The Kohl Press

Articles & Blogs by Jessica Kohl

How To Add Instagram to Hootsuite In 5 Steps

Hootsuite has finally done it and given us all what we’ve been waiting for : a fully integrated dashboard for Instagram.

To add Instagram to your dashboard :

1: Go to +Add social network in your “streams” tab

hootsuite dashboard adding instagram

2. Click on the Instagram Icon in the “Add Social Network” pop up window and then  click ” Connect with Instagram “

instagram hootsuite

3. Log into Instagram in the pop up window that appears using your IG credentials and then clcik “Authorize” on the next screen

instagram api hootsuite

4. Choose whether you would Like To Set Up Publishing, or skip .

This allows you to schedule your tweets and then receive a notification at the scheduled time to complete the publish within the Instagram app. You must have the latest Hootsuite app on your phone.  Follow the steps provided by Hootsuite

instagram publishing in hootsuite

5. Set up Instagram Within the Hootsuite Mobile App :

Log In with your Hootsuite account

Click on Settings ( gear in bottom right corner)

Click Notification Settings

Find ” Instagram ” and turn on notifications for the account you would like to enable publishing

hootsuite mobile app settings hootsuite mobile app instagram
Begin scheduling through the Hootsuite dashboard and let the magic happen.
Hootsuite Writes:

This native integration allows users to:

  • Schedule and publish Instagram content
  • Monitor and engage with Instagram audiences
  • Securely share access to Instagram accounts across teams
  • Create team workflows, including assignments and approvals for Instagram

See more information from Hootsuite about the release on the Hootsuite blog

The Art of Deception in Advertising

The deceptions in advertising and methods of marketing throughout various industries. Critical thinking is the only way to slow down the process of persuasion and consider all aspects of the things you see in day-to-day. A lot of the time we will claim to ignore ads but the subliminals will still affect you in your ignorance. The most effective tool you have is your brain. Use it to deconstruct and understand the components of the ad, why they are coming together this way, and what ideologies the current culture is shifting towards in mass media. When you practice critical thinking you are much more aware and able to choose whether this is in line with your ideologies and values and thus what your actions will be going forward. To simply “ignore” an ad is simply ignorance.

The Art of deception in Advertising Do misleading ads influence your buying decisions? #infographic

Will It Go Viral?

Viral Checklist Chart


viral social chart


See @growhack for more information on viral content marketing 

Gender Head Canting

Attractive Features Amplified By Gender Specific Head Canting

For men, features that are considered to be attractive are indicators of high levels testosterone
-large jaws
-prominent brow ridges

For women, features that are considered to be attractive are indicators of high levels of estrogen
-large eyes
-fuller lips
-larger foreheads
-smaller chins

Differences in Gender Head Canting:

Women instinctively tilt their head forward and look up (making their eyes and forehead look larger than they are and their chin smaller than it is) when they want to appear attractive.

Men instinctively tilt their head back (making their jaw appear larger than it is and their brow ridge more prominent than it is) when they want to look attractive. For both sexes, faces that typify higher levels of sex-typical hormones are considered to be attractive.

Language Is A Weapon

Language is the weapon, the barrier, the battlefield, and the peace. Through knowledge of various linguistic form people are able to interact and communicate more effectively with one another. When two people attempt to communicate they come to a common level. In protest, debate or other persuasive dialogue, they must at some point come to the battlefield of language.

In war there are invasions, unwanted exposure to the weapons of thought- words- also occurs when parties refuse to listen. Picket signs blasted with unignorable typography and phrases which permeate the mind.

Or perhaps both armies decide to wage war and meet on an identified battlefield. This is comparable to the way a rhetorician will change the register, diction, and other aspects of language the speech in order to access the minds of those who might be persuaded. This is more effective than the ignorant forms that may turn the opposition further away.

Language is the weapon and the peace. By changing the words people use and think of, it begins to change the way they think about the topic.

Currently, the Google executive mentioned in question 1 uses language to change the minds of the oppressed Egyptians and world onlookers. He states, “I am not a hero O.K.? I am not a hero. I am a very ordinary person. The heroes are the ones in the street.” ( TIME, 17). This wording works in two ways: the repeated word hero does the opposite of the sentence by reiterating the word hero in association with Wael Ghonim, and he gives empowerment to the people of the streets when they have been stripped of their power by calling them heroes and accrediting them with the tools of change.

Martin Luther King Jr. and many other well known leaders use there words more powerfully than guns and knives that would retract from the cause.

Words can carry the passion of a shot gun at short range or the peace of a fluttering dove. People beg for mercy from cruel verbal lashing, cry from the pain of those words and feel the devastation of a story of slaughter. Or they can resort to words as a final defence when stripped of all tools against attack. Words can bring peace love and joy . To say that words and language are not weaponry would be to deny the atom its place beside bomb.

Language acts as the sandbags and trenches; a barrier to the intrusion of other culture and colonization. By holding on to their language and names a culture holds on to its history, and identity.

Jason Del Digandio basically breaks down the artillery of language in his application to American communication. How he dismantles their rhetorical language and political correctness is very similar to the careful dismantling of a bomb.

Also Del Digandio describes “the word” in terms that are broken down as if it is the very secret to winning the language war.


Works Cited


Del Gandio, J. “Rhetoric For Radicals”. Canada, 2008.

Duncombe, S. “Cultural Resistance Reader”. New York, 2002.

TIME. Vol 177 No. 7. New York, 2011

Rhetoric Is Everywhere : An American Coding

Rhetoric is everywhere. As my awareness if rhetorical action increases as does the realization that my reality is rhetorically created and sculpted. At first I was going to refute the concepts argued by Jason Del Gandio about his rhetorically reality, but as I sat in an American airport reading a Times that I picked up there with his writing fresh in my mind, I began to realize just how different my reality was and had been in comparison to the reality of those exposed to the American rhetoric on a regular basis. This persuasive construction of what is real is very evident in the language of popular information sources.


I’ve noticed that in American media they refer to world issues in terms of how they are affected, threatened or involved rather than attempting an objective report of what is going on and what it means to that region. When speaking with an American on a plane we were discussing the American outlook and international views and he stated that, “Americans don’t have a use for Canada and you’re not a threat so you’re pretty much out of mind”. The rhetoric has created a reality of self centralized thought in this culture and similarly my reality changed to include that as an American perception that was never present in my consciousness before.


People protest their oppression and their form of rhetorical action affects or changes their reality. Protestors involved in terror, and aggressive threatening action will then change their environment to one of aggression and potentially warfare. A ‘peaceful protest’ will likely have a more peaceful mode of change.  The surroundings are effected as well, for instance the ‘American dream’ never previously contained the threat of terrorism and its war. The reality of American citizens changed dramatically to the point where people are unable to speak certain words or fall guilty under the Patriot Act. Other similar country experienced a wave of this changed reality as well, all because of the rhetorical action of a terrorist group. On a more positive note, Google executive Wael Ghonim changed reality by creating his social media and using it to change the lives of Egyptians and conscientious citizens. ( TIME, 17)


The rhetoric that encompasses us most can be explained in terms of signifier and signified it persuades us that a chair is indeed a chair. The passivity of an inanimate object simply being is then subjected to a rhetorical analysis of identification and algorithm of human intellect that says ‘Yes! This object is indeed a chair.” It meets the requirements of a chair while also being disqualified as any other object. This is a verified ‘real’ chair by the standards that we have set in society to define what receives the name ‘chair’ and further constitutes this meaning.  Ling lines of rhetoric make up what the signs around us mean, thus creating our perceived ‘real’.


The build up of social interaction and the inevitable “social norm” structure identified by Del Gandio has definitely proven itself through the slow, or sometimes rapid, changes that a culture evolves or devolves. A basic change takes place within the masses and is repeated, or is hammered in by the media until this pattern has become an established reality, replacing the one previous; Baudillard’s hyper-reality.


Written 2011.


Works Cited


Del Gandio, J. “Rhetoric For Radicals”. Canada, 2008.

Duncombe, S. “Cultural Resistance Reader”. New York, 2002.

TIME. Vol 177 No. 7. New York, 2011



Poisoning the Stream of Oppression Through Language: Colonization as the Master’s House

The modern history of the world has contained hundreds of years of recorded colonization. In describing the triumph of the English over other cultures the school system’s textbooks have left the colonized in the shadows. These are shadows full of slaughter and oppression that have been masked by the “benefits” the “bible” and the overall “betterment” of these otherwise peacefully existing cultures because of British colonization. Some cultures have lost themselves to the system while others have held on to corners of their culture through the dramatic restructuring of their community.  The colonizers use tools of cultural, political, and economic control.

The dismantling of the master’s house can only begin when a culture has accepted   master as the overpowering force over which it has to fight. By accepting the language, the lifestyle, and the economics of a colonizer the initial culture begins its transition to colonization. It is only the master’s tools that can be used to dismantle their oppression.  Whether it is in the rejection, or adaptation of these tools they must be recognized and involved in the de-synthesis of power.  Leaders call their followers to reject the products of English or Western civilization as these products are tools of reliance that have become deeply imbedded in a colony.  CJR James describes a life of Trinidadians so weaved into British culture that it is comprised of all literature acts of play and life to divert is to shame the family. Yet the diversion is from British consummation.

Ghandi writes that we cannot use the master’s tools if we are to dismantle this house. Yet it is through his use of the machine printing press that he can spread his word. To poison a system of poison sis the greatest way of describing how the oppression can be battled. If the water ways of oppression become tainted the people will no longer drink in oppression but revolt against its contamination.

Unfortunately cultures are so easily affected by the products of English rule that is spreads like a disease in the form of production. Ghandi says that the Indian people should reject the Manchester cloth and reject the exploitation of the people in order to reclaim wealth. It is very true that the demand for the product is created by the people and they are then enslaved by their addiction to production.  It would be shocking for a community to return to a state of self reliance and natural existence and this is something that needs to be done slowly and quietly for the dramatic motion to remove the master from his throne could end up in massacre. The colonizer sits insecurely and if he is taken up against in a form that he recognizes as another culture (Sioux Ghost Dance) than this is automatically a threat. Rather, in order to rise against the master it is necessary to use his tools.  This is very tricky since language breeds ideology and it would be easy to succumb to the ideology of the oppressor, but it has been done.

African American slaves were able to take the language and the Bible that was thrust upon their culture and uses those tools is a means of their own to transcend the boundaries and confinement of the new world. They reconstructed the house to reach heights above the roof of the master and created their own community space. By adapting the tools of the master to their own means they were able to operate under the rule of the master and they could not be snuffed out.

While yes a culture can be lost in the culture of the Master, like the West Indians of Trinidad, a culture can similarly preserve their identity. When a community is targeted by another it is easy for the benefits of assimilation to appeal to that civilization: a lighter cloth, better weapons, faster production or materials. All of these things quickly take over traditions and customs that can then become lost artifacts of what that civilization identifies itself. They are then lost and must depend on this new civilization for their identity and community. Their unique identity is absorbed and swallowed by the overpowering reign of foreign policies.

One cannot deconstruct the master’s house unless one maintains the values and customs of their culture and also acquire those of the impeding culture. For it is necessary to act under the guise of assimilation to appeal to all levels of transition that members of your culture may be and to correctly identify the disease. You must poison the system of oppression by disseminating the words and revolt across the system that has been created by them. Everyone who is connected to the system of oppression will then be able to hear your words and the master’s house will be dismantled from the inside out.


Duncombe, S. “Cultural Resistance Reader”. 193-231. New York, 2002.


Music As Wallpaper For The Western Culture in Accordance with Adorno’s Fetish-Character

monkey in headphones


They walk through the doors with a distant gaze and metal in their ears. No one talks or acknowledges each other yet they are all walking through the same wallpapered halls. Music has become the wallpaper that decorates the walls of our culture; a background aesthetic that is always resent but rarely given an afterthought. Wallpaper is always visible but rarely valued for the intricate assembly of pattern flawlessly manufactured for the covering of our walls. Theodor Adorno discusses the state of music and our culture in his essay “On the Fetish-Character in Music and the Regression of Listening.”He observes the commodification of music and its role in capitalist economy. This essay will explore his notions and expand on the production and consumption of music acting within our culture.


Early in Adorno’s work he mentions the Platonian concept of music as acceptable when encouragingly “warlike” rather than “expressive of sorrow” or “soft harmonies suitable for drinking”. Here music must only re-enforce the attributes of heroism and suppress the other socially undesired attributes. This early focalization of musical purpose evidences the power that is carried by notes of musical composition for power, pleasure, and persuasion. It also resembles the ulterior motives of controlling the masses by means of psychological manipulation found in government propaganda. Comparable aspects include: constant exposure, repetition, prohibition, and broadcast control. All of these forms of regulation are applied to music in Western culture today to foster the musical market. The listening to and creation of music has become an altered art; a tailored product of capitalism.

Constant exposure occurs in shopping centers, restaurants, elevators, telephone lines on-hold, vehicles, the workplace, and the home. The population is so accustom to musical production that it is now carried on light weight Mp3 players so that one may never have to bear the natural soundtrack of life. As everyone listens in isolation the pleasure that is derived from the communal sharing of music diminishes. (279) Over-stimulated and over-exposed this civilization grows deaf and desensitized to the music so craved as we simultaneously become a silent community.

Music is an art with endless creative and radical potential. It breaches the security of known scale and meter to re-invent unheard expression. However the economic variables of product, price, and promotion have greatly reduced artistic expression to a matter of the market and profitability. Music is confined to a 3 minute excerpt including a catchy hook supported by a 4/4 beat. It is short enough not to challenge an attention span yet long enough to reiterate the fundamentals of pop-culture to meet consumer demand.

The listeners cannot be entirely at fault for creating such a demand. This basic format is the romance of repetition. (285) It is the controlled media broadcasting that creates the illusion of consensus by over representing portions of culture insinuating their dominance, thus, popularity. What instill this popularity among the masses are not only the psychological effects of false consensus but also repetition. At first one my find a song irrelevant and then perhaps annoying as it is repeatedly thrust upon them in environments of musical exposure but as the proximity of this piece to one’s environment remains as does the attraction, affection, and then desire in its absence. This concept does not only apply in singularity but also, as Adorno suggests, to the compositional pattern of “light” music that the listener becomes accustomed to. The repeated similarities of songs perceived as pleasurable, because of their familiarity, form a chart of expectation to which subsequent music is then measured and liked or disliked according to the conditioned taste. The manufactured desire then continues the cyclic commodification of music as producers supply to the masses and generate capital. It is a “compulsion to the similar.”(287)

There is no question that society has developed an innate need to consume insatiably to fill a void that only grows larger. Over the last century our culture has been educated on the methods of achieving happiness in a capitalist society and thus we have learned that capital equals happiness. Advertisements featuring a smiling actor portray a desired life that is possible with the purchase of whatever material it has been attached to. Happiness can be purchased. The desire to buy thus sparked the desire for capital. To generate capital the members of our culture forfeit labour in exchange for compensation that detaches them from their productive value and creates a lack within. The purchasing power that substitutes labour is now used to buy whatever the individual feels will fulfill their desired ideology. The psychological attachment of ideology to products extends to music, and to devices that must be purchased in order to enjoy music.

Music no longer comes simply as music but carries with it an entourage of celebrity, politics, and personal statement. The attachment of celebrity image to the music causes it to acquire a use an persona beyond the music. A listener now considers the physical image, the actions, the connotations, and similarities factoring in an alternate use for the music. If a listener likes the celebrity they often like the music by association. The music becomes a reflection of the persona it is presented by.

Adorno discusses the disintegration of underground music as it too is absorbed into commodification. This is evident in the trending that occurs in those who follow it. It becomes a matter of ownership over the art.  American Idol programs take the exploitation of artists to another level of commodity. Music then becomes a profit generating program as viewer’s witness musicians conform to certain acts, wardrobes, and song selections controlled by the network. Yes, they are given choices but those choices are made within the field designated by the program director. Listener’s then partake in a musical ‘democracy’ as they vote for their favourite act. Loyalties are formed with performers and votes cast regardless of musical talent.  The viewer/listener has now been ‘empowered’ by the media and is using music for purposes other than direct value.  This can be said of “high” taste music listeners as well. The symphony is not often celebrated for its occurrence but rather the ability for its audience to claim purchasing power to have attended that event and thus that inclusivity. The ticket purchased for entry to another hall. (284)

Industry profits from many things and though record labels do not profit from illegal downloading of music it is still conducive to commodification. Just as one might steal a necklace; it is still a necklace and it is still to be used for the same purpose – to wear- to reduce the representation of self-value to metal and stone draped around the neck. Many may hail the piracy of Mp3 as a revolt against capitalism and privatization of music. They must consider the increased sales of Mp3 players and their accessories that result from the mass accessibility to digitized copies of music.  They must consider the invariable increase in superficial listening – as the playlist runs through 4 times while focusing on another task. They must consider the invariable decrease in cultural consciousness.

It would be expected that with the masses increased exposure to music that it would represent a transcendent cultural phenomena where the sensual spirit of expression and pleasure is embraced. The radical environment of music should infiltrate the capitalist hold on society, but this is not so. Adorno considers the increase in musical experience on of “superficiality “. The fullness of mass enjoyment constrained to shallow entertainment by the limited capacity for consciousness belonging to its audience. This superficial understanding of music comes from having been conditioned by commoditization to receive sensory signals and information but refrain from fully interacting, and questioning it as a complete form. The experience of culture has been reduced to lyrics emphasized by their composition to tell us that one portion is important and more superior to the remainder of the song and the rhythmic purpose is reduced to audible dancibility. This false fullness of function has convinced listeners that they are awakened and conscious of the beating drum of life active in their musical resistance when in fact they lie- awake in a dream and tucked under a blanket of false awareness.

The guise of fullness through isolated experience and the manufactured perfection of digital assembly have come to be the empty reality for many. They concede to the mild- not too inspiring- product of consumption. They shy away from provocative alternatives. It is ironic that they “fetishists” can form such a compulsion towards obsessive desire but be so dismayed by the provocateur of sensuality. Music is that natural sensual expression of intent through which its listeners purge their suppressed natural intent.

Adorno’s term “fetishists” implies an obsession that is gratified by the collection and consumption of music. A primitive desire to satisfy the suppressed agendas of instincts banished to unconsciousness due to their unsuitability to civil order. By providing music of commodity to the dimming ears of mass consumerism on can be sure to stifle all chance at release and realization.  This is how the materials of superficiality are used to control cultural dependence on the capitalist system; what tunes do they play in waiting rooms of methadone clinics? What colour are their walls?

It is only when one questions the motives of desire that he/she can then see value as it is and not as what it ought to become.



Adorno, T. “On the Fetish-Character in Music and the Regression of Listening”. Cultural Resistance  Reader.  Duncombe, S. ed.  New York : 2002.

Subculture Revolutions

Subcultures form as small pockets of ideas that are followed by small audiences, thus deeming them “sub” cultures. These sub cultures can sometimes gain momentum until branching into popular culture as a trend, although the trending of subculture can sometimes marginalize the cause. It also allows the potential for expansion of knowledge and gains power through the masses – or is lost in the masses. Interestingly the rebellious, against-the-grain nature or sub culture often attracts attention from those who wish to align themselves with anti-status quo groups.

Riot Grrrl fanzine had an experience like this one. Punk rock women established a feminist subculture for women by women and then experienced the production of their subculture. Kathleen Hanna says that this, though it was important to her, media caught on it became a “sound bite” (Duncombe, 181). She also states that she still gets mail from girls around the world. This goes to show that although media commodifies ideas they can’t entirely remove the effect if women around the world are still responding to the subculture and potentially changing the ways that some think.

Imagine if a small group starts something that represents their desire for change, and their perspective of culture,  then it grows to influence others, just how much closer that is to changing the status quo. This segment really exposes the capacity for subculture to create awareness and how capitalist our media is.

Works Sited

Duncombe, S. “Cultural Resistance Reader”. New York, 2002.



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