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sportwizbynavneetoberoi · 1 year

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The Economic Engine of Formula 1: Unveiling the Revenue Streams

Source - CNBC

Formula 1, a high-octane motorsport renowned for its speed and glamour, is also a captivating economic ecosystem. Behind the roar of engines and the spectacle of races lies a complex web of financial dynamics that sustain the sport and drive its evolution. In this blog, we delve into the economics of Formula 1, exploring the diverse avenues through which teams generate revenue and fuel their quest for victory.

One of the primary sources of income for Formula 1 teams is sponsorships. These partnerships with corporate giants inject vital funds into the teams' coffers, enabling them to finance their cutting-edge research and development. With teams like Mercedes securing sponsorship deals worth millions of dollars annually, the financial support from sponsors plays a crucial role in pushing the boundaries of technological innovation. Notably, Red Bull's colossal $500 million sponsorship agreement with Oracle exemplifies the magnitude of investments sponsors are willing to make to associate their brand with the pinnacle of motorsport.

Source - Market Insight

Furthermore, teams earn a significant portion of their revenue from the sport itself. Formula 1 as an entity orchestrates a symphony of sponsorships and broadcasting rights that contribute to a substantial prize pool. At the end of each season, teams receive a portion of this pool based on their performance, both in the current season and historically. This incentivizes teams to continuously strive for excellence,

as success on the track not only brings glory but also financial rewards that enable them to reinvest in their pursuit of success.

A distinctive aspect of the Formula 1 economic landscape is the presence of "pay-to-play" drivers. These are drivers who bring substantial financial backing to secure a seat on a team. While this phenomenon is not widespread, it highlights an additional revenue stream for teams. For instance, Lance Stroll, the son of billionaire Lawrence Stroll, not only commands a place on the grid but also bolsters the Aston Martin F1 team through his family's ownership. Similarly, Nicholas Latifi, during his tenure with Williams, tapped into his sponsorship agreements with Sofina and Lavazza to contribute to the team's financial stability.

Source - sportstechbiz

Lastly, Formula 1 teams enjoy the support of prestigious car manufacturers. Companies such as Mercedes, Ferrari, and McLaren Alpine invest heavily in their own F1 teams, perceiving it as an opportunity to enhance brand image and forge a closer connection with motorsport enthusiasts. The success of a team directly translates into increased brand visibility and, in turn, potential customer growth. By aligning their brand with a successful team, car manufacturers can leverage the widespread appeal and passion associated with Formula 1, effectively bolstering their business prospects beyond the realm of motorsports.

The economics of Formula 1 is an intricate tapestry interwoven with various revenue streams that sustain the sport and its teams. Sponsorships, sporting performance-based prize pools, pay-to-play drivers, and the backing of esteemed car manufacturers all play significant roles in funding the immense costs incurred in creating the fastest cars on the grid. As the pursuit of victory fuels technological advancements, the economic engine of Formula 1 ensures a continuous cycle of innovation, excitement, and financial growth in the world's most prestigious motorsport.

By Navneet Oberoi

#f1 #f1news #sports #formula 1 #economics

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fans4wga · 1 year

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26 July update from WGA's Chris Keyser

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From the WGA: With SAG-AFTRA now on strike and new levels of solidarity across all Hollywood unions, we are witnessing the spectacular failure of the AMPTP’s negotiating strategy. In this video, WGA Negotiating Committee Co-Chair Chris Keyser lays out what this moment means and how we move forward. To learn more about the WGA strike, visit https://www.wgastrike.org.

FULL TRANSCRIPT:

Fellow members of the WGA East and West. It's been a while since our last video and quite a bit has happened in the meantime. So on behalf of the negotiating committee and leadership, I wanted to give you an update on where we are and what the near future at least is likely to bring.

We've been walking side by side on picket lines in New York and Los Angeles for a little over 12 weeks now. Only now we're joined by thousands upon thousands of members of SAG-AFTRA who, like us, have finally had enough.

This is the endpoint and the fruit of the AMPTP’s game plan. For 11 weeks, they negotiated with everyone but us. They claimed it was just practicality, that they could only do one thing at a time, which is not normally a point of pride. But events have made clear what we knew from the start: that not only was it a strategy, it was their only strategy. Negotiate a deal with a single guild and impose that deal on every other guild and union in Hollywood, whether it addresses the needs of those unions or not, all with the implicit threat: if you want more, strike for it.

Wow. It’s their 2007-8 playbook applied to 2023 as if nothing has changed, as if the accumulation of economic insults and injuries inflicted on us over the past decade would be borne in perpetual silence, as if the giant of labor had not awakened. But it has. And you only need to look as far as the front gates of every studio in LA and New York to see the evidence.

Two unions on strike willing to exercise their power, despite the pain, to ensure their members get the contract they deserve. For us, that means addressing the relentless mistreatment of screenwriters, which has only been exacerbated by the move to streaming; the continued denial of full MBA protection to comedy variety and other appendix A writers when they work in streaming; and the self-destructive unsustainable dismantling of the process by which episodic television is made and episodic television writers are paid.

It means addressing the existential threat of AI and the insufficiency of streaming residual formulas, including the need for transparency and a success-based component. All of these will need to be addressed for there to be a deal because in this strike it is our power and not their pattern that matters, not their strategy. Their strategy has failed them. Now they're in the midst of a streaming war with each other, an admittedly difficult transition. And as they face the future, their interests and business models could not be more different from Disney to Sony to Netflix to Amazon.

We root for their success, all of them. They root for each other's failure. We are the creative ammunition through which they will succeed. They are each other's apex predators. And yet, in a singular shared dedication to denying labor, they have shackled themselves together in what increasingly seems like a mutual suicide pact, as the 2023-24 broadcast season and the 2024-25 movie schedule and its streaming shows disappear, melt away week by week.

So what does this mean? What does it mean going forward? How do you play chess against an opponent who insists on screaming checkmate at every move regardless of how the board looks and the game is going?

You stay firm, you stay resolved, because our cause is no less existential than when we started and our leverage is increasing every day. Alone we withheld our labor with the support of our union siblings and the Teamsters and IATSE and the Crafts, we were able to delay the vast majority of production. Now with SAG-AFTRA on strike, those few studio projects that remained have also shut down. And it's not just the obvious delays. If this strike drags on, it's the actors with conflicting obligations and the directors and the double-booked studio facilities and release date chaos that the companies must now also contend with. Some of their most valuable product could well be delayed for years.

Add to that, no promotion of movies or television shows and famous faces on the picket lines and social media speaking directly to their customers. For the tech companies and the mega corporations, that should be their nightmare scenario: WGA and SAG-AFTRA side by side. Our bargaining agenda may not be identical, but our cause is the same. Our army of labor, defending labor has increased 17-fold in the past two weeks alone.

Even so, even with all this wind at our backs this negotiation won't happen overnight. It's not because the negotiations themselves are so complex. Once the companies fully engage, it could go very quickly, but because their strategy of many decades has just fallen apart and they didn't see it coming, and it's going to take them a minute to regroup, 'cause the companies have things to work out internally, and saying no to labor in unison is a lot easier than saying yes. So either together or separately, as their divergent interests might suggest, they will come back to us, despite their understandable concern about how they've navigated this transition to streaming, which is on their heads and not ours; and their worries about costs and their worries about Wall Street; despite this being a season of doom and gloom, none of them are walking away from the riches of this business, and certainly not over the equitable minimum compensation to writers.

They didn't get the deal they wanted; that's fine, it happens all the time. They're not taking their ball and going home over it. And since we know they come from union families themselves, and since they've denied that “even-in-Hollywood-you-have-got-to-be-kidding-me” ugliness of threatening to starve us out and leave us homeless (which we assume they understand also means making our children homeless,) they will come back to us. Although I will say they took a long time to deny that statement, longer than I would have had it been ascribed to me.

But what does it matter? You can starve a labor force slowly or quickly. The effect is the same. It's not like day rates for comedy variety writers and endless free drafts for screenwriters in exchange for a single paid one in four-week mini-rooms isn't cruelty. It's just cruelty written in contract language instead of a press quote.

So what can we expect from the companies as all of this plays itself out? They will try to convince Wall Street that taking a strike, prolonging it unnecessarily, losing their content stream in the process—that all of that is just smart business and no reason for investor concern. We will be talking to Wall Street too, and reminding them that for all these companies, all of 'em including Netflix, the bill, the price for making nothing, will eventually come due. And Wall Street is listening already. Here's Michael Pachter, managing director of equity research at Wedbush on Yahoo Finance the other day: “I think the studios are completely wrong on this one. Content is their lifeblood. They're feeling really foolish about this."

Wall Street isn't the only one listening. We've been talking to union pension funds too about the risks the companies are taking. We talked to CalPERS, the largest public pension plan in the country, talked about the loss of programming and the cost to the industry, and we heard strong support from its board for our struggle and the promise that the companies will be hearing from them, from CalPERS, and demanding answers on behalf of its 2 million members.

To us, of course, they will continue to plead temporary poverty, but we know the drill. These companies support billions into the streaming wars and taken short-term losses these past three years, because they know that to the winner will go the spoils. We're patient, will they share that with us when the time comes? What are the chances?

Since 2017, the last time the studios negotiated with us outside of COVID, the big six companies alone have made $150 billion in profits off our work, while they slashed our pay and degraded our working conditions. Maybe if they had shared a tiny piece of that then, made $1 billion or so less, this year wouldn't seem so costly. As it is, there is no iron law that these companies are entitled to record profits every year, and it isn't some great travesty if their shareholders or their CEOs get a slightly smaller slice of the massive profits we helped create if some balance is restored.

Look, no one denies that corporations exist to make a profit and no one wants our employers to be profitable more than we do, but the singular pursuit of corporate profits to the exclusion of their social and human cost is a real problem in this country—it’s a real problem. A corporation's bottom line is not the same as the world’s, and there is nothing in our studio's bottom lines today that accounts for the quality of our lives or for our dignity, for the comfort of our retirement or the security of our families. Their numbers have no conscience, but the people who report them as victories ought to.

In their refusal to recognize that, these companies have also extracted an awful price, which is laid at their feet and for which they are responsible. Losses to the economies of New York and Los Angeles and everywhere that film and television are made, terrible losses that mount every day, thousands of people out of work; not just us, all the crews, the crafts, the janitors, the drivers, the businesses that thrive when Hollywood thrives, the restaurants, the stores—for what? For nothing. So they could avoid coming to the table to negotiate the deal they will one day give us. Measured today that is the painfully mixed legacy of our employers, weighed against every beautiful piece of work we have made with them.

And if history is a guide, they have only temporary stewardship over a kind of national trust, which is Hollywood. Our story, our sometimes conscience, our public conversation, our diversion of the worst and best of times, our greatest export, the repository of our imagination. They have some obligation to more than just their shareholders to behave accordingly.

Unfortunately, it seems big tech, mega corporations, and some of the people who run them, as the saying goes know the price of everything and the value of nothing. So they have built a business model that no longer works for human beings who cannot be paid minimum for 10 to 20 weeks a year and make a career out of that, be paid for one draft of a screenplay that demands a year of labor, be paid a few episodic fees for a show about which to take years to decide be paid a daily rate.

And now we have a first glimpse of what they offered our actor colleagues. We are not 170,000 Willy Lomans to be used and then discarded. We know what the companies believe they have the power to do. We know what they think machines can do and do without any of us. Oh yeah, we've seen the writing on the wall and it's plagiarized.

The thing is this: the difference between what you CAN do and what you SHOULD do is the greatest single difference in the world. Knowing that is the only real protection we have against a dystopian future. And if the companies sometimes forget that, writers will do it for them.

I can't know exactly how long it will take this revolutionary moment, and you've heard again and again what is happening today has not happened in 63 years, but I know that's not always how it feels, revolutionary and defining, even though we celebrate that on picket lines together, which is the right thing to do. That's not always how it feels when you go home at night. I know how tough this is: to strike, to hold the line. I know it gets tougher every day even with SAG-AFTRA marching beside us, how hard it is to face the uncertainty of when it will end, when we'll get back to work, how we'll pay the bills. I know it's hardest for those who've just gotten started, for those for whom the world opens doors more reluctantly, battled their whole life just to get here; but hard too for those struggling to maintain their long careers, who find work tougher and tougher to come by, or those with families with children or parents to take care of.

These companies understand the cruelty of what they're doing. It's their plan to starve us just a little, to exact as much pain as they can so that we wish more for the pain to end than for the better life we dreamed up. That we're more afraid of the uncertainty of the present than the certain devastation of the future. It's societally acceptable economic torture inflicted by management on labor every day, then blamed on labor for daring to fight back, for refusing to be complicit in its own mistreatment.

Here's how I know that's not going to work. Not with us, not with the writers, because we haven't come all this way, fought to have these careers in the first place, all the adversity, and marched together for all these months, only to let it slip away on our watch—because there is no point in rushing back to jobs that may not be there in a year or two anyway. Because the business, as the companies have twisted it, is now untenable, unsurvivable for so many of us, because even success is not enough to keep going, because this guild is younger than it's ever been and more diverse. And this young diverse membership knows from hard personal experience the system is broken and that it will not be fixed unless they fix it. And those of us who came before them will not let them down, because we and the writer's guild are the beneficiaries of all those who came before us who gave up everything for us.

Like the writers of 1960, the year I was born, who struck for 22 weeks and who gave away all the TV residuals for all the movies they had ever written so that we could have a health insurance and pension plan and residuals from that date forward. $15 billion flowed to writers and their benefit plans because of that sacrifice. Because writers are brave, because now it's our turn.

So what's our job? Even as we welcome SAG-AFTRA to our side, we are still responsible for our own deal, and so we must remain focused and diligent. We must continue to march, picket signs in hand. But we should also remember this and with pride, that before there was SAG-AFTRA, before even the Teamsters and IATSE and the laborers and the electrical workers and the musicians and the plasterers came to our side, there was the writers. Alone then, we looked at the blank page and began to imagine the future. With no net but each other we typed the words, what if?

And then we took a step into the darkness and found that it was light. And then we were joined by the crews and the drivers and the actors. The actors got a bit more fanfare when they showed up, but that's okay, we wrote the script. The WGA, still small, not alone anymore after all these decades. Hollywood labor has finally linked arms and found its voice, and that voice says enough. There is no road to longterm prosperity that burns a path through your own workforce. We are not your enemies. We are not merely a cost to be borne. We are your partners and your greatest asset. And we are, as you acknowledge yourselves, irreplaceable, but by accident or design and it doesn't really matter anymore, the business you are running no longer works for those who work for you.

What is the point in continuing to deny that? Why deny it when everyone else in the business to a person tells you it's true? Do you think it's a coincidence that two unions are on strike against you for the first time since Eisenhower was president? You can't exactly accuse us of being quick on the trigger. The effect has a cause, it has a cause. And there is no profit in insisting on the answers to the past for the questions of the future.

But if you want instead to invest in something that will reap you fortunes, I have a tip. And if you are visionaries, envision a solution, not a stalemate. Because this isn't a war we're in, it's a negotiation, it's just a negotiation. There is no face-saving here for either side, because there is no winner or loser. It's just a deal. And when you come to remember that again we will be here as we have been here all along.

And at this point with 170,000 writers and actors aligned against your intransigence, that is as generous as I can be, as close to an olive branch as I can offer. But if you insist instead on the same threatening rhetoric, on saying you would rather starve us than pay us, I would remind you of this: You are fighting for a dollar, we are fighting for survival. We are fighting for our home: writing is where we live, and we will defend that home with a bravery and stamina and ferocity that you will come to understand someday, which is why you cannot break us. You cannot outlast us, you cannot.

And not just because we have the will, because we have power. Nothing in this business happens until we start to write. And we will not start to write until we are paid.

Union now. Union forever.

#sag-aftra strike #sag strike #actors strike #union solidarity #i stand with the wga #wga strong #wga solidarity #fans4wga #Youtube #wga strike #writers strike

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johnbrand · 2 months

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Screen Froze

Podcasting had become inescapable in recent years. Everyone seemed to have an opinion on...well everything. Politics, world sports, cooking, an obscure movie from 1978 only released in a now-extinct language. If it could be covered, it would be. And one could find this content anywhere across the internet. Youtube, social media, even streaming services promoted their podcasters. Everyone was watching everyone talking.

Of course, with so many different podcasters flying about, it was difficult to actually spot out talent. And from a sociologically micro perspective, it was even harder for individuals to find podcasters discussing the content they actually wanted to hear about. The more unique the niche, the less people one could happen upon to be talking about it during their recorded stream of consciousness. It was a simple formula, but it forced individuals to browse for hours or even days to find what they were searching for.

Sometimes though, people could not hold such patience. They would not wait for their new hero, a disciple preaching their values and morals to audiences around the globe. They would skip past one livestream discussing the economics of green villages in Switzerland to the next debating the potential existence between a minor character in two separate fandom universes. They could even perhaps land into a podcast like Sean’s.

“Most people just don’t understand the Soviet Union’s impact on architecture,” the measly, pale nerd innocently commented. A little shy in front of the camera, he was only able to relax a bit when discussing his favorite topics. Sean dressed in theme too, wearing a brutalist-like business casual outfit, a trait his small but dedicated fanbase adored.

“There were a lot of architects that really shaped this movement from all around the world,” Sean continued. “But today, we are just going to focus on those from the USSR.”

So what happened when one’s patience dried up? Well, everything was brought to a halt.

DragonHeart49: anyone else’s screen freeze? superduperloverboy: mine too <3bitsandmore: sean, I think ur glitching out

With the screen frozen, our impatient soul could now get to work. If one could not find the podcast they were looking for, then why not just create their own? Obviously, this did not mean constructing a podcast themselves, but rather alter the fabric of reality and completely realign another’s being to their preferred state. That was much easier.

Physical modifications were made first. A much larger body was necessary, something that demanded confidence and respect from others. Juicy pecs, rippling abs, sturdy legs. There was always something unreasonably fun in bloating the podcaster’s feet up a few sizes. An imposing frame to be craved by others, even when hidden underneath clothes, was priority. And speaking of clothes, those were quickly stripped down to less formal articles. Expensive branded tee, athletic shorts so small that boxer-briefs were visible, classic white Nike socks, all of it much more respectable than a button-up and tie.

This was not the impatient soul’s first time altering a podcaster to their liking, nor would it be their last. Physically at least, each of the end products were a little different. All alpha males, but just enough variation to not warrant any unnecessary rumors. This particular podcaster had his pre-American heritage redirected from France to India, the features in the screenshot tanning accordingly as a dark stubble acquainted itself along the sharper jawline. Of course, the bulge was accurately enlarged for geographical standards too.

Mentally however, all the podcasters could be considered copies. They each spoke of the same rhetoric, theories, and ideologies that our impatient soul wanted to hear. No matter how “backwards” or “hateful” their discussions were deemed as, nearly anything could be said by hulking bodies with undeniable charisma.

“These homos have no idea what they’re talking about!” Sanjay raged as the podcast restarted, his deep voice cocky and assertive. "Sure bro, I was just thinkin’ about a girl’s rack I saw earlier today but there's more to a girl than big tits. There's a tight pussy too!”

The chat section lit off with encouragement, their fates too having been altered.

MassiveFART69: you tell them fags bro! LOL XD crassmassschlongnator: we want to BREED THEM TOO!!!! <3TITSGALORE: JUST TALKIN ABOUT IT ALREADY GOT SANJAY GRABBIN HIMSELF AGAIN

Sanjay vacantly looked down, finding himself already subconsciously scratching at the thick bush within his shorts. He let out a hot protein fart followed by a laugh, his scratching slowly extending into groping his fat 8 inch babymaker.

“God, that was WET bros!” Sanjay applauded himself, his free massive hand swallowing the mic. “Anyway, I’ll catch you on the flip side dudes, gotta go hit the gym. Bros for life!”

There was a reason the traditional masculine movement was becoming stronger. Maybe it was because men were slowly aspiring to become the alphas’ equals, or because fags were beginning to submit to their nature. Or possibly, it could have been because each time a screen froze, reality was altered one click closer to traditional, normal masculinity.

#gay to straight #male tf #male transformation #dumbification #jock tf #breeder tf #indianization #fratification

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milkteabinniechan · 2 days

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♡Lessons Learned - Hyunjin

MINORS DNI 18+ONLY MEMBERSHIP//M.LIST

pairing: tutor! Hyunjin x fem! reader

summary: if you fail this midterm, you're screwed. Thankfully, your counselor set you up with a tutor who's willing to help you out and he has a very interesting way of rewarding you whenever you answer a question right.

warnings: public sex, fingering, dom/sub dynamic, oral sex (f.rec)

Come on, Ace. You can do it.

You signed up for an introduction to economics class thinking it would be simple. It wasn't what you wanted to do, but you still needed the credit to graduate. You found the number of a tutor on the bulletin board in your common room and decided to give it a call.

“Yeah?” The voice on the other end sounded groggy and irritated.

“Hi! I saw your number and thought that maybe you could tut-”

“What time?” His voice spat at your ear.

“Oh! Uh, I'm free tomorrow afternoon. Does that work? Or we could-”

You were cut off again. He told you to meet him at the University library late afternoon tomorrow. Hwang Hyunjin. What a tool.

The next day you arrived at the library early. You wanted a table by the window and knew how coveted the seating could get. You placed your books around the table and tapped your pencil impatiently against your thigh. Hyunjin showed up exactly when he said he would. He wore glasses and a loose-fitting sweater vest over a short sleeved polo. His hair was messy and unkempt but you couldn't help but notice how incredible he smelled. Like vanilla and fresh cut cedarwood

The two of you met like that for days; with you showing up early and Hyunjin trying to explain the basics of economics. But you couldn't seem to grasp the concept. It was difficult to concentrate when he would lean in close to you, his breath tickling your ear as he spoke.

Come on, Ace. You can do it.

You would bite the eraser of your pencil anxiously. He has to know how gorgeous he was. He has to have girls chasing him all over campus. Sometimes when he would explain a formula or application, you could just stare at his mouth. You would watch his touch flick and bounce as he enunciated his words. Your thighs would squeeze together involuntarily at the thought of his touch moving and twisting around your mouth or your hardened sensitive nipples.

Come on, Ace. You can do it.

Every once and a while you would catch him staring at your breasts. Or he would catch you staring at his hands. More and more tension was building between the two of you without you getting any closer to understanding the assignments.

One day, Hyunjin leaned back in his seat, crossing one leg over the other.

"Well, let's do something a bit... different, shall we? How about we use a more practical application?”

You perked up in your chair and tilted your head curiously.

“What did you have in mind?”

Hyunjin grinned mischievously.

“How about we focus on the concept of supply and demand?” Hyunjin leaned in closer, lowering his voice.

"For instance, if I were to... touch you in places you wouldn't expect, how would you react? Would you push me away, or…?”

Your heart clenched in your chest and your hands gripped the edge of the table.

“I…I guess I don't know what I'd do.” You lied.

“Exactly, you don't know. And that's what makes it so interesting." Hyunjin reached out, gently brushing a strand of hair behind your ear.

"Let's conduct a little experiment. I'll demonstrate the concept of supply and demand, and you can observe and react accordingly.”

Before you could answer him, Hyunjin stood up and walked over to your side of the table, kneeling down in front of you.

"Alright, let's start with the supply side of things.” He placed his hands on your knees and slowly started to push them apart.

"As the supply increases, the demand often increases as well.

You held your breath; quickly looking around the library to see if anyone else had noticed Hyunjin's new position in front of you. Hyunjin grinned wickedly as he continued to push your legs apart, moving his body between them.

"You're blushing. Your breathing is getting faster. See how the demand is rising?” He leaned in closer, his face just inches from yours.

You nod your head slowly, your entire body completely entranced with the feeling of his hands on your thighs. Hyunjin's grin grew wider, his hands continuing their exploration.

"Mmm, the demand is high, isn't it?" His hand slid up further, tracing the edge of your underwear.

"And what if I were to... slip my hand inside? Would you push me away or pull me closer?”

“Closer…” you whispered meekly.

Hyunjin’s hand slipped inside your underwear and his fingers made quick work of gently caressing your most intimate area. He let out a low, satisfied groan as he felt the slick excitement that was already leaking out of you. Hyunjin looked up at you, his grin wicked.

"Look at you... taking it so well. You're a natural, Ace." His fingers continued their rhythm, his pace quickening slightly.

"And now, what if I were to... curve my fingers just…”

He slowly slid his fingers in and out, his thumb gently rubbing that sensitive bundle of nerves as his middle finger curved and curled. Your walls clenched around his slender finger, your hand now clasped like a vice over your mouth.

Hyunjin smirked at your reaction.

"Found your sweet spot, haven't I?" His fingers continued to stroke that spot, his thumb still rubbing your swollen clit.

"And now, if I were to... lean down and lick you while my fingers are inside you…”

Your head shot up and you glared down at him, your face turning redder by the second.

“Here?! Now?!” You growled. You loved how he was making you feel but you had never done anything so public before.

"Yes, here." Hyunjin said firmly, his eyes locked onto yours.

"I'm going to lick your perfect pussy while I finger you, and you're going to let me, aren't you?"

Hyunjin leaned down, his mouth hovering over your clothed folds before pulling your underwear to the side and licking you in one long, sweeping motion.

You moaned softly into your hand. Your body was feeling like it was on fire. Every nerve ending has been activated and needed stimulation. You tried your best to stay still, to make it look like nothing was happening. To convey the facade that this gorgeous man wasn't absolutely devouring you inside a library. The silence around you was glaringly apparent as Hyunjin gently coaxed your clit into his mouth and gently sucked on it. His fingers continued to curl and stroke your needy insides, his other hand still holding your leg in place. He looked up at you, his eyes shining with desire as sucked and pulled hungrily at your slick folds.

"Look at you... so pretty…”

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my-darling-boy · 2 months

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It’s horrible how my design course has killed my enjoyment in creativity because all they want is finished pieces founded in nothing but a spontaneous mark just to hang at some concrete art gallery or to sell to some “join our revolution” comfy business-casual company with a prison cell wellness room. I’m not saying that it’s “not art” —cos that’s a different post altogether— it’s that the ethos behind this particular formula for art education is ruining the way we think about creation.

Design courses (and other art courses I’ve heard?) are no longer teaching artists or designers techniques, drawing skills, art fundamentals and allowing them to find their own voice so much as they are only instructing how to tic boxes alongside pushing corporate and classist motivated style/methodology bias aimed at producing workers, not creatives, not to mention providing Adobe with endless funds for their despicable scam programs. That’s it. My creativity is only a means to money for them, and if they can extract the process of creation from me without the complex creative intimacy involved in it, they know they can churn out products and services faster and it’s concerning some lecturers don’t seem to be aware this is what they’re teaching? Like they’re buying into industry propaganda?

And the whole time it’s sold to you like you can be some trailblazer when the irony is they’re usually either prepping you for cubicle work or for some misguided high horse creative team pumping out design solutions completely divorced from the reality. I’m tired of all the talks about sustainability in a vacuum with no conversation about nuanced designs that factor in broader social and economic perspectives which lack thereof is leading to sustainable products being sold at a price only able to be afforded by wealthier people who are causing said economic and social problems and contributing to the rapid obsoletion of trades and crafts. Lecturers and speakers don’t seem to think that’s any of our concern and should just worry about producing the design for the hypothetical Bluetooth powered organic hairbrush or using the twigs to make the pattern for the £85 fabric square.

Like? Can I please make something that actually resonates with people outside the circle jerk of egotistical creatives and corporations? Something charming and maybe idk something that doesn’t make me want to tear my miserable portfolio in half with my teeth? And they’re like Mm nope sorry it has to be an extreme close up of a mark making abstract leaf you made from a recycled trash bag inspired by a stalled urban space which we will force you to price at £100 during your exhibition 5 people will bother to attend and no you’re not allowed any other style cos this isn’t the Dark Ages :///

I think the worst thing my lecturer ever said was, while looking around the room of our class work reduced down to a series of cubes and splatters and abstract typography, “Wow, I love how you can’t tell what anyone’s [main artist discipline] is!” Like awww conformity at the expense of a person’s individuality to make pieces for airport hallways and rich people’s living rooms wow so cool heehee like girl that’s not good?? Why on Earth are you complimenting us for that? Like I get it, I thought this course would boost skillset as an illustrator (as we were told), turns out the degree is really not for me, fair enough to anyone thinking that, but forcing students to produce modern abstract art because you think it’s the ONLY Logical Pathway for the future of design, judging them intensely for doing a different style, and thinking producing financially inaccessible art + design is the solution to things like climate change and community severance is an objectively bad take.

#needed to get that off my chest it’s been sitting in my drafts and it’s still true #genuinely hate just about everything I’ve produced on this course #like illustration as a course was fine #this one is just depressing #had to almost completely reinvent my art after first year cos this Forced Style threw me off so bad #I am Scared for the future of creativity in academia #wrote a 10000 word essay (for fun) about why the corporate bullshit is contributing to the downfall of art #so needless to say I have my dissertation for my honours already #ok to rb #illustration #design

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netherworldpost · 5 months

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The Cold Hearted Amateur Economist Studying the Annual Budget ($113.4 million proposed 2023) for the Chicago Public Library to state "This Is a Stupidly Great Deal."

I am not a professional economist.

To be clear, and to start with, I do not run economic data for real world scenarios for clients or governments or any institutions.

I do run fantasy economic models for fantasy worlds (elves, dwarves, dragons, etc.) for private clients (nerds with more cash than time).

But to be clear I am not a real world economist. So there will be variables I don't know/care about.

The Chicago (hi, I live in Chicago) public library proposed budget

for 2023 is

$113,400,000

(source)

Which is a lot of money, objectively speaking, when you look at it as an annual price tag of "I need $113,400,000. For, um, this year. Next year it'll be more."

In addition to being an amateur economist, as I call myself, because I deal exclusively in fantasy-world economics exclusively

I was a professional graphic designer for many years and have dealt with charts, graphs, information displays, etc.

for a really long time

From the above source, 24.3% (about $27,556,200) is provided by grants, leaving 75.7% (about $85,843,800) to raise.

Still a big chunk of cash.

Damn near $86 million bucks.

That would buy so many zines.

Is it worth it?! LET'S GO BACK TO "I WAS A FORMER GRAPHIC DESIGNER" and dealt with charts and things, a lot, to raise cash for weird projects, a lot.

$85,843,800 (above figure to raise) divided by 365 (sorry leap year, we're being un-generous) is $235,188.49 a day.

Nearly. A quarter. Million dollars. A day.

Wow.

But wait...

...there is more than one person living in Chicago.

Which means that it is NOT a daily bill to ONE person for $235,188.49. It is a daily bill for for 1/2,665,039 PEOPLE, given the city's population.

(source)

To be fair, not everyone pays taxes, for a variety of reasons.

Since I'm not a professional economist, let's be brutally unfair and guess only 1/3 of the city pays taxes. It's far more than that, but, yknow...

...amateur economist privilege.

2,665,039 x 0.33 = 879,462.87... we'll... just round... up... this isn't SAW.

FUN FACT, though! You can borrow SAW from the Chicago Public Library for $0.00!

Resuming the point!

Daily bill of $235,188.49 sent to a collective of 879,463 people whom paying taxes to fund the library using the above math.

(Folks astute in math are going to immediately get my end point that this is cheap)

$235,188.49 (daily budget) divided by 879,463 (people)

is...

$0.26742283643 or rounded up

$0.27 per day.

The Chicago Public Library costs less than $0.30 per day per tax payer to cover the entire city.

Less. Than $0.30. Per day. Per tax payer.

...wow.

You can do similar math by checking your local library's budget and comparing it to your local population and being as ungenerous, or more specific if you wish to get a closer-to-accurate number, when comparing tax payers.

If you want to say "1 out of every 3 people paying taxes is too high" (it's not, but let's just say it is for the sake of furthering my point of "the library is an intensely great deal) and instead... say...

1 out of every 5 people pay taxes

because you want to be a contrarian for whatever personal reasons

1/5 = 20%, 20% of 2,665,039 people is 533,008 (rounded up, per above SAW rules)

$235,188.49 (daily budget) divided by 533,008 (people in this ultra contrarian numbers formula) is $0.44124757977, or, $0.44 per day per tax payer.

Using 1/3 as a tax payer base is extremely low. It's easier math. I chose it to make a point.

Pushing it further to 1/5 as a tax payer base raises the daily cost by ($0.44-0.27) $0.17.

Use your local library. Your literal pocket change pays for it.

This is a "I love the library" post sponsored by the library research I am doing for a private client and work that'll be used for future Netherworld Post releases.

#library #library postings #local library #library funding #i love the library #public library #public libraries

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dailyadventureprompts · 7 months

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Dungeon: To Split the Mountain Wide

Renowned for it's beauty and magical reactivity, Thaliasite is a valuable mineral said to spring up where the tears of a sky goddess soak into the earth. When deposits are found, they're quickly mined to exhaustion.

Taking a gamble on of one of these near abandoned claims, a somewhat reckless alchemist has attempted to promote the growth of new crystal through an experimental process involving the channelling of elemental energies and a bit of bastardized geomancy which miraculously resulted in the growth of new crystals and the reopening of the mine.

Some weeks later however and it appears the process has worked too well as the slow initial recovery has given way to explosive new growth; splitting the mountain wide open and trapping several crews of workers in the depths of the mine. The party has been called in after rescue attempts were halted by rogue elementals, as well as attacks by grell from the nearby wastes drawn in by the arcane energies.

Adventure Hooks:

Need a quick starter for a badlands campaign? Have the party be made up of miners/locals from the nearby settlement who's livelihood depends on the reopened mine. No better team building exercise then rescuing innocents from a magically and structurally unstable cave system liable to cave in/explode at any moment.

This literal explosion of valuable material is going to have far reaching consequences, turning the little mining village into a boomtown over the next few months. This will bring all kinds of fortuneseekers, outlaws, and wandering mages out of the woodwork, to say nothing of the more otherworldly entities that will blow in on the wind.

While you could chalk the disaster up to the usual unreliability of alchemical experimentation, a party that digs around a little deeper and keeps a wary eye out may discover a conspiracy by the mineral combine that once owned the depleted mine. The ability to produce Thaliasite could be an economic gamechanger, and the combine is not above engineering a little accident if it means not only reclaiming their former property but also buying out the disgraced alchemist's formulas. If the party finds them out, the combine might just be willing to cut them in for a percentage, maybe make them overseers in their newly revitalized enterprise.

One of the miners the party ends up rescuing is a woman half conscious after getting caught in the shrapnel from the Thaliasite's explosive growth. After some weeks of recovery she rises from her sickbed and begins after asking the party. Apparently having shards of divinely attuned crystal stuck in her greymatter has gotten her in touch with the goddess, who uses her impromptu oracle to tell the party of a trial awaiting them in the near future.

Art 1

Art 2

#press start #disaster #desert #dungeon #cave #mine #dungeon desert #alchemy #yithini #badlands #dnd #dungeons and dragons #d&d #ttprg #pathfinder

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auggieblogs · 1 year

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"I hate Economics"

Charles Leclerc x reader

Author's note: For my beloved @flippingmyshit 🦕💗(sorry it took me so long). The concept is similar to the Max fic I did earlier and now I'm genuinely considering doing this for all the drivers because it's so damn cute shgsbshs. Also a fair warning, I might have projected way too much. Yet again.

Also checkout my other works💌

The room was awash with the soft glow of desk lamps, casting dancing shadows on the scattered economics textbooks and notes. Your brows were furrowed in frustration as you flipped through yet another page, trying to make sense of the seemingly endless stream of concepts and formulas. The upcoming economics exam had you on the edge, your nerves frayed from weeks of studying. You couldn't help but regret choosing this subject, feeling like it was swallowing you whole.

Tears welled up in your eyes as the weight of your anxiety pressed down on you, and you crumbled, sinking to the floor amidst the sea of books. It was at this very moment that the door swung open, and Charles walked in, fresh from the gym, his t-shirt clinging to his lean physique.

He froze in his tracks, concern etching across his face as he saw you in distress. "Amor, what's wrong?" He rushed to your side, kneeling beside you, his warm hand gently cupping your cheek.

The sight of Charles, his eyes filled with worry, was the final straw. You couldn't contain your emotions any longer. Your voice quivered as you confessed, "I'm not smart enough for this, Charles. I can't do it. I hate economics. I regret ever studying it."

Charles enveloped you in his warm embrace, cradling your head against his chest. He let you cry, your tears soaking into his shirt, as he gently stroked your hair. "Shh, it's okay. You're not alone in this. I'm here to help you."

After a few moments, he released you slightly, holding your face in his hands. His eyes locked onto yours, filled with determination. "You can do this, baby. Stop stressing out. I will help you study, and you're going to ace this exam."

With a tender smile, Charles lifted you to your feet and led you to the bathroom, his arms never leaving your side. He filled the bathtub with warm water, adding a few drops of your favourite lavender essential oil for relaxation. You slipped into the bath, the warm water embracing your body like a comforting cocoon. Charles joined you, his strong arms wrapping around you as you leaned back against his chest. The tension in your body began to melt away as he peppered your face with soft kisses, reminding you that you weren't alone in this.

After the bath, you felt rejuvenated, both physically and emotionally. Charles wrapped you in a fluffy towel and carried you to the bedroom, laying you down gently on the bed. He sat beside you, running his fingers through your damp hair.

"Feeling better?" he asked, his eyes filled with concern.

You nodded, a small smile tugging at your lips. "Thanks to you, Charles."

He leaned down to kiss your forehead, his lips warm and comforting. "That's what I'm here for, mon amour."

You spent the evening studying with Charles by your side. He joined you at your study table, flipping open your textbook and reviewing notes with you. Between explanations, he peppered your face with sweet kisses, making you giggle despite your stress. He even pulled out a set of flashcards, quizzing you on key concepts.

When both of you started to feel hungry, Charles decided to cook pasta, but as you knew all too well, he wasn't the best chef. You both burst into laughter as he managed to burn the pasta, his pouty expression making him even more funny.

"It's okay, Charlie," you chuckled, shaking your head. "Let's just have something else." You settled for sour patch candies and leftover veggie rolls from the previous night, munching on them while you continued to study.

As the hours passed, you felt the exhaustion creeping up on you like a heavy fog. Your eyelids grew heavy, and despite your best efforts to stay awake, your head began to droop. The weight of the textbooks and the stress of the day finally took their toll, and with a gentle thud, your head came to rest on the study table.

Charles, who had been reviewing notes with you, immediately noticed your peaceful slumber. He couldn't help but smile at the sight of you, your face illuminated by the soft glow of the desk lamp. Gently, he reached out and brushed a stray strand of hair from your face, his touch as light as a feather.

He knew you had been working tirelessly, and he admired your dedication. With utmost care, he placed a bookmark in your textbooks, making a mental note of where you left off. He didn't want to disturb your well-deserved rest.

Quietly, he turned off the desk lamp and dimmed the room, leaving only a soft nightlight to illuminate the space. Charles took a moment to watch you sleep, his heart swelling with affection. He couldn't resist leaning down and placing a gentle kiss on your forehead.

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