#and trying to work with our shoestring budget

[sassmill]

Overdraft fees are criminal fuck you

[clearancecreedwatersurvival]

Saw someone say that the wheel of time show has nothing in common with the books and this is. So not correct.

If you want to see what a show looks like when it has nothing to do with the source material, watch Netflix’s take on the witcher. That’s what happens when not only do the people adapting it not care about the source material but the showrunner actually has stated on record that she dislikes the source material. The witcher on Netflix fucked it up so bad that the lead actor, a huge fan of the source material, walked after three seasons. (I have been informed he actually left due to onset conflicts and instances of being misogynistic to his coworkers. Still a bad adaptation but I rescind this point) Pretty sure the entire country of Poland has disavowed this adaptation and the author wants Nothing to do with it.

The wheel of time is the total opposite. It is Extremely clear that the people working on it and the showrunner love the source material.

This production is running off a shoestring budget. Amazon put most of their high fantasy money into the rings of power (and the effects for the volcano eruption). And rather than being given enough seasons to adapt the entire book series, they’ve been given 8. To adapt 14 Extremely long and complicated books. How many named characters are there in the wheel of time?? Over 3000.

They are being given a very short time frame to accomplish a LOT of plot. Of course they’re going to cut stuff. Of course they’re going to combine characters. Season 2 is covering both books II and III! But they are focusing on the arcs of all the major characters and making sure they are set up for all their major character beats, and setting up the power players and institutions that matter in the larger geopolitical conflicts of randland. Sometimes that means making one character have later parts of their own plots sooner than it takes in the books (Moiraine and Mat in particular so far).

There are a lot of people saying it’s a bad adaptation mostly because a. They’ve made any changes from the books at all and b. Too many characters are gay now. Admittedly most of the people complaining about the adaptation having too many gay characters and nonwhite actors are on Reddit, but still. Both of these are of course nonsense. Of course you have to make changes in making Any adaptation of any book but trying to do the wheel of time in 8 seasons is a Herculean task. That’s why RJ made it 14 books, he tried to do it in less and failed cause he was an adhd king.

Rafe and the other writers have their own particular interpretations of characters but they Are interpreting the original work in a way that holds all the core themes. This season in particular is doing a great job so far of establishing the threat of the seanchan and the trauma of when channelers are cut off from the one power, both of which will of course be central focuses of the rest of the narrative for all of our main characters. I’m Really looking forward to the introduction of the Aiel this season as well.

Also if you’re mad there’s so many queer characters Come The Fuck On. Siuaraine is book canon, go reread New Spring. And I think making the polycule an actual polycule instead of a Mormon sisterwife situation is a fucking Brilliant choice. Making polyamory overtly present in the world already with Alanna and her warders is so good! And given they’re already coding Min as bi I have high hopes for Aviendha and Elayne as well (and also Mat, Mat should join the polycule I am crossing my fingers and toes like I know he’s probably gonna marry Tuon still but Come On he deserves to be in the polycule). If there is one thing I trust Rafe and co. to do well with this adaptation it’s the queer stuff.

Like I get it I’m also sad Uno had to die to make the Seanchan look more badass (r.i.p. my favorite foul mouthed bastard). But they have to make changes in the course of adaptation and if your criticism is just ‘they changed something,’ then please look at the holistic context of the changes, and accept that every adaptation of every book will make changes in order to translate the story to film.

[pinkandgreenarepurpleandyellow]

Presenting the project that made me heterophobic:

Yep! I am the dork that painted the masks of our current five boys over the course of three-four days (easier to space than six would be and lets face it, I do not care for kurlzz). I chose the Notes from the Underground masks because I've realized that it's the album that most of my favorite songs thus far come from. I quickly began regretting my decision at the point where I realized exactly how limited my paint options were and how many cool colors I would need. More details for each mask below (going bottom to top).

Danny's mask looks almost nothing like the actual one mostly because I painted the circles first and did not realize the mask was more angular than I initially thought. I also had no gold, so we've got a lovely yellow mixed with tan for the base color. The bullets are rough but also smaller than you'd think and a basic brush set from Michaels does not, as I have learned, have super tiny brushes, so I did the best I could on the casings. I am proud of the fact that I tried to make the rust work as best as I could, and if you look really closely, you can even see the mesh in the eyes (looks a little clearer on the left eye). The smirk is present on the right side and I do think it's decently recognizable.

This one made me cry. Any criticism of the fire around the eyes will be met with the response to suck dick because, to be quite frank, I challenge anyone to do better at 1 am and remain disturbingly proud of them. I'm kinda sad that my green (mixed from blue and yellow, because my budget is two pennies and all previous supplies) dried up early cause I was hoping to get more of the Louis Vuitton-style details, but still pretty damn good. I think the pyramid and the canisters turned out nice. Also, a little bit of a cat-eye shape for the eyeholes and the fire, but that was deliberate and I will not be ashamed of it in my moment of pride (I will undoubtedly feel the shame within five minutes of posting, but that is a problem for future me).

A fun an interesting fact is that this is the second time I've done this particular mask of J3T, and both times I have realized I love doing the butterfly. It's super fun because as long as we get the basic swirls in, it's alright if they don't match length perfectly. The cracks are slightly off because the very first ones were free-handed, but I did my best to get the rest of them proper, and they even work to form the nose. Apparently the orange looks more yellow than I thought.

This one was a welcome relief after crying over the detailing of J-Dog's mask. Again, no metallic colors, so our silver is grey. The little black lines are there to add texture to the edges (as it turns out, none of my brushes added it in a sufficiently noticeable way), and this one looks the cleanest imo.

Last but not least, Charlie's bandanna (sunglasses painted over because, as it turns out, I continue to suck at painting and drawing glasses). The buildings are likely not accurate to the actual picture, but my reference photo did not show the actual city on the bandana so I just did some buildings, a fancy lil' LA and we're calling it an artistic interpretation. Also, check out that S. Coolest S I will ever draw in my life, got it right on the first try.

Anyways sorry that I didn't post this sooner cause I technically finished all of this yesterday evening, I have a flight soon so I am typing this up at 4:30 am at the airport.

(Tagging @vampswillhurtyou and @cutelittlenightmarethings cause both of you said you were interested and I have no idea whether or not this will show up in the main tags.)

Final pic to show what it looks like at a slight distance and with other object to provide scale. Note the paint palette thingy having 3 shades of grey in it because, again, shoestring budget and persistence substitute everything for us.

[promithiae]

our payroll budget is running on a frayed shoestring right now (for various reasons; most of them just being the fact that we're in the lull between summer and holidays) so stuff is like. Not getting done in the shop because we have enough coverage to take care of customers and fill bottles and jars as we go and that's pretty much it. And somehow I've saddled myself with a bunch of overachievers that refuse to leave projects unfinished without working themselves up nearly into a panic attack over it, no matter how many times I tell them that it's 100% absolutely just fine to leave a project unfinished, so long as they write down where they left off on master calendar or in their notes or something. I know that like. Working retail is like a trauma factory, but I'm having the devil of a time undoing what previous employers have inflicted on them. Tips on how to get my tram to be kinder to themselves and grant themselves the grace I'm trying to force on them are welcome.

[hkbfinn]

Developing my own Film Language

I speak a vibrant form of visual African language in my films. I speak a language that is inspired by my ‘African from the Caribbean’ perspective, derived from the beauty of my culture & the wondrousness of our skin tones.

In my culture, a moment to film is fleeting & difficult. This is because, when contrasted with the abundance of need to see great & diverse Black visual arts versus the lack of funding open to many Black film producers, the pressure is on to reflect something not natural to us or not needed of us. We get pressured into performing to standards external to our needs as artists & the needs of our viewers.

I live in a world where many of the mainstream visual productions we see on serial productions, movies & other visual ephemera are based on a culture of excess. They come from a non African perspective that has the power to use incredible funds to create a different visual outcomes.

By that I mean, films that are well funded come from a culture of having so much access to wealth, that for any filmmaker working with less than a £5,000,000 shooting budget, you will be misunderstood if your film does not look like you have money to burn.

Some mainstream productions can afford exotic locations & production conditions with a decent crew to shoot a variety of scenarios that we the viewers have become indoctrinated into seeing (this includes scenes with multiple shots, multiple angles & multiple locations as standard filmmaking techniques).

The indie filmmaker working on a shoestring budget is better off telling his or her story from another position. For me, that is the first perspective I lean on as an African filmmaker.

I focus on the mood & the truth of my scene. I cannot compete with the upper end of filmmaking so I focus (big pun) on my strengths such as my authenticity, creative anonymity & my inherent originality.

One such perspective I use is to employ long scenes in my works. Almost as if I am filming a play. I use a form of visual documentary realism in my fictional works to ensure the Black body (specifically) spends a long time in a fixed position on screen. To some this is boring. To me: it is vital. I want the viewer to enjoy seeing the normalcy, the elegance & the beauty of a Black body existing.

My visual styles are at odds with the perception that European filmmaking standards should be used in African inspired filmmaking. For me, the stylistic approach of using the technique of quick cuts or multiple angles which they do so well is not needed in my films. I prefer something different.

In my films, the African body is not subject to visual styles of other cultures. In my films, the scenes are languid in length, the conversations honest in theme & the lighting natural where possible. I celebrate the art of Black bodies just being. No need to make it full of quick shots to keep it interesting. Just actors existing in a scene trying to express what is needed. I cannot allow my creations to adopt unworkable production techniques when I have so much I can draw on from my own African inspired cultures.

I remember one Christmas afternoon, I was in a village in Nigeria name Ijebu. A beautiful place. Wholly unlike anywhere in the world. I sat as music wafted through the house we were at, the sounds of children laughing at play, the various voices dominating the mood & the light of the fading sun permeating the unpolluted sky. I sat there for a few hours & realised that this is what Black harmony feels like. This is what safety & love feels like. I felt that this had to be translated to film. I felt a need to create a version of this in my stories because moments like these exist in Afro Latin, Afro Caribbean & African cultures worldwide.

This is one of the benefits of being an African filmmaker in this time.

Creating a new visual style outside of the acceptable norms is exciting & is my approach to raising the quality of African Filmmaking during this time…🏵

Created by HKB FiNN

www.justjazzvisuals.com

[rachelbethhines]

60 Years of Doctor Who Anniversary Marathon - Hartnell 1st Review

An Adventure in Space and Time - Biopic

Just in time for the 59th anniversary of the show, the randomizer has graced us with the Doctor Who biopic, An Adventure in Space and Time. Originally made for the 50th anniversary of the show, this dramatization of the series’s beginnings is simply the best thing to come out of the 50th celebration. Oh don’t get me wrong, Day of the Doctor, Night of the Doctor, and The Five(ish) Doctors Reboot are all fun, but none hold a candle to this movie. 

The film tells two separate but connected stories. The first half is mainly dedicated to the actual creation of the show and Variety Lambert’s struggle to be taken seriously by the rest of the BBC. As the first female producer the studio has ever had, trying to get her first project off the ground, Variety faces a lot of push back from people within the studio in addition to the technical problems of making a sci-fi show on a shoestring budget.

I don’t think Variety Lambert gets enough credit within the Doctor Who fandom for just how important she was to the creation of our favorite series. She helped co-create the character of the Doctor, was instrumental in getting the show off the ground and preventing higher-ups from killing it too soon, and was the first and so far only female head producer for the series. She was decades before her time. 

She’s the biggest reason I get so offend by modern male showrunners, like Moffat and Chibnall, trying to pretend they’re more progressive than the literal woman who created the very show they’re working on now!

No backhanded jokes about 60s sexism nor tokenistic casting will ever be more progressive than the real woman working her way through a male dominated field in the 1960s and blazing the way for later female producers. Stop it!

If you can’t tell, I’m very passionate about the subject matter of the first plot but the second arc is no less entertaining, and is perhaps the heart of the movie itself.

The second half of the film is about the lead actor, William Hartnell, struggling with his own personal insecurities as his growing illness makes it increasingly difficult for him to continue on playing the role that he loved so much and helped create.

While Variety’s story concerns the external conflict of the business politics of the entertainment industry and it’s institutionalized bigotry, Hartnell’s subplot is much more interpersonal. It’s about the need to be seen. To make an impact on the world and to have a community to share your experiences with. It’s the tragic realization that life constantly changes and that we all must face our own morality and personal limitations someday.

I can’t gush about this film enough. It’s perfectly cast, expertly shot, masterfully written, and it pulls at your heartstrings in all the right ways. This was a movie made with love, and it shows. Love for the show, a love for the history of the medium, and a love for the people who worked on it.

I highly, highly recommend giving it a watch if you haven't yet. Even if you’re not a Doctor Who fan it still worth your time simply because it’s a well craft film in it’s own right.

[ehomestore]

Revamp Your Home on a Budget: Finding Cheap Laminate Flooring Near You

Trying to create a necessity on the shoestring budget to have a floor replacement at the house? From a sleek modern style to a timeless classic, cheap laminate flooring in the UK can easily match your taste, given that it provides you with flexibility, durability, and, most of all, affordability. And the best part is that getting laminate flooring from the UK is very easy.

Benefits of Cheap Laminate Flooring in the UK

Laminate flooring is a popular choice for many homeowners due to its numerous benefits, including:

Unlike hardwood or tile floors, laminate floors can be much cheaper, which makes laminate flooring the best choice for cost-conscious people.

If you don't wish for cheaper laminate flooring to affect the quality, it won't. It is anti-stain, scratch-resistant, and doesn’t fade, so use this flooring in areas like kitchens and living rooms that see more foot traffic.

One of the most common types of laminate flooring is parquet, and completing the installation can be done simply with the click-lock feature, which saves you both time and money.

Laminate flooring does not need maintenance like polishing or refurbishment like wood flooring. Instead, it is easy to clean and keep them clean. Routine sweeping and time-by-time mopping are the only things keeping the floors looking as clean as the first day.

Finding cheap laminate flooring near you

In your quest to find cheap laminate flooring near me as the next step in searching for the ideal flooring near you, here are some tips to help you in your search:

Firstly, you need to go to the home improvement or hardware store situated near your town. They always stock laminate flooring boards on the list with bigger discounts. The first thing to do should be to ask the assistant how many days are left for the ongoing clearance sale, which is offering more discounts.

Today, due to the Internet Revolution, ordering checkerboard laminate floors online no longer sounds unreal. There will be numerous online stores where you can compare the products and prices before buying the items you need. Also, focus on including both the shipping price and the shipping time in your calculations to avoid situations that might put your budget and delivery dates at risk.

You will have laminate flooring at a discount when you decide to buy from the stores that sell at wholesale prices. This is better when you have an off-season fashion selection. Balancing the budget of a business is a hard process, but you won't hesitate to bargain for a price or request a great discount, especially when you are buying wholesale.

Cheap SPC Flooring as an Alternative

SPC flooring is an alternative to traditional laminate floors, which are comparatively more expensive. Cheap SPC flooring is available for homeowners who are looking for cheaper options without compromising on quality. It works like a laminate but with enhanced water resistance and a longer life span, so it is a perfect selection for those areas that are usually in contact with water.

Conclusion: Shop Top-notch Flooring Products with E-Homestore UK

Finally, E-Homestore UK gives the customer the chance to have first-class flooring products at a reasonable price with exceptional designs to match the customer's style and budget. No matter if you're looking for laminates nearby or searching for cost-effective SPC flooring, either way, we can help. The high-quality, low-cost approach of our brand will enable customers to instantly re-transform their homesteads with new and decent flooring.

[jcmarchi]

Has Web Design Become Too Complex for Freelancers?

New Post has been published on https://thedigitalinsider.com/has-web-design-become-too-complex-for-freelancers/

Has Web Design Become Too Complex for Freelancers?

Web designers take pride in being knowledgeable. We help clients navigate challenges and establish their little corner of the internet. We guide them toward success. Doing so requires experience and know-how.

The industry has worked this way for years. However, the situation feels different these days. The job is now akin to untangling a ball of wires. We keep pulling strands while continually finding new knots.

Building websites is no longer straightforward. There is no shortage of moving parts to manage. Not to mention the related technologies we work with. It’s enough to keep freelancers up at night.

So, how did we get here? And what can we do to bring some sanity back to our lives? Let’s try and sort this out together.

More Powerful Websites Equals More Responsibility

Building a high-functioning website was once limited to enterprise organizations. They had the resources to build from the ground up. The rest of us had to settle for less.

That’s no longer the case. For example, there are now eCommerce solutions for all budgets. A freelancer can put an online store together with off-the-shelf parts.

Tools like WordPress and its ecosystem have closed the gap. The benefits are tangible. A highly functional site is now within everyone’s reach. A whole market has opened up for solo entrepreneurs and small agencies.

However, these tools also place a great deal of responsibility on developers. We now have to consider:

Keeping software up to date;

Security monitoring and remediation;

Interoperability with payment gateways, etc;

Adapting to changes in software;

Accessibility;

Privacy regulations;

Performance;

Customer support and training;

Large organizations have staff dedicated to these tasks. They should also have the budget and expertise to do the job right.

As for freelancers? Well, we must do all or most of it ourselves. All on a shoestring budget.

Looking after a single website is hard enough. Now, multiply that difficulty by the number of sites you manage. The whole thing seems unsustainable.

Website Issues Are More Complicated than Ever

Odds are, you don’t have time for a broken website. But break they do. And their issues tend to be complicated.

Sometimes, it’s a software incompatibility. Perhaps that plugin update isn’t playing nicely with the rest of your site. You may have to work with support staff to find a resolution. That could take days or weeks.

Security issues are even worse. A hacked website can leave you scrambling for answers. And it can easily monopolize your time. There’s also the possible hit to your (and your client’s) reputation.

Then there are unexpected changes to the software we use. Themes and plugins may undergo major revisions that require developer action. From there, it’s about researching and implementing the necessary changes.

Fixing these issues takes time and money. They also place a burden on freelancers and website owners.

How Do We Simplify This Mess?

Maybe the proverbial cat is already out of the bag. Websites are increasingly complex – and they aren’t going back. Clients aren’t likely to ask us to code like it’s 1999.

Having said that, what are some realistic things we can do to simplify? Here are a few possibilities.

Build Websites According to Need

Yes, modern website platforms are complicated. However, web designers should also share some of the blame.

We often reach for these solutions – even when they’re not necessary. The result is an over-engineered site with a lot of moving parts. Seriously, does a small brochure site need a dozen WordPress plugins?

All of these tools are within our reach. So, we use them time and again. Maybe it’s time to do more with less.

The bottom line is thinking about your current and future needs. Build websites that are as lean as possible – with room to grow.

Take Advantage of Automated Tools

We can’t be everywhere at once. However, keeping track of the websites we manage is a full-time job.

Several automated tools can help. We can employ them to monitor security issues, uptime, and performance. They can also apply software updates.

None of this means we should stop checking these items manually. We still have a responsibility to ensure everything’s working.

The idea is to spot issues and get them fixed more quickly. Automation provides an avenue for busy freelancers to do so.

Shift the Burden Where Appropriate

Web designers tend to take responsibility for tasks outside our expertise. Think email deliverability or information technology (IT) issues. It’s a common problem when working with small organizations.

Advising clients on these subjects is one thing. But maintaining them should be their job. Or they should hire specialists to deal with them.

Too often, we are stuck doing more than we should. Clients naturally come to us for answers. However, each task only adds a layer of complexity to our job. Things can get out of hand in a hurry.

Creating boundaries can help. Define your areas of expertise and stick to them. Inform clients on what you can and can’t do.

They’ll have a better understanding of who to call for specific tasks. And you’ll have more time to focus on the things within your niche.

Web Designers Must Adapt to a New Reality

Being a freelance web designer has never been more complicated. There are so many tools, technologies, and best practices to study. Meanwhile, client expectations are through the roof.

All told, it’s getting harder to do our job. Therefore, we must take advantage of anything that helps us simplify.

Perhaps we also need to take a look in the mirror. How are the choices we make impacting our workload? Where can we make improvements?

The old methods of web design no longer work. Not when there is so much ground to cover. We must adapt to the reality in front of us.

Communication should also be a priority. We need to educate clients about the benefits and drawbacks of a given approach. Together, we can choose what’s right for them with an understanding of the consequences.

The key is to find better ways to assess and manage risk. That will help us transition to the next chapter of our industry.

Related Topics

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[zoikomobile]

Dear Students in the UK? Zoiko Mobile Has You Covered! Texting Mum Never Looked So Affordable!

Dear all UK students! We know that balancing lectures, assignments, and a social life can sometimes feel like trying to juggle flaming torches while riding a unicycle. And the last thing you need is the stress of a sky-high phone bill adding to your living woes. That's where Zoiko Mobile steps in to save the day!

We get it – being a student often means living on a shoestring budget. But fear not! Zoiko Mobile is here to offer super affordable go-as-you-pay deals that won't leave you surviving solely on instant noodles. 

Stay connected with friends and family back home, or give Mum and Dad a call to tell them all about your latest adventures in the UK. All in just very soft in your pocket.

Why Zoiko Mobile is Perfect for UK Students?

Jump Start your Savings for Staying Connected on a Budget:

We understand the struggle, which is why we offer competitive rates on calls, texts, and data. With Zoiko Mobile, you can focus on acing your studies, not fretting over your phone bill.

Flexible No-Contract Plans: 

Our no-contract plans on SIM-only deals and buying refurbished phones in the UK give you the freedom to choose what works best for you. Whether you need a short-term solution or a plan for the entire semester, Zoiko Mobile has you covered.

Our no-contract policy allows you to choose a new phone and pay for it throughout your contract.

If you're on a contract plan with your network provider, you may have a variety of data options to choose from that best suit your needs. As a top network provider in the UK, we offer additional benefits and bonuses to our clients who sign up for contract plans, including free international calls in over 80 countries.

Free BEE- Free International Calling Options: 

Missing your family overseas? Zoiko Mobile offers free international calls to over 80 countries on all pay-as-you-go SIM packages. So go ahead, and catch up with loved ones without worrying about racking up extra charges.

Bring Your Phone (BYOP) or Choose a Refurbished Phone in the UK Option: 

Got a trusty old phone you love? Bring it along! Our SIM-only plans work with your existing device. Or if you're in the market for something new, check out our selection of high-quality, affordable refurbished phones in the UK. 

Don't let your phone bill be a burden! Switch to Zoiko Mobile today and start saving. Visit our website to find a plan that fits your student lifestyle perfectly.

[adamwatchesmovies]

Carnival of Souls (1962)

Few films demonstrate that “less is more” better than Carnival of Souls. Consistently eerie and surprisingly frightening, this little horror film was made on a shoestring budget but drips with atmosphere thanks to simple but effective techniques. You’d never guess that it was Herk Harvey’s directorial debut. What's even more shocking is that this was the only film he ever directed.

After miraculously surviving a car accident, Mary Henry (Candace Hilligoss) moves to Salt Lake City to work as a church organist - and get away from her home. There, she has persistent visions of a ghoulish man (played by director Herk Harvey). Try as she might, she is unable to relate with the locals and cannot shake the strange feeling that something in the nearby abandoned pavilion needs to be investigated.

Anyone who has seen Night of the Living Dead will immediately recognize this film’s influence on it. The ghastly man with white skin and dark circles around his eyes is the progenitor of George A. Romero’s flesh-eating ghouls. The dream-like story had an undeniable influence on David Lynch. There are sure to be others who will cite it as a game-changer.

The atmosphere is amplified by the organ score and black-and-white cinematography. Everything we see just… doesn’t feel right. It’s so eerie you’re never sure what to expect next, even if you can foresee the film’s ending. I did not but even if you do, this story is so strange it grips you. Any other movie would spell what’s going on clearly and that would rob what we see of all suspense and unease. By leaving so much to the imagination even at the end, Carnival of Souls infects you with an anxiety you just can’t shake.

This delightfully sophisticated film preys on several fears. The man Mary keeps seeing - the first of many - must be some kind of ghost or lost soul. He eerily resembles a figure in one of the church’s stained glass windows, making you wonder if he isn’t an angel of death coming after “The one that got away”. Whatever he is, it can’t be good, particularly not for Mary, who sees the church as a place where she earns her pay and nothing else. How terrifying it must be for someone who doesn’t believe in anything to suddenly discover that there is a life beyond ours.

Carnival of Souls also examines the fear of the unknown and of being alone, but not in the way you expect. Whatever The Man is or represents, Mary doesn’t want anything to do with him. In a desperate attempt to avoid being alone, she decides to play nice with John (Sidney Berger), the other lodger in the small hotel in which she’s staying. It doesn’t take long for us to see that John is a jerk; one of these overgrown frat boys who will jump onto any opportunity to have a drink and isn’t inclined to take “no” for an answer. The thing is, in a new city where she doesn’t know anyone, he’s the only protection Mary has from the sinister force stalking her. They say the devil you know is better than the one you don’t, but it’s hard to agree when your safety net is this guy.

Because no one can see what Mary sees, she worries that her sanity is slipping away. If there’s one thing worse than going crazy, it’s everyone around you THINKING you’re crazy. What’s particularly striking is that the effects used to bring The Man and his fellow ghouls to unlife are so simple yet so effective. They look just like us except for a few small details, just enough for you to wander close before realizing something is wrong. Once they start moving, there’s no mistaking them for normal people.

Though the film stands on its own, Carnival of Souls becomes much more impressive when you realize it was made for about $33,000. In terms of a movie, that’s nothing - even for 1962. While the illusions on display would be considered crude by today’s standards (though to me they seemed quite convincing and I could not figure out how they did them “back in the day” with so little money) and the performances range from decent to pretty good, what makes this film a triumph is how scary it is. I can just imagine a child watching this, late at night, all alone and having nightmares for months. I'm singling out children because Carnival of Souls would be a great pick to watch on Halloween night with the family; there's no blood, nudity or any other material that might make you want to cover a little one’s eyes… except for those terrifying ghouls. (Extended cut, November 19, 2021)

[hamzamoosakambi]

Hamza Moosa Kambi UK The Art of Guerrilla Marketing for Startups on a Minimal Budget

Innovation is crucial in the fiercely competitive environment of startups, where limited resources often determine a company's conditions of operation. Creative and distinctive marketing techniques like guerrilla marketing have evolved into invaluable assets to startups. Our previous blog, Hamza Moosa Kambi Beyond Equity: Empowering Startups through Revenue-Based Financing, shows how to secure financing for your new startup. This blog will cover the strategies of guerrilla marketing and how entrepreneurs may use these to have an excellent impact on a shoestring budget.

Defining Guerrilla Marketing

Jay Conrad Levinson first coined the phrase "guerrilla marketing" in his book of the same name in the 1980s. This marketing employs creative methods for promoting a product. Guerrilla marketing stands out as it challenges its audience to think outside the proverbial box. The objective is to get maximum value out of as few resources as possible.

The Benefits of Guerrilla Marketing for Startups

Cost-Effective: Guerrilla marketing is an excellent option for businesses on a tight budget. It is more reliant on ingenuity and rigorous work than on financial means. With this method, startups may compete fairly with larger, more established ones.

Memorable Branding: The initial impressions made on consumers by means of guerilla marketing tend to be long-lasting. When implemented well, it could generate interest and foster brand advocacy among buyers, two crucial requirements for emerging companies.

Targeted Marketing: Startups can successfully reach out to specific groups of the population by employing guerilla marketing. Creating one-of-a-kind experiences that people will continue to talk about for years to come is one approach to getting familiar with your target audience on a more profound level.

Flexibility and Innovation: Agile and innovative thinking are trademarks of the entrepreneurial world. This philosophy fits perfectly with the practice of guerilla marketing. It encourages innovation and novel concepts, letting startups react rapidly to developments in the market.

Challenging the status quo

Guerrilla marketing is a prime example of how peculiar methods may be productive in the rapidly changing environment of startups. It pushes new businesses to think beyond their confines and motivates them to do so in order to accomplish their goals. Using guerilla marketing techniques, startups can boost their brand awareness while cultivating a culture of creativity that leads to groundbreaking discoveries and lasting achievements.

Conclusion

There's more to guerilla marketing than just an idea. It's an opportunity for new businesses to interact with their target market in a way that the competitors can't, differentiate themselves via unforgettable brand experiences, and lift the bar for the industry overall. The positive effects of guerilla marketing in terms of brand recognition and customer engagement can be massive. Try guerilla marketing for size and see the extent to which, beyond the norm, your business can go. It might be the spark that your company requires to make itself known in an overcrowded marketplace.

Check out the blog Hamza Moosa Kambi Dubai - Professional Can Solve All Business Development Woes, where in-depth information about the benefits of hiring a business development professional for your business.

[anonymousad]

After reading through your apology, I genuinely think your heart is in the right place. I can imagine, from a consumer standpoint, that seeing these large production budgets essentially being made the audiences' problem is frustrating. But I'd like to at least explain why crowdfunds are the way they are, as someone on "the inside".

I get that your stance is "Capitalism is bad", but that doesn't mean we can ignore it outright. You said on you Shelterwood post "a "fair wage" is a capitalist idea that most don't benefit from", but does that mean people shouldn't be paid at all? Frankly, I disagree.

People deserve to be paid for their labor. Again, it's not fair that the budget has now become the audience's burden, but it's also not fair to say that the concept of a fair wage is bad, full stop. Especially for older content creators, we can't justify time for passion projects on shoestring budgets anymore. We can say capitalism is bad all we want, but while we're living in it, all your favorite content creators still have to play the game.

The money has to come from somewhere. Often, we crowdfund because the usual avenues of making money in podcasting isn't available to us. For what it's worth, how that's solved is a discussion many creators are having now. (This is why you'll likely see an increase in ads across the board, and I hope you have patience for shows that run ads when they happen.)

As I said, I think your heart is in the right place. And yes, there's a discussion that needs to happen regarding crowdfunding and what's realistic to expect from audiences. But I do want to make it clear that us creators aren't pulling these big numbers to swindle anyone out of their money. We just want to keep telling stories, and while we live in capitalism, we are need money to do it.

I don't know if this ask is from the same person, but either way thank you for hearing me out and giving me the benefit of the doubt in terms of my sincerity.

so I think that something that is happening here (which is something that I experience in my real life as a left-leaning person when I try to have these conversations with certain types of people) is that we are getting caught up in whether it's feasible to live within a capitalist system without being agents of it.

we are all victims to it AND victimizers. especially if you live in a "wealthy" nation (by the standards of GDP, not by the standards of how individual citizens are faring). if you shop at a chain grocery store, use Amazon, buy fast fashion, etc etc. a lot of things that are unavoidable to make it by, because doing otherwise is very expensive.

the point being, yes, we all have to survive under capitalism.

but I think where the viewpoint stated by this anon and my own differ is that we are trying to get that money to survive from different places. every content creator across all mediums (YouTubers, musicians, TikTokers, podcasters, etc.) has to figure out how to make it something that they can afford to do. things are not created out of nothing, they take time and effort and talent and MONEY.

where you are getting that money from and how you are distributing it is also really important though.

I am not against the concept of "fair wages", but the idea of this is something that exists in the realm of business. and if you are going to treat a production like a BUSINESS, then you need to actually think about what that means. a business needs to be able to support itself financially through the product it makes or service it provides. the problem is that within the context of audio drama that does not really exist as a path, it only works AFTER you have put in the un/underpaid labor to build a base of supporters.

obviously we don't really charge people to get to listen to podcasts, that doesn't work in our space unless you already have a massive base of support willing to trust blindly that it will be worth it. we kind of get around that through Patreon and Ko-fi by creators providing exclusive content, something much more akin to how a business operates. there are also now the "+" style subscriptions that some networks and apps like Apollo have started, but to me those are very similar in that they are basically aggregating the same content that people are posting to their Patreons in an attempt to be a more enticing proposition than supporting a single creator.

your podcast CAN'T be treated like a business until there is a sustainable way to support it like one, and crowdfunding just isn't going to be that.

we still need to think about what can be sustainable for the community, a point I made that you didn't really acknowledge here. crowdfunding cannot be a sustainable method in these high amounts, it is literally impossible. with campaigns this size every month, sometimes multiple at once, where is that money supposed to come from sustainably? especially in the context I've been pointing out about how people are struggling right now, something you can't ignore when the contributors to these kinds of campaigns are average people.

at that point what you are actually looking for is an investor, a very common business practice for a start-up. which is what these campaigns are basically attempting to be, so it is a logical method of getting the funds. especially when what is apparently needed is this high.

so, we need to be looking at who does have the money and would be willing to contribute to the types of things we make; groups that have the resources and connections needed to help these kinds of larger scale projects succeed.

and wouldn't you know it, there's a very obvious solution to this one problem: podcast networks.

podcast networks are a middleman in the space, seemingly collecting money with the only benefit being minimal promotion and advertising help, and of course slapping a recognizable name on there that maybe attracts a few more listeners because it has "network backing". what services are they providing with that money they are taking? it should be argued that if you are essentially paying part of your revenue to a network that they are using it substantially to help support your endeavors. I have not seen this level of support from any of them.

the closest we've gotten to this is when the Apollo app gave $10,000 to some creators last year to make something completely original and unique (for example, Ester Ellis, creator of Station Blue and The Goblet Wire, was able to create something completely unique and out of the box with Whale Song). to be honest, that obvious ploy to get into the community's good graces is more than any of the actual networks have done. it doesn't really matter that it was a calculated business decision that would benefit them, it also benefited US as creators.

making deals with a network or outside funder is ACTUALLY "playing the game" of capitalism, getting it from individuals as part of an unsustainable crowdfunding campaign is not.

and again, it really matters that these resources are being EQUITABLY spread, but that is another conversation to be had if/when these things start existing for people to take advantage of.

additionally, it is worth pointing out that there are cities/states/countries that offer artistic grants. if your project needs major funding it is part of your due diligence to look into these things as potentially avenues. ignoring these opportunities is honestly negligent and disrespectful to fans who want to see the show get made by putting the entire burden of the cost on them.

you also mentioned advertisements, something that is an annoying but everyday part of our consumer society. for a lot of content creators I know it is the ONLY way to make money (note: I include sponsorship deals within the banner of advertising personally) and I do not begrudge them that because it's just how this shit works. yeah we all dislike getting interrupted by an ad, even between distinct episodes, but I don't think anyone should get upset at that stuff unless it's truly egregious (something like 3 minutes of ads for 5 minutes of actual content is just being shitty about the value of people's time).

this is actually an example of the right type of revenue stream to be chasing. residuals and passive income are important parts of making a business sustainable, especially a content creation business where the "product" is freely available. that is literally what ads were made for, it's how network TV makes money too. no, I don't think that this alone can sustain the costs of a production team, but I do think that it's things like this that need to be where the thought and energy goes when looking for ways to supplement it. hence the popularity of monthly support options, merch, sponsorships, etc.

I would also like to point out I am also an audio drama creator, I've been very open about that. whenever I get an idea for a new project or even just making my current ones happen I am also having to ask and deal with these questions of money. and I readily admit it isn't easy, money and compensation for non-tangible services and goods is not straightforward.

but that's why I make it a priority to work within my bounds while I figure it out. my first endeavor did not include asking for more money than some people make in a year, it was me investing in a microphone and asking people if they were interested in taking part even though it wasn't paid. I figured out how to make it work by using Freesound and Audacity and spending hours googling when I desperately needed one super specific thing. I recognized that 1) it was not something I could afford to spend money at the time, 2) I had not proven myself to the community such that I would feel right asking for money without any indication of the quality of product they would be receiving, and 3) that creative budgeting was always going to have to be part of how I did this.

I know the term "creative budgeting" may not be familiar to all kinds of people, but it is pretty much exactly what it sounds like. it's something that people have to do every day to pay their bills and buy groceries and keep their businesses afloat.

asking others to pay me a business-adjacent "fair wage" for an unprovable possible product is not being responsible with funds. there are a lot of resources available that can help ease costs and get rid of the less necessary expenses, and that is part of successfully allocating funds for any kind of project.

one last thing I want to address on here:

you talk about older people not having the benefit of passion projects. while I can empathize with what you are saying, this is kind of an ageist and ableist take and I want to address it so that you can have a better understanding of why it's problematic.

first of all, I think it's fair to say that everyone is financially struggling right now. it is a privilege to even have the time and energy to create instead of having to spend every ounce of yourself just surviving, one I recognize that I personally have.

we're at a stage where identifying as an "older content creator" might just mean "Millennial", and yeah that generation has suffered a lot financially due to Gen X and Boomers. but so has everyone born after them, it is no longer a uniquely Millennial problem to have money trouble. I know plenty of people in this age group who are tight financially, but not so tight that they are actively in danger. and I know people in that group who are barely scraping together enough to eat and keep a roof over their head.

I can say the exact same thing about Gen Z. if anything, Millennials have the benefit of the hardest times hitting AFTER getting degrees and those vital first jobs that create the lucrative "job experience" that every application after will be looking for. it's nearly impossible for some younger people to land "entry level" these days.

I'm really discussing a larger issue here, but by bringing up the difference in age as a contributing factor, it somewhat feels like you are saying that you are more worthy of those types of contributions and investments because of age. which is the kind of language we all grew up hearing from our parents and from policymakers and eventually from our bosses. it's an unhelpful stance to take when all of us are more or less in the same shitty situation.

the longer I've lived the more clear it's become that these generational divides from Millennial downward have been very intentionally placed to try and make us alienated from one another. I am somewhere in that vast swathe and that's how I identify; as part of the generations who were screwed. it doesn't matter which one, when you were born at this point only has an impact on how long you've already suffered, not how long you are going to.

which is fucking bleak, yeah. but an important reminder that solidarity is important in all things, especially when it comes to the arts and expression.

your age doesn't give you more of a right to be exploitative. that is not an accusation towards anyone, it's more of a general statement about the ways in which we let a lot of the older generations who have power get away with abusing everyone beneath them.

to much more briefly touch on why it is an ableist statement, I'm just going to point out that there are lot of factors that can impact someone's life regardless of age and make things more difficult for them. I know there is a lot of neurodivergence in the community, which can be disabling for some. I also know that there are some physically disabled creators who have talked about difficulties and barriers that people twice their age haven't had to deal with. it's something that I understand can be easy to forget if you aren't faced with it every day, I do not blame people for that. but that's why I think it is important to point out here so that eventually it will be something that everyone considers.

lastly, a couple of small notes that didn't fit in anywhere above, but I wanted to include

it is worth pointing out here that it is a privilege to be able to pay someone at all, one that a lot of projects don't have the luxury of. I don't think that's right, but it is a reality of making art.

"swindling" may be a harsh word for what I think is happening with these campaigns. I certainly think it is inequitably pulling resources towards individuals, but I don't believe that people are literally getting scammed

that's all I've got on this one, thanks for sticking with me and I HOPE we can spur some more conversations from this. namely, if you are part of a network you should ask them what they do to provide support for the community. make them sweat a little bit, it might benefit us all.

[jafarnajaf]

Can watching movies that inspire you to make more money encourage you to make money? You bet it can! Movies are a powerful medium that can influence our emotions and thought processes. A well-made movie can change how we think about the world and ourselves. We all also know that movies can be a great source of inspiration. They can make us laugh, cry, and feel many other emotions. But you may not know that they can inspire us to make more money. There are plenty of movies out there that can inspire you to make more money. Whether it's the rags-to-riches story of someone who started with nothing and became a millionaire, or the tale of a person who overcame great odds to achieve financial success, these films can provide the motivation you want to reach your own financial goals. When it comes to making money, some people seem to have a natural talent for it. They can begin a business on a shoestring budget and turn it into a profitable enterprise. Others struggle to make ends meet, no matter how hard they try. If you want to be one of the latter group, starting watching movies is the best way to inspire you to make more money. Certain movies have a powerful impact on viewers regarding themes of money and success. These films can be motivating, informative, and even life-changing. So, if you're looking for a bit of inspiration to help you make more money, check out some of the movies we have listed below. These movies contain valuable lessons on succeeding in business and achieving financial independence. So grab some popcorn and be ready for a wealth of knowledge! Boiler Room (2000) – Thriller Boiler Room is a movie about investments. After dropping out of college, a man uses cold-calling as a means to turn his illegal casino into what appears to be a legal investment business. A group of young adults working at a small brokerage firm in New York City lives a life of luxury by scamming investors out of millions of dollars. This movie is an eye-opening look into the world of illegal activity in the stock market. It also teaches some precious lessons about the dangers of getting too caught up in the quest for money. This movie is based on a real story and is a must-watch for anyone interested in making money in the stock market. Glengarry Glen Ross (1992) – Drama A world of sales is depicted in this film. It follows the lives of four men struggling to keep their jobs at a failing real estate company. Salespeople are constantly under pressure to make sales, or they will be fired. This puts a lot of strain on them, and sometimes we see how far individuals are willing to go to earn money. The men will do anything to close deals and make commissions. This movie is an excellent example of how cutthroat the sales world can be. It also teaches some critical lessons about ethics in business. This is a beautiful film about making money. Wall Street (1987) – Thriller This movie is set in the world of finance. It follows the story of a young stockbroker caught up in insider trading. He makes a lot of money by illegal means and lives a life of luxury. This film is a great cautionary tale about the dangers of breaking the law to make money. Wall Street is a movie that demonstrates how greed can impact people. It also teaches some vital lessons about the importance of being honest and ethical in business. This is a must-watch film for anyone interested in making money in the financial world. The Pursuit of Happyness (2006) – Drama There is a true story behind this film. It follows the life of Chris Gardner, a man who goes from being homeless to becoming a successful stockbroker. Chris struggles to make ends meet and provide for his young son. The movie follows his journey as he tries to become a stockbroker after seeing someone driving a sports car and asking him how he did it. This desire leads him down a difficult path, but one that is ultimately full of hope and possibility. No matter his challenges, he never loses sight of his dream.

This movie is an inspiring tale of hope and determination. It teaches some valuable lessons about being resilient in the face of adversity. Office Space (1999) – Comedy Office Space is a movie that depicts the uneventful lives of people who work at a software company. They're unhappy in their jobs and are afraid of losing their employment. Things change for him when Peter Gibbons receives a promotion due to his increased carelessness and lack of concern. His pals come up with an idea to assist him. The result of the movie is a series of funny and unlucky events in the company. Although this movie is set in an office, it has some important lessons about work and money. It teaches us to be careful about the decisions we make in our careers. It also shows how greed can lead to terrible consequences. The Color of Money (1996) – Drama The Hustler was a classic film, and this movie is its sequel. The story features Paul Newman as an experienced pool hustler who mentors a younger protégé. Even though the protégé is naturally gifted, they lack Newman's ambition and drive. This creates conflicts between them and triumphs as they travel throughout America, conning people in various pool halls. This film is an excellent example of how age and experience can be an advantage in making money. It also teaches some important lessons about mentorship and the importance of passing on knowledge to the next generation. The Color of Money is an excellent film for anyone interested in making money in any field. Ocean's Eleven (2001) – Crime Thriller This movie follows a group of criminals who attempt to rob three casinos in Las Vegas simultaneously. Throughout the movie, there are many twists and turns as the group tries to carry out its mission. It's a great example of how people with different skills can come together to achieve a common goal. This film is ideal for anyone interested in making money through illegal means. It also teaches some essential lessons about planning and teamwork. Must watch for anyone who wants to be inspired to make more money. Trading Places (1983) – Comedy The film tells the story of two different people whose lives cross paths. One is from a wealthy family, and the other is from a poor background. They're put through several trials to see how they would do in each others' shoes. In the end, they both end up making a lot of money. This movie is excellent for anyone who wants to learn about the importance of social mobility. Trading Places is the perfect film if you're in the mood for a laugh. It tells the story of two people who switch lives, and hilarity ensues. The acting and plot are top-notch, making this a true classic comedy. Scarface (1983) – Crime Drama Scarface tells the story of Tony Montana, a Cuban refugee who arrives in Miami with nothing. In a short time, he becomes involved in the drug trade and earns a lot of money. However, his newfound wealth comes at a cost. As a result, he descends into a life of crime and violence. This film is more than just a money-making venture. It also teaches you how to charm people and win their friendship. Scarface is the perfect film to learn about the dark side of making money. It's a gritty and realistic portrayal of the criminal underworld. The Wolf of Wall Street (2013) – Black Comedy It is based on the true story of Jordan Belfort, a stockbroker who made his fortune illegally. The movie follows his rise to power and eventual fall from grace. It's an excellent film for anyone interested in making money through shady business deals. The Wolf of Wall Street is also a great black comedy. It's full of dark humor and biting wit. In case you're looking for something to make you laugh and think, this movie will do the trick. Joy (2015) – Drama Joy is the story of a woman who starts her own business. Jennifer Lawrence's success in her movie career teaches a valuable lesson about business. You should put your best foot forward whenever you are passionate about something.

She faces many challenges along the way, but she perseveres and eventually becomes a success. This film is ideal for anyone who wants to be inspired to start their own business. Joy is an excellent example of how determination and hard work can pay off. Joy is a perfect choice if you're looking for a feel-good movie about making it against all odds. Jerry Maguire (1996) – Drama Jerry Maguire is a sports agent who has an ethical crisis. He decides to start his own agency but quickly discovers that it's not as easy as it seems. The movie follows his struggle to build his business and make it successful. In the film, you can see how important it is for people to care about who you are rather than simply how much money you may bring. In the movie, you can observe the distinction between a well-liked firm and a successful one. The Jerry Maguire film focuses on self-discovery. As an entrepreneur, Jerry understands that money is required in business, but he begins to grasp that relationships with others are more vital than material possessions. Final words Why do you think movies about making money are so popular? Movies are a great way to escape the doldrums of everyday life, but they can also be a source of inspiration. Movies can teach us valuable lessons like how to make more money. They can also show us the darker side of greed and what can happen when we're too focused on creating a quick buck. So, put on your thinking caps and get to work. These money-making movies will simultaneously motivate, educate, and entertain you. And who knows? Maybe after watching a few of them, you'll be raking in the big bucks yourself! Do you have any favorite movies about making money that stuck with you? What are your thoughts? We would love to hear from you! FAQ's

[gibsonmusicart]

Music Industry Sharks - How to Uncover the Unscrupulous Many in the Music Business

by Ken Cavalier

There are a ton of people out there claiming to be music marketing experts, music publicity experts, and social media experts. Yep - Literally thousands upon thousands. When it comes to marketing and publicizing your music, you have a wide variety of good choices. RIGHT? Wrong - tons of choices - yes, but how many of them are truly worth their salt? Not Many!

For some reason, unscrupulous "music-want to-bees" prey on musicians - I don't know why, maybe they think they are an easy soft touch. Maybe they don't like musicians or worse yet - don't like music. (WOW) A lot of these folks are or were musicians themselves, or maybe an intern somewhere in the music business, or actually love music. They believe this gives them the right to proclaim themselves a music marketing expert, or worse yet, a music publicist which takes many years of music industry experience and the accumulation of thousands of music media contacts, and further, advertise the best possible product or service that will accelerate your music career.

Well here is what I have to say about that: I've been a musician myself -- albeit a long time ago, back then, there were still much music industry scam artists. I've experienced the deep pain of being screwed by unscrupulous people claiming to be my savior in the music business. The Internet and the leveling of the independent music playing field has opened up a huge amount of opportunities for these sharks and scam artists to work their game. The only way my band became successful was sheer luck - we found the right honest people.

Here is a checklist to seriously consider when choosing your ultimate publicist or marketing service:

Check their credentials - And follow this checklist

Do they have a creditable online presence?

Do they have hundreds of testimonials? Or, as I like to call them, TESTIMONIALS - Check their references!

How many "HONEST" years of experience do they have? Verify this

Have they written hundreds of articles about music marketing?

Do they belong to a high-profile music industry organizations?

Does the prospective marketer or publicist answer all of your questions

or do they subtly evade them?

Will they tell you who and where they will be promoting your music with?

i.e. their music media affiliations - or do they tell you to wait and see?

Have you seen proven samples of their work?

Will they give you what they are promising in writing?

Before you make a choice, consider -

INTEGRITY - HONESTY - TRANSPARENCY

Aside from doing great work that actually helps you with your career, these are probably the three most important elements to consider

If any or all of the above credential checks are not in the positive category ---

BEWARE, YOU MIGHT BE BEING SCAMMED

Being fortunate enough to uncover the right people for our project way back then, I'm not saying that it's impossible to do so. I'm just saying that it is so incredibly important, these days especially, to do your homework and due diligence before you shell out your hard-earned cash. Most indie musicians are on a shoestring budget and every penny means something to them. Take the time to possibly confer with a creditable music industry consultant. Most will be able to recognize a scam when they see it.

So, to all you unscrupulous sharks out there waiting to swoop down on the next unsuspecting musician, sorry about writing this article - but you need to be exposed. Therefore, I am not really sorry. It's people like you that give the music business, honest publicists and music marketers a bad name. Shame on you! I love my Indies and all musicians and artists, and it hurts to see them taken advantage of. Try another niche' - maybe people who need marketing help in selling rockets or industrial products and services. BUT - Leave Our Music Niche' Alone!!

Ken Cavalier is a 35-year veteran of the music industry. Beginning his career as a recording & performing artist signed to Warner Bros Records™, he now works in the industry as a music marketing consultant and publicist for independent artists. His passion for indie musicians is his cornerstone. You can find more information about Ken and his company Allure Media Entertainment Group at http://www.IndieMusicPublicity.com

Article Source: EzineArticles.com

[justsomeantifas]

This is a really interesting article, and it has an incredibly relevant portion about the senate race in Kentucky with Mitch McConnell and Amy McGrath that I think speaks to how the Democratic strategy of pivoting to centrism worked out for them:

Earlier this year McGrath beat her primary challenger, a leftwing insurgent from inner city Louisville named Charles Booker, a member of the state’s lower chambers who ran on policies such as Medicare 4 All and a Green New Deal. Booker championed these policies under a vision he called “Hood to the Holler,” which tied together the state’s urban and rural areas under the shared fight against a common exploitation. It was inspiring, and it was dangerous, and it had to be defeated. Booker’s shoestring budget operation couldn’t compete with the millions of dollars flowing into the McGrath campaign, nor could it compete with Chuck Schumer and the DSCC’s endorsements of McGrath, and so he wound up surging too late. Our fighter pilot barely squeaked by, and now she faces McConnell, who is sure to win.

Note several relevant points here: 1) McGrath’s primary challenger, Charles Booker, campaigned on a far more leftist platform than McGrath did, 2) he lost because Amy McGrath’s campaign out fundraised him by a huge margin, and bc the Democratic establishment did not support him, because they thought his policies were too leftist and would alienate the voters in Kentucky, who apparently don’t want healthcare.

Amy McGrath’s campaign, in fact, out fundraised Mitch McConnell’s campaign. All things considered, she really should have won. Especially in light of the fact that apparently, McConnell isn’t well-liked in Kentucky:

This race is particularly frustrating because McConnell is in fact vulnerable. He stopped bringing anything substantial back to Kentucky long ago. He’s not like machine-man Rogers; he doesn’t demand absolute fealty from every one of his constituents. He only requires it from the ones he needs to win his races – which means a shrinking pool of voters – and that’s what he gets. As a result, he’s become extremely unpopular in the state; many people in Eastern Kentucky despise him. But he does have one leg to stand on, and only one: he keeps Kentucky relevant at the national level, allowing it to “punch above its weight” against heavy hitters like New York and California. Again, we don’t actually get anything out of this arrangement, other than the fantasy of our issues being addressed and the projections of the “I’d-rather-be-at-brunch” liberals. But the idea does sound good on paper, and so he manages to get by.

Eastern Kentucky, btw, is one of the poorest (and whitest) regions of the state. And there’s more:

And it doesn’t hurt that the Democrats refuse to run anyone of substance against him. McConnell’s last challenger was Alison Lundergan Grimes, daughter of a major Kentucky Democratic Party scion and thus the heiress fail-daughter to the Kentucky Democratic Party. Her own father came from a generation when Kentuckians still voted for Democrats, and not even she could beat McConnell. The McGrath campaign is twice as inept and half as charming. It’s been surreal to watch how, over the course of her campaign, her go-to inspirational story has become about the time she stood by to receive the order from President Bush to shoot down Flight 93 on 9/11. I may not be James Carville, but I believe it’s generally considered poor form to brag about your willingness to gun down your fellow Americans. 

So, to recap, the Democrats:

1) went all in on removing the one Democratic challenger in the primaries who ran on a much more leftist platform, which not only promised M4A and a Green New Deal, but sought to unify both the urban and rural parts of the state

2) favoured a milque-toast centrist Democrat in order to appeal to Trump voters/undecided centrists instead

3) ran a campaign for aforementioned milque-toast, charisma-void centrist Democrat that was, at best, inept and completely unable to obtain mass support

4) in spite of that, her campaign actually managed to out fundraise Mitch McConnell’s campaign

5) and yet, still managed to lose a senate race that they should technically have had in the fucking bag, considering the fact that a) Mitch McConnell is DEEPLY unpopular in his own fucking state, b) the Democrats outfundraised his campaign, and c) they ran a centrist Democratic challenger to McConnell who, theoretically, should have had more appeal in a place like Kentucky than Charles Booker does.

It’s interesting to see centrist Democrats place the blame for their electoral losses at the feet of people like Alexandra Ocasio-Cortez, for being too “left wing radical” and for pushing for movements like “defunding the police”, when the fact is that the centrists who they run in races to oust Republicans consistently lose--even in places where they shouldn’t.

The Democrats should not have fucking lost in Kentucky. They should not have been unable to defeat Mitch McConnell. Their failure to do so is not because of the progressive elements of their party. The fact that they’re punting the blame to those people deserves a closer scrutiny and criticism, because what the establishment wing of the Democrats is trying to do is excise this part of their party, even though this means they’ll be losing more elections going forward.

[hartbreak-motel]

Best Crüe Looks: Too Fast For Love

Because I hate myself, I've decided to do a breakdown of the best looks/outfits worn by Vince, Nikki, Mick, and Tommy, what they say about their personalities, and how they tie in with the overall theme of the album. I know nothing about fashion or how it works. Just an idiot talking out of their butt. Starting with their first album.

Overall Look: Being their first album, initially released on their independent label, Too Fast For Love was recorded on a shoestring budget and gained a following via word-of-mouth due to the band's aggressive campaigning and growing reputation in the Sunset Strip club scene. Their raw, DIY punk-meets-Judas Priest aesthetic is reflected in their outfits which often feature leather, studs, chains, knee-high boots, and studded collars, oftentimes stealing peices or clothing/having peices made by girlfriends. Overall, the boys wore whatever they could get their grubby hands on.

At this point, it's evident that despite budget constraints, the band was trying to develop a cohesive look that would set them apart from bands at the time, with their teased hair, calling back to 70's glam rock and chains. Red, black, and white appear to be motif colors with each member incorporating the color scheme into their outfits.

Mick:

Being significantly older and more reserved than the rest of the guys, Mick's style is notably less androgynous and flamboyant. In contrast to Vince and Tommy who are not shy when it comes to showing skin, Mick is less adventurous, while still looking very badass, decked out in black leather pants with the word MARS down the side of the leg, a leather jacket, a simple black shirt, and platform boots. Keeping with the punky DIY theme, he wears a studded collar, studded wrist bands, and a studded belt, pulling the outfit together while coordinating with the others.

Tommy:

Just barely out of high school when the band first formed and the youngest member of the band, Tommy's style reflects his youthful, hyperactive personality. Fun, playful, and never afraid to show a little skin. While keeping with the red, white, and black color scheme, Tommy's outfits would often feature more distinctive patterns as seen with his black and white color block jeans.

Vince:

To quote Doug Thaler, "Vince is a California surfer-rock guy, the peacock of peacocks." As Mötley's Crüe's lead singer, Vince stands apart from the rest of the band with his platinum blonde hair and bold clothing choices. His bright red cutoff jacket, complete with a pentagram armband and matching red knee high boots are statement peices that draw the attention of the crowd.

Nikki:

Ending with Mötley Crüe's primary song writer/ring leader, everything about Nikki's style screams "Vince may be the lead singer, but I'm the one in charge." His outfit in the bottom image, is seemingly an inverted version of Vince's, with red pants and black knee high boots. Of all the guys, he seems to have incorporated the most red into his outfits, giving him a distinct appearance within the group. He also really leans into the DIY aesthetic, using what appears to be red duct tape to create patterns down his pants and sleeves. Being slightly older than Vince and Tommy and per his own account, suffering from insecurity during that time, he tends to hide behind his hair and appears to be more covered up than his younger bandmates.

TL/DR: While our boys may still be broke, starving, and taking whatever they could find/steal/finagle, this era is marks the beginning of a long tradition of iconic themed looks from the band.