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oh-boleyn · 5 years ago

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languages 101

Okay!! I did it!! I wrote fluff!! This is for @six-gifts-exchanges, and I wrote it for @enough-love-stories and I hope you like this!

Have some fluff with Cleves and Parr 💖

words: 2069, language: english. cleves & parr (friendship)

When Henry died, only two of his six wives were alive.

His fourth wife, Anna of Cleves, who he had divorced years prior but maintained a cordial relationship, even inviting her to court and granting her a castle for her own. And Catherine Parr, his six and last wife, who practically acted as a nurse in the last years of his life.

When they reincarnated, the two quickly bonded over being the “survivors”, even if only the final wife had the official title. They enjoyed each other's company, even when things got hectic in the house, they had each other’s back. Being the most relaxed queens left them the ones in charge to act as judges when chaos broke in the group.

Anna was close to Katherine too, happy to see her alive again. The fourth and fifth queens spent much time together, alone or with other queens tagging along. Taking dance classes together, eating ice cream, tea with Jane and binge-watching sitcoms were on their weekly schedules.

Parr had similar close relationships with Anne, after getting through the initial hesitation they were now usually seen together, discussing in French or talking about science. Aragon was another queen really close to the survivor, being her godmother, she had taken the role to take care of the younger woman, taking her into random trips to museums or other not-as-intellectual outings.

But still, the relationship between the second divorcee and the last queen was special. They had breakfast together almost every day, a really special moment for them to share what was going on. They confide in each other, knowing all their secrets and fears, having inside jokes and how to make the other feel better. If either of them had a problem, no matter how close they might be with the other queens, the first person they’d trust would be the other.

Tonight, the house was found with only both of them inside, having both been covered by their alternates.

“Are you in a mood for a round of chess?” Catherine asked, taking away her eyes from the TV.

“Yes, I think.” Anna responds, looking down. “I was actually going to ask you for a favour.”

“Alright, what’s up?”

“Can you teach me Spanish?” she asks.

A bright smile passes across Cathy, already shining with the idea of how to teach her best friend a language that she holds so close to her heart.

“Of course! Do you want to start now?”

Anna nods, and proceeds to say: “I will look for a pen and you go for paper.”

“You know me.” Catherine laughs.

Five minutes later they are sitting at the kitchen table across from each other. Anna covers the table with different pens, including some highlighters and glitter pens that belong to Katherine. Cathy has some white paper sheets, plus a notebook.

“I haven’t used this one yet, I wanted to save it for something important,” she handles it to Anna, “today is the day.”

“Are you sure?” The German queen wonders.

“Yes, teaching for the first time in something like five hundred years is a big deal, and teaching my favourite language to my closest friend is even more important.”

Anna accepts it. It screams Catherine Parr anyway you see it. The blue coloured front is no more than just an advance of the light blue pages inside. It isn’t squared, nor is it lined paper, instead it has dots all over it. The fourth queen appreciates it, the notebook is almost perfect for her friend, but still she decided to give it to her.

“Okay, first things first, persons. First person is yo.”

Cleves writes it down, her letter messy and cursive.

“Second person is tu.” Catherine indicates.

“Isn’t it vos?” Anna wonders.

“I mean, yes, but vos is used in only some countries, you can add it if you want to though.” Parr explains.

The go over all the persons, vosotros, ella, el, ellos, ellas. Once that’s finished, they pass over some common verbs. Yo soy, tú eres, vosotros sois, ella es, él es, ellos son, ellas son. They go quickly over explaining what eñe means, and how to pronounce it, which leads to the word cumpleaños.

“Try to introduce yourself.” Catherine offers.

“It will be a mess; I still don’t know a lot.” Anna contradicts.

“C’mon! I’m so sure you know your name.” The survivor smirks.

“Yo me llamo Anna of Cleves.” The German says, not sure about the language. “Yo tengo quinientos cuatro años.”

“Really, Anna? I am five hundred and four years old? Show off.” Cathy mocks. “Still, it was great, but you know ‘of Cleves’ is in English, like ‘Von Kleve” is in German.”

“So how is it in Spanish?”

“Anna de Cleveris.”

“Are you kidding me? That sounds… so not serious.” Anna laughs. “I refuse to be named that.”

“Whatever you say, Cleveris.” Cathy responds, with a playful look. “You can not change your name if you don’t want to. Catherine still uses Catalina sometimes.”

“She doesn’t anymore, not since Anne found that website that said that Catalina means poop.” Cleves reminds her. “But I think I will stick with ‘of Cleves’, at least for now.”

“Alright, now we continue, with for example ‘like’?” Parr offers. “It’s ‘gustar’.”

Anna checks her notes and before asking: “Yo gusto?”

“Yes, perfect. What do you like? I can give you the translation just so you can add it to your presentation.”

“I like music. And nature.” She stays thoughtful for a while. “And dogs, mate, I love dogs.”

“You can say yo gusto de la naturaleza.” Cathy explains. “Mi animal favorito son los perros.”

“That sounds like English I think I can manage.”

She writes it down, knowing that probably she is confusing S and Z, V and B everywhere.

“What was ‘dogs’ again?” Anna asks.

“Perros.”

“How do you write it?”

Cathy laughs, making Anna chuckle. Learning a new language was harder than she remembered, and it couldn’t be helpful how different Spanish was from German. Luckily for her, Parr was there to help. Walking to her side, she wrote in her distinctly calligraphy –a cursive that was maybe way too curvy, and distinctly renaissance-like– the word, marking the double R.

“There you go, linda.” She smiled.

“What did you call me earlier? A show off?” She parodies her friend.

“Oh, shut up!” Catherine giggles. “Would you mind if we take a break? I’m hungry.”

“Yeah, no problem.” Anna agrees, carefully closing her new notebook. “Do you want something specifically?”

“I was planning to do something quick; you should keep studying!” Cathy insists. “Start exercising in Duolingo!”

“I refuse, to ever, in my life, use Duolingo.” Cleves says, with a death look.

“Then keep practicing verbs. I have a dictionary in my bedroom.”

“I think I’m fine for now, I need a little break.”

They fall into casual conversation, talking about how excited they were for spring to begin, and different ideas for a summer road trip. They discuss their favourite places from the tour, and where they would love to be back.

Talking with each other feels natural, normal. They know each other's humour, how to make the other laugh. Friendships were not something they were used to in their past lives, everyone having an ulterior motive. Allies were not friends, and in court everyone was just that, nothing more than a power relationship.

“What made you want to learn Spanish?” Catherine asks, already serving the food.

“I don’t know.” Anna answers, trying to play it cool.

“C’mon! I know you have a reason,” she insists, “but it’s okay if you don’t want to tell me.”

“It’s just a silly reason, Cathy.”

“If it was you would tell me!” Parr laughs. “I keep up with your silliness all the time.”

“Rude?” Anna mocks. “It’s just that I wanted to make you happy.”

Catherine stops for a moment, processing the information. Cleves takes the opportunity to continue.

“I know how much you love languages, and you love to teach. I just thought it would be a good way to spend our time together.” She smiles. “I also think it can be fun, plus I would like to also speak in Spanish with Aragon at some point, I know how much nostalgia she holds to it. But I also don’t want to overstep, if that’s something just between you and Aragon then that’s alright but-“

Catherine interrupts her: “It’s really thoughtful of you.”

She leaves the plates, to quickly embrace Anna into a hug.

“You think so?”

“Yes! Really, it’s just an amazing gift.” She breaks the hug. “I know I can be a lot to handle sometimes with my ranting about random things, so I’m more than happy for you to get interested in languages. Nonetheless, if you want to stop learning I won’t get mad.”

“You are never a lot to handle.” Anna insists. “You are my best friend. And I don’t think I will want to stop any time soon, I like learning. Plus, maybe I can teach you German one day.”

“Maybe not now, I already get too mixed with languages.”

Anna laughs, conscious of how many times she would drop a word in another language while trying to speak English.

They have dinner while watching a Spanish show –Anna wanted to watch some sitcom that had been sitting on her list, but Catherine insisted on watching this show about time travel, plus “you have to get used to the accents, Anna!”–, laughing at their commentary. Before they can finish the episode, the queens burst into the house, tired after the show.

“How did it go?” Cleves asks, taking her plate and Catherine’s to the dishwasher.

“Tiring.” Anne says simply, falling on the sofa. “I fell during the Megasix, now my whole being hurts.”

“I hope someone filmed it! I was singing and didn’t see her!” Katherine complains.

“I did, it was funny.” Aragon laughs.

“Mate!” Boleyn protests.

“Anyway, girls, how was your night off?” Jane wonders. “What’s up with all these pens and paper?”

“Nothing.” Anna quickly shouts from the kitchen.

“It’s just me writing stuff, Anna was helping.” Cathy explains. “Do you want ice for your butt, honey?”

“Funny.” The second queen mocks.

The six queens stay talking for a while, before finishing eating and excusing to their bedrooms. Cathy takes the notebook and pens, and takes them to her room, aware that Anna apparently wanted to keep the secret of their Spanish lessons.

She decides to give the notebook back to her friend once the rest of the queens are already in their bedrooms, going slowly up the stairs, mindful of not making too much noise. Cathy knocks the door twice, before getting it, not bothering to get Anna’s permission.

“This belongs to you.” The writer leaves the notebook on the fourth queen’s desk.

“Thank you,” Anna smiles, “I just want to get better at it, before telling the others. I don’t want to feel rushed into learning.”

“I get it, we can be a lot to handle.” Parr laughs. “I also wanted to say thank you again. It’s been so long since I taught and I haven’t realized how happy it makes me. I was afraid that it might make me remember bad moments, but I actually enjoyed it a lot.”

“You are a good teacher, maybe a bit of a jerk though.”

“We already knew that, Cleveris.”

“Whatever you say, tonta.” She playfully replies.

“How did you learn that word?” Cathy asks, confused.

“Oh, Aragon once called Anne that. Kitty and I looked it up on the internet, she also called her tarada, but I think that one is a tad more aggressive.” Cleves explains. “Also, who doesn’t know curse words? I think it’s like the first thing you learn about a language.”

“Really Anna? That’s how you learn languages?” Catherine inquires teasingly.

“Maybe.” She giggles. “What’s your favourite word in Spanish?”

The last queen thinks for a moment, before responding: “I don’t know if I have one. But there’s one I like because I don’t think there’s a real translation of it.”

“Which one?”

“Querer. It means want, but also it means loving. It’s like amar, but I like the idea of a word that is mostly directed to friendship. Friends are really important.”

“Yes, they are.” She hugs Parr. “Te quero?”

“Te quiero.” She corrects.

“Te quiero, Cathy.”

“Te quiero más, Anna.”

#six the musical #six fanfiction #six the musical fanfiction #anna of cleves (six)#catherine parr (six)

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juleshq · 5 years ago

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* 𝐡𝐚𝐦𝐩𝐭𝐨𝐧𝐬𝐠𝐨𝐬 here and do i have the tea for you . 𝐉𝐔𝐋𝐄𝐒 is back in bridgehampton for the summer , living off the 𝐃𝐈𝐂𝐀𝐏𝐑𝐈𝐎 family 𝟐.𝟑 𝐛𝐢𝐥𝐥𝐢𝐨𝐧 net worth . must be nice to come back home to the hamptons , i wonder what her fellow class of 2017 grads think of her return . you know , she was known around town as the 𝐂𝐎𝐐𝐔𝐄𝐓𝐓𝐄 and for bhs senior superlatives pronouns was crowned as 𝐌𝐎𝐒𝐓 𝐋𝐈𝐊𝐄𝐋𝐘 𝐓𝐎 𝐄𝐋��𝐏𝐄 𝐓𝐎 𝐕𝐄𝐆𝐀𝐒 & 𝐆𝐄𝐓 𝐌𝐀𝐑𝐑𝐈𝐄𝐃 . i wonder if that still holds true today , a lot can change when you go off to 𝐒𝐓𝐀𝐍𝐅𝐎𝐑𝐃 𝐔𝐍𝐈𝐕𝐄𝐑𝐒𝐈𝐓𝐘 and study 𝐁𝐈𝐎𝐋𝐎𝐆𝐘 . either way , i bet she is still very 𝐀𝐅𝐅𝐄𝐂𝐓𝐈𝐎𝐍𝐀𝐓𝐄 , 𝐃𝐄𝐕𝐎𝐓𝐄𝐃 , 𝐃𝐄𝐂𝐄𝐈𝐓𝐅𝐔𝐋 𝐀𝐍𝐃 𝐒𝐔𝐁𝐉𝐄𝐂𝐓𝐈𝐕𝐄 . hopefully this time next year the plans to 𝐀𝐓𝐓𝐄𝐍𝐃 𝐌𝐄𝐃 𝐒𝐂𝐇𝐎𝐎𝐋 come true . in the meantime , i look forward to seeing her blast 𝐢 𝐰𝐚𝐧𝐭 𝐰𝐚𝐫 (𝐁𝐔𝐓 𝐈 𝐍𝐄𝐄𝐃 𝐏𝐄𝐀𝐂𝐄) 𝖇𝖞 𝐤𝐚𝐥𝐢 𝐮𝐜𝐡𝐢𝐬 at every hamptons function . it’s going to be a wild summer home , welcome back .

i don’t think i’ve EVER been this excited to plot and interact with a group of people , u all seem like such beaut ppl & i’m in love already but i’m a little . . . intimidated ADFJH . anyways , i’m not going to ramble bc i’m ready to get down to business , i’m sammie & i go by she / her pronouns ! under the cut is a long bio on jules ! i will GLADLY give you a synopsis on this chaotic mess pls just ask , HERE is her pinterest board please ignore the sudden amount of pins of just her , also i’m down to plot here or on discord , my discord is @ᵘ ᵍᵒᵗ ᵃ ᵈᵒˡˡᵃʳ ?#3246

* / BASICS

full name: juliana kaia dicaprio

nicknames: jules , julie / juli

age & dob: twenty-one , august 14th , 1998

place of birth: long island , new york .

sexuality: heterosexual ( that she knows off )

bender: cisfemale

* / MORE BASIC INFO

languages: english, french, some spanish.

religion: catholic

education: high school , majoring in biology at stanford

occupation: unemployed

drinks, smokes, & drugs: all of the above

* / PERSONALITY

zodiac sign: leo

likes: dark chocolate , tea in the morning , white roses , instigating bad situations , wine , black coffee , the smell of freshly brewed coffee , talking with strangers , long travels , adventures , being called “ angel ” , popcorn , quick tex responders , products made with silk , athletes , crime shows / films , crowded rooms , glitter .

dislikes: fake designer bags , people who don’t know how to lie , f , people who wear pearls regularly , long text messages , voicemails , men who are cheap , people who chew with their mouth open , humming , thrift shops , water-poof mascara , the smell of grass , extensive planning , and arrogance & stupidity combined .

bad habits: breaking promises to herself & others , not thinking before doing , fixating with her hair when nervous .

secret talent: juggling

fears: aging terribly , being widowed , drowning , being buried alive .

positive traits: alluring , convincing , affectionate , ambitious / devoted , systematic .

negative traits: manipulative , conniving , deceitful , dishonest , subjective .

* / APPEARANCE

tattoos: dagger on right index finger , “ devil ” on left index finger .

piercings: three in each ear , cartilage .

* / FAMILY INFO.

parent names: claire boucher & david dicaprio .

parent relationship: divorced .

sibling names: annalise , ashton , keller , & wade .

sibling relationship: step siblings & half .

children: none .

pets: 2 family dogs on her moms side.

* / BIOGRAPHY

i’m sorry it got long

𝐂𝐋𝐀𝐈𝐑𝐄 𝐓𝐘𝐋𝐄𝐑’s entire childhood was spent in the spotlight -- her father was a huge rockstar in the 70's & 80's, and her mother a model . Claire spent her childhood between Florida , California , and New York , attending red carpets , premieres , etc. Claire attended Stanford to obtain a bachelor in science but was in and out of modeling in her teens and early twenties .

𝐃𝐀𝐕𝐈𝐃 𝐃𝐈𝐂𝐀𝐏𝐑𝐈𝐎 lived an affluent life more under the radar . His grandfather is CEO of JD banking , one of the four largest banks in the world . He attended Princeton as the rest of his family did . He got involved in the company business at a very young age as did his brothers , but went on to become the new CEO after his fathers unfortunate passing in 2002 .

𝐉𝐔𝐋𝐄𝐒 was and will forever be her parents pride & joy . her parents were high school sweethearts & got married young -- at a twenty-two / twenty-three . they had been trying for two years to start their own family but jules’ mother struggled . thanksgiving in the hamptons , a dicaprio family tradition the day is engraved in her mothers memory , in 1997 , they announced to their family that after years of trying , they were pregnant .

𝐉𝐔𝐋𝐄𝐒 grew up completely pampered ; bi-weekly trips to the nail salon with her mother and annual father-daughter trips . her mother was her best friend until she began morphing jules into what she thought was perfect . making sure she spoke at least one other language , was active in school , extracurriculars , how she presented herself . her mother cared about image due to her own childhood of growing up in the spotlight . besides the near brainwash to fit her mother’s image of perfect , everything was ideal & ‘ normal ’ up until the summer before her freshman year of high school . her mother discovered the affair her father had been having for months with a woman he did business with . he claimed it was due to the fact that jules’ mother had returned to some normalcy and wanted to work again , modeling and doing some traveling , therefore he ‘ just missed her around ’ . jules was aware of everything going on , heard the countless nights they spent arguing in the opposite wing of the house , she picked up on her father being late to family dinner because “ he had work to do ” . her parents tried their best to keep her in the dark for the sake of her sanity , innocence , and view on her father . jules went along with it all , the daddy’s girl in her was in denial for all of the months leading up to their divorce . at the end , her mother got full custody of her .

𝐖𝐈𝐓𝐇 𝐓𝐇𝐄 𝐃𝐈𝐕𝐎𝐑𝐂𝐄 came two “ yes ” parents . everything became a competition between the two , trying to one up the other ; who took jules on the better summer vacation , had the most over the top christmas morning , etc . it was insanely manipulative & jules there wasn’t a time period where jules felt more alone ; not having a sibling to relate to , she was embarassed to tell her peers the real reason why her parents split , it was so cliché . both parents didn’t take too long to remarry , her father found another stay-at-home wife and her mother lucked out with a lawyer ten years older than she . her step-father had two daughtes & son with whom jules hated in the beginning – it was a lot to take in and she was used to being the only child . her father went on to have a child with his new wife two years after their marriage . it was all an immense amount of change within seven years .

𝐋𝐈𝐅𝐄 for jules had been constantly changing since the news of her father’s affair , she’d spend her summers & holiday’s going back & forth between each parents in the hamptons until her father moved to calabasas to be closer to his wife’s family as soon as the baby was born . jules had always been a wild , reckless child at heart and the divorce between her parents only allowed her to push her limits even more . the two-three years her parents spent processing their divorce were her golden years -- she could not get in trouble with her parents and they never got upset with her . she took advantage of it all and abused drinking , hanging out with boys , you name it . she loved the attention she received from any male figure -- it made up for the lack of attention she was getting from her father once he got the boot .

𝐂𝐎𝐋𝐋𝐄𝐆𝐄 was where jules found her safe space ; she could be her wild self , far away from home and only a five hour drive from her father that she still rarely sees . she joined a sorority , joined the exec board , was forced to join french club by her mother , all while maintaining a 4.08 gpa .

* ` 𝐏𝐄𝐑𝐒𝐎𝐍𝐀𝐋𝐈𝐓𝐘 𝐖𝐈𝐒𝐄 jules has always been a wild child . she’s always had a desire for attention , all eyes & attention on her , though the B I R T H of her uncontrollable desire for attention from males stemmed after her parents divorce . the lack of attention from her father allowed her to realize her dad wasn’t the only one who could spoil her & every man was basically the same . she’s not super close with either of her dads at the moment and sees her father about three times a year , two of which are holidays & every now and then the spontaneous visit from him in cali .

𝐉𝐔𝐋𝐄𝐒 is a h u g e cry baby in the sense that she hates not getting what she wants . its not on purpose most of the time , it’s the way she was raised and the nature of her parents . she’s never had to ask for anything twice & hates doing so . though she’s a huge cry baby , she will try her best to mask her actual tears . she does a good job of seeming innocent , she’s that one friend that is super sus & lies a lot & keeps secrets but somehow is so good at convincing people other wise ? she’s a huge flirt , even when she’s not doing it on purpose , it’s sort of a weird practice or habit she’s grown into ? she feels empowered in the weirdest way of owning men and being able to form their opinion of her for them , this stems from her newly founded daddy issues it’s more so due to the fact that her relationship with her father began to diminish once he moved out . she is & has been on her “ fuck love ” rampage .

𝐒𝐇𝐄 𝐖𝐈𝐋𝐋 do whatever she wants and will hide her bad intentions . she lives for chaos , loves enjoys pushing limits & boundaries . she loves a game of cat & mouse / teasing just knowing she has someone in her grip is what helps her sleep at night . she is a bit crazy . . . the type to watch someone’s snap score go up . def that type to block and unblock someone 238473 timES . she has an underlying need of approval from others and she almost needs to be liked by everyone she meets .

𝐈𝐃𝐄𝐀𝐋𝐋𝐘 she wants to model & be a playboy bunny BUT her dad would literally disown her if she didn’t follow her family legacy and attend stanford or yale to use her brains for good . she’s in school to be a pediatrician because at the end of the day she loves children and always wanted to seek a job in the healthcare field . she has plans to attend yale’s medical school after her senior year is complete at stanford .

i really based her off of american beauty & angela in the movie ( if you’ve seen it omg ily ) g

#╰ * ✴ 𝙢𝙪𝙣 𝙨𝙥𝙚𝙖𝙠𝙨 ↝ 𝒇𝒊𝒍𝒆𝒅 𝒖𝒏𝒅𝒆𝒓 › ooc #entitled:intro #hi hI HI!!!!!!#xD

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puertoricoypunto · 6 years ago

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I said I was going to post more original content on here...

I want to use my Tumblr as a space to get daily or weekly thoughts out. I’m also always down to engage with whomever is interested in the topics I think and care about (please pardon delays in my response - I get moody sometimes when it comes to social interactions; it’s definitely a habit I’m consistently working to break). I still have a lot to learn in life, so please, no one shy away from challenging me, adding to my posts or just plain co-signing whenever I hit the nail on the head.

Today I’m going to post a somewhat outdated piece I wrote a couple of weeks ago when the New England Journal of Medicine published their study confirming that the death toll in Puerto Rico after hurricane Maria was in the thousands (yes, thousands… plural). That week, U.S. media decided it was of upmost importance to raise the voices of other Gringos who just had to give their hot takes on this study. Out of all the U.S.-American written his-pandering out there, there was one opinion piece – published as an “analysis” in the Washington Post – that particularly rubbed me the wrong way, so I decided to write down all of my thoughts on it as I read it as a way to liberate all that rage.

On that note, I decided to write a little bit more in this first “vent piece” before publishing the other, better written one.

First off, Gringos, I have an important question for y’all concerning those times when y’all decide you just have to proselytize about y’all’s thoughts on your country’s colonization of mine: Why do y’all always have to give some righteous advocacy for Puerto Rican statehood in the end of y’all’s thought pieces while offering absolutely zero analysis about what Puerto Rican statehood would actually look like?

Honestly, I just really need y’all to analyze what y’all are lobbying for. I mean, please, before acting like advocating for Puerto Rican statehood is the most radical thing you can do, answer yourself this: what has statehood done for the thousands of minorities living in the United States, facing deportation, school to prison pipelines, police brutality, segregation and lack of access to basic public services and protection of human rights? What does having a representative in Congress actually do for the most vulnerable communities in the United States nation? Do y’all really think that the needs of the black and brown citizens in Puerto Rico – most of whom don’t know English – will be taken seriously by all (or at least by most) of the representatives in Congress? Do y’all really think our culture, our economy, and our geopolitical needs will be placed on the same level as the United States’ desire to maintain economic supremacy and world hegemony?

And honestly, I’m opening up this question for everyone. I’ve seen the way topics are discussed in Congress. Issues like immigration, police brutality, and education reform are discussed as if real individuals weren’t living behind all of those policies. How will a group of men and women, most of whom have never stepped foot in Puerto Rico, genuinely and effectively address the deep self-hatred and the problematic colonial legacies that have left our country riddled with poverty and corruption?

The way I see it, Puerto Rico needs a government for Puerto Ricans. It needs community leaders who understand the most basic needs of their communities. It needs the autonomy to act on that specific culture and geography in order to implement the policies that will ensure a better distribution of wealth and access to public services across the whole island. And it needs politicians who don’t see the United States and US-Americans as tickets to get-rich-quick. We can’t keep living under a government that sees its interests aligned more with the empire than the colony. We can’t keep living under a government that looks positively at the idea of selling the whole island to white, rich Gringos who have no attachment to this land and no desire to make a Puerto Rico for anyone other than themselves and their private and economic interests.

I don’t really have much else to say about this topic, so for now I’ll end it here, but please read the post I mentioned publishing soon and engage with any of these questions if you so desire!

Disclaimer: Apologies if I sometimes write too much using academic language. It’s the writing style I most dominate, especially in English, but it’s something I’ll be working hard to end. I want to make sure everything I write is as accessible as possible. Hopefully my Spanish posts will be easier and clearer to read. Tengo un arroz con pollo en la cabeza, so if ever I don’t make sense, I’m happy to explain myself more because it’s probably me being too wordy in my rants.

Thanks to everyone who makes it through this first post! I’ll keep this up and make clearer and more purposeful posts as life goes on. I’m just trying to first get in the habit of writing more first.

#me #puertorico

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mediconico · 6 years ago

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Quetzaltenango

9.6.2018

We get into Guatemala city in the early afternoon around 1. We are put up in a hotel called “Patricia’s BNB” only about 2 minutes away from the main airport of Guatemala city. Everything has been arranged for us by my program, The Guatemala Initiative-UVA, given how dangerous Guatemala City is known to be; upon arriving at the airport, we’re picked up in a pretty run-down mustard-colored Mitsubishi minibus that is prototypical to the Central American region.

Although we arrive relatively early in the afternoon, our program director has advised that we don’t leave our gated neighborhood of our hotel due to the relative danger of the city. A big, polluted city with high rates of crime, writes Lonely Planet. Your time is best spent exploring other parts of the country that have more beauty to offer at much lower risk. They’re not wrong; in 2016, the National Guatemalan Police Department (PNG) reported more than 4500 homicides, 5800 assaults, and 3500 kidnappings throughout the country, largely centered in the City.

So we decide to stay in “Patricia’s” for the rest of the day. But it’s not a problem; I decide to take a rather long nap after having traveled over 24 hours straight in arriving to Guatemala and having slept in the Fort Lauderdale airport the night before. Actually, that’s a lie. Airports are like hospitals; nobody sleeps there.

At “Patricia’s” with me are 5 other girls from the study-abroad program here in Guatemala (I’m actually the only guy in a group of 9...), so we hang out talking throughout the rest of the night, and order some Chinese takeout for dinner from our hosts. It’s not yet the “cultural experience” I’m hoping from Guatemala, but I already know that it awaits me in the city of Quetzaltenango (more colloquially known as Xela), 4 hours to the west of Guatemala City, shrouded in the mountainous volcanic mist.

* * *

Here in Xela, I live with a Guatemalan host family which is all arranged for me through my Spanish school, “Celas Maya”. The grandmother of the family is named Sandra and she is kindly and deftly hosting a group of 7 (!) composed of her grandchildren and other students in the house. Sandra’s grandchildren are of various ages and are named Abigail, Jemima, and Jose Miguel. I’ve given them some nicknames: Abigail is “La Alumna” because she’s always studying, Jemima is “La Gemela” (this sort of annoys her, but it’s worth it), and Jose Miguel is “El Jugador” because he’s always playing video games. I’ve found that nicknames are a good icebreaker with the family, and we typically joke around during each meal.

There’s another student from my school who lives in the room next to me, Tsai, who is from Taiwan. He’s pretty quiet, but joins us at all the meals and has been a good buddy. Lastly, there are two other students living in the house, Marlo and Junior. Marlo is also a medical student in Xela, and Junior is studying English. Junior and I have become friends here; he’s quiet and mild-mannered, and I’ve learned that he likes to lift weights together at the gym, and supports himself by selling used motorcycles. In summary, it’s a house that is pretty full of people, but we get along well and I’ve been enjoying living here.

Here’s a picture of the view from my room in Sandra’s house:

* * *

After class one day at Celas Maya, we go on a trip to a small mountain-town pueblo to the northwest of Xela named San Andrés Xecul. The trip is the archetype of getting around in Central America; we get there on 3 different modes of transportation. First, we get on a minibus packed with people that reminds me of the colectivos I rode in Mexico last summer. Next, we get on a Chicken Bus which is actually a heavily outfitted and remodeled school bus, equipped with speakers that blast reggaetón during the entire trip, painted on the surface with brilliant colors, and named for wome–ours is named “La Princesa”, painted in hot pink across the windshield. Finally, we arrive to San Andrés Xecul by taking a “tuk-tuk” que is actually a motorcycle that’s been equipped to carry 5 people seated tightly underneath a cloth covering. I’m skeptical of their safety.

Here’s a shot from inside the Chicken Bus:

And another from inside the tuk-tuk:

After arriving to the pueblo after a tumultuous trip, we are welcomed by the striking church in in the main plaza:

Constructed in the 18th century, the church illustrates the history of the influence of the Spanish conquistadores on the Mayan culture in Guatemala. It’s a Catholic church, but the outside of the church is painted with a scene and colors that come from the Mayan culture.

Our guide from Celas Maya, Luis, tells us the history of the church. It has 3 principal Paint colors, yellow, green, and red, each of which has significance in the Mayan culture. The yellow, which forms the majority of the walls of the church, signifies the importance of yellow corn to the culture. Luis points off into the distance, showing us the countryside extending beyond towards the horizon, full of corn. It’s obvious that corn still forms a critical pillar for San Andrés Xecul, 200 years later.

But I interpret this information as a sad story behind the corn that supplies this Guatemalan pueblo: although it’s a major product, it’s not exported to the rest of the world in a way that would support the economy of San Andrés Xecul. In reality, the people of the pueblo essentially only use the corn they grow to put food on their dinner tables. Maybe this illustrates a history that is common to the Guatemalan pueblos–that they have a horizontal economy in which their people can survive, but it’s difficult to achieve a better economic standing and a stable career.

The other colors on the outside of the church, green and red, illustrate the fauna and flora around San Andrés Xecul and the blood of the Mayan culture, respectively. Ironically, one can see in the surrounding countryside rampant deforestation, the hills stripped of their natural guardians. In that moment, it’s perfectly illustrated the juxtaposition between the Mayan culture and its modern counterpart: one is trying to protect and cultivate the land beneath us stretching off into the horizon, while the other is seeking nautral resources in the name of “progress”. At what cost, I think. That same vermillion blood of the Mayan culture, disappearing into the cracks of the fractured sidewalks in San Andrés Xecul. In the name of the future, technology, the richness promised by the city life.

San Andrés Xecul, as seen from the hill above town:

* * *

15.6.2018

My Spanish classes have gone very well. Before going to class, however, I go every day to the “Casa de Yoga” in the zócalo in Xela to take a yoga class from 6:50 to 7:50am. The cost of the studio: 150 quetzales (Q150) per month, which is equivalent to about $20. There are studios at home in the U.S. that cost the same in dollars. It should be noted here the privilege that we have to think that Q150 is inconsequential; the miminum salary in Guatemala is ~Q2700 per month, or ~$360. And there are many who don’t even reach this minumum, as they are working in the streets, they have their own business, or they have to maintain a family.

We are a diverse yoga class. The Dutch yoga teacher, Samantha, leads us through our Hatha style yoga classes with poise and elegance, even including a short meditation at both the beginning and the end of class. For me, it’s been a good way to come into the day, setting an intention and relaxing my body and mind with the breath. To remain centered in ways such as this while one is traveling is imperative in order to overcome the culture shock experienced upon arriving to another country.

Casa de Yoga also holds a weekly potluck on Sunday nights after their late afternoon class from 5:15-6:30. I’m lucky enough to be invited this week. The crowd is diverse and interesting; I meet two girls from Holland, one from France, several local Guatemalans, and the owner, Kevin, from the United States who opened Casa de Yoga over 10 years ago. It’s a mix of both students and teachers, and I enjoy hearing stories about how everyone has come to live in Xela. At the end of the night after a cathartic yoga class with our teacher Joel and having attended a dinner with such a rich sense of community, I’m left with a warm feeling in my chest and smile spreading across my face as I fall asleep.

Casa de Yoga, as seen from the street:

* * *

My Spanish teacher, Ingrid, lives in the suburbs around Xela and arrives every morning to practice conversation with me. Although I speak Spanish well, I have been improving significantly with respect to more advanced grammar, sentence and speech fluency, vocabulary, and my understanding of Guatemalan culture. Every day, we talk for 5 hours from 8 o’clock in the morning until 1 o’clock in the afternoon about themes ranging from the healthcare system in Guatemala to the concept of depression to our life stories.

It’s worth briefly discussing the concept of healthcare and personal health here in Guatemala. There are three major centers in which Guatemalans can seek their healthcare, Puestos de Salud, Centros de Salud, and hospitals, ranging from least equipped to most equipped. Puestos are small health outposts typically present in the more rural communities in Guatemala and do not typically have doctors present; they are run by medical students and nurses, may have a small pharmacy, and a few might also have a lab for basic tests such as urinary analysis and blood draws. Centros are closer to hospitals but are not fully equipped; they are often places where mothers will go to deliver babies if they are not delivered at home. Hospitals in Guatemala are viewed with trepidation, as many Guatemalans believe based on stories of loved ones that people only go to hospitals to die.

Traditional medicine handed down through generations of the indigenous Mayan culture is pervasive in Guatemala. While it is less likely to see locals walking through the streets of Xela dressed in the traditional Mayan huipil (top shirt) and corte (bottom skirt), most of the population still believes and practices in many of their ancient family traditions. And as an American coming into Guatemala to help deliver healthcare in one of the many under-equipped hospitals here, it’s important to realize the importance of these traditions to many of the Guatemalan patients. For example, mal de ojo is a disease widely believed by Guatemalans to affect their infant children. Essentially, if someone with too much energía looks at their baby or is even too near to their child, their child will become sick in some way. Mal de ojo is more dangerous with individuals who have blue or green eyes, but can also be caused by “bad blood”. Therefore, in the indigenous Guatemalan culture nobody aside from the direct family of an infant is allowed to see the child for the first 40 days of life. This is a practice still maintained by some families.

Some professionals from the Western medicine tradition might cringe at this suggestion. But it’s important to remember to avoid ethnocentrism, and to offer culturally sensitive healthcare that includes both the patient’s traditions in addition to more evidence-based medicine. In the end, a combination of more modern medicine and traditions that are more comfortable for the patient will end up producing the best results.

* * *

On Friday, Ingrid and I go to a market, San Francisco El Alto, for our class. I decide that a class mixed in with a cultural experience will help me more in understanding Guatemala and its people than staying in the courtyard at school again.

In the market, there is a cacophonous mix of food vendors, clothing, electronics, shoes…anything that one might want. With Ingrid as my guide, we meander among the narrow streets packed with vendors selling typical Guatemalan goods, such as seafood including shrimp and dried fish, vegetables from the surrounding farms, and even livestock in a dirt field near the top of the hill. Unfortunately, I don’t bring my camera to the market for fear of losing it to a thief. It’s only later that I realize that the market is relatively safe, and that I might have taken some photos that reminded me of the rich colors, smells, and sounds of San Francisco El Alto.

But the purpose of traveling isn’t only to take photos, and I’m glad to be immersed in such an authentic experience. After walking for a little while, we sit down in the middle of the market to eat a small lunch. Ingrid recommends the classic: a fresh tortilla folded about chicharrones bought from a street vendor, topped with fresh squeezed lime juice and served with a typical Guatemalan drink named atol. We choose to drink the atol de elote, which is made from the cob of the corn plant, pulverized and mixed with spices including cinnamon and cardamom. The thick yellow drink is served steaming hot, warming the spirits of these cold Guatemalan mountain pueblos. Delicious, I say audibly, thinking of the late Anthony Bourdain and his adventures among the street markets like this around the world.

I suppose this is how I’ve always wanted to travel: fully immersed in the culture, fee to explore and say yes, learning the customs and traditions of our global community. Because in the end, it turns out that traveling like this shows me that we’re not as different as we might think.

#guatemala #xela #travel #quetzaltenango #spanish #español

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easyfoodnetwork · 4 years ago

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Taking Care of the Back of the House

1,300 families, 120,000 pounds of food: How No Us Without You feeds LA’s undocumented restaurant workers

At 11 a.m. on a hot Tuesday in October, cars began to line up at a pair of tents pitched in a deserted stretch of downtown Los Angeles. At the first tent, Damian Diaz greeted every arrival with cold Topo Chicos and bright greetings in Spanish. He handed out sandwiches donated by a local shop, bagged-up snacks, and juice boxes; some families received books carefully sorted by reading level. Next, the cars pulled up to a second tent, where volunteers loaded boxes of food into open trunks, back seats, and any other space they could find. Each family received two boxes totaling 100 pounds of food, and many cars were picking up for multiple households. Diaz teased one arrival about the full-sized bottle of Tapatio in his cup holder; he greeted dogs; volunteer Mykle Casarin handed a Star Wars book to a little boy and made him promise to tell her what he thinks next week.

That day, the nonprofit No Us Without You would distribute food to 300 families of undocumented restaurant workers. Founded by Diaz and Othón Nolasco, veteran bartenders behind some of Los Angeles’s hippest cocktail bars and co-owners of consulting group Va’La Hospitality, the group is dedicated to helping the most vulnerable workers in an industry in slow-motion collapse. No Us Without You serves 1,300 (and counting) families and distributes almost 120,000 pounds of food a week, fueled by official relief programs and massive amounts of donations. The USDA program, provided through Vesta Foods, ends on October 31, but even after that program ends, using their fluency with wholesalers and suppliers, No Us Without You can feed a family of four for $33 a week.

From top left: Nolasco behind the wheel; rice, beans, and chorizo; volunteer Cedric Ransburg packs a food box

Nolasco says the project was born out of a moment of anger. When Los Angeles locked down in March, Nolasco and Diaz watched restaurant GoFundMes sprout across social media for front-of-house employees, who tend to be better paid and have citizenship status, making them eligible for government relief. “Who was taking care of back of house?” Nolasco wondered.

According to a 2014 Pew report, roughly 9 percent of the hospitality workforce is undocumented; in Los Angeles, that number is undoubtedly higher (advocacy group One Fair Wage puts it at 40 percent). Many of these workers have taxes withheld from their paychecks, but when the COVID crisis arrived, the vast majority could not access the unemployment system they contributed to. As restaurants shut their doors en masse, Nolasco and Diaz reached out to 10 undocumented restaurant workers they knew personally; all of them needed help feeding their families.

As they expanded to 30 families, then 100, then 500 through Instagram and word of mouth, Diaz and Nolasco strove to build a system that respects the people they’re helping as skilled restaurant workers who know good-quality food, and who are often the first to help their colleagues. “When you come in hungover, who is putting away your liquor order? Who’s making posole for family meal, even at a Japanese restaurant?” Diaz says. He is personally in touch with all 1,300 families weekly, checking in on what they need, vetting and ushering in newcomers (the group turns down anyone who is not a restaurant worker), providing a listening ear, and generally building the trust essential to working with people who are both vulnerable and tend to resist help. Sometimes, when a member of a family finds work, they ask to leave the program, but Diaz urges people to keep accepting food so they can pay off deferred rent or any debt they’ve incurred.

To run a bar is to be a master of cold logistics and warm hospitality; it requires the ability to haul kegs and pour a drink for a regular who’s had a bad day; it requires individual ingenuity and a love of working as part of a team. It’s difficult to imagine a set of skills better suited to running a nonprofit. No Us Without You works because it embraces the pandemic’s ethos of mutual aid, not only in its explicit mission of helping former colleagues who once helped you, but in the structure the organization provides for people who have no idea when their industry might come back.

From top left: Checking in a new arrival; a volunteer loads food boxes; a box filled with vegetables, cheese, and hard-boiled eggs; a volunteer hands out juice boxes for kids

The volunteers �� bartenders, bar managers, chefs, liquor reps, and barbacks — are all former colleagues of Diaz and Nolasco’s, and the trust built in the bar trenches makes the operation hum. Before the families arrived that Tuesday, the team loaded USDA food relief boxes, filled with staple vegetables, dairy products, and hard-boiled eggs, with rice, beans, chorizo, pasta, and marinara sauce. Ally DeVellis, a bartender, said building out the boxes is not unlike being behind the bar on a busy night, though the stakes are higher. “If you mess up, it’s different than garnishing incorrectly — a family doesn’t get rice for a week.” DeVellis is currently on unemployment, which covers only her basic necessities, and she bemoaned the government “fighting with itself.” But she said volunteering with No Us Without You was good for her own morale; she takes solace in the hard, sweaty work, and its mission.

In the nonprofit’s scrappy early days back in the spring, Diaz and Nolasco had distributed the food boxes from Va’La Hospitality’s office in the working class Latino neighborhood of Boyle Heights, across the river from downtown. But they worried inviting undocumented people to the same location week after week risked attracting the interest of ICE, so now the team goes through the extra steps of packing and unpacking a refrigerated truck and setting up in a rotating series of locations known only to the families they serve. (Diaz scouts for new locations on his bike.)

No Us Without You is nimble, and that nimbleness, combined with an abundance of out-of-work and furloughed workers eager to help, has allowed them to grow rapidly, and offer much more than boxes of food. At first, they distributed out of Nolasco’s pickup; then they were able to snag a truck. Va’La hospitality’s office, with its exposed brick walls and stylish bar, now looks less like a clubhouse than a relief center, stacked with crates of rice and beans, the bar scattered with children’s books. Contacts from the beverage world offer everything from corporate sponsorship to makeup kits.

For every need that arises, Diaz, Nolasco, and their core volunteers try to meet it. Their organization now feeds the families of mariachis and street vendors, two other groups hit hard by COVID-19. They run a community fridge, maintained to restaurant sanitation standards, to help those struggling in the nonprofit’s immediate neighborhood. If a member doesn’t have a car? Delivery. If their phone doesn’t work? They text over WhatsApp, when the person can get free Wi-Fi at McDonald’s. They’re piloting a tutoring program; growing out their library; surveying their membership about pet food needs (there are several iguanas).

Co-founders Othón Nolasco and Damian Diaz

That Tuesday, Nolasco made a surprise trip down to South Los Angeles, after a man who usually picked up for a large group of families fell ill. As the day grew hot and the line of cars grew longer, Diaz grabbed a wheeled cooler of Topo Chico and ran cold water down to the people waiting, running up and down in the heat over and over, a smile on his face. No Us Without You gives out water first explicitly to recall the hospitality of a restaurant. “They keep trusting us because they see us wanting to bust our butts for them,” Diaz said.

Diaz and Nolasco aren’t sure they will go back to the bar industry. Undocumented workers were exploited, underpaid, and discriminated against before COVID-19, and the hospitality industry has done too little for the people who power it for too long. Daniel Zarate, a bar manager who has been part of No Us Without You since the beginning, said, “I don’t see us going back to the industry. I see us after COVID, we will keep helping families.” He cracked a smile and added, “This is the first job my parents are proud of.”

Meghan McCarron is Eater’s special correspondent. Samanta Helou Hernandez is a multimedia journalist and photographer based in LA covering culture, identity, and social issues.

from Eater - All https://ift.tt/3mrI5ke https://ift.tt/3dZpysT

1,300 families, 120,000 pounds of food: How No Us Without You feeds LA’s undocumented restaurant workers

From top left: Nolasco behind the wheel; rice, beans, and chorizo; volunteer Cedric Ransburg packs a food box

From top left: Checking in a new arrival; a volunteer loads food boxes; a box filled with vegetables, cheese, and hard-boiled eggs; a volunteer hands out juice boxes for kids

The volunteers — bartenders, bar managers, chefs, liquor reps, and barbacks — are all former colleagues of Diaz and Nolasco’s, and the trust built in the bar trenches makes the operation hum. Before the families arrived that Tuesday, the team loaded USDA food relief boxes, filled with staple vegetables, dairy products, and hard-boiled eggs, with rice, beans, chorizo, pasta, and marinara sauce. Ally DeVellis, a bartender, said building out the boxes is not unlike being behind the bar on a busy night, though the stakes are higher. “If you mess up, it’s different than garnishing incorrectly — a family doesn’t get rice for a week.” DeVellis is currently on unemployment, which covers only her basic necessities, and she bemoaned the government “fighting with itself.” But she said volunteering with No Us Without You was good for her own morale; she takes solace in the hard, sweaty work, and its mission.

Co-founders Othón Nolasco and Damian Diaz

Meghan McCarron is Eater’s special correspondent. Samanta Helou Hernandez is a multimedia journalist and photographer based in LA covering culture, identity, and social issues.

from Eater - All https://ift.tt/3mrI5ke via Blogger https://ift.tt/3mmNSru

#Blogger #cooking #Eater #food #recipes

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saraseo · 4 years ago

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webart-studio · 6 years ago

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How We Grew Our Natural Attain 185% on Fb

In 2018, Fb enacted some algorithm modifications that negatively impacted a model’s capability to succeed in its viewers organically.

HubSpot’s Latin America & Iberia Advertising and marketing group had been no exception to this.

Regardless of having half 1,000,000 Spanish-speaking followers on our Fb web page, we realized we had been barely in a position to attain one % of them — which is fairly surprising, if you concentrate on it.

That meant, regardless of years of labor build up our Fb viewers on the platform, that we weren’t even in a position to talk with our followers once we had one thing fascinating to say.

Until, in fact, we paid.

However, from our perspective, paying to speak to individuals who already find out about HubSpot, and presumably already like us, did not sound the correct factor to do. It additionally did not appear to align with our aim of making sustainable, real connections with our viewers.

After months of struggling a down-trend on our Fb numbers, and discovering out about an rising variety of Fb updates, we reached a turning level once we realized we wanted to vary our social technique — and, extra essentially, the best way we considered Fb.

Right here, we will clarify the six elementary modifications we made to our Spanish-speaking Fb technique to extend our natural attain over two and a half occasions.

How To Improve Natural Attain Regardless of Fb’s Algorithm Adjustments

1. Consider Fb as a publishing platform.

Visitors was one of many principal metrics we used to measure our Fb efficiency up to now. As many manufacturers do, we noticed Fb as a portal to our web site — a channel to acquire site visitors.

The truth is, Fb has historically be one of the essential sources of site visitors for a lot of companies … so it might be silly to not faucet into it, proper?

Sadly, that was the case for the previous Fb. Within the final couple of years, nevertheless, Fb has carried out many updates for a similar underlying aim — to maintain customers on Fb longer, and improve engagement on the platform itself. As a consequence, exterior hyperlinks usually are not held in very excessive regard.

Now, manufacturers that solely use Fb as an amplifying channel for his or her web sites, or weblog, are going to undergo probably the most from the algorithm modifications.

We had been a part of that group.

As soon as we realized our previous technique would not work on the brand new Fb, we knew we wanted a mindset change — one thing many manufacturers are doubtless unwilling to do.

To succeed on Fb, we started considering of Fb as a publishing channel. This essentially meant creating high quality content material to be consumed straight on Fb — no hyperlinks.

Okay, I do know what you’re considering now: What occurs with my site visitors then? How do I convert all these folks?

That is what scares most individuals — you do not. You develop your model consciousness, and develop your attain. Individuals might not be in your web site, however they’re nonetheless seeing your content material and your model, so when they’re prepared to purchase or want one thing from you, they may bear in mind you. You may be high of thoughts.

And magic will occur.

2. Play by Fb guidelines (engagement, engagement, engagement).

Fb’s algorithm favors sure forms of content material. And people algorithm-favored items of content material are put in entrance of extra folks — and, because of this, get extra engagement.

In fact, these favored content material sorts are continually evolving at Fb, as the corporate continues to attempt to enhance the engagement of its customers. So it’s important you stay versatile and keen to experiment with content material sorts as you enact your individual Fb technique.

For us, movies have been our greatest wager over the previous yr, and have labored wonders for us — as soon as we acknowledged the facility of video, we moved from lower than 10% video content material to 50% video content material, which constantly will get increased attain than every other kind of content material.

3. Break up with paid boosting.

Together with the change to our natural technique, we additionally modified the best way we strategy boosting posts on Fb.

We got here to the conclusion that boosting shouldn’t be a sustainable technique to get folks’s consideration on Fb. We slowed down our spending to give attention to organic-only, and to grasp which kind of posts work for us — and which did not.

As soon as we began to see enhancements in our natural attain and had been proud of our total technique, we began investing once more on boosting posts however, not like up to now, we now solely increase high-performing posts to generate additional engagement and attain, not clicks.

This strategy reinforces our total technique and permits us to unfold our internet wider in terms of model consciousness.

Moreover, it is essential to notice we preserve our paid social technique fully separate from our natural technique, since these groups have various duties and objectives.

4. Change the best way you measure success.

A yr in the past, we used variety of likes as our principal progress indicator for social — now, we see that quantity is meaningless.

Measuring the variety of likes a publish will get is now not metric to find out the success of your Fb technique. There is no such thing as a level in having 500Ok followers in case your posts are being seen solely by 5K. I would reasonably have 100Ok followers, and have most of them see my posts often — would not you?

As a consequence, we got here to the conclusion that we must always transfer away from likes, and as an alternative undertake a attain metric to measure our efficiency.

In fact, complete attain might be simply manipulated by enjoying with frequency — however a metric like Common Attain per Publish is one thing we felt may assist us most precisely measure our efficiency, and the way many individuals are uncovered to our model often.

5. Maintain it organized.

Giving some construction to your social posting may sound like a fundamental tip, nevertheless it actually gave us the consistency and focus we wanted for Fb.

We applied an in depth social calendar and divided the posts by classes, permitting us to be more practical when creating content material. It additionally enabled us to work higher as a group. For example, we allocate some weekly slots to areas of the enterprise we wish to floor, such because the Flywheel or Academy, and created social content material with that in thoughts.

This construction additionally helps us to raised analyze which posts carry out greatest, and adapt our social calendar on an ongoing foundation.

6. Contemplate options.

Not every part works as deliberate. We’ve got examined some concepts which have failed — alternatively, good-performing concepts have misplaced momentum.

#MartesEnVivo, a weekly Fb Reside broadcasting collection, was our Tom Brady for months. Each week, it might be our top-performing publish, driving up engagement and attain numbers.

However nothing lasts without end. When introducing increasingly more video content material as a part of our social content material, we seen that #MartesEnVivo was dropping momentum, and the efficiency was not ok for all the trouble we had been placing into it.

Nevertheless, the content material we shared in #MartesEnVivo was unquestionably helpful for our customers, so we lately determined to spin the collection and relaunch it on YouTube with a special identify and completely different format.

The plan with that is to benefit from YouTube search nature to make the lifespan of those movies longer — and, additionally, to liberate some treasured slots on Fb for ephemeral movies that carry out higher there.

It will occur to you as properly, so it is at all times a good suggestion to needless to say Fb shouldn’t be the one social community that companies can use.

There may be at all times a channel for good content material.

Our Outcomes

The outcomes have been shocking, even for us. We knew this was the correct strategy, however we by no means anticipated such an enormous enchancment in our metrics in solely 5 months.

In the end, we noticed an common 185% improve in natural attain per publish. We additionally noticed a major improve in all of the metrics associated to video-viewing on Fb.

Over the subsequent yr, we’re going to try to push these numbers even additional by persevering with with this technique, and making an attempt new codecs that can provide us an additional push.

Fb Tales, as an illustration, is receiving a number of consideration from the Fb group — so it is undoubtedly one thing on our radar.

In the end, Fb’s algorithm modifications might be scary and irritating on your firm, however it could actually additionally function a significant alternative for brand new progress. By altering your Fb technique to answer Fb’s modifications, you simply may discover new avenues to succeed in, and affect, an excellent bigger viewers.

source https://webart-studio.com/how-we-grew-our-natural-attain-185-on-fb/

#start up #entrepreneurs #new business #online marketing #wordpress websites #productivity #sm

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legendary · 8 years ago

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Creating a World of Witches and Wonder

A Conversation with Firebrand's Jessica Chobot, Erika Lewis, and Claudia Aguirre.

Firebrand, the latest original title from Legendary Comics is heading into the home stretch of its inaugural run on digital comics platform, LINE Webtoon. The weekly series follows teenage witch Natali Presano as she comes to terms with her role in a supernatural war, while dealing with the everyday pressures of young adulthood. Firebrand is the brainchild of Jessica Chobot and Erika Lewis. Chobot is best known as host for Nerdist News. Before joining Nerdist, she was a host and recurring personality on IGN and G4. Lewis has made a name for herself as a young adult and fantasy author with her work Game of Shadows, and The 49th Key, in addition to Firebrand. “Jessica Chobot has been such a huge part of the Legendary family for years,” said Robert Napton, Vice President and Editorial Director of Legendary Comics. “We were so thrilled to have an opportunity to support her exploration of a new creative venture and we know that she and Erika Lewis have created a truly compelling new heroine and story that fans will truly become immersed in.” Legendary Backstory had the opportunity to talk with Chobot, Lewis, and artist Claudia Aguirre about the exciting new series as it heads into the second half of its season. See what they had to say about creating the comic below!

Q: As an intro, can you tell the readers a little bit about what Firebrand is all about and talk about the process in which it’s come to fruition. Where did the idea originate from, how did it develop, how did each of you become involved and come together to create it, etc.?

JC: You know, Firebrand is sort of a combination of a coming of age story and a traditional hero’s journey. At its heart, it’s really about a young woman who we’ve seen growing up, who basically just never felt like she belonged anywhere. This was actually an idea that Erika had that she came to me with one day when we were just talking and hanging out. We started volleying ideas back and forth and eventually realized we should do something with this because it started to grow so quickly during that first conversation. So we just started meeting up after that and exchanging ideas and characters and relationships. Eventually it really felt like we had something and we wanted to shop it around and obviously one of the first places we went to was Legendary. EL: Jessica and I worked together at G4 and both had obsessions with witches and magic and all things insane. But for me, I’m obsessed with ancient myths and legends, especially when it comes to magic in different places around the world. Basque is such a unique place and culture and really unlike anything else around it. I did a lot of research into pre-Christianity times in Basque, finding timeless myths. We hope to bring to pieces of them to life in a very unique Erika-Jessica-Claudia type of way. I saw (artist) Claudia Aguirre’s work at another publisher and I was so impressed, and was like ‘oh, how cool it would be to have three women!’ So (Legendary Comics’) Robert Napton got in touch with Claudia and thankfully she was excited about the idea!

Q: Claudia, can you talk about the process in designing the look of Firebrand from early sketches to the finished art?

CA: Well, the creative process for me is like a movie in my head. Jessica and Erika are great. They are very, very cinematic in what they describe so I can see it in my head. I initially try to make sense of my own idea and I do some thumbnailing on paper and try to make it look really cool. Then, I start translating that onto the computer, so I’ll draw it and show everything to the team. They’ll tell me if it doesn’t work and give me feedback. After that, I do the inking process and then the colors too.

Q: Which real stories and history (if any) did you pull from to inspire the style of witchcraft/characterization of the Sorgin in the series? Are there references to any of these in the story or in the artwork?

EL: Historically speaking, the Spanish Inquisitions have been incorporated into the backstory of "Sorgin" mythology, our fictional universe. The inquisitions put paganism on trial during the spread of Christianity in Western Europe. Although you can find a good deal about the Spanish Inquisitions and witch trials, the specific story we tell in Firebrand is something Jessica and I made up. CA: For the art, there is definitely a strong influence from Spain, the border between Spain and France. It’s definitely a process of trying to piece things together to make a whole universe that isn’t there. It’s quite fun.

Q: It’s evident that Natali Presano is a badass. How important is it to have kickass female protagonists like Natali in comics? Are there any comic characters out there that you drew inspiration from in fleshing her character out?

JC: It’s always been important, and we’ve always tackled the story with Natali being a character with a lot of self-sufficiency. But, with how things stand in the U.S., it feels even more important right now. Not only to have that represented for women and girls, but really for anybody who feels left out from “average society." It’s helpful to have a character that shows, if you are true to yourself, you can utilize your power to get through tough times. You can be admired and I think that is so important to have that in a character right now. EL: Absolutely. When Natali sees a wrong, she wants to right it. She wants to do the right thing. But sometimes what she wants to do butts up against Sorgin law, and causes her to get in trouble. Not that it would ever stop her. Deep down inside, she has what it takes character to do the right thing and stand up for what she believes is fair. CA: We always needed people like Natali in comics - we need to not feel alone. For people who feel alone or have been through things, it is important to have these characters portrayed. We have the opportunity to be someone who makes a difference, so we have to make use of it.

Q: Going back to the artwork, it features a cool contrast between the realism of the human world in Washington that Natali comes from and the more fantastical setting of Eder. Claudia, what went into imagining and designing both settings and what key differences did you want Eder to have to set it apart from the human world?

CA: Well, I tried to make the culture. I sadly couldn’t find much in history before Christianity, so I found out a little of their principles and dialect and some stone monuments that they had. Essentially, I took a little of all of this and tried to make an evolving city of Eder. I tried to stay away from the Stone Age so I could make it a little more medieval. I could Google Map a lot of the places in Seattle, so that made that setting easier to do. But the main expansion for me was to try and make it a bit more magical. I tried to make the magical more blueish and the realistic setting of Seattle more grey.

Q: Were there elements of your own lives that you drew from to go into the story or even into the artwork?

EL: On the story side, I will say that for me, I am from D.C. and grew up in a politically charged environment. A very argumentative atmosphere. The kind of place you either love or hate. Also I am from a divorced family. Some of the characters may have been developed around real people. Also, I understand Natali's need to want to feel accepted for who she is, to be a part of a family that allows her to be herself, because I never felt like I fit in anywhere. JC: I guess for me, it wasn’t too specific besides growing up and being interested in the paranormal and the occult and being the weird girl at school. I was kind of shunned by a lot of the kids growing up, so for me it was a matter of identifying as not part of the group mantra. Also though, as I grow up, realizing that there isn’t anything wrong with me, it is just what I like. So that is what I think I brought to Natali in a little bit of a subconscious way.

Q: The “direct address” to the reader style of narration is a cool device that makes the story feel almost interactive in a way, drawing the reader in and directly questioning them. How did you decide on that and what do you think it brings to the storytelling?

JC: Well, we didn’t start with that in the beginning - we had a traditional approach. But we decided to bring in Natali’s voice, because we wanted to break the fourth wall and feel more invested by having Natali talk more to them. EL: She is sarcastic at times, and very powerful. The real parts of her, like everyone, can be insecure and afraid and we try to really humanize her and let people into the fact that she isn’t necessarily what she puts out to the world. All of those things surrounding Natali, her internal voice, we were hoping to give people an insight into who she truly is.

Q: The series is at times hilarious and at times deals with some pretty dark themes. How do you walk that tricky tightrope in the writing and the tone to maintain that balance?

JC: It is a fine line, especially if you have a younger audience. However, these things really happen, so sugarcoating it isn’t necessarily a great thing to do either. So, drawing on all of the traumatic experiences of Natali’s we really wanted to approach all of them from the best angle we could. We wanted to give the backstory and make it relatable, but not turn off the readership by going overboard. These are all issues kids and families deal with growing up, so we wanted to address them but remain respectful. EL: You can see in the comments on each issue: people talk about things they go through. With Natali specifically, the balance of keeping the comic relief but also the dark tones, the greatest thing was using that inner voice and letting the reader into her head; knowing when she was excited, or feeling sarcastic or funny. We tried to make it palatable. We tried to do moments of light-heartedness, especially during those first few chapters.

Catch up on Firebrand's entire first season before new issues are releasedevery Wednesday over at LINE Webtoon

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samjgrasso · 8 years ago

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The world’s first LGBT Mariachi: a story that never was

Photo via arcoirisdelosangeles/Facebook

I’ve always been scared to pitch stories. Selling myself has never been my strong suit—if I had a story idea, I didn’t have the confidence to think I could report it, and if I had the connect, I never had a story. So when I pitched a profile of the first LGBT Mariachi of Los Angeles, Mariachi Arcoiris de Los Angeles, at my first Big Time Magazine internship a little more than two years ago, I was ecstatic my editor accepted the pitch and assigned it to me, no questions.

I finished the story while I was in California but didn’t receive feedback months later, when I was finishing up my second-to-last semester in college. I’ll be the first to admit that my writing has grown a ridiculous amount in the past year, and that initially when I received the edits I was overwhelmed. So I reinterviewed Mariachi Arcoiris’s director in an attempt to get the process rolling, but I let the story fall through the cracks—I was burned out from school, and from what I can recall, I didn’t send back my edits, though my editor followed up. A month later I checked the magazine’s masthead and found out she had left the publication.

I was off the hook for the story, but I felt awful—I really wanted this piece to work out, but it didn’t. I thought it was decent, with strong historical and societal context on why an LGBT mariachi is so groundbreaking. I still think it’s decent. It's not the best written, but the narrative itself is so immensely important to share. So I’ve fixed the piece up and I’m sharing it on my blog, because I never repackaged the piece to shop around, but I think the story is valuable itself, regardless of price or merit.

Mariachi Arcoiris: Paying Tribute to, and Expanding Inclusivity of, Mexican Culture in Mariachi Music

Written in Aug. 2015 by Samantha Grasso

Carlos Samaniego is a self-proclaimed mariachi purist, a stickler to detail. He sits in a bright living room in East Los Angeles, Thursday night after Thursday night, listening attentively to his semi-circle of six musicians surrounding the rehearsal space.

In between balancing the sound of his own violin arrangements to the ensemble, he stops rehearsal, addresses rhythm and intonation issues with prompt solutions, and counts the group off with a tight, “ONE-two-three.” Samaniego pauses, critiques and repeats. The band plays on.

As the director of Mariachi Arcoiris De Los Angeles, the first LGBT mariachi in the world, Samaniego says he feels the mariachi is already scrutinized for its inclusive take on a century-old Mexican tradition. Strict weekly two-hour rehearsals aren’t overkill—they’re necessary to keep up impressions.

“I feel like we’re always under the microscope in…the mariachi world—they’re going to say things anyway. They’re going to make fun of us, they’re going to talk badly about us,” Samaniego says. “I don’t want them to say bad things about how we play. I want to sound really good, so we can shut them up.”

Mariachi Arcoiris, which is Spanish for Rainbow Mariachi, performed for the first time on Valentine’s Day 2014. With this ensemble, Samaniego sought to create a safe space for LGBT-identified mariachi players.

This isn’t Samaniego’s first organized gay mariachi—his previous group was a short-lived ensemble initially prepared for a pride week event at California State University, Los Angeles. But this mariachi is his first to actively challenge the masculinity of the mariachi world.

“I wanted a safe haven [for people] who identify as LGBT to perform the music that we so love to do,” Samaniego says. “Here, no one’s going to make fun of me. No one’s going to talk smack…to each other. Nothing about like, ‘C’mon Carlos, check her out, you got to like her,’ forcing that on me. Or…[straight mariachis] trying to ask ridiculous questions…Things that are none of their business.”

Photo via _nataliamelendez/Instagram

To give you a sense of the mariachi environment, here’s a brief: From 1969 to 2007, mariachi enthusiasts in Los Angeles could catch fine-tuned performances by Nati Cano and L.A.’s Mariachi los Camperos at Cano’s restaurant, La Fonda.

In addition to Los Camperos, Grammy Award-winning and –nominated ensembles including Mariachi Sol de México, Mariachi Reyna De Los Angeles and Mariachi Divas de Cindy Shea brought distinction to both the genre and the city. Mariachi music classes offered through the Los Angeles Unified School District, and facilities such as The Mariachi Observatory and Mariachi Heritage Society preserve the tradition with the youth of the city.

Even women of Los Angeles punctuate the mariachi scene, including notable pioneers Rebecca Gonzales, the first female mariachi of Los Camperos, and the late Laura Sobrino, the first female mariachi of many groups in the ‘70s and ‘80s, among other titles. And yet, even with the integration of women in the profession, mariachi itself still holds deeper cultural impressions. In the 20th century, mariachis portrayed a model of machismo: strong, aggressive, prideful masculinity.

“Sobrino admits that being a Latina in a macho mariachi mundo is exactly what propels her to push harder, talk faster, stay a step ahead, stand tough,” a 1995 article from the Los Angeles Times states in a profile about the former director of Mariachi Reyna de Los Angeles.

The article continues: “Again and again she has heard the same refrain: ‘You have no place here. Your place is having babies.’” Samaniego, who has performed in numerous mariachis over the last 20 years, said these ideals of masculinity, of being tough, macho or womanizing, are ingrained in Mexican culture. Samaniego says these impositions from other mariachis in former groups felt uncomfortable and taxing.

“Now there are a lot of women in groups, but even then, a lot of these hardcore traditionalists are like, ‘Women…don’t have the same kind of feeling in the music,’” Samaniego says. He lists examples of this mentality: “Most of Mexico is Catholic, and they’re against homosexuality…Sort of putting a woman in her place, where she needs to serve her man or take care of the children…Old school traditional conservative. These mariachis are just a product of that.”

Samaniego’s skepticism of being accepted by this pervasively masculine mariachi community almost prevented Mariachi Arcoiris from participating in an annual Los Angeles tradition.

In November 2014, the mariachi was invited to perform at the Mariachi Festival at Mariachi Plaza in Boyle Heights. While the mariachi has straight allies, Samaniego says he worried about security of his musicians, including Natalia Melendez, the first openly transgender mariachi in the country. With the support of festival organizers, Mariachi Arcoiris performed at the festival and received an overwhelming ovation.

“I said, ‘Well, I’m really concerned about our safety…I don’t want nothing, no violence, no verbal abuse…The organizer who reached out to me made it clear that we…would be protected,” Samaniego says. “I was told that not until we performed had [the audience] wanted more, like ‘Otra, Otra,’ or an encore…With us it was like they wanted more, more, more.”

While challenging cultural normality, Mariachi Arcoiris maintains the integrity of mariachi traditions with their full-bodied, emotive renditions of songs such as “Ella” and “No Vale la Pena.” They display their pride for the culture with their own personalized trajes, clean-pressed suits embellished with silver and gold, with rainbow flags adorning the belt buckles, rainbow fabric bowties, and rainbow horseshoes pinned to the sombreros.

Still, between preserving the culture and expressing modernity, it’s a balancing act. Samaniego emphasizes being inclusive in his careful attention to masculine and feminine pronouns when selecting songs to perform. While some traditional mariachi songs don’t specify gender, others are heteronormative, or only have men singing to women and vice versa.

“I’ve got to be careful that if I’m going to sing a love song, or a song about betrayal. I’m not singing it to a woman. I need to sing it to a man,” Samaniego says. “To our gay audience, they really enjoy it because these guys—who have grown up seeing and listening to mariachi and have witnessed how the mariachi serenades sings to the girl—they always wanted that. Like, ‘Oh man, they’re never going to sing to me.’ And finally with our group, they get that.”

Though Mariachi Arcoiris is but a short year-and-a-half old, the mariachi’s distinctive mission has already garnered attention from outlets such as L.A. Weekly, Telemundo and NPR’s Latino USA. Even the Mexican American culture museum La Plaza De Cultura Y Artes in Downtown L.A. requested to include Mariachi Arcoiris in their six-month-long exhibit “Corazón de la Comunidad: A Story of Mariachi in Los Angeles.”

Samaniego aspirations to round out the mariachi’s second year don’t fall short of the group’s present success: Mariachi Arcoiris is accompanying Mexican singer Sheyla Tadeo in August, performing at Oceanside’s “Pride by the Beach” in October, and recording their first album. In the meantime, “purists” like Samaniego and avant-garde audiences alike can find Mariachi Arcoiris De Los Angeles performing every Sunday night at Club Tempo in Hollywood, where they’re navigating the celebration of culture among the nuances of self-expression, one guitarrón strum at a time.

“We’re here to perform for everybody, but especially for our community,” Samaniego says. “We’re a mariachi who’s true to itself… We’re there to perform and to put on a good show, and for [Mariachi lovers] to see something they’ve never seen before.”

#lgbtq #mariachi #mariachi arcoiris #los angeles #los angeles music #journalism #longform #california #music history

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floreneiwlareedz10insurance-blog · 5 years ago

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