Something Navy Crashes Site, Beats Expectations at Nordstrom

Arielle Charnas, the influencer behind the popular fashion blog and social channels Something Navy, had a “wildly successful” launch of her collection exclusively at Nordstrom on Monday, according to a Nordstrom spokeswoman.  The brand was so popular it crashed the site in the first hour, which was quickly remedied.
Many customers complained online that they weren’t able to buy what they put in their shopping bag since the site crashed, and once it was back online Nordstrom had sold out of the items.
The introduction followed the successful launch of the Treasure & Bond x Something Navy capsule collection last fall. That capsule was estimated to have racked up sales of about $ 1 million in less than 24 hours, as reported.
On Monday, Something Navy sales beat expectations, according to the spokeswoman. Among the best sellers were a v-neck slouchy pullover, which was available in five colors for $ 79; the double-breasted topper coat in check pattern for $ 139, and the teddy coat, available in two colors, blue and tan, for $ 149. The tan sold out Monday and the blue is still available in large and XXL.

The blue teddy coat is still available in a few sizes. 

Charnas will make an appearance at Nordstrom’s Yorkdale

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Another One Bites the Dust: Menswear Site Four Pins Is Shutting Down

A sad day for #menswear and casual irreverence.

Style – Esquire

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Ashley Madison Adulterer Sues Site Over Lack of Real Women

Apparently, its adulteresses weren’t all real.

Lifestyle – Esquire

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Red Valentino Unveils Web Site

MILAN — The relaunch of Red Valentino is starting with the brand’s new Web site, which has been redesigned to match the new image that creative director Maria Grazia Chiuri and Pierpaolo Piccioli are shaping for the label.
“Rethinking a brand is not something easy to do,” Chiuri admitted. “For us, the redesign of the Web site is the first major step in the redefinition of the label, since the site is one of the strongest tools to communicate the brand.”
The new site, available at redvalentino.com, has an editorially oriented structure, which allows users to not only see and shop the brand’s collections and connect to its social networks, but also to navigate a range of content that might appeal to Red Valentino’s target age group.
“Our intention was to create a universe around Red where the brand’s values and images are exalted,” said Piccioli, highlighting that Red Life — one of the Web site’s sections — “is the part that really makes redvalentino.com stand out from the crowd.”
Updated every day with new posts, Red Life is the core of the Web site with eight sub-categories. These include “Pick of the Week,” a focus on a special event taking place in the world; “Next Big Thing,” which highlights a current

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Celebrating 20 Years, SITE Santa Fe Shows New Commissions and Collaborations

Janine Antoni and Stephen Petronio, Honey Baby, 2013. Copyright Janine Antoni and Stephen Petronio; Courtesy of the artists and Luhring Augustine, New York.

Celebrating 20 Years: SITE Santa Fe’s Collaborative Spirit

A significant anniversary invites a retrospective view, and for SITE Santa Fe’s 20th, the institution is doing just that, in a yearlong series of exhibitions featuring artists who have presented major works at SITE in the past. But for this 20th-anniversary celebration, SITE is not only looking back at its own history, or reprising past projects, rather refreshingly the exhibits that comprise “SITE 20 Years/20 Shows” take the form of new work, commissions, and collaborations.

Ann Hamilton, The common SENSE (detail), 2014-2015. Courtesy of the artist.

SITE Santa Fe opened in 1995 with its first International Biennial: Longing and Belonging: From the Faraway Nearby, curated by Bruce Ferguson, and has since produced eight biennials, and over 80 exhibitions, helping to launch or galvanize the careers of numerous curators and artists. The notion of reconnecting with artists who have contributed to the institution’s history, taking a look at then and now, exemplifies SITE’s mission to form strong bonds with the international art community while cultivating deep roots within the community of Santa Fe and the wider Southwest region.

Amy Cutler, Cautionary Trail, 2005. Courtesy of the artist and Leslie Tonkonow Artworks + Projects, New York.

Presented in three installments, over spring, summer and fall, “SITE 20 Years/20 Shows” first opened in March with work by Gregory Crewdson, Deborah Grant, Roxy Paine, Mary Reid Kelley with Patrick Kelley, Rose B. Simpson, and Jessica Stockholder. The fall installment, opening October 23, will feature installations by Terry Allen, Janet Cardiff and George Bures Miller, Wangechi Mutu with Edgar Arceneaux, and Susan Silton with The Crowing Hens. The summer exhibition of “SITE 20 Years/20 Shows” is currently on view, until October 4, with installations and collaborations by Ann Hamilton, Janine Antoni with choreographer Stephen Petronio, Amy Cutler with musician Emily Wells and hairdresser Adriana Papaleo, Harmony Hammond with artist Francis Cape, and Dario Robleto with historian Patrick Feaster and Lance Ledbetter of Dust-to-Digital Records. While the wall texts throughout the show acknowledge the contributions of each of the artists to SITE Santa Fe’s exhibitions of the past–Ann Hamilton, for instance, showed in the first Biennial and Janine Antoni showed a major solo show at SITE in 2002–the focus rests on the artists’ current practices.

Dario Robleto, The Pulse Armed With a Pen (An Unknown History of the Human Heartbeat), 2014. Courtesy the artist and Inman Gallery, Houston. Photo: Paul Hester, The Menil Collection.

The installations in the current configuration of “SITE 20 Years/20 Shows” exhibit few connections between them, with each occupying its own discrete room in the gallery. But if there is one conceptual thread running throughout, it is the notion of collaboration–collaboration among artists, between artists and institutions, artists and choreographers, musicians, historians, and so on. A successful collaborative effort can achieve results that a single artist couldn’t produce on her own, a kind of synergistic effect that provides new contexts and new meanings to an artist’s work. In an unsuccessful collaboration, on the other hand, compromises become more apparent than cooperation, resulting in a situation where one person’s vision might supersede another to the detriment of the whole artwork. The wide range of artistic collaboration, both successful and unsuccessful, can be found in SITE Santa Fe’s current exhibition.

Janine Antoni and Stephen Petronio, Honey Baby, 2013. Copyright Janine Antoni and Stephen Petronio; Courtesy of the artists and Luhring Augustine, New York.

Janine Antoni’s collaboration with the choreographer Stephen Petronio, for instance, sheds new light on Antoni’s practice with regard to the grotesque and expressive potential of the human body–in this case a male dancer’s lithe form, emulating the movements of the body in utero–in a somewhat disturbing but entrancing video. And Dario Robleto’s collaboration with sound historians Patrick Feaster and Lance Ledbetter results in a series of small vinyl albums–recordings of the human heart and early gospel spirituals–with extensive liner notes that convey a historical depth and artistic sensibility (despite the somewhat twee aesthetic), enhancing our apprehension of these early recordings visually, textually, and sonically.

Harmony Hammond and Francis Cape, Angle of Repose, 2015, installation view. Courtesy of the artists and SITE Santa Fe. Photo: Eric Swanson.

The collaborative installation by painter Harmony Hammond and sculptor Francis Cape, Angle of Repose (2015), on the other hand, is less apparent as a collaboration at all. Comprised of one of Hammond’s layered monochrome paintings leaning against a wall and a collection of re-made handcrafted furniture by Cape, the two works are somewhat independent of each other, but their proximity yields a new conversation between the works. Their pairing seems more like a very astute curatorial choice, rather than a true collaboration that results in one unified work.

Amy Cutler, installation view, 2015. Courtesy of the artist and SITE Santa Fe. Photo: Eric Swanson.

While Hammond and Cape’s collaboration demonstrates restraint and subtlety, Amy Cutler’s installation commits the sin of sensorial overload. Created with musician Emily Wells and hairdresser Adriana Papaleo, the installation sets out to devise a three-dimensional version of one of Cutler’s surreal paintings. Braided hair intertwined between aspen logs that form a primitive hut in the center of the gallery, lit from within, houses bundled lumps of more hair. An eerie soundtrack of breathing permeates the dark atmosphere. The ambience is meticulously crafted, but the literalness of such a proposal deprives the viewer of the sense of imagination and wonderment one can experience in the scenes of Cutler’s strange and richly detailed paintings.

Ann Hamilton, The common SENSE, 2014-2015, installation view, SITE Santa Fe, 2015. Courtesy of the artist. Photo: Eric Swanson.

At turns impressive, delightful, and poignant, Ann Hamilton’s installation is one of the most richly rewarding of the show. Created in cooperation with the University of Washington’s Burke Museum of Natural History and Culture’s Ornithology collection, the common SENSE · the animals (2014-2015) is comprised of digital scans of bird and animal specimens taken from the collection, printed on stacks of newsprint, and presented salon style across the whole room. Invited to tear off sheets of the newsprint and take some of the pictures home, viewers are confronted with the consequences of their impulse to consume–as each sheet is torn away, the installation is lessened, pointing to the ultimate finitude of natural resources. In the wake of the tragedy of Cecil the lion in Zimbabwe, Hamilton’s installation becomes all the more moving.

Marie Watt, installation view, 2015. Courtesy of the artist and SITE Santa Fe. Photo: Eric Swanson.

The emphasis on collaboration at SITE Santa Fe is not a passing fancy, or just relevant to this particular exhibition, but rather is something that runs deep within the institution’s programming and curatorial mission. This is evidenced in a concurrent exhibition at the museum, Unsuspected Possibilities, supported by a Robert Rauschenberg Foundation Artistic Innovation and Collaboration Grant, featuring works by Marie Watt, Leonardo Drew, and Sarah Oppenheimer. Marie Watt’s installation in particular perfectly and beautifully illustrates SITE Santa Fe’s continued commitment to collaborative processes and community engagement. The artist, who is of Iroquois descent, involved local Santa Fe students and community members to help embroider designs on fragments of Pendleton blankets, which were then assembled into magnificent constructions, and hung like an advancing regiment through the gallery space. It’s a breathtaking installation, made all the more impressive knowing the many hands that touched it.

 

–Natalie Hegert

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A Caring Bridge Site for Artists?

So I’m at my friend Tom’s birthday party, hoping to steer the conversation toward what I’m going to be doing for the next few weeks. I’ll be performing Macaroni on a Hotdog, the one woman show I’ve written, at the 2015 Edinburgh Fringe Festival. Maureen takes the bait and asks me what I’m doing the rest of the summer, and I explain.

Me: And also… I’ll be blogging about the whole adventure on the Huffington Post.
Maureen: Is that like a Caring Bridge thing, but for artists?

Luckily there was a festive birthday napkin available to wipe off the Pinot Grigio I snorted through my nose from laughing. I thought about Maureen’s analogy. Although there are similarities, this endeavor is less about a death, and more about a birth. The birth of a new play.

Part of the job of being an actor, is being asked (frequently asked) “What are you doing now?”
If you’re not working, people might think that you’re either lazy, or unemployable. For seven months now, I’ve joyously had an answer to the question “What are you doing now?”

This is not my first time to the Edinburgh Fringe. My husband and I brought the brilliantly constructed Billy VanZandt play The Property Known as Garland to the 2012 Edinburgh Fringe. This time around I’ll be performing a play I’ve written myself. If things go well, I’ll be taking a lot of the credit, if things go. . . you know what? Let’s change the subject.

This time around, we’ve arrived a few days before the Fringe kicks in to high gear. The venue we’re performing has just begun to be transformed. It’s usually a lecture hall for the Surgeon’s College, but during the Fringe, it becomes Theatre 3 of theSpace@SurgeonsHall.

It’s nice to see the calm before the storm.

For anyone considering bringing a show to the Fringe, you should try and be realistic. There are 3,000 shows here this month. In addition to the Fringe, there’s also a book festival, a jazz festival, International Festival and don’t even get me started on the tattoo at the Castle. Besides the plethora of festivals, Edinburgh has museums, parks and fantastic pubs. Competition for an audience is fierce. Some of the venues will require you to fill a certain amount of seats for each performance. If you don’t fill those seats, you have to pay for them yourself. This is a bad deal and do not even think of signing that contract.

I kind of feel like, if you bring a show to the Fringe, it’s like the Universe’s way of hazing you, and whatever the outcome, just by surviving the month, you are in the club.

Last night we sat in the Auld Hoose Pub, had a pint of Hobgoblin and I wrote my first post. Which disappeared because I clicked the wrong button. Tragedy? Hardly. Frustrating? Definitely. The Auld Hoose hadn’t changed much since 2012. Comfortable seats, excellent taps. I did notice their cigarette machine has left, and some posters advertising current exhibitions are on display. I would love to see the M.C. Escher and the Roy Lichtenstein at the Scottish National Gallery of Modern Art and also there’s a Lee Miller and Picasso at the Scottish National Portrait Gallery. I’m pretty much a kid in a candy store. Edinburgh is going to explode with culture, fun and mayhem and I have a front row seat.

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Site Specifics: Anish Kapoor at Versailles 2015

Anish Kapoor, Sky Mirror, 2013. Courtesy Kapoor Studio, Kamel Mennour and Lisson Gallery. Photo: Tadzio.

The descriptor “site-specific” is often invoked when describing Anish Kapoor’s monumental installation works. According to the Tate’s online glossary of art terms, for a work of art to be considered “site-specific,” it is not only “designed specifically for a particular location,” in that its shape and form would conform to the measurements and specifications of the site, but also that “if removed from the location it would lose all or a substantial part of its meaning.” So what does it mean, then, that several of the works chosen by Anish Kapoor to exhibit in the gardens of the Chateau de Versailles had been designed, site-specifically, for completely different locations?

Anish Kapoor at Versailles. Photo: Tadzio.

Dirty Corner (2011-2015), the controversial installation that has grabbed international headlines in advance of Kapoor’s Versailles exhibition opening, is in fact composed from a site-specific installation originally built for the Fabbrica del Vapore in Milan in 2011. There, Dirty Corner was installed throughout the expanse of an industrial warehouse space, its 60 meters of Cor-Ten steel comprising a long passageway, plunging the viewer into complete darkness as they traversed its length, while an apparatus slowly deposited some 160 cubic meters of soil over the steel hull over the course of the exhibition. At Versailles, the steel tube is situated on the tapis vert, the “green carpet” that spreads out between the palace and the Grand Canal, with the mouth of the passageway facing the palace. Rather than the fine red soil that gradually accumulated over the structure at the Milanese factory, at Versailles, Kapoor has covered sections of the steel tube with large, jagged boulders and heaps of earth, some of this detritus painted blood-red. In the context of Versailles, Dirty Corner becomes a completely different work, with starkly different meanings, than the one that inhabited the industrial interior of the factory in Milan. In this case, then, this site-specific work was removed from the site for which it was originally designed, and in its transplantation to a different site takes on additional possible interpretations and more complex meanings.

Anish Kapoor, Dirty Corner, 2011-2015. Courtesy Lisson Gallery, Galleria Massimo Minini, Galleria Continua, Kamel Mennour and Kapoor Studio. Photo: Fabrice Seixas.

Dirty Corner should offend because it disrupts the divine symmetry of the gardens of Versailles with a chaotic ruin of scarred earth and rough stone. Instead, it aroused controversy because of a comment the artist made in an interview, suggesting that the sculpture could be interpreted as “the vagina of the queen taking power.” It’s unfortunate that so many people have so readily latched onto this image of the “vagina,” to the exclusion of the many other possible interpretations one could impose onto this monumental sculpture. Certainly, a deep dark tunnel into the earth has vaginal qualities, but to think of Dirty Corner only as such is a grave underestimation, and buries the nuances that this work invites from its new context. The sculpture subverts the tourist’s expectations of what Versailles represents, this emblem of aristocratic magnificence, and raises the question of Versailles’ bloody history, from its hurried construction, high in monetary and human cost, to the bloody Reign of Terror that followed its fall as the center of French governance. A site like Versailles, so loaded with its history of opulence and turbulence, invests Kapoor’s sculptures with a whole range of new content and meaning.

Anish Kapoor, Descension, 2014. Courtesy Kapoor Studio and Kamel Mennour. Photo: Fabrice Seixas.

Just beyond Dirty Corner, situated between the Apollo Fountain and the Grand Canal, a vortex of water swirls to unknown depths. This work, entitled Descension (2014), was originally a site-specific installation at this year’s Kochi-Muziris Biennial. In the salt-sprayed room at Fort Kochi, overlooking the water, the churning black hole opened suddenly underfoot–a deep, dark, mysterious pit, like an anomaly in the fabric of space and time. At the head of Versailles’ Grand Canal, on the other hand, Descension widens into a vast pool–the viewer kept at a safe distance from its thundering gyre–and it appears more like the inverse of one of the many fountains on the regal garden’s grounds than an abupt wormhole through space-time. (There is another version of the piece currently on view at Galleria Continua’s San Gimignano space in Italy.) Each iteration will of course have its own site-specific constraints, particularly for a work requiring such feats of engineering as this one, and will look slightly different in each environment. But does its meaning change with each new context? Can this formless, perpetually swirling void ever be truly site-specific? Or is it a work of art that is so formless, to the point that it can signify any number of different ideas–the forces of nature, the abyss of history, the cyclical nature of time–no matter its location?

Anish Kapoor, Shooting into the Corner, 2008-2009. Courtesy Kapoor Studio. Photo: Tadzio.

Kapoor’s Shooting the Corner (2008-09) makes no claim to site-specificity, but at Versailles the historical context weighs heavily upon the gesture–a cannon shooting balls of red waxy pigment into a corner of a wall has a very different impact when it is housed in the Salle du Jeu de Paume, where France’s constitutional democracy was founded in 1789, as compared to the Royal Academy in London, or any of the other art museums where it has been exhibited previously. The violence of the cannon, the blood red color of the pigment, the sheer quantity of its accumulation in the corner of the room, here seems to be less about the struggle of making art, instead making some kind of statement about the struggle of democracy. Kapoor’s Sky Mirror (2013) and C-Curve (2007), too, become invested with more import by the site reflected in their mirrored surfaces; in the context of Louis XIV’s Hall of Mirrors, which overlooks the grand perspective where these two works are situated, Kapoor’s mirror works gain a political and historical aspect they might not sustain in other situations.

Anish Kapoor, Sectional Body preparing for Monadic Singularity, 2015. Courtesy Kapoor Studio, Kamel Mennour and Lisson Gallery. Photo: Fabrice Seixas.

Sectional Body Preparing for Monadic Singularity (2015) is the only work made especially for the Versailles exhibition, though it is not explicitly site-specific. A modular cube, the work seems to reference Kapoor’s immensely popular installation for Paris’ Grand Palais in 2011, Leviathan, with its duality between inside and outside, its red color, the PVC seams stretching through the interior. Appearing like a jewel box, set in a grove off to the side, it doesn’t seem to absorb the same contextual richness afforded the other works by the site of Versailles. Its title, too, is confounding: how can something comprised of many sections become a monad, the “first being,” something indivisible, totally absolute?

Anish Kapoor, C-Curve, 2007. Courtesy Kapoor Studio, Kamel Mennour and Lisson Gallery. Photo: Tadzio.

In many ways, Kapoor’s work is in struggle with the absolute. His sculptures imitate perfect forms yet invite multiple readings, dependent on context, site, and surroundings. “Meaning isn’t in the object, meaning comes to be in the object,” he says. His works–in simple yet grand gestures, reflective surfaces, deep chasms–are often like empty vessels, invested with meaning by what comes in contact with them, their surroundings and context. And at Versailles, once the seat of grand power, what a spectacular context.

Natalie Hegert

 

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Arts – The Huffington Post
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Ebay Global the Smart Way: Buying and Selling Internationally on the World's #1 Auction Site

Ebay Global the Smart Way: Buying and Selling Internationally on the World's #1 Auction Site


Buying and selling on any of the many international eBay sites opens up a huge range of possibilities for American users. The globalization of eBay – with 28 sites worldwide – offers vast new markets for American merchandise overseas, as well as the opportunity to buy items globally with the aim of selling them profitably in the U.S.

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Reese Witherspoon’s New Lifestyle Site Is So Reese Witherspoon

Reese Witherspoon delighted fans Wednesday afternoon with the launch of her new lifestyle site, Draper James. With the new venture she joins the likes of Gwyneth Paltrow and Blake Lively, who have been luring customers to their own lifestyle sites one overpriced item at a time.

WItherspoon says in the introductory video above that her new website exemplifies the “grace and charm” she grew up with in Nashville, Tennessee, combined with the romance of and her love for the South. Named after her grandparents, the site features monogrammed everything and a wide array of “Y’all”-printed accessories.

Though the prices can be pretty steep, the retail site and accompanying Instagram account are as cheery as the actress herself. Check out some of the site’s adorable products below.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

Weddings – The Huffington Post
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Expire: 2014-06-29 00:00:00
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Mattel Shop Affiliate Program – Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.

Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.
Code: N/A
Begin: 2012-10-11 11:00:00
Expire: 0000-00-00 00:00:00
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Mattel Shop Affiliate Program – Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.

Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.
Code: N/A
Begin: 2012-10-11 11:00:00
Expire: 0000-00-00 00:00:00
Coupon Feed

Mattel Shop Affiliate Program – Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.

Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.
Code: N/A
Begin: 2012-10-11 11:00:00
Expire: 0000-00-00 00:00:00
Coupon Feed

Mattel Shop Affiliate Program – Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.

Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.
Code: N/A
Begin: 2012-10-11 11:00:00
Expire: 0000-00-00 00:00:00
Coupon Feed

Mattel Shop Affiliate Program – Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.

Sign Up for Emails and Get 10% Off Your First Order at MattelShop.com! See site for details.
Code: N/A
Begin: 2012-10-11 11:00:00
Expire: 0000-00-00 00:00:00
Coupon Feed

The Home-based Bookstore: Start Your Own Business Selling Used Books On Amazon, Ebay Or Your Own Web Site

The Home-based Bookstore: Start Your Own Business Selling Used Books On Amazon, Ebay Or Your Own Web Site


Want to know the most profitable, lowest-risk idea for your home business? It''s selling used books online, which is growing 33 percent annually, according to a November 2005 study by U.S. publishers. Learn how to start your business part-time, then work as little or as much as you want. This step-by-step guide, written by one of the most successful and highly rated sellers on Amazon.com and eBay, includes everything you need to know: — Where to find books Find books in your own neighborhood to resell profitably to a worldwide pool of ready buyers. Get the best sources for valuable used books at low prices. — Where to sell Learn how to list your books to sell at the best price on Amazon.com and eBay, and even your own Web store. — Which books to buy What to look for in fiction, nonfiction, and collectibles to resell at the highest profits. — Grading and pricing your books How to describe and price your books. Learn what buyers are looking for. — Handling customers Tips on handling online book buyers. See the author''s time-tested scripts for responding to customer issues. Learn how you can get and maintain high feedback ratings. — Fulfilling orders Easy-to-use ideas for storing, organizing, and shipping your books and handling returns. — Automation tools Maximize your efficiency with these tips on automating your business. Automatically notify customers about shipments, and print postage to ship your books without leaving home. — Taxes and legal requirements How to register your business to obtain the proper permits and be exempted from paying sales tax on your inventory. — Exclusive list of wholesale book distributors Exclusive profiles and contact info for 32 wholesaledistributors of used and new books. Order inventory at up to 90 percent off retail, shipped right to your door. About the author: Steve Weber started his home-based bookstore as a hobby in March 2000. Two months later, he quit his day job to sell used books full-time on Amazon.com and eBay, using his one-bedroom apartment in Virginia as warehouse and shipping depot. In the meantime, he has sold more than million of used books to buyers in all 50 states and 31 foreign countries. In this step-by-step guide, Weber tells you how he took in savings to buy his first batch of books, then invested the profits to build a successful business, and how you can too.
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The Home-Based Bookstore: Start Your Own Business Selling Used Books on Amazon, Ebay or Your Own Web Site

The Home-Based Bookstore: Start Your Own Business Selling Used Books on Amazon, Ebay or Your Own Web Site


Want to know the most profitable, lowest-risk idea for your home business? It’s selling used books online, which is growing 33 percent annually, according to a November 2005 study by U.S. publishers. Learn how to start your business part-time, then work as little or as much as you want. This step-by-step guide, written by one of the most successful and highly rated sellers on Amazon.com and eBay, includes everything you need to know: — Where to find books Find books in your own neighborhood to resell profitably to a worldwide pool of ready buyers. Get the best sources for valuable used books at low prices. — Where to sell Learn how to list your books to sell at the best price on Amazon.com and eBay, and even your own Web store. — Which books to buy What to look for in fiction, nonfiction, and collectibles to resell at the highest profits. — Grading and pricing your books How to describe and price your books. Learn what buyers are looking for. — Handling customers Tips on handling online book buyers. See the author’s time-tested scripts for responding to customer issues. Learn how you can get and maintain high feedback ratings. — Fulfilling orders Easy-to-use ideas for storing, organizing, and shipping your books and handling returns. — Automation tools Maximize your efficiency with these tips on automating your business. Automatically notify customers about shipments, and print postage to ship your books without leaving home. — Taxes and legal requirements How to register your business to obtain the proper permits and be exempted from paying sales tax on your inventory. — Exclusive list of wholesale book distributors Exclusive profiles and contact info for 32 wholesaledistributors of used and new books. Order inventory at up to 90 percent off retail, shipped right to your door. About the author: Steve Weber started his home-based bookstore as a hobby in March 2000. Two months later, he quit his day job to sell used books full-time on Amazon.com and eBay, using his one-bedroom apartment in Virginia as warehouse and shipping depot. In the meantime, he has sold more than million of used books to buyers in all 50 states and 31 foreign countries. In this step-by-step guide, Weber tells you how he took in savings to buy his first batch of books, then invested the profits to build a successful business, and how you can too.
List Price:
Price:

Zappos.com August Site Placement

Check out our behind the scenes video of our August Site Placement Photo shoot. Comment below with the likes you love most!
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Get great brand name shoes at Zappos.com!