feel than what’s on a spec sheet. But that magical equine number, first adopted in the eighteenth century to measure the output of steam engines, does count for a lot, and domestic carmakers have been using it to sell cars for generations.

This was especially true during the second half of the 1960s, when muscle cars were flexing their hardest and 400-plus horsepower V-8s were readily available. Starting in 1971–72, though, the muscle car market famously came crashing down, and it wasn’t until the spread of electronic fuel injection in the 1980s that the numbers finally started to catch up to those of the ’60s.

Used car dealership early 70s
Flickr/CSUSM

Understanding that early ’70s crash takes some explaining.

Muscle cars faced the multi-whammy of increased emissions regulations, crash safety rules mandating fatter bumpers, spiking insurance rates for high-performance automobiles, and lower compression ratios with the advent of lower-octane unleaded gas. There was also the 1973 oil crisis and well as the recession and 55-mph speed limits that resulted.

pumps during opec fuel crisis
Pictorial Parade/Getty Images

On top of all this was a 1972 switch in how horsepower was measured, which made the drop in muscle car performance seem worse than it actually was.

Prior to 1972, American carmakers used the SAE (Society of Automotive Engineers) “gross” measurement of horsepower, which is a figure taken from the engine running on a stand with no power-robbing accessories or mufflers. “Net” horsepower, meanwhile, measures the engine with accessories connected. Some carmakers started advertising gross and net figures in 1971, but a California law requiring only the net figure in any advertising materials starting in 1972 effectively prompted the switch to the net figure across the industry. Some American muscle favorites appeared to suddenly “lose” 100 hp.

That wasn’t strictly the case, though, and our friends at Hagerty recently started wondering what effect that gross-to-net switch might have on classic car values. Is there a discount to be had by ignoring the arbitrary numbers and going after an American V-8 classic from 1972 instead of its nearly identical ’71 counterpart? The answer is, sometimes “yes,” and sometimes “not really.” Below are eight examples. NOTE all monetary values are in US dollars- at time of posting multiply by 1.38 for CAD dollars.

Chevrolet Corvette LT1

Chevrolet Corvette LT1 engine air filter detail
Mecum

Regular Production Option (RPO) LT1 debuted in 1970 on the Corvette and the Z/28 Camaro. In the Corvette, what it got you was a 350cid V-8 with solid lifters, tight 11:1 compression ratio, forged pistons, balanced crankshaft, freer-breathing heads, and more improvements that helped push the new hot-rodded, high-revving small-block to 370 hp and 380 lb-ft. Unfortunately, the LT1 arrived just in time for the horsepower wars to start winding down, and with its compression ratio lowered to 9:1 in the 1971 version, performance was down to 330 hp. A bit disappointing, sure, but still lots of oomph.

Chevrolet Corvette LT1 1972 engine
1972 LT1 350/255 HP V-8 engineMecum

For the 1972 Corvette, RPO LT1 dropped to 255 hp with the switch to net ratings. The LT1 option disappeared after 1972, which was also the last year for chrome bumpers at both ends of America’s sports car. Visually, all 1970–72 LT1 Corvettes look nearly identical, but values drop way off as the power ratings decrease. A 1970 LT1 convertible is currently worth $108K in #2 (excellent) condition in our price guide. The equivalent coupe is currently worth $89,600. The 1971 model falls to $82,300 for a convertible in #2 condition, and $64,500 for a coupe. At the bottom, the 1972 LT1 currently carries #2 values of $74,300 for a convertible and $73,000 for a coupe. Condition #3 (good) values for these cars typically come in at about 25 to 30 grand less than the #2 value.

As for the Camaro Z/28, its #2 value drops from $53,600 for a 1971 model to $52,800 for a ’72, while the condition #3 value drops from $39,400 to $32,700.

AMC Javelin

1972 AMC Javelin front three quarter
1972 AMC JavelinAaron McKenzie

American Motors redesigned its plucky pony car, the Javelin, for 1971. The new second-gen model sprouted the famous exaggerated, creased wheel arches and long hood for which the Javelin is perhaps best known, in part thanks to Mark Donohue’s dominant ’71 Trans Am season behind the wheel of one. AMC’s two-seater AMX model also disappeared after 1970, but was added to the Javelin lineup as a high-performance submodel.

New for ’71 was a 401cid V-8, available in both Javelin SST and Javelin AMX trim. In gross horsepower terms, the 401 made 330 hp. In 1972, the net rating dropped that figure to 255 hp. Values also drop from ’71 to ’72, despite there being few cosmetic differences between the two years. For ’71 Javelins, an SST is worth $35K in #2 condition, and an AMX is worth $49,300. For ’72 models, these figures fall to $25,700 for an SST and $43,200 for an AMX.

Cadillac Eldorado

Cadilac-Eldorado-500-CID
500cid V-8Mecum

The ninth-generation Eldo came out in 1971, growing in wheelbase, overall length, and weight over its predecessor. Fender skirts were another addition, as was a convertible body style. Motivating this huge Caddy was a similarly huge V-8, which displaced a whopping 500 cid (8194 cc). The 500-cube unit had made 400 hp in the ’70 Eldorado, but this dropped to a still-potent 365 horses in ’71. The switch to net ratings suggested a huge drop, though, with the figure dropping to 235 hp for 1972.

The ’72 discount is fairly modest for the Eldorado, a car that never sold itself on speed, anyway. For 1971 models, a convertible is worth $37K in #2 condition, and a hardtop is worth $25,200. A ’72 convertible is worth $35,600, and a hardtop is worth $25,200.

Oldsmobile Toronado

1971-Oldsmobile-Toronado-455-CI horsepower rating
455cid Rocket V-8Mecum

Oldsmobile’s large, groundbreaking front-wheel drive Toronado entered its second generation in 1971. Like the Eldorado, it was larger than its predecessor. Its 455cid Rocket V-8 carried over from the ’70 model, and carried a gross rating of 350hp. The switch to net ratings knocked off a full 100 ponies, for 250hp total. But, also like the Cadillac, the Toronado’s primary selling point was never power, despite its monstrous engine.

That goes a long way in explaining why a ’71 Toronado and a ’72 Toronado are worth almost exactly the same, with a ’71 coming in at $16,000 in #2 condition and a ’72 coming in at $15,600.

Plymouth GTX

1971 Plymouth GTX front three quarter
1971 Plymouth GTXMecum

Plymouth redesigned its Road Runner, upon which the GTX was based, for 1971. The handsome fuselage theme included a loop bumper and a high trunk. While the 426-cid/425-hp Hemi was still available in the ’71 GTX, most got a version of the 440, either the three-carb 440-cid/375-hp “Six Pack” or the 440-cid/370-hp four-barrel.

By 1972, the original Street Hemi was gone, closing a major chapter in the history of Mopar muscle. The Six Pack was gone, too, leaving only the four-barrel 440 for GTX buyers, and its rating dropped from 370hp to 280hp. The GTX also ceased to be its own model that year, instead becoming an option package for the Road Runner, though styling remained largely the same. The discount in choosing ’72 over ’71 in this case is significant. The current #2 value for a 1971 GTX is $64,100, and for a ’72 Road Runner GTX it’s $53,300.

Pontiac GTO

1971 Pontiac GTO front three quarter
1971 Pontiac GTOMecum

By 1971, the second-gen GTO’s muscles had atrophied a bit. The splashy colors of “The Judge” were still available, but the potent Ram Air engines were not, and compression ratios dropped across the GM lineup. The Pontiac’s most potent powerplants were now a 455 cid/325 hp or a 455 cid/335 hp.

For 1972, the GTO went from being its own separate model to being an option package on the Le Mans, just as it had been when it kicked off the muscle car era in 1964. In net terms, the 455 engines now carried ratings of either 250 hp or 300 hp.

As collector cars, there is naturally some variation in terms of value. The ’71 455/325 GTO carries a #2 value of $54,300, while the ’72 455/250 is worth $41,000. With the higher-output engines, though, they are essentially worth the same, with both ’71 455/335 and ’72 455/300 sitting at around $64,000, possibly due to the rarity of the later car.

Oldsmobile 4-4-2 W-30

1971 Oldsmobile 442 W-30 engine horsepower rating
455cid V-8Mecum

The second-gen 4-4-2, like the GTO, was a staple GM muscle car built on the A-body platform from 1968–72. It was similarly down on power and compression in 1971, with the high-performance W-30 package offering a 455-cid/350-hp V-8, down from 370 horses the year before. Net horsepower for the 1972 W-30, when the 4-4-2 reverted to being an option package on the Cutlass, sank the number to 300 hp. The beefier, slower third-gen 4-4-2 debuted in 1973 with GM’s malaise era “Colonnade” styling.

Olds 4-4-2 values drop significantly as the horsepower numbers go down. A 1970 W-30 Holiday Coupe in #2 condition is worth $99,200. The 1971, 350-hp equivalent is worth $82,800, and the 1972, 300-hp version is worth $69,400.

Chevrolet Chevelle SS

1971 Chevrolet Chevelle SS rear
1971 Chevrolet Chevelle SSMecum

Also an A-body, the Chevelle got a mild facelift in 1971, with two headlights instead of four, and four circular taillights instead of two rectangular ones. While the big dog in 1970 was the 454-cid/450-hp LS6 engine, it disappeared from the Chevelle lineup in ’71, and the top engine became the 454-cid/365-hp LS5. For 1972, little changed visually other than an updated grille and new front parking lights, but the LS5’s stated output dropped to 270 hp. A completely new and significantly less exciting, Colonnade-bodied third-gen Chevelle debuted for 1973.

LS5 values don’t vary too much from ’71 to ’72. A ’71 convertible in #2 condition is worth $93,300 or $73,100 in #3 condition, while a sport coupe in #2 condition is worth $70,500 or $53,500 in #3 condition. A ’72 convertible in #2 condition is worth $89,700 or $75,300 in #3 condition, while a sport coupe in #2 condition is worth $69,300 or $55,400 in #3 condition.

For the Silo, Andrew Newton.

Historic Modern Architecture- Walter White’s Palm Desert Masterpiece

Walter S. White’s Palm Desert Gem Comes To Market 

Walter S. White was a prolific and innovative modernist architect, best known for advancing the use of geometry to passively control temperature. A fearless inventor, he held patents for a solar heat exchanger window wall and the hyperbolic paraboloid roof—concepts that continue to be used in desert architecture today. In keeping with the modern movement, his constructions were stylish but functional, making use of industrial materials and thoughtful integration with the natural landscape.

He worked extensively in Palm Springs and the Coachella Valley, pursuing a vision of desert modernism that integrated structure, material, and light with the unique arid landscape. The Paulette Herbert Johnson House, nestled in South Palm Desert’s charming, historic Silver Spur Ranch neighborhood, is a gorgeous example of the architect’s work. Constructed in 1958, the modern residence has been listed for $1.755 million usd/ $2.41 million cad (conversion rate at time of posting).  

White’s home design has a classic modern profile, with clean lines and floor-to-ceiling glass, offering fantastic natural light and an airy, open feel. The open floor plan is enhanced by terrazzo floors, original wood paneling, and White’s signature masonry walls, while desert views abound from every room. Designers Garret & Garage have tastefully updated the home, blending contemporary luxuries with original finishes, curating a tasteful and refined aesthetic while preserving the architectural mastery of the original design. 

Outside, find a private oasis with a sparkling pebble-finish pool and spa surrounded by lush palm trees. A beautiful architectural breeze-block detail anchors the space. The 15,682-square-foot grounds encompass multiple fire features, several lounge and dining spaces, an outdoor kitchen, a putting green, and a bocce ball court, offering an excellent setup for both entertaining and private relaxation. For golf fans, the home is located close to numerous golf courses and country clubs, including Indian Wells Country Club, Stone Eagle Golf Club, and The Citrus Club at PGA West. 

Silver Spur Ranch Neighborhood

The Silver Spur Ranch neighborhood was started in 1957 by prolific Tarzan movie producer Sol Lesser and a consortium of business leaders as a prestige development. Silver Spur’s modern ranch homes defined desert luxury in the post-war era. Spanning 400 acres of picturesque Palm Desert land, the development attracted movie stars, including actors Bing Crosby, Phil Harris and Randolph Scott. JFK was known to vacation at these celebrity homes while visiting California. Today, this storied enclave is popular for its well-preserved architectural homes, which retain the unique character of the modern age. Palm Desert is a hot spot with A-listers looking to get away from it all, with the Kardashian family, Leonardo DiCaprio, and Robert Downey Jr. being just a few of the big names with vacation retreats in the area. 

For The Silo, By Kimberly Ridley & friends at toptenrealestatedeals.com

The listing is held by Reagan Richter at Compass. Photo Credit: David Potter

Source: www.compass.com

Surreal Work From British Secret Service Painter

Many have been humbled simply standing in a darkened field and looking to the stars. Indeed the great thinkers of the many generations that have come and gone are regarded as giants when in fact they were merely humans dropped to their knees by the wonder that is the universe all around us.

There is as much wonder in a blade of grass as there is in a cosmic nebula, as much mystery in a drop of water as in the dark matter we yet fail to comprehend.

James Hart Dyke is based in Brighton, England nestled between the water and the south downs. In his studio he works largely on commissions. About a decade ago, Hart Dyke traveled to Patagonia and was inspired to begin painting mountain landscapes from this trip for an exhibition in London. Landscapes are his life’s work and his love for the art form has infused his life and career with adventure and physicality as he climbs and hikes the places he later paints. “Enduring the landscape in some way, I find that combination of painting and physicality very exciting…it’s what my painting is about, really,” he says. Hart Dyke has been embedded with British forces in war zones on commission from the UK military. In Baghdad he painted while two soldiers stood guard. This tradition of bringing artists along to paint is long standing and important to the regiments of the UK. The work created is kept in the collections of the individual regiments and displayed in the mess hall, documenting the history of each for the soldiers to witness. The tradition dates back before photography when artists were the only window to a visual representation of the action of the battlefield.
Artists’ representations of war convey more than just the actual imagery of what is going on before them. The emotions of the situation are infused into the work, as well. Hart Dyke has had an unusual career. His work has led him to a position as artist in residence for the British Secret Intelligence Service as well as to work for the Royal Family.
For the British Secret Intelligence Service, Hart Dyke helped to commemorate the centenary by documenting things in paint. As an artist he was able to venture where photographers could not go due to the highly sensitive nature of the work done there. His paintings from this series are quite surreal, a nod to the rather unusual nature of the work the British Secret Intelligence Service does. Hart Dyke studied architecture which he is still passionate about despite eventually moving to painting. His entrance into the painting world began with commissioned paintings of buildings. In reality, Hart Dyke began painting at the age of eight and despite his foray into architecture he never truly gave it up. There was inevitability to his career as a painter. Because of the physical nature of his process, art has become in a very real sense James Hart Dyke’s sport. To hear more about this, James Hart Dyke’s unusual career, and about the tradition of artists on the battlefield, listen to the complete interview.
Kambui Olujimi ‘s exhibited work titled Red Shift refers to celestial bodies in space that cannot be seen because of shifts in the spectrum of light. Through this lens, Olujimi contemplated the mythology of whiteness as an unseen force. Olujimi describes how the mythological space of whiteness plays out in the physical world through policy, allocation of resources, and myriad other ways. He references descriptions of mass shooters as “lone shooters” in a way that removes them from the space of violence pervasive in the US. Presidential assassins are another example. These two groups of predominantly white men are somehow isolated, removed from the larger conversation about violence in the US creating a Red Shift that in a sense conceals them from the rest of the data.
For the exhibition, Olujimi created collages from news imagery of the alt-right coupled with drawings. Olujimi’s current project centers on fragmentation of identity. His love of films informs this work. In particular he references the accidental announcement of La La Land for Best Picture in 2017 when in fact the film Moonlight claimed that title. His concept deconstructs and reassembles that moment, elongating it and examining the feeling of elation followed by crushing deflation. “A lot of my work is around these things that I call inevitabilities…I’m interested in bringing those inevitabilities out of the space of the implicit. Once you give them shape and weight and gravity and start to manifest them in some way, the incongruities and absurdities, the surreal aspects all become very evident and we are able to become more critical of them in that space.” It is these gaps, these “moments of silence” that inform Olujimi’s work. To hear more about this powerful art, listen to the complete interview.  For the Silo, Brainard Carey. 
Featured image- Mercy Doesn’t Grow On Trees, 2016 Wood, glass, hair, gold leaf, ratchet straps 150 x 48 x 30 inches

Commodifying Art -Damien Hirst

All of modern life is a spectacle. Much of what contemporary man experiences in Western society is a false social construct mediated by images.

These mediated images create desires that can never be fulfilled; they create false needs that can never be met. “Many of our daily decisions are governed by motivations over which we have no control and of which we are quite unaware” (Berger 41). The constant specter of the mediated image creates an endless cycle of desire, consumption, and disinterest, fueling a banality in life that feeds the commodification of life.

Increasingly life itself becomes a commodity and the image more important than the reality it represents. This commodification infiltrates every aspect of human production, including the arts, and finds its pinnacle expression in the work of Damien Hirst. Hirst has carefully crafted a brand identity that has far surpassed the value of his art work in importance and worth. Working in tandem with former advertising executive turned art dealer Charles Saatchi, the spectacle of the Hirst image becomes the commodity. “Reality unfolds in a new generality as a pseudo-world apart, solely as an object of contemplation. The tendency towards the specialization of images-of-the-world finds its highest expression in the world of the autonomous image, where deceit deceives itself” (Debord
143).

No longer is the work of art itself a commodity, but rather the image of the artist (his/her/cis brand) that becomes the commodity.

It is this spectacle that drives the consumer to identify with a particular artist or brand. “The astronomical growth in the wealth and cultural influence of multi-national corporations over the last fifteen years can arguably be
traced back to a single, seemingly innocuous idea developed by management theorists in the mid-1980s: that successful corporations must primarily produce brands, as opposed to products” (Klein 4). The image has increasingly infiltrated and dominated the culture and the whole of society and has become “an immense accumulation of spectacles” (Debord 142).

Butterfly by Damien Hirst
Butterfly by Damien Hirst

Where once the products of labor were the commodity, now it is the spectacle that has become the commodity.

A prime example of this spectacle is Damien Hirst’s sculpture, “For the Love of God.” The sculpture consists of a platinum skull covered with 8,601 diamonds. The sculpture valued at over $100 million usd/ $129.361,000 cad [exchange rate at time of publication] is clearly out of the reach of almost any collector. The sculpture itself is not the art product, rather it is the spectacle that is the product. “Mr. Hirst is a shining symbol of our times, a man who perhaps more than any artist since Andy Warhol has used marketing to turn his fertile imagination into an extraordinary business” (Riding, nytimes.com). Acknowledging that the sculpture is out of reach for the majority of collectors, Hirst offered screen prints costing $2000 usd/ $2,587 cad to $20,000 usd/ $25,870 cad ; the most expensive prints were sold with a sprinkling of diamond dust.

Karl Marx Capital Is Money Meme

Karl Marx argued that the value of the commodity arose from its relationship with other commodities; its ability to be exchanged for other commodities. Marx used the the production of a table to illustrate his thesis:
“…by his activity, man changes the materials of nature in such a way as to make them useful to him. The form of wood, for instance, is altered if a table is made out of it. Nevertheless the table continues to be wood, an ordinary, sensuous thing. But as soon as it emerges as a commodity, it changes into a thing which transcends sensuousness.” (Marx 122)

Hirst’s diamond encrusted skull remains mere diamonds, valuable yes, but still diamonds. However, when coupled with the spectacle of Damien Hirst’s identity, the skull becomes a fetishized commodity capable of selling screen-prints valued in the thousands. The argument can be made that diamonds on their own carry value, and could be commodities themselves, however that doesn’t account for the fact the Hirst was able to sell prints of the skull for over $2000 usd/ $2,587 cad. Nor do the diamonds alone account for the spectacle surrounding the art work; it is Hirst’s brand, his image that creates the spectacle.

“The mystical character of the commodity does not therefore arise from its use-value. Just as little does it proceed from the nature of the determinants of value” (Marx 123). The value of a commodity arises from its spectacle, its ability to be desired. In Marx’s day that desire was its ability to be traded for other commodities; today that value is derived from its association to a brand, an identity, a spectacle. “Art reflects the illusory way in which society sees itself, it reflects the bourgeoisie’s aesthetic ideas as if they were universal” (Osborne 79).

The spectacle feeds itself through the mediating of the image to create desire for status and recognition, through associations.

“The ends are nothing and development is all – though the only thing into which the spectacle plans to develop is itself” (Debord 144). The spectacle’s main objective is self perpetuation. Its aim is totality. It must be noted that Hirst himself did not even create the work of art, but rather employed a studio full of jewelers to execute the sculpture, and printers to produce the prints.

Hirst exemplifies the bourgeoisie capitalist employer who retains ownership over the fruit of the employees’ labor. He is in many ways more akin to a captain of industry than he is to the romantic notion of an artist. “In the early twenties, the legendary adman Bruce Barton turned General Motors into a metaphor for the American family, something personal, warm and human” (Klein 7). Hirst has also turned himself into a metaphor, however, metaphors aren’t always true. This falsehod is at the heart of the issue. The spectacle isn’t concerned with what is true, rather it is concerned with what can be made to appear true. It is this appearance of truth that makes a commodity valuable. This fetishism of the commodity is why gold and silver have value, it is because people gave them value. It is the reason Damien Hirst, or any other brand, has value, because people gave it value.

Damien Hirst Greatest Currency on Earth Gold Diamonds and Art CNN

Damien Hirst cannot be blamed for commodifying art, he is simply following a long tradition of turning objects and products into commodities. The fact that his commodity is his own image doesn’t seem to matter. “Hirst is just playing the game. It is a game played by collectors and dealers at art fairs throughout the year; it is a game finessed as never before by Sotheby’s and Christie’s; it is a game in which, in the words of Nick Cohen, a rare British journalist to trash Mr. Hirst’s publicity coup, ‘the price tag is the art’ ” (Riding .nytimes.com).

That final statement beautifully summarizes the commodification of art, ‘the price tag is the art.’ The fact that the art is obscenely priced, and out of the reach for the majority of collectors, the fact that it is made of diamonds, a precious stone known as the blood stone because of its association with brutal and oppressive regimes, merely adds to its allure, to its spectacle. Damien Hirst is merely playing the game, like many before him. He is a part of the growing culture
industry that sells image. Images are the new commodity fetish. Images are the new mysterious commodities exchanged for more the more durable and enduring commodities. The bourgiousie sell their images, which have no real value, to the public which consumes them, in exchange for goods of real value.

“The $200 billion usd/ $270 billion cad culture industry – now North America’s biggest export – needs an every-changing, uninterrupted supply of street styles, edgy music videos and rainbows of colors. And the radical critics of the media clamoring to be ‘represented’ in the early nineties virtually handed over their colorful identities to the brand masters to be shrink-wrapped.” (Klein 115)

Nick Cohen said of Hirst, “[he] isn’t criticizing the excess, not even ironically … but rolling in it and loving it. The sooner he goes out of fashion, the better.” What Cohen fails to realize is that the spectacle is a fashion. And when one image goes out of fashion, another takes its place. Hirst may indeed go out of fashion, but another art brand will take his place, perpetuating the commodification of the arts in increasingly bombastic ways.

Equestrian Statue Of Marcus Aurelius

Perhaps art has always been a commodity?

In the past patrons would hire artists to paint them into scenes from the gospels. Patrons could be seen on the outskirts of paintings piously praying, thus creating an image of themselves as good and pious Christians. By association with the sacred art, the patron was creating a mediated image. Rulers did this all the time. The Equestrian Statue of Marcus Aurelius is a perfect example. Its a mediating image that communicates power and authority.

But none of these examples reach the level of spectacle and fetishism that is Damien Hirst. While art may have been a commodity in the past, it was never commodified. In other words, while the art itself may have been exchanged for other goods, the artist himself was not treated as a commodity. The art of the past may have served a purpose, it may have contained a mediated message, but it was still a product, and it was the product that was valued, not its brand identity.

The commodification of art creates a unique problem in history. If it is the spectacle that matters, and the artist’s identity that has value, then what value is left in the art itself?

What then separates art from ordinary objects? Is there any aesthetic emotion that remains in the work of art itself, or does the aesthetic emotion dwell completely within the spectacle? These are questions that cannot easily be answered, and ultimately will require the lens of history to answer completely. But they are a pressing concern, for when art is commodified, it may cease to be art and instead become celebrity, product, or worse, advertising. For the Silo, Vasilios Avramidis

Works Cited
Berger, Arthur Asa. Seeing is Believing: An Introduction to Visual
Communication. New York, NY: McGraw Hill, 2008. Print.
Debor, Guy. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture
Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 142-144. Print.
Klein, Naomi. No Logo, No Space, No Choice, No Jobs. New York, NY: Picador, 2000.
Print.
Marx, Karl. “Showing Seeing: A Critique of Visual Culture.” The Visual Culture
Reader. Ed.Nicholas Mirzoeff. New York, NY: Routelage, 1998. 122-123. Print.
Riding, Alan. Alas, Poor Art Market: ‘A Multimillion Dollar Headcase.’ The New York
Times. June 2007, Damien Hirst and the Commodification of Art http://www.visual-studies.com/interviews/moxey.htm

It’s Time For the Concorso d’Eleganza Villa d’Este Auction

16 – 17 May 2026 Villa Erba, Italy

Our friends at Broad Arrow Auctions proudly welcomes the collector car community to the grounds of Villa Erba on the breathtaking shores of Lake Como—and amidst the prestige of the renowned Concorso d’Eleganza Villa d’Este—for a live preview launching the auction weekend.

Presenting over 70 of the highest quality collector cars, the sale promises to deliver a truly premium auction experience across two days of spirited bidding.

Whether joining Broad Arrow in person or participating from across the globe, you may register to bid in person, online (link below), by phone, or absentee. Contact Client Services at [email protected] for personalized assistance, please mention The Silo when contacting.

Auction
Saturday, 16 May 18:00 (CET)
Sunday, 17 May 10:30 (CET)
Preview 
Friday, 15 May 10:00 – 18:00 (CET)
Saturday, 16 May 10:00 – 18:00 (CET)
Sunday, 17 May 9:30 – 10:30 (CET)
Location
Villa Erba
Largo Luchino Visconti, 4
22012 Cernobbio
Italy

Some of the highlight cars

2018 Pagani Zonda Unica Lot: 228 Estimate: €9.500.000 – €12.000.000
1990 Ferrari F40 Lot: 126 Estimate: €2.300.000 – €2.500.000
1957 Mercedes-Benz 300 SL Gullwing Coupe Lot: 124 Estimate: €1.600.000 – €2.000.000
2023 Ferrari Daytona SP3 Lot: 253 Estimate: €6.500.000 – €8.500.000
1926 Bugatti Type 37 Grand Prix Lot: 109 Estimate: €1.000.000 – €1.300.000
1981 Sauber BMW M1 Group 5Lot: 224 Estimate: €1.000.000 – €1.200.000
1929 Bugatti Type 43 Roadster by Eugène Matthys Lot: 243 Estimate: €2.500.000 – €3.500.000
1975 Lancia Stratos HF Stradale Group 4 Specification Lot: 231 Estimate: €600.000 – €800.000 1955 Lancia Aurelia B24 S Spider AmericaL ot: 242 Estimate: €500.000 – €700.000
1990 Lamborghini Countach 25th Anniversario Lot: 130Estimate: €500.000 – €600.000 1989 Mercedes-Benz Boschert B300 Biturbo Gullwing Coupe Lot: 122Estimate: €475.000 – €525.000
1966 Porsche 911 S Soft Window Targa Test Car ex-Neerpasch Lot:22 Estimate: €700.000 – €1.000.000

For the Silo, Jarrod Barker.

View full auction lots here

Click here to place your bid

Why Meditation Is Science Approved Medicine

Ohm! There have been countless anecdotal claims about the benefits of practicing meditation since the Eastern tradition has become more popular in the West.

 Now, there’s plenty of Western-based scientific evidence to support them, says Dr. Matt Mumber, a radiation oncologist and co-director of a non-profit integrative oncology program. 

“Meditation is to the brain what physical activity is to the body. We’ve found meditation to be an important facet of health care, both for prevention and maintenance as well as in the treatment of disease, including cancer,” says Dr. Mumber, co-author with colleague and Yoga instructor Heather Reed of “Sustainable Wellness: An Integrative Approach to Transform Your Mind, Body, and Spirit,” (www.sustainablewellnessonline.com).

Mumber and Reed, who are co-facilitators of non-profit residential retreats for cancer patients, say one can experience sustainable wellness by developing a life practice grounded in the cultivation of awareness. This awareness is paying attention without attachment. The ability to be aware can be increased by a meditation tool called mindfulness.

“Life is a constant series of adjustments, matching your inner being with your outer doing,” Reed says. “One way to heighten your awareness is through practicing meditation.”

Mumber and Reed say there’s plenty of new evidence that the resulting sense of balance and peace is not just a psychological effect:

Mindfulness meditation leads to increases in regional brain gray matter density: Recently published in Psychiatry Research: Neuroimaging, shows that measurable  changes in gray-matter density in parts of the brain associated with memory, sense of self, empathy, and stress occurred with study participants who meditated for 30 minutes a day for eight weeks.

Meditation practitioners have longer attention spans: Published by the journal PloS Biology, a study analyzed people with three months of rigorous training and found that they gained a drastically improved attention span – not only longer, but less susceptible to internal or external distraction. They also showed improved memory and enhanced performance in several tasks, from driving a car to playing piano.

Reduces stress and blood pressure: Presented to the American Heart Association by researchers at the at the Medical College of Wisconsin in Milwaukee and the Institute for Natural Medicine and Prevention, a study including 200 high-risk patients for heart attack found that meditation reduced their chances for heart attack by 50 percent.

Oncologist Matt Mumber co-author of Sustainable Wellness
Oncologist Matt Mumber co-author of Sustainable Wellness

“Studies involving people seeking to reduce stress and other problems in their lives via meditation will continue, as well as for those who want to enhance performance of various duties,” Mumber says.

“For those skeptical of the medical benefits of this Eastern practice, there’s now plenty of Western proof.” Matt Mumber, MD

For the Silo, Ginny Grimsley.

Matt Mumber, MD, is a practicing board-certified radiation oncologist with the Harbin Clinic in Rome, Ga. He completed his radiation oncology residency at Wake Forest University Bowman Gray School of Medicine and graduated from the Associate Fellowship Program in Integrative Medicine at the University of Arizona. Dr. Mumber is past president of the Georgia Society of Clinical Oncology. He founded Cancer Navigators Inc, a non-profit organization offering cancer patients access to nurse navigation, social services and educational programs to support and augment the clinical care they receive. Dr. Mumber received the Hamilton Jordan Founders Award for involvement in statewide oncology activities and in 2008 he was named a Health Care Hero by Georgia Trend magazine. He serves on the editorial board for the journals Current Oncology and Journal of Oncology Practice and is on the board for the Society of Integrative Oncology. 

 

Yoga instructor Heather Reed of “Sustainable Wellness: An Integrative Approach to Transform Your Mind, Body, and Spirit
Yoga instructor Heather Reed of “Sustainable Wellness: An Integrative Approach to Transform Your Mind, Body, and Spirit

Heather Reed has been teaching Yoga since 1996. She expresses an integrative, adaptive approach and specializes in using Yoga and meditation techniques for people living with cancer, post-polio syndrome and other chronic illnesses. Heather received an Experienced Teacher Certification from Esther Myers Yoga Teacher Training Program and has had extensive training with senior staff of the Commonweal Cancer Help program and Dr. Dean Ornish’s Program for Reversing Heart Disease. She developed Yoga classes for cancer patients at The Wellness Community, Atlanta. Since 2008, she has been Yoga teacher and co-facilitator for the Residential Retreat Program for Cancer Navigators of Rome, Ga. 

Supplemental-  How Meditation May Change The Brain 

Torkwase Dyson Sculptural Installation With Sound At 61st La Biennale di Venezia

 Installation view of Torkwase Dyson, Tougaloo, 2026. 
 ON VIEW
Torkwase Dyson
61st International Art Exhibition of La Biennale di Venezia
Venice, Italy
Through Nov 22, 2026 For the 61st International Art Exhibition of La Biennale di Venezia, In Minor Keys, curated by Koyo Kouoh, Torkwase Dyson debuts Tougaloo, an immersive sculptural installation with sound.

Working within a distinct abstract language, which the artist terms  “Black Compositional Thought,” Dyson employs forms refracted from histories of Black self-emancipation to explore the spatial dimensions of freedom. Presented at the Arsenale, Tougaloo draws on the artist’s experience at Tougaloo College in Mississippi, a campus where nineteenth-century plantation architecture exists alongside Modernist structures.

Christina Sharpe writes “Dyson’s installations and paintings are arc and ribcage, overhang and surface. Cement and graphite conjure water, extraction, hum, breath and its absence. Sonic wavelength becomes another material to extend a line and expand a field. Her works are studies in possibility, where a curve, a line, a wave, a sound/ing are acts of holding and practices toward liberation.”

Torkwase Dyson (b. 1973)
Errantry, 2024
Steel and timber
172 × 340 × 120 inches (436.9 × 863.6 × 304.8 cm)

Installation view of 1919: Black Water, Arthur Ross Architecture Gallery, Columbia University, New York, 2019

Human Creators Becoming Premium Again?

For the past few years, AI in marketing meant competitive advantage, but new data shows that now it’s just becoming noise. The latest report on the state of AI in tech marketing, released by Callan Consulting, revealed that while AI is embedded in the majority of operations, it is also creating “copies of copies,” eroding quality and originality across the board.

Donatas Smailys, CEO of Billo, one of the largest creator marketing platforms, shares insight on why human creators are becoming premium again and what the next phase of this shift looks like for the industry. According to him, some brands, like Aerie, are already making “no AI” a campaign message to stand out.

AI Is Now Default in Marketing, New Data Shows: Brands Shift Back to Human Creators as ‘No AI’ Signals Grow

Real human creator vs. AI-generated avatar (Source: Canva, Midjourney)

May , 2026. A new report on the state of AI in technology marketing, released by Callan Consulting in April 2026, shows that artificial intelligence has moved beyond experimentation and is now embedded across most marketing operations.

The report identifies more than 70 distinct AI applications: from lead generation and personalization to sales forecasting, market intelligence, and content creation.

According to the findings, two-thirds of respondents, who were senior marketing specialists and organizations, say AI has a “strong” or “very strong” impact on their marketing teams, double the level reported a year earlier. At the same time, half of the organizations have already restructured their marketing functions around AI, integrating it into content, research, campaign execution, and analytics.

However, creator economy experts warn that rapid adoption may have come without fully considering long-term implications, and that the first signs of backlash are already visible.

“The ad industry became a playground for AI tools,” said Donatas Smailys, CEO and co-founder of Billo, one of the largest creator marketing platforms.

“Early adopters rushed to integrate everything, but we didn’t and approached it more cautiously. A year in, the backlash against AI content is the strongest it’s been. Stepping back might be the right move now.”

The report itself highlights a growing downside: overreliance on AI-generated content. Large volumes of similar outputs are already entering the market, increasing noise and reducing differentiation.

It warns that repeated reuse of AI-generated material risks creating “copies of copies,” gradually lowering content quality and originality across the ecosystem.

“AI is no longer a differentiator. Now everyone uses it, so the opposite is happening: human creators and real creativity are becoming premium,” added Smailys.

According to Smailys, the widespread use of AI-generated content has also shifted perception in advertising.

“When everyone started using AI visuals, advertising became ‘cheap.’ Even without labels, it’s often obvious what’s AI-generated, and it creates endless, low-quality content.”

Brands Positioning As Anti-AI?

Some brands have already begun responding to this shift by explicitly positioning themselves against AI-generated visuals.

In a recent example, Aerie, a brand owned by American Eagle Outfitters, stated in a campaign that it would not use AI-generated bodies or people.

“When tools like Sora first appeared, AI content worked because it was unexpected,” said Smailys. “Once it became the norm, the impact faded. Human content is exclusive again. Brands that see this early are taking the lead.”

The report also points to structural challenges. While marketers report improvements in speed, output, and cost efficiency (in some cases up to 2-3x productivity gains), few are able to measure AI’s direct impact using standardized metrics.

According to Smailys, platform dynamics may play a key role in what comes next.

“Social media platforms that introduce clearer signals through detection, labeling, or prioritization can shift value back toward higher-quality, human-led content.”

He noted that Billo has maintained a focus on human creators despite broader experimentation with AI-generated avatars.

“Our data already shows it. The shift back to human-first content is happening,” he concluded.

The report concludes that while AI will continue to expand across marketing, its long-term effectiveness will depend on how organizations balance automation with human expertise, as differentiation increasingly shifts away from technology itself and toward how it is used.

For the Silo, Jarrod Barker.

The Dangers Of Selfies In Museums

In this episode from our friends at artforecast, they happily unpack what happened at Dallas Art Fair, the importance of insurance, managing kids in museums, the embarrassment of accidentally knocking over a sculpture, our favourite example of someone damaging artwork, one of us accidentally broke a sculpture (twice), the added bonus of buying editions (they can often be replaced), and which one of us loves small art. No need to guess just listen to the podcast below….

Ep 5: The danger of selfies in museums by Tatum Dooley

Art Hotline returns to talk about what happens when art is accidentally damaged

Read on Substack

For the Silo, Tatum Dooley and  Bronwyn Hunter-Shortly.

Severe Menstrual Cramps Cured By Reiki

Almost every woman has experienced the debilitating pain of menstrual cramps (dysmenorrhea) at some time. More than 40 percent of all North American women today suffer monthly with debilitating menstrual cramps. More than 10 percent of these women are incapacitated for one to three days each month because of excruciating pain.”
~Dr. Howard H. Smith (via sharecare.com)

Reiki can change your life in so many ways.

I’m Jeff Donovan, I’ve been a Reiki Master since 2003, but this isn’t about me. It’s about women with menstrual cramps and how they can become empowered to help themselves.  It’s about Reiki. Reiki is an ancient Japanese art of energy healing. Reiki, loosely translated means, Universal Life Force Energy (or Source energy…whatever you think that source is). A Reiki practitioner can channel healing energy into himself/herself or others.  For whatever reason, my clients and student base has a ratio of approximately 90% women to only 10% men. In my experience, women are more spiritually inclined, more open-minded and more willing to try ‘alternative’ methods.

In my early days of practicing Reiki, almost by accident, I saw vast improvement in women who suffer from menstrual cramps and other symptoms associated with their monthly cycles, so I put a small study together…I found 10 volunteers, age 17-50+ who suffered each and every month. Each agreed to try my home study course, practice daily for approximately 20 minutes and report back to me in 30-40 days. Of the 10 volunteers, 9 completed the program and 8 of them showed up to give their reports. 8 out of 8 reported vast improvement in their condition. Three of them stood out in the crowd because of the severity of their condition. Those three also had the most significant results and therefore, told the best stories. Here is my interview with Kristen, a 22 year-old woman who suffered from Polycystic Ovary Syndrome…her story will amaze you

Jeff: Before you knew about Reiki how was your cycle?
Kristen: Well, I’ve always had irregular cycles. About 8 month ago I was diagnosed with polycystic ovaries, which means I’m infertile and I bleed on my menstrual period for 45-60 days straight. And that’s enough in itself  to make someone go insane. But on top of it, I have full menstrual symptoms…cramps, bloating, nausea, everything (for) the entire 45-60 days I’m bleeding. So basically, my life was pretty much horrible before finding Reiki. I’ve been to so many different doctors, been on so many medications, which all cause symptoms in themselves…bloating, nausea, everything else going on. It was just beyond me. I’d spend weeks at home, curled up in a ball, crying because I was so frustrated, feeling so helpless. When I came across Reiki, I said “what the heck, it can’t hurt, and it’s something to do.”
Within the first week, I felt my cramps diminish. I didn’t throw up the entire first week of trying Reiki. By the end of the month, when I was finished with the entire Reiki cycle, I still had irregular bleeding, but the bleeding had diminished significantly, so it wasn’t actually like a full period, and my bloating was gone, my headaches were gone, my cramps were gone…I didn’t miss any work, any school anything. It was absolutely amazing!
Jeff:  Wow!
Kristen: Yeah, I hated being a girl. Right now I’m still on it (my period), and I’m going on day 72. But at least, I can function normally from not having the cramps. That was the biggest thing.  I’m so used to being on my period, that I just wanted to get rid of some sort of symptom. If I could just get rid of the headaches, if I could just get rid of the cramps, if I could just get rid of the nausea…but all those things are gone now. I just have to deal with the bleeding, but I’m happy about having to do that because it’s manageable.
Jeff: Wow…that is awesome. So typically, how much school or work did you miss?
Kristen: Depending on…I’ve been switched to so many different medications. Every time I’m switched to a new medication, all the hormonal stuff going on…I’ve missed, just in the last 8 months of being “treated” I’ve missed probably 2 months of work/school together, just having to take sick leave and…having to take a week off here and there. But the main thing, it was just such a hamper on my social life too, because, you know, I’m young…so telling my friends I can’t go out because I just don’t feel well and being locked up for a month basically, because I’m on my period the entire time was just depressing in itself.
Jeff:  And you didn’t miss any school or work this month?
Kristen: No, nothing at all this month.
Jeff: So, the results were basically immediate?
Kristen: Immediately. Like I said…within the first week. And I of course was skeptical too. I’ve been to every single specialist out there and have read every single book on my condition and what can be done, and nothing seemed to work. I was extremely hopeless…extremely, feeling helpless.  And it was amazing actually, after the first week…I suffer from insomnia too because of my cramps and everything else going on. Within the first week of using Reiki, I didn’t have to use any of my sleeping medication and I haven’t used it at all this month, and I’ve felt rested.
The thing I am so happy about too, my family and friends have told me that my mood is so much better and I’m not suffering from these severe mood swings or, really depression from having to deal with all these horrible symptoms that go on. I can actually have a somewhat normal life.
Jeff: So in effect, Reiki has helped you with your depression as well?
Kristen: Oh Definitely. Yeah, Reiki has helped me with my depression, feeling like I’m actually taking control and actually seeing something work. And I think, if anything, that’s the best thing…to feel like you have some control over your body when you feel so out of control with all the symptoms going on.
Jeff: Sure. So what kinds of things have you tried in the past to try to help your symptoms?

Kristen: Oh, I’ve tried everything! I’ve been on every single medication out there I’m sure…yoga, pilates, fitness, meditation, aromatherapy. If it was out there, I tried it and nothing seemed to work and the more I looked into trying to find stuff, I actually became feeling more helpless. I actually entered into Reiki thinking that this wasn’t going to work for me at all, because nothing else had. So I was really, really shocked, really, really pleased at the same time too that this worked.

Jeff: So then, you would obviously recommend it?
Kristen: I would definitely recommend it! Without sounding comical, it has completely changed my life because I can actually function and live normally rather than being a hermit and hating being a woman.
Jeff: Wow, that’s awesome…so typically, your pain would be at 8-9 (out of 10, based on pre-study questionnaire she filled out), is that right?
Kristen: Yes, definitely…the physical pain would be 8-9 and all the emotional pain that went with it would be off the wall.
Jeff: So, you’re better in all areas?
Kristen: Oh yes, definitely!
Kristen and I stayed in touch for awhile. A few months after this interview, she emailed me she was shocked to find out her doctor was a proponent of Reiki, and after just a few months of practicing daily, he had taken her off 13 of the 14 medications she was prescribed.
Reiki can change your life in so many ways…this is only one woman’s story. Anybody and everybody can learn Reiki. We only need to be attuned by a qualified Reiki Master, learn some basic hand positions and some practical application. From the very first day of training, we can begin healing ourselves, our loved ones, our pets and so much more! The possibilities are endless.  For the Silo, Jeff Donovan.
*Featured image- Red Dress painting by Michael Austin

Tradition Runs Deep At Kentucky Derby

Replete with pageantry, the Kentucky Derby has evolved into much more than a horse race since 10,000 people first watched 15 horses compete on a dirt track in Louisville, Kentucky, in 1875.

Known as “the most exciting two minutes in sports,” the 152nd Kentucky Derby will run May 2, bringing 150,000 spectators to Churchill Downs, the same track where the tradition began a century and a half ago.

Horses racing at the track (Library of Congress/Caufield & Shook, Inc.)
The 1943 Kentucky Derby at the Churchill Downs. (Library of Congress/Caufield & Shook, Inc.)

Rich traditions

A “social event” that encourages “whimsical fashion” is how Kentucky Derby Museum  curator Chris Goodlett describes the race. Women wear wide-brimmed, feathered hats and pastel dresses. Men sport light-colored suits and derby hats. The mint julep, made with Kentucky bourbon, is the derby’s official drink.

Festivities fill the two weeks leading up to the derby with galas, fireworks and other horse races. Anticipation for the big event culminates with a bugle call 10 minutes before start time, bringing the race’s 20 competitors to the track. As jockeys lead the thoroughbreds to the starting gate, the crowd stands and sings “My Old Kentucky Home.”

Birthplace of legends

The victorious horse ceremoniously trots to the winner’s circle where a 14-karat gold trophy and rose garland await. Secretariat’s winning run in 1973 set a race record that still stands. Only one other horse has broken the two-minute mark in the 1.25-mile (2-kilometer) race.

The first of three races that form America’s Triple Crown of horse racing, the derby runs the first Saturday of May. The Preakness Stakes in Maryland follows in mid-May, and New York’s Belmont Stakes runs in early June. Only 13 horses have taken the famed Triple Crown — winning all three races in the same year. The most recent, Justify, achieved the rare feat in 2018.

Secretariat, Seattle Slew and Sir Barton are among the horses that achieved folklore status after winning the Kentucky Derby on the way to the Triple Crown. Most derby winners go on to become breeder horses with some enjoying retirement at the Kentucky Horse Park , a sanctuary and museum that celebrates the Kentucky Bluegrass region’s love for horses.

Canadian Bred Horses That Won The Kentucky Derby

Winning a global audience

The derby’s rich history grew from American entrepreneur Meriwether Lewis Clark Jr.’s 1872 visit to England’s Epsom Derby. The race inspired Clark to start the Kentucky Derby in Louisville three years later.

By the mid-20th century, the Kentucky Derby outpaced all other U.S. horse races in attendance and prestige. The 2025 Kentucky Derby was broadcast to 170 countries and territories, and total viewership continues to grow.

Left: Jockeys riding race horses (© Alex Slitz/Getty Images) Right: Horse racing spectators watching racing (© Leandro Lozada/AFP/Getty Images)
Left: Sovereignty wins the Kentucky Derby May 3, 2025. (© Alex Slitz/Getty Images) Right: Fans attend the 2025 derby in colorful attire. (© Leandro Lozada/AFP/Getty Images)

Goodlett, the museum curator, says the derby’s reputation as a national cultural event has helped drive its popularity outside the United States. Queen Elizabeth II attended the derby with her husband Prince Philip in 2007.

President Trump, who has attended the Kentucky Derby, calls the race “an iconic American institution and an elegant celebration of our culture, customs, and unwavering competitive spirit.”

This article via Brandon Lambert and our friends at U.S. Dept of State.

10 Reasons I (Sorta) Hate Going to the Porsche Dealership (& the 1 Reason I Stay)

It’s not all 9,000-RPM test drives; our friend at Rennlist has just finished breaking down the top 10 headaches at the Porsche dealership and the one reason why you will keep coming back.

Well, hate might be a little strong, but I can see why people would dislike going to the Porsche dealer. I have listed 10 reasons that in my personal experience and in talking to others in the community why the thought of going to the Porsche dealership is akin to a visit to the dentist’s chair. But there is one reason above all that I, and all of you keep coming back. Let’s discuss.

The truth is that I don’t hate going to the Porsche dealer. I have been going to Porsche dealers since I was a teenager. I have bought and sold many cars at a Porsche dealership. I go there for grand openings, new model reveals, Porsche Club of America membership meetings, cars and coffee events and more. I was just at a local dealership last night for a few hours. I have made plenty of friends at Porsche dealerships in my area. And it is not just me that enjoys the experience. In the most recent J.D. Power 2026 U.S. Customer Service Index (CSI) Study, Porsche ranks highest in satisfaction with dealer service among premium brands. It is the second consecutive year that they earned that distinction. So, why all the hate?

#1 Dislike – Playing the Allocation Game

After struggling for years and driving a beat-up Chrysler Sebring Convertible, your Pet Rock business takes off and you are now flush with cash. You want to replace that old convertible with the new 911 GT3 S/C. You head to the Porsche dealer excited to finally be in a position to buy your dream car. You burst through the dealership doors full of anticipation for speccing and ordering your new Porsche. You grab the first salesperson you see and tell them that you would like to order a new GT3 S/C. And they reply with “Yeah, you and everyone else buddy. How about we test drive this former service loaner Macan we have over here?” Having to be a dealership favorite with a long history of purchases to get a whiff of any of the desirable sports car models is one of the worst things about the modern Porsche dealership experience.

#2 Dislike – Talking About Added Dealer Markups

Let’s pretend for a moment that by some miracle, the dealership does have an available allocation for the GT3 S/C. That is only hurdle number one. Next, it is time to talk about how much money the dealership is going to drain from your account for the mere privilege of placing an order on your behalf. This added dealer markup is not small potatoes either. In some cases, it can go into the six-figure range. Some folks happily pay this, but personally, I hate the practice of dealer markups.

#3 Dislike – The Price for Service

OK, you got your allocation and you swallowed your pride and forked over the cash for the ADM. You have been enjoying your car for a while, and it is time for a service. If you have not serviced a Porsche at a dealership before, you might want to sit down before you get the invoice. Service pricing at a dealership can be a real eye-opener to say the least. Do they fly your car to Mars to change the oil? How the heck can it be so much when you can buy a 5-quart jug (that is about 4.73 L for my Canadian friends) of the recommended synthetic Mobil 1 at Walmart for less than 30 bucks? Paying dealership prices for parts and service can get painful very quickly.

#4 Dislike – The Lack of Technical Knowledge

This will vary on a case-by-case basis, as I have dealt with some very knowledgeable Porsche sales professionals. That being said, I am sure some of you have experienced talking to a Porsche salesperson and realized that you know far more about the vehicles on the showroom floor than they do. You expect them to be experts in the field, and many are. But when you encounter that one that tries to convince you that they can order you a new Carrera T with a PDK, it is uncomfortable for everyone.

#5 Dislike – Intimidating Atmosphere

As I said earlier, I have been going to Porsche dealers since I was a teenager, so I have pretty much always felt comfortable there, but that is not the case for everyone. For those new to the brand, walking through those Porsche dealership doors can be incredibly intimidating. No one is intimidated going in the local Honda store, but Porsche is on a different level. Is there a dress code? Will they run my credit before offering me a cup of coffee? No matter how friendly the dealership actually is, it can still be a bit like being on the set of Fear Factor for those that have not had much Porsche shopping experience.

#6 Dislike – Test Drives Aren’t Guaranteed

This can vary wildly from dealer to dealer and person to person. But there is a chance that getting a test drive might prove to be harder than you think. Although, to be fair, you have to have realistic expectations as well. If you are a 16-year-old kid pulling up in a ratty old Nissan Altima and ask to test drive the pre-owned 918 Spyder they have in stock, you should expect some questions. But sometimes dealers can be wary of offering test drives on just regular core models if they don’t know you.

#7 Dislike – Feeling Judged

And that is when you might feel judged. Even if you aren’t being judged, the mere fact that you are in a Porsche dealership may make you wonder if folks are evaluating you and your intentions just by looking at you. Are you wearing a pair of Hermès Bouncing sneakers and a Rolex Daytona, or a pair of Skechers Slip-ins and a Casio A158WA-1? Does it matter? It shouldn’t, and maybe it doesn’t and you will be treated with the same respect no matter what. But walking into a luxury dealership like Porsche can make you feel like you don’t measure up to others in there with you. Personally, I don’t give a crap, but I know some that are bothered by this.

#8 Dislike – The Urge to Upgrade

You are perfectly happy with your Porsche. It has been everything you dreamed it would be. Then you pop into the Porsche dealer for service or to pick up your twentieth Porsche t-shirt. And that is when you spot it, the 911 GT3 Touring that you have been dreaming of. It is just sitting there looking for a new home. You don’t need it. But you WANT it. You start doing the mathematical gymnastics in your mind. Little Jimmy probably won’t want to go to college anyway. And Ramen noodles aren’t that bad. The next thing you know, they are appraising your car, and you are trying to figure out what piece of jewelry you are going to need to buy your wife after you tell her what you just did.

#9 Dislike – Spoils You for Other Dealers

Porsche dealers are a nice place to spend some time. The atmosphere and amenities are far above your typical car dealership. A couple of years ago I was shopping for a car for my wife. We started at the Porsche dealership, looking at Macans. Naturally, she loved it, but we wanted to look at other options, so we went to the Toyota dealership to look at a 4Runner. Word of advice, do not ever go directly from a Porsche dealer to a Toyota dealer. Talk about culture shock. Not that the Toyota dealership was bad, but when you get used to the Porsche vibe, you get spoiled.

#10 Dislike – Driving Leads to Buying

I tell my non-Porsche owning friends this all the time. Do not test drive a Porsche unless you are ready to buy a Porsche. Once you get behind the wheel, you will be hooked. Climbing back into your old car will feel like a gut punch. A Porsche test drive can wreck your budget if you are not prepared to buy the car.

For the Silo, Joe Kucinski.

Perched Over LA’s Sunset Strip—Rare Street-to-Street Compound For Sale

Another superb realty spotlight via our friends at TopTenRealEstateDeals.com. Perched above the Sunset Strip in the Hollywood Hills, LA’s Bird Streets form a compact enclave defined by steep, winding roads and striking architecture.

“Bird Streets”

Named for avian-themed streets like Oriole, Thrasher, and Blue Jay, the area has become a showcase for contemporary residential design, with glass-walled homes oriented toward panoramic city and ocean views. This coveted neighborhood embodies the city’s fusion of landscape, privacy, and modernist aspiration, in which topography shapes both lifestyle and aesthetics. The Bird Streets also function as a benchmark for high-end real estate, influencing design trends and development patterns across the city.

Truly Modernist Design


The listing of a new Bird Streets home for $12.9 million usd/ $17.65 million cad offers the chance to join this unique zone. Set high above the city, the contemporary estate offers sweeping panoramic views from the city skyline to the Pacific Ocean shores. Designed by award-winning Colega Architects, the home is a tribute to modernist design, showcasing stark geometric forms, walls of glass, and an exquisite terraced construction that melds into the surrounding hill. The result is a seamless living experience that emphasizes light, space, and integration with the surrounding landscape.

Featured Image:Jason Fields

The Courage of Sudanese Women in a Country at War

Last week, I travelled to Sudan with two colleagues and six journalists. We went to listen, to learn, and to see more clearly what too much of the world now sees only in fragments. What I came home with was not one neat conclusion, but a deeper conviction that amid one of the gravest humanitarian catastrophes on earth, Sudanese women are still carrying extraordinary burdens with immense courage. More than 30 million people in Sudan are in urgent need of humanitarian assistance, and major humanitarian agencies now describe Sudan as the world’s largest humanitarian crisis. 

Photo: France24.com Hospital director Dr. Safaa Ali shows the bullet holes that still riddle the wards of the reopened Saudi hospital in Omdurman. © Ebrahim Hamid / AFP

That truth was visible in the wreckage of Khartoum, in the strain of Port Sudan, and in the harsh fragility of the refugee camp near Al Dabbah. But nowhere was it more clear than in the women we met, women who were not simply surviving the war, but, in many ways, still holding Sudan together.

One of the most unforgettable voices of the trip was Dr. Safa Ali, an obstetrician and gynecologist and the director of Saudi Maternity Hospital in Khartoum. She is one of the Sudanese women who have become symbols of moral seriousness in this war, not because they sought attention, but because they refused to leave when everything around them was falling apart. During the war, she stayed at her post even as parts of the city emptied out and the health system buckled under violence, shortages, and flight. She has been publicly recognized for her courage, including as one of the women highlighted internationally for remaining at work through the conflict. 

Photo: Dr. Safa Ali speaking with international journalists in Khartoum. The word “dream” is repeated across her headscarf, a striking detail in a conversation about war, survival, and the future of Sudanese women.

When we met her, there was nothing theatrical about the way she spoke.

With the precision of a physician, she described a hospital under intense pressure: shattered windows, failing electricity, scarce water, damaged equipment, too few medicines, and too few staff. Yet women kept coming, because pregnancy and childbirth do not stop for war. Birth continues whether the world is stable or falling apart. Dr. Safa Ali described women arriving after long and dangerous journeys, weakened by malnutrition and anemia, often without antenatal care, and carrying pregnancies already under immense strain. She spoke of the collapse of neonatal support, the shortages of medicine, and the lasting damage the war is doing as experienced health workers leave and younger staff are forced to fill impossible gaps. 

She also described stories that were difficult to hear and impossible to forget. A pregnant woman arrived with a gunshot wound to the abdomen. The bullet tore through her womb, injured the baby, and fractured the child’s arm. Somehow both survived. Another woman, critically wounded in a missile strike, could not be saved. She and her unborn child both died. Dr. Safa Ali also treated women made pregnant through sexual violence. A colleague who was struck and killed by a stray round mid-conversation. What stood out in the way she recounted these cases was not anger or self-dramatization, but steadiness. She said the first task was to create safety, to tell survivors it was not their fault, and to treat them with dignity. In a war like Sudan’s, even basic care becomes an act of resistance. 

If Dr. Safa Ali showed what leadership looks like inside a collapsed health system, Duaa Tariq revealed something equally important: what it means to defend human dignity and agency under pressure. Duaa is an activist, humanitarian, and artist. She is also the co-founder and director of Color Sudan, a collective of artists that promotes civic and political rights through art and public engagement. Since the war began, she has remained deeply involved in grassroots efforts to support civilians, including through local mutual aid and women-led initiatives. Humanitarian networks have recognized her as one of many Sudanese women who stayed in Khartoum to support those left behind. 

Photo: Duaa Tariq sits in front of “The Unfinished Piece” a mural that was interrupted when the war in Sudan began and the artists involved fled Khartoum.

What struck me most about Duaa was not just what she said, but what happened when the conditions around her changed. Before our interview formally began, she was warm, animated, charismatic, and full of life. But, she was careful. Government representatives were in the room listening to what she had to say to the journalists. 

That moment said something profound about Sudan today.

The country is not only a place of bombs, displacement, and ruined institutions. It is also a place where people self-censor, where power enters the room quietly, and where what can be safely said depends on who is standing nearby. Duaa’s poise under those conditions was, in its own way, leadership. She represented a different but equally necessary form of courage: the courage to keep speaking, organizing, and staying present in a place where speech itself is constrained. This is hardly a surprise from a woman who insisted on going for walks in the city during the Battle of Khartoum, to demonstrate that women remained. To show other women that they are not alone.

If there was a theme that kept surfacing throughout the trip, it was this: Sudanese women are not incidental to the story of Sudan’s survival. They are central to it. In hospitals, camps, communities, and civic spaces, they are preserving life, preserving memory, and preserving some thread of continuity while so much else has been broken.

We saw that clearly near Al Dabbah, where displaced families were trying to survive amid too little sanitation, fragile water access, and clinics barely holding public health together. Even there, mothers were still trying to keep children focused on the future. Teachers were still teaching. In a retrofitted shipping container, 4-5 births happen each day. Families were still trying to impose some order on profoundly disordered lives. In camps like these, resilience is often talked about too casually, as though it were a noble trait. What we saw was not noble in the abstract. It was exhausting, practical, relentless. People were carrying life forward because they had no choice. 

Sudan is often described in North America as a forgotten crisis.

That phrase is accurate, but insufficient. Sudan is not forgotten because there is nothing to see. It is forgotten because the world has chosen, again and again, to look elsewhere. Yet as the war enters another year, the scale of the emergency is staggering. More than 34 million people, roughly two-thirds of the population, now need urgent humanitarian assistance, and millions have been displaced. International officials and aid groups continue to warn that Sudan remains the world’s largest humanitarian disaster, even as global attention drifts. 

That is why the courage of women like Dr. Safa Ali and Duaa Tariq matters so much. They are not symbols in the abstract. They are evidence that even under conditions of violence, surveillance, exhaustion, and profound uncertainty, leadership can still be humane, practical, and morally clear.

What I will remember most about Sudan is not only the destruction in a city of shattered glass, though there was plenty of that. It is the stubbornness of life in the middle of war. A doctor staying. An activist continuing. A mother enduring. A teacher teaching. A people insisting, despite everything, that this is still their home. 

Sudan does not need pity. It needs attention, honesty, and sustained engagement. Readers should keep paying attention, even as the world’s focus is pulled in a dozen other directions, because Sudan remains too important, and too devastated, to be left to the margins. The women holding the line there deserve at least that much from us.

For The Silo, Justin McAuley/ONE.org.

ONE.ORG ONE fights for a more just world by demanding the investments needed to create economic opportunities and healthier lives in Africa.  

ONE se bat pour un monde plus juste en exigeant les investissements nécessaires pour créer des opportunités économiques et des vies plus saines en Afrique.

Former Canadian Minister Of Defense Claimed UFOs Are Here

Some years ago, back in 2015,  I spoke with Paul Hellyer the former Canadian minister of defense, who stated he believes UFOs are from another planet and that the U.S. Government has kept it covered up.

As Canadian Minister of National Defense in 1963, Hellyer was responsible for integrating and unifying the Royal Canadian army, navy and air force into a single organization, the Canadian Armed Forces.

He was outspoken about UFOs visiting Earth and the US Banking System that he felt was greatly responsible for economic hard times. He felt that we are naive and (take a breath) fail to understand we are being visited by alien life forms.

https://www.tvo.org/video/archive/hon-paul-hellyer-on-ufos

He told me he had spoken with key US government officials who confirmed aliens are visiting us and providing advanced technology.

Light At The End Of The Tunnel Hellyer BookHis book, “Light at the End of the Tunnel: A Survival Plan for the Human Species” reveals that humans are hell bent for extinction unless we change our attitudes and actions with an urgency appropriate to an impending disaster. In the book, Paul Hellyer suggests that we have about ten years to wean ourselves from the oil economy and profoundly regrets that the Copenhagen Conference reflected little progress in that direction.

World Leaders Have to Do Better

The whole atmosphere was one that reminded him of Emperor Nero fiddling while Rome burned. World leaders simply have to do better! The book outlines the three monumental changes required to accommodate the miracle. First, the book claims that exotic energy sources already exist. They have been developed by the U.S. “shadow government” at the massive underground “black operation” installations in Nevada and Arizona using technology borrowed from visitors from other planets. Yet they remain secret for the alleged benefit of the privileged few. Second, the money has to be found to subsidize poor nations and facilitate major changes. This can be accomplished by a fundamental re-working of the monetary and banking system. Bank leverages must be dramatically reduced and the percentage of virtual money they create as debt strictly limited so that governments can gain the financial flexibility to finance the transition to sustainability. Finally, it will be necessary for all countries, races, faiths and colors to drop their antagonisms and work together in common purpose to save the heritage they have in common.

When Hellyer was Canada’s Minister of National Defense he stated, “I got periodic reports on sightings and I looked at them very casually, and it was decided that about 80 percent of them were natural phenomena of one sort or another, and the other 20 percent roughly were unexplained, and therefore unidentified. While spending one Thanksgiving holiday north of Toronto, Hellyer and his wife spotted an UFO. “The two of us stood there transfixed for 20 minutes, looking up at this thing moving first in one direction, and then another. By process of elimination, we determined it wasn’t a star or satellite and it wasn’t the space station, so there was really no explanation for it other than it was, in fact, a UFO.”

“It looked like a star, but it maneuvered in a way that stars do not. I must admit that when I saw this one, I wondered whether it was extraterrestrial or American. And I guess the thought that occurred to me was that if it is American, then they have learned some pretty big secrets about acceleration, because it accelerated at a pace that nothing I’ve ever known about that was built here is capable of.”   For the Silo, George Filer.  Join MUFON.

Supplemental- renowned Scientist Stephen Hawking warns about the danger of Extra-terrestrials.

Rice University Upcoming- Masako Miki: Shapeshifters, Sprites, and Spirits

April, 2026 (Houston, Texas) — The Moody Center for the Arts at Rice University announces that its summer 2026 exhibition will feature the work of Masako Miki (b. 1973, Osaka, Japan). The artist’s first solo show in Texas, this site-specific, sculptural installation is populated with spirits, shapeshifters, and other changelings animated by a longing for recognition and connection amid a rapidly changing world.

The Influence Of Surrealism And Japanese Folklore

Rendered through Miki’s vibrant visual language in a style informed by twentieth-century art historical movements, including European Surrealism and Japanese manga, this exhibition interprets themes from Japanese folklore and brings them into relation with the present, reflecting the artist’s interest in storytelling and myth as forces that shape how the world is understood.

 “The empathetic throughline of Miki’s work draws visitors together into a space that is both entirely original and deeply familiar,” said Alison Weaver, co-curator and Suzanne Deal Booth Executive Director for the Moody Center for the Arts. “Amid global conflict and widening cultural divides, in the year following the eightieth anniversary of the bombing of Hiroshima and Nagasaki, this exhibition offers a bridge across time and tradition to demonstrate how shared narratives can foster connections across seemingly insurmountable differences.”   

Central to Miki’s practice, and to the folkloric traditions from which it draws, is the belief that all beings and things contain a spirit.

Specifically, the influence of Shinto animism informs Miki’s sculptures of everyday objects and natural elements—gourds, dolls, trees, and others—that assume human scale and a vivid sense of character. Constructed from felt layered over wood armatures, Miki’s creatures form abstract silhouettes that feel both natural and fantastical. Questions that inform Miki’s approach include: Why do some stories live on for generations while others are forgotten? And how do strangers relate to one another despite cultural and political divides?

According To The Artist

According to the artist, “[These] mythologies have the potential to counter past narratives such as the legacy of World War II in Japan and the history of slavery in the United States. My characters are ordinary but have extraordinary powers; they are secular but are attuned to sacred traditions. As a collective, they advocate for both individual and collective agency, and the importance of stories as unifying systems in today’s complex world.” This exhibition is curated by Associate Curator Claudia Mattos with Suzanne Deal Booth Executive Director Alison Weaver. 

Masako Miki: Shapeshifters, Sprites, and Spirits is made possible by the City of Houston through the Houston Arts Alliance, the Moody Center for the Arts Excellence Fund, the H. Russell Pitman Fund for the Moody Center for the Arts, the Tamara de Kuffner Fund, the Kilgore Endowment Fund, and the Sewell Endowment.

More About the ExhibitionMasako Miki, Blissful One-Eyed Spirit, Courtesy of the artist and Jessica Silverman. Photo: Steve Ferrara

Bringing mythic and mundane worlds into contact, Masako Miki focuses her Moody presentation on yōkai—supernatural entities taking the form of beings, objects, and apparitions—particularly those that appear in the Night Parade of One Hundred Demons (Hyakki Yagyō), a legend dating to medieval Japan. In this tale, discarded household objects, from a monk’s string of prayer beads to abandoned umbrellas, come to life and gather in an unruly procession, making themselves known to a world that has failed to recognize their presence. 

Forms That Go Overlooked

“By attuning viewers to forms of life that often go overlooked, Miki raises questions about belonging, resilience, and who—or what—has been cast aside or forgotten,” said Claudia Mattos, co-curator and Associate Curator for the Moody Center for the Arts. “

Mindfully arranged in our gallery, each grouping suggests companionship, conspiracy, or collectivity, allowing sculptures to assert a presence in relation to the space, the viewer, and one another.” In tandem with the exhibition, the Moody will screen episodes of GeGeGe no Kitarō, a Japanese animated series based on a manga created in 1960 by artist Shigeru Mizuki (1922–2015), a World War II veteran whose work was shaped by his experiences of war.

Credited with reviving interest in Japanese yōkai in twentieth-century popular culture, the story follows a childlike yōkai named Kitarō who moves between human and supernatural realms and intervenes when conflict arises between them. The episodes were influential to Miki’s development growing up, and their contemporary reimagining of folklore resonates with themes that shape her practice today. Masako Miki: Shapeshifters, Sprites, and Spirits invites visitors to imagine how traditional stories can speak to contemporary sociopolitical realities. The exhibition makes the case that expressions of joy and the human imagination are radical acts with the potential to disrupt prevailing cultural discourse to imagine a more compassionate, harmonious, humane future. 

Moody Center for the Arts at Rice University Announces Summer 2026 Exhibition Masako Miki: Shapeshifters, Sprites, and Spirits
On view May 29 – August 15, 2026, Masako Miki’s first solo show in Texas brings folklore into a present-day focusMasako Miki, Waiting Cloud, 2025. Photo by Chris Gunder

Masako Miki, Rising Pink Prayer Beads, Courtesy of the artist and Jessica Silverman. Photo: Phillip Maisel About the ArtistMasako Miki. Courtesy of the artist and Jessica Silverman. Photo: Francis Baker.

Masako Miki (b. 1973, Osaka, Japan) holds an MFA from San José State University, CA, and a BFA from Notre Dame de Namur University, Belmont, CA. Her work has been the subject of solo exhibitions at the Institute of Contemporary Art, San Francisco; de Young Museum, San Francisco; Massachusetts College of Art and Design, Boston; Berkeley Art Museum and Pacific Film Archive, CA; ICA San José, CA; and KMAC Contemporary Art Museum, Louisville, KY. Her work is in the permanent collections of SFMOMA; BAMPFA; the McEvoy Foundation for the Arts, CA; Collección SOLO, Madrid; Byrd Hoffman Water Mill Foundation, New York; and Tweed Museum of Art, Duluth, MN, among others. Miki lives and works in Berkeley, CA.
Masako Miki, Pine Tree from Ancient Time, Courtesy of the artist and Jessica Silverman. Photo: Steve Ferrara

For the Silo, Jarrod Barker.

Met Exhibit Will Explore Human Body & Musical Instrument Physical Connections

The exhibition will feature an interactive space for visitors to make music through body movement, as well as immersive elements, live performances, and workshops
Exhibition Dates:  June 7–Sept 27, 2026
Location: The Met Fifth Avenue, Gallery 199

(New York, April, 2026)—From clapping hands and tapping feet to beatboxing and whistling, the human body is a musical instrument. In turn, instruments often draw their form and decoration from the body. Musical Bodies, which opens on June 7 at The Metropolitan Museum of Art, will explore the multifaceted relationship between musical instruments and the human body. This is the first major exhibition to address this theme and will bring together some 130 works from around the world and across time, including musical instruments, paintings, sculptures, and drawings from The Met collection along with important international loans.

Musical Bodies was conceived as an experiential exhibition. An innovative interactive will enable visitors to create music through intuitive movements and explore the blurred boundaries between body and instrument. Large-scale projections will display newly commissioned footage of beatboxing, body percussion, tap dancing, and more by such acclaimed New York–based and international artists as tap dancer Savion Glover, Beatbox House, and whistler Molly Lewis. Special activations throughout the run of the exhibition will take place in the gallery and include musical performances from an array of artists as well as workshops that activate the body as an instrument. More details will be announced at a later date.

 “Musical instruments, which represent an important part of the Met’s collection, have long been recognized and celebrated as dynamic tools for creative expression, and also as works of art in their own right,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “This multisensory exhibition is the first to explore—through remarkable instruments, objects, and works of art—the fascinating ways in which sound, musical objects and the human form have been in conversation for millennia. Including outstanding instruments, powerful performances and immersive in-gallery experiences, Musical Bodies is a show that will resonate, fascinate and inspire.”

The exhibition is made possible by Barbara Tober, the Diane W. and James E. Burke Fund, the William Randolph Hearst Foundation, and the Gail and Parker Gilbert Fund.

Additional support is provided by Anonymous, The Dancing Tides Foundation, and the Vanguard Council.

Encompassing 4,000 years of music history and art, Musical Bodies will feature a range of objects from across the visual arts, literature, religion, pop culture, and mythology. This includes ancient Egyptian rattles, paintings by Titian and Degas, instrument-inspired apparel, and one of Prince’s most notable guitars. The ways in which the boundaries between body and instrument have been artfully blurred will be explored through visionary works such as Nam June Paik’s TV Cello; the PianoArc circular keyboard designed in collaboration with Brockett Parsons, keyboardist for Lady Gaga; and a steel guitar in the form of a crutch that was made for country music singer and songwriter Barbara Mandrell while she was recovering from an automobile crash.

Musical Bodies will include prominent works from across 10 of The Met’s curatorial departments, including over 50 instruments from the Department of Musical Instruments as well as ancient works from Egypt, 19th-century masterpieces from European Paintings, and 20th -century works from the Department of Modern and Contemporary Art. The exhibition will also feature significant loans from collectors and institutions such as the Musée de la musique (Paris), the National Music Museum (Vermillion, South Dakota), and the Royal College of Music (London). One of the earliest surviving bowed string instruments, a rare figural lira da braccio from the Kunsthistorisches Museum (Vienna), and a lavish hurdy gurdy from the Victoria & Albert Museum (London) will be shown in the United States for the first time.

Musical Bodies first formed in my mind as a deceptively simple question: Why are so many instruments shaped and decorated like the human body?” said Bradley Strauchen-Scherer, Curator in the Department of Musical Instruments at The Met.”The quest for an answer has become an exploration of humanity through the lens of instruments and music. We find ourselves represented in these instruments because, for much of our history, music has been central to who we are and what we do. I hope this exhibition will reconnect all of us with our innate musicality and shared heritage of harmony.”

Through six thematic sections, the exhibition will illuminate the relationship between the body and musical instruments and how they serve as channels for self-exploration and expressions of culture and belief systems. Musical Bodies will also reveal how instruments are used to stand in for the body to address topics that are traditionally considered taboo, such as sex and death.


Credits and Related Content

Musical Bodies is conceived and organized by Bradley Strauchen-Scherer, Curator in the Department of Musical Instruments at The Met, assisted by Ava Valentino, Research Assistant in the Department of Musical Instruments.

A fully illustrated catalogue will accompany the exhibition and will be available for purchase from The Met Store.

The catalogue is made possible by the Mary C. and James W. Fosburgh Publications Fund.

The Met will host a variety of exhibition-related educational and public programs, including a Creative Convening, Artists on Artworks and Met Expert talks in the galleries, a music workshop, and more. Details will be announced.

Musical Bodies will be on view during the presentation of the exhibition Costume Art (May 10, 2026–January 10, 2027), which will examine the centrality of the dressed body in fashion and art. The two shows will provide visitors with distinct and engaging explorations of the body’s relationship to artistic expression.

For the Silo, Jarrod Barker.


Featured Image: Thomas Zach, Violino Harpa Forma Maxima, 1874. Wood (spruce, maple, ebony), metal strings. Collections Musée de la musique / Cliché Claude Germain, 2020. Cité de la musique-Philharmonie de Paris
Visit The Met
Fifth Avenue1000 Fifth Avenue
New York, NY 10028The Met
Cloisters99 Margaret Corbin Drive,
Fort Tryon Park
New York, NY 10040 metmuseum.org

Acupuncturist Explains Eastern Medicine Methods and Chi

Living the EnerQi ConnectionAs westerners we’re used to running to the doctor for a prescription when we’re sick, but the down side to this is that many pharmaceuticals come with serious side effects.

  That’s just one reason why Asians believe in helping the body heal from more natural methods. Sheri Laine studied under one of the great Chinese medicine masters and in her new book, Living the EnerQi Connection, she shares a profound understanding of Asian medicine and explains the many benefits people are realizing from switching to natural products.

Powerful Eastern Chinese Words

Many of us have heard the words Eastern/ Chinese/Asian medicine, acupuncture, and chi, but we don’t really understand what they mean or the long tradition behind the culture of it. We are westerners. We are used to doctors in white lab coats rushing to meet with us and write a prescription for whatever problem we have at the moment. Living the EnerQi Connection presents a new idea to health, medicine, and introduces us to what those words really mean.

The Correct way to pronounce Qi

The book discusses Asian medicine as a whole, but one of the main points that it touches on is qi (pronounced “chee” and sometimes spelled chi). This is the energy that is constantly circling through our bodies. Sometimes the flow of our qi can become blocked in some way, because we’re tired or run down which can leave our bodies susceptible to illness. Sheri Laine, L.Ac, has developed a way through Asian medicine to help us maintain our health and keep our qi flowing.

In this book Laine presents the L.A.I.N.E. system, which stands for: Learn, Align, Inform, Natural, and Energy.

Each chapter of the book explains a part of her system to give us a better understanding of the concepts of the energy in our bodies and the energy around us. This will help us to take a more active stance on our lives, our health and our healing.

Sheri Laine Diplomat of Acupuncture

Laine shows us moments from her childhood when she loved to play doctor to her friends and family, giving them shots by sticking them with cactus needles and giving them medicine from the plants in her back yard. Many years later she is doing this again, but she is no longer playing make-believe. Acupuncture and herbal medicine are a powerful way for Laine to help enhance our qi and energy.

Doctor Richard Teh-Fu Tan LAc, OMD
Doctor Richard Teh-Fu Tan LAc, OMD

Sheri Laine studied for many years under the Chinese medicine master, Richard Teh-Fu Tan. It is a long tradition that an apprentice study under a master for many years to get such an extensive knowledge of the medicine, the science, and the tradition behind it. This is how Laine is able to help us understand the concepts for ourselves so that we may apply them in our lives. She is the president of Eastern Medical Arts, a licensed acupuncturist, herbalist and nutritionist, with a focus on Integrative Lifestyle Medicine.

Page Excerpt

“Deep in their roots, all flowers keep the light. “– Theodore Roethke

Oriental Medicine draws from nature to diagnose internal medical challenges. We have all admired a great majestic tree. Your health is like that great majestic tree. The roots are your immune system, your qi essence, and the power of your qi essence. The branches of your tree are your subjective symptoms of a greater imbalance. The problem is not in a bad branch; it actually lies in the roots of the tree and within the soil that nourishes the tree, what is the underlying cause of distress?”– Chapter 2: Drawing from Nature: The Elements of EnerQi

Supplemental- Just how gentle can acupuncture be?