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inboundremblog · 10 months ago

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Vanbrooke, Fulshear: A Haven of Small-Town Charm

Credit: Image by mschiffm | Pixabay

Vanbrooke Fulshear: Community Atmosphere and Residential Appeal

Vanbrooke is located in Fulshear, Texas, and it is taken with great pride that it is unique among the other neighborhood projects. Everything from the beautiful layout to the generously sized lots was carefully designed.

More than just houses, this community offers a way of life based on the warmth of a small town and the unity of its people. The existence of trees around, the warm environment, and social solidarity make Vanbrooke, Fulshear the perfect model of the modern way of life with the proper dose of traditional perspective.

Unlike many large-scale communities, Vanbrooke's comparatively more compact community creates a very close-knit society among those residing there. In addition to beautifying the environment, they provide avenues for transport through walking and biking and making social interaction between the neighbors.

The residential properties in Vanbrooke combine classic and contemporary architecture suitable for differing tastes and eras. Vanbrooke also provides housing ranging from spacious family homes to spacious homes depending on the customer's needs.

Adams Homes: Comfortable Elegance

At Vanbrooke, one will find a selection of homes by Adams Homes. All their homes offer large living spaces and sophisticated details. Such homes are mainly 1,915 to 2,335 square feet to accommodate an expanding family and have multifunctional features.

The designs and finishes used in Adams Homes at Vanbrooke show the layout of modern homes with today's comfort needed in performing day-to-day activities in homes.

Anglia Homes: Versatile Living Spaces

Amalgamating convenience and sophistication to Vanbrooke, Anglia Homes offers the following floor plans: between 1 800 and 2 500 sq ft.

Intended to target residents with various life patterns, Anglia Homes targets comfort and the appearance of the houses. Regarding the layout of homes, Anglia Homes has options for open-style living or sections for specific activities depending on the household's needs.

Long Lake: Spacious Luxury

For clients who prefer a lot of space with exquisite features, Long Lake has the luxurious Vanbrooke, featuring large (1,500 to 3,500 square feet) home designs. These residences are built in relative sophistication to incorporate the best design standards, space, and rich finishing.

Whether you want to establish a large family house or have numerous guests to invite, Long Lake's house and apartment layouts at Vanbrooke are relatively generous in terms of the living area, working space, and leisure space.

Features and Amenities

Regardless of your builder, every home at Vanbrooke is designed to be welcoming, comfortable, and functional. Key features of the homes include:

Spacious Interiors: The interiors, including the bedrooms and other house areas, are spacious, reflecting a contemporary lifestyle and family interaction.

High-End Finishes: Professional artistry and beautiful trims that are exclusive in a way that makes each home stand out.

Modern Technology: Integrated communications and other features ensure that homes are ready for today's technologically advanced world.

Choosing Your Ideal Home

When choosing a floor plan at Vanbrooke, consider the family's way of living, desired space, and appearance. Depending on the client's choice, Vanbrooke designs houses with open concepts for entertaining guests, additional bedrooms for family members, or a convenient space for resting.

Investment and Long-Term Value

Purchasing a home in Vanbrooke allows a person to enjoy a better living standard, besides predicting an improved home appreciation. Relocation, sound construction, and respectable builders make the community beautiful for living within the confines of Fulshear.

Amenities and Recreation

Living in Vanbrooke means enjoying many amenities designed to enhance everyday life. The community features are as follows:

Community Center: One of the biggest concerns of social life, where people find places for business, parties, celebrations, ceremonies, congresses, and many more.

Swimming Pool: This is a welcome relief during hot summer Texas days, as people can bathe and go to the beach equally.

Parks and Green Spaces: An aesthetic element of the building plan, which they got for free, was the creation of areas in different parts of the neighborhood where people could come have picnics, play with their children, and enjoy nature.

Walking and Biking Trails: This criterion clearly describes corridors that pass through the community and can be used for jogging and walking.

They play a significant role in improving the standard of living of the people residing there and, at the same time, guarantee that they will be in a position to share nature and fellow man, thus building a solid society.

Lifestyle and Community Events

Understandably, people can engage in activities, meetings, fairs, and celebrations connected with cultural values while living in the community. Whether it is the festive season, block parties or fundraisers, charity, or everything in between, there is always something going on in Vanbrooke.

Education and Family Life

The Vanbrooke estate is well-placed and close to well-performed schools in the Lamar Consolidated Independent School District for families with children. These are some of the nearest quality education institutions that can make Vanbrooke attractive to families, especially parents who value their children's education and social life.

Nearby Amenities and Services

Besides its facilities and amenities, Vanbrooke enjoys customer convenience by providing various other services within Fulshear and the greater Houston area. Shopping centers, restaurants, health facilities, and places of recreation are easily accessible so that all essentials can be sourced within a short distance.

Real Estate Market

From an investment point of view, Vanbrooke holds prospects in its business potential. Namely, the Felix Greater Community appeals to comfort and growth and is steadily growing in popularity, which can speak for itself. This is a good investment zone because the real estate market in Vanbrooke depicts stability and the possibility of an increase in its value in the future.

Fulshear in Texas is a perfect example of a small town that embodies the town's welcoming atmosphere, includes the latest technologies, and supports the local community's spirit, like Vanbrooke.

Due to its small size, the community enhances familiar relations, where neighbors are relatives, and every day is like a festive day. Depending on the scale, from home searching to investing in a friendly and attentive community, Vanbrooke presents a living atmosphere that is both cozy and warm.

All the features you need are within your reach today in Vanbrooke's floor plan options; look at the ideal home that matches your lifestyle. They range from the charming traditional style of Adams Homes to the transitional laid-back setting of Anglia Homes and the simplicity of contemporary living at Long Lake.

Learn more about this topic by browsing our website at https://homesoffortbend.com/fulshear/vanbrooke/.

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datascraping001 · 11 months ago

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sitp-recs · 8 months ago

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Part II: table for two

Following my list featuring the sea (now with a lil banner cause I’m getting in the reccing zone again baby!!!!), I thought I’d make this a series called “fic as a sensory delight” and continue the trend with good old Drarry domesticity walking hand in hand with some food porn appreciation. Who knew that Drarry living their best life while enjoying tasty treats could be so personal? These fics feel like a comfort meal when life gets too crazy and provide a delicious sensory experience. From cottagecore to road trips, found family, case fic, established relationship and even kinky delights - this list has a bit of everything and features food as a main character either bringing Drarry together, healing past traumas, helping them connect with their heritage or simply playing as a love language. I hope these fics bring you as much comfort, joy and healing as they brought me. Happy weekend!

🥘 Breakfast by @moonflower-rose (E, 3k)

Breakfast is Harry's favorite part of the day.

🥘 Market Saturdays by @sorrybutblog (M, 3k)

In which Harry is an accidental part-time cheesemonger, Draco is an organic farmer and they fall in love. Not an AU.

🥘 Salt and Sauce by onbeinganangel (T, 3k)

Sure, of course he knows how you take your tea. But does he know your chippy order?

🥘 Cupboard Love by @shealwaysreads (G, 4k)

Harry’s life, and love, in food.

🥘 Don't Bite the Hand That Feeds You by InnerLilith (E, 11k)

In which Harry takes Draco out for Eritrean food, and Draco has a severe obsession with Harry’s hands. Smut ensues.

🥘 Harry Potter and the Showstopper of Doom by @doubleappled (M, 11k)

In which Harry’s an amateur baker, Draco wants him to go on the Great British Bake-Off, Petunia never misses an episode, Sue is a witch, Paul Hollywood is Paul Hollywood, and everyone eats a lot — like a whole lot — of baked goods.

🥘 Poppiholla by @moonflower-rose (M, 13k)

Harry had accepted that he would pine silently for Malfoy forever, but one, humid summer might change that.

🥘 Connecting Lines, Connecting Crimes by @sleepstxtic (M, 15k)

“Hello, Harry,” Draco said. He was wearing a black turtleneck under a long grey overcoat, and he was already flushed with sweat. His hair was tied into a knot; it was longer than I remembered. He was older than I remembered. There were lines around his eyes, and I wondered if they were from laughing or frowning. “Hello,” I managed. “You must be with the British Ministry?’ He nodded. I thought I might faint.

🥘 Bridges by @cavendishbutterfly (E, 16k)

Harry and Draco are on a trip to Budapest to help with Kingsley's re-election, but that's the boring bit. More interesting: Harry Potter is changing his Tinder preferences to include men. Also interesting: Harry's spending more time with Draco Malfoy than he ever has, wandering around the city. And Harry doesn't hate it. The city's pretty gorgeous too.

🥘 Sourdough by @academicdisasterfic (M, 17k)

Draco writes romance novels and doesn't leave his apartment much. Harry bakes bread and sells it to Draco. Draco is quite weird. Harry might like that.

🥘 Preserving Lemons by @saintgarbanzo, @ihopeyoubothstaysafefromharm (E, 17k)

Harry is cooking food he couldn't care less about; Draco is making art he couldn't care more about. A story about kebabs, miniskirts and the way preservation can transform a lemon.

🥘 Passion Cake by @icmezzo (T, 19k)

It’s all about desire. (Harry orders a magically enhanced cake from a chic London bakery, and from there it all goes to hell in a cake tin. Also, will someone please tell Harry what Passion Cake is?)

🥘 Knead by laughingd0g (E, 83k)

This is not a story about Harry renovating Grimmauld Place. This is a story about coffee shops and brewpubs, about Ginny and Luna on a farm with creatures, about magical Oregon, coastal road trips, flying, friendship, and Draco Malfoy's lean arms.

🥘 Soup-pocalypse and The Great Curry Cataclysm by SquadOfCats (E, 104k)

Eleven years after the war, Draco Malfoy leads a quiet, boring, and perfectly respectable life, thanks very much. Or, at least he does, until a sudden and very unexpected veela awakening causes him to throw soup all over Harry Potter in the middle of the Ministry cafeteria.

🥘 Make This Leap by @oflights (M, 118k)

Harry owns a struggling restaurant which is running out of money, and his Head Chef has just handed in notice. He's at a bit of a loss as to what to do until Narcissa Malfoy presents an obvious solution: bring in Draco Malfoy as Chef and part owner. Harry does.

#fic as a sensory delight #part 2 #drarry & food #fic recs

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warriorforumwso · 10 months ago

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tameblog · 3 months ago

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When it comes to buying a new home, packing might be the biggest headache. As you think about boxing your decor and clothing for the next place, you might wonder about moving your kitchen appliances. Typically, features such as light fixtures must remain behind in a home unless otherwise negotiated. Does the same go for your fridge and dishwasher? Explore the answers as experts weigh in on whether you should take your appliances when you move. Can You Take Your Appliances? “A seller is not obligated to include appliances in the sale of their home, though it is often expected, especially in markets like NYC,” says agent Maria Kourepenos of Coldwell Banker Warburg. “If a seller prefers not to include them, it’s important they discuss this with their real estate agent, who can provide guidance based on buyer expectations in their particular market.” Maybe you’ve become attached to your gas stove, or the fridge you bought happens to match the microwave and dishwasher you recently invested in. Whatever the case, you might wish you could take your appliances with you to your new home. The good news is you can absolutely do that. You’ll just need to check all the boxes. “First things first, I always recommend consulting with your realtor about local norms. They are the experts regarding buyer expectations, and whether or not to leave your appliances falls into that category,” says Margaret Osborne, realtor at Better Homes and Gardens Real Estate Central. Osborne says these trends have shifted over the years. “In my direct market, it’s been common for sellers to leave all kitchen appliances but take their washer and dryer. However, over the past five years, more sellers are opting to leave their washers and dryers, and it is not uncommon for buyers to request their inclusion as well,” she says. In other parts of the country, appliances are not considered part of the home, and many people take them. “Appliances are personal property and are not part of the home in a real estate transaction,” says Daniel Hussey, a broker with Hillside Realty in Wells, Maine. “A buyer must specify which appliances they would like in a purchase and sales agreement.” Negotiating Appliances in a House Sale Like all conditions of a home sale, the inclusion or removal of appliances in your home needs to be spelled out in writing and agreed upon by both parties. “In most cases, built-in appliances such as dishwashers and ovens are considered fixtures and remain with the home, while freestanding appliances—like washers and dryers, an extra fridge, or a humidifier—can be negotiated,” says Cindy Raney, a global luxury property specialist and founder of Cindy Raney & Team. “It’s important to always verify which appliances are staying on the MLS sheet.” As you draw up your contracts, be specific about what you want to leave and take. That’s good advice regardless of what you’re negotiating, whether it’s appliances, light fixtures, cleaning fees, or junk removal. “Buyers and sellers should clearly outline in the contract which appliances will be included or excluded,” Raney says. “Sellers can specify which items they plan to take on a list of exclusions, and buyers can request certain appliances be left behind as part of their offer. Open communication and listing these details in writing help prevent misunderstandings later in the process.” “Clearly negotiate whether or not to include or exclude something at the offer stage between agents, and ensure that everything that the buyer and seller have agreed upon is explicitly written as either an inclusion or exclusion in the deal sheet and the contract,” says agent Alana Lindsay of Coldwell Banker Warburg. The Pros and Cons of Taking Appliances Before you schedule movers to move your appliances to your next home, consider the pros and cons of this decision. Pros The main pro is that you get to keep your preferred appliances, which are presumably in decent shape and to your liking. This is especially helpful if the home you’re moving into doesn’t have any appliances. Keeping your current washer and dryer then saves you hundreds, if not thousands, of dollars. “Homeowners can evaluate the cost of replacing an appliance versus moving with the current appliance by checking what the appliance costs now,” Lindsay says. “For example, if a homeowner purchased a washer and dryer set for $5,000 two years ago, and it would cost another $3,000 to move that set to another location, then it may not be worth it if they can get a new set in their new location for $6,000.” Cons If you’re moving into a home that already has appliances, you’ll need to remove them and properly dispose of them before installing yours. This can be a hassle. “In most cases, the cons of keeping appliances outweigh the pros. “While some may consider selling them independently, the time, effort, and hassle often don’t justify the potential profit.”— MARIA KOUREPENOS Additionally, moving these bulky items is not free. In many cases, you’ll need to hire professionals to disconnect, pack, and relocate these heavy pieces. “Moving companies often charge based on the truck size or total weight, which can increase your expenses due to those bulky and heavy appliances,” Osborne says. “It’s a good idea to consider purchasing extra insurance to cover any potential damage during the move. While we often envision a ‘best-case scenario,’ don’t forget to factor in storage costs if you can’t transition directly between homes.” Keep in mind that washing machines, dryers, and dishwashers all require special plumbing and venting. Refrigerators and other large appliances also require the proper electrical hookup. In short, you shouldn’t install these items without proper knowledge. Finally, choosing to take your appliances with you could be a drawback for your home’s buyer. If keeping your appliances jeopardizes the sale of your home in any way, you may want to reconsider your decision in favor of the bigger picture. This is especially true if your home is damaged in the process of having these bulky items moved. “Large appliances can be difficult to move and can easily damage floors and walls,” Hussey says. “Any damage to the home before the closing is the seller’s responsibility. If damage does occur during the move, before the closing, it could be the seller’s responsibility to repair or mitigate any damage done.” Exceptions Still, feel like you want to keep your microwave? There are of course exceptions that will far outweigh the challenges you might face moving that appliance. “The exception might be if there is sentimental value attached to an appliance, such as an antique oven or a family heirloom refrigerator,” says Kourepenos. “In those cases, sellers can either move the appliance elsewhere or offer buyers a credit toward a replacement while making it clear that the item is not included in the sale.” How to Decide As you decide whether to take your current appliances with you, consider the following four factors: 1. Price You could save money by moving your current appliances, but keep in mind that, while you might not have to buy new appliances, you will have to pay someone to move and hook up your current ones. “The cost of moving appliances includes not only transportation but also potential fees for disconnecting, reconnecting, and possibly adapting appliances to fit the new home,” Raney says. “These costs can add up quickly and may not be worth the expense, especially if the appliances are older or not compatible with the new home’s setup.”Raney had a client who took their washer and dryer and spent a lot of money to move it. Once in the new home, the movers went to install the new washing machine and did not know how to shut the water off, causing a leak. “Movers will try to be helpful, but most are not trained in appliance installation,” Raney cautions. 2. Condition Consider how long your current appliances will last and compare them to the ones you might inherit with a new home purchase or buy if you go with a new one. “Homeowners should weigh the age, value, and condition of their appliances against the cost and effort of moving them,” Raney says. “If appliances are nearing the end of their life span, it may be more cost-effective to sell or leave them behind and invest in new ones that better suit the new home.” 3. Negotiating Power Many home buyers like to see that their new home comes with good, working appliances. If you remove yours, you could lower the quality of the deal potential buyers are expecting. “We recommend selling listings turnkey with all appliances included. Sometimes a seller is very attached to an item such as their washer and dryer and requests to take them,” Raney says. “That should not turn off a buyer in the end or affect the overall desirability of the home. However, if a seller excludes expensive luxury items like a beautiful freestanding wine fridge that fits perfectly in a built in bar, making it turnkey and desirable, that may give a buyer pause.” 4. Moving the Appliances Whether you do it yourself or hire a crew, moving appliances is added work that can cost money and time. You’ll also want to make sure your current appliances will fit in their new space. “Moving large appliances can be challenging due to their size, weight, and the need for professional disconnection and reconnection,” Raney says. “It’s important to ensure that the new home can accommodate the appliances in terms of space, utility hookups, and compatibility. Homeowners may also face the risk of damaging appliances during transport, adding to the logistical hurdles.” Source link

#HOME_DECOR #APPLIANCES #LEAVE #MOVE

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angusstory · 3 months ago

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#HOME_DECOR #APPLIANCES #LEAVE #MOVE

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fibula-rasa · 8 months ago

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Cosplay the Classics: Nazimova in Salomé (1922)—Part 2

My cosplay of Nazimova as Salomé

As the studio system emerged in the American film industry at the start of the 1920s, many of the biggest stars in Hollywood chose independence. Alla Nazimova, an import from the stage, was one of them. In 1922, she made a series of professional and creative decisions that would completely change the trajectory of her career.

In part one of CtC: Nazimova in Salomé, I described how Nazimova’s independent productions were shaped in response to trends and ideas surrounding young/independent womanhood in America after World War I and the influenza pandemic. Here in part two, I’ll fit these productions, A Doll’s House and Salomé, into the broader context of the big-money business of film becoming legitimate in America.

While the full essay and photo set are available below the jump, you may find it easier to read (formatting-wise) on the wordpress site. Either way, I hope you enjoy the read! Oh and Happy Bi Visibility Day to all those who celebrate!

My cosplay of Nazimova as Salomé

Artists United? Allied Artists and the Release of Salomé

When Nazimova made her screen debut in War Brides (1916), the American film industry was undergoing a series of formative changes. Southern California became the center of professional filmmaking in the US—fleeing New Jersey (where War Brides was filmed) largely because of Thomas Edison’s attempts to monopolize the business. Preferences of audiences and exhibitors shifted away from one and two-reel films and towards feature-length films. The Star System emerged in full force. Nazimova soon relocated to Hollywood, signed a contract with Metro, and reaped the benefits of this boom period for American film artists.

The focus on feature-film production and the marketing of films based on the reputations of specific filmmakers or stars required a greater initial outlay of resources—time, money, and labor. But, it also paid dividends—the industry quickly grew into a big-money business. The underlying implication of that is that a larger share of the profits were shifted from the people doing the creating (artists and technicians) and towards other figures (capitalists). In practice, this also meant film companies would become eligible for listing on the stock exchange and could secure funding from banks and financial institutions, both of which were rare or impossible before the mid-1920s. The major players on the business end of production, distribution, and exhibition, therefore, wanted to consolidate their power and reduce the power and influence of the filmmakers.

To illustrate how momentous this handful of years was in the history of the US film industry, allow me to highlight a few key events. Will Hayes’ office was set up in 1922 to make official Hollywood’s commitment to self-censorship. Eastman Kodak introduced 16 mm film in 1923, a move which, while making filmmaking more accessible and affordable, also widened and formalized the division between the professional industry and amateur filmmaking. Dudley Murphy’s “visual symphony” Danse Macabre[1] was released in 1922—considered America’s first avant-garde film. Nazimova’s Salomé was considered America’s first art film from its initial release in 1923. That these labels were deemed relevant in this period illustrates the line being drawn between those films and film as a conventional, commercial product. The concept of art cinemas in the US was first proposed in 1922 spurring on the Little Cinema movement later in the decade.

from Danse Macabre

from Salomé

As any industry matures, both the roles within it and its output become more starkly delineated. That is to say that, as the US industry began differentiating between art/avant-garde/experimental film and commercial film, the jobs within professional filmmaking also became more firmly defined. Filmmaking has always been a collaborative art, but in the period prior to the 1920s, it was common for people in film to do a little of everything. As a result, what sparse credits made it onto the final film didn’t necessarily reflect all of the work that was done. To illustrate this using Nazimova,[2] at Metro, she had her own production unit under the Metro umbrella. While her films were “Nazimova Productions,” she didn’t have full creative control of her films. However, Nazimova did choose her own projects, develop said projects, and contribute to their writing, directing, and editing. When those films were released, aside from the “Nazimova Productions” banner, her only credit would usually be for her acting. Despite that impressive level of creative power, the studio still had the ultimate say on whether a film got made, and how it would be released. As studios grew and tightened control of their productions, this looser filmmaking style became much less common.

The structure of the industry at this time was roughly tripartite—production, distribution, and exhibition. Generally speaking, the way studio-made films traveled from studio to theatre—before full vertical integration—was that the production company would make available a slate of films of different scales. (Bigger productions with bigger names attached would have a special designation and come with higher rental fees.) Famous Players-Lasky was the biggest production house at the time, though other studios, like Metro, were quickly catching up. Distribution companies would then place this slate of films on regional exchanges, centered in the biggest cities in a given region. Exhibitors (this could be owners of chains like Loew’s in the Midwest and Northeast, the Saengers around the gulf coast, or individual theatre owners) could then rent films through their local exchanges. (This was an ever-shifting industry, so this process was not true for every single film. This is only meant as a quick overview of the system.) As the 1920s wore on, exhibitors began entering the production arena and producers further merged with distribution companies and exhibition chains. Merger-mania was the rule of the day.

My cosplay of Nazimova as Salomé

As merger upon merger took place and a handful of businessmen tried to monopolize the industry, American filmmakers responded by championing the artistic legitimacy of filmmaking in the US. Leading this charge were the very filmmakers on whose backs the big business of film had been built. As noted in Tino T. Balio’s expansive history of United Artists, The Company Built by the Stars:

…Richard A. Rowland, president of Metro Pictures, proclaimed that ‘motion pictures must cease to be a game and become a business.’ What he wanted was to supplant the star system, which forced companies to compete for big names and pay out-of-this-world salaries for their services. Metro, he said, would thenceforth decline from ‘competitive bidding for billion-dollar stars’ and devote its energies to making big pictures based on ‘play value and excellence of production.’”

It’s notable for us that these ideas were espoused by Rowland, head of the studio where Nazimova was currently one of those “billion-dollar stars.” (“Billion-dollar” is obviously a massive overstatement.) It was a precarious time for any filmmaker who cared about the quality and artistry of their work. It was this environment that birthed United Artists, a new production company built around the prestige and reputation of its filmmakers, Douglas Fairbanks, Mary Pickford, Charlie Chaplin, and D.W. Griffith. As the statement announcing the formation of UA detailed:

“We also think that this step is positively and absolutely necessary to protect the great motion picture public from threatening combinations and trusts that would force upon them mediocre productions and machine-made entertainment.”

It’s an accurate assessment of industry trends at the time. If the desired product is a high-quality feature-length film, production is necessarily more expensive. As the UA statement intimates, monopolizing the entire industry and sacrificing quality for quantity to fill the exchanges and theatrical bills was the studio heads’ solution to rising costs. Not a great signal for filmmaking as art in America.

My cosplay of Nazimova as Salomé

So, Nazimova was in good company when she chose to go independent, believing in film as art and that American moviegoers deserved better than derivative, studio-conceived films. Some of the other artists who went independent included George Fitzmaurice (one of the most revered directors of the silent era, though most of his films are now sadly lost), Charles Ray, Max Linder, Norma Talmadge (in alliance with Sam Goldwyn), and Ferdinand Pinney Earle (whose massive mostly-lost artistic experiment Omar Khayyam, I profiled in LBnF). If these filmmakers shared the motivation of UA to create higher-calibre productions, where would the money come from? For Nazimova, the answer was her own bank account.

In 1922, Nazimova’s final film for Metro, Camille (1921), was still circulating widely due to the rising popularity of her co-star, Rudolph Valentino, after the release of Four Horsemen of the Apocalypse (1921) and The Sheik (1921). While Nazimova had the funds to complete A Doll’s House and Salomé, there was no sure bet for the films’ releases. Nazimova’s initial concept for her independent productions was the “repertoire” film. This scheme would have seen A Doll’s House released as a shorter film with Salomé as a feature and the two could be rented as a package by exhibitors. It was a creative response to growing tensions between producers and exhibitors over a practice called block booking. Block booking was a strategy studios employed to leverage the Star System to its fullest. They would take the most in-demand films associated with the biggest drawing stars and only make them available in a package deal with productions that were perceived as less marketable. Nazimova was aware that her films at Metro had been rented this way (as the special feature). It’s not completely clear from my research if the decision to release Salomé and A Doll’s House as two features was creative, practical, or a combination of the two. The “repertoire” concept may not have gone according to plan, but it was an early indication that Nazimova was well-informed of the nuances of distribution and exhibition.

Nazimova’s need for proper distribution was met by United Artists’ distribution subsidiary, Allied Artists. United Artists’ first few years were a struggle. Fairbanks, Pickford, and Griffith[3] needed significant time and money to finish the high-quality productions that they promised and Allied was their solution. This distribution arm would release the work of other independent talent using the same exchanges as UA, but under a different banner. Though Allied used UA’s exchanges for distribution, the subsidiary had its own staff. Allied having different branding would also protect the prestige of the UA name. (An unkind, but not entirely inaccurate summary: the money your work brings in is good enough for us, but your work is not.) Allied would have a full release slate to generate the revenue that UA needed to remain in operation.

Nazimova was one of the filmmakers who signed a distribution deal with Allied and had reason to regret it—though she and Charles Bryant didn’t openly rag on UA/Allied.[4] Notably, Mack Sennett had arranged the release of Suzanna (1923) through Allied and was vocal about the company bungling its release. Differences over distribution and exhibition would also lead to Griffith’s exit from the company and a major rift between Chaplin and Pickford-Fairbanks. After 1923, Allied reduced its operation, at least in part because of the bad reputation they were garnering with other filmmakers. Despite numerous independents losing money on productions released through Allied, by 1923, Allied had netted UA 51 million dollars in revenue!

Trade ad for Salomé from Motion Picture News, 10 March 1923

The questionable deals that these independent filmmakers received with Allied are often mentioned in discourse about the period, but very, very rarely does anyone offer details of what Allied’s inadequate distribution looked like. Using the information available to me via Lantern, I collected and analyzed data regarding the release and exhibition of Nazimova’s final two Metro films and both of her Allied films.[5] Looking at the trade publications Exhibitor’s Trade Review, Moving Picture World, Motion Picture News, and Exhibitors Herald, I categorized every item I found about the release or exhibition of Billions (1920),[6] Camille, A Doll’s House, and Salomé. The “release” items are primarily advertisements, reviews, and news items about release dates or pre-release screenings. The number of these items for all four films were comparable.

The items in the “exhibition” category, however, reveal a marked difference between the Metro and Allied releases. This category includes items like first-run theatre listings, exhibitor feedback, and advertising advice for theatre owners. Only counting exhibition items from the first two years (24 months) from the initial release of each film, Billions and Camille had twice as many items as A Doll’s House and Salomé!

While this isn’t necessarily hard data on how many theatres ran each film, it is a rough indicator of how well the films circulated. This data suggests that neither A Doll’s House or Salomé had distribution comparable to the Metro films. In order to compensate for the Rudy factor—Valentino’s major rise to stardom in 1921—which could have affected Camille’s numbers in a big way, I included Billions as well. Billions was sold as a special (a bigger production with premium rental fees) on Nazimova’s name alone. It was not especially well received. Exhibitors/theatre owners had mixed feelings on the film because Nazimova’s previous film, Madame Peacock (1920), had underperformed. Many exhibitors viewed Billions as an improvement, though it still did not meet their perception of Nazimova’s standard of quality. Despite that, Billions had 76 exhibition-related items across its first 24 months of availability to Camille’s 80.

To get a little deeper into this data, I wanted to see how the feedback from exhibitors and theatre owners compared. I broke down the exhibitor feedback for each film as positive, middling, or negative based on how the exhibitors assessed audience response and/or box office receipts. (I discounted feedback that only reflected theatre owners’ own personal assessment of the films without mention of their patrons or receipts.) Positive feedback could be good reception and/or good receipts, middling suggests only average business and no noteworthy reception, and negative indicates poor response and/or poor ticket sales. Since there are so many more items about Camille and Billions than A Doll’s House and Salomé, I compared ratios as an indicator of exhibitor satisfaction. The results were truly surprising.

Theatre owners who rented Salomé may have been in significantly smaller numbers than those who ran Camille, but their satisfaction with ticket sales and audience feedback was roughly equivalent. (Though slightly more positive for Salomé!) The numbers for Billions line up with the qualitative assessment I summarized above, displaying a roughly equal 3-way split. A Doll’s House was the most divisive with the highest proportion of negative feedback of the four films, yet with a higher proportion of positive feedback than Billions.

Taking all of this into account, it’s clear that Salomé did not flop because it was too artsy or esoteric for the American moviegoing public. Such assumptions are obviously not very thoughtful or informed by reliable data.[7] A more historically sound reading is that, as professional filmmaking matured into a “legitimate” industry in the US, the various arms of the business were rigidly formed to fit conventional output. The conservatism that this engendered made the American industry ill-equipped at marketing anything too unconventional or experimental. While Hollywood insiders were lamenting European filmmakers artistically outdoing Americans—especially following the US release of The Cabinet of Dr. Caligari (1920)—very few people with the power to shape the industry did anything to support experimentation. Given this environment, Salomé could only have been produced independently, but the quickly ossifying distribution and promotional systems didn’t have the range to give it a proper release. Two films contemporary to Salomé, Beggar on Horseback (1925) and The Old Swimmin’ Hole (1921) offer further evidence of the industry’s limitations.

The Old Swimmin’ Hole is a feature-length production by Charles Ray, experimental in that it uses no intertitles. The story is simple and familiar with Ray playing the Huck-Finn-type character he was well known for. Ray’s experiment was not an expensive one and the film was successful. However, decision makers at First National, the film’s distributors, felt that The Old Swimmin’ Hole was simply too complex for small-town Americans to comprehend and it wasn’t released outside of cities. To put it plainly, the distributor’s unfounded concept of ignorant yokels meant that a film about country living was largely inaccessible to anyone actually living in the country. Though the film was well received and turned a profit, this distribution decision likely limited its audience as well as possible revenue from small-town exhibition.

Stills from The Old Swimmin’ Hole from Motion Picture Magazine, April 1921

Beggar on Horseback was produced by one of the biggest studios in Hollywood, Famous Players-Lasky, and distributed by Paramount. Starring comedian Edward Everett Horton, Beggar was an expressionist comedy based on a popular play. The film had a popular star, popular source material, and was made and released by a major company, but Beggar was apparently too unconventional for that major company to adequately market it. (Unfortunately, only a few minutes of the film survive, so we can’t fully reassess it unless more is found/identified!)

Stills from Beggar on Horseback from Picture-Play Magazine, August 1925

With all these complicating factors at play, how might have Salomé found its audience in 1922-3? Nazimova and Charles Bryant had innovative ideas for the film’s release that might have done the trick, if they had been able to act on them. Nazimova and Sam Zimbalist had finished cutting Salomé in late-spring 1922. Having spent practically all of her money to finish the film, and following A Doll’s House’s disappointing results, Nazimova was eager for Salomé to hit theatres. Though the film was in the can and private preview screenings had been held by Bryant by summer ‘22, Salomé wouldn’t be released until February of 1923. In studio filmmaking, holding a film in extended abeyance wasn’t ideal but it was not disastrous. Studios had significantly more resources and revenue streams than independent producers. If, for example, the release of Billions had been delayed for seven months, Nazimova still had two films on the Metro exchanges (and therefore in theatres) and Camille would have entered production in the meantime. But for Nazimova as an independent producer, this situation was wholly untenable. (In fact, Pickford, Fairbanks, and Griffith were in a similar untenable situation when they founded Allied.)

Initially, Bryant proposed roadshowing Salomé. Roadshowing is a release strategy for notable film productions where a film is toured around major cities, often with in-person engagements by stars, writers, and/or directors. Nazimova expanded the idea of touring with Salomé not simply as a roadshow, but paired with a short play in which she would star. Double the Alla, double the fun. As far as I can tell, there isn’t publicly available information about why Salomé wasn’t roadshowed. However, we do know that Griffith, as the only non-performer in UA, wanted to utilize different approaches for the release of his films—like roadshowing—and it became one of the major points of disagreement with his fellow UA decision makers. That could be taken as an indication that something similar might have occurred with Nazimova and Allied.

As time dragged on without a release date for Salomé and Nazimova returned to theatrical work—openly admitting to audiences that she was broke—Bryant took matters into his own hands. At the end of December 1922, Bryant negotiated with the owner of the Criterion Theatre in New York City for Salomé to run on New Year’s as a special presentation. In two days, Salomé grossed $2,630, setting records for the theatre. Adjusted for inflation, that’s $48,988.96. It was successful enough that the owner of the Criterion opted to hold the film over. This bold move must have lit a fire under Allied’s tuckuses, as Salomé finally had its first-run release a little over a month later.

In the 1920s, the first-run booking of a film was a crucial part of its further success. Concurrent nationwide release of films wasn’t the norm yet, and if a film was a big production, getting booked at high-capacity motion picture houses in major cities was a necessity. These big city releases would, in theory, generate interest in the film with exhibitors across the country and internationally. Basically, if you spent a lot on a movie but couldn’t land a first-run release, you weren’t likely to turn a profit or even break even. Salomé had a handful of first-run bookings and local reviewers from those cities believed the film would succeed. A reviewer from the Boston Transcript in February 1923 wrote:

“…this newest Salome is something far better than a photographed play. Considered both as picture acting, and as an interesting experiment in design, “Salome” is a notable production. It will have a far and wide reaching influence on future films in this country.”

But, as I mentioned, only a handful of first-run theatres played Salomé, and, taken collectively, the notices I analyzed from contemporary trades imply that it didn’t gain traction once it was made available beyond its initial run.

My cosplay of Nazimova as Salomé

During this regrettably short theatrical run, exhibitors and reviewers from trade publications advised that Salomé was a unique film that called for unique promotion. The overall assumption was that theatre owners knew their patrons and recognised whether out-of-the-ordinary movies were popular with them. Rather than purely judging a film’s quality, exhibitors and trade reviewers had concerns specific to exhibition when providing feedback. These concerns cannot be overlooked if you want to understand their assessments. For example, exhibitor feedback was very often informed by how high the rental fees were for a film, even if exhibitors don’t directly mention said fees. That is to say, a mediocre film might be rated highly if the rental fees were modest (and if block booking wasn’t an issue). Reviewers in the early 1920s, both for popular magazines and trade publications, were already accustomed to the formulaic nature of most studio output. Their reviews commonly expressed fatigue with studio films’ lack of originality. And, perhaps surprisingly, this sentiment was shared among theatre owners as well—particularly when a run-of-the-mill film was sold to them as anything other than a “programmer” (a precursor to B-movies).

What I have learned, not just by analyzing feedback for Salomé, but also for all of the films in my LBnF series, is that when a 1920s reviewer calls out bizarreness in a film, it’s not always a negative quality, even when the review isn’t positive. In the case of reviews written for exhibitors/theatre owners, focussing on what makes a movie different is purely pragmatic. It guides how exhibitors might market films to patrons and helps exhibitors judge if a film would be suitable for their audiences. And, from that same research, I’ve found significant indications there were numerous markets throughout the US that were hungry for novelty—contrary to what studio apparatchiks wanted to admit. So, pointing out Salomé’s bizarreness was a recommendation for those markets to consider renting it as much as it was a warning against renting for theatre owners who only had success with more conventional films.

Cover of the Campaign Book for Salomé reproduced in Exhibitors Herald, 9 February 1924

In the case of Salomé, reviews and feedback upon its release focused on two major points:

The film isn’t “adult” in nature. Well-known productions of Strauss’ opera and the 1918 Theda Bara film of the same name led to a presumption of salaciousness. (I talked a bit about that in Part One!)

The film deserves/requires a build up as an artistic event film.

Nazimova’s company helped exhibitors with the latter point in a few ways. The company provided Aubrey Beardsley inspired art posters conceived by Natacha Rambova and executed by Eugene Gise. They printed a book to guide promotion of an artistic spectacle. (So far, I haven’t been able to find a physical or digital copy, so I can’t assess how good the advice was!) Salomé was also distributed with an official musical score, apparently written for a full orchestra.

Art Posters designed by Rambova and painted by Gise as reproduced in Exhibitor’s Trade Review, 10 February 1923

The exhibitors who ran Salomé—and put at least some of this advice into practice—were satisfied with the business it did. By these accounts, the American moviegoing public was attracted by the novelty of Salomé, but what chance were they given to see it?

While this evidence of Allied’s poor distribution work may be circumstantial, it certainly complicates the narratives that Salomé was an unqualified flop or that average Americans weren’t (or aren’t) receptive to artistic experimentation. Given that Nazimova was not the only independent filmmaker who suffered from Allied’s inept distribution, it does seem like the underwhelming business Salomé did was due more to a poor choice of business partners than to any quality of the film or of American moviegoers. That said, with the increasing monopolization of the industry, Nazimova did not have a wealth of options.

Though Salomé was made and released at an tumultuous period for the US film industry, it did eventually find its audience through circulation in art cinemas. As the gap between experimental/avant-garde film widened in the US and the professional industry became less and less tolerant of departures from convention, Americans concerned with film as an art form rallied around amateur filmmaking clubs and art cinemas began popping up in cities by the middle of the decade. Salomé played in these theatres even after the advent of sound—occasionally even today. This is likely the key reason that Salomé survives and we’ve been able to continue to enjoy and reevaluate it one hundred years later.

Salomé is a significant film made at a significant moment in American film history. Nazimova took a major risk in going independent and personally funding two artistic projects. These films were founded on the beliefs that American moviegoers wanted art made by human beings with unique imaginations, feelings, sensibilities and that there was an audience for more than derivative, “machine-made” film. In my opinion, through close analysis of the circumstances of Salomé‘s release, we can see that Nazimova was likely correct, but didn’t get a genuine chance to prove it in her lifetime. Additionally, it’s important to note that Nazimova’s risks did not “ruin” her as is occasionally said. The state of her finances were more greatly affected in the 1920s by her fake husband’s habit of spending her money and by getting swindled by a pair of con artists over her estate, The Garden of Alla. Soldiering on, Nazimova continued to work in both theatre and film for the rest of her life and found more stability with the partner she would meet at the end of the 1920s, Glesca Marshall.

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Once I finished this “Cosplay the Classics” entry, I realized that it would way too much for me to include a section on another relevant topic to Salomé: Orientalism in Hollywood. But, I feel that the topic is too important to just edit that writing out. Look out for a shorter “postscript” entry soon!

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☕Appreciate my work? Buy me a coffee! ☕

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Footnotes:

[1] Danse Macabre is also thought to be a major influence on Walt Disney animating to music, as seen in “Silly Symphonies” and later Fantasia (1940) and Disney’s other musical anthology features. It was also in this period that Disney fled from his debtors in the Midwest to California with his first “Alice” movie. However, the wide-ranging effects of Disney’s business practices were not felt until much later, so that’s another story for another time!

[2] Nazimova was one of a handful of women in Hollywood at the time who held significant creative power. June Mathis and Natacha Rambova, both of whom Nazimova regularly worked with, Mary Pickford and her regular tag-team partner Frances Marion are among some of the others.

[3] Chaplin wouldn’t produce a film for UA until 1923’s A Woman of Paris, as he was fulfilling a pre-existing contract with another studio.

[4] According to Gavin Lambert’s biography of Nazimova (which I discussed as a largely unreliable source in Part One), Robert Florey supposedly advised Nazimova against signing with them, citing Max Linder and Charles Ray as artists who had been “ruined” by their deals. However, the timeline does not quite match up. Though Florey did visit the set of Salomé, Nazimova had already signed the Allied deal by then and Ray had not finished The Courtship of Miles Standish (1923) when Salomé was in production. In fact, there was almost a year and a half between the completion of Salomé and the release of Standish. Whether this was a lapse of memory by Florey or misreporting by Lambert, I can’t be sure.

[5] Originally, I wanted to include Madonna of the Streets (1924) in my comparisons but, at the moment, Lantern has gaps in their Moving Picture World archive for 1924-5. I didn’t want to draw conclusions from incomplete data.

[6] Billions was also a Rambova-Nazimova collaboration. Rambova designed a fantasy sequence for the film.

[7] A mindset that’s still common among commercial media outlets today unfortunately. I could rant and rant about “content” and “content creation” all day but that’s another story for another time.

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Bibliography/Further Reading

(This isn’t an exhaustive list, but covers what’s most relevant to the essay above!)

Lost, but Not Forgotten: A Doll’s House (1922)

“Nazimova in Repertoire” in Motion Picture News, 29 October 1921

“Alla Nazimova Plans for Her New Pictures” in Moving Picture World, 29 October 1921

“Nazimova Abandons Dual Program for Latest Film” in Exhibitors Herald, 24 December 1921

“Plays and Players”in Photoplay, February 1922

“PICTORIAL SECTION” in Exhibitors Herald, 4 February 1922

“New Nazimova Film May Be Roadshowed“ in Exhibitors Herald, 15 April 1922

“Newspaper Opinions” in The Film Daily, 3 January 1923

“Splendid Production Values But No Kick in Nazimova’s ‘Salome’” in The Film Daily, 7 January 1923

“Claims “Salome” Hit New Mark at N. Y. Criterion” in Exhibitors Herald, 27 January 1923

“Salome” in Exhibitors Trade Review, 20 January 1923

“Nazimova in SALOME” in Exhibitors Herald, 27 January 1923

“Nazimova Appeals To Exhibitors In Behalf of ‘Salome’” in Exhibitor’s Trade Review, 27 January 1923

“Novelty Features Paper and Ads for ‘Salome’” in Exhibitor’s Trade Review, 10 February 1923

“SALOME’ —Class AA” from Screen Opinions, 15 February 1923

Nazimova: A Biography by Gavin Lambert (Note: I do not recommend this without caveat even though it’s the only monograph biography of Nazimova. Lambert did a commendable amount of research but his presentation of that research is ruined by misrepresentations, factual errors, and a general tendency to make unfounded assumptions about Nazimova’s motivations and personal feelings.)

Lovers of Cinema: The First American Avant-Garde 1919-1945 ed. Jan-Christopher Horak (most notably, “The First American Avant-Garde 1919-1945” by Horak, “The Limits of Experimentation in Hollywood” by Kristin Thompson, and “Startling Angles: Amateur Film and the Early Avant-Garde” by Patricia R. Zimmermann)

United Artists: The Company Built by the Stars, Vol. 1 1919-1950 by Tino Balio

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cherrygirlystuff · 9 months ago

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From Myspace to Spotify: The Journey of Indie Sleaze Music in the Digital Age 🌐

Hey there, indie dreamer! 🎸 Ready for a nostalgic trip through the evolution of indie sleaze music? From the early days of Myspace to the modern streaming era on Spotify, indie sleaze has undergone a wild transformation. Let's dive into how this raw, rebellious genre has adapted and thrived in the digital age, and why it’s still resonating with listeners today.

1. The Myspace Era: Indie Sleaze’s First Digital Playground

Back in the early 2000s, Myspace was the epicenter of indie music discovery. It was the place where bands could upload their tracks, connect with fans, and build a following without needing a major label. Indie sleaze artists were quick to embrace this new digital frontier, using Myspace as their stage and connecting with a global audience in ways that had never been possible before.

DIY Spirit: Myspace was a haven for the DIY ethos that indie sleaze embraced. Bands like The Strokes, Yeah Yeah Yeahs, and Arctic Monkeys used the platform to share their music directly with fans, bypassing traditional media and labels. Their raw, unpolished sound fit perfectly with the unfiltered vibe of Myspace.

Visual Aesthetic: Bands and fans alike used Myspace’s customizable profiles to express their indie sleaze style. With an abundance of glittery backgrounds, band posters, and those iconic “Top 8” friend lists, the platform was a digital reflection of the era’s grungy, glamorous aesthetic.

2. From Downloads to Streams: The Shift to Digital Platforms

As the digital music landscape evolved, so did indie sleaze. The rise of platforms like iTunes and, later, streaming services like Spotify changed the way music was consumed and shared. This transition brought new opportunities and challenges for indie sleaze artists.

Digital Downloads: Platforms like iTunes allowed fans to buy and download individual tracks, making it easier for indie sleaze bands to reach new audiences. Artists could release singles and EPs without needing a full album, and fans could curate their own playlists of their favorite tracks.

Streaming Services: Enter Spotify, Apple Music, and other streaming platforms. The shift from downloads to streaming changed everything. Indie sleaze bands had to adapt to a world where music was less about owning tracks and more about playlist placement and algorithmic recommendations.

3. The Rise of Playlists and Algorithmic Discovery

One of the biggest changes in the music industry over the past decade has been the rise of playlists and algorithmic discovery. For indie sleaze artists, this new way of reaching listeners has both benefits and challenges.

Playlist Power: Playlists like Spotify’s “Discover Weekly” and “Release Radar” have become crucial for indie artists. Getting featured on a popular playlist can lead to a surge in streams and new fans. Indie sleaze tracks with their catchy hooks and raw energy often find a perfect home on these curated lists.

Algorithmic Challenges: While algorithms help discover new music, they also mean that artists need to navigate an ever-changing digital landscape. Standing out in a crowded field requires savvy marketing, consistent releases, and a strong online presence. Indie sleaze bands are learning to leverage social media and streaming data to connect with listeners and build their brand.

4. The Influence of Social Media: TikTok and Beyond

The rise of social media platforms like TikTok has brought a whole new dimension to music discovery. For indie sleaze, TikTok’s short-form video format and viral trends have become a new way to connect with fans and introduce their music to a wider audience.

Viral Hits: TikTok has the power to turn obscure indie tracks into viral sensations. Songs that capture the spirit of indie sleaze—whether through their raw lyrics, catchy beats, or nostalgic vibes—are finding new life on the platform. Creators use these tracks in videos, dance challenges, and memes, leading to a resurgence of interest in the genre.

Fan Engagement: Social media allows artists to interact directly with their fans, building a community around their music. Indie sleaze bands are using platforms like Instagram and Twitter to share behind-the-scenes content, engage with fans, and keep their audience updated on new releases.

5. The Revival of Indie Sleaze: A New Generation Embraces the Sound

Despite the changes in how music is consumed, indie sleaze is experiencing a revival. A new generation is discovering and embracing the genre, inspired by the nostalgia of the early 2000s and the raw, unfiltered energy that indie sleaze represents.

Nostalgic Resurgence: The early 2000s sound is making a comeback, with both new and old artists embracing the grunge pop aesthetic. The rise of vintage-inspired fashion and music is bringing indie sleaze back into the spotlight, with playlists and radio stations dedicated to the genre.

Cultural Impact: Indie sleaze’s influence is seen in modern fashion, film, and art. The grungy, carefree style of the early 2000s is being reinterpreted for today’s audience, blending nostalgia with contemporary creativity.

Final Thoughts, Babe: The Journey Continues

From the DIY spirit of Myspace to the streaming era of Spotify and the viral world of TikTok, indie sleaze has navigated a complex and ever-changing digital landscape. Despite the challenges, the genre remains as vibrant and relevant as ever, resonating with both old fans and a new generation discovering its raw, rebellious charm.

So next time you’re curating your playlist or scrolling through social media, remember the journey indie sleaze has taken to get here. Whether you’re rediscovering the classics or finding new favorites, the spirit of indie sleaze lives on—gritty, glamorous, and forever cool. 🎶✨

#2014 grunge #2014 nostalgia #2014 tumblr #2014 revival #2014 aesthetic #indie music #indie sleaze #bring back 2014 #soft grunge #2014core

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alexha2210 · 3 months ago

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#HOME_DECOR #APPLIANCES #LEAVE #MOVE

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romaleen · 3 months ago

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#HOME_DECOR #APPLIANCES #LEAVE #MOVE

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jjmcquade-misc · 2 months ago

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Food Products Sold in the U.S. with Insect Flours: A Growing Trend

In recent years, a quiet revolution has been brewing in the U.S. food market: the rise of insect flours. Made from ground insects like crickets, grasshoppers, and mealworms, these flours are popping up in everyday food products, offering a sustainable and nutritious twist on familiar favorites. This article dives into the world of insect flours, spotlighting specific products you can find on American shelves today.

What Are Insect Flours?

Insect flours are powders crafted from dehydrated and finely ground insects. They’re packed with protein, vitamins, and minerals, and they’re increasingly used as an eco-friendly alternative to traditional flours or meat-based proteins. Whether it’s crickets with their nutty flavor or grasshoppers with an earthy kick, these flours are finding their way into a surprising range of foods.

A List of Insect Flour Products

Here’s a roundup of food products sold in the U.S. that feature insect flours as a key ingredient:

Protein Bars Brands like Exo and Chapul have pioneered the use of cricket flour in protein bars. These bars pack a hefty protein punch, often 10 grams or more per serving, and come in flavors like chocolate and peanut butter. They’re marketed as a sustainable snack for gym-goers and eco-conscious eaters alike.

Pasta Cricket and grasshopper flours are giving pasta a high-protein makeover. Bugsolutely offers noodles blending insect flour with traditional ingredients, while Banza has experimented with cricket flour in its gluten-free pasta lineup. The result? A hearty, nutty-tasting pasta that boasts more protein than your average spaghetti.

Baked Goods From cookies to pancakes, insect flours are hitting the bakery aisle. Bitty Foods and Cricket Flours LLC sell baking mixes that use cricket flour, letting home bakers whip up treats with a sustainable edge. Think chocolate chip cookies with a protein boost or brownies that double as a guilt-free indulgence.

Snack Chips For a crunchy fix, brands like Chirps Chips and Seek Food offer chips made with cricket flour. Available in flavors like cheddar and BBQ, these snacks are light, crispy, and surprisingly addictive, proving insects can be just as tasty as potatoes in the chip game.

Protein Powders Fitness buffs can scoop up insect-based protein powders like Griopro Cricket Powder or Entomo Farms’ cricket protein blend. These powders mix easily into smoothies or shakes, delivering a clean, sustainable protein source without the chalky aftertaste of some plant-based alternatives.

Where to Find Them

Ready to give insect flours a try? You can snag these products online through brand websites or retailers like Amazon. Health food stores like Whole Foods and Sprouts often stock them in their snack or specialty sections. Some regional grocery chains and co-ops are also jumping on board, especially in cities with a sustainability bent.

The Buzz Ahead

Insect flour products are still a niche market, but they’re gaining buzz. While some shoppers hesitate at the thought of eating bugs, the tide is turning as more people prioritize nutrition and sustainability. From protein-packed bars to savory chips, these foods are proof that insects might just be the next big thing in American cuisine. So, next time you’re browsing the aisles, why not grab a cricket-flour cookie and take a bite out of the future?

Uncharted Side Effects and Potential Consequences

The integration of insect-based flours into food products has gained traction in Western markets, including the United States, as a sustainable and protein-rich alternative to conventional livestock-derived ingredients. Proponents highlight the low environmental footprint, high nutritional value, and potential to bolster global food security. Yet, beneath this enthusiasm lies a host of unknowns, side effects and consequences of consuming insect-based flours that remain insufficiently explored. This analysis delves into the health, environmental, social, and regulatory dimensions of this emerging trend, emphasizing the need for caution until these uncertainties are resolved.

Health Risks: Allergens, Toxins, and Nutritional Ambiguities

One of the most immediate concerns is the potential for adverse health effects. Insects, such as crickets and grasshoppers, share biological similarities with crustaceans, raising the risk of allergic reactions, particularly for individuals sensitive to shellfish. Cross-reactivity could become a widespread issue, yet research on the allergenic profiles of various insect species is limited. Processing methods like dehydration or grinding may alter these proteins, potentially heightening or reducing risks, but this remains a scientific blind spot.

Beyond allergies, insects can harbor toxins and contaminants. Depending on their diet or habitat, they may accumulate heavy metals, pesticides, or other pollutants, transferring these into the human food chain. While controlled farming can mitigate some risks, the absence of uniform standards across the industry leaves room for inconsistency. Certain species also produce natural defensive chemicals, which, if not neutralized during processing, could pose additional hazards.

Nutritionally, insects offer protein, vitamins, and minerals, but their bioavailability, how well these nutrients are absorbed, is not well-documented. Chitin, a component of insect exoskeletons, may act as fiber but could also hinder nutrient uptake. Without long-term studies, the impact of sustained insect consumption on human health remains speculative, potentially concealing deficiencies or imbalances.

Environmental Uncertainties: Beyond the Sustainability Narrative

Insect farming is praised for its minimal resource demands compared to traditional livestock, yet scaling it up introduces environmental risks we have yet to fully assess. Mass production could lead to monocultures, reducing biodiversity and increasing susceptibility to disease outbreaks that might spill over into wild populations. The feed used, often waste or byproducts, may strain agricultural systems if demand surges, challenging sustainability claims. Energy-intensive climate control in farms could further erode environmental benefits if not powered renewably.

A less-discussed risk is the potential for farmed insects to escape and become invasive species. Non-native insects disrupting local ecosystems could alter food webs and outcompete native fauna, a threat amplified by underdeveloped containment and regulatory measures in nascent insect-farming regions.

Social and Cultural Ramifications: Equity at Stake

The global rise of insect-based foods also carries social implications. In regions where insects are a traditional staple, commercialization for Western markets risks overharvesting wild populations or appropriating cultural practices without fair benefit-sharing. Industrialized farming could sideline small-scale producers, deepening inequalities in the food system. Meanwhile, in affluent markets, insect flours are often marketed as premium products, unlikely to address food insecurity broadly and potentially exacerbating access disparities.

Regulatory Voids: Safety in Question

The regulatory landscape for insect-based foods is nascent and uneven. In the U.S., the FDA provides some guidance, but it lacks specificity, there are no standardized tests for insect-specific allergens or contaminant limits. Long-term safety data is virtually nonexistent, leaving consumers vulnerable to chronic risks like toxin accumulation or delayed allergic responses. Inconsistent labeling further complicates matters, as some products obscure insect content, undermining informed consumer choice.

Conclusion: Proceed with Prudence

Insect-based flours hold promise as a sustainable protein source, but their adoption must be tempered by the side effects and consequences we have yet to fully understand. Health risks like allergies and toxin exposure, environmental pitfalls such as biodiversity loss, social inequities, and regulatory gaps all underscore the need for rigorous research and robust oversight. Until these unknowns are addressed, the enthusiasm for insect flours should be balanced with a commitment to safeguarding human health, ecosystems, and cultural integrity.

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