#The selling points 100% personal and by experience. To me sometimes

[hajihiko]

One of my favourite directions

[roboticchibitan]

I used to work at JoAnn's and let me give you a tip. Don't buy fabric there if you can help it. It's overpriced low quality crap. You can absolutely find fabric for just as cheap online and if you're a "have to touch it before I know if I'll hate it or not" person lots of online places sell samples.

Case in point: Robert Kaufman Kona solids. I've seen claims online that the Kona solid quilting cotton, which is the highest quality quilting cotton solids JoAnn's sells, is different and lower quality than the Kona cotton you can get at a quilt shop. I can't speak to the validity of those claims but I 100% would not be surprised if it were true. But let's set that aside and just see how JoAnn's prices measure up.

As you can see, the regular price at JoAnn's is $9.99. The regular price at this random quilting online store I spent 20 seconds on duckduckgo to find is $7.95. Sure, the sale price is 15¢ cheaper at JoAnn's. But JoAnn's is constantly playing this "our fabrics are cheap because they're on sale! Don't look at how much they regularly cost anywhere else" psychological warfare game which I do NOT appreciate.

I'm sure if you looked harder than the 20 seconds I spent on duckduckgo you could find Kona cotton for cheaper than JoAnn's has it and you wouldn't have to wonder about the quality claims. And all their fabric is like this. Maybe a decade ago it was a good deal but now? There's a reason they've gone bankrupt.

Just because I could, I compared fabric wholesale direct's price for solid color polyester Jersey knit fabric, which is regularly priced at $5.99 and is currently on sale for $5.09. JoAnn's comparable fabric starts again at $9.99/yard and that fabric is currently on sale for $6.99. There are 10 colors of the JoAnn's $6.99 fabric and 45 colors of the FWD $5.09 fabric FWD does free shipping over $99 and flat rate shipping at $7.95 for anything below that. Depending on how much you buy, you'll potentially be paying the same or less for the FWD fabric and 1. It's probably higher quality and 2. There's 4 times as many color options.

JoAnn's is good for if you need less than a yard and have the time and ability to go to the store in person. And yeah, if you're shopping in person, you don't have to pay shipping. But the quality of all their fabric is low and the "sale" prices are around the same as a place with higher quality fabric.

I buy embroidery floss and thread at JoAnn's cuz embroidery floss is cheaper in person than on DMC's website and you can't trust product photos of thread to be color accurate. And I buy sewing notions there sometimes cuz it's convenient. But even the scissors I spent $30 on there a decade ago (who knows how much they are now) were $17 at Walmart when I lost the first pair and had to replace them 4 years later.

Also they treat their employees like shit and currently no one besides store managers gets health insurance through them because the only full time position in their stores is the store manager. And even before the bankruptcy they shortstaffed and did everything in their power to avoid paying for benefits and overtime. It was the worst job I ever had and that's saying something because I worked at Walmart and had a "this creepy guy went to JAIL over what he did to me" experience there.

[tokyo-tower-symbolism]

I've been meaning to get into the re:live game story for a while now, but I don't know how necessary the event stories are in comparison to the main and school stories...

do you have a recommended reading order for main story and events if the timeline makes them interspersed?

Uhh, there was this one good google doc that had a bunch of stuff like what stories were important for each character, but I cannot find that right now so I'll do my best from memory but honestly I might miss a couple things so my bad.

Edit: thank you @pallastronomy for finding the doc in question, i really wanted to read that again too

To read it you can go to the wikia, read it on karth.top, or look up the parts on Youtube. That last one might be the best since you'll get the full visual novel experience.

So first off I would suggest reading the first part of the story, so Main Story chapters 1-6. Well, suggest is a strong word. I think those chapters kinda suck, but I guess they're necessary for the premise and to introduce the characters? But then again they abandon the original premise half way in favor of the performance festival so whatever. And if you want a better introduction to the characters you should read the School Stories (ignoring SJH) and also maybe watch Shoujo Cante All Starlight. So really I don't suggest you read those chapters but

I think at this point you are can read the event stories from "Hello to Halloween" to "Surprise! Rehearsal Friends!"

And you don't need to read them all, but they're fun! I couldn't really tell you which ones are super important to the plot, sorry about that. Honestly my personal opinion at this point is to just pick a couple characters you like to follow and read their stories. You can see who participates in each one on the Revue Starlight wikia

Plus, character card bond stories! Each event has a couple gacha cards they're trying to sell, and sometimes they're not super related to the story, but sometimes they are. If someone references something that happened off screen, it either happened in an earlier event or in the bond card, but I'd still only read the bond cards once you're done reading the event is over since otherwise they can be spoilers. Just think of those as prequels instead of preludes.

Then at this point you can read Main Story Chapters 7-11. And I really do think you should read these since they are juicy. There's a new plot and we really get to dive deep into the ReLive characters and see their individual pasts and why they now stand on stage. It's great.

Now for the Event Stories, feel free to read any story from "Starry Diamond Tragic Orion" up until "Royal Retainer"

Although now I gotta bring up some caveats. Anything with Seiran is not going to matter to the main plot of ReLive, and if you're curious about them, then that gets into Stage Play Territory which is much easier to follow but not in ReLive.

And honestly same with the Seisho only stories. They're fun, don't get me wrong, but they kinda don't affect the developments of the cast at all.

Starry Diamond is a live show that had some Revues, so some of the relive events are just rehashings of those. Except Venus & Cupid Story, which is a sequel to Zeus no Chuusai from the Starry Diamond Live, and that revue is actually super important to the Yumeoji Sisters's story but it is not in ReLive.

And once you've had your fill of those stories, you can start reading Main Story Chapters 12-18, Arcana Arcadia. And this one is really good. Iirc, the main revue starlight writer came in for these parts. There's some info that directly leads into the movie. And it's honestly great.

But the issue is that there are intermission bond stories that need to be read in the middle of the chapters. If you are reading it online that can be kind of pain, but in the game I think it's in the right order? I could not say for sure since I don't actually play it. Anyways, here's the vague order according to the wikia, but I'm not 100% on this

Chapter 12: 1-2

Chapter 13: Tower, Hermit, Empress, 1-3, High Priestess, 4-5, Magician, 6-9, Hanged Man, Strength, 10-15

Chapter 14: Wheel of Fortune, Chariot, 1-2, Lovers, 3-14, Faith, Hierophant, 15

Chapter 15: 1-2, Devil, Sun, Justice, 3-15

Chapter 16: Death, Charity, 1-15

Chapter 17: Temperance, 1, Fool, 2-4, World, Judgement, 5-15

Chapter 18: Hope, 1-9, Emperor, 10-14, 15/Moon

So yeah, after this you have basically free reign to read the remaining event stories. The next big ongoing plot seems to be about Siegfeld Junior High, but that one also isn't really connected to the previous stories at all.

Also some cards have connecting bond stories even without events, such as the Frontier Rangers, Orpheus, Camelot, Snow White, and Yin-Yang.

But for real, I think the best way to get into the story is to read the main story and then see what characters you like. Then you can read along all their bond stories and events that they star in, and maybe you'll find other characters that stand out. If you are missing any information, usually characters will reference whatever they are talking about, so you won't be completely lost.

So yeah, I hope you have fun with the relive story! It touches on a lot of the themes from the show and honestly I just really liked seeing the characters again. And also Arcana Arcadia is great, just so great.

[akria23]

Suspect / Character Chart Update:

Nobody:

So this week’s episode moved us off the path of Nuth as he claimed that Nant committed suicide - including some possible flashbacks of the body. This moves my Nobody theory - specifically Nobody: Theory A into sus rank 1.

Do I believe that Nant committed suicide tho? No I’m not convinced yet. I do think he’d have a lot of reasons for suicide - which I pointed out the first time I posted - but there’s so many questions left with that option. Where’s the body? Did nuth hide it? Why? What about a suicide note - not everyone leaves one but it seems strange of Nant in particular to not want to get out to his brother what he’d never been able to say while living.

I do think this does move up other aspects of the Nobody theory tho - they confirmed debt collectors so maybe Nant faked his death & went into hiding, or they harmed him. We still have the possibility of psychological break & Nont and Nant being the same person who just suffered a traumatic experience or drug usage that caused a break in his psyche - I still don’t want this the most but I can see it being this cause it is the safer route to end us off with.

Nuth:

Nuth has moved down in the ranks to the number 2 spot. Hes not lower because while he claims that Nant ruined his life and committed suicide all of his flashbacks of Nant so far hasn’t shown Nant be violent or harmful towards him. He’s pictured supportive, sexualized, and a hurt Nant. That’s not to say Nant couldn’t have harmed him or even made his life worse - it’s just a possibility that Nuth isn’t a reliable source even his flashbacks. We’ve seen him have hallucinations so it’s difficult to say what he recalls or sees as 100 proof of things happening or have happened.

Also…did they ever tell us what the bloody hand print was from… If Nant was selling drugs to pay his debt is it the same ppl Nuth is selling for? Theres also these lines or cages placed over Nuth sometimes and I’m not sure if it’s metaphor for criminality or a metaphor for how trapped he feels. There’s still one of two threads they can pull and circle back around to it being Nuth so he stays on the list.

Prom:

It’s still all vibes no evidence. He doesn’t slip, he doesn’t miss. He’s almost the perfect specimen partner wise in the sense that he has an ability to read Nont in a way no other does. He’s not overbearing, or controlling. He doesn’t try to change Nont’s mind after boundaries are set. Anything Nont says he needs or wants, Prom goes along with - an active supporter (plotting, research, giving him the weapon). But that’s the thing, Nont is more honest with him than he is with any other characters - and he has to see the frayed edges but he doesn’t pull Nont back at all. He enables…he’s supporting his descent.

The question I’m lost on is why. Maybe it’s empathy, relatability- I too am sadistic in my way, I too have rage, I wanna kill someone - and because he’s so good at repressing he admires & desires Nont who doesn’t repress who just acts and reacts. And this is what makes them revenge lovers.

But there’s still always that niggle at my brain that reminds me that Prom inserted himself and then had had influence over the case ever since. The show is always highlighting something off when Prom is in the mix - the music change, the aesthetic of the room, the way they position his def in scenes at the Playboyy with Aob & Puen (which I’m sure is to show us how he’s a source that benefits from the competing nature). He still feels like an invisible hand, still feels like he’s playing chess and seeing moves ahead of his lover. There’s so much mystery surrounding him still that’s it’s difficult to move him off the suspect board.

Porsche:

I still can’t tie Porsche into his death so he stays at number 4 ranking but I still wonder if his sugar daddy had anything to do with Nant that would’ve set them into a competitive nature for his resources and therefore enemies…that’s my mind working theories from what the story has given us thus far tho.

[springtime-creations]

Longwinded over-explanation as to why I DON'T think these Wanderful PreCure leaks are real or at the very least not be taken as 100% accurate if they are real.

POTENTIAL SPOILER FOR WANDERFUL PRECURE AHEAD!

As someone who's been into PreCure for almost a decade, and has been studying art in an informal setting (self taught artist go brrr) I've noticed some issues with these leaks.

First is obviously the names. Never in the entire history of PreCure have we had a cure whose name lines up with the title. No Cure Smile in Smile, no Cure Suite in Suite, no Cure Fresh in Fresh- you get my point. Cure Wonderful is a highly suspect name, however could still be real as PreCure is always experimenting. Cure Friendy on the other hand is WAY more egregious. Friendy isn't a word, and PreCure isn't known for making mistakes that bad. But it could have either slipped through the cracks OR as these photos look like prototypes that were meant to be destroyed, it's possible Friendy is a typo and she's meant to be Cure Friend, Cure Friendly, or an idea my phone gave me via autocorrect Cure Trendy. Any of which could fit my theorized theme of dog styling or the latter to with a blanket theme of dogs. But they could also be placeholder names. Fake names used to differentiate the characters before they're ready to start publishing their real names.

Secondly is the design. Although I'm not classically trained (see above for self taught artist go brrr) I have a good grasp on art fundamentals via independent study. I was wondering why the designs looked so off to me, and outside of it looking like it was traced off of Aikatsu, I realized that these silhouettes SUCK. Having a strong silhouette is an important aspect of making an identifiable cartoon character. Case and point, a few previous seasons compared with these leaks:

(Pardon the rough nature of the silhouettes, I had to make my own on my phone) without the details, I have no idea what I'm looking at with these designs. With previous seasons, the silhouettes themselves gave us an idea of the vibes or even themes for the upcoming season. Here though? I mean my crappy silhouette of Cure Wonderful made her pigtails look like a cat sitting on her head when I asked my boyfriend for input. These silhouettes are incredibly weak with their long hair basically ruining their design by hiding their dresses. Fun fact! These are the same issues I had with Colgate-chan- oh sorry Alear from Fire Emblem Engage that made me think those were fake too. The minor details were the only thing that separated them from other characters since their silhouette was awful.

Now weak silhouettes aren't always a crime against art, however for a piece of media that is meant to sell toys, is in animation, and for children? Yeah no you need a strong silhouette for the audience to easily identify. The only reason such a weak silhouette would work in PreCure is because no other Cure has one this bland. You can tell which PreCure is Cure Wonderful because "oh that's the least fun looking one". Since her charm comes from the details you can't see when it's just her silhouette, that means that although they're all still cute, they could have been MUCH cuter, which Toei is typically really good at.

So in conclusion, are these definitely fake? I'm not sure. Given these products were probably taken home without permission from the manufacturer, it's possible these leaks are one of three things.

1. An INCREDIBLY well done fake leak, potentially by Toei themselves since they do that sometimes.

2. Real prototypes made with VERY early drafts of the characters and placeholder names that were intended to be destroyed once the designs/names got updated.

3. This is the real deal and this is going to be a fairly weak season in terms of aesthetic.

I'm personally leaning towards 1 or 2 since PreCure usually has higher standards of production. But hey, this is just my theory regarding these leaks. I know one of my girlfriends loves Cure Friendy, and I'm always here for more green rep in PreCure. I'm still excited for this season even if the aesthetic might be a bit weak. If there's anything I've learnt from PreCure, it's that even the most casual of seasons can get real dark real quick and somehow still work. Didn't Cure Grace literally leave someone to die... idk I haven't been able to watch a full PreCure season since like Go! Princess first came out 😭 fuck I'm getting old-

[straycalamities]

do you think some people have a different view of swag and entre than how they really are?? like mischaracterizing them

this is a very loaded question because if i say yes then i come off as entitled or like im ungrateful or people get paranoid they’re the ones im talking about

but i’ll say it like this: no one is ever gonna get a character 100% “canon” besides the person (or people) in charge of writing them because everyone has their own life experiences, cultures, morals, and other things that will always shift their point of view compared to someone else’s

so basically it’s like. Yeah sometimes! but does it bother me? not really because it’s them having fun and as long as nobody’s trying to sell it like it’s The Real Deal, unironically saying they know my chara better than me, or making entre in particular do anything i personally heavily disagree with as a principle/upsets me then it’s whatever

art is supposed to be subjective anyways, and like i know otherwise with other media im a stickler for things like characterization, when it comes to my own it’s like…idk! a lot of the time im like “i wouldn’t have thought abt it like that, but i can see where you’d get that idea” and its kinda cool

sometimes it genuinely inspires me to change or adjust things in my charas even if i’m Really vibing

[weneverlearn]

From The Distillery to Eternity: A Tale of Lost Recording Tapes, Found on eBay

Red Aunts / Two Tears guitarist/singer Kerry Smith was just putzing around eBay when she saw a tape she made 20+ years ago which was being sold by some rando -- along with lots of tapes by other regional L.A. trash rock acts. A facebook post about it, copious comments, and a surprise good samaritan followed.

KERRY SMITH rockin' with the Red Aunts at a club near The Distillery studio, sometime in 1993.

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As we all regularly ponder what the hell social media is good for, a major piece of proof for the answer of “Nothing” are the comments sections on Facebook. The vitriol and vague “arguments” that can ensue (should you actually still use Facebook) get stupid and depressing very quickly.

But for every 100 like that, there are posts that actually conjure up a stable discussion, interesting connections, and maybe even some useful info.

Case in point, a recent post from Kerry Smith – Red Aunts and Two Tears guitarist/singer and all-around hilarious, life-affirming gal.

Essentially, she came across an eBay listing that was selling off a studio reel tape of an original master recording she made in 2000. After Kerry’s FB post, a number of people clicked on the link and a few realized their own tapes or someone they knew were also listed for sale.

I contacted Kerry about the situation:

“I recorded a bunch of songs there hoping to put them out as the first Two Tears record," said Kerry. "Lesley (Ishino, Red Aunts) and Danny Hole (Necessary Evils) played some drums, and I played everything else. I forgot about this all until this post was brought to my attention, and I feel sad, angry, violated, ripped off. I demo’d them all on my 4-track and worked hard in that studio. I paid for it all myself, no label help. Lots of people offered to buy them for me, and someone thought they were doing a good deed and bought it, though I had the post taken down. I don’t know why it bothers me so much, until Gar wrote from SD saying it’s an intimate and personal experience, and he said do you feel like you’ve been audio art raped? And I do."

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One of the commenters on Kerry’s post was Larry Hardy – head of In The Red Records, the legendary garage rock indie label from L.A. He added a few shocked comments, which led to a comment thread discussion of legality, ownership, old stories, etc.

Given how many bands Hardy has worked with and albums he's released, I thought he’d be one to dig into this strange, ephemeral side of life as a recording musician…

Here's a Two Tears song from that era, though not recorded at The Distillery:

So how did you first hear about this? I assume you saw Kerry's post…

LH: Yes, that’s when I first heard about this. I recognized the writing on the PQ sheets and could tell the tape originated from a recording studio called The Distillery in Costa Mesa, which is where a lot of In The Red records were recorded. I checked the eBay seller’s other auctions and discovered a number of my reels were being sold too. 

When you first saw Kerry's post, what was your first kind of emotional response?

LH: My first response was I knew exactly where the tapes came from. A few years ago another person posted a photo of some master tapes he had saying he was trying to find the bands. One of the bands was the Strange Boys, and they contacted me and said the guy had a bunch of ITR masters. I got a hold of the guy and told him my connection to the tapes, and he said he’d gotten the them from Mike McHugh and had been holding them for him, but Mike had gone AWOL. I never did get the tapes back from this guy.

Can you tell me about Mike McHugh and The Distillery, and how tapes from there might’ve ended up in this eBay seller’s possession?

LH: Yeah, [the studio] was owned and operated by Mike McHugh. He was a brilliant engineer with really good gear – the mixing board came from Muscle Shoals! And he was really down to do weird, unconventional things in the studio. He also actually liked the music. He was my go-to guy for many years. Unfortunately a combination of mental illness and substance abuse got the best of him, and he went downhill really fast and REALLY bad. One of the last sessions I had there was for the band Cheap Time, and he flipped out in the middle of the session and pulled a gun on them!

Anyway, he wound up losing his studio, and we had all the tapes still in there. Lots of other bands kept their tapes there too. I know a number of people tried to help him and tried to save all his gear but, sadly, he was beyond help. I guess a bunch of the stuff from the studio wound up in a storage locker and the bill didn’t get paid – so it all went up for auction. That’s how the guy who is selling them on eBay came into possession of them.

Are the things he's posting for sale original sessions or mastered reels?

LH: The reels being sold are the two-inch master reels. The bands would track on two-inch tape and then mix down to half-inch tape and the record would be mastered from that. Many times we would only take the mixed tape with us as that was what we’d master the record from. The studio had a room where they stored tapes, so we figured we’d leave the two-inch reels there for safe keeping.

In a way, the fact that these are original master tapes, pre-mixed/mastered tapes is even worse. These are unmixed tracks, right? 

LH: Correct. These tapes being sold are the basic tracks on two-inch tape. You could take these to a studio and remix the record with them. We would mix down to half-inch tape so the versions on those are what you hear on the record. Mastering is a separate step done in a mastering lab. This is why once the mixing was done you kind of felt like the two-inch tapes were done too. They already served their purpose.

Yeah, we all sort of leave things in the rearview mirror once the album comes out, as far as where recordings and master tapes end up.

LH: Yeah, some bands are really good about keeping track of their tapes, and some don’t really care. I know the Cramps kept all of their master tapes, but I don’t think most bands do that. I do still have a bunch of master tapes here at my house. I imagine a lot of people took their tapes with them when their session was done. They’re expensive. I did sometimes, but I was at this studio so often I just figured they were fine where they were… until they weren’t. I didn’t have any place to store them at my house anyway. Two-inch tapes take up a lot of room.

Beyond that particular story, when bands record in studios there is a kind of “gentleman's agreement” – especially amongst indie labels and smaller studios – to at least let the bands or labels know they've got their tapes before just selling them off or tossing them, right? My understanding is, if you paid the studio their fee and paid for the actual tapes, they are your's. Though I suppose if they've been sitting in a studio’s closet for 20 years, maybe there's an argument for ownership on the studio's end?

LH: We did have a general understanding when we left the tapes behind that they’d be looked after by Mike. There was also a window of time when I could’ve gone down there and gotten them all; and I didn’t want to deal with him so I just kind of let it go. The only use they would be is if you wanted to remix the record, which I guess is something that could come up.

After leaving them behind that long ago it makes sense they could end up almost anywhere. Now you have a guy selling them on eBay who doesn’t even know who the bands are.

Under Kerry's post, a person commented: "No judgement! But you own the IP [intellectual property] on these tapes as they are independent recordings. You should reach out to the seller!" Is he right?

LH: That’s true. The eBay seller rightfully owns those tapes, but neither he or anyone else who buys them can do anything with the music without the artist’s permission…. Unfortunately this guy did buy them fair and square. I’m sure Kerry paid for that tape and the recording session, but the tapes were left behind all those years ago, and they’ve been passed around a bunch since. These tapes weren’t stolen, they were left behind. It should’ve been on us to get them back if they were important to us. Of course no one could’ve predicted Mike was going to go off the rails as badly as he did. The eBay seller did nothing wrong or illegal.

Lisa Pallow, Haunted George’s wife, contacted him explaining that two of the tapes were her deceased husband’s music, and that she would like to buy them. And the way he responded to her tells me the guy is an asshole. Really the person at fault for all of this is Mike McHugh.

I'm assuming if Rocket from the Crypt tapes are involved here – there were some for sale in that listing – someone's going to take some shit for this, because they were on a major at one point, though I've no idea which RFTC recordings are on those tapes in that eBay post.

LH: Yeah, that was the one tape I saw in there that I thought would probably go for the most money and also could turn into a hassle for the seller if he hears from [RFTC leader] John Reis or an attorney. I don’t think there would be any legal recourse against this guy though.

John Sellers from ‘90s trash-punk band, the Countdowns, commented on Kerry's post, concerning The Distillery: "It was the original board from Muscle Shoals.....Mike told me that [the Rolling Stones’] Sticky Fingers was recorded through it... it had these red and green square buttons to push... totally sixties mod... he LOVED that board!!! Chris... maybe? And I forget his last name but, he had a studio in the same complex as The Distillery and would tour with JSBX selling merch back in the '90's... he told me the whole story about Mike buying that board... how he flew out and it was sent by train upon purchase and how he accompanied it from start to finish... and how Chris would walk in and Mike would be passed out... not by drugs but by obsessive inspiration and no sleep.... with a clove cigarette in his mouth... under that board... working to make it work.

I THINK that The Countdowns were one of the first to record through that board at The Distillery but... well... memories and remembering shit these days... I always referred to Mike as 'The Mad Scientist. He was an absolute thrill of an experience to work with AND... did you ever hear him play drums? FUCK ME!!!”

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LH: We did have some great times in that studio and before it all went bad. We hailed Mike McHugh as a genius. He was! It’s all very sad to me now. I have some great memories of that place. Andre Williams recorded with the Blues Explosion and Steve Mackay of the Stooges there! Good times.

Any other recording sessions at The Distillery that you remember?

LH: The wildest sessions I remember at that studio involved Andre Williams. He would get pretty drunk over the course of the session, so you had to get him on tape before he was too drunk. He had amazing stories and he was hilarious. He was also brilliant when he was lucid. He had produced records for Motown, and now he’s in Orange County with miscreants like us! 

I watched the Hunches vacuum up nails and screws off the floor while Mike recorded it so the obnoxious noise could be included on the band’s cover of the electric eels’ “Accident.” Not many engineers encourage this sort of thing. 

I went down to the Distillery for the final night of mixing the Black Lips’ Let It Bloom. The band had booked a show that night at a club directly across the street from the studio. The band left for their show, but I stayed behind with Mike while he continued mixing. I finally went over to the show and went up front. Cole Alexander had urinated into his own mouth, as he was wont to do back then, and spat the mouthful at the audience. I walked in late and went up just in time to get a face full of urine. I was now in business with the Black Lips.

My fondest memory of that studio is probably when the Necessary Evils recorded their second album. I know we were in there on New Year’s Eve. Those guys were all good friends of mine, as was Mike McHugh. The band didn’t have enough material to fill a full length album and were scrambling to cobble stuff together on the spot. It was a wonder to behold. Every one of those guys was hilarious. R.I.P. Steve Pallow.

I have tons of great memories from this studio. It’s really painful for me to think of Mike ending up like he did. Truly heartbreaking. 

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Like any Facebook thread, the mass of names and rushed, emotionally punched-out comments can make for an intriguing read. Hell, a good pal of mine and Kerry’s posted that he put in a bid and would give the tape to her if he won it. He did get a couple of the tapes in the listing, but as Kerry stated earlier here, her tape was taken down after she reported it; and my friend got a cancellation message from eBay.

For Kerry though all this is definitely not legal chit-chat, but a loss of something dear, intense, and loved. It’s the kind of mini-nightmare anyone who’s recorded in a studio and then left it for “safe keeping” always has lurking in the back of their mind.

“I feel like crying all day today because of this,” said Kerry. “I don’t know why. Mike is so talented and I really want these tapes back. I used to hang out there a lot with Ronnie when I lived in Long Beach still. So many happy memories there – grateful for the scene ! Le sigh.”

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After having wrapped up this piece, I heard from Kerry again with a possible happy ending to this story:

“I reported it as stolen, and it was pulled, and some punker dude in Costa Mesa went to get it for me," she explained, "but I didn’t ask him to. I don’t want the [eBay] guy to get the money. So the Good Samaritan kinda fucked it all up, and is supposed to mail it to me. And he paid $150 for it, so now I feel obligated to pay him back. Lots of people offered to buy it for me. And he bought RFTC and Haunted George."

Kerry asked said Samaritan (who shall remain annonymous) how he was able to get the tapes. He responded:

"Hi, thanks for getting back to me. I purchased the tapes directly from the guy... who bids on storage units. I bought a bunch of friends bands tapes and got them back to them. I knew going in that I'd lose money and I'm ok with that. Please let me gift you your tape back. Years ago I lost all of my... master reels in a storage unit that went unpaid while I was in rehab. I hate seeing strangers getting these tapes. Mike McHugh is the one to blame here. Although it’s hard to blame him with all of his mental health and addiction problems. I got my Distillery reels back from him several years ago after he lost the studio.... Anyway... I can get the tape to you or whoever you’d like me to. Larry Hardy maybe. No charge for the tape. Big Red Aunts fan by the way."

[amavaria]

This might not be as easy to answer at this point in your career, but i won’t know until i ask.

From the time you were drawing to learn and maybe experiment, to current day, when you’ve gathered enough of a following that you can take on drawing as an avenue for making paid work, how have you balanced creation of both original content of your own as well as fan-art, outside of commission work? And how did you approach the balance of drawing what you want and drawing stuff that would probably gather more interest?

I’ve wrestled with both my want to actually draw stuff that i genuinely want to, while at the same time tailoring it in a manner that attempts to appeal to some kind of audience, over the last… 5 years? The latter criteria has been VERY tricky (and frustrating) for me, to the point that in hindsight, i definitely overworked myself over it, and i’ve felt averse to just admitting to myself that content that is TOO original/ personalized being almost all of my output, is probably going to keep me stuck where i am, no matter what.

Hiii, I'll answer this in sections to make it easier so here we go!

How to balance working on commissions Vs personal work and fanart?

The key here is to treat commissions like any regular job (Like an office job but without annoying coworkers!) I work monday-friday and maintain a schedule and set deadlines to follow.

Some people don't work well under pressure but in my case it pushes me to take action. Knowing I promised a client progress or a finished work by a certain date gets me going no matter how burned out I'm feeling. Also keeping a public queue helps this as well as it motivates me to visible update everyone on what I'm doing.

Discipline is very needed, not because you're your own boss means it's easier. People are paying you their hard earned money and it's your responsibility to deliver quality work for them in the promised time.

It's not just drawing, it's social media management, self promoting, bank account checks, regular updates and keeping a good streak of happy customer to spread the word for you!

I draw personal work on my free time on weekends. And sometimes in between when I get particularly itchy about an idea. But I always prioritise commission and I will always make sure to have at least reached my daily goal of work before I start goofing around drawing blorbo art.

It's taken years of adulting, to finally find a rhythm I'm comfortable with, where I can work and still keep my fandom self well fed. So do not despair, I felt helpless at 21 trying to sell a $5 commission but now I'm making $100+ with one single purchase!

TLDR: Treat commissions like a job separate of your hobby. Take weekends free, use your time responsibly 👍👍

How to build an audience

I don't know lol. It sort of happened to me. My main target was always furries (I am a furry) On my first 3 years of 'career' I never reached over 400 followers on my most popular social media, but my income was steady since a random streamer decided that I'd be her artist for everything, so I was able to survive more or less.

On the side I was working on my own OCs which I was lucky enough for randos to find appealing enough to warrant a follow! (Alois here getting pretty popular).

Parted ways with the streamer after hoarding me for 2 years and started drawing fanart which brought followers to me in waves. I'd get into a super obscure fandom (Solatorobo for example) draw a ton of stuff for it, bringing a wave of new followers thirsty of content and then stay because they like furries too.

And rinse and repeat and I got hundreds of people perceiving me (thank you) and even more people eager to commission me (thank you harder)

Important to note: People on different socials have different interests. Example: Twitter has been very friendly with original content but flops certain fanarts. Tumblr hypes up fan content a lot more enthusiastically but original content doesn't get very far.

TLDR: mostly takes good rng, but having a loud social media presence and a steady amount of new content to keep interest is a step on the right direction.

Last... What about burnout and frustration? What do you do?

TAKE A BREAK! TOUCH GRASS, separate yourself from the screen and breathe a moment. Then you come back and join Artfight.

Artfight is freedom! It's a chance to freely experiment with any character that catches your eye. You can try things that you wouldn't do during commissions, a different brush, different layer modes, angles, poses, etc. AND put enough effort on it that would make the receiver very happy 💖 and by posting this experimental work on socials, it got a lot of attention. Most did really great, a few flopped too, but it was overall extremely positive.

Without noticing, you find new paths, new techniques, you realize you can draw better and faster, and when you come back to work when the month is over, it shows!

TLDR: Take a break, then experiment!! You'll improve and find your path. This works different for everyone, but I'm sharing what has helped me.

[sadaveniren]

The day I realised that what happens to them and the decisions they make don't actually affect my life my experience with the fandom improved soooo much!

Like sure, I still hate the stunts and specially hate that we live in a society that forces queer people to do things like that but at the end of the day they sure know what's better for their lifes than I do 🤷‍♀️ (and anyone who things that Harry's career would be the same today without any of the stunt is seriously naive, sure holivia was the worst and it damages Harry's image to an extent but it also got him a lot of exposure, and it doesn't matter if the go hates him and think he's the worst... They're still buying tickets and albums)

It also helps to understand that the same way we know we won't convince antis that they're queer and together, their teams KNOW that the stunts won't convince us that they aren't. The stunts are ridiculous and unbelievable but they aren't for us, all of this circus is for the gp and the gp don't care or knows enough to see the obvious lack of sense. It's NOT that their teams think we're idiots, they're not trying to make those things believable for us because they know we know.

And because I know that and I know I can't do anything about it I just don't care enough to let it ruin my experience. Like every time their location is unknown I just assume they're together... Idc if last known location is in opposite parts of the world because if there's a plane there's a way. I will assume they're in love and together until I become their personal friend and they look me in the eyes and tell me that not, that they broke up. I assume that all the love songs they write are for each other even when they say the opposite. Sometimes I'm wrong but meh... I literally don't care

Anon you get it! This is EXACTLY how I feel right down to the “things would be VERY different in his career if Harry didn’t stunt and people need to understand that”. I’m not saying Holivia is what got Harry his Grammy but I do think it would be naive to assume that he wouldn’t have been as common of a name if he didn’t have his names in the paper the way he has - and part of that WAS through Holivia. (I can sense the hate from those with lesser reading comprehension incoming)

I answered an anon a couple weeks ago that was all “how do you know they’re still together?” and my answer is “how do you know they’ve broken up?” I know what I consider to be signs they’ve broken up and they might not be stuff everyone agrees with but that’s okay! Cause it’s not about everyone else! I’m here for me because I enjoy it! I go to concerts and buy merch because I like the experience. I don’t buy merch I don’t like and I don’t go to shows I don’t think I’ll enjoy.

Louis and Harry’s team 100% knows larries exist and that we aren’t going anywhere. I fucking sat in a hotel room with a giant TPWK rainbow flag all day in the window that Louis’ team could VERY VISIBLY SEE and watched as they kinda pointed at it and moved on with their day. Harry picks up a flag every show and Louis posts pictures with the flags on his social media and they aren’t that stupid. They know what this means. They know their demographic, and above all else HARRY AND LOUIS know their demographic. And they also know what they have to do to sell music and make nice with the general public to keep financing their desire to perform as they want to.

Have fun in fandom people! If you aren’t having fun, if you’re feeling miserable or like it’s not your jam move on! It’s okay! No one will blame you. You will find a much more fulfilling life enjoying yourself with what you do than forcing yourself to do something you have zero interest in or even actively dislike doing.

[teawiththegods]

scythe-and-seed here: it’s been a LONG time omg. Hope you’re doing well :) I wanted to ask about removing items from your altar, if you or your followers have any experience with it? My altar stuff has been packed away in a box for the past two years (*lots* of unexpected moving combined with not having the space), and I ordered a little tea table and floor cushion online to finally set my stuff up again. My table got delivered yesterday and I was super excited to get everything out, but there are some things I’m thinking of tossing. I’m a different person two years later, and some of the items don’t resonate with me anymore, or some of them broke/faded. I’m trying to combat the guilt surrounding tossing these items.

Hey hon!

It has been awhile! I'm doing good! Naturally there has been some ups and downs but overall I can say all is well in Jessieland. Really focusing on grounding myself in my devotion and witchhood! And trying to make my way back into the community bc I truly miss it. I hope everything is well with you, love! <3

I remove items from my altar all the time! Actually getting ready to redo my altar sometime today or tomorrow lol! I see my altar as MY space. Yes, I have my gods on there was well but ultimately the space is a reflection of me, what i'm working on, what I want to remember/focus on, and what I believe is important. For the most part, all those things are going to change at some point (especially if you're a moody Cancerian like me! XD). So to me there's absolutely nothing wrong with removing items from your altar that no longer serve you. You always need room to grow, change, and explore.

Often times I hold onto the items that are no longer on my altar because I either reuse them for something else or they may find their way back on my altar at a different point in time. Other ideas is to give away the items, donate, or sell them. I think giving the items another chance to serve someone else especially if that someone else is a pagan/witch can help ease the guilt.

If it also helps you can do the Marie Kondo method of thanking your items for assisting you on your spiritual journey before you remove them completely.

Whatever you decide to do with the items just know its 100% okay to remove whatever you wish from your altar at any time! I think its important for us to claim complete ownership of our altars. Its ultimately there to assist us in whatever we assign to it. And I believe we give and receive more powerful energy when we remember that.

Hope that helps!

[kebriones]

are you against mythology retellings? if yes, would you mind telling me why? (in my opinion they are harmless and each one of them adds something new to the ‘source material’) just asking since i’ve seen a lot of classicists harassing people just minding their business and having fun 💀

-Absolutely not at all! I came very near to spending all my savings to go watch hadestown a couple years back, and at the very beginning I even enjoyed lore olympous (the story lost me at some point).

-Do I think they're harmless? No story is harmless and all of them are. It depends on what you consider harm.

-I don't think they add to the source material. If we're talking about ancient greek mythology specifically, it's been dead and burried for centuries. Whatever new is created, is a modern thing and seperate, in my opinion.

-However, it is the very nature of mythology, that people are meant to make their own stories inside it freely. If anything, I enjoy retellings, and even more than retellings I absolutely love the taking of characters (heroes gods, whatever) and making completely new stories with them. "retellings" as a concept can fall into the trap of trying to fix myths, to make them more palatable and enjoyable to a modern audience, which is what rubs me the wrong way.

-But there's no storytelling police so that's up to me to avoid reading those stories of course. Others may enjoy them, and not everyone has to care about the historical contexts or original messages of specific myths. I certainly think there are benefits to it and personally I find it adds to the enjoyment , but each person enjoys different things. I have spent many years stewing in my overprotective feelings towards ancient greek mythology but recently I decided I just want people to have a nice time. I'm also trying to teach myself to understand that other people are completely different to me, so if I find somethign sickeningly bad and others like it, that's just how subjective things work. So I might complain, half-jokingly always, about stuff but it's just to blow off steam and deep down i'm chill about everything.

I specifically don't like what I've heard about the song of achilles, plus I'm extremely, extremely biased when it comes to the iliad, so I am very picky about retellings for that specific part of mythology. the iliad has been my baby since I was very young and it's the one thing I allow myself to be completely crazy over, so when I say I cannot get through the movie troy because it's too painful, I 100% mean it. if you enjoy it, that's great. I will complain and bitch about it forever. I slept with that book under my pillow for my entire childhood and to have some randos come and spend millions to butcher it and drag its corpse like achilles dragged hector, for the whole world to see is too much.

As a last point. I think sometimes with retellings, especially of ancient greek mythology, we're a bit too sensitive because it has been too oftenly taken out of its cultural context and used willy-nilly to tell stories that reflect nothing greek, be it modern or ancient. It is a flashy topic for people to use however they want, and it's been changed to fit western cultures so so much, that I wish people would just leave it alone. Ancient greek mythology isn't about flashy god powers, it's about the values and experiences of a culture (or more correctly, multiple cultures), whether those align with modern ones or not, but when "retellings" are first and foremost made to be sold as products, the stories have to be altered to hell, to be nice and tame for the audience, to sell well. Which is a whole other discussion.

so yeah that's why I prefer all-new stories that maybe use mythological characters, over straight up retellings. But, as most ancient greek myths were very regional, had a million variations of which we know a tiny amount of, and were told and made for a long period of time, I don't think that retellings now are in any way inherently bad. But all the nice marble aesthetics (tm) and hot dudes will not fix a bad story, is what I wish people understood. Also I wish they didn't think they know or even claim to like the mythology from having read only retellings.

Anyways I am not a classicist, I am a fine arts student, so I might be saying absolute nonsense, my brain is too fried. on the other hand, i am born and raised in greece, and I have grown up with these myths everywhere around me and I really like them, so I have a lot of feelings about them, but that doesn't really mean anything. And I haven't noticed much harassing going on (lots of complaining, but that's the lifeblood of the internet) but then again I'm here on tmblr only a very short time. That all said, I absolutely do not condone harassing people for what they enjoy, especially for things that can only "harm" the person doing it, like reading stories.

[random-thought-depository]

Thinking this morning about the deep and unexpected love I developed for Sil the first time I watched Species, she is very blorbo to me. Some of my headcanons about her:

- Her very rapid learning is aided by low-key telepathic abilities (we know those exist in the Species universe! One of the human characters has approximately the same abilities as Deanna Troi on Star Trek!). She can tune into surface thoughts a little, enough to do things like watch somebody use a credit card and pull from their mind a rough picture of how buying and selling, money, and credit cards work, and also their PIN. She's also an empath the same way that guy in the team trying to track her down is. She can't look through people's minds in classic sci fi fashion though, she can only read emotions and inconsistently read surface thoughts and she has little control over it, so she has enormous gaps in her knowledge. One potential fridge horror implication is she knew they were planning to kill her at the beginning of the movie.

- She broke her hand when she punched her way out of her enclosure at the beginning of the movie; it healed almost immediately, but she is in considerable pain in those scenes, she was just ignoring it because she was terrified and very focused on survival and escape.

- As sometimes happens with precocious children, she was functionally socially and emotionally neglected because her caregivers didn't realize how quickly her mind was developing and so didn't provide developmentally appropriate socialization and enrichment. She's basically semi-feral. For instance, she was never really socialized to have a sense of morality or to be pro-social at a level beyond things like "shit in the toilet instead of on the floor." This is 100% the reason she became the kind of person who thought ripping out somebody's spine was an appropriate reaction to sexual jealousy.

- Continuing from that last point: she isn't inherently violent, she kills people because she has the social skills and emotional regulation skills of an emotionally neglected toddler combined superstrength and the intelligence and appetites of an adult woman. Also, her actions are informed by a lived experience that humans are extremely violent to her; her caretakers try to kill her at the beginning of the movie, she spends the rest of the movie being hunted, and the first person she approaches as a potential sexual partner tries to rape her! If she'd had a less messed-up upbringing she'd have been a much better person, and I think if she'd won at the end of the movie (if her attempt to make the government think she was dead had worked, or if she'd been able to escape from or kill her pursuers in that cave and she and her son survived) she might eventually have become a much better person.

- Smells are much more prominent in her perceptual world; she experiences a complex landscape of scents, a person's scent is distinctive to her in the same way their face is, etc.. I base this on her being able to smell that someone's diabetic in the movie.

- She does have an instinct to survive and reproduce, but mostly she wanted a child in the same way Frankenstein's monster wanted a wife: an offspring would be another of her kind, and somebody who'd love her by default; an offspring would mean an end to loneliness. Related: if she'd won at the end of the movie, I don't think she'd have been a good mother, but she would have been a very loving mother; she'd have deeply and passionately loved her son. Watching her son get torched was probably the worst moment of her life.

- That thing where she basically kidnapped, tortured, and murdered a woman as part of the process of faking her own death was a very "I'm experiencing empathy and I don't like it" situation for her. She had no idea how painful and traumatizing having a thumb amputated with garden shears would be for a human (hers grew back!). She doesn't really have an idea of morality, but she does have affective empathy, so internally she was like "Wow, I didn't think it'd be that bad for you. Not sorry, but I'm experiencing empathy and I don't like it." I think the idea of being bound and mutilated and fearing what might happen next would also remind her of when people tried to kill her with poison gas while she was locked in a box, so that would be another "I'm experiencing empathy and I don't like it" aspect.

-----------

Some thoughts on an AU where Sil won at the end of the movie:

Note: I am emphatically rejecting the sequel films, especially the second movie, which was just awful; for purposes of this exercise the sequels didn't happen and I will freely contradict their narrative and worldbuilding choices (such as the second movie's decision to answer "what would a male version of Sil be like?" with "he'd be a rape werewolf and his kids would be basically chestbursters, we'll be ripping off Alien but making the sexual subtext just text and straightwashing it and slathering an incredibly rancid sex-negative but horny vibe over it").

I doubt Sil want to give birth to endless offspring. For one thing, she almost got killed and had some pretty awful experiences during the first attempt. Also, I bet that fifteen minute pregnancy was a really unpleasant experience she wouldn't be in any hurry to repeat. Like, I think that would have to be a pretty physiologically extreme event. She'd probably have had to, like, firehose protein and calcium and fats and sugars at the fetus by literally liquifying a double digit percentage of her own body and process and expel a proportionately obscene amount of metabolic waste dumped into her bloodstream all while being in danger of being literally cooked alive from the inside by all the metabolic waste heat. I bet it hurt and she wouldn't be in any hurry to do it again.

I think Sil would get a lot less aggressive when the stressors of being hunted and trying to find a sperm donor were removed. I guess she'd sometimes mug people for money, but she's inexperienced but smart, I think she'd sooner or later catch on that leaving them alive and uninjured attracts a lot less attention than ripping out their spines or skullfucking them to death with that tongue-thing. So I think sooner or later, very possibly immediately, she'd stop killing people and become a relatively inoffensive drifter and petty criminal, and eventually enter the labor market on approximately the same level as undocumented immigrants (she and her son would be in a very similar position, having no ID or social security numbers and being essentially legally unpersons).

Like I said, I don't think she'd be a good mother, because she has poor social skills and no sense of morality, but I think she'd be a very loving mother; she'd deeply and passionately love her son and be very caring and indulgent. On the not good side, I think she'd be a combination of neglectful-permissive (loving but poor social skills) and sometimes physically abusive (violence is one of the not many tools she has for conflict resolution). I think she'd probably give her son a better childhood and rearing than she got, because at least he'd have an actual parent and people wouldn't be trying to kill them, though it'd probably still be kind of messed up and awful by human standards.

When her son cocooned for metamorphosis she'd remember how she was scared when it happened to her because she didn't know what was happening, so she'd explain the process to him beforehand, and when it happened she'd stay in the room with him and reassure him, and she'd be waiting to help him out of the cocoon and clean him up when his metamorphosis was finished. I... have feels about this idea.

I think she and her son would stay very close when he was an adult, at least for the immediately foreseeable future. Given her experiences with humans so far I doubt she'd get close to any of them any time soon, so that leaves her son as basically her only friend, and their shared difference from the people around them would encourage a close bond between them.

I think Sil could become a better person over time, like human morality might eventually rub off on her and stuff. I think her relationship to her son (and possibly other kids she ends up having) might be good for her here; a positive relationship would encourage her to develop social skills and emotional regulation and would encourage her to get in the habit of, like, caring about other people. Her son would probably be less traumatized than her and therefore have less of a default assumption that humans are hostile, and that might rub off on her.

The squicky side of that: Sil and her adult son would be very close to each other and distant from everyone else, they're probably human-like enough to want sex as a social and recreational activity, Sil has not been socialized to human sexual taboos, if he takes after his mom in looks they're probably both hot... Yeah, I think they'd have sex with each other. Not for reproduction (at least not primarily), but for bonding and pleasure.

If Sil does end up having a lot of kids, I think it would be out of desire for community. Like, with her potentially very fast rate of reproduction I could see her eventually ending up the matriarch of a village-sized clan of her own kind, and I think, as someone who was probably lonely early in life, she might like that. I think my take on what that community would be like would probably be that they'd have a sex-asymmetric semi-eusocial thing going where males mostly don't reproduce because bringing a new member into the community through females is "find a human sperm donor, an excuse to leave in five minutes, and a discreet place to give birth" but options for bringing a new member into the community through males is "form a real partnership with a human woman, you better be able to trust her because when she gives birth four months after getting pregnant and her kid is talking in complete sentences at one month old she is going to notice something not normal is happening" or "do horrific kidnap basement sex slavery shit" (the latter is really not a place I'd want to go, and in-universe would be stupid for a probably not resource-rich community trying to blend in and keep a low profile, in the same way leaving a trail of corpses is stupid). A kind of semi-eusocial thing fits with the insectoid aesthetic of stuff like the cocooning.

I remember reading somewhere that there are some species were hybrids discard the DNA of one parent during meiosis. I like the idea of Sil being like that (so, e.g., if her son reproduced, he would only pass on Sil's DNA, not the DNA of his human father), so she theoretically could found a viable population that could remain biologically distinct from humans indefinitely. Seems kind of charitable to the movie's assumption that she's a potential threat to the human species as a whole, and more interesting if her kind could eventually become something kind of like an ethnic minority.

I wonder how long Sil would live? She has very accelerated development, so she might have a short lifespan; cancer would probably be a huge problem for an organism with a growth rate as fast as Sil's. On the other hand, I kind of like the idea that the alien message was not intended as a hostile act, they basically just sent us a transhumanism update and intended it as a favor, in which case she'd probably have a long lifespan (maybe longer than ours).

Man, "it's like twenty or fifty years later and Sil's descendants have formed a weird close-knit secret subculture within southern California's underclass" sounds like a way more interesting sequel idea than the stuff we actually got, and given that the original movies were made and presumably set in the '90s you could actually set a sequel like that in the present day. I've got some ideas for a Species II rewrite fic based on the thought that maybe Sil actually had twins and one of survived by hiding from the humans, maybe I could do the "secret society of Sil's descendants existing in the 2020s" idea as a sequel to that/a Species III rewrite fic.

[moisescazal]

Marketing Services Startup Update

Starting my own marketing business has been an interesting experience since I am not a fan of customer interactions. As someone who has worked in the industry in the past, I felt prepared to jump in and offer my skills to businesses and individuals who need a cheaper alternative. But there’s always more to starting a freelance marketing service, below are some observations of where things stand right now:

What’s Working

One of the things that’s really working is my focus on personalized service. Local businesses often need a personal approach, and being able to chat and communicate with my client whenever they have a question is a huge plus. My background in design and online advertising, especially on Meta platforms, has also been a strong selling point. Many small business owners struggle with online advertising, so guiding them through social media campaigns and conversion strategies has helped me stand out. The advertising policies and measurements are difficult to understand, some marketing agencies take the data and put it into simpler to understand formats. However, I am showing the clients exactly where they can find the data themselves and how to interpret it.

My decision to keep initial costs low has also been a win. Since I already had the equipment I needed, my expenses have been minimal, making it easier to price competitively without sacrificing my own income. Pricing my time at $30 per hour seems to be a good decision, it is enticing enough for me to feel motivated to work, yet affordable enough for my clients.

What’s Not Working

While I’ve made some solid connections by discussing my services with acquaintances, building a consistent client base has been challenging. Marketing often requires regular follow-up, networking, and being visible to potential clients, which is time-consuming and doesn’t always lead to immediate work opportunities.

Another challenge has been balancing the variety of services I offer. While it’s great to be able to design anything from logos to social media ads, it can sometimes feel like I’m spreading myself thin. I want to help my clients in all aspects of marketing, but I need to find the right balance between knowing how to do a host of things and offering only a few of them to my clients.

How I Feel the Project is Coming

Overall, I feel positive about the direction of the business. Despite some hesitation in the beginning, each time I discuss my services with potential clients, it reinforces that there’s a need for what I offer. I can see this becoming a more sustainable business as I slowly build a solid customer base. There’s a sense of satisfaction in seeing something I created take off and in helping other small businesses grow too.

What I’m Learning About Running a Business

There’s the constant hustle to find clients and handle my own marketing. Time management has been a big focus for me, I have to dedicate 100% of my attention to the client’s projects when I am working on them in order for them to get the most value. If I am not fully focused, it ends up taking me more time than anticipated, time that I will not be charging extra for.

Another learning curve has been facing uncertainties. There’s a lot of unpredictability and I am a planner, someone who likes to have things set in stone. It’s teaching me to trust in the process a little bit and to have backup plans so I can pivot when I need to.

What I’m Learning About Myself

I am learning that I do enjoy marketing services and seeing my work develop from beginning to end. I realize now that if I setup my business the way I want to, I can handle more than I expected. I’m also discovering that I really value the freedom and responsibility that comes with running my own business.

[ukbeautys-blog]

Presence Of UK International In Beauty Industry

In the glitz and gleam of beauty and aesthetics, where trigger meets the standard, the UK London International Beauty School is a beacon of beacons. Definitely through its glorious past and indefatigable pursuit of excellence; This reputable institute has already set itself apart from the crowd by bringing in very high standards of education in the beauty industry.

UK International is not just about beauty but involves a commitment that runs through the operations. This passion is at the core of the experience. Priding itself on a vast range of specialties, this which has been declared a beauty landmark is known for its service-oriented courses that are meant to accommodate the needs of the changing industry. From classics to the cutting edge of what’s trending right now, UK International has the educational resources that it takes for its students to be the best that they can be in every aspect of their beauty therapy education, makeup artistry and beyond.

The unique selling point(USP) of UK International is the best beauty school in Noida ever-present innovative drive and passion for artistry discernable there. Our faculty that combines theoretical knowledge and real-world hands-on experience from industry players and experienced professionals give the student the much-needed practical, hands-on exposures that aid in solving real-world challenges. However, instead of sprouting only technical competence, this holistic approach is also dedicated to artistic skill nourishing which makes it possible for a person to shine in the art of beauty and stand out as the top artist.

Besides the university has advanced equipment and a library as well as very good learning space which provides the college with the right environment for learning and discoveries. With the production aspect, students can simulate a real-world workstation with the studio replicating a film set, allowing students to practice operating both equipment and lighting, while also gaining confidence in front of the camera. Moreover, the strategic horse doors of the school with famous beauty brands and outlets offer the students internship, mentorship, and the chance for career advancement.

One might argue that UK International  stands as the best beauty school in noida and uk international pursues its mission of excellence more aggressively than its counterparts, and its approach to student-centric is also distinct. The comprehensive mentoring, personalized teaching, and custom-made curriculum of this institution provide students with an opportunity to unveil more potential of themselves and embark on their pursuits with a clear focus. In addition, by observing the concept of professionalism, and ethics and tremendously standardizing the beautician industry. UK International is the best beauty school in Noida and the best from all the other activities now embeds them in students and graduates; values and integrity of the high level necessary to survive in the beauty industry.

In effect, the UK International London Beauty School could sometimes be viewed as a tool that changes people's minds or something that makes something more desirable. As a driving force of innovation in the beauty area, the purpose of this organization will always remain the inspiration, reinvention, and elevation of the new leaders in beauty. For the one who wishes to travel the road of imaginative mind and refresh their intellectual knowledge the UK International Entry is surely like a sun of chances and superb quality.

Uk International is the best beauty academy in Noida. Can you provide the best beautician course near me? We are the best bridal makeup course providers, and we provide you with all the different types of courses, such as cosmetology courses, haircuts, chemical makeup courses, and many more. UK international gives you 100% job assistance, and we are the one where the skill meets the expertise. our academy has the best trainers to make you the best artist in this field. our course runs on latest modules to provide you with the best quality education.

UK International is the best beauty school in Noida, Ghaziabad, and Delhi, and we have the best faculty on campus across India. Join us fast for your makeup, hairstyling, cosmetology, nail art, and booster skills and become a certified beautician and makeup artist. We are best at creating experts.

[tryingtryingtryingtryingg]

Hi this was a really interesting post to me and while I am with you 100% on many points you brought up here I just did have a slightly different outlook regarding art museums if I may share.

The words “museum” and “gallery” are words that are ill-defined and that might be contributing to some of the generalizations about how museum shows are being curated? I would argue that most major public institutions of art *do* put together a lot of great exhibitions (these will be your Mets and your National Galleries and the like) with the explicit goal of educating a non-expert public. Id compare them to textbooks.

Where the waters get muddied might be the existence of private museums (built around one persons private collection, e.g. Crystal Bridges), which, depending on your outlook on life, may or may not be described as vanity projects for the very wealthy to flaunt their personal collections and also dodge taxes. This would be the equivalent of like a celebrity memoir. (The line between this and the textbook variety of museum can get blurry sometimes though. A lot of textbook museums began their lives as celebrity memoirs.)

These are different from commercial galleries, which have the primary goal of selling artwork to collectors. They might have some educational content but generally only as far as the information makes the artwork seem more desirable for a certain type of person to buy. Sometimes they style themselves like museums to borrow legitimacy. These commercial galleries often have a rota of artists that they represent. (What “representing an artist” means differs gallery to gallery, but i worked as an assistant to an artist for a while and for her it basically meant that the gallery pays for production of new work, they promote and market the artist to collectors, and if any work sells the gallery recoups the cost of production and then takes a cut of the profits. I think 50% is standard.) This would be the equivalent of like… a fashion week runway show.

And commercial galleries are different from non-profit and artist-run galleries, which mainly showcase young or emerging artists not yet established in their field, who might not have had the opportunity to show in (or have been intentionally excluded from) major institutions, and may not (yet?) have representation from a commercial gallery. (The artists here also tend to be more local to the area so these are the best places to go if you want to support your local art scene.) The audience for these spaces are mostly other artists and their friends and people on the street accidentally stumbling in. Nobody is making any real money here. They don’t really have a super educational angle because everyone involved probably has like 3 other survival jobs. This would be the equivalent of like a small-print-run poetry chapbook hand-bound by a small press.

There are also university galleries and resale galleries, house museums, art fairs, art book fairs, festivals, biennales, immersive experiences, foundations, and probably more that I can’t think of right now, not to mention there’s a difference between museums specifically for art and something like the British Museum which also collects a bunch of other crap with a more anthropological slant (bones etc). But basically, this is all to say, not all spaces containing art are the same or have the same agendas.

I fully agree that the concept of “the collection” is something that is sometimes taken too far but I don’t think major museums are the biggest culprits here. I DO however think private collectors sometimes use their art collections as a way to historicise themselves and basically write themselves into art history. The Art Institute of Chicago received a major donation of post-war modern art like 10 years ago from a collector who stipulated in the terms of their donation that their sizable collection had to be on view at the museum in its *entirety* for at least 50 years. This basically means that a large chunk of the museum’s limited real estate is going to be dedicated to this one collector for the next half-century, and what art this one collector thought was important to them when they bought it. Which, yeah, is frankly a terrible way to put together an exhibit in a museum. Iirc there was some controversy when the museum accepted.

However I don’t think most art museums are treating their collections with the same sort of reverence. Museums loan artwork all the time. When a curator working on a show thinks that including a work outside the museum collection would be important to provide context, they will (if possible) arrange a loan. Loans like this are great because it also makes it possible for people who might not be able to travel to an artwork’s home museum to see it too. Ofc there will be some treasures (Mona Lisa isn’t going anywhere) that a museum will never part with but for the most part museums try to be good about lending work because they might need to borrow something else in the future. (Though there is a very real problem of different museums having different negotiating power depending on their size). Sometimes if a loan is not possible they might include a thumbnail of it in the wall text or something, because curators are also massive nerds who want to see their faves come together. (Now might be a good time to mention that museums have both permanent and temporary exhibitions.)

There’s also the definition of “research” here. I don’t think most museum shows are going to be about scraping samples off paintings to chemically analyse them, but I’d absolutely argue that art exhibitions are still products of research. The research is just more along the lines like, “how did these artists end up working in such similar themes despite being from different cultures and different eras” or “how did [historical event] affect the way artists made work”, or “how do all these artists use [this colour] in their work differently”, or, “which artists have been historically ignored by institutions and how can we attempt to correct that,” or even more simply, “how did this one artist’s work evolve throughout their career”

I think outside of very specific contexts most curators will fundamentally disagree with the idea of printing out a replica of an artwork to hang alongside other art because 1. It’s taking up space in an art museum where an actual artwork could be, and 2. It implies that the replica is somehow a sufficient stand-in for the original? I don’t want to get too philosophical here but i really don’t think that would work as an exhibition concept. That being said I have seen museums create replicas of sculptures intended for audiences to touch, and also 3D printed scans of painting surfaces so people can feel the paint textures and stuff, which I find really neat! I’ve also seen fantastically low-res pictures of objects left as placeholders in display cases when the originals have been sent on loan somewhere else.

Also Re: Duchamp’s urinal, this might just have been brought up to illustrate how far out modern art can be without the necessary context but I want to say I have never, ever seen that work shown without accompanying info explaining exactly why it came about (the feeling that art could no longer just be a beautiful thing passively hanging on the wall after witnessing the brutality and senselessness of WW1), the movement it was part of (Dada), and how it changed the course of art history (opened the doors to incorporating readymade objects in art). I don’t think the problem is that the information is not being made available, I think the problem is that museums are not doing enough to make people want to read it. (Although, to briefly go back to the subject of replicas, any version of the urinal you see today is in fact a replica because the original urinal was destroyed shortly after it was shown.)

I’m not saying that people have to enjoy this kind of art, or that they have to automatically “get it”, or that they’re ignorant because they don’t. And museums relying on wall text to do the heavy lifting is a flawed system. I definitely agree that some things can be a hard sell and museums need to do more to reach out to people (beyond wall text) to get them interested in art, and an interdisciplinary approach is definitely the way to go here. Maybe collaborating with non-art institutions? Like, art can say so much when shown in the context of history, or even science, like you mentioned. One bit of trivia I love is that the reason why the Impressionists were able to go outside and paint plein air was because paint tubes had just been invented and they didn’t need to be in their studios grinding down their own pigments anymore!

But there’s also another issue when it comes to contemporary art (and when I say contemporary art here I’m referring to like, the artist is still alive) being shown by museums which is that role of the museum is kind of to define what is worth looking at? Museums are basically trying to write history here, and it can be very difficult to determine what is important when you’re so close to it. We’re all just symptoms trying to find the cure.

Museum curators need to be very careful about who they show and how they talk about them, because there can be a bit of an observer effect in action here. Museum shows are statements made by the institution, and you can’t make a statement about contemporary art without also affecting what contemporary artists are responding to. Idk if that makes sense.

It’s a delicate balance and I don’t envy curators in this position. You can’t curate a show about the renaissance the same way you’d curate a show about abstract expressionism, and you can’t curate a show about abstract expressionism the same way you’d curate a show about contemporary artists who are still working, and who can still go on to make batshit decisions you’ll regret associating with, especially when you have the power of an institution behind you.

Artists make work because they want to say something. They might not always succeed, but most of them start with that goal at least. I do find that in general, if an artist is making use of any cool new unexpected technologies, that shit is going in the write-up (I can’t remember how many times I read the word “blockchain” in 2019 smh), but yeah it doesn’t always happen and it can suck to feel like you’re out of the loop, or that you’re missing a key piece to unlock your enjoyment of something.

I overlook work all the time and only later find out that it was apparently “significant”, and then I kick myself for not getting it, or not seeing it. And I do have a background in art so… oops I guess. I absolutely hated Mike Kelley’s work the first time I saw it. I thought it was tacky and weird and disturbing for no reason. Then a few years later I learned more about his work and I changed my mind.

I love a scientific analysis as much as the next person—I too go nuts whenever museum conservators scan artworks and find something completely different underneath, getting to appreciate something old in a new way. I love looking into the history of pigments—but this isn’t really an approach that can be applied to newer artworks by artists who are still working, who maybe want people to be more interested in the work they made rather than what kind of paintbrush or software or camera that they used to make it. (Not to mention the implications of trying to dissect art through an “anthropological” lens when the artist is, say, part of a minority group, or working outside the western canon.)

And incidentally if you *are* interested in peeling back the curtain to see the process a lot of artists are often contractually obligated to give lectures and talks for this very purpose!! Many museums have public lecture series that they post online on youtube and some of them only get like triple digit views it is criminal! There’s a lot of bullshit and some can get jargon-heavy don’t get me wrong, but there are a lot of great ones too! I’ve recently been binging the MFA Boston’s lecture series on Sargent, they are wonderful! Louisiana Channel does lovely interviews with artists, architects and writers about their creative process and why they do what they do it’s an amazing resource. Art21 is also free i think but only if you’re in the US(?). One thing I’ve learnt listening to these is that you don’t need to like someone’s work to like the way they talk about art, and vice versa.

Most museum exhibitions also have accompanying monographs with essays and pictures that go in-depth into all the history and info you could possibly want to know, they’re great and I can spend hours in a museum bookstore just browsing through them. Because exhibitions are necessarily ephemeral these publications are ways for them to live on.

Don’t get me wrong art institutions are extremely flawed in myriad ways, and criticism is 100% deserved especially wrt accessibility and provenance and questionable funding sources. They can and should do better. I just feel like we should give museum curators a bit more credit here, and not pin entirely onto them the failures of a public education system that does not value art.

Fully agree about the benches and lack of snack options tho wtf is up with that.

(Also i just have to mention one of my favourite museums that I’ve ever been in which is the Pitt Rivers Museum in Oxford?It’s like walking into an old school wunderkammer it’s amazing and I love it. Objects are organized by type of object rather than any culture or era which leads to some lovely combinations of things.)

Sorry for this hunk of text I just had stuff on my mind. It’s very late where I am I hope everything made sense

I would be very interested in hearing the museum design rant

by popular demand: Guy That Took One (1) Museum Studies Class Focused On Science Museums Rants About Art Museums. thank u for coming please have a seat

so. background. the concept of the "science museum" grew out of 1) the wunderkammer (cabinet of curiosities), also known as "hey check out all this weird cool shit i have", and 2) academic collections of natural history specimens (usually taxidermied) -- pre-photography these were super important for biological research (see also). early science museums usually grew out of university collections or bequests of some guy's Weird Shit Collection or both, and were focused on utility to researchers rather than educational value to the layperson (picture a room just, full of taxidermy birds with little labels on them and not a lot of curation outside that). eventually i guess they figured they could make more on admission by aiming for a mass audience? or maybe it was the cultural influence of all the world's fairs and shit (many of which also caused science museums to exist), which were aimed at a mass audience. or maybe it was because the research function became much more divorced from the museum function over time. i dunno. ANYWAY, science and technology museums nowadays have basically zero research function; the exhibits are designed more or less solely for educating the layperson (and very frequently the layperson is assumed to be a child, which does honestly irritate me, as an adult who likes to go to science museums). the collections are still there in case someone does need some DNA from one of the preserved bird skins, but items from the collections that are exhibited typically exist in service of the exhibit's conceptual message, rather than the other way around.

meanwhile at art museums they kind of haven't moved on from the "here is my pile of weird shit" paradigm, except it's "here is my pile of Fine Art". as far as i can tell, the thing that curators (and donors!) care about above all is The Collection. what artists are represented in The Collection? rich fucks derive personal prestige from donating their shit to The Collection. in big art museums usually something like 3-5% of the collection is ever on exhibit -- and sometimes they rotate stuff from the vault in and out, but let's be real, only a fraction of an art museum's square footage is temporary exhibits. they're not going to take the scream off display when it's like the only reason anyone who's not a giant nerd ever visits the norwegian national museum of art. most of the stuff in the vault just sits in the vault forever. like -- art museum curators, my dudes, do you think the general public gives a SINGLE FUCK what's in The Collection that isn't on display? no!! but i guarantee you it will never occur, ever, to an art museum curator that they could print-to-scale high-res images of artworks that are NOT in The Collection in order to contextualize the art in an exhibit, because items that are not in The Collection functionally do not exist to them. (and of course there's the deaccessioning discourse -- tumblr collectively has some level of awareness that repatriation is A Whole Kettle of Worms but even just garden-variety selling off parts of The Collection is a huge hairy fucking deal. check out deaccessioning and its discontents; it's a banger read if you're into This Kind Of Thing.)

with the contents of The Collection foregrounded like this, what you wind up with is art museum exhibits where the exhibit's message is kind of downstream of what shit you've got in the collection. often the message is just "here is some art from [century] [location]", or, if someone felt like doing a little exhibit design one fine morning, "here is some art from [century] [location] which is interesting for [reason]". the displays are SOOOOO bad by science museum standards -- if you're lucky you get a little explanatory placard in tiny font relating the art to an art movement or to its historical context or to the artist's career. if you're unlucky you get artist name, date, and medium. fucker most of the people who visit your museum know Jack Shit about art history why are you doing them dirty like this

(if you don't get it you're just not Cultured enough. fuck you, we're the art museum!)

i think i've talked about this before on this blog but the best-exhibited art exhibit i've ever been to was actually at the boston museum of science, in this traveling leonardo da vinci exhibit where they'd done a bunch of historical reconstructions of inventions out of his notebooks, and that was the main Thing, but also they had a whole little exhibit devoted to the mona lisa. obviously they didn't even have the real fucking mona lisa, but they went into a lot of detail on like -- here's some X-ray and UV photos of it, and here's how art experts interpret them. here's a (photo of a) contemporary study of the finished painting, which we've cleaned the yellowed varnish off of, so you can see what the colors looked like before the varnish yellowed. here's why we can't clean the varnish off the actual painting (da vinci used multiple varnish layers and thinned paints to translucency with varnish to create the illusion of depth, which means we now can't remove the yellowed varnish without stripping paint).

even if you don't go into that level of depth about every painting (and how could you? there absolutely wouldn't be space), you could at least talk a little about, like, pigment availability -- pigment availability is an INCREDIBLY useful lens for looking at historical paintings and, unbelievably, never once have i seen an art museum exhibit discuss it (and i've been to a lot of art museums). you know how medieval european religious paintings often have funky skin tones? THEY HADN'T INVENTED CADMIUM PIGMENTS YET. for red pigments you had like... red ochre (a muted earth-based pigment, like all ochres and umbers), vermilion (ESPENSIVE), alizarin crimson (aka madder -- this is one of my favorite reds, but it's cool-toned and NOT good for mixing most skintones), carmine/cochineal (ALSO ESPENSIVE, and purple-ish so you wouldn't want to use it for skintones anyway), red lead/minium (cheaper than vermilion), indian red/various other iron oxide reds, and apparently fucking realgar? sure. whatever. what the hell was i talking about.

oh yeah -- anyway, i'd kill for an art exhibit that's just, like, one or two oil paintings from each century for six centuries, with sample palettes of the pigments they used. but no! if an art museum curator has to put in any level of effort beyond writing up a little placard and maybe a room-level text block, they'll literally keel over and die. dude, every piece of art was made in a material context for a social purpose! it's completely deranged to divorce it from its material context and only mention the social purpose insofar as it matters to art history the field. for god's sake half the time the placard doesn't even tell you if the thing was a commission or not. there's a lot to be said about edo period woodblock prints and mass culture driven by the growing merchant class! the met has a fuckton of edo period prints; they could get a hell of an exhibit out of that!

or, tying back to an earlier thread -- the detroit institute of arts has got a solid like eight picasso paintings. when i went, they were kind of just... hanging out in a room. fuck it, let's make this an exhibit! picasso's an artist who pretty famously had Periods, right? why don't you group the paintings by period, and if you've only got one or two (or even zero!) from a particular period, pad it out with some decent life-size prints so i can compare them and get a better sense for the overarching similarities? and then arrange them all in a timeline, with little summaries of what each Period was ~about~? that'd teach me a hell of a lot more about picasso -- but you'd have to admit you don't have Every Cool Painting Ever in The Collection, which is illegalé.

also thinking about the mit museum temporary exhibit i saw briefly (sorry, i was only there for like 10 minutes because i arrived early for a meeting and didn't get a chance to go through it super thoroughly) of a bunch of ship technical drawings from the Hart nautical collection. if you handed this shit to an art museum curator they'd just stick it on the wall and tell you to stand around and look at it until you Understood. so anyway the mit museum had this enormous room-sized diorama of various hull shapes and how they sat in the water and their benefits and drawbacks, placed below the relevant technical drawings.

tbh i think the main problem is that art museum people and science museum people are completely different sets of people, trained in completely different curatorial traditions. it would not occur to an art museum curator to do anything like this because they're probably from the ~art world~ -- maybe they have experience working at an art gallery, or working as an art buyer for a rich collector, neither of which is in any way pedagogical. nobody thinks an exhibit of historical clothing should work like a clothing store but it's fine when it's art, i guess?

also the experience of going to an art museum is pretty user-hostile, i have to say. there's never enough benches, and if you want a backrest, fuck you. fuck you if going up stairs is painful; use our shitty elevator in the corner that we begrudgingly have for wheelchair accessibility, if you can find it. fuck you if you can't see very well, and need to be closer to the art. fuck you if you need to hydrate or eat food regularly; go to our stupid little overpriced cafeteria, and fuck you if we don't actually sell any food you can eat. (obviously you don't want someone accidentally spilling a smoothie on the art, but there's no reason you couldn't provide little Safe For Eating Rooms where people could just duck in and monch a protein bar, except that then you couldn't sell them a $30 salad at the cafe.) fuck you if you're overwhelmed by noise in echoing rooms with hard surfaces and a lot of people in them. fuck you if you are TOO SHORT and so our overhead illumination generates BRIGHT REFLECTIONS ON THE SHINY VARNISH. we're the art museum! we don't give a shit!!!

[starry-hughes]

OK hi so this is just a question that I’m having and I’m kind of debating over but I wanted somebody with a completely unbiased opinion to give me their opinion on it so basically, I’m getting ready to go to college like next semester right like the fall semester and I just graduated high school literally yesterday And my school does this thing where they can have a party afterwards and get away like raffle off prizes and one of them was a computer that I so happen to get it and I was very excited about it because that meant one less thing for me to have to worry about right But I am currently sitting here with this computer and I don’t like it at all. I was originally going to save up for a MacBook Air. Well, my mom was going to help pay for part of it because basically for a graduation gift for my brother she got him a computer for college so she was going to do the same for me. He didn’t really care what kind of computer he got as long as it did what he needed it to do me personally, I like going with things that I understand already and it’s not a new learning experience because it’s kind of overwhelming for me and I feel like really just not smart basically when I have to learn some thing that can be as complicated as a computer rate And so I was gonna go with a MacBook Air because we’ve used those in school for the last five years so I know how to use it. I understand that there won’t be a new learning curve and I’m comfortable with it which was very important to me. Also those ran normally $800 and that seemed pretty reasonable to me but I was willing to have my mom pay whatever she was willing to pay for it And then me just cover the rest. She doesn’t really like Apple products I do because that’s what I’ve grown up with. That’s what I’m comfortable with so that’s just where I stand on that but she’s very much like oh well you can learn it I’ll teach you. I understand it your brother will understand it whatever and be able to help me and I really just don’t want this computer if I’m gonna be completely honest like I am super grateful for the fact that I taught it and I don’t want to seem ungrateful for the fact it out of that so many kids that were put in the raffle which was over 100 kids. I got the computer right but I just don’t like it and I am thinking about either trading it in for a MacBook Air and then just covering whatever is left over since they’re not equal in prices, or selling it, and then putting the money that I get from it towards getting the MacBook, now I’m an adult also as of yesterday so obviously I can make my own decisions right but like would it be a dumb one to resell or trade in this computer to get a MacBook like would that just be not logical at all and like is it dumb that I just don’t want this computer because I’m trying to gauge if I’m like totally overreacting is not the best word, but like that’s only word I can think of about it but I don’t know I just really don’t like it and I really would prefer a MacBook Air. I don’t wanna see my grateful and also my mom is like we can teach you right but like is it rude of me to just not want that instead get the MacBook you know I hope that made sense I’m voice texting because honestly I really don’t wanna type all that out also I’m so sorry because that is so long because I was voice texting but what’s your opinion on that? I just wanted kind of an unbiased perspective on it and I understand you’re only getting like one person’s point of you on it since it’s just me talking but like I’m just trying to gauge if this would be a dumb decision to get rid of this computer that I now already have that I got expense free, or if I should just get the one that I want do you know also I hope it all made sense once again, voice texting so sometimes I mixed up my words, so I completely apologize if any of it didn’t make sense totally can ask to clarify it if you need to, but yeah, that was the question or like opinion I needed I guess? Thanks in advance.

-☀️

i researched my laptop for weeks after graduation and i knew i needed something that i would like, i was familiar with, and that would last me for years. i paid for my laptop myself with all my graduation money. but i am the type of person who would say i prefer free stuff (like i got a printer and a kitchen aid for free and sure i didn’t know how to use either at first but it was free so i learned)

however, i don’t think you’re overreacting because when you are getting something like a laptop for school, you want something you know and trust. i think it comes down to financial things. like for my apartment, my mom bought my bed and gifted it to me with a new headboard and i didn’t get to choose it or anything, but it was free and i appreciated it. i didn’t have the money to pay for it and was using a shit bed so i took whatever i could get from my parents.