#Krazy print goodness

[p33p33p00p00]

Tell things about lego movies!!!! I wanna know!!! :DDD (bls)

YES FINALLY SOMEONE ASKED

OKAY SO

in the original script for the lego movie, good cop didnt exist and bad cop died because BENNY KILLED HIM

speaking of benny, he had a best friend named moppy who was. a mop. what isolation does to a man/j

OH AND BENNY IS CANONICALLY MLM!!! his boyfriends name is lenny (the pink spaceman) ::::3

unikitty didnt exist, and was originally a guy named Krazy King Karl. oh and in the og script she dated metalbeard??? the original script was questionable to say the least

THE DETAILS. HOLY FUCK. THE MOVIE IS ENTIRELY CGI BUT THERES FINGERPRINTS ON THE LEGOS AND DUST N SHIT. THE ANIMATION IS AIDNIFNDIDN

the credits scene after the movie ends took like 2 months to make and kts entirely stop motion!!! i lofe stop motipn its so cool and ajdhdksjjshdus<333

the line where vitruvius says something like "you gotta write all of that down because i aint gonna remember any of it" was actually morgan freeman getting frustrated at his lines getting changed but the directors left it in because funny ::::]

something NOT lego movie related but lego has released a 3d printed lego size copy of the original wooden lego duck from when the company was first invented. THE MOUTH EVEN OPENS N CLOSES

its sadly only available in denmark ::::(

[thought-bubble-doodly-doo]

My Spotify 2022 Wrapped

101. “Sick Sick Sick” by PinnochioP feat. Hatsune Miku (-57 Spots)

100.” Necromantic” by AkatsukiRecords 

99. “Last Friday Night (T.G.I.F.)” by Katy Perry 

98. “Mr. Brightside” by the Killers 

97. “FAKE!FAKE!FAKE!” by FAKE TYPE (-19 Spots) 

96. “I Promise To Build You a Machine” by Feeding Fingers 

95. “The Fine Print” by the Stupendium (+3 Spots) 

94. “Girl Anachronism” by the Dresden Dolls 

93. “Zombies” by Deco 27 Feat. Hatsune Miku 

92. “?????” by Electroforez (The song name is in Russian.  I don’t know what it is.)

91. “Night Witches” by Sabaton 

90. “Torinoko City” by 40mP

89. “Nee Nee Nee” by PinnocchioP Feat. Hatsune Miku & Kagamine Rin 

88. “Everybody Wants to Rule the World” by Tears for Fears 

87. “Princess” by TOPHAMHAT-KYO (-61 Spots) 

86. “Re:Re Cover” by Natewantstobattle

85. “Cheap Thrills” by SIA

84. “A Gangsta’s Wife” by Ms. Krazie 

83. “My Frankenstein” by Dead End Paranormal Park 

82. “Hero’s Come Back!!” by nobodyknows+ (-81 Spots) 

81. “Calling Occupants of Interplanetary Craft” by the Carpenters (-76 Spots)

80. “emo girl” by Machine Gun Kelly feat. WILLOW

79. “E.T.” by Katy Perry 

78. “Ruru’s Suicide Show on a Livestream” by Shinsei Kamattechan

77. Kokoro by Toraboruta (-49 Spots) 

76. “Non-breath oblige” by PinnocchioP feat. Hatsune Miku (-58 Spots) 

75. “Talia” by Ride the Cyclone the Musical

74. “The Last Stand” by Sabaton 

73. “Ghost” by Mystery Skulls 

72. “good 4 u” by Olivia Rodrigo

71. “Evil Food Eater Conchita” by MothyP feat. MEIKO, Kagamine Len, and Kagamine Rin 

70. “4:00A.M.” by Taeko Onuki 

69. “Touch-Tone Telephone” by Lemon Demon (-63 Spots) 

68. “World is Mine” by ryo (supercell) feat. Hatsune Miku  

67. “Zydrate Anatomy” by Repo! The Genetic Opera 

66. “With an Unblurred Eye” by Mitchie M feat. Hatsume Miku 

65. “Okinimesumama” by E ve 

64. “STAY” by The Kid LAROI feat. Justine Bieber 

63. “She Keeps Me Up” by Nickelback 

62. “Say Yeah” by Kishi Bashi 

61. “Cabinet Man” by Lemon Demon (+22 Spots) 

60. “Mr. Schadenfreude” by Hitoshizuku X Yama 

59. “girlfriend” by hemlocke springs 

58. “Feel Better” by Penelope Scott 

57. “All Men Are Pigs” by Studio Killers 

56. “Lucky Ducks” By The Bobs Burgers Movie 

55. “????? Zwei Ver.” by Zwei (-54 Spots) (The song name is in Japanese.  I don’t know what it is.)

54. “Las Avispas” by Jaun Luis Guerra 4.40

53. “TONDEMO-WONDERZ” by sasakure.UK 

52. “I Think I’m OKAY” by Machine Gun Kelly feat. YUNGBLUD and Travis Barker 

51. “How to go” by School Food Punishment 

50. “Sometimes” by Nick Lutsko 

49. “Jacob & Sons/Coat of Many Colors” by Joseph and the Amazing Technicolor Dream Coat 

48. “Scatman (ski-ba-bop-ba-dop-bop)” by Scatman John 

47. “Downtown” by Mackelmore feat. Melle Mel, Grandmaster Cas, Kool Moe Dee, and Eric Nally

46. “CUFF IT” by Beyonce 

45. “Fear & Delight” by The Correspondents 

44. “Teo” by Omoi feat. Hatsune Miku 

43. “The Toybox” by The Stupendium

42. “Circus” by Fox Szn 

41. “Villanous Thing” by Shayfer James (-24 spots)

40. “The Main Character” by Will Wood 

39. “The Ballad of Jane Doe” by Ride the Cyclone the Musical 

38. “Sorry” by Justin Bieber 

37. “At Atelier” by FAKE TYPE

36. “Madness of Duke Venomania” by MothyP feat. Gakupo, Hatsune Miku, MEIKO, LUKA, GUMI, and KAITO 

35. “Chartreuse” by Capital Cities 

34. “Lil’ Red Riding Hood” by Bowling for Soup 

33. “despair” by leo

32. “Micheal in the Bathroom” by Be More Chill 

31. “Galavant Recap” from Galavant

30. “Dou kangaetomo Watashi Wa Warukunai” by Izumi Kitta 

29. “Enemy (with JID)” by Imagine Dragons 

28. “????” by DeluxeXDeluxe (The song name is in Japanese.  I don’t know what it is.)

27. “Da Ya Think I’m Sexy” By Rod Stewart 

26. “Sweetest Pie” by Dua Lipa feat. Megan Thee Stallion 

25. “Flyers” by BRADIO 

24. “Shoujo Fuzei” cover by JubyPhonic (+23 Spots)  

23. “Bloody Mary” by Lady Gaga 

22. “Tek It” by Cafune 

21. “Little Dark Age” by MGMT 

20. “all I want is you” by Rebzyys and hoshie star 

19. “AUDIT” by weevildoing feat Tsurumaki Maki 

18. “Your Horoscope for Today” by Weird Al Yankovic 

17. “Running Up That Hill (A Deal With God)” by Kate Bush 

16. “Super Freaky Girl” by Nicki Minaj

15. “The Anthem” by Good Charlotte 

14. ”Be Nice to Me” by The Front Bottoms 

13. ”Ironina” by ???? (The artist name is in Japanese.  I don’t know what it is)

12. “Alien Blues” by Vundabar

11.  “Holy Lance Explosion Boy” by ????? feat. Kagamine Len (The artist name is Japanese.  I don’t know what it is.)

10. “The Story of the Phantom” by Goosebumps the Musical 

9. “Cruelty of Hope” by Steampianist ft. Oliver 

8. “Kilmer” cover by Miyashita Yuu

7. “Copacabana (At the Copa)” by Barry Manilow

6. “Mixed Messages” by Tom Cardy 

5. “Charlie’s Inferno” by That Handsome Devil 

4. “Wozald” cover by Miyashita Yuu 

3. “Bimbo Doll” by Tila Tsoli and BJ Lips 

2. “Hell’s Comin’ With Me” by Poor Mans Poison 

1. “Vending Machine of Love” by the Stupendium 

My Own Analysis >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

Percentage of Songs From Last Year’s Playlist: 13%

Percentage of Songs From Foreign Artists: 38%

Percentage of Songs That Feature Vocaloids or Vocaloid Covers (top genre): 20%

Percentage of Songs Actually From 2022: 19% 

Songs I discovered through Tik Tok: 34%

Songs I discovered through Spotify: 13% 

Songs I discovered through Youtube: 39%

Songs I discovered through movies/tv/games: 13%

Songs I discovered from other means: 1%

[ckyle8love]

Check out this listing I just added to my Poshmark closet: Krazy Larry pants The you pant in black Geo-12.

[buttercupsfrocks]

TKMaxx. I imagine we’ve all been there at least once. As someone without the privilege of being feted by the entire British high street, I’ve probably been there more than many. And, let’s face it, I do like a bargain – though I'm wise to the fact that some of their stock, while manufactured by the big names it claims to be, is simply a lesser quality diffusion line produced specifically for the likes of TKMaxx. Nonetheless it does have its moments. And this dress is indisputably one of them.

I have straight-sized friends who complain of finding the chaotic jumble sale ambience and endless racks of clothing overwhelming, however it doesn’t take long to suss out the plus size section, which often scarcely fills one rack. Mostly it’s a dispiriting collection of sad, generic basics produced by manufacturers who only supply discount stores. (I swear if I see one more sleeveless, washed out linen sack manufactured in Italy I will fall into a coma). But if a plus size manufacturer goes bust, (like Elvi), or hasn’t quite got their  demographic sussed out or their fit issues sorted, (like Oasis or Yumi Curve), or is simply not that well established on these shores, (like Eloquii in this instance), there are diamonds to be found in the rough.

I haven’t been as jazzed by Eloquii as I was expecting to be. Apart from one gorgeous glazed cotton sundress I had to pass on a couple of years ago because my scar was far from healed at the time, all the stuff I’ve ever found in TKMaxx has been polyester. And this frock is no exception but OMG, Tumblr, it’s so completely and utterly me I was surprised it didn’t have a name tag sewn into it. 

The fit is perfect; ditto the length. And the print is so bonkers it could almost pass for high fashion. Apparently this was the plus size It Frock in 2017 – like every US fatsion blogger had it up on their Insta feed – and I have no clue how it passed me by at the time. It came in a number of different prints including a bottle green one with a to-die-for cactus print, and I think it retailed for over $100. Which brings me to the best news of all...

£14.99.

£14.99! Now you know why I look as smug AF in every one of my photos.

I can’t wait till it’s spring so I can actually wear it out of the house.

If anyone spots the cactus one in a US size 20, message meeeeee!

[dustedmagazine]

Drego & Beno — Sorry We Was Trapping (TF Entertainment \ EMPIRE)

The idea of Drego & Beno’s comeback promised much but fails to deliver anything on a level of their early albums. Since their last tape in 2019, the Michigan duo moved to California, Drego started his solo career and a reunion seemed unlikely.

Drego & Beno’s first mixtape, 2018’s Sorry for the Get Off, was good enough to establish them almost immediately as Detroit’s best rap duo. And until Rio Da Yung Og and RMC Mike hit the scene, Drego & Beno carried that title. In their songs they made goofy jokes, boasted of coke deals, traded bars like investors trade assets and wrote songs that were fun and catchy. Drego was a nominal leader of the duo, he also produced a few tracks, but it was working in tandem that distinguished their sound and delivery.

In 2021 Drego dropped two tapes, Krazy Man and The Red Print, which cast him in a different light. Longer, carefully crafted songs, with more serious and even socially conscious topics (to the degree possible with the artists as unserious as Drego). More important is that a lack of his sparring partner didn’t diminished the quality of the tracks.

But when the pair got back together again, the result was just short of a disappointment. Sorry We Was Trapping is a quickie between lovers when there is no chemistry anymore. Beno is still good at goofing around with silly jokes like “Put his ass up on the wall, yeah, just like Mona Lisa” or “So many legs hangin' off thе Drac', it look like a centipede” but apart from occasional punchy lines and hooks the tape has little to show. Drego even steps back in the shadow here letting Beno run it, and this might be the reason why Sorry We Was Trapping is so chaotic. Compared to Drego’s brick solid albums, this one is a mess two kids made during an hour session in the studio. On “Rta” they rap: “Hundred thousand stacked in all dubs, it look like a midget \ It won't take me long, give me five minutes in your kitchen.” It seems like they “cook” their songs in the same speedy manner.

A first few cuts on Sorry We Was Trapping are still fun to listen to but the second half is a damn mess. And they should be sorry about THAT.

[m-wesley]

I recently came across this article on Eric Thacker and Anthony Earnshaw’s surrealist comic strip Wokker. It’s worth taking a look at; there are more examples of the strip on this page.

Wokker reminds me of Peter Blegvad’s Leviathan, which had a good collection published, though it may not be in print. Leviathan started as a strip about a baby, but got more surreal and stylistically varied as it progressed.

Comics are a perfect medium for surrealism; it’s an underexplored avenue. Although you can find surrealist strips even among conventional newspaper comics. There’s Krazy Kat, of course, but another one that’s less known, and that really needs to be collected, is Gene Ahern’s The Squirrel Cage.

[arecomicsevengood]

A PANEGYRIC TO THE THINGS I DO NOT UNDERSTAND

I generally don’t talk about why I write criticism; I presume no one cares. The core of my contrarianism rests on the fact that many of the things I dislike or have an aversion to I think the market is set up to reward. This holds true both for what I write about and how I choose to write about it. I’m not writing about all these Drawn And Quarterly books that seem like novelty gag gifts for people who don’t actually like comics. I’m not writing about simplistic YA material put out by major publishing houses. I’m not reading superhero trademark maintenance. To me it feels like pre-chewed food I see and know to avoid. I’m also pretty put off by work that’s self-consciously “lowbrow,” but to that stuff’s credit, I don’t think it’s particularly popular. It just seems to fit into larger trends of what’s readily digestible, due to its own willingness to dismiss itself.

When it comes to criticism, I read a fair amount of other people’s writing, and collate a list of ways I don’t want to write that coincide with what I hate to read. I don’t want to read anything that’s “personal” in a way that takes the general premise of the existence of a book as an excuse for a narcissist to talk about themselves. Still, it seems like people love that. It is essentially the lingua franca for a whole type of websites, to have writers leverage their identity or trauma for the sake of hot takes. Even if no one gets paid particularly well, there is a reward in the economy of attention. People also really like writing that praises things that are already popular, because they want to be given permission to like the things they like, but no one needs that. People also like dismissive takes  based around incredibly shallow surface-level impressions of something that then becomes this shorthand “common knowledge.” if you say “Chris Ware’s boring” or “Rob Liefeld can’t draw feet” there will be no shortage of people chiming up in the comments to say the same thing. People love to be given permission to not have to think about things, and while I understand that impulse completely, I’m too far gone down the hole of obsessiveness to play along.

I wish I could say all that I dislike falls into one of a fixed number of categories, but in actuality, I am all too often reading writing that makes me ask “why won’t you just shut the fuck up?” or exclaim “jesus, this is so depressing!” and it seems new ways to garner these reactions are continually being manufactured, though in general, the innovations in this area are being done in the more lucrative world of music writing. Still, many of the things I wish to avoid have been done by writers I absolutely admire, partly because they’re more prolific I am, and so can’t allow themselves the luxury of overthinking what they’re doing for the sake of avoiding trends. (I also try to avoid writing stuff that’s just plain stupid and offensive, but lord knows that gets hate-clicks, and hate-clicks are as valued as any.)

I try to engage the work that’s on the page. The best work encourages a multiplicity of readings, I write a lot with the implicit assumption that the framework I’m bringing to bear might be wrong. I believe the work that has the most ideas present inside it will be conflicted enough in depicting multiple ideas simultaneously that it doesn’t encourage a straightforward and easy read. I relate it to the paradox that the most interesting people are those who don’t talk about themselves, but ask questions of others. Presumably, those who are disinterested in others don’t interrogate themselves in their moments alone.

I might be being reductive. So many of my own thoughts might be overly simplistic, a set of half-thought-through opinions designed to arrive at a place of dismissal so I can move on. I spend a lot of time thinking about the sort of creator-owned genre comics Image traffics in these days, because I have zero interest in them, and they don’t seem appealing at all. They don’t come close to my idea of good. I generally object to the way contemporary comics are colored, but I think the issues run deeper than that. The line generally used in reference to them is to call them movie-pitch comics. But is that why they’re bad? I don’t know. Maybe the issue is just the way their writing stands in relationship to economy, where a single issue is not a satisfying story. Maybe superhero comics work better than that stuff because there’s an explicit formula established doing the heavy lifting, and if you are doing something more “high-concept” you need to spend more time with exposition and can’t just defer to the visuals of a fight scene that superhero comics demand. I don’t know! Any answer to the question of why things don’t work is going to end up with some broad statements, because the act of artmaking involves an incalculable amount of choices, any number of which could balance out or redeem any of the others. It’s almost surprising that the history of comics isn’t littered with works that were concerned failures at the time of their release but seem prescient in their storytelling choices now.

I want to write about work that is interesting to think about. What’s interesting to think about is that which I don’t understand. Obviously, writing is an attempt to make sense of something, and much of what I write about then becomes something I understand, or at least, have a take on. But I still want to engage, in some sort of honest way, the work I don’t understand, that short-circuits my brain.

A good example of something I don’t really understand is Stella Murphy’s comic Hometime, which I ordered from Domino Books. It’s a collection of single-panel gag cartoons, kinda? Every page is meant to be taken as its own entity. It’s printed and red and yellow, it feels eye-searingly bright. There’s dialogue balloons, not captions. The visual language sort of seems like it comes from underground comics, of the way underground comics relate to older cartoon styles. I’m saying all of these things like they’re sentences but if I were speaking to you there would be no hint of certainty in my voice. Another paradox: I often feel like I don’t have the language to describe what images in a comic look like unless I have an idea of what the narrative is doing. Maybe these gags feel like they work because they’re incredibly economical in their subversion of the expectation one comes to gag cartoons with. That almost seems too simplistic an explanation to count. I’m sure, if you haven’t read Murphy’s cartoons and grappled with them, that sort of conclusion seems like I’m saying literally nothing.

I’ve been reading Krazy Kat again. It’s interesting that that’s a strip which is notably formulaic, but also is all about subverting that formula or having it play out differently or avoid it altogether. It seems pretty agreed upon that the key to successful comics writing is to have a degree of economy in terms of the words on the page. This allows the images to carry their weight, but images themselves have their own weight of meaning that’s accrued over time. Think about being born on this Earth, and all of the acclimation to one’s surroundings that occurs concurrently with the acquisition of language. Talking with a computer programmer friend, his stance on writing code was, the easier it is for you, the less lines you have to write, the more code has been written by other people before you that you’re relying on. So many of the best comics are consciously written with an awareness of expectations that are then subverted. I don’t know. Generally the argument I make, when talking about “experimental” work, is to contrast it with “formulaic” work. This is my way of asserting the obvious superiority of the former. But maybe this is wrong, and the best and most effective comics, including the ones I’m labeling “experimental,” nonetheless have a formula they’re playing with? Because the truth of the matter is my use of scientific language is a pose premised on my not actually understanding math.

I imagine that a normal person wouldn’t understand why anyone would feel compelled to write comics criticism in the first place. For all the shame I feel about the fact that this is what I’m doing, I’m proud to say I don’t know what my fucking deal is.

[mondofunnybooks]

MONDO FunnyBooks: Bunker Down.

Were you a recent visitor to the wonderful world of comics fandom and discussions between professionals in the business, you might have the idea that comic customers were essentially a superstitious and cowardly lot.

Current sources of outrage, retweets and outbreaks of delusional authority run riot have been ranged from the fairly embarrassing to the downright worrying. Arguments in this writers memory have been about: 'Is The Joker doing something not very nice to a human being?', 'How dare a movie studio choose to cast who they like in the film they're paying to make without consulting US first?', 'This man who draws and has been drawing people in a particular fashion has drawn this person in his particular fashion. How dare he?' We reached peak David Icke/Alex Jones levels of hilarious Othering this week when an X-Men artist referred to SJWs as 'Nazis'.

Irony and Satire have apparently given up on humanity and gone for a pint.

The usual conservative, tribal viewpoints of people who've confused an artistic medium with a constant stream of politically free distraction designed only to anatheize rather than engage and stimulate thought, then. It's more important to harass Ruby Rose for being cast as 'Batwoman' until she feels compelled to leave Twitter or be upset at the news of Michael B. Jordan playing Johnny Storm for reasons that were absoultly nothing to do with racism but rather the...uh...misportrayal of the modern American family which defintly traditionally couldn't contain a black man. Also something something tradition or something.

When we've brought this up before, we're usually countered with something like 'Oh, you should see Harry Potter/Overwatch/Hunger Games/Fortnite fandoms, they're JUST as bad.' Which we are willing to assume is true, having seen YouTube comments, but it does seem that the entertainment industry has a bad habit of emulating the worst excesses of the comics industry.

Whether it's Empire or TV Guide running variant covers, Toy producers doing convention exclusive figures and then selling them at a premium afterwards or even, HighFather Keep Us From Laughing, the application of the words 'Limited' or 'Collectiable' to a product to imply both a scarity that requires instant purchase and a possibilty of high resale value when in fact those are words that could be applied to any physical product ever.

We can almost guarantee that there are only a limited amount of copies of 'Night Rocker' by David Hasslehoff in the world and should you decide to purchase one or more copies, you have collected them, but neither fact is hard evidence that anyone will offer you more than you paid for them ten years in the future.

This is a rather..odd state of affairs to have come about. With the exception of poetry or graffiti, Before the medium was hijacked into becoming one more vehicle to sell corporate superhero products, work like George Herriman's 'Krazy Kat' explored the nature of language via abusive animals against the unrelenting tedium of the desert. Little Nemo In Slumberland by Windsor McCay was a continous attempt to map the subconscious in a strip adaptable to any format thrown at him by publishers. Sigel and Shuster commericalised the Jewish notion of a charismatic Golem who would maintain balance against an American society that had been taught to hate them. Fly By Night publishing types would use the form to glamourise the world of true crime and vaguely condemning tales of drug abuse to create an entire sub-culture by showing a willingness to adapt to the times.

These were the early days of comics and sequential story-telling and by now there ought to be work making these masterpieces look like the plinkings of Woody Gutherie against the all out assault on the cortex that is an Atari Teenage Riot. Instead the front end of the medium seems more concerned with dotting the I's and lining the t's of it's previous output (our favourite example being Marvel's 'Secret Wars Too: A comic that explained to readers why the comic it was parodying would be late. They charged money for this, as well.)

Comics were long considered the Outlaw Artform, so capable of shaping the public psyche that the content and distribution were brought up in Congress to see if it was necessarily to regulate the avalibilty of them to children. It's a longer story than will run here but the essence of the events is that while the 1954 hearings saw Congress conclude that comics were NOT a harmful product that would negatively influence children's minds, the comics industry decided that it would be best to settle public hysteria by establishing 'The Comics Code Authority', which would impose a series of standards and regulations upon comics seeking to be distributed on the newsstands.

Ironically, one of the people on the earlier incarnations of the board that would make up The CCA would be John Goldwater, one of many who takes credit for the creation of Archie Andrews'.. This writer likes to think Mr Goldwater was probably a little resentful of EC Comics's Archie parody 'STARCHIE!' (MAD Magazine Issue 12. Remains funny but now also looks like any episode of 'Riverdale'.) and was more than happy to choose the phrasing of a code that also happened to regulate the key words in EC Comic's top selling comics out of publication. All the resentful little men in comics complaining about being mocked are 'Happy Days''s Howard Cunningham wearing his Grand Poobah hat in our head.

We say 'ironically', because the current Ickeian theory is that comic sales in the direct market are so low due to Marvel and DC 'giving in' to the demands of the 'SJWs'. What with their unreasonable demands for more realistic representation in mainstream comics, we can see how 'Could you produce more comics we'd be willing to buy?' would definetly be an agenda designed to bring down the entire comics industry.

Because we are given to facts, we can't dispute a lot of the problems the new comics industry faces. Sales on New Comics to The Direct Market ARE down.

It would take the same sort of mind that blames Barack Obama for his Presidential inaction during Hurricane Katrina to think that the problems of new comics are the work of those damned SJWs, though. Not unless Heidi MacDonald has a time machine.

Unless Laurie Penny staged a hostile takeover of The Marvel Editorial Summit and said 'Right. Here's what we want: Please keep raising the prices of your comics by roughly about a dollar every few years, do more $150 crossovers that will have no significance in about 4 years or so. Please spin off as many comics as possible from one of your prime brands. Make sure your top staff behave like Obnoxious King Nerds on social media whenever possible.Instead of focusing your sales team on promoting the comic as a good read, keep pitching your comics as must buy investment issues aimed at speculators who won't be back for the next issue. As soon as your readership have begun to settle into a book, it's direction and it's creative team, that's probably the best time to relaunch your titles.

Be sure to confuse readers and retailers by pretending each relaunch is a 'Season' without ever referring to which season is currently published in advertising or trade dress. Come up with any justification whatsover to publish an anniversary issue that's triple the price of a regular comic as frequently as possible. Try to devalue the contribution and sales cache of your creative team over the amount of variant covers offered to retailers. Have your top writers actively and vocally hostile to the notion of second printings and finally publish no comics that even vaguely resemble the TV and Movie versions of your characters so new readers can come into a shop after seeing "Avengers Assemble" and be offered 7 books called "Avengers" but they'll mainly be about some men chatting at a table.'....then the reasons why new comics are failing aren't at the hands of SJWs.

They're at the hands of the publishers. The above list is the main reason for the decline in sales of new comics in specialist shops that we saw in our days behind the till. All things we were saying over a decade ago at retailer meetings with Marvel and DC. We were brushed off in order to try and wave shiny new 3D variants back then.

A few years later, when it was apparent that the law of diminishing returns was in full effect, was when finally The Big Two turned to the 'gimmick' of appealling to a wider audience. When oddly, that half-hearted effort to win over a new readership by publishing the books in the same venues as usual didn't work,with little support from their publicity and advertising departments both Marvel and DC quickly threw these efforts under the bus as proof that trying to expand your salesbase beyond a Wednesday crowd was a waste of time.

Except that''s nonsense of course. Any analysis of pre-order charts will tell you that the sales have been in heavy decline since 2007's 'Civil War' from Marvel. The constant attempts to repeat that success in that format are the problem. Marvel and DC trying the 'Social Justice' route and it's subsequent failure is a shameless attempt to rewrite history for the benefit of an agenda of tired Poobahs scared of time and their limited views of the comic medium making them irrelevant.

In fact, Marvel's recent attempt to appeal to Muslims,AND teenagers (imagine.) at once was quite late in the game with 2013's 'Ms Marvel' while the 'Feminazi Bible' Mockingbird wouldn't begin threatening Poobah Egos until around late 2016. Meanwhile, Archie Comics had smelled which way the wind was blowing several years earlier....

Archie Comics were always smarter than the ongoing superhero titles because they never set themselves up to tell an ongoing story, but rather worked like an extended cartoon strip. If you read three random issues of any Archie comics, you were probably as clued up on the cast of Riverdale as you were going to need to be to understand the dynamics of what was going on. Archie was perptually out of sync with the world around him, Betty was goal driven and meant well, Moose wasn't quite sure what day it was but loved Midge more than anything, etc. etc. All you had to do was set up a situation, add two or more of the characters and let the rest play out.

Even better, since the characters weren't obliged to be a certain age given the backstory (Peter Parker can't be worrying about teenage problems since he's been around long enough to get married, be a lecturer, etc.) the backgrounds and fashions could simply be updated to reflect the times of publication.

So no awkward retcons such as Reed Richards and Ben Grimm starting off as veterans of World War 2 and suddenly having gone through The Gulf War instead, prompting questions like 'Which comics have and haven't happened, then, because The Avengers definitely went to Saigon in the 70's but the existence of The FF precedes The Original Avengers finding Captain America in the block of ice and Cap turned out to be fighting Richard Nixon during The Secret Empire Saga so...argh!'

Archie managed to stay on the newsstands long after the self absorbed and inside baseball nature of superhero comics rendered them unsaleable in your average W.H.Smith's or Wal-Mart, since any issue of Betty & Veronica could be read by anyone with no need to check out previous issues. It was very rare that any one tale would run more than one comic and the few times it did, it was with fantastic results. We'll get to that.

In 2010, Marvel was wasting everyone's time and money on 'Siege; or 'What If Asgard wasn't in space but in Oklahoma instead?' while DC insisted on spreading the myth that people who grew up in Liverpool talk like they're from Shoreditch by adding John Constantine to the line up of 'Brightest Day'.

During the same year, Archie dragged mainstream comics kicking and screaming into the future with 'Kevin Keller', a comic featuring an openly gay male lead out in the real world and everything. This annoyed some American Mary Whitehouse wannabes called 'One Million Moms!'. They campaigned against the title being sold in children friendly areas such as Toys R Us but only really proved their basic inability to count to 1 million.

In the same year they published covers featuring Archie kissing Valerie, the black bassist from Josie & The Pussycats. If this doesn't strike you as a big deal for a comic being published in the mid-west of America, well, you might be one of those guys suggesting that there's always been adequate representation in comics.

They didn't sell as many comics in specialist shops, but while The Big Two continued to tread water, Archie kept moving forward, kept looking to crossover with big name brands, parodied the biggest comic crossovers, featured the likes of Barack Obama and Sarah Palin, paid homage to EC Comics and got Adam Hughes to draw covers. They even explored exactly what WOULD happen if Archie finally chose Betty. And Veronica. And heartbreakingly, how deep Archie's love for his fellow man ran in the conclusion to the marriage stories in 'The Death Of Archie.' Oh, and he also met the Predator.

Then they stepped everything into higher gear with our second favourite horror comic of the 21st Century with Afterlife With Archie. It was a book we'd recommend to new readers as a good alternative to the horrendously overpriced, badly drawn horror or just too boring to be scary books glutting the market with 'Torture Porn Variants'. AWA would feature at least one chilling moment per issue likely to stay with you long after you finished reading. One issue of tie-in book 'Sabrina The Teenage Witch; is worth 3 or 4 'Walking Dead' trade paperbacks in terms of actual horror instead of people talking around a trailer park.

If you had been a fan of the Archie world before and hadn't read it for a while, though, our glee would be magnified. While the horror/jump scare bits of AWA are genuinely well done and actually quite intense, the bits between undead assault are where the real horror lies as relationships between all the characters are twisted forever, new angles and revealations would stop you ever being able to see Midge, Cheryl, Reggie and more in quite the same light.

This moving with the times meant that the Archie readership were quite capable of seeing the characters they loved for so many decades in different modes of storytelling and art styles laid the groundwork for two things: The relaunch of the line in 2015 with high profile creators such as Mark Waid, Fiona Staples, Chip Zdarsky and Adam Hughes doing new and interesting takes on a universe we all knew so well (A bit like The Ultimate Universe but with a point and a plan.) and also the hit show 'Riverdale'.

It will not surprise many of you to learn that the Grand Poobahs Of Comics (TM MONDO FunnyBooks 2018) hated 'Riverdale' and frequently grumbled 'Not MY Archie.' but then, by folding their arms and threatening to hold their breath until the artform of comics goes back to being what THEY want, they've proven time and again that they're constantly wanting to find a straw man to blame for the world moving on without them. These were the same people who moaned about 'Archie Vs Punisher' for not taking Frank Castle seriously enough and thought the parody crossover 'Love Showdown' (Which promised that Archie would finally choose a permanent girlfriend) would break the Archieverse once and for all.

There are lots of ways to improve the state of comics. Indulging the whinging of grumpy old men and refusing to believe the rest of the world might be interested in comics are not on that list of ways.

And as a wise man once said 'The people want BeBop. And who I am to tell them that BeBop is wrong?'

[jojoseames]

Hello!

Oh, my goodness! So many new followers! Hello to all of you! I’m so pleased that y’all liked that little comic enough that you want to subscribe to more of my shenanigans. Thank you so much; I’m really blown away by such a kind response.

Since I might be something of a recluse, allow me the formality of letting you know what you’ve gotten yourself into.

My name is JoJo Seames. (That’s pronounced “SEEMS”.) Freelance illustrator and comic artist. Really keen on watercolor. Thirty-two years of age. Pronouns are she/her or they/them; I’m not very particular.

I live in Tucson, Arizona, with my partner @andrewihla, to whom I have been married nigh on eight years in a state of greatest felicity and contentment.

My favorite colors are purple and orange. My favorite animals are bunny rabbits, sharks, vultures, raccoons, and rats. I love glam rock. I drink a lot of coffee. I have a mild-mannered day job where I do custom framing. My favorite novels are “Les Misérables” by Victor Hugo, “Pride and Prejudice” by Jane Austen, and “Watership Down” by Richard Adams. My favorite comic is “Krazy Kat” by George Herriman, and I’m also very partial to Captain America and Thor comics. My favorite film is “Casablanca”, and I’m a huge fan of David Lynch, the Coen brothers, and Jim Jarmusch. I watch all the “Mad Max” films about once a month. I adore horror movies. Horror anything. I reblog things that I like at @boschmillennium. 

My current major project is my original comic book series, “The Makeshift Man”, detailing the misadventures of a magical, misanthropic dirtbag and his jackalope sidekick. They drive around in a van solving mysteries and getting generally up to no good. I’d be delighted if you’d read it, which you can do at @makeshiftmancomic. 

I’m also involved with Andrew’s current major project, an animated film series called “Obsidian National Forest”, which will be making its debut on Arbor Day. Kindly give that a look on Twitter at @ ObsidianNF.

I’m very active on Twitter at @ jojoseames, and on Instagram at @ jojoseames. Sales of original art and print comics are through my Etsy page, Etsy.com/shop/JSeamesIllustration. Sales of art prints, apparel, and home goods are available through designated shops at both Society6.com/JoJoSeames, and Redbubble.com/people/JoJoSeames/shop. 

Current commission rates are listed here: http://jojoseames.tumblr.com/post/170847019023 

And you can support both myself AND Andrew as a two-for-one at Patreon.com/JoJoSeames. Lots of work-in-progress previews and artistic process information, there.

I’m sure I’d be delighted to know you all better. My mailbox is always open, even if you just need to tell someone all the facts you know about goldfish. I would love that. Again, I thank you all so much for deciding to follow along my blog, here. Cheers to all of you! Hail, and well met!

[sublimeglitterenemy]

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[secrethauntedcollect]

I got all of the above for $2.69 (nice)

Oh What’s This? It’s Soren’s No-Bullshit Guide To Couponing

When I say “no bullshit” I am aiming for a very high level of no bullshit. Cause you know when you see blogs about this shit, it’s all hyped up and overwhelming and click-baity like “PAY NINE CENTS FOR GROCERIES FOR A WEEK” except those groceries are just, like, some toilet paper and like 100 tubes of kids toothpaste or something? This guide is not going to do that to you.

I’m going to talk about: how couponing works, what I do and use, what you need for it, what the “catches” are, and what may or may not be applicable to you as well. You can save on a lot of stuff, but I haven’t found my grocery bills cut in half or anything. This is a long guide because there’s a lot to cover. Get yourself some tea/water/coffee/hot chocolate (or all of those), get cozy, and settle in for the read.

So, how does this stuff work?

It’s not like it was back in the 90s or any date before smartphones became widely used. Smartphones have changed the whole game. You no longer work exclusively with newspaper coupons and nor do you have to cross examine sales ads every week for like 10 hours a day to figure out where to get beans for free. 

A huge change is rebate apps like Ibotta and Checkout51. You add your favorite stores, see what items offer rebates, and then add them to your list. Once you’ve bought stuff, you upload photos of your receipt (or scan the QR code) and it gives you cashback on whatever you bought. I use Ibotta, because I have limited phone storage and try not to cram too many apps on my phone. If I had more room I’d probably download Checkout51 as well.

Here’s a link for Ibotta https://ibotta.com/r/gqdfows (if you sign up with that link I get $5 and we also get to be “teammates” on the app, which means we are friends. Also, Ibotta gives you $10 for signing up and using it within the first 30 days)

In-store sales and manufacturer’s coupons (or “MFG coupons”, usually found in newspapers but about 40% of the time you can get them online as well) still factor in, of course. The real money saving is when you can stack up all three, which happens pretty often. The website and app Krazy Coupon Lady tells you exactly where these stack ups are. You don’t have to do shit except scroll through what they’ve found for you, print some coupons, add rebates to your rebate app, and then go get it. You can use this on your desktop if you don’t have phone space, or you can download the app. It’s up to you. The app is handy for remembering when you’re out and about what was for sale where, but then you could also just write a list to remind yourself.

BUT—and here’s the biggest catch of all with couponing—do you need all the couponing deals and steals? Do you even like what’s on sale? Do you need to buy 10 kids toothbrushes even if you can get all of them for 60¢? 

This is the most frustrating part of couponing, I’ve found. There are a lot of deals on stuff I don’t like or don’t use at all. Ever. I don’t need to save on toddler clothes, and I make my own laundry soap (it’s actually incredibly cheap to do it this way) so I don’t need the Amazing Deals On Tide Pods At Target This Week Only. My savings could be “more” if I did need these things, but I don’t. Because it’s mostly moms that do this, it’s pretty mom-geared. But it can work for other people, smaller households and single people like myself too.

What I use:

A computer & printer

A smartphone (with one rebate app, one couponing app, Target app, for Cartwheel savings)

A car

What I’m mainly missing is: the other rebate app, a newspaper subscription

I save because I can print coupons from home, I’m really mobile, so I can go to more than one store (each type of yoghurt above is from a different store) and I have a smartphone with a rebate app on it. 

If you don’t have a car you can still get some good deals through rebates, coupons & sales in the stores near you. Most grocery stores are listed on Ibotta and offer refunds. So whatever’s near you and you tend to shop at a lot, you can probably find some rebates. You can stick to looking at the stores near you and still do a pretty good job saving. You don’t need to coupon EVERY DAY. Most sales are about a week long, so even if you grocery shop once a week, this can work for you. (If you live out in the sticks like I used to and only grocery shop once a month, that’s going to be more difficult)

If you don’t have a printer I’m not going to tell you something absurd like “ask your neighbor to print coupons for you.” Cause, like, no. That’s fucking unreal. No one would ever do that. (I would totally try to print coupons at work or school though.) But if you can’t get printable MFG coupons, you can still combine rebates with in-store sales and save. You’ll save about two-thirds or half of what everyone else is saving.

If you don’t have a smartphone… it’s going to be tough, honestly. But you can still check out the Krazy Coupon Lady site for where the deals are and use printable MFG coupons stacked up with in-store sales.

If you don’t have a newspaper subscription you can do what I do, which is check the recycling bins near you for coupons. I found some once. I’m usually in there anyway, throwing out my own recyclables, or, yes, scrounging around for stuff. Mainly clean boxes I can use for shipping stuff. I haven’t found coupons consistently though. A lot of coupon sites will tell you to just ask your neighbors… lmao nah. No thanks. 

Like a lot of things in life, the more you already have, the more you can save. Kinda sucks, but that’s how it goes. No bullshit!!!

What’s the Deal, the Lowdown… the “Catch”

MFG coupons: there is no catch here. You just print them and use them. Most people think you can only print one, but you can actually print two per device each time. Print one, click the back button on your browser. Make sure the barcode numbers are different. Print again. You can get two from your computer, and then two from your smartphone if you can hook up your phone to your printer (I haven’t figured that out yet, I’m lazy.) So you can, ideally, get 4 coupons to use on multiple items. OH YEAH and you can get a lot of MFG coupons on coupons.com. Sometimes you have to go directly to Kleenex.com and sign up for their mailing list before you can get your coupons. SOMETIMES you can get a bigger coupon if you share on social media. (This is what a locked alt twitter is great for.)

Ibotta: it mainly collects consumer data/feedback from you and sometimes you have to watch a 10-15 second ad in the app to add a rebate to your list. Half the rebates I add don’t ask for either. Sometimes you get one that’s like “Wow! What new ice cream flavor of ours are you most excited for” and you have to click on a flavor. It’s whatever. Also, you can only withdraw your money once you have over $20. Is that hard? Not really, I’ve found. Your first one is especially easy since they give you $10 for using a rebate within the first 30 days of downloading it. I’ve been using it since late June 2017 and have saved up $59 already (so I’m really close to my third cash out of $20.) Update for March 2019: I’m hovering right under $500 in savings now.

It sends your funds to either Paypal or Venmo, not your bank account, so you need one of those.

I’m not sure about Checkout51, but I assume it’s basically the same.

Krazy Coupon Lady app/website: no catch here, but you might have some carelord online @ you that you’re being problematic because it has the word “crazy”, albeit spelt wrong, in it. They have some good guides over there, I recommend downloading their guide to couponing at Target, it gives you a pretty good taste of how this shit goes. 

Overall, since some savings come from rebates, it doesn’t always cost that much less up front. If you’re using just Ibotta for a discount on something, you still pay the full price, and you won’t see your refund until your blessed $20 limit is reached. However, I like ibotta because you don’t have to do shit at the cash register, and you can go home and take pics of your receipt after you’ve bought everything. It’s pretty easy. Sales and coupons give you the up-front-at-the-register discounts so you out-of-pocket pay less. That feels a bit more rewarding, especially if you know you have an ibotta rebate to add later. However, you have to remember to bring your coupons, and make sure they’re still valid. Also they can be glitchy! Half the time I have to have someone come over (I pretty exclusively use self-checkouts) and validate or collect the coupon because the system is angry.

The products themselves: what can you get on sale? Is buying name brand cheaper than buying store brand?

Real deal: they talk a lot of shit about really cheap toilet paper, but I have yet to find any name brand toilet paper with 1000000 coupons/rebates/sales that’s cheaper than a store brand. Not worth it, but you can keep looking and hoping if you want.

Besides that, it’s kinda up in the air. Sometimes, depending on the deals around, you CAN get name brand for much cheaper than the store brand and have it be worth all that effort. Sometimes it’s ten cents difference and like, fuck that. I don’t need name brand plastic bags that bad. 

THERE ARE A LOT OF DEALS ON LAUNDRY DETERGENT. So many. So fucking unbelievably many. Half of them seem to be “I got some Tide at rite aid for a dollar.” If you do a lot of laundry, this is great for you. 

Most of the deals are for like… “normal American food” stuff, I guess. A lot of name brand breakfast cereal, granola bars, canned soup, Kleenex, yoghurt, ice cream, sometimes cheeses. P&G brands. Your dairy products are generally on sale (except butter, weirdly—though they do push the margarine.) There are not a lot of offers for produce, which is like… fine really, cause it’s already pretty cheap. 

On Ibotta, however, there are “any item” rebates for some produce and other “staple” items. For a while they were giving you 25¢ off any bananas, 50¢ off any milk or bread, that sort of thing. Now they’re for oranges and eggs I think. They also tend to have 25-50¢ off any item rebates too which you can snatch up easy. I like those. I was getting 50¢ off single donuts at Fred Meyers for a while, making them 19¢.

What about special diet stuff? Organic stuff? 

There’s honestly not a whole lot of this when it comes to coupons + sales + rebates stack ups featured in the KCL app. Which is weird to me, you’d think someone on the site would be paying more attention to Whole Foods sales and matching them up with rebates, but whatever. So you’re not going to get gluten free bread for 50¢ a loaf. There are, however, coupons here and there. Ibotta has a rebate at Whole Foods for $1.50 off Udi’s GF bread right now, there’s a $5 rebate on organic protein powder, some kombucha, Stonyfield Grassfed yoghurt… it’s there, though it’s not like Cheap As Free, so it doesn’t get advertised as much. You can still save here, but not as much as if your diet is mostly General Mills breakfast cereal and Tide laundry soap.

What’s good, though, is if you save enough in other areas of Household and Grocery, it makes it a little easier to get some of the nicer stuff that never really goes drastically on sale.

So what about that yoghurt up there? How’d you do that?

Alright.

The Chobani Smooth yoghurts, both of them, were free. There’s a rebate on Ibotta right now (as of Sept 8 2017) for $3.00 off two of them. They’re currently priced at $1.50 at Walmart, so those suckers were cheap as free. The KCL app told me about this one. I didn’t need to print coupons or do anything but go buy them and scan the QR code to redeem the rebate.

The Oui yoghurt was also free. This was from softcoin.com, which loaded the coupon onto my Fred Meyer’s card (always get the store club cards, they’re free), so when I scanned it at the register, it became $0.00. There was a limit of one. The KCL app told me about this one too.

The Noosa yoghurt was from Target and I paid 73¢ for it. Or something. Idk about my math on that one. The KCL app listed it at a lesser price than it eneded up being in my store, so I didn’t get it for 48¢. The savings came from three places: 1) 15% off Noosa yoghurt from the Cartwheel part of the Target app; 2) A MFG coupon from noosayoghurt.com; and 3) an ibotta rebate for noosa yoghurt. With the cartwheel app, you just add the offers you want to your list, and then scan your barcode at the register for the discounts to apply. Sometimes there are MFG coupons in there for you! Paperless! Nice!

The Suja organics drink was from Winco, originally $2.48 but ultimately ended up being 73¢. If you can, always try to use coupons and rebates at your cheapest grocery store. I used an ibotta rebate for 74¢ off, and found a $1/off 1 MFG coupon on the bottle itself at the store. Which isn’t the first time that’s happened. 

The Zico was 75¢ off with an Ibotta rebate, making it $1.23 (not bad for coconut water). 

With the last two, however, there’s more: there’s currently a bonus on Ibotta that if you buy a Suja drink, Zico coconut water, and an Odwalla smoothie, which all have their own single 75¢ off rebates, you get an extra 75¢ off, which means they each become 25¢ less on top of that. All this shit I drink already (I’m big into bevs) so this is a good save for me.  There are bonuses like this a lot, though I don’t pay a whole lot of attention to all of them because they aren’t always relevant.

Some of my good past buys have been: 4 bags of pasta for 38 cents a piece (safeway sale plus MFG coupons). I got linguini and fettucini noodles because the long noodles you can’t get in bulk at winco (bulk noodles are always cheaper)

And I got some puffs cube box tissues (ie the ones that fit in my silly tissue covers) for 75 cents a piece instead of like two something. That was a safeway sale + MFG coupon and an ibotta rebate, if I remember right.

Anything else?

The most rebates on Ibotta are at Walmart. They by far have the most rebates.

Also, not every rebate is for every store. I tried to use something at Winco once only to find out it’s only valid at Target. You can see where it’s redeemable when you scroll down. Most of the time this isn’t a problem, though.

Ibotta has a lot of rebates on alcohol. If you have or have had a drinking problem, you can hide all of these from you in your settings (I think it should be something you can turn off when you sign up, but whatever)

Kohl’s weirdly has amazing clearance deals on household stuff. who knew? the KCL app will tell you about them.  

So, basic getting started:

download Ibotta

go over to KCL and check out their shit about what’s on sale where and when and how. you don’t have to download their app if you don’t want to. it might be overwhelming but... just look for a bit. think about it. (i usually browse through the app while i’m watching tv or just before bed to see if there’s anything i need to pick up the next day)

go over to coupons.com to see what’s out there

then, when you’re ready, fuckin coupon 

That’s probably it for now. If you have questions, feel free to ask me.

And again, if you want to try out ibotta and give me $5, my referral code is GQDFOWS wooo okay 

[ckyle8love]

Check out this listing I just added to my Poshmark closet: Krazy Larry pants The you pant in black Geo-12.

[creativeanchor]

Handicrafts & Handmade

Handicrafts , certainly referred to as Handmade crafts or artisary are basically when the art and talent of skilled people flow in and create varied and unique types of items starting from consumer goods to decorative pieces out of paper, wood, clay, glass, stainless steel, plastic, shells,rock ,stone ,metal etc with the help of simple or a bit of complex tools regardless of the technology that’s been provided these days , handicrafts have a totally different touch and feel to it and are solely handmade without the usage of any machine.

Products At A Krazy Mug

Every product that we make and everything that goes into it, be it the skills the time and patience everything collectively turns out to be a work of perfection. The kind of products that deal into makes us different and stand out unique in the Global Market. To Cutting Chai Glasses to Steel Canisters to Katta Chai to Home Décor & Barware , everything is solely handmade and hand designed by our skilled artisans.

Kettle Dragon Fly

Brass Kettle – Chaya

Brass Kettle – Run Zun

Tapri Glasses – Auto

Brass Bell – Ting Ting

Steel Tumbler Big- Lady Rose Maroon

Steel Tumbler Small – Owl Eye Pink

Tapri Glasses – Super Six

Kettle Lotus Lady

Tapri Glasses – Chotu Hathi

Tapri Glasses – Nimbu Mirchi

Tapri Glasses – Super Six

  Corporate Gifting At A Krazy Mug

To put in very simpler words, Corporate Gifting serves as a delightful and a pleasant way of gesture into the established world of bulk orders. To us , the whole idea of corporate gifting is a well acknowledged association in the corporate circles.

Our Products At The Domestic Airport

Our Products At The Domestic Airport

Corporate Gifting basically helps you strengthen relationship and build a good rapport with our customers by the virtue of the concept of more the exposure, more the retention for sure! Because the whole idea of having your Brand Logo printed on your product and it getting distributed to the customers as a token of thanks and appreciation has been an idea long practiced by A Krazy Mug. We Give a new edge to Corporate Gifting by customizing to our customers needs even though at times it becomes difficult to fulfill certain unrealistic expectations of our clients but nevertheless, we do appreciate their interests and ideology and shape it to the perfectly curated product that they wanted and wished for , simply because for us customer’s satisfaction and content is the number one rule of our Business.

Explore More About Us at www.akrazymug.com – For Bulk Pricing & Special Deals Contact Us At + 91 9833983534

  Indian & Ethnic Crafts of A Krazy Mug | Our Products & Corporate Gifting | A Krazy Mug – Crafts of India Handicrafts & Handmade Handicrafts , certainly referred to as Handmade crafts or artisary are basically when the art and talent of skilled people flow in and create varied and unique types of items starting from consumer goods to decorative pieces out of paper, wood, clay, glass, stainless steel, plastic, shells,rock ,stone ,metal etc with the help of simple or a bit of complex tools regardless of the technology that’s been provided these days , handicrafts have a totally different touch and feel to it and are solely handmade without the usage of any machine.

[teachanarchy]

In the 1994 cult classic movie Mi Vida Loca, the chola character known as Sad Girl describes Teen Angels as a “magazine that shows how we are really like.” As her sister La Blue Eyes flips through its pages, she turns teary-eyed when she lands on a passionate poem written by a Chicano inmate, complemented by a fine-line pen drawing of praying hands. She immediately falls in love.

Hand-drawn portraits of cholos with their lowriders and homegirls, guides to perfecting pachuca hairstyles, and poems describing the whole-hearted dedication needed for “Loving A Convict” were staples of Teen Angels, a zine that chronicled the culture of Southern California’s Chicano neighborhoods. Started in 1981, Teen Angels magazine was known as the “voice of the Varrio”, the only publication at the time that featured the artwork, poems, dedications, photographs, and essays of Chicanos, particularly those who were gang-affiliated or in prison. Until the mid-2000s, when production of Teen Angels ceased, the magazine maintained a loyal, underground following among Chicanos who could finally see themselves reflected in print.

In the 1980s, the hallmarks of Chicano gang culture – tattoo sleeves, graffiti art, and the crisp khakis and colored bandanas of cholo wear – were often viewed as signifiers of crime and violence by police and society at large. Mainstream media marginalized Chicano voices, providing a one-dimensional portrait of barrios as violent and drug-ridden.

Teen Angels cover, Issue 166. Image courtesy of Teen Angels Magazine.

Teen Angel, the artist behind the self-titled magazine, provided a counterpoint to this narrative by celebrating the artistic brilliance and originality of Chicano gang culture. Thanks in part to the magazine, which worked as a platform for Chicano inmates to disseminate their artwork to the outside, prison-style art received recognition among young Chicanos who learned to draw by tracing the art in Teen Angels’ pages. Before the age of social media, Teen Angels served as a network to readers and contributors interested in the unique fashion and tattoo styles of barrios across the country. Now that cholo culture has gone mainstream with references everywhere from Givenchy catwalks to Kanye West’s TLOP merch, the roots of cholo culture and Teen Angels’ contribution in promoting and popularizing the culture is often forgotten or taken for granted.

The LA Art Book Fair exhibit hopes to reestablish Teen Angels’ status in Chicano art history.

But this year’s LA Art Book Fair hopes to reestablish Teen Angels’ status in Chicano art history. From February 23 to 26, Los Angeles will witness the largest exhibit yet of original Teen Angels magazines and art. Included are the complete collection of Teen Angels (starting with its first edition in 1981), as well as the original artwork that graced the unforgettably vivid covers – both part of long-time aficionado Bryan Ray Turcotte’s private collection. Teen Angel’s personal items, like his desk, childhood drawings, sculptures, and original artwork published inside Lowrider Magazine and Teen Angels will also be displayed, thanks to curator and Teen Angel’s close friend David de Baca. With over 200 pieces of artwork, the Teen Angels exhibit will be the largest showcase at the LA Art Book Fair to date.

Teen Angels prison art submission. Image courtesy of Teen Angels Magazine.

For those in attendance who wish to start their own collection, de Baca, in collaboration with Turcotte, is releasing a book featuring the cover art of the first 180 issues of Teen Angels, usually drawn by Teen Angel himself. In contrast to the black-and-grey, prison-style drawings that filled the inner pages, these covers revealed Teen Angel’s preference for whimsical, chromatic recreations of street life. “He always liked the covers to have these bright, vibrant colors,” de Baca explained in an interview with Remezcla. Even when Teen Angel used inmate submissions to illustrate the cover, he would color in their black-and-grey drawings, since they weren’t provided colors in prison.

Of course, Teen Angel is mostly known for his “bubble heads.” He frequently sketched gangsters with guns in hand standing against a graffiti-covered wall, inspired by his observations of street life in Southern California. But what stood out most were their cartoonish, wide-eyed heads, which resembled animations made popular in the 1940s and 50s. These bubble heads transformed what may be viewed as intimidating scenes to an outsider into something “fun,” de Baca remarked. Many of his characters were also given nicknames inspired by those given in the barrios by gangs, like La Chorty and La Krazy, who recurred throughout in Teen Angels‘ issues.

In retrospect, Teen Angels reads like a Chicano humanities journal.

The publication, banned by mainstream carriers for its supposed support of gang violence and crime, captured cholos and cholas in moments of romance and camaraderie, telling everyday stories of the barrio. For example, one issue illustrates an afternoon in the park between lovers, with a cholo dressed in a colorful sarape and bandana while his partner sits on a lowrider bike listening to a boombox. Teen Angel also published other magazines that told Chicano stories, like Green Angels, which chronicled Chicano soldiers deployed abroad, and La Bandera, which told the history of the Mexican Revolution.

Teen Angels art submission. This eventually became the cover for issue 31. Image courtesy of Teen Angels Magazine.

In retrospect, Teen Angels reads like a “Chicano humanities journal,” says Claudia Zapata, co-founder of Chingozine and PhD student in Art History. For Teen Angel, it was important to show the value of cholos, gangsters, and prisoners, who unbeknownst to outsiders had developed a lifestyle that encompassed fashion, hair styles, lettering, graffiti, cars, tattoos, drawings, hand signs, and more.

“Maybe there are some bad things about this person, but I’m going to show you the good things about this person like the way he dresses,” de Baca said, explaining Teen Angel’s thought process. “Maybe you don’t like all this writing on the walls, but look at the style this guy has when he writes on the walls. Teen Angel looked past these negative things, and embraced what he saw as good qualities of this lifestyle and the things that they did that were unique.”

For most of his life, Teen Angel lived in obscurity, never publishing his name or photographs of himself in his magazine.

Born in Illinois in 1939, David Holland, otherwise known as Teen Angel, started drawing at an early age. He loved cars and when he traveled with his dad, a military serviceman, to California in the early 1950s, he was struck by the lowriders and Chicano culture. After serving in the 1950s and 1960s, Holland settled in San Bernadino, California in 1977, where he contributed to Hot Rod magazine and Lowrider Magazine. But when Lowrider replaced his centerfold drawings with beer ads – which Holland thought would affect Chicano neighborhoods negatively – he started Teen Angels. For decades, Holland drew, curated, designed, and stapled together the magazine in his living room with his family and a few friends, until the mid-2000s when he handed over the operation of the magazine to his sons Smiley and Payaso.

For most of his life, Teen Angel lived in obscurity, never publishing his name or photographs of himself in his magazine. Before de Baca met Holland, he imagined Teen Angel as an old school pachuco. Apparently, Holland preferred his readers to imagine the man behind Teen Angel as they wished. “When people see my drawings, I want them to feel proud of their culture. I want them to be happy and be enlightened by the artwork. However they picture me in their mind, that’s what I want them to see,” de Baca said, quoting Holland.

Teen Angels issue 177. Image courtesy of Teen Angels Magazine.

In serendipitous fashion, de Baca met Holland about eight years ago, becoming best friends with the man whose magazines had shaped him as a young Chicano. Before Holland’s death in 2015, De Baca promised to keep Teen Angels’ legacy alive.

Cholo culture is now more popular than ever with Old English lettering showing up all over high-end streetwear. But de Baca, who used to iron on the Old English-lettered name of his gang on his shirts, isn’t here for the celebrity appropriation of cholo culture. He prefers to see Teen Angels’ influence amongst young Chicano zine makers like Puro Chingón Collective and Maricón Collective as well as tattoo artists. Tamara Santibañez, a Brooklyn-based tattoo artist who references prison-style art in her tattoos, will present her Teen Angels-inspired tattoo designed in the Los Angeles exhibit.

For the young Chicanos establishing themselves in creative outlets like zines and tattoo work, de Baca hopes the Teen Angels exhibit will reveal a wealth of Chicano art that they can feel proud of.

[arecomicsevengood]

A YEAR OF READING ACKNOWLEDGED MASTERPIECES #3: E.C. SEGAR’S POPEYE

So, while the original idea behind this series was for me to read an acclaimed comic I expect I’ll like but had not yet actually read, or to read something I’d read a little of but not its entirety, covering E.C. Segar’s Popeye is something of a cheat. When Fantagraphics began their reprint series, a roommate had the first volume, of what would eventually be six, and I read that; I later ordered my own copy of volume 3, and I own a copy of The Smithsonian Collection Of Newspaper Comics, which reprints the “Plunder Island” series of Sunday strips covered in volume 4. I enjoyed all of it, but didn’t feel a pressing need to acquire more, and now Volumes 4 and 5 are out of print and command high prices on the secondary market. This motivated me to get a copy of the still-available volume 6, which might seem less appealing because it’s the last stuff Segar did before he died, and health issues led there to be periods of time where the strip was entrusted to his assistants, in sequences not included.

The editors say those strips aren’t good, I’ll take their word for it. Other people have tried to sell other Popeye product, and I’m sure some of it is quite good: There are some people who take pains to point out that the Segar comic strips are not similar to the Fleischer brothers cartoons, but I’m sure those cartoons are good fun, I generally like the stuff that studio produced. I have seen the 1980 Robert Altman movie, starring Robin Williams and Shelley Duvall, with a screenplay by Jules Feiffer and songs by Harry Nilsson, which is a notorious flop, but with some admirers: Still, it’s a slog, which the comic strip never is. IDW’s comic strip reprint line put out books collection the late eighties/early nineties run of former underground cartoonist Bobby London, what I’ve read of that stuff (just previews online) is unfunny garbage. I think they also were behind reprints of comic books by Bud Sagendorf, and a revival written by Roger Langridge, neither of which I’ve read, though Langridge’s work is always ok; good enough for me to think it’s good, not compelling or transcendent enough for me to spend money on it. It’s all work done by those who have rights to the license, which makes me view it as essentially merchandise, like a pinball game or something. The Segar stuff is where it all comes from.

While other masterpieces of the first half of the twentieth century comics page, like George Herriman’s Krazy Kat or Winsor McKay’s Little Nemo are definitely acquired tastes, Popeye was not only popular enough to make its creator a rich man back in the day, it remains functional as populist entertainment today. I feel pretty “what’s not to like?” about it, and would recommend it to whoever. It’s funny, the characters are good, there’s adventures. The humor is three quarters sitcom style character work and one quarter the sort of silliness that verges on absurdism.

This light touch separates it from the first half of the twentieth century’s “adventure strips” that didn’t age as well, despite having well-done art that would influence generations of superhero artists. Segar’s art isn’t particularly impressive, but every strip tells a joke or two, and even if you don’t laugh at every joke, you’ll appreciate its readability, especially if you’ve ever tried to read a Roy Crane comic, or even Chester Gould’s Dick Tracy. I don’t want to praise E.C. Segar by merely listing works his comics read better than, but it really is notable how many people today are basically trying to do what he did, but are failing at least in part due to not understanding that’s what they’re trying to do. If you want to do a comedic adventure story that becomes popular enough for you to be financially successful, it might be worth reading a volume of Popeye and observing its rhythms. When I was reviewing Perdy a few weeks ago, I was thinking “This basically just wants to be a R-rated Popeye.” I recently found 3/4 of the issues of the Troy Nixey-drawn comic Vinegar Teeth for a quarter each; despite that comic’s high-concept pitch involving Lovecraftian monsters, it would probably have been better if it thought of itself as being a descendant of Popeye, rather than something that could be adapted into a movie. I’ll just phrase it in the format of a popular Twitter meme: Some of you have never read Popeye, and it shows.

Lesson number one, which just sort of emerges naturally from the format of the daily strip, is you’ve got to make jokes, and they can’t just be the same one, over and over again. To that end, you need a cast of characters, who each have their own bit, and who play off each other in various ways. It is easy to see why people don’t do this: Large ensembles grow organically, and most people start telling a story with either a central character or something precisely in mind they want to chronicle. The comic strip, with its long runs originating from a practitioner’s ability to tell a joke, can be a bit freer to stumble onto something that works, without even necessarily having a title character to return to.  The collections might be named after Popeye, but the comic strip being collected in these books was called Thimble Theater, which ran for a decade before Popeye showed up and circulation sky-rocketed. For a while, I think the consensus on the early stuff was it was pretty boring and hard to read before Popeye came in and livened the whole thing up, but recently there was a reprint of this earlier material, and I know the dude who reviewed it for The Comics Journal liked it, though I’m sure it’s easy to find someone at The Comics Journal who will like an old comic strip even if it’s bad. Either way, modern cartoonists don’t have Segar’s luxury, or having their work run for a half-disinterested audience until something clicks so much word spreads.

The gag-a-day pace, built around getting into new situations and adventures, itself creates a pressure to be inventive today’s graphic novelists can’t really match. After Popeye is established as a good character, prone to getting into scrapes, Segar can show us the comedy of him caring for a baby. He can also introduce Popeye’s dad, Poopdeck Pappy, that this character looks basically exactly like Popeye but is a piece of shit is a funny idea that would not occur in the early days of planning a project.

One reason why you wouldn’t necessarily do such a design choice is because, if you’re thinking of different media as a way to success, having characters with the exact same silhouette runs counter to the generally accepted rules of animation. Thimble Theatre, as per its name, is based on theater staging, rather than the more expressionist angles of film: We’re looking at characters from the side, usually seeing whoever’s talking in the same panel unless one of them is out of the room. These characters tend to have the same height, basically. Someone once said that looking at Popeye, printed six strips to a page, is kind of like looking at a page of sheet music. It’s not a particularly visually dynamic strip, the amount of black and white on a page is close to unvarying.

This is why I don’t believe in prescriptivism, or a suggestion of rules: I’m pretty sure that Popeye works because it’s not working super-hard to be visually interesting. This would be the number two lesson of what there is to learn from Popeye. I think this transparency in style is what allows this comedy/adventure hybrid to work, though I know others would blanch at this. It’s going for a big audience, and while I think this visual approach serves that end, I know why others, especially those who’ve been struck by later superhero comics or manga, would see visual excitement as the best way to achieve that goal. The audience that read newspaper comics wasn’t necessarily adept at following visual storytelling, and the sort of relationship that newspaper strips could have with a wider readership is not going to be achievable now. The folks that ride for Segar these days are mostly alt-comics people, like Sammy Harkham or Kevin Huizenga, who aren’t attempting the sort of popular entertainment extravaganzas he trafficked in.

Reading Popeye feels like reading, basically, which is a nice, contemplative experience, that not all comics can capture. I read a few pages of it before bed. Obviously, this pace is not how people consumed it in its heyday, but the pace people took it in at, a strip a day, is even more deliberate and steady, and I think, was crucial to its popularity. For a comic to be popular, it has to have characters that are interesting, obviously; there is probably no better way for an audience to build a relationship with fictional characters than over extended periods of time. This speed corresponds to the pace it was created at, one that now seems insanely luxurious to anyone whose workflow is dictated by the internet’s demand for content. It’s a total crowdpleaser, but it existed at a time where crowds could slowly gather. Popeye’s a popular entertainment from an era of reading, listening to the radio, going to plays or movies. It holds up, owing to a basic pleasantness we can understand as low stakes, and that’s helped along by the restraint of the art. It’s telling a story. It’s not a farce, crowded with visual jokes, and it’s not dictated by characters’ emoting either. I love a visually expressive art style, but here it’s important that the visuals remain “on-model,” reinforcing the stability of the characterizations. This sort of thing is also evident in Chris Onstad’s Achewood, which I would argue is the preeminent 21st century character-driven comic strip, with an audience that feels relatively “wide” rather than pointedly “niche.”

Lesson number three to how to make a popular comic is the thought I find myself thinking all the time, which is “Everyone needs to chill out.” The number one impediment to making entertainment that just quietly works is the desire to stand out and make a name for yourself as quickly as possible. This is similar to how the number one impediment to a peaceful and contented life is the demands of a failing capitalism where we are all competing for a shrinking pile of resources. To read these books now is a luxury, an indulgence, and while I don’t much go in for those, reading older comic strips carries with it this sort of nostalgic appeal for an era where it didn’t feel like everything was screaming at you for your attention all the time. As broad as Popeye is, it now possesses a certain dignity, owing to this dislocation in time from its origin. I don’t know if this felt like a feature at the time. I do think that if you are an artist that wants to be successful now, you should do what you can for the sort of circumstances that allow for genuine, long-lasting success to build, which involves a certain degree of permission to fail. Mainstream comics companies, with their mentality of “we’re going to print hundreds of comics a month, in hopes some find a niche large enough to be briefly profitable we can then try to milk for their last dollar and they quickly become exhausted,” act against this. As in a garden, there needs to be space for things to take root and grow.

[yesterdaysdreams]

DIY Photo Cell Phone Case

Hi, friends! Today, I’m sharing a super simple craft project for dressing up your mobile phone. Not only is this project really cute and we get to use my favorite craft supply (glitter!), but I also think this would be a perfect craft project to do with friends at a little get together or party. I’ll explain more as we go.

I’m working with Canon USA and I’m really excited to show you their new IVY Mini Photo Printer!!!!! You may have seen us using this on our IG account. It’s a compact (and cute) instant printer that can print directly from your phone (through an app) or social media. It prints colored prints that are 2×3 inches and have a peel and stick back. This little printer would be great to take to a party (like for a photo booth) or to give as a gift. I am pretty obsessed with mine already!

Here is my IVY, I chose the Mint Green color (it also comes in Rose Gold and Slate Gray). As you can see, it fits in the palm of my hand and I have pretty small hands. 🙂

OK, so before we dive into this DIY photo cell phone case project, I have a quick story for you. Recently, I went to a cupcake decorating workshop where we were supposed to learn to create succulent cupcakes. Although it was really fun and we had cupcakes to eat at the end (so I can’t complain!), I did think the course was advanced enough that the designated “instructor” had a hard time keeping everyone on track, and ultimately I didn’t really learn a lot. No biggie, as I said it was fun anyway. But if you’ve ever tried to host a craft night with friends before, or have an easy project for a shower or party you were hosting, you probably know this dilemma. Basically, you need a project everyone can be successful with (so it’s EASY), but you still want the project to be cute and fun and also those who want to go a bit deeper with the project are able to. So that’s why I think this would be a great one for the next craft night. Just tell everyone to bring a clear phone case that fits their phone and you could easily supply the rest. And you could easily print their photos at the party too with the IVY printer.

You can also just make this project for yourself. That’s what I did. 🙂 I already had one person at the gym tell me how cute they thought my phone case was too. So, clearly, a win.

Supplies: –clear cell phone case –business card plastic sleeves -glitter paper, glitter, or sequins -craft paint or nail polish -clear drying glue* –IVY Mini Photo printer

*I tested both glue types in the above photo and I’ll share my favorite. But there are probably many brands that could work, as you just want something that dries totally clear and doesn’t streak.

Step One: Print your photo. The IVY Mini Photo printer comes with instructions which are really easy to follow (I was so impressed!). You basically will need to charge the printer, download an app (Canon Mini Print), then follow the app prompts to print your first photo. Then you’re good to go to. The app allows you to print from any folder on your phone or from social media. There are also little frames and stickers you can add to your photos before printing. Here you can see I added a plain white frame to my photo before printing. But you can also just print your photos as is, too.

On my old (yellowing) cell phone case, I decided to test out the glues to see which one would be super strong but not visually noticeable at all. I liked the Krazy glue pen more (it’s the one on the right in the photo above).

Step Two: Adhere the plastic sleeve to the outside of the phone case. As I mentioned above, the IVY paper is a peel and stick back so you could just stick them onto your case if you wanted. But I know myself well enough to know I’ll want to swap my photo out now and again because I like to change things up. So the plastic pocket is a better fit.

Step Three: Adorn the inside of your case and assemble. Here’s where you can get creative and use all sorts of materials if you like. You can glue glitter or sequins to the inside of the case, add glitter paper, other craft papers, or thin fabric. Or, you could paint the inside of your case with craft paints or nail polish. If you do glue or paint the inside of the case, make sure to allow it to fully dry before adding your phone.

If anyone does use this project at their next craft night, PLEASE tag us so we can see! Thanks for letting me share. xo. Emma

P.S. Want more ways to dress your tech? Or would you like to see a more advanced photo printing project? Check our craft archives for lots more!

Credits // Author and Photography: Emma Chapman. Photos edited with A Color Story Desktop.

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