#I am trapped in traditional artist status

[halcyone-of-the-sea]

The way that if I could digitally draw all of you would be getting bombarded with post after post of Gaz/Spitfire and Nikto/Seraph in their universes getting involved in shenanigans is crazy.

[sarahshoots1st]

RWBY Characters as Tarot Cards

Not an artist so I can't make these, but I've been stuck on the idea of RWBY characters as tarot cards for some time now and I wanted to share my opinions.

(Note: I am by no means an expert on tarot cards or the arcana in general, so my interpretations of their symbolism is based on whatever I was able to find on the internet. You are perfectly allowed to disagree with my conclusions.)

0. The Fool - Jaune

Jaune's arc starts with him being easily the least experienced member of the cast. He has placed great expectations upon himself to live up to the standard of his family line, but has none of the training or experience necessary to be a Huntsman. His bravery, while admirable, often prevents him from backing down in situations where he has no chance of success. He has all the trappings of a great hero-to-be, but he has a long way to go.

The Fool symbolizes naive innocence, a blank slate who will be shaped by the adventures to come. Over the course of the series, Jaune learns to readjust his definition of what it means to be a hero. It is not his optimism, but his expectations, that are ultimately tempered by the journey.

At the beginning of the series, Jaune's goals are wrapped up in traditional male power-fantasy - a conquering warrior who saves by killing, and wins the affection of the ladies by doing so. RWBY is a show that consistently and intentionally subverts gender-norms in media, and so it is no surprise that Jaune grows beyond those Fool-like expectations for himself. To paraphrase the opening monologue between Salem and Ozpin, victory will be found not in strength, but in the forgotten virtues of a more honest soul.

Though he grows into a competent fighter, Jaune does not fit the classical ideal of a front-line warrior. Instead, he fills more of a support role in his team, coordinating his allies' attacks and boosting their Semblances with his own. He is still a brave hero who tirelessly fights to protect the innocent. However, that process involves healing his allies and keeping civilians calm and out of harm's way just as much as it does slaughtering hordes of Grimm. In Volume 9, even that can be a stumbling block for him, as we see his inability to accept failure ultimately preventing the Paper Pleasers from growing into what they needed to become.

Our favorite Vomit Boy has grown a lot since the early days at Beacon. The awkward, clumsy boy we meet in episode 1 has quite the journey ahead of him, with many hardships to come. But the fires of tribulation will ultimately forge him into something stronger. Not the idealized knight in glittering armor he imagined himself to be, but a bruised and tattered warrior whose compassion and optimism can inspire others even in the darkest of times. I can think of no other character who better fits the diamond-in-the-rough, naive-optimist archetype that The Fool represents.

For the card art, I think we would see V1-3 Juane, still on the Beacon Academy grounds, but looking out over the wider world as a whole. In the background, a semi-transparent image of his V9 incarnation could be present, symbolizing what he is growing into - an older, more mature version of himself, having achieved the hero status he so desperately craves, but also having been weighed down by the experiences it took to get there. Classically, The Fool is depicted with a dog nipping at his heels, so obviously we would get a Zwei cameo here.

(This came out much longer than I thought it would be, so I'll probably try to do these one at a time. If this gains interest, I'll add links as I go.)

next

[drogba-prospect]

Croupier Comptable: Game Theory for The Venetian Macao, China (Trapping Aesthetic for Volleyball) 14K

BIO

My Name is Adrian Blake-Trotman. I am Indo-Mediterranean Caribbean Born in Toronto but From Barbados and Haiti. I am a Beta-arbitrage Mergers & Acquisitions Banker that Specializes in Commodities. I have Understanding Financial Markets by Université de Genève and Monetary Policy in the Asian-Pacific by Hong Kong University of Science and Technology with No Gr. 12 Math or Intro to Linear Algebra; I built a mathematical learning style by using Japanese Candlesticks Bullish Engulfing Discounted Cash Flow Charts for Poker. I Operate TAX AVOIDANCE through Freelance Mergers & Acquisitions through an Enterprise Foundation and Investment Trust. My background is Agriculture Working Class, I've worked in Kitchens and Grocery Stores. My goal is to connect the Democratic Republic of the Congo to two tax havens; Haiti & Seychelles to stabilize the Diamond Trade and more Important the Commodities Market. Through Mercantilism Agriculture Hedge Fund as a Central Bank, Options Volatility Exchange, Lab Grown Re-sale Market, Decentralized Currency and Fiat Money, Hospitality & Gaming. Also To form a Socioeconomic Status Agriculture Working Class; Blue, Pink, and White Collar Jobs. I am Modelling my Cartel off of Wall Street for De Beers but is owned and operated by the Société des Bains de Mer (SBM); The Casino de Monte-Carlo is owned and operated by the Société des Bains de Mer (SBM), a public company in which the government of Monaco and the ruling princely family have a majority interest. The company also owns the principal hotels, sports clubs, food service establishments, and nightclubs throughout the Principality. The Société des Bains de Mer operates in the accommodation, dining, entertainment, and gambling services. SBM manages and owns casinos, hotels, restaurants, bars, nightclubs, spas, beach clubs, and golf clubs. Fifty-two of their fifty-eight properties are located in Monaco. The concept of state-corporate crime refers to crimes that result from the relationship between the policies of the state and the policies and practices of commercially motivated corporations. The term was coined by Kramer and Michalowski in 1990.

THE ARNAULT MODEL: BALANCING FINANCIAL DISCIPLINE AND CREATIVITY

Over the next three decades, as he brought the best luxury brands in fashion, cosmetics, and beverages under the LVMH umbrella, Arnault proceeded to make “a series of brilliant business decisions” that “can only be called masterful.” Even his critics were impressed by “his ability to manage creativity for the sake of profit and growth.” Industry observers frequently credit his outstanding success in a highly competitive industry to the fact that—unlike other global CEOs—Arnault understands both the creative and the financial aspects of running a luxury business

Financed through Real Estate and Convertible Bonds

The Creation of Star Brands

In a 2001 Harvard Business Review interview, Arnault explained his famous business process, which—unlike the traditional fashion industry—requires financial discipline as well as creativity. The entire focus of Arnault's teams is the creation of “star brands” that must meet a high bar for four artistic and financial criteria: LVMH brands must be “timeless, modern, fast-growing, and highly profitable.” In practice, “profitable creativity” means that “star brands are born only when a company manages to make products that ‘speak to the ages’ but feel ‘intensely modern’ and ‘sell fast and furiously, all while raking in profits

Although the LVMH process begins with "radical innovation—an unpredictable, messy, highly emotional activity” on the creative end, as soon as “it comes to getting creativity onto shelves—chaos is banished,” and the company imposes "strict discipline on manufacturing processes, meticulously planning all 1,000 tasks in the construction of one purse.”

The genius of Arnault’s process is that, although the "front end of a star brand—the innovation…the creative process, the advertising—is very, very expensive,” the “back end of the process in the atelier (the factory)” is a place of "amazing discipline and rigor” that drives “high profitability behind the scenes.” Brands with “unbelievably high quality” require “unbelievably high productivity,” so “every single motion, every step of every process is carefully planned with the most modern and complete engineering technology.”

For example, when Arnault automated production at Vuitton, he drove that venerable old brand to the top spot on Fashionista’s list of the world's best-selling luxury brands in 2011, with a value of $24.3 billion—more than twice the amount of its nearest competitor.

As he spent “lavishly” on advertising, Arnault "rigorously" controlled costs by leveraging every possible synergy across the group: Kenzo manufactured a Christian Lacroix line; Givenchy manufactured a Kenzo perfume, and Guerlain created the first Vuitton perfume.

Creative Talent Management

As Arnault built LVMH into the world's largest luxury conglomerate, he hired new design talent for star brands that “speak to the ages” but “feel intensely modern”: from Céline, Kenzo, Guerlain, and Givenchy to Loewe, Thomas Pink, Fendi, and DKNY.

Because his model requires that “the counterbalance to creativity must be commerce,” Arnault “never hesitated to reign in, or outright terminate, creative executives who did not produce.” Since the early days at Dior, he has often replaced creative executives with non-traditional talent and then shuffled them across his brands to help him identify opportunities to drive profit—no matter how unpopular.

For example, at Givenchy in 1995, Arnault brought in a “fashion industry darling” and “notorious wild child,” British designer John Galliano, to replace Hubert de Givenchy, the industry icon “credited with defining simple elegance for an entire generation of women, (including) Audrey Hepburn, Jacqueline Kennedy, and the Duchess of Windsor.”

Within a year, Arnault moved Galliano, the first British designer in French haute couture, from Givenchy to Christian Dior to replace Gianfranco Ferré, the Italian couturier who had led Dior design since the late 1980s. Other non-traditional Arnault hires included installing 27-year-old Alexander McQueen (another British designer) at Givenchy and Marc Jacobs at Louis Vuitton, where he gave the American designer a mandate to challenge LVMH’s competitors, Prada and Gucci.

Although those iconoclastic designers later left LVMH, they had served Arnault’s purpose: interest in his traditional fashion houses had been jumpstarted by the early 21st century.

HOW TO STABILIZE THE DEMOCRATIC REPUBLIC OF THE CONGO, SEYCHELLOIS, AND HAITIAN CURRENCY (INDIAN PREMIER LEAGUE BUT FOR MMA & COMMODITIES NOT CRICKET & TECHNOLOGY MODEL)

Bioeconomy Agriculture Central Hedge Fund with Agriculture Bulge Brackets Oligopolistic System Hyper Inflation Vehicle Fiat Currency: Strict Negative Interest Rates for Investments; Debt/Equity Business Loan Period and Construction Loan/Tax Benefits Programs, Investment Trusts & Enterprise Foundations are Common Corporate Tax Avoidance Practices, and Raise Denominator of Currency & Print Currency for Insurance Companies for Building Process

Combat Sport as National Sport: Free Internet with Corporate Sponsor Purse Bid System Mixed Martial Arts Camps, Orphanages, Polytheist Churches, Gaming-Hospitality; and +EV Gambling

Mercantilism Fiat Currency Pegging: Foreign Exchange Rate to Diamond Peg Currency

Market Extension Vertical Integration Mergers Lottery

Industries: Mergers & Acquisitions Agriculture Industry, Decentralized Finance, Real Estate Finance and Economics, Capital Gains Tax Haven, Corporate Tax Haven, Inheritance Tax Haven, Art Ports, and Gaming-Hospitality

Blockchain Diamond-Metal Exchange Modelled Off of CBOE Volatility Index (VIX). Founded in 1973, the CBOE Options Exchange is the world's largest options exchange with contracts focusing on individual equities, indexes, and interest rates. Credit Spread Options and Blockchain the Commodities Market.

Business Capital is a Collaborative Environment through Generalized Education (STEM AND M & A)

Socioeconomic Status Agriculture Working Class Immigrants

XYY or Triple X Syndrome, ACTN3 Gene, MSTN Gene, and Mercury-Venus Births

A ROUND OF PAR GAME THEORY NETWORK

Beta Arbitrage with Convertible Bonds Compounding

Key Ingredients 

Player's: Futures Exchange and Investor

Actions: Issue payments under any circumstances 

Payoffs: Exchange - Larger Market Volume, Investor - Larger Assets Under Management  or Profits

Representation

Extensive Form includes timing of moves. Player's move sequentially, represented as a tree (timing). Chess: the white player moves, then the black player can see White's move and react

Theory

There's a common expression of higher the risk, higher the reward; but in finance it should be higher reward, higher risk because people's savings are involved. This is why I created The Round of Par Games Theory Network where the intended score should always be 0. Nobody wins and nobody loses between investor and stock exchange, just a nice friendly draw. The Investors assets under management grows and the Exchange's Market Volume Grows.

Let's break down the Components:

Beta Arbitrage

Investor: Beta Arbitrage involves longing in one market and shorting in a DIFFERENT market. The example is longing Company A in the stock market but then going to Company A in the options market and placing a put/short option. Either way the Investor earns a profit.

Exchange: The Futures Exchange benefits because now not only is equity on the stock market is being bought but the options market has a larger volume.

Convertible Bond Compounding

Investor: By compounding through Convertible Bonds not only are you going to be paid back your money because creditors are first on the company's bankruptcy list unlike investors, but it's an easier way to buy more shares for growth investing while not diving head first.

Exchange: The Futures Exchange benefits because now not only is equity on the stock market is being bought, but the bond market has a larger volume.

LANGUAGES

Mandarin

Latin

INDUSTRY WORTH FOR COMMODITIES (AGRICULTURE WORKING CLASS)

In 2012, Forbes reported that $21 trillion was Off-Shored

In 2017 the equivalent of at least 10% of the world’s GDP is in offshore banks, and that number is probably higher due to the opaqueness of the world’s global tax havens, according to a research report release this month by the National Bureau of Economic Research.

The estimated amount of money laundered globally in one year is 2 - 5% of global GDP, or $800 billion - $2 trillion in current US dollars.

Taxes in the US – The federal government collected revenues of $3.5 trillion in 2019—equal to about 16.3 percent of gross domestic product (GDP) (figure 2). Over the past 50 years, federal revenue has averaged 17.4 percent of GDP, ranging from 20.0 percent (in 2000) to 14.6 percent (most recently in 2009 and 2010).

The foreign exchange or forex market is the largest financial market in the world – larger even than the stock market, with a daily volume of $6.6 trillion, according to the 2019 Triennial Central Bank Survey of FX and OTC derivatives markets.

In 2019, for example, the sales value of rough diamonds amounted to some 13.9 billion U.S. dollars worldwide. After polishing, the value increased by nearly double to 26.7 billion U.S. dollars. In 2019, the global diamond jewelry market value was approximately 79 billion U.S. dollars.

Global Cut Flowers Market to Reach $41. 1 Billion by 2027.

The global coffee market was valued at USD 102.02 billion in 2020,

Global Vanilla Market Is Expected to be worth Around USD 735 Million By 2026 

According to the report published by Allied Market Research, the global cocoa market generated $12.8 billion in 2019, and is projected to reach $15.5 billion by 2027, witnessing a CAGR of 4.3% from 2021 to 2027

The global water and wastewater market was valued at 263.07 billion U.S. dollars in 2020. The market is projected to reach a value almost 500 billion U.S. dollars by 2028 at a CAGR of 7.3 percent in the 2021 to 2028 period.

The global tobacco market size was estimated at USD 932.11 billion in 2020 and is expected to reach USD 949.82 billion in 2021.

For the year 2020, Worldwide Cotton Market was US$ 38.54 Billion. Global Cotton Market is expected to reach US$ 46.56 Billion by 2027, with a CAGR of 2.74% from 2020 to 2027.

The global waste management market size was valued at $1,612.0 billion in 2020, and is expected to reach $2,483.0 billion by 2030, registering a CAGR of 3.4% from 2021 to 2030

According to Brandessence Market Research, the Energy Drink market size reached USD 61.23 billion in 2020 and expected to reach USD 99.62 Billion by 2027.

LEGAL DEFENSE

Smurfing: Reverse Onus, Challenge Mens Rea and Actus Rea, Press Malicious Prosecution Charges, Financial Settlement

RICO Legal Disputes Trademark (30 for 30 Court): Undisclosed Settlement; 1 large sum ($30 million) broken into a 3-part settlement, Not going to trial settlement (guaranteed payment for being brought into court), Case being unsealed settlement (if the case gets reopened), and Testimony settlement (in court testimony in reopened case). The non-disclosure agreement (NDA); Agreement to 10 years jail time for every broken NDA, NDA on Case, NDA on Testifying, and NDA on Settlement. Sealed Federal Cases: Have legal matters sealed by the court to prevent leaked information to media and Precedence for RICO

CRIME COLLAR

White-Blue collar crime is a subgroup of white-collar crime White Collar Crime, a term reportedly first coined in 1939, is synonymous with the full range of frauds committed by business and government professionals. Blue-collar crime is a term used to describe crimes that are committed primarily by people who are from a lower social class. This is in contrast to white-collar crime, which refers to crime that is usually committed by people from a higher social class.

SOCIOCULTURAL THEORY OF DEVELOPMENT

Agriculture Working Class Immigrants Socioeconomic Status Focused Key Players in Commodities Market*

Polytheism (Zeus, Poseidon, and Ogou-Athena)*

Births: Mercury-Venus, MSTN Gene, ACTN3 Gene, XYY Syndrome, or Triple X Syndrome

Māori All Blacks Sports Culture and Volleyball is National Sport*

Jumping for Cardio*

Poker Brain*

REITs/Real Estate ETF Investors with Index Credit or Debit Spreads Options Trading*

Mergers and Acquisitions Exploratory School System*

Sand-Based Calisthenics  kallos sthenos (beautiful strength) Interval Training: Isometric-Plyometric, Circuit Training: Isometric-Isotonic, and Isometric-Mobility

Tofu is Protein of Choice

Fish/Seafood is Meat of Choice

Blueberry is consumed at every breakfast

Mineral Water instead of Spring Water

Coconut Syrup as Sugar Replacement

Business News is a part of The Cigar Culture

Sports Gambling for Extra Revenue Stream instead of Lottery Tickets when in Working Class

Hydrolyzed Collagen-Leucine is the Main Sports Medicine

Brokerage Accounts with First 10 Investments as Bond Funds and REITs

VAMMMBRGC LIFESTYLE BRAND RACKET

Volleyball (Trampoline)

Acting (Short Film Series: Aesthetic Taxi Game, Character: Expansive Mood Villain)

Modeling (Brand Activation Models)

Music (Psychedelic Festival Trap)

Martial Arts

Ballet (Females Only)

Rings Gymnastics (Males Only)

Graffiti (Art)

Cooking (Endorsements)

LVMH-Lacoste Collaboration Company For Tax Mergers Law; Market-extension merger: Two companies that sell the same products in different markets. 4.2.2 Corporate Taxation At the corporate level, the tax treatment of a merger or acquisition depends on whether the acquiring firm elects to treat the acquired firm as being absorbed into the parent with its tax attributes intact, or first being liquidated and then received in the form of its component assets.

What Is Vertical Integration? Vertical integration is a strategy that allows a company to streamline its operations by taking direct ownership of various stages of its production process rather than relying on external contractors or suppliers. A company may achieve vertical integration by acquiring or establishing its own suppliers, manufacturers, distributors, or retail locations rather than outsourcing them. However, vertical integration may be considered risky potential disadvantages due to the significant initial capital investment required.

Analysis Discounted Cash Flow (DCF): A key valuation tool in M&A, a discounted cash flow (DFC) analysis determines a company's current value, according to its estimated future cash flows. Forecasted free cash flows (net income + depreciation/amortization (capital expenditures) change in working capital) are discounted to a present value using the company's weighted average cost of capital (WACC). Admittedly, DCF is tricky to get right, but few tools can rival this valuation method.

VŒUX DE CHAMPAGNE SOGNI CAVIALI

Description: Beta-arbitrage Mergers & Acquisitions Cartel that commits Mediterranean-Caribbean and Afro-Mediterranean Socioeconomic Status Development Conflict Prevention and Reconstruction (CPR) Unit Charities, Protection Racket, Paramilitary Financing, Lobbyist-Investment Trust, Commodities Management, Gambling & Diamond Trafficking, Rolex Re-sale Market, Real Estate Brokerage, Graffiti Art Port, Smurfing, Nike Sports & Fashion Corporate Espionage and Larceny Business Model Reengineering, and VAMMMBRGC Contract Racketeering Through Enterprise Foundations

Activities: Executive Council for Mayor, Culinary Arts, Grey Market Fashion, Trap Shooting Gambling Tournaments, Volleyball Tournaments, Corporate Sponsor EdTech, Grocery Insurance & Electronic Financial Data Interchange, Diamond Encrusted Accessories Collaboration with LVMH, OTC Beta-arbitrage Branch Bracket, OTC Exchange (Commodities, Sports Betting Investment Trust, Real Estate Investment Trust, Cuisine Real Estate Investment Trust, Forex Pairs Contract for Difference, Retail/Hospitality Real Estate Investment Trust, Credit Swap Options Endorsement Index), VAMMMBRGC Youtube Distribution Channel (Gambling News Network, Noir Short Film Series [Shakespearean Crime], Cooking Channel, Sports Resort Real Estate, Sports/Modelling/Acting Business Case Study Video Essay, Brand Activation Modelling, Combat Sports, Calisthenics Workout Class, Sports Science Lessons, Graffiti Tourism, Music Videos, Natural Resources Documentaries, Hype Beast Re-Sale Market, Rolex Business Case Study Video Essays, Business Conferences).

DIAMOND TRAFFICKING

The WFDB Trade And Business Committee

The Trade and Business Committee makes recommendations to the Executive Committee concerning industry relations with financial institutions worldwide, lab-grown diamonds, Know Your Customer and the System of Warranties.

Idea 1: Luxury Goods Encrusted Items Investment Service and Auction. Example: Hermès Bag, Investment System: Masterworks, Auction System: Information Catwalks with models then bidding in a separate room with Video Replay for YouTube.

Idea 2: A sightholder is a company on the De Beers Global Sightholder Sales's (DBGSS) list of authorized bulk purchasers of rough diamonds. De Beers Group made this list, the second largest miner of diamonds. DBGSS was previously known as DTC (Diamond Trading Company). In May 2006, DTC released a list of the 93 sightholders on its website. High Fashion Accessories Aggregator Business Model with Auction and Re-sale.

Business Model 

The London Metal Exchange (LME) which is based in Hong Kong is a commodities exchange that deals in metals futures and options. It is the largest exchange for options and futures contracts for base metals, which include aluminum, zinc, lead, copper, and nickel. The exchange also facilitates trading of precious metals like gold and silver.

Originally known as the Chicago Board Options Exchange (CBOE), the exchange changed its name in 2017 as part of a rebranding effort by its holding company, CBOE Global Markets. Traders refer to the exchange as the CBOE ("see-bo"). CBOE is also the originator of the CBOE Volatility Index (VIX), the most widely used and recognized proxy for market volatility.

ABC Exchange (Alumina, Beryllium, Carbon): There are four types of precious stones: diamonds, rubies, sapphires and emeralds. Each type has its own specific chemical and physical properties. Diamonds are made from carbon, rubies and sapphires from alumina and emeralds from beryllium.

Diamond Monopoly 

What Is Vertical Integration? Vertical integration is a strategy that allows a company to streamline its operations by taking direct ownership of various stages of its production process rather than relying on external contractors or suppliers. A company may achieve vertical integration by acquiring or establishing its own suppliers, manufacturers, distributors, or retail locations rather than outsourcing them. However, vertical integration may be considered risky potential disadvantages due to the significant initial capital investment required.

My Vertical Integration Mergers: Company’s Diamond Mines, Merger Manufacturers, Company’s Distribution, and Merger Hospitality and Gaming Diamond Exchange

The Diamond Standard 

Influence: Agricultural Bank of China is active in commercial banking, investment banking, and insurance services.

Mercantilism was a form of economic nationalism that sought to increase the prosperity and power of a nation through restrictive trade practices. Its goal was to increase the supply of a state's gold and silver with exports rather than to deplete it through imports. It also sought to support domestic employment.

The bio-economy is defined as the economic activity associated with the invention, development, production; and use of primarily bio-based products, bio-based production processes, and/or biotechnology-based intellectual property.

Industries Association; Hospitality and Gaming: Daily and Monthly Revenue Streams, Capital Gains Taxing: Create Offshore revenue through trading and Blockchain is a volatile market for good liquidity. FOREX Vehicle Currency: Low Interest Rates means currency will be traded against other currencies, Shorting own currency to get foreign currency and exchanging returns to domestic currency stabilize exchange rate and Currency Basket 

Interest Rate Pegging: Environmental alternative to gold, Surplus item during Quantitative Easing, and Low Interest Rates lead to spending and loans for investment which means buying and trading diamonds will balloon 

Mine Options: Credit spreads and debit spreads are different spread strategies that can be used when investing in options. Both are vertical spreads or positions that are made up entirely of calls or entirely of puts with long and short options at different strikes. They both require buying and selling options (with the same security) with the same expiration date but different strike prices.

Diamond Mine Investment Group: Mines can create private Investment Groups. Items within Group: diamond retail, diamond trading, industrial diamond manufacturing sectors

Lab-created diamonds are grown in controlled laboratory environments using advanced technology that replicates the conditions under which diamonds naturally develop beneath the Earth's crust. These lab-grown diamonds consist almost entirely of carbon atoms and are arranged in a diamond crystal structure.

DIAMOND ROLEX INVESTMENT TRUST (EXAMPLE)

Description

Watch Listing Through Discounted Cash Flow for Rolex Drop Culture or Re-Sale Market

Underwriting Products

$50,000 in value

Collector's Edition

Less than 20 models made

Masterwork Investing Platform (reference)

Masterworks is making the world of art a little less exclusive by offering everyday investors the chance to own a fraction of these high-priced investments with a much smaller amount of money.

Through the fine art investing platform, users can purchase (and trade) shares in what the company has defined as "blue-chip" art: masterpieces from artists like Pablo Picasso, Claude Monet, Andy Warhol, Banksy, Kaws, Jean-Michel Basquiat and more.

How Masterworks functions (reference)

Masterworks provides an affordable way to invest in art. What was once an option reserved exclusively for wealthy investors is now accessible to investors of all types. Here's how the platform works:

Masterworks will purchase a painting and file it with the SEC as a public offering, or IPO, similar to how a company goes public. Shares of the painting are then made available for purchase on the Masterworks website for as little as $20 per share. The company says it launches about one new painting every four to five days.

The platform stands out, especially for using propriety data to determine which artist markets have the most momentum, focusing on the very high-end segment of the art market that has predictable returns, the company says. Meanwhile, its research team works in the background to calculate appreciation rates, correlation, and loss rates.

Masterworks even recently added a secondary market, too, where investors can trade shares in paintings. Plus, Masterworks lets you invest your IRA earnings into their fine art through its partnership with Alto IRA, an alternative asset investing platform.

Industrial Embassy 

Business Model: Insurance companies base their business models around assuming and diversifying risk. The essential insurance model involves pooling risk from individual payers and redistributing it across a larger portfolio. Most insurance companies generate revenue in two ways: Charging premiums in exchange for insurance coverage, then reinvesting those premiums into other interest-generating assets. Like all private businesses, insurance companies try to market effectively and minimize administrative costs. Types of Insurance: Mining, Manufacturing, Retail, Logistics 

Financing is the process of providing funds for business activities, making purchases, or investing. Financial institutions, such as banks, are in the business of providing capital to businesses, consumers, and investors to help them achieve their goals. The use of financing is vital in any economic system, as it allows companies to purchase products out of their immediate reach. Equity financing is the process of raising capital through the sale of shares. Companies raise money because they might have a short-term need to pay bills or have a long-term goal and require funds to invest in their growth. By selling shares, a company is effectively selling ownership in their company in return for cash. Advantages of Equity Financing; Funding your business through investors has several advantages, including the following: The biggest advantage is that you do not have to pay back the money. If your business enters bankruptcy, your investor or investors are not creditors. They are part-owners in your company, and because of that, their money is lost along with your company. You do not have to make monthly payments, so there is often more cash on hand for operating expenses. Investors understand that it takes time to build a business. You will get the money you need without the pressure of having to see your product or business thriving within a short amount of time. 

Planning Permission and Building Regulations Courses: Planning permission assesses whether the development fits in with local and national policies and whether it would cause unacceptable harm, for example, to neighbours' quality of life. Whereas building control covers the structural aspects of development and progress throughout the construction

AFRO-MEDITERRANEAN PARAMILITARY FINANCING

Military Payments

Sercurity Operations (SercOps) Payment: $150,000 yearly salary: Receives $100,000 salary; other $50,000 is used for branch-managed investment portfolio and investment trust

Discharge Payment: $75,000 yearly salary for Armoured Car Guard and Driver, Receives $50,000 salary; other $25,000 is used for branch-managed investment portfolio and investment trust

Military Funding: Central Hedge Fund Equity Given

Payment is in Fixed Currency

AFRO-MEDITERRANEAN SOCIOECONOMIC STATUS DEVELOPMENT CONFLICT PREVENTION AND RECONSTRUCTION (CPR) UNIT CENTERS

Corporate Sponsor: M & A Schools (Mergers and Acquisitions) & Retirement-preparatory School

Cross-Curriculum

STEM education is the cross-curricular study of science, technology, engineering, and mathematics, and the application of those subjects in real-world contexts.

Studying Style

I use Interleaving Studying for Generalist Kinaesthetic Learners.

Transition to Interleaving Studying: Online PowerPoint Presentation, Video Essays, Case Studies & Meta-analyses over Books to present Information as a country, Less Paper Use, Courses on Different PowerPoint Studying Styles, Make country a Business & Finance Culture and Technological Advanced, Overview at Beginning; Program Learning Concept Check During Quizzes at the End for Courses, Spaced Learning on concept checks before exiting the course.

A great example of when to use interleaving is sports, for instance, tennis. Instead of just practicing backhands in one session, you can interleave backhands, forehands, and volleys to get increased results. Another great example can be found in science classes, where interleaving math, physics, and chemistry, for example, can provide you with an advanced understanding of all 3 fields. 

Spaced learning is a learning method in which highly condensed learning content is repeated three times, with two 10-minute breaks during which distractor activities such as physical activities are performed by the students. It is based on the temporal pattern of stimuli for creating long-term memories reported by R. Douglas Fields in Scientific American in 2005.

Spacing boosts learning by spreading lessons and retrieval opportunities out over time so learning is not crammed all at once. By returning to content every so often, students' knowledge has had time to rest and be refreshed.

The two concepts are similar but essentially spacing is revision throughout the course, whereas interleaving is switching between ideas while you study. Although interleaving and spacing are different interventions, the two are linked because interleaving inherently introduces spacing. These two concepts will create student-athletes

The best part about interleaving is that it is almost a universal aid in learning

Evidence suggests that spaced practice is more effective for long-term retrieval.

Interleaving Studying forces the brain to continually retrieve because each practice attempt is different from the last, so rote responses pulled from short-term memory won’t work. 

Multiple choice test is an example of measuring retrieval by A. reconstruction. B. recognition.

Chess

Increasing Intelligence: Fluid and crystallized intelligence are constructs originally conceptualized by Raymond Cattell. The concepts of fluid and crystallized intelligence were further developed by Cattell and his former student John L. Horn. Crystallized intelligence. This refers to your vocabulary, knowledge, and skills. Crystallized intelligence typically increases as you get older. Fluid intelligence, also known as fluid reasoning, fluid intelligence is your ability to reason and think abstractly. Fluid intelligence refers to basic processes of reasoning and other mental activities that depend only minimally on prior learning (such as formal and informal education) and acculturation. Horn notes that it is formless, and can "flow into" a wide variety of cognitive activities Tasks measuring fluid reasoning require the ability to solve abstract reasoning problems. Examples of tasks that measure fluid intelligence include figure classifications, figural analyses, number and letter series, matrices, and paired associates. Crystallized intelligence refers to learned procedures and knowledge. It reflects the effects of experience and acculturation. Horn notes that crystallized ability is a "precipitate out of experience," resulting from the prior application of fluid ability that has been combined with the intelligence of culture. Examples of tasks that measure crystallized intelligence are vocabulary, general information, abstract word analogies, and the mechanics of language.

Bullet Chess: The rules for bullet chess aren't different from those of a regular chess game. Bullet chess refers to games played with time controls that are faster than 3 minutes per player. The most popular forms of bullet chess are 1|0 (one minute with no increment per player) or 2|1 (two minutes with a one-second increment per player). Increment (also known as bonus and Fischer since former World Chess Champion Bobby Fischer patented this timing method)—a specified amount of time is added to the players main time each move, unless the player's main time ran out before they completed their move.

Chess Benefits: It has been suggested by different scientists that chess involves, and possibly boosts, cognitive abilities such as working memory, fluid intelligence, and concentration capacity. Besides, chess may be beneficial for mathematical ability and, more widely, academic achievement by enhancing concentration and problem-solving skills.

Life-History Strategy

Life history theory posits that behavioral adaptation to various environmental (ecological and/or social) conditions encountered during childhood is regulated by a wide variety of different traits resulting in various behavioral strategies. Unpredictable and harsh conditions tend to produce fast life history strategies, characterized by early maturation, a higher number of sexual partners to whom one is less attached, and less parenting of offspring. Unpredictability and harshness not only affects dispositional social and emotional functioning, but may also promote the development of personality traits linked to higher rates of instability in social relationships or more self-interested behavior. Similarly, detrimental childhood experiences, such as poor parental care or high parent-child conflict, affect personality development and may create a more distrustful, malicious interpersonal style. The aim of this brief review is to survey and summarize findings on the impact of negative early-life experiences on the development of personality and fast life history strategies. By demonstrating that there are parallels in adaptations to adversity in these two domains, we hope to lend weight to current and future attempts to provide a comprehensive insight of personality traits and functions at the ultimate and proximate levels.

The Savant Skills Curriculum

Savant gifts, or splinter skills, may be exhibited in the following skill areas or domains: memory, hyperlexia (ie, the exceptional ability to read, spell and write), art, music, mechanical or spatial skill, calendar calculation, mathematical calculation, sensory sensitivity, athletic performance, and computer ability. These skills may be remarkable in contrast to the disability of autism, or may be in fact prodigious when viewed in relation to the non-disabled person.

Learning Centers

Enrichment centers require you to be aware of your students' learning styles (Kinesthetic) as well as their knowledge about a topic. The enrichment center can provide individual students with varied activities or combination of activities that differ from those pursued by other students. As such, the center becomes an individualized approach to the promotion of the topic.

Skill Centers Skill centers are typically used at the elementary level, more so than at the secondary level. Students may work on math facts, phonics elements, or other tasks requiring memorization and/or repetition.

Interest and Exploratory Centers: Interest and exploratory centers differ from enrichment and skill development centers in that they are designed to capitalize on the interests of students. They may not necessarily match the content of the textbook or the curriculum; instead they provide students with hands-on experiences they can pursue at their own pace and level of curiosity. These types of centers can be set up throughout the classroom, with students engaging in their own selection of activities during free time, upon arrival in the morning, as a “free-choice” activity during the day, or just prior to dismissal. These centers allow students to engage in meaningful discoveries that match their individual interests.

Programmed Learning

The way a teaching machine works is: It asks you a question. If you give the right answer, it goes on to the next question. If you give the wrong answer, it tells you why the answer is wrong and tells you to go back and try again. This is called "programmed learning". 

Programmed learning, educational technique characterized by self-paced, self-administered instruction presented in logical sequence and with much repetition of concepts. Programmed learning received its major impetus from the work done in the mid-1950s by the American behavioral psychologist B.F.

Exploratory Learning (Singapore Field Trips)

The Choice Theory Culture:

Is an expected way of being or living

Encourages positive choices which lead to healthy relationships

Is relationship based and collaborative

Is not about controlling behavior, rather promoting personal responsibility

Carol Dweck's Growth Mindset Theory

Growth Mindset: “In a growth mindset, people believe that their most basic abilities can be developed through dedication and hard work—brains and talent are just the starting point. This view creates a love of learning and a resilience that is essential for great accomplishment. With a growth mindset, students continually work to improve their skills, leading to greater growth and ultimately, success. The key is to get students to tune into that growth mindset.

Dweck writes, “In the fixed mindset, everything is about the outcome. If you fail—or if you’re not the best—it’s all been wasted. The growth mindset allows people to value what they’re doing regardless of the outcome. They’re tackling problems, charting new courses, working on important issues. Maybe they haven’t found the cure for cancer, but the search was deeply meaningful,” (Dweck, 2015).

Poker as Intro to Portfolio Building

Famous Fund Managers who played Poker 

Steven A. Cohen (born June 11, 1956) is an American hedge fund manager and owner of the New York Mets of Major League Baseball since September 14, 2020, owning roughly 97.2% of the team. He is the founder of hedge fund Point72 Asset Management and now-closed S.A.C. Capital Advisors, both based in Stamford, Connecticut. Cohen grew up in Great Neck, New York, where his father was a dress manufacturer in Manhattan's garment district, and his mother was a piano teacher. He is the third of seven brothers and sisters. He took a liking to poker as a high school student, often betting his own money in tournaments, and credits the game with teaching him "how to take risks." Cohen graduated from John L. Miller Great Neck North High School in 1974, where he played on the school's soccer team. Cohen received an economics degree from the Wharton School at the University of Pennsylvania in 1978. While in school, Cohen was initiated as a brother of Zeta Beta Tau fraternity's Theta chapter where he served as treasurer. While in school, a friend helped him open a brokerage account with $1,000 of his tuition money.

Carl Icahn is one of the most recognisable and successful investors in the world, having far outperformed the market on an annualised basis since 1968; at a rate which, by some measures, has him ahead of Warren Buffett. Carl Icahn was born on the 16th February 1936 in Queens, New York. It was a beach neighbourhood and a poor area. His mother was a pianist, but dropped her dreams of pursuing it as a career and instead chose a more stable job as a school teacher. His father also became a substitute teacher. As you may expect with both parents involved in education, Carl was extremely studious. At high school, he didn’t involve himself in many activities such as sports and clubs, instead he had set himself the big goal of making it to an Ivy League university; something most people in his area had no chance of doing. His teacher didn’t even think it was worth him applying, but this made him even more determined to be different. He had a mind-set that he wanted to be the best at everything. Icahn’s parents said they would only pay for university if he got into one of the top Ivy League universities. Although no one thought he stood a chance, he managed to enrol at Princeton University and studied philosophy as his major. His parents fulfilled their promise and paid for his Princeton fees but couldn’t stretch to anything else such as his accommodation or food. Instead, Carl got himself a summer job at a Cabana club in his neighbourhood to fund his living costs. It was at the Cabana club that he learnt how to play poker and joined in the games regularly. He says at the start he didn’t know how to play, but then he read 3 poker books in 2 weeks and became the best player there, taking home huge winning each summer. He says: “To me, it was a big game, big stakes. Every summer I won about $2,000, which was like $50,000 back in the ‘50s”

Brain Training: How Regular Poker Play Could Help Soccer Stars Succeed: An athlete’s brain is their most vital organ. It controls how the body functions, and it needs to be cultivated and disciplined just like the muscles do. Those in the industry are constantly searching for new ways to help soccer players get their heads in the game, and it turns out that poker can help immensely. By sharpening cognitive function, increasing social awareness, and improving mental endurance, poker enables athletes to rise to the occasion for peak performance on the field.

Conflict Prevention & Reconstruction Unit Psychology

Reintegration of child soldiers should emphasize three components: family reunification, psychosocial support and education, and economic opportunity. Family reunification—or, where that is not possible, foster placement or support for independent living—is crucial to successful reintegration.

Children are reintegrated into community life through the provision of psychosocial support, life skills classes and basic vocational training. At the end of the program, participants are provided with small grants to start businesses.

Post-traumatic growth (PTG) is a theory that explains this kind of transformation following trauma. It was developed by psychologists Richard Tedeschi, PhD, and Lawrence Calhoun, PhD, in the mid-1990s, and holds that people who endure psychological struggle following adversity can often see positive growth afterward. Post-traumatic growth often happens naturally, Tedeschi says, but it can be facilitated in five ways: through education (rethinking ourselves, our world, and our future), emotional regulation (managing our negative emotions and reflecting on successes and possibilities), disclosure (articulating what is happening and its effects), narrative development (shaping the story of a trauma and deriving hope from famous stories of crucible leadership), and service (finding work that benefits others).

People who have experienced posttraumatic growth report changes in the following 5 factors: Appreciation of life; Relating to others; Personal strength; New possibilities; and Spiritual, existential or philosophical changes

Although posttraumatic growth often happens naturally, without psychotherapy or other formal intervention, it can be facilitated in five ways: through education, emotional regulation, disclosure, narrative development, and service.

Forgeard found that the form of cognitive processing was critical in explaining growth after trauma. Intrusive forms of rumination caused a decline in multiple areas of growth, whereas deliberate rumination led to an increase in five domains of posttraumatic growth. Deliberate rumination involves perceiving multilateral sides of the stressful experience including value, meaning, and significance (Calhoun et al., 2000; Cann et al., 2011), and may also decrease the discrepancy between global and situational meanings, as it promote finding meaning. Trauma-focused cognitive behavioral therapy (TF-CBT) & Compassion-focused therapy (CFT) is a recommended psychotherapy

The two psychological traits which indicate a higher likelihood of experiencing post-traumatic growth are openness to experience and extraversion. Novelty seeking is positively associated with the Big Five personality trait of "extraversion," and to a lesser extent “openness to experience,” but is inversely associated with "conscientiousness." Online poker players are high sensation seekers who gamble to experience strong feelings and arousal, whereas impulsivity plays an important role in developing and maintaining pathological gambling.

CORPORATE SPONSOR: BETA-ARBITRAGE M & A EXAM

Poker Contest: Bankroll Budget*

Math Contest: Linear Algebra Contest, Probability and Ratios

Investment Management Contest: Decentralized Portfolio Building Simulation

Latin and Mandarin Technical Analysis Settings Fair: Year-Long Competition 

Blues Ocean Strategy Game Theory Network Mergers & Acquisitions Contest: Macau Game Theory - The course includes modules in areas such as: Essentials of M&A, Due diligence training, Business valuation training, post-merger integration planning

Machine Learning Contest: Quantitative Aptitude 

Winners Get a Full Ride to Internships (Licenes Courses I'm Gonna Make with Established Schools and Banks) Freshman Class is made of the contest winners: Mergers & Acquisitions Generalization with Corporate Sponsor; Understanding Capital Markets, Game Theory, Investment Model & Analysis, Quantitative Aptitude, Hedging Techniques, Foreign Language, Business Engineering, Business Models & Reengineering, Offshore Law, Blue Ocean Strategy, Investment Management with Python (Machine Learning)

Ages: 10, 12, 14, 17, 18, 20

SOCIOECONOMIC STATUS DEVELOPMENT CENTRES

Socioeconomic status is the social standing or class of an individual or group. It is often measured as a combination of education, income, and occupation.

EdTech

 Business Model: Grants, corporate sponsorships, and recruiting business FutureLearn is another MOOC heavyweight with 210+ partners that include universities, humanitarian foundations, and large businesses. Some startups even rely on corporate sponsorship as their main business model

Generalist Education

VAMMMBRGC: Volleyball, Acting, Modelling, Music, Martial Arts, Ballet (Female), Rings Gymnastics (Male), Graffiti (Art), Cooking (Gastronomy)

STEM: Science, Technology, Engineering, Mathematics

M&A: Merger, Acquasitions

Welfare Investment Program 

Fund through Rental Properties: Bond Funds, REITs

Credit Building Program: Line of Credit Deposit Program

Job Placement for Agriculture Working Class

Agricultural Industry means an industrial activity involving the processing, cleaning, packing or storage of the results from agricultural production. The working class (or labouring class) comprises those engaged in manual-labour occupations or industrial work, who are remunerated via waged or salaried contracts. Working-class occupations (see also "Designation of workers by collar colour") include blue-collar jobs, and most pink-collar jobs. Members of the working class rely exclusively upon earnings from wage labour; thus, according to more inclusive definitions, the category can include almost all of the working population of industrialized economies, as well as those employed in the urban areas (cities, towns, villages) of non-industrialized economies or in the rural workforce.

As with many terms describing social class, working class is defined and used in many different ways. The most general definition, used by many socialists, is that the working class includes all those who have nothing to sell but their labour. These people used to be referred to as the proletariat. In that sense, the working class today includes both white and blue-collar workers, manual and menial workers of all types, excluding only individuals who derive their livelihood from business ownership and the labour of others. The term, which is primarily used to evoke images of laborers suffering "class disadvantage in spite of their individual effort," can also have racial connotations. These racial connotations imply diverse themes of poverty that imply whether one is deserving of aid.

COMMODITIES REAL ESTATE

Insurance Premium, Financial Electronic Data Interchange, Royalties, Lease, & Gross Sale Payments for Restaurant Clientele Grocery Stores and Delivery Food Courts:

A lease payment is the equivalent of the monthly rent, which is formally dictated under a contract between two parties, granting one participant the legal right to use the other individual's real estate holdings, manufacturing equipment, computers, software, or other fixed assets, for a specified amount of time.

Gross sales refer to the grand total of all sales transactions over a given time period. This doesn't include the cost-of-sales or deductions (like returns or allowance). To calculate a company's gross sales, add up the total sales revenue for a specified period of time—monthly, quarterly, or annually. 

A franchise (or franchising) is a method of distributing products or services involving a franchisor, who establishes the brand's trademark or trade name and a business system, and a franchisee, who pays a royalty and often an initial fee for the right to do business under the franchisor's name and system. Royalties is the amount someone pays you to use your property, after you subtract the expenses you have for the property.

CONFLUENCE FOREX & COMMODITIES BETA-ARBITRAGE FORMULA

Trading Psychology: Play Defense, Focus on preserving capital instead of gaining capital

Position Trading: Currency being used, Shorting Low-Interest Currency against High-Value Currency Or Currency Being used, Shorting Low Interest/High-Value Currency against High-Interest Currency. Examples: Carry-Roll Down Bonds, CFD Forex Gold

Swing Trading: Use mt4/mt5 With Heiken Ashi Charts, Setting at 14 or 21 Momentum Indicator above 0 as Divergence Oscillator and VSA as Reversal Oscillator and Trade when bullish candlesticks above 200 exponential moving average and/or 20 exponential moving average (EMA) on H1 (Hourly) Time Frame; use H4 (4 Hours) and D1 (1 Day) as reference. Works for Oil & Gold Commodities

Master Supply and Demand (S&D) Zones (banks use this)

Candlestick Patterns for Momentum: Bearish Engulfing, Hanging Man, Shooting Star Three Crows, Evening Star, (Short). Bullish Engulfing, The Bearish Inverted Hammer or Regular Hammer (Regardless of Colour), Morning Star, and Piercing Line (Long) are extremely Important

Candlestick Patterns for VSA When Volume Spikes Down and Price is Up Bearish: Shooting Star, Doji, Hanging Man, Doji-Star

Candlestick Patterns for VSA When Volume Spikes Up and Price is Down Bullish: Hammer, Inverted Hammer, Doji, Doji-Star

S&D Reversal Patterns: The Drop-Base-Rally is a bullish reversal pattern, The Rally-Base-Drop is a bearish reversal pattern

S&D Continuation patterns: The Rally-Base-Rally is a bullish continuation pattern, The Drop-Base-Rally is a bearish continuation pattern

Swing Trading Time Frame H1 (Hourly) Reference D1 and H4 to locate supply and demand zones Pivot Points and VSA

Heiken Ashi Candlesticks Much easier to read candlestick charts and analyze market trends

Using Pivot Points for Prediction A pivot point is a technical analysis indicator, or calculations, used to determine the overall trend of the market over different time frames Works for commodities

Exponential Moving Average (EMA) 200 Day 20 Day

Momentum Indicator Settings 14 or 21

Volume Spread Analysis (VSA Trading) Entry 4 Steps: Identify the trend, Identify the sign of weakness in an existing uptrend, Wait to test the weakness for confirmation for the continuation of the uptrend, Look for any bullish reversal candlestick pattern for entry.

Relative Strength Index (RSI) Relative Strength Index (RSI) is a momentum indicator. It is a single line ranging from 0 to 100 which indicates when the stock is overbought or oversold in the market. If the reading is above 70, it indicates an overbought market and if the reading is below 30, it is an oversold market. RSI is also used to estimate the trend of the market, if RSI is above 50, the market is an uptrend and if the RSI is below 50, the market is a downtrend.

Commodity Channel Index Commodity Channel Index identifies new trends in the market. It has values of 0, +100, and -100. If the value is positive, it indicates uptrend, if the CCI is negative, it indicates that the market is in the downtrend. CCI is coupled with RSI to obtain information about overbought and oversold stocks.

What is Cash-and-Carry-Arbitrage? Cash-and-carry-arbitrage is a market-neutral strategy combining the purchase of a long position in an asset such as a stock or commodity, and the sale (short) of a position in a futures contract on that same underlying asset. A cash-secured put is an income options strategy that involves writing a put option on a stock or ETF and simultaneously putting aside the capital to buy the stock if you are assigned.

What are Gold CFD? A contract for difference (CFD) is a popular type of derivative that allows you to trade on margin, providing you with greater exposure to the gold market. Instead of purchasing gold itself, you buy or sell units for a given financial instrument depending on whether you think the underlying price will rise or fall.

What is Quanto Option? The Quanto option is a cash-settled, cross-currency derivative in which the underlying asset has a payoff in one country, but the payoff is converted to another currency in which the option is settled.

Hedging Strategies: Forex and Commodities CFD, Crude Oil Cash-secured Put Options (Binary Options)

TURF ACCOUNTANT

Beta-Arbitrage (PROFITS FOR BOOKMAKER)

+EV (Investment)

Live Betting (Balance Sheets)

BRANCH BRACKET DISCOUNTED CASH FLOW PORTFOLIO BET SLIP

+EV Round Robin instead of WACC Portfolio

$5 Units

GAME THEORY OPTIMAL POKER WITH LOOSE AGGRESSIVE & GROWTH INVESTING

Growth Investing Strategy & Game Theory

Japanese Candlestick Charts: Bullish Engulfing

Discounted Cash Flow Model: EV (Expected Value replaces WACC)

Mixed Strategy 

Fold Equity 

Community Cards

Companies Charts and Historical Financials

Royal Flush

Straight Flush

4 of a Kind

Full House

Flush

Hands

FCF of Companies

Strategy

Every chart starts with a green candlestick

Depending on your hand the second candlestick is either green or red

Green for the top 5 hands: Listed above

Red for the bottom 5 hands

If it's green invest by betting

If it's red fold

The third candlestick depends on the Flop

The fourth candlestick depends on The Turn 

As more money gets betted the Green candlestick gets larger

After The Flop risk-assessment and probability needs to be accounted for

After The Flop, The Turn, and The River it is possible for a red candlestick to appear because of a fold or a better hand because you lost money. Judge how much money you lost by the size of the candlesticks growth

Tony Dunst Tips

Learn to think in Big Blinds, Opponents are Effective Big Blinds 

Identify Player Types then Adjust

Study Big Blind Defense Frequency (Hand Ranges)

Work on Bubble and Final Table Play (Independent Chip Model)

Build 3 Betting Ranges

AFRO-MEDITERRANEAN SOCIOECONOMIC STATUS VOLLEYBALL SPORTS PERFORMANCE FOR KINAESTHETIC LEARNERS

Volleyball Physiological Age System for Both Genders: Plyometric High-Intensity Interval Training Through Cross Training, Wingspan Through Cross Training, Unstable Surface Muscle Recruitment Contrast Training, Isometric-Plyometric-Sprint-or-Vertical Jump Contrast Conditioning, Intermittent Hypoxic Training (IHT) Weighted Jump Rope Respiratory Conditioning, Functional Threshold Power (FTP) Cycling, Fascia and Central Pattern Generator Skill Development, Stretch-Reflex Elastic Strength Training, Running-Based Anaerobic Sprint Test (RAST), Stimulus-Fatigue-Recovery-Adaptation for Supercompensation, Autophagy Recovery, High Fat and High Carb with Lipolysis Supplement Nutrition: 3 Fuels of Energy in Oxygen, Fat, and Glucose, Convert Hybrid Muscle Fibers

Stretch Goal of Having a Physiological Age of 25

Volleyball is an aerobic sport with additional anaerobic demands. This will require volleyball players to work both energy systems, making cardiorespiratory conditioning very important. The aerobic, or lower intensity training, will help build a strong cardio base that is needed for a long match. A study done on college athletes showed that gymnasts and volleyball players had significantly higher bone mineral density than swimmers, which is considered a low-impact sport.

Collagen Athletes: Researchers found that a year of daily collagen peptides supplementation measurably increased bone mineral density in the lumbar spine and in the upper femur. The women also had higher levels of a blood biomarker that indicates bone formation. Collagen provides resistance to tension and stretch, which commonly occur in fascial tissues, such as ligaments, tendons, sheaths, muscular fascia and deeper fascial sub-layers. Julio Jones and Cam Newton do Fascia Beach Workouts https://www.youtube.com/watch?v=Unm5dvlcqL4

Offensive Systems 5-1 System Rotation 1: Setter Starts in Right Back, Rotation Offense to Middle Front, Run One Man or Two Man Routes, Call out Formations

Defensive Systems Middle Back Systems: The Set is important to determine if there’s enough time for one man, two man, or three man block. Shots to Plan for: Dink, Off-speed, and Angle. Setting Blocks: Mix Sequencing of Jump Two Man and Three Man Back

Anta Sports Fashion Collab Circuits (Graffiti Beachwear Fashion Week and Trade Show): Key City Tournaments

Planned Pregnancy: Mercury-Venus Cusp, MSTN Gene, ACTN3 Gene, and XYY Syndrome or Triple X Syndrome

CARTEL THEORY

HSBC Bank Holding Company Equity Financing

What Is a Bank Holding Company? A bank holding company is a corporation that owns a controlling interest in one or more banks but does not itself offer banking services. Holding companies do not run the day-to-day operations of the banks they own. However, they exercise control over management and company policies. They can hire and fire managers, set and evaluate strategies, and monitor the performance of subsidiaries’ businesses.

What Is Equity Financing? Equity financing is the process of raising capital through the sale of shares. Companies raise money because they might have a short-term need to pay bills or have a long-term goal and require funds to invest in their growth. By selling shares, a company is effectively selling ownership in their company in return for cash. Equity financing comes from many sources: for example, an entrepreneur's friends and family, investors, or an initial public offering (IPO). An IPO is a process that private companies undergo to offer shares of their business to the public in a new stock issuance. Public share issuance allows a company to raise capital from public investors. 

Palmiers Noirs Rivals

United Kingdom

Jews

Luxembourg (EU Blacklist Creator)

Latin Kings

Sinaloa Cartel

Sonora Cartel

Colombian Cartels

Neymar

Banker Title

Croupier Comptable: An investment banker who has experienced decadence through Casino Capitalism 

Palmiers Noirs Structure

Clandestine Cell System

A clandestine cell system is a method for organizing a group of people (such as resistance fighters, sleeper agents, mobsters, or terrorists) such that such people can more effectively resist penetration by an opposing organization (such as law enforcement or military units).

In a cell structure, each of the small group of people in the cell know the identities of the people only in their own cell. Thus any cell member who is apprehended and interrogated (or who is a mole) will not likely know the identities of the higher-ranking individuals in the organization.

The structure of a clandestine cell system can range from a strict hierarchy to an extremely distributed organization, depending on the group's ideology, its operational area, the communications technologies available, and the nature of the mission.

Criminal organizations, undercover operations, and unconventional warfare units led by special forces may also use this sort of organizational structure.

Infrastructure cells

Any clandestine or covert service, especially a non-national one, needs a variety of technical and administrative functions, such as: Recruitment/training, Forged documents/counterfeit currency, Finance/Fundraising, Communications, Transportation/Logistics, Safehouses, Reconnaissance/Counter-surveillance, Operational planning, Arms and ammunition, and Psychological operations

A national intelligence service has a support organization to deal with services like finance, logistics, facilities (e.g., safehouses), information technology, communications, training, weapons and explosives, medical services, etc. Transportation alone is a huge function, including the need to buy tickets without drawing suspicion, and, where appropriate, using private vehicles. Finance includes the need to transfer money without coming to the attention of financial security organizations.

Cartel Definition

Cartel is an ambiguous concept, which usually refers to a combination or agreement between rivals, but – derived from this – also designates organized crime. The main use of ‘cartel’ is that of an anticompetitive association in the economy. 

Price cartels engage in price fixing, normally to raise prices for a commodity above the competitive price level.

Cartel Theory

Cartel theory is usually understood as the doctrine of economic cartels. However, since the concept of 'cartel' does not have to be limited to the field of the economy, doctrines on non-economic cartels are conceivable in principle. Such exist already in the form of the state cartel theory and the cartel party theory. For the pre-modern cartels, which existed as rules for tournaments, duels and court games or in the form of inter-state fairness agreements, there was no scientific theory. Such has developed since the 1880s for the scope of the economy, driven by the need to understand and classify the mass emergence of entrepreneurial cartels. Within the economic cartel theory, one can distinguish a classical and a modern phase. The break between the two was set through the enforcement of a general cartel ban after the Second World War by the US government.

Constituent characteristics and exclusion criteria for cartels

Constituent criteria for cartels would be the following: The members are, at the same time, partners as well as competitors (so do e.g. enterprises, states, parties, duelists, tournament knights).  These members can be individual persons or organizations. The members of a cartel are independent of each other, negotiating their interests with each other and against each other. So there have to be at least two participants and they determine their interests autonomously. The members of a cartel know each other; they have a direct relationship, in particular they communicate with each other.

Exclusion criteria for cartels would be the following: There is a "hierarchical" or other strong "dependency relationship among the participants": a drug mafia that is organized hierarchically and managed by a single boss can't be a drug cartel in the sense of a real "cartel". KLikewise, a business corporation can't be a "cartel" due to its central management, which controls its subsidiaries. Furthermore, an OPEC, in which all adherents would be dependent on the largest member (since long: Saudi Arabia) would no longer be a "cartel". Similarly, colonial empires from a motherland and colonies do not constitute a "state cartel". The union of competitors, in their entirety or via important members of its association, is dependent on an outside power. A strict, state-mandated compulsory cartel without freedom of choice between the partners would not be a (real) cartel. A suitable example is the "Deutsche Wagenbau-Vereinigung" (German Railway Cars Association), which was organized in the 1920s by the "Deutsche Reichsbahn" (German Imperial Railways) – its "market opponent". The combination takes place between actors of different levels. Thus, the concerted actions of employers’ associations and trade unions in some industrialized countries was not a cartel, because the allies there were no homogenous competitors. The alleged members of a suspected cartel do not know each other, but only randomly show a parallel behavior: “Cartels of the godless”, “cartels of maintenance deniers” or “silent cartels” are therefore usually no real cartels, but pure verbal abuse formulas.

MACAU ECONOMICS

Science

Science of Aesthetics

Nutritional Biochemistry

Vertical-Rotational Force Kinetic Chain

Biomechanics

Sports Medicine

Technology

Biotechnology

FinTeach

RealTeach

Merger & Acquisition EdTech

Engineering

Business Engineering (Tribes Organism and Keynesian Macroeconomics)

Construction Management

Business Model Reengineering

Mathematics (Decentralized Central Banking)

Investment Management

Monetary Policy & Central Banking

Wolf Packs are Generalist

David Epstein examined the world’s most successful athletes, artists, musicians, inventors, forecasters and scientists. He discovered that in most fields—especially those that are complex and unpredictable—generalists, not specialists, are primed to excel. Generalists often find their path late, and they juggle many interests rather than focusing on one. They’re also more creative, more agile, and able to make connections their more specialized peers can’t see.

Wolves are habitat “generalists,” meaning they can adapt to living in many kinds of habitat. They basically need two things to thrive: abundant prey and human tolerance.

Trophic Cascade, an ecological phenomenon triggered by the addition or removal of top predators and involving reciprocal changes in the relative populations of predator and prey through a food chain, which often results in dramatic changes in ecosystem structure and nutrient cycling. (Trillwave in Macau)

A keystone species is an organism that helps define an entire ecosystem. Without its keystone species, the ecosystem would be dramatically different or cease to exist altogether. Keystone species have low functional redundancy. (Trillwave in Macau)

Unpredictable and harsh conditions tend to produce fast life history strategies, characterized by early maturation, a higher number of sexual partners to whom one is less attached, and less parenting of offspring.

BLUE OCEAN STRATEGY BY RENÉE MAUBORGNE AND W. CHAN KIM (COURTESY OF BLINKIST)

What’s in it for me? Conquer uncontested market space.

Every business asks themselves the same question: how can we beat out the competition? And almost every business comes up with the same answer: we need to become bigger, better, and faster to outperform our rivals.

But what if your business didn’t have to beat the competition because there wasn’t any? What if you could enjoy unlimited growth without worrying about limited demand? This isn’t some idle fantasy but a strategic approach that a handful of successful businesses have already made reality. How did they do it? And how can your business do the same? This short Blink will give you a taste.

Escape your competition by setting sail to a blue ocean.

When you establish a new business, competition can be brutal. Whether you’re selling wine, audio books, or life insurance, the market for a product can only get so big. So you’re left to fight with hundreds of other companies for your share of a limited demand. No surprise that America’s most popular business TV show is called Shark Tank! Markets today are like oceans, swarming with hungry companies ready to kill each other. There’s so much blood in the water, we can call these markets red oceans. 

But every once in a while, a company emerges that seems to sail past all the competition. These are businesses that rise fast, grow uncontested, and seem to play by their own rules. What are they doing differently?

Well, instead of fighting over scraps in red oceans, these businesses navigate uncharted territory: blue oceans. You can think of blue oceans as all the markets we haven’t yet discovered, for products and services that don’t yet exist. Demand isn’t limited because demand isn’t there – it has to be created. But this isn’t a handicap, it’s an opportunity. Because if the size of your market isn’t limited, neither are your growth and profits.

In blue oceans, the water isn’t bloodied by cut-throat competition. It’s deep, clear, and full of undiscovered potential. The blue ocean strategy gives you the methodology and tools to conquer such uncontested markets. The basic tenet is this: It’s true that the space in a certain industry might be limited. But who’s to say that a business can’t create an entirely new industry?

Let’s look at an example of this in action: famous Canadian circus company Cirque du Soleil. With its extraordinary variety shows, Cirque du Soleil has entertained millions of people worldwide. On top of that, it’s made record profits. Not something you would expect from a circus company! How did the company do it?

Well, Cirque du Soleil did two interesting things. First, it got rid of the old circus staple of animal acts. Then, it supplemented its human acts with live music and compelling storylines. The first move reduced costs while the second introduced exciting new elements into the world of circus. In effect, Cirque du Soleil created a blue ocean: it carved out an entirely new market for artistic theater experiences. And people love it.

Lower your costs and differentiate yourself.

Perhaps you find the example of a circus company a bit too eclectic? No problem. There are thousands of other businesses that have successfully implemented a blue ocean strategy. Companies like Ford, Nintendo, Netflix, Nespresso, Yellow Tail, Southwest Airlines, and even The Body Shop. In this section, we’ll take a closer look at how they succeeded.

But first, a few more words about red oceans. In red oceans – industries that are already established – everyone plays by agreed rules. Not so long ago, these rules might have looked something like this: “Movies can be bought or rented.” “Wine needs to have an air of sophistication.” “Air travel is expensive.” But in blue oceans, none of these rules apply. Blue oceans are actively shaped by the actions of the industry players who create them.

Let’s be clear – you don’t need to reinvent the wheel to establish a blue ocean. Often, a few little tweaks are enough to set a product apart from its competitors and create a new market. It’s really quite simple: Take a close look at your industry as it is right now. Then think about which factors you can Raise, Eliminate, Reduce, and Create. Let’s go through these points step-by-step with examples.

Raise. Think about how you can elevate the product quality, price point, or service standards of your industry. Southwest Airlines did this when it became the first US airline to make domestic flights quick, easy, and affordable for everyone.

Eliminate. Consider which aspects of your product or service can be cut completely. Remember how Cirque du Soleil got rid of costly and unethical animal acts? Every industry has some outdated practice they’d be better off abandoning.

Reduce. Look at which production processes, product features or service offers you can reduce. Australian wine brand Yellow Tail, for instance, decided to reduce its focus on prestigious vineyards and the aging process in favor of affordable wines with broad appeal.

Create. Brainstorm what new features you can offer your customers. Netflix is a premium example of this that barely needs an explanation: it was the first company to offer on-demand streaming for movies and TV shows.

Ideally, considering these questions will help you do two things: lower your costs and differentiate your business from the competition. And that’s really all you need to create a blue ocean. Even more so, if your company keeps addressing these four factors – that’s raise, eliminate, reduce, and create –, it will stay one step ahead of the competition at all times.

Final summary

In this short Blink, you’ve learned about the difference between red and blue oceans. Rather than competing for limited market space, successful businesses often capture new markets with unlimited potential. They’re discovered by raising, eliminating, reducing, and creating industry factors in a way that lowers costs and sets your business apart from the competition.

RANGE BY DAVID EPSTEIN (COURTESY OF BLINKIST)

What’s in it for me? Learn why taking a wide-ranging approach to life will pay off.

In our complex and cutthroat world, there’s a lot of pressure to get a head start and specialize early. Many successful people, such as Tiger Woods, start to focus on one path early in life. But delve a little deeper, and it becomes clear that it’s generalists, not specialists, who are primed to excel.

Generalists may take a little longer to find their path in life, but they are more creative, can make connections between diverse fields that specialists cannot. This makes them more innovative and, ultimately, more impactful.

Drawing on examples from medicine to academia to sport, these blinks explore how breadth and range are far more powerful than specialized expertise. They also show that experts often judge their own fields more narrowly than open-minded, intellectually curious amateurs do.

In these blinks, you’ll learn; what comic books have to tell us about the ingredients of success, how the complexity of modern life has changed the way we think, and why you should be a Roger; not a Tiger.

Starting early and specializing is fashionable, but has dubious merit.

At the age of ten months old, Tiger Woods picked up his first miniature golf club. At two, he showed off his golf drive on national television. Later that same year, he entered and won his first tournament in the under ten category. Tiger Woods embodies a now popular idea that the key to success in life is to specialize, get a head start and practice intensively.

This trend toward specialization doesn’t only show up in the sports world. In fact, it’s also true of academia, our complex financial system and medicine. Oncologists, for example, now rarely focus on cancer alone. Rather, they specialize in cancer of a particular organ. The writer and surgeon Atul Gawande notes that when doctors joke about right-ear surgeons, we shouldn’t be so quick to assume they don’t actually exist.

But is specializing really the way to go? Simply put, no. In many walks of life, building up experience in just one field doesn’t help performance. In a 2009 paper, psychologists Daniel Kahneman and Gary Klein explored the connection between experience and performance.

Klein shows that experience counts in certain fields. For firefighters, for example, years of focused experience trains them to recognize patterns in the behavior of flames, which enables them to make 80 percent of their on-the-job decisions instinctively in seconds.

But Kahneman found that in other areas, experience counted for nothing. Studying the assessment of officer candidates in the Israeli Defence Forces, he found that recruiters’ predictions of a recruit’s future performance, based on physical and mental abilities, were no more reliable than guesswork. Crucially, as the recruiters received more and more feedback after multiple recruitment rounds, they didn’t get any better at making predictions. Kahneman concluded that there was a complete disconnect between experience and performance.

Some fields of life resemble golf or firefighting. While not necessarily easy, they offer recurring patterns or simple rules that govern decision-making. But there are many more fields of life, like army recruitment, that are much more nebulous and require the creativity and flexibility that generalization offers.

Experimentation is as reliable a route to expertise as early specialization.

In 2006, a now 31-year-old Tiger Woods watched Roger Federer win the US Open final for the third year in a row. Both were at the peak of their powers. As they sipped champagne together in the locker room afterward, Federer felt he had never connected with someone who understood his feeling of invincibility so well. They became firm friends. But, as Roger later told a biographer, his story was very different from Tiger’s.

Roger’s mom was a tennis coach, but if she ever felt tempted to coach him, she resisted it. As a young boy, he dabbled in squash, skiing, wrestling, skateboarding, basketball, tennis and badminton. Later, he gave credit to this range of sports experience for helping his hand-eye coordination and athleticism.

Over time, he found that he liked sports with balls. He moved toward tennis as a teenager, but not intensively. In fact, when his instructors recognized his talent and tried to move him to a group of older players, he asked to stay in the group with his friends. Roger Federer’s winding path to tennis success points to the fact that sampling, rather than specialization, can often be the best route to eventual success.  

And plenty of evidence across multiple disciplines supports this. This is true even in an area like music, where plenty of outstanding musicians do specialize young. World-renowned cellist Yo-Yo Ma, for instance, started playing music at a very young age. But what many people don’t know is that Ma first tried violin and piano, and only moved to the cello because he didn’t like the first two.

Yo-Yo Ma isn’t alone in this. In a study of students at a British boarding school, music psychologist John Sloboda found that every one of the students who attended structured music lessons early in their development was categorized by the school as “average,” while not one was “exceptional.” In contrast, those children identified as exceptional were those who had tried out three instruments.

So, if you haven’t yet found your calling, experiment. You could take Vincent van Gogh as inspiration. He tried everything from working in bookstores to teaching and art dealing to preaching before finding his calling as an artist who changed painting forever.

Let’s find out how this works.

Living in a complex world has increased the average person’s IQ and ability to think abstractly.

In 1981, James Flynn, a professor of political studies from the beautiful hilly town of Dunedin in New Zealand, changed the way we think about thinking.

Flynn stumbled upon reports of IQ test scores of American troops that showed dramatic improvement between the two World Wars. The same score that placed a World War I soldier in the 50th percentile would only land him in the 22nd percentile of World War II troops. Intrigued, Flynn asked researchers in other countries for data. He received IQ test results from the Netherlands that showed similarly huge leaps from generation to generation. He then compiled data from 14 other nations.

In what’s now known as the Flynn effect, this research reveals an average three-point increase in IQ every decade in over 30 countries. But what causes this rapid rise? The work of a Russian psychologist, Alexander Luria, gives us an idea.

In 1931, the Soviet Union was changing rapidly. Remote, essentially premodern villages operating in ways unchanged for centuries were converted to collective farms with industrialized development, planned production and division of labor.

Luria capitalized on this rate of change to conduct unique studies. In one experiment, he asked villagers to sort wools into groups. In more modern villages, people would happily group similar pieces of wool, like those in different shades of blue. But in the remote, still premodern villages, participants simply refused to do so. According to them, each piece of wool was different – it was an impossible task!

Other questions involving conceptual thinking got a similar response. One villager, named Rakmat, was shown a picture of three adults and one child and asked which person did not belong. But Rakmat didn’t think about the question abstractly, as we would, and identify the child as different. Instead, he insisted that the boy must stay with the adults and help them with their work.

Luria’s findings were clear. The more exposure to modernization, the greater the ability to make conceptual connections between objects or abstract notions. Today, our minds are constantly dealing with abstract concepts. We glance at a download progress bar on our computer, for example, and instantly understand its meaning. Our minds are better at understanding a breadth of topics and making connections between ideas than ever before.

And yet, we continue to narrow our conceptual focus.

If you want it to stick, learning should be slow and hard, not quick and easy.

The teachers you liked the most in your educational career might be the ones who taught you the least. A study of teaching at the US Air Force Academy tracked the progress of thousands of students working with hundreds of different professors, starting with Calculus I classes. It found that the professors whose students’ got better grades on the exam were also highly rated in student evaluations. The professors whose students did not receive good grades received harsher student feedback.

But when the economists conducting the study looked at long-term results, there was a twist. The professors who received positive feedback had a net negative effect on their students in the long run. In contrast, those professors who received worse feedback actually inspired better student performance later on.

Rather than teaching to the test, these professors appeared to be facilitating a deeper understanding of underlying math concepts. It made their classes frustrating and difficult, hence the poor grades and student evaluations. But it paid off in the long run. Those professors were using desirable difficulties – harder, but ultimately more rewarding, ways to learn.

There are certain techniques we can all use that embrace desirable difficulties. One such technique is spacing, which means leaving time between learning something and practicing it. Consider a 1987 study in the Journal of Experimental Psychology. This study separated Spanish students into two groups, testing one group on vocabulary that they had learned the same day, and the other group weeks later. Eight years later, and with no further study in the interim, the two groups were tested again. The results showed that the latter group could remember over 200 percent more words.

Even short-term spacing is effective. In a 1972 study, researchers at Iowa State University read people a series of words. The first group of participants was asked to recite the words straight away. Another group was asked to recite them after being distracted for fifteen seconds by some simple math problems.

The first group did considerably better than the group that was distracted. But later the same day, the participants were asked to write down each word they could recall. This time, the group that previously performed worse did the best. The process of working hard to recall the information in the first instance had helped them move it from short-term to long-term memory.

So, don’t get too excited by quick progress when you learn. Embrace hard, slow learning. It will pay off in the long run.

A narrow focus is unhelpful, and a remedy for this is to think outside the box.

In some environments, dealing with specialists is desirable. If you need an operation, you probably want a doctor who specializes in the procedure and has done it many times before. However, as we benefit from more reflection and thinking, this narrow focus can be unhelpful.

For example, cardiologists use stents – metal tubes that hold blood vessels open – to treat chest pain so often that they often do so reflexively, even in situations that may be dangerous or inappropriate. This explains a 2015 study by Dr. Anupam Jena of Harvard Medical School. The study found that patients with cardiac arrest or heart failure were actually less likely to die if they were admitted to hospital while top cardiologists were away.

Other fields also point to the benefits of looking at problems with an outside view, rather than the inside view dictated by your own particular specialty.

In a study by University of Sydney professor Dan Lovallo, private equity investors were asked to provide a detailed assessment of businesses they were considering investing in, including their estimated return on investment. The investors were then asked to write notes about some other projects with broad similarities, like another tech start-up or an infrastructure project.

It turned out that the investors’ estimates of returns for the businesses they were actually planning to invest in were around 50 percent higher than for those alternative projects they had identified but not looked at in detail. The investors were shocked to discover the differences, and quickly slashed their estimated profit for their original potential investments.

As further psychological research has repeatedly shown, the more details we consider about something, the more extreme our judgments become. In one example, students rated a university higher when told that only certain science departments, rather than all science departments, were ranked in the national top ten.

Clearly, failing to see things from a broad perspective can lead to some bad calls.

A breadth of experience and interest drives innovation.

Comic books can tell us a surprising amount about range and success. When Dartmouth business professor Alva Taylor and Henrik Greve from the Norwegian School of Management decided to examine the impact of individual breadth on creative impact, they chose to study comics.

Tracking the careers of comic creators and the commercial success of thousands of comic books from 1971 onward, they made some predictions about what would boost the average value of a comic. They predicted that the more comics a creator made, the better the comics would be. Further, they thought that the more resources a publisher had, the higher quality and more successful its product would be.

All these assumptions were wrong. Neither experience nor financial resources bred success. What did drive success was the breadth of a comic creator’s experience across comic genres. Of 22 genres, the more a creator had worked in, from comedy to crime, fantasy to non-fiction, the more successful they were. But this link between breadth and success isn’t just the case in creative or artistic worlds.

Andy Ouderkirk, an inventor at the multinational company 3M, was named Innovator of the Year in 2013 and has been named on 170 patents, a proxy for creative success. He became fascinated with what generates successful and inventive teams, so he started to do some research. He found that the inventors who were most likely to succeed within 3M and win the company’s Carlton Award, which recognized innovation, were not specialists. They were polymaths, people with one area of depth, but a great deal of expertise in other areas as well.

These polymaths tended to have many patents in their area of focus, but also repeatedly took expertise gathered in one area and applied it to another. A study of prestigious scientists led by Robert Root Bernstein, a Professor of Psychology at Michigan State University, confirm Ouderkirk’s findings. Comparing Nobel prize-winning scientists to other scientists, the figures show that Nobel laureates are a full 22 times more likely to be an amateur actor, magician, dancer or performer.

So, for any hiring managers out there looking for fresh talent, here’s a plea. Don’t just look for people who fit into your clearly-defined slots. Make some space for those who don’t fit so clearly into any one category. Their breadth of experience might be invaluable.

The experts and pundits that our society listens to are usually hopeless at making predictions.

During 20 years of the Cold War, world-renowned forecasting expert Philip Tetlock collected and assessed the predictions of 284 experts. He concluded that experts are absolutely terrible at making predictions about anything.

Tetlock found that an expert’s years of experience, academic degree and even ability to access classified information made no difference. When experts said that some potential event was impossible, it happened in 15 percent of cases. Events declared to be an absolute sure thing failed to occur 25 percent of the time.

And worryingly for anyone who listens to cable news, Tetlock found that there was a perverse and inverse relationship between fame and accuracy. The more an expert appeared in the news, the more likely they were to be wrong, or as Tetlock famously put it, “roughly as accurate as a dart-throwing chimpanzee.”

One of the problems was that many of the experts’ focus was too narrow. Having spent entire careers studying a single issue – say, US-Soviet relations – they tended to have explicit theories about how it worked. So, what makes a better forecaster of future events? Well, researchers like psychologist Jonathan Baron point to active open-mindedness – a willingness to question your own beliefs. Most of us fail at this, and can’t override our strong instinct to cherry-pick evidence that confirms our existing beliefs.

Consider a study run by Yale professor Dan Kahan. Pro and anti-Brexit voters were first tasked with interpreting a set of statistics about the effectiveness of a skin cream. Most participants completed the task successfully. But when presented with the same numbers framed as the link between crime and immigration, many of the participants misinterpreted the statistics according to their political beliefs. The same study has yielded similar results in the US on the topic of gun control.

So, how exactly can we combat our tendency to stick to our existing beliefs, despite the evidence? Kahan argues that one personality feature is important if we want to stay open-minded and think clearly about the world around us. Instead of scientific knowledge – how much you know – emphasize scientific curiosity – a desire to learn more, willingness to look at new evidence and ability to think with a genuinely open mind.

Now, let’s consider how we can embrace this kind of curiosity.

To be more of a generalist, you need to change your attitude toward learning and success.

See if you can answer this question correctly. Disease X has a prevalence of one in 1,000 people. The test for the disease has a false positive rate of five percent. What is the chance that someone receiving a positive test result has the disease?

If your answer was two percent, or 1.96 to be precise, you got it right. And in doing so, you did better than the 75 percent of physicians and students at Harvard and Boston University who got it wrong. Their most frequent answer was 95 percent.

The problem is straightforward if you know how to think about it. In a sample of 10,000 people, ten will have the disease and get a true positive. Five percent, or 500 people, will get a false positive. So out of the 510 people with a positive result, only 10, or 1.96% are ill. Sadly, many students aren’t taught to think openly about such problems. And this, according to Arturo Casadevall –  a star in the world of microbiology and immunology – has to change.

In a new role at the Johns Hopkins Bloomberg School of Public Health, Casadevall is developing programs focused on an interdisciplinary understanding of topics such as philosophy, ethics, statistics and logic. One course, called “How do we Know What is True,” examines different types of evidence in various academic disciplines. “Anatomy of Scientific Error” encourages students to hunt for signs of misconduct or poor methodology in scientific research.

Casadevall hopes that, with a more rigorous grounding in reasoning and multidisciplinary thinking, students will be better prepared to make a real impact on our economy and society.

Of course, not all of us hold senior academic positions like Casadevall. What can we do to expand our range? Well, one thing is to embrace failure. Dean Keith Simonton, a creativity researcher, has shown that the more work creators produce, the more failures they produce, but they are also more likely to produce a superstar success. Thomas Edison, for instance, held over 1,000 patents, many of which were ultimately failures. But his successes, like the light bulb, were revolutionary.

Treading a wide-roaming, disorderly path of experimentation may not always bring instant results. But it may just be the best route to greatness in the end.

Final summary

The key message in these blinks: Embracing range, experimentation and breadth of experience is often a better road to success than specialization. Range demands patience, open-mindedness and scientific curiosity. If we can foster and exemplify these, the chances that we will generate major innovations and contribute significantly to our economy and society increase.

THINKING IN BETS BY ANNIE DUKES (COURTESY OF BLINKIST) CROUPIER COMPTABLE PSYCHOLOGY

Human minds tend to confuse decisions with their outcomes, which makes it hard to see mistakes clearly.

Super Bowl XLIX ended in controversy. With 26 seconds left in the game, everyone expected Seattle Seahawks coach Pete Carroll to tell his quarterback, Russell Wilson, to hand the ball off. Instead, he told Wilson to pass. The ball was intercepted, the Seahawks lost the Super Bowl, and, by the next day, public opinion about Carroll had turned nasty. The headline in the Seattle Times read: “Seahawks Lost Because of the Worst Call in Super Bowl History”!

But it wasn’t really Carroll’s decision that was being judged. Given the circumstances, it was actually a fairly reasonable call. It was the fact that it didn’t work.

Poker players call this tendency to confuse the quality of a decision with the quality of its outcome resulting, and it’s a dangerous tendency.

A bad decision can lead to a good outcome, after all, and good decisions can lead to bad outcomes

In fact, decisions are rarely 100 percent right or wrong. Our decision-making is like poker players’ bets. We bet on future outcomes based on what we believe is most likely to occur.

So why not look at it this way? If our decisions are bets, we can start to let go of the idea that we’re 100 percent “right” or “wrong," and start to say, “I’m not sure.” This opens us up to thinking in terms of probability, which is far more useful.Volunteering at a charity poker tournament, the author once explained to the crowd that player A’s cards would win 76 percent of the time, giving the other player a 24 percent chance to win. When player B won, a spectator yelled out that she’d been wrong. But, she explained, she’d said that player B’s hand would win 24 percent of the time. She wasn’t wrong. It was just that the actual outcome fell within that 24 percent margin.

If we want to seek out truth, we have to work around our hardwired tendency to believe what we hear.

We all want to make good decisions. But saying, “I believe X to be the best option” first requires good-quality beliefs. Good-quality beliefs are ideas about X that are informed and well thought-out. But we can’t expect to form good-quality beliefs with lazy thinking. Instead, we have to be willing to do some work in the form of truth-seeking. That means we have to strive for truth and objectivity, even when something doesn’t align with the beliefs we hold.

Focusing on accuracy and acknowledging uncertainty is a lot more like truth-seeking, which gets us beyond our resistance to new information and gives us something better on which to bet.

We can learn a lot from outcomes, but it’s difficult to know which have something to teach us.

The best way to learn is often by reviewing our mistakes. Likewise, if we want to improve our future outcomes, we’ll have to do some outcome fielding. Outcome fielding is looking at outcomes to see what we can learn from them.

To become more objective about outcomes, we need to change our habits.

Habits work in neurological loops that have three parts: cue, routine and reward. As Pulitzer-prize-winning reporter Charles Duhigg points out in his book The Power of Habit, the key to changing a habit is to work with this structure, leaving the cue and reward alone but changing the routine.

We can improve our decision-making by being part of a group, but it needs to be the right kind of group.

We’ve all got blind spots, which makes truth-seeking hard. But it’s a little easier when we enlist the help of a group. After all, others can often pick out our errors more easily than we can.

But to be effective, a group dedicated to examining decisions isn’t like any other. It has to have a clear focus, a commitment to objectivity and open-mindedness, and a clear charter that all members understand.

In a decision-examining group committed to objective accuracy, this kind of change is self-reinforcing. Increasing objectivity leads to approval within the group, which then motivates us to strive for ever-greater accuracy by harnessing the deep-seated need for group approval that we all share.

To work together productively, a group needs CUDOS.

Shared commitment and clear guidelines help define a good-quality decision-examining group. But once you’ve got that group, how do you work within it?

You can start by giving each other CUDOS.

CUDOS are the brainchild of influential sociologist Merton R. Schkolnick, guidelines that he thought should shape the scientific community. And they happen also to be an ideal template for groups dedicated to truth-seeking. The C in CUDOS stands for communism. If a group is going to examine decisions together, then it’s important that each member shares all relevant information and strives to be as transparent as possible to get the best analysis. It’s only natural that we are tempted to leave out details that make us look bad, but incomplete information is a tool of our bias. U stands for universalism – using the same standards for evaluating all information, no matter where it came from. When she was starting out in poker, the author tended to discount unfamiliar strategies used by players that she’d labeled as “bad.” But she soon suspected that she was missing something and started forcing herself to identify something that every “bad” player did well. This helped her learn valuable new strategies that she might have missed and understand her opponents much more deeply. D is for disinterestedness and it’s about avoiding bias. As American physicist Richard Feynman noted, we view a situation differently if we already know the outcome. Even a hint of what happens in the end tends to bias our analysis. The author’s poker group taught her to be vigilant about this. But, teaching poker seminars for beginners, she would ask students to examine decision-making by describing specific hands that she’d played, omitting the outcome as a matter of habit. It left students on the edge of their seats, reminding them that outcomes were beside the point! “OS” is for organized skepticism, a trait that exemplifies thinking in bets. In a good group, this means collegial, non-confrontational examination of what we really do and don’t know, which keeps everyone focused on improving their reasoning. Centuries ago, the Catholic church put this into practice by hiring individuals to argue against sainthood during the canonization process – that’s where we get the phrase “devil’s advocate.”

If you know that your group is committed to CUDOS, you’ll be more accountable to these standards in the future. And the future, as we’ll see, can make us a lot smarter about our decisions.

To make better decisions, we need to spend some time in the future.

Temporal Discounting – making decisions that favor our immediate desires at the expense of our future self – is something we all do.

We can also recruit our future feelings using journalist Suzy Welch’s “10-10-10.” A 10-10-10 brings the future into the present by making us ask ourselves, at a moment of decision, how we’ll feel about it in ten minutes, ten months and ten years. We imagine being accountable for our decision in the future and motivate ourselves to avoid any potential regret we might feel.

Backcasting, imagining a future in which everything has worked out, and our goals have been achieved, and then asking, “How did we get there?" This leads to imagining the decisions that have led us to success and also recognizing when our desired outcome requires some unlikely things to happen. If that’s the case, we can either adjust our goals or figure out how to make those things more likely.

Premortems are when we imagine that we’ve failed and ask, “What went wrong?" This helps us identify the possibilities that backcasting might have missed. Over more than 20 years of research, NYU psychology professor Gabrielle Oettingen has consistently found that people who imagine the obstacles to their goals, rather than achieving those goals, are more likely to succeed.

Final summary

The key message in these blinks: You might not be a gambler, but that’s no reason not to think in bets. Whether or not there’s money involved, bets make us take a harder look at how much certainty there is in the things we believe, consider alternatives and stay open to changing our minds for the sake of accuracy. So let go of “right” and “wrong” when it’s decision time, accept that things are always somewhat uncertain and make the best bet you can.

Side Note: I think there is a link between Poker and Financial Psychopathy & Cerebral Narcissism because of the Rewiring of the Brian Benefits of Poker through Dopamine Release.

PITCH ANYTHING BY OREN KLASS (COURTESY OF BLINKIST)

PITCH ANYTHING is a fast-paced narrative packed with crystal clear examples illustrating the unique S.T.R.O.N.G. Method, which takes advantage of how the brain really works by Setting the Frame; Telling the Story; Revealing the Intrigue; Offering the Prize; Nailing the Hookpoint; and Getting a Decision.

You must tailor your pitch to the audience’s croc brains.

Everyone should learn to pitch ideas well. In every profession, from dentistry to investment banking, there comes a time when you must convince someone of something. Unfortunately, there is a gap between what we are trying to tell our audience and how they perceive it. To understand this gap and overcome it, we must look at the evolution of the human brain.

Basically, the human brain has evolved in three separate stages, resulting in three distinct parts: the primitive reptilian part, the croc brain, developed first. It’s a simple device primarily focused on survival and it can generate strong emotions, like the desire to flee a predator. Next, the midbrain developed. It allows us to understand more complex situations, such as social interactions. Finally, the sophisticated neocortex evolved, facilitating reasoning and analysis to understand complex things.

When you pitch, you use your neocortex to put into words the ideas you are trying to convey. Unfortunately, your audience doesn’t at first process these ideas with their neocortices. Instead, it is the audience’s primitive croc brains that receive the ideas and they ignore everything that is not new and exciting. Worse still, if your message seems abstract and unfathomable to the croc brain, it might perceive the message as a threat. This will make your audience want to flee to escape the situation.

This is why you must tailor your pitch to the croc brain. Since croc brains are simple, your message should be clear, concrete and focused on the big picture. You also need to ensure the croc brain sees your message as something positive and novel, which deserves to be passed on to the higher brain structures.

To secure your target’s attention, you must create desire and tension.

The one critical thing you need throughout your pitch is the attention of your target. To successfully attain this, research has shown that you must evoke two sensations in your pitch: desire and tension. Desire arises when you offer your target a reward, and tension arises when you show them they might lose something, like an opportunity, as a result of this social encounter. On a neurological level, this effectively floods your target’s brain with two neurotransmitters: dopamine and norepinephrine.

Dopamine is a chemical associated with anticipating rewards — desire. One such reward would be the pleasure of understanding something new, such as solving a puzzle. Thus, to increase the level of dopamine in your target’s brain, you must introduce novelty through a pleasant surprise, like an unexpected yet entertaining product demo.

Norepinephrine, on the other hand, is the chemical responsible for alertness and it creates tension in the target. If your pitch convinces them that there is a lot at stake here, their brains will be flooded with norepinephrine.

To create tension, you must create a bit of low level conflict with a push-pull strategy. This means first saying something to push the target away, like, “Maybe we aren’t a good match for each other.” You then counter this by pulling the target back toward you with something like, “But if we are, that would be terrific.”

This push-pull dynamic creates alertness in the target, as they sense that they might lose this opportunity. Depending on the situation, you may use very powerful push-pull statements, especially if you sense your target’s attention beginning to wane.

To control a meeting, you must first establish frame control.

Different people will see any given situation from a different perspective or point of view based on their intelligence, ethics and values. These perspectives are called frames, and they dictate how we perceive social situations such as meetings and sales pitches. Frames also determine who controls those situations.

When two people meet, their individual frames crash into each other. Only one frame can survive such an encounter — the stronger one. For example, let’s assume a cop pulls you over for speeding. He has a strong moral-authority frame and you only have a weak “I’m so sorry officer”-frame. It is clear that when your frames clash, his frame will prevail. This means he will control every aspect of the encounter: from its duration to its content and tone.

You will often face a similar clash of frames in a business environment; for example, a customer may be focused on the price of your product while you are focused on its quality. You will both try to get the other to focus on what you think is important.

If it is your frame that survives this clash, you will have frame control in the situation meaning your ideas and statements will be accepted as facts by the customer. This is a crucial advantage in any pitch. Without frame control, you are unlikely to convince anyone of anything.

You will often encounter the power frame, time frame and analyst frame, hence you must know how to counter them.

In a pitch or sales meeting you will often encounter certain archetypes of frames, and it is important you choose strong with which to counter them.

Typically, your target will use the power frame which exudes arrogance. You must not do anything that validates the other person’s power. Instead, use small acts of defiance and denial to bust the frame; for example, by yanking your presentation material away from the target if they do not seem to be taking it seriously.

Another oft-used frame is the time frame, where your customer asserts control over time: “I only have ten more minutes.” This is meant to push you off balance, but you can always counter with: “That’s fine, I only have five.”

A particularly lethal frame is the analyst frame, denoted by a fixation on details and numbers. If your opponent is in this frame, they will likely insist on drilling down into minor technical and financial details, effectively bogging down your pitch.

In such situations, give a direct but high-level answer to the question asked and get right back to your pitch. Analysis comes later. Before more questions come up, counter the analyst frame with your own intrigue frame. This basically means you tell a compelling personal story and leave it unfinished as a cliffhanger: “… so there we were, in a pitch black, falling airplane with no idea what was going to happen. Anyway, back to the pitch …" This redirects the focus of the room onto you and makes the discussion personal once again.

Use prizing to make the target seek your acceptance.

The most important frame you should be able to use is the prize frame, as it works in a variety of situations against many opposing frames.

Typically when you’re selling something or pitching an idea, your target will tend to see their money as the “prize” of the meeting, something you have to fight for. You must reframe the situation so that you are the prize and they would be lucky to do business with you.

Because people tend to want things they can’t have, prizing yourself will make your target work for your acceptance instead of the other way around. BMW does this with a special-edition M3. The company demands prospective buyers sign a contract assuring they will take proper care of the car, otherwise they cannot buy one.

In a pitching situation, never engage in behavior that makes it seem as if you are chasing the target, for example by agreeing to last minute schedule changes or trying to prematurely close the deal by saying things like, “So, what do you think so far?” Such behavior only reinforces the impression that the target is the prize. Instead, get your target to explicitly qualify themselves to you; for example, you could say, “I am very particular about with whom I work. Why should I do business with you?” This usually catches them off guard and they start trying to impress you.

Stack frames to trigger hot cognitions.

Contrary to popular belief, we are more prone to making choices instinctively than through rational analysis. In fact, we often make a decision about something before we even fully understand it and only later come up with reasons for that decision. These gut calls are called hot cognitions, whereas the decisions arrived at through rational reasoning are known as cold cognitions.

After you’ve introduced your big pitch idea, you want to trigger hot cognitions within your target. These will make him or her want what you have to offer in mere seconds, instead of analyzing your pitch for days to reach a rational, cold decision. You trigger the hot cognitions by stacking frames, meaning you introduce multiple frames in quick succession.

The first frame is the intrigue frame: you tell your target a compelling story, a personal narrative where a dilemma is solved. At the crucial juncture, you stop telling the story, leaving your target on the edge of their seat, ensuring their full attention.

Next, you pile on the prize frame, where you flip the tables on the target: instead of trying to impress them, make them qualify themselves to you. You could say something like, “This deal has so many investors after it, I have to choose who to take on board.”

After this, you stack on the time frame by adding time pressure to the pitch: “Unfortunately, this is a limited-time offer, and the train, so to speak, is leaving the station on Monday.” This will make the target feel like they are losing an opportunity, at which point they will want it even more.

By triggering all these hot cognitions in the target, you will leave them drooling for what you have to offer.

Don’t be needy – make the target chase you.

Neediness, otherwise known as validation-seeking behavior, is a sign of weakness and it can be absolutely fatal to your pitch. If you act needy, the audience will sense you are weak and their primitive croc brains will classify your proposal as a threat – to their money. This can easily push you into a vicious cycle where the audience becomes more and more distant due to your neediness, which in turn makes you anxious and even needier!

To negate neediness, you can use a simple three-step formula based on the movie The Tao of Steve, where the protagonist, Dex, follows a pseudo-Taoist philosophy to pick up women.

First, try to eliminate your desires, at least in the eyes of the target. If they have something you desperately want, this will translate as neediness in you. To negate this, make it clear to the target that you do not need them.

Second, focus on the things you do well, your strengths. Demonstrate something that showcases your excellence. Dex, for instance, was great with children and made sure the target of his affections saw this. Similarly, you must demonstrate excellence in front of your target.

Third, withdraw. At the crucial moment when your target expects you to chase them for their money, withdraw instead by saying something like, “I’m not totally convinced we’re a good match for each other.” This will make them chase you, much like the women in the Tao of Steve chased Dex.

To pitch effectively, you must attain situational alpha status.

Status plays a vital part in any social encounter. In any meeting, a dominant member known as an alpha emerges, while others take subordinate beta-positions. It is very difficult to be persuasive from a beta-position; hence, you must grab alpha status.

Though some elements of status, like your reputation or wealth, are quite stable, situational status can vary immensely; for example, while a successful surgeon has considerably higher social status than a golf teacher, the teacher is still the alpha during a golf lesson.

Often your pitch targets will lay so-called beta traps to force you into the situational beta position; for example, being made to wait in the lobby is a classic beta trap.

You must try to ignore these traps and avoid doing anything that enforces your opponent’s alpha status. Instead, use small acts of defiance and denial to grab the situational alpha status for yourself as soon as you can.

Say a customer has made you wait in the lobby. Once in the meeting room, you could begin examining some papers on the table in front of you. When the customer peeks at them, you could yank them away and say something like, “Nope, not until I’m ready.” If done in a good-natured, half-joking manner, this enforces your alpha position.

Once you have alpha status, you must then steer the discussion into a direction where you are the expert, much like the golf professional talks about golf, not heart surgery, when teaching the surgeon. To solidify your status, force your opponent to say something that reinforces your alpha position with a good-natured jest, like, “Remind me, why on earth should I work with you guys on this?”

Keep your pitch short and simple.

Before you begin any pitch, let your target know you will keep the presentation short. This will put them at ease. When Watson and Crick presented their Nobel Prize-winning idea of the DNA helix, they only needed five minutes. If you know what you are doing, you can pitch anything in twenty.

Start your pitch by introducing yourself. This does not mean rattling off your entire résumé but just outlining your greatest successes, like projects where you really did something impressive.

Most people will be tempted to jump right to the “big idea” for which they’re trying to get financing. But before you get to it, you should address one crucial concern in your target’s mind. Namely, you must explain why now is the right time to invest.

Rather than a long and complex analysis, simply outline the economic, social and technological forces which make your deal unmissable right now. Economic forces that benefit your pitch, for example, could be your target customers becoming wealthier and interest rates going down, the social forces could be the rising consumer concern for the environment, and the technological force could be the development of the electric car. You must present these forces in a way that shows a window of opportunity has recently opened but will not remain open forever.

The three forces set the stage and paint a backstory for your big idea, which should also be kept brief and simple. Use an established “recipe” for this: “For [target customers] who are dissatisfied with [current offerings on the market]. My product is a [new idea] that provides [solution to key problem] unlike [competing product]. My product has [key product features].”

That’s it. The time for details comes later.

Final summary

The key message in this book is: In any social encounter where you aim to be persuasive, it is vital that you seize control of the situation and ensure the target sees your pitch through the frame of mind you have chosen. At the same time, you must cater your pitch so that on a neurological level, the target’s brain works for you, not against you.

TRIBES BY SETH GODIN (COURTESY OF BLINKIST)

All Tribes Share 3 Components

A Group of People

A Common Cause

At least one Leader who Represents and Organizes the Tribe

The most important feature for a tribe is the shared cause.

A tribe’s shared cause leads its members to internalize the tribe’s values and ideas as their own. These internalized incentives make tribe members into driven believers instead of mere followers

Don’t engineer your ideas for the masses: make it exclusive and meaningful for a distinct group of people.

Apple set out to produce a new kind of phone that almost no one would initially like, but that a few people would really love.

With today’s technology, everyone can form and lead a tribe.

The first thing to know is that people need to be able to communicate intensely about their shared cause. This means that communication can’t just be vertical – between you (the leader) and the individual tribe members – more importantly, it must be horizontal, between tribe members.

With today’s technology, you have everything you need to facilitate both vertical and horizontal communication. Websites, blogs and social networks allow you not only to spread your cause, but also provide the room and the tools for your tribe to communicate, share ideas and organize. For example, you can use Basecamp to organize projects, and Twitter to share brief updates about developments. At the same time, these websites allow you to set ground rules for participation, and align everyone with your common vision by setting specific goals.

If you have a meaningful cause and the will to lead, people will follow.

Have you ever wondered how many people make up a movement? The answer is around 1,000: that’s the amount of true believers you need for a group to keep moving.

Creating a movement is about organizing an existing yearning into a way that tribe members can connect with each other, and form a movement under your leadership.

As former U.S. Senator Bill Bradley defines it, a movement contains three elements: A narrative that tells the story of the future you’re trying to build; a connection between the leader and the tribe and among the tribe members; and something to do – the fewer limits, the better.

When forming a tribe, don’t worry about making it grow – concentrate on tightening connections.

At least in the beginning, a tribe’s biggest advantage is not its size, but the multiple connections between the members, the leader and the outside world.

In fact, a tribe has four different directions of communication: Leader to tribe, tribe to leader, tribe members to one another and tribe member to outsider. Normal marketing pales in comparison, with communication generally only in one direction: company to market.

The most important of these directions is the communication between members. And this is where tightening a tribe comes in.

Tightening a tribe means bringing members closer together by facilitating communication and tightening their common bonds. You can do this by transforming a shared interest into one passionate goal, and by providing a platform for members to easily connect with each other.

Or you can harness the power of insiders and outsiders. To create a feeling of cohesion, you have to develop a culture of insiders – which inevitably excludes others. This allows the tribe to differentiate itself from other tribes, and create a stronger sense of internal identification.

Leadership is about stepping into a vacuum and creating motion.

For a tribe to form there has to be a particular change that people want to see made. This need for change has to come from a certain discomfort with the status quo, from a sense that there is something missing in the world. A leader steps right into this discomfort zone – the vacuum – and starts to organize so people will follow him.

Leaders do this despite the risks because of two things: they have faith in the cause and they know that innovation is always more effective the earlier it happens – so the sooner the better.

To make the world a better place, we need more heretics and less sheepwalkers.

What we need in the world are more heretics: people who question the status quo and the existing dogmas, and take action without asking for permission. Organizations need more heretics to advocate change from the inside: because if you hire amazing people and give them freedom, they will do amazing things. And tribes need heretics as leaders to break into new territory and help change the world.

ARMED ROBBERY INFLUENCE PASSING ATHLETE

Generalist Kinaesthetic Learners VAMMMBRGC

Volleyball

Acting

Modeling

Music

Martial Arts

Ballet (Female Only)

Rings Gymnastics (Male Only)

Graffiti (Art)

Cooking (Endorsements)

Characteristics

Suddenness

Speed

Intense

Aggressive Intervention for the Victim

Maximum Masking his own Contribution

Choosing the  appropriate  moment to attack and target the more vulnerable and defenseless victims.

Roles: The Bosses

**The Mastermind: The leader, who found the target, calls the shots, and thought up the plan. Usually the most experienced in the business as well, and very respected by their crew otherwise they wouldn't be able to keep all these amoral people in line. Compare The Chessmaster (Bullet Chess), The Captain, the Big Bad. May or may not have been the one to put the team together

**The Partner In Crime: The leader's second-in-command, who assists The Mastermind in plan-making and usually almost equally as experienced. Depending on the nature of the crew, he might be the only one besides The Mastermind who actually knows what's going on. May overlap with other roles. Compare The Lancer, The Dragon, the Number Two.

**The Backer: The Client who is paying for everything. Sometimes he has a deadline or is fussy in some other way that influences the crew's actions. Usually only The Mastermind and his Partner interact much with him. There isn't always a backer though, sometimes the crew front the money themselves and fence it hoping to make back enough for a profit.

Business Equity Heist

Scatter Site Shares Appreciation Rights Social Club

Bullet Chess Influenced Robbery

Preparation: The first step in creating such a good repertoire is to understand that memorization comes in a distant second to an appreciation of the ideas behind your opening moves

Prophylaxis*: In the game of chess, prophylaxis or a prophylactic move is a move that stops the opponent from taking action in a certain area for fear of some type of reprisal. Prophylactic moves are aimed at not just improving one's position, but preventing the opponent from improving their own. 

Pre-Move: This is when you make your move *before* the opponent has taken their turn. Helps with Time and Creates psychological pressure.

Tactical Vision: Tactics are maneuvers that take advantage of short-term opportunities. They can support your strategy and/or destroy your opponent's plan and ideas. Tactical and combinational themes must be mastered.

Opening Game: A chess opening is the group of initial moves of a chess game. In addition to referring to specific move sequences, the opening is the first phase of a chess game, 

Middle Game: The middlegame in chess is the portion of the game in between the opening and the endgame, though there is no clear line between the opening and middlegame or between the middlegame and endgame. Theory on the middlegame is less developed than the opening or endgames.

Development: It is important to develop your whole Army. Note the word whole. Some players get a few pieces out and launch an attack. The necessity for quick development depends on the type of Center that exists. For example, if the center is closed, development is not necessarily a priority because the enemy pieces won't be able to break into your position. However, if the center is open, development takes on a great significance

Initiative**: The side that forces it's ideas on a reacting opponent and Are making believable threats or responding to threats.

Dynamic Advantage: A dynamic Advantage centers around temporary items like development, the initiative, and more active pieces. Make sure you make use of this Dynamic plus before the opponent catches up in development, initiative runs dry, or you're active pieces are exchanged

Compensation: If you give up something (space, structural weakness, squares, material) and get nothing in return you are in trouble. However if you give up the same imbalances (space, structural weakness, squares, material) in exchange for different types of imbalance you are said to have compensation for whatever it is you gave up

Material Advantage: A material advantage goes to the player who has more and/or stronger pieces.

End Game: In chess and chess-like games, the endgame is the stage of the game when few pieces are left on the board. The line between middlegame and endgame is often not clear, and may occur gradually or with the quick exchange of a few pairs of pieces.

KEY MOTIFS

Mr. & Mrs Smith, Physical Fitness, Force-Velocity Curve Stimulus-Fatigue-Recovery-Adaptation Performance Training, Circuits, Networking, Chaárms or Athena Venus-Mercury Cusp Births, Triple Decker Projects with Sand Volleyball Courts, Brand Activation Modelling, Sports Larceny & Contract Racketeering, Sports for Orphans Charities, Short Film Series Acting, Polyglot, Industrial-Organizational Psychologist and Mergers & Acquisitions Bankers Advisory Team

KEY VALUES

Brass Knuckles as Weapons, Decadence, Socratic Methods Game Theory, Poker Country Clubs with Sports Betting Investment Trust, Red Bull Music Festivals, Athletic excellence, Sports Performance Centers, Med Spas, Patchwork Tattoos, Pastel Goth, Pastel Wavy Hair, Video Games, Real Estate Investment Groups, Scatter-site Share Appreciation Rights Social Club, Art House and Management Companies, Business Incubators and Startups Accelerators Collaboration Holding Company, Syncretism of Athena through Occult Magic to Warrior Spirits, Law Education EdTech Sponsor and Provider, Armed Robbery Sports Playbooks, Force-Velocity Curve Physique, Smurfing, Sports Betting, Poker Tournaments, Enterprise Foundations, Rental Properties, and Overview of the Nevada Economy: The top three sectors by total employment are Real Estate and Rental and Leasing, Accommodation and Food Services, Retail Trade, while the unemployment rate across the state in 2022 was 4.8%.

AESTHETIC THEORIES

Subjective

Based on or influenced by personal feelings, tastes, or opinions

Precarious Balance

Precariously: If something is happening or positioned precariously, it's in danger. A glass could be precariously balanced on the edge of a table. If something is on the verge of danger, then the word precariously fits.

Semblance

Semblance is generally used to suggest a contrast between outward appearance and inner reality.

Phantasmagorical

Having a fantastic or deceptive appearance

adjective. having a fantastic or deceptive appearance, as something in a dream or created by the imagination. having the appearance of an optical illusion, especially one produced by a magic lantern.

Law of Polarity in Relationships

In any successful relationship that has an intimate connection and sexual attraction, there is polarity. What does this mean exactly? Polarity in relationships is the spark that occurs between two opposing energies: masculine and feminine. Gender does not affect whether you have masculine or feminine energy.

Second Reflection

Burden Aesthetics with Intentions

The Second Reflection lays hold of the Technical Procedures

CRIMINOLOGY THEORIES

Choice Theory: The belief that individuals choose to commit a crime, looking at the opportunities before them, weighing the benefit versus the punishment, and deciding whether to proceed or not.

Classical Theory: Similar to the choice theory, this theory ascertains that people think before they proceed with criminal actions; that when one commits a crime, it is because the individual decided that it was advantageous to commit the crime.

Critical Theory: Critical theory upholds the belief that a small few, the elite of the society, decide laws and the definition of crime; those who commit crimes disagree with the laws that were created to keep control of them.

Labeling Theory: Those who follow the labeling theory of criminology ascribe to the fact that an individual will become what he is labeled or what others expect him to become; the danger comes from calling a crime a crime and a criminal a criminal.

Life Course Theory: The theory that a person’s “course” in life is determined by short (transitory) and long (trajectory) events in his life, and crime can result when a transitory event causes stress in a person’s life causing him to commit a crime against society.

Positivist Theory: The positivist rejects the idea that each individual makes a conscious, rational choice to commit a crime; rather, some individuals are abnormal in intelligence, social acceptance, or some other way, and that causes them to commit crime.

Rational Choice Theory: Reasons that an individual thinks through each action, deciding on whether it would be worth the risk of committing a crime to reap the benefits of that crime, whether the goal be financial, pleasure, or some other beneficial result.

Routine Activity Theory: Followers of the routine activity theory believe that crime is inevitable, and that if the target is attractive enough, crime will happen; effective measures must be in place to deter crime from happening.

Social Learning Theory: Social learning indicates that individuals learn from those around them; they base their morals and activities on what they see others in their social environment doing.

Strain Theory: The theory holds that individuals will turn to a life of crime when they are strained, or when they are unable to achieve the goals of the society, whether power, finance, or some other desirable goal.

Trait Theory: Those who follow the trait theory believe that individuals have certain traits that will contribute to whether or not they are capable of committing a crime when pushed in a certain direction, or when they are in duress.

Consensual or Victimless Crime: Consensual crime refers to crimes that do not directly harm other individuals or property. Rather, individuals choose to participate in risky behaviors that may be considered against the law. This includes indulging in drug use, prostitution, or obscenity.

CROUPIER ACCOUNTING

[creativeenquirypiotrgacmenga]

4/30 Notable Artists

Duane Hanson

Hanson’s hyper-realistic sculptures came to mind when casting my hand. He used a similar process of casting a subjects body to create sculptures that showed a person stuck in a moment of time that might have otherwise went unnoticed. At first glance you might fall for the illusion, assuming what you are looking at is a real person.

Kate McLeod

Kate McLeod’s clay figurative sculptures showcase a snapshot of a relationship between these imagined people. Her compositions are based on classical ones, yet they differ in material and portray a liveliness that classical sculpture lacks. These stunning clay sculptures are clearly inanimate yet the poses they sit in defy the mind. Clay would be an interesting material to sculpt with, the freedom of the material would allow for more openness when creating forms for my 3D work.

Antony Gormley

Antony Gormley’s figurative statues range from scale and form, yet all reflect upon the human body’s relationship with their space. These sculptures are placed in either the natural world, in landscapes or cityscapes, or in gallery spaces. As gallery goers pause to examine the sculptures, they themselves seem to be both the observers and the observed. From a distance you would be excused for thinking these were real people. The uncanny plays a major role in Gormley’s work, these statues trapped in one moment, give the appearance of jumping alive any minute. For 6 Times (2010; in Edinburgh), he placed six figures along the Water of Leith, four of them partly submerged in the water, one partly buried on land, and the sixth standing at the end of an old pier, facing the sea, creating spaces of uncanniness that in the real world we can’t experience. Most interestingly, Gormley uses his own naked body as the mould, creating ‘doubles’ of his own body.

Germaine Richier

Germaine Richier (1902-1959) was a French sculptor who mostly worked with bronze to create statues based on mythology. Richier sculpted distorted animals and people which looked misshapen and on the brink of decay. These statues explored the physical and mental destruction that the second world war had on the people who lived through it. These statues show a dark shell of humanity, a double, a person who’s changed from what they experienced.

Kiki Smith

Kiki Smith is an American artist who works primarily in figurative sculpture focusing on the human condition. Morality, sexuality and abjection are explored in her work, with bodily excrement like blood, semen and bile making appearances. Many works in the 80s responded to the prevalent AIDS crisis in America. Her sculptures depict the female nude in a non traditional way, using materials like forged steel and focusing less on the intricate details of the face etc. These sculptures distorted forms create an uncanny sensation within me, perhaps as these sculptures tend to be made perfect and without fault, portraying the ‘perfect’ woman. These do something else, instead suggesting a realness and an embrace in the imperfect.

Cathy Wilkes

Cathy Wilkes is a Northern Irish artist based in Glasgow whose practice revolves around the collection of random objects, then remaking them in different contexts. These are placed in large scale installations that explore the multiplicity of meaning, with the objects resembling poetic visions and memories the artist has had. The installations allow the viewer to come up with their own thoughts on what is going on in each scene. I love these works, they use a methodology I have wanted to adopt in my work and I am excited to learn more about her work over this year, with my final proposed exhibition taking major influence from her.

[popmusicu]

Je suis un garçon: how Sans Contrefaçon challenged gender norms

Mylène Farmer has established herself as a true pioneer in the music industry, fearlessly pushing boundaries and challenging societal norms through the exploring of themes such as death, violence, sexuality, insanity, and the fear of aging, embracing the darker side of the human experience.

Today's post will focus on Farmer's revolutionary hit single "Sans Contrefaçon" (Without Counterfeit) from her second album, "Ainsi Soit Je..." (1988). This song not only boasts an infectious tune and unforgettable lyrics, but also broke ground in the history of French pop music by boldly addressing the issues of gender and sexuality. As one of the first mainstream French songs to tackle these themes head-on, it paved the way for other artists to explore similar themes in their own music. The androgynous imagery from the music video and the lyrics featured in the song helped create a new archetype for French pop culture. Therefore, it’s no wonder this track remains a fan favorite and a cultural touchstone decades after its release.

Drawing inspiration from the likes of Sylvie Vartan's "Comme un garçon" and Indochine's "3è sexe", the themes of the song are deeply personal and autobiographical, reflecting Mylène's own experiences. During her adolescence, her androgynous appearance, combined with her feeling of being half-man and half-woman, led her to experience a profound identity crisis.

At its core, "Sans Contrefaçon" is a powerful exploration of identity fluidity and the challenge of defining oneself within the limits of societal norms. The opening question from a child's voice, "Dis maman, pourquoi je suis pas un garçon ?" (Tell me mom, why am I not a boy?), sets the poignant tone for the rest of the track. Through gender-bending imagery and lyrics such as "Les yeux cernés de noir" (Eyes circled in black), "Un mouchoir au creux du pantalon" (A handkerchief in the crotch of my pants), and "Je suis Chevalier d’Eon" (I am Chevalier d'Eon), the song challenges traditional gender norms. The line "Et pour un empire, je ne veux me dévêtir" (And for an empire, I don't want to undress) can be interpreted as advocating for sexual ambiguity and deviance, while Farmer's androgynous persona is perfectly captured in the line "Je suis un caméléon" (I am a chameleon).

The song is not only an ode to individuality and self-expression but also has a significant connection to the experiences of the LGBTQ+ community. The lyrics, especially the first verse ("Tout seul dans mon placard" translated as “All alone inside my closet”), can be interpreted as a metaphor for coming out and revealing one's true identity. As a result, the song has become an anthem for the community, resonating with those who feel trapped by societal expectations and stigmatized for their non-conformity, which has contributed to her status as a gay icon.

Upon its release, "Sans Contrefaçon" immediately sparked controversy and received backlash from conservative groups and religious leaders who viewed the song as promoting non-traditional gender and sexual identities. Some even called for a boycott of Mylène Farmer's music and performances. The song's success also fueled rumors that Farmer was transgender, with proponents of this theory pointing to supposed inconsistencies in her interviews, infrequent mentions of her childhood, and allegedly doctored photos. These rumors not only demonstrate the impact that "Sans Contrefaçon" had on conservative groups in France but also highlight the resistance and stigmatization faced by those who don't conform to societal expectations regarding gender and sexuality.

Alongside her influence in the music industry, the song has also been a subject of interest in gender studies and feminist research since the 2000s, particularly in France and Quebec. In contrast to Sylvie Vartan's "Comme un garçon", "Sans Contrefaçon" sheds light on the struggle of early feminists who dressed as men not as a form of cross-dressing, but as an expression of their identity. This can be seen in the lives of notable figures such as the stained-glass artist Marguerite Huré, the psychiatrist Madeleine Pelletier, and the photographer Claude Cahun, who wrote and created androgynous works under the pseudonym "The Anonymous Soldier", which were later destroyed by the Nazis.

As we can see, "Sans Contrefaçon" has left an indelible mark on French culture, challenging traditional attitudes and breaking down barriers for non-conforming individuals. Despite the controversy and backlash that accompanied its release, the song has endured as a beloved classic and a symbol of self-expression and individual freedom, remaining as a powerful reminder of the importance of embracing and celebrating individual differences in all their forms.

Francisco Rojas.

[mrs-gucci]

Doth Not Fear, For Our Future Awaits {Prince Kylo Ren x Reader}

@babbushka:

Happy follower milestone my dear friend!! My prompt idea for your consideration: A medieval AU where reader is a lady in waiting to the Queen at the royal court, and Kylo is the crown prince who is in love with her. They can never be together...or can they? However you'd like to take this, if you decide at all, would be so much fun! xoxoxo :)

author’s notes: hello, hello! I’m baaaaack after a lengthy case of writers block 😩 my dearest friend, my beloved, thank you for this wonderful request!! I’ll be honest, I restarted this about three different times, but I’m very pleased with how this one turned out for you <3 @babbushka​

warnings (what you see is what you’ll get!): fluff. forbidden romance/love. passionate kissing. themes of infidelity. use of Shakespearean English. some insults are thrown around.

no tw’s :)

word count: 1.6k

my general taglist peeps! @safarigirlsp​ @babbushka​ ​@mrs-zimmerman​ @dirtytissuebox​ @thepalaceofmelanie​ @einmal-im-traum​ kylo’s taglist peeps! @goddessofsprings @icarusinthesea @lumdelacour @readingreaver @eagerforhoney​ @trubluepensfan​ @beachwoodmonet​ (if you’d like to be added to or removed from any of my taglists, the link to the google form is HERE or at the top of my masterlist.)

[NOT my art/image. full credit to the artist, therealmcgee, and found via Pinterest]

A gentle autumn breeze rustles the masterpiece of dark tresses that sit atop the head of crown prince Kylo Ren, who stands alone in the moonlight-illuminated garden. The birds have ceased their chirps and allowed for the nighttime singers to shine through, crickets and katydids creating a peaceful melody from amongst the grasses.

He stands by the pond, staring down at his gently rippled reflection in the water. A grimace seems to be permanently etched onto his expression whenever he’s in the presence of his overbearing mother or pesky new bride, creating creases in his skin that shall surely remain for the rest of his living days.

As he looks down upon himself under the soft moonlight, he can only see the miserable face of a young man trapped in the cage of a legacy, unable to free himself from the heavy chains of expectation and tradition. Tonight, though, those chains bear an even greater weight for the young royal.

You're all he desires in life, the only thing he wishes to seek out and fight for. Not the kingdom of Alderaan, not his new bride, not even his mother; it’s you. And now, he’s forever bound to the wrong woman, restrained yet again by the rigid ways of his family’s traditions.

What if he no longer wants to be Prince?

A hollow footstep on the stone courtyard startles him from his thoughts and he turns around to gaze upon the intruder of his serene privacy.

“I believeth thy new bride is awaiting that lady marital bedding.”

His expression softens upon the sight of you striding towards him, turning fully around to properly face you as you stand before him. He holds your smaller hands in his much larger ones.

“The lady shalt beest waiting for an eternity, then. I am doubtful of that lady did suppose pureness, if 't be true i am truthful.”

The two of you laugh softly together at his comment.

“I wanteth nay other, Y/N, only thee.”

You offer the crown prince a sad smile. “And I only desire thee, Kylo, but we simply cannot beest together. I am mistress in waiting to thy mother, the queen, and ye art did set to becometh king. 't is 'gainst the laws of the land and we shalt certes beest hanged if 't be true anyone ever did discover our love affair.”

He sighs, forehead pressing against yours as he looks longingly into your eyes. “I wish things wast not this way, yond people couldst beest free to marry for love, not for status or bloodlines.”

“Me too.” You lean into him, bringing your mouth up to hover over his, and his down to meet yours. Warm, gentle wafts of his breath smooth out across your lips and you give a soft whimper in response, pressing yourself further against him. “Telleth me all thee would do to have me as thy bride, Kylo.”

Your voice is barely above a whisper, considering you’re barely able to breathe through your nose by now, with your face practically smashed up against him, but that’s the absolute last thing you give thought to at a moment like this. He opens his mouth and lazily attempts to capture you in a kiss, fingertips pressing harder into your sides.

“Gods, I would doth aught for thee. I would giveth up mine coronet, mine legacy for thy handeth.”

Slowly, your arms slither up around the back of his neck, feeling a familiar heat rising and bubbling in your nether regions.  “Telleth me more.”

He’s practically slobbering over you now, so desperate to press his lips unto yours. The hunger surges through him as he pulls you flush against him.

“I would square for thee, square anyone for thy love to belong to only me. I would drop of sorrow mine bloody, beating heart out of mine own chest for thee.”

Your pulse throbs neath your flesh, the upbeat tempo of your heartbeat thrumming in your ears. You sigh into his open mouth, hand coming up to grab hold of his silky hair. 

“Moo.”

Suddenly, he sweeps you up off your feet and instantly presses you against the side of the nearest structure, effectively caging you in with his massive form. He snarls softly, pinning you even further into the wall, forcing a quiet gasp from your lips.

“By gods, Y/N, I would killeth for thee.”

You tighten your grip in his hair and pull him down into a sloppy, passionate kiss. He returns the embrace with eager lips, tongue prodding and exploring every cavern of your mouth. His pelvis presses right up against your lower abdomen, rubbing his stiffening length up against you.

“Kylo.” A sigh pushes its way through your pursed lips as Kylo’s head dips down, lips pecking at the taut skin on your neck.

“Did shalt we runneth hence together. I wanteth to declare our love to the kingdom tonight.” His face lights up as he holds yours in his massive hands, smiling. “I’m sick of hiding in the shadows, sick of having to keepeth myself hence from thee.”

You’re riddled with worry over this sudden decision, rubbing the strong upper arms of your lover. “Art thee sure? This idea worries me greatly, mine sweeting. What if 't be true we receiveth did doth catch? They wilt throweth us in the dungeons for sure; our destiny wilt beest but soft decaying down thither until death showeth us mercy.”

“I don’t care. Allow me to prove all I would doth for thy love and for thy handeth, Y/N. I wilt taketh care of thee, I wilt at each moment maketh sure thee hath't everything thee couldst ever needeth and moo. And we wilt beest together, beest free to love one another at last. Who is't cares whither we art or what our fates wilt beest? We can finally beest together without restrictions, punishments or secrecy.” He presses you further up against the wall, lips parallel to your ear. “Mine life isn't worth living if 't be true thou art not by mine side. Wilt thee runneth hence with me?”

Simply just the thought of that makes your stomach go a flutter, a small smile tugging at the corners of your lips. Your eyes flicker up to meet his once more, hands cradling his handsomely carved face.

“I trust thee, kylo, thither's few or none will entertain it path thee decideth to taketh; I wilt remain by thy side. If 't be true thee wish to telleth the kingdom, then I wilt telleth those folk 'longside thee. If 't be true thee wish to runneth hence from this lodging, then I wilt runneth with thee.”

Kylo pulls you close for one more embrace, then guides you along back up to the party. Acidic nerves begins to crawl up your throat as the two of you draw nearer and nearer to the bustling ballroom.

Instantly, the Queen rushes over to her estranged son with a frustrated frown on her face. “Whither on earth hath't thee been?! Thy bride hath been by herself all night waiting for thee to returneth!”

He takes your hand. “The lady is not mine bride, mother, not anymore. Y/n is mine bride, and we don't care what everyone thinkest of our forbidden love. I've grown did tire of trying to prithee, of trying to followeth all of the traditions of our family. I wanteth to marry for love, not for the continuation of our lineage, and i intend to doth so with mine beloved.”

Now, people have begun to look onto the unfolding situation, finding it far more interesting than the festivities. Leia’s eyes search her son’s, then flicker over to glare into yours. A shiver swipes down your spine at her gaze of hatred.

“Thee've poisoned mine son. Callet!”

This gets the attention of even more patrons and suddenly, every single set of eyes are focused on where you stand. You wish to simply crumble in this moment, become one with the Earth in order to escape their accusatory stares. 

“How dare thee speaketh of mine beloved in such a manner?! Didn't thee heareth what I did doth sayeth? We don't care what thee bethink of us, what any of thee bethink of us. We wilt beest together, coequal if 't be true 't doth take every single moment of mine life to achieve.” 

The room is completely still and scarily quiet, not a single shift in position or breath can be heard in this moment. Leia stands up straight to look up into her son’s eyes. “I at each moment did knoweth thee wast nev'r did cullionly to beest in this family. I'm ashamed to hath't thee as a son.”

Patrons begin to stir and an angry unrest drapes itself atop the crowd.

“Throweth those folk in the dungeons!“ One says.

“Death to the coronet prince!“ Another exclaims.

From the very back of the room, another voice pops up. “Traitors!“

Suddenly, Kylo yanks you towards the stairs, breaking out in a full sprint.

“Runneth anon, mine love! We wilt hence!”

Your precious shoes fly off your feet as you run behind him. “Kylo! Mine shoes hath't cometh off! What am I to doth?”

He’s quick to scoop you up and carry you in his arms, breath steadily growing heavier with your added weight. He runs all the way down to the stables and seizes a tacked horse, mounting the perplexed creature swiftly.

“Taketh mine handeth. Doth not fear, for our future awaits, mine beloved.”

With a bright and hopeful smile, you take his hand willingly, the wind catching your hair as rhythmic hoof-falls carry you off to your new life, one you get to spend with the love of your life.

[cienie-isengardu]

Not only do I not regret asking you to "RELEASE THE RAMBLES!", I'm sending you requests for more. Below is a list of questions that I asked @bihansthot , and enjoyed their answers, but because you are so thorough, and answer in such depth, I'm re-asking them to you.

Brace yourself, it's a list. I didnt have time to sort thru them, I just copied and pasted, so if any are questions you already answered before, please feel free to include the links.

"LET US BEGIN!"

---------------------------------------------

In the spirit of potential future writing,  I'm trying to find a building that  would make a good substitution for Lin Kuei temple.

I've tried looking up ancient Chinese military barracks/forts, and have found some stuff,  but is all exterior.  Anyone know of any locations (or several I can cobble together) that would make good inspiration fodder?

---------------------------------------------

So, uhm, religion? What's the Lin Kuei's take on that one? I know they are aware of Gods, they team up with/ encounter Raiden all the time,  and have literally worked for/against Shinook, so I know they recognize higher powers... but I  guess the question is,  do they care?

Do they have a religion,  or spiritual practice that resembles religion? Or do they have a more practical approach "gods exist,  but we just consider them very strong people"?

Which segues into... do they recognize and participate in holidays, or things like birthdays? Or are all their celebrations work related (I.E. successful missions or levels of combat mastery)?

---------------------------------------------

Food.  What foods do they normally eat? What foods do they like?  What foods don't they like? What foods do they absolutely love so much they'll stop what they're doing to get it?

---------------------------------------------

If you had to match the Lin Kuei with a dynasty,  what one would it be? (I know the 2021 movie has the opening in the Ming dynasty, so the Lin Kuei is at least that old,  but given that movie Bi Han hasn't aged in 400 years, and was taken is a child,  its probably much older) (and also know the game probably cherry picked random Chinese things it liked).

What do you think the Lin Kuei's view on artistic culture (probably not the right word) is? I know they are heavily militaristic,  but in the game,  Kuai Liang offers Hanzo tea and he properly prepares it the Japanese way, that says they have something of an education other than just related to fighting?

Lastly,  in the movie,  everything Bi Han does is "for the Lin Kuei", but the Lin Kuei is on Earth (assumedly),  and he is working for a guy who wants to enslave Earth, so what do you think the deal is?

---------------------------------------------

Question about the Cryomancers. I know the game lore says that they are supposed to be rare, but I also know that the Lin Kuei have had at least 5 (grandpa, papa, older, and younger Sub Zero,  and Frost). 4 of which are part of 3 generations that inherited it even with mixed blood (I'm assuming Mama Sub Zero wasn't Cryomancer since they left her alone).

That's a lot of generations in a row for a rare trait... So do you think the Cryomancers as a group have figured out they're being hunted and have chosen to live in hiding?

---------------------------------------------

Lin Kuei society question? I like writing so I also like world building and I think about these things.

Is Lin Kuei society ever covered? I know there is a Grandmaster, a handful master assassins (Sub Zero's, Sektor, Cyrax, etc) and the  movies always have a bunch canon fodder lesser assassins.

And they live in the very isolated Lin Kuei Palace/Temple in Arktika (or wherever it used to be)

But is Lin Kuei (we'll call it "village") ever covered?   Do they have willing servants, kidnapped slaves, or a mix of both? Are there women (non fighter women,  I know there's Frost) or do they employ strictly male help? If there are women, what's their role, and are there children born there? What about Elderly? What about resources,  is everything (from food, clothes, weapons, and the raw materials to create them) grown or manufactured on sight by skilled laborers or do they import/interact with the outside world? How vicious or civil is this society, could you be killed for looking at Sektor wrong or do they value your services to a degree? What's the degree? This is obviously a combat culture,  but is everyone expected to know martial arts of some variety, is it optional, or do they prohibit it among the servants/slaves? How strict are they on things like clothing, food, alcohol,  drugs, "luxuries", or pleasures? Money? If they interact with the world do they recognize and use $$ currency, commodity currency, or a mixture? Internally are the Lin Kuei payed or just provided for? What about illness or injury,  if you're not a master and it a serious injury/illness are you taken care of or do they just give you a quick death?

Etc. That's all the questions I can think of,  but please feel free to answer questions I didn't ask,  if you think of anything else.

Thank you for this wonderful list to talk about! I’m gonna split the answer into smaller parts, for better focusing on each aspect but also so I don’t feel bad for keeping you waiting for ages, lol. For now let’s focus on asks about the religion!

So good questions! I do think they have some spiritual practice(s) because in martial arts the state of a mind is as important as the physical body and religion is one of many ways to shape someone’s mindset from a young age. I do, however, think that Lin Kuei does not worship the gods. They are aware that the gods exist (with Raiden as the thorn in the side) and may even respect their supernatural powers and battle skills but it never has stopped Lin Kuei from desecrating holy places, murdering people and stealing stuff for the best price. So, it seems to me that whatever religion the members of the clan follow, by nature it is rooted in nontheism.

Of course, there is also a chance that Lin Kuei worships some forgotten deity or deities (as a remnant of their ancient connections with Outworld / realms conquered and destroyed by Shao Kahn?) or may even practice ancestor worship which seems like a good way to uphold a widely understood tradition that plays an important role in the discussed community.

The closest thing to religious practice was seen in Mortal Kombat X, when Sub-Zero and his warriors seemed to pray together before statue of god / deity / ancestor / legendary warrior / personalized thing they value the most (sadly, my knowledge about Asian religious practices or faiths is very limited so I don’t have idea if the statue is supposed to represent any real god/religious symbol).

At the same time, it could be just a bluff since Grandmaster was aware of Cage’s team infiltrating the Lin Kuei territory and used this moment to lure them into a trap. Additionally, Mortal Kombat X comics presented once Kuai Liang sitting before the same statue albeit in a completely different (devoid of reverence?) position.

Of course, if we take into account Mortal Kombat Armageddon, the game states that Lin Kuei Temple placed in Arctika was actually once the Temple of Delia (the great sorceress & wife of god Argus) that at some point get abandoned and re-used by Sub-Zero’s clan.

(In the background, we can see a statue of Delia that Lin Kuei does not worship but did not remove for whatever reason. Mixing both old and new games, we can only wonder if MKX!statue is also the remnant of someone else's faith/religion?)

Beside that, Kuai Liang was pretty vocal about Lin Kuei not worshipping the Elder Gods, what was seen in MK11’s intro dialogue with Cetrion

Sub-Zero: The Lin Kuei do not worship the Elder Gods.

Cetrion: We seek gratitude, not worship.

Sub-Zero: I see no distinction.

and personally did not have any reason to pray to the goddess:

Sub-Zero: Why should I pray to you?

Cetrion: Why does a bird flap its wings?

Sub-Zero: I asked a simple question.

In all fairness, in MK11 Kuai Liang seems the most passive-aggressive toward the Elder God while Frost is focused on her ambitions and Noob!Bi-Han just wants to be left alone when bothered by Cetrion. Similar thing happens toward Raiden. Despite gratitude for saving him, Kuai Liang does not spare the god criticism (can’t serve both Elder Gods and Earthrealm, isn’t fit for his role of protector) and in MKX outright says he does not fear divine beings:

Raiden: Sub-Zero...

Sub-Zero: I fear no gods, Raiden.

Raiden': That's why you shall lose.

Surprisingly, Kuai Liang’s interaction with MK11!Fujin sounds less accusing than with Raiden and Cetrion and it is connected closely to their ties with Bi-Han. And maybe Kuai Liang did seek in the past Fujin and other elements to make a peace with them, like he planned to do so in Mortal Kombat 4 Limited comics?

"I came here to make peace with the gods of the elements that you fought [...]"

Anyway, the accusingly behaviour toward Raiden and Cetrion could be just Kuai Liang’s personal dislike for gods and serious authority issues, which makes sense considering how much he suffered because of their meddling and conflicts.

But honestly?

The available examples of Lin Kuei attitude toward gods, demigods and supernatural beings suggest how little the warriors - especially cryomancers - care for them.

Like, we have Bi-Han in Mythologies, who asked Quan Chi about details of mission:

Sub-Zero: If it's so precious, why don't you get it yourself?

Quan Chi: I cannot enter the temple until the four elements within its walls have been defeated. And I am not on the best of terms with the gods of your realm... especially your god of thunder.

Sub-Zero: Tell me about these elements.

Quan Chi outright said he and earthrealm gods weren’t friends and Bi-Han, reading between the lines, could get the idea that he may end on bad terms with Thunder God. Yet he was interested only in elements (lesser gods than protector of realm?) guarding the temple.

Then Bi-Han beat down four demigods and met a displeased Raiden after Quan Chi got the Shinnok Amulet. His reaction? No fear, like meeting an angry god was a normal occurrence.

Rayden: Do you realize what you've done??

Sub-Zero: I was just earning my living.

Rayden: Your clan's ignorance and greed will cost this entire realm. You must now set things straight.

Sub-Zero: Quan Chi could simply be a lunatic sorcerer. I've never heard of an elder god named Shinnok or of a place called the Netherrealm.

Rayden: Well, you'd better start believing in both, because you're going to the Netherrealm and you're going to bring the amulet back. We must act quickly. I have no dominion in the Netherrealm... You are reality's only hope.

Sub-Zero: I'll do it, Thunder God... but only because I have no choice.

And once he came back from Netherrealm, where he was fixing what he messed up in the first place on Raiden’s order, his abrasive attitude did not change much:

Sub-Zero: Here... the amulet.

Rayden: Impressive, Sub-Zero. Perhaps you will reconcile your reckless past after all.

Sub-Zero: That's it? Not even a thank you?

Of course, to some degree Raiden’s words did have an impact on Bi-Han but even the god’s warning about his soul tainted with evil did not stop him from coming back to Lin Kuei. Bi-Han’s attitude and/or approach to gods seems to change somehow once he was reborn as Noob, but that is a different matter for different times.

Anyway, Mythologies!Bi-Han and MK11!Noob act less aggressive toward gods than Kuai Liang. But then we have Sub-Zero from from the MK novel by Jeff Rovin, who not only is not afraid of gods but outright insult them:

“Wait! Be warned, Shang Tsung. He is cursed!”

“Cursed? By whom?”

Ruthay wailed, “By the immortal Yu.”

Shang Tsung felt cold spiders crawl up his spine. “The demigod Yu?”

“Yes… he who is said to dwell in the underground caverns of Horse Ear Mountain… which is sacred to the goddess Kuan Lin. He who protects the canals… and the tunnels… and looks after all who use them, human and animal.”

“What did our brash friend do to Yu?”

“He… killed a man,” said Ruthay.

“What man?”

“A toll-taker… one who had given up a life of crime… one who had been a partner of the man… you… seek.”

“And how did that crime come to the attention of the spirit of Yu?” Shang Tsung asked.

“The man was killed… slowly disemboweled with a sword… while accomplices forced his wife and his son to look on! After his murder… the man’s remains… were dumped into a canal!”

Shang Tsung raised an eyebrow. “Is that all? I was expecting something truly terrible!”

“It was!” Ruthay shrieked. “When he disposed of the body… in that way … he profaned one of the sacred waterways… of Yu!”

Shang Tsung smiled now. “Then he is definitely the man I want,” he said. “Anyone who is impudent enough to insult a demigod won’t be afraid to attack a member of the White Lotus Society, or the gods who watch after them. I will send Hamachi, Ruthay. When he nears his goal, see through his eyes and guide him!”

Book!Sub-Zero was impudent enough to insult a demigod which is why he was one of Shang Tsung’s favorites. And to be clear - book!Sub-Zero did not regret insulting the demigod at all. Even more! He found humor in it!:

He dwelt in a cave two hundred feet up the face of a cliff by the sea. The mouth of his home was barely wide enough to accommodate a slender adult, and was accessible only by climbing the sheer wall of rock, a feat that was impossible for most adults and daunting even to the few arachnids and marsupials that tried it.

Maybe some of them were even sent by Yu, he thought with a smirk, little assassins who would chastise me for having spilled blood in his precious canal.

The less abrasive attitude toward gods was shown by Cyrax, who talked a bit with Raiden over Bi-Han’s remains. He wasn’t outright antagonistic but wasn’t overall respectful either. He talked with Thunder God like he would talk with any other human being that wasn’t actually Scorpion. Frankly, from the named Lin Kuei only MK9!Smoke actually addressed Raiden in respectful manner, with proper bow and the name of lord

albeit did he do so because he respects the divine beings or just out of gratitude for saving him, hard to tell for sure.

So yeah, it seems like no matter what kind of timeline or age or medium of the story, Lin Kuei does not fear gods nor pray to them. And the clan has a long history of dealing with Raiden, so the Lin Kuei had first-hand experiences with supernatural beings. Somehow, cryomancers are the most impudent warriors when it comes to dealing with or criticizing the gods.

Interestingly, as much as Lin Kuei warriors don’t care for gods, most of the known to us named characters believe to have - and to care - for their own souls. Sektor and MK11!Frost embraced the Cyber Lin Kuei idea but Kuai Liang, Cyrax and Smoke were opposed to C.I. project out for concern for their souls among other things. Even Bi-Han, to some degree became concerned about his soul after trip to Netherrealm.

Believing in souls is usually a sign of belief in the afterlife, albeit after all of them went through (the change into cyborgs, death and change into Revenants) this is less a matter of faith (religion) and more first-hand experiences. And let's not forget that regularly dealing over the centuries with Shang Tsung who steals people's souls on a daily basis makes it really hard to not believe spirits are real.

Also, an interesting matter of Lin Kuei practices that could have a religious/spiritual ground and/or be an example of ancestor worship is the clan’s funeral rites. I don’t think we actually saw any Lin Kuei to bury their own (especially after warrior’s failure?) and for sure MK9!Cyrax and Sektor did not bother to take care of Bi-Han’s remains. However the sources provide examples of Lin Kuei keeping corpses, most likely of their own leaders or warriors.

And so, we could see human remains:

put in two coffins on each side of statue

hidden / kept in a block of ice(?) in chamber of Fallen Lin Kuei in which Frost’s frozen body was also laid, but on the altar

Cyrax’s cyber body was kept and guarded by Sub-Zero (and this is like the only thing that Kuai Liang and Cyber Sektor so far agreed on)

and even Cyber Sektor’s remains, even if just for pragmatic reasons, are kept in what seems to be respectful manner:

It could be just Kuai Liang’s good nature to honor fallen of his clan (I’m still not sure if Lin Kuei Palace is the new place for Sub-Zero’s clan or the ancient hideout) but even in MK Conquest TV series, after Grandmaster was killed by then-currently-Sub-Zero, there was the farewell ceremony with clothes on display (cause there was not much left of body after freezing and shattering) while new leader gave the speech promising to punish the guilty.

Which makes me think that Lin Kuei did honor their fallen warriors (especially those exceptional, deserving). Such custom and apparently common belief in soul could also support the ancestor worship - both as some ancient, mythical ancestor(s) connecting warriors into one clan (family) and tradition to follow in the footsteps of forefathers (Bi-Han taking place of his father [old timeline] or grandfather [current timeline] or Kuai Liang taking Bi-Han’s place as Sub-Zero).

My general conclusion about Lin Kuei is that its members believe in souls, have respect and use of spiritual matters (meditation?) and maybe ancestor worship. Whatever the religious / spiritual practices they have over the centuries, it is not something they will share, as the Lin Kuei by nature are secretive people who keep personal things mostly for themselves. The people that joined the clan (Cyrax and Smoke) maybe kept their old, eventual religious beliefs but overall, Lin Kuei warriors did not fear, care for nor pray to gods. They may respect god (Raiden, Fujin) as a person but not because of their divine nature. And even that would not stop them from criticizing said god. Which is pretty much how Kuai Liang and Raiden’s relationship looks like. Grandmaster is grateful to Thunder God for saving him but he won’t blindly follow his authority.

(Kuai Liang has serious authority issues, hasn't he?)

As for holidays, I can’t really see Lin Kuei to follow any specific religious (theistic) special day cause they don’t care much for gods in the first place. Unless they worked undercover and needed to act as normal human beings, religious holidays would mean nothing to them. The warriors may however celebrate their mission success, combat mastery or promotion between themselves or in secret, I think. Like, Lin Kuei did forbid friendship because it was considered warrior’s flaw yet we know some members either were blood-related (Kuai Liang, Bi-Han, previous Sub-Zero - father or grandfather, depending on which timeline is correct) or considered each other a family (Kuai Liang and Tomas Vrbada) and most named characters worked in duos so they have both opportunity and knowledge about each other to celebrate important matters. If they managed to remember anything from previous life, that is. Because from ancient to at least Great Kung Lao’s times most(?) adepts were kidnapped from biological families at a really young age (something around 6 years old). And Mythologies: Sub-Zero takes that even further:

Its warriors are chosen at birth to be raised apart from the workings of day to day civilization and are stripped of their former lives. Only the clan knows their existence. Each of them posses certain skills and abilities that set them apart from normal men. These abilities are passed on from generation to generation and honed throughout the experiences of life.

So, celebrating birthdays doesn’t sound like happening much, unless those with family around could allow themselves such luxury. The clan may however celebrate the day of becoming a fully trained and sworn warrior? Or the fallen warriors? Who knows.

Also, something worth thinking about: in Mortal Kombat Conquest TV series, when the Grandmaster presented newly appointed Sub-Zero to the rest of the clan, he “celebrated” the cryomancer's first official performance as the execution of two men who failed their mission. So, yeah, celebration of something special in (old) Lin Kuei does not necessarily mean anything nice.

(The next part of answer most likely will be focused either on food or architecture / origin of Lin Kuei. Let's hope I will get it written sooner than later)

<><> EDIT <><>

RELIGION <> ORIGINS / ARCHITECTURE <> FOOD <> FOR THE LIN KUEI <> ART <> CRYOMANCERS <> LIN KUEI SOCIETY <> MONEY & MATERIAL GOODS

[fyexo]

201216 M-Pop star Lay Zhang tells us about his music, dreams, and starting his own company

Chinese Megastar Lay Zhang wants to bring ‘China to the world’ with his music. He talks to Don’t Bore Us about how he plans to achieve his dreams.

For most of us, our dreams are conditional. For us, they remain in the abstract most of the time, attached to phrases like ‘It would be good if…’ or ‘I wish I…’. Not for Lay Zhang. Lay Zhang speaks in dreams. In his mind, he picks them out of the abstract and parks them on the road to his goals. Then, he sets into motion a cause and effect cycle, where each step leads to the realization of that dream.

“The word dream is a strange one,” he wrote in his autobiography Standing Firm at 24. “You start with a dream, but you have to fulfill everything in reality. Of course, it’s not really that you’re dreaming, because someone once told me, a dream is actually what a person’s heart looks like.”

Despite his status as one of China’s most famous stars, it’s this spirit that still is the condensation of Zhang’s ethos as an artist. Born in Changsha in the Chinese province of Hunan as Zhang Yixing, he was no stranger to the world of entertainment as a child star. In 2008, he auditioned for trainee-ship at SM Entertainment, largely considered the progenitor of modern-day K-pop, and passed. Four years later, he debuted as EXO’s Lay, an act that turned the tide for K-pop in the 2010s.

Home, however, was never very far away — after flitting between South Korea and China for work for sometime, the lengthy schedules eventually made him shift base to mainland China, laying the groundwork for Lay Zhang. His first studio album, Lay 02 Sheep, broke five records on the first day of digital release on the Chinese music service QQ Music. His second, NAMANANA, ranked No. 21 on the Billboard 200 chart, making him the highest-ranking M-pop artist on the chart to date.

It’s an ideal trajectory for anyone with dreams as big as Zhang: every new release came with new records and renown. Eventually, however, Zhang realized what his work was missing: a piece of his roots. He wanted to show the world “what China is really about.”

And so he said: “Let there be LIT.”

Named after a play on the Chinese word for lotus, ‘lián huā’, LIT — released in two parts over the course of 2020 — puts Zhang’s Chinese identity at its core. As he weaves the sounds of the Hulusi, Guzheng and Gong together with hip-hop, R&B, and Latin, Zhang not only creates his own genre (which he calls “mixed Mando-pop”), but also nurtures a new dream: one where Mando-pop frees itself of the labels of being “vapid” and “vain” and presents new avenues of experimentation and cultural triumph.

“In the future, mixed will be king. Every work, every genre can be mixed with each other; every language can mix with another. That’s where we go.” he says.

The way to this “mixed” world might be long, but Zhang will soon have company on the way. Earlier in 2020, he announced the establishing of his own company, Chromosome Entertainment, with a set focus to not only train the next generation of Chinese idols, but also to include Chinese culture and history as an integral part of their artistry.

DBU caught up with Lay Zhang to talk about Chromosome Entertainment, his music, how he is going to take his company to ‘infinity’, and his adorable cats.

Don’t Bore Us: Why did you think this was the right time to start your own company?

Lay Zhang: I have always wanted to have my own company and leave my mark in the world. I feel I need to think less and do more. I wanted to do it no matter how difficult it would be. If I kept waiting for the right moment, I might never do it. So, I created the Chromosome Entertainment Group.

DBU: Is there anything that you’ll focus on teaching the trainees that you yourself didn’t get during your trainee years?

Lay Zhang: Our trainees will learn more and more about Chinese culture and Chinese history.

DBU: Speaking of your music over the past year, we have to talk about LIT. We saw you expand into genres that you had never experimented with before. While Part 1 was a mix of traditional Chinese sounds, Part 2 had more modern inspirations such as R&B, Hip-hop, Latin, and others. Which of these sounds comes more naturally to you, and which one is more difficult to explore?

Lay Zhang: I just tried a lot of genres. Since I was young, I have been singing in Chinese and listening to pop music, so I find writing R&B is easier, since it is similar. With traditional Chinese music, it feels like second nature, since I grew up with it.

Latin and Hip-hop is very new to me, but Latin caught my ear because it’s easy to dance to. I’ve been listening to hip-hop and trap in the past few years. I think no matter what kind, I want to do a new genre. I want to call it M-pop because I think in the future, mixed will be king. Every work, every genre can be mixed with each other — every language can mix with each other, and that’s where we go.

DBU: Speaking of the incorporation of your native Chinese sounds into the songs on the first album, what is the most difficult part while looking for a middle-ground between culture and modernity?

Lay Zhang: You always want to respect the culture. We owe a lot to the past for giving us today: I cannot stress that enough. I understand that people have new tastes each year, so you want to make sure that you match the energy and the vibe of the year.

It’s hard to explain how I find the balance. I ask my friends and collaborators, what they feel. I took that into consideration [with LIT], and checked my gut feeling. Did I feel [like] it mixed my Chinese sound with the present or modern without losing it? It’s [a] feeling I get after listening to the record time after time in my car or in the studio.

DBU: With reference to bringing “China to the world”. How do you think LIT did that, apart from, of course, being a mash-up of different influences?

Lay Zhang: I think this album is the first of its kind in a way. It’s very unique: we brought together new and legendary producers to create beautiful music. We had traditional and modern day stories to showcase the idea of the past and the present, to show the world that Chinese artists can be creative. They can think more deeply about music. I want people to know that we are improving everyday. We are working hard. This is what LIT shows.

DBU: Historically, western audiences have thought of Mando-pop as being “very vain or bland.” You have always wanted to push forward Mixed Mando-pop through your work. How do you hope to change this perception of Mando-pop globally through your music?

Lay Zhang: It is a work in progress. We are still improving and developing M-pop. Since I was a child, I have always had big goals and dreams. I want to show the world what China is really about, that we are respectful people trying to better ourselves.

DBU: Your current approach to your work makes me curious. The words “one of China’s biggest celebrities” are often used in your context. With the fan-base and work you’ve built over the years, you could very well have taken the safer route and stuck to the previous sounds you have experimented with before, because anything you make is guaranteed to be a hit. So why is it important for you to keep making the kind of music you do, in the way you make it?

Lay Zhang: I want to challenge myself and see what I can do. I admit, I don’t always succeed, but I’d rather try different genres and sing in different languages to see what I am capable of. Like any artist, I want my music to reach more people, so you have to branch out and try new things, but at the same time, not lose who you are. I have great fans that support me and allow me to dream bigger. I want to pave the path for the next generation to share their music with the world.

DBU: You’ve worked both in South Korea and China. With K-pop having a moment in the global spotlight, what are some things that you feel M-pop could learn or borrow from K-pop?

Lay Zhang: I think it’s great that K-pop is having its moment. In M-pop, we need to put ourselves out there more. We need to meet fans in every city and town to create that one-on-one interaction. I think there are enough artists with quality music to match the artists in K-pop: we just need to focus on sharing Mando-pop.

DBU: For the past few years, you have been heavily involved in music reality shows geared towards bringing out China’s next musical stars. There was Idol Producer, Youth With You, Street Dance of China: what are your hopes from the next generation, and why this interest?

Lay Zhang: The next generation inspires me. Their dreams and efforts inspire me to work harder and be a good role model. I hope they can focus on creating great art and work that they can be proud of. Their work should speak for itself. If everyone can do this, they can do this. If everyone can do this, we can push the boundaries of music and art. We can create works that leave people in awe.

DBU: In the larger context of your artistry, what impact has this year had on you personally?

Lay Zhang: COVID-19 slowed my life down like everyone else. We have all experienced difficulties, but I was able to think about my music and career more clearly. I decided that I should go after the things I want as soon as I could. For my artistry, I realized I needed to focus on music I made, my company, and make music that really carried the culture and vibe of my country.

DBU: Observing your trajectory from when you just started out to now, I was thinking about how it is very clear where your professional priorities lie. What about personal ones? What are you focusing on personally in the coming year?

Lay Zhang: I think about this a lot, and it’s hard to separate my work and personal life. But I think I only have that much time before I run out of energy. I am always thirsty (laughs), so I know I won’t be able to continue this forever. I want to keep pushing until I can’t. So, then I can focus on my personal life knowing I gave it all to my career.

DBU: I asked some fans if they had anything to say to you, and most of them wanted me to relay the same thing: please take a well-deserved break! Now that LIT has had its successful run, is it time for a vacation, or is there more to come?

Lay Zhang: My cats give me a lot of confidence and happiness. They make it easier to face each day; it’s nice to know you have someone waiting for you at home. But I will take a vacation when I turn 40 (laughs). Of course, there is more to come: the trainees we are receiving are so talented. I am excited to create something that will hopefully last a long time, and will improve and uphold the entertainment industry in China.

L Singh @ Don’t Bore Us

[thekillerssluts]

Will Butler explains how his Harvard degree developed into his second solo album

“Yeah, it’s terrifying,” Will Butler says, pondering how it feels to be releasing music away from the umbrella of Arcade Fire.

“It’s the classic thing about all writers,” he continues. “The creative process makes them wanna puke the whole time they’re writing something, then they read something back and it makes them feel worse, then a year later they read it and think ‘yeah, it’s okay’. It’s a glorious experience, but it really makes your stomach hurt.”

On the one hand Will Butler is well accustomed to this writing process, being a multi-instrumentalist in the Canadian indie-rock band fronted by brother Win - Arcade Fire. But on his own terms, it’s an entirely new process. Butler’s second solo album Generations arrives five years after his debut Policy, a collection that rattled with a ramshackle charm and what he describes now as a ‘consciously very unproduced’ sound. Arcade Fire wound down from their Everything Now tour in September 2018, leaving Butler with the last two years of playtime. Most musicians, particularly those accustomed to big album cycles, set aside their downtime for family or other musical projects. Somehow Butler’s managed to do both while also completing a masters degree in Public Policy at Harvard.

“I went to school for a variety of reasons but there was an artistic side to it too,” he says. “I have always tried to let music and lyrics emerge from the world that I’m in; you fertilise the soil and see what grows. It was a way to better understand where we are, how we got here and what's going on. You know, ‘where am I from? What's going to happen?’” Both of these questions explored in his degree are used as fuel for Generations.

It’s easy to imagine an album by somebody who’s just pursued a Public Policy MSt to form in reams of political commentary, probably set to an acoustic guitar. However, Butler instead engages character portraits soundtracked by a broad range of thrilling sonics. Opener “Outta Here” is shrouded by a monstrous bass that lurks beneath the depths of the instrumentation before bursting out midway through. “Got enough things on my plate without you talking about my salvation,” he screams.

While the cage-rattling “Bethlehem” is mania underpinned by a thrashing guitar and bubbling synths that help lift the track to boiling point.While there’s no current world leaders namechecked or any on-the-nose political commentary across the LP, the angst of its contents is instantly tangible, backed by the intellect of somebody who’s spent the past few years studying the ins and outs of government processes. A perfect combination, you could say.

This fuel was partly discovered through Butler reconnecting with the music that defined his teenage years: namely Bjork, The Clash and Eurythmics. While these influences certainly slip into frame across Generations, they were paired with something of an unlikely muse: “I got into this habit of listening to every single song on the Spotify Top 50 every six weeks,” Butler explains. “So many of them are horrible, terrifying and just awful but there’s something inspiring about how god damn avant garde the shittiest pop music is now. Just completely divorced from any sense of reality - it’s just layers upon layers upon layers - it’s amazing. It’s like Marcel Duchamp making a pop hit every single song.”

We turn from current music to current events. Navigating Covid-19 with his wife and three kids in their home of Brooklyn, a majority of 2020 has been caught up in family time for Butler. “The summer’s been easier because everybody’s outside, whereas in spring it was like ‘it’s family time because we have to lock our doors as there's a plague outside.’” While being surrounded by the trappings of lockdown since his second solo album Generations was completed in March, the album itself wriggles with the spirit of live instrumentation, which at this point seems like some sort of relic from a bygone era."I think eventually rediscovering this album back in the live setting would be amazing - we’re a really great live band, it’s a shame to not be in front of people."

The source of this energy can be traced back to the way the songs came together; they were forged and finessed at a series of shows in the early stages of the project. “It just raises the stakes. You can tell how good or how dumb a lyric is when you sing it in front of a hundred people,” he reflects. “It’s like ‘are you embarrassed because what you’re saying is true?’ or ‘is it just embarrassing?’ It’s a good refiner for that stuff. I think eventually rediscovering this album back in the live setting would be amazing - we’re a really great live band, it’s a shame to not be in front of people.”

Like his day job in Arcade Fire, Butler’s solo live group is something of a family affair - both his wife and sister-in-law feature in the band, alongside Broadway's West Side Story star, and the student of the legendary Fela Kuti drummer, Tony Allen. Together this eclectic mix of musicians conjures an infectious spirit through the raw combination of thundering synths and pedal-to-the-metal instrumentation; an apt concoction indeed for lyrics that are attempting to unhatch the bamboozling questions that surround our current times.

The timing for Butler’s decision to study Public Policy couldn’t have been more perfect, with his course starting in the Fall of 2016. “I was at Harvard for the election which was a really bizarre time to be in a government school, but it was great to be in a space for unpacking questions like ‘my god, how did we get here?!’” he reflects, with a note of mockery in the bright voice.

“I had a course taught by a professor named Leah Wright Rigueur. The class was essentially on race in America but with an eye towards policy. The class explored what was going to happen in terms of race under the next president. The second to last week was about Hilary Clinton and the last week was about Donald Trump. We read riot reports - Ferguson in 2015, Baltimore in 2016, the Detroit uprisings in the ‘60s and Chicago in 1919 - it's certainly helping me understand the last 5 years, you know. Just to be in that context was very lucky.”

As we’ve seen with statues being toppled, privileges being checked and lyrics of national anthems being interrogated in recent months, history is a complex, labyrinthine subject to navigate requiring both ruthless self-scrutiny and a commitment to the long-haul in order to correct things. The concept of Generations shoots from the same hip employing character portraits to engage in the broader picture.

The writing, at times, is beamed from a place of disconnect (“had enough of bad news / had enough of your generation”), from a place of conscious disengagement (“I’m not talking because I don’t feel like lying / if you stay silent you can walk on in silence”) and from a place of honest self-assessment (“I was born rich / three quarters protestant / connections at Harvard and a wonderful work ethic”).

“I’m rooted in history to a fault,” he says. “My great grandfather was the last son of a Mormon pioneer who’d gone West after being kicked out of America by mob violence. He wanted to be a musician which was crazy - he got 6 months in a conservatory in Chicago before his first child was born. He always felt like he could have been a genius, he could of been writing operas but he was teaching music in like tiny western towns and he had all these kids and he made them be a family band and they were driving around the American west before there were roads in the deserts - literally just driving through the desert! He would go to these small towns and get arrested for trying to skip bills and just live this wild existence.”

Butler’s grandma, meanwhile, was just a child at this point. She went on to become a jazz singer with her sisters and married the guitar player Alvino Rey. “The fact that me and my brother are musicians is no coincidence,” he smiles. “It’s not like I decided to be a musician, it’s down to decisions that were made at the end of the 19th century that have very clearly impacted where I am today. The musical side of it is very beautiful, it is super uncomplicated and a total joy to have a tradition of music in our family...but also in the American context - which is the only context I know - it's also these very thorny inheritances from the 19th century and beyond that influence why my life is like it is.

“For me it’s like, ‘I made my money because my grandpa was a small business owner’ or ‘my grandpa was a boat builder and got a pretty good contract in WW2 and was able to send his kids to college’. Both of which are so unpoetic and unromantic but it is an important thing to talk about, that's a personal political thing to talk about; there's horrifying and beautiful aspects there.”

The lament of “I’m gonna die in a hospital surrounded by strangers who keep saying they’re my kids” on “Not Gonna Die” could well be croaked by somebody on the tail end of a life lived on the American Dream. At times, Butler plays the characters off against each other, like on “Surrender,” which chronicles two flawed characters going back and forth played by Butler’s lead vocals and his female backing singers that undermine his memory; “I remember we were walking” is cut up with the shrug of “I dunno” and “maybe so”. “I found having the backing voices there gave me something to play with,” he explains. “Either something threatening to the main character or something affirming to the main character, just providing another point of view.”

Elsewhere, “I Don’t Know What I Don’t Know” explores the feeling of being unsuitably equipped to unravel the complexities that surrounds us day-to-day. “The basic emotion of that song is very much ‘I don’t know what I can do’ which is an emotion we all have,” he ponders. “There’s also the notion that follows that, like ‘maybe don’t even tell me what to do because it’s going to be too overwhelming to even do anything’.”

Some of these portraits materialised in the aftershows Butler began hosting while on Arcade Fire’s Everything Now tour which found him instigating conversations and talks by local councilman, politicians and activists on local issues. “On some of the good nights of the aftershow town halls, you’d feel that switch away from despair and into action,” he says smiling. “The step between despair and action is possible, that sentiment isn’t spelled out lyrically on the record but it’s definitely there spiritually.”

“I learned anew what a treasure it is to have people in a room. Getting humans in a room can be absurd. And we were having from 5,000 to 15,000 people in a room every night, most of them local. I’m very comfortable with art for art’s sake; I think art is super important and it’s great people can like music that's not political. It was sort of like ‘well we’re here and I know a lot of you are thinking about the world and you’re thinking about what a shit show everything is. You want to know what we can do and I also want to know what we can do!’ So I put on these after shows.”"The dream lineup would be to have a local activist and a local politician talking about a local issue because that’s the easiest way to make concrete change."

Butler would find a suitable location near the Arcade Fire gig through venue owners who were often connected to the local music and comedy scenes to host these events. “The dream lineup would be to have a local activist and a local politician talking about a local issue because that’s the easiest way to make concrete change. Arguably, the most important way is through the city council and state government. The New York state government is in Albany, New York. The shit that happens in Albany is all super important so I wanted to highlight that and equip people with some concrete levers to pull.

“In Tampa we had people who were organizing against felon disenfranchisement, like if you’ve been convicted of a felon you couldn’t vote in Florida, and something absurd like 22% of black men in Florida couldn’t vote and there were people organising to change that - this was in 2018 - and you could just see people being like ‘holy shit, I didn't even know this was happening!’

“These were not topics I’m an expert in - it’s like these are things that are happening. The thought was trying to engage, I’m sad to not be doing something similar this Fall, I mean what a time it would have been to go around America.”

Understandably the looming 2020 election is on Butler’s radar. “It doesn't feel good,” he sighs. “I’ve never had any ability to predict, like 2 weeks from now the world could be completely different from what it is today. There was always a one-in-a-billion chance of the apocalypse and now it's like a one-in-a-million chance which is a thousand times more likely but also unlikely. It’s going to be a real slog in the next couple of years on a policy side, like getting to a place where people don’t die for stupid reasons, I’m not even talking about the coronavirus necessarily just like policy in general. Who knows, it could be great but it seems like it's going to be a slog.”

There’s a moment on the closing track “Fine”, a stream-of-consciousness, Randy Newman-style saloon waltz, where Butler hits the nail on the head. “George [Washington], he turned to camera 3, he looked right at me and said...I know that freedom falters when it’s built with human hands”. It’s one of the many lyrical gems that surface throughout the record but one that chimes with an undeniable truth. It’s the same eloquence that breaks through as he touches on the broad ranging subjects in our conversation, always with a bright cadence despite the gloom that hangs over some of the topics.

The live show is without a doubt Arcade Fire’s bread and butter. While Butler questions how realistic the notion of getting people in packed rooms in the near future is, he reveals the group are making movements on LP6. “Arcade Fire is constantly thinking about things and demoing, it's hard to work across the internet but at some point we’ll get together. It probably won’t be much longer than our usual album cycle,” he says.

You only have to pick out one random Arcade Fire performance on YouTube to see Butler’s innate passion bursting out, whether it’s early performances that found him and Richard Reed Parry adorning motorbike helmets annihilating each other with drumsticks to the 1-2-3 beat of “Neighbourhood #2 (Laika)” or the roaring “woah-ohs” that ascend in the anthem of “Wake Up” every night on tour. It’s an energy that burns bright throughout our conversation and across Generations.

https://www.thelineofbestfit.com/features/interviews/arcade-fires-will-butler-new-solo-record-generations

[dailyexo]

[INTERVIEW] Lay - 201216 Don’t Bore Us: “M-Pop star Lay Zhang tells us about his music, dreams, and starting his own company”

"Chinese Megastar Lay Zhang wants to bring ‘China to the world’ with his music. He talks to Don’t Bore Us about how he plans to achieve his dreams.

For most of us, our dreams are conditional. For us, they remain in the abstract most of the time, attached to phrases like ‘It would be good if…’ or ‘I wish I…’. Not for Lay Zhang. Lay Zhang speaks in dreams. In his mind, he picks them out of the abstract and parks them on the road to his goals. Then, he sets into motion a cause and effect cycle, where each step leads to the realization of that dream.

“The word dream is a strange one,” he wrote in his autobiography Standing Firm at 24. “You start with a dream, but you have to fulfill everything in reality. Of course, it’s not really that you’re dreaming, because someone once told me, a dream is actually what a person’s heart looks like.”

Despite his status as one of China’s most famous stars, it’s this spirit that still is the condensation of Zhang’s ethos as an artist. Born in Changsha in the Chinese province of Hunan as Zhang Yixing, he was no stranger to the world of entertainment as a child star. In 2008, he auditioned for trainee-ship at SM Entertainment, largely considered the progenitor of modern-day K-pop, and passed. Four years later, he debuted as EXO’s Lay, an act that turned the tide for K-pop in the 2010s.

Home, however, was never very far away — after flitting between South Korea and China for work for sometime, the lengthy schedules eventually made him shift base to mainland China, laying the groundwork for Lay Zhang. His first studio album, Lay 02 Sheep, broke five records on the first day of digital release on the Chinese music service QQ Music. His second, NAMANANA, ranked No. 21 on the Billboard 200 chart, making him the highest-ranking M-pop artist on the chart to date.

It’s an ideal trajectory for anyone with dreams as big as Zhang: every new release came with new records and renown. Eventually, however, Zhang realized what his work was missing: a piece of his roots. He wanted to show the world “what China is really about.”

And so he said: “Let there be LIT.”

Named after a play on the Chinese word for lotus, ‘lián huā’, LIT — released in two parts over the course of 2020 — puts Zhang’s Chinese identity at its core. As he weaves the sounds of the Hulusi, Guzheng and Gong together with hip-hop, R&B, and Latin, Zhang not only creates his own genre (which he calls “mixed Mando-pop”), but also nurtures a new dream: one where Mando-pop frees itself of the labels of being “vapid” and “vain” and presents new avenues of experimentation and cultural triumph.

“In the future, mixed will be king. Every work, every genre can be mixed with each other; every language can mix with another. That’s where we go.” he says.

The way to this “mixed” world might be long, but Zhang will soon have company on the way. Earlier in 2020, he announced the establishing of his own company, Chromosome Entertainment, with a set focus to not only train the next generation of Chinese idols, but also to include Chinese culture and history as an integral part of their artistry.

DBU caught up with Lay Zhang to talk about Chromosome Entertainment, his music, how he is going to take his company to ‘infinity’, and his adorable cats.

Don’t Bore Us: Why did you think this was the right time to start your own company?

Lay Zhang: I have always wanted to have my own company and leave my mark in the world. I feel I need to think less and do more. I wanted to do it no matter how difficult it would be. If I kept waiting for the right moment, I might never do it. So, I created the Chromosome Entertainment Group.

DBU: Is there anything that you’ll focus on teaching the trainees that you yourself didn’t get during your trainee years?

Lay Zhang: Our trainees will learn more and more about Chinese culture and Chinese history.

DBU: Speaking of your music over the past year, we have to talk about LIT. We saw you expand into genres that you had never experimented with before. While Part 1 was a mix of traditional Chinese sounds, Part 2 had more modern inspirations such as R&B, Hip-hop, Latin, and others. Which of these sounds comes more naturally to you, and which one is more difficult to explore?

Lay Zhang: I just tried a lot of genres. Since I was young, I have been singing in Chinese and listening to pop music, so I find writing R&B is easier, since it is similar. With traditional Chinese music, it feels like second nature, since I grew up with it.

Latin and Hip-hop is very new to me, but Latin caught my ear because it’s easy to dance to. I’ve been listening to hip-hop and trap in the past few years. I think no matter what kind, I want to do a new genre. I want to call it M-pop because I think in the future, mixed will be king. Every work, every genre can be mixed with each other — every language can mix with each other, and that’s where we go.

DBU: Speaking of the incorporation of your native Chinese sounds into the songs on the first album, what is the most difficult part while looking for a middle-ground between culture and modernity?

Lay Zhang: You always want to respect the culture. We owe a lot to the past for giving us today: I cannot stress that enough. I understand that people have new tastes each year, so you want to make sure that you match the energy and the vibe of the year.

It’s hard to explain how I find the balance. I ask my friends and collaborators, what they feel. I took that into consideration [with LIT], and checked my gut feeling. Did I feel [like] it mixed my Chinese sound with the present or modern without losing it? It’s [a] feeling I get after listening to the record time after time in my car or in the studio.

DBU: With reference to bringing “China to the world”. How do you think LIT did that, apart from, of course, being a mash-up of different influences?

Lay Zhang: I think this album is the first of its kind in a way. It’s very unique: we brought together new and legendary producers to create beautiful music. We had traditional and modern day stories to showcase the idea of the past and the present, to show the world that Chinese artists can be creative. They can think more deeply about music. I want people to know that we are improving everyday. We are working hard. This is what LIT shows.

DBU: Historically, western audiences have thought of Mando-pop as being “very vain or bland.” You have always wanted to push forward Mixed Mando-pop through your work. How do you hope to change this perception of Mando-pop globally through your music?

Lay Zhang: It is a work in progress. We are still improving and developing M-pop. Since I was a child, I have always had big goals and dreams. I want to show the world what China is really about, that we are respectful people trying to better ourselves.

DBU: Your current approach to your work makes me curious. The words “one of China’s biggest celebrities” are often used in your context. With the fan-base and work you’ve built over the years, you could very well have taken the safer route and stuck to the previous sounds you have experimented with before, because anything you make is guaranteed to be a hit. So why is it important for you to keep making the kind of music you do, in the way you make it?

Lay Zhang: I want to challenge myself and see what I can do. I admit, I don’t always succeed, but I’d rather try different genres and sing in different languages to see what I am capable of. Like any artist, I want my music to reach more people, so you have to branch out and try new things, but at the same time, not lose who you are. I have great fans that support me and allow me to dream bigger. I want to pave the path for the next generation to share their music with the world.

DBU: You’ve worked both in South Korea and China. With K-pop having a moment in the global spotlight, what are some things that you feel M-pop could learn or borrow from K-pop?

Lay Zhang: I think it’s great that K-pop is having its moment. In M-pop, we need to put ourselves out there more. We need to meet fans in every city and town to create that one-on-one interaction. I think there are enough artists with quality music to match the artists in K-pop: we just need to focus on sharing Mando-pop.

DBU: For the past few years, you have been heavily involved in music reality shows geared towards bringing out China’s next musical stars. There was Idol Producer, Youth With You, Street Dance of China: what are your hopes from the next generation, and why this interest?

Lay Zhang: The next generation inspires me. Their dreams and efforts inspire me to work harder and be a good role model. I hope they can focus on creating great art and work that they can be proud of. Their work should speak for itself. If everyone can do this, they can do this. If everyone can do this, we can push the boundaries of music and art. We can create works that leave people in awe.

DBU: In the larger context of your artistry, what impact has this year had on you personally?

Lay Zhang: COVID-19 slowed my life down like everyone else. We have all experienced difficulties, but I was able to think about my music and career more clearly. I decided that I should go after the things I want as soon as I could. For my artistry, I realized I needed to focus on music I made, my company, and make music that really carried the culture and vibe of my country.

DBU: Observing your trajectory from when you just started out to now, I was thinking about how it is very clear where your professional priorities lie. What about personal ones? What are you focusing on personally in the coming year?

Lay Zhang: I think about this a lot, and it’s hard to separate my work and personal life. But I think I only have that much time before I run out of energy. I am always thirsty (laughs), so I know I won’t be able to continue this forever. I want to keep pushing until I can’t. So, then I can focus on my personal life knowing I gave it all to my career.

DBU: I asked some fans if they had anything to say to you, and most of them wanted me to relay the same thing: please take a well-deserved break! Now that LIT has had its successful run, is it time for a vacation, or is there more to come?

Lay Zhang: My cats give me a lot of confidence and happiness. They make it easier to face each day; it’s nice to know you have someone waiting for you at home. But I will take a vacation when I turn 40 (laughs). Of course, there is more to come: the trainees we are receiving are so talented. I am excited to create something that will hopefully last a long time, and will improve and uphold the entertainment industry in China."

Credit: Don't Bore Us.

[starring-movies]

Killing Eve: Episode Analysis

*SPOILERS*

Season 1, Episode 4 - Sorry Baby

We start the episode at Bill’s funeral where Frank is speaking in behalf of Bill’s colleagues. Frank’s speech about Bill is particularly comfortable as Frank gets everything wrong about him, Frank says;

Bill’s colleagues “really really liked him” - there’s absolutely no sentiment in this and only says Bill’s colleagues really likes him, he doesn’t even include himself in that statement. He’s just saying the most generic things you could possibly say in a eulogy about someone you didn’t know at all.

Bill was “a very loud man” - not appropriate to say at a funeral at all really, he’s insulting him more than anything.

Bill was “a man who had time for everybody” - Eve say this isn’t correct, “no he didn’t”.

Bill “was truly a traditional man” - from Bill’s conversation with Eve about kinks, falling in love with many men and marrying his wife because he “really wanted a baby”, we know Bill was definitely not traditional

He continues to talk about Bill’s leadership and how he’d be lucky to “get a chocolate finger by lunch” because Bill “liked his biscuit Wednesdays” - again not appropriate and more of an insult than anything.

Not only does he get everything wrong but it was evident in S1E1, when Frank wasn’t invited to Bill’s birthday karaoke and Bill wanted to call Frank a “dick swab”, that they were not friends at all.

When we see Villanelle back in her apartment, she’s decorated with a big cake and balloons for Konstantin’s ‘birthday’. She did this big display to try to distract Konstantin from the fact that she had been “naughty” and gone against what he had ordered, and she did a similar thing in S1E1 when she asked him if he’d had a haircut.

The cake and balloons is also exactly what Anna said in S1E7, that Villanelle did for her after killing her husband, Max, she said “there were balloons everywhere and a huge cake and she was jumping around”. We can see that there is another parallel between these two moments; that Villanelle is pleased to have gotten rid of the person (Bill) who was standing in the way of her getting close to Eve, just as she got rid of Anna’s husband who was standing in the way of her getting closer to Anna.

We also get another example of Villanelle not just putting on a mask when shes in disguise, but her completely inhabiting whoever she’s disguising herself as. When they go into Villanelle’s bathroom to talk, Konstantin asks her “who are you?”, she says that she’s “Konstantin” but when he rips off her beard, she replies that she’s “Villanelle”. Konstantin knows he can’t speak to Villanelle properly until she’s fully out of character, which also serves to show Konstantin and Villanelle’s bond - he doesn’t just get angry with her, but instead he knows what she’s doing and goes along with the rules of her ‘game’

During Eve and Niko’s argument after Bill’s funeral about Eve being in danger at work, there’s a poster behind Niko in one of the shots. The poster seemed to be not only an odd choice of artwork for Eve and Niko’s to have in their house, but also that the poster is only in frame in one shot of Niko - right after Eve berates him saying, “I know you care. We all know you care. Sometimes I think it’s all you have”.

The artwork depicts a man inside a black bird/crow’s beak, trying to hold the bird’s beak open. This imagery seems fitting for this moment as Niko is like the man and Eve is like the bird, with Niko desperately trying to keep their life and marriage together and to not to get swallowed, but Eve ultimately ends up ‘consuming’ their marriage and crushing Niko along the way. The moment in the poster imagery though, is Niko not yet being ‘swallowed up’, as he gets by Season 3, but him still desperately trying to make their normal life work, cope with Eve’s behaviour and keep her safe.

After searching for the poster, I found that it’s a poster by the Polish artist Andrzej Pagowski for the 1985 Martin Scorsese film, ‘After Hours’. I’ve never seen the film myself but after googling it I found that the main character’s goal is just to return home despite a number of events happening through the night (just as Niko is just trying to fight for his life with Eve, despite Villanelle and all the danger she brings). The film also has a heavy theme of emasculation, which is also fitting as Eve essentially just emasculated Niko for showing his emotions of care and concern for her; where stereotypically men aren’t supposed to be vulnerable and show emotions, Eve has just insulted him for having and showing them.

When Eve goes to the butchers to meet with Carolyn, to tell Carolyn the evidence that Frank is the mole, there is a close up of a sheep statue that’s sitting outside the doorway of the shop. It’s this conversation that Eve has with Carolyn, that leads to Frank’s capture and questioning in the safe house. In this way, as soon as Eve and Carolyn have had their conversation, Frank has now become a ‘lamb for slaughter’. Eve says to Carolyn in S1E5 that Villanelle “took my phone it has the interview with Frank on it. And she’ll have the location of the safe house”. If Eve had never recorded the conversation they had with Frank at the safe house he may not have been killed as there was no proof that Frank told them anything about The Twelve and Villanelle also might not have been able to find the location of the safe house from Eve’s phone.

The sheep could also be symbolism referencing Frank being a ‘wolf in sheep’s clothing’. Since Frank is the mole, he is a wolf in sheep’s clothing as he’s been collecting information from MI5 amongst those who trust him and giving that information to The Twelve.

The symbolism could also be that Eve is the ‘lamb for slaughter’, as she’s getting deeper and deeper into her investigation and this breakthrough with Frank is what leads Eve, and subsequently Villanelle, to finding out that an organisation called The Twelve even exists.

The sausages in the butchers counter also foreshadows Frank’s death and castration, as well as when we find about Anna’s husband’s death and castration later on.

Villanelle is now working with Diego and Nadia after she was told in S1E3 that she isn’t allowed to work alone anymore and she arrives “a bit late” because she stopped to “deliver a package”, which was delivering Eve’s suitcase to Eve’s house. She asks Diego is he checked the sights on the gun, he cockily replies that he used it to shoot a politician so it works, but Villanelle was right he should have checked the sights because when she tries to shoot Frank she misses.

When Nadia chose Villanelle by shooting Diego in their three way stand off, it’s not really surprising that Nadia chose Villanelle over Diego. Diego wasn’t just incredibly annoying and condescending; but we saw that Nadia still liked Villanelle as when Villanelle grabbed Nadia’s wrists before they went into ‘Frank’s house’, Nadia touched her wrist where Villanelle had just held them and looked over to Villanelle walking towards the house.

We can also see how much more Villanelle considers Eve to be “special” than both Anna and Nadia, both people who Villanelle had been in ‘relationships’ with. Unlike Anna and Nadia, Eve isn’t nearly as easily manipulated. Anna must have been fairly easy to persuade into a relationship (considering all the letters that were sent between her and Villanelle), despite her having a husband and Villanelle almost certainly being underage at the time (and even if Villanelle wasn’t underage the relationship was certainly inappropriate as Anna was Villanelle’s teacher and much older than her). Nadia also only needed a little bit of persuasion for her to kill Diego and choose Villanelle, despite the fact that Villanelle betrayed Nadia by taking her place as the person who The Twelve was going to break out from prison. Whereas Eve doesn’t fall for any of Villanelle’s manipulation but sees straight through it, like in S1E5 when Villanelle says she’s trapped and doesn’t want to kill anymore, Eve says what Villanelle is saying is “bullshit”. Eve stabbing Villanelle in S1E8 shocked Villanelle, but Villanelle later tells Gabriel in S2E1 she did “to show how much she cared”, as if admiring what Eve did and considering it an act of love that no one else has done for her.

After Villanelle has convinced Nadia to trust her and then runs her over with the van, the camera shots visually show us Villanelle’s skill as a manipulator and ability to turn the tables on a situation. When Villanelle first meets Diego and spots Nadia in the wing-mirror of the van, it is Nadia in the front seat looking behind her to Villanelle - Nadia is in the position of power and has Diego’s protection, so Villanelle is outnumbered if she were to try and kill them. Then when Villanelle is running Nadia over with the van, we now get a shot of Villanelle from the wing-mirror - now Villanelle is in the position of power, she has turned Nadia against Diego and tricked Nadia into trusting her.

You can read my previous Killing Eve posts here:-

First Introduction to Villanelle

First Introduction to Eve

S1, E1 - Nice Face

S1, E2 - I’ll Deal With Him Later

S1, E3 - Don’t I Know You?

S1, E5 - I Have a Thing about Bathrooms

S1, E6 - Take Me To The Hole!

S1, E7 - I Don’t Want to Be Free

S1, E8 - God, I’m Tired

S2, E1 - Do You Know How to Dispose of a Body?

S2, E2 - Nice and Neat

S2, E3 - The Hungry Caterpillar

S2, E4 - Desperate Times

S2, E5 - Smell Ya Later

S2, E6 - I Hope You Like Missionary!

S2, E7 - Wide Awake

S2, E8 - You’re Mine

S3, E1 - Slowly Slowly Catchy Monkey

S3, E2 - Management Sucks

S3, E3 - Meetings Have Biscuits

S3, E4 - Still Got It

S3, E5 - Are You From Pinner? [Part 1]

S3, E5 - Are You From Pinner? [Part 2]

S3, E6 - End of Game

S3, E7 - Beautiful Monster

S3, E8 - Are You Leading or Am I? [Part 1]

————————————————————————————————————————

[illia-ast]

LFRP - Illia Astraea

Illia Astraea

The Basics ––– –

Age: 25

Birthday: 14th Sun, Sixth Umbral Moon

Race: Miqo’te, Seekers of the Sun

Gender: Female

Sexuality: Pansexual

Marital Status: Single

Server: Zalera

Physical Appearance ––– –

Hair: White, a few thin peach colored streaks near the ends.

Eyes: One light blue, one light green.

Height: 4′9″

Build: Curvy and soft body and thighs, toned arms and legs.

Distinguishing Marks: Clan markings.

Common Accessories: A bag or satchel, sketchbook, spectacles, heels.

Personal ––– –

Profession: Hunter/Botanist for hire.

Hobbies: Sketching, baking, napping.

Languages: Eorzean, a little Ishgardian and Doman. 

Residence: Mist, La Noscea

Birthplace: Gridania (assumed)

Religion: The Twelve

Patron Deity: Menphina

Fears: Being abandoned, being left, being powerless, being trapped, being unable to move or escape, being somewhere she can’t see anything.

Relationships ––– -

Spouse: N/A

Children: N/A

Parents: (adpoted) Octavel and Docette Asturmaux

Siblings: Florine (sister) Alexois and Martiallais (brothers), all older.

Other Relatives: N/A

Pets: None; has a soft spot for mammets though.

Traits ––– -

* Bold your character’s answer.

Extroverted / In Between / Introverted

Disorganized / In Between / Organized

Close Minded / In Between / Open Minded

Calm / In Between / Anxious

Disagreeable / In Between / Agreeable

Cautious / In Between / Reckless

Patient / In Between /  Impatient

Outspoken / In Between / Reserved

Leader / In Between / Follower

Empathetic / In Between / Apathetic

Optimistic / In Between / Pessimistic

Traditional / In Between / Modern

Hard-working / In Between / Lazy

Cultured / In Between / Uncultured

Loyal / In Between / Disloyal

Faithful / In Between / Unfaithful

Additional information ––– –

Smoking Habit: None. Drugs: None. Alcohol: Rarely. 

RP Hooks ––– –

Home in the Shroud : Though it’s questionable she was born in the Black Shroud, she was raised there by the family of one of the Wailers that found her. She took to the lance with ease and was found to be a natural botanist and conjurer. It was not uncommon to see her at either guild or talking to the apothecary in the market. It’s also not uncommon to have seen her all over the shroud in her youth. Perhaps you’ve seen her or grew up near/with her?

The Hunter is a Botanist : In adulthood Illia began to earn a reputation not only as a hunter of difficult marks, but a botanist capable of going to dangerous places to retrieve rare materials with a careful hand. Apothecaries, culinarians, alchemists, and even leatherworkers and weavers have been known to commission her services in tracking down or retrieving those hard-to-get ingredients and materials.

The Globetrotter : Though she dearly loves the Shroud, as she grew to adulthood Illia began to travel. By now, she’s well-versed in Eorzean locales and, more recently, has been to Gyr Abania, Hingashi, Doma, and the Azim Steppe. Maybe you’ve traveled together, or seen her on the road from place to place? Were you there to show her around the areas new to her?

The Artist : She loves to sketch what she sees. Plants and wildlife, vistas while she travels, and other people. Maybe you’ve noticed her peeking at you over the sketchbook in one of the taverns while she’s eating?

The... Clutz? : When she’s within cities, she’s easily overwhelmed by all the people and noise and easily distracted and scatterbrained. This leads to her being rather clumsy.

Contact Information  ––– –

Please note, I may be slow to respond most of the time. I am most likely to be active around 3pm-10pm CST.

Discord : I’m open to text-based on discord, please ask for my screen name or shoot me yours! My preference is making a private server to maintain different threads for ooc, plotting, and in character stuff so it’s not all mashed together in a single DM thread.

Tumblr : You are here currently! You can message me, send me random asks or send prompt asks.

In game : I am on Zalera server in the Crystal DC; if you see me online (I wander around Balmung and Mateus as well) feel free to send me a /tell or say hi!

@ffxiv-crystal-rp @mooglemeet

[crowsent]

Whumptober 2019 Shackled

Yusuke Kitagawa, Persona 5, Shackled

CW: child abuse, minuscule gore (barely there but just in case), Madarame’s existence, Madarame’s shitty parenting

=

Madarame had been everywhere. There were statues of him, paintings of him, photographs taped to every wall. Madarame’s voice echoed somewhere high above in the shrine. The obsessive desire to please and venerate permeating the very air until Joker suffocated in it.

It had been an accident, discovering that Madarame’s pupil, Yusuke Kitagawa, had a Palace. It had only been at Ann’s insistence that they even bothered to explore at all. They were still looking for potential targets for the Phantom Thieves’ next heist and maybe, Kitagawa might be their key there. Sheer coincidence and fate’s guiding hand had led them here.

But Kitagawa’s Palace, his Shrine, was far more unnerving than anything Joker had seen in Kamoshida’s Palace.

Some part of Joker still refused to believe that a run-down shack could turn into something like this.

The run-down shack had transformed into a traditional Japanese temple with pointed spires and multiple floors. A torii gate bound with shimenawa served as the entrance to a well-lit foyer. Like any other shrine in the real world, there was an aura of calm in the air, of serenity. Distantly, Akira heard the soft click of a tsuzumi somewhere, along with gentle strums of a shamisen and the rhythmic beat of a wadaiko.

Kitagawa’s Palace was breathtaking.

And terrifying.

The walls of the shrine were vividly painted with moving images. Kanou-style tigers and cranes stalked along the walls. Heavy, ink-lined tides swept over everything and replaced the walls with simplistic landscapes only to have that in turn shift into gorgeous ukiyo-e portraits.

But, Joker noticed, the scenic paintings on the shrine walls showed something more sinister. The paint would depict monsters that writhed in screamed, hellfire ravaging entire forests, demons and ghosts and terrifying pictures of death and ruin. Then it would return to normal. As if the horrors Joker noticed were nothing more than passing thoughts. An insignificant pebble thrown into a tumultuous river, carried by the rapids for a time before sinking to the bottom.

What could Kitagawa’s cognition be like, to have his subconscious depict such a peaceful, colourful place plagued by such disturbing imagery?

Panther shivered, stepping in between Skull and Joker. “Do those pictures move!? Ugh. They’re so creepy.”

A breeze blew in from nowhere, rustling the trees and making Panther hug herself for comfort. The wind was cold. Biting. Frigid. Skull grumbled. “This dude is seriously effed in the head. I mean. This entire Palace is just.” He gestured angrily to the walls of the temple, now displaying an angry demon ripping apart the arms and legs of a human. It changed to show a lotus flower floating on a pond. “What kind of person even is this Kitagawa guy?”

Joker steeled himself and stepped forward. “We’ll never know if we don’t take a look around.”

“Right!” Mona chimed in. “Let’s get going.”

And now that they had traversed the inside of the Palace and reached the final room all the way at the top, Joker could confidently say that he absolutely detested every inch of this place. It was beautiful, but wrought with distortions so twisted it was difficult navigating up the shrine at all.

After every level, Madarame’s voice would ring out, harsher than the frigid winds they had to face, sharper than any blade they could ever find.

This isn’t good enough. See these brush strokes? Pathetic. Do it again and do it right, or you’ll face the consequences.

What did I tell you!? This piece is fucking garbage! I can’t show this at the exhibition! Is this how you’ll repay after all these years? You’re worth less than nothing.

You did a fine job Yusuke. This is good enough for this month’s exhibition. I’ll be expecting a new piece from you soon.

On.

And on.

And on.

Joker can’t take any more.

The topmost floor, wrought with a blizzard so cold Panther had to walk sandwiched between Skull and Joker, was nothing compared to Madarame’s voice.

Useless.

Again!

Can’t do anything right.

What do I even keep you here for?

Smile for the cameras, Yusuke. You’re my star pupil. What will people think of me if you look like death? Smile. Smile goddammit.

After Kitagawa, Joker was going to change Madarame’s heart or die trying. Just hearing those words from a man Kitagawa clearly admired made Akira’s blood boil.

“Last door.” Joker looked at his companions. Panther beside him, Skull on her other side, Mona tucked in Joker’s collar where the cold wind would hit him less. All three of them nodded. Joker smiled thinly though his lips felt as though they would fall off.

“Let’s go in.”

The doors to the final room, despite their size, gave way easily. The four of them pushed their way inside and with a thunderous roar, the doors slammed shut. The icy wind howled outside. The inside of the last room, the very heart of the shrine, was deceptively warm. Mona crawled out from Joker’s collar to perch at his shoulder.

“Is that a Shadow?”

At the centre of the square room, was a small Shadow, the size of a human. It wore a sheet white kimono, stained with blood. It knelt facing the door with thick golden manacles around its wrists, shackled to the floor. Both of its legs were nailed to the floor by its ankles. Behind it towered a giant golden statue of Madarame with his hand outstretched.

A ring on Madarame’s right hand connected to the Shadow in the centre of the room. To a collar around its neck, tight enough that the Shadow’s face turned almost as blue as its hair.

“Oh my God,” Panther gasped. She gripped onto Joker and Skull’s arms, trembling. Skull radiated anger. Mona muttered silent prayers for Kitagawa in the real life. Joker just stood frozen.

Kitagawa’s Shadow was literally trapped in the shrine. Even if he tore free of the stake pinning his bloody ankles to the floor, even if he ripped the manacles off, he would forever be trapped in the shrine. Collared to Madarame like a dog.

“This is how Kitagawa views himself. His distorted heart thinks of the shack as a Shrine to Madarame.” Mona’s voice was sad. “Kitagawa must think that would live and die as nothing more than a glorified pet.”

Sprouting from Shadow Kitagawa’s back were nine bushy fox tails, far too large for his frail, gaunt body to support. Kitagawa had hunched over from the weight of the nine tails with inked tips. The tails painted portrait after portrait, landscape after landscape, and meekly laid them at the feet of Madarame’s statue.

It took an eternity for the Shadow to look up against the weight of its own tails. Its hair was strikingly blue, and snow-white fox ears twitched above its head. It had no eyes. The sockets where the eyes should have been were empty pools of nothingness crying a constant stream of tears. Or blood. Or ink. Joker didn’t fucking know.

And Shadow Kitagawa looked at them with a tormented expression. Haunted by the collar choking the life out of it, by the stakes that had ripped through its very bones, by the manacles keeping it bound to the Shrine, but the tails that forced it to paint and paint and paint.

“Thieves.” The Shadow spoke slowly, with a croaking voice. It tilted its head this way and that, trying in vain to see the intruders who have desecrated the Shrine. Obviously, it couldn’t see the four of them, and hung its head instead. “Why have you come into this Shrine? This Shrine for the Great Artist Madarame, who had given a lowly being such as myself shelter. Why have you come to steal from such a benevolent man?”

Panther gritted her teeth, fists clenching into a tight ball. “Benevolent? Madarame!? Don’t be ridiculous!” Smoke puffed out from Panther’s lips, a testament to her anger. “He’s using you! Don’t you see Kitagawa-kun? You and all the artists who studied under Madarame are being used for his own selfish gain!”

“The only thing I see is Lord Madarame’s generosity.” The Shadow grasped desperately for air. The collar was made with iron spikes, Joker realised belatedly. The sharp ends dug into Kitagawa’s skin, raining rivulets of blood down his neck, onto his already ruined kimono. “I am nothing without his guidance. All the artists who studied under him were happy to give their souls in his service. We are honoured to be used.”

“Why are you still defending him!?” Skull screamed. “He’s hurt so many people. Countless artists whose hopes and dreams were broken by his selfishness!” Skull’s leg trembled. Panther switched places with him so he could lean on Joker as he fought to remain standing. “Madarame has driven a student to suicide and if you don’t open your goddamn eyes to the effing truth, then you’re going to let countless others be driven to the same fate!”

“LIES!”

The Shadow screamed. It echoed in the walls, reverberated in Joker’s very bones, rattled the whole building. But Kitagawa’s Shadow was not angry. It did not attack. Rather, it jerked its hands up as far as they could go to cover its ears which had folded down. There were red welts around its wrists where the manacles cut into its skin. Kitagawa’s tails were in a frenzy, painting frantic lines everywhere, turning the walls into a discordance of colours and shapes.

“Lord Madarame would never. He’s a good man. He would never!”

It was afraid. It was afraid of facing the truth.

“You knew, didn’t you?” It’s eyes, if it had any, would have been trained on Joker as it snarled viciously. Instead, all Joker saw was hollow emptiness, and a Shadow that trembled at the mere possibility of hearing the truth. “You knew what Madarame was doing all along. But you ignored it.” The Shadows tails, all nine of them curled over its body, as though that could protect it from Joker’s words. From the truth. “Why did you hide from the truth Yusuke?”

Quietly, so faint that it couldn’t have been more than a soft whimper, the Shadow said, “Where else am I supposed to go?”

“Oh, Kitagawa-kun.”

“Dude.”

“Kitagawa…”

“Where else am I supposed to go!?” The Shadow’s voice caused the walls to crack. Ink poured out, soaking the Shadow’s tails into a murky black. “Sensei is all that I have. My only tie to a world that has no place for me. Where will I be, if not by his side?”

Blood squirted from Kitagawa’s wrists, his neck, his ankles, and the Shadow howled in pain, in anger in desperation. A prisoner of his own mind.

“I am shackled.” As if to emphasise, the Shadow tried to move. Tried to free itself. The stake which had nailed its legs to the floor, and the cuffs that kept it from moving echoed with a metallic clink. “There is no hope for me outside of this place. This temple. This shrine to Sensei’s ambition, to his desire, is the only place where I can exist.”

It sounded desolate. Like the howls of a hapless fox, ensnared in a trap. Like a fox which had tried to gnaw its way out and failed, only to resign itself to fate.

If Kitagawa accepted the fact that his teacher, his mentor, the man he looked up to as his father, was nothing but a liar and a cheat, it would shatter the way he viewed the world. Everything would change. Kitagawa would have to live with the fact that he was complacent, meekly obeying everything Madarame ordered and turned a blind eye as one of Madarame’s students took their own life.

“I would leave if I could.”

The statue of Madarame, the one which had sat silently as Kitagawa screamed his throat hoarse, yanked its hand back.

The Shadow yelped, wheezing, pulled in two different directions. It’s neck was blood red now, and the manacles looked ready to cut both its hands off. Kitagawa’s tailed flailed wildly.

Madarame’s statue stretched its hand out again and the Shadow collapsed as low as its collar allowed it to. It trembled and hefted its burdensome tails once more to paint.

“Leave, profaner,” said the Shadow. “Leave me to my fate.”

The doors swung open once again, and a glacial wind tore into the room. The Shadow’s kimono did nothing to protect it from the cold and it trembled, muscles seizing, lips turning even bluer.

“I can’t believe this.” Panther quivered as she stepped outside along with the others. “We have to send a calling card. We have to. We can’t just let this happen.” Joker nodded.

They were going to save Yusuke Kitagawa, even if he did not want to be saved. Akira will fucking drag him kicking and screaming into the light if he had to.

----

A letter came.

Oddly enough, it wasn’t for Sensei. Rather, addressed to Yusuke himself. It was fortuitous that Sensei wasn’t home to see it.

Yusuke sat in the corner of the atelier like he often did as a child and opened the envelope.

Sir Yusuke Kitagawa,

You who have not committed any atrocities in life but have suffered a fate to be doomed forever into the servitude of an unjust man, have turned away from the truth. You have blinded yourself to the verity of the world, and have chosen to shroud yourself in a Shrine of lies. We have decided to uncover that which you have chosen to hide, and expose the truth to your very eyes. We will no longer allow you to blind yourself to the truth that lies before you. We will take your distorted heart without fail.

From, The Phantom Thieves Of Hearts

“What the hell is this?” Yusuke crumpled the letter into nothing more than a paper ball. He chucked it into a bin along with all his other failed ideas. It’s nothing more than a prank. Sensei won’t see it. Sensei can’t see it. Yusuke’s fine. It’s fine.

Everything’s going to be fine as long as he finishes his next piece.

Yusuke’s not going to pay attention to such nonsense. Madarame-sensei would never do any of the vile things he’s been accused of.

Surely not.

He would never.

…

At the highest floor of the Palace Shrine, a Shadow cried out with a broken voice. “Free me.”

“Free me.”

I would leave if I could.

I want to leave.

Let me leave.

Free me.

Please.

[blackswaneuroparedux]

Not to sound stupid but are you okay in Paris? Just watching the tragic fire that is burning down Notre Dame cathedral in Paris. We are left speechless at the scale of this horror as it unfolds. Our thoughts and prayers go to the people of France at this time. How are the French coping?

It’s very surreal to be in Paris this evening. I just got back home myself with my visiting sister. 
She is asleep as I soon will be after finishing writing up this post. But I have a dram of whisky to keep me company until then.

I was running late to have dinner at one of my favourite traditional restaurants in Saint-Germain area of Paris. My uncle and his French wife and my visiting sister were waiting for me there patiently. I didn’t understand at first why there were a throng of people in my way - I felt like a trapped salmon swimming the opposite way. They were bustling through the street leading to Notre Dame; I thought it odd because it’s a small street hidden away from the tourist trap area around Saint Germain. 


Only when I sat down at the table to make my apologies to my family did the waitress and other small number of diners started to openly talk about something bad happening at Notre Dame. 


We stepped out and the small street was filling out of more people. It was surreal. It felt like there was some alien ship had landed nearby and people were going to see what was going on. It was only until one looked up into the clear Paris sky could one see the plumes of smoke and the first wisps of fire on the tower. 


It was a surreal sight. 


We stood there and watched open mouthed. In shock mostly. Around us were a mixture of Parisians, white, black, North African as well as foreign tourists of every nation it seemed. We all just stood there in shocked awe. 


We really didn’t get a great view as the police set up a cordon and everyone was pushed back. 


Many around me were in tears. Others took selfies and shared their disbelief with friends. Most watched in stunned silence. 


The thought had crossed people’s mind that perhaps it was a terrorist attack but that argument was quickly extinguished as clearly there was no explosion. 
All the signs pointed towards some disastrous and tragic accident. 


We left the scene and slowly walked to the Île Saint-Louis, the island in the middle of Paris next to the Île de Cite where Notre Dame stands on. We went back to my uncle’s apartment and had a stiff dram of whisky. We watched the French national news on television whilst also looking out of the apartment bay windows at the terrible sight of the roof and steeple reduced to an ashen shadow of itself.

My French aunt, a medieval historian by background, was inconsolable. She was in tears. Besides being a devout Catholic she has an infectious enthusiasm to point out historic things the rest of us would miss when we would often go for brisk winter walks after Sunday lunches, usually around Notre Dame. 


Here she was again but this time in inconsolable lamentation. Notre Dame de Paris was as she said the cradle of late medieval music. Much of the imagination of those involved in European, religion, culture and music is tied to this place she would never tire of pointing out. Late 12th and early 13th Century polyphonic repertory created at Notre Dame has provided an understanding of how musicians learned to capture rhythm in their notational systems. The innovative musicians Adam of St. Victor, Leonin, and Perotin were all connected to the cathedral in the 12th and 13th centuries. 


Although the building has been constantly reshaped over time, much of the architecture and sculpture dates back to the original building, which was completed in around a century beginning in the 1160s. 


It was much mutilated during both the Renaissance and the 18th century. It was desecrated during the French Revolution and by the early 19th century, the cathedral was was crumbling and half-ruined inside. 


The crowning of Napoleon as emperor followed by the success of Hugo’s novel focused attention on the building, prompting major restorations in the mid-19th century. Indeed it needed all the 19th century labours of Prosper Merimee, Victor Hugo, (Eugene) Viollet-le-Duc and (Jean-Baptiste) Lassus which allowed the Gothic art to be restored to its rightful place.

Notre-Dame de Paris is much loved by the millions of French people and foreigners who visit each year - yet they enter and go out again, I am sure, without quite understanding just what this cathedral is. 


Yes, it is the cathedral of French cathedrals, with one of the longest and richest of histories: the site of royal weddings, the consecration of Napoleon Bonaparte as emperor and the beatification of Joan of Arc. It is also where the public celebrates the lives of the great and good.

It was at Notre Dame in 1431 that Henry VI, king of England, was crowned king of France, and James V, king of Scotland, married Madeleine of France in 1537. Requiem masses were held there for presidents Charles de Gaulle and François Mitterrand.

But Notre Dame to be honest has been more revered by foreign visitors than the locals. This is not out of contempt for religion or for anything traditional. But more because of the over familiarity of having it permanently there that you forget that it is actually there. 


It’s a sin we all make with the places we live near to and even forgetting the traditions that underpin them. We just take them for granted and lazily neglect their importance of what they symbolise or represent. 


To many Parisians, the 850-year-old landmark is quite simply the heart of their city, its two Gothic square towers rising above surrounding buildings along the river Seine. But many forget - including many Parisians - too that Notre dame is the main spot from which all distances to other cities from the French capital are measured. 


And for good reason because Notre Dame Cathedral - commissioned by King Louis VII - was to be a symbol of Paris’ political, economic, intellectual and cultural power at home and around the world. The city had emerged as the centre of power in France and needed a religious monument to match its new temporal and spiritual status. In other words how much the religious life and proud traditions centred the life of a nation. But alas no more. Just as the political centre has been swept away in secularist revolution and reforms from the 18th Century onwards, so has the place of religion and tradition been blown on the winds of change. 


My suspicions are that Parisians will mourn the damage and the loss of Notre Dame but not necessarily feel the weight of the religious loss - outside of the Catholic faithful within France - in equal measure. This is the real loss. The church - whatever one may think of it - without question helped shape the idea of a French kingdom from the 13th Century onwards. So even though France has been a democratic secular state since the French Revolution, many French understand the cultural importance of Notre Dame as symbol intimately tied to the development of the idea of a French nation. As Victor Hugo put it, “La cathédrale était un lieu de refuge. Toute justice humaine expirait sur le seuil.”

My hope is out of the ashes of tragedy a spiritual as well as a cultural renewal might awaken France to respecting its roots and honour traditions that brought them greatness. As my French aunt reminded us this evening that Notre Dame was deliberately designed to inspire awe and to pull your gaze upwards, to think about things transcendent, whether it was God or the Catholic version of Christianity or the transcendent power of human engineering and ingenuity.

We need to restore Notre Dame not just to its former physical glory but to its cultural importance to help all of us to rise above pettiness of politics and think upon the transcendent values of faith and ingenuity. Victor Hugo thought of Notre Dame as a work of art authored by humanity itself, with no individual artist. It surpasses anything an individual can do and therefore becomes the best of what all of us can do.

The question that I ask myself from time to time is that how can we call ourselves culturally advanced Europeans when we lack the imagination and the ingenuity to even dream of building structures worthy of outliving us?

These are questions for another day….

Nil desperandum!

[the-end-of-art]

The trap of thinking we deserve not to be laughed at

Are Christians Entitled to Safe Spaces? by Imani Benberry at The Columbia Crown & Cross

For someone who sometimes finds it hard to voice her Christian identity outside of designated Christian spaces on campus, my Art Humanities class can be fraught with uneasy moments. More specifically: reactions to faith-based art can be disarming and uncomfortable. But these classes are helpful for reflecting on what it means to grow as a Christian in hyper-academic and secular spaces at Columbia. They may not always feel “safe” in the identity-affirming sense, but that’s also not a promise we as Christians have been given.

When discussing Michelangelo’s Pietá and Disposition statues in Art Hum, more than just the Renaissance artist’s portrayal of Mary and Jesus is laid open for scrutiny. Perhaps inextricably are also laid bare core tenants of the Catholic tradition.

When a student brings up the fact that Mary holds Christ’s body with her hands stretched upwards in the Pietá, as if the body is an offering, our teacher comments that it relates to the Catholic belief in transubstantiation. This is the belief that Christ’s body is literally converted into the bread Catholics consume at communion. It is a belief that I, as a student of Catholic school for 14 years, am familiar and relatively comfortable with. I feel a twinge—of panic? offense? guilt?—when someone jokes that the religion is thus cannibalistic. Later, as we view a statue in which Mary’s leg is tangled up and over Christ’s limp one, our teacher informs us of the historical significance of such a pose (hint: it has to do with intercourse). Shortly after come Mary-Jesus incest jokes. Later, another theology question results in a sincere comment that sex in Christianity is a sin.

My first instinct to those who make Christians the punching bags of disrespectful jokes? Pulling away, or shaking my head in dismissal. But my defense mechanism is self-centered: it prioritizes my own impulse to protect myself against rejection, rather than following Jesus’ example of persistent kindness, openness, and acceptance. After all, Jesus made the ultimate sacrifice for a world that found him at best ridiculous.

My Art Hum class can be one of those spaces where my faith chafes most perceptibly against the dominant attitude towards Christianity on this campus. Sitting in class, I volley back and forth between choosing to laugh off inaccurate generalizations about the faith and feeling guilty about being un-bold. These experiences lend a larger question about what these tiny moments of scrutiny, ludicrousness, and misinformation can mean for developing Christians, particularly for those in a place like Columbia. How much of the work is on us to respond to our classmates about judgments that sometimes come off as mean-spirited or condescending? Or, more importantly, how can I process these moments in a way that is productive to my growth as a Christian?

The answer to the latter is probably that it’s time I stop fixating on who is and isn’t making me comfortable about being a Christian here at Columbia. Matthew 5:10 tells us that we as Christians are not entitled to social acceptance; rather, those who are reproached and persecuted can look forward to “the kingdom of heaven.” Columbia Christians are particularly privileged to be enduring a few aggravating generalizations or offensive jokes, and not violent persecutions, like Jesus’ disciples, the new Church in Acts, or Christians around the world.

My indignation about jokes like the ones made in my Art Hum class boils down to my own feelings of acceptance, of being seen as ok,being threatened. But the Bible teaches us over and over again that it is precarious to allow these feelings to hang in the balance of other human beings. Yes, making jokes about Christianity might be wrong or unfair, but we can check this self-righteous criticism of campus culture surrounding Christianity with the fact that God hasn’t promised Christians “safe spaces” on Earth. Instead, He’s promised us hope, grace, and, through Jesus’ salvation, a place in his Kingdom.

Barring whether or not snubs at Christianity are hypocritical on a campus so concerned with safe, identity-affirming spaces, maybe we can respond to the very people that make us uncomfortable with our own persistent display of a truly Christian character. My Bible course instructor brought up last week that regardless of what Jesus was accused of, he was not found guilty of lacking love. It’s important to defend your faith, and yourself, if the hurt is real and the perpetrator is a regular contact. But it’s perhaps equally important not to fall into the trap of thinking we deserve not to be laughed at. Jesus didn’t either.

Remembering what we are and aren’t promised as Christians—i.e, a man-made safe space—might save you and me a lot of rattled indignation about comments that get under our skin. Recognizing that our peers don’t necessarily have a responsibility to make us feel comfortable about being Christians is hard to come to terms with, especially on a campus that identifies with liberalism and promotes respect for a wide spectrum of identities. But the history we’ve inherited is one filled with God’s people being rejected, persecuted, laughed at. Our defense of Christianity has to extend beyond shutting down bad jokes—I’d challenge us all to defend our faith through good offense: practicing being the person that gives Christianity a good rep, in all circumstances. In this way, we can proudly own the space we take up, even in deeply secular environments.

(http://www.crowncross.org/2019/03/09/are-christians-entitled-to-safe-spaces/)

[onestowatch]

Marco McKinnis Illustrates Love, Growth, and the Beginning of an Artistic Evolution in ‘E’Merse’ [Q&A]

The resurgence of R&B over the past few years is undeniable. Fusing traditional elements of the genre with new textures, artists operating in this surging space have brought life back into a sound that was arguably dormant. Compiling a list of the heavy-hitters emerging in the genre would be incomplete without the talents of Marco McKinnis. The Virginia-based artist may be relatively new but has already generated a cult-like following that heralds his music as the genre’s best-kept secret. Apologies to the McKinnis fandom, we’re about to spill the beans.

Marco McKinnis first gained traction on SoundCloud in 2016 after uploading several original records that highlighted his natural talents. One of his songs, “Beautiful Demo,” generated over 400 thousand plays and ten thousand likes on the streaming platform–safe to say listeners swooned. Partnering with Republic Records a year after the song’s release, McKinnis began showing up on major streaming platforms, effectively delivering two singles, “How I Feel” and “Middle Of The Party.” Both records continued building the mysteriously-sultry persona of the then fairly unknown vocalist.

A year after his signing with Republic, McKinnis delivered a moving body of work in the form of his six-track EP, Underground. The 18-minute exhibition resonated an energy that is lightyears ahead of its time. Despite this being his first official multi-track debut, McKinnis brandished a self-awareness that transcended his “newcomer” status. Standout tracks like, “CPR” and “Stillness” solidified his ability to not only cater to the bedroom but to the brokenhearted as well.

With consistency in mind, McKinnis wasted no time in sharing his next body of work, a six-track EP titled E’Merse. The 20-minute offering, released on June 14, floods your senses with varying themes of intimacy and romanticism. Built atop a combination of live instrumentation and trap-soul production, E’Merse makes a compelling case for McKinnis’ untapped musicality. Still in the process of discovering his own abilities as an artist leaves us excited to witness his artistic evolution.

E’Merse wastes no times on pleasantries, throwing you into the thick of things with its bass-driven, saxophone-assisted introduction “Energy.” The consoling opener is a shining example of the content and production to be expected on later tracks. Whether pleading to his former love on “Give It Up,” questioning commitment on “Deep” or confidently departing an unhealthy relationship in “On The Market,” McKinnis spotlights his growing self-awareness and natural ability to occupy multiple spaces while remaining concise.

We had the privilege of catching up with Marco McKinnis about his love for live instrumentation, opening up more, future plans, and dance moves that would make Omarion’s character in You Got Served quake.

OTW: First off thank you for taking the time, how are you doing?

McKinnis: I’m doing good man, just had my hair braided up, making me a grilled cheese right now. I got a performance tonight, I’m feeling good!

OTW: It sounds like you are living the life. What does this moment feel like? Your second EP?

McKinnis: It feels good man! I feel like I’m moving along, I’m getting the ball rolling. People are starting to really recognize me for my talent and my gift. It just feels good to just get expressions off–getting it out there in the open–it’s like I got those things off my chest so now I can keep going, keep expressing and keep showing what I’m made of.

OTW: It’s been about three years since you first released music on SoundCloud, when did you make the decision to pursue music full time?  

McKinnis: It was around 2015 when I dropped this song called “Clouds” on SoundCloud. Once people started really rockin’ with that joint, I was like, ‘alright, I’m finna keep doing this’ because I was getting looks from certain people and they’re people that wouldn’t say my music is just good for the fun of it. So, I saw people checking for me, people listening to the music and people started hitting me up telling me how my music made them feel and knew I had to keep going.

OTW: Who were your first introductions into music?

McKinnis: I listened to a lot of Gospel, a lot of Chris Brown, I was listening to a lot of Anthony Hamilton without even me really knowing I was listening to him (laughter). He was doing a lot of synchs, so a lot of his songs were in movies and stuff like that, so I would watch the movies just to hear the songs he was singing. Other than that it was a lot of Gospel though, but then I started getting hip to the music that was taking off, so like Ne-Yo, Lloyd, Lil Wayne–that early 2000’s era of music. I was kind of late to it though ‘cause I was raised on gospel. My parents would play it throughout the crib. I had to find my own way, there’s still a lot of music out that I don’t know about that people think I know about, which is kind of funny, but I was rockin’ with all of them but rockin’ with Chris Brown heavy.

OTW: What was your move from Virginia to Los Angeles like? Does location play a factor in your creative process?

McKinnis: It was cool, it wasn’t anything crazy for me honestly. I see LA as a place to give me space, you know? I’m a guy who loves his space, just like everybody else, but it [moving] did give me the platform to think about things, have my own time, to not be rushed to do certain things. As time went on, I’m like ‘man I need to go back to New York, I need to get back on the East Coast.’ The East Coast is very stimulating for me and it’s just different. Both coasts are definitely needed for me, I love both coasts, but each coast has its purpose.

OTW: You released your first EP, Underground, not even a year ago, is there a connection between that project and this one?

McKinnis: The connection between the projects is really just me showing my musicality. I was very, very involved in the musicality of the second project. Trying to get a little bit more personal, in terms of my love life and stuff like that. My second project isn’t too specific, but it updated people on what is going on in my life right now as opposed to the first project where I felt I was a little vague on certain details. Like on “Deep,” I mention a gap in age and little details that I didn’t mention on the first project, but it was definitely a growth musically; lyric wise, writing wise and I think it just serves as my process and my expression and everything I am going through at the moment.

OTW: I think that is definitely apparent when comparing the projects side by side. There is also a maturity to your music and not just content-wise, but sonically it sounds polished, what’s your work ethic like when approaching a new project?

McKinnis: Honestly, I just love music man. I want to hear music the way I want to hear it and I’m getting hip to my gift and my ear for music. So, when I hear certain things, it has to be a certain level – I don’t know how to explain it – I’m just learning more about my gift so going forward it has to be very strategic with the music. I can have an open mind about things, but I have to be very specific with what I want. It’s all about how I feel, if it doesn’t resonate with my spirit, I don’t like to partake in it.

OTW: That’s a great place to be working from. What were you listening to while working on E’Merse?

McKinnis: I was listening to Omarion, jamming to Toni Braxton, a little bit of Carl Thomas. A lot of R&B that was out in the early 2000’s. I just wanted to tap into that and get that off my chest because I feel like a lot of people think that is what I’m going to sound like for the rest of my life, but really I won’t. I’m going to always have those elements of R&B and those old school elements or whatever you want to call them nowadays, but that’s just something I had to tap into so I can move forward and get to that next level of my artistry.

OTW: You’ve spoken about learning new instruments and your connection to live instrumentation, did you play anything on the EP?

McKinnis: I didn’t play any instruments on this album, but I was very vocal about a lot of things. I haven’t made my instrument-playing debut just yet but very, very soon I will.

OTW: Staying on the production side of things, there is a nice balance sonically, like the solo saxophone on “Energy,” was the goal to show a combination of live instrumentation and more trap-soul style of beats?

McKinnis: It was definitely a priority, like when we were making “Energy,” I had it as a demo, and I could hear a saxophone on the joint and I love live instruments. I’ve been playing around with instruments almost my whole life, I haven’t mastered one just yet but I’m in the process of doing that now. I just wanted to stamp that I’m very in love with live instrumentation, so I had to get that sax in there. I had to do a little A&R work (laughter) and find that right one. His name is Kailin Joshua, my homie introduced me to him, and he did that joint in one take, I sent him a little reference of a couple tracks that have sax on it and he sent it back to me, I chopped it up a little bit, did my thing and there it was. I am so glad I put it in there. I love the sax bro when I start playing the sax, when I get a hold of a sax bro, it’s over, it's over!

OTW: Do you have a favorite song off the EP?

McKinnis: It fluctuates honestly, so it goes off the vibe, so right now, I don’t know, I’d say “Energy” because that saxophone hits, it may change tomorrow though or the day after, it fluctuates.

OTW: What do you envision for a live performance?

McKinnis: We’ve been putting together my band and stuff like that for the shows and touring. That is going to be a big, big part of my show. That’s the thing a lot of people have been wanting to see from me, the chemistry I have with live instruments and a band, that’s something that I’m definitely going to be taking with me on stage.  

OTW: You showed off some moves on your Instagram leading up to the release of the EP, is that something we can see carried over into your shows?

McKinnis: Definitely! I’m just finding that pocket haha I’ve always danced, I’ve always been a dancer, I was a dancer before everything so that’s second nature to me. I’m just finding that pocket to infuse it with what I have going on. Just trying to introduce people, upload it, show people what I can do.

View this post on Instagram

Me when E’Merse drops tonight. 🕺🏾

A post shared by Marco McKinnis (@marcomckinnis) on Jun 13, 2019 at 5:41pm PDT

OTW: There’s no denying a resurgence in R&B over the past few years, how does it feel to be making this kind of music right now?

McKinnis: It feels great to be honest. I’ve been getting a lot of feedback like, “oh he’s bringing back the R&B, blah blah blah,” which is dope, it’s fire, it’s amazing to see it going down like that because I’m just doing me. I haven’t told myself, “oh I’m going to bring back real R&B” or anything like that, I’m just expressing myself, so the feedback is amazing. I’m just excited to see the feedback as my career progresses because like I said earlier there are going to be more elements that I infuse. As the days go by, I just get more and more expressive, more and more creative.

OTW: What’s next for you?

McKinnis: Shoot, I’m going to drop more music, got to stay consistent, more performances and just getting more in the public eye. Showing my face some more because it’s about that time to be out there and we got tour ideas and all that stuff getting situated too. Visuals as well!