Our survey confirmed that Walmart was the most-shopped retailer for clothing and footwear over the past 12 months. Amazon is neck and neck with Target as America’s second-most-shopped retailer for clothing and footwear. That does not directly imply that Amazon is America’s second-biggest apparel retailer by sales, however, as shoppers’ average spend and frequency of purchase both factor into this metric.
Your Prime membership comes with free unlimited photo storage through Prime Photos, which lets you securely save as many photos as you like and see them on your phone, computer, or tablet. You can share this Prime benefit and give free photo storage to up to five family members or friends. Collect photos together with your invited family and friends in the Family Vault and store memories from everyone in one safe place. New photo search technology makes it easy to find specific photos by searching for things like “sunset” or “Seattle,” and your photos are organized automatically so it’s easy to find and enjoy them.
Amazon Prime membership in Germany, the United Kingdom, India, and the United States also provides Amazon Video, the instant streaming of selected movies and TV shows at no additional cost. In November 2011, it was announced that Prime members have access to the Kindle Owners’ Lending Library, which allows users to borrow certain popular Kindle e-books for free reading on Kindle hardware, up to one book a month, with no due date.
Products in categories requiring approval can be listed only with specific permissions from Amazon. Only sellers with a Professional Selling Plan subscription can sell in these categories. Amazon limits access to sell in these categories to help ensure that sellers meet standards for product and listing quality as well as other category-specific requirements. These standards help Amazon customers have confidence when buying in any category.
No matter what type of music you love, Amazon.com can help you find your favorite artists and your favorite genres, no matter whether you love The Beatles, Elvis Presley, Bob Marley, Johnny Cash, Mozart, Miles Davis, and many more. Our wide range of genres includes alternative rock, blues, Broadway and vocals, children’s, Christian, classical, classic rock, country, dance and electronic, folk, gospel, hard rock and metal, indie, jazz, Latin, new age, opera, pop, R&B, rap and hip-hop, reggae, rock, soundtracks, world, and many sub-genres like British alternative, Americana, bluegrass, and more.
That said, SHOP stock does have some concerns, and in my opinion it’s not one of the best Amazon-proof stocks to buy on this list. I wrote earlier this month that investors should consider selling SHOP, even though I like the long-term story. Valuation is high, and this market remains uncomfortable in paying up even for high-growth plays. That said, Shopify does have plenty of room for growth, and I don’t expect Amazon to make much of a dent in its market share.
A.: Most gamers are already familiar with Twitch, the popular game-stream broadcast service, but may not know about Twitch Prime. Amazon Prime users also get access to Twitch Prime, which allows them to watch Twitch streams completely ad-free. However, Amazon recently announced that new members will not get ad-free viewing beginning September 14. Existing members, however, can continue to enjoy ad-free viewing up until their subscription renewal, at which point they too will lose the feature. Monthly in-game bonuses and "Free Games With Prime" — a selection of free titles for Prime members — will continue.
Amazon squeezes small publishers. For instance, Amazon cut off Swindle sales for an independent book distributor in order to press for bigger discounts. (The article ends by promoting ebooks for another platform, the Shnook from Barnes and Noble. While that company is not as nasty to small publishers, its ebooks do violate your freedom in most of the same ways.)
But as Amazon uses its powerful platform to bolster its private-label business, there is also debate in legal circles whether some of its activities could be viewed as monopolistic in nature. Some say Amazon could face a legal challenge akin in size and scope to when the Department of Justice two decades ago filed antitrust charges against Microsoft for bundling its own browser into its software, making it difficult for consumers to install a browser from Microsoft’s top competitor, Netscape. Microsoft lost that court battle.
Snap refused to disclose any financial terms of the partnership. It could be earning a referral fee for each thing you buy from Amazon, or it could just be doing the legwork for free in exchange for added utility. A Snapchat spokesperson tells me the latter is the motivation (without ruling out the former), as Snapchat wants its camera to become the new cursor — your point of interface between the real and digital worlds.
There need not be a documentary about the Syrian catastrophe to rally the world around its cause—just as, in Matthew Heineman’s previous film, Cartel Land, there was no need to vilify the world of Mexican cartels or the DEA or the paramilitaristic nationalists patrolling our Southern borders to confirm that murder and drug trafficking are bad. The threats are known and the stakes understood, at least conceptually. And yet, by offering dedicated, deeply intimate portraits of the people caught up in these crises, Heineman complicates them beyond all repair, placing himself in undoubtedly death-defying situations to offer a perspective whose only bias is instinctual. So it is with City of Ghosts, in which he follows members of Raqqa is Being Slaughtered Silently, a group committed to using citizen-based journalism to expose the otherwise covered-up atrocities committed by ISIS and the Assad regime in Syria. In hiding, in Turkey and Germany and at an event for journalists in the U.S.—in exile—these men, who Heineman characterizes as a very young and even more reluctant resistance, tell of both the increasingly sophisticated multimedia methods of ISIS and their hopes for feeling safe enough to settle and start a family with equal trepidation about what they’ve conditioned themselves to never believe: That perhaps they’ll never be safe. Heineman could have easily bore witness to the atrocities himself, watching these men as they watch, over and over, videos of their loved ones executed by ISIS, a piquant punishment for their crimes of resistance. There is much to be said about the responsibility of seeing in our world today, after all. Instead, while City of Ghosts shares plenty of horrifying images, the director more often that not shields the audience from the graphic details, choosing to focus his up-close camera work on the faces of these men as they take on the responsibility of bearing witness, steeling themselves for a potential lifetime of horror in which everything they know and love will be taken from them. By the time Heineman joins these men as they receive the 2015 International Press Freedom Award for their work, the clapping, beaming journalists in the audience practically indict themselves, unable to see how these Syrian men want to be doing anything but what they feel they must, reinforcing the notion that what seems to count as international reportage anymore is the exact kind of lack of nuance that Heineman so beautifully, empathetically wants to call out. —Dom Sinacola
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These days, Amazon's many tentacles have put the company in the crosshairs of competitors and critics from many directions. Privacy advocates have raised alarms about Amazon's data-gathering inside people's homes. Reports have scrutinized instances of harsh working conditions. Retailers have blamed Amazon for bankruptcies, hundreds of store closings, historic meltdowns and the death of America's malls.
What’s perhaps most refreshing in Green Room is writer-director Jeremy Saulnier’s lack of interest in the kind of moralizing that made his last film, Blue Ruin, ultimately seem conventional. Instead, Saulnier simply presents us this nutty scenario without feeling the need to lard it up with anything as cumbersome as topical commentary or moral ambiguity. He proceeds to wring as much tension and suspense from its pulpy retro plot as possible, adding a few entertaining grace notes along the way, which can best be seen in its performances. In the ensemble-based Green Room, Saulnier revels in the contrasts of personalities and styles: band bassist Pat’s (Anton Yelchin) Bill Paxton-like desperation, for instance, set alongside the weary, near-drugged-out deadpan of Amber (Imogen Poots), a friend of the woman whose murder sets off the film’s violent chain of events; or the imperial calm of Darcy (Patrick Stewart), the ruthless leader of the band of white supremacists who attempt to kill Pat, Amber and the rest. It’d be a stretch to call these characters three-dimensional, but nevertheless, under Saulnier’s writing and direction, they all manage to stand out just enough as individuals for us to become emotionally involved in their fates. Meanwhile, Saulnier supports these characters and plot turns with filmmaking that is remarkable for its economy and patience. D.P. Sean Porter gets a lot of mileage out of the cramped quarters and grimy lighting of the bar, lending its wide (2.35:1) frames an appropriately nightmarish feel amidst many suspenseful set pieces. In those ways, the lean, mean Green Room stands as one of the best B-movie genre exercises in many years. —Kenji Fujishima