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deco-devolution · 4 years ago

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Ok so I've seen your answer in regards to Rapture and Columbia holidays, but I gotta ask- do you think Rapture does halloween? Halloween was already a pretty big American thing by the late 40s from what I've seen

Holidays In Rapture

Holidays with a * denote they are personal headcanons of mine. Holidays without asterisks are real-world examples. Italicized text is further detail on the holiday at hand.

January

New Years Day (Jan 1st) - Celebrates the beginning of a new year.

February

Valentine’s Day (Feb 14th) Celebrates lovers showing their affection and care for each other. Definitely celebrated in Rapture, but even more so blatantly implying that the best way to show love is by expensive gifts.

Mardi Gras (Feb 25th) Celebrates the day before Ash Wednesday, which marks the start of Christian Lent season leading up to Easter. As Rapture is overwhelmingly atheist though, this has been repackaged as a smaller-scale Thanksgiving, with citywide tradition making it a day of self-indulgent merrymaking under the guise of celebrating personal accomplishments.

Leap Year Day (Feb 29th) Celebrates the rare day in a year in which an extra day is added to the calendar. Tends to be treated as a day of pure luxury

March

St. Patrick’s Day (Mar 17th) Celebrates St. Patrick, one of Ireland’s patron saints, who ministered Christianity in Ireland during the fifth century. It’s essentially celebrated the same way in modern America- people just use it as an excuse to get drunk with little attention paid toward the actual history surrounding the saint.

April

April Fools Day (Apr 1st) Celebrates the turning of the pre-Gregorian calendar by trying to play a practical joke on a victim who becomes known as an April Fool. Prank gifts like snake nut cans, dribble glasses, chewing gum bugs, and whoopee cushions fly off the shelves, and companies also get in on the gags with jokes like the Smell-O-Vision prank as well as the Jovian–Plutonian gravitational effect.

May

Memorial Day (May 25th) Repackaged to shift away from the patriotism connected to the holiday on the surface, this holiday focuses on the lives lost during the construction of Rapture. A few announcements are played and a few speeches given, but there are no major events for the day save the occasional memorial dinner or other formal arrangement.

June

* Pearl Philips and Charles Milton Porter’s Wedding Date: While obviously not a citywide holiday, while researching the Rapture timeline I found out they were married on June 17th, 1939, isn’t that cute?

July

August

* Commencement Day (August 21st) The anniversary of Rapture’s conceptualization by Andrew Ryan.

September

October

Halloween (October 31st) A celebration observed in many countries on 31 October, the eve of the Western Christian feast of All Hallows' Day. In Rapture though, it’s more a day to dress in garish costumes and hang macabre decorations. Most Halloween parties in Rapture still give complementary candy, but there’s that continuous air of competition in the city that usually translates to intense costume competitions with extravagant prizes.

November

* Settlement Day (November 5th) Celebrates the day of the first major migration of citizens into Rapture in 1949.

Thanksgiving (Nov 25th) Celebrates the harvest and other blessings of the past year. In Rapture, this means not only soaring food sales for the holiday meals, but also pushing the idea of replacing home furnishings to really show how fruitful you’ve been the year so far, just in time to have shiny new housewares around while you do Christmas shopping.

December

Christmas (Dec 25th) Celebrates the birth of Jesus Christ, observed primarily on December 25 as a religious and cultural celebration among billions of people around the world. This being Rapture however, the traditions are sharply skewed; instead of being religious at all it’s become a consumerist pissing contest (even more so then modern Black Friday shopping) and the entire affair has an not-so-subtle air of competitiveness regarding both decoration and gift-giving. But because the majority of religious themes have been erased, all the creativity put into designing means the decorations look pretty dope.

New Years Eve (Dec 31st) Celebrates the last day of the year. Now we all know that canonically Rapture goes balls-to-the-wall and luxury/liquor sales go nuts on this day, but in addition companies are not above finding drunk partiers and convincing them to buy overpriced goods or sign into absurd contracts. Around the city the scheme is called a “countdown contract”

#sanguine-syringe #mine #bioshock #biotalk

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timeless-hollywood-classics · 4 years ago

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Ruth Etting (November 23, 1896 – September 24, 1978) was an American singing star, vaudevillian and actress of the 1920s and 1930s, who had over 60 hit recordings and worked in stage, radio, and film. Known as "America's sweetheart of song", her signature tunes were "Shine On, Harvest Moon", "Ten Cents a Dance" and "Love Me or Leave Me".

Her other popular recordings included "Button Up Your Overcoat", "Mean to Me", "Exactly Like You" and "Shaking the Blues Away".

As a young girl in Nebraska, Etting had wanted to be an artist; she drew and sketched everywhere she was able. At sixteen, her grandparents decided to send her to art school in Chicago. While Etting attended class, she found a job at the Marigold Gardens nightclub; after a short time there, Etting gave up art classes in favor of a career in show business. Etting, who enjoyed singing in school and church, never took voice lessons. She quickly became a featured vocalist at the club. Etting was then managed by Moe Snyder, whom she married in 1922. Snyder made arrangements for Etting's recording and film contracts as well as her personal and radio appearances. She became nationally known when she appeared in Flo Ziegfeld's Follies of 1927.

Etting intended to retire from performing in 1935, but this did not happen until after her divorce from Snyder in 1937. Harry Myrl Alderman, Etting's pianist, was separated from his wife when he and Etting began a relationship. Snyder did not like seeing his former wife in the company of other men and began making telephone threats to Etting in January 1938. By October, Snyder traveled to Los Angeles and detained Alderman after he left a local radio station; he forced the pianist to take him to the home of his ex-wife at gunpoint. Saying he intended to kill Etting, Alderman, and his own daughter, Edith, who worked for Etting, Snyder shot Alderman. Three days after Alderman was shot, his wife filed suit against Etting for alienation of affections.

While Alderman and Etting claimed to have been married in Mexico in July 1938, Alderman's divorce would not be final until December of that year. The couple was married during Moe Snyder's trial for attempted murder in December 1938. Etting and Alderman relocated to a farm outside of Colorado Springs, Colorado, where they were primarily out of the spotlight for most of their lives. Her fictionalized story was told in the 1955 musical film Love Me Or Leave Me with Doris Day as Ruth Etting and James Cagney as Snyder.

Etting was born on November 23, 1896, in David City, Nebraska, to Alfred Etting, a banker, and Winifred (Kleinhan). Her mother died when she was five years old and she then went to live with her paternal grandparents, George and Hannah Etting. Her father remarried and moved away from David City and was no longer a part of his daughter's life. Etting's grandfather, George, owned the Etting Roller Mills; to the delight of his granddaughter, George Etting allowed traveling circuses and shows to use the lot behind the mills for performances.

Etting was interested in drawing at an early age; she drew and sketched anywhere she was able. Her grandparents were asked to buy the textbooks she had used at the end of a school term because Etting had filled them with her drawings. She left David City at the age of sixteen to attend art school in Chicago. Etting got a job designing costumes at the Marigold Gardens nightclub, which led to employment singing and dancing in the chorus there. She gave up art school soon after going to work at Marigold Gardens. Before turning exclusively to performing, Etting worked as a designer for the owner of a costume shop in Chicago's Loop; she was successful enough to earn a partnership in the shop through her work.

While she enjoyed singing at school and in church, Etting never took voice lessons. She said that she had patterned her song styling after Marion Harris, but created her own unique style by alternating tempos and by varying some notes and phrases. Describing herself as a "high, squeaky soprano" during her days in David City, Etting developed a lower range singing voice after her arrival in Chicago which led to her success. Her big moment came when a featured vocalist suddenly became ill and was unable to perform. With no other replacement available, Etting was asked to fill in. She quickly changed into the costume and scanned the music arrangements; the performer was male, so Etting tried to adjust by singing in a lower register. She became a featured vocalist at the nightclub.

Etting described herself as a young, naive girl when she arrived in Chicago. Due to her inexperience in the ways of the big city, she became reliant on Snyder after their meeting. Etting met gangster Martin "Moe the Gimp" Snyder in 1922, when she was performing at the Marigold Gardens. Snyder, who divorced his first wife to marry Etting, was well-acquainted with Chicago's nightclubs and the entertainers who worked in them; he once served as a bodyguard to Al Jolson. Snyder also used his political connections to get bookings for Etting, who was called "Miss City Hall" because of Snyder's influence in Chicago. Etting married Snyder on July 17, 1922 in Crown Point, Indiana. She later said she married him "nine-tenths out of fear and one-tenth out of pity." Etting later told her friends, "If I leave him, he'll kill me." He managed her career, booking radio appearances and eventually had her signed to an exclusive recording contract with Columbia Records.

The couple moved to New York in 1927, where Etting made her Broadway debut in the Ziegfeld Follies of 1927. Irving Berlin had recommended her to showman Florenz Ziegfeld. Etting nervously prepared to sing for Ziegfeld at the audition. However, he did not ask her to sing at all; only to walk up and down the room. She was hired on that basis because Ziegfeld did not hire women with big ankles. While the original plan for the show was for Etting to do a tap dance after singing "Shaking the Blues Away", she later remembered she was not a very good dancer. At the show's final rehearsal, Flo Ziegfeld told her, "Ruth, when you get through singing, just walk off the stage". Etting also appeared in Ziegfeld's last "Follies" in 1931.

She went on to appear in a number of other hit shows in rapid succession, including Ziegfeld's Simple Simon and Whoopee!. Etting was not originally signed to perform in Simple Simon; she became part of the cast at the last minute when vocalist Lee Morse was too intoxicated to perform. Ziegfeld asked Etting to replace Morse; she hurried to Boston, where the show was being tried out prior to Broadway. When Etting arrived, songwriters Rodgers and Hart discovered that the song "Ten Cents a Dance" was not written for Etting's voice range. The three spent the night rewriting the song so Etting could perform it.

Toward the end of Simple Simon's Broadway run, Etting persuaded Ziegfeld to add "Love Me Or Leave Me" to the show though the song was originally written for Whoopee!. She had recorded the song in 1928, but Etting's new version of it was impressive enough to earn her a Vitaphone contract to make film shorts.

In Hollywood, Etting made a long series of movie shorts between 1929 and 1936, and three feature movies in 1933 and 1934. She described the short films as either having a simple plot to allow for her to sing two songs or with no plot at all. The idea was to have Etting sing at least two songs in the film. While she received a marquee billing for Roman Scandals, Etting had only two lines in the film and sang just one song. Etting believed she might have had more success in full-length films if she had been given some acting lessons. Her perception was that the studios viewed her only as a vocalist. She later recalled, "I was no actress, and I knew it. But I could sell a song". In 1936, she appeared in London in Ray Henderson's Transatlantic Rhythm. Etting quit the show because she and the other performers had not been paid.

Etting was first heard on radio station WLS when she was living in Chicago. Her appearance drew so much fan mail the station signed her to a year's contract for twice weekly performances. She had her own twice weekly 15 minute radio show on CBS in the 1930s. By 1934, she was on NBC with sports announcer Ted Husing doing the announcing and Oldsmobile sponsoring her program.

After an unissued test made by Victor on April 4, 1924, Etting was signed to Columbia Records in February 1926. She remained at Columbia through June 1931, when she split her recording between ARC (Banner, Perfect, Romeo, Oriole, etc.) and Columbia through March 1933. She signed with Brunswick and remained there until May 1934, when she re-signed with Columbia through July 1935. After a solitary Brunswick session in March 1936, she signed with the British label Rex and recorded two sessions in August and September, 1936. Etting returned to the US and signed with Decca in December 1936 and recorded until April 1937, when she basically retired from recording.

Etting saved some of her paycheck each week, regardless of the amount she was making at the time. Her friends said she invested in California real estate rather than the stock market. Etting, who made many of her own clothes, did her own housekeeping and lived frugally, initially announced her retirement in 1935. It is not clear why she did not go through with her announced plans, but she issued a second statement regarding retirement after filing for divorce from Snyder in November 1937.

Snyder's aggressive and controlling management style began to cause problems for Etting; during her work with Whoopee! on Broadway, Snyder was a constant presence. He was never without a gun and enjoyed poking people with it while saying "Put your hands up!" then laughing when their fright was evident. Snyder also persisted in cornering Ziegfeld because he believed Etting's role in the musical could be improved. Ziegfeld had a different opinion and indicated nothing would be changed. Snyder would then mumble that it was not a suggestion but a demand.

By 1934 she was having difficulty getting engagements. Snyder's arguing and fighting at venues where Etting was employed caused her to be passed by for jobs in the United States. In 1936, she thought taking work in England might be the answer, but Snyder created problems while she was working there also. Soon after the couple arrived in England, Snyder became involved in a street fight which created adverse publicity for Etting. She divorced Moe Snyder on the grounds of cruelty and abandonment on November 30, 1937. Snyder did not contest the divorce and received a settlement from his former wife. Etting gave her ex-husband half of her earnings at the time, $50,000, some securities and a half interest in a home in Beverly Hills, California. She deducted the gambling debts of Snyder she had paid and the costs she had paid for a home for Snyder's mother.

Etting fell in love with her pianist, Myrl Alderman, who was separated from his wife. In January 1938, she began receiving threatening telephone calls from Snyder, who initially claimed Etting withheld assets from him when the divorce settlement was made. Though the couple was divorced, Snyder was also upset because of reports that she was seeing another man. Snyder told Etting that he would come to California and kill her. When Snyder telephoned and found Etting unavailable, he told his daughter Edith that he "would fix her ticket, too". He called again that evening; this time Etting took the call with her cousin, Arthur Etting, listening on an extension. Etting requested police protection after the telephone call and arranged for private protection. Apparently believing the danger was over when Snyder did not appear soon after his telephone call, Etting released her bodyguards a few days later.

On October 15, 1938, Snyder detained Myrl Alderman at a local radio station and forced the pianist to take him to his former wife at gunpoint. In the house at the time were Etting and Edith Snyder. Edith, Snyder's daughter by a previous marriage, worked for Etting and remained living with her after the divorce. Snyder held Etting and Alderman at gunpoint; when told his daughter was in another part of the house, he made Etting call her into the room. Snyder said he intended to kill all three, and told them to be quiet. When Myrl Alderman attempted to speak, Snyder shot him. Snyder then told his ex-wife, "I've had my revenge, so you can call the police."

Snyder claimed Myrl Alderman pulled a gun and shot at him first and that his ex-wife would not file charges against him because she still loved him. He also claimed he was drunk when he made the telephone threats to Etting in January 1938, saying that at the time his intentions were to kill both his ex-wife and himself. Ruth Etting said that the only gun in the home belonged to her, and after the shooting of Alderman, she was able to go into her bedroom and get it. Upon seeing Etting's gun, Moe Snyder wrested it away from her; it landed on the floor. Snyder's daughter, Edith, picked it up and held it on her father, shooting at him but hitting the floor instead. During a police reenactment of the shooting three days later, Edith Snyder said that she fired at her father to save Ruth Etting, weeping as she continued, "I don't yet know whether I am sorry I missed my Dad or whether I am glad". Snyder was accused of attempting to murder his ex-wife, his daughter, and Etting's accompanist, Myrl Alderman, the kidnapping of Alderman, as well as California state gun law violations.

Three days after the shooting of Myrl Alderman, the pianist's second wife, Alma, sued Etting for alienation of her husband's affections. Though Etting and Alderman claimed to have been married in Tijuana, Mexico in July 1938, Alma Alderman said any marriage was invalid, because her divorce from Myrl Alderman would not be final until December 1938. Police investigators could find no record of the couple's Mexican marriage. Etting publicly invited Alma Alderman to visit her husband in the hospital, in an effort to see if the couple could reconcile.

Ruth Etting testified that she was not married to Alderman. During the course of the trial, there was also a question of the validity of Alderman's marriage to Alma. Alderman's first wife, Helen, obtained an interlocutory decree on January 7, 1935; the divorce became final one year later. On January 9, 1935, Alderman married Alma in Mexico. The second Mrs. Alderman called Moe Snyder to the stand as a witness regarding an attraction between her husband and Etting. Helen Alderman Warne also appeared in court, claiming that Alma Alderman had spirited Myrl away from her. Warne added that she had married and divorced the pianist twice. Alma Alderman's lawsuit ended in December 1939, with the court finding that she was not entitled to damages from Ruth Etting.

The testimony in both trials brought much personal information into the public eye. Snyder, who claimed to still be in love with his ex-wife, gave Etting a diamond and platinum bracelet which she accepted after Snyder's telephone threat in January 1938. Etting testified that she agreed with her ex-husband's statement to police that Snyder was either drunk or out of his mind when he threatened her by phone. Snyder's attorney initially tried to prevent Etting from testifying against Snyder with a charge that the divorce she obtained in Illinois was invalid because she was a resident of California at that time.

During the trial, Snyder's attorney portrayed Ruth Etting as a calculating woman who had married Moe Snyder strictly for the benefit of her career, and that she divorced him in favor of being with another, younger man (Alderman). Snyder's attorney echoed his client's claim of self-defense and said his client never intended to kill Etting, his daughter, and Myrl Alderman. The attorney further claimed that if Snyder intended to kill the pianist, he had ample time to do so while he held a gun on Alderman during the drive from the radio station to the home where the shooting took place.

Etting married Alderman, who was almost a decade her junior, on December 14, 1938 in Las Vegas, during Moe Snyder's trial for attempted murder. Snyder was convicted of attempted murder, but released on appeal after one year in jail. Snyder won a new trial but returned to jail in January 1940 in lieu of bail. In August 1940, Myrl Alderman asked the district attorney to drop further prosecution attempts against Snyder for the 1938 shooting.

Etting, who had retired from performing prior to the shooting and subsequent trials, briefly had a radio show on WHN in 1947. She also accepted an engagement at New York's Copacabana in March 1947. Etting traveled alone to New York and during a newspaper interview, was asked if she had ever seen Moe Snyder again. She replied, "No, I hope I never do." and said that her husband never went to bed without a gun.

The couple relocated to an eight-acre farm outside of Colorado Springs in 1938. Alderman, who was raised in Colorado Springs, operated a restaurant there for a time. Etting and Alderman remained married until his death in Denver on November 28, 1966; he was buried in Evergreen Cemetery, Colorado Springs. Etting died in Colorado Springs in 1978, aged 81. She was survived by a stepson, John Alderman, and four grandchildren. Alderman and Etting are now interred at the Shrine of Remembrance Mausoleum in Colorado Springs, Colorado.

Her life was the basis for the fictionalized 1955 film, Love Me or Leave Me, which starred Doris Day (as Etting), James Cagney (as Snyder) and Cameron Mitchell (as Alderman). Etting, Myrl Alderman and Moe Snyder all sold their rights to the story to MGM; Snyder was living in Chicago in 1955. Etting expressed sadness that "the real highlight of my life", her marriage to Alderman, was omitted from the film. Shortly before her death, Etting said she thought the screen portrayal of her was too tough and that Jane Powell would have been a better choice for the lead.

Etting has a star on the Hollywood Walk of Fame for her work in films, located on the north side of the 6500 block of Hollywood Boulevard. Her recordings of Love Me Or Leave Me (2005) and Ten Cents a Dance (1999) are part of the Grammy Hall of Fame.

#ruth etting #classic hollywood #classic stars #golden age of hollywood #singer #1920s hollywood #1930s hollywood

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gabrielheine17 · 4 years ago

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youtube

1919 Felix the cat

Felix the Cat is a funny-animal cartoon character created in 1919 by Pat Sullivan and Otto Messmer during the silent film era. An anthropomorphic black cat with white eyes, a black body, and a giant grin, he is one of the most recognized cartoon characters in film history. Felix was the first animated character to attain a level of popularity sufficient to draw movie audiences.

Felix originated from the studio of Australian cartoonist/film entrepreneur Pat Sullivan. Either Sullivan himself or his lead animator, American Otto Messmer, created the character. What is certain is that Felix emerged from Sullivan's studio, and cartoons featuring the character enjoyed success and popularity in popular culture. Aside from the animated shorts, Felix starred in a comic strip (drawn by Sullivan, Messmer and later Joe Oriolo) beginning in 1923, and his image soon adorned merchandise such as ceramics, toys and postcards. Several manufacturers made stuffed Felix toys. Jazz bands such as Paul Whiteman's played songs about him. Felix the cat was such an important step in animation since it was the first long running series in animation and has sound which didn’t have to be live in theatres. Felix's transition to sound was not a smooth one. Sullivan did not carefully prepare for Felix's transition to sound and added sound effects into the sound cartoons as a post-animation process. The results were disastrous. More than ever, it seemed as though Disney's mouse was drawing audiences away from Sullivan's silent star. Not even entries such as the Fleischer-style off-beat Felix Woos Whoopee or the Silly Symphony-esque April Maze (both 1930) could regain the franchise's audience. Kopfstein finally canceled Sullivan's contract. Subsequently, he announced plans to start a new studio in California, but such ideas never materialized. Sound was a huge jump for the animation industry since it was one of the first animations to include sound and people were amazed of how it wasn't just silent and there was sound for the characters for effect which the people loved. This opened doors for so many future animations where there was not just music but speech and sound effects as well. Which allowed to evaluate characters since you could hear them speak and you can know what they’re feeling with their tone of voice.

#Youtube

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shipwreckedcomedy · 6 years ago

Video

youtube

We have a little announcement to make...

Be sure and watch the video above, because it will tell you some important and exciting details about our upcoming small Holiday project! We felt like the low-key crowdfunding we did for American Whoopee really worked, and we want to do it again to bring you a little holiday short that will feature some Shipwrecked standbys. Here are the perks we are offering this time around:

$5 - Early access to our holiday short and a thank you shout out in a livestream

$15 - A holiday postcard signed by Shipwrecked, as well as early access and a livestream shoutout

$25 - 3 Shipwrecked posters grab bag! We have a lot of old Poe Party/Gilded Lily posters lying around, so we’ll pick three at random and send them to you at this level. If there’s one you’re really hoping to get, just let us know. No guarantees, but we’ll do our best! Also includes a holiday postcard, early access, and a livestream shoutout

$40 - American Whoopee poster signed by Shipwrecked - remember this awesome poster Sean designed? Yeah, this right here is your only chance to get it! Also includes the 3 poster grab bag, a holiday postcard, early access, and a livestream shoutout

$50 - A polaroid from set and your name in the video credits. Also includes the American Whoopee poster, the 3 poster grab bag, a holiday postcard, early access, and a livestream shoutout

$100 - A virtual holiday movie night with Shipwrecked AND the character of your choice on your voicemail--choose from Poe, Lenore, Annabel, Emily, and HG. Also includes every single perk listed above.

ALSO, anyone who donates AT ANY LEVEL will receive access to Starbelt Around Uranus, a very weird, very bad short that Sean, Sinead, Sarah, Tom, and Blake made years ago.

Don’t forget to include your mailing address in a note along with your pledge so we’ll know where to send your perks!

We hope you’re as excited about seeing Poe and Lenore again as we are. Head on over to this link to donate until November 18, and join us for a final livestream on that day as well! And thanks as always for making it possible for us to make the things we love to make.

Click here to help make our holiday dreams come true!

#shipwrecked comedy #shipwrecked holiday project #edgar allan poe #lenore the lady ghost #holidays #christmas #sean persaud #sinead persaud #sarah grace hart #corn sarah #crowdfunding #paypal #starbelt around uranus #blake silver #tom detrinis #mary kate wiles

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preciousmetals0 · 5 years ago

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U.S. Shrinkage, Box Office Trolls, Boeing Blows

U.S. Shrinkage, Box Office Trolls, Boeing Blows:

Country Jerome and the Fed

And it’s a one, two, three … what are we buying for? Don’t ask me, I don’t care a wit; next stop is a bull market.

And it’s a five, six, seven … open up the pearly gates. Well there ain’t no time to wonder why, whoopee! Stocks are gonna fly.

You get the point. This song lyric thing of mine is a sickness, really.

In case you don’t know what I’m talking about here, U.S. gross domestic product fell 4.8% in the first quarter, according to the Commerce Department. It was the U.S. economy’s biggest contraction since the 2009 financial crisis and the first since 2014.

One more quarter of negative growth, and we officially get a recession. Two more, and we win a set of Ginsu steak knives!

The U.S. economic shutdown wasn’t even in full effect in the first quarter, and yet consumer expenditures dropped 7.6%, durable goods spending plummeted 16.1% and services spending was off 10.2%.

As for the current quarter, economists predict the economy to contract anywhere from 37% to 65%.

So, come on all of you big strong men, Uncle Sam needs your help again. The U.S. economy’s in a terrible fix, right here at home in the stock market. So put down your masks and head back to work; don’t’ worry ‘bout those virus quirks. And it’s …

The Takeaway:

When it comes to investing, there’s a mantra I started repeating to myself lately: The stock market is not the economy.

The economy is clearly in pretty bad shape.

The stock market? Not so much.

This may seem like a major disconnect to many new investors, but it’s actually par for the course.

Right now, many Americans are focused on day-to-day operations. What about my job? What about food? Rent? Mortgage payments?

With the lockdown in effect, and the virus still rampaging across the country, there’s little else we can do but focus on the day to day.

Meanwhile, Wall Street is already looking past COVID-19 … past the current economic woes. It sees a light at the end of the tunnel. It sees a U.S. market rebounding with ferocity from this setback.

The Federal Reserve’s promise of unlimited stimulus takes no small part in this overwhelming optimism.

The divergence between Wall Street and Main Street is a frustrating one … to put it mildly. Even here at Banyan Hill, this crazy market has led to a variety of both boom and bust predictions. But who’s right and who’s wrong? Honestly, we don’t know yet.

There is a fair amount of evidence for both sides.

It’s true that the economy is tanking and that this situation should hurt the stock market. But it’s also true that, through government and Federal Reserve actions, many companies trading on Wall Street have more financial support than they’ve ever had.

I get it, Gary G. … the growing cacophony of “Buy! No, Sell!” makes it hard to sort out your financial future. But, speaking purely as an investor here — your average Joe, in all seriousness — the best thing you can do is this:

Take a deep breath. You’re not expected to predict the future 100% of the time.

Pick a strategy you trust.

Stick with it.

Remember, it is possible to know that the U.S. economy is on fire but still make money in the stock market.

Even a forever-bull like Paul Mampilly has a “rebound” method to spot opportunities when markets are irrational to the gills.

So, why not let Paul Mampilly and his team do the heavy lifting and find opportunities for you?

Click here to learn more!

Going: Boing, Boing Boeing

The situation at Boeing Co. (NYSE: BA) is bad … but clearly not as bad as industry analysts expected.

The maker of the flightless 737 MAX reported a first-quarter loss of $1.70 per share on revenue of $16.91 billion. Both figures whiffed Wall Street’s expectations by a mile. And yet, BA stock was in rally mode today.

Why? Because Boeing promised to pull out all the stops in order to survive. During the post-earnings investor call, Boeing announced plans to cut 10% of payroll using “involuntary layoffs as necessary.” I think most of us call that “being fired.”

The company also promised it was “exploring all of the available options” to acquire additional liquidity. In other words, Boeing is looking for more cash … and it doesn’t care how. Given that the company burned through $4.3 billion in negative cash flow last quarter, Boeing might want to start picking pennies up off the sidewalk.

Going: OK, Google…

So, here’s another Bizarro World hot take for you. Google parent Alphabet Inc. (Nasdaq: GOOGL) beat Wall Street’s revenue expectations, missed on earnings and issued a profit warning. And the stock jumped nearly 9%.

By the numbers, Alphabet missed the consensus earnings target by $0.51 per share, but it beat revenue expectations by nearly $1 billion. What’s more, the company said performance was strong in the first two months of the quarter, but that March saw “a significant slowdown in ad revenue.”

That doesn’t sound too bad, right? Everyone is warning about significant slowdowns right now. However, ad revenue accounts for about 82% of Alphabet’s profit. That could be problematic for GOOGL investors.

Still, at least Alphabet didn’t pull its 2020 guidance like so many other companies.

Gone: Trolling AMC

I’ve been saying it for a while: Once the major movie studios got a taste of direct-to-consumer revenue without the movie theater middleman, they would never go back to the old model.

This week, Comcast Corp.’s (Nasdaq: CMCSA) NBCUniversal announced that, going forward, it would simultaneously release movies direct-to-consumer and in theaters. The announcement came after Trolls World Tour raked in $100 million in three weeks for NBCUniversal.

By comparison, the previous Trolls movie made $154 million in five months, but NBCUniversal only made $77 million after movie theaters took their cut.

But the world’s largest theater operator is mad — hopping mad.

AMC Entertainment Holdings Inc. (NYSE: AMC) said today that, because of the direct-to-consumer move, it will no longer show NBCUniversal movies at its theaters:

Going forward, AMC will not license any Universal movies in any of our 1,000 theatres globally on these terms. Accordingly, we want to be absolutely clear, so that there is no ambiguity of any kind. AMC believes that with this proposed action to go to the home and theatres simultaneously, Universal is breaking the business model and dealings between our two companies.

Shh … shh … do you hear that?

That’s not just a major hissy fit by AMC, that’s the sound of the theater business model dying.

Last week, we talked about staying entertained during quarantine — be it while you’re stuck home, stuck working or just feeling “stuck.” Stick with Great Stuff and Banyan Hill, and we’ll stick by you too no matter how long we’re all … well, stuck.

Anyway, by and large, most of you are catching up on household chores and to-dos — 30.9% of you, if we’re getting technical. (When you start going ‘round the house to tighten and dust all the light bulbs … that might be too far.)

24.6% of Great Stuff readers are spending the quarantine playing ketchup with TV and movies, and I mustard a guess that many of you also clicked that “snacking” option! (I, for one, exercise vicariously through the 12% of you staying fit … that counts, right?)

This week, we’re talking hot-button topics and reopening prospects. We love hearing about your perspective from your neck of the woods. So tell us: What do you think about some places starting to reopen? Take the poll below and let us know!

Got more on your mind? Perfect timing!

You have one day left to make it into this week’s edition of Reader Feedback. Of course … feel free to write in after that for next week’s Reader Feedback, by all means.

You can reach us at [email protected] anytime, rain or shine. The electronic post never sleeps, and you’ve got the whole Great Stuff team eager to hear your thoughts, rants and raves. (Yes, especially yours, Anna K.!)

That’s all for today, but remember that you can always catch up on the latest Great Stuff on social media: Facebook and Twitter.

Until next time, be Great!

Joseph Hargett

Editor, Great Stuff

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goldira01 · 5 years ago

Link

Country Jerome and the Fed

And it’s a one, two, three … what are we buying for? Don’t ask me, I don’t care a wit; next stop is a bull market.

And it’s a five, six, seven … open up the pearly gates. Well there ain’t no time to wonder why, whoopee! Stocks are gonna fly.

You get the point. This song lyric thing of mine is a sickness, really.

One more quarter of negative growth, and we officially get a recession. Two more, and we win a set of Ginsu steak knives!

The U.S. economic shutdown wasn’t even in full effect in the first quarter, and yet consumer expenditures dropped 7.6%, durable goods spending plummeted 16.1% and services spending was off 10.2%.

As for the current quarter, economists predict the economy to contract anywhere from 37% to 65%.

The Takeaway:

When it comes to investing, there’s a mantra I started repeating to myself lately: The stock market is not the economy.

The economy is clearly in pretty bad shape.

The stock market? Not so much.

This may seem like a major disconnect to many new investors, but it’s actually par for the course.

Right now, many Americans are focused on day-to-day operations. What about my job? What about food? Rent? Mortgage payments?

With the lockdown in effect, and the virus still rampaging across the country, there’s little else we can do but focus on the day to day.

Meanwhile, Wall Street is already looking past COVID-19 … past the current economic woes. It sees a light at the end of the tunnel. It sees a U.S. market rebounding with ferocity from this setback.

The Federal Reserve’s promise of unlimited stimulus takes no small part in this overwhelming optimism.

There is a fair amount of evidence for both sides.

Take a deep breath. You’re not expected to predict the future 100% of the time.

Pick a strategy you trust.

Stick with it.

Remember, it is possible to know that the U.S. economy is on fire but still make money in the stock market.

Even a forever-bull like Paul Mampilly has a “rebound” method to spot opportunities when markets are irrational to the gills.

So, why not let Paul Mampilly and his team do the heavy lifting and find opportunities for you?

Click here to learn more!

Going: Boing, Boing Boeing

The situation at Boeing Co. (NYSE: BA) is bad … but clearly not as bad as industry analysts expected.

Going: OK, Google…

Still, at least Alphabet didn’t pull its 2020 guidance like so many other companies.

Gone: Trolling AMC

I’ve been saying it for a while: Once the major movie studios got a taste of direct-to-consumer revenue without the movie theater middleman, they would never go back to the old model.

By comparison, the previous Trolls movie made $154 million in five months, but NBCUniversal only made $77 million after movie theaters took their cut.

But the world’s largest theater operator is mad — hopping mad.

AMC Entertainment Holdings Inc. (NYSE: AMC) said today that, because of the direct-to-consumer move, it will no longer show NBCUniversal movies at its theaters:

Shh … shh … do you hear that?

That’s not just a major hissy fit by AMC, that’s the sound of the theater business model dying.

Got more on your mind? Perfect timing!

You have one day left to make it into this week’s edition of Reader Feedback. Of course … feel free to write in after that for next week’s Reader Feedback, by all means.

That’s all for today, but remember that you can always catch up on the latest Great Stuff on social media: Facebook and Twitter.

Until next time, be Great!

Joseph Hargett

Editor, Great Stuff

#Timor Invest

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jaynaneeya · 6 years ago

Photo

Some things never change.

#shipwrecked comedy #sarah grace hart #sinead persaud #sean persaud #mary kate wiles #fig and ford #case of the gilded lily #american whoopee #i'm so happy they're making another thing!#i don't even care how short (or not) it is #honestly just their announcement videos alone make me way happier than they have any right to #i love these guys so much!#my gifs

315 notes · View notes

jeaniegenlow · 6 years ago

Text

Mr. Fudge, Your Balloon Man, in the Tampa Bay Times

Award Winning Author – Alexandra Zayas is an award winning writer who wrote an article about my balloon business in Tampa a few years ago. It wasn’t until most recently when I figured out just how many awards she had really won!

I remember her as a kind, fun-loving reporter sitting at our kitchen table asking me questions about what I did, why I did it, and some of the more enjoyable moments in my career. I thought she was one in a million as I had just finished with a few other reporters at the time. Boy was I wrong! I did an event for a few photographers at the Tampa Bay Times this past weekend and found out that EVERYONE on their staff is fun and a pleasure to be with.

I also found out just how much of an honor it was to be written about by Alexandra. Just five days ago she won the Livingston Award which honors “outstanding achievement by professionals under the age of 35.” She is also a finalist for this year’s Pulitzer Prize for investigative reporting, and the winner of the Selden Ring Award for Investigative Reporting.

If you wish to share with Alexandra one of your untold stories, you can contact her at the information below. She is always looking for ideas in the greater Tampa Bay area.

Phone: (813) 226-3354 Email: [email protected] Twitter: @AlexandraZayas

Mr. Fudge, Your Balloon Man in the News! Tampa Bay Times

The Balloon Story she wrote was found in the Tampa Bay Times and can be read below or visited at the following link: http://www.tampabay.com/news/humaninterest/florida-artist-builds-sculptures-that-take-his-breath-away-balloon-art/1055114

LUTZ Jonathan Fudge sleeps among balloons, thousands and thousands of them, grouped by color, lined up in rows, stuffed into boxes and stacked by his bed. When their time comes, they’ll fill his apron in slots assigned to each type — opaque and clear, powder soft and squeaky, yellow and marigold.

They’ll hang out like long, skinny snakes until he needs one. He’ll dip in, pick it out, blow it up. He’ll twist it into a monkey, or a motorcycle, or a monkey riding a motorcycle flinging poo. And he’ll give it away.

Sometimes, he’ll charge a few bucks. Sometimes, he’ll charge a few thousand. Sometimes, he’ll have to split the cash with other balloon twisters who help him out.

Like the time he built a life-sized balloon statue of Ernest Hemingway, in a Key West scene, surrounded by eight palm trees, a macaw and a six-toed cat.

Or that time he built a 12-foot-high replica of the Beatles’ Yellow Submarine, complete with windows, a tail and periscopes shooting out the top — using just those strings of latex, the occasional pump, a little help from his friends.

And the air in his lungs.

• • •

At 23, Fudge looks back thousands of balloons ago to his very first. It was magic camp. He was 8, and a lousy magician.

The head magician, a big man named Daniel P. Fite with a Capt. Kangaroo moustache, also twisted balloons. He gave one to Fudge and told him to come back when he’d blown it up.

It took the boy a week, and it showed. The balloon was ugly, deformed. He handed it to the moustached magician.

The man ripped it in half.

Fudge’s heart sank to his stomach. But before a tear could come to his eye, Fite took one balloon in each hand, simultaneously blew them up and tied them. And with swift twists of his fingers and flicks of his wrist, turned them into two dogs.

“This guy,” Fudge says, “became my balloon hero.”

He returned to camp every year after that. And sometimes, he followed the magician to theme parks like Disney World, where they would make swords and flowers and hearts for people standing in line. At 15, he made his first tip: $5.

A year or two later, a relative asked him to talk about balloon art at the Great American Teach-In. He needed some expert advice, so he put out a message on the Internet. A woman known in the balloon world as Grandma Maxine Baird wrote him back. She had been looking to sponsor young artists. She told him she would pay his way into a face painting and balloon conference in Orlando. All he had to do was bring fudge.

So the teenaged Fudge showed up with his fudge and stepped into another world.

The hallway was lined with what looked like mannequins. They were human models, standing very still, being painted from head-to-toe. As Fudge walked past, artists begged him to stop, saying they needed another body. But he kept walking, toward a room he heard was the setting of a “balloon jam.”

Think of a jazz jam, people playing their own instruments, exploring their own creativity, synching up if they find a vibe they like. The same is true for balloon jams — you start with small pieces and build as you go.

Evidence exists that the Aztecs once made balloon animals out of the inflated bowels of real animals. But the art of rubber balloon twisting is only a half-century old. And it’s evolving exponentially. Balloon hats and toys have grown into haute-fashion costumes and sculptures bigger than buildings, made for high-paying corporate sponsors.

Some of these ideas are born at balloon jams.

“I get to the balloon room,” Fudge remembers, “there’s a couple of clowns sitting in the corner, Elmo Twist and Peaches. They’re seasoned clowns. They can’t drive at night. Elmo Twist taught me a balloon swallowing routine — for adults only.”

The room was full of such characters, people Fudge would later learn were big deals in the balloon world. He taught one how to make a snail out of a balloon. They didn’t tell him who they were, but they liked his enthusiasm for teaching. He was in.

At a later convention, one big-deal artist asked if he wanted to help create an installation. He did. It was a castle, complete with a long-haired Rapunzel and an alligator swimming in the moat.

He was still in high school, balloon-twisting at five or six restaurants a week, making $150 in one night, what he made in two weeks working at Domino’s Pizza.

• • •

Fast-forward to early this November. Fudge stared at a small toy replica of the Yellow Submarine. He was being paid to copy it into a really, really big balloon version for one of the biggest social events of the year, the Make-A-Wish Ball, where the best tables went for $20,000.

Gone were the simple days of sword balloons.

By now, he’d fulfilled even the strangest on-the-spot balloon twisting requests: a life-sized bed that floated on water, a refrigerator, a banana hammock — “that’s a banana in a hammock. I made it clear I wasn’t going to make anything else.”

He had worked for agencies and started one himself, trained artists who went on to train other artists, stood on a street corner in Okinawa, Japan, making mostly butterflies and octopuses, since those were the only Japanese words he knew.

And now he had landed the submarine gig. He teamed up with master artist John Watkins and brought in a third guy to help blow balloons.

After staring at the toy, they broke its shape into parts. The base looked like a big, yellow whoopee cushion. They started that first, and they kept building — filling balloons with enough air to create a full shape, but not enough to make it pop when twisted.

They inflated 800 balloons. They worked 77 hours.

The party’s theme was Imagine. A big sign announced “All you need is LOVE.” The LOVE was made completely of flowers. In the middle of the ballroom, a big disco ball hung from the center, projecting images of the Beatles.

“It was like a dream world,” Fudge remembers.

And the Yellow Submarine needed to make an entrance.

The song blared. The crowd parted. A parade of stilt-walkers and Beatles bobble-heads built up the crowd. Then the giant submarine floated in, swimming above their heads.

They didn’t realize it was made of balloons until it got closer. The people who have everything were astounded. Oohs were oohed. Ahhs were ahhed. Camera flashes twinkled. Under it all, Fudge raised and dropped his arms like waves as he held his submarine.

He wouldn’t see his work after this night. And it wouldn’t last much longer than that. But right now, in this moment, the exhausted balloon artist reminded himself to smile.

Alexandra Zayas can be reached at [email protected] or (813) 226-3354.

Your Balloon Man To contact balloon artist Jonathan Fudge and his Tampa entertainment agency, which provides other types of entertainment as well, visit www.YTEevents.com or call him at (813) 310-5900.

#Balloon Decorations #Event Decorations #Entertainment #Party and Event Ideas #Wedding Entertainment

0 notes

seanskeithley · 6 years ago

Text

Mr. Fudge, Your Balloon Man, in the Tampa Bay Times

If you wish to share with Alexandra one of your untold stories, you can contact her at the information below. She is always looking for ideas in the greater Tampa Bay area.

Phone: (813) 226-3354 Email: [email protected] Twitter: @AlexandraZayas

Mr. Fudge, Your Balloon Man in the News! Tampa Bay Times

Sometimes, he’ll charge a few bucks. Sometimes, he’ll charge a few thousand. Sometimes, he’ll have to split the cash with other balloon twisters who help him out.

Like the time he built a life-sized balloon statue of Ernest Hemingway, in a Key West scene, surrounded by eight palm trees, a macaw and a six-toed cat.

And the air in his lungs.

• • •

At 23, Fudge looks back thousands of balloons ago to his very first. It was magic camp. He was 8, and a lousy magician.

The head magician, a big man named Daniel P. Fite with a Capt. Kangaroo moustache, also twisted balloons. He gave one to Fudge and told him to come back when he’d blown it up.

It took the boy a week, and it showed. The balloon was ugly, deformed. He handed it to the moustached magician.

The man ripped it in half.

“This guy,” Fudge says, “became my balloon hero.”

So the teenaged Fudge showed up with his fudge and stepped into another world.

Some of these ideas are born at balloon jams.

At a later convention, one big-deal artist asked if he wanted to help create an installation. He did. It was a castle, complete with a long-haired Rapunzel and an alligator swimming in the moat.

He was still in high school, balloon-twisting at five or six restaurants a week, making $150 in one night, what he made in two weeks working at Domino’s Pizza.

• • •

Gone were the simple days of sword balloons.

And now he had landed the submarine gig. He teamed up with master artist John Watkins and brought in a third guy to help blow balloons.

They inflated 800 balloons. They worked 77 hours.

“It was like a dream world,” Fudge remembers.

And the Yellow Submarine needed to make an entrance.

The song blared. The crowd parted. A parade of stilt-walkers and Beatles bobble-heads built up the crowd. Then the giant submarine floated in, swimming above their heads.

He wouldn’t see his work after this night. And it wouldn’t last much longer than that. But right now, in this moment, the exhausted balloon artist reminded himself to smile.

Alexandra Zayas can be reached at [email protected] or (813) 226-3354.

#Balloon Decorations #Event Decorations #Entertainment #Party and Event Ideas #Wedding Entertainment

0 notes

darrencpritt · 6 years ago

Text

Mr. Fudge, Your Balloon Man, in the Tampa Bay Times

If you wish to share with Alexandra one of your untold stories, you can contact her at the information below. She is always looking for ideas in the greater Tampa Bay area.

Phone: (813) 226-3354 Email: [email protected] Twitter: @AlexandraZayas

Mr. Fudge, Your Balloon Man in the News! Tampa Bay Times

Sometimes, he’ll charge a few bucks. Sometimes, he’ll charge a few thousand. Sometimes, he’ll have to split the cash with other balloon twisters who help him out.

Like the time he built a life-sized balloon statue of Ernest Hemingway, in a Key West scene, surrounded by eight palm trees, a macaw and a six-toed cat.

And the air in his lungs.

• • •

At 23, Fudge looks back thousands of balloons ago to his very first. It was magic camp. He was 8, and a lousy magician.

The head magician, a big man named Daniel P. Fite with a Capt. Kangaroo moustache, also twisted balloons. He gave one to Fudge and told him to come back when he’d blown it up.

It took the boy a week, and it showed. The balloon was ugly, deformed. He handed it to the moustached magician.

The man ripped it in half.

“This guy,” Fudge says, “became my balloon hero.”

So the teenaged Fudge showed up with his fudge and stepped into another world.

Some of these ideas are born at balloon jams.

At a later convention, one big-deal artist asked if he wanted to help create an installation. He did. It was a castle, complete with a long-haired Rapunzel and an alligator swimming in the moat.

He was still in high school, balloon-twisting at five or six restaurants a week, making $150 in one night, what he made in two weeks working at Domino’s Pizza.

• • •

Gone were the simple days of sword balloons.

And now he had landed the submarine gig. He teamed up with master artist John Watkins and brought in a third guy to help blow balloons.

They inflated 800 balloons. They worked 77 hours.

“It was like a dream world,” Fudge remembers.

And the Yellow Submarine needed to make an entrance.

The song blared. The crowd parted. A parade of stilt-walkers and Beatles bobble-heads built up the crowd. Then the giant submarine floated in, swimming above their heads.

He wouldn’t see his work after this night. And it wouldn’t last much longer than that. But right now, in this moment, the exhausted balloon artist reminded himself to smile.

Alexandra Zayas can be reached at [email protected] or (813) 226-3354.

Your Balloon Man To contact balloon artist Jonathan Fudge and his Tampa entertainment agency, which provides other types of entertainment as well, visit http://www.YTEevents.com or call him at (813) 310-5900.

#Balloon Decorations #Event Decorations #Entertainment #Party and Event Ideas #Wedding Entertainment

0 notes

shipwreckedcomedy · 6 years ago

Photo

Announcing Shipwrecked’s All-Inclusive Fan Things Contest 2018!

As we hope you know, we are currently fundraising for a little Poe holiday short, and it’s our five-year anniversary! In order to spread the word and also do something fun, we’re announcing a contest that you--yes you!--can participate in.

We wanna see fan art! We wanna read fan fic! We wanna see fan recipes! Want to paint a pumpkin? Cool! Want to cosplay? Splendid! Scripts! Playlists! Fan edits! Literally WHATEVER you want to do, we want to see it. Our only stipulation is that it be inspired by a Shipwrecked work of your choosing. That includes Poe Party, A Tell Tale Vlog, Kissing in the Rain, Gilded Lily, American Whoopee, or even Bertha’s Attic Song if you want to go for a deep cut.

You have until next Friday, November 9th at midnight (Pacific time) to participate, and we’ll announce the winners on Sunday, November 11th. You can post your entry on twitter, tumblr, instagram, or facebook, just be sure and tag #shipwreckedfive - cause it’s our five-year anniversary, see? The prizes will be as follows:

1st place: A signed American Whoopee poster and pack of all three of our pins

2nd place: A signed American Whoopee poster

3rd place: All three Shipwrecked pins

Get creating, and don’t forget to spread the word about our Poe holiday short! And if you haven’t, you can still donate here.

#shipwrecked holiday project #poe holiday short #shipwreckedfive #shipwrecked five #poe party #edgar allan poe's murder mystery dinner party #the case of the gilded lily #fig and ford #american whoopee #kissing in the rain #kitr #attv #a tell-tale vlog

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yteeventsblog · 6 years ago

Text

Mr. Fudge, Your Balloon Man, in the Tampa Bay Times

If you wish to share with Alexandra one of your untold stories, you can contact her at the information below. She is always looking for ideas in the greater Tampa Bay area.

Phone: (813) 226-3354 Email: [email protected] Twitter: @AlexandraZayas

Mr. Fudge, Your Balloon Man in the News! Tampa Bay Times

Sometimes, he’ll charge a few bucks. Sometimes, he’ll charge a few thousand. Sometimes, he’ll have to split the cash with other balloon twisters who help him out.

Like the time he built a life-sized balloon statue of Ernest Hemingway, in a Key West scene, surrounded by eight palm trees, a macaw and a six-toed cat.

And the air in his lungs.

• • •

At 23, Fudge looks back thousands of balloons ago to his very first. It was magic camp. He was 8, and a lousy magician.

The head magician, a big man named Daniel P. Fite with a Capt. Kangaroo moustache, also twisted balloons. He gave one to Fudge and told him to come back when he’d blown it up.

It took the boy a week, and it showed. The balloon was ugly, deformed. He handed it to the moustached magician.

The man ripped it in half.

“This guy,” Fudge says, “became my balloon hero.”

So the teenaged Fudge showed up with his fudge and stepped into another world.

Some of these ideas are born at balloon jams.

At a later convention, one big-deal artist asked if he wanted to help create an installation. He did. It was a castle, complete with a long-haired Rapunzel and an alligator swimming in the moat.

He was still in high school, balloon-twisting at five or six restaurants a week, making $150 in one night, what he made in two weeks working at Domino’s Pizza.

• • •

Gone were the simple days of sword balloons.

And now he had landed the submarine gig. He teamed up with master artist John Watkins and brought in a third guy to help blow balloons.

They inflated 800 balloons. They worked 77 hours.

“It was like a dream world,” Fudge remembers.

And the Yellow Submarine needed to make an entrance.

The song blared. The crowd parted. A parade of stilt-walkers and Beatles bobble-heads built up the crowd. Then the giant submarine floated in, swimming above their heads.

He wouldn’t see his work after this night. And it wouldn’t last much longer than that. But right now, in this moment, the exhausted balloon artist reminded himself to smile.

Alexandra Zayas can be reached at [email protected] or (813) 226-3354.

#Balloon Decorations #Event Decorations #Entertainment #Party and Event Ideas #Wedding Entertainment

0 notes