How To Disappear

Even in the middle of major city, it’s possible to go off the grid. In 2016, the Atlantic profiled a family in Washington, D.C., that harvests their entire household energy from a single, 1-kilowatt solar panel on a patch of cement in their backyard. Insulated, light-blocking blinds keep upstairs bedrooms cool at the peak of summer; in winter, the family gets by with low-tech solutions, like curling up with hot water bottles. “It’s a bit like camping,” one family member said.

If extricating yourself from the electrical grid is, to some degree, a test of moxie and patience, extracting yourself from the web of urban surveillance technology strains the limits of both. If you live in a dense urban environment, you are being watched, in all kinds of ways. A graphic released by the Future of Privacy Forum highlights just how many sensors, CCTCV cameras, RFID readers, and other nodes of observation might be eying you as you maneuver around a city’s blocks. As cities race to fit themselves with smart technologies, it’s nearly impossible to know precisely how much data they’re accumulating, how it’s being stored, or what they’ll do with it.

“By and large, right now, it’s the Wild West, and the sheriff is also the bad guy, or could be,” says Albert Gidari, the director of privacy at Stanford Law School’s Center for Internet and Society.

Smart technologies can ease traffic, carve out safer pedestrian passages, and analyze environmental factors such as water quality and air pollution. But, as my colleague Linda Poon points out, their adoption is also stirring up a legal maelstrom. Surveillance fears have been aroused in Oakland, California, Seattle, and Chicago, and the applications of laws protecting citizen privacy are murky. For instance: data that’s stored on a server indefinitely could potentially infringe on the “right to be forgotten” that’s protected in some European countries. But accountability and recourse can be slippery, because civilians can’t necessarily sue cities for violating privacy torts, explains Gidari.

What would it look like to leapfrog that murkiness by opting out entirely? Can a contemporary urbanite successfully skirt surveillance? I asked Gidari and Lee Tien, a senior staff attorney at the Electronic Frontier Foundation, to teach me how

to disappear.

During the course of our conversations, Tien and Gidari each remind me, again and again, that this was a fool’s errand: You can’t truly hide from urban surveillance. In an email before our phone call, Tien points out that we’re not even aware of all the traces of ourselves that are out in the world. He likens our data trail—from parking meters, streetlight cameras, automatic license plate readers, and more—to a kind of binary DNA that we’re constantly sloughing. Trying to scrub these streams of data would be impossible.

Moreover, as the tools of surveillance have become more sophisticated, detecting them has become a harder task. “There was a time when you could spot cameras,” Tien says. Maybe a bodega would hang up a metal sign warning passersby that they were being recorded by a clunky, conspicuous device. “But now, they’re smaller, recessed, and don’t look like what you expect them to look like.”

Other cameras are in the sky. As Buzzfeed has reported, some federal surveillance technologies are mounted in sound-dampened planes and helicopters that cruise over cities, using augmented reality to overlay a grid that identifies targets at a granular level. “There are sensors everywhere,” Gidari says. “The public has no ability to even see where they are.”

The surest way to dodge surveillance is to not encounter it in the first place—but that’s not a simple ask. While various groups have tried to plot out routes that allow pedestrians to literally sidestep nodes of surveillance, they haven’t been especially successful. In 2013, two software developers released a beta version of an app called Surv, which aspired to be a crowdsourced guide to cameras mounted 

in cities around the world. The app would detect cameras within a 100-meter radius of the user’s phone, but it failed to meet its crowdfunding threshold on Kickstarter.

The most effective solutions are also the least practical ones. To defeat facial recognition software, “you would have to wear a mask or disguises,” Tien says. “That doesn’t really scale up for people.” Other strategies include makeup that screws with a camera’s ability to recognize the contours of a human face, or thwarting cameras by blinding them with infrared LED lights fastened to a hat or glasses, as researchers at Japan’s National Institute of Informatics attempted in 2012. Those techniques are hardly subtle, though—in trying to trick the technology, you would stick out to the naked eye. And as biometrics continue to advance, cameras will likely be less dupable, too. There are also legal hiccups to consider: Drivers who don’t want city officials to know where they parked or when, Gidari says, would have to outwit license plate recognition tools by obscuring their license plate, such as with the noPhoto camera jammer, a new $399 device that fires a flash at red light cameras in an attempt to scramble a readable image. Obscuring license plates is already illegal in many cities and states, and others are chewing on new procedures. 

of “throwing some sand in the gears, kicking up dust and making some noise,” essentially relying on the melee of data jamming to “hide in a cloud of signals.” A number of apps, websites, and browser extensions attempt to aid users in this type of misdirection—say, for instance, by running in the background of your regular web activities, trying to cover your digital tracks by throwing surveillance off your scent.

For example: A site called Internet Noisesearches for randomized phrases and opens five fresh tabs every ten seconds. (I left it running as I wrote this, and now my browser history includes pictures of badgers, an online mattress store, an NPR article about the Supreme Court, and a research paper about gene mutation in hamsters.) As a cloaking technique, it’s not a perfect veil, writes Emily Dreyfess in Wired: “It’s actually too random. It doesn’t linger on sites very long, nor does it revisit them. In other words, it doesn’t really look human, and smart-enough tracking algorithms likely know that.” The site is more of a protest over Congress rolling back a not-yet-implemented FCC regulation that would have stymied ISPs from selling users’ browsing history.

Still, Tien advocates a certain degree of self-protection. He views these measures as a kind of digital hygiene—the “equivalent of washing your hands when you go to the bathroom,” or getting a flu shot. But he stresses that they’re only a partial prophylactic: “Nothing that will make you immune from the problem.”

Other techniques include employing Tor—a network that tries to anonymize the source and destination of your web searches by routing traffic along a convoluted path—and Signal, which offers encrypted messaging and phone calls. The Electronic Frontier Foundation’s Surveillance Self-Defense toolkit also suggests particular tools and behaviors for specific scenarios. People participating in protests, the guide suggests, might consider stripping meta-data from photos, to make it harder to match them with identities and locations. But this isn’t a perfect solution, either, Tien says, because you can only control what you post. “If I take 

a picture and scrub the metadata, that’s one thing,” Tien says. “If my friend takes a picture of me, I can’t do anything about that.” The Intercept produced a video illustrating step-by-step instructions for phone security at a protest, from adding an access passcode to turning on encryption settings.

On a daily basis, Tien tells me, “I don’t think you or I can exercise much meaningful self-help against the kind of tracking we’ll be seeing in real-world physical space.” That’s fodder for a point he makes about a fundamental asymmetry in the information that’s available to the bodies that install the cameras and those who are surveilled by them. There are relatively few laws relating to the expectation of privacy in a public space. The officials and organizations that install sensors, cameras, and ever-more-sensitive devices, he says, “have much more money than you do, much more technology than you do, and they don’t have to tell you what they’re doing.”

Ultimately, Tien and Gidari both take a long view, arguing that the most payoff will come from pushing for more transparency about just what this technology is up to. Part and parcel of that, Tien says, is resisting the idea that data is inherently neutral. The whole messy, jumbled mass of it contains information that could have tangible consequences on people’s lives. Tien says citizens need to remind their elected officials what’s at stake with data—and in the process, maybe “dampen their enthusiasm” for the collection of it.

He points out that sanctuary cities could be a prime example. There, he says, some advocates of immigrant rights are realizing that data collected via municipal surveillance “might not be such a good thing when we’re interested in protecting immigrants and the federal government is interested in deporting them.”

The practical strategies for opting out—of becoming invisible to some of these modes of surveillance—are imperfect, to say the least. That’s not to say that data collection is inherently nefarious, Gidari says—as he wrote in a blog post for the CIS, “no one wants to live in a ‘dumb’ city.” But he says that opting out shouldn’t need to be the default: “I don’t think you should have been opted in in the first place.”

a picture and scrub the metadata, that’s one thing,” Tien says. “If my friend takes a picture of me, I can’t do anything about that.” The Intercept produced a video illustrating step-by-step instructions for phone security at a protest, from adding an access passcode to turning on encryption settings.

On a daily basis, Tien tells me, “I don’t think you or I can exercise much meaningful self-help against the kind of tracking we’ll be seeing in real-world physical space.” That’s fodder for a point he makes about a fundamental asymmetry in the information that’s available to the bodies that install the cameras and those who are surveilled by them. There are relatively few laws relating to the expectation of privacy in a public space. The officials and organizations that install sensors, cameras, and ever-more-sensitive devices, he says, “have much more money than you do, much more technology than you do, and they don’t have to tell you what they’re doing.”

Ultimately, Tien and Gidari both take a long view, arguing that the most payoff will come from pushing for more transparency about just what this technology is up to. Part and parcel of that, Tien says, is resisting the idea that data is inherently neutral. The whole messy, jumbled mass of it contains information that could have tangible consequences on people’s lives. Tien says citizens need to remind their elected officials what’s at stake with data—and in the process, maybe “dampen their enthusiasm” for the collection of it.

He points out that sanctuary cities could be a prime example. There, he says, some advocates of immigrant rights are realizing that data collected via municipal surveillance “might not be such a good thing when we’re interested in protecting immigrants and the federal government is interested in deporting them.”

The practical strategies for opting out—of becoming invisible to some of these modes of surveillance—are imperfect, to say the least. That’s not to say that data collection is inherently nefarious, Gidari says—as he wrote in a blog post for the CIS, “no one wants to live in a ‘dumb’ city.” But he says that opting out shouldn’t need to be the default: “I don’t think you should have been opted in in the first place.”

Jessica Leigh Hester is a former senior associate editor at CityLab, covering environment and culture. Her work also appears in the New Yorker, The Atlantic, New York Times, Modern Farmer, Village Voice, Slate, BBC, NPR, and other outlets.

Rob Zombie Talks Insane Clowns and Crowdfunding His New Film ’31’

MUSIC NEWS
Rob Zombie Talks Insane Clowns and Crowdfunding His New Film ’31’

By KORY GROW | Jul 31, 2014 AT 09:55AM

Rob Zombie, who has directed movies like Devil’s Rejects and two Halloween films, was uncharacteristically uneasy at first with the idea of crowdfunding a movie. But that went away once he realized it was a quid-pro-quo tradeoff. On Thursday, the director launched a campaign to fund his next movie 31, offering the sorts of rewards he knows his fans want. “People have come up to me over the years and asked, ‘How can I get these props?’ ‘How can I come to the set?'” he tells Rolling Stone. “So I realized a crowdfunding campaign is not a guy on a street corner with a hat asking for money.”

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Over the next two months, Zombie is looking to raise funds for the film via his new website RZ-31. The director is offering up a variety of high-quality rewards to people who want to support the movie, including autographed posters, a chance for Zombie to follow a winner on Twitter, a winner’s name in the credits, a lifetime laminate to see Zombie on tour at any show and a gig as an extra in 31. Zombie will also offer selected props from his movies, including Halloween masks and giant crosses from House of 1000 Corpses.

The movie tells the story of five people kidnapped in the five days leading up to Halloween and how they must fight to survive in a place called Murder World playing the game “31.” The game’s rules require the kidnapped person to kill his or her opponent – a group of clowns called “the heads” – in 12 hours to be freed.

“I’ve noticed with all of the movies I’ve made that so many people get tattoos from the movie,” Zombie explains. “When you love something so much, you just want to be a part of it. And that’s what I think about this crowd-funding campaign – you can be a part of it.” Rolling Stone spoke to Zombie about 31 and coming around to crowdfunding.

How did you get the concept for 31?
I was reading this statistic: Halloween is the Number One day of the year when people go missing for some reason. I thought, “What an interesting premise for a film.” This is five people that go missing on each day leading up to Halloween and what happens to them on the 31st.

Clowns are a big part of that, apparently.
In some fashion, yeah. Very horrible, disgusting, violent, despicable clowns, which people seem to hate.

Are you scared of clowns?
Maybe when I was a baby or something. I remember seeing this Super 8 footage that my parents made of me at the grand opening of McDonald’s or something. I was a little older than a baby and Ronald McDonald was there, freaking the fuck out of me. I didn’t even know it was a clown. It was just a guy with a white face and bright red hair, and a stranger. So I was not too happy. [But] I’ve never had a fear of clowns. I find clowns fascinating. On one level, they’re very entertaining and on another, they’re incredibly repulsive.

You’ve said you want this movie to be gritty. Why gritty?
With each film, I try to adapt the style that I feel is applicable to the story. A gritty approach didn’t fit the story of my last film, Lords of Salem. I wanted to do something that was a little more grand; a little cleaner cinematically. For this, I feel like a very nasty, gritty, guerilla-style approach to the filmmaking fits the story and the vibe of the movie.

How far into the production are you? Is the script done?
Yeah, that’s done. We’re going to start location starting in about a week. We’re moving along. Movies have only two speeds: painfully slow and “now you’re behind schedule.” Right now, we’re in the slow phase.

Do you have a cast?
No, we haven’t started that yet. But we’ll get on that pretty soon.

What is the coolest reward in the crowdfunding campaign?
Getting your name in the credits. If there was a time where someone told me, “Your name can be forever in the credits of­ Star Wars,” or whatever, I’d be like, “Fuck yeah.” That’s pretty rad.

You’re offering masks from your Halloween. How many of those did you make?
They’re from one scene in the film, and I don’t know how many were made exactly. Maybe there were a couple hundred. Each one was one of a kind. They’re all handmade. At this point, some were destroyed in the making. Some were lost. I gave some away to people, because it was a cool parting gift when we ended the movie. But there are about 50 that I have left over.

You’re also giving away some big cemetery crosses from House of 1000 Corpses. Where do you store those?
I have a huge warehouse, because I need a place for my stage shows from the tours. We were cleaning it out and I found this huge crate filled with these crosses. They’ve been sitting there since 2001 at least. It’s a cool thing to get. If I was a big fan of, say, Texas Chain Saw Massacre, and someone said, “We just found the original chainsaw. Anyone want to buy it?” it would be like that for me.

Another reward is a painting you did of a clown. How much painting do you do?
I went to school for painting when I graduated high school. I paint now more than ever. I’ve just been doing a bunch of clown designs and trying to work out the makeup.

Beyond the movie, are you working on a new record?
Yeah, I’m in the studio right now. I got off tour a few days ago, and right now I’m already working on the new album, which we’ll have finished this year. I want to have it done before the movie starts. I don’t want to come back to the record after the movie. It’s too long of a break. We have a ton of stuff written and, little by little, we’re finishing them up. We’re more than half done at this point.

Lastly, are you at all concerned about giving away a lifetime laminate to your concerts?
It does sound funny, right? “Lifetime Laminate.” I see so many people who come up to me and say, “This is the 25th time I’ve seen you guys.” I figure that makes sense. We still have many, many years left of touring. You can go, “Hey, why rush to buy a ticket? I’m getting in anyway. It’s sold out? Not for me!”

What band would you want a lifetime laminate for?
Well, at this point with the ticket prices, the Rolling Stones would be nice.

Read more: http://www.rollingstone.com/music/news/rob-zombie-talks-insane-clowns-and-crowdfunding-his-new-film-31-20140731#ixzz39CNJMMy8
Follow us: @rollingstone on Twitter | RollingStone on Facebook

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The Big Problem Equity Crowdfunding Platforms Face

The Big Problem Equity Crowdfunding Platforms Face
Posted on January 7, 2014 by Michael Ibberson Updated January 7, 2014

Equity crowdfunding platforms encounter several challenges. The SEC knows this better than most, but there are more than just regulations standing in the way of this industry. While investors and project creators must tread carefully when raising capital, the many portals online face several obstacles of their own.

Once such challenge has been called the “Due Diligence Dilemma.” In the US, most equity crowdfunding platforms have a very low project acceptance rate — anywhere from 1-5% — meaning that portals must perform a substantial amount of due diligence in order to approve only a handful of applicants per few hundred. While this, in itself, poses a great amount of work, the real trouble may lie in the illusion of safety that results.

Portals with very low acceptance rates appear as the smarter investment compared to those with lenient filters. If investors believe that portals have done the due diligence for them, they may feel less inclined to conduct research themselves. Although this will not be a concern for seasoned investors, it’s a problem for those entering the market for the first time. If start-ups on a portal fail, investors may blame the website for their losses, generating poor publicity, which, in crowdfunding, is a huge deal.

On the flip side of things, portals may find difficulties raising awareness for certain campaigns since many start-ups try to hide from the public while in a volatile state. Although this would inevitably lead to the campaign’s failure, it’s still a situation portals and crowdfunders must both consider before moving forward. Determining the readiness of a given project will be important as competition between platforms increases.

Since reputation plays such an important part in a portal’s success, attracting investors who will put these worries to rest is paramount. Finding the balance between a healthy start-up and investor population is not so easy, however. Without a large population of investors, crowdfunders see no chance of success, and without enough lucrative projects, investors look elsewhere. As equity-crowdfunding portals scan more and more traffic to achieve this balance, things may get overwhelming. How they handle their due diligence under such circumstances will become a leading factor for industry success.

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Five Questions to Ask Yourself Before Crowdfunding a Film

Five Questions to Ask Yourself Before Crowdfunding a Film
Posted on February 26, 2014 by Aaron Djekic Updated February 26, 2014
By: Ryan Strandjord

1. Are you willing to be the face of your campaign?

The personality of the creator behind the film can often be the difference between someone admiring the project and actually making a donation. First and foremost this means that YOU HAVE TO BE IN YOUR VIDEO. Making a personal connection with your audience is paramount. Seriously, go look at how many successful campaigns don’t have the filmmaker in the video.

2. Is this a project worth crowdfunding for?

This is a tough question to answer on your own so you may need some help (see #3). Just because you want money to make your film doesn’t mean you should ask for it.
Is this a film that people are going to get excited about? What’s the hook? Have you pitched the film to a number of people already? It’s a great way to gauge potential interest in the story. If people aren’t interested they’re not going to donate.

3. Can you assemble a team to work on the campaign with you?

Don’t do it alone. You’ll want people to consult on your ideas, others to help produce/shoot/edit videos, and possibly more to help with marketing and to push social media promotions. If you’re doing it alone then whenever you get “busy” the campaign stops evolving. Filmmaking is a collaborative art and crowdfunding should be no different.

4. Are you prepared to follow up with your backers throughout the life of the project?

Launching a crowdfunding campaign is like entering into a marriage with your future backers. If you’re working toward a sustainable career as an artist this union is vastly important. People want more than just their perk and to see the movie and keeping your audience engaged helps you to fulfill one of the greatest benefits of crowdfunding a film project which is AUDIENCE BUILDING. This is especially important if you ever plan on crowdfunding for another film in the future.

5. How much are you willing to sacrifice to make the campaign a success?

It takes hard work to reach your goal, and that translates into hour after hour spent prepping for the campaign and pushing it after launch. Be prepared to wake up early, work over your lunch break, and to spend many evenings working on getting the next donation. Often it becomes a battle of attrition. You have to make sacrifices with your time and for a bit sleep/friends/fun will have to wait. This is where you find out how important making the film is to you.

Ryan Strandjord is a Minneapolis based filmmaker, producer, crowdfunding consultant, and community organizer. His latest film City Boots premiered at the Minneapolis St. Paul International Film Festival, and will soon make it’s museum and television debut at the world-renowned Walker Art Center and TPT respectively. The film has also played numerous festivals around the Midwest. He’s currently developing a script for Prescription Happiness, a story about a young pregnant woman struggling to hold onto free emotion while living in a society controlled through prescription drugs.

Location:Sycamore Dr,Lancaster,United States

How to Create a Convincing Crowdfunding Campaign Five Crowdfunding Tips for Every Campaign

A successful crowdfunding campaign is multi-faceted: there are many delicate components that must be carefully tended in order for them to all work together. In the past, we’ve discussed these components, but now it’s time to look into the ways in which a business can improve their crowdfunding cash flow after they’ve launched a campaign. Before continuing, please review the following archived articles — in case you missed them the first time!

Use Social Media Crowdfunding to Revitalize Your Campaign
The Crowdfunding Checklist
How to Create a Convincing Crowdfunding Campaign
Five Crowdfunding Tips for Every Campaign
#1) Establish Different Levels for Contribution

Leveling your campaign’s incentives is a great way to attract donations. By giving away large perks to the most munificent supporters, you may encourage others to follow-suit without stopping the smaller contributors from pitching-in. Consider a ladder: those who wish to climb to the top have put in the most effort and will receive accordingly; those who wish to only stand a few feet taller can still do so, but will less commendation. With various incentives available, there is going to be an option for everybody.

#2) Incorporate Unique Perks

In conjunction with tip #1, you should chose original perks as a way to boost your crowdfunding cash flow. With unique perks specific to your proposal, donors will see more reason to contribute. Although the smallest perk may not be as valuable as the “top-prize”, it should still be enticing enough to make small funders feel it is worth it to contribute. By giving away all of the best perks only to the large donors, you will in-turn reject those giving anything less, which is one of the worst worst things you can do. So, think about this carefully and do the research. Determine what will get people involved at all rungs of the ladder.

#3) Film a Video

When you first launched your campaign, you developed a story (a background) to gain supporters. Take this one step further and film a video. Since a video combines both audio and visual components, it is that much more powerful. A video is an excellent way to engage with an audience, using images, music, commentary, and much more. In addition, videos are pervasive and can go viral over night. Put the effort into filming a professional video and you will notice a huge difference in your crowdfunding cash flow.

 

 

Location:Sycamore Dr,Lancaster,United States

The Future of Content Through Crowdfunding and Journalism

The Future of Content Through Crowdfunding and Journalism
Posted on March 4, 2014 by RoyMorejon Updated March 4, 2014
Crowdfunding has been around for quite a few years. This grass-roots method of raising capital for a new business, restaurant or even church mission has proven very effective. Businesses as diverse as fashion designers, gamers and manufacturers of computer hardware have amassed the money they need to open their doors using crowdfunding.
One of the newer sectors of the business world to take advantage of this tactic is journalism. Freelance journalists are using crowdfunding to raise the money they need to follow a story without the editorial constraints involved with working for a newspaper, news service or news magazine.

Crowdfunding the content

Crowdfunding offers increased opportunities for freelancers, but it’s not just solo journalists who are asking you to foot the bill for their next great story. Writers who work for organizations that can’t–or won’t–spring for expenses for an overseas assignment or lengthy investigative research have turned to kickstarter programs to help them follow their hunches.

One recent example is Kim-Mai Cutler, who works for AOL’s “Tech Crunch.” She wants to fly to Vietnam to find the creator of the
“Flappy Bird” app that was recently pulled off of the market by Apple. There’s obviously a story behind the sudden move against the popular app, but it’s one that’s all, but impossible to learn via telephone interviews. That’s where you (and crowdfunding) come in. Cutler has turned to Crowd Tilt to help her raise the $3,000 necessary for her trip. To date, she’s raised over $5,000 with ten days remaining on the campaign.

Letting the readers pick the story

Another angle to crowdfunding and journalism is being tried by a handful of online news publications. Traditionally, news outlets, website and magazines have paid to produce a story and then sold it, either as a physical magazine or newspaper or, more recently, as a single article on sites like Amazon.com. Now, a few forward-thinking freelance journalists are bypassing editors and even news outlets and pitching their stories directly to the readers. Platforms like Uncoverage and Kickstarter make it possible for individual readers to help pay for an article before it is written. Kickstarter alone recently hit the one billion dollar mark in funding. Clearly, people are reacting positively to crowdfunding appeals.

Whether the news-reading public embraces sponsoring news stories before they are written remains to be seen. After all, the concept turns our traditional view of the separation of editorial and commerce in news reporting on its ear. Is that a good thing? Only time will tell.

Location:Sycamore Dr,Lancaster,United States

Types of Loans Available through Debt Crowdfunding

Types of Loans Available through Debt Crowdfunding
Posted on April 18, 2014 by Michael Ibberson Updated April 18, 2014
Debt Crowdfunding

For those familiar only with rewards- and donation-based crowdfunding, the debt crowdfunding process may feel alien. Before listing on a portal, applicants must submit tons of financial and personal information for review. In order to even receive a quote or verify your project’s eligibility, portals must retrieve your credit score and run an identity check, among various other things.

As can be seen, the process is much more complex and requires a great amount of forethought. Repayment periods, interest rates, portal fees, and myriad other details must enter into the equation early on. Those choosing to engage with debt crowdfunding must also be mindful of the economic environment around them. This is particularly true for startups in competitive markets. But putting the specifics aside, crowdfunders should know the types of debt crowdfunding loans available to them.

Types of Debt Crowdfunding Loans

Personal Loans

Different portals offer different loan opportunities. Prosper excels at connecting individuals with personal loans for nearly any occasion, including debt consolidation, home improvement, auto, medical/dental, vacation, baby, engagement, taxes, and more. These loans range from $2,000 to $35,000 with an amortization period of three to five years. The interest rates, processing fees, and loan options will change website-to-website, and even country-to-country, so research the market well before listing.

Business Loans

Similar to the personal loans, business loans come in many different forms. For instance, Assetz Capital, one of the UK’s fastest growing peer-to-peer lenders, allows startups to apply to one of three loans: property development, mortgage, or business. Like most other portal offerings, these loans require security and span the course of one to five years. The amount a business may borrow varies as well. Funding Circle, a leading debt crowdfunding portal in the UK, allows businesses to borrow £5,000 to £1,000,000. The fees are often transparent on such portals and right from the home page businesses can see the common lending rates.

As you ponder which type of loan best suits your project, read our past posts on debt crowdfunding investment opportunities and campaign management.

Location:Sycamore Dr,Lancaster,United States