#how to value a company

[valadvisor1]

How to Value a Private Company Based on Revenue | Business Insights

Determining the value of a private company can feel like putting together a complex puzzle. Unlike public firms, private companies are not listed on stock exchanges, making their valuation a nuanced and intricate process. For financial analysts, entrepreneurs, private investors, and business professionals, understanding how to conduct private company valuation is key to making informed decisions.  

This guide will focus on one specific approach—valuing a private company based on its revenue. You'll gain insights into why revenue matters, popular valuation methods, and practical tips for accurate estimations. Whether you're preparing for an acquisition, fundraising, or planning your next investment, this tutorial has you covered.  

Why Revenue Matters in Private Company Valuation  

Revenue is the lifeblood of any business, and its role in valuation is critical. By assessing revenue, business professionals can understand how successfully a company generates income from its core operations. It's often a good starting point to evaluate business health.  

Top Valuation Firms in India, like My Valuation, heavily consider revenue as a reliable indicator of performance. Why? Because revenue speaks to the size of the business, competitive strength, and customer demand—all factors vital for determining a company's worth.  

Role of Revenue in Assessing Business Performance  

When used alongside other metrics, revenue offers a straightforward benchmark for assessing business viability, scalability, and sustainability. For investors, it points to the impending potential of returns or profitability down the line.  

Whether you're evaluating a family-owned manufacturing firm or a fast-growing tech startup, focusing on revenue visibility simplifies decision-making.  

Benchmarks and Industry Comparisons  

Professional valuation firms leverage revenue benchmarks, industry profit margins, and operational efficiency metrics to determine growth potential. For example, industries like SaaS (Software as a Service) may be evaluated using recurring revenue models, whereas retail businesses rely more on gross revenue streams.  

This makes revenue-based methodologies one of the most versatile and commonly used valuation methods in today's financial landscape.  

Standard Methods to Value a Private Company  

While revenue is critical, the appropriate method for valuing a private company depends heavily on its unique circumstances, including lifecycle stage, market conditions, and future growth rate. Here are some of the most widely used company valuation methods involving revenue.  

1. Revenue Multiples  

Revenue multiples are a staple among valuation techniques. This method involves multiplying a company's revenue by an industry-specific multiple to estimate its value. For instance, if your SaaS startup brings in $2 million in annual recurring revenue (ARR) and the industry multiple is 8x, the company's valuation is roughly $16 million.  

Why it Works:  

Straightforward and data-driven.  

Provides quick results using industry comparisons.  

Potential Drawbacks:  

Revenue multiples don't account for profitability. Two businesses generating identical revenue could have very different valuations if one is significantly more cost-efficient.  

2. Discounted Cash Flow (DCF) Approach  

The DCF method forecasts the company's expected revenues and calculates their present value by applying a discount rate. It's often used to determine how much a company's future cash flows are worth today.  

Best Suited For:  

Companies with predictable and stable revenue streams.  

Pro Tip:  

Top Valuation Firms in India often use DCF in tandem with other methods to cross-check results and mitigate risks associated with future revenue predictions.  

3. Comparative Market Analysis  

This method involves analyzing the financial performance of similar companies within the same industry or geographical area. Using this benchmark data, valuation experts assess whether the subject company is performing above or below its market peers.  

Example Application:  

A retail chain's valuation may hinge on comparing revenue per square foot to industry averages to identify if it's outperforming local competitors.  

Factors Influencing Revenue-Based Valuation  

Not all revenue streams are created equal. Several factors can significantly influence valuations based on revenue. Here's an overview of what matters most.  

Quality of Revenue Streams  

The focus isn't just on how much revenue a company generates—it's also about how it generates that revenue. Are income streams diversified? Are they predictable or reliant on one major customer?  

Growth Rate and Market Trends  

Future growth prospects are essential to private company valuation. Businesses in booming industries, such as SaaS and renewable energy, often have higher revenue multiples due to projected market expansion.  

Profit Margins and Industry Benchmarks  

Financial analysts evaluate not just top-line revenue but also the profit margins supporting it. Industries with naturally lower margins, like grocery stores, will have different valuation benchmarks compared to high-margin industries like luxury retail.  

Best Practices by Top Valuation Firms  

Valuation experts like My Valuation and global platforms like Investopedia frequently share strategies and real-world insights for calculating accurate assessments.  

Case Studies from Top Valuation Firms in India  

Consider a startup in the fintech sector gearing up for Series A funding. A leading firm like My Valuation would scrutinize its ARR, client churn rates, and future projections to determine its valuation. Tools like financial modeling software and valuation-specific platforms streamline accuracy.  

Proven Tools and Software  

Business Valuation Software: Alteryx for predictive analytics.  

Financial Reporting: QuickBooks for SMBs; SAP for enterprises.  

Peer Benchmarks: Investopedia's industry guides.  

Tips for Accurate Valuation  

Getting valuation right requires meticulous effort. Here are professional-grade tips to refine your revenue-based calculations.  

Segregate Revenue Streams: Divide them into high-margin core revenue and supplementary income sources.  

Review Historical Performance: Look at trends and identify any anomalies in YOY growth patterns.  

Align with Business Lifecycle: Valuation reflecting a startup's pre-revenue stage differs significantly from an established company nearing its IPO.  

Why Professional Valuation Services Are Essential  

While DIY approaches can take you far, working with expert services, like ValAdvisor, helps mitigate risks and ensures thoroughness—benefits that hold immense value for both entrepreneurs and investors.  

Benefits of Expert-Valuation Services  

Access to advanced tools and industry benchmarks.  

It avoids overestimating or undervaluing key assets.  

Promotes confidence when pitching to VCs or buyers.  

[Discover what ValAdvisor can do for your valuation needs!]  

Unlock the Potential of Revenue-Based Valuations  

Now that you've explored the in-depth approaches to private company valuation, you're better equipped to assess revenue-driven estimations. While methods like DCF and revenue multiples serve as strong foundations, remember that professional expertise adds significant depth to valuations.  

Want to perfect your strategy? Reach out to companies like ValAdvisor or learn from top Valuation Firms in India like My Valuation. Refine your approach, build confidence, and achieve accurate results every time.  

Contact - +91 8285072375 /+91 8368817967

valuations@valadvisor.com

[deathandnonexistentialdread]

Yami has placed people in two categories: 'Yuugi' and 'Everyone Else'

[notbecauseofvictories]

a wild moment at work today, when my boss (at the end of quite a long speech about why I should track my work better) essentially said, "but you're not getting any credit for your accomplishments!" and I realized I genuinely didn't care.

[lizzybeeee]

Well, shit.

RIP Dragon Age.

[jelliebabydog]

all i really have to say about the "dire wolf revival" thing is its pretty fucked up to genetically engineer wild animals and then keep them trapped in a facility for their entire lives. they're just creating more zoo animals. that is the only possible role that these animals can fill - to be gawked at. they cannot be kept as pets or released into the wild.

i just dont see the point in reviving them at all. so fucking sad. i cannot imagine being in their position. if yall think alterhumans have the "yearning for the forest" thing bad, none of you have anything on bioanimals who are actually being IMPRISONED. all alterhumans should be pissed off on behalf of all these "revived" extinct IMPRISONED animals.

i dream of a leash free world. so should we all

[wassupmygays]

happy trails bows will never not make me weep my eyes out :((( and god the way the whole ensemble kneeled before milena and let her bow on her own, and milena and ryo got to bow together as martrip, and then the big group hug with a single spotlight .... ough my god

captured by @/cassandra.westin on ig

and its so amazing that both ryo and milena got to be On Stage for their final show. as swings, thats not always a guarantee. and they got to bow hand in hand <3

tumblr wont let me embed the links rn but go to @/useumofoadway on ig for a beautiful bow video. its full of so many beautiful moments for that cast; tilly and milena getting to bow side by side, and tilly starting them all kneeling for milena so she could bow solo. the rest of the company throwing epdm or kisses or hugs her way as they bowed. ryo and milena's bow spots being right next to each other bc of their tracks. pulling ryo and milena center stage, and the kupermans bringing milena flowers. the solid 20 seconds of applause just for milena, bc god did she put her entire being into keeping this show running for Years. the giant group hug lit by a single spotlight. and the whole cast cheering milena off stage for the last time, chanting and clapping <3

[newspatron]

Stock Market Valuation Guide

Learn how to assess the value of any stock in the market and make better investment decisions with this stock market valuation guide.

Do you want to learn how to assess the value of any stock in the market? Do you want to know whether a stock is overvalued, undervalued, or fairly valued? Do you want to discover the best methods and metrics to measure stock market valuation? If you answered yes to any of these questions, then this article is for you.In this article, you will learn everything you need to know about stock market…

[fierrochase-falafel]

My (very late) complicated take on Deadpool and Wolverine

So I watched Deadpool and Wolverine last week (I wrote this literally last year and just ended up...not posting it for some reason), as a somewhat casual Marvel fan who has somewhat followed the MCU, and I have some...hot takes? I think?

Firstly, a disclaimer, because I do not want to get flamed for this: I know plenty of people will disagree with me, and that's fine. You can think I'm overreacting or that I'm plain wrong on your own time, and if you really want me to reconsider any statements I make (although half of this is just feeling to be honest) then I am open to changing my mind based on other people's explanations. For context- I've not seen a Deadpool film before although I knew a bit about what he was like in the Spider-Man comics, and I was a fan of the X-Men '92 series (saw the first 2 seasons as we didn't have the DVDs for the rest) and all of X-Men evolution. I have read bits and pieces of a Wolverine encyclopedia, if that means anything, and I've looked into other reviews and done a bit of digging into other people''s responses to this film. Really I'm not here to comment on this as a Marvel fan but as a fan of media in general, and honestly just as a person with my own nitpicky reservations and who's a bit fed up with the MCU.

If I sound exceedingly harsh, please just click away. It's not worth getting into an argument over this, especially when I'm not a dedicated enough fan. Finally you can get to enjoy these films without having to listen to randos on the internet like me, and I can vent my petty frustrations seperately and we can all exist in peace.

------------------------------------------------------------------------------

Deadpool and Wolverine is hardly the worst film to come out of the MCU since Endgame, actually it really is one of the better ones if not the best one lately, but I really wanted to enjoy this film more than I did and I am trying to figure out why I didn't. Perhaps I am not the intended audience, or I am not familiar enough with Deadpool, and those are all fair points. I'm going to come at it from an angle that goes more into it though because this isn't *really* about Deadpool, this is about the MCU. That being said, let's get into it.

So...there is a point at which you realise something about the MCU as a whole if you hadn't before, and that is that it is a corporation. It's been hard not to realise that recently, with the volume of stuff it has been churning out no matter how subpar. While Deadpool and Wolverine is far more interesting than, say, Love and Thunder, I couldn't shake the feeling that despite this actually being more than a soulless mishmash, there's an underlying air I don't think I can unsee in the MCU that taints everything for me, and it's that there is nothing new to really say. There is no real diversity of opinion or line of thought- there are good guys who protect the world as it is, and bad guys who want to change it. For instance:

To me, an outsider of sorts, the TVA (basically functioning as the Time Police, although this is contentious) are shown to have a ridiculous amount of power that some guy Paradox can just build a time ripper that can end any timeline?? There are layers to this, but the bottom line is, no member of the TVA should be able to procure something like that and use it just because they feel like it, and quite frankly the unchecked power of the TVA as an organisation is unsettling and frightening. Then, Deadpool tries to fight this part of the TVA to stop them from killing his timeline, but then the real villain Cassandra Nova enters the fray with the intention to destroy every timeline because...she wants ominpotence? I don't know, these villain motivations aren't getting any stronger. And then Deadpool and Wolverine stop her, and Paradox gets arrested, and wow what a great ending! Except what feels missing...the lack of questioning or distrust surrounding the authority the TVA has, which was the root cause of this mess in the first place. But Marvel will never morally or philosophically question the extent of authority a system has over it's people or all of humanity, and will never really explore an avenue of changing what is flawed about the system. The problem, to them, isn't the power, but whether it's held by 'good' people. Paradox being arrested solves the conflict with the TVA, because his intentions were destructive and aimed to use his power for destructive purposes, but it wouldn't have mattered if he were a good guy now, would it?

This is the philosophy that pervades all of the MCU- power belongs with the good guys who protect the world from the bad guys. The issue is never the power itself, or the system that allows for such blatant misuses of it, because to question established systems (or actually address any of the pitfalls of American capitalism) doesn't reflect their needs as a corporation worth lots of money. When this was previously brought up in the form of the Sokovia accords (although "putting the powerful people under strict government regulations" doesn't strike me as utopic in any way either), correct me if I'm wrong but it had barely any consequences to future films. Infinity war happened, more fights where there is no human intervention whatsoever, and then the accords are just repealed off-screen. And this goes on to feel like a very unsustainable world, one where there's not much joy to be derived, as there is never really hope for changing the powers and systems that control our lives. The TVA can shred your timeline in an instant, supernatural fights can wipe out your cities at any moment, but nobody cares about the damage or will question it- your lives are in the hands of heroes who are 'good' and make funny quips I guess so you know you can trust them. Wolverine at the end of this film is told by a TVA member that his timeline cannot be restored as what happened made him the man he is now, and he's just seemingly fine with that and they go eat shawarma. A whole universe of deaths that he's been guilty about the whole film, that he's wanted to get back, but I don't feel like we get a proper resolution to his grief at all and they just become collateral damage to the plot in the end even after being shown how much he loved them. Everyone says thank you to the Time Police, trusting they know what's best and will do the right thing, and moves on as if this wasn't an unsettling encounter at all.

Now I know I might've gotten details about the TVA wrong, but I couldn't sit through all of Loki, okay? I was lost the minute we got to girl-Loki being symbolic of Loki's gender fluidity and also they kissed? Speaking of that though...another thing I found disappointing with Deadpool and Wolverine was the queerness aspect. Deadpool is, in the comics atleast, pansexual, and I know Ryan Reynolds said he was into exploring that, and trust me this film is filled with queer things being said. HOWEVER. There is a difference in the way straight romance and queer romance is portrayed in the film; that was clear to me when I left the cinema. There are plenty of jokes involving Deadpool making very homoerotic comments towards Wolverine, or talk of pegging the TVA officers, or even shouting out "the gays" in a speech, but it is not given anywhere NEAR the same weight as his attraction/love for Vanessa. And this wouldn't necessarily be an issue (after all, sexual attraction doesn't have to be serious) if it weren't that everything he said when going off on a tangent were gay, but everything he did seriously was straight. There was something distinctly noticeable about it, and honestly it felt like being queerbaited despite the fact I never even expected to hear about pegging in this film. To me, I care about creators committing to showing a main character man experiencing attraction to another man with the same weight and value given to it, verbally and non-verbally, jokingly and unironically, as you would to him experiencing attraction to a woman. Anyone could watch this and take all of these to be ironic gay jokes even if they aren't, and I don't think this counts as committed representation of a minority. Not that I was looking for it in this film, but to be shown the potential of being represented in some manner onscreen and then realising it wouldn't really be taken as seriously as any straight characters did quite hurt. Maybe that's just how Deadpool is, maybe I should never have wanted anything more substantial... The internet went crazy shipping Deadpool and Wolverine despite them never being taken for a serious potential couple, and I think that's what they wanted.

The thing is, I understand many aspects of why people liked this film, tying itself up. Wade Wilson wanted to matter, and by hyping himself up as Marvel Jesus and bringing back so many forgotten characters to the screen, he mattered by lifting them up and showing that they mattered too. Many of the jokes were funny, like the meta ones about Marvel's downfall and honestly I laughed at the pegging one too and some others (although I will say: Marvel making fun of how bad Marvel is lately does have a limit given you guys caused this downfall in the first place). And, to be fair, I'm sure the TVA thing has some explanations in Loki or upcoming plot points that might change everything compared to what I know. This movie was, in many ways, very fun. The fact that it had so much going for it is half of what left me feeling so dissatisfied, because despite epitomising many of the things Marvel are positively known for, I didn't really care or feel anything at the end at all. Bringing back various forgotten characters for a last hurrah is great and all but when it's all for a not very nuanced villain and when none of the heroes see anything wrong with the TVA and all of that...I don't know, it feels bleak. Watching these films I don't feel inspired or hopeful, I only feel bleak and apathetic, and I know I can just go watch other films (which is what I've been doing) but I don't understand why we all go back to the cinemas to watch the same nail being hammered into the ground with the next Marvel movie. Even when you have reason to expect difference, the underlying nature of it is the same. The only significant thing I see happening is even more characters being ushered into the already complicated Multiverse, often for cameos and jokes reliant on nostalgia and endless referential humour. Oh, and Marvel Studios getting more of a monopoly over superhero stories, that too.

The older X-men TV shows I watched and, even more recently, the Spiderverse films felt like they had so much more depth or commentary to them, so I know superhero media isn't doomed to be this way, not now or ever, so I hope we can take this as a sign to ask for more from our media in terms of storylines, queer characters, and messaging. Something new, something inspiring, and something that feels like it's made not just because it was a smart business decision. A lot of these things I recommend finding from smaller creators and lesser-known artists, but I feel as though we should start to look for this from Marvel too. I get I'm not a Marvel genius or an X-men genius, or even a Deadpool genius, so it isn't really my place, but I still think it's worth asking for more because if their profit lies with the realisations of our passion and with revolution, then that's where the company will go. As a reviewer, this is how I feel.

[sosadraws]

HI! DID YOU SAY HUMAN AU? FOR LUCHS? YOU DO NOT GET TO I mean you do but eh JUST TEASE US LIKE THAT THATS TORTURE

I mean Luchs is super cool AND you mentioned a human au pleaaaaaaase tell us more pretty please?

Ah yeah, there's a Human AU, it's almost the same as their normal lore, but just humans (so I have more freedom when it comes to character design). I showed a little bit of it with these designs for Charlie and Echo, but I didn't elaborate on it.

Anyways, on the Echo to Luchs timeline:

I guess she would come from very strict households with high expectations for her (y'know, have excellent grades, enroll into a prestigious college, have a successful career and be a good wife to your husband); which has messed up Echo, who tends to take other's opinions on her more personally (and I guess already had a rocky relationship with her family to begin with). She has been unemployed for quite a while and needs to make end's meet, so she joins this shit-ass company where she meets Charlie, and the later just starts hanging out with this shy loner until they become friends.

Echo would the the typical shy woman that doesn't want attention drawn towards her, so she's very soft spoken and tries her best to not stand out from the others. She wishes she could present in a more masc way, but fears confrontation and rejection from others. One of the consolations she gets is that sometimes her crush brushes and plays with her hair tho. That's very good.

Once they get separated Echo kinda gets in a existential dilemma on what to do with herself since she's in a unknown location and she can't depend on Charlie anymore. At some point she has a emotional breakdown over grieving Charlie and various previous self-stem issues ("this is my fault, all of this could have been avoided if I weren't a coward, etc") and impulsively cuts her hair. She feels very bad about it afterwards, not because of the bad haircut, but in a "oh no! I've gone against other's preexisting perception on me! they will hate me now!!" kind of way.

With time she gets to know other with similar ideas to hers so she finally feels understood. As she gets more confident (and realizes the norms she was taught to abide by are full of bullshit), she starts to loosen up on the role she has set to herself (your everyday woman that despite working out, is still very feminine and never whines or talks back). Also, she gets better at expressing her emotions and establishing boundaries, expressing discomfort or when she needs time for herself, which also makes social interactions easier for her and others.

So yeah, similarly to the main setting she just goes "Ah fuck it! Judgmental people can eat shit", cuts contact with her family, and embraces dressing and acting however she wants. After all, it's just clothes and hair, it's not like others will spontaneously combust if they see a woman that's kinda masculine.

OH ALSO! BODY MODS!!

She enjoys the tattooing process in a therapeutic way. After being criticized for so long over her being sensitive, she learned how to internalize her emotions. However, this also means that it is very difficult for her to cry, even when she wants to (holding back tears became an automatic reflex, for better and worse). She has a relatively high tolerance, but still. In her mind, the pain from getting a tattoo gives her "permission" to let out tears and emotions she didn't even know she had been holding on until she's done and suddenly feels relieved. There's also the fact that she's close to Irene, her tattoo artist and best friend, who lets her cry to her heart's content or just vent without judging. Currently she has two piercings on her right ear and the shoulder tattoo, but she plans to turn it into a sleeve by adding something new to the design every few weeks; maybe also get snake bites, but she's still thinking about that.

...alright that's all. Since we're at it, here's a full body sketch of human Lynx just because:

So now you know, and thanks for asking! ✨

[daddy-long-legssss]

had my personal assessment for work and it went well but i still felt like i could burst into tears at any given moment.

[prescription-gatorade]

Our first season of Stargazers the TTRPG is over (for now), so I am filling the hole in my heart with a Severance AU

[lightdancer1]

One of the bits I'm really enjoying with In the Company of Witches and Slayers:

The Tara Maclay of this AU does duplicate a few of Willow's canonical notes, namely the equivalent of Something Blue, and resurrecting Willow in the same way that canon Willow resurrected Buffy. I also, like in my other works, use the gift that Amber Benson left of the evil Tara with Andrei Kurgan's grimoire but in a way more like what canon thought it did but didn't quite.

Instead of the magic addiction thing Tara goes on the same power trip I treat canon Willow's Dark Willow phase as and from her POV she's a victim of physical abuse who gains the power to actually hurt Glory instead of being hurt by her (there's a bit of a theme that the two villains that hurt her worst in this canon actually vehemently dislike her AU counterpart because she actually literally hurt them and made them feel it). As with canon Willow her worst traits are the results of Black magic corrupting her and less as addiction and more like the One Ring.

This AU's Dark Willow, by contrast, is a long-standing problem of suppressed rage and a combination of multiple hits with a trauma nailbat for someone with reality warping powers which is an explosive combination....and in each case the idea that there ever really WAS a Dark Willow or a Dark Tara is rejected by both Willow and Tara for very similar reasons but staunchly believed by their friends.

And since it's an unreliable narrator effect here each is equally right and wrong. Black magic really is innately corrupting because it grants the power to twist reality on a whim without any concern for the consequences and as power tends to corrupt, absolute power tends to corrupt absolutely. Does this have the equivalent effect of DID or Bruce Banner becoming the Hulk?

At least in my stories at a Doylist level, no, but in that Watsonian level the contrast between a very powerful sorcerer in full 'My Precious' mode with the One Ring and their ordinary selves is so much like it that people without the arcane knowledge to understand it can be easily forgiven for believing that's what they're seeing.

It's also that good old fashioned Scooby double standard, too. Amy Madison in particular is 'Willow if reality handed her only the bad cards and none of the good ones'. This AU's Willow recognizes that and has sympathy for her within limits and keeps trying to appeal to her good side, which is a note missed with the canon Willow where they just forgot that Amy was one of her closest friends who turned to evil. And until the Twilight war Amy is seen in-universe through Willow's eyes but after it she's seen through the eyes of other characters and she's a murderous evil witch who tries to wield human sacrifice, blood magic, and is every bit as power hungry, petty, and jealous as her canon counterpart.

Equally since this AU's Willow is invincible unless she's facing foes capable of using her weaknesses (which naturally I tend to do precisely to add creative tension) her standards of threats are skewed and what to her is a nuisance is an existential threat to everyone else. Amy and Tara, unlike in other cases, are by no means weak, they are exceptionally powerful. Since Willow is the most powerful being in the *universe*, mystically, everyone else is second rate. Second rate to the most powerful being in the infinite expanse of a single universe allows massive amounts of leg room and Tara is the second most powerful sorceress in the entire setting and Amy the third.

And Amy, if she's not facing Willow or Faith with a friendly weapon that nullifies magic like the Scythe or Olaf's Hammer, is a murderously creative juggernaut who can and does steamroll multiple enemies at once with trivial ease. This is for the villains is Buffy on hard mode, the villains that last are more badass than their canon counterparts by default.

And where canon only hinted at the worst things Willow did indirectly and in a way where people can ignore it, which was IMO one of the most foolish things it did, because if you're going to go there, go all the way or not at all, this show makes it explicit and in a way that parallels Faith and Tara just as canon pairs Faith and Willow.

And just as with canon Willow these particular aspects are explicitly a case of 'Dark Side brain rot' and very directly NOT what the actual Tara would do, and it's one of the things that haunts her most. Where canon Willow never really had to face the consequences of her actions due to the bullet (and that too is one of the best reasons for the Tara resurrection storyline) , this AU's Tara very much does face them and grows into fully being the person she could have been. Much like how canon Tara made major mistakes and was the rare Buffyverse character allowed to actually grow and become wiser from them.

This is also why a couple of my other AUs hinge on 'Willow looks into the future, sees her canon path, goes 'Hell no' and rejects it and it turns out that rejecting it works but there are some steep prices for trying'. Essentially when the characters look at canon Season 6 they balk and go 'gross, no thank you' but this setting being what it is, it fucks them up with a different nailbat because it's the Whedonverse and his characters only get yea tier nice things.

[communist-mud-witch]

if your raise does not cover inflation, it is a pay dock.

take my raise this year. it was my first year working this job, and i started a bit too late to qualify for a full raise*, so mine was 1.9%, with the full raise that i "did not earn" being 3%.

*another horseshit trick they will throw at you; they are knowingly scraping off the top of your salary, especially if they count from several months before the raise even goes into effect

if you know how to do math (and you should not blame yourself if you don't; billionaires literally do not want anybody doing math except their math goons), and pay even a passing amount of attention to inflation, then you will know that the inflation rate for USD in 2024 was 2.9% per the consumer price index. that is 1% more than my raise. the buying power of my salary fell after my first performance review, where they claimed to have given me a raise. true? technically. they are paying me (slightly) more money than they did before.

but they have produced far more profit than they did last year, and my salary pays for less of my family's basic needs than it did before. this is a pay dock.

that review was as good as it could have been (given the limits of the new-employee review, which i was apparently given despite some later hires getting a full review. sus). i nearly broke the record for the quickest out of training on my team. and i am very good at my (incredibly boring) job, which is to know exactly how much money the company takes in every single day. so i know how much that number has increased since i've been there.

if it was just me, that would be one thing. but the entire branch of the company (the very large branch that ensures it is paid for services rendered) got "merit raises" of 3%. 0.1% more buying power than you had before is not a reward for loyalty or service, it is a tactic to keep you docile. if you don't get a raise at all, they consider you highly replaceable, and likely assume that you can't find a better-paying job. thus, they feel no need to keep you docile. their mistake.

TLDR: your actual raise is the rate at which the buying power of your salary increases. if it's less than the inflation rate for that year, your actual buying power has been lowered, so your pay has been docked. revolution.

[dandyshucks]

seeing that they announced an official plush today, just as i rly started getting going on making my own by hand ... i do not see it ... i am looking away .... this shall not deter me from my goal nor will it take the wind out of my sails.....

[karmaphone]

the world if governments didn't make decisions solely based on profit

[vimbry-moved]

twisting is they might be giants' most spiteful-sounding song and I love it so much. the dial-a-song demo's opening lyrics of "she says there's a place in brooklyn for bitchin' and for moanin', and when they built that place, she said they saw you comin'" should've stayed in, because they just make it funnier.

with linnell's vocals backing up flansburgh's lead, it has the petty tone of a pair of teenagers/young adults goading somebody with the backdrop of interpersonal conflict as its theme, like oh ya sure she totally wants to see you....hanged HA psycheeee. gottem.

I have 2 ways of interpreting it when I listen; being from the view of someone facing a gutting reality check by reflecting on their past encounters with a new perspective that there's people who don't want to stay in their life, or being on the more cathartic side of the narrator saying their piece. either way, it's wonderfully mean-spirited.