#import export lectures

[olderthannetfic]

Any way you could recommend some sort of intro guide to fantasy for dummies to me?

I'd like to have a couple of magic related elements in my fics sometimes, but I'd like to sort of, sidestep the world building part if possible.

So is there some kind of bare bones universal structure I could borrow from as a reference point for like, a magic system? I don't want to embarrass myself by showing i know so little of the rules I'm breaking them all over the place. And I know tons of people have fun figuring out how things work mechanically, so I'd love being able to outsource from them so to speak because that's not what up my street at all.

--

Hah! There are so many versions of "fantasy". Right now, I'm brainstorming for a very elaborate secondary world fantasy that's heavily inspired by wuxia but not claiming to actually be wuxia. I'm trying to figure out what Western elements I want to work in and how I can come up with names that don't make me cringe.

There is no one bare bones guide and there cannot be because different subgenres have nearly nothing to do with each other. In fact, even calling it collectively "fantasy" and thinking that these subgenres belong in one category together depends on location and era.

If you want to know about magic systems... oh dear... I'm going to have to recommend... you all know it's coming... Brandon Sanderson's lectures. There are some on Youtube.

--

But before you go look at a guide, I think it's important to understand the parameters and discourse around this subject. Sanderson is the poster boy for unnecessarily complex systems that appeal to the kinds of guys who fill out wikis of canon minutia and complain that the grain harvest and export policies don't make sense in derivative fantasy doorstop #57. This kind of fan annoys the bejesus out of people who care about theme and allegory. Also the many people who've noticed that Sanderson's books would probably be better at 200k than 400. >;D

Sanderson himself is much less of a dumbass about the topic, thankfully. He talks about how there are systems that work like real world science: put in X grams of magic thing one and Y grams of magic thing two, and you get a predictable potion result. But there are also systems that are more numinous. In the same book, you may find magic that's your most boring physics homework and magic that's essentially a religious experience where strict categorization and the logic of the laboratory have no place. There can also be systems that are unknowable and systems that your characters don't understand but that the audience grasps are perfectly logical to an expert.

--

If you're using magic as set dressing in fic, decide what the vibe is and pick a system that supports that. Don't bother going full Sanderson.

Fairy tale: Magic works on feels. Twu wuv will revive dead people for no reason, and you do not need to justify anything as long as it feels right. Hanahaki fic rarely bothers to explain the science. We all know it isn't about that.

Harry Potter: Unholy mix of fake-science and rule-of-funny. You should probably pick only one to copy. If it's fake science, just write about the characters half remembering chemistry class and replace all the words with technobabble.

For another example of rule of funny, check out The ABCs of Spellcraft by Jordan Castillo Price, a gay romance series where all of the magic is puns and stupid wordplay and the general tone is extremely silly. In book 1, a villain tells his magically compelled goon to take the hero outside and "pound" him. The hero takes one look at all those muscles and is like "You know, that instruction can be interpreted multiple ways!"

Some systems are full of stupidass levels out of a video game with actual numbers. This gives fans of stories about leveling up a massive boner, but it is undesirable in most fic. Instead, treat magic like intelligence or learned skills: You know some people are naturally smarter and some people have learned more, but measuring it with a precise number is both impossible and obnoxious.

--

Decide if your magic is hereditary or learned. Western fantasy is full of hereditary magic, including magic with a simple on-off setting: you're either magical or you're not. Eastern fantasy tends to go with highly variable natural aptitude but systems that anyone can theoretically learn.

Decide if your magic is extremely literal and science-y, even if the characters don't know how their laptop works, or if it's more of a metaphor for love or social forces or if it's just a witchy aesthetic because who doesn't love a coffee shop with a punny name and pentagrams on the cups?

A lot of backdrops for shippy fic are vibes-based only. They don't stand up to the world building police, and they don't need to.

Just don't tag the fic as 'magical realism' unless you actually know what that means and are actually writing that.

[probablyasocialecologist]

An innovation that propelled Britain to become the world’s leading iron exporter during the Industrial Revolution was appropriated from an 18th-century Jamaican foundry, historical records suggest. The Cort process, which allowed wrought iron to be mass-produced from scrap iron for the first time, has long been attributed to the British financier turned ironmaster Henry Cort. It helped launch Britain as an economic superpower and transformed the face of the country with “iron palaces”, including Crystal Palace, Kew Gardens’ Temperate House and the arches at St Pancras train station. Now, an analysis of correspondence, shipping records and contemporary newspaper reports reveals the innovation was first developed by 76 black Jamaican metallurgists at an ironworks near Morant Bay, Jamaica. Many of these metalworkers were enslaved people trafficked from west and central Africa, which had thriving iron-working industries at the time. Dr Jenny Bulstrode, a lecturer in history of science and technology at University College London (UCL) and author of the paper, said: “This innovation kicks off Britain as a major iron producer and … was one of the most important innovations in the making of the modern world.” The technique was patented by Cort in the 1780s and he is widely credited as the inventor, with the Times lauding him as “father of the iron trade” after his death. The latest research presents a different narrative, suggesting Cort shipped his machinery – and the fully fledged innovation – to Portsmouth from a Jamaican foundry that was forcibly shut down.

[...]

The paper, published in the journal History and Technology, traces how Cort learned of the Jamaican ironworks from a visiting cousin, a West Indies ship’s master who regularly transported “prizes” – vessels, cargo and equipment seized through military action – from Jamaica to England. Just months later, the British government placed Jamaica under military law and ordered the ironworks to be destroyed, claiming it could be used by rebels to convert scrap metal into weapons to overthrow colonial rule. “The story here is Britain closing down, through military force, competition,” said Bulstrode. The machinery was acquired by Cort and shipped to Portsmouth, where he patented the innovation. Five years later, Cort was discovered to have embezzled vast sums from navy wages and the patents were confiscated and made public, allowing widespread adoption in British ironworks. Bulstrode hopes to challenge existing narratives of innovation. “If you ask people about the model of an innovator, they think of Elon Musk or some old white guy in a lab coat,” she said. “They don’t think of black people, enslaved, in Jamaica in the 18th century.”

[justforbooks]

Stieg Larsson

His Millennium trilogy was a worldwide hit. But to the Swedish author, it was only ever a sideshow to his true life’s work: fighting fascism, racism and rightwing extremism

It is a relatively well-known fact that the author of the bestselling and most widely known Nordic noir crime series of all time never got to witness his own success. Swedish novelist Stieg Larsson died of a sudden heart attack 20 years ago this week, aged only 50, before the publication of The Girl With the Dragon Tattoo and the Millennium trilogy that followed.

What is less well known is that on the day of his death (9 November 2004), Larsson was due to give a lecture on the Nazis’ November pogrom at the headquarters of the Workers’ Educational Association in Stockholm. Kristallnacht, “the night of broken glass”, was an important date in Larsson’s calendar, which he commemorated every year. To him, it epitomised the abyss of far-right extremism he spent his life fighting.

Larsson’s life as an antifascist activist has been increasingly overlooked in the wake of his books’ phenomenal global success. One of Sweden’s most lucrative literary exports, the Millennium series has sold more than 100m copies across its various titles, according to publisher Norstedts. The novels have since been adapted into a number of Swedish TV films, a Hollywood blockbuster starring Daniel Craig, and expanded into two further trilogies by two other authors.

“And yet, the trilogy is only one episode in Stieg’s journey through the world, and it certainly isn’t his life’s work”, his life partner, Eva Gabrielsson, wrote back in 2011 in her memoir. Gabrielsson refers to the “Stieg of the ‘Millennium industry’” as being created after his death. The Larsson she knew was an unwavering antifascist – a deeply rooted conviction that shines through passage after passage of his page-turning crime thrillers.

Two decades on, the novels read like a gloomy premonition of Sweden’s political landscape to come, with the far-right Sweden Democrats a de facto part of the governing coalition since 2022. Larsson exposed the undemocratic underbelly of a country usually associated with Scandinavian exceptionalism rather than murderous Nazis. It was a side of Swedish society he knew all too well as a journalist.

In The Girl With the Dragon Tattoo, a suspenseful whodunnit set on a fictional Swedish island inhabited by a wealthy industrialist family, Nazi pasts are never far beneath the surface of the plot. The Vanger brothers – Richard, Harald and Greger – were all members of the extreme right organisation New Sweden, with Harald becoming a “key contributor to the hibernating Swedish fascist movement”. The investigative journalist Mikael Blomkvist later finds photos of Greger with Sven Olov Lindholm, a Swedish Nazi leader in the 1940s. And the fascist ideology of Richard – grandfather of the missing Harriet and her vicious brother Martin – led him to the Finnish trenches in the second world war.

In the sequel, The Girl Who Played With Fire, we find the biker gang Svavelsjö MC (whose logo features a Celtic cross, a symbol common among white supremacy groups) at the centre of a sex trafficking ring. The gang is well connected with the organised extreme right: its number two, Sonny Nieminen, has had dealings with neo-Nazi groups such as the Aryan Brotherhood and the Nordic Resistance Movement while in prison. Lisbeth Salander’s nemesis and, as it turns out, brother – a giant brute who feels no pain called Ronald Niedermann – was part of a skinhead gang in the 1980s in Hamburg, we are told; it’s a nod to a nascent far-right subculture in Germany responsible for arson attacks and murders.

And in Larsson’s final novel, The Girl Who Kicked the Hornets’ Nest, Blomkvist and Salander expose a shadowy clique within Swedish intelligence called “the Section”, comprised of members of the extreme right Democratic Alliance. “Within the Section this was no obstacle,” we learn. “The Section had in fact been instrumental in the very formation of the group.”

While the Millennium trilogy touches on many themes, especially violence against women (the original Swedish title Larsson insisted on for the first novel translates as “Men who hate women”), Larsson condemned the Swedish far right’s influence at all levels of society.

These convictions were rooted in his biography. His grandfather, with whom he grew up with in the icy north of Sweden, was an anti-Nazi communist imprisoned in an internment camp during the second world war. The grandfather would recount the horrors of the November pogrom, leaving a lasting impression on the young Larsson, himself a committed activist, first in the anti-Vietnam war movement, then in Maoist and Trotskyist circles. But it was Larsson’s commitment against the far right that would shape his politics for the bulk of his life.

In 1979, Larsson joined the Swedish news agency Tidningarnas Telegrambyrå, where he spent the next 20 years of his modest career as a low-level journalist. But as rightwing extremists began robbing banks, stealing weapons and murdering people in Sweden in the mid-1980s, Larsson became the agency’s go-to expert.

From 1983, he began writing for the British antifascist magazine Searchlight as a Stockholm correspondent. In 1991 he co-authored a Swedish-language book on rightwing extremism. And over the years he penned numerous reports and articles on contemporary antisemitism and the far right for organisations and institutes in Israel, Belgium and France.

A pivotal moment came in 1995. Larsson co-founded the Expo Foundation, which publishes a quarterly magazine on racism, antisemitism and the far right to this day. By 1999, it had become his day job. It was a calling that came at great personal cost, landing him on neo-Nazi hitlists. He received bullets by post. Colleagues were targeted through shootings or car bombs. According to Gabrielsson, it was for security reasons that they did not marry, leaving her without inheritance rights under Swedish law.

“Stieg was a nerd at heart, but there was a certain machismo to covering the far right in the 90s,” says Daniel Poohl, head of the Expo Foundation since 2005. “It was men researching dangerous other men and sometimes that meant having a baseball bat to protect yourself. Because that’s what you do when you feel that you’re on your own.”

Poohl is sitting in the first floor office of Expo in a nondescript block in a residential neighbourhood in Stockholm. Framed covers of the compact, stylish magazine, which today has 7,000 subscribers, adorn the wall behind him. In the next room, the 14 staff members are busy planning the coming issue, page drafts of which are plastered on the wall.

It’s hard not to think of Larsson’s fictional investigative publication Millennium, with which there are plenty of parallels in the novels. “A lot of people have said to me that Millennium is basically Expo,” says Poohl. “But it’s not. Millennium was the ultimate dream magazine. Stieg was a bad businessman, so it would never work in real life.”

The success of the novels, which Larsson wrote in his spare time, has partly helped the foundation, however. A representative of Larsson’s estate said that the holding company that controls it has donated a total of over 40 million Swedish kronor (£2.9 million) over the years, which “have clearly been crucial for Expo’s activities.” .

Poohl from Expo confirmed that the foundation received one off payments, as well as an additional yearly support from the Larssons for a period and a cut of the fourth novel in the series, The Girl in the Spider’s Web, published in 2015 and authored by David Lagercrantz.

“People sometimes think we received a lot of money through the books, but it’s less than they think,” he says. “We’re thankful for the financial support that we have received during the years. But the royalty agreement has since ended.” Poohl adds: “The sad part is that Stieg didn’t get to use his fame to further his political work.” Joakim Larsson, his brother, declined an interview request due to health reasons. Gabrielsson, now 70, didn’t respond to multiple interview requests.

With the electoral success of the far-right Sweden Democrats, a party rooted in Swedish nazism, Larsson’s political nightmare has in many ways come true. “He tried to show that they weren’t simply a gang of madmen plotting to infiltrate Swedish society … but a real political movement that had to be combated through political means,” wrote Gabrielsson back in 2011. The “Millennium millions”, as a Swedish documentary has called the fortune made through the trilogy, would have undeniably been a big boost to his other life’s work.

Daily inspiration. Discover more photos at Just for Books…?

[brandwhorestarscream]

oh please i need to hear more about the weather factory

Hella!!

So, the weather factory is Vos is run entirely by the Rainmakers. Unlike earth, Cybertron doesn't have naturally occurring precipitation. There's no water cycle, for obvious reasons. They still have winds caused by different temperatures on the planet and vertices at different points, but you didn't come here for a meteorology lecture. The point is, the only way it can rain on Cybertron is thanks to the work of the Rainmakers

The acid rain on Cybertron comes in two forms: high pH and low pH. Both types are secreted naturally by the Rainmaker seekers, as just part of their biology. They're born that way, each sparkling producing one of the two types of acid. As a general rule, whatever type they're born with is the type they'll have all throughout life, but they're nsturally immune to both. Now, low pH rain is more famous: that's the type at a 1 or 2 on the pH scale, think hydrochloric, sulfuric, and muriatic acids, the type that burn and melt through just about everything they touch. The low pH rainstorms are most often used to cleanse the cities of filth and grime: a swift downpour of acid causes everything but specially made buildings to melt down and be easily disposed of through the drainage systems. High pH acids, on the other hand, don't burn, but are incredibly toxic. Touching it won't kill a mech, not by a long shot, but it can poison them and make them very sick. It absorbs through living mesh and metal alike, a single drop chock full of multiple strains of viral matter and a shit load of microscopic crap that's really bad for cybertronians. This rain is the type that allows crystal flora to flourish: they absorb the different infectious contaminants and convert them into energy to further their growth. Without it, they're likely to wither and die.

Both types of storm are made exclusively in Vos's weather factory, made to order and shipped out (escorted through the sky) by the Rainmakers. This specific branch of seekers is responsible for all precipitation on Cybertron, and as such, is one of the things that allows Vos to remain an independently governed entity. They have close business relations with Praxus and Crystal City, sending them periodic high pH storms to allow their crystals to grow, trading for energon. As Vos is a sky city that orbits Cybertron, it has no source of fuel of it's own. They also do business with all the other citystates, though less frequently: each city orders a handful of cleansing low pH storms every vorn, to keep things nice and squeaky clean. Generally, the more well-off a city is, the more often it rains. As such, the Rainmakers are a vital part of Vos's economy and infrastructure, but also the entire planet's ecosystem as a whole.

The weather factory is ruled and managed by one of Vos's 6 major noble houses, the House of Storms, and works most closely with the House of Diplomacy. The vast majority of Rainmakers are related in some way or another: it's a pretty rare gift, and the nobles are very good about quickly snapping up anyone that happens to possess the mutation and marrying them into the family (oh yeah, the gene that makes Rainmakers secrete their acid is technically a mutation. A dominant one that doesnt require double recessive inheritance. Basically if a Rainmaker has kids, their children are guaranteed to be Rainmakers, but it can also occur randomly to s child born to "normal" seekers at likena 0.00005% chance. Anyway. Genetics rant over). Rainmakers are treated very, very well in Vos, one of the pivotal figures that has an iron grip on arguably the most important export the city has.

It's not all sunshine and rainbows for the Rainmakers, however. They live rather isolated lives on account of their acid: it constantly secretes from their bodies, some more than others, to the point they're pretty much always dripping. They leave puddles wherever they stand, and wet footprints when they walk. As such, they're a walking contamination zone and an accident waiting to happen: touching another mech will either poison or burn them. They live in a specialized noble aerie tower, everything inside made of or coated in extremely basic material that acts as a buffer to their droplets. Though they're primarily nobles they rarely have in-person contact with others of their standing, keeping to themselves for everyone's safety. The weather factory is entirely under their jurisdiction: orders come in, they fill them, they ship them out, rinse and repeat. It's the only work most of them will ever know, and when there are sometimes long stretches between orders, they have lots of time to play and entertain themselves.

I hope that answered your question well enough! If not, uh. Come yell at me in my ask box and lmk what I missed 😅

[adaines-furious-feast]

You know what's bleak, the fact adventuring is so important to the world but is out of reach for the general person.

Adventuring is one of the key export markets for Solace and we know most of the world doesn't have their levels of technology. Solace adventurers are needed around Spyre for terrifying quests. But in The Seven, its clear that most adventuring parties need a patron to fund them. Apparently this essential service is a private industry?

So it's exclusive to those able to find funding. It reminds me how, at least in the UK, most news outlets require unpaid internships. When I was studying, my lecturer pointed out many young, left leaning journalists start out at Daily Fail because, even though they don't agree with the paper, they paid new journalists. You either have the money behind you to do unpaid work, or you bite the bullet and work in gross places.

In Spyre, most (financial) patrons are dragons. The Seven were unwilling to bend on the "no dragons" rule but how many other adventuring parties can't afford to stick to morals if they want to continue adventuring.

And then there's even the costs involved in training to be an adventurer. We see how expensive it is for wizards, but also clerics and other spellcasters with material components. There doesn't seem to be financial support and I'd bet loads of students drop out of Augefort due to costs. The way The Bad Kids and everyone else mocks or looks down on Mumple is even more depressing when you see them as all the people who don't get the chance to go to Augefort.

And then there's even the costs involved with moving to Elmville because apparently this is the only adventuring academy?

All this is to say its messed up that we lock the lower economical class out of industries that inevitably produce people in positions of power who need to consider the needs of the lower class but don't because they don't understand those needs.

[mineofilms]

Perfection is just another kind of fake

Faking It: On the Ethics of Fake Musicianship, Perfection Culture, and Why Intention is Important

This isn't gonna be some finely tuned thinkpiece or perfectly structured deep dive. It's more like a sprawl of thoughts I've been having while in a two-week mental and creative rut. I am sitting there watching Adam Neely's The Ethics of Fake Guitar and thinking back on my own creative past and present. I’m not here to lecture anyone on how to do it, and I’m not pretending I’ve got a definitive answer to anything, but I do have a compass, and that compass always points to intentionality. I still feel all I have that is truly my own is intentionality. So let’s talk about what it means to fake something, what it means to chase perfection, and what happens when the internet—and especially social media—gets ahold of all of that and changes that intention to an expectation. With that expectation based on a lie for monetary gain.

Part 1: NO-Budget Filmmaking, Perfection Culture, and Reflections in the Mud

I went to film school from 1999 to 2004. A community college that no longer exists. Part-time. Full-time job just to stay afloat, and I was lucky enough to have family that kept a roof over my head and a plate of food in front of me. But camera gear? Editing bays? Glossy production? Even Time… Forget it. I was scrapping together Mini-DV setups and busted PCs, praying they wouldn’t crash before I could save the project file. That’s where I come from—NO-budget filmmaking. Capital N-O. That mindset never left me. After college I struggled to find stable employment. I basically kept truckin’ along filming what I could and make something out of it. I still make things with what I have. If something sucks in the final product, it’s not because I didn’t care. It’s because I couldn’t afford better. And even if I could, I probably wouldn’t obsess over it. I care more about what I’m trying to say than how glossy it looks. People chasing that “Aesthetic of Perfection” are chasing ghosts. They’re chasing a version of a thing they think they saw, not what’s actually there. Could be a statement on our human society experiment. What happens if you stop chasing that and start creating from where you are instead?

Because Here’s the Truth: Perfection is Just another Kind of Fake.

Part 2: The Line Between Editing and Faking Ain’t as Clear as People Pretend

Now let’s get into the thick of it. Is editing a live performance “faking”? Depends. If you’re just sweetening the sound—cleaning up the EQ, leveling things out, maybe patching a glitchy mic—that’s post-production, not deception. I don’t think anyone should be faulted for wanting to make their performance presentable. Especially if they’re filming on a cell phone in a garage or bar with poor sound and/or acoustics.

YouTube’s compression algorithm noticeably degrades audio quality during upload, especially in the higher frequencies—cymbals, vocals, and clarity tend to get flattened. After extensive trial and error, I found that exporting the final video using VSDC in the .mkv format with PCM S16LE audio encoding preserved far more of the original sound. Unlike standard .mp4 exports with AAC compression, which YouTube compresses more aggressively, the .mkv + PCM combo seems to bypass some of that automatic degradation. It’s not perfect, but the improvement is real—especially for trained ears—and it’s become my go-to method for getting cleaner audio onto the platform. That's not me trying to deceive anyone. That's me working with the limitations, trying to squeeze as much juice out of the lemon as I can with the controls I have. But yeah, if you’re miming along to a studio-recorded track and selling it as live, you’re crossing into a different territory. And here’s where it gets messy: It’s not just what you do, it’s how you frame it. Your, ‘intention…’ If you tell the audience what you’re doing, most people are cool with it. It’s the hiding part that rubs people wrong. Transparency covers a lot of ethical ground. The ones that actually can do these amazing things. They worked incredibly hard to get there. AND in many cases most of them never really got the recognition and real profits from their work, which they should be credited and even paid in my more cases than not.  

Part 3: Social Media and the Great Monetization Lie

Here’s where the whole thing twists into something nastier. This drive for perfection—this impulse to fake your way through—it’s not happening in a vacuum. Social media monetization has created an entire ecosystem where people aren’t making art anymore. They’re not even really making products. They’re making content. And more specifically, they’re selling themselves as content. Their personality, their lifestyle, their vibe.

Somewhere between 13 and 45, an entire generation got convinced that if you were fun at parties and worked retail that one summer, you were just a ring light away from being a brand ambassador. What they’re selling isn’t just a product—it’s the belief that if they say it’s cool, it must be cool. And sometimes? That works. Some people can sell that illusion. But most people can’t. Most end up chasing something that was never actually real to begin with: the idea that charisma alone can substitute for experience, skill, or hard-earned credibility. What we’ve ended up with is this fake hustle culture. People “working hard” on building their brand—but it’s all image. It’s cinematic. You know how movie characters only face the parts of life that move the plot forward? Nobody in a movie spends three hours troubleshooting why their WiFi won’t connect to the printer. That’s what we’re doing now. We’re cutting out all the unglamorous stuff—the years of grind, the failed attempts, the dead ends—and presenting a highlight reel as if it were a documentary.

And the result? People think they’re working hard, but they’re not actually doing anything. Because in real life—especially with tech, with music, with film—you have to know what you're doing. There’s work involved. But the illusion sold on social media says you don’t need that. You just need to be seen doing the work.

And this is the part that really gets under my skin: what people now call “influence” or “reach” used to be called resources. It was marketing budget. It was connections. It was a studio or a label or some angel investor quietly bankrolling the whole thing while pretending it was just some quirky girl in her bedroom making videos on her phone. It’s not grassroots. It’s AstroTurf. There’s a whole industry out here trying to convince you that these influencers are “just like you,” and some are. However, in many cases the reality is they’ve got deep-pocketed support, production teams, and years of unseen infrastructure propping them up.

What they’re selling isn’t a product, or even a skill. They’re selling belief. They want you to buy into them. And that’s wild to me. That’s televangelist territory. And yeah—not everyone online is doing this. There are legit creators, legit businesses, real product testers that influence product trends.

A “confidence game,” or con, is a method of manipulation where someone gains your trust (your "confidence") in order to exploit it. It's not always about outright lying—it's about framing something believable enough to get you to invest, commit, or act… even if what you're committing to has no real foundation. This solely operates on trust and belief, not substance—a more nuanced and stronger word for it could be is "speculative branding" or more sharply, "belief-based marketing." A term that captures the illusion of substance—where the product is really just the belief in the product—without a clear product, goal or vision.

This type of influencing has now krept into the social media world of performance art like guitarists, drummers, even vocalists, all trying to sell the idea that if you "buy in," you’ll be part of something profitable.

But in truth:

The asset is often unproven.

The odds of success are downplayed or hidden.

The story is polished to hide the risk.

You're investing in their ability to attract others, not in a tangible return.

This is classic con structure:

Gain trust through charisma, social proof, or flashy success stories.

Present belief as product, appealing to your emotions or FOMO.

Shift risk onto the buyer, while keeping the seller insulated.

Profit off belief, not substance.

But like anything else—music, politics, religion—the scene gets polluted by people who are just gaming the system. You see it in politics all the time. New tax law drops? Within a week someone’s already figured out a loophole. That’s the American tradition now: don’t work harder, just find the cheat code. Circumvent the rules so you can look better than you actually are. Especially online, where one rarely has to actually prove anything they do. Numbers, views, hearts, likes, even comments can be generated by AI in mass to manipulate how much “influence” a channel, account, business or single person has. That mindset has bled into how we think about success. It’s no longer about doing the most logical, skilled, or creative thing to reach your goal. It’s about finding the path of least resistance that still looks good on camera.

So yeah—when someone fakes a guitar solo, or mimics a live performance, or cuts corners in post and sells it as raw talent, it’s not just annoying—it’s part of a bigger problem. It’s another symptom of a culture that values perception of substance over actual, real substance.

Part 4: Intention Matters More Than Tools

Let me be clear—I’m not anti-AI. Not even close. Hell, this whole essay was structured with the help of AI. When I’ve got too many thoughts colliding in my head and can’t quite nail the phrasing, I bounce ideas off it. I test tone. I reorganize arguments. I care deeply about semantics, and sometimes it helps me not butcher my own meaning. That’s a gift, not a threat. I’m also a scatterbrain, if I’m being real. And AI helps me reign it in. That doesn’t mean it wrote this. It means it helped me shape this. Like a co-writer, or an assistant editor. I’m still driving—it just helped clean the windshield.

What bugs me isn’t people using AI. It’s people pretending they didn’t. Acting like every word or note or design choice sprang perfectly from their untouched genius. Like, why? Most content isn’t made by one person anymore. It’s usually a team, or at least a couple of close collaborators. If your buddy helped with camera work or gave you feedback on your mix, you’d thank them. You’d credit them. So why wouldn’t you do the same with AI, if it helped shape the thing? And honestly, I don’t even mind if AI does a lot of the work. Sometimes that’s necessary. Sometimes that’s how you get unstuck or get something done at all. But just say so. Give the tool its due. Don’t slap your name on an AI-written book like you typed it all out on a typewriter in a cabin. That’s not authenticity. That’s performance.

Same deal with music production. You want to use backing tracks, drum machines, pitch correction—do it. We’ve been doing that since the tape deck. But be up front. Don’t roll out a video where you look like you’re playing note-for-note perfection when it’s really comped to hell and back. The problem isn’t the tool. It’s the pretending. It’s the whole “fake it and act like you’re not faking it” loop we keep finding ourselves in.

But—and this is important—I also get the weird beauty in it. Sometimes the fake stuff does lead to real growth. A kid sees a faked guitar solo, and maybe they don’t know it’s fake, but it lights a fire. They want to play like that. They go chasing that sound. And in the process, they get good. Really good. Better than the faker, even. That’s the contradiction. That’s where I agree with someone like Rick Beato or Adam Neely—it’s complicated. Sometimes the illusion plants real seeds and the fruits from those seeds we all enjoy and get emerged in. And that’s not nothing. That absolutely is something.

So I don’t think it’s a question of “should you use AI or not.” It’s about your intention. Are you trying to express something? Or are you just trying to appear impressive? That’s what separates art from content. One is a reflection of the self. The other is a pitch deck with candy flavored vibes.

Part 5: Genre Codes, Gatekeeping, and the Woke Redefinition Game

The genre stuff at the end of that video? Yeah, that wasn’t just noise to me. What Adam Neely was getting at is that a genre or sub-genre isn’t just a checklist of sounds and styles—like tempo, tuning, instrument choice or technique—it’s a kind of social contract. A shared code among a community about what’s authentic, what’s fake, what’s sacred. And that hit home for me. I’m a metalhead. I’ve watched these battles happen in real-time—arguments over what counts as “real” metal, or who gets to fly the flag of some niche sub-genre like they invented it. Is deathcore “true” death metal? Is nü-metal a joke or a gateway drug? Is Djent a sub-genre at all or just a sound, like an effect? The tribal lines are drawn in every comment section. But here’s the twist: this isn’t just about sound. It’s about values. Identity. Cultural territory. That used to be messy enough on its own. Now throw in woke subculture, and the whole thing gets distorted beyond recognition.

Woke thinking—at least how I see it—tries to take minority arguments and attempt to make them majority arguments. Take a widely agreed-upon bad idea, strip away some of the baggage, repackage it with newer language, and then scold anyone who doesn’t clap along. It’s not progress. It’s marketing. And now it’s invading art, music, genre, and scene dynamics. Suddenly, people aren’t just fighting over whether a band fits a sub-genre. They’re fighting over whether that genre itself is problematic because of what someone said on a podcast or tweeted in 2007 about social dynamics at that specific time to them. You’ll see this play out in ways that sound harmless at first. Someone says a genre is “too masculine” or “too violent” or “too whiney,” and suddenly, the subculture has to shift to accommodate a narrative that was never really part of the music’s DNA. These criticisms start as niche takes, but thanks to social media and algorithmic validation, they balloon into mandates. Then comes the guilt-tripping, the digital shaming, the weird re-education process: This sub-genre is actually about this now, and if you don’t agree, you’re a bigot, gatekeeper, insert buzzword here.

And if you push back? You’re “toxic.” You’re being “negative.” “Out of touch.” Just another troll who doesn’t “get it.” Never mind that the whole point of subculture was to resist conformity in the first place.

It’s like every genre has to go through a weird spiritual audit now. Not just “what does this sound like?” but “what does this say about your politics? You as a person?” Which is insane. Music is supposed to be a place for escape, for release, for raw emotional reaction and entrainment—not a damn TED Talk with fake playing guitar solos.

And then there’s this individualist twist where people experience one thing, and suddenly they try to rewrite the entire genre canon around their feelings. “Well, I listened to X and it helped me through Y, so now this genre is about Z.” I get that it meant something to you. That’s valid. No one is saying one or a few cannot come together and share this thing in a different light. But your emotional reaction doesn’t overwrite the cultural framework that genre came from. Not every genre needs to be soft and affirming. Not every lyric needs to be therapy. Some of it’s supposed to be ugly, aggressive, nihilistic—because that’s what it’s channeling. We’ve got a generation trying to fix things that were never broken to begin with. And what we lose in the process is the texture, the risk, the rawness that made these subcultures worth fighting for. You can’t remap black metal or punk or horrorcore through some feel-good HR training lens. You’ll sand off everything that made it matter.

Community norms didn’t collapse because people stopped caring. They collapsed because people started pretending anything goes as long as you can spin a social virtue out of it and gas light people into treating you like a victim. When you are a victim of your own making. It’s not creativity. It’s control—dressed up in the language of inclusion. And I’m not saying “keep things pure” like some frothing elitist. I’m saying stop treating cultural identity like it’s a choose-your-own-adventure morality tale. Some things actually have context. History. Meaning. Rules. That’s what makes them genres. That’s what makes them powerful. Its ok to change things. That is what sub-genres are for. A variation of the original with nuanced twists. Nü-metal isn’t a joke or a gateway drug to nonsense-core but a nuance of fusion from a decade before. That is all nü-metal is; a fusion of different styles and it was heavy and closer to metal than hip-hop, funk, electro or reggae. At the time it was a huge shift from where metal was in the 1990s. The labeling name makes sense. That is how these things happen. But more importantly ‘why’ they happen.

Part 6: In the End, It’s Still About Intention

Look. I’m not here to say don’t fake anything. I’m saying know why you’re doing it.

If the goal is to share an idea, an emotion, a perspective—and you’re using every tool you’ve got to get that across—cool. Go for it. Cheat the lighting, filter the hell out of it, remix, repackage, whatever. If it’s in service of something real, that intention comes through.

But if the goal is to game the system, farm dopamine, and dress up clout-chasing as “authenticity”? That’s not creativity. That’s commerce wearing a cosplay wig. That’s performance art with no art. And yeah, the internet’s always had fakery—but now we’ve got people with delusions of grandeur being handed tools that amplify those delusions at scale. Taking away from real creators just trying to get some momentum in life with the talents and creative things they do. To fake it to directly take away from lesser people’s efforts and propped one’s self higher than they actually are is the worst kind person out there. The damage isn’t just in the trick—it’s in pretending there wasn’t a trick to begin with.

Social media was supposed to be a quick peek into someone’s day. A way to stay connected during the in-between moments of life. But now it is the day. It’s the job. It’s the hustle. It’s a 24/7 grind machine full of fake smiles, fake stories, fake lives—people living like avatars of their best guesses at what other people might want to click on. This isn’t a shot at real salespeople with real track records who just adapted to new platforms. Sell stuff. Talk about what you love. No shame in that. The problem isn’t sales. It’s when the entire persona is a lie, built to manipulate good intentions for personal gain. That’s where I draw the line. Intention is everything. If your intention is pure—even if the result is messy, flawed, imperfect—no one with a conscience is gonna fault you. But if you use sincerity as a prop, if you twist trust into currency, if you hijack empathy just to raise your stock... that’s not just wrong. That’s objectively wrong.

And yeah, I said objectively. That word still means something. It means something is true regardless of your feelings, your preferences, your influencer score and your influence upon it. It doesn’t need you to function. The universe doesn’t care if you’re trending. It doesn’t care if your lighting is good or if your truth gets applause. The universe is indifferent. It gives zero fucks. But we should care. Because the moment we stop caring about intention—the moment we start pretending that subjectivity is objectivity—we lose the thread. We let the algorithm tell us what matters. And we forget that what we intend is what makes us human in the first place.

So yeah, maybe this all gets me fewer views. Less reach. No monetization. So be it. If I’m gonna be seen, I want it to be me being seen. Not some echo of someone else’s polish. Not a mask of greatness I haven’t earned.

Just me.

Raw, flawed, real.

And that’s enough.

Perfectio est aliud genus ficti Latin: Perfection is just another kind of fake by David-Angelo Mineo with editorial assistance from a Generative Pre-trained Transformative Artificial Intelligence 5/4/2025 3,504 Words

[ohsoromanov]

Scottish writer, journalist and traveler John Foster Fraser, who visited Russia numerous times and in 1916 received the highest permission to export the unique film to England for demonstration at his lectures.

In the UK he lectured on 'What I Saw in Russia' for several years. One can only regret that Empress Alexandra Feodorovna forced Fraser to cut out shots in which Nicholas II, in her words, "lost his imperial dignity" - for example, lying in the snow or losing to his daughters in tug-of-war. However, the remaining shots are very entertaining.

John Foster Fraser recalls how, during his stay in Petrograd in the summer of 1916, Nicholas ordered a cinematograph operator to compile into one movie several films that showed the imperial family “in non-imperial conditions.” Fraser requested a copy of this film to show in lectures on his return to Britain, and the Pate brothers showed him the film in their darkened room in Moscow. “There they showed the Emperor and his son, the Tsarevich, on a swing, a tug-of-war between his daughters, the Grand Duchesses, and their father, the Emperor. The emperor lost, and was dragged merrily along the ground. A game of snowballs was shown as the daughters threw snowballs at the emperor. There was footage of a picnic. There were dances on the imperial yacht “Standard”. All in all, the feature-length movie was 3,000 feet (914 m) of film showing the Romanovs in their happiest moments and in informal settings. Nicholas had nothing against Fraser's use of the film, but Alexandra, realizing the great importance of forming an image in the public mind, especially that of the future heir, of course objected and insisted that before the film was shown in London, those parts “which did not look sufficiently imperial” be cut out of it. - Foster Fraser. “Side Shows in Armageddon,” p. 268-269; see also Paliologue. “Ambassador's Memoirs,” p. 507.

Here's a list of his books about his experience traveling in the Russian empire:

The Real Siberia [1901] - Read online

Red Russia [1906] - Read online

Russia of Today [1915] - Read online

[hospitalterrorizer]

diary501

2/10-11/25

monday - tuesday

didn't read much today,

did listen to some of a lecture from toscano though, i think it elucidated some things but my mind's awash in other stuff right now. the ep thing is probably gonna an album but not because i'm deciding it needs to have a bunch of songs, it's just that i figure it'll be 20 minutes or something or even if it's 10 minutes or 15, that's an album for hardcore, plus i did write one more song and i think it's the actual closer now. soon i'm gonna need to go through the stuff i've got exported and decide on what needs lyrics assigned and so on. and go through my unexported ideas and see what to do about them. i mean there's a lot of stuff i'm gonna hold onto. there's a bunch of more dance punk-y no wave-y stuff that will be its own separate thing at this point. not that this isn't gonna be on what i'm doing now in some capacity but maybe there's a couple dance eps in what i've got and i don't think they really belong on this thing.

i had an idea for the song i formerly wanted to be the closer, i can probably shorten it a touch and make it cohere better so i'm going to do this as i wash my face or wait for the retinol to settle.

okay i did that and finished doing my skincare routine. now it's rather late and i should sleep, i don't have much to say today, i'm very hungry right now, so i'm excited to eat tomorrow, is one thing i can think. the other thing is i'm worried about listening back to stuff and maybe hating it. the thing i wrote today i'm really happy with, though, it involved me playing keys which i normally never do, like actually playing it live and recording it. that's a very rewarding process. i should do it more i think.

listening to this... oh, recently i found something out i didn't know before, that shizuka, the musician, made dolls, and that she was trained by amano katan, that's very wild to me. her music is really beautiful, it reminds me a lot of lrd. i should put something by her on.

here are some amano katan dolls:

i love how much he makes them look like material for some 4ad album cover, there's a sweetness to them too, beyond the intensity of them, and the evident surrealism of the scenes, it takes it to a more velvet-feeling place than hans bellmer might have though, if that makes sense, hans had an overt sexuality to his work that here is de-emphasized, instead it's this notion of beauty or sweetness caught up in something, so where bellmer is more willfully naughty (and i love him for this, deeply, and find it especially important to engage with these perverse notions), katan's work might appear conservative in some sense for not going there, though i think there's something about his work that's not quite repressed, its obviously primarily focused elsewhere, but i think it's not out of some refusal that it focuses itself there, i think it's clearly rather sensitive, so i guess that's the primary thing i latch onto here, that it's sensitive to the experience and expresses the space one sort of enters, when feeling 'spaced out', that's not the best way to put it but dissociated feels too intense and psychological for the experience, drifting in the night, a scarf caught on a branch blowing in the wind, a long limb over darkness, out from a cliff. that is the feeling.

so with shizuka's dolls:

i think there is a similar feeling achieved. i haven't seen so many of her dolls arranged in scenes, or as wholly put together as amano's, i get the sense she wasn't able to or something, time, and then on top of that her sad death. some of these images came from a blogpost about her death, or one written in reply to a post made about her death:

i think maybe on a couple of the albums her band put out, there are more full doll photos? let me go look, yes, i've found a couple:

i really love these.

here is a strange thought i am having now, looking at these dolls, that there's a kind of sadness about doing what i do with them, collecting the doll images, because i imagine i will never really have any of my own, and i will never be any good at sculpting so doing it myself really seems out of the question. but they are such beautiful and strange things. they're really underrated as a method of sculpting and a kind of art. it makes me sad that they're just a toy to most people, i think about them a lot. it's weird that they're made into being 'creepy' a lot, even these dolls, all deathly and withered and strange, aren't really creepy, there's an obvious emotional element to it, that kind of gets ignored i guess, in like movies and stuff.

it;s 6:35 now, i have to sleep,,, i keep sleeping too much, waking up too late...

so,

byebye!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[tenthhdoctor]

I was going to let this go, but I can't stand it anymore.

What is UP with Evilive and Australia???

(This is a joke btw and not at all serious I love this show)

Okay, so I haven't heard of an 'E2' class Australian visa. No big deal. But it made me curious as to what it was, so I briefly looked for information on what visas Australia had in 2008 and...I couldn't find anything referencing an E2 visa for someone emigrating from South Korea to Australia. What I can find is an E2 class visa for someone emigrating from Australia to South Korea. I can also find an E2 visa for someone emigrating to the US.

So: 1. I'm dumb and missed something. 2. The writers were familiar with E2 visas because South Korea has them, and the US has them, so like...who would notice?

(Side note: They are emigrating to Sydney!!! Whoo NSW representation!!!)

But this...this was what broke me:

???

??????

Okay. So, you're exporting to...Sydney? Maybe? Sure, lets go with that because literally nothing else makes sense (except Newcastle??? Which has a major port, apparently). And then bypassing Brisbane to ship to...Gladstone, Queensland? Okay, sure. I googled it and they seem to...export a lot of stuff, and have a major port there, so maybe they import too?

And then...what.

Where even IS that in WA (Western Australia)???

Oh! I looked it up and it's most likely Port Hedland, which is apparently another major port! The largest bulk...export...port in the world, supposedly. But maybe they import as well? (Okay, so it DOES import, but wow the difference between the import and export numbers is...a lot. Wikipedia even has 2008 statistics. Neat!)

Wow, the attention to detail sure is great in this show, but...uh...

Why???? Coal????

Why are you shipping our major export, that we export to you, our #3 export market in 2008...back to us?????

Like...it's just about the only thing we do. We export coal. I learned about our coal industry in school. Our richest person is a billonaire mining magnate. One of our former Prime Ministers became a joke for saying, "Coal is good for humanity." And then my university lecturer for Environmental Law got so pissed she put the quote in our final exam as an essay question.

But I digress.

I still looked it up to see if we import coal and export it, and the answer is...no. We do not.

LNG and ORE are also unlikely, as they're some of our other major exports (well, Iron Ore is). I can't find a lot of data from 2008 specifically, but the 2016-2019 data isn't good (compare imports on pages 52-53 with exports pages 54-56) and it seems recently (2021-2022) our major imports from South Korea included refined petroleum and cars. Not Ore and LNG. However, despite being the #1 exporter in the world for Iron Ore in 2021, we were the #42 importer of it too, so that one's possible imo. LNG though? Not as likely as ORE, because we export it and seem to supply it domestically, but way more likely than Coal.

Conclusion?

For a scene that barely lasts 2 seconds, the level of detail is crazy. I'm genuinely very impressed.

Also. It is hilarious that Seo Do Young was planning to sell us coal. The end.

[shinjiro-honda]

Corona Beer

The story of how Corona became the second-most imported beer in the United States is a remarkable one in the vast beer industry landscape. This journey was marked by bold strategies, insightful decisions, and the iconic lime twist.

Grupo Modelo, the powerhouse behind Corona, embarked on an ambitious journey since its inception in 1925, which propelled it to the forefront of the Mexican beer market by 1956. Yet, the real test of its mettle came with its entry into the U.S. market, where it faced stiff competition from established names like Heineken. Corona's approach in the U.S. was both novel and intelligent.

When Grupo Modelo began organizing exports to the U.S. in 1979, its strategy was bold. It positioned Corona as a premium beer, a stark contrast to its domestic image. This strategy and the engaging “Fun Sun Beach” marketing theme redefined Corona's brand identity, associating it with leisure and enjoyment.

A distinctive aspect of Corona's branding strategy in the U.S. was its unique packaging. The clear, long-neck bottles with a minimalist label design made Corona visually appealing and stand out. Adding a lime wedge became a signature and an experience, weaving Corona into the fabric of social gatherings and beach escapades.

However, the journey was challenging. Corona had to demonstrate resilience from legal battles over its brand name to dispelling damaging rumors. Its unwavering commitment to its Mexican brewing roots and the maintenance of an authentic image were strategic moves that helped it navigate these challenges. By prioritizing quality and making the lime garnish an integral part of its brand, Corona transformed obstacles into opportunities to captivate more fans.

Marketing was a pivotal element in Corona's success story. The advertisements, with their laid-back vibe and picturesque beach scenes, resonated with individuals seeking an escape. Corona transcended its role as a mere beer to become a symbol of leisure and escapism.

Reflecting on the first lecture on Tuesday, I found profound connections to Corona's exceptional journey in the U.S. The lecture's insights on branding as a dynamic relationship and promise, beyond just a trademark, offered me a deeper understanding of Corona's lime wedge as an add-on and a ritual that encourages consumer participation in the brand experience.

The discussions on the complexities of branding and the crucial role of customer experience (CX) in delivering a consistent brand promise were eye-opening. Observing how Corona's strategies, from its unique packaging to its focus on quality, culminating in a CX that epitomizes leisure and escapism highlighted the intricate details of crafting a cohesive brand experience.

[topbankingandfinancetraining]

Discover the Best Coaching in India with Pure Soul Academy

The modern world is competitive in nature, and obtaining a degree is one of the requirements when looking to make a mark in the banking and finance sector. Furthermore, one’s training needs to be specialized, relevant to the industry, and there has to be exposure to practical work. This is where Pure Soul Academy comes into the picture, as it is known to guide students and professionals towards achieving their career goals. Alongside reputation of being exceptional, and having quality education, pure soul academy offers multi-faceted courses related to banking and finance to help their students excel in the job market.

Why Choose Pure Soul Academy?

Pure Soul Academy stands out in the education space for several reasons. It provides focused and practical coaching that bridges the gap between theoretical knowledge and the real-world requirements of the banking and finance industry. Whether you're a fresher aiming to enter the financial sector or a professional seeking career advancement, this academy offers well-structured programs to suit every need.

Let’s explore some of the top-rated courses and training programs that Pure Soul Academy provides:

Certificate Course in Trade Finance

Trade finance is the backbone of international trade, and skilled professionals in this domain are in high demand. The Certificate Course in Trade Finance at Pure Soul Academy is designed to equip learners with an in-depth understanding of trade cycles, letters of credit, export-import documentation, and risk mitigation in international finance.

This course is ideal for aspiring bankers and finance professionals who wish to work in global trade finance departments of banks and multinational corporations. With industry-experienced trainers and case study-based teaching methods, Pure Soul Academy ensures its students are job-ready from day one.

Certificate Course in Retail Lending & Advances

Retail banking is one of the fastest-growing areas in the financial sector. Pure Soul Academy’s Certificate Course in Retail Lending & Advances focuses on core concepts such as credit appraisal, loan processing, documentation, risk assessment, and recovery strategies.

The course is especially beneficial for fresh graduates looking to start a career in retail banking, NBFCs, or micro-finance institutions. The comprehensive curriculum, practical assignments, and guest lectures by industry professionals make it a valuable addition to one’s resume.

Workshop for Career in Banking and Finance

One of the academy’s unique offerings is its Workshop for Career in Banking and Finance, which is designed as a short-term but intensive program to guide participants through the entire landscape of banking and financial services. From understanding the roles and responsibilities in different banking verticals to interview preparation and resume building, the workshop is a stepping stone for anyone serious about building a career in this field.

The workshop not only boosts confidence but also provides hands-on experience through interactive simulations and mock interviews conducted by experienced bankers.

Skill Development Course in Banking and Finance

In today’s dynamic financial environment, it is critical to develop skills that meet the current market requirements. Pure Soul Academy’s Skill Development Course in Banking and Finance is tailored to instill practical knowledge in areas like financial markets, digital banking, financial instruments, regulatory compliance, and customer relationship management.

This course is perfect for students, freshers, and early-career professionals who want to upskill themselves and improve their job prospects in private and public sector banks, insurance companies, and financial institutions.

Job-Oriented Course in Banking and Finance

If your goal is immediate employment after training, then the Job-Oriented Course in Banking and Finance is the perfect solution. The curriculum focuses not only on technical skills but also on soft skills, workplace etiquette, and aptitude training to ensure students are well-prepared for job interviews and actual work scenarios.

The course has a high success rate in terms of student placements. Many alumni have gone on to secure jobs in reputed private banks, NBFCs, and fintech startups across India.

Banking and Finance Course for Freshers

Starting a career can be challenging, especially in a competitive sector like banking and finance. Pure Soul Academy addresses this with a specially curated Banking and Finance Course for Freshers that acts as a foundational program.

This course introduces learners to essential banking concepts, products, regulatory bodies, and customer service skills. It is an ideal starting point for graduates from any stream who are interested in exploring lucrative job roles such as banking operations executive, credit analyst, relationship manager, or sales officer.

Certificate Course in Corporate Banking & Finance

The Certificate Course in Corporate Banking & Finance at Pure Soul Academy is tailored for those who aspire to work with large corporate clients, manage corporate credit portfolios, or enter into investment banking.

This advanced-level course covers complex financial analysis, capital structuring, working capital management, and syndicated loans. It also includes real-life case studies, financial modeling exercises, and insights into credit risk management.

Graduates of this program often land roles in corporate banking divisions, treasury departments, and consultancy firms, thanks to the high-quality training and exposure they receive during the course.

A Step Towards a Rewarding Career

Pure Soul Academy doesn’t just provide education; it builds careers. With expert faculty, real-time training modules, and dedicated career support, the academy ensures that every student is equipped to meet the demands of the financial services industry.

In addition to classroom training, the academy offers placement assistance, resume-writing workshops, personality development sessions, and networking opportunities with alumni and professionals from top banks and finance firms.

Final Thoughts

If you're serious about building a stable and rewarding career in banking and finance, look no further than Pure Soul Academy. With its wide array of specialized programs, such as the Certificate Course in Trade Finance, Certificate Course in Retail Lending & Advances, Workshop for Career in Banking and Finance, and more, the academy provides everything you need to stand out in the job market.

From freshers to working professionals, Pure Soul Academy has proven itself to be a trusted partner in career development. Enroll today and take the first step toward your dream job in the ever-evolving world of banking and finance.

[despuneuniversityblogs]

Shaping Future Business Leaders with BBA and BBA International Business

If you’re aiming to build a career in management, entrepreneurship, or the global business landscape, a Bachelor of Business Administration (BBA) offers the right launchpad. At DES Pune University, the BBA programs are designed to nurture critical thinking, leadership, and practical business skills to prepare students for the dynamic corporate world.

Comprehensive Business Education at DES Pune University

Recognized as one of the leading options for business studies in Pune, DES Pune University offers two flagship undergraduate programs:

BBA (Bachelor of Business Administration)

BBA in International Business

Both courses focus on developing a strong foundation in management principles, communication, and business analytics.

Who Should Consider BBA and BBA International Business?

Students who want to develop leadership and organizational skills

Individuals aiming for a career in marketing, finance, human resources, or operations

Aspirants looking for exposure to global business practices and international trade (especially for the International Business specialization)

Those who seek a degree with good employability and opportunities for further study like MBA

Course Details and Eligibility

Duration: 3 to 4 years

Minimum Eligibility: 50% aggregate in 10+2 from a recognized board

Total Fees:

BBA – Approximately ₹2.91 lakhs

BBA International Business – Approximately ₹2.70 lakhs

The programs combine classroom learning with case studies, presentations, internships, and industry visits.

What You Learn: Curriculum Highlights

Both programs cover core business subjects such as:

Principles of Management

Financial Accounting and Analysis

Marketing Fundamentals

Organizational Behavior

Business Communication

The BBA in International Business adds specializations in:

International Trade Policies

Global Marketing Strategies

Cross-Cultural Management

Export-Import Procedures

This gives students a competitive edge for multinational corporations and global supply chain roles.

Career Opportunities After Graduation

Graduates of these programs can explore varied career paths in sectors like banking, consulting, retail, FMCG, and international trade. Some popular roles include:

Business Analyst

Marketing Executive

Financial Consultant

International Trade Specialist

HR Manager

The comprehensive curriculum ensures students graduate with the skills necessary to adapt to fast-changing business environments.

Why Study Business in Pune?

Pune is not only an educational hub but also a growing commercial center with numerous startups, multinational companies, and business incubators. This makes it an ideal city for BBA students to get internships, industry exposure, and networking opportunities.

Academic Excellence and Support at DES Pune University

DES Pune University emphasizes a student-centric approach with:

Experienced faculty members

Regular industry interactions and guest lectures

Access to business labs and e-resources

Career guidance and placement assistance

These elements ensure students develop both theoretical knowledge and practical skills.

Next Steps After BBA or BBA International Business

After graduation, many students choose to:

Pursue an MBA or specialized master’s degree

Join corporate leadership development programs

Start entrepreneurial ventures

Gain professional certifications (like CFA, CPA, or digital marketing)

For those aiming for integrated learning, DES Pune University also offers a 5-year Integrated MBA program which blends undergraduate and postgraduate studies.

Key Takeaways

BBA programs build essential business and leadership skills.

The International Business specialization prepares students for global commerce careers.

DES Pune University provides a supportive environment with quality teaching and industry connections.

Pune’s thriving business ecosystem enhances learning and job prospects.

Explore the BBA and BBA International Business programs at DES Pune University to start your journey toward becoming a global business leader.

[publichealthsouthafrica2025]

Day 11 - Guest Lecture on Health Policies in Mining

Today we had the opportunity to hear a second lecture from Dr. Mutendi! She is a medical anthropologist who researches artisanal mining, specifically focusing on women mineworkers and the challenges they face. Prior to this lecture, I did some background research on the mining sector in South Africa and the impact it has on the economy. Mining greatly contributes to South Africa’s GDP and makes up the majority of economic exports from the country. South Africa is currently ranked 5th globally in terms of its contribution to GDP! However, this economic strength comes with serious public health risks - on both the mine workers and surrounding communities. Mine workers are exposed to physical and chemical hazards, and mining can contaminate water sources, possibly affecting the public.

Dr. Mutendi takes an active approach to her research through direct participant observation in the mines in Phokeng and Rustenburg. Today, Dr. Mutendi’s lecture was focused on how women in mining navigate pregnancy, while managing concerns about physical safety and financial stability. The working conditions pose serious reproductive risks, such as exposure to lead or carbon monoxide causing genetic abnormalities on the fetus. Additionally, the strenuous nature of the job puts pregnant women at risk for miscarriages. These hazards go beyond the individual as they can pose epigenetic consequences, and persist throughout following generations.

This issue highlights a greater public health disparity which is the lack of protection for vulnerable workers. In this instance the vulnerable workers are specifically pregnant women in economically marginalized areas. Policies are in place mandating that pregnant women be assigned to safer roles, but there are oftentimes too few positions available. Many women are concealing their pregnancies and risking the safety of themselves and their unborn babies to maintain financial stability. This highlights how economic inequality and gender disparity intersect to create a great health disparity. Dr. Mutendi highlighted how these policies are not truly protecting women, and mining companies need to take a more nuanced, holistic, approach when handling this issue.

After the lecture, we went on a guided food tour around Johannesburg! We tried traditional dishes from four different countries: Ethiopia, Nigeria, Zimbabwe, and South African (Zulu cuisine). Each meal was unique, full of flavor, and unlike typical meals we’re used to. This experience reinforced the importance of cultural awareness in public health. Food is not only a source of nutrition, but it is tied directly to identity, tradition, and access. This experience was not only enjoyable, but it reminded us of the importance of cultural sensitivity when regarding public health interventions, as they must be relevant and responsive to the communities they serve. This was an unforgettable experience that I am so grateful to share!

By Mabry Stanek

[sootiksworld]

How Kerala’s Logistics Training Prepares You for Global Jobs

The logistics industry has become one of the fastest-growing sectors globally, creating a massive demand for skilled professionals. Kerala, known for its high literacy rate and strong educational infrastructure, is steadily emerging as a key hub for logistics education in India. With numerous well-established logistics institutes in Kerala, students now have access to globally relevant training that prepares them for opportunities not just in India, but across international borders.

The Global Demand for Logistics Professionals

From shipping and warehousing to supply chain management and freight forwarding, logistics is the backbone of global trade. With the rise of e-commerce, cross-border shipping, and automation, the industry is now highly dynamic and in constant need of qualified professionals. Countries in the Middle East, Europe, Singapore, and North America are particularly active in recruiting talent from India — and Kerala is contributing significantly to that talent pool.

Why Choose a Logistics Institute in Kerala?

Kerala offers a unique blend of quality education, industry exposure, and affordability. Here are a few reasons why logistics institutes in Kerala are standing out:

1. Comprehensive Course Curriculums

Most institutes offer diploma, advanced diploma, and PG diploma programs in logistics, supply chain management, shipping, and freight forwarding. These programs are designed with international standards in mind, often incorporating modules on global logistics practices, international trade laws, Incoterms, and customs documentation.

2. Experienced Faculty & Industry Experts

Many logistics colleges in Kerala have faculty with real-world experience in shipping, supply chain management, port operations, and international trade. Guest lectures from industry veterans and alumni working abroad provide students with insights into global market demands.

3. Practical Training with Simulations

Unlike traditional classroom settings, Kerala’s logistics institutes focus on hands-on training, including case studies, software simulations (like ERP and SAP), warehouse management systems, and port visit internships. This practical exposure is vital for global readiness.

4. Strong Placement Support

Institutes like TransGlobe Academy, Cochin Shipyard Maritime Institute, and Naipunnya Institute of Management offer robust placement support with tie-ups to international shipping companies and logistics firms in the UAE, Qatar, and Singapore.

Core Skills That Make Kerala Students Globally Competitive

Students graduating from logistics institutes in Kerala are trained in the following areas, which directly align with global job expectations:

Supply Chain Optimization: Techniques used by MNCs to reduce costs and increase delivery efficiency.

International Shipping & Documentation: Including Bill of Lading, Letter of Credit, export-import documentation, and Incoterms.

Customs Clearance Procedures: Both Indian and international systems.

Freight Forwarding & Multimodal Transport: Skills relevant to port cities and global logistics hubs.

Soft Skills & Communication: Many institutes offer English training, personality development, and interview preparation for overseas job markets.

Global Job Opportunities After Studying in Kerala

Graduates from Kerala's logistics institutes can explore the following global roles:

Logistics Coordinator (UAE, Singapore, UK)

Shipping Executive (Dubai, Qatar, Oman)

Supply Chain Analyst (Germany, USA, Netherlands)

Warehouse Supervisor (Australia, Canada)

Freight Forwarder (Hong Kong, South Korea)

Kerala’s geographic proximity to major ports and the Gulf region adds a strategic advantage, especially for those targeting jobs in the Middle East and Southeast Asia.

Popular Logistics Institutes in Kerala

Here are some well-known logistics institutes that are making an impact:

TransGlobe Academy (Kochi & Calicut) Offers globally recognized logistics and aviation programs with international placement support.

Cochin Shipyard Maritime Institute (CSMI) Known for maritime and port logistics training with hands-on experience.

Naipunnya Institute of Management (Cherthala) Offers specialized courses in logistics and supply chain with skill-based training.

Indian Institute of Logistics (Kochi) Provides certifications with international affiliations.

St. Aloysius Institute of Logistics and Management (SALM) A reputed institute for PG diploma in supply chain management.

Final Thoughts

As the logistics industry continues to expand globally, logistics institutes in Kerala are stepping up to meet international standards. With the right blend of theoretical knowledge, practical exposure, and soft skills, students from Kerala are increasingly landing high-paying global roles.

If you're aiming for a career in international logistics, choosing a reputed logistics institute in Kerala could be your gateway to a successful and rewarding career abroad.

[maaldifonline]

Islamic Minister Dr. Shaheem Explores Strategic Collaboration with Malaysias Universiti Islam Selangor to Train Imams and Develop Halal Certification Sector in Maldives

A delegation from Universiti Islam Selangor (UIS), Malaysia, paid a courtesy call on the Minister of Islamic Affairs of the Republic of Maldives, Dr. Mohamed Shaheem Ali Saeed, to discuss potential collaboration in areas of Islamic education and halal sector development. The meeting was attended by Dato’ Professor Dr. Mohamad Farid Ravi Bin Abdullah, Vice Chancellor and Chief Executive Officer of Universiti Islam Selangor, Mr. Ahmad Fatin Bin Mohamad Suhaimi, Lecturer at the university, and Governor of the Maldives Monetary Authority, Mr. Ahmed Munawwar. The discussions revolved around fostering cooperation that would enhance Islamic knowledge, youth empowerment, and institutional capacity-building in the Maldives. One of the key areas of interest discussed was the training and academic development of Imams and young Khateebs across the Maldives. The initiative seeks to raise the standards of Islamic preaching and guidance in local communities by leveraging UIS’s academic expertise and long-standing experience in Islamic scholarship. Additionally, the meeting explored the possibility of training Qaris of the Maldives in advanced Tajweed and recital techniques. This would help preserve the integrity of Quranic traditions in the country while equipping reciters with globally recognized skills and certification. Another important focus of the discussions was on enhancing the Maldives’ halal certification processes. The Ministry aims to benefit from Universiti Islam Selangor’s technical expertise in halal management to improve the regulatory framework of halal certification in the country. This initiative aligns with broader efforts to ensure that halal products and services in the Maldives meet international standards, an important factor not only for domestic consumption but also for the tourism and export sectors. The meeting also touched on workforce development in the halal industry. With tourism and hospitality being key economic drivers for the Maldives, investing in human resource training in halal management will ensure that Maldives remains a trusted destination for Muslim travellers seeking faith-compliant services. Dr. Shaheem expressed his gratitude for the university’s willingness to engage in meaningful cooperation and reaffirmed the Ministry’s commitment to building knowledge partnerships that reflect shared values and goals. He noted that the collaboration with institutions such as Universiti Islam Selangor not only strengthens academic and religious education in the Maldives but also supports the country’s vision for socio-economic development rooted in Islamic principles. This meeting marks a constructive step in cultivating international partnerships to support the Maldives’ ambitions in Islamic education and halal sector leadership. The post Islamic Minister Dr. Shaheem Explores Strategic Collaboration with Malaysia’s Universiti Islam Selangor to Train Imams and Develop Halal Certification Sector in Maldives appeared first on Maaldif English Edition. via https://en.maaldif.com/6829/?utm_source=rss&utm_medium=rss&utm_campaign=islamic-minister-dr-shaheem-explores-strategic-collaboration-with-malaysias-universiti-islam-selangor-to-train-imams-and-develop-halal-certification-sector-in-maldives

[nimilphilip]

Pharmaceutical Courses in Ireland For International Students

Ireland offers top position worldwide as a pharmaceutical leader which makes it an attractive educational location for students wanting to study pharmaceutical fields. Ireland combines an outstanding pharmaceutical industry with first-class universities combined with state-of-the-art research facilities and effective regulatory support which offers international students exceptional academic potential and skilled career development opportunities. A pharmaceutical degree from Ireland will create international career possibilities in drug development and regulatory affairs and biotechnology and clinical trials.

The blog will examine the most popular pharmaceutical courses in Ireland while identifying top educational institutions along with how Ireland emerges as an ideal destination to create your future career in this essential field.

Why Study Pharmaceutical Courses in Ireland?

Before diving into course options and universities, let’s understand what makes Ireland a desirable pharmaceutical study destination.

1. Global Pharma Hub

Nine of the world's largest pharmaceutical companies operate in Ireland among which Pfizer and Johnson & Johnson stand together with Roche and Novartis and Merck. Pharmaceutical exports from Ireland represent more than half of total exports while life sciences sector maintains critical importance for the economy. Ireland offers excellent prospects to students who wish to pursue placement opportunities internship positions and permanent jobs after graduating.

2. Strong Industry-Academia Link

Irish universities have strong collaborations with the pharmaceutical industry. Students benefit from industry-led projects, guest lectures, and internship programs that provide real-world experience.

3. Post-Study Work Opportunities

The post-study work visa under the Third Level Graduate Scheme grants two years of job Search opportunities to international graduates who finish their education in Ireland. Under the Third Level Graduate Scheme international students can pursue work opportunities or gain experience in their chosen field after graduation.

4. Research and Innovation

Research-based pharmaceutical operations in Ireland hold a top position at the global scale. Trinity College Dublin together with University College Cork operate modern research centers dedicated to biotechnology drug formulation and pharmacology studies.

Top Pharmaceutical Courses in Ireland

Ireland offers a variety of undergraduate and postgraduate programs in pharmaceutical sciences, biotechnology, pharmacology, medicinal chemistry, and more. Here’s a look at some of the popular courses:

Undergraduate Programs

1. BSc (Hons) in Pharmaceutical and Medicinal Chemistry – Munster Technological University (MTU)

Duration: 4 years

Course Overview: Combines chemistry and biology to equip students with the knowledge required for pharmaceutical analysis, drug development, and research.

Career Prospects: Pharmaceutical chemist, quality analyst, laboratory technician.

2. BSc (Hons) in Pharmaceutical Science – Technological University of the Shannon (TUS)

Duration: 4 years

Special Features: Offers a balanced approach between theoretical studies and hands-on lab experience, with optional work placements in year three.

Career Prospects: Quality control, regulatory affairs, production supervision.

3. BSc in Pharmacy – Trinity College Dublin

Duration: 5 years (Integrated MPharm program)

Accreditation: Approved by the Pharmaceutical Society of Ireland (PSI)

Highlights: In-depth knowledge in clinical pharmacy, pharmacology, and drug formulation.

Career Prospects: Licensed pharmacist, hospital pharmacist, research scientist.

Postgraduate Programs

1. MSc in Pharmaceutical Sciences – University College Cork (UCC)

Duration: 1 year (full-time)

Course Content: Covers drug development, regulatory sciences, pharmaceutical analysis, and quality assurance.

Industry Links: Strong connections with pharmaceutical companies in Cork, often dubbed the “pharma capital” of Ireland.

2. MSc in Pharmaceutical Business and Technology – Griffith College Dublin

Duration: 1 year (full-time) or 2 years (part-time)

Unique Offering: Combines pharmaceutical sciences with business, manufacturing, and regulatory knowledge.

Career Prospects: Project manager, compliance officer, quality systems specialist.

3. MSc in Biotechnology and Business – University College Dublin (UCD)

Duration: 1 year

Interdisciplinary Approach: Offers insights into biotechnology, innovation, and pharmaceutical management.

Career Prospects: Biotech consultant, regulatory associate, R&D manager.

4. MPharm – Royal College of Surgeons in Ireland (RCSI)

Duration: 5 years (integrated Master’s)

Accreditation: Recognised by the Pharmaceutical Society of Ireland

Focus: Clinical pharmacy, community pharmacy practice, research-based project.

Placement: Final-year clinical placement in hospital or community settings.

Best Universities in Ireland for Pharmaceutical Courses

Here are some of the top universities and institutes in Ireland known for their pharmaceutical and life sciences programs:

1. Trinity College Dublin (TCD)

Ranked among the top 100 universities worldwide.

Offers world-renowned pharmacy and pharmaceutical sciences programs.

Excellent research facilities like the Trinity Biomedical Sciences Institute.

2. University College Dublin (UCD)

Ireland’s largest university, with a strong research culture.

Offers cutting-edge courses in biotechnology and pharmacology.

Collaborates with major pharmaceutical companies for research and placement.

3. University College Cork (UCC)

Ranked among the best for life sciences in Ireland.

Home to the Analytical and Biological Chemistry Research Facility (ABCRF).

Excellent industry connections for internships and job placements.

4. Royal College of Surgeons in Ireland (RCSI)

Specialises in medical and health sciences education.

Offers a fully integrated pharmacy program.

An international student-friendly environment with a diverse student body.

5. National University of Ireland, Galway (University of Galway)

Offers programs in pharmacology, toxicology, and biotechnology.

Strong focus on research and clinical skills development.

6. Technological University Dublin (TU Dublin)

Offers practical, industry-focused pharmaceutical courses.

Great for students seeking hands-on lab experience and industry exposure.

Entry Requirements for Pharmaceutical Courses in Ireland

Entry requirements may vary depending on the university and program level. However, general guidelines include:

Undergraduate Level:

Completion of 10+2 education with a strong foundation in science subjects (Biology, Chemistry, Mathematics, Physics).

English proficiency test scores (IELTS 6.0+ or equivalent).

Postgraduate Level:

A bachelor’s degree in pharmacy, chemistry, biotechnology, or a related field.

Minimum academic percentage (typically 60% or higher).

IELTS/TOEFL scores as per university requirement (usually IELTS 6.5+).

Career Opportunities after Studying Pharmaceutical Courses

Graduates of pharmaceutical programs in Ireland have a wide array of career paths open to them:

Job Roles:

Pharmacist

Pharmaceutical Researcher

Regulatory Affairs Specialist

Clinical Trial Coordinator

Quality Control Analyst

Medical Sales Representative

Formulation Scientist

Employers:

Pfizer

Novartis

Johnson & Johnson

Roche

MSD

GSK

AbbVie

Amgen Ireland’s vibrant pharmaceutical sector ensures that qualified graduates find rewarding opportunities not just locally but also globally.

Final Thoughts

Through pharmaceutical study in Ireland students receive an academic degree which functions as entrance to a vital worldwide industry sector. Students pursuing pharmaceutical careers should choose Ireland as their study destination because of its exceptional educational facilities together with its prestigious university network and productive industrial relationships.

The infrastructure in addition to scholarship opportunities and broad international scope create ideal conditions in Ireland for transforming your dreams about pharmacy and life sciences into a reality.

Are you looking for the best study abroad consultants in Kochi, Kerala