#​ Production​ by Rhianna Rule

[aefward]

Photography​ by Zoey Grossman, Styling ​by Bojana Kozarevic, Art direction ​by Michael Kelly, Hair​ by Adir Abergel, Make​-up​ by Jillian Dempsey, Nails ​by Ashlie Johnson, Fashion assistant Hannah Krall, Megan Hunt, Production​ by Rhianna Rule, Gabriella Pereir, Chloe van der Klaauw, Set design​ by Romain Goudinoux

[alexazbofficial]

[INTERVIEW] An Interview With AleXa: Why This AI “Villain” Is Actually A Down-To-Earth Sweetheart

What The Kpop recently had the opportunity to sit down with K-pop idol AleXa for an interview. Due to COVID-19 restrictions, we held the interview via Zoom. However, even across the internet, AleXa’s warm personality shined through, charming our staff with her down-to-earth way of speaking and thoughtful answers.

The popular solo artist will soon be releasing a new track entitled “Rule The World” on September 4th. The song is a collaboration with gaming music star TheFatRat. In addition, she has confirmed her comeback for October, making fans excited for the news that her title track will be produced by famous hitmakers LDN Noise.

Before her new releases, however, get to know more about this talented artist by reading our interview below! From her tastes in anime to which female role models helped form her into such a strong woman today, read below for questions that she’s never been asked before.

WTK: Hi, AleXa! My name is Amy, and I’m from What The Kpop. First of all, I just thank you for meeting with us today. I know that you’ve got a busy schedule, so I’m glad that you were able to take a few minutes to speak with us.

AleXa: Oh, you’re very welcome.

WTK: Before you were actually a K-pop idol yourself, you did so many different things! You’ve done cosplay in the past, you’ve done voice acting, you’ve been on shows where you tried out for different things, you’ve taken part in long training, etc… all leading up to this point in your career. So, first of all, just to get things started, can I ask you what’s been your favorite part of the journey so far?

AleXa: Let’s see. I mean, from way back until now, I think the thing that I liked the most about my journey is not just one thing. Since it’s still ongoing, it’s just the fact that I get to see myself improve, that’s the thing. So, improvement for me is probably the thing that I really enjoy about this process.

WTK: Since your debut, you have had quite an unusual concept. For those that don’t know, it’s about a multiverse and you’ve had a trilogy of songs: “Bomb,” “Do or Die,” and “Villain.” You’re avatar or AI escapes into a physical body and then goes into the real world, right? We know this suits you really well since you’re a fan of dark concepts and horror and science fiction. So, if this were to ever happen to you in real life and you became an AI, whose body would you want to take over?

AleXa: Dwayne the Rock Johnson! (laughs) Because I just want to be the Rock! I mean, who doesn’t want to be the Rock? (laughs again) So, definitely Dwayne the Rock Johnson! Yeah!

WTK: When we watched the making video for your recent “Villain” MV, we saw you doing the Naruto run and already knew that you’re into anime. I know your schedule probably doesn’t allow you too much time anymore, but are there any animes that you’re into recently? Or are there ones that you’d like to recommend for your fans to watch?

AleXa: I haven’t watched anything recently. The most recent thing I watched was the anime adaptation of some of Junji Ito’s work. If you didn’t know, his collections were turned into an anime. If you like horror, I recommend that. But one of my all-time, go-to shows is always “Death Note” or “Full Metal Alchemist.” So, those are ones I wouldn’t mind re-watching again if I find time.

WTK: Your fans, or AI troopers as they’re called, refer to your music as a cultural reset when it comes to how you’ve changed the game. For you, which artist or even what genre was the cultural reset in your own life?

AleXa: I feel like without a doubt I do have to say K-pop was the cultural reset for me. Had I not stumbled into K-pop, I wouldn’t be doing what I am now. Then there was someone also like SHINee. They’ve been a pivotal group, a pivotal senior for me in my career. So, they were my cultural reset.

WTK: Apart from SHINee, I know that you also got into K-pop after hearing artists like Super Junior. Going from a K-pop fan to a K-pop idol yourself, what has the experience been like? Is is still kind of surreal for you or how would you describe the experience?

AleXa: Oh man, it’s definitely surreal! I never thought that in my wildest dreams I would find myself being an idol for my career. Being able to stand on the same stage in music shows as so many wonderful and talented seniors… like it’s incredible. It’s definitely been very surreal for me thus far.

WTK: Recently, you held your own virtual concert, and you also opened the show for IN2IT in India. How did the two experiences differ as far as opening for one group versus having your own concert? Did it affect you that your first solo concert was a virtual concert? If so, what were some of those challenges like?

AleXa: I mean, it definitely is very different having my own concert versus opening up for a senior group. I will say that being able to open up for their concert two times was a really good experience because I learned crowd management. Also, I learned how to feed off of people’s energy for the concert performance. Then when it comes to my own solo concert, even though it was digital, I could still feel everyone’s love and support through the comments because there was a live monitor where I could read all the comments in real time. So, even though there weren’t people there in person, I still felt the presence of them. I’m an extrovert and I’m someone that draws energy from other people. So, virtual concert or online concert, it’s just both a really fun experience for me.

WTK: So many people did tune into your concert, and I know that a lot of people were leaving comments also, so it was a great success! Do you feel like from here on out that online concerts are going to be more of a staple in K-pop, even once things like COVID-19 slows down and things are as back to normal as possible? Are virtual concerts here to stay?

AleXa: However fast the pandemic does come to an end, I do feel like online concerts, online fan meetings, and everything else that’s been happening in the industry during this time is something that is here to stay. Because you never know what could happen in the future. So, I believe everybody learning the ways of online concerts, the data, the statistics, the reactions, how fans work.. I think it’s something we’re going to wind up keeping in the future.

WTK: You exude this natural charm, charisma and confidence. So, what would you say to younger fans, especially those who are coming up and trying to find their own persona and sense of self confidence? How did you become who you are today and grow into this confident young woman that we know as the singer AleXa?

AleXa: Thank you for that. Let’s see. I don’t know. I would just say, don’t get lost in the crowd I guess. People will always find ways to try to belittle you for ways that you’re different, for ways that you stick out. But embrace those and make those your strong points. Don’t let anybody try to define you as a person. You alone can define yourself. So yeah, take comfort and joy and pride in your individuality.

WTK: Now, I don’t know if you’re familiar much with the Reddit sub-threads for K-pop, but ever since the music video for “Villain” dropped, your fans have been busy analyzing the trilogy and making all these theories about the Alexa universe. I don’t know if you’ve read any of these online, but there is a really popular thread on Reddit and also one on Twitter about the Alexa universe. The summary is that they believe there are different versions of AleXa and that she embodies the different human emotions that each AI version has discovered. What do you say to all of that? Can you give us any hints or have you been able to read any of these fan theories yourself?

AleXa: I mean, I’ve dabbled a bit here and there on Twitter. I’ve been looking at a lot of tweets, and I read the comments. There’s some interesting theories. I mean, when we go into these comebacks and pre-releases and stuff, we know the plot. We know what we’re trying to get into. But then whenever I’m with my staff, we read things in the comments. We’re like, “Oh, well, that’s an interesting take on why we thought of that.” But it’s really cool to see how how imaginative and smart and observant everyone is. Because they catch and piece things together. And I’m like, yes! Those are my smart, beautiful fans! Yes!

WTK: Coming from your label, which is a video production company, have there ever been things that your fans noticed about the videos that maybe you didn’t even notice yourself at the time?

AleXa: Oh, I’m pretty sure I’ve seen some comments noting some things and seeing the background or like they’ll think a certain layer goes with a certain thing. I will say though, this is not something we intended for, but with the release of “Villain”— of course, we do have a small, kind of floating, pyramid-looking thing at the end, and I do this [thing] with my hands. But it’s kind of funny because some people thought we were alluding to the fact that we are a part of the Illuminati! But we are not. (laughs)

WTK: Yes, just to make that clarification! (laughs) So your music, like we said, features the image of this strong, independent woman where you are like cyborg, pop, diva (and we love it, by the way). When you were growing up, did you have many strong female role models? Who inspired you?

AleXa: If we’re talking about strong females, then of course, one pivotal character has been my mother. She is honestly one of the strongest women I know. If we’re talking in an artistry sense, since my parents raised me on older music, then people like Cyndi Lauper, Joan Jett, and Whitney Houston. Into the more modern age and as I was starting to grow up a bit, then Rhianna, Brittany, Christina. This is the kind of aura of artists and people that I really looked up to and enjoyed their work.

WTK: If you were ever able to branch out— maybe not on your main comebacks but for special songs or covers— are the genres of music from the artists you just mentioned something you would like to dabble in? Or is there any other type of music that you would like to try for something different?

AleXa: I mean any opportunity I would be given to branch out and just try something that I’ve never done before, I want to try of course. I would love to take the bull by the horns and just go at it! So, whatever and whenever those opportunities arise, yes definitely.

WTK: We know that you have like a “sad boi” playlist when you’re feeling down. When you’re feeling happy or pumped up, however, what do you like to listen to?

AleXa: If I’m having a good mood and I’m just going for a walk or something, I listen to lot of Queen, Fleetwood Mac, some Dolly Parton. Believe it or not, Dolly Parton is the only country artist I will make an excuse to listen to.

WTK: Well, she’s one of the ultimate divas herself so…

AleXa: She really is, she really is! But I don’t know… just kind of like older pop I guess, without all this like synth and heavy bass we have now. Just old style pop music, I guess, is kind of my music sphere.

WTK: I know also that you were a musical major in college, and I am a huge fan of musicals myself. So, I have to know something! Musicals are so popular in Korea, and it’s a big scene there. So, if you ever got the chance and you could work in a musical there, is there a specific musical that you would want to be cast in?

AleXa: A lot! But if I could be cast in any musical I wanted, I think it’d be fun to try Maureen from Rent or Veronica in Heathers. I feel like these both are fun roles [and I’d like] to give it a go.

WTK: One more question! Fans really enjoyed hearing the lyrics you wrote for your last song and are looking forward to hearing more of your work in the future. We know all songwriters have lyrics written in journals, so if you have any saved, do you mind sharing a previously unreleased lyrics with our readers? Just something that you haven’t yet shared with the world?

AleXa: Sure! I mean, I am one of those people that has journals upon journals upon journals of song lyrics. I keep them in my phone as well too actually. If I were to share something real quick, right off the bat, what would it be? What would it be? What would it be? (laughs while looking through phone) See! There’s a lot in here. Yes, yes, yes. Doot, doot, doot, doot. (laughs again) Oh, I don’t know. These are all just kind of… deep. Let’s see. Ok, I’m just going to read these two lines. It’s just something I wrote once. ‘Do I have to rearrange the stars and have them spell our names in the sky?’ That’s it. (smiles)

WTK: Thank you, AleXa! We look forward to hearing how you will use that in a song one day, and we look forward to hearing more from you in both your music and your lyrics too! Before we go, do you have any last words to people that might be reading about you for the first time, as well as to fans that have been with you since the beginning of the journey?

AleXa: Sure! Whether you’ve been with me for a day, an hour, or five minutes, or five years, thank you so much for staying by my side throughout this wild roller coaster journey that has been my career thus far! And I promise to keep working super hard to become a better artist and a better person that you can enjoy in the future. Thank you so much. I love you!

© WhatTheKpop

[aefward]

Bodysuit, and gloves, both Saint Laurent

Photography​ by Zoey Grossman, Styling ​by Bojana Kozarevic, Art direction ​by Michael Kelly, Hair​ by Adir Abergel, Make​-up​ by Jillian Dempsey, Nails ​by Ashlie Johnson, Fashion assistant Hannah Krall, Megan Hunt, Production​ by Rhianna Rule, Gabriella Pereir, Chloe van der Klaauw, Set design​ by Romain Goudinoux

[anyasmith]

music cultures and economics assignment

opinion piece: is pop music original?

whenever i hear a song for the first time first, i naturally assume it is original and fresh from the artists’ mind. but how can this really be the case? with more than 97 million songs in the world, surely, it’s unlikely that each song is truly original. how could they not have been influenced by others that came before? how can they be unique without any crossovers and links to other songs? how can they all be truly original in structure, lyric and concept?

as a music rep in my old school, i often helped out in music classes, supporting children learning the blues, rhythm and witnessing fist-hand their experiences with new instruments and genres. one particular session left a lasting impression on my mind. we were teaching a series of lessons investigating the 4 main chord of pop music today, specifically how the songs in the charts can easily be mashed up. we watched a youtube video by the axis of awesome which has a medley of 36 songs, featuring songs from artists such as rhianna and train, all over the same 4 chords; C, G, Am, F. the aim of the lesson was to get the children to consider the question ‘is pop music too basic?’. by the end of the lesson, i too, was asking the same question! just by repeating the 4 chords, the axis of awesome could play a myriad of tracks, suggesting songs cannot be as original as i had first thought.

adorno’s belief on structure supports the idea that pop songs are not original. he believed that every pop song all followed the same basic song formula, and this is what made them standardised. being able to merge (or mash-up) popular songs together over only 4 chords, shows the underlying structure of the pieces are the same and therefore not original. adorno also believed that listeners were largely unaware of the similarity between the songs, engendering a feeling of security and reassured as nothing was unexpected. this could suggest why there are so many songs with the same basic structure and why they can all fit into one another so cleanly.

i am inclined to agree with adorno regarding music making listeners feel secure. i remember clearly an experience i had during a concert that i played in. a guest musician, roland taylor, was performing a new piece he recently had written. the concert which was being held in a church and had followed, until the point of taylor’s performance, a familiar ‘churchy’ style with uplifting melodies and haunting instrumental sections. taylor performed and the audience began to look a little bewildered and confused. taylor describes his style as ‘post-minimalist’, a style that was unfamiliar to the audience and as a result they are not keen. there was none of the expected rhythms and reassuring nuance which they had been enjoying. at the time, i thought it was definitely an original piece but having recently looked at taylor’s bio, i see that even he, with his extraordinary compositions, lists specific artists, early music, jazz and bach as being among his influences suggesting that even music which is nothing like we have previously experienced must have its roots in what has come before.

music for many is a creative outlet. whether its lyrics from the heart or a solo flute sighing its way through the piece, music is often a way for an artist to release their feelings. mac miller, for example, poured his heart out in the album ‘circles’. this was released after he died but shows how he was feeling before he passed and the thoughts he had at that point in his life. the song ‘good news’ especially shows how he was feeling at the time before his death and sounds like a cry for help. surely this is original as it’s his own thoughts and from his own experiences? i like this album as i can relate to some of the lyrics and makes me think about what others feel. however, i question whether this means that the piece becomes unoriginal as the listeners may begin to be influenced to feel the same emotion as the songwriter and therefore making the song standardised? i don’t fully believe this is the case as the song allows us to feel the emotions the artists want us to evoke. it also allows us to connect on a different level with the artist, with each listener creates their own unique connection according to their own feelings and circumstances.  

different genres of music have different standard structures that set them apart from each other, but which keeps them musically indifferent within their own genre. for example, blues music typically has the same features of 12-bar blues and a walking bass whilst rock music typically features an electric guitar and male vocals. adorno believed that popular music contains certain elements such as a verse or chorus which can be changed without affecting the piece. he believed that even if the chords behind the basic structure of the verse are different or the different rock riff is changed, for example, the overall piece is structurally the same and therefore standardised.

new improvements in technology have fuelled franchising and turned music into a product. music has developed quickly over a short space of time and now can be accessed by a larger demographic. music, today, is distributed on a mass scale on sites such as spotify and apple music, enabling music to be found at the drop of a hat. this easy access has allowed music production to be accelerated. technology has also been created to cater to our specific taste and preferences. for example, i frequently listen to rex orange county and as a result, apple music creates playlists for me with work by similar artists so i can discover more music in that style, which i will likely enjoy. while such services could be deemed useful, they accelerate the rate of music distribution and thus, arguably, eliminating the need for originality.

adorno believes that mass-production is yet another reason why music has become unoriginal and standardised. ‘new’ music is often heard by many different people before it ends up as a product, producer, record label etc. this process can lead to the originality of the artist to become lost, as often the process of producing the song can change the fundamental originality of it in order to turn it into a marketable product. creativity and new concepts become obsolete.

adorno believes that although such “industrial” music production and distribution is making music standardised, the product is still individualistic in certain social aspects, such as lady gaga’s whacky fashion choices. lady gaga is a well-known figure within the music industry and has produced 6 albums all in different genres. while she maybe creatively exploring the different genres, i can’t help but feel like it’s a clever marketing ploy used to reach a larger demographic and therefore earning more royalties. this supports the argument that music is now a product which can be standardised rather than an artform used to express originality of thought and talent.

so, I am left with the question: is popular music original?  i agree with adorno’s view that pop music is unoriginal due to its similar structure. the fact that axis of awesome found 36 songs (and probably plenty more now) that fit so cleanly with one another, cannot just be down to a fluke. there must be a basic song formula that they all follow they are unoriginal. i also agree that mass-production, aided by advancements in technology, is increasing unoriginality within the music industry as music becomes more as a marketable good seeking for the new markets and demographics. however, music is full of raw emotions shared by the artist to the listener. the individual element and personalisation of such outpouring certainly cannot be standardised and with hundreds of new genres that are completely different from one another that ‘popular music’ had become so broad, it’s hard to standardise. i personally don’t believe we will ever know if all music is truly original, but let’s hope that at least some of is!

word count: 1,362

academic piece: to what extent is pop music standardised?

pop music, according to shuker 2013, “defies precise, straightforward definition [since] the criteria for what counts as popular, and their application to specific musical styles and genres, are open to considerable debate” (shuker 2013, p. 5).  for the purpose of this essay, the definition of popular music is ‘music that is ‘popular’ in the sense of being ‘of the people’, i.e., music that belongs to ordinary people and expresses their interests and concerns (wall, 2013 p. 175).

whilst it is difficult to state with absolute certainty whether popular music is standardised or not and indeed there are several credible arguments for both sides of the debate, it can be argued that, to a large extent, pop music is standardised as it broadly follows the same basic song formula. theodor w. adorno is a german philosopher, musicologist and composer best known for his critical theory of society and states “best known is the rule that the chorus consists of thirty-two bars and that the range is limited to one octave and one note.” (1941) this suggests that every song has been written based on this statement and using the same formula. if this is true, it may be one explanation as to why pop music is so commonly listened to; the listener is comforted by the repeated structure and enjoys the familiarity of the songs. adorno further supports this idea when he says, “the listener can supply the "framework" automatically, since it is a mere musical automatism itself” (1941). this shows that not only is pop music standardised within the same structure but the listener. although it could be conversely be argued that pop music can’t be standardised as there are so many sub-genres of music. adorno counters his hypothesis in his essay ‘on popular music’ where he states that the listeners, regardless of the song, still stays “openly connected with the underlying scheme”, which is the basic pop formula. therefore, ‘the listeners always feel on the safe ground’ as they are familiar with the structure and the basic formula that makes up popular music.

another argument which gives weight to the idea of pop music being standardised is pseudo-individualisation. pseudo-individualisation directly translates to the ‘illusion of choice’ and is “the standardization of cultural production and of audience reaction to contemporary culture.” (o’brien and szeman, 2017, p 120). adorno states that “by pseudo-individualisation we mean endowing cultural mass production with the halo of free choice or open market on the basis of standardisation itself." (1941) this suggests that artists now are referred to as cultural goods and therefore standardised as they become a product. hains reinforces this idea when he states that “sameness is disguised by product design and marketing techniques which present the illusion of freedom and choice” (2018), meaning that disguising the artist through marketing and production design makes the listener forget that the music is standardised, so the music becomes a product rather than a creative concept and the artists are tuned into idols rather than individuals. a clear example of pseudo-individualisation is with benny goodman and guy lombardo, both are mentioned by name in adorno’s ‘on popular music’. he says, “the listener is quickly able to distinguish the types of music and even the performing band, this in spite of the fundamental identity of the material and the great similarity of the presentations apart from their emphasized distinguishing trademarks.” (1941). suggesting that while both artists have different genres, “swing and sweet” (adorno, 1941), and their music is perceived as different, they are in fact, formulaic and therefore are standardised which is the reason as to why they became popular.

there are many further examples of adorno’s concept of standardisation, one such being the songs of a UK girl band little mix who rose to fame after winning the x-factor television programme in 2011 and have now sold over 50 million albums worldwide. their hit song ‘shout out to my ex’ is a clear example of standardisation.  it sounds undeniably similar to ‘ugly heart’ by G.R.L. this similarity has been commented on by both music critics and fans alike who highlighted that the melody and harmony of the chorus in both songs sound almost identical. the very public controversy which ensued prompted little mix during an interview with Qmusic (a belgian radio station) to state “rvery song is going to have a similar chord sequence, slightly similar lyrics and melodied- it happens all the time.” (corner, l. 2016, digital spy report). such well known examples support adorno’s theory that elements of a popular song can be interchangeable and included in another. plagiarism is also a good example of standardisation. plagiarism is when you take other people’s work and use it as your own and has happened a lot within in the music industry. an example is that of the estate of marvin gaye who successfully sued robin thicke and pharrell williams for $5million following the release of the song ‘blurred lines’ because they stated, the track copied marvin gaye’s song ‘got to give it up’ (savage, 2018, bbcReport). such examples show clearly that adorno’s theory of standardisation and pseudo-individualisation do occur frequently in popular music.

when considering adorno’s research, it is important to remember that there are many criticisms of his work which should be considered. adorno has been criticised for the way in which he writes, as his style isn’t easily comprehensible. adorno is aware of this and has stated he does it on purpose because he wants people to interpret his work in their own way and to defy identity thinking. (fagan, n.d). another limitation is temporal validity. adorno’s ‘on popular music’ was written in 1941 when technology wasn’t an influencing factor in regard to releasing music. technology has advanced significantly since 1940s and has accelerated the release of new music. in the 1940s, radio was perceived as the most popular way of listening to music. today, more than 89% of people stream music online (IPPI, 2019). music nowadays is easier to find, it reaches a wider range of people and has sparked the creation of new genres. according to the guardian, there are currently in excess of “1,264 genres that make modern music” (2014) implying that music is now becoming less standardised due to the wider range of genres making up the current ‘pop music’ culture. A further result of technological advances is the increase in production of music which could also suggest why there are so many sub genres of music. adorno disputes mass production being a cause of standardisation stating, “the production of popular music can be called 'industrial' only in its promotion and distribution, whereas the act of producing a song-hit still remains in a handicraft stage” and that it is "still 'individualistic' in its social mode of production." (1941).  this suggests that pop music is original when presented to the public due to different chords and melody but isn’t original when it come to the generic basis of the song itself.  

while adorno’s research lacks in temporal activity and is considered by many to be extreme and opinionated, we must take into account that so far, his research has stayed relevant and still applies to popular culture. also, even though there are many different styles of genres of music, they still largely follow the same structure and include many of the same elements such as verse, chorus or instrumental section.

in conclusion, popular music can be seen to be standardised as it follows the same basic song structure and turns music into a product which can be standardised (pseudo-individualisation). while we must take into account adorno’s research lacks in temporal validity and the new advances of technology may change things, standardisation is apparent within the music culture today.

word count: 1,288

bibliography:

adorno, t (1941) ‘on popular music’ available at: http://www.icce.rug.nl/~soundscapes/DATABASES/SWA/On_popular_music_1.shtml (accessed 19 november 2020)

corner, l. ‘little ,ix respond to GRL comparisons on new single: “stop trying to get publicity”’ digital spy, 24 october 2016 available at: https://www.digitalspy.com/music/a811967/little-mix-respond-to-grl-comparisons-on-new-single-shout-out-to-my-ex/ (accessed 29 november 2020)

fagan, a. (no date) theodor adorno available at: https://iep.utm.edu/adorno/#H6 (accessed on 25 november 2020)

fitzpatrick, r. ‘from charred death to deep filthstep: the 1,264 genres that make modern music’. The guardian, 4 september 2014 available at: https://www.theguardian.com/music/2014/sep/04/-sp-from-charred-death-to-deep-filthstep-the-1264-genres-that-make-modern-music (accessed 25 november 2020)

hains, s. (2018) adorno and pseudo-Individualisation available at: http://samhains.com/blog/mcc/2018/06/16/adorno-pseudo-individualization.html (accessed 25 november 2020)

IFPI (2019). music listening report 2019. available at: https://www.ifpi.org/wp-content/uploads/2020/07/Music-Listening-2019-1.pdf (accessed on 1 october 2020)

o’brien, s. and szeman, s. (2017) popular culture: a user’s guide, page 120

savage, m. ‘blurred lines: marvin Ggaye’s family keeps $5m payout’. bbc news, 22 march 2018 available at: https://www.bbc.co.uk/news/entertainment-arts-43497970  (accessed on 25 november 2020)

shuker, r. (2013) popular music page 5 wall, t. (2013) studying popular music culture page 175

overall word count:2,650

-04/12/20

[aefward]

Bra, stylist’s own; necklace, Carolina Bucci

Photography​ by Zoey Grossman, Styling ​by Bojana Kozarevic, Art direction ​by Michael Kelly, Hair​ by Adir Abergel, Make​-up​ by Jillian Dempsey, Nails ​by Ashlie Johnson, Fashion assistant Hannah Krall, Megan Hunt, Production​ by Rhianna Rule, Gabriella Pereir, Chloe van der Klaauw, Set design​ by Romain Goudinoux

[channiekyun]

soft tag!

sup sups, it’s channiekyun here tagged by the bae, @itssehunbitch this is late by like a month but again, blame school

The only rule if you do it, tag a few people/blogs you adore~

What’s your favourite song(s) to sing/hum?

Spring Day by BTS is one, Never Ever by GOT7, Hey There Delilah by Plain White T’s, Stay by Rhianna, Any Beyonce song (yasss queen), any song coming from P101, and many more

What are your favourite flower/tree/plant (all 3 or whatever you have an answer to)

Dandelions, bluebells, sunflowers, roses, just really big trees that give shade when you sit under them. These are actually the only things that came to mind

Favourite colour(s)?

Blues like the sky or the sea, greens like mint chocolate chip ice cream, mixes of blues and greens, reds, whites, grays, peach, cream, anything pastel really haha

What do you always doodle (if you ever do)?

I have a tendency to doodle on my lecture notes curly and squiggly lines. Also flowers and leaves. And people that I never want to erase

How do you take your coffee/tea? If you don’t like those what’s your fav warm drink?

I take my coffee with cream and milk. The only tea I regularly take is green tea.

Favourite candle scent?

I love vanilla, it’s a soft scent. I also really love anything citrusy. Also, candles that smell like marshmallows roasting on a campfire. I have a very sensitive sense of smell.

Sunrise or sunset?

Both have amazing colors let’s be honest.

What perfume do you wear if any?

I’m not that much into perfumes that I am into other products. But sometimes I’ll wear Bath and Body Works cherry blossom perfume or Victoria Secret’s Blush body mist. Again, very sensitive smell and people tell me I just naturally smell good.

What’s your go to dance move when you’re alone?

I slide on the floor and do a bunch of tumbling if it’s not carpeted lol, but

Favourite quote?

give me a lifetime, i’ll think of one

Favourite self care thing(s) or routine(s)?

Taking a long bath, Rubbing lotion on the body, Sipping tea that has health benefits, Putting on face masks

Fuzzy socks or house slippers?

I can’t run up the stairs in house slippers on, so fuzzy socks

What colour are your eyes?

Dark Brown

What’s your favourite eye colour on others?

I don’t care really, but I love deep chocolate brown eyes

Favourite season? Why?

Summer because no classes and I can’t wait for that to happen so I could be more active for you guys

Fall because it gets colder, leaves start to change and fall, sweater weather

Winter because it’s the coldest, Christmas, hot chocolate season, dressing warm, literally anything seasonal and Christmas related I’ll be real

Spring because things get brighter and have more life

I just don’t know, but fall/winter???

Cheek, neck or nose kisses?

Never been in a relationship but cheek kisses

What does your happy place look like?

A meadow filled with flowers (idk, sunflowers??? i’m tired), pastel skies, fluffy clouds

Favourite breed of dog?

Why would you forsake me like this? Corgi, pugs, huskies, golden retrievers, beagles, poodles, ALL DOGGOS ARE GOOD DOGGOS AND HAVE A PLACE IN MY HEART

Do you ever want to be married? If so what colours would you pick for your wedding theme?

I never thought about it deeply before, but it all depends if I find that person, and maybe I’ll never get married. But if I do, maybe something creamy and light (like light blue and creme) or something just bright and rad and just col. I actually don’t know, that’s a hard question lol

Silk or lace?

Both are nice and (wow, kinda) expensive, but I think I like silk better

Favourite weather?

Rainy days are nice because I get to watch the raindrops from inside as they fall. Any weather can be nice though, I like it when the clouds come out too. But I don’t like it when it’s too sunny lol

Tag (don’t have to do it if you don’t want to): @multikpopworld @react101-seventeen @baozibunns @cosmic-yuta @chogiwamy @forvictorymyeverything @luminosidae @aishwhatamidoingwithmylife @shimmie-shimmie-kokobop

[lindarifenews]

Facebook Automation Tools, Software, and Tips to Save You Time

There are a lot of things humans are better at than robots: Threading a needle. Roller skating. Kissing (for now). But in certain instances, technology has us beat. Take Facebook automation tools and software, for example.

Facebook automation software is designed to automatically handle the tedious maintenance of your brand’s Facebook page more efficiently and effectively than even the best social media coordinator could.

Of course, with great power comes great responsibility, as Spiderman’s Uncle Ben and also RuPaul have so famously said. Just because you can automate almost every Facebook action, doesn’t mean you should.

Good Facebook page automation is about streamlining the administrative stuff so you can focus on what really matters: serving up great, engaging content to your followers.

Read on for the do’s, and don’t’s of optimizing Facebook automation responsibly to make your social presence the most human it can be.

Table of contents

What is bad Facebook automation?

What is good Facebook automation?

Facebook automation tools to help you save time

Bonus: Download a free guide that teaches you how to turn Facebook traffic into sales in four simple steps using Hootsuite.

What is bad Facebook automation?

Bad Facebook automation is anything that looks or feels spammy.

Even when done with the best of intentions, these behaviours can get you blocked by users, or worse, the network all together.

Buying followers

Sure, it’s a common practice (even Rhianna has done it!) but buying followers can get your account in big trouble with Facebook.

Auditing tools can spot artificially inflated accounts in seconds. When 1,000 new “fans” start following you in one go, that can be a bit of a red flag… as can the fact that they don’t exactly “engage” with your content.

Facebook has an interest in making sure its site is full of real people having real conversations. They’re cracking down on automated followers now more than ever.

In fact, buying followers is actually a violation of the terms of service. Not only could your expensive fake friends be deleted, your account might be suspended all together. Is having an inflated number of followers worth the demise of your brand?

Source: Instafollowers

A good social media rule of thumb: if it would be sad behaviour at a birthday party, it’s probably sad online too. Earn your friends, don’t buy them.

Cross-posting automated messages from other networks

What works for a Twitter post doesn’t always work on FB.

I totally get that doubling down on a post saves time,. But when you automate cross-platform sharing, you risk a sloppy post that can look carelessly spammy. Inappropriate hashtags, weirdly cropped photos or broken links aren’t exactly the kind of thing that inspires engagement.

This post from a fashion brand Fate Clothing was cross-posted from Instagram to Twitter, and cuts off mid-way. And what, Fate Clothing? And what?!?!

We had to crack a cold one in celebration to the month of May ending on a BANGER!???? • We COMPLETELY FINISHED reinventing our online web store JUST in time for our wide variety of SS20 products to be finalized and… https://t.co/iGwrBMSRj8

— FateClothingCo (@1FateClothingCo) May 19, 2020

Automating likes and comments

Letting automation handle comments and likes is like buying a $5 Starbucks card for your partner for your wedding anniversary. It’s lazy and thoughtless (and maybe even a little dangerous).

This is the part of Facebook experience where it’s essential to be hands-on. If you give the robot free reign to like any post that mentions you, what happens when someone is complaining about your brand… or affiliating it with something unsavoury?

Comments, likewise, should be intentional and specific. Your brand’s reputation is at stake with every post you make, after all. There’s enough out there in the world you can’t control (wow, am I okay right now?). Take the reins back for this one.

Automating DMs

See above. Nothing says “please block me” quite like a generic spam letter popping up unprovoked in your Facebook messages.

What is good Facebook automation?

The most positive, legitimate reason to use Facebook automation is to save time so that you can focus on what actually matters — creating great content and genuinely connecting with your community. That might include…

Scheduling messages

Crafting messages specifically for Facebook to schedule for later is a legit timesaving tactic.

While automating what you say in a Facebook post might be questionable, automating when you post is absolutely a smart move.

Keeping up with the ideal posting schedule can be a challenge for sure. A little advance planning—especially when you’re in the creative zone!—can go a long way to ensure you’ve got the right content going up at the right time.

You can do this on Facebook itself, or with a third-party scheduler like Hootsuite (we’d be remiss not to mention it.) Keep in mind that scheduling is only possible with a Facebook for Business Page right now.

Saving replies for frequently asked questions

Having pre-composed responses ready to roll for common questions can be highly efficient. (Plus, it’s a great way to ensure that your conversations with customers stay on-brand.)

Of course every fan or customer is a unique and precious angel who deserves your utmost, individualized attention. But a pre-written response can help them get the information they need quickly, so it’s really a win-win.

For example, if you’re a restaurant and you receive approximately 1,000 messages per day asking if you do take out, this could be a useful tactic for you.

Using search streams to find relevant users, topics, and content

If Archie has taught us anything by trying to date both Betty and Veronica at the same restaurant on the same night, even with a pair of rollerskates, you can’t be everywhere at once.

Get a little help keeping track of all the news you need—including auto social searches by keywords, topics, hashtags and users—with automated search streams.

For example, you could set up one stream to monitor your competitors’ posts, one for a branded hashtag created by your business, and another for influencers that you work with regularly.

Repurposing content from other networks for Facebook

Tracking all of your social platforms via a third-party social media management app is a way to quickly and easily assess which posts are gaining traction out there in the world… and maybe find some inspiration for a Facebook post along the way.

Of course, “repurposing” doesn’t just mean copy and paste from your Instagram feed. (See our post on best practices for cross-platform posting here.) Facebook is a unique beast. Audiences here typically want a story, something inspiring and educational.

Automation in this case is about helping you identify topical trends so that you can build from there and customize a story specifically for your Facebook crew.

Using a chatbot for initial customer service interactions

Similar to having saved replies for FAQs, Facebook’s automated chatbots can help handle quick-and-dirty interactions so you can save your personal touch for more complex queries.

People exchange 2 billion messages with businesses via Facebook Messenger each month. That’s a lot of potential conversations: why not plan out automated Facebook message replies to filter out easy-to-automate requests like delivery tracking or appointment booking?

When used to supplement human interaction, not replace it, AI chatbots can improve service times and increase customer satisfaction. Dream team!

Source: Booking.com Facebook page

A/B testing ads

Want to make the most of your social media spend? Automate the tracking of your social media A/B testing.

You’ll get data on the fly for your slight variations, so you can adapt and react in the moment.

If the stats are saying that a face-swap photo of your CEO and your mascot is trending, boost that post! With that kind of clickthrough rate, who would dare fire you?!

Automating regular performance reports

“What can’t be measured can’t be managed.” It’s something neither Uncle Ben nor RuPaul has said (that I know of), but that doesn’t mean it’s not true! Analyzing past performance is key to improving your future performance. That’s why it’s so great that your pal Hootsuite Analytics can pull custom performance reports from your Facebook page. It’ll build a PDF, Excel, Powerpoint of CSV for you to review and share with your team.

9 Facebook automation tools to help you save time

Think of this list as your Facebook automation toolkit.

Bonus: Download a free guide that teaches you how to turn Facebook traffic into sales in four simple steps using Hootsuite.

Get the free guide right now!

The best Facebook automation tools and software are ones that free up your time for more important things. And in some cases, achieve things — like in-depth data collection and analysis — that would be downright impossible without the help of AI.

Hootsuite

Besides allowing you to bulk upload and schedule up to 350 Facebook posts in advance, Hootsuite can also help you automate a bunch of other Facebook management tasks. You can curate custom streams for social listening, and get automatic reporting. Plus, with the content library, you’ve got access to high-quality, on-brand content in seconds to help you create new posts quickly.

You can also boost your top performing content automatically with Hootsuite. Want more views? They’re just a few clicks away.

Hootsuite Inbox

Within Hootsuite, you’ve got access to Inbox, a super helpful tool for managing all your social conversations (private and public!) in one place. Facebook, LinkedIn, Twitter, the whole gang is here.

Tag or categorize messages, assign responses to your team, and most importantly, release that constant anxiety that you’re letting something fall between the cracks.

AdEspresso

AdEspresso can auto-generate a variety of ad combinations based on the elements you’re testing, or you can test a preset combo. It’s pretty much the ultimate A/B testing tool for your Facebook ads.

Here, you can also select single or multiple audiences for trying out your sweet new ads. Whatever way you go, it’s a real power player.

Facebook Business Manager

This is a “one-stop shop” for handling your business assets — the place for tracking and reporting on Facebook ad performances. Here, you can also give access to partners or coworkers.

Chatfuel

If you’re chatbot curious, just integrate Chatfuel to automate your Facebook inbox. Bonus: it’s got a drag-and-drop interface: no coding required.

Mentionlytics

Mentionlytics is like the ultimate gossip, but in a good way: the monitoring engine scans the world wide web (including news sources and blogs) for instances of your brand, competitors or keywords and pulls them right into your Hootsuite dashboard.

BrandFort

Think of BrandFort as your bouncer… the muscle to shut down the haters.

The AI-based content moderator detects and hides public complaints, hate and spam. It takes “positive vibes only” very seriously.

Magento

The Magento Facebook Product Catalog Synchronization plugin pulls catalog products onto Facebook, automatically formatted neat-and-tidy for the platform.

IFTTT

Get your various accounts, platforms and technology to play nicely together with the help of IFFT (“If This Then That”). It’s programming stripped down to bare bones: just build a “recipe” of chain reactions that will kick off with a single action.

Source: IFTTT

For example, you could program your Twitter profile pic to change whenever you update your Facebook one. You could also archive all your Facebook status updates to Google Drive if you are a nerd who only gets satisfaction from looking at your work in a spreadsheet. (There are dozens of us! Dozens!

Used responsibly, social media automation can help you make the most of Facebook. Used irresponsibly, you’re treading into dangerous spammer territory. So go forth, and be the brand you wish to see in the world.

Use Hootsuite to save time and automate the busy work of engaging your Facebook audience. Schedule posts in advance, keep tabs on your competitors, automatically boost top performing content, and more. Try it today.

Get Started

The post Facebook Automation Tools, Software, and Tips to Save You Time appeared first on Hootsuite Social Media Management.

Facebook Automation Tools, Software, and Tips to Save You Time published first on https://likesfollowersclub.tumblr.com/

[noirandchocolate]

I am often really funny when I’m mad because being mad makes my filters disintegrate pfff. I feel calmer now but just. Why would someone. Do this? Just how HIGH do you even have to BE just to DO something like that? /Homestuck

I’m just really wondering why, given all the amazing worldbuilding there already is to work with in the Discworld Watch series if you wanted to make new stories about this world and these people, would anyone just sort of go “okay my dollies now I’m taking them to MY house and giving them new CLOTHES and HAIRCUTS” and then shove some strange remakes of beloved characters into a “gritty, ~anarchic~” world? Discworld isn’t anarchic, I don’t know where they got that bizarre notion*. There are some pretty deeply ingrained rules and anyone would know that if they’d actually read the books.

That grit better give way to hope that’s all I’ll say. But characterizing Ankh-Morpork under Vetinari as “corrupt” and “broken” (as opposed to there still being some corrupt (rich) people in the city, whom the city itself as personified by Vetinari and Vimes are trying to deal with) is an oversimplification and dumbing-down that’s so...LAME that I really don’t have much hope at the moment for this feeling anything like Discworld—even a ~reimagined inspiration from~ Discworld.

I hope these articles aren’t telling the whole story but even if they’re not, the things that are likely true are not encouraging.

*except that they probably got it off the “oogh it’s ~fantasy~ land that mean ~anthyding can hadplen~” shelf /Gravity Falls

New Theory: “The Watch” is a play in-universe. Someone, having heard of the famous and oddly inspiring Commander Vimes and his once-ragtag now-respected bunch, commissioned a playwright to write a play about the Ankh-Morpork City Watch that would galvanize the local boys into being more diligent and proud about their police work. The playwright got a lot of details wrong because the commissioner didn’t know all those details (Cheery being an openly female dwarf, Angua being a werewolf), and he romanticized some things (tragic Carcer backstory and thinner smaller Sybil) and made others more action-oriented to allow for fight scenes (vigilante Sybil). So it’s basically the same as when Hwel wrote the Lancre Play—in-universe fanfiction.

(I seriously hope a lot of what I’m reading today is inaccurate or badly summed-up.)

[rachelthompsonauthor]

Still in quarantine here though not quite as strictly. How about you? This week, I’ve got news, a book, music, movies, and a fab new product for you.

News

With the pandemic, none of us have been able to get to our regularly scheduled dental appointments, which means my temporary crown that was supposed to only last two weeks held out for two months (yay, little crown), so I finally had that replaced once my dental office opened up (kinda, sorta). Lots of masks, testing, one patient per waiting, etc., which I’m personally happy about.

California has been hit pretty hard by COVID-19 – not necessarily in the small Northern California county, nor town, where I live – yet one never knows, right? Grateful to first responders everywhere, yet especially here in my city, county, and state for having level heads and not giving in to pressure from Washington D.C.

So, that was my appointment. Then, my kids had their appointments – they both have Invisalign braces and had some setbacks there as well, due to not being able to go in and have their regular monthly check-ups with their orthodontist. It is what it is.

I’m not one to freak out over this stuff. Teeth can still be fixed despite delays. So they both had their appointments and now we have to reassess and move forward differently. We all had to wear masks and be temperature tested etc., just to enter the office. Not a big deal. Let’s all be safe, right?

Honestly, I don’t get the people who are freaking out over having to wear a mask to enter places of business. Get over yourselves, people. Follow the safety precautions or leave. What’s not to understand? I don’t get the politicization of all of this, either. If you read what’s happening outside the U.S., it’s clear other countries are putting the well-being of their citizens first, not spreading fake news or hoax information. I truly worry about the intelligence (or lack thereof) of our country. And that’s all I have to say about that.

Movies

Not a huge Tarantino fan. I’m sorry! I’m just not. My older sister Caren loves all his movies. So does my daughter and my guy. I’m just…meh. However, I will say, I adored Once Upon A Time in Hollywood. 

No spoilers – just an all-around great flick.

Dazed And Confused

Also great. Another one I hadn’t seen and now I finally understand why Matthew McConaughey always says, “Alright, alright, alright!”

Show

Westworld, Season 3

A million times better than Season 2, whose only highlight for me was the Kiksuya episode. The title is Lakota for ‘remember,’ and if you haven’t seen it, it’s outstanding. What I especially loved about this ep is Ramin Djawadi’s poignant piano cover of Nirvana’s Heart-Shaped Box.

Anyway, back to Season 3 – I enjoyed it. Evan Rachel Wood’s Dolores is hell-bent on destroying us humans and recruits Breaking Bad’s Aaron Paul (lurve him) as her sidekick. Maeve isn’t so sure about that, and neither is Charlotte Hale. Despite some interference from a few males who have no idea what they’re in for, the women of Westworld kick serious ass and that’s all I’ll say about that.

Music

Speaking of music (aren’t I always?), More Than Words by Extreme came up on my Spotify the other day and I started going down the Nuno Bettencourt (the guy who plays guitar, sings harmony, and whips his hair around in the video) rabbit hole. Back when the song came out in 1990, girls everywhere wanted to lose their virginity to Nuno and I’d guess many did with this song playing.

I remember purchasing the album Pornograffiti way back then and enjoyed their other acoustic song, HoleHearted, as well (hey, it’s catchy), and then being blown away by Bettencourt’s guitar solo intro on He-Man Woman Hater/Flight of the Wounded Bumblebee. Even if you’re not a fan of heavy funk metal, you can appreciate this. Interestingly, he’s Rhianna’s lead guitarist whenever she goes on tour.

Okay, so Alanis Morrissette’s You Oughta Know. Everyone oughta know this song, right? Well. This is my story.

I fell in love with the entire Jagged Little Pill album long before I had my first child and knew all the words to pretty much every song. So, when I had my daughter, Anya, in 1999, one of the best pieces of advice I received (and continue to pass along to pregnant mums) is this: have a back-up song.

What does that mean? You’re sleep-deprived, dying for a shower, and you’ve sung Wheels on the Bus and Mockingbird and all those other Mother Goose mind-numbing songs and lullabies so many times without losing your shit, you’re not sure how much more you can take without mumbling to yourself in the corner…so have a back-up song. Doesn’t matter if you don’t know all the words. Doesn’t matter if you sing it off-key.

Just have a song that doesn’t make you want to stick diaper pins in your eyes. That’s what this song is for me. 

Eventually, both my kids learned the right words (non-explicit version). Musically, the title song (which is You Learn), Not The Doctor, and Mary Jane are the standouts for me on this particular album, both of which received no airplay. Typical.

Product

I had horrible acne from my teenage years into about my thirties. It calmed slightly as I approached menopause and has finally started to truly chill the fuck out. I tried diets, Accutane, peels, the works. Nothing worked. For me, it’s definitely a hormone and stress thing.

However, over the years I’ve learned a few things:

The less I fuss with my skin, the better it does. No 12-step skincare routines for this girl.

Start faithfully using sunscreen as early as you can and keep using it till you die.

People laugh about the sunscreen advice, yet I’m serious. My first job after college was with a company that sold sunscreen (along with antiperspirant and condoms – yea, that’s a future post). In training, they showed us photos of young people with skin cancer and that’s all it took for me. Sold! I was 22 years old and started slathering SPF 60 all over every day.

I’m 56 years old now and barely have a line on my face and no wrinkles whatsoever. And, no skin cancer (knocking on wood).

Back to point 1: I’ve discovered a wonderful CBD product that has completely stopped any breakouts whatsoever. I’d say, ‘bullshit, Rach,’ if this wasn’t the absolute truth.

Flora + Blast Age Adapting Facial Serum 1.5% Full Spectrum Cannabis Complex 357mg CBD 

It’s $77 on Sephora and this is not an affiliate link. Yea, it’s an investment, so see if (when stores open up), you can ask for a small sample. You don’t need much – I use only 2 drops at night on a clean face. I’ve been using it daily for 2 months and not one zit. Your mileage may vary. I’m buying another bottle for my kids (who both have acne) to share. That will be the true test. (And if you’re afraid of CBD products, get over yourself. CBD contains no THC, so you will not get high.)

Books

I’m reading Barbara Delinsky’s A WEEK AT THE SHORE and, reading as a writer, I noticed several writing rules she breaks. As a reader, I’m completely engrossed in the story. Once I finish the book, I’ll share exactly what I mean (next post). I’m lucky to know Barbara, so I’ve sent her questions and she’s graciously agreed to answer them.

Thoroughly enjoying this novel (just released on 5/19) and highly encourage you to pick it up. Delinsky has had 22 New York Times bestsellers and is a master storyteller. So is my cat Pip (if you speak Catinese, which I do):

(Full disclosure: Barbara is a client, and I did receive this hardcover and goodies free of charge to help with her book promotion. I also purchased my own copy and an eBook copy because I support my author clients.)

Mental Health Tip

Are you tired of being stuck in the house? So are we. We get out daily for a walk but these four walls can give us cabin fever. Cleaning up gives me a sense of calm, yet that too can also feel overwhelming. What to do?

I read The Mighty regularly (you used to have to create an account – now you can simply sign in with your Facebook or Google credentials), and I saw this visual and find it useful, with a bit of customization (ahem):

For the daily list, we do pretty much all of that, with the exception of laundry. We do that about twice a week. And when I say we, there’s four of us to share the burden, which is helpful (and often leads to bickering among the youngest, but that’s another story).

If you’re alone, do what you can so your living area is clean and livable. It does take effort, and for many of us living with mental health issues, sometimes it’s all we can do to get out of bed.

I get it. Reach out if you’re having a difficult time. RAINN is a wonderful source and they’re open 24/7 at rainn.org or call 1.800.656.HOPE even now, they’re still available to help you.

Till next week-ish, take care and stay self, my lovelies. Tell me what you’ve been up to, please!

***

Read more about Rachel’s experiences in the award-winning book, Broken Pieces.

She goes into more detail about living with PTSD and realizing the effects of how being a survivor affected her life in

Broken Places, available in print everywhere!

The post This is How To Spend Quarantine With Me, Week Two appeared first on Rachel Thompson.

via Rachel Thompson

[aefward]

Bodysuit, and pants, both ​by Alaïa

Photography​ by Zoey Grossman, Styling ​by Bojana Kozarevic, Art direction ​by Michael Kelly, Hair​ by Adir Abergel, Make​-up​ by Jillian Dempsey, Nails ​by Ashlie Johnson, Fashion assistant Hannah Krall, Megan Hunt, Production​ by Rhianna Rule, Gabriella Pereir, Chloe van der Klaauw, Set design​ by Romain Goudinoux

[usainitiatives-blog]

March

March Madness

Facebook: in the news and in trouble. Back in 2014 the analytics firm 'Cambridge Analytica' (CA) created a personality questionnaire 'thisisyourdigitallife' that accessed data from 270,000 participants. At the time Facebook's rules allowed apps to collect information from the friends of those who participated (even if they did not take the quiz themselves) - and thus CA mined around 50m people. The story broke when footage emerged of the CEO, Alexander Nix, bragging about winning the 2017 presidential election for Trump having used this data to deploy highly targeted attack ads. Social media in politics is not new: Barrack Obama's 'Obama for America App' also utilised Facebook data in 2012, yet the key difference, say Politifact, is that the relationship between participant and campaign was defined, whereas 'thisisyourdigitallife' claimed all collection was for academic use - and therein lies the rule breach. This is the latest in a string of PR nightmares that saw Facebook's stock plummet by $58bn, as myriad companies halted ad spend. After a period of silence - which even Sheryl Sandberg conceded was too long - Zuckerberg met with CNN; took out print adverts; and agreed to face Congress (but not UK MPs). '#deletefacebook' began trending with many taking-up arms, including the co-founder of 'WhatsApp', a Facebook subsidiary. But the scandal kept coming. This time from a senior leader whose memo statedthat the death of users should not come in the way of the company's mission! Expect a root-and-branch review of data usage (which looks bad); and potentially a subscription model to lessen the reliance on ad spend. Tech talk Activist groups are springing-up against the "Hunger Games style" fight for HQ2, as they feel cities are being strong-armed by Amazon. Next, the behemoth is considering offering checking accounts, a move that could save millions in banking fees. Twitter will broadcast MLS soccer over the next three years; Facebook Watch meanwhile will show midweek afternoon MLB games.Uber suspended their self-driving car program after a vehicle tragically killed a pedestrian. Google is banning all cryptocurrency ads. Snapchat stock was knocked (again) after they upset Rhianna with a bizarre 'would you rather' style questionnaire and she hit back. Chance The Rapper suspects that companies like Snap - and Heineken specifically - are making controversial ads precisely to obtain greater reach.  Small But Important

McDonald's stole the limelight on International Women's Day with their upside-down logo. Google meanwhile listed women-led businesses on Maps. Here are some other notable efforts.  

Deloitte research shows that the fringes of retail are actually performing well (Old Navy to Coach) but mid-tier brands are being squeezed by a shrinking middle class.

Nike's brand President Trevor Edwards resigned following reports of behaviour that does "not reflect ... core values".  

Interesting debate on AI in fashion: some defend the role of humans to create style, whereas others believe AI can predict sell-through propensity.  

Voice shopping is expected to reach $40bn by 2022 in the US alone!

Evocative piece that argues putting a rainbow flag on your logo in June is not good enough to attract the LBGT community. Also, the first genderless store 'The Phluid Project' opened in New York. 

Here were the key themes from SXSW. Notable amongst them was human loneliness and women's rights.  

Best Buy's 'Geek Squad' technicians have been serving as FBI informants, reporting computers that they suspect of having child pornography. Controversy surrounds whether or not they are stumbling across images (legal) or actively seeking them (not). 

Dating app 'Bumble' has banned images of guns on their app. L.L. Bean restricted gun sales for under-21s. And asset manager 'BlackRock' has introduced funds that avoid investments in civilian arms manufacturers.

First 'meatless meat', now lab-grown leather (which joins the list of alternative textiles). 

The environmental impact of fashion continues to startle: it is now the second highest consumer of water globally. In response, Gap set itself a goal to save 10bn litres by 2020. adidas aims to use plastic solely from oceans by 2024. L'Oreal US has targeted carbon neutrality by 2019.

Walmart has pledged to cut 50m metric tonnes of carbon emissions from China by 2030. Next, having failed to win over New Yorkers, they are upping the ante with same-day grocery deliveries (via Jet.com); they will deliver to 100 cities by year-end. 

The evolution of physical retail as a destination continues: Walmart are adding 500 FedEx shop-in-shops to reduce last mile delivery costs and drive footfall. Barney's is tapping the Wellness movement with 'Conscious Beauty' products and events in-store. JC Penny are hiring 6,500 hair stylists across the country.  

Madewell will feature in in John Lewis (the UK's Nordstrom). JD Sports, a British retailer with a checkered history of employee rights, has bought The Finish Line. 

In a blow for nostalgia Claire's Accessories and Toys 'R' Us have filed for bankruptcy, in the case of the latter, this is why. 

Insightful first-hand article about the difficulties of fashion for those with disabilities. 

The US State Department may soon ask anyone applying for a non-immigrant visa to offer-up their social media handles from the past 5 years.

And finally! Fragrance brands are known for their in-magazine scented strips however Old Spice inserted a ready-to-wear paper blazer in their GQ ad! "Everyone gets to live the luxurious life of Old Spice Captain. Smell the smells, live the life, don’t go out in the rain." Sea salty. 

[chthulucene]

Walkthrough Method

The walkthrough method is an approach for examining the sociocultural underpinnings of a software application by systematically and critically analysing the app’s interface, infrastructure and interactions. Theoretically based on science and technology studies and cultural studies, the walkthrough method implements the principles of Actor-Network Theory by recognising how technologies shape cultural discourses while simultaneously being products of those discourses.

The method is implemented with following steps:  

1. Examining the “environment of expected use”   This comprises of all the relevant information about how the app’s creators expect the app to be used, operated and governed, including the app’s target base, user scenarios, business strategy, revenue sources, and regulation and management of users. To discover this information the researcher should investigate material also outside the app itself. This includes for example the material about the application on app stores, the app’s website, marketing material, press releases, public statements of the creators, terms of service documents, market information, etc.

2. Performing the technical walkthrough of the app   The researcher simulates user behaviour by engaging with the app’s interface in a typical user scenario, including registration, accessing different features of the app, and terminating the use. The researcher traces and documents key actors in the app’s interface, such as buttons, menus, prompts, textual content and visual representations. Applying the Actor-Network Theory, the researcher assesses how these actors convey and transform meaning through the interactions they invoke, and what embedded cultural discourses and references they communicate.

3. Assessing evidence of unexpected practices After examining the intended user scenario, the researcher should investigate how these intentions can be resisted with unexpected use of the app. This can include utilising third-party services, hacking the app’s functionalities, or other user-led activities regarding the app, such as sharing tips or critique in social media.

Performing the Walkthrough Method: Legal Fling

Vision

The app is meant for recording sexual consent in a legally binding agreement verified by blockchain. Regarding the representations on the app’s website, the target base seems to be young heterosexuals who have sex with non-regular partners. The relationships displayed are mainly between men and women, and the front page prominently exhibits male and female symbols. However also the transgender symbol is shown, although smaller in size. Most representations on the website are of ethnically white people, except the example user’s contact list, which shows some ethnic diversity.

An expected user case is described on the website as follows:

During a fun night you meet your fling. Now it's time to get consent. Does your fling really want to take it further? Simply open the LegalFling app, scroll to your contacts and send a request. Your sexual preferences, including your do's and don'ts are automatically communicated. Are you into BDSM but your fling isn't? LegalFling matches sexual preferences automatically, so you're immediately aware what your fling doesn't appreciate and will not consent to. Hopefully you will not be needing this further down the road. But just in case, feel safe knowing that there is a legally binding agreement. Any violation can be dealt with quickly and privately.

This implies that the expected user is having sex with a person   who is not their regular partner. “During a fun night” suggests that there might be alcohol involved. “Just in case, feel safe knowing that there is a legally binding agreement” seems to describe a scenario where the person has to prove that the sex was consensual, even if the other person claims it was not. Phrases like “Sex should be fun and safe, but nowadays a lot of things can go wrong” suggest that situations with non-explicit sexual consent are a new development, and that the user should be worried of such scenarios. They also mention the #metoo campaign on the website to emphasise the urgency and relevance of the app.

The marketing material repeatedly claims that the app is for “everyone”, but the app seems to be only useful in situations where the user needs to verify that there was consent, and not for situations where there wasn’t. However, on their website’s FAQ section the company tries to alleviate these connotations with following answers:

Are you promoting rape culture? No, on the contrary. Getting explicit consent and expressing your do's and don'ts before sex should be the norm, but it typically doesn't happen. LegalFling is a fun and clear way to set the rules before play.

Can I still change my mind? Absolutely. ‘No’ means ‘no’ at any time. Being passed out means "no" at any time. This is explicitly described in the agreement. Additionally you can withdraw consent going forward through the LegalFling app with a single tap.

Despite calling the sexual relations related to the app ‘Flings’ the user target base includes also people in long term relationships: “This app is also useful for long term Flings. You can add an infinite duration on the contract in the 'settings menu'. For a short term Fling you can limit the duration of the consent to a couple of hours.“

Operating model The website states prominently that the “showcase is powered by LiveContracts.io”, and the footer claims that the copyright of the site belongs to “LegalThings B.V. of Amsterdam, the Netherlands”. The LegalFling app is created by an Amsterdam-based company LegalThings, who’s flagship product is a service called Live Contracts. Live Contracts sells licences to the company’s technology that can be used to create and validate different legal documents using blockchain. LiveContracts are introduced on the LegalFlings website with following incentives:

 LegalFling is a showcase for Live Contracts, demonstrating that an agreement doesn't have to be a 10 page document full of legal lingo that can only be enforced through lawyers. …  We believe that Live Contracts can have a positive change on the world. Accomplishing this requires mass adoption. By tokenizing our license, we want to create an incentive for early adopters and a reward for the community that helps us push this technology.

A button saying “support this project” leads to the LiveContracts page. It seems that the user of the LegalFling app would have to purchase the LiveContracts tokens to create the agreements. Saying that the LegalFling app is a showcase for LiveContracts multiple times on the website seems to communicate that the app itself is not the main product of the company, but more of an publicity stunt to advertise the LiveContracts technology.

Governance

The app is not yet released, but potential users can subscribe for a mailing list on the website. The website claims that the app should have been released on Apple’s App Store an Google Play Store in the end of February 2018.

The only limitation for users is the age: “The minimum age to use the app depends on the minimum age to have sex in your country of residence.”

The privacy and security of the blockchain technology is emphasised repeatedly: “Only the transaction hash is stored and timestamped in the blockchain, so your privacy is guaranteed.”

Legal Fling suggests the app’s authority and trustworthiness in every turn, but the actual legal implications of the app might be nonexistent: The website admits that “To which extent the contract holds up in court depends on your country of residence.”

Walkthrough

I could not register as a user since the app is not yet publicly available. However the website displays the app’s features with multiple screenshots.

1. Requesting consent

The request for sexual consent can be sent to any of the users contacts through WhatsApp, Telegram, Facebook Messenger or SMS. The menu for sending a request resembles the default iOs contacts list, which gives the procedure a matter-of-fact feel. Also the language used throughout the app and on the website has a businesslike, detached tone: referring to sexual partners as “participants”, and notifying the user with blunt, almost comically formal messages with legal jargon such as “Below is an overview of terms your counterparty has requested you to accept before you have sex.”

The app lets users to send request for multiple people, which suggests that the app recognises also non-monogamous relationships. This functionality is visualised with an icon representing one (supposedly) male and two (supposedly) female figures, which denotes the expected gender balance for such relations. However, on the website they display a situation where a person named Rhianna sends requests to two people called Justin and Mick.

2. Fling Settings

The app lets the user to customise the settings of the fling for “setting boundaries and configuring personal preferences”. Again, the menu is visually similar to default iOS.

The app only offers five settings options:

Photo & Video Use condom STDs Explicit language BDSM

The language used in the settings menu is again official-sounding legal jargon. The selection of sexual preferences seems very limited, but interestingly the app suggests that BDSM is accepted as mainstream sexual preference. However, the option of BDSM does not recognise the huge variety of acts that it might entail. The option for condom use indicates male centrism.

The settings are the only part where the app could be useful in proving that there was no sexual consent.

3. Accepting consent

Similar screen to Tinder “Consent with sexual intercourse” Intercourse suggest heterosexual penetrative sex? Image of sender, X and heart Very binary options, leaves no room for changing conditions Swipe left or right Gesture makes giving consent familiar and casual

References:

Legal Fling website

Light, B.; Burgess, J.; Duguay, S. (2016) ‘The walkthrough method: An approach to the study of apps’ in New Media & Society, November 11, 2016.

[inluvwithrap-blog]

Could there be a speculative script industry for narrative games?

Games writers have historically been treated as what Rhianna Pratchett dubbed 'narrative paramedics', brought in too late for an emergency operation to patch up bad story or stitch together characterisation and dialogue to fit the game design.

It often happened because the more invisible art of story and narrative design was taken on by those who can build games. Only at the point when it was too expensive to fix, the story and gameplay didn't gel, characters had no complexity, or the dialogue was hammy and without subtext, did the skill of creating story world logic, narrative structure and characterisation - expressed in actions, events, mechanics, environments and dialogue - get revealed.

As Dan Abnett said in an interview published on GamesIndustry.biz last week: "It's past time studios got past the idea that story is something anyone can do, that it's something that can be scribbled down on the fly by people whose expertise, often brilliant, lies in other areas. It's like expecting your very skilled plumber or engineer to sort out the electrics for you while he's at it."

Hannah Wood, Falmouth University

Game projects overwhelmingly start with those skilled plumbers or engineers; but, what happens when electricians who also understand the complex wiring, plumbing and engineering of the house, have a game idea? How do they find ways to bring a team together and pay plumbers and engineers?

Sam Barlow is the most obvious example. He told me that he self-financed Her Story because "it felt like something that no publisher would want to fund". The outcome was a critical success that reinvented interactive storytelling, sold 100,000 in the first month and swept the board of narrative and innovation awards in 2015-16. So why isn't there a speculative script industry in games that bets on these kinds of dreams in the way the film industry does?

North by Northwest, Butch Cassidy and the Sundance Kid, Thelma & Louise, Lethal Weapon, Basic Instinct and The Matrix were all original ideas, not owned or commissioned by a studio and written by out-of-work hopefuls. At Hollywood parties, those writers were looked upon pitifully, like they must be in bad shape to be working on 'an original'. Then Butch Cassidy became 1969's highest grossing movie, a multiple-Oscar winner, and created a new business model: write first, sell later.

Not all spec scripts become successful movies, but they do introduce more diverse content - so could they work in the video game industry? Especially as game engines like Unity and Unreal become more universally accessible and hardware becomes standardised, making experimentation cheaper, increasing interactive design literacy and reducing the production time spent grappling with technology. Does that free up more time to focus on narrative innovation and its value at the start of the process?

"North by Northwest, Butch Cassidy and the Sundance Kid, Thelma & Louise, Lethal Weapon, Basic Instinct and The Matrix were all original ideas, not owned or commissioned by a studio and written by out-of-work hopefuls"

Technological advances have always impacted narrative possibilities; an early example being increased storage space enabling representation of larger narrative worlds, and aiding the popularity of adventure games in the process. Half-Life 2 was a watershed moment in game narrative, the absence of cutscenes amongst the many innovations that made it so popular. Mods of it (in the form of Dear Esther and The Stanley Parable) then went on to have huge success, inventing the story exploration game/walking sim genre that removed combat mechanics and gave narrative affect primacy over mechanical tasks like shooting and puzzle solving, lowering barriers to entry in the process.

The market for narrative-driven games has only grown; studios recognise that story is a differentiator and narrative isn't just laid over game rules but provides an interwoven set of devices that support and manipulate the actions of gameplay, with every discipline contributing to its delivery and impact. There's still some way to go, and it's a long time since Half-Life 2, but the technical skills required of writers are gaining equal value to other technical disciplines as players demonstrate how much they like story in games, and call it out when it's bad. As a result, writers are more often there at the beginning of the process and integrated with all elements.

Have these changes created the conditions for a business model where writers, or writing teams, fully script an idea that can then be put into production? Especially in a climate where many freelance game writers are based outside studios; and in a context where gamers are calling for more complex characters, and narratives that go beyond hero quest power fantasies, and goal-directed 'entitlement simulators,' to explore the messier and more intimate details of life. As 80 Days writer Meg Jayanth said in her GDC 2016 talk: "Whoever heard of that great novel where the protagonist got exactly what they wanted all the time?"

Games are a different animal to novels, film and theatre, and there are different aesthetic and technical decisions to be made, not least with the current limits of AI heavily impacting on the use of narrative devices. Writers in games need to be collaborative and can't think the script has all the answers; it doesn't in film or theatre either, but what it does offer is a place where new ideas can be experimented with on the cheap.

"Games are a different animal to novels, film and theatre. The current limits of AI are heavily impacting the use of narrative devices"

Academic research has identified how stimulating players with goal-directed mechanical tasks, like shooting and puzzle solving, can stymie empathetic engagement - a cornerstone of narrative impact. This might go some way to explaining the success of story exploration games, where the goal is to assemble narrative, rather than to dominate, solve or win. These games have found ways to traverse the limits of AI, that make it easier to shoot NPCs than have a conversation, and deliver narratives that tackle intimate and everyday human realities. Dear Esther reached profitability in 5.5 hours, Gone Home sold 250,000 copies within six months, Firewatch is on 700,000 in a year and a half, What Remains of Edith Finch has sold 50,000 within two months on Steam, and more on PS4 (these figures are all taken from online sources).

I'm one of a demographic with a hunger for shorter play, story-driven games that pair self-directed gameplay experience with empathetic narrative immersion. I'd rather sit down with one of them and a pizza on a free weekend than watch Netflix. I want to make a business of them too and, in the past few years, developed a script and design for a crime drama video game called Underland.

source:http://www.gamesindustry.biz/articles/2017-07-11-could-there-be-a-speculative-script-industry-for-narrative-games