Launched in June 2008, the Parlor has grown to include several pages with a wide range of topics. All
have appeared in Anne Rice's Lives of the Mayfair Witches series in one way or another. This was one of Anne Rice's
literary gifts--the ability to bring together a number of ideas, details, people, places, history and preternatural beings
and make them all work together to tell a story.
In the wake of Anne's passing, the Parlor has been rededicated to her memory and to the preservation of her literary legacy.
The Parlor is large, and there is a lot to see! All pages have the main menu at the top. Each item is also a category of
pages, and you can access other pages of the Parlor by selecting a topic and choosing a page from the dropdown menu on the
far left.
Not exactly how I wanted it, no (it's a webhosting thing). In the dropdown menu of this Mayfair Parlor category, there are
pages that will help you navigate your way through the Parlor. Below are some of the highlights of the Parlor's content,
and a few obligatory notes below them. Please stay a while, explore and have fun!
The above graphic by Eve Hall, used as the cover of one edition of Interview With the
Vampire, is one that I thought could use a bit of animation. So, the candles flicker!
Highlights of Come Into My Parlor
An exploration of literary, musical, artistic and dramatic influences in the Mayfair Witches
books;
A "tour" of the Mayfair house at 1239 First Street, including photographs and blueprints;
Explorations of the supernatural worlds of Anne Rice, including witches, ghosts and vampires;
An exploration of Mayfair religion, myths and legends, including a page on Merrick Mayfair;
Overview of all of the legacy Mayfair Witches, with commentary on additional characters in the books;
A geography of all the places lived in or visited by the Mayfairs, including maps and links to informative pages;
An early script written by Anne Rice for the television movie "The Witching Hour" (used here with the good graces of Anne
Rice herself);
A survey of the erotic and religious writing of Anne Rice, and much, much more.
There are many hidden gems in this website devoted
to the Lives of the Mayfair Witches, just as there are many hidden gems in the books themselves.
See Why This Site? for more details.
The Mayfair Witches Parlor no longer allows embedded social media content. Links will be provided
whenever necessary.
*SLOWER CONNECTIONS: There are several pages on this site with graphics that may
take longer to load. Please allow time for pages with graphics to load.
*AUTOPLAY: Be sure to adjust your autoplay settings for videos in your browser if you do not want videos to play when
you open a page a video can be found embedded on.
References and Materials
Please see my bibliography for a list of references and photo credits on this site. If I directly quote
any the books, they will be referenced by initialed title and by page number as the books are obviously copyrighted. The
webmistress respects copyrights. This is how the titles will appear in initials:
The Witching Hour: WH
Lasher: LR
Taltos: TL
Blackwood Farm: BF
Blood Canticle: BC
Vampire Chronicles: VC
Please note that the editions I use are my own copies, and the varying editions are indicated in the bibliography.
The page numbers in my copies may or may not correspond with the page numbers in other editions.
In addition to my print copies, I do have Kindle versions of the novels. After comparing the Kindle Editions in the Kindle
reader on Amazon.com, my desktop Kindle reader (Windows), and my own print copies of the novels, I was able to determine what
pages have the same page number across all three versions. This is meant as a guide for readers of the novels who might want
to look up where particular characters, places or other things can be found.
The Witching Hour-Ballantine Mass Market Edition, May 1993: Page numbers match the Kindle For PC Edition and Kindle
Cloud Reader available on Amazon.com.
Lasher-Ballantine Mass Market Edition, October 1995: Page numbers match the Kindle For PC Edition and Kindle Cloud
Reader available on Amazon.com.
Taltos-Ballantine Mass Market Edition, May 1996: Page numbers have a difference ranging from 1 to 35 pages from beginning
to end than the Kindle For PC Edition and Kindle Cloud Reader available on Amazon.com.
Blackwood Farm-Ballantine Mass Market Edition, October 2003: Page numbers match the Kindle For PC Edition and Kindle
Cloud Reader available on Amazon.com.
Page numbers come from the publisher, but not every time. If the publisher did not include page numbers with their digital
edition, Kindle will instead use location. Generally, the page numbers reflected in the Kindle Edition correspond with the
page numbering of the paperback edition of a book.
Page numbering details for the three books that are part of the Vampire Chronicles will be added here very soon.
Kindle Edition copies have been added to the bibliography of the Parlor.
The Parlor makes every effort to make sure any non-Parlor owned content is credited properly. Also, be advised that this is
a noncommercial website. Any non-Parlor owned content is used in accordance with the Fair Use doctrine of the US Copyright
Act of 1976.
My web host might run ads for costs associated with hosting on their servers. However, this website does not run ads and it
never has. This website is not monetized in any way. Neither is any of the Parlor's social media, and no ads are run on social
media.
If you are the owner of any content used here under Fair Use and do not want it to be used, contact me directly at comeintomyparlor1995@gmail.com.
The Parlor makes every effort to avoid using anything an owner specifies they do not want used. If something is here that
an owner does not want used here, be assured it is not the Parlor's intention to simply disregard that. Hey, I'm still debating
whether or not to contact Distractify regarding an article about the Rice house and a post of Anne Rice's from 2014 on Facebook.
Long story short, the website referenced in the Facebook post and the Distractify article is indeed this one. Does it bother
me that my site was mentioned?
What.
No.
Of course not.
It would have been to simply correct something. The website still exists, but no longer uses the domain shown in the article
and Facebook post. So the site is still live and in the same place it's always been. It just goes by its subdomain URL that
the domain pointed to. I should show y'all a screenshot of the domain URL in my old beast of an account. You might even get
a kick out of how archaic it looks compared to today!
So you see, if I had a problem with my website being mentioned in the media in an otherwise informative and positive way,
believe me, I would have raised a real stink over it. That is the only real way the author or Distractify would have known
for certain if I objected to my website being mentioned at all. Likewise, I rely on the same standard of certainty when I
ask that if the owner of any content on the Parlor does not want it here, that they contact me directly. Thank you.
October 22, 2024: There has been some housekeeping in the Parlor. By now, you've probably been greeted with a consent
dialog box asking you about cookies and stuff. This is not a glitch. To comply with data protection policies across the
world, we website owners are required to have these consent requests for users. Fortunately, I have been able to set up the
permissions so that users have the option of opting in or out for each and every vendor that is not The Mayfair Witches Parlor.
These vendors are the ones with the cookies. They are sorted according to their purpose (that in some cases is my best guess),
which appear as drop-down lists in the consent dialog box.
The little switch next to each one is pretty straightforward. Green means GO, Red means NO (or, as I like to call it, "Off
You Fff@$%$#!"). The consent dialog is specifically to comply with GDPR requirements, but I'm pretty sure I've set it to
work worldwide on the Parlor. Now, that's not a dig at advertisers. Reputable advertisers don't want to deal with junkus
any more than anyone else. My goals are simple. Besides complying with laws in countries Parlor guests are in, it is also
to make the Parlor a safe place where your privacy is protected. Anything unwanted and/or unsafe stays OUT.
You will also see in the site footer a link for changing your privacy settings in the consent dialog box, and another instructing
that your personal information not be sold. You may also jump to it from here: Parlor Privacy Settings
Across the Parlor, you will see something else a little different when it comes to links. As each main page has returned
to the main navigation menu, each and every link has been examined. A few were to sites that are no longer available, and
one had changed its URL due to the change in its name (a magazine site). Any URLs that were http: were either changed to
https: URLs, which are the secure links, or the http: URL was removed as a link and provided as text if there was no https:
URL to replace it with. This way, you may copy the URL and paste it into your browser if you'd like to visit that page.
If you come across anything that concerns you, if you have any questions or see something you believe I should know about
right away, PLEASE do not hesitate to let me know. The Parlor's email address is comeintomyparlor1995@gmail.com.
For the Parlor's Privacy Policy, please see this page of the Parlor:
Under Section 107 Of the Copyright Act 1976, allowance is made for "fair use" for purposes
such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright
statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Note: Unless otherwise stated, I write the text for the Parlor myself. If you use the text in your own
content as it is written here on the site, all I ask is that you credit this site as the source accordingly, and that you
use it according to the conditions of Fair Use. Thank you!
For more on the Fair Use doctrine of the Copyright Act of 1976, you may copy the URL below
and paste it into your web browser:
Across the top of each page of the site is the main navigation menu. It is sorted according to category. When you click
on a link in the main navigation menu, you will go to that page in the site that also represents that category.
For example, if you want to look Inside First Street, and it also happens to be a category listed on the main navigation menu,
clicking it there will take you to that page. When you are on Inside First Street, you will see that the sub menu bar beneath
the main navigation menu has a drop down menu to the left that also says Inside First Street.
The sub menu bar is on the far left, with a drop down menu listing each page under that category. For example, House
of Patterns and Patterns In Chaos are under the main category Inside First Street. You will see those pages listed in the
category sub menu.>
You see on the main navigation menu "Inside First Street" is the active page. Pages in that category are grouped into the
submenu at the far left of the navbar.
The sub menu next to the drop down menu is a jump menu. In the drop down menu for the jump menu are anchor links that
will allow you to "jump" to a specific section on the page you are on in the site.
The next drop down menu is a list of jump links to sections on the page you're on. The titles of each section you can
jump to are the anchor links.
So, Stella's Dance Floor is the title of the section, so the title is made to serve as the anchor link.
Each section ends with a jump link that will return you to the top of the page. It uses the name of the jump link submenu
as an indicator of where on the site you are.
In the site footer, you will find options to go back to the Home page, the site map, or simply jump back to the top of
the page if you want to choose something else in the menu.
The Parlor and AI
The use of generative AI has grown as a graphics medium faster than it took Lasher to reach adult height within hours
of his birth. With it has come a host of concerns and problems when it comes to intellectual property.
This particular section discusses AI and how it is utilized in the Parlor. I realize there are people who have some very
negative views with regard to generative AI. Certainly, plenty of insults have been hurled at people who make things using
generative AI. Plenty of accusations have been made. However, you need to know that many of my own AI creations came from
my creations. A great deal of them are my 3D models and other things I made over the years using plain old fashioned photo
and video editing software, among other things. AND--by the time I finally finish my renders of the Mayfair Witches, I'll
be sick of those same 3D models having to be redressed, restyled, modified, etc., as I create each Mayfair Witch. In these
instances, I am using generative AI as a rendering engine. And it's not as if the human 3D models started out as Mayfair
Witches. Some of them are courtesy of my own fictional characters in my own stories. Please try to keep these things in
mind and reflect upon them before making assumptions. Thank you.
AI generated images of the Mayfair Witches, fictional characters created by Anne Rice, have been created largely by using
my own facial features combined with others, which do NOT include the likenesses of recognizable persons. Any resemblance
to other persons, living or dead, is entirely coincidental.
The Mayfair Witches Parlor, formerly Come Into My Parlor, uses AI-generated graphics to create realistic representations of
fictional characters and scenes. The graphics are based upon descriptions and illustrations provided by the authors.
When actual locations have been used in the novels, details about those locations may be used to assist in creating realistic,
AI-generated renders of the locations in the way they are described in novels.
When human characters are rendered, The Mayfair Witches Parlor does create composite facial features from multiple faces,
including my own, to create realistic faces while making every effort to prevent characters from simply looking like identifiable
people or even exactly like me.
You're welcome to use the graphics in your own projects as long it complies with Fair Use and the policies of the platform
you are sharing your projects on, and you credit The Mayfair Witches Parlor as well as those whose work also appears in the
content.
Please be advised that although The Mayfair Witches Parlor does not run advertising itself or do anything marketing-related,
it does allow certain platforms to use the content on this website owned by the Parlor to train AI modules. This is search
engine-related and does not include any type of advertising or marketing. For example, Google has permission in its capacity
as a search engine to use this website to train its AI modules. If you do a search for "The Mayfair Witches Parlor"--as in,
you Google it--you'll see the now-familiar AI overview provide an overview of The Mayfair Witches Parlor. Keep in mind that
AI is still a very new technology. We are still finding ways to use it that really could be for the greater good rather than
for deceptive, even fraudulent, purposes. The Mayfair Witches Parlor, formerly Come Into My Parlor, has been online since
2008. I hope the content on this website can be of use in new ways that will serve the greater good. For example:
Use of character creations by The Mayfair Witches Parlor, formerly Come Into My Parlor, as someone's actual identity is
strictly prohibited.
I believe this is a very important issue when it comes to the matter of copyright and AI. If asked, I will certainly provide
a response to the US Copyright Office. At the same time, I'd like to talk for a bit about how I approach the use of any AI
in graphics I create for the Parlor or anything else.
When I started creating graphics for this website (or at all) that use any type of AI, I decided to approach it with care.
When it comes to the issue of copyright, I approach each and every graphic I make using AI from a source image I do not own
with the assumption that every original source is owned by somebody. That includes images of people. When it comes to AI,
I include in that definition the likeness of any actual person. However, it is my policy and the policy of the Parlor NOT
to use the likeness of any actual person, especially if they are recognizable.
When one image is used with another to create, for example, portraits of each of the Mayfair Witches, I try to always make
clear what images are used and who originally created them if they are not all my own. For example, the portraits made by
Jennifer Harris for MAYFAIR: Stories of the Mayfair Witches by Idle Rogue, the portrait of Deborah Mayfair by Javi
Trulove Sims and a blending of the image of the title character in The Legend of Diadamia is a good example of what
I mean. Attribution, in my opinion, is necessary. Therefore, I do my best to make sure that information is provided.
This leads me to the matter of Fair Use. Like anything else, the Parlor does provide a Fair Use Disclaimer. The Mayfair Witches
Parlor, formerly Come Into My Parlor, is not only for entertainment; it is about commentary, critique and educational purposes.
Those are not just words on the Parlor. That is absolutely the purpose of the Parlor.
When I create graphics from AI, I try to make them so that they show something different from any of the originals (if used),
even if some details of the originals remain present. In creating likenesses of the Mayfair Witches, the differences are in
the inherited features of each Mayfair Witch that identifies them as belonging to the same lineage. Recently, I have been
blending the first ones made with other faces to make their faces even more unique. The faces I use come from my own family,
and at least one of them is made using my own face from a photo of me when I was much younger.
Ultimately, the question of copyrights and AI is going to fall to monetary gain. Now, this might shock you to your toes, but
there isn't a single thing on the Parlor that I make money from. Not one thing. That is because this site is about novels
and characters that are copyrighted. Anne Rice absolutely did not allow fan fiction for this reason, and I have never cared
for fan fiction, myself. When it comes to fan art, this is where I do indeed love to find and create fan art that is true
to Anne Rice's vision and descriptions to the best of my abilities. But because the novels and characters are copyrighted,
I do not and will not profit monetarily from the things I create to help in the discussion of the Lives of the Mayfair
Witches.
In fact, when I make a video for the Parlor that is hosted on YouTube, I do periodically use music that is itself copyrighted.
Obviously, my choice of music is a reflection of the mood and content that I believe is appropriate for the subject of a particular
video. It also does something else.
It makes sure YouTube will make sure the video is not monetized should the Parlor's YouTube channel ever become eligible for
monetization. It is NOT eligible, and therefore NOT monetized. If it were, music owned by someone else will make sure the
video is not copyrighted, although any ad revenue will continue to be paid to the copyright owner, never to me. The owner
of the copyright on the music will be paid for any ad revenue regardless of what the video is about.
For a lot of copyrighted music, owners allow it to be used as long as the video is ineligible for monetization for the creator.
The creator agrees to this, and agrees that YouTube can and most likely will run ads on the video at their discretion, and
that the copyright owner gets their ad revenue, not the creator of the video. When I say I believe this is more than fair,
I am not kidding.
I do have the Parlor's channel settings on personalized ads, so I do hope that extends to what ads YouTube might run on the
Parlor's videos. Or at least, personalized to what viewers of the videos would wish to see. YouTube, I would like to request
the familiar--I mean kitty--litter ad with the guy going, "OH my GAWD!"--
Anyway.
The Parlor is a labor of love for me. AI is, to some extent, used to create graphics that are Mayfair Witches-related. It
is meant to compliment the graphics I create in 3D for the Parlor. The issue of AI is, for the WGA and SAG-AFTRA as well,
an even bigger issue. If someone's likeness is used to train AI for the purpose of producing intellectual property for (enormous)
profit, and the person whose likeness is used is not fairly compensated, that is a huge problem. Writers were providing the
groundwork for films and shows that brought in multimillion dollar profits, but the writers were not being fairly compensated
for the value of their work. Those who perform in motion pictures of any type are facing the same problem.
When I first began to use AI to create graphics, a huge concern was that likenesses of actual people were being used for nefarious
purposes. When it comes to intellectual property, it should not be used at the expense of the actual person whose likeness
is being used for profit with no compensation to the owner of the likeness.
It's one thing to have hobbies. What is important to understand, though, is where to draw the line. The Fair Use doctrine
can be extremely confusing at times. However, I still take it very seriously. If you are a creator of graphics that use AI
and are unsure where to draw the line, the Fair Use doctrine is what I recommend you default to.
The biggest issue that I think the US Copyright Office, among others, will face is how to prove what original intellectual
property was used when it's not entirely clear in something created from AI. One thing that might help is metadata. Metadata
is basically data about data, and AI creations have metadata just like original likenesses do. Example: date of original creation.
In fact, this is why you see dates at the top of many of the Parlor's original pages on the website. I write my own text unless
otherwise specified, and I want to make it clear how long my words have been there.
Parlor Content
Oh, my goodness, let's get right to it!
You might have noticed the text below has a strikethrough. That is not necessarily because it is irrelevant, but because
I've made some adjustments.
I do not mind anyone putting up links to my site via the Home page. I don't mind people saving the pictures for their
own enjoyment - that's why I have them up! Also, I assume that anything on the Internet is generally in the public domain.
If I put something up, I have to assume that it will eventually appear somewhere else and accept that fact. Nothing on this
site is for profit, but for entertainment (see remarks below) and if someone wants to add a picture or one of the diagrams
I made to their own site, that is alright with me. However, do NOT direct link to any pictures or files on this site. Inbound
linking is fine as long as the link is to The Mayfair Witches Parlor. Of course, I would
appreciate a mention as to where you got anything you use that is from this site, but I will not demand their removal on the
basis that they are mine as long as they are not altered in any way. Thanks!
All of the content on this site that I have written, designed or created myself is copyrighted material and my intellectual
property. I try to make sure anything on this site that is not my work is referenced on Site Resources
and Bibliography page, and/or where the content appears.
If you have any questions or concerns, please feel free to email the Parlor at comeintomyparlor1995@gmail.com
Janson Garamond
Nosferatu
Blackadder ITC
Courier New
Times New Roman
Cinzel Decorative
ChocolateBoxDecorative
MAINLUX Medium
Caribbean Regular
Caribbean Island Regular
The Janson font is the font style used in the hardcover editions of Anne Rice's books, Blood
Canticle and Blood and Gold.
The Janson font looks almost identical to Times New Roman on computers and devices. You will
probably see the two fonts used throughout the site because of this. However, I like using the Janson font for anything that
is quoted directly from Anne Rice's novels if I haven't used a different font for it already.
Garamond is a font you have probably seen as much as Times New Roman, and does appear on the site
in many of the oldest pages on the Parlor site.
The Courier New font that basically resembles typeface on a typewriter can be seen on Rowan's Rage.
The Blackadder ITC font is a very popular font that I've used on The Poem.
The Nosferatu font tends to scream PARANORMAL, while being rather understated at the same time. The
inspiration for the use of this font can be seen on Faces of Fiction. It is
also used for The Talamasca Filesand pages in that category.
Cinzel Decorative is the font I use for banners, page titles, menus, etc and is my main font
across the site. Links on the site will also appear in this font.
The ChocolateBoxDecorative font is the one used by my all-time favorite Facebook game,
Gardens of Time. This is the font used for anchor links, section titles, short descriptions, etc.
The MAINLUX Medium font is at least a close match to the font used for some of the graphics made
for the AMC series. Example: the one just below is the Tonight on AMC Mayfair Witches Premiere graphic.
The Caribbean Regular and Caribbean Island Regular fonts are based on the typeface used for
the Pirates of the Caribbean films, and used here on the Parlor's page discussing the Mayfair Witches as planters on
Saint-Domingue up until the Haitian Revolution.
Fonts on the Parlor may or may not be visible depending on your browser.
All of the fonts used are available for free. However, your device might not recognize any fonts not installed on it as well.
If that is the case, the site fonts will simply default to whatever your device defaults to.
It might also default to the Parlor's default font. For example, viewing in Safari might display the fonts in Times New Roman,
which is the the Parlor site's default font.
If you have any questions, please feel free to email the Parlor at comeintomyparlor1995@gmail.com.
If you see anything here that you like and would like to include in your own website,
blog, social media, etc about the Mayfair Witches or other work by Anne Rice...
I am just fine with that. All I ask is that you include where you got it in a place people are able to see. It is just fine
to simply say the name of my site. The full name of this website is Come Into My Parlor...The Mayfair Witches. And yes, you
can put it in a source list instead of cluttering up pages on your own sites with "I got this from..."
The only things I require attributions for is my own text that I have written and graphics I made for the website. If you
are unsure whether or not text or other content are mine, you can always email me at comeintomyparlor1995@gmail.com
There are a lot of images and graphics on this website. There are also a lot of Mayfair
Witches fans who have created some incredible fan art. If I do use any of it, such as the ones used for the animated gallery
of Mayfair Witches, which utilized images made in Second Life by Jennifer Harris and by Javi Trulove Sims with some effects,
I try to make sure to say so.
When I was overhauling this website, I got to testing links added several years ago, and some of them didn't work anymore.
One thing that's been on my "to do" list to add links to sites of other Mayfair Witches fans. There are a lot of us! So many
have made some incredible fan art, and I like to showcase them here.
Some images are ones of my own, like the old Talamasca card, the Mayfair Emerald, and the cameo jewelry showing the cameos
on the cover of Blackwood Farm. These images were created from 3D models I made of these objects. The Deborah Mayfair animated
painting has the 3D emerald in it, as well.
You've probably seen some rather funky page dividers on some pages of the site. Those are graphics I created to use on the
website as well.
I do not block the ability to save an image to your device. That is because a. I don't own all of them, and b. I really don't
mind people using the ones I made on their own sites as long as you be sure to credit this website. Hey, if it's something
you like and want to use, I must be doing something right!
To summarize, you may use text I wrote and/or graphics I made (including YouTube content) on your own sites as long as you
credit the Parlor for them.
The Mayfair Witches Parlor, formerly Come Into My Parlor, maintains a presence on social
media as well as this website. The purpose of its social media is to provide a place for fans of the Mayfair Witches series
and Anne Rice's work as a whole to be able to discuss them in a more direct way. The Parlor's content is what I want to "bring
to the table" as a fan, and I want the Parlor's social media to be a place for certain types of content to be shared and discussed.
Above, the Parlor's presence on YouTube is discussed in some
detail. However, the Parlor has had other social media which the Parlor has disabled until each platform has satisfactorily--by
that, I mean thoroughly--ensured the security and safety of the Parlor, its owner and all Parlor guests, as well as the public.
On the Home page is a feed from the Parlor's blog on Blogger/Blogspot, which is where I post things like updates, new content, announcements and, occasionally, posts
that address more serious current events.
Each platform collects numerical analytical data such as views, watch time, engagement, the number of subscribers/followers,
and so on. This website and its blog both measure these things through Google Analytics, and the Parlor's Privacy policy
is available on both the website and the blog. The Parlor's Facebook page also has a privacy policy.
Simply put, the Parlor's analytics do NOT give it personal information about any Parlor guests such as names, addresses, IP
addresses or anything that identifies individual guests. Even view and viewer counters do not provide that information.
Analytics are largely numbers, and they do play a very important role in helping to show what people like and perhaps would
like to see more of.
That means they should be an accurate representation of the success of the Parlor's content.
Therefore, it is necessary to have this policy regarding analytics.
The Mayfair Witches Parlor does not allow any artificial analytics of any kind to be used on its website, blog, social media
or anywhere else. Some automated functions, such as search engine crawlers like Google, are essential in order to index the
website, blog and any social media content that can be found via search engines. In addition to its function as a social
media platform, YouTube is also a search engine. A specific type of search engine, but a search engine that will function
accordingly to index content uploaded by content creators.
Not only does The Mayfair Witches Parlor NOT allow the use of anything that artificially "boosts" analytics, anyone who accesses
its website, blog and social media is NOT allowed to use anything that artificially "boosts" its analytics. In other words,
don't send click bots or view bots or bots of any kind that are meant to artificially alter analytics or interfere with the
Parlor in any way. It is a violation of both Parlor policy and the policy of each platform the Parlor is on to use these
types of deceptive practices. ALL guests, by their accessing Parlor content anywhere online, agree to abide by these policies.
This policy has been added due to what appears to be suspicious bot activity on its social media. Be aware that if the Parlor
finds any evidence of this type of violation, the Parlor will report that violation to the platform it occurs on. This includes
the Parlor's Microsoft account, which does log every log-in, every automatic sync whether it is successful or not. The Parlor
will report evidence of ANY type of violation, and the Parlor will assist that platform in identifying those responsible in
any way it can.
The Mayfair Witches Parlor thanks all guests who abide by the rules of its website, blog, and social media. By continuing
to do so, you help to keep The Mayfair Witches Parlor an enjoyable, safe environment for everyone.
January 10, 2025--Since adding this policy regarding analytics, the Federal Trade Commission announced the final rule
banning fake reviews and testimonials. This is significant, because further protects consumers from being fooled into believing
a product or service is more successful, more influential than it actually is in for financial gain. Because in reality,
this financial gain is not actually earned.
To give an example, let's use Amazon Kindle (or Amazon print books available). When someone gives a review of a book of any
description or genre, they really ought to have read the book first. If one has not read the book, how can they possibly
give a credible review of it? Well, they can't. It's as simple as that.
Next question: how is Amazon supposed to know or make a reasonable assumption that a reviewer has, in fact, read the book
they're reviewing?
Verified purchase.
If ever I were to go onto Amazon Kindle to review any of the Mayfair Witches novels or the three Vampire Chronicles novels
the Mayfairs appear in, would I be allowed? I've never done so, but most likely, yes. Not because I own and operate this
site and have since 2008 (but that could be a secondary consideration) but because my purchase of all six novels on Amazon
Kindle can be VERIFIED.
Why am I putting this all under this particular category?
There is one bullet point that lays out what else is included in the final rule set by the Federal Trade Commission. And
it has to do with analytics. I am linking the article below, but I am going to provide the text of that bullet point here
as well:
"Misuse of Fake Social Media Indicators: The final rule prohibits anyone from selling or buying fake indicators of
social media influence, such as followers or views generated by a bot or hijacked account. This prohibition is limited to
situations in which the buyer knew or should have known that the indicators were fake and misrepresent the buyers influence
or importance for a commercial purpose."
To learn more about this final rule and how it will be enforced by the Federal Trade Commission, you may read the full post
on the official government website of the Federal Trade Commission here:
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