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mi4011sayakagunasekara · 2 months

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Interview with Irushi Tennekoon

I had the opportunity to do a physical face to face interview with Irushi, to which i asked a series of questions that would be asked to both animators. i had recorded the interview along with using website to transcribe the entire file.

As it is my first time interviewing someone i was indeed nervous however due to Irushi's accommodating nature i somehow managed to even include follow up questions from her answers (that were not part of the questionnaire) and often times there is brief interactions on little bloopers.

Yet what i had realized that Irushi's personality really did shine through this interview and i gained a lot of insight of her personality through this interview.

https://drive.google.com/file/d/192TRA46aCtP7oZSBlsApQPFcHDzitMSy/view?usp=drive_link

interview (online-audio-converter.com).mp3

Automatically transcribed by Speechnotes on: 3/22/2024, 12:54:13 PM

Total recording length: 00:42:19

Me: { 0:01 }

Thanks. So yes, I've had a series of questions with SO. Some some questions have like predetermined answers to them. So it's like a four choice questions. But yeah, and then depending on your answer, that would be a separate question to that.

Irushi: { 0:18 }

It's more like.

Me: { 0:18 }

A follow up.

Irushi: { 0:19 }

Question so.

Me: { 0:19 }

That's helpful. OK. So my first question is that, was your family ever supportive for your decision to pursue art as a career?

Irushi: { 0:31 }

So I mean, I have a bit of a strange story, I think because I first didn't pursue art. I studied literature, and then I've been taught to teach English. For a long time. Art was something I was doing as a hobby and like so it didn't really feel like a career even though I was actually doing maybe even getting paid more for my artwork than teaching English.

{ 0:56 }

So because of that there was no judgement because I think they anyway thought that I had this so-called steady career or being a university lecturer and teaching English. Yeah, so that's, but at the same time, they are not the kind of people who will ever hold back. You know, like when I said I wanted to go and last year was the first time I really went to an art school and I did a masters in animation. So there was definitely no holding back or anything of that sense. They have been very supportive, Yeah.

Me: { 1:27 }

So like, what was the reaction towards your entire success?

Irushi : { 1:32 }

I don't think they know what they do really. But I mean, I mean they are quite supportive. They would definitely come for my exhibitions. They would, in that way, they would be quite supportive. I'm thinking of in terms of my parents and that sort of thing. But of course, my partner and all that, they're very supportive. Yeah. Yeah. That's was a question. I lost the question. Yeah. Yeah.

Me: { 2:00 }

So the session is, are you the first person in your family to pursue art oriented?

Irushi: { 2:06 }

In my immediate family, yes. The closest would be my paternal grandfather who was an architect, so he used to draw a lot and growing up I saw him doing these beautiful sketches and all that. I do have an aunt who I'm not really close to, who is again a like quite a prominent artist in Sri Lanka. But I didn't grow up close to her, so I wouldn't call her really an influence. I got to appreciate know her work and appreciate her work much later. Yeah, so I'm.

Me: { 2:33 }

Assuming so, like was it so I'm assuming that you are the first person in your immediate family that is exactly.

Irushi: { 2:39 }

So.

Me: { 2:41 }

Was it like a very, like, daunting part because you're starting something new without much guidance from relatives, and family really. Was it, like, very daunting?

Irushi: { 2:50 }

Absolutely. I mean, so I used to do comics and draw a lot in school.

{ 2:55 }

And then I had two school friends who made a Facebook page for my work, want to share my work. And then people started saying can I get you to custom to draw, custom sort of drawing. And that's how it really started. So. So that was really scary for me that people wanted to pay and get me to do something that I was doing for fun. Anyway, so that beginning. And I didn't know how much to charge. I didn't even know who was doing this kind of thing to ask them how to do it. So that was just starting out as an illustrator and then starting out animation as a whole other sort of scary thing to Am I even good enough to really do this? Am I doing the right thing? So there were lots of there's lots of doubt and lots of voices in my head that I had to quieten down before pursuing this.

Me: { 3:43 }

And like, since you've also, like mentioned, like your paternal grandfather and your aunt as well, there's also there's like a standard because you know, like how Sri Lankans often compare relatives to like you. So there's also a certain standard. Was that standard ever imposed?

Irushi: { 3:57 }

On you.

Me: { 3:57 }

This is a constant comparison.

Irushi: { 4:00 }

Not really. I mean not by anyone else. That would definitely be my own sort of putting pressure on myself to to create something that was meaningful, that was pushing myself in terms of skill, in terms of so not from anyone else. I don't think anyone else has put pressure on me saying to do something better or to be like somebody or to aspire to be like somebody.

Me: { 4:24 }

So it's more like a self-standard

Irushi: { 4:26 }

Absolutely, Yeah. So that pressure is still there, but it's just definitely coming for myself and no one else, Yeah.

Me: { 4:32 }

So next question is like, did you ever feel like giving up your career as an animator and pursuing something else that's different, there are four options? Like, definitely yes, definitely sometimes, then no to a certain extent, and then definitely no.

Irushi: { 4:47 }

For me, because animation is something that is so time consuming it's so tiring. I like to switch. I don't think I'm ever going to sorry, I'm just.

Me: { 4:57 }

Going.

Irushi: { 4:58 }

To leave my computer? Yeah, yeah. So because it's just really time consuming and really sort of an exhausting kind of thing to do. The end result is always worth it. But that effort it takes is more than anything I've ever done. So I not that I necessarily want to switch stop animation, but I want I like switching between things. I like switching between animation and illustration projects or animation. And now I've taken a photography, doing a photography class. So then for me, taking, going out for a walk, taking photographs, coming back, editing it, seeing this end result in a day is this quick satisfaction as opposed to animation which takes weeks or months to see the final result. So that's my answer. I would say not to necessarily stop animation, but I need breaks for it. So I switch between animation and a few other things just to get that mental sort of break and recover and come back.

Me : { 5:53 }

I'm assuming that's how you overcome this hurdle by this side, not focus like basically having like to get out of this mental block you need to like have like other stimuli.

Irushi: { 6:03 }

Absolutely, so that you just don't definitely stop.

Me: { 6:06 }

So like how would you exactly, how would you like describe your artistic style? And like other than it being experimental and like you trying out different mediums, how would you describe it? And like, who has it been really inspired by? Like artists like on the.

Irushi: { 6:21 }

Creator Yeah, I mean inspiration wise. For the longest time I was really not looking at our own stories from Sri Lanka. I was looking at, I was reading Western books. I grew up reading, you know, The Enid Blytons and the Quentin Blake books illustrated by Sorry, the Roald Dahl books illustrated by Quentin Blake. So I was very much informed by that style, and I tried to almost copy that into an extent because it's a sister style. That gave me a lot of joy. But it was much later that I started looking at the local films, the local artists, looking at people like Sybil Wettasinghe. Who else would a local artist be?

{ 6:58 }

And just in general growing in a appreciation for artists of the 43rd group and you know, like the the 43 group and all these other local artists. And I was trying to see what were they doing because they were also inspired by Western sort of art movements. But then they looked at how is it applicable to our country and to our region. So that was sort of a turning point for me to look at, even animation. There's so much happening around the world, but what can we tell through animation about stories from where I'm from, how can I show character, and I mean in terms of an artistic style also, I think that would be it. I would try to represent something that's true to, you know, that's close to home or in terms of appearance. And that would come down to the most minute sort of decisions of using the kinds of clay I would use to make a puppet. I would use maybe say instead of the like the light color thing.

{ 7:56 }

I would purposely make it a little more brown color to to actually show Sri Lankan with brown skin. So it's it came down to those choices. And even with illustration, I used to just draw white people, you know, because that's that was just what I had absorbed and it was a real turning point to say let's draw Sri Lankans and Sri Lankans look.

Me: { 8:17 }

If I'm not mistaken, I think you had interacted with Sybil Wettasinghe. What was the interaction?

Irushi: { 8:24 }

With her. So that was for me, like this surreal moment, having grown up with her books, having become an artist, because she had already done that and she had created a part for artists. I think she hadn't done that. We would all still be in quite a lot of darkness, I would think. And it's all these women who have created paths that make it easier for someone like me to walk the path. And then I feel like maybe by me figuring stuff out on my own, it would be easier for people like you who want to walk the path, you know?

{ 8:56 }

So it's it becomes easier with each generation for me to meet her and to make that film and to show it to her just before she died. She was already almost 92 when I met her. That was just like, OK, I have paid my tribute. I have given back to the woman who has given so much to me and so many others, such as that sort of very emotional kind of connection with her, yeah.

Me: { 9:23 }

And next thing is if this this question is like, I would say like a different like like different animators particularly have like very different opinions about this, but this is what I want to know

Irushi: { 9:35 }

Put you all know, Yeah.

Me: { 9:36 }

So is having a good understanding and skill within the foundation of art, which is the elements and the principles of art essential to creating good animations?

Irushi: { 9:50 }

I think to start you don't need to know it, but then to tell better stories, obviously if you are better with the technique and invest your time really learning those principles, the story is you can tell, become better. Yeah, but what I realized was last year, I spent the year in London and I I happened to go to the London Animation Festival, which is an annual festival that takes place. And a lot of the films that were selected were experimental. They were not sticking by these principles, they were almost breaking them. But what I also realized was to break the rules, you need to know the rules, you know? So it was, it's that sort of thing. To be experimental doesn't mean just working in the dark. I think you need to keep educating yourself. You need to learn, keep pushing yourself to learn. And then push yourself to break the rules and be expect mental, yeah?

Me: { 10:44 }

So I was like, Im assuming you’re saying like yes to a certain extent.

Irushi: { 10:48 }

Yeah,

Me: { 10:49 }

When you like apply these foundations to to animation like how would you make it animation better necessarily and do you have any like work in mind?

Irushi: { 10:59 }

Of work that follows principles well and does things well. I mean I suppose those old school like the tech savory, the Bugs Bunny like films and then you have the the Disney is that sort of created the principles, right. They studied from life because animation means you need to study whole variety of subjects from physics to anatomy to so many things and they were kind of The Pioneers of that I think of making of studying it and creating the rules of almost but who do I look up to and are they necessarily good? Was that the question was, was that the question whether they're necessarily?

Me: { 11:44 }

No, but you can also tell.

Irushi : { 11:46 }

Yeah, I mean, I mean, those are some of the animators that I grew up watching and they're so seamless, right? When you're watching it, you don't even think that it's drawn frame by frame or anything like that. But where is now?

{ 11:59 }

Somehow there is more value given to more authentic handmade. You know where even stop motion, where you see the clay animation and you see the sort of thumbprints on it or you see the medium that's used. If it's paint on glass or something, you would see that it's painted and that it's getting smudged out each frame. So there is a certain value that's now given to that, which is again, not breaking the rules, but it's again, making your own set of rules and playing, expanding the mediums with which you can elevate. So yeah,

Me: { 12:33 }

Is there an Animator who you Like essentially like look up to.

Irushi : { 12:38 }

To look up to and so many guys, have you heard of Lotte Reiniger who was one of the first animators to use a multiplayer and meaning sort of layers of glass and to film from above and she did these silhouette animations in paper cut out. So that's that's that's one.

{ 12:58 }

Then there is sort of a more contemporary animate based in London called Lazy Hobbs, Elizabeth Hobbs, she's incredible. I love because she works with ink and sort of paint splattered and that sort of big abstract kind of animation. And then one of my own lecturers from last year, Doctor Samantha Moore, she is again, it's not that perfect sort of animation that you would expect from the people who made the rules in animation, but she is somebody who collaborates, makes this very interesting collaboration. Her previous work, she had collaborated with scientists, she had looked at various rare diseases and she animates to bring those to life. So not just in terms of who is a good animator, but who is doing really interesting work through animation. That's sort of the thing that also inspires me. Yeah. Last year I think she was nominated for a BAFTA.

{ 13:52 }

She had worked with patients who have different illnesses, who have cancer and all that and who are sort of knitting as a therapy. So it was all about knitting and the film puppets were knitted puppets, like puppets that were knitted by so many people from community centers and all that. So it was a hugely community based kind of film project. So that's the kind of thing I'm interested in, not just studying the roles and make this perfect, beautiful animation, but how do you tell these imperfect stories that are out there? And how is animation a suitable medium to. Because it's such a fluid medium, It's such a malleable medium. It can, you can use so many different, like different materials You can use. You can tell different kinds of stories. You can go from absolutely narrative to absolutely abstract, so you can such a huge variety of things you can do through animation. So, yeah, those are the things that I'm interested in, yeah.

Me: { 14:49 }

The next question is Like how important is software and VFX to create an impactful animation

Irushi: { 14:58 }

I mean, again, I personally do like doing things hands on to really feel like getting my hands dirty, and that's something. So when I work digitally, the satisfaction for me personally is less. But I know that in terms of what the world needs, we do need digital animation, we do need VFX, we do need animators who can produce things quickly and who can adapt the technology and all that. It depends again on what he's trying to tell through animation. So, and you need all kinds of different people looking in all kinds of different fields too. Like, I would never say everybody should only do stop motion or everybody should move on to AI or everybody should move on to to VFX or something like that. It's you really have to be flexible and you have to see what does the world need and what we have to learn to be able to deliver that, who has to be working in those fields.

{ 15:54 }

So yeah, there's some sort of broad questions to ask about rather than saying it's overly good or overly bad, it's a little more what's the problem with dealing with that, I think that's a question we need to ask. Yeah, but.

Me: { 16:08 }

So like, I think that's like, as I've gone through your work, like I've noticed that in especially in like a series like animators and like you're very much a narrator and all of your words doing corporate love narrate narration, experimentation in different mediums,

Me: { 16:27 }

So how Essential is a story.

Irushi: { 16:30 }

Creating animations, I mean I think story is needed even. So basically you would have films that are narrative or non narrative and non narrative would be more abstract. But I feel like even non narrative when you watch an abstract film you will still create those river the patterns and film form that we sort of talk about in your mind. You will still make the patterns, you will still make a story right? So story even if you want it to be there or not.

{ 16:59 }

I think as human beings we are constantly looking for stories. We are connecting the dots and making stories. So that is, I don't know, it's such a natural sort of thing. But at the same time, there are some people who do it better than others, you know, so it's and it's an advantage. So the reason I think that we were also commissioned to do this film at the MMCA, did you get a chance to see it? The architectural documentary. So that also was not because we were brilliant animators or anything like that. It was mainly because of how we collaborated with different subject experts and how we managed to stitch a story together from something that seemed like there was no story. It was a situation that seemed like it was so far away, so removed from all of us, but we managed to see the relevance of it and connected as a story. So storytelling could be crucial, I think, for an artist in any media, in any medium, and you need to be able to articulate that story.

{ 17:56 }

So many artists don't get discovered or stay in the dark for too long when they can't articulate that vision of them. It doesn't have to be a story in a film, even if it's telling your own life story. You have to be able to articulate it as an artist. And that's the only way I think, that you really start doing meaningful work. You start being appreciated for your work. The more you can articulate who you are, where you come from, how do you sort of identify yourself? How are you rooted to this earth? How are you removed from how you feel like an alien sometimes. So those stories, if you can tell, then people start relating to you, they start investing in you and in your career grows there also. So storytelling is important, not just filming, I think, yeah.

Me: { 18:43 }

So is it? Is it necessary to have a balance of both or would they play a more dominant role in terms of VFX and storytelling? Would one play a more dominant role or would they have to balance each other to make an impactful animation?

Irushi: { 19:00 }

What's the connection again about VFX? Meaning the actual VFX, the actual.

Me: { 19:05 }

VFX and software, so like special effects and stuff like that.

Irushi: { 19:10 }

I mean VFX would be a tool in the same way for me, in the same way that clay is a tool to a stop motion animator, AI would be the would be a tool in the same way that a laptop is to a writer, you know, and then what do you do with it? You need that human creativity to come and say this is what I want you to do. This is where I wanted to make most sense and serve the community almost. So you do need the story.

Me: { 19:43 }

1st so yeah, so you see the.

Irushi: { 19:46 }

Foundation. It becomes the foundation, exactly. A story would mean that there is a character, there's a plot, there's an audience.

{ 19:55 }

And then you, whether it's VFX or any other medium at all, even an oil painting then you sort of. Figure out what am I trying to tell, and then you use the medium to tell that story. Without a story, it would just be an abstract tool. That's like, it's almost like a, I don't know, like a screwdriver or a hammer that's hanging around in a garage. You know, like once you start having a purpose, you want to build something and you take it out, then there's a use for it.

Me: { 20:26 }

So like so like we're going to look into my animation. So when we when we look into the animation industry in general and how it's still growing rapidly even here in Sri Lanka.

Me: { 20:37 }

What are the Upsides and the downsides you have experienced within this industry.

Irushi: { 20:42 }

In the industry. So I mean because Sri Lanka doesn't necessarily have an industry or we are still really just shaping up as an industry, I would say, I feel like I have very much been an outsider because I am working on my own.

{ 20:59 }

I am not really working on commercial. I have also any commercial projects. No, I mean, I didn't do this one thing for Candix, this handling place for their 50th anniversary, but again, they, they were family friends, so it didn't feel like a commercial project for me. So I have very much been at the outside of industry because I've also been working, you know, like I've got grants from charities or from trusts like British Council or something like that. So I have been working on very personal projects and very almost educational projects, more than commercial projects, more than for advertisements, more than for product designer selling products or anything like that.

{ 21:44 }

But in the world, I mean definitely if you go to countries that have bigger budgets for this sort of thing, they are doing amazing things like the animation studios itself, like Aardman and all these big stop motion studios themselves because they have the facility, they are hired to do commercials and they do brilliant commercials. Like As for a smaller studio like me, I would, I don't think I'll have the capacity to do a commercial with the budget, especially with the kinds of budgets that they might have, like they might have a certain amount of money but it won't make sense with the amount of time it takes. For me, I'll need to get a team, I'll need to get the materials. So in smaller countries, in smaller industries, it's a lot harder to to do it. But it, I don't know. Like, there's a lot of hope because there's so many people are studying animation and going out and it's just about to start booming. I think if everyone sort of works in this proposition, yeah.

Me: { 22:41 }

Have you had any like bad experiences as I can throughout your entire animation? Like creator, career as animator, whatever. You're like bad experiences with like.

Irushi: { 22:52 }

Bad experiences as an animator.

{ 22:56 }

The only thing would be that nobody really understands how type because especially for me as a stop motion animator, people don't understand the time commitment that it takes. Because you're not just doing a 2D sort of animation where you draw and make it move and add the color and the sound it stop motion. There is a whole side of figuring out how to fabricate, figuring out how to physically light your objects and light your set. Then you are filming it frame by frame. Between each frame there's a couple of minutes at least That goes to sort of change whatever you want to change in your subject or in the background or something, yeah. So it's just that that people don't really get the time factor and I feel like they expect a quick delivery on things and that sort of thing. That would be that negative thing, but.

Me: { 23:49 }

So I'm assuming this is more like on a The business aspect, exactly. Where it has to do with clientele

Irushi: { 23:58 }

Yeah, in a personal, personal aspect, I mean, I have had people saying that my public that their children can make puppets the way I make puppets, you know, that sort of thing. Yeah. So that sort of thing has come out. But also if they say that, my reaction is always that's amazing. Get your children to make the puppets. You know, get your children to start doing this. So that sort of thing. Because I don't really go to too much towards making something perfect. And we did try to do something perfect, which was the Minette puppet, that is now that MMCA. So before that puppet we made another puppet made out of like a Barbie Dolls body because we wanted it to be like this. Very petite to be pretty sort of Minette. But for me, I just couldn't like, I couldn't. Is it done or not? The noise? Yeah, no, for that, the minute puppet that we made with the Barbie doll, body just didn't stick.

{ 24:58 }

I just wasn't satisfied with it because I prefer that kind of imperfect, you know, that tells us more about what we really are as human. Yeah, we are not. I don't know, like we are filled with imperfection. And it's sort of really lovely to be able to celebrate that as a very normal thing. So I think that's also what I try to do with, with the puppets being really awkward looking and their bodies being really not perfect bodies. It's just sort of a celebration of human beings are really on blogs, you know, like it's really just, I don't know. For me, that's exciting to explore rather than making something that's very powerful like or very perfect like very smooth and perfect. Yeah, so.

Me: { 25:47 }

Speaking of Minette and I remember you, you had also come around with this architect event with Sumeda and Sumudu and had done a curator role and basically if I'm not mistaken you had said like when Minette was in Sri Lanka there was really little to no semblance

Irushi: { 26:09 }

Of idea of any form of Sri Lankan identity in that like any especially like architecture because it's based from other countries

Me: { 26:19 }

Due to colonialism, so especially what you say in animation in the animation industry we still trying to get like a foothold or what are identities like. So how would you say like what would you say like is the Sri Lankan identity for animation still building and how difficult was it for you to get that?

Irushi: { 26:39 }

Identity okay. So I think with Minette when she went to London and she studied and then she came back after independence she knew was somebody. When you read her writing, she knew exactly what her identity was. She knew how to dress, she knew how to, you know, get peoples attention in a qay.

{ 26:58 }

She knew what was going on in the country, she knew what was going on in the world. She was very politically aware. And when she came back she applied that same sort of confidence into architecture saying we are, yeah, we are now a post independent nation. What does that mean? Right. So when the British were here, what was architecture in in Ceylon when the British left, what is the possibility of architecture? What's architecture that's happening in the country with modernity and what are the other people, what are the artists, what are the film makers doing to make to sort of create this local language of things? And she looked at how to do it through architecture, which was going back to pre colonial times and looking at how architecture happened in our villages and what is our vernacular. So she was very, very confident in that.

{ 27:55 }

And I feel like that is also like an inspiration for me to say we can make a Sri Lankan sort of animation. But what I've seen now is through my like, especially the L6, the first, let's say the first interaction I had with the students, it's just one student who is doing a Sri Lankan themed kind of very no 2. Is it two? Yeah. Two who are set in Colombo are set in Sri, one is set in Colombo, one is set in a village. So the others, all the other students are mainly looking at very, very Western, sort of inspired by Western and also almost set in Western locations. And I have come in a little too late I think to to to make to make that change. But so that was interesting for me. That because I think if somebody, if I didn't realize, I would still be drawing like Quentin Blake, I would still be drawing like these Western books and stuff that I that I looked at.

{ 28:58 }

So there was something I'm not too sure about. But there was this sudden switch that went that went on saying we have our own stories, we don't need to really look outward. So that's what it is. I think Minette is very aware. I am learning how to be aware and I think through my teaching I hope that maybe I'll be able to inspire students also to look at. Yes, there's a lot to learn from outside, but we also have a lot of stories to tell here. We don't really. Let's let's try and look at some of our stories first and then try and tell stories about outside. Yeah, so.

Me: { 29:37 }

That's the topic of Sri Lankan identity as well. Was it? Was it difficult for you to like develop that? Really because as you mentioned before, it did take a bit of time.

{ 29:47 }

And as you are research as well, is it difficult for you to get inspiration especially from like topics about Sri Lanka, about our extensive history and also because we have several taboos as well that we don't really discuss. Easy, isn't it? Like, very daunting for you. But how do you feel when you take on those stories?

Irushi: { 30:06 }

I mean, it's very like it can easily become overwhelming, overwhelming that there's too much to tell. There are too many silenced narratives. There are too many overlooked narratives. How can I tell all these stories? But I think the more productive thing to do is that to say I'm going to look at this very small thing and tell this very small story, and hopefully I'll create a blueprint or a part for someone else who's interested to come. They can pick up another story and tell. So that's how I'm looking at it, because otherwise it's very easy to think I'm not doing enough about the war. I'm not doing enough about the aragalaya. I'm not doing enough about all these families of who have disappeared, people after the war or or the corruption that's going on or ocean pollution or, you know, there are so many things and I'm just one person.

{ 30:58 }

So it's just a matter of, I think, really framing my mind to think I'm going to create a blueprint. I think that is the more productive way of looking at it. And then somebody else adds up to that, and then you just start.

Me: { 31:11 }

More like a web.

Irushi: { 31:12 }

Exactly, yeah.

Me: { 31:15 }

So, so another thing which is so like your first project was the about the 83 riots. So as first because when you thought it as like a project and then you look today because when you were going through Wikipedia you realized there's a lot of one sided narrative.

Irushi: { 31:28 }

Yeah.

Me: { 31:29 }

When you actually learned about what actually happened, especially from like from like your grandparents or it's like, how was that feeling when you realize what really happened?

Irushi: { 31:38 }

How did that? I mean, for me, I had grown up hearing these stories about 83 from my parents and my grandparents and from not too sure. Lots of people would just talk about the Baldiya incident. That is such a normal thing to go up and go up to a person and say ‘meka mokadda?’ and you know?

{ 31:55 }

And for me, I think the flip there happened. I was doing a research for my I was doing MA like a master's in English. And for one of my assignments, for my master's, we had to look at the Wikipedia page of 83 and to look at who has written this. What are the narratives here? What are the narratives you don’t hear, whose voices are allowed to be heard, whose are silent? And there I was thinking, we have never acknowledged this as Sinhalese people. So that's where the idea of the film came. Let's try and look at it from a sinhalese person's perspective. Are they just going about their day as if nothing happened or are there any, say anyone who was actually part of the violence who wakes up and acknowledges it. So that was sort of the thought process behind 83’. And yeah, yeah, that was that's, that's how that how that came about again. And then that also was, with Sumudu and sumeda about and so we sort of drew and cut out and animated it together on my phone. Yeah, yeah.

{ 32:58 }

Was that the question or that was?

Me: { 33:00 }

The question because I was wondering like what's like because it is like a very horrifying Truth that we don't really talk.

Me: { 33:06 }

About and that it is like and like how you mentioned that it is like a form of your responsibility now you're going to interpret the scene right. So I was wondering like, oh, how did you take it on?

Irushi: { 33:17 }

That's right. Yeah. So it was very much that of what if we flip the narrative rather than saying Sinhalese people killed, Are Sinhalese people regretting it? Or that it happened? Because it's not. Again, we don't discuss it in a educational context. It's only artists who, if at all, wouldn't talk about it, right in exhibitions and all the time in Saskia, Fernando Gallery has the artist in. But there are a couple of artists who do annually who do exhibitions on 83. Close to July, yeah. And.

Me: { 33:57 }

Like your entire experience as being an animator. How? How do you describe your journey as animated and how it has impacted your personality?

Irushi: { 34:05 }

As well, I think I mean personality wise, I may have become a lot more patient because of how long animation takes. I've also realized that you really need to, and I have done a very bad job of this, but you need to be quite healthy and be quite fit to be an animator because you're on your feet. And I have really disregarded this, but I'm getting back on track or trying to. But you really need to be very fit to be an animator, so that health is important. I think I've realized for anyone, even not a stop motion animated, but for artists in general you overlook that I think.

Irushi: { 34:46 }

What else has it done to my personality? I think by just doing things that I didn't know I was.

Me: { 34:52 }

Able to.

Irushi: { 34:53 }

Do that has given me this confidence of even thinking like last year I wanted to apply for the scholarship and study animation and even that thought of I can do this. I'm quite late in my life to study go out for Masters but I still want to do it and I can do it. I think that Go getter sort of personality also has come by by this sort of animation so.

Me: { 35:18 }

It's like never too late.

Irushi: { 35:20 }

Absolutely. It's never too late to try something. I mean because I and also you go into uni, I mean you're studying animation now?

Irushi: { 35:27 }

But in a couple of years you might think that you want to be a musician or you know like who knows? You really you just have to go with the flow. That's another thing I would say. You really have to go to figure out your strengths and where you're needed, find that gap and then you will fit in. And you think, I mean, yeah, you need to be flexible to to to know where you needed, what you good at. And that happens by just putting yourself out there and trying new things, constantly trying new things. Yeah, that's.

{ 35:57 }

So now you're going to take 20 seconds from this, or 30 seconds from this and animate it from the recording.

Me: { 36:03 }

Basically, from the information I gave from me, I have to come up with a new plotline. OK, so it's kind of different because I remember like watching like animator series and like how you take like a little bit of interview, yeah.

Irushi: { 36:15 }

So those interviews were about one hour long and.

Me: { 36:19 }

Two more questions.

Irushi: { 36:20 }

OK.

Me: { 36:21 }

So is there anything, so looking back on your journey as animator, is there anything you would have done differently?

Irushi: { 36:28 }

If I go back on my journey.

Me: { 36:29 }

If you like, look back. Is there anything?

Irushi: { 36:34 }

I mean, the only thing I could possibly say is that I wish I studied animation without studying English, but I don't say that, and I don't believe that because I think that gave me another sort of strength and another skill. I mean, doing a bachelor's in English means reading. I can't even remember how many novels and how many short stories and how many poems each semester each term. And that really shaped the way I look at the world.

{ 37:00 }

Just learning from so many vast kind of areas and vast, like from South Africa to to Nigeria to, you know, Latin America to you read so much that you would for me, I would never have the drive to read all that. If I was doing another discipline to read for enjoyment, I don't think I'll push myself to that extreme. So it is that sort of knowledge about the world. How do different people tell stories about their own communities? How do the languages that they speak shape the stories that they say? So there was a lot of insight from that. So I don't think I'll change. Yeah, I don't think I'll change. Yeah, go back and want to change. If at all. It would be just spending more time researching and learning the basics, the principles, which I could do on my own. It would definitely be that. And I'm still doing that.

{ 37:58 }

You know, whenever I get a chance, I do experiment and try to teach myself something new. But yeah, yeah.

Me: { 38:04 }

Your background in English as well has also contribute to like like you say, like a lot of aspects of being an animator.

Irushi: { 38:11 }

The yeah, I mean a lot of being an artist in general. Like I said, it's this factor of articulating, it's being able to speak effectively to a client. It's being able to like right now I'm doing a project with Peradeniya University and it's again with their veterinary faculty. So they want to do something based on antibiotic resistance at a very scientific sort of topic. But even that for me to be able to do research and I need to create a book, a comic, I think, yeah. So I mean that is the English background coming to say I can read up, I can do my research and I can write a story, I can write an effective story is again with that confidence of the literature background. So it's it's really a mix of, yeah.

Me: { 39:00 }

So, so like you gave a lot of inspirations, different stories you hear or is it?

Irushi: { 39:09 }

The inspiration for.

Me: { 39:10 }

To create an animation.

Irushi: { 39:14 }

It's from all over. It could be things I have watched. It could be conversations I've had with people. Yeah, to create the films that I create. Where does the inspiration come from? It's really a lot of stuff. It's so many things It could be really. And I mean, I remember there was very random newspaper article on the Guardian about this Chinese zoo. People had complained saying that the bears don't look like the real bears and that they're people in costumes. And this is a newspaper headline. Did you see this? So I was thinking this is a film, you know, like that it's a zoo.

{ 39:59 }

People believe it's a zoo, but actually they're not real animals. So, you know, it's just the most random thing that would give inspiration. And it's so many things like that I'll just I have a note on my phone called Idea Box, and I just list down whenever something randomly that comes, I'm like, Oh my gosh, this has to be someday it has to turn into a film or a book called a story or something. And it's now a huge note it's taking up and out of my phone. So it's so many things.

Me: { 40:26 }

So when did you start with the idea box?

Irushi: { 40:29 }

Box. I have had several. I mean, I've always had a sketchbook, so it goes down there, but the most recent version is this idea box that started about two years ago. Yeah. So that's where that the inspiration goes. And then not that I even open it up, it just goes there so that I know that's there. Usually the projects that I take up are something completely unrelated to the idea box, but it's just sort of calming to know that it's recorded somewhere and I won't just forget to. Yeah, exactly. Yeah.

Me: { 41:03 }

So is there any advice you would tell your past self as you were starting this career?

Irushi: { 41:11 }

It would be maybe not to be scared to ask for help and not be scared to work with others. Because you know when you're an artist you also have the sense of perfection and you want to control a project. When you collaborate, you have to let go of that control. So it would be that to collaborate much sooner. I hadn't done that. I started in 2020? 2019 when I started animating. I mean this thing also to an extent to the 83 also to an extent, but if I started much sooner, I would have been doing much more meaningful community based projects that impacted the community more. I would have started it much earlier.

{ 41:53 }

So yeah, to sort of let go of that control and perfection and to work more with others, yeah, that would be it. You know, if you want to, how are you going to go about audio for this? Are you going to be narrating it?

--- End of transcript ---

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anger-ey · 9 months

Text

Angerey's ultimate Fmodel NSR Tutorial!!! (Audio)

Okay, let's DO THIS...... (model and texture tut link at bottom of page)

Let's start off with where the different types are located.

Go to NoStraightRoads > WwiseAudio.

Let's start with BGM.

Go on the next tab (labelled 836 Packages)

Scroll ALL THE WAY DOWN, until you find these files

You can open either one of them, they both will result in this panel.

Now, here is a guide to how the naming works, if you want to find something specific. For starters, the ID is the number for the file. It's totally random. The Short Name is what we will be using to look up specific tracks.

Using this track as an example, the naming convetion goes: 2sdiva: the boss fight (in this case, Eve) p2: the phase of the boss fight (in this case, phase 2) backing: the layer of the song playing (in this case, the backing track) base: the version of the song playing (in this case, the base theme) to locate it, copy/paste the ID into the search bar

Now you can listen to it! And while you're listening, Fmodel has automatically downloaded the track in your computer. To find it, go to C:\Users\[name]\Documents\FModel\Output\Exports\NoStraightRoads\Content\WwiseAudio\Windows

Right there! You can either name it by copy pasting the short name, or just name it whatever. It's up to you.

Now, for the sound effects and voice overs, they're much more simple. You can just look at the BNK folders. (The reason BGM is a different method is that for some reason, it will only play the first second of a track instead of the whole thing, so you need to manually look for it.)

We'll be using SFX for this example, but VOs work the same way.

DK West's SFX will be the example this time. First, extract the text file (you'll need this if you want to look up a specific sound) by exporting it as a UAsset

It'll be in the same location as the Eve example I showed earlier.

Now it gets a little bit complicated, but bare with me. Open the .txt file, but scroll down to IN MEMORY AUDIO ID

These are the REAL IDs, not the ones above.

Lets say I want a sfx of DK West walking.

It looks like the ID is 100389649.

Lets' go back to Fmodel, and open the DK West BNK file, the one above the TXT

Open the mini-player by double clicking the BNK

And lastly, pase the ID in the search bar, and press "save" on the result

You can choose to export it here, or put it in your own file, whatever works for you!

There's also the option of downloading a whole BNK and listening through all of them, if you're not sure which one it is specifically.

Finally, if you just want one track and you REALLY don't want to do all of this, you can look at my google drive files! They're all labelled and organized for simplicity.

https://drive.google.com/drive/folders/12PSANnUf4nOztGCMTbH3s0ZEdZNDoxMD?usp=sharing

Unfortunately, I don't have a drive file for SFX, but I'm willing to make one!

That's all! Hope my tutorial was helpful!

Model + Texture tutorial here!

#no straight roads #nsr #angerey game stuff #fmodel

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profblahson · 1 year

Text

Boy oh BOY did the depression hit hard this morning, and I'm still kind of reeling from it

Personal rant below the cut, it's kind of long

TL;DR: Anyway, I'm tired of feeling like I have no control, I'm tired of feeling like I should be in a better place than I am, I'm tired of these doomsday feelings,...I'm just so, so tired.

I really, really did not want to go to work today.

If you don't know me, Hi, I'm Prof, I Was a music teacher for five years in the California Public School System, during which time I experienced

A teacher strike within my first month teaching on my own

Flood evacuations

Fires threatening my family

Active shooter lockdowns

Two more strike threats

Covid shutting things down

Covid keeping things shut down

Covid cutting my program and cutting me out of my chosen career path

So now I work for USPS as a letter carrier because, I needing something different, to re-asses "Is teaching what I want to do?", and it paid more than most other random jobs I could get.

Turns out, the answer is Yes, I do want to go back to teaching, and now I am trying to get things moving to go back to school to pursue a Master's in Conducting.

But holy shit while I'm working right now I'm so fucking tired. I feel like I haven't had control over my life for nearly a decade at this point.

Today, it hit me hard how little respect I feel from the people who make decisions above me. It happened in schools; it's happening here, too.

I am fucking good at this stupid job. I have had multiple postmasters, supervisors, regulars, and other RCAs tell me that I'm good at this job, and that I'd be a good regular, or that they want me in their office, or that I'm efficient and fast.

Do the people who make the decisions care about how good you actually are at the job? No, of course not. This is proven by how this district allows Amazon to walk all over us. They've decided that allowing Amazon to drop their shit off at one office instead of three is totally fine, never mind the fact that they're impacting the space of this office, never mind carriers are having to drive twenty minutes one way to Not Their Office to deliver another twenty minute drive away, to drive BACK to drop equipment off....

The only thing the people who make decisions about this job care about is how much of their bullshit you can put up with. I'm starting to lose my patience with it.

I'm *this* close to converting to regular status, and having a Minor Sense of Control over my life again. But god damn, my brain likes to doomsday and think about all the ways that even what I feel like I honestly deserve will be stripped away again.

Anyway, I'm tired of feeling like I have no control, I'm tired of feeling like I should be in a better place than I am, I'm tired of these doomsday feelings,...I'm just so, so tired.

#profblogson #personal #mental health #rant #depression #i'm so tired

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ofprincessesandqueens · 3 years

Note

Agreed. The Sussexes want to have their cake and eat it too as usual. They only get attention when they talk shit about the brf so they're making a career out of it but they also need the royal link and clout cos that's their only usp and they can't be seen as bullying a 95 yo popular monarch.

They're trying to sell themselves as progressive (lol) royals forced to flee for their lives for trying to ̶m̶o̶n̶e̶t̶i̶z̶e̶ modernize an archaic, oppressive and toxic institution run by out of touch white men.

I'd be pissed off too if I were Liz. They're trying to undermine her life's work while using her for clout and fronting a close and warm relationship by hijacking her personal nickname.

Harry is despicable and such an ingrate for doing this to his family and an institution that he owes everything to. And in a vulnerable time for the family no less. Has he always resented his family this much? And for what? Or is he just such an absolutely entitled and callous brat that he thinks this is all justified for saying no to him? Smh

Yep. They need the feud because it's the only thing about them that people is invested in, but they can't directly attack the queen because 1. she is much more popular than them and 2. dragging a 95 year old is not a good look. So they try to make it look like they are close (which would give them credibility) and it would still give them room to attack the rest.

That being said, separating the queen from the institution is not subtainable in the long run. She is the head of the institution and it's her responsability. If you say the institution is racist, they denied your son a title and security because of his skin colour and because of that you struggled with mental health; then it reflects badly on her. Acting like she has no part in what happens in her own house is ridiculous. Look at the reaction from their stans to the name, they don't get it, and when I saw the announcement in the news, the feeling was confussion aswell.

I totally understand why she briefed the press. They are trying to use her against her own family and the institution she represents, and, as always, they are manipulating the truth.

I think Harry always resented them to a degree. Feelings don't come out from nowhere. He resents not being the nº1. He grew up at William's shadow in many senses and I think he took it personally. He was also overprotected in that family, and he was forgiven everytime he did something questionable and I don't think he will ever understand that. I think he has low tolerance to frustration and he behaves like a preteen because he was allowed to remain as one.

#anonymous #anon #ask #it's like when in camilla's article she mentions that harry said that the staff blocked him from meeting with charles and the queen #he doesn't unterstand that they don't want to see him

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forever5hines · 3 years

Text

SHINee Album spreadsheet

so I said I would post this and then I kinda forgot yesterday, but here it is! I used it to help me check which albums I still needed to complete my SHINee collection

I made a list of all album releases of SHINee, both as group and soloist. You can order by release year, artist and indicate if you have it or not. I will give more instructions under the cut for those who want. (the list does not include concert albums or albums from other groups they're involved in such as ToHeart, SuperM and SM The Ballad)

https://drive.google.com/file/d/1XxS-mw-GZ-zi-LYHMT9TX_hisVainAY2/view?usp=sharing

You can open the link and download/ make a copy for yourself from there.

So onto details:

I made drop downs so it is easy to fill in and also if you need to add any in the future you can easily use the lists to add more yourself. If you want to other items such as SuperM, you can add it to the drop down through the data validation setting, select the right column and right click to get to that menu (for Google Sheets)

Column A lists the album or single

Column B is used to refer to any album this release is derived from, repackages, singles that are also part of an album

Column B you can indicate if you have it or not. I have entered 4 options - Yes (This will count towards album bought) - No (This will count towards album to buy) - ordered (This will count towards Albums pending) This is for albums you ordered but haven't received yet so you can have separate visibility for those in case there is confirmation pending - have album of single (this is not counted in the total, I use this if there was a single release of a song on the album but I decided not to buy the single separately)

Column D is year of release, it goes until 2030 at least, after that you will have to update the drop down menu ;)

Column E indicates if it is an album, single or compilation so you can easily sort through the type of releases. you could add concert album as option here (through data validation as explained before)

Column F indicates artist so you can filter on SHINee or any of the members as soloist

Column G lists if the release was Korean or Japanese

Column H I use to track where I bought things. This way I can check up on the order if it is still pending or if I want to buy anything in the future I can check where I found these albums before

Feel free to customise as you see fit but then you at least don't have to repeat my work of adding everything. If you think I missed any releases ( I hope not ) or you have any questions or suggestions others could benefit from, just ask!

#shinee #shinee album sheet #onew #jonghyun #key #minho #taemin

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anime-clickanddrag-geemu · 3 years

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I am genuinely astonished by the sudden influx in followers. I went from 2.5k followers to 2.8k in a day. Literally where did y'all come from?!🤯 Nonetheless, I am happy to have you guys here! Welcome to my blog!❤ time to have multiple milestone events now, fuckkkkk 💀 I'm in the process of working something out, don't worry!

For real though, I would totally appreciate if you could comment or send in a message to tell me how you came across my blog Did you search me up, find me on your dash, did you come from TikTok-- please PLEASE let me know! Heck here's a survey!

Also, I would like to reiterate that I am currently not taking requests so please wait to send them in until they're open! I just have one more darn essay to finish and I'll be fully back here and my other click and drag game blog (the 16+ one).

Again, thank you for all your support! ❤

#nene's psa #milestone survey

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damejanai · 4 years

Text

Dameraji

2020.09.16

S:Probably, when this episode goes on air, it won't be the case anymore but

K: Uh huh

S: But recently, I've had quite many spiritual experiences recently

K: Oh i was scared right there

S: ?

K: I thought you were quitting or something

S: No no no no, why would i do something like that?

K: That scared me, thought you were going to say, 'when this goes on air, i won't be here anymore'

S: Hhahahaha that blew up

K: I was so shocked

S: That's funny, but you know, I often say I see feathers, right? I still see them now and then, but recently, I'm not kidding, crickets keep coming to me. When i'm watching TV at night... well I'm not watching TV but

K: What are you talking about?

S: You know like, my TV is like...that...

K: You are just watching the screen

S: Ah yesyes, that's scary! It's like I'm a psychopath or something!

K: So Soma san you were just watching screen when..

S: When I watch movies at night, there would be the tapping sound on my window, there would be nothing, and after a while i would hear it again.

K: Uh huh

S: And when i open the window, the crickets would be like, 'Let me in!'

K: That's so dramatic

S: I think there is a huge tree near my window, and so there would be tons of them there growing.

K: Ahhh, they would fall nicely at a 45 degree angle

S: And it's easy for them to come in but not go out. I realised that recently, they are not really coming anymore. I was wondering why, and it has been hot recently, so I've not been going into the veranda much. When I went out, I realised that the tree, wasnt there

K: Ehhhhh!??

S: It was totally trimmed, I guess there were tons of complaints coming from other residents about crickets coming into their houses too

K: Would they trim it because of complaints?!

S: It has a very clean haircut now.

K: I don't know if I should probe into it this much but is that tree within the estate?

S: Yes yes , it is, so it comes under their management. And actually I dont miss them at all and, i feel lucky in fact

K: And also it's nothing spiritual at all, just that the bugs are gone

S: Ahahahahaa

----

~About year end times and visiting their parents'~

S: It's hard for me to move around, like my hometown is in Yamanashi

K: Actually my parents home was in tokyo but they have moved to kanagawa actually, so they're like telling me, not to come back

S: Ahahahaa

K: And they got a cat, when I'm allergic to cats. And also since they're in Kanagawa, they might have some resistance to come to Tokyo. So, I can't go back!

S: Are you in contact with them?

K: Ahhh well yes

S: So that was when they told you that, they were getting a cat and stuff, and therefore

K: Telling me not to come back

S: I don't think that's what they think wwww

It's a tough time huh

K: Yes it's a tough family situation

S: Ahahahaaa what's that

K: Why are they going further away though...

S: I actually talked on the phone for 2 hours with my parents, after a long time, they seemed really happy i think. After that I think i heard from my sister that my parents told her about how i called them

K: Ahh

S: I'm usually the kind that doesnt contact people. So i guess this situation sort of makes us try to keep in contact. So not all's bad

K: I see, when i go back home, I'm like doing a radio show alone for 2 hours

S: Ahahahaaha

K: When i go home, I talk non stop, for like 1 hour and we laugh and laugh and then I'll be, 'Okay, I'm off'

S: Ahahahaa you're providing them one slot of entertainment

K: I'd be like, 'wasn't it fun?' , 'bye bye'

S: Does your style of talking take after any of your family members?

K: Nope

S: Ah

K: Totally no one. I'm the only one who talks this much

S: Ah, so they're rather quiet, all of them

K: My dad would talk when he's excited but is usually the listener. I don't really understand what my mum says at all

S: wwwww what does that mean?

K: Maybe we're similar?

S: Ahahahhaa

K: My younger sister doesn't ever come out of her room

S: Stop that

K: My elder brother keeps bullying others

S: wwwwww ok but

K: Maybe it's a hybrid, I'm all of those things at times

S: Well but you're nice on the inside

K: Yes I am! So is my family! Hahahaha

S: Haahahha

Q. There are not many events nowadays but it seems like there are many recordings and filmings these days?

K: No?

S: wwwww well in general for voice actors, probably all the recordings that were halted have resumed maybe

K: By recording, what kind of recording do you mean?

S: wwwww what do you mean by what kind?

K: Well there's after recording

S: Ah ah ah, Ok then count it in

K: Ah, okat then Yes, it has increased

S: Ahahahaa

K: Yes, it's great. I don't really have recording for like songs

S: I think ive gotten more reading jobs nowadays, and I've always said i liked reading, but i had one where i had to read out everything myself, it was, really difficult

K: I guess you have to create and ups and downs right, that's tough right

S: And i think, it's not too good if you create too many ups and downs

K: Ahhh, it's difficult to decide when to hold back

S: Yesyesyes. And usually i would read books for leisure and books for work differently.

K: I see

S: And recently I end up thinking a lot when reading, like how should I make it more interesting

K: Ahhh that doesn't sound fun

S: Totally

K: When I have fun doing YouTube, versus when I use some editing methods because I feel it's good for my videos

S: And it goes on for hours, well it happens for radio as well, like 3-4 hours, to be immersed in one story for rhat long, we don't have it that much

K: Uh huh

S: Like... i want to improve my concentrating ability

K: Ahhh that...

S: Well....Kaito kun are there any types of jobs that you have more now

K: Not really... anything... it has been the same

S: So it has really gotten back to normal

K: Yes. I think I've had more free talk sort of gigs now

S: wwwwww

K: So, what do they see me as?

S: Well but you know you are able to do freetalk for 2 hours at your parent's house

K: No no no but well the freetalk at do at my parent's house goes like, 'this and this happened at work, haha, my partner for radio is this sort of person, he's really irritating

S: Wait wait, stop stop, can i rewind?

K: Ok ok ok, so like what i say at my parent's house goes like, 'my partner for radio is really irritating' something like that

S: wwwwwww

K: Hahahaha, just a little

S: You simplified it huh, from just now

K: I don't even remember what i said

S: But Kaito kun is someone who can just talk about something interesting when the time needs to be dragged a little

K: Really?

S: Isn't that so?

K: Freetalk is like... if there's nothing interesting that happened in your daily life, there's nothing to talk about so

S: Yes, that's true

K: So, i only say what comes to mind at that point

S: Yeah yeah

K: So, sometimes i read comments like, 'Kaito kun said this and this some time ago but now he's saying this and this'

S: Uh huh

K: But what i say is different at different times. So, recently I felt the need to accumulate things to talk about

S: Yes, that's also what you thought of due to this increase in free talk related gigs

K: Yes yes

S: And so you're actually

K: I wanted to note down stuff so, use my secret twitter account that I use for ego searching

S: Wait wait, why, why? Just use a notebook or something

K: Well but, I feel like tweeting them

S: Ahahahhaaa I don't get it! Your ego searching account

K: It has 0 followers, is unlocked, and has no interaction with anyone

S: I see I see

K: And I would tweet photos of my animal crossing game for my own keepsake

S: Ahahahaha huh? That's kinda scary

K: So I'm using it in place of a notebook now. My recent note was 'Human nails degenerate too fast, don't they?' They break all the time and it's painful and bloody', and I don't even remember what that was about

S: Oh my god

K: Scary right?

S: Totally scary, Posting animal crossing photos and leading to this is also scary. What's that about human nails?!

K: The fact that it's scary... already becomes a topic

S: I see I see, you noting down things and don't remember anything about it

K: And the fact that the first tweet was something really scary

S: Ahahahhaahaa

K: Hahahaa

S: But it's an account you would like to keep lowkey

K: If it gets circulated due to a bug or something that would be real bad

S: Please be careful!

~ Dame raji photo studio ~

Topic: Please express your favourite 4 word idiom with your body as much as you can

[DOWNLOAD]

Please download from this link:

https://drive.google.com/drive/folders/1Yp5Xdwi4_z03jPajH9BEbL7R02brXk8P?usp=sharing

#dame janai radio #dameraji #saito soma #ishikawa kaito

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genx3791 · 4 years

Text

Here are 51 reasons why Alberta & Saskatchewan would enjoy better lives as citizens of a U.S. state.

1. No more French language

Say goodbye to French on signs, products, government documents. No more French taught in schools. No more being greeted in French when you speak to customer service.

2. Free to travel to sunny states for as long as you want

Want to live in Florida, Arizona, or Maui for a while without raising eyebrows with U.S. border patrol or risk being double-taxed by IRS & CRA?

3. 2nd Amendment rights

The right to bear arms is an inalienable right ingrained in the U.S. Constitution, which can't be taken away. In Constitutional Carry states, you can even carry a concealed firearm without permits or red tape. In Canada, you will just have to watch your family get mowed down by bad guys.

4. Donald Trump

You get the ultimate leader of the people, a non-stop machine who works for you 20hrs a day instead of Trudeau who uses you to fund his vacation. You get an alpha male leader you can be proud of & truely loves his country instead of a sissy.

5. Protection from US military

You get the full protection of the Pentagon and its 1.3 million active duty personnel.

6. Safety of US dollar

You'll be earning US dollars which are the world's stable, standard currency and a safe haven of investment.

7. 1st Amendment

The right to free speech is ingrained in the U.S. Constitution. You are free to speak your mind without being fined or jailed for offending people.

8. Benefit from economies of scale

320 million people create a lot more buying power than 35 million. That's why prices of consumer goods and services tend to be better in the U.S. That's also why the U.S. has better infrastructure.

9. Better postal service

USPS is thriving in the digital age while Canada Post is cutting services to stay afloat. Order something cross country and USPS has it to you in 3 days or less at a fraction of the cost of Canada Post.

10. More banking options

You get a multitude of banking options rather than being stuck with Canada's banking oligopoly.

11. More phone & cable plan options

You get more choice of carriers and greater coverage in the States. Plans are usually cheaper as well.

12. More electronics, lower prices

There is so much more competition in the home electronics/appliances industries that it keeps prices lower in the U.S. than in Canada.

13. Cheaper car insurance

Car insurance tends to be about 40-50% lower in the U.S. than in Canada. Again, it's probably due to a larger economy of scale.

14. More famous restaurant franchises

You favorite U.S. restaurant chains will be more eager to operate north of the 49th when they're not faced with Canada's over-regulation of food, language and labor.

15. More affordable air transportation

How come you can fly from Phoenix to Las Vegas for $50 but flying from Calgary to Vancouver (same distance) is $200?

16. Better quality groceries, more choice

While Canada only has two big grocery companies that control 90% of the market, the U.S. has a multitude of options. With greater competition comes better quality and more options. Also, many great food companies in the U.S. won't export to Canada because of the cost of complying with Canada's food and labelling regulations.

17. Don’t pay duties for online shopping

Let's face it, all the good stuff online is shipped from the States. Then it gets dinged for up to 35% by Canada Customs when it comes in. This won't happen when Alberta is a U.S. state.

18. Won’t get made uncompetitive by Carbon Tax

Canada's obsession with climate change has mandated a carbon tax that is about to render its industrial output unable to compete with countries that haven't fallen for this hoax.

19. Won’t get made uncompetitive by new US import taxes

Trump is going to play hardball on trade. When he has leverage, he will use it to the advantage of the USA. He will start making Canada pay for the protection it gets from Uncle Sam, and if Canada won't pay, he'll make it up on increased tariffs.

20. Tougher justice system

The prime minister of Canada doesn't even think terrorists should lose their citizenship. Canada is a very liberal country that is soft on criminals in hopes that they can be rehabilitated. Meanwhile, very bad people are walking our streets.

21. Fewer refugees

Trump is proposing a total, temporary pause on refugees coming into the US until they figure out a way to vet them properly. Canada is simply an open borders country that will invite in as many refugees as it can to prove a point about how liberal it is.

22. Melting Pot, not Salad Bowl

The United States with its melting pot culture encourages immigrants to assimilate into English-speaking American culture. Canada encourages immigrants to maintain the cultural identities and customs of the home countries. This creates a lot of tension and a lack of shared identity in Canadian society.

23. Military industrial complex creates jobs

There is no arguing with the fact that the U.S. military industrial complex, with its world-leading innovation and massive productive capacity generates a tremendous amount of jobs and economic output. Canada's is nearly non-existent by comparison.

24. More diverse economy than Canada’s oil & health

Canada has put all its eggs in the oil and health care industries. This lack of diversity is very risky, as witnessed after the fall of oil prices. All the brightest minds in Canada who aren't working in oil or health move to the States to work in other industries.

25. Get to vote for President, not just watch

No longer will Albertans have to just sit on the sidelines and watch Americans elect the leader of the Free World.

26. Get a national culture & identity (vs “post-national”)

Americans have a strong sense of shared identity, cultural practices and values. Canada's leaders have declared it a "post-national" country, having no single shared identity. This encourages Canadians to stay in their ethnic cliques rather than work together like Americans do.

27. America first vs. globalism

Alberta will become part of America; a country now lead by those who put American priorities ahead of matters abroad. Canada is becoming the last bastion of globalism and makes domestic matters take a back seat to "virtuous" acts of saving people in faraway lands.

28. U.S. conservative values align with Alberta's

Canada's political spectrum is sharply to the left of the United States. The Conservative Party of Canada would be to the left of the Democrats if it was part of the U.S. Alberta keeps voting conservative which means it belongs in a more right-oriented political system like the U.S.

29. No more monarchy

Americans had the balls to evict the Crown 240 years ago, while Canada is still appeasing the Royals.

30. Access to better quality health care

You probably know at least five people who have had to go the the U.S. for serious health procedures. Most affluent Canadians go to the States for procedures. Why would any good doctors want to work in Canada's socialist health care system, when they can live in the States, make more money and work with the best technology?

31. Shorter wait times for operations

No more waiting days in a hospital corridor to get your rupturing appendix removed!

32. Might get an NFL franchise

Sure, you love your CFL teams, but wouldn't it be more exciting if your local franchise was NFL?

33. Help MAGA

You get to apply your energy to making America great again, instead of being trapped in a socialist country where your blood, sweat, and tears (and tax dollars) go to a leftist government that makes terrible decisions which work against you.

34. Be proud of your country again

There has never been a better time to be American. Those who support MAGA are walking with pride as their country is rebuilt, while Albertans walk with hunched shoulders, not proud of the country that mocks and exploits it.

35. Don’t have to feel second class around Americans anymore

You will be a first class, American citizen rather than being teased about being from wimpy Canada, eh?

36. Earning $USD, you can go to BC and shop/vacation in CAD pesos

When Alberta becomes part of the U.S. and Albertans are earning $USD, they will be able to go to BC for cheap cross-border shopping and holidays because the $CAD will be worth less than $0.50 $USD.

37. Elected Senate

You'll get to elect your senators rather than having them appointed by the elites.

38. State that treats you like grown up, not a nanny

Albertans are freedom-loving people. Why should they be over-regulated and talked down to by a government that thinks it knows what's best for its people and treats them like babies? The American society treats you like a grown up by default.

39. No more CBC

No more of your tax dollars going to support the government-backed Canadian Brainwashing Corporation.

40. No more forced CanCon

You will no longer be forced to ingest watered down versions of Netflix, Pandora, iTunes or having to listen to Nickelback, Bieber, or Alanis 50% of the time by law. No more government-funded shows like Little Mosque on the Prairie.

41. No more draining equalization payments

Less of your hard-earned dollars will go to buying beer and cigarettes for unemployed Quebecers.

42. No more government in absentia

The ruling government in Ottawa currently only has 4 MPs from Alberta. Alberta voted conservative and now has almost zero representation in government. This is complete political alienation.

43. Lower corporate tax better for small business

Trump is proposing dropping corporate tax to 10-15%. This will give American small business a major boost and Canada's small businesses will be unable to compete.

44. No longer lagging 8 years behind the US

Isn't it frustrating to have to repeat the same historical mistakes as the U.S., 8 years later? Canada elected its Obama (Trudeau) just on the eve of America rejecting him.

45. Lower gas tax

Gas taxes are lower in the U.S.

46. Lower liquor tax

Liquor is taxed at a lower rate in the U.S., too. Why pay more tax if you don't have to?

47. Won’t be trapped in Canada by a plunging Loonie

When America steps up their economic & trade games to a whole new level, the Loonie is going to be driven down by so much money flowing from Canada to the U.S. This will hurt Canadians' ability to buy vacations, real estate and consumer goods from the US.

48. Your children will have more job opportunities

America's economic diversity, military industrial complex, and world-leading innovation provide orders of magnitude more opportunity than Canada's narrow oil & health focus. By the time your children are old enough to join the workforce, Trump will have made America even stronger with even more opportunities, which will dwarf Canada. With Alberta part of the U.S., your children won't have to leave to get jobs.

49. Your children will have more education options

As U.S. citizens, your children will benefit from having the choice of hundreds of great American colleges and universities where they can make great connections with the leaders of tomorrow, rather than being marginalized nobodies who graduated from some unknown Canadian school.

50. Cheaper to heat your home with no CO2 tax

No more having to choose between heating vs. eating in the frigid winter months.

51. Never be ruled by another Trudeau!

Nothing needs to be said about this one.

Feel free to copy n paste, I did.

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