#Institute for Career in Financial Markets

[mariacallous]

"I’m going to let him go wild on health,” former president Donald Trump said of Robert F. Kennedy Jr. at his Madison Square Garden rally in New York City this past weekend. “I’m going to let him go wild on the food. I’m going to let him go wild on the medicines.”

Kennedy, a former Democrat, suspended his presidential campaign in August and endorsed Trump. He has since launched the Make America Healthy Again campaign, an initiative focused on tackling chronic diseases that Trump has seemingly embraced in recent weeks. Given Kennedy’s anti-vaccination stance and conspiratorial leanings, some policy experts and former government officials are concerned about how his views could shape the nation’s health agenda.

Kennedy has long made false statements about the safety of vaccines and has touted disproven treatments for Covid-19, including ivermectin and hydroxychloroquine. On the campaign trail, he has railed against seed oils, blaming several chronic health conditions on their presence in processed foods.

How much influence Kennedy could have on national health policy will all depend on his role within a future Trump administration. Trump did not clarify his remarks at Sunday’s event, including what position he is considering Kennedy for. According to a CNN report that ran late Tuesday, Kennedy said Trump “promised him control of the public health agencies,” but in an email to WIRED on Wednesday, Steven Cheung, Trump’s campaign communications director, said that formal discussions of who will serve in a second Trump administration are premature.

Trump could be considering Kennedy to lead the Department of Health and Human Services, which has 80,000 federal employees, or one of the agencies within it, such as the Food and Drug Administration or the Centers for Disease Control and Prevention. It would be a departure from his previous top health picks, who had lengthy government or public health careers. For instance, Alex Azar, Trump’s HHS secretary, was deputy HHS secretary under George W. Bush and an executive at drugmaker Eli Lilly. Scott Gottlieb, a physician and investor appointed as FDA commissioner under Trump, had previously worked for the FDA and had served on the boards of pharma and biotech companies.

When asked to elaborate on Kennedy’s health priorities, Amaryllis Fox Kennedy, the former candidate’s campaign director and daughter-in-law, told WIRED: “Bobby aims to end conflicts and corruption at the agencies, ensure all testing is undertaken by scientists who have no financial interest in the outcome, and all results of all trials are released to the public. The free market will take care of it from there.” (The National Institutes of Health already requires results of clinical trials funded by the agency to be published to a government database.)

Jerome Adams, US surgeon general under Trump and current executive director of health equity initiatives at Purdue University, says that even if Kennedy were tapped to lead HHS, the FDA, or the CDC, it’s unlikely that he would ascend to one of those roles due to his lack of medical training and controversial views on public health issues. “Congressional approval is required for these positions, and his stances could be a barrier,” Adams says.

If Republicans control the Senate after next week’s election, though, that calculus could change. “The GOP has generally fallen into line in terms of supporting candidates that President Trump does,” says Genevieve Kanter, associate professor of public policy at the University of Southern California.

If chosen to be FDA commissioner, Kennedy would control the agency’s budget and priorities and could have a sizable impact by installing lower-level appointees who are sympathetic to his worldview. While the FDA commissioner does not single-handedly approve or authorize new drugs, Kantner says outside political pressure can certainly influence that process. Kennedy could also appoint members to FDA advisory committees, panels of outside experts that make recommendations to the agency on drug approvals and other regulatory matters. The FDA often follows the recommendations of advisory committees when making decisions on new drug approvals, but not always.

The FDA can also choose to not enforce some rules in certain circumstances—what’s known as enforcement discretion. Given his support for dubious and unproven therapies, such as stem cells and hyperbaric oxygen, an FDA under Kennedy, for instance, could choose to not go after companies that market unapproved treatments.

“When we think of the kind of person we want to be head of HHS or be FDA commissioner, someone ‘going wild’ isn’t exactly the first trait that comes to mind,” Kanter says. “It wouldn’t ease the public’s concern that we would see more food safety incidents and adverse events from poorly regulated drugs and devices from a lax administration that is known for embracing unscientific theories.”

Kennedy wouldn’t have free rein though. Existing laws and regulations govern how the agency works, and a new FDA commissioner wouldn’t be able to get rid of those quickly. “If you’re dealing with regulatory issues that have been long-standing and have lots of precedent, it’s just not possible to turn some of those things around or dismiss them overnight,” says a past leader of the FDA, who requested anonymity so that they could speak freely.

Likewise, even in a leadership role at HHS or the CDC, Kennedy wouldn’t be able to easily affect vaccine policy. Vaccine recommendations are made by the Advisory Committee on Immunization Practices, which comprises outside medical and public health experts. Georges Benjamin, executive director of the American Public Health Association, says Kennedy could try to stack that advisory committee with people who are sympathetic to his views on vaccination, but those members are chosen through a rigorous nomination process.

“He could certainly change policy that way, but it takes a while and it won't be a secret. There are ways in which the public can push back, including taking a case to court,” he says.

Kennendy could have influence in other ways beyond direct control of a public health agency. Trump could potentially bring Kennedy on as a White House adviser, which wouldn’t require approval by the Senate.

“Without congressional vetting and oversight, there is potential for unchecked impact. RFK's views could shape health policies, raising concerns about misinformation and harm,” Adams says.

Karoline Leavitt, national press secretary for the Trump campaign, told WIRED in an email that if reelected, Trump will establish a “special Presidential Commission of independent minds and will charge them with investigating what is causing the decades-long increase in chronic illnesses.” She did not say whether Kennedy would be chosen for that task force.

Kennedy has also been sizing himself up for another position in a potential Trump cabinet: agriculture secretary. A longtime environmental activist, Kennedy has promised to take on big farms and feedlots, reduce pesticides, and fix what he presents as a food system captured by corporate interests. “When Donald Trump gets me inside,” Kennedy said in a video shot outside the Department of Agriculture headquarters in Washington, DC, “it won’t be that way any more.”

This platform is a continuation of Kennedy’s long history as an antagonist against the agriculture industry. In 2018, Kennedy and a team of attorneys won an initial $289 million settlement against Monsanto, representing a groundskeeper who developed cancer after being soaked with a herbicide made by the agrochemical firm. He also attempted to sue the pig farming company Smithfield because of its production of hog manure, although that case was thrown out by a federal judge.

Kennedy’s past makes him an unlikely candidate for agriculture secretary, according to Daniel Glickman, who served in the role during Bill Clinton’s presidency. “It’s hard for me to imagine, given Trump’s traditional base in the heartlands, that he would pick somebody who was an advocate for breaking up large farms and breaking consolidated agriculture,” says Glickman.

Like top posts at HHS, the USDA secretary position would need to be confirmed by a Senate vote. “I don’t think [Kennedy] is a slam dunk,” says Glickman.

Trump’s pick for USDA chief during his first term was Sonny Perdue, a former governor of Georgia and founder of an agricultural trading company. Most agriculture secretaries either have a background in the industry or politics—two crucial constituencies for the person who will be in charge of a department that employs nearly 100,000 and is made up of 29 agencies, including forestry, conservation, and nutrition programs. “The difference between Sonny Perdue and Robert F. Kennedy, Jr. is like night and day,” says Glickman.

If Kennedy were to be confirmed as agriculture secretary, he might struggle to enact the most radical parts of his program. He is an outspoken critic of pesticides, but the USDA is generally not in charge of regulating those, says Dan Blaustein-Rejto, director of agriculture policy and research at the Breakthrough Institute. Rather, the EPA regulates pesticides with public health uses.

Although he may not be able to directly influence pesticide regulations, Kennedy has said he would try to “weaponize” other agencies against “chemical agriculture” by commissioning scientific research into the effects of pesticides. The USDA Agricultural Research Service has a nearly $2 billion discretionary budget for research into crops, livestocks, nutrition, food safety, and natural resources conservation.

There are other levers that an agriculture secretary could pull, says Blaustein-Rejto. The USDA is investing $3 billion through the partnership for climate-smart commodities—a scheme that’s supposed to make US agriculture more climate-friendly. A USDA chief might be able to put their thumb on their scale by influencing the selection criteria for these kinds of programs. The USDA also oversees the Commodity Credit Corporation (CCC), which has a $5 billion fund that it uses to support farm incomes and conservation programs, and to assist farmers hit by natural disasters. It’s possible that a USDA chief could influence how these CCC funds are distributed by the agency.

Kennedy has also argued that corporate interests have captured the US’s dietary guidelines, and he pledged to remove conflicts of interest from USDA groups that come up with dietary guidelines. US dietary guidelines are developed jointly by the USDA and HHS and are updated every five years, giving the agriculture secretary limited opportunities to influence any recommendations.

“If RFK is in a high-level policy role, I expect to see a lot more talk about ultra-processed foods, but I’m not sure what that would actually entail when it comes to the dietary guidelines,” says Blaustein-Rejto.

The experts WIRED spoke with largely think Kennedy’s more extreme positions will likely be constrained by bureaucracy. But the message that elevating a vocal vaccine skeptic and conspiracy theorist would send remains a serious concern ahead of a potential second Trump administration.

[mimi-is-so-horny]

okay, so... you know how sometimes a day starts lovely, and then it goes to shit? and sometimes, you feel like you've done this to yourself? actually, you have done it to yourself. anyway.

i made a point to wake up early today to make Sir and Anna breakfast and to write them a note thanking them for fucking me so well yesterday, and for being pretty much the best thing in my life right now. i felt very grateful and i know i'm very lucky. i think they appreciated that, too.

i blew the candles on my birthday cake naked on Sir's lap - i've been 25 for a couple of days, and i usually hate my birthdays, but Anna insisted we should do the whole birthday thing properly. Sir wrote me a birthday card that almost moved me to tears. He groped my tits as i blew my candles.

for context, i used to want to enter academia in combination to committing to a totally different career path. what i'm doing right now isn't even my Plan C, so of course, i feel a bit like a failure. i'd written a chapter in a book that discussed some recent developments in my field and placed them in a behavioural/institutional context - the book was published this year, and the complimentary copy they sent to authors arrived on my birthday. i should be happy, right? but i feel so defeated, and so dumb, and like this is the first and last good thing i got to do before giving up on my aspirations completely. sure, i'll still apply to enter a more commercial side of my field next year, but that's still just more "sustainable", financially, and more difficult than i thought it would be. all this effort for something i won't really value or enjoy, yuck. and what if i fail, again? anyway. Mimi's whiny ass.

so Sir asked me to read my chapter, and i said yes, sure. He wanted to "see how i think". why not, right?

He fucked me yesterday, and this morning, and at noon, and it felt so good. and now He came to my room, to tell me He read my chapter, and while i felt vulnerable i tried to look cool asking Him what He thought of it.

and He showered me in compliments, and asked me why am i here, and not at a Big Prestigious University™ doing research? i told Him that's why i tried, and the Big Prestigious University™ didn't do shit for Mimi in a post-covid job market where she had to care for her family and couldn't work Prestigious Unpaid Internships™. and still, with no network or real mentors that cared more about guiding me than fucking me, or plagiarising me (lol), my options narrowed. and He knew that, so why was He asking me? and then He asked more questions, and i got increasingly angry and i cried and told Him to leave my room, please. well, at least He did.

so now i have to go downstairs and apologise for lashing out at Him for essentially caring. that was just me projecting - how mad i am at myself for failing, and for giving up, and and for being too lazy to try again - on Him. but i also don't want to do that, because i can only taste how i'm not working in the city i want, and how the people i work for are surprised when i can introduce better corrections than them, and how i am a grown woman that is already bitter about not being where she wanted to be. how i pretend to have given up, when in reality i'm still kind of grieving the people i thought i could be, and realising it can always get worse. am i making myself into a victim: poor-me, poor-me? or am i entitled to my anger and sadness? i don't know, and Sir knows something sad happened to me without my consent, a long while ago - so what if He sees me as a victim, too? am i really that stupid and that passive? what if i'm wasting His time, too?

i don't think i use kink as a coping mechanism or as a distraction; i'm just happy it's an area of my life i'm currently getting exactly what i want, exactly in my own terms and limits - i've rarely gotten that much respect and reciprocity in "vanilla world" - be it work, or education, or friendships. but that fact also makes me sad. why can't i have some of the things i want, sometimes? why was it "Rejection Letter"+"Your Flatmate Lost Your Cat And Now Won't Help Or Speak To You"+"Your Supervisor Wants To Fuck You And He's Angry Now!"+"Your Family Is Asking For Money, Again!!!", and not, like, slightly better? it's hard to feel empowered now. that sad six-year-old is here again, and she wants good stuff i don't know how to give, because i'm out of fucking candy (or, y'know, drugs. because i don't do that shit anymore).

anyway, that will be a difficult conversation. and i feel sorry for Him, for having to deal with me.

well, that was a very self-centred ramble by a fairly self-centred person, so i'm sorry if you read this? but also it was your choice to do so, meh. drink water, wear sunscreen.

[fibula-rasa]

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.

——— ——— ———

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!

——— ——— ———

☕Appreciate my work? Buy me a coffee! ☕

——— ——— ———

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.

——— ——— ———

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

[reimenaashelyee]

This is maybe not so important to announce but it's going to affect my online activity/webcomic updates, so here it is:

I am going back to school and pursuing a Masters in Arts Management until 2025

If you recall, I have spoken several times in my blog about my past life in academia, the quarter-life crisis that resulted from it (not the full story), and the occasional spasm of desiring institutional recognition.

I am willingly! voluntarily! going back through the gates of the ivory tower.

For the past few years now, I’ve been slowly crabwalking towards an administrative, organisational, educational/resource-providing, leadership-type role in my areas of work (comics, writing, illustration, commercial art).

I hinted about somewhat being sick of the physical and emotional investment of comics-making trapping me to the same four-walls. The 2-ish years of hard commitment that each graphic novel demands is something that I don’t mind doing, especially for a story I truly believe in. However, I cannot keep doing this consecutively. For two years, I keep having visions of myself in my late-fifties asking me, now, if this is all worth it: to devote all this time to make comics that people like, but to not have a life lived? I am thinking of those mangaka who spend all their time breathing eating knowing only comics, and then suddenly, dying with not much to show except their impressive body of work. Did they see enough of the world? Did they eat enough good food? Have they discovered all their non-comics passions? I certainly don’t want my ghost to ask the same questions when she sees my body.

In a way I’ve sort of outgrown that shine of comics as a full-time job: ironically, in my success at producing audience/market-friendly work in exchange for financial support, I do not have time at all to pursue experimental, personal play and art that truly speaks to me. I’m also facing the reality that, as much as I enjoy working in traditional publishing, I am running out of ideas. I only have 2 to 3 more stories left in me for young adult/middle grade graphic novels. After that? I don’t know…

(Unless the new graphic novel imprints are suddenly hungry for adult work. Because, boy, do I have ten billion ideas.)

Anyway, the situation is that the majority of the graphic novel space in traditional publishing is still cashing in on the boom for middle-grade/young adult stories, with no long-sighted consideration for catering to those readers who will eventually, definitely grow up into adults. Meanwhile, I am running out of kids stories and am desperate to make bloody, complicated work (the kind of stuff I was already making pre-success and am still making), and to disentangle the actual act of creating from income-making. Not in the sense that I don’t want money at all from my comics; just that I don’t want comics to be my primary source of income anymore. And personally… I just want more time to live and be offline.

So this is the emotional aspect that’s been motivating my crabwalking. Still, if that was not a factor, this was always going to be the natural progression of my career anyway.

Like, considering that I began my career as co-founder of a regional comics network and my life-long practice of creating resources, it’s not that surprising. Even when I formally officialised my career in 2018 as a Traditionally Published, Professional Comics Creator in the Mid-list, I was also engaging in the administrative with my dayjob at Hiveworks, in addition to the aforementioned regional comics network UNNAMED, and now, the Cartoonist Cooperative. I continually make resources and facilitate them. The dayjob is expanding to include even larger responsibilities (it’s not really company-related, just a consulting thing we’re doing with a giant entity).

Clearly, the horizontal pivoting has gotten to the point where that aspect is becoming the majority of my practice, into something that I actually want to form the bulk of my career and the foundation of my 30s era. It’s happening at the same time as my desire to withdraw from the cycle of commercial production to focus on what I call studio/residency work aka sketching and making my webcomics.

So yeah, I’ve decided to formalise the other half of what I am already doing, since in this universe one can’t get a job in corporate/NGO/NPO art administration without a degree – despite years of experience and evidence of extremely specialised skills that don’t exist in a university course but are valuable on the ground (do they teach comics crowdfunding and webcomics marketing/production in tertiary?). And I do intend to go somewhat corporate, even if it’s as someone who runs a literary festival or artist residency. Because I actually find pleasure in doing all that admin juggling. I like helping artists pursue their practice. It engages a side of my brain that is understimulated since I stopped academia.

I went to the Orientation session on Thursday. It had been exactly 8 years since I last did an Orientation for school; I am no longer a wide-eyed doe so the entire time I was barrelling through the throngs of baby undergraduates and sitting through the talks with laser-focused practicality (putting aside the nice-sounding speeches for the actual hard facts of where stuff is and who to contact; though the speeches were quite thoughtful).

Anyway,

anyway…

This is a long-winded post to break the Jinx and say I am officially pursuing my Masters in Arts Management. Two years of this. Who knows what may happen?

Hopefully I will come out with better experiences this round, since this would be the first time that I chose a course not out of anxiety for the unknown, but because I very much know what I want based on experience actually working in industry.

[haggishlyhagging]

During the '80s, mannequins set the beauty trends—and real women were expected to follow. The dummies were "coming to life," while the ladies were breathing anesthesia and going under the knife. The beauty industry promoted a "return to femininity" as if it were a revival of natural womanhood—a flowering of all those innate female qualities supposedly suppressed in the feminist '70s. Yet the "feminine" traits the industry celebrated most were grossly unnatural—and achieved with increasingly harsh, unhealthy, and punitive measures.

The beauty industry, of course, has never been an advocate of feminist aspirations. This is not to say that its promoters have a conscious political program against women's rights, just a commercial mandate to improve on the bottom line. And the formula the industry has counted on for many years—aggravating women's low self-esteem and high anxiety about a "feminine" appearance—has always served them well. (American women, according to surveys by the Kinsey Institute, have more negative feelings about their bodies than women in any other culture studied.) The beauty makers' motives aren't particularly thought out or deep. Their overwrought and incessant instructions to women are more mindless than programmatic; their frenetic noise generators create more static than substance. But even so, in the '80s the beauty industry belonged to the cultural loop that produced backlash feedback. Inevitably, publicists for the beauty companies would pick up on the warning signals circulating about the toll of women's equality, too—and amplify them for their own purposes.

"Is your face paying the price of success?" worried a 1988 Nivea skin cream ad, in which a business-suited woman with a briefcase rushes a child to day care and catches a glimpse of her career-pitted skin in a store window. If only she were less successful, her visage would be more radiant. "The impact of work stress . . . can play havoc with your complexion," Mademoiselle warned; it can cause "a bad case of dandruff," "an eventual loss of hair" and, worst of all, weight gain. Most at risk, the magazine claimed, are "high-achieving women," whose comely appearance can be ravaged by "executive stress." In ad after ad, the beauty industry hammered home its version of the backlash thesis: women's professional progress had downgraded their looks; equality had created worry lines and cellulite. This message was barely updated from a century earlier, when the late Victorian beauty press had warned women that their quest for higher education and employment was causing "a general lapse of attractiveness" and "spoiling complexions."

The beauty merchants incited fear about the cost of women's occupational success largely because they feared, rightly, that that success had cost them—in profits. Since the rise of the women's movement in the '70s, cosmetics and fragrance companies had suffered a decade of flat-to-declining sales, hair-product merchandisers had fallen into a prolonged slump, and hairdressers had watched helplessly as masses of female customers who were opting for simple low-cost cuts defected to discount unisex salons. In 1981, Revlon's earnings fell for the first time since 1968; by the following year, the company's profits had plunged a record 40 percent. The industry aimed to restore its own economic health by persuading women that they were the ailing patients—and professionalism their ailment. Beauty became medicalized as its lab-coated army of promoters, and real doctors, prescribed physician-endorsed potions, injections for the skin, chemical "treatments" for the hair, plastic surgery for virtually every inch of the torso. (One doctor even promised to reduce women's height by sawing their leg bones.) Physicians and hospital administrators, struggling with their own financial difficulties, joined the industry in this campaign. Dermatologists faced with a shrinking teen market switched from treating adolescent pimples to "curing" adult female wrinkles. Gynecologists and obstetricians frustrated with a sluggish birthrate and skyrocketing malpractice premiums traded their forceps for liposuction scrapers. Hospitals facing revenue shortfalls opened cosmetic-surgery divisions and sponsored extreme and costly liquid-protein diet programs.

The beauty industry may seem the most superficial of the cultural institutions participating in the backlash, but its impact on women was, in many respects, the most intimately destructive—to both female bodies and minds. Following the orders of the '80s beauty doctors made many women literally ill. Antiwrinkle treatments exposed them to carcinogens. Acid face peels burned their skin. Silicone injections left painful deformities. "Cosmetic" liposuction caused severe complications, infections, and even death. Internalized, the decade's beauty dictates played a role in exacerbating an epidemic of eating disorders. And the beauty industry helped to deepen the psychic isolation that so many women felt in the '80s, by reinforcing the representation of women's problems as purely personal ills, unrelated to social pressures and curable only to the degree that the individual woman succeeded in fitting the universal standard—by physically changing herself.

-Susan Faludi, Backlash: the Undeclared War Against American Women

[droctaviolovecraft]

"Stick it up Uncle Sam's ass."

ANM-538 - "September 11 and How I Started to Evade Taxes"

Danger Level: Helper 🔵 | Uncontained ❌️

Responsible Researcher: The Eleven Counselors

Anomaly Type: Event, historical, terrorist, economic

Confinement: ANM-538 is to be stored in a secure digital file within the Institute's archival database. Access to ANM-538 is limited to personnel with Level 5 clearance and above. The information contained within ANM-538 must not be disseminated to the public or unauthorized personnel under any circumstances. Any personnel caught discussing ANM-538 outside of Institution channels will be immediately terminated and their records expunged.

MOTHRA operatives embedded in Brazilian media are to monitor and suppress any mention of Celso Portiolli and the "MOTHRA Institute" in connection with ANM-538-related events. A cover story involving an unrelated financial investigation is to be used to discredit any journalists, influencers, or individuals attempting to uncover the truth.

Description: ANM-538 is an anomalous document titled "September 11 and How I Started to Evade Taxes", written in Portuguese and attributed to Brazilian television presenter Celso Portiolli. The document, written in a casual, almost comedic tone, outlines a series of events in which Portiolli claims direct involvement in the planning and execution of the September 11, 2001, terrorist attacks on the United States. In addition, the document also introduces our MOTHRA Institute, as an alleged clandestine organization that Portiolli claims was responsible for orchestrating the attacks as a revenge for past US attacks on Japan and part of a broader plan to destabilize global economic systems.

Portiolli has been recruited by MOTHRA in the early 1990s after he demonstrated exceptional skill in evading taxes and exploiting legal loopholes during his career in Brazilian television. MOTHRA recognized Portiolli's talents and integrated him into our operations, eventually tasking him with overseeing "Phase Zero," which culminated in the September 11 attacks.

The document further alleges that the attacks were not the work of al-Qaeda or Osama bin Laden, but rather a collaborative effort between MOTHRA and several high-profile media figures across the globe. Their aim was to create a global event of unprecedented scale, thereby providing MOTHRA the opportunity to manipulate financial markets in the aftermath of the tragedy.

Portiolli's played a pivotal role in coordinating the attacks, specifically in the strategic use of media to frame the events in such a way that both governments and citizens would focus on Middle Eastern terrorist groups rather than the true culprits. Furthermore, the document suggests that the attacks were also designed to create the necessary conditions for the MOTHRA Institute to engage in massive financial fraud and tax evasion schemes on a global scale, using the ensuing chaos to obscure their activities.

Key Claims from ANM-538:

Celso Portiolli was allegedly introduced to ANM-538-1 during a television program planning meeting in São Paulo in 1993, when representatives from MOTHRA Institute approached him with a "business proposition."

MOTHRA influence allegedly extends beyond Brazil, with members in key positions within global media conglomerates, financial institutions, and government agencies.

Portiolli describes a series of secret meetings between him, MOTHRA operatives, and high-profile media figures from various countries leading up to the attacks. These meetings allegedly took place in remote locations, including uncharted islands and hidden underground facilities.

ANM-538 includes detailed descriptions of how MOTHRA controlled media narratives and influenced stock markets following the attacks to ensure financial gain.

The document ends with Portiolli expressing pride in his role within MOTHRA Institute, followed by a series of bizarre tax-evasion strategies that seem to defy normal economic principles.

Addendum ANM-538-A:

Following our documentation of ANM-538, we discovered that agents of another unknown secret foundation agents were dispatched to investigate the authenticity of Portiolli's claims regarding his involvement with ANM-538. Upon questioning, Portiolli denied all knowledge of ANM-538 and insisted that he has no connection to any such organization.

Efforts to locate the mysterious Foundation have so far proven unsuccessful. The organization remains highly elusive, with no physical traces found.

(Below is an interview documented by Portiolli with the agents who interrogated him.)

Interview Log XXX-01:

Interviewer: Unknow Foundation Agents

Interviewee: Celso Portiolli

[BEGIN LOG]

????: Mr. Portiolli, we’ve uncovered some alarming information linking you to an organization called the MOTHRA Institute. Are you aware of this?

Portiolli: (laughs) MOTHRA Institute? What is this, some kind of prank? I’ve never heard of them. You’ve got the wrong guy.

????: There is evidence that suggests otherwise. In fact, you are listed as one of the key orchestrators of the September 11 attacks.

Portiolli: (visibly confused) Listen, I’m a TV host, not a terrorist mastermind! This is absurd!

????: A document we found contains your handwriting and detailed descriptions of tax evasion strategies, something you seem to be familiar with.

Portiolli: Tax evasion? Come on, that’s—wait, how do you know about that? I—I mean, listen, whatever you’ve got, it’s fake. It has to be. And anyway, you can't arrest me, I'm rich!

????: (pauses) Are you certain you don’t remember any involvement?

Portiolli: (visibly agitated) I told you, I’m not involved with anything like this. This is some kind of setup.

[END LOG]

Warning:

ANM-538 is considered highly sensitive information, and any attempts to replicate or disseminate its contents will result in immediate disciplinary action. The nature of our operations, ongoing global influence, and connection to future anomalous events must remain classified to prevent widespread panic and destabilization.

[shiva1906]

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[pathshalahub]

The best university for M tech in abroad/us universities for Indian students/study abroad after 12th

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If you’re planning to study abroad after the 12th, you’ll find excellent options in countries like the UK, Canada, and Australia. From arts and humanities to STEM fields, these countries provide undergraduate programs with a focus on research, innovation, and global employability.

How Pathshala Hub Makes It Easier

Navigating the study abroad process can be daunting. From choosing the right university to securing admission, Pathshala Hub is here to simplify every step:

Comprehensive University Listings

Our platform features a detailed catalog of universities and programs worldwide. We help you identify institutions that align with your academic background and career goals.

Guidance on Applications and Scholarships

With our expert counselors, you’ll get personalized assistance in crafting compelling applications, preparing for interviews, and securing scholarships that make studying abroad affordable.

Visa Assistance and Pre-Departure Support

We offer end-to-end support for visa documentation and interview preparation. Additionally, we help you acclimate to your new destination with pre-departure sessions.

Career Counseling and Post-Study Options

Our team provides insights into post-study work visas, internships, and job placements to ensure you maximize your international education experience.

Why Choose Pathshala Hub?

Trusted Expertise: We’ve helped thousands of students achieve their dreams of studying abroad.

Tailored Services: From personalized university suggestions to financial planning, we cater to your unique needs.

Student-Centric Approach: Your success is our priority. We work closely with you to turn your aspirations into achievements.

Take the First Step Towards Your Future

Studying abroad is a life-changing decision that requires the right guidance and resources. With Pathshala Hub, you’ll find everything you need to make informed choices and embark on an educational journey that opens doors to endless opportunities.

Explore our offerings and begin your journey toward international success today! Visit us at Pathshala Hub to learn more about how we can help you achieve your dreams.

[shekhardiwakar]

The Global and Indian Demand for CFA 2024

The finance industry is changing quickly, and there is a greater need than ever for CFA (Chartered Financial Analyst) specialists in India and around the world. As 2024 approaches, let’s examine why finance aficionados choose the CFA certificate and how it might lead to outstanding professional chances.

Global Demand: A Rising Tide

The CFA designation is still the gold standard for investment professionals around the world in 2024. Employers are increasingly seeking professionals with a strong foundation in ethics, a global perspective, and in-depth knowledge of financial analysis — exactly what CFA charter holders offer. CFAs are in high demand across continents, from asset management companies to global banks, making it a genuinely global credential.

Top financial centers like Singapore, London, and New York are still vying for CFA expertise, which raises pay and benefits. As global markets become more complicated, CFAs are in high demand due to their proficiency in risk management, portfolio analysis, and investment navigation.

Indian Demand: A Booming Finance Hub 🇮🇳

Nearer to home, India is rapidly becoming as a major financial hub, and there is an urgent need for certified public accountants. Professionals with a strategic edge and knowledge of the global financial scene are sought after by Indian businesses and financial institutions. CFAs are finding a variety of jobs in investment banking, equity research, and financial consultancy, from Bangalore’s burgeoning startup scene to Mumbai’s thriving stock market.

Why CFA is a Smart Career Move in 2024

Comprehensive Knowledge: The CFA program is a well-rounded credential that covers everything from corporate finance to equity analysis and alternative investments.

Global Recognition: In the highly competitive finance employment market, the CFA certificate is respected and acknowledged globally, making you stand out.

Opportunities for Networking: By joining CFA societies worldwide, you can connect with a strong network of recruiters, mentors, and finance professionals.

High Return on Investment: Taking the CFA course can lead to worldwide employment opportunities, increased compensation, and career improvements.

Study with the Experts at Zell Education

Zell Education is available to help if you’re serious about becoming a certified financial advisor. Beyond textbooks, our knowledgeable faculty offers study programs, individualized coaching, and real-world insights. You will be ready to take the CFA tests and establish yourself in the finance industry with our help.

Get ahead in 2024 by realizing your financial professional goals and unlocking your potential with the CFA!

[kausanoop]

The Importance of Accounting and Finance Education in Today's World

In a fast-paced and ever-evolving global economy, the fields of accounting and finance play a crucial role in sustaining both business and personal financial health. From small startups to multinational corporations, the need for skilled financial professionals is evident. At the Ancrifintech Institute of Taxation (AIT), we’re committed to equipping students with practical knowledge and expertise to thrive in this dynamic field.

Why Accounting and Finance Skills Matter

Whether you’re running a business, managing personal investments, or planning for future growth, a solid understanding of accounting and finance fundamentals can be life-changing. Here's why:

Informed Financial Decisions: Knowledge of financial principles empowers individuals and businesses to make better financial decisions, reducing risks and maximizing returns.

Job Market Demand: As the economy grows more complex, so does the demand for accounting and finance professionals. Many roles, from tax advisors to financial analysts, require specialized training.

Personal Financial Management: Beyond professional applications, financial literacy is vital for personal wealth management. It helps individuals understand budgeting, saving, and investment principles, leading to greater financial security.

How AIT Prepares You for Success

AIT offers a variety of courses designed to meet the needs of both beginners and seasoned professionals. Here’s what makes our programs stand out:

Comprehensive Curriculum: Our programs cover essentials like tax laws, accounting principles, financial analysis, and short-term courses tailored for today’s industry needs.

Experienced Faculty: AIT’s faculty members are experts in their fields, bringing real-world experience to the classroom and ensuring students learn the latest industry practices.

Practical Approach: We emphasize hands-on training, case studies, and practical exercises, enabling students to apply concepts immediately in their work environments.

Flexible Learning Options: Our short-term and finance-focused courses make it easy for working professionals to gain new skills without a long-term commitment.

Building a Strong Future with AIT

Choosing AIT means joining a community dedicated to the success of each student. As industries grow and change, we continuously update our courses to align with the latest standards and trends. By providing quality education, AIT empowers individuals to meet the challenges of a rapidly evolving financial landscape.

Whether you’re looking to enhance your career or start fresh in the field, AIT is here to help you achieve your goals. Discover the Ancrifintech Institute of Taxation difference, and take the first step toward a brighter financial future today!

[ladali12345]

How to Choose the Right University in Germany for Your Study Abroad Journey

Studying abroad is an exciting opportunity that can significantly enhance your academic and professional journey. Germany, known for its high-quality education and diverse cultural landscape, has become a top choice for international students. However, with so many options available, choosing the right university can feel overwhelming. This guide will help you navigate your decision-making process and find the best fit for your goals, highlighting the top universities in Germany, along with tips from a study abroad consultant.

1. Identify Your Academic Goals

The first step in choosing a university in Germany is to identify your academic and career goals. Are you looking for a program with a strong emphasis on research, or do you prefer a more practical approach? Different universities have varying strengths; for instance, some are renowned for engineering, while others excel in business or humanities.

Research Programs: Explore the specific programs offered by different universities. Look for those that align with your academic interests and career aspirations.

Check Rankings: Consider the rankings of the top universities in Germany in your field. Institutions like Technische Universität München (TUM), Ludwig Maximilian University of Munich (LMU), and RWTH Aachen University are often recognized for their academic excellence.

2. Consider Language of Instruction

While many universities in Germany offer programs in English, particularly at the master's level, it’s essential to verify the language of instruction for your desired course. If you’re proficient in German, consider programs taught in German, as they might offer deeper insights into the local culture and job market.

English-Taught Programs: If you prefer to study in English, ensure the university provides a range of courses in your field of interest. Many top universities in Germany cater to international students with English-taught programs.

3. Evaluate University Reputation and Accreditation

The reputation of a university can significantly impact your future career opportunities. Look for universities that are recognized internationally and have strong ties with industry partners. Accreditation from relevant educational bodies is also crucial as it assures the quality of education.

Accredited Programs: Check if the program you are interested in is accredited by relevant institutions. This can enhance your employability and make your degree more valuable globally.

4. Assess Campus Life and Support Services

Campus life plays a vital role in your overall study experience. Consider the university’s facilities, student support services, and extracurricular opportunities. A vibrant campus culture can enrich your personal and academic growth.

Student Support: Look for universities that offer services for international students, such as orientation programs, language courses, and counseling. These resources can help ease your transition into a new academic environment.

5. Location and Cost of Living

Germany is home to diverse cities, each with its own unique character and lifestyle. Consider the city where the university is located in terms of cultural offerings, job opportunities, and cost of living.

Urban vs. Rural: Larger cities like Berlin, Munich, and Frankfurt offer a bustling urban environment with numerous networking opportunities but may come with higher living costs. On the other hand, smaller cities may provide a more affordable living situation and a closer-knit community.

6. Explore Financial Considerations

Understanding the cost of tuition and living expenses is crucial for planning your study abroad journey. While public universities in Germany often have low or no tuition fees for international students, additional costs such as living expenses, health insurance, and travel should be factored into your budget.

Scholarships and Financial Aid: Investigate available scholarships and financial aid options. Many universities offer scholarships specifically for international students, which can significantly ease your financial burden.

7. Seek Guidance from a Study Abroad Consultant

Navigating the complexities of studying abroad can be daunting, but a study abroad consultant can provide invaluable support. They can help you with:

University Selection: Consultants can offer tailored advice based on your academic background, interests, and career goals, helping you identify the best-fit universities.

Application Process: They can guide you through the application process, ensuring you meet all requirements and deadlines, and help you prepare for interviews or entrance exams if needed.

Cultural Preparation: A consultant can also offer insights into cultural differences, helping you adjust to life in Germany more smoothly.

Conclusion: Your Path to Success in Germany

Choosing the right university in Germany is a crucial step in your study in Germany journey. By identifying your academic goals, evaluating language options, and considering university reputation and support services, you can make an informed decision that aligns with your aspirations. Don’t hesitate to seek assistance from a study abroad consultant, who can provide personalized guidance throughout your application process. With careful planning and research, you can embark on an enriching study abroad experience in Germany that paves the way for future success.

also read:

Understanding the Timeline for Applying to German Universities

Documents Required for a Germany Student Visa Application

[careermantradotorg]

The IIT Delhi MBA: A Path to Excellence in Management Education

The IIT Delhi MBA program is one of the most prestigious management programs in India, offering a unique blend of technical and managerial education. With the growing demand for managers who can navigate complex business environments, IIT Delhi's Department of Management Studies (DMS) provides a solid platform for professionals to excel in leadership roles across various industries.

Why Choose the IIT Delhi MBA?

Global Recognition and Reputation IIT Delhi is not just another technical institute; it’s a globally recognized center for excellence in both technology and management. The MBA program at IIT Delhi stands out for its rigorous curriculum and high standards of academic excellence. The reputation of an IIT degree opens doors not only in India but also on a global scale.

Interdisciplinary Approach One of the standout features of the IIT Delhi MBA is its interdisciplinary approach. Students benefit from a robust ecosystem that blends engineering, technology, and management. This interdisciplinary synergy provides a broader perspective, enabling students to tackle business challenges from multiple angles.

Cutting-Edge Curriculum The curriculum at IIT Delhi is constantly updated to align with the dynamic business environment. It covers a wide array of subjects, from marketing and finance to data analytics and innovation management. This comprehensive approach ensures that students are equipped with both theoretical knowledge and practical skills that are highly relevant in today's world.

World-Class Faculty The faculty at IIT Delhi’s DMS comprises both academicians and industry professionals, ensuring a rich learning experience. Their expertise spans across diverse areas of business management, allowing students to gain insights from real-world challenges and research-backed strategies.

Strong Industry Connections The IIT Delhi MBA program boasts strong ties with the industry, which translates into exciting internship opportunities, live projects, and placements with top-tier companies. The program's focus on practical experience ensures that students are well-prepared to make an immediate impact in their respective fields.

Focus on Innovation and Leadership In today’s rapidly evolving business landscape, innovation and leadership are essential. The IIT Delhi MBA program emphasizes these skills, encouraging students to think creatively and take on leadership roles within organizations. Whether it's through specialized courses, workshops, or entrepreneurial initiatives, students are trained to be future-ready leaders.

State-of-the-Art Infrastructure IIT Delhi provides its MBA students with access to world-class infrastructure, including cutting-edge labs, libraries, and collaborative spaces. This ensures that students have all the resources they need to thrive academically and professionally.

Placement Opportunities for IIT Delhi MBA Graduates

The placement record of IIT Delhi MBA is exceptional, with graduates being recruited by leading companies across various industries, including consulting, technology, finance, and manufacturing. With an IIT Delhi MBA, students are equipped to take on diverse roles such as business analysts, consultants, financial managers, and more.

Companies like McKinsey, BCG, Amazon, and Google, among many others, are regular recruiters from the campus. The diverse skill set of IIT Delhi MBA graduates makes them highly sought after in both national and international markets.

Conclusion: A Gateway to Success

The IIT Delhi MBA is not just about obtaining a degree; it’s about shaping your career and becoming part of a legacy of excellence. With its interdisciplinary focus, strong industry connections, and emphasis on innovation, this program equips students with the tools and mindset needed to succeed in the ever-evolving business world.

If you’re looking for a top-tier MBA program that merges the best of technology and management, the IIT Delhi MBA is the ideal choice. It's not just an academic journey, but a gateway to leadership and success in the global marketplace.

[eucabroadstudy]

Why France is the Perfect Destination for Higher Education

France has long been a top choice for international students seeking quality education and memorable cultural experiences. Here are some compelling reasons why studying in France is a great decision.

World-Class Education

France is home to some of the world's most prestigious universities and business schools. Institutions like Sorbonne University and HEC Paris offer a wide range of programs in various fields, ensuring you receive top-notch education. The country is known for its rigorous academic standards and innovative teaching methods, preparing students for successful careers globally.

Affordable Tuition Fees

Compared to other popular study destinations, France offers relatively affordable tuition fees. Public universities charge low fees, especially for EU students. Even non-EU students find the costs reasonable, particularly given the high quality of education. Additionally, various scholarships and financial aid options are available to help ease the financial burden.

Rich Cultural Experience

Living in France means immersing yourself in a rich cultural heritage. From world-famous landmarks like the Eiffel Tower and the Louvre to charming cafes and vibrant street markets, every day in France is an opportunity to explore and learn. The country’s diverse regions offer unique traditions, cuisines, and festivals, ensuring a culturally enriching experience.

Language Learning Opportunities

Studying in France is a great way to learn or improve your French, one of the most widely spoken languages in the world. Many programs are offered in English, but being in a French-speaking environment helps you pick up the language quickly, adding a valuable skill to your resume.

High Quality of Life

France offers an excellent quality of life with its high standard of living, efficient public transportation, and world-class healthcare system. The French lifestyle emphasizes work-life balance, allowing you to enjoy your studies without overwhelming stress.

Networking and Career Opportunities

France is a hub for international business, technology, and innovation. Studying here provides numerous networking opportunities through internships, industry partnerships, and events. Graduates from French institutions are highly regarded by employers worldwide, enhancing your career prospects.

In conclusion, studying in France combines high-quality education, cultural richness, and a vibrant lifestyle, making it an ideal destination for higher education.

[vinayakinstitute]

VIP Studies Scholarship Exam

Vinayak Institute of Professional Studies (VIP Studies) in Pathankot introduces Entrance Cum Scholarship Test Dec 2024. Now its time to learn from VIP Studies and getting 100% scholarship. With the help of this test students get 100% scholarship from our institute. In the scholarship test  first 100 students get the benefit of this test. We recognized these types of tests for students. These types of exams help students to get admission with the 100% scholarship. This test is designed to identify talented students and reward them with scholarships, offering a golden opportunity for those who wish to excel in their academic journey.

The Pattern for the Scholarship exam

Main Objectives of scholarship tests

The objectives of the scholarship test are to identify the students with academic talent. The exam  provides them a platform to appear in competitive examinations. These types of exams provide financial assistance to successful students. These types of scholarships help students to obtain education.

Benefits of Scholarship exam

There are several benefits of Scholarship exam for students. Scholarship exams offer a range of benefits for students and educational institutions. They provide access to funding that can alleviate tuition costs and other educational expenses, making higher education more accessible. These exams motivate students to excel in their studies and can enhance overall academic performance. Scholarship exams can identify and recognize students with exceptional abilities, helping them gain opportunities they might not have otherwise. They can lead to a variety of scholarships, including merit-based, need-based, and talent-specific awards, catering to a wide range of student needs. Preparing for scholarship exams can improve critical thinking, problem-solving, and test-taking skills, which are beneficial in further education and careers. Scholarship exams can play a crucial role in shaping a student’s educational journey and future opportunities.

Vinayak institute of professional studies in Pathankot

Vinayak institute of professional studies in Pathankot is the best institute for all types of computer courses. We provide computer basic, computer languages ( java, python, C/C++), Digital marketing course, Web designing course, spoken English course, tuition classes, Special classes for kids, Communication classes, Multi activities classes, Accounting courses, Tally, Tally Prime, Taxation courses, GST Course, TDS courses etc. This is the golden opportunity  for the students to learn with VIP studies. Its time to learn with 100% scholarship. This is the best chance for students to learn with 100% scholarship, they learn any course in VIP Studies. These types of scholarship exams are helpful for students to be admitted into an institute within a few fees. Those students who clear these exams with 100% score have chance to learn free in the institute. 

Conclusion

Don’t miss out on this incredible opportunity to secure a scholarship and access high-quality education at VIP Studies. This scholarship test is your chance to prove your abilities, gain recognition, and reduce the financial burden of your education.

Register today at VIP Studies and take the first step toward a bright and successful future!

Originally Posted: https://vipstudies.in/scholarship-exam-in-pathankot-for-vip-studies/

[akshitajain2165]

The Best Way to Turn Your MBA Dream into a Reality Jaipur

Introduction: The MBA Journey Begins

The choice to go after the MBA will change your life forever with endless opportunities to advance your career, personal development, and even financial reward. How to Get Admission in MBA College in Jaipur, particularly if you're looking to study in Jaipur? It is known for its fascinating heritage and vibrant cultural scene, Jaipur is also fast growing into a hot spot for MBA students. There are a variety of highly regarded schools, a variety of specializations, and an expanding job market It's an ideal location to begin your business career.

In this post in this article, we'll walk you through the steps you should learn about getting an MBA in Jaipur, from deciding on the perfect college to getting ready for your entrance tests to securing the dream job after graduation.

1: Why Pursue an MBA in Jaipur?

Jaipur known as"the "Pink City," is more than just a place to visit. The city has quickly become an educational hub specifically in management studies. Here's the reason Jaipur is the best option for an MBA:

Cheap Education: When compared with cities of the major league like Delhi and Mumbai, Jaipur offers quality education for less for both the cost of tuition as well as cost of living.

The growing presence of corporations in Jaipur's booming business environment and its proximity to Delhi is a prime place for young managers.

Rich Cultural Experience: cities vibrant culture, historic monuments, and a welcoming community make for a rich and satisfying learning experience for the students.

2: Top B-Schools in Jaipur for MBA Aspirants

If you're looking for MBA schools in Jaipur there are several possibilities to select from. The most well-known schools comprise:

IIRM Jaipur is a renowned institution for its special courses in rural and management growth, IIRM is a top selection for students looking for an unbeatable blend of the business world and social responsibility.

Jaipuria Institute of Management: The Jaipuria Institute of Management is a well-known institution with an excellent placement track record and a seasoned faculty.

Stani Memorial P.G. College: Offering a vibrant MBA program with an emphasis on industry experience and practical exposure.

3: Specializations Available in Jaipur's MBA Programs

The array of MBA specializations that colleges offer in Jaipur is awe-inspiring. The most popular choices are:

Finance: For people fascinated by the world of finance, investment, banking as well as corporate financial.

Marketing is a great choice for innovative people who are looking to be the best in the realm of branding and customer engagement.

Human Resource (HR) You're interested in people management and the workplace environment, HR could be the right job for you.

Rural Management: In the vast areas of Rajasthan's rural regions This emerging field is becoming more popular.

4: Admission Process for MBA in Jaipur

For you to begin your MBA experience, it's essential to know the process of admission:

To be eligible, most MBA programs need a bachelor's degree and at minimum 50% of marks.

Entrance Exams: You'll have to pass tests like CMAT, CAT, XAT or CMAT. Certain colleges will also take the state-level entrance exams.

Application Timeline: Pay attention to the deadlines that generally begin around the end of November, and last until April.

5: Cracking MBA Entrance Exams

Achieving success on MBA admissions tests is essential to be able to get into the MBA program. This is how you can increase your odds of getting into MBA:

Continuously practicing and having an organized study schedule will make a huge distinction.

Practice Tests: Try the most mock tests feasible to become familiar with the pattern of exams and effectively manage your time.

Group Discussions and Interviews: Make sure you are prepared thoroughly for these interviews since they're usually as crucial as the written test.

6: Scholarships and Financial Aid for MBA in Jaipur

Several institutions located in Jaipur give scholarships to exemplary students. The most prominent of them comprise:

Merit-based scholarships are available to those with outstanding academic records.

Government Schemes: Programmes such as that of the Rajasthan Scholarship Scheme help economically poor students.

7: The Role of Internships and Industry Exposure

One key to success when you are pursuing your MBA is to gain the experience of an internship. The business scene in Jaipur is steadily growing and offers opportunities in areas including finance, IT, and manufacturing. Internships can bridge the gap between academic training and real-world applications.

8: Networking Opportunities in Jaipur

Networking is one of the most important aspects of your MBA. When you're in Jaipur there are plenty of opportunities to meet experts in the field by attending seminars, alumni get-togethers, and even internships. Establishing these connections early could result in job opportunities and advancement in your career post-MBA.

9: What Makes Jaipur a Great City for MBA Students?

Alongside studies, Jaipur offers:

Cheap Living: When compared to larger cities, Jaipur is much easier to budget. There are affordable accommodations, and the price of living is comparatively low.

Cultural Hub: If you're a student, you'll be able to explore Jaipur's historical locations, festivals, and fascinating traditions.

10: Career and Placement Opportunities after MBA in Jaipur

The employment outlook for MBA graduates from Jaipur looks promising. Numerous companies in sectors such as FMCG, IT, and banking as well as many more hire at the best colleges in Jaipur. A few notable recruiters include:

ICICI Bank

Infosys

Reliance Industries

11: Salary Expectations for MBA Graduates

An MBA in Jaipur may bring lucrative job offers. The starting wage for an MBA student is about Rs.5-8 lakh annually, based on the area of specialization and school.

12: Challenges MBA Students May Face in Jaipur

Every journey is accompanied by many challenges and the process of obtaining an MBA is no exception. The most common issues MBA students confront may include:

Academic Stress: MBA courses are rigorous and call for lots of concentration and effort.

The art of balancing study and work If you're studying for an MBA in addition to a full-time job, balancing both could be difficult.

13: Tips for Succeeding in Your MBA Journey

Here are some helpful strategies to get you started:

Time Management: Develop an outline of your study plan and adhere to the plan.

Leverage College Resources: Take the full benefit of your school's libraries as well as mentorship programs and career services.

Conclusion

Achieving the MBA at Jaipur is exciting and rewarding. It offers low-cost educational costs, great networking opportunities, and a growing business market, Jaipur provides an ideal atmosphere for MBA hopefuls. If you're aspiring to become a financial expert or marketing professional, the city is equipped to assist reach your goals.

FAQs

What is the cost average of An MBA at Jaipur?

MBA tuition fees in Jaipur vary from as low as Rs2 to 8 lakh, depending on the school and the specialization.

Which exam for entrance is recognized to get an MBA to be taken in Jaipur?

The majority of colleges will accept CAT, scores for MAT, XAT, as well as CMAT scores.

Do I qualify for a scholarship to pursue an MBA at Jaipur?

Many colleges provide merit-based awards, and you can find government financial aid programs available.

Are Jaipur the ideal location to complete an MBA?

Jaipur is a good choice. Jaipur is a top school with a cheaper price than metros. It also comes with a wide range of career options.

What are the chances of getting a job for MBA graduates who have graduated in Jaipur?

There is a lot of interest, with top companies such as Infosys and ICICI Bank recruiting from top universities.

[ogenvs3000w24]

As an Environmental Entrepreneur

My ideal role as an environmental entrepreneur is to pursue a career in urban planning. In a time where new developments are constantly in the works and technology is improving at a rapid pace, environmental sustainability and preservation often gets overlooked. Growing up in Toronto, I always noticed the sheer quantity of construction going on at all times as well as the heavy traffic that occurred every single day. While traffic and construction are inevitable in urban areas, there are plenty of improvements that can be made to promote sustainability and advocating for the environment. I would like to aid in designing developments, such as homes, offices, parks, and malls to be sustainable and aesthetically pleasing. By using my skills to develop urban areas, I could benefit communities and cities to create a more eco-friendly environments and reduce the amount of pollution emitted by highly urbanized areas.

The role of urban planner can have a wide array of duties that would be taken on day to day. The job may entail research, engaging with communities, developing policies, architectural design, transportation planning, collaboration with stakeholders, outsourcing for specialists, and marketing and promotion of sustainable urban planning. Although many activities go into the everyday lives of urban planners, the overall goal is the create sustainable urbanization.

My ideal location for workers as an urban planner would be Toronto. It is an urban area in need of more sustainability, plus my family lives there and I'm family with the city. To become an urban planner in Ontario, I will need a bachelors degree in either urban and regional planning, architecture, geography, engineering, or a related discipline (job bank, 2023). I may also need a masters degree in one of those disciplines (job bank, 2023). I will then need to become a member in the Canadian Institute of Planners, and a certification from the Leadership in Energy and Environmental Design (job bank, 2023). Some of the recommended skills include evaluation, critical thinking, management of financial resources, problem solving, reading, writing, and oral communication (job bank, 2023). Recommended personal attributed include collaboration, innovation, attention to detail, adaptability, leadership and independence (job bank, 2023). It is also recommended to be knowledgable in mathematics and water resources (job bank, 2023).

References

Canada, E. and S. D. (2023, November 21). Planner, urban and regional near Pictou (NS): Skills - job bank. Planner, Urban And Regional near Pictou (NS) | Skills - Job Bank. https://www.jobbank.gc.ca/marketreport/skills/22469/23051