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sadviper · 3 years

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2020 Creator Wrap: Favorite Works

Rules: It’s time to love yourselves! Choose your 5 (or so) favorite works you created in the past year (fics, art, edits, etc.) and link them below to reflect on the amazing things you brought into the world in 2020. Tag as many writers/artists/etc. as you want (fan or original) so we can spread the love and link each other to awesome works!

Succumbing to peer pressure, haha, thank you @rain-hat, @smylealong, @ibelongtomousse, @macgyver-sheriff, @avauntus for tagging me~

It seems the common refrain is that this was the year everyone exploded into massive creative productivity after years of nothing, which is the exact same story for myself. I had read all the strategies of course: write 5 min a day, 1 sketch a day, don’t think about quality, do *something* just to keep the spark alive, etc etc, but it just got worse and worse. Honestly, I had been feeling so dire about it that I had made up my mind to stop trying anymore, because it was so depressing to try and fail so many times that it was much better to not hope at all.

Buuuuut.....then quarantine and telework happened, and woooah, guess what, all I needed was LOTS of time and space to myself where I’m not wasting it in an office checking emails and doing random training to fill all the downtime!!!

Much thanks to the serendipity that had me stumbling into @rain-hat , reading her early JY/KSR fics, and her encouraging me to go ahead and write that office yearly budget oneshot for TKEM (who writes BUDGET fics?? Who reads them???? lol). That’s not in my list here because it was very new and awkward, it was definitely the ball that got everything rolling.

Cut for super long-winded rambling:

1) Before There Was Zero (TKEM)

This was my first big fanfic in my life, and my most popular, and it absolutely gushed out of me in this massive torrent of *I MUST WRITE* where I would walk around at lunchtime giggling to myself, and type on my phone as I went, or wake up at 1am to scrawl something in a notebook in the dark because I couldn’t stop the words from coming. (How I miss that feeling now! ;__;) Actually, it also is the 2nd fully complete long-form story I had ever completed as well, so...lots of milestones here.

Looking back, it clearly was the product of my years of bottled up silence, where I stewed and dragged myself to the office every day wondering if I was going to calcify in a bureaucracy for the rest of my life (yes). But even as an office drone, I learned a lot of valuable lessons in how to manage, what leadership actually is at the worker bee level, the types of games white-collar workers play, and how to be a decent co-worker (and by extension, a decent human being--I don’t believe it’s possible to separate work life and private life. All your personas are you). It wasn’t all a waste after all!

Somehow I connected my day-to-day to the faceless, long-suffering Royal guardsmen in TKEM, headed by the utterly gorgeous, devastating, thoroughly underutilized, comedic prop military action star Jo Yeong, and thought--yeah! :D

2) Nil Desperandum (TKEM)

My biggest fic by far, full novel length at this point, massive in scope, I don’t even know how I came up with it based on the 10 collective seconds of screen time that Jeong Tae-ra and tyrant Jin got as a joke, but I was clearly still on that dam-gushing-pent-up-creative-high because this idea was fighting me when I was in the middle of writing “Before There Was Zero”.

I actually figured out the title while watching “Call the Midwives” where one of the peppy, indefatigable British nurses said to never despair, and I thought, yes, that’s it. All the horrible things I put my tyrantverse characters through, it was only so that when I save them at the end, it will be completely worth it. It’s a bit more violent (nothing beyond My Country levels tho) and quite emotionally dark, but I also tried to inject a lot of friendship, humor, and love into it as well, because there must always be hope.

For My Country fandom friends who didn’t realize, the tyrant!Yeong in this fic is essentially modernAU!Seon-ho, and I lifted Sung-rok entirely from My Country to be tyrant!Yeong’s second-in-command and loyal-superstar-extraordinaire. Writing them in this modern AU, and seeing the positive reception to Sung-rok’s grouchy, dogged devotion was the start of my love spiral for Sung-rok. <3 <3

3) The Veritable Records of King Taejo (My Country)

Going to cheat and lump 3 fics (soon to be 4) into one link. I rested a little bit after “Nil Desperandum” because I had completely emptied myself out at that point, just a husk of an author shell. Then I started poking out oneshots! Each one got progressively harder to write, lol, the creative gas tank was running out of juice, so I had to really start figuring out new strategies as a writer to keep going. One magic tool was coercing recruiting @rain-hat to beta for me, and WOW, THE BEST???? Who would’ve thought it’d be FUN to be edited!!! <3 Due to her efforts, I could avoid the “no beta we die like Liaodong” tag, hahaha.

I grew up watching cop shows, lawyer shows, monster-of-the-day shows, endless procedurals-- so I was super miffed that the drama would imply that Seon-ho spent YEARS just single-mindedly chasing private armies??! No! I want more family and friends development for this sad, dramatic whump child! I want him to be smarter than the show, inherently brilliant despite the stupid he descends into, and be recognized as such by the people who do recognize his value! And I want them all to be happy with no pointless death!

Also, the 4th WIP is now a Sung-rok lovefest written as an ode to his awesomeness, has stretched to 47K+ words, and is being an absolute royal pain to finish. ;__; All the ease and creative fervor from earlier? GONE. I’m a lone salmon flopping upstream on a ladder. I might get eaten before I finish laying my eggs. Any one have tips to get over this?

4) First Translation of Woo Do Hwan Japanese Interviews

More firsts! So much thanks to @ibelongtomousse to inspiring and encouraging me to do some real translating after talking to her about her sublime TKEM fics and translations thereof, and @staidwaters from emerging from the Internet depths to boost/correct my neophyte efforts! I’m now chomping at the bit to do more, even though I may ultimately discover that these interviews have absolutely nothing interesting to say, lol. But my first priority is simply to get better at the language, and 2nd priority is to soak in the words (and photos) of Woo Do Hwan, hahahah. Also, as far as I can tell, no one is filling this niche, so I guess I’ll keep going??

5) Fanart!

I started drawing again! As a procrastination tactic from writing oneshots, but it still was really nice to see that I hadn’t lost the touch entirely. I feel like I’ve mentioned this here and there, but writing wasn’t my first interest--drawing was. Animals first, then people once I discovered anime/manga. I went all into drawing comics, only to face the hard reality that I didn’t know how to tell a story end-to-end. Hence how I started trying to write. Along the way, things happened--I got RSI and had to stop drawing/writing for awhile. I discovered that pictures are NOT worth a thousand words, esp when it comes to long-form comics; my preferred tools of trade (dip pens) ended up exacerbating my RSI problems; then once I got a handle on my RSI, I found I could type faster than I can ever draw, and so here I am. I saw what @convenientalias was doing with their My Country werewolf fic though, so I am excited to try that for my Sung-rok WIP? :D

I think I’m the last hold out among artist/writer friends in answering this wrap-up, hope you enjoyed reading!

#meme #fic meta #2020 accomplishments

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jaylovesmusic · 3 years

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Interview with PEANUTGALLERY NETWORK founder, Anacron.

Anacron is an award-winning and published recording artist, Senior level certified Experiential Educator, and 2018-appointed United States Cultural Ambassador from Los Angeles, California. His group, The PEANUTGALLERY NETWORK(stylised as PNTGLLRYNTWRK) is a collective of creatives from around the world. Created in 1993, it started as a project between friends has grown in size with over 80 collaborators and affiliates from around the world.

"How did you fall in love with music?"

"I don't remember exactly when, honestly. Although my parents are scholars and intellectuals, they kept a very musical household in the sense that there was ALWAYS music playing, and they encouraged and supported musical talent in me and my siblings. I began playing instruments at an extremely young age, and I remember that I loved music even before then, so... "*shrug*

"Who are your biggest inspirations?"

"In general - My immediate family, my GALLERY family, my experiences, and society. In music - Roy Ayers, Serge Gainsbourg, Miles Davis. In hip hop - Kurupt, Aceyalone, The Nonce, Battlecat, DJ Quik, The Neptunes."

"Who are your dream collaborations?"

"Alex Isley, Mocky, De La Soul, Quin, Phoenix, Troyman, Clairo, Galimatias, Jay Electronica, and anyone from the PNTGLLRYNTWRK."

"What made you decide to start the PNG?"

"It wasn't some grand plan of any kind at the beginning, and definitely was not started with any intention for becoming the massive collective it is today. At my high school, we had a community of underground hip hop heads, and there was a constant flux of crews and groups forming, all among the same 15 people or so. I was already in a couple of dance crews, a few graffiti sets, and one of L.A.'s most notoriously known street gangs (whew). As I started getting more seriously into hip hop, I wanted to be part of a rap duo, so I came up with a name and linked with this kid Giovanni. He was good, but wasn't really very serious about rhyming, so my homie and fellow cipher monster Aumnikrises took his place and we became the first official inception of Peanut Gallery."

"How easy was it getting people on board?"

"It didn't take any effort at all, because the gallery has always been about real connections. Even though I'd formed Peanut Gallery as a duo with Aumnikrises, it gradually turned into a crew situation as a bunch of the other hip hop heads who were also good friends organically became a part of the family. It wasn't rushed, desperate, or even intentional - it was a very gradual progression. A handful of my closest friends - Murs, Himself, DJ Jedi, Beyond Bionik, and others, got down with it. From there, it expanded naturally outside of school and across Los Angeles, welcoming and embracing friends of friends who shared the same vision for hip hop specifically, but arts and expression as a whole.

Once I began touring in the mid 90's, both around the country and overseas, it was a wrap. The crew continued to grow in the same organic way, built more on relationships and connections than some money-motivated business venture. By the time we started calling it Peanut Gallery Network, there were already two base chapters in L.A. and Chi-Town, and members in several countries outside the U.S. Today, the squad continues to grow in the same fashion - organically, via relationships. PG always has been, and always will be, a group of cool-ass, down to earth people who do awesome things."

"How much disruption did the pandemic bring to the PNG?"

"Man, the pandemic brought the family together. As people grow, they grow apart. You get old, you get responsibilities, and you get so busy that it's tough to keep up with the folks you used to hang with every week. This is a fact of life. The pandemic put this crushing halt to everything that was devastating to a lot of people's livelihood, routine, and income; simultaneously, it freed people to connect, create, and grow in ways they normally wouldn't have been able to. The Gallery family took advantage of that moment, and really came together to produce some amazing work. Dana Anderson's remix audiobook, Mike Wird's EP package, ElephantBird's album, The Lvxes EP package, Hawt Coco's upcoming record, and SassyAn's upcoming dual EP are incredible projects that could not have happened without the dedication, effort, collaboration, and willingness of the family."

"How do you stay full of ideas for future content?"

"Ha! I have more ideas than I have time. Always making sure that I'm open to inspiration and receptive to opportunity is how I continue to generate ideas, but also get them DONE."

"What is useful pieces of advice for creatives?"

"Find the right balance of "yes" and "no." I feel like my generation of creators said YES to everything, and ended up getting screwed by the industry because of it. I feel like the newer generation says NO to everything, and are screwing themselves because of it.

Recognizing value and looking ahead instead of at what's right in front of you is crucial for artists, and finding an intentional balance helps you to see that lots of small steps often carry you further than a few huge leaps.

Additionally, while many creators are intent on turning their art into a business, I'd encourage them to let their art be art and create a business that supports it.

Finally, don't ever forget the people who supported and loved what you did when you started, because no one else will ever devote the same level of attention, risk, or effort in lifting you up."

"Something that you would consider as a guilty pleasure."

"Guilty pleasure" feels oxymoronic to me. I don't feel guilty about anything that gives me pleasure, that'd ruin the enjoyment of the experience.

"And finally, Any parting words."

"Naaaaah hahaha."

PS: Would like to take this moment to thank Anacron for taking the time out to have this interview. You can find all of his music and more info through this link: https://g.co/kgs/3gu3xB. You can check out the PEANUTGALLERY NETWORK at their website: http://gallery.pntg.net/. (Image credit: Anacron's Instagram account."

#rap #hip hop #Anacron #PNG #PeanutGalleryNetwork #collective

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hannah-writes · 5 years

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RNM Creators Appreciation Week

So I’ve not been in the right headspace to flail and rec as much as I wanted to, but today, on Cheerleader Appreciation Day, I can’t let this one pass me by. Without cheerleaders, I don’t think I’ve have posted much past my first couple of fics, and I certainly wouldn’t have finished some of the fics I found hard to write, and Not in this World would be nothing but a pipe-dream.

I don’t think those people who spend time cheerleading realise just how important they are. It’s not always telling you that you’re great (which does happen), but it’s helping bounce plot ideas off, boost you when you want to give up, to scream in excitement and help tell people that you’ve posted fic when you’re too shy to do anything more than post it and stick the link on Tumblr.

I’m so grateful for those people I have in my life right now that are fearlessly cheerleading me through everything that I want to do, especially when it comes to fic. They’re kind when I’m having trouble wording, they help unjumble the shite I write sometimes that’s full of spelling mistakes and half-finished thoughts. They bump up my confidence and tell me I’m awesome when I feel anything but. They make me feel less like I’m throwing my stuff into the void.

There are a few I really want to say a special thank you to:

@mandsangelfox: y’all know that she’s my wife, but she’s also a massive cheerleader behind the scenes. She deals with me texting her randomly, or telling her to pause what she’s watching so I can read a section to her to see if it sounds okay. She puts up with me throwing ideas at her until something sticks (and it was her idea to build out my current sci-fi horror Roswell project into something that resembles a choose your own adventure, and when I’m done you’ll all be amazed). She’s an unwavering pillar of patient support, and deals with my nonsense with aplomb.

@insidious-intent: What can I say about you? You’re always so kind and enthusiastic and impromptu beta-services help de-jumblify and sensify my fever-written crap and helps shape it into something better, and also removes some of the Britishisms that sneak in despite my best efforts! You’re a delight to talk to, and genuinely one of the kindest people I’ve ever met. Talking with you is genuinely a highlight of my day, and having you as a sounding board has helped up the angst factor of my stories, past and present (Darkest Before Dawn, I’m looking at you!). Your unwavering support and reassurance is so helpful, and I’m honoured that you let me do the same for you. Even being a small part of your creative process, I’m honoured to be included. You’ve got such a big heart, and I love that you’ve got such a loud voice when I post. I’m 100% sure that most of the people who read Not in this World ended up reading it because you yelled so loudly about it. From the bottom of my heart, thank you. And I am so grateful to have met you.

@beamirang My fellow angst queen! Man, I don’t even have words to describe how much I adore you. Not only your writing - and how you let me cheerlead for you even when all it is is incoherent screaming, emojis and gifs - but who you are as a person. I’ve never told the time in a regular way, but my time is now split into MJ leaving for work, @insidious-intent saying good morning and then 4:30am LA time when you wake up and say hello. I’ve told you this before, but I’m going to say it again, I have learned so much about how to craft stories from reading your work and from talking to you. Your enthusiasm and excitement for the things that I write constantly baffles me as you’re amazing and I’m bowled over every time you tell me that you like what I write/you’re excited. You’ve been such a boost for my confidence in sharing random snippets, you’ve inspired some of my personal favourite fics that I’ve written (including not so starcrossed, as Baxu was 100% your fault and I adore you for it) and being able to scream at you when the muse isn’t working helps immensely. I’m so glad to have messaged you out of the blue a while back, it feels like we’ve been talking forever and that’s something that I treasure. I can’t wait for our DA Fusion to be ready to share so we can cement our places as rulers of Angst.

@lire-casander & @ubiestcaelum - you ladies were the first two people I started talking to in the fandom properly and I’m so very glad I did! Getting to know you both, being able to be part of your creative process and see your wonderous works unfold and being the recipient of your feedback and comments as I post random bits of crap into our chats has helped me refine things that don’t work. You are both so ridiculously kind and talented and I’d not have posted my earlier works without you two in my corner, gently encouraging me on.

@saadiestuff SADIE. WHAT MORE CAN I SAY THAN YOU ARE GOOD PEPPE. The creator of 🐸 [frog emoji, if it doesn’t work]. It’s delightful that we have entire conversations that, to anyone else, might seem like code because we’ve got so many ridiculous jokes between ourselves. And I love that sometimes we don’t even say hello to each other, we just go 🐸🐸🐸 [frog frog frog] because of something we’ve seen each other post or mention on tumblr, or in a discord server. I adore you, girl. So very much. I’m glad we started talking.

@el-gilliath I’m SO GRATEFUL FOR YOU. Though we don’t talk as much as I want us to, the fact that we have so much in common and spend a large chunk of time screaming at each other about what we’re writing really brightens my day. Knowing that you’re on the other end of a message if I’m struggling and you’re ready to listen is such a boon. Knowing that you don’t care if I’m typoing all over the place and am generally a mess makes me feel so safe when we talk, that I don’t have to second guess everything. And knowing that, no matter what it is, you’ll read it and give me an opinion means I genuinely feel that it’s okay to just swing in and ask you for help whenever. And you know the feeling is mutual. I adore you, dude.

There are so many others, too, and I couldn’t possibly list them all though I want to, but the Junkyard folk, @jumbled-nonsense, @nielrian, @soberqueerinthewild... all of you guys who yelled at me during Not in this World and encouraged me to keep writing when all I wanted to do was pack it in. You’re SO VALUED. I’m sure there are people I’ve forgotten, and if I have, please don’t think that doesn’t mean I don’t value you, because I do. So much. Omg.

And, as a quick special mention, to those of you who are kind enough to let me cheerlead for you? It is my honour and privilege to scream at you in excitement for things. I love helping people create, I love encouraging people to keep going and do something they love and I am thankful that you let me do that for you.

Finally, finally! I can’t leave out @queersirius. Though I’ve never spoken to you, you have taken on a mammoth task with your rec list. I’ve been on there a few times and each time I’m flabbergasted by the nice things you have to say about what I’ve written. But it’s not only me, you’re a gift to the fandom, a one-stop shop for recs that has proven to be such a good way to discover new fic. I’m always excited to see what new fics you rec, I’d discovered a few new favourites as a direct result of your list. The fact that you take the time to write such detailed, thoughtful commentary and tailor a gif for each fic is mindblowing. Thank you! <3

#rnmcreate19 #roswell new mexico creator week 2019 #good vibes #rnm #fandom is a great place to make friends when it works #these people are incredible #I value them all and am overwhelmed with feels when I think about it #i love you guys

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followedbyraven · 4 years

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About 15 years ago, from the very first episode, I got hooked up on a new tv show, “Supernatural”. It was amasing!

It was a kind of magic that: - grips you and doesn’t let go; - follows you and stays on your mind for hours; - walks side by side through the years, sometimes becoming your shadow, sometimes wandering so far away that what is left is only a glimpse on the horizon of life.

After being for many years a part of Buffy the Vampire Slayer fandom and finding some kind of uneasy closure when Angel: the Series concluded I thought I swore the fandom life for good. I was young and somewhat naive, and didn’t understand the simple truth: once you step into this river - you will keep coming for more.

Initially following the road that the Winchester brothers took in the first three seasons I was what is called a general audience. Ok, a bit more, cause I’ve long ago lost count how many times I watched each and every episode of seasons 1-3 during just that period.

It was indeed MAGIC! Then came hellatus between 3rd and 4th seasons and I have to be honest, my interest in SPN was by that time slowly slipping away. I was incredibly busy at work, living life on the road, barely at home, working sometimes 14-16 hours a day, and loving every single moment of that. It was hard but I treasure memories of those times, despite terribly missing my husband, and comfort of home, and loved ones. Also it was almost impossible to keep up with SPN airing schedule. Not to mention that it was already some kind of miracle that I was almost religiously following SPN for three years. I do follow other TV shows but don’t get so attached. I love parings, OTPs, to write and read fanfiction, to admire the talent of fanart creators and ingeniousness of meta-writers... but it takes two to tango, in other words - I need an OTP to properly function in the fandom. I wasn’t into any of the brothers and was a strictly het!shipper; I used to write slash for friends as a gift or commission but wasn’t really interested in it. Plus I’m One Fandom at a time, one OTP at a time kind of shipper, I don’t multitask when it comes to fandom life. So yeah, for SPN I was a general audience for 3 years until an ruffled angel broke through the barn doors, got knifed in the heart as some kinky way of thanks for the save from Hell, flashed Dean some shadow wings and... It was amazing and it was awesome, and it was magic. Again. Just like that day I’ve watched SPN 1x01 for the very first time.

Jack is a baby of the family. I wasn’t sure about this character and was afraid that I wouldn’t like him. So much suspense was build around his first appearance, so much negativity. But I was worried for nothing. He is a sweetheart and a darling, great addition to the story and to the show, he can be soft, naive and uncertain, but also fierce and protective of people he sees as part of a family. I was a complete “feels, feels, so many feels” from the first episode he appeared in. I still have half of season 14 and the rest of season 15 to catch up, but so far I like what I see. Sam. I like Sam a lot and he means a lot to me and to a relationship I have with my brother. I may not often mention him but I treasure this character and admire him. I look at him for understanding, when me and my little brother, who is a head taller than me by now, can’t find a common ground. Sam taught me when I need to take a step back from heated discussion, evaluate my bro’s side of the argument once more, just simply understand and admit the very fact that some things I will never get, not really, not fully, but if this is his, my little brother’s, thing, I have to respect that and give him a much needed space. In the end it is his business, and his life, and it is he who has to live it and to have a control over it. Dean. I can’t get enough of Dean and I respect him. I’m not attracted to him, never was, just not my type, i guess, but to me he is that dear friend that gets it. Just simply GETS IT! He is an older brother just like I’m an older sister. And through the years, through the moments when I’m again and again completely baffled by my bro’s attics and can’t come with an appropriate response, one thought always comes to my mind: What would Dean do? So yeah, 15 years of “what would Dean do” and that character feels like one of my best friends and supporters. He gets it - the straggle between the instinct to protect and the need to let go, make own way, through mistakes and hardships. Ready to offer support but not choking my babybro with it.

Cas. I adore Castiel, simply adore him. He is my favourite after all. But what is more important, I get inspiration and that extra infusion of strength from this character. I got a gift of better understanding my brother from Sam, and a possible course of action, a kind of battle plan, from Dean, but Castiel helps me to be myself, to enjoy life even when all I want is to crumble and weep. From him I got: If he could do it, so can I. This is something unique, what I couldn’t receive from another human being, real or imagined, because I also often feel like an alien being. I don’t have a mental illness but I did experience a trauma when I was but a small child. And this kind of guano never fully goes away, never truly leaves mind. I lack a deeper understanding of a lot of simple things that many people take for granted, there are days when it feels like I don’t have a strength in me to step over the threshold into the street (but I still do it every day), and I still often stumble through the words to make a simple purchase at the supermarket (even after 10 years of going to the same store), and I feel disconnected from the world at large. I’m uncomfortable in the crowd and I’m that awkward weirdo at the party sitting al alone in the corner.

Don’t get me wrong, I live a normal and fulfilling live, you may meet me on the street, in the crowd, shopping, smiling and chatting with friends (smile on my lips and easy going attitude), driving car, stepping on the train, I may even live next to you or in the same city. And you’ll never guess that despite the fact that smile on my lips is real (I am happy to be in this world, be a part of it), there is pain in my shoulders because I can’t relax them, and I feel lightheaded, and the world is slightly spinning and blurry from an effort to simply do what comes so natural to a lot of others - just walk on the street, just live my life, just be in this world.

Many years ago I gave myself a promise: to get up everyday with a smile. No matter what, I always start my day with a smile. It’s a first thing I do when I open my eyes. Over the time it became a second nature. That little extra drop of good mood before morning tea comes automatically through no effort at all. During the day that small infusion of happiness may grow into a true joy or it may slowly fade away. And it’s that second scenario when I remember that if an alien being could do it - find inner strength to go on through high and low, to navigate the strange world of human beings... Well, I am human and simply because of my own nature, from the get go, I already have it much easier than him, this fictional character which slowly managed to mean so much to me.

Overshare much? Maybe. Actually, for sure. My apologies to all who is not comfortable with such kind of openness. I don’t feel that it is a right time and I am in the right mood to talk about my OTP, so I will leave it for another time when I have an urge to explode into a massive firework of feels and words.

But this is my tribute to Supernatural and to all people who brought these amazing, wonderful, beloved characters to life, gave them shape and form: the cast, the crew, the team of writers, everyone involved on every step of the road. 15 years, people! This is a big slice of my life, of anyone’s life. This is my thanks, and my love, and my gratitude. I’ve never been to convention, never met anyone of them and most likely never will, but I needed to give form to what I feel. Am I sad that SPN is almost over? Sure, I will cry a river when the final episode arrives! But I understand that everything eventually comes to an end. It was a beautiful run but I respect their decision and stand by it. And I already know what I want for Christmas or as a birthday gift when a full 15 (or is it 16 now with such a long corona-hiatus between already aired and still in production episodes?) season boxset hits the stores (Blue-Ray, pretty please, with as much extras and bonus materials as possible)

P.S. But you know whom I also want to thank and hug, and shower with love? All my fandom mates, known to me and total strangers, all those incredibly talented, wonderful, amazing people who write fanfiction, create art, express their love for the show through any possible creative outlet. No matter the stan, no matter the ship, over the years I’ve met truly great, kind, friendly and positive people in every wing of the fandom. YOU ARE AWESOME!

#Castiel #Destiel #Misha Collins #Cas!girl spn tribute #The all have a special place in my heart #SPN team free will

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arbeaone · 5 years

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ShellsuitZombie Magazine Issue 2 Published on July 26, 2011

[ View larger version here ] Text from the article can be read below. (There may be some errors.)

I, BOLLO

One spectacularly sunny lunchtime, ShellsuitZombie managed to hunt down a rare Gorilla only common to Clerkenwell London. Dave Brown, most famous for his role as Bollo in The Mighty Boosh, spends most of his time as a designer and photographer producing (alongside Boosh work like 2008s spectacularly successful 'The Mighty Book of Boosh') beautiful printed staff for clients like Universal and the BBC, as well as of course the odd performance to tens of thousands on arena tours around the country. It's safe to say we were feeling pretty smug about trapping him in a pub in Clerkenwell (which happens to be just below his studio) for a pint and a chat about Design, the future of Boosh, Noel's new book and photographing Julian Barratt and villagers in Ghana.

SSZ: So Dave/Bollo, what would you consider to be your main job?

Dave: I guess I consider myself to be a creative, the Boosh started as something I did with my mates as a laugh and it blew up into something huge. I've always had to juggle the worlds of and Design, quite often for me they overlap, obviously when you're out on tour it's all consuming but even then I've been known to be sat in my hotel room on a squeezing the odd freelance job in.

So you've always been freelance?

I couldn't be full time, in the early days I needed the freedom to be able to drop everything and get involved in a Boosh project at the drop of a hat, so freelance was perfect, then just before the first live Boosh tour in 2006 I did something I'd always wanted to do and set up my own agency, aptly named Ape, with a mind to be more of a collective of creatives rather then just a sole trader It allows me to get all the amazing creatives I've had the pleasure of meeting and working with over the years involved as and when I can on all kinds of creative projects.

It's been pretty full on since to be honest, so full on in fact that I haven't even had time to launch the website! It always gets pushed to the bottom of the to do list when I'm busy and then when I find the time to get back to it I've gone off everything I've done and start again. There's a holding page up at the moment that says 'Gorillas can use up to 52 different tools.They're currently using those tools to build this site'. Well they're obviously rubbish at using them because it's taking them bloody ages to finish!

Would you say Boosh has helped the rest of your career?

I guess so, although you could also say it's got in the way. I am doing a lot of books now as a result of the Boosh book but many of my clients haven't a clue who I am. I've done work for Feame Cotton, Ben Brooks, James Rhodes, Nick Cave and recently comedian Tim Key as a result of the book and Boosh work in general. BBC books actually just rang and asked me if I'd be interested in designing this years Top Gear guide to Christmas book! They've approached me because they said they loved the Boosh book and would like my take on things. Will be great if that's true but I'm not counting my chickens just yet. I recently did an interview with Radio 4 where I went on a massive rant about Jeremy Clarkson's stonewashed pumpkin arse not fitting into my Morris Minor so if they get wind of that it could be off ! (Ed.- Since doing this interview Dave has stepped away from the Top Gear job due to, shall we say, creative differences)

It sounds like books are your bread and butter. How do you go about designing a successful book like ‘TMBOB’?

I don't have a process, I approach everything from an idea, every brief is obviously different and I design to that, so it's a bit worrying when people say 'I love the Boosh book, can you do that for me?' - I interpret that as can you adopt a similar way of approaching the brief rather than making it look exactly like the Book of Boosh. The Boosh book was designed around the characters really, the style and feel of each page born from an idea in the writing and from the vibrancy and diversity of the show, a 4 column grid with a consistent type style was obviously never going to work!

The Boosh book sold incredibly well, largely due to the popularity of the show, but we were also very keen to not just make it a standard off the shelf spin off shitty annual like most TV show books. Like all Boosh product, we're very hands on, mostly doing it ourselves and we dedicate time and effort to make sure the final product is worthy of the show. That's pretty unique to be honest I think this attention to detail and quality control is what makes our fans so insanely loyal. We haven't done anything new in ages but the books and DVD's are still selling, purely down to the quality of the design of course!

Surely not everyone just wants you for your Boosh?

No, like I said, I have a fair few clients that don't know I'm in the Boosh, in fact, awhile ago when I was still freelancing, one client left me in charge of their studio before getting on a flight to New York, on the flight they watched a Boosh ep and saw me playing Joey Moose in the first series. They were like 'Is that the guy we just... what the fuck?'

Bollo has played to some huge crowds...

Yeah the last tour we did was insane, Wembley Arena, multiple nights at Brixton, selling out the 02 two nights on the trot, it's been a crazy time and I'm so lucky to have had those experiences, it is hard after a touring sitting back at a computer designing but I get my kicks out of the creative and I still keep a toe in show business with a bit of directing, writing and the odd gig here and there. To be honest it's hard trying to keep it all up and sometimes I wish I just had one job to do. Design isn't exactly a part time job is it! and I've also just had a baby girl, so lets just say I'm pretty tired and exhausted at the moment, I'm smiling though, honest.

What are you up to at the moment?

At the moment I'm working on a book with Noel called The Scribblings of a Madcap Shambleton, not Boosh related, it's basically a book about Noel’s art and writing and I'm design and compiling it. There's also a lot of my photography in it. It's a visual bombardment of Noel's mind really, paintings, sketchbooks, scribbling, it's looking amazing. He's pretty prolific, such a huge body of work. He's been painting for years, unlike some famous freaks who get a set of colouring pencils for Christmas and decide through boredom that they're now an artist. Noel can actually paint his tits off and does so every moment he gets and has done for years so at the moment I'm trying to get 530 pages down to 320! What's really interesting about the work when you see it all together is that you can see how he writes to inspire his painting and he paints to inspire his writing, I know I'm biased but I love his stuff if you haven't seen it think Basquiat, Haring, DeBuffet, Magritte, Hockney, Aubrey Beardsley...

So are there any plans in the pipeline for the Boosh?

Well everyone's working on separate things at the moment Noel is busy doing his own show 'Noel Fielding's Luxury Comedy' and Julian is doing a Russian play at the Young Vic 'Government Inspector'. Those two have pretty much become Howard and Vince.

The last thing we were working on was the album. I was told when I last heard it about 3 months ago that it was 90% done and it sounded immense then so no idea what's going on! It has all the tracks from the show reworked, longer and better as well as new ones written for characters, I reckon they all stand up in their own right, even if you'd never seen the Boosh I still reckon you could get into it, the new Crack Fox track is incredible! It's a great album, people should have it in their ear holes right now.

People always ask if The Boosh have split up, I guess it’s inevitable when nothing new has happened in a while but we haven't and stuff will again, Noel and Julian do things when they're ready, they've produced so much material over the years, they're just having a break at the mo. There's still loads of stuff on the table that's never seen the light of day, but they'll do it when they're ready and when they do it will be great. They just need to find out where that table is...

Is the passion still there?

Yeah of course, always will be, for them and for me. You always come back stronger after a holiday, just maybe a little sunburnt, haha.

So I hear you're involved in some charity work. Fancy talking about that for a bit?

Yes, I love talking about it! I have just become an ambassador for afrikids.org, A freaking ambassador! Afrikids is a charity focusing on child rights in Northern Africa - They've been an absolute joy to work with, I've done some fundraising for them as Bollo, I've rebranded them, not as Bollo, and I even got the opportunity to spend some time in Ghana last year seeing their projects firsthand. I was filming and taking stills for their library, it was an incredible experience - it sounds clichéd and worthy saying it was life changing but it was. The Upper East region of Ghana is an amazing place, the people are beautiful, many of them have next to nothing and yet they're so welcoming, so happy, so positive and an absolute joy to photograph. From a portraiture point of view it was incredible. You expect a certain amount of shyness or self awareness from someone when you stick a big camera in their face but everyone there was so natural and un-effected. They would just look right down the lens without a hint of embarrassment or effect. I couldn't stop taking pictures. I need to go back, there's a chance I will be involved in an ambulance convoy driving donated medical vehicles and equipment from Southampton to Bolgatanga in Northern Ghana next year, imagine the photographic opportunity there! There's a book in that... If I could do anything I'd be travelling the world taking pictures

How does that compare to shooting backstage on tour?

Worlds apart in terms of there being more more booze, hairspray and ... erm ... humous but actually not that different from a photographic point of view, it’s still about getting yourself in the right place, sensing when to be anonymous and when to get in amongst it. I'm lucky with the Boosh obviously because I'm an insider, it means everyone acts as if there wasn't a camera around, except Rich of course who turns into a complete psycho, nutjob, showoff whenever any recording equipment appears. He's a shy introvert mouse normally!

The trouble with me taking all the backstage Boosh shots is that I'm never in any of them, but then when we get photographers out on tour to shoot us I always feel for them because they usually get nothing! Especially when they're big personalities and act all crazy and hyper like that's what we react to! I always smile to myself and think 'you're not going to get anything here mate, especially from Julian' He rarely gives me anything photographically let alone a strange cool cat called Moses in his silly hat and mad trainers wondering why in every shot he has of Julian he's talking or eating!

I can imagine him being a pain in the arse

Not at all, well, maybe just a little every now and then but aren't we all? He's also the most truthful loyal down the line no shit guy you'll ever meet, he's also fucking hilarious and one of the best comic actors out there.

How did you meet?

Me, Noel and Nige (Boosh animator and co creator of Noels new show) went to see Julian do standup at uni - he was fucking amazing. Noel had wanted to go in for an award which Julian had won the year before, the daily telegraph open mic award, so thats why we saw him ... I think ... but then they met in Edinburgh and both got signed to the same management company and started writing together. Then they did three years in Edinburgh before the radio and TV shows. Being there from the off means I have photography all the way back to the source, I plan to do an exhibition and book some day of the lot, maybe next year, I think it’s 10 years since the first series? I may be wrong, my mind is mash, too much humous on tour.

OK We have some questions from ShensuitZombie readers. Graeme asks: Where are you keeping the severed head of the honey monster*?

* After a Sugar Puffs advert used a similar crimping style to the Boosh, Bollo exacted his revenge on the brand’s iconic beast live on tour.

Ha, I don't know where that is. It's probably behind a bin backstage somewhere in a Scottish theatre. The last gig on our last tour was in Aberdeen, I don't know whose fucking idea that was. It was a great gig and the people were amazing but we it did feel a bit of anti climax, although the journey back to London was ridiculous, it felt like it was half an hour! The honey monster head, I don't know, it's probably in Peter Kay's bed, discuss.

Holly asks: Do you find yourself grunting and acting like a primate after being onstage?

It's the most powerful thing to be in that costume, and acting it - especially in real life situations, I've found that out when I've been doing charity work, fundraising in banks and stuff, getting in lifts and acting nonchalant amongst business men and women. Some people react well and have a laugh, embrace it, others desperately try to ignore the fact that they're standing in a lift with Gorilla, others have massive heart attacks and die at my primate feet. It's weird for kids because they either run up and cuddle you or freeze, have meltdowns and are forever scared.

A friend recently did a film with John Landis [Director of American Werewolf in London and Thriller] who is apparently obsessed with monkey impersonators. He has a room in his house dedicated to all the monkey actors of the world and reckons he can tell who is in any monkey suit in any film anywhere. So he asked my mate for a signed photo of Bollo and I had to send him a strange signed shot like those ones you see in New York dry cleaners. Still, now I know I'm in John Landis's monkey room I sleep better at night.

John asks: In the Bollo Cadburys ad parody is it you in the suit*?

** If you don’t know what this is referring to, look here: tinyurl.com/bollocadburys

Of course it is, how very dare you suggest otherwise...

Which is your favourite episode?

Milky Joe is awesome, I love Nanageddon and Old Gregg and in series 3 it's got to be Eels. It’s tough to pick a favourite, I genuinely piss myself at most of them even when I watch them back now.

Is anything ad-libbed?

Yeah, have you met Rich? Ever tried to get him to say the same line twice! It's always where the best stuff comes from, harder in TV land but on tour it’s encouraged and is always where the gold comes from, also keeps you alive, when you're doing 6 shows a week for four or so months you need to keep it fresh.

In fact, there was one thing that Bollo had to do in the live show, rolling a big prop offstage. One day the caster caught and I stacked it, incidentally ripping my leg open in the process. It got the biggest laugh of the night so I carried on doing it for the rest of the tour!

Thanks Dave, it's been sweet.

No worries, nice to meet you.

And with that, like an ape in the woods, he was gone.

Check out Dave's site - www.apeinc.co.uk

Dave took hundreds of photos of Ghanaians on his recent trip with Afrikids, a charity for whom he is ambassador.

#Dave Brown #Noel Fielding #Julian Barratt #The Mighty Boosh #ShellsuitZombie #ShellsuitZombie Magazine #`❦

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sol1056 · 6 years

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if you promise peaches, deliver peaches.

After S7, the asks have been piling up. A few examples:

I was so confused in ep4 when Acxa disappeared, I thought she’d stuck with the team after ep3 and maybe I just missed the scene where she left, but others have brought that up, too.

Funny how the majority of the problems in s7 are because they tried to force BP Keith to the detriment of the story, and ironically, Keith's story, too.

I thought Lance’s family reunion would be much more emotional and be a part of his arc, since he was the most homesick, but then they gave that to Hunk?

Shiro got tossed aside in the most ableist, racist, and homophobic way, and Allura could have had a cool storyline mixing her paladinship and her castle storyline with a new altean mecha, instead of Shiro becoming a bad Allura 2.0 and Keith becoming a bad Shiro 2.0.

Srsly tho, am I the only one who finds it extremely bothering that in writing Allura and Lance they don't bother to show Allura coming to view Lance in a romantic light after her breakup?

Why even bother in S6 to make such a big deal of Shiro/Kuron saying his dream is to be a paladin over and over? Until he was revealed a clone some of us thought he was Shiro, so it's even harder to accept Shiro not being BP anymore.

The EPs seem to be so stuck in their initial idea and salty they couldn’t do it exactly as they want that they just ignore the story itself?

The EPs have spoken of being determined to get the VLD gig out of fear it’d be given to someone who'd wreck the story. That's understandable, but we're talking about a 78-episode, six-season, space opera mecha series. This genre practically demands a sprawling world and a massive cast, and it's far beyond the scope of anything either JDS or LM have ever helmed on their own.

My guess is that JDS and LM didn’t realize the enormity of what they were taking on, or they (and their bosses) seriously underestimated the degree to which they were wholly unprepared.

Behind the cut: what I meant when I said these EPs are not storytellers.

I’m not surprised the EPs over-estimated their skill, really. People will look at a creative process like art –- where you often start young, practice daily, maybe study it formally, apprentice or intern (especially in animation), and gradually work your way up -- and they see the effort. They know it wasn’t an overnight thing.

Too often, the very same people won’t accord that respect to the art of storytelling. It’s treated like divine inspiration, something that just happens. We’ve been hearing and reading and watching stories all our lives; how hard can it be to do it ourselves?

It’s goddamn hard, is what it is. I would love to tell you otherwise, but that’s the truth. You can rock your dialogue but you gotta track character goals, too. Complicated backstories only get you so far if you don’t understand how to modulate tension. You can have a great premise but you still gotta resolve the damn thing. A story has a hundred moving parts; scale up to a space opera’s necessary levels of epic and we’re talking exponentially more.

In my experience, the hardest part of storytelling — not the technical aspects of writing, but the art of storytelling — is holding the shape of the story in your head. The entire thing, all at once. You have to, if you’re to see how a choice at this point will echo down the line, or a motif laid here should reflect there, how the theme shifts but stays true from start to end, how these secondary arcs weave together to undergird the main arc.

I’d say a lot of what we learn in our first few novels is how to see — and hold —the story’s shape in our head. I’m not talking dialogue or voice acting or choreography. I’m talking about the overall shape, the vision and theme it establishes, evolves, and eventually resolves.

If we cannot, we will find our stories promise peaches and deliver pine cones.

Looking back, there are too many clues --- almost all given by the EPs themselves --- that they didn't have the experience to do this story justice. What they did have was a certainty that their vision was the best, an inability to deviate from that one story they'd devised, and a continual low-grade frustration at being held back.

Let's go back to the beginning. S1 starts a little rocky (to be expected as a team finds its groove), but S2 builds on S1 quite deftly. It’s not perfect, but in a storytelling sense, it’s the strongest season, and it's much too self-assured to be a beginner’s. It moves swiftly but steadily to a pivotal midpoint, and from there snowballs gracefully into its finale; it balances nuanced characterization with plot movement, and its opening promises bear fruit by the end.

In those earliest interviews and panels, the EPs are often casually vague about basic details, like character ages or relationships. At least twice their answers change, giving the impression they hadn't known and had needed to confirm with someone else. Generally, though, they're low-key and hopeful, possibly leaning on the borrowed confidence of that other storyteller’s influence.

By S3/S4, their tone shifts to a peculiar kind of non-ownership. They joke about having no idea what's going on, tossing out guesses as though they'd be the last to know. They offer head canons, rather than insight. They wear their frustration openly, alluding to the story they'd wanted, chafing at what had been decided for them.

As the story moved into the split-seasons, it's clear that whomever lent that guiding hand in S1/S2 was no longer present. Someone else’s fingerprints are on S3, and my guess is it’s mostly Hedrick, at least on the script-level. The word choices change, the cadences change, the beats change. From S3 on, VLD has all the hallmarks of a muddy vision.

You can see that in the story’s shape. It holds together, but barely. It darts forward, then sideways, then treads water for a bit. It’s erratically paced, dropping plot points and introducing new ones, only to drop those as well. It can’t settle on a driving antagonist, and when it finally does, it can't keep the antagonist’s goal consistent. It sacrifices nuance for one-note characterization, and shoves most substantiative character growth off-screen.

This continues to S6, which generally continues the focus on plot coupons over character goals, exposition at the cost of emotional beats, and neglecting established characters to introduce left-field swerves in the guise of plot twists. On the plus side, it does manage to rally enough to end its multi-season prevarication, and put to bed questions hanging around since late S3.

It's worth noting that both EPs have only a single writing credit each, for the pilot three-parter. That makes it doubly striking that JDS chose to write the Black Paladins episode. After the season aired, JDS complained in passing about rewrites on his episode. If that seems odd, remember that an EP has final approval on every script. If it bothered him to have his ideas rejected in favor of keeping Shiro, it must've burned to have his writing choices countermanded.

From the timing and the episode credits, this must've been around when Tim Hedrick left the team --- and the EPs took full ownership.

It shows in their post-S6 interviews. Gone are the ambiguous expressions or vague promises of doing their best. Their wording is declarative: what Kuron had been, what Shiro would be, the resolution of Shiro’s illness, the nature of Shiro’s past relationship. None is equivocated, nor couched as head canons. They’ve taken control of the narrative, and their interpretation is now the deciding one.

This change was important enough to them that they had to make sure we’re aware. There’s simply no other reason to tell us S7 had been written in its entirety, let alone tell us the original outcome. Nor is there any other reason to tell us they petitioned for — and got — permission to rewrite.

When I look at S7 with my writer’s hat on, everything tells me this is where the brakes came off. With Hedrick’s departure, there was no one left but the EPs themselves to steer the story. By whatever means, for whatever reason, VLD went from a crafted vision, to a conflicted one, to none at all.

Set aside the larger controversies for a moment, and just think about the shape of S7. It’s almost three seasons in one: the first part skips from event to event, then abruptly timeskips to reset the entire playing field. That second part in turn is divided from the last half by a two-parter that halts momentum for an overlong flashback with an entirely new cast, followed by a finale that mostly backseats its protagonists in favor of letting that new cast dominate.

There’s a common pattern in the way beginner writers react to critique, and I see that all over the EPs’s responses, from the beginning. It’s only grown worse since S6. They can’t quite juggle the story they think they’re telling versus the story they’re actually telling.

I’ve had these conversations too many times to count. I ask, how did this character get from here to there? The newbie storyteller is quick to explain, usually in great detail. I ask, but then why did this happen? The more I dig, the greater the chance the newbie will get angry that I don’t seem to be reading the story they’re so obviously telling. If I keep pushing, they’ll get defensive.

They’ll confidently assure me this is exactly the story they’d intended to tell, and if I don’t like it, that’s my problem. (They may not be able to hold the shape in their head, but they’ve probably already taken to heart the adage that one must stay true to one’s ‘artistic’ vision. The part about listening to critique even when it’s uncomfortable… that takes a bit longer to learn.)

My reaction almost always boils down to: you’re telling me this amazing story, but that’s not the story you’ve actually written.

Sometimes the best description of the shape of a newbie’s story is that of a house after a tornado’s swept through: the front door is on the chimney, the roof is half-off, and the windows are shattered in the front yard. Most of the pieces are there, but it’s all so jumbled the newbie storyteller can’t see what’s missing. They can’t hold the shape of the story in their head, so even when they know here’s where something goes, they’re too overwhelmed to remember the door they need is still on the chimney.

An epic story is no cakewalk, and boy do I give credit for that effort, but it’s one thing to learn by noodling in a fandom on AO3. It’s quite another to do it at the scale of a television series, let alone one with the expected scope of a space opera spanning galaxies. This is not the place to learn as you go.

Here’s why the shape of the story — and holding that in your head — is so important.

Think of a story’s resolution like a fresh peach. You want the reader to bite into the peach as the culmination of everything the story has been, from start to end. But you don’t get a peach by planting pine trees. You must start with the proper seeds, and make sure what grows is a peach tree, such that your final act bears the right fruit.

I touched on this before with the promise of the premise. Themes, backstories, world-building, and motifs are facets of the seeds planted in the first act. Everything you need to resolve the story must be present when the story begins; that’s where your premise lies, and your promises are made.

Through the entire second act, the tree must grow. The storyteller’s task is to trim as needed, bind this to that, shore up the roots, add water and nurture: this is where the theme expands, the foreshadowing laid, the questions reveal answers that lead to further questions, narrowing the outcome, each outlining the tree’s shape in sharper detail.

By the time the story turns the corner into the third act, the readers should be reasonably certain they’re going to get a peach tree. This is not a bad thing! You want them looking forward to plucking the peach and enjoying it. You want everything planted at story-beginning to come to fruition, at story-end.

That is why you must hold the shape — the vision — in your head, always checking against where you began and where you plan to end. You cannot throw out the entire tree at the end of the second act and start over; if you ignore the fruit your story is producing and insist on serving up pine cones, you’re going to have confused and possibly angry readers.

You promised them peaches, damn it.

The story is now midway through the third act. Everything planted in the previous seasons must now be coming to fruition… but it won’t. The EPs are openly (even proudly) reversing course on everything that’s come before. That means directly violating every motif, every thematic element, every bit of foreshadowing in word, image, or sound.

And at the same time, the story’s scope is simply too vast, and they haven’t the experience to juggle all the thousands of moving parts. The result is the most slapdash season, yet. Characters simply drop out of sight, only to reappear again with no warning. Themes and motifs built up over so many episodes are tossed aside as if they mean nothing.

The hand-to-hand fights are visually striking — the EPs’ strengths are in storyboarding, after all — but emotionally hollow, bereft of dialogue that could finally give us closure. Characters that would’ve once spoken openly with each other barely exchange a word; character-distinct dialogue is uttered by someone else, as though the VAs mixed up the scripts in the recording booth.

To achieve the emotional heft required for a meaningful resolution, there must be echoes of the story’s beginning. But when the beginning is negated—underscored by a timeskip that resets the entire playing field—there’s nothing to refer back to. The events now are happening in a void, divorced from the themes and motifs that created the emotional context in the first place.

This is by design; the EPs’ vision has never matched with the story as it was told to this point. They can’t go back, so they’ve rebooted. Once with the timeskip, and again with a two-parter episode that introduces new characters that can be entirely their own. Compared to the protagonists, these secondary characters have been lavished with attention to the point of overload: full names, backstories, designs. All of of that, and the time required to introduce them is to the detriment of the actual protagonists.

Whatever story VLD ostensibly set out to tell, that story is gone, now.

This is no longer a matter of losing track of the story, such that the promised peaches have transmuted into pine trees. We passed that point somewhere in S6. The EPs have burnt down the orchard to plant new seeds, while doing their best to ignore the charred stump of the story we'd been promised.

I would've preferred peaches, myself. That was the story I was promised, and that was the fruit I expected from everything I saw onscreen. But now?

I hope you like carrots.

#vld #voltron #storytelling #analysis #sol thinks about stuff

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chrono-logy-blog · 5 years

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Ativision/Blizzard layoffs and community DoomSaying

There have been a lot of discussions and emotions in the world of Activision and Blizzard Entertainment in recent days, and events have sparked a lot of thought and responses from the business world and the gaming community. For those who are unaware, on Tuesday, February 12th, Activision/Blizzard laid off approximately 8% of their workforce, around 800 workers, this coming after the company reported their quarterly profit analysis for the 4th quarter of 2018, as well as the yearly report for 2018 as a whole. There were a lot of layers to the report and the decision to lay off so many workers, so it is understandable that people may be unable or unwilling to process all the information provided to them. Like many others, I myself had a very emotional and passionate reaction to the whirlpool of information and misinformation that surrounded Tuesday. While pondering my own feelings and how to best express them, it became clear that there was a lot to say, and that a blog post would be the only appropriate and efficient way to get out both information and my reactions. So I am going to take a brief moment to introduce myself, give you a little background, and then we will get to breaking down the profit reports, the layoffs, and what all of this information means for Blizzard in the future. If you wish to know more about me, I am an open book in DMs or comments, as well as available on multiple other social media platforms. This introduction, however, is focused on the information you need to know about me for the relevance of the topic at hand. My name is Michael, and I am known over gaming social media outlets as "Chrono." I have been playing World of Warcraft since 2009, specifically near the release of Patch 3.2.0, otherwise known as "Call of the Crusade" during Wrath of the Lich King. After playing WoW for a few months, I fell in love with Blizzard storytelling and began expanding my interests in the company. 10 years later I have played every game produced since then, fallen in love with countless other Blizzard stories, specifically Starcraft II: Legacy of the Void and the original story of Diablo III. I am something of a staunch defender of Blizzard and the decisions they make, and it that will probably become more clear as the article goes on. In the interest of full disclosure, yes, I love Blizzard Entertainment and I always will, and I think they do a much better job than their community gives them credit for.

That being said, let's dive right into the information that probably had the most emotion attached to it on Tuesday, which was the layoff of about 8% of employees at Activision/Blizzard. There is nothing one person can say to ease the pain of so many lost opportunities. I have read several tweets and statements from former employees, expressing their sadness about what happened to them. Nothing I write here is meant to diminish the struggle those people and their families now face. Every single person who lost their job as a result of these layoffs has my sincerest and most heartfelt sympathies. I wish every single one of them the very best, because they deserve it. I don't know anyone personally affected, but I can imagine none of them will ever be able to replace their work at Blizzard. I know I wouldn't be able to if I was in their shoes. With that in mind, it's a struggle to witness. I know companies have to make hard decisions like these, but at the same time, I personally cannot help but believe there is always a better path. I would never presume to know better than the leaders of the company, but it is frustrating that in 2019, we still cannot find a better way to restructure a company aside from scrapping such a large portion of the workforce. At the same time, it is important to remember that these lost jobs were not overly about money and profits. Granted, its big business, everything ultimately comes down to money and profits. We'll get to the profit analysis in a moment, but suffice it to say that 2018 overall was a very good year for the company, profit-wise. So these layoffs are about the structure of the company and bringing in fresh blood and new ideas on how to grow into the future. This is not to say that there is a viable excuse for huge cuts to jobs, especially when these people worked day and night to get the company where it is now, but Blizzard seems to understand this, and is doing some small gestures to try and ease the pain of their decisions. After the layoffs happened on Tuesday, Blizzard President, J. Allen Brack, had this to say:

"This was an extremely difficult decision, and we want to acknowledge the effort of everyone who has contributed to Blizzard. To assist with the transition, we are offering each impacted employee a severance package that includes additional pay, benefits continuation, and career and recruiting support to help them find their next opportunity. These people are members of the Blizzard family—they’ve cared deeply and contributed greatly to our work here and we are extremely grateful for all they’ve done."

This does not, of course, instantly absolve the company of the layoff of about 800 workers, but at least there is an acknowledgment of the struggle of their former employees. It is also important to note that quarter 1 of 2019 is the first real business quarter of the Presidency of J. Allen Brack, who took over for Mike Morhaime towards the end of 2018. This is important because historically, when you have a change of hands like that at such a high level in a big company, the change flows down the corporate ladder and positions will change. Again, this is not an excuse or a justification, but before the intolerable Blizzard fan base starts screaming about their world being on fire, it's important to take a breath and look at the facts.

Speaking of those facts, these layoffs came at the heels of the company's earnings report for quarter 4 of 2018 and the year overall. This is the part where a lot of the misinformation occurs. There is a lot to this report, and admittedly, I am not business savvy enough to understand every aspect of it, but there are some clear defining points, and plans by Blizzard for 2019. First and foremost, so that no one misunderstands this one simple, indisputable fact: Blizzard made more money in 2018 than any year in their history. This seems on the surface to conflict with the layoffs that occured at the same time. If the company is on strong foundations, why would they layoff so many people? There are a couple answers that seem to make the most sense and likely a combination of them is the truth. First, even though 2018 was an amazing year for Activision/Blizzard, the fourth quarter of 2018 did fall short of expectations. The reasons for this are entirely speculation, unless someone has some insight into the minds of the corporate board and CEOs. Likely, however, everyone speculating on why the fourth quarter was a strugglebus experience is simply speculating based on their own broken experiences. Another firm reason for the layoffs despite record profits is, as previously mentioned, the change of hands at the highest level of the company is often met with countless changes flowing down the ranks. The third reason, and the one the company is putting forward the most, is the simple fact that they are reimagining every team and all their development and marketing tactics. Put simply, Blizzard wants new people involved, and cannot or will not hire waves and waves of people without first cutting jobs. Again, none of this is supposed to make anyone feel better about the layoffs, but it is meant to state one thing very clearly: The company is not falling apart. Their PR struggles with Diablo: Immortal or Battle for Azeroth are not tanking the company. There's no impending doom for Blizzard games, and there's certainly no reason for "fans" to abandon ship or throw around their usual doomsaying attitude. The community responses to just about everything since the release of Battle for Azeroth has been atrocious, and if by some miracle this article catches the eye of any Blizzard game developer, I appreciate the fact that you are too nice to lash back at the community, so I am going to do it for you. The sheer disrespect towards people who spend their entire lives making games for us to enjoy, almost entirely over senseless and trivial matters, is ridiculous and unacceptable, especially in the wake of serious matters like 800 people at the company being out of work. One of the Warcraft content creators I have the most respect for, The Lost Codex said it best with a Twitter post aimed at inspiring positive feedback for the developers, mere days before the layoffs occurred:

"The vitriol from the Community has been heartbreaking to witness. Passionate & beautifully creative people have been demonized & instead of spiting at every tweet, let’s cheer them on. Remind them why they started their career path & acknowledge their passion that we all share."

So what does this mean for the company going forward? Well, according to their statements, Warcraft, Hearthstone, Overwatch, and Diablo will all see an increase of around 20% to their development teams. This means more hires and supports the idea that Blizzard is looking for new people and new ideas, rather than hitting the big red button over money problems. It also means that at a minimum, these 4 franchises are continuing into the foreseeable future. As for the other Blizzard IPs, its likely they will conversely take a seat on the back burner, with Starcraft II's WCS the highlight of the other IPs, which is unlikely to die given its massive global following. It's also important to note that World of Warcraft has a set content timeline that cannot and will not be affected by the massive employment changes. Warcraft and Overwatch are clearly set to be the highlights of 2019, with the 3 major Warcraft projects still in motion, and the emphasis on eSports in 2019, which Overwatch has become a pillar of in the Blizzard community. This is about all we know beyond the layoffs at the moment. As a huge Starcraft fan, I'm disappointed that the prospect of the franchise dying after falling in love with the characters and plot lines. I also, however, believe that Blizzard will continue to develop into the future if we the community just give them a chance. They are not evil, they are not out to spite anyone.

Finally, a special message to the Diablo community. Now is the time to quit the whining. Diablo is getting so much future attention. Regardless of what people may think of Diablo: Immortal, there have been no cancellation announcements. Neither have there been any such disappointing news on the subject of Diablo 4, which we know is in the works. The Diablo community is getting everything they want from Blizzard, despite the selfish reactions to Diablo: Immortal and the wait for Diablo 4. (Obviously people have already forgotten how long the wait was for Diablo 3) So, in short, now is the time to be optimistic and give the Devs a chance to please your inflated egos.

To sum up, it was a sad day for the company and the community on Tuesday. I cannot stress enough how much my heart goes out to the 800 workers who lost their jobs. I would be lost in their position, but I know they are stronger people than I, and they will bounce back. It's going to be an off year, a disappointing year to some, but no one should simply be a fan of Blizzard when everything is going well. If we want to call ourselves part of the Blizzard family, now is when the company needs our understanding the most. You can be against the layoffs, you can have constructive criticism of game mechanics, marketing plans, and IP franchises. But I ask... I implore everyone reading this to stay positive and not lash out. Be the Blizzard family everyone deserves. No matter how bleak things seem at the time, I can hold my head high with tears in my eyes, and be proud to be a fan that knows Blizzard will grow from these sad times and create even more amazing gaming experiences in the future. I hope you will join me. Thank you for reading. En Taro Adun, Lok-tar Ogar, and Cheers, Luv.

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saltyblazestudent · 5 years

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The Video Game Industry

Video games have come a very long way. From humble beginnings as a simple interactive exhibit to an entirely new form of interactive storytelling and ways to experience adventures with friends. The video game industry has been ripe with change, controversary, technological strides, and amazing works of art and commentaries on society.

Key Terms-

DLC- Downloadable content available for a game offered for a small extra price after the full release of the game.

Micro Transactions- Payments made with real money to get in game currency used to buy in game content.

FPS/TPS- First person shooter/ third person shooter.

Cabinet Game- An arcade style video game built into a cabinet like structure.

Console- a gaming device that can be used at home by plugging it into a TV screen.

Sandbox environment- A game environment that allows the player to roam where every and do almost whatever they want.

Triple-A Games- games that are very popular, make great sales on release, and is usually annualized to release a new game every year or two.

Historical developments-

The first video game was invented in 1958 by Physicist William Higginbotham and it was called Pong. The game was created was by Higginbotham as an interactive exhibit for the Brookhaven National Laboratory Group. The game was displayed on an analog computer and was based off tennis with players using two knobs to control two parallel bars bouncing a ball in between them. This simple concept was eventually ported to an arcade cabinet style and later an at home console game and led to the development of other cabinet style arcade games and at home video game consoles.

The 1970’s was the decade that arcade style video games became mainstream. Even a year before Pong was ported to a cabinet there was Atari’s 1971 game Computer Space a simple joystick-controlled game where you control a small spaceship and the first Arcade Cabinet game. These successes paved the way for all sorts of companies to start developing some of their own games to be made into arcade cabinets and played for a few cents a play. One of the most famous arcade games is Pac-Man a Japanese game licensed and distributed in the U.S. by Midway games and released in 1980. This is a simple arcade style game in which the player uses a joystick to control a small yellow circle shaped character named Pac-Man. The goal of the game was to earn points by going through a maze eating small dots while Avoiding Blinky, Pinky ,Inky, and Clyde four ghost who chase you through the maze. This simple yet incredibly fun game led to many sequels spinoffs and even a Hanna Barbara cartoon series.

Pac-Man isn’t the only game or character to receive mainstream popularity. The Japanese company Nintendo had a game and a character that would truly become timeless, he was a short Italian plumber, that wore a red hat, overalls and a large mustache and had a very funny accent. His name was Mario and the first game he was featured in was a 1981 arcade game called Donkey Kong. This game had Mario trying to rescue Princess Peach from the giant gorilla Donkey Kong. The player would use a joystick and buttons to guide Mario up platforms and over barrels being thrown by Donkey Kong. Mario would later get another main role in Mario Bros which introduced Mario’s brother Luigi. Mario has since become the face of Nintendo and is their flagship Character and shows no signs of losing any popularity.

It was popularity such as this that helped gaming companies make the next big leap from the arcades to peoples’ homes. These consoles usually had the same games you could play in an arcade preloaded onto them so you could play them as much you wanted for free at home. The first at home console was created in 1967 and was called simply the Brown Box and offered only six games ping pong, tennis, volleyball, hand ball, a chase game, and a light gun game. The Magnavox Odyssey was another early at home console that was so primitive to modern standards that it didn’t even have audio. These early 2-D arcade consoles eventually led to the rise of another technological breakthrough in the industry, 3-D gaming. These were not 3-D in the sense that the images appeared to be jumping out of the screen but more with the art style and how the games were graphically improved. For example in Super Mario Bros the character models are created from small colored squares called pixels. These pixels are colored and stacked into shaped to create a 2-D shape on the screen such as the image of Mario. Fast forward to the 3-D tech breakthrough and the number of pixels being used to create Mario increased dramatically, this meant the game developers could make much more detail character models that you could view from any angle. These advances in 3-D character modelling led to the development of one of the most famous consoles created, the Nintendo 64 was a huge leap forward for mainstream gaming and introduce help introduce the concept of a handheld controller with smaller buttons and a small joystick instead of a single joystick for controls.

The N-64 also brought amazing games such as Super Smash Bros, Mario Kart, James Bond: Goldeneye, and Mario Tennis. The popularity of the N-64 paved the way for other companies like Sony and Microsoft to hone in on the gaming console market with the release of the Sony PlayStation and the Microsoft X-BOX.

Notable Artists-

The gaming industry is filled with brilliant artist, studios, writers, programmers, and other types of creators that dedicate their time and effort to creating beautiful and stunning games for us to enjoy.

Shigeru Miyamoto- Creator of the Mario Franchise Japanese game developer Shigeru Miyamoto has one of the most creative and colorful imaginations in gaming. The worlds and characters he creates are colorful, cartoony, fun, and most of all memorable. Miyamoto claims to have been inspired by stories such as Alice In Wonderland in his design of the game world and the characters who inhabit it. Miyamoto has created characters such as Mario, Luigi, Donkey Kong, Bowser, Goombas, Toad, Yoshi, and countless others.

Rockstar Games- Rockstar Games is a company the develops and produces some of the most detailed and expansive Sandbox Environment Games that not only present the player with amazing film quality level story and script writing but also a massive world to experience it all in that feels very close to real life.

Rockstar has published numerous successful game franchises such as the Max Payne, Grand Theft Auto, Red Dead Redemption, Bully and many others. Rockstar games are notorious for amazing sales records as well with Grand Theft Auto V has made over $6 billion dollars in sales since its release in 2013 and Rockstar’s newest release of their Wild West epic Red Dead Redemption II making $725 million three days after the game was put out.

Recent Trends-

Video Games like any other form of media is subject to trends and the consumers demanding video games that are new, exciting, and interesting. In the 90’s the trend was first person shooters which were popular with computer gamers. First Person shooters consist of putting the player in the first person view of the protagonist, this makes actions like shooting at enemies much easier and more immersive. Games that pioneered this “FPS” (First Person Shooter) genre were games like Wolfenstein, and Doom. The FPS trend evolved in the late 90’s and early 2000’s and was greatly influenced by the 1998 movie Saving Pvt Ryan. After the film’s release there was a huge spike in WWII themed FPS games. A couple of these games almost recreated the Omaha Beach scene from Saving Pvt. Ryan perfectly, allowing player to take part in one of the most famous battles of WWII. Trends in gaming have again evolved with the popularity of the “battle royale”(BR). The BR genre consists of dropping up to 100 players on an island or other large area and having the play area slowly shrink as the players fight for supplies, weapons, shelter, and to be the sole survivor. Games like Player Unknown’s Battle Grounds and Fortnite popularized the genre and now larger annual game titles such as Battlefield and Call Of Duty have included BR game modes in their newest games.

Exemplary Examples-

An amazing and fairly recent example at how far gaming has come and shows just how amazing gaming can be as a mode of storytelling. Rockstar Games’ Red Dead Redemption II is the sequel to the Highly praised Red Dead Redemption. After an eight year wait Red Dead fans flocked to stores to pick up the high anticipated sequel, and they were not disappointed. Red Dead II raked in not only over $725 million after only three days but also almost universal praise from the media. The game was in the news not only on gaming websites and magazines but also in the mainstream media. The game takes place in America during the year 1899 and has a strong Wild West theme to it. The game offers over sixty hours of gameplay just with the main story but adding in side activities and side missions to that play time can exponentially increase the play time for Red Dead II.

Red Dead II offers fun and in detail activities besides the main story missions, such as hunting. Hunting in Red Dead II consist of travelling to a location on the huge map where the animal your hunting is found for example if you want to hunt Alligators you must go to the swampy southern end of the map, if you want to hunt elk you must go to the snowy mountains in the north of the map. Once in the region of the animal you must rack it by looking for clues, once the animal is tracked you must decide the best weapon to take it down with-out damaging the skin. Animals skins that are intact and in better shape when you hunt them can be sold for more money or crafted into clothing for your character in game. This hunting mechanic is just one example of Red Dead II’s highly immersive world.

Ownership-

The video game industry lives on game developing companies that actually create the games. These companies like any other industry vary from small independent companies with a limited number of employees to large corporations and conglomerates that push out Triple-A games on a monthly basis.

An Example of a smaller independent developer is Tripwire Interactive. Tripwire specializes in FPS games especially “hyper-realistic” type FPS games like Red Orchestra and Red Orchestra 2: Heroes of Stalingrad. The Red Orchestra games were a welcome change to the type of gameplay offered from most WWII themed FPS games at the time. While other games feature fast gameplay with things like regenerating health and a Heads up Display (HUD) that displayed a mini map, health bar, and ammo count, Red Orchestra cut all that out. Tripwire focused on making a more realistic experience. This included mechanics such as realistic bullet ballistics with shots staring to arch over a certain distance, excluding a HUD feature altogether, and having the player venerable enough to be killed by a single bullet to add to the realism. These mechanics later carried on into other Tripwire games such as the Pacific Theatre WWII game Rising Storm and the Vietnam War game Rising Storm II.

An example of a larger and more corporate game developer that makes games similar to Tripwire. Dice Studios is a very well-known studio most famous for the production of the Battlefield franchise and more recently the Star Wars: Battlefront franchise. Dice is owned by Electronic Arts or EA a huge gaming development conglomeration that has many smaller game developers working for them. Dice has been making battlefield games since 2002 with the first title being a WWII FPS called Battlefield 1942. The game saw great success and EA recognized this and now has Dice pumping out Battlefield games almost every two years.

Demographics-

The demographics of gamers are actually a lot more diverse than one might believe. The usually stereotype is that gamers are either boys between the ages of 7-17 or young men in their twenties that live in their parents basement. There’s also a major stereotype that females do not like video games.

64% of the US general public play video games, The average age of the male gamer according to a Nielsen survey is 33 years old, according to the Entertainment Software Association the average age of female gamers is 37 years old. The countries that make the most from gaming revenue are The US bringing in an average of $25,426 million, Japan with $14,048 million, and China with a whopping $32,538 million.

Controversaries-

The gaming industry and its companies are not immune to controversary and culture movements.

The Grand Theft Auto Controversaries- Rockstar Game’s Grand Theft Auto (GTA) franchise is their most successful and most controversial franchise. The games are usually themed around crime and the main storylines have very graphic violence, drug use, and sexual content. The sandbox nature of the game also allows the player the opportunity to commit violence against non-enemy NPCs (non-playable characters) or go on shooting sprees until the cops kill you. GTA V came under harsh criticism for a playable scene In the story mode in which the player is forced to torture an FBI prisoner for information with anything from shock with a car battery, pulling teeth with plyers, or waterboarding. This scene especially got lots of media attention with many people asking the question if GTA games are to violent especially in today’s culture. Rockstar however uses this publicity and actually counts on it with each GTA release because it ultimately drives up their sales.

The Doom Controversary- On April 20 1999 two high school students Eric Harris and Dylan Klebold entered their high school armed with guns and homemade bombs. They killed twelve people that day and themselves, and in the subsequent investigation it was found that the boys were fans of one the first popular FPS games Doom. Doom is centered on very simple gameplay with an interesting story with the main character traveling to Mars and to Hell to fight demons. It was the demonic themes and violent gameplay that led some to believe that Doom was actually sending Satanic subliminal messages to players trying to corrupt them to violence.

Sources

https://www.aps.org/publications/apsnews/200810/physicshistory.cfm

http://pacman.com/en/pac-man-history

https://www.howtogeek.com/trivia/in-which-game-did-mario-make-his-first-appearance/

https://www.npr.org/sections/alltechconsidered/2015/06/19/415456813/the-legendary-mr-miyamoto-father-of-mario-and-donkey-kong

https://www.forbes.com/sites/insertcoin/2018/10/30/red-dead-redemption-2-sales-revealed-725-million-in-three-days/#79f7000455d7

https://www.businessinsider.com/what-is-red-dead-redemption-2-2018-9

https://www.tripwireinteractive.com/#/company/#top

https://www.wepc.com/news/video-game-statistics/#video-gaming-industry-overview

#MSCT2010BattistaFall18

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dotsonabrahamsen63-blog · 5 years

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Remembering Stan Lee: The Amazing Origin Story Of The Marvel Comics Scribe

Strangely enough, Lee said he would cast himself as the opposite of all that in his own imagination, drawing a comparison to the cynical, Stan Lee Thank You For The Memories Shirt uncompromising newspaper editor J. Jonah Jameson. “I’m very frustrated that by the time they made the movie I was too old to play the role,” Lee said. “I modeled him after me. He was dumb and loudmouthed and opinionated. Of all the characters he helped create, Peter Parker remained his favorite. “In a way Spider-Man is more special than the others,” he said. What made him Lee’s favorite? “Nothing ever goes right for Peter. I think for most people in the world, nothing ever goes right. He hates people he’s never seen — people he’s never known — with equal intensity — with equal venom. “Now, we’re not trying to say it’s unreasonable for one human being to bug another. But, although anyone has the right to dislike another individual, it’s totally irrational, patently insane to condemn an entire race — to despise an entire nation — to vilify an entire religion. Sooner or later, we must learn to judge each other on our own merits. Sooner or later, if man is ever to be worthy of his destiny, we must fill our hearts with tolerance. For then, and only then, will we be truly worthy of the concept that man was created in the image of God ― a God who calls us ALL ― His children. 2.99. Available in North America and Europe. Oscorp Search & Destroy Pack - In The Amazing Spider-Manvideo game, Spider-Man has his own smartphone to help navigate around Manhattan, locate missions and challenges and fight crime. With this pack, Spider-Man's smartphone will feature two mini-games inspired by classic arcade fun. 2.99. Available in North America and Europe. Lizard Rampage Pack - The notorious Lizard is on the loose again in Manhattan! Take on the role of Dr. Connors' terrifying alter ego in a race against time. Go berserk through the streets using his devastating stomp attack and tail swipe to defeat Oscorp guards and earn mega points.

Lee knew his work was different, proudly noting that stories were drawn out over several issues not to make money but to better develop characters, situations and themes. He didn’t neglect his villains, either. One, the Moleman, went bad when he was ostracized because of his appearance, Lee wrote, adding it was “almost unheard of in a comic book” to explain why a character was what he was. Lee’s direct influence faded in the 1970s as he gave up some of his editorial duties at Marvel. But with his trademark white mustache and tinted sunglasses, he was the industry’s most recognizable figure. The Amazing Spider-Man is getting a whole bunch of DLC today, including a few different packs that will have you playing as people other than the titular wall-crawler. The Lizard Rampage pack will open up a level where you play as the Lizard, along with a new Spidey suit to wear. 49.99 on Steam, including complete integration with Steam achievements. A Nintendo 3DS demo is also now available in the Nintendo eShop. Rhino Challenge Pack - Take control of the massive, genetically engineered villain Rhino and rampage around Manhattan in an exclusive gameplay challenge of pure destruction! As Rhino, players will be able to unleash his formidable powers to destroy anything and everything in his path in a timed event full of speed, combo streaks, and of course, a ton of things to break! The Associated Press in a 2006 interview. Lee considered the comic-book medium an art form and he was prolific: By some accounts, he came up with a new comic book every day for 10 years. He hit his stride in the 1960s when he brought the Fantastic Four, the Hulk, Spider-Man, Iron Man and numerous others to life. His heroes, meanwhile, were a far cry from virtuous do-gooders such as rival DC Comics' Superman. The Fantastic Four fought with each other. Spider-Man was goaded into superhero work by his alter ego, Peter Parker, who suffered from unrequited crushes, money problems and dandruff.

XXX in the world of comic books were awesome. I happen to think they’re not exactly what a lot of people think but I don’t doubt their size and endurance. I knew him since 1970, worked for him a few times, talked with him at length and fielded an awful lot of phone calls from him asking me questions about comic books he worked on. He really did have a bad memory, if not when he first started telling people he had a bad memory, then certainly later on as he turned more and more into the Stan Lee character he’d created for himself. That’s all I’m going to write now. That’s where it begins and ends with me. To those of us who have been so deeply affected by the humanity of his imagination, the understanding of reaching beyond our potential and the necessity of tapping into our immeasurable imaginations, we thank you and are forever indebted. Rest In Peace Dear Stan. You made our time here a better one. What a man. What a life. When I first broke into Hollywood, he welcomed me with open arms and some very sage advice I’ll forever take to heart. A true icon who impacted generations around the world. Rest in love, my friend. I have to say I am deeply touched by the passing of Stan Lee… I always looked forward to seeing his cameo parts in all his great movies. 1 - Maybe you haven’t noticed, but there is a spiritual quality in all the Stan Lee movies… always the good guys win. Eventually, not always right away, but eventually. And his movies most of the time ended on an upbeat thought… that allowed us to ponder our existence. 2 - Stan Lee was also a man who could have been a musician but he was not good at music at all.

Legendary Marvel Comics co-creator Stan Lee — famous for giving the world beloved superheroes including Spider-Man, Iron Man and the Incredible Hulk — died Monday. According to TMZ, Lee suffered a number of illnesses over the last year, including pneumonia. His daughter J.C. told the site, “My father loved all of his fans. Lee was born Stanley Martin Lieber to Romanian-born Jewish immigrants in New York City, spending much of his early life in Washington Heights. He returned to Timely Comics in 1945 and married wife Joan two years later. In 1950, Timely Comics publisher Martin Goodman tasked Lee with creating a new superhero team to rival DC Comics’ Justice League. “Let’s lay it right on the line. Bigotry and racism are among the deadliest social ills plaguing the world today. But, unlike a team of costumed super-villains, they can’t be halted with a punch in the snoot, or a zap from a ray gun. The only way to destroy them is to expose them — to reveal them for the insidious evils they really are. The bigot is an unreasoning hater — one who hates blindly, fanatically, indiscriminately. If his hang-up is black men, he hates ALL black men. If a redhead once offended him, he hates ALL redheads. If some foreigner beat him to a job, he’s down on ALL foreigners. Stan Lee, the comic book mastermind who changed the landscape of the superhero genre, has died at age 95. Lee revolutionized the comic world by creating Marvel Comics superheroes such as Spider-Man, The Fantastic Four and The Incredible Hulk. An attorney for Lee's daughter, J.C. Lee, said the creative dynamo who revolutionized the comic world by introducing human frailties in superheroes such as Spider-Man, The Fantastic Four and The Incredible Hulk, was declared dead Monday at Cedars-Sinai Medical Center in Los Angeles. In a statement to Fox News Shane Duffy, CEO of Stan Lee’s POW! I think everybody loves things that are bigger than life. I think of them as fairy tales for grown-ups," he told The Associated Press in a 2006 interview. "We all grew up with giants and ogres and witches. Well, you get a little bit older and you're too old to read fairy tales.

How long would this superhero movie thing last? He didn’t know. He was glad to be along for the ride. Happy to see the old characters he helped create being brought to life onscreen. We began talking about the origin of Spider-Man, born in 1962 after a string of other successes had made Stan Lee a powerhouse scribe at Marvel Comics. He had started working there when he was 17. Back then, Marvel Comics was known as Timely Comics, and he was known as Stanley Lieber, son of Jewish Romanian immigrants from the Bronx. His dream was to become a writer. But before any of that could happen, he earned cash by working a series of small jobs. As a theater usher, his first claim to fame was tripping and falling while showing Eleanor Roosevelt to her seat. “Are you all right, young man? Remember, this was six years before Iron Man and the launch of the Marvel Cinematic Universe. The films were not yet interconnected, not that there were many to string together. Stan Lee cameos were not yet a phenomenon. He had played a beachside hotdog vendor in the X-Men film. That was it. (“You missed me?” he teased. “I was like the lead of the movie! ] idea was, I was selling sunglasses in Times Square and I was talking to this little girl, showing her a pair of glasses as Peter Parker walks by,” Lee recounted in his gruff, nasally voice. Think about the incredible characters that derived from the mind of this man. Iron Man, the X-Men, Thor, Daredevil and Dr. Strange. These are characters everyone knows and loves. Look at this list of Stan Lee's creations and think about which ones have gone onto success in other media as well as had very successful runs in comics. Every single one of them almost. Granted, a lot of that success is due to the efforts and contributions of those writers and artists who developed the characters through the years. But Stan Lee's fingerprint is on each and every one of them and will always be seen and felt. Can you name one single creator in comics that has contributed as much in terms of longevity, creativity and uniqueness? You can't because there are none. There are plenty of creators that have made great contributions and have written or drawn amazing characters and stories. But none can say they changed the face of the industry quite like Stan Lee can. No matter what happens from this day forward; no matter what superstar creators land at the Big Two. Stan Lee, Marvel Comics' own living legend, stands head and shoulders above the rest. LOS ANGELES (AP) — Stan Lee, the creative dynamo who revolutionized the comic book and helped make billions for Hollywood by introducing human frailties in Marvel superheroes such as Spider-Man, the Fantastic Four and the Incredible Hulk, died Monday. Lee was declared dead at Cedars-Sinai Medical Center in Los Angeles, according to Kirk Schenck, an attorney for Lee’s daughter, J.C. As the top writer at Marvel Comics and later as its publisher, Lee was widely considered the architect of the contemporary comic book. He revived the industry in the 1960s by offering the costumes and action craved by younger readers while insisting on sophisticated plots, college-level dialogue, satire, science fiction, even philosophy.

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eco-nnect · 3 years

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From Beirut with Love: Eco-nnect in conversation with Larissa von Planta

‘For me up-cycling feels like the best and most logical way to reduce waste and damage in the fashion industry. I have so much respect for all the exciting innovation going on but this feels like the clearest, simplest solution whilst also providing employment security and protecting the local crafts of skilled artisans.’ Larissa von Planta

In the wake of the catastrophic explosion in Beirut on the 4th of August 2020, the world watched stunned as they saw recording after recording of this inconceivably destructive event in the port of Beirut.

According to seismologists at the United States Geological Survey it was the equivalent to a 3.3-magnitude earthquake, killing 210 people, injuring over 5,000 and leaving an estimated 300,000 homeless. This disaster struck amidst an already unfolding economic crisis in the country. The damage to livelihoods and industries was devastating.

A collective movement to respond to this crisis ensued all around the world from small grassroots to large scale international efforts. Among these was, Larissa von Planta, a sustainable fashion couturier, who had just left Beirut two days before the explosion. Having processed the shock of the event, Larissa quickly got to thinking how she could help the artisans she had worked with in Beirut who collectively form the Alsama Studio. Alsama is filled with the sound of needlework and women chatting, while beautifully embroidered pillows, jackets and linen shirts line the shelves of the walls adorning the rooms with colour and texture. Fatima, Alsama’s brilliant coordinator and studio manager, runs a team of exceptionally skilled women embroiderers from Syria, Lebanon and Palestine. This work is not only a precious traditional craft but also pressingly provides long-term employment stability.

Larissa saw an opportunity to help the studio by offering needlework and up-cycling for her friends’ pre-loved items of clothing and homeware. Each friend was asked to pay a fee of £100 and send the item to a collection point in London where it was sent to Beirut to be adorned in beautiful designs. This instantly allowed Larissa to provide income and essential work to the women of Alsama. As a model this worked well and Larissa is continuing to offer dates of collection in London, Austria and Switzerland whereby anyone can send in their item of clothing or homeware along with a fixed fee of £100 and await the return of a unique piece of craftsmanship. In doing this Larissa is also tackling another cause close to her heart, that of transforming the fashion industry into a less wasteful, kinder and more sustainable business. Both a refreshing antidote to fast fashion and way of empowering artisans by giving them a working structure of employment; this is an exciting blend of conscious consumerism and sustainable solutions with an authentic and powerful story behind it.

Larissa sadly lost her mother in April 2020 and feels that this initiative is a tribute to her mother’s energy and spirit.

We catch up with the wonderfully talented Larissa, inspired to hear more about her, the story behind LVP x Alsama and how she envisions it will continue to grow.

Hello Larissa, so nice to be chatting with you. Will you start by telling us a little about how this past year has been for you?

‘In March 2020 I decided to come home to be with my Mum and my family. After my Mum passed away, the situation was getting so much worse in Beirut. Constant demonstrations and protests, often escalating into violence. It became exhausting trying to keep up a business there, so myself and many of my friends were having to consider going elsewhere. It was a very sad goodbye. I went back in mid July and gave myself 10 days to pack up and leave. I said my goodbyes, found new jobs for the tailors and seamstresses who I worked with. I left on the 2nd August and the explosion was on the 4th… where my apartment and studio were was where the destruction was worst, so it really was a miracle to have left then. The area was full of bars and cafés and beautiful old buildings. It was all a massive shock.

So at the end of this difficult year I am doing much, much better. This project has really given a sense of focus and purpose even though it is still quite small at this stage. The work we are doing is tangibly helping 36 women in the studio. The support is there and visible and that is very motivating. There’s great potential to grow much further and help even more people.

A lot of projects and creativity came out of the shock of the explosion. At first there was a lot of shock and denial, people insisting they were fine and emphasising how lucky they were. This was then followed by anger and demonstrations. Then a couple of weeks later people were feeling really driven to fix the place and support each other, all on their own, there was no support from the government.

Since the protests in 2019 the situation in Lebanon was just going from worse to worse, people kept asking what was next? Whether due to accident or corruption what was coming next? And the explosion was what came next…’

What have been your keys to keeping positive during this time?

‘The main thing has been moving in with my grandparents in the mountains in Switzerland since just before Christmas, it has been so soothing. Grandparents have been through it all, they have such a relaxed attitude to life and that perspective and energy really seeps in. It has been very restful. The time here has also been such a period of construction in terms of Alsama. Despite everyone in our team being in different places around the world, I think it has actually turned out to be a more productive, connected, communicative time. We feel focussed and are able to have the space to plan ahead.’

Where is home for you?

‘London 100% feels like home, it’s where our family home is, it’s where I studied, went to primary school… I went to Central Saint Martins and Falmouth, so I do a lot of creative projects in London with friends from there which feels great. I do also feel very Swiss and Austrian, being here in the mountains has reminded me of that. It is a small village, the opposite of London in a way, it is revitalising and remote which is nice.’

Mountains have an incredibly restorative power I think…

‘Yes! Do you know the book The Magic Mountain by Thomas Mann? That is based on this area… there are lots of run down Belle Epoque hotels which used to be for convalescence. So there is a feeling of nostalgia and the remnants of that energy. I read that book in Beirut and felt desperate for the setting and atmosphere of the mountains.’

You were very quick to think of solutions to help in the wake of the explosion in Beirut last year, what first actions did you take?

‘I managed to crowd fund £30,000 immediately for my tailors, my studio collective and Alsama. This was what spurred me on to think of the easiest, simplest way I could continue to help. So I asked my close friends to give me their shirts and jean jackets with £100 to just to see whether this would work. I went out with my father Claudio von Planta, a documentary film maker, who took amazing footage, to drop off the money we’d raised and to see the studio. I also wanted to see my friend Rym Beydoune who had been really badly injured in the explosion, with 12 fractured vertebrae, 5 broken ribs, a punctured lung and exploded spleen. She and her boyfriend had been in a shop trying on Yamamoto shirts, as it happened, and had to take three rickety old buses to try and get to the hospital. Her boyfriend, who had himself torn his Achilles tendon, nearly lost his eye from shattered glass to the head and had two broken bones in his leg was on pure adrenaline just knowing he had to get her there. Eventually they got to the hospital and she had to wait in the car park on a broken piece of wood. The moment he realised she’d be ok, Reda (her boyfriend) immediately proposed to her!’

…what a beautiful story!

‘So that trip had been a time to really just touch base with Beirut, take footage on the camera and see how the situation was developing there. I also wanted to see how we could spend the money we had raised. I think stability is the main thing, I wanted to make sure they had work and that they were paid in dollars which is more reliable than the Lebanese Lira. There will be constant work coming, that is the assurance I wanted to provide. In terms of up-cycling it is an easy model as my work is purely operational, it’s about getting people’s clothes to Alsama. For a long time I wanted to do some sort of pret-à-porter up-cycling work but it is so difficult and time consuming to find a model that works. It is very labour intensive and expensive and a lot of factories are simply not set up in a way to do this. It had been in my mind for so long thinking how can we scale up, and Alsama is how we can, it felt very exciting to think that out of the explosion came this light bulb idea.’

It is a wonderful idea and a lot more collaborative as a process. You are putting some of the responsibility in the hands of the consumer which encourages consumers to be more proactive and consider their choices more carefully, as well as reducing labour intensity from your own supply chain. Plus this takes away the huge issue of the assumption on the consumer side that you can simply return something straight away if it’s not quite right.

‘Yes exactly, there is a huge problem especially now after Brexit in that online shops and retailers have so much sent back because it didn’t fit and there’s this awful standard that so often items get burnt or chucked away because processing them and putting them back online is too much effort and not worth it. Here, you send your piece of clothing that you already know fits you and one woman works on it. She dedicates her time and highly refined craft into your beloved item of clothing and you don’t know what you’ll get back so there’s that lovely element of surprise. If you’re purely looking at it in a business way, it resolves a lot of the current problems in the fashion industry.’

Yes this offers solutions to so many issues from efficiency, to challenging consumer cultures, to tackling the landfill and waste problems…

‘Sasha, one of my team members, is currently in Kenya where so many of our unwanted clothes are sent and it is flooding the markets there which also therefore drastically undermines their local textile industry. Mountains and mountains of stuff being sent off to other countries.’

And there’s the issue of all the toxins and micro-plastics of the clothes that will be polluting the systems of countries they end up in.

‘Yes exactly, for me up-cycling feels like the best and most logical way to reduce waste and damage in the fashion industry. I have so much respect for all the exciting innovation going on but this feels like the clearest, simplest solution whilst also providing employment security and protecting the local crafts of skilled artisans.’

How did you get into sustainable fashion, what has been your journey with fashion and creativity?

‘I think we grew up with a very strong sense of sustainability, throughout my education and childhood there was an emphasis on that. Then when I went to Falmouth, everyone who studied there had a strong connection with nature because of our surroundings and being by the sea. When I got into Saint Martins, when you begin they tell you to go buy your fabric from Goldhawk Road and I just noticed the fabric quality was terrible and expensive! My family actually has a textile mill in Austria and so we have all these old, precious fabrics which are carefully stored. My grandparents eventually let me use them, saying that our generation doesn’t know how to look after things, when I was eventually allowed to use them I decided I wanted to make something special with them. So I made my whole final collection out of clothes from my grandparents and great-grandparents, things they’d owned or brought back from trips. I just noticed the quality, how precious they were, each one had a story attached to it. People who were in my family who I’d never met. For me, suddenly I noticed there was an added value to the piece, it comes from somewhere, there’s history in it. Then comes the point when you have to take that first cut into a precious textile which takes you out of the mindset of nostalgia and brings you back into the present- forcing you to think, how can I take this forward now?’

How amazing, and that touches on so many points. I agree that being handed down a piece of clothing that’s been really loved and cared for makes you respect the importance of valuing things to make them last. It also makes me think of the inherited traditional crafts used in the Alsama pieces, these customs have been handed down and cared for over generations and generations.

‘It is lovely to be able to maintain but also keep developing that craft. In textiles, you study a craft that has existed for a long time. You get to know it very well. Especially with Palestinian embroidery, it is very powerful. I was initially drawn to it, in the old embroidery up to 100 years back, all the dyes were natural dyes made from location-specific agriculture and the motifs would be reflective of a landscape and stories that come from a specific place. So if you are abroad or in a diaspora you would recognise where people come from from their clothing, for example often in camps people’s region can be identified from the embroidery and dyes of their clothes. It is an incredibly powerful form of embroidery, and I believe still has a huge amount of potential to grow and be understood. I find the weight of history and storytelling with it fascinating and personal.’

Yes just like languages, traditional customs within cultures need to be protected and preserved in the face of pressures from globalised consumer markets. What are the particular areas within sustainable fashion that interest you most?

‘Definitely textiles, versatility and diversity within this huge field. I always enjoyed problem solving. I was really inspired by the idea that you have this one beautiful hand-printed, hand-loomed tied silk dress. You have two and a half metres of material, and what do you do with it? I just love that challenge, thinking of ways to revive these pieces. How can we take this forward and make it useful again rather than leave it sitting in a cupboard? I like to think whoever owned it in the past would be happy with my bringing it to life again. I really enjoy having those restrictions, but using that to stir on creativity.’

What brought you to Beirut?

‘In 2020, I had a placement year from University so I went to Vienna and São Paulo and then my friend Rym, who I studied with at Saint Martins, asked whether I wanted to come to Beirut at the end of my year for a month to help with a project she was doing and I jumped at the opportunity. It was August, it was incredibly hot, there were the ‘You Stink!’ protests happening which were anti-corruption protests at these huge piles of rubbish all around Beirut because of mis-management. Despite that I immediately fell in love with the city. It’s a very inviting city, day one you make friends, it’s a very warm place where you’re very quickly taken along. In Vienna it had taken me longer to settle and make friends so the contrast was amazing. It feels dynamic, I was fascinated by all the energy coming out of it. I was approached by INAASH who wanted to refresh what they were doing and another called Bokja. I returned after my studies in the UK to see whether these things would turn into anything which they did slowly but surely. I started doing my first commissions, and on the back of that, I felt like I could make it work, starting my own small atelier. Then I found The Mansion, which was this incredible studio space in an old villa in the heart of Beirut. Full of charm, crumbling but beautiful. Strong sense of community, creativity, such dynamism. It had a very pleasant, happy pace. I was really taken into that community. It was very touching how welcomed I was.’

That sounds quite wonderful, are lots of your friends still there?

‘Well… they decided they would stay to ensure the collective was safe, it’s a very precious community which is very rare. It was a hub of culture, filled with amazing artists and designers, they hosted lectures and so on. So whilst it is certainly difficult, they are committed to protecting it.’

What are some of your favourite things about Beirut?

‘Whilst I was there, I think it was the social life, the night life, the fact that everything is quite late. You could work until 9.30pm and then spontaneously make a plan and meet somebody in a bar or restaurant. I love how you can be late! It was so pleasant and relaxed. Being on the beach with grilled fish and arak, summers there were heaven. My studio space was such a treasure, all the people I met there. I think mostly though, it’s the friendships, life long friends who will be with me forever. I had such a lovely flatmate. Very special memories, very dynamic place, a night out can start in one place and end up in no idea where. Sadly the mood there right now is pretty down, it is such a social place so lockdown and restrictions really lowers morale.’

This all sounds really sublime, especially after a long Winter in the UK! I am sure that energy will return…

‘I hope so, I think it will come back, I just wonder what passages the country will have to go through to get there.’

Well you are certainly playing a positive part of that process through this project. How did you come to meet the Alsama Studio in Beirut?

‘I met them in 2019, the studio had just opened and they didn’t know how well it would work. Mike Ziervogel had just left an NGO where she was working to work on Alsama Studio, she took a risk to start up her own thing. We were the first commission the studio had, it was an up-cycling project with The Pink House Mustique, a beautiful swimwear company. They had lots of dead stock and so we embroidered them, a lovely collection of 13 shirts. They (Alsama) are so reliable, they price in advance and are ready to get on with it. They are such a good team. They have very high standards, so they are a pleasure to work with.’

What were your initial thoughts when beginning the LVP x Alsama project?

‘After the horror of the explosion, I like so many others questioned what I could do. I realised provision of work was one of the most obvious solutions. So that is when I began asking friends for their clothes, got them embroidered, agreed on pricing, and it went quickly from there. The first collection in August we had 36 items, since them we've collected 200 items, and through all this the studio has received $5,000. Out of shock comes a purely practical, pragmatic response.’

What do you see LVP x Alsama growing into?

‘I’d like to take this further, get more people to send their clothes to be embroidered. It’s simple really.’

Is there a favourite item or memorable piece that sticks out for you and why?

‘For me, there was one moment, when all the items came back around Christmas time. Each piece was a total surprise, there were some that just really stood out. You can tell that the person working on it was really inspired. This one amazing beach dress we made for Mel Giedroyc and that came out so beautifully. We did a bit of research and saw that she wore a lot of reds, pinks and warm colours so we focussed on that. I love it when people give us colours that they love so we explore that. That’s what I find so touching about craftsmanship, the amount of time and love that goes into each piece.’

How can the fashion industry continue to revolutionise the way it works to better protect its workers and the planet?

‘I look at it from the very specific angle of up-cycling, I have this view that if tomorrow we decided not to make any more clothes we’d be absolutely fine. However I realise how huge this industry is and the amount of jobs that would be at stake, compounded with the climate crisis and all these other pressures. I would love to see more ways of reducing production involving newly made materials, and more people thinking about how growth can come from that. You need to keep people in work and provide stability, so we need to be reworking and transforming systems that already exist. Up-cycling could provide a lot of work I think, there’s so much potential on different levels to offer work in new forms.’

…if you could wave a magic wand?

‘I would like people to think more critically about what is being sold to them, to demand better products. To be less enchanted with fast fashion and more so with the transformation of existing systems into safer and better places to work, retraining people in traditional crafts from their local areas and therefore upscale our Alsama model to a replicable and sustainable model around the world. We all love new items, but if that could be reduced to one or two things a year and more treasured, better made and longer-lasting - that would be my vision.’

What are you most inspired by at the moment?

‘With regards to the project: colours and colour theory I find really exciting. I’m also looking at different crafts and finding absolute treasures. Even here in the Engadine Valley I found a great-aunt of mine who crochets to a very precise and fine level- to discover people who really practice a refined craft is wonderful. There’s also a lot of monasteries who produce their own things, so discovering these unique crafts and considering how we could work with them that is something I find really inspirational now… I think of course another big thing is thinking about how we can make this a good business and continue to develop the concept of Alsama- that is my big passion at the moment.’

Any books, podcasts, films or music you’re loving at the moment?

‘To switch off I listen to Seven Deadly Sins by Stephen Fry, he looks at the seven deadly sins but brings them into modern context, analysing why we sin and how we do it and it is so brilliantly written and put together I honestly enjoyed it so much. That’s been my biggest enjoyment lately.

Then I love going through the Desert Island Discs Archives, more than the new ones in fact, and one of my favourites is Nile Rodgers of Chic. His life story is incredible, so inspiring and touching. He is such a dynamic and positive guy, a real joy to listen to. He had a really tough childhood and overcame adversity to have the most phenomenal career- he is so driven.’

… and which have inspired you most throughout your life?

‘The Chess Player by Stefan Zweig, the way he tells stories, especially in short form. My mum introduced me to him when I was young and he is such an amazing writer. That’s the most important one for me I think.’

—

Please visit Larissa’s website and Instagram @lvp_x_alsama to see how you can get involved with the Alsama Project and send off your items of clothing to be up-cycled.

#2021Q2 #larissa #beirut #upcycling

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thepuckwholived · 6 years

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Album of the Day 11/13/17 "Houses of the Holy" by Led Zeppelin Rock 1973 Led. Zeppelin. Led. *Insert expletive*. Zeppelin. Arguably the most legendary rock band this side of The Beatles to ever exist, and, without a doubt, one of the most influential on music as a whole. Robert Plant, Jimmy Page, John Paul Jones, and John Bonham not only left a mark on music history, they branded it with their symbols permanently. However, it can be hard to nail down what exactly makes Zeppelin so legendary. You can hear the music - those infamous "Stairway to Heaven"'s and "Immigrant Song"'s, and be in awe of them, but it is not uncommon for a Zeppelin listener to draw blank when it comes to articulate description. That is why albums like this one, 1973's "Houses of the Holy" are so important to understand Led Zeppelin. After the world-shaking success of their first four studio albums, all self-titled, Zeppelin had the money, renown, and experience to test out any experimental idea they had in full confidence, and "Houses", being the first studio album to follow the self-titled albums, shows a maturity not seen in any other Led Zeppelin album, and may just be their best. Thematically, "Houses of the Holy" is noticeably different from Zeppelin's previous works. In each of the self-titled albums, there was an obvious, easy idea behind each of the songs. "I" and "II" were barn-burners, crashing out of the gate with hard-hitting drums and screamed choruses. "III" was an approach steeped in Blues influence while still being ironically Zeppelin, and "IV"... well, it's more complex. "IV" was really the beginning of this new, more subtle Zeppelin. Cuts like "Black Dog" and "When the Levee Breaks" on that record are still exciting and fairly representative of Zeppelin, but they're more patient, more rhythmically complex. They bookend the record. In the middle, you have "Stairway to Heaven" and "Going to California", two cuts completely unlike anything Zeppelin had produced before then, bearing acoustic chords that feel so, so much different than anything presented before that point. Not to mention "The Battle of Evermore", which is a ballad about The Lord of the Rings. Yes, this is the same band. It is vitally important to point out these differences and developments in order to justly explain the awesomeness that is "Houses of the Holy". "IV" was more of a testing ground for these ideas than anything. That's obvious. It isn't a coherent mix so much as a incredible-sounding compilation of these ideas and more advanced but familiar rock cuts. The songs are all masterful, but the formation leaves something to be desired. It is to be expected - the band was taking a risk and a creative side-tour, much like on "III". "Houses of the Holy" is the result of this experiment. It is the perfect melding of folk and rock Zeppelin, in addition to even more genre exploration. The difference? A definitive feel. "Houses", firstly, is succinct. Forty-one minutes makes it the second shortest Zeppelin album, only topped by the outtake compilation of "Coda", Zeppelin's last album released after two years after the death of John Bonham. This makes "Houses of the Holy", in reality, the shortest Zeppelin album that was a cohesive studio effort. This shows. "Houses" blazes through its runtime. Dull moments just... don't exist on it. It doesn't feel bloated like "Physical Graffiti" (as good as that album is), or even slightly overstayed like "I". It has this perfection of flow that keeps me coming back again and again. I wonder, sincerely, if this mastery was a coincidence or a deliberate effort, and I lean on the prior as the more likely. Either or, the record's flow is astounding and mesmerizing. It should be obvious to you that a "perfect flow" is entirely dependent on the songs within it, and "Houses of the Holy" delivers. Massively. "The Song Remains the Same" is a kickass opener, but immediately distinct from other famous Zeppelin openers. It has this oceanside feel, as does the rest of the album, that gives it a relaxed feel, even though it is rock. Personally, "Houses" is an album I frequently play to relax, despite it being a Rock album. Deviating a bit, this strange feeling in the album, that "relaxed" feeling, is due more than likely to expert production. Everything is tuned perfectly. If you have the pleasure of listening to this record with even slightly above-average audio equipment, these touches become obvious, even moreso if you listen to the remaster, which I wholeheartedly recommend. The mixing of the drums (which take more of a backseat this album, although still essential), guitars, and, especially, the keyboards and vocals, all make for a comprehensive listening experience unlike anything in Zeppelin's catalog. This mixing is another reason why the album's flow is among the best of all time, of course. Apologies for the tangent - back to the track listing. Next, "The Rain Song", a love ballad that sounds like waves subtly crashing in (again, this album is one of the most relaxing pieces of music ever made, please try it in this context), is just... lovely. It's a song about devotion, and finding someone you can hold as a "torch", or praise as "sunlight". This sentimentality is beautifully represented in the acoustic chords here. After this, we have "Over the Hills and Far Away", one of the more well-known cuts. The chorus here is wondrous - wanderlust defined. In fact, that's a good description for this song lyrically as well - the search for fortune, and how fun it can be. "The Crunge" follows - a funk track. Yes, seriously. It's funk. The keyboard here grooves up and down as Plant arguably raps about a love interest, and it is infectious. I wonder if the track has influenced any funk artists? I imagine it could have - the keyboard usage and the rock stylizations may have truly inspired some funk artists to experiment, and they could have inspired modern hip-hop. Who is to know. Anyway, the track is exceptionally strong, and an excellent example of Zeppelin integrating their experimentation with their unique style in a seamless manner. Moving into the second half, we have "Dancing Days, another infectious tune. The driving chords give the song this sense of motion - a rock dance track. Again - experimentation seamlessly integrated. "D'yer Mak'er" is ANOTHER amazing example of seemless experimentation, this time with reggae. Yep. Reggae rock in the mainstream. Zeppelin obviously took influence from Ska artists, as the movement was in full swing, and reggae's massive popularity boost was just on the horizon (Bob Marley's "Exodus" was just 4 years off). This track is arguably the most famous from the album, but almost all of the tracks are "arguably the most famous". I would argue that only "The Crunge" and "The Ocean" didn't become massively popular and associated with Zeppelin, even the next track, my personal favorite from the album, gained infamy. "No Quarter". Jesus, how do I describe this song. It is... menacing. "Gimme Shelter" but darker in every way. "Paint It Black" but somber and not inspired by the Vietnam War. It's utterly mesmerizing, and, again, that epic flow returns, as "No Quarter" is strangely a perfect followup to "D'yer Mak'er". There really is NOTHING like this track anywhere until the rise of post-rock in the /late 90's/. MAYBE "Welcome to the Machine" by Pink Floyd hits a similar vein, but other than that? Nothing that I know of even thematically close to this track until Swans and Godspeed You! Black Emperor in the late 90's and beyond. Seriously. The track is ahead of its time to a mind-numbing degree (Two and half DECADES between this album and Soundtracks for the Blind by Swans), and I love it more than any track here, as amazing as they are. The apocalypse given bluesy form is the only brief description I can find for this track. Following that... still can't find the words for it, is "The Ocean", a somehow not alienating followup to "No Quarter". It's this great, bluesy, beach rock Zeppelin classic that sums everything up. It's catchy, enthralling, and the perfect length. Led Zeppelin's "Houses of the Holy" is, obviously, really, /really/ good. The flow found here isn't replicated by any previous or later Zeppelin project, and the perfect mixing of Zeppelin's experimental ideas into a more standard rock framework is still staggering. Not to mention that all this occurs within a sharp forty-one minutes. Its contents are some of the most well-known rock songs of all time, and a notable portion of them were massively ahead of their time or expanded upon already existing genres to create entirely unique songs that have yet to be replicated. It will remain as my personal favorite Led Zeppelin album, and maybe yours too. Score: 10/10 (Honorary - nitpicks exist with almost every album, and the few I have with this one [a few tiny pacing issues on some songs] make it a 9.9, but it's an honorary 10. Real 10's /do/ exist, but they are based on personal preference, mind you. This /is/ just my opinion) Best Track: "No Quarter" Highlights: "The Song Remains the Same", "Over the Hills and Far Away", "The Crunge", "Dancing Days", "D'yer Mak'er", "The Ocean" Least Favorite Track: "The Rain Song" (It's just a /teeny/ bit too slow at times. I still LOVE IT but when you're dealing with near-perfect tracks even a minor nitpick can land you a tier below) Recommended Albums: 1.) If you loved the album as a whole, another good example of rock with amazing experimentation is The Rolling Stones' "Let It Bleed", another album I could discuss for ages. 2.) If "No Quarter" is as mesmerizing to you as it is for me, I'll recommend Godspeed You! Black Emperor's "Lift Your Skinny Fists Like Antennas to Heaven" from 2000. Post-rock is as close to a label that "No Quarter" will ever receive, so a landmark album from said genre with similar apocalyptic themes may be a good place to start if you want to hear more songs like "No Quarter".

#Led Zeppelin #album of the day #Robert plant #John Paul Jones #jimmy page #John Bingham #no quarter #houses of the holy #10/10

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pixelproductions · 4 years

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7 Steps to Scaling Content Marketing without Losing Quality

Many SB’s fall victim to pushing out sub par content with little benefit, read these 7 tips for scaling content marketing without losing the quality.

The soul of any great business lies in its ability to create amazing and relevant content continually. Whether you’re in charge of content marketing in a large company or a small business owner, you will agree with me that scaling up and content intelligence is essential to brand building.

However, with limited knowledge on successful scalability, a lot of content marketers focus on scaling content by merely expanding the volume of production, while leaving out a vital aspect, which is quality. According to a survey carried out on content management, 64% of content marketers expressed that their greatest educational need is to understand how to create a scalable content strategy

As consumers get more aware and vocal about the kind of products they want, scaling content while maintaining high standards can be challenging. Indeed, several businesses continuously push back on expanding their content due to a lack of resources, time, and energy. If you are one of those caught in such situations, fret not because I will be taking you through seven easy steps on how you can scale your content without losing quality.

The best part is that while the steps in this article are mostly applicable for brands, content marketers and agencies will also find it handy when improving their processes for content optimization.

1. Set-up a Balanced Team

When reviewing the need to scale up your content, it means you also need to consider your team as well. The key to any successful creative team is having a balance between an external and internal workforce that can handle the workload. For example, you can have an in house content manager while you outsource your editing and writing to professional writing services review websites.

Although statistics from CMI’s 2020 report show that 82% of B2B marketers outsource their content creation, in my experience, it is also vital to have an internal editor or content manager who is working with the external team. This is because you need someone who knows what your brand is about and can represent these ideas while scaling content. The involvement of the internal team ensures that the brand’s high standards are incorporated.

2. Review your Audience and Group into Segments

Over time you would realize that as your audience grows, so also will their needs change. Thus the strategy for engagement with your audience also needs to change. The best way to go about this change is to consider a marketing segmentation of your audience.

First, you need to create a profile for each existing and prospective customer group, identify their needs, inspirations, challenges, content triggers, etc. Once you’re able to analyze these interactions and identify common patterns, it becomes easier to create quality content that is targeted at each consumer group.

Also, you need to consider Keyword Intent when scaling your content. What this means is that the intent of your target audience defines the value of your keywords. Bear in mind that highly targeted content is high-quality content.

3. Consider building Customized Content Templates.

Now using templates might give you a cause for concern because we are often focused on the cookie-cutter usage of templates. However, if you can look at it from a different perspective, you will see that in reality, creating customized, high-quality content templates is an excellent way to brand.

When designing these templates, you need to be specific with your blueprint; it should also be simple yet be able to challenge your audience’s expectations and capture their attention. Additionally, customized content templates provide an accurate blueprint for new hires, editors, contractors, content managers, writers, etc. It optimizes content production, time efficiency, maximizes budget, and quality is not lost.

4. Repurpose Existing Successful Content

Any content that generated massive consumer engagement and conversions must not be forgotten. You need to re-package such content for a different post channel or media format when scaling. It also becomes an excellent way to get more ROI. Most often, when managing content marketing, most businesses fail to repurpose their most successful content. A report from the 2019 Content Management & Strategy Survey shows that 72% of companies find it hard to optimize repurposing their content without “a lot of manual labour,” while 27% do not even bother.

When repurposing a few helpful tips, you can use includes:

Turning an article, video or infographic into a webinar or podcast and vice versa

Creating a photo for an Instagram post with a catchy quote from your blog or podcast

Continuously updating older posts so they remain relevant and valuable to readers

Revamp distribution methods by re-sharing evergreen content to different social media channels.

Besides, the benefits of scalability and time efficiency that come with repurposing old content, it also increases your sites Search Engine Optimization. Your SEO benefits as the revamped content adds to the targeted keywords and generates backlinks from external sites.

5. Consolidate Your Review Process

Multiple times we hear of horror stories about a single word blog posts being stuck with the legal review team for months unending. While the legal team might assume they have all the time in the world, the marketing cannot afford to waste so much time. Therefore, such a slow review process can become a significant obstacle to scaling your content program. To work past such a barrier, you will require a lot of creative thinking and analytics.

My advice is to develop a highly simplified review process that requires just one person on the legal team who can review all content. Both legal and marketing teams can also join forces to outline procedures that will help to eliminate the unnecessary grounding of each content.

Additionally, a list of crucial watch-outs and best practices that the content creator can or cannot use can be drawn up. So with the list, you are sure that the content is written using the best standards and the review process if faster.

6. Conduct a Small Test

Another critical step to scaling your content is to conduct a test if you want to scale effectively. The test size depends mostly on the size of the project. For example, if your content scaling requires 1,000 product descriptions. Your test should be carried out at 1%, .i.e. 10 of the product descriptions.

What testing does is to enable you to make any necessary adjustments to the style guide and carry out quality checks that are in line with creative interpretation. It is likewise crucial that your internal team diligently assess the test because the result is what you will use as baselines for the remaining 990 pieces.

7. Map Out a Distribution Plan

Imagine putting in all the time and resources to create high quality packed content, and the right people don’t get to see it. Wasted effort, right? So, before you push out your scaled content, ensure that you have set up a solid distribution plan. You need to know how, where, and when each piece of content is going to get dispersed. Create a schedule and how you plan on posting via media platform, blogs, website, social media, etc.

Besides establishing a distribution plan and schedule, you also need to identify the KPIs that will help gauge content performance. As you start rolling out your content, you quickly have an idea of how it is performing. This way, you are sure that the time and resources spent on scaling are being leveraged to full potential.

Conclusion

The quality concern will always come up whenever it comes to increased content production levels. However, once you develop an effective workflow that supports high volume and consistency, then you will be on your way to producing an impressive amount of high-quality content.

#7 steps to scaling content marketing without losing quality #scaling content #scale content marketing

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thebandcampdiaries · 5 years

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Holistic Meditation - Art of Freedom

Modern hip-hop with a conscious twist.

Holistic Meditation is an artist with a focus on conscious hip-hop music. The artist recently set out to release a brand new studio effort. In fact, he completed work on a brand new project titled 'Art of Freedom." Keep reading to learn more about this exciting release!

“Art of Freedom” features 20 unique songs, each blurring the lines between different ideas. The opener, “Sunshine,” is a collaboration with Shari De’vvard, and it sets the mood right for the rest of this release. “The Only One” follows right after with some of the most memorable tones. I love the 70s style samples and boom-bap feel! “Bounce” (featuring Antonio Greenwood) is yet another homage to old-school hip-hop, with a sound that makes me think of some of the best Wu-Tang Clan material and East Coast sound in general. “I Ain’t Running” has a more modern vibe, with some massive orchestral tones and a super-punchy drum sound that matches the last pace of the vocals.

“I AM (Master of Reality”) is one of the catchiest tracks. I love the funk-inspired instrumental and how it lifts the mood! “What I’m Doin’” is perhaps my favorite song, I love the combination of double-tracked ad-libs and great melodic swells under the beat. There is also room for two features with Emcee Monkey D. - “Like Me” and “I Don’t” - bringing more variety to this fantastic album yet.

“No Matter What” is also pretty awesome for its atmospheric sound and moody intro. The track has an understated vibe that reminds me of some of my favorite artists, including A Tribe Called Quest and Erik B.

The next tune, midway through the record, is titled “Occupy,” and it features a rock band arrangement that brings so much variety to the record. Imagine Linkin Park suddenly jamming with Wu-Tang!

“Free Your Mind” is another song that blends different genres: this time, there is a bit of folk and acoustic blues, giving a moodier edge to the beat. “Rock With Me” stays true to its title with a fresh sound. This is one of the catchiest tunes on the album, and I love the pop-driven hooks!

A true class act, “My High” is perfect late 90s / early 2000s hip-hop right there. The production makes me think of legends like The Neptunes or Dr. Dre, particularly for the amazing arrangement and the dry, punchy beats.

“I Guess They Heard” has a more lo-fi sound, which brings back the grit of that East Coast / OG tone that I grew up loving. “Never Look” features some cool guitar tones and arrangement, as well as a nice spoken word intro to tie everything the record!

“Amazing” is a guest collaboration with Natalie Grace, and it also brings a touch of the late 90s to the feel, with some great melodies and cool R&B influence. “The Future” is a dope song, which has got some amazing influences, channeling the amazing sound of the past, along with some new ideas.

“Watch Your Language” is a truly happening track, with a funky/jazzy groove and so many cool guests bringing a special feel to this song. I love the free-form attitude of this track, which gives it a spontaneous vibe.

“Blaze Up the Fire” is a more imaginative and diverse tune, which sets the bar higher in terms of production. The lo-fi, massive guitar tones almost make me think of something Tom Waits could do, and the recordings have a sick old-school vibe, kind of like Biggie’s Machine Gun Funk!

Last, but definitely not least, “My Civilization” is the perfect curtain closer, it brings so much vibe to the setlist, and it has a more atmospheric feel, with some cool guitars and production aesthetics, bringing the record to full circle - and closing in with some great lyrics.

At times, you come across artists who merely try to push their popularity agenda and entertain the audience with their music. In other situations, you stumble upon artists who aim for something much greater than that: to create a meaningful and lasting connection with their audience, ultimately expressing themselves and sharing their creative vision with whoever is there to listen. This is certainly the case of Holistic Meditation, a really talented artist with a passion for the engaging energy of rap music and the blooming melodies of meditative music. More importantly, the artist's themes are really conscious and meaningful, giving his music a whole new level of truth and connection with the audience. His work is highly expressive, and his songs are always rooted in realness and insightful atmosphere, which are so important to create the right mood for this release to unfold beautifully.

In terms of production come up, the sound of this release blurs the lines between the organic warmth of old school rap and the fresh attitude that drives modern hip-hop.

"Art of Freedom" is a beautiful and inspiring album with a focus on conscious hip-hop music. These days, it is not always easy to come by music that's actually made with passion and commitment to quality songwriting. However, this Holistic Meditation hits the mark in every way. The sounds of this release are very lush and atmospheric, also enabling the artist to create the perfect mood. The flow of the music is inspired by the sound of influential artists as diverse as Krs One, Brother Ali, Rakim, Lupe Fiasco, and T.I., only to mention a few. However, "Art of Freedom" is absolutely one of a kind, treating the listeners to a defining sonic experience that is so much more than what traditional hip-hop has to offer. Holistic Meditation has a really special approach to production, with a sound that feels clear and sophisticated, yet warm and organic. In addition to the world-class production aesthetics, the release is also lifted up the artist's remarkable performer, displaying a very dynamic vocal style that brings energy and vibrancy to the table, seamlessly blurring the lines between different styles and ideas.

Being free is a state of mind, and if you go by the title of this beautiful song, it is also a form of art. I personally believe that it takes a lot of courage to truly be free because the world sometimes expects so much from us, and it's easy to fall in line and do what other people expect us to do. However, if you take the chance and embrace your freedom, many amazing things could actually happen. This could be one of the many ways in which you could interpret the very positive, charming, and uplifting message behind this beautiful album project.

Ultimately, one of the most impressive aspects of the work of this artist and the sound of this particular release, he's definitely the fact that everything is so positive. You only need to listen to a few seconds of music to know that these are songs that you can connect with on a more personal level. If you are lucky enough to catch the artist live on stage, I can only imagine that this will be an absolutely fantastic way to enjoy the sound of Holistic Meditation. He seems to be exactly the kind of person who actually thrives when he can connect with others and share his artistry from soul to soul. His passion and energy really shine through, and every single line is things into a microphone is pure gold. "Art of Freedom" is a fantastic achievement for this rapper, and more importantly, it stands out as a really great calling card to show the world what he can achieve with his skills, creativity, and vision.

Find out more about Holistic Meditation and don't miss out on "Art of Freedom."https://vimeo.com/179229663

https://www.youtube.com/watch?v=XjBWIMM8C6o

https://www.youtube.com/watch?v=Y9utR8koEas

https://www.youtube.com/watch?v=VHv4TDr9SD8

Instagram (HolisticMeditation) (FreedomRenegades)

Facebook (Holistic Meditation) (Freedom Renegades)

twitter (Soulholistic)

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pikapepikachuu · 5 years

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Sydney Life

You dont need a pocket full of pennies to enjoy all that Sydney has to offer. Weve asked some fellow Sydney-based travel bloggers about their favourite things to do in Sydney that wont cost you a thing. Check them out below!

Bradleys Head, Sydney Managing a website about hiking, its no surprise that my favorite free thing to do in Sydney is discovering new walking tracks. Hiking in Sydney is the best way to fully appreciate everything this beautiful city has to offer. Sydney has a very diverse landscape, so you can walk the beaches, the bush, the mountains and of course the magnificent Sydney Harbour.Whats great about Sydney Harbour is that it is home to countless walking tracks that take you past secluded beaches, beautiful parks, picturesque bays, old lighthouses and much more. And you can discover all these exciting places with the city literally only a stones throw away. Some parts of the Harbour also hold lots of relics from Sydneys military history. At Bradleys Head for example you can find a fortification complex that was built in the 19th century to protect New South Wales against invaders. And Goat Island, right in the middle of the Harbour, once served as a massive gunpowder store. So go ahead, dust off those hiking shoes and head outdoors to discover the goodness that Sydney has to offer, for free! Families visiting Sydney can find all sorts of economical activities. For younger kids visits to some of Sydneys truly amazing playgrounds are a must. Visit a playground by a beach and you have a great free fresh air day out. Great playground and beach combos can be found at Bondi, Bronte, Watsons Bay, Clifton Gardens, Balmoral, Collaroy and Mona Vale. Families with older children might enjoy snorkelling, free if you bring your own kit. Try Shelly Beach at Manly for vibrant sea life, rays, wobbegongs and even (harmless) juvenile dusky whaler sharks. Ocean swimming is another super healthy Sydney sport you can enjoy for free. Explore the many rock pools on the ocean beaches. Check out the Bold and Beautiful Swim Squad if you are a confident sea swimmer. Dozens of swimmers enjoy their daily dip at 7am each morning. Meet at Manly SLSC and ask for a free pink cap. One of our favourite free things to do in Sydney is the Bondi to Bronte walk. This iconic cliff-top walk is 2.5km long and joins two of Sydneys most famous beaches. The views of the ocean and the coastal cliffs along the walk are stunning, making this a real Sydney must see. The walk takes us around 2 hours with two young kids in tow. Adults doing the walk without kids could easily do it in one and a half hours. There is also the option to continue the walk all the way to Coogee Beach, which is a further 3 kilometers. The walk is also a popular jogging route, and has a few workout stations dotted along the path. When doing the walk with kids, we usually stop off at Tamarama Beach or Park on the way for a rest and a snack, and end the walk by playing on the beach in Bronte. Bronte has a lovely park with a playground and plenty of nearby cafes, making it ideal for families.The Bondi to Bronte walk is absolutely stunning and one of the most popular places in Sydney for taking photos, so dont leave your camera behind! Sarah Shrapnel Love Swah If youre a culture vulture in the mood for some creative inspiration without breaking the bank, then Sydney is the place for you! This notoriously extensive city is home to a huge selection of budget-friendly art galleries showcasing artworks from emerging and prominent artists, many of which you can visit free of charge. Firstly head on down to the Museum of Contemporary Art to enjoy their impressive permanent collection. Not only does it feature an array of world class modern art from around the globe, this collection is also free! Another permanent collection worth checking out is at the Art Gallery of NSW which is filled with an eclectic range of Australian, Asian, Western and Pacific art works. A local favourite on the smaller end of the spectrum is White Rabbit Gallery situated in Chippendale, which houses one of the largest collection of modern Chinese art in the world.

King Street, Newtown Exploring Street Art in Sydneys Inner West I love exploring the thriving street art culture in the inner Sydney suburb of Newtown. World class murals adorn walls on almost every corner here thanks in part to a local government initiatives aimed at reducing tagging by matching property owners with street artists. Newtown has always been colourful community, but the volume of work by local and international artists here makes it a perfect place for any street art lover to explore. Add to that some great small bars, cafes and several local craft breweries and you have plenty of great rest stops too. Check out Lennox Street Newtown if youre after a high reward to effort ratio with half a dozen full-scale murals in just 2 blocks. Alternatively make an afternoon of it, take the train to St Peters station and snake your way through the back lanes to a nondescript warehouse in the backstreets that is home to local brewery Young Henrys. This is the perfect spot to taste some really inspired local brews and reward yourself for all that walking! Sydneys own street art nirvana is only 10 minutes by train from the CBD. Tip Along the way pick up a lamington from Flower Drum on King Street or a great meat pie from Black Star Pastry, in Australia Street, Newtown! Nothing beats snorkelling in one of Sydneys stunning beaches on a scorching summer day. All you need is a snorkel and mask, and its easy to learn, even if youre new to the sport. Snorkelling is the best way to discover a new side of Sydney, and come face to face with incredible marine life, including rays, blue gropers, wobbegongs, seahorses, and a wide variety of colourful fish, kelp, and rocky reefs. Dont forget your GoPro! In the Eastern Suburbs, Gordons Bay (complete with underwater nature trail!), and Clovelly Beach are perfect places to get started. Clovelly offers easy beach access in a sheltered bay, making it the perfect spot for first-timers. Clovelly is also famous for its resident blue gropers, so keep your eyes peeled for these friendly fish. On Sydneys north, Shelly Beach, near Manly, is part of the Cabbage Tree Bay Aquatic Reserve, and offers pristine blue waters teeming with marine life. Its also popular with divers.Wherever you end up, youre sure to have a fantastic time- snorkelling is one of the best free things to try in Sydney. Bring a friend, some sunscreen, and dive in! Tucked away in one of the myriad bays and inlets on the northside of Sydney Harbour is my favourite Sydney walk. Only a few kilometres long, you can stroll the entire path in less than an hour. The path follows the harbour shoreline beginning at Cremorne Point wharf and ending at Mosman Bay wharf, making it easy to get to by inner harbour ferry. Before you set out take a short detour through Cremorne Point Reserve for spectacular views across Sydney Harbour, or better yet, bring a picnic and enjoy the sunshine. Dont miss Robertson Point Lighthouse, still a working lighthouse guiding boats safely past the point. You cant go inside but you can get quite close. Heading north from the reserve, the path winds past some of Sydneys most exclusive Federation mansions and million dollar water views. At Mosman Bay wharf either catch a ferry back to the city or retrace your steps as far as Hodgson Ave. Follow the street to join up with a parallel path on the east side of Cremorne Point for the best views of theSydneyOpera House and Sydney Harbour Bridge has to offer. Living in Sydney we are spoilt for choice when it comes to scenic natural attractions. One of my favourite free things to do in Sydney is walking the different parts of the The Coast Track in Royal National Park. The entire track is 26km-long and takes two days to complete but it doesnt have to be done all at once. You can easily do parts of the track as spectacular day hikes. The northern part of the track takes you from the village of Bundeena to Marley beach along one of the most beautiful stretches of Illawarra coastline. On top of the dramatic scenery, this walk also gives you the perfect chance to spot Humpback whales during their migration between April and December.The southern part of the coastal track takes you from Otford train station to Burning Palms beach via the Palm Jungle loop trail. This track has the best of all worlds: towering cliffs of the rugged coastline, eucalypt forest, rainforest gullies, beaches, grasslands and even a palm jungle! Attending a conference I discovered this self-made walking trail from North Sydney. Its a great way to watch the city wake and spring to life.Starting on Blues Point Road and passing the eclectic mixture clothing shops, restaurants and bars, walk to Henry Lawson Avenue.Wander alongside Blues Bay to the iconic Sails Restaurant at Lavender Bay. Stop and take in the views of the Harbour, The Bridge, Circular Quay and Opera House. Next, follow the laneway from Sails to E Cres Street veering right onto Bay View Street. Youll walk passed beautiful homes with Bay views. Continually hugging Lavender Bay, walk round to the left into King George Street taking the laneway to the right soon after.Stroll down the lane until Wendy Whiteleys Secret Garden. This marks the beginning of Peter Kingston Walkway. This will take you pass Luna Park and North Sydney Pool.Follow the signs up onto the Harbour Bridge. Explore the Rocks area at the end and walk through to the Quay and Opera House.If you do this walk early in the morning, when the sun is just rising over the harbour, you can enjoy your own private Rocky moment up the Opera House stairs! For more fun and free activities in Sydney, click here! ]]> http://www.sydney.com/sydney-life/feed

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