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gylisaa · 5 years

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So I get asked to do a tattoo blog ALOT, and while I don’t see myself as tattooed enough to warrant one – all of y’all do, so here we go.

My first tattoo, the one considered to be the ‘gateway’ tattoo.

My first tattoo! I drew myself, mistakes and all when I was 17, and my best friend Hannah treated me to it on my 18th birthday and she got the same tattooed on her other arm. Best friends 5eva. So no underage tattoos here guys! Not for lack of trying…>:)

Now, if I HAD got tattooed underage, I can honestly say I would have been lumped with a monstrosity for life – I drew up my own design of a trad style anchor, with two swallows either side – doesn’t sound that bad right? Well I wanted it in traditional garish colours, and no where other than my lower abdomen. Let’s just say thank fuck for tattoo artists who check ID and don’t just ‘take my word for it, my mum said I’m allowed one and I’m deffo 18.’

I had the tattoo bug from a very early age, didn’t help that we were regulars at festivals like The Bulldog Bash – a motorbike, music and booze festival run by the Hells Angels, which happened to be a stones throw from our front door. My other best pal Naomi, got her first tattoo there, underage ! And it was me who got called the bad influence!!

Anyway, I fucking love art, so much so I wanna be the art. Is that so strange?

My next tattoo was on a whim, with an old friend of mine in London, we filled up on chocolate vodka, decided to get ‘matching’ hand tattoos and she ended up with an ace of spades, while I ended up with a tiny anchor that has since spread so much it needs explaining every time I show it. Scratcher tattoos, for the win!

On my right hand, a tiny anchor tattoo sits on my finger! Yes, that is an anchor.

My third tattoo, and my first proper learning curve, was that some tattoo artists don’t just ‘know’ what you want! I was besotted with Valerie Vargas style tattoos at this point, having just discovered her work in several tattoo mags, and so when Ryan and I booked a day session I showed the guy a picture I liked and said ‘I want something like that, please.’

19 years old, and shy AF, he showed me a stencil briefly and slapped it on my upper arm, I have a mole on that arm (about where your TB jab might be) and he’d positioned the design – that I’d hardly seen – so the lady’s face had a huge mole on it!

I asked if he could move it, and he scrubbed my arm roughly and moved the stencil. By now I’d seen the design and it wasn’t what I wanted. Feeling too rude to say so and ask for a new one to be drawn up, I sat through an hour or so knowing I hated my tattoo.

Here’s the lesson I have since learnt…

TATTOOS DON’T FUCKING COME OFF!

They are on you FOR LIFE.

That is what you are paying for. A permanent mark. A permanent design that you will look at – FOREVER. If you don’t like it – speak up ! A tattoo artist doesn’t want you to be unhappy! They want you to love your art, on paper, and on skin. It’s their job, and generally – their passion too. Communicate! Be specific, your artist will want to work with you to get an end product you are happy with living with, and they are happy scarring you with.

So yeah, here she is, and she’s remained untouched since that fateful day. Sorry hun.

A few centuries later, had a spell of homelessness, living on the dole and finally getting our acts together and adding to the clan – Lily was born. And upon her ejection, it was time for another tattoo.

I got my second and third finger tatts on Ryan and I’s anniversary, so as an ode to my two loves of my life, I opted for a heart for Ryan (hint hint, I would like a ring) and an L for…Loopy Lily the First. This is one of those photos that at the time I thought was beautiful and now she is grown look back on and think ..urgh Potato Child.

Sorry babe, you are beautiful now.

On maternity leave and with money and time to kill, the arm began to fill up. This was done at Dust n Bones Tattoo in Plymouth, by lovely Robin!

Brightened up the peg something chronic!

Then! Fate struck, and two ‘brummies’ immigrated to Looe one fine day in 2017, (infact, TODAY! Two years ago!) Ryan noticed a shop being refit whilst on a job, and Lo! The Vault in Looe came into our lives, bringing with it two of the best people ON THE PLANET. Melanie Allen (then Bates!) and Cat Allen. We even made them a song. But let’s not go off on that tangent.

Ironically, most of our friends in Cornwall are not Cornish natives, not sure if that says more about Cornwall being The Place To Be, or if it means Cornish folks are…weird AF.

Anyway! Ryan went in, introduced himself (and me, although I was none the wiser a friendship egg was being laid.) And booked himself in for a hand tatt. Long story short – we go there for all our tattoos now, I recommend them to everyone I know – even Aussies, y’never know when one may be visitin’. And frankly, if anyone else were to touch me with a needle I’d feel like I was cheating.

In 2018, Mel and Cat invited us to be part of their wedding, and we were blessed with being a part of their happiest ever day – what an honour!

The hand tattoo that started it all, and our place settings at M & C’s wedding!

And so, here are several tattoos laid upon me by the one and only Catherine Rope Head Allen.

Crystal Ball, the runes mean success, luck all that kinda shit.

Friday 13th tattoo, lucky ol’ 13! Ryan got one too, and he tattooed one on Cat!

A birthday tattoo, and yes I drank tea as it was stabbed into me!

My finger tattoos, and not to sound like a pussy but these are up there with most painful tattoo! I love Cat but when she tattoos me sometimes I’d like to punch her.

One for the Foot Fetishers

Oh, my most recent tattoo is the swallow on my foot, and I nearly forgot to mention my own mishaps – tattooing ‘Love Hate’ on my toes on Christmas day, probably not my greatest idea, but it was funny at the time. And what’s life for, if not for laughing.

Another ‘home job’ a sugar skull on my thigh. Hurt like fuck and Ryan did a line too. A blurry photo honestly does it justice.

The rest of my arm, a crescent moon which was done by Robin at Dust N Bones, which i got ‘cus I liked it. (Life aint always deep and meaningful!) and then following a few successes with my blog and writing in general I got a writing hand, with the word ‘Mother’. This was my own design and tattooed by the wonderful Cat! It actually covers over some scars which was pretty poignant – like making an ugly reminder of a hard time into something that I am proud of and truly self-made. I’ve done well since that period of life, and now whenever I see my arm I am reminded of it.

Lucky Horseshoe – Freshly done! This tattoo was a nod to my first love Amy (RIP), Also Ryan tells me I am supernaturally lucky (that’s true!) and he recently got a tattoo that said ‘Fuck Luck’. So its an ode to being a ying/yang. He’s unlucky, but I’ve got enough luck for the both of us.

Excuse the shite photo, but have you ever tried to take a photo of the bottom of your arm?! This piece was just a gap filler I decided on, on the day. Super bright and colourful dagger and rose.

So… I THINK that is it! Theres another anchor on my ankle, stabbed into me, by me. It’s not too bad actually! I’ve got another tattoo booked this weekend – so we will have to wait and see what that is!! I’m sure I’ll document it all on Instagram…so be sure to check that out! ( @Rocknrollmother_)

I’ve popped a link in above to The Vault’s Facebook if you wanna have a nosy at Cats most brilliant work – I am not the greatest advert for her amazing talent. Their Instagram is here.

That said! A few of you asked for more tattoo blogs, so there will be more to come! Watch this space for a walk through of Ryan’s tattoos! (Wayyyy more interesting than mine) And tattoo etiquette – a guide to getting your first, third or the rest of your tattoos! Etc. If there’s anything you’d like to read, drop a comment or message on my social media.

Thankyou for reading, I hope you enjoyed it (:

My Tattoos! So I get asked to do a tattoo blog ALOT, and while I don't see myself as tattooed enough to warrant one - all of y'all do, so here we go.

#cornwall tattoo #looe tattoo #tattoo #tattoo blog #tattoo care #tattoo guide #tattoos #the vault

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aragornbang · 4 years

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The One True King Of Anarchy, May He Be The Last

Aragorn wrote a sneering obituary of Bob Black the minute he stopped being useful; it's only fair that Bob Black now write Aragorn's obituary.

Let's get to it.

The infamously boring would be patriarch of the east bay anarchist scene sometimes claimed the name "Aragorn" was the unchosen result of hippie parents, but still occasionally got mail to Aaron Mosner. Due to this uncertainty over what name was truly Aragorn's adopted name or a parental narrative he reaffirmed, to be safe we'll just refer to him as The One True King from here on out.

The two central claims of this essay are:

The One True King sought power and control through manipulation and viciousness as a would-be "Rupert Murdock" of anarchism and patriarch of a small east bay scene.

His chief campaign was to undermine No Platform, repeatedly fighting to let reactionaries, eco-extremists and national anarchists into anarchist spaces.

The One True King largely avoided making his own positions clear, opting instead to use people and ideologies as pawns and cover. He preferred when other people were set up for conflict so he could delight in the carnage, utilizing gossip from afar. He'd back a noxious individual not so that they'd win but so that in their fight they'd still crack the Overton Window further and make more acceptable his own positions. His other favorite maneuver was sharing articles of his adversaries, specifically ones selected to serve as punching bags for his audience. Because of this curated selection of adversarial content his flagship holdings like LBC, Anews, Anarchy101, and TheAnarchistLibrary all kept up a thin veil of nonpartisanship to the new or naive, some of whom even thought The One True King's adversaries were themselves submitting content. He loved a deniable joke; one vicious enough to devastatingly imply something but hard to describe if anyone was so unwise as to take offense publicly. Hashtags, vaguebooking and implicit damnation by conjunction with an image were his specialty online. Misrepresentation by omission or plausibly deniable implication a specialty in person.

While it is possible his own opinions or preferences changed over time, most who observed him over the years couldn't help but notice an opportunistic pattern: He was always about the idea that was popular among a new group of people he wanted to grab. One year he was hostile to an idea, the next its best friend and champion. He'd even pivot in the same week with different audiences. Because he was a notorious for burnt bridges some would initially miss this politician's flexibility within the circles he was currently using as a base.

The One True King framed himself as fighting for ideological diversity against entrenched leftist scene police (a crusade that justified literally anything, no matter how underhanded). The narrative he pushed was that his noble personal sacrifice and work ethic was all that was protecting green-anarchists, post-leftists, and individualists from the Bookchinist boot and crushing conformity.

This increasingly turned to parody as The Leftist Enemy soon became figures like John Zerzan.

In fact by the end of his life there was no more zealous scene police than The One True King. Even the lightest association with those deemed "enemies" could get you scrubbed into a person non grata, pushed out of projects and circles. His personal sweetness could so easily turn to viciousness because he trained those under his wing to tolerate it as mockery. What's a little caustic ribbing behind your back? And then one day the unseen ribbing would turn to outright conspiring, pressuring, even lying about you.

Of course to many he remained studiously sweet. There is no doubt that he sincerely cared for a number of people in his inner lair, and he could certainly be magnanimous. Although when traveling this often came across as entitled.

His personal life was complicated. But then who among us hasn't left children behind in the midwest to run a creepy cult for young punks in Berkeley? Who hasn't ducked accusations of improper behavior in sexual relationships? The two house "compound" was inherited by one of his partners, and when mixed with the tech money The One True King had access to, provided him with virtually uncontested power. Well, virtually uncontested, occupants of the compound would sometimes get back at him behind his back in petty or sexual ways.

What did The One True King actually believe? What were his actual goals? While he gave several accounts and others have alleged a variety of claims, it's hard to tell what if anything was ultimately behind his crusades. What is uncontested is that he lost friends over his hard work to platform "national anarchists," a uncontestedly fascist current. When Andrew Yeoman launched Bay Area National Anarchists it was The One True King who included BANA members in the Berkeley Study Group (a project he tightly controlled). The One True King also allowed Yeoman and national anarchists into anti-politics.net, a site he administered and, at the time, THE forum for individualist, nihilist, egoist, and post-leftist currents of anarchism. He let friendships within the post-left burn rather than expel these fascist entryists.

This is a pattern that would be replicated almost a decade later with Individuals Tending towards Savagery.

Much ink has been spilled by this point about ITS. What matters to us is the prevarications and obfuscations. ITS had explicitly abandoned anarchism, started claiming murder for sport, and targeted mexican anarchists for murder when The One True King decided to pick up a project by Abe/Art Caberra (exposed as an alt-right catholic-trad paralegal who went to Berkeley named Arturo Vasquez by 325). Caberra had run a website named "Atassa" as the english language press office of ITS (doing their translations, championing them, getting messages from them, and trying to collect texts to defend their ideology). The One True King offered to publish a book version of the website through Little Black Cart, with Caberra as editor. Caberra posted a spattering of ITS memes on Facebook interspersed with alt-right memes. These posts were often liked by The One True King and he would even at points tag The One True King, referencing their friendship. Meanwhile support for ITS had flowed strongly across all of The One True King's captured platforms.

When ITS' actions (an infoshop bombing and one claimed femicide in particular) reached wider knowledge in the north american milieu The One True King was forced to backpeddle and paint his platforming as innocent consideration on the marketplace of ideas. This was his most awkward pivot because many had by this point overheard The One True King praising ITS and because of his personal ties with many explicit ITS supporters.

The One True King's public maneuver was to retreat behind an LBC collective statement and public renunciations of ITS by people in his circle cleaner than him. An inveterate shit-stirrer he delighted in the backlash (just when he was looking marginalized in anarchism thanks to picking fights with antifa groups), here was an excuse to rally the troops against the leftist scene police! But the defense that ITS had interesting ideas "in the anarchist family" didn't work as well as he hoped. Nor was anyone familiar with the situation or the people able to swallow his new narrative pivot that Atassa was totally different from ITS.

"Some defend the publications and discussions (or trolling, as it were) they engender because while perhaps they don’t agree with killing people, the analysis ITS presents is intellectually stimulating and worthy of consideration. If ITS did kill her, Lesvy Rivera can surely appreciate that her brutal murder was found intellectually stimulating for some." --Scott Campbell

Attempting to claim hegemonic control of the green anarchist milieu with "Black Seed" (a struggling but much hyped newspaper printed and delivered on The One True King's tech money) had been rough going. Green anarchists across north america started distancing themselves from ITS and condemning (to varying degrees, in private or in public) LBC for their embrace of Atassa/ITS. The One True King censored the most damaging instances from Anews, and it helped him that IGD was disinclined to publish some particular nihilist figures who turned on LBC.

Even the main person behind TheAnarchistLibrary departed the project in protest of The One True King's control over it to start a competitor that wouldn't host ITS.

The One True King couldn't back down -- he had to pray that "the leftists" hadn't captured enough of anarchism to shut him out. Or that his latest pivot (loudly embracing indigeneity after years of platforming racists and sneering at "idpol") would buy him a new base. And he hoped that the more stable roster of now hated vocal enemies -- like John Zerzan, William Gillis, Alexander Reid Ross -- would take the bait with the second issue of Atassa. Unfortunately they did. But this boost of internal party discipline wasn't enough. In addition to IGD completely marginalizing Anews, LBC was getting banned from bookfairs and quite serious international insurrectionary groups were turning on them. In desperation LBC started tabling American "Libertarian" conventions.

After a meteoric rise and reign for over a decade, The One True King appeared chastised and surprised. He loved inflating the threats and opposition he faced, picking fights with the infoshop that hosted his Berkeley Study Group and then exclaiming about "graffascists" when the lock to his office was glued, or inflating the costliness of getting his tires changed when they were slashed. Such minor attacks were too many to count, just as his enemies were. But towards the end of his life he started to realize he'd made actual enemies, who'd chosen sides and gotten organized.

In private he was certain that this antifa fad would burn out. "We're down today, but we'll be back up tomorrow. There's a lot of anarchists who disagree with that No Platform stuff."

In reality all he had left was an echo chamber. He had overthrown the "leftism" of (early post-leftist) Chuck0 censoring the comments of Infoshop.org, and instead popularized a website where he could sometimes remove comments attacking him or rebutting his side, but at least he would always let people say the n-word and post MRA shit.

Without of note to say himself, and too timid to create anything truly "incendiary", The One True King could only throw the stale regurgitated vomit of other people. How's the saying go? When the only tool you have is a hammer, you interview the national anarchist Keith Preston on your podcast. Previously at Richard Spencer's National Policy Institute, next up on The Brilliant.

An anonymous writer at Crimethinc claims that what launched The One True King's crusade was being put on a house chore wheel to do the dishes. If true this would truly make his life a sublime tale of manarchy. If he did the dishes more often maybe his servers would have been cleaner and less full of exploits that allowed anyone to look at the logs he said he didn't keep.

Also it was really mean that he didn't provide a private security detail to protect me from people upset that I've snitched repeatedly, tried to get Ramsey deported, and was even caught on the roof of Modern Times with gasoline trying to burn it down. That was totally unfair and definitely the worst thing Aragorn did.

Signed, Bob Black, pigfucker

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firstfootingscotland · 5 years

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Bogha-frois Conversations: Will Hammond

Early this year during Glasgow’s Celtic Connections Festival I had the pleasure of joining a host of incredible LGBT+ artists for a performance and a panel around the theme of Bogha-frois: LGBT+ Voices in Folk. A brainchild of Pedro Cameron (Man of the Minch), Bogha-frois began as a workshop at the Scottish Storytelling Centre and takes its name from the Gaelic word for “rainbow.” The energy around Bogha-frois has enacted a metamorphosis - far beyond a standalone workshop, panel, or critically-acclaimed gig, Bogha-frois is a movement celebrating gender and sexual diversity within traditional and folk music, song, and dance in Scotland. Following the events in Glasgow, I wanted to continue these conversations and proposed a series of monthly blog posts. It’s hope this series will be a place for dialogue around the intersections of traditional arts, identity, and each artists’ path as a LGBT+ person. This month’s Bogha-frois conversationalist is percussionist Will Hammond!

Tell me a story... what was a moment when you felt both your identity as a traditional musician and your identity as a LGBTQIA+ person were in focus? (1)

Obviously the Bogha-frois workshops and concert were a pretty decisive event for this. During those days it felt most apparent and explicitly like "this is what this is about, this is inextricably part of who we are and what we're doing", which did feel like the first time outside of maybe being at pride or a protest that I've felt quite so "out" and among similar people, and the only time where the musician part of my identity has been equally in focus. I'd had a few conversations with other queer musicians about navigating the world the ways we do prior to those workshops, and each time my thoughts of "I'm sure I'm not the only person" became "oh, wow there are other people experiencing these things!" So, to have so many people gathered for the workshops and concert laid out this confirmation on a scale that was very affirming.

How do you identify? What are the pronouns, descriptors or other words you like to use, if any, to describe yourself in regard to your LGBTQIA+ status.

I'm bisexual, in that I am capable of being attracted to people of more than one gender. My own gender is a total mess and I use he/him pronouns but they/them pronouns are fine, kind of whatever, really. Genderfluid and nonbinary are terms that fit; I don't think I really know what I "identify" as on an that instinctive visceral level. If I introspect on it, I always come out thinking "I don't know what feeling like a man or a woman or anything else feels like, I just feel a bit unpleasant." I find personally trans/cis is a pretty quirky binary in itself. "Do you agree with the doctor who said 'it's a boy' when you were born?", I mean, I guess, yeah sometimes but also sometimes not, right?

(percussionist Will Hammond, photo by Amelia Read)

Talk about your perceptions of LGBTQIA+ identity (both yours and others) within your experience playing traditional music in Scotland.

When I've played in Scotland my own and others' identities have either gone unmentioned and un-talked about or they've been the focus of the event- referring to the Bogha-frois concert, so my experience has either been extremely welcoming and accepting or I haven't had to think about it. Being English and mostly working in England, I don't expect my experiences of this in Scotland to be comprehensive or universal for Scottish musicians.

In what ways do you feel your identity as a LGBTQIA+ person and a traditional musician intersect, overlap, engage?

I am fairly open to talking about my queerness with other people I play music with, and most of these people, if they are not themselves lgbtq in some ways, have usually demonstrated that I can trust them about it. Ever since I first read about it I've enjoyed exploring the idea of music as a verb rather than a noun. I also like the line of thought leading off about how a musician who is just walking down the street, or making a cup of coffee, or trying to get to sleep, is still a musician. Even if what they are doing in those moments is not musicking, their musician-ness has affected how they experience and interact with the world. I think, for myself, I can draw definite parallels to my queerness in here. How applicable that is for other people is totally up to them, of course. At the moment I have "trans rights are human rights" written in block capitals down the side of one of my main instruments, and I don't exactly present as the most obviously straight person in the world, so I suppose I'm not trying particularly hard to keep my queerness and my musician-ness separate.

Talk about your experience connecting with other LGBTQIA+ folks both inside and outside the traditional arts.

I have worked a couple of times with other lgbtq artists in the trad scene and beyond, but prior to the Bogha-frois workshops it was never a specific condition or factor of us working together. It would emerge over the course of us practicing usually, or I already knew about the other(s) going in and would tell them about myself.

View this post on Instagram

A post shared by The Cusp (@thecuspmusic) on Apr 8, 2019 at 9:08am PDT

(Will’s band The Cusp with fiddler Imogen Bose-Ward and harpist Ada Francis)

If you’re comfortable sharing, talk about any incidents of homophobia or transphobia that you’ve witnessed both inside and outside the traditional arts.

In a performance context I haven't experienced any myself, which has been nice, but on at least two occasions during practices with other musicians, after coming out to them as bi they have immediately asked me about how open my partner and I are to threesomes. Outside of music, just in the last couple of years I've been called slurs in shops multiple times, in the loos at Newcastle railway station a man told me that I'm in the wrong queue and should be in the ladies'. I've been given "that look" by several men for being in public with other queer people. Once, someone I used to work for grabbed my wrist and tried to scrub off my nail varnish with her hand as if she thought that would work and was an acceptable way to treat another adult. I've certainly not had as hard a time as some people I know, but I have plenty of my own evidence for how marriage equality certainly didn't end homophobia, let alone transphobia.

How do you see the traditional arts changing in regard to LGBTQIA+ people? What are the further changes you would like to see?

I'm stuck with being a convert, a backslider, and a reformist with respect to trad music. I didn't get into folk until I was introduced by a friend. I was maybe 17, by which time I'd already been playing music in some form or other for about 9 years. Then playing, listening to, learning about, trad things became a focus until I was maybe 21, when I learned a bit more about abstract expressionism and free improvisation and started enjoying the weirder sides of trad playing more and the "regular" playing a bit less. It was partly burnout from having finished university but getting outside of the folk bubble having spent a short time intensely involved in it was definitely a breath of fresh air. The final project of my studies was a summary of this process in a way, looking at how genres are constructed in the modern age and how occupying the spaces between them can result in some interesting things. I'm fascinated in the ability to use this music to tell stories and preserve memories. I'm also aware of the parallel consequence that allows this music to distort realities and, through entirely benign inaction, forget. I hesitate to speak for the Scottish traditions as I'm only an occasional visitor, and in the words of Leon Rosselson, I'm not suggesting any sort of plot. However, there have been times I find it difficult to look at the amount of lighthearted crossdressing, not so lighthearted crossdressing, "shapeshifting", "enchantment", utter disinterest in marriage, and portrayals of homosocial relationships in traditional songs and not feel concern when these things are overlooked. Even more so when they are explained away in a manner that preserves the current cisheteropatriarchy like it's something that's always been there. The places this music comes from are important, and preserving it and celebrating it definitely is a worthy pursuit. It then follows that to gloss over the parts that don't fit our construction of history is partly what leads us to situations where it takes a whole room of queer musicians simply pointing out that we exist, maybe for ourselves as much as for an audience, to get people thinking about it. As such, and though I recognise that it's difficult to apply current terminology around sexuality and gender to historical time periods, "The Folk", whoever they were, ought to be perceived as less monolithically heterosexual and gender conforming. Applying this way of thinking and looking can go forwards as much as backwards, and achieving a greater diversity of voices in the trad scene is an important goal, I think.

First Footing is a collaboration between dancer and dance researcher Nic Gareiss, the Traditional Dance Forum of Scotland, University of Edinburgh Moray House School of Education, and the School of Scottish Studies with support from Creative Scotland. For engagement opportunities check out the First Footing website.

(1) Following methodology developed by Fiona Buckland in her book Impossible Dance: Club Culture and Queer World-making, I began each conversation asking artists to tell me a story. This, Buckland reminds us, redistributes significance to the voice of the artist, rather than the anthropologist/researcher/interviewer. In Buckland’s words, “the meanings they made from the practices are more crucial than whatever meaning I impose with the theoretical tools in my standard issue doctoral utility belt.” (Buckland 2002, p. 11) This feels incredibly important when collaborating with folks whose voices have so often been underheard or marginalized.

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dustedmagazine · 7 years

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Dusted Mid-Year 2017, Part 1

Jaimie Branch is this year’s Heron Oblivion

It feels like it’s been 2017 for roughly a decade now, given the constant barrage of news and events, but actually we’re only about halfway though. So again, for the fourth time in a row, we have created a mid-year feature in which Dusted writers review each other’s favorite records, specialized expertise be damned. That’s right, veteran free-jazz expert Bill Meyer reviews Actress, outside-punk rock fan Ben Donnelly gets Tift Merritt, trad jazz authority Derek Taylor takes on Julie Byrne, etc. We are drawing outside the lines. We are making a mess. We are discovering things to like about records that would probably never have hit our turntables otherwise. We hope you will do likewise, reading about albums that you might not ordinarily consider, listening to the audio and maybe finding one or two things that make your own year-end list. We’ll run the first half of our picks today, covering Actress through Sarah Davachi. The second will be posted tomorrow and a collection of this-year-so-far lists on the final day of our feature.

Actress — AZD (Ninja Tune)

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Who recommended it? Joseph Burnett

Did we review it? Yes. Joseph said, “(H)is tracks trace the boundaries between the dancefloor and the art gallery in ways that have rarely been achieved so successfully.”

Bill Meyer’s take:

In the video for “X22RME,” Darren Cunningham (aka Actress) conceals his face behind a welder’s mask and gesticulates in front of a crumbling concrete sound catcher that was built to amplify the sounds of advancing German bombers during WW II. The sight of these shielding devices resonates on the morning after a truck drove down the sidewalk of London Bridge, running over pedestrians, then disgorged its occupants into a restaurant district where they stabbed passersby with long knives. Cultural action vibrates within a milieu, and we live in a time where we are constantly reminded that the old fights come around again, new ones multiply, and our modes of protection will not keep us safe. Actress’s beats won’t solve that, but their adherence to dance floor functionality points to one option for working out the stress. Likewise the women’s voices that rise in multi-lingual layers above the electronic burble at the track’s end articulate connections and possibilities; people construct their lives in whatever circumstances they find themselves..

Blanck Mass — World Eater (Sacred Bones)

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Who recommended it? Ian Mathers

Did we review it? Yes, Ian’s review went up earlier today, saying it’s a record that “somehow [manages] to be both more relentlessly overwhelming and more immediately accessible” than his previous work.

Ben Donnelly’s take:

World Eater seizes the challenge of making everything loud at once, with rhythm sequences that fill up the 16th notes and every frequency. It's the same dare taken by black metal, and I daresay metal has something to do with the aesthetic, though the results of Benjamin John Power's production are brighter. When his synthetic valkyries are charging, it’s epic for sure. It's a victory gallop, not impending doom. And victorious he is. Looped waves of noise have the force of machines, and they all ring with the intent of a human somewhere behind the scenes, giddy with the godlike storm-bringing power he's discovered. So yes, "The Rat" has an industrial meat grinder beat, but it sounds like he's dropping pinball machines into the auger, not enemies. This is a dense record shot through the ribbons of darkness, but those bared fangs on the cover are smiling.

Bottle Tree — Bottle Tree (International Anthem)

Bottle Tree by Bottle Tree

Who recommended it: Eric McDowell

Did we review it? Yes, Eric covered it in a mid-May Dust, saying, “Over the cassette’s 30 minutes, the trio gets significant mileage out of contrasted layers, deft structural pivots and sudden harmonic cadences.”

Ian Mathers’ take:

Most records this year won’t pack quite as much into their running lengths as Chicago trio Bottle Tree does in a mere 32 minutes, and with fairly minimal means, too; just A.M. Frison’s smoked honey voice, Tommaso Moretti’s protean, quicksilver drum fills and the sometimes anchoring, sometimes intangible arrangements and guiding hand of Ben Lamar Gay. The trio can and does stop and go on a dime, takes switchbacks without pause, and somehow does all this in a form that’s never anything less than sublimely mellow. Whether it’s the gently clattering percussion and bass burbles behind Frison’s chanted and then crooned lyrics on “Open Secret” or the sunrise synths and steady, subway train drumming leading into the stirring chorus of “Permanent Change” (where, of course, the drumming changes up), Bottle Tree somehow twists classic song craft and the avant garde, pop and jazz, Motown and improv, into an effortless, instantly ingratiating Mobius strip. Whatever else that tree is growing, there’s lightning in some of those bottles.

Nathaniel Braddock — Quadrille and Collapse (Invertabrata)

Quadrille & Collapse by Nathaniel Braddock

Who recommended it: Eric McDowell

Did we review it: Yes, Bill Meyer covered it in Dust, writing that, “’Doesn’t Remember,’ … interrupts Philip Glass-like repetition with intricate bridging phrases, while ‘Silvering Ghosts’ sounds like Steve Reich adapted to West African and Caribbean picking techniques.”

Jennifer Kelly’s take:

Braddock is known for interspersing American Primitive-style picking with West African blues, but this pristine and radiant disc seems to lean more heavily on Fahey than Ali Farka Touré. You may intuit the dry heat of African trance blues in “The Desert Within” but elsewhere shimmering flurries of picking evoke the Appalachia-crossed-with-raga musings of Jack Rose. The title track, balancing 18th century square dancing with post-modern notions of entropy, is a glistening intricacy of notes, grounded by low plunks like a kick drum but spinning off from there in dizzying circles. Closer “Tiger Bucket” swaggers. Strong rhythm cuts through the light-and-shadow eddies of rapid notes; it’s a spring-swelled stream that looks placid on top, but spits off bubbles and froth from its tumultuous undercurrents.

Jaimie Branch — Fly or Die (International Anthem)

Fly or Die by jaimie branch

Who recommended it? Derek Taylor, but the Dusted hive was in firm agreement

Did we review it? Yes. Eric said, “The Chicagoan-turned-Brooklynite’s overdue debut is bursting with the pent-up energy of years spent cultivating an impishly bold voice and collaborating widely without the deserved reward of a reputation outside the local scene.”

Patrick Masterson’s take:

This time last year, I was giving a close listen to Babyfather in the wake of Brexit and wondering what we’d be listening to in the aftermath of a Trump election (not to say I told you so). For me, as it turns out, the answer was: Not much. I never got internet service for my new apartment and I’ve been reading a lot of books lately. I’ve enjoyed Migos, Pile, Colin Stetson, and Big Thief records, sure. I’ve indulged in long moments of peaceful repose to Young Thug’s “Safe.” The latest Overmono EP is solid. But that’s about it for 2017; my listening has been liberated from the ever-peaking insanity of the “news” cycle. It feels good, man.

And that’s how liberation should feel, shouldn’t it? You should come away empowered, relieved, unburdened. I wonder if that’s how Jaimie Branch was feeling as she wrapped up post-production last July for Fly or Die, her full-length debut. At a lean 35 minutes and two fistfuls of tracks, this record packs it in and lets it out: The swell of white noise before the count-off into “Theme 001,” a power groove of a song, shows right away that this is no free-jazz genre purist’s haven. It shouldn’t be a surprise that the album flows so well between songs like the “Themes” or “Waltzer” and the interstices of the title-track or end note “…Back at the Ranch” given Branch’s familiarity with band mates Jason Ajemian, Tomeka Reid and Chad Taylor. But despite a handle on divergent mile markers that would have lesser composers looking foolish, the deft touch she’s provided frees it only as far her leash will allow; as Eric rightly points out in his review, the glue is her voice, and she’s got a taut one here.

Nevertheless, calling Jaimie Branch a trumpeter or even bandleader feels preposterously limiting; this woman is living the art we need right now to survive. Does that seem over the top? Well, far be it for me to insist you listen. Or the overwhelming majority of us at Dusted. Or Branch’s bandmates. Or Rob Mazurek. Or Ryley Walker. Or Sarah Neufeld. Everyone hears the liberation at their own pace, after all.

The Bug vs. Earth — Concrete Desert (Ninja Tune)

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://thebugmusic.bandcamp.com/album/concrete-desert"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Concrete Desert by The Bug vs Earth&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Who recommended it? Mason Jones

Did we review it: Yes, Mason wrote, “As the guitars and piano are successively overwhelmed by sonic waves only to resurface with glints of beauty, it feels like an oddly peaceful, welcome drowning.”

Jennifer Kelly’s take:

Two artists that seem, on the surface, to be radically different, find austere common ground in this disc. Dylan Carlson of Earth carves out epic meditative spaces with long, widely separated chimes of guitar, while Kevin Martin, The Bug, builds masses of shivering, shimmering hum. “Gasoline” and “Snakes vs. Rats” power forward on machine-drilled, industrial beats, the brooding heaviness set to foreboding motion. The long ones, “American Dream” and “Concrete Desert” wax elegiac, the ebb and tide of static eroding melody, like the crackle of clock radio cutting through the fading images of a dream.

Julie Byrne — Not Even Happiness (BaDaBing/Grapefruit)

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://juliembyrne.bandcamp.com/album/not-even-happiness"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Not Even Happiness by Julie Byrne&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Who recommended it: Jennifer Kelly

Did we review it? Yes, Jennifer said, “Not Even Happiness is a work of intimate loveliness, surely one of the most flat-out beautiful songwriter albums of a year that is just getting going.”

Derek Taylor’s take:

True to the unspoken, but venerable troubadour credo, particulars of Julie Byrne’s biography bubble up in the mutable, artifice-averse economies of her songs. A life lived with openness to extempore itinerancy and an abiding adoration for the natural world are points on the artistic compass, as are the bonds of family and interpersonal consanguinity even when at odds. Acoustic finger-style guitar lies at the core of Byrne’s performance tool box along with an ethereal voice that glides from a lilting, speakers-sating croon to candid spoken-sung salience. “Morning Dove” and “All the Land Glimmered” contain convincing evocations of the former, her starkly audible fretting on each folded directly into the gentle fractals of the tunes. Electronics and other instruments/effects enhance the equation on songs like “Natural Blue” and the interstitial “Interlude”, but Byrne’s fulcrum is usually the sturdy lattice work spun simply from words and strings. Lyrics and music coexist with equal and reciprocal weight and in their mingling revert to a pleasing and restorative weightlessness. Hers is not my usual wheelhouse, but one I will agreeably spend time in, soothing libation at the ready to augment those Byrne brings forth of an aural sort.

Evan Caminiti — Toxic City Music (Dust Editions)

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://dust-editions.bandcamp.com/album/toxic-city-music"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;Toxic City Music by Evan Caminiti&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Who recommended it? Bill Meyer

Did we review it? Yes, Brett Marion said, “Its slippery patterns [serve] as auditory snapshots of dank irradiated zones and heat realm communities quarantined in an airless isolation.”

Jennifer Kelly’s take

Guitars have receded under an ominous fug since Caminiti’s days in Barn Owl. Where slow bright arcs of tone soared over cuts from Ancestral Star and melancholic picked figures reverberated through Lost in the Glare, here the six-string sounds — sometimes Caminiti himself, sometimes augmented by Jefre Cantu-Ledesma — are ghostly wrecks, barely glimpsed through the haze. Caminiti incorporated field recordings from New York City into this apocalyptic mix, so some of the roar and hiss and rumble is just the sounds of midtown. Yet in “Joaquin,” the disc’s best, music slips under a pall of poisonous smoke, submerges in waves of material-destroying acid, goes down amid the distant hiss and clangor of machinery. Toxic City Music sets up an uneasy conflict between sound and entropy, and it seems that unmaking, rather than making, is winning.

Sarah Davachi — All My Circles Run (Students of Decay)

&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://sarahdavachi.bandcamp.com/album/all-my-circles-run"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;All My Circles Run by Sarah Davachi&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;

Who recommended it? Tobias Carroll

Did we review it? Yes, Eric McDowell said: “Davachi remains a composer of gently immersive and just-stable ambient textures — the kind best enjoyed in total darkness, relieved of as much extraneous sensory input as possible.”

Joseph Burnett’s take:

Even if I hadn't learned it beforehand, I would be certain that the influence of LaMonte Young hung heavy over All My Circles Run from the first note. Sarah Davachi's compositions share Young’s dutiful dedication to patience and stillness more than most, as the extended, shimmering and unwavering tones on "For Strings" make abundantly clear. But dwelling on the core tones of strings, piano, voice and organ so unflinchingly, she allows their strengths to be magnified even as her subtle sonic manipulations upset the listener's expectations. "For Voice" is the clear triumph on All My Circles Run: resisting the temptation to overplay the layers of wordless litanies, she allows each voice to glisten and shine even as it crosses paths with others. Combined, these haunting refrains form a mournful choir that hangs translucently in the air, so fragile one fears it could break apart at any second. So much "drone" music is sterile and intellectual, but Davachi's dedication to focusing solely on the essence of each sound source means All My Circles Run is as affecting an experience as it is interesting.

#dusted magazine #midyear 2017 #actress #bill meyer #blanck mass #ben donnelly #bottle tree #ian mathers #nathaniel braddock #jennifer kelly #jaimie branch #patrick masterson #the bug #earth #julie byrne #derek taylor #evan caminiti #sarah davachi #midyear

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comicteaparty · 5 years

Text

February 14th, 2019 CTP Archive

The archive for the Comic Tea Party chat that occurred on February 14th, 2019, from 5PM - 7PM PST. The chat focused on Earth in a Pocket by Jabbage.

Featured Comment:

Chat:

RebelVampire

COMIC TEA PARTY- THURSDAY BOOK CLUB START!

Good evening, everyone~! This week’s Thursday Book Club is officially beginning! Today we are discussing Earth in a Pocket by Jabbage~! (http://earthinapocket.spiderforest.com/)

Remember that Thursday discussions are completely freeform! However, every 30 minutes I will drop in OPTIONAL discussion questions in case you’d like a bit of a prompt. If you miss out on one of these prompts, you can find them pinned for the chat’s duration. Additionally, remember that while constructive criticism is allowed, our focus is fun and respectfully appreciating the comic. All that said, let’s begin!

QUESTION 1. What is your favorite scene in the comic so far and why?

perhaps not a full scene, but im really fond of this page in general http://earthinapocket.spiderforest.com/comic/2019/01/22 where the socio economic development stuff is broken down. theres just something so elegantly simple about how its shown. not to mention i appreciate the injection of humor, because i think it makes everything really grounded.

Delphina

The badger page is perennially endearing (http://earthinapocket.spiderforest.com/comic/2018/08/11), but I also like the most recent one where Little One is encouraging Halisi to be proactive and set up some long-term solutions for herself: http://earthinapocket.spiderforest.com/comic/2019/02/05

RebelVampire

im really curious why she thought of badgers at all. unless she had the badgers badgers mushroom song stuck in her head. XD

Delphina

@Jabbage please make that canon

Jabbage

makes it so

(Hi! I'm going to be here for a little while! :D)

RebelVampire

thanks for coming, Jabbage!

Jabbage

I figure that if you're on a road trip with a small child who is prone to ask a billion questions, eventually you're going to end up talking about badgers

Delphina

I just really appreciate how even after all she's been through, Halisi still has so much love and passion for her studies, and it's what she reaches to when she's looking for ways to console Little One and solutions for herself.

Kabocha

Hmmm, my favorite scene probably was the Witch bottle explanation http://earthinapocket.spiderforest.com/comic/2018/08/15 It was a good bit of information I hadn't really been aware of :D I also just... enjoy her interactions with the little jellyfish - even though she's in a bad spot, she's still taking time to tell him stories.

RebelVampire

i like the element of logic there is to it too. like she's not panicking, but using what she loves to calm herself down in a way. and i think thats a really great showcase of her character without needing to be told shes like that.

its a characterization via the action versus the telling

mathtans

Here for now, the little one seems extra fussy tonight. Yes, I call my baby daughter the little one. So comic was a bit surreal.

RebelVampire

hi math!

at least your little one isnt old enough to ask yet "are we there yet?"

Kabocha

Right? I mean, she could have just given in, accepted that she might die here... But nah. And she's still kind, even though this entire situation is awful

mathtans

The Witch bottle thing reminds me, I liked the way the art moved through the centuries on that one page, but with people who looked kinda similar. I thought that was clever.

True. Little one could save us some time by specifying what her issues are though. ^.^

RebelVampire

ironically though another of my favorite scenes is the one where halisi sets up the signal and kind of ditches her new jellyfish child to just go despairingly collapse in front of it. i like this brief moment of her giving into despair cause theres something really raw about it. like at first she doesnt say anything even, and i think it makes it really powerful because the silence just adds this immense weight to the sorrow. you know shes super suffering for that moment and feeling the weight of everything finally hit her.

Delphina

Yeah, the comic does a good job of showing a lot of conflicting emotions(edited)

mathtans

Yeah, honestly the very opening was a heck of a kick in the pants. Like, I have no idea what I'd do in that sort of situation. It's very problematic.

RebelVampire

yeah theres def a lot of stressful situations. but i kind of appreciate the lighter moments. like her trying to start a fire but ultimately failing. i mean its kind of scary and sad for her survival, but the way its handled is still pretty funny

also that moment where shes trying to fix the machine at the beginning and it just flat out basically bursts into flames XD

Jabbage

I'm pleased to hear that! I'm always aware that it could be quite a bleak story, but I want it to ultimately feel hopeful and positive, so the silly moments are important for that!

kayotics

I also liked the badger scene, but I think the scene that had the most prominence for me is when she finds out that someone else landed on the planet 80 years ago

i think that scene really set in how dire her situation is

khkddn

the portrayal of emotions really is great. it's really interesting to see someone going through such a crisis and only surrounded by beings who can't relate at all

Delphina

Oh god yeah, and the aliens just going "Something happened to the human we don't know what cause death isn't a thing that happens here???" was scary.

kayotics

"it's hibernating!"

G (Title Unrelated)

I felt something in the scene right after where they tell her dad "we haven't heard from her yet"

Delphina

collective tentacle shrug

kayotics

yeah i really feel for her dad

this isn't a scene, but I appreciate that all of the characters are middle-aged or older

RebelVampire

agreed. but i appreciated the realism of the ppl on the other line being like "meh its probably fine my dude" to the dad. cause that really uses reader knowledge to an advantage to create sympathy for him. because we know its not fine, and that he is right to worry. and that makes it sad hes the only one worried in that moment.

G (Title Unrelated)

Yes I agree

kayotics

Also agreed. It's a good example of dramatic irony

RebelVampire

although i like the most recent page with the followup where hes basically enlisted an army of students to find her. abuse of power, probably. but makes him the sweetest dad? yes.

QUESTION 2. Much of the comic revolves around Halisi telling stories based on things in her pocket. Which of Halisi’s stories impacted you the most and/or taught you something new? What do you think is to be gained from Halisi telling these stories to an alien race with no real connection to humanity? How do you believe the stories and knowledge she has might help contextualize her current situation for her? What, to you, does it mean to have “Earth in a Pocket?” Further, if you were in Halisi’s position, what objects would you pick in 10 seconds to represent the sum of human existence? Lastly, what other cultural or past history aspects do you think Halisi might bring up? How might they be contextualized to add a new viewpoint to Halisi’s situation?

Delphina

I liked the Dancing Plague story a lot http://earthinapocket.spiderforest.com/comic/2018/08/06

RebelVampire

this is the point where i say the witch bottle scene. I think it was beautifully illustrated, and as a story it was not a cultural thing i was aware of. but i like how suitable and unsuitable it was for the situation. but overall it just made me think about humans are weird and can make fear out of nothing at all if the minds decide it to be so.

unless the plot twist is there really was a witch in that bottle

ive always found the dancing plague fascinating because again, humans be weird. minds play tricks.

khkddn

the witch bottle scene is kind of like a story about the power of storytelling, pretty fitting i think

the idea of a witch meant so much to people, like how halisi's stories mean so much to the jellies

G (Title Unrelated)

so she's got a single seed, too, which is also super symbolic

kayotics

I really like the agriculture story, because, like it was mentioned before, it was very concise, but also it shows a lot about Halsi's personality and what she thinks is important about understanding humans on a basic level

mathtans

Back. Know what you can't do when you have a little one? Have a life sometimes. >.<(edited)

G (Title Unrelated)

I wonder what kind of seed it is

RebelVampire

oh man what if the seed wasnt even food. like she winds up growing a rose bush or something XD

mathtans

I was going to say, one of my fave moments was actually comedy, when Halisi first goes off with the inhabitants, thinking about ditching them, and they're all "we can see the thoughts".

RebelVampire

i appreciate the jellyfish didnt just ditch her at that point. cause i would not be as forgiving as them XD

mathtans

And yeah, the hope and sudden crash of the human who was there before was powerful too.

Delphina

I hope it's like... a nice fruit tree. She seems like she could use a nice fruit tree.

mathtans

The framing of the witch bottle scene was cool too. With the whole "not helping me be less afraid" thing (and asking for that term).

kayotics

i just really like the little jellyfish aliens, because they're written in a way that's much less human-centric. I like aliens that are just kind of weird for being weird and don't follow human conventions.

mathtans

Though props for the "pot-reon" in the agriculture bit too.

RebelVampire

yeah im really appreciating the jellyfish for that reason. theyre a nice blend between humanistic traits while still being super alien. its always nice to see when theres kind of a basic gap of understanding where the way each species thinks is quite different

anyway, for me personally though, while she does literally have some of earth in her pocket, i think earth is more about the stories that have traveled with her. because oral traditions reach immensely far back and is the main platform by which we teach and learn about ourselves as a species. so imo they are more representative of humanity than the objects. thus how she can fit earth in a pocket, even though she doesnt need the pocket.(edited)

G (Title Unrelated)

Yeah, I think you nailed it!

mathtans

Also, random question/thought. Halisi didn't have to dig too deep to get "well" water (I liked that one too)... yet was able to bury a guy? The water must be specific to locations or something?

Agreed on the alien-ness people have been speaking about.

G (Title Unrelated)

I mean it's an alien planet

mathtans

Good point about the traditions, Rebel. She's her own pocket.

It helps that she mostly just has to think things rather than even speak them aloud too.

Jabbage

AHAHA yeah, I realised that after drawing it. It's on a list of things i might tweak one day, although I do also like the idea that it is just an alien planet and it's strange and unpredictable like that. So much of our own planet would seem strange and random if we didn't understand a little bit about it's geology, the water cycle etc.

kayotics

on that note i like the idea of halsi going around trying to find ground that doesn't immediately fill up with well water

"okay let's try this spot. Hm, nope, that filled up. can't bury him here"

G (Title Unrelated)

haha!

RebelVampire

yeah it didnt particularly stick out to me just cause i wrote it off as like a change in elevation or something like that. but basically alien planet does alien things XD

mathtans

Fair point.

Could just drag dirt over from another place too, though I guess it would be raised more then.

kayotics

I think if it needs to be tweaked in the future, Jabbage, you could always just change it to a mound rather than a hole. same concept but it avoids going below the dirt

mathtans

Fixes the w"hole" thing.

G (Title Unrelated)

also digging a hole IS hard work

Jabbage

Yeah, or using rocks

kayotics

digging is a lot of work

mathtans

Also whistling while you use rocks, to get rock music.

I'll stop.

kayotics

if she plants that seed she may have to make a mound for that too, it would probably get too waterlogged otherwise

mathtans

I wonder if the soil has the right nutrients.

RebelVampire

yeah i was thinking that too

that her next challenge is finding a not well spot for that seed

cause unless its a crop that specifically needs to be waterlogged, shes gonna have a bad time

mathtans

The jellyfish said the mushrooms could talk, right? Maybe they know a place.

Does rice have seeds?

G (Title Unrelated)

I think if the planet has breathable air it might have a similar balance of elements and whatnot to earth?

kayotics

i think most rice is planted from splitting an existing plant, but i'm sure there's a seed that starts it all

Delphina

What do the jelly aliens taste like

kayotics

DELPHIE NO

Delphina

MAYBE THEY GROW BACK OR SOMETHING

Jabbage

Whether or not the mushrooms can talk is a fun thing that's not really ever going to get expanded on, but which I had in mind for how the jellies work. I figure that they don't have many ways of getting external sensory information about the world - no eyes, ears, sense of smell etc. They are psychic though, they share thoughts and ideas and information about the world. I figure that the mushrooms have some kind of consciousness and run through the planet, and the jellies can draw from that somehow to orientate themselves and know what's going on

G (Title Unrelated)

that's what I kinda assumed!

I mean, that is basically how forests work on earth. XD

RebelVampire

so basically the mushrooms can function as gps

Jabbage

@Delphina ~ I mean I'm sure Big One has some spare limbs... ~(edited)

mathtans

Oh, wow. Cannibalism-like issue didn't occur to me.

Jabbage

Me neither honestly

mathtans

I think the jelly was a bit broken and said she'd regenerate over time...?

RebelVampire

QUESTION 3. Story wise, the comic deals with Halisi crash landing on an alien planet and all but being stranded. Do you believe Halisi will learn to farm with the little she managed to salvage and find a way to survive? What obstacles might prevent such an excursion on the planet? How will Halisi deal with the obstacles? Further, how do you think Halisi will deal with managing her mysterious illness, and what is she sick with for that matter? How might her actions be hindered or helped by the native alien life? In what ways do you think her actions will change how the alien life lives their own lives? Finally, do you believe that Halisi will be rescued at some point? If so, how will this come about?

mathtans

I like the mushroom consciousness idea.

RebelVampire

i do think the jelly child said as such.

G (Title Unrelated)

Q3: These are... all questions I have, myself. XD

mathtans

That illness thing is probably the immediate concern. Withdrawal itself is an issue, whether the pills were life saving or not

G (Title Unrelated)

I was wondering if they were antidepressants or something

RebelVampire

yeah for all the optimism in this plan, the pills are gonna be problematic. but i did wonder if they were antidepressants

khkddn

the flashback scene after she takes her last pill makes it seem to me like she was waiting for medical test results

kayotics

it's also a future time, so it could be a pill that prevents a life threatening disease from spreading.

mathtans

That's a good thought. The whole not accomplishing anything in her life is pretty bleak. Maybe that's a symptom.

G (Title Unrelated)

oh I didn't realize that scene was about her somehow

kayotics

my hope is that she's rescued well before she even needs to worry about this single plant producing any viable food options, since even if the plant grows, it's not likely going to sustain her

G (Title Unrelated)

yeah exactly

RebelVampire

not to mention depending on what plant it is it could take forever to grow. plant growth really varies a lot from crop to crop

kayotics

as for the pills, it seems like her illness has a vague timeline. Like a degenerative disease or something cancerous.

G (Title Unrelated)

P.s., I want some rainbow space maize.

RebelVampire

yes i second this

rainbow space maize for everyone

mathtans

It's a maize-ing.

khkddn

a few pages after she takes the pill she wonders "why are red pills better stimulants" and the pill she took was red. but then again if it were antidepressants i would expect a flashback that looked more like a therapists office than a doctor with results

Jabbage

Oh gosh I don't want to interrupt all the amazing discussion about Halisi's mysterious malady but I was so pleased to find out that there's actually multicoloured corn like that

I thought I made it up for a gag but it's reaaaaaal

kayotics

i have the link, if you'd like it

khkddn

oh i love the corn page

kayotics

https://www.sciencealert.com/this-rainbow-corn-is-the-coolest-way-to-eat-your-veggies (rainbow corn)

mathtans

It wasn't too corny.

kayotics

Honestly? corn, rice, and wheat would all be things I'd say should be brought to an earth colony.

G (Title Unrelated)

yeassssst. XD

unless there's naturally occurring yeast.

Man, we don't even know what it would be like to visit another living planet

RebelVampire

if we have rainbow corn, clearly were meant to go into space right now.

thats a good catch with the red pill, @khkddn

i actually hadnt paid attention to the pill color

mathtans

As to the question of Halisi being rescued, I foresee two possible outcomes. First, that she's found still alive, and she's learned enough about the planet natives to further space research or something, or second, that she's found dead, but the natives were so taken by her stories that her name will live on forever in the history books of first contact.

G (Title Unrelated)

I didn't associate the pill color musing with her situation but maybe it IS related!

RebelVampire

though i leave it open shes on some sort of mental health related medicine, i do feel its more likely its a degenrative disease of some sort. cause it makes her wanting to go to space make more sense. cause i feel its one of those things where youd be more willing to do it if you knew that you had a shorter time than most to live

math no, that second one is too dark

although not implausible

khkddn

if halisi is not reunited with her dad at some point i'll be so sad

or at least they speak to each other

Delphina

Yeah, I'm just gonna say I don't think Halisi's gonna make it back to Earth. I think we're probably looking at a "she finds peace and purpose with the remaining time she has" situation.

RebelVampire

im gonna believe in the rescue efforts cause her dad seems to be a determined dude. and tbf they probably know her flight path so unless she was super duper off course they can probably guess a reasonable area she might be.

mathtans

I don't know that it's necessarily dark... it's kind of a happy end, just not for Halisi.

Also, maybe the pills help her speak. But that's a thing she won't need with the jellys.

I do think that receiving a message from an 80 year old spacecraft is probably something worth investigating.

RebelVampire

thatd be mighty convenient. tho in some au shed get so used to the psychic stuff shed go back to live among humans and be like "oh shit thats right they cant just see my mind pictures"

mathtans

That's an interesting point, about readapating to civilization.

Crazy theory time: Eating the mushrooms constantly ends up turning her into a jelly-creature. When the humans arrive, they won't recognize her.

RebelVampire

i do think shell have some affect on the jellies though. cause i think at the very least shes gonna teach them the important of oral traditions and theyll start telling their own stories and collectively grow as a species. i think shes really setting the jellies on the path for this.

LOL

i was thinking earlier about what if the mushrooms are semi psychic cause thats what happens to the jellies when they die

they dont die and just come back as the mushrooms

mathtans

Ooooh, that'd be an interesting twist.

Like maybe Halisi gains some psychic powers too.

(Though we may have ended up back at cannibalism...)

G (Title Unrelated)

not to shoot down anyone's fun speculation, but it doesn't seem like that kind of story, tbh. XD

kayotics

haha

we don't even know if the jellies can die i mean, I'd think they would, since they apparently come into existence somehow

mathtans

Also they haven't overrun the world.

kayotics

maybe theyre very slow at growing

or they just become the water

G (Title Unrelated)

slow-growing seems very likely

mathtans

I figure before they die they just kind of stop transmitting. Maybe run off somewhere. So no one is aware.

(Maybe they're like lemmings?)

G (Title Unrelated)

(that is not how lemmings work, sorry. XD)

mathtans

(I would worry if lemmings could read my thoughts.)

G (Title Unrelated)

(the suicidal lemmings myth was created by disney)

mathtans

shakes fist at mouse

G (Title Unrelated)

(or did you mean something else lol)

mathtans

I free associate. I mean what you want me to mean.

RebelVampire

yeah ive been wondering if the jellies are immortal. although ya know what, we have immortal jellyfish on earth so thats not that ridiculous to imagine.

kayotics

man, jellyfish are messed up

mathtans

There can be only one! hands out swords

kayotics

i can only imagine that the Jellies in earth in a pocket feel the same too. I was able to touch the bell of a couple at an aquarium once and man, that was a weird feeling

G (Title Unrelated)

I've been watching PBS Eons on youtube, I wonder if they've done one about the origins of cnidarians yet...

RebelVampire

honestly im putting money on immortal just cause they didnt even know what death was. unless they do die and just dont understand the hibernating jellies are never coming back

QUESTION 4. One topic resounding throughout the comic is humanity connecting to the past while also embracing the future and expanding. In what ways do you think reconnecting with humanity’s origins have changed Halisi on a personal level? How might they continue to change her? Why do you think Halisi so strongly believes in bringing the past to humans as humanity expands into space? In what ways do you think she’ll think it will help humanity as a whole? How might Halisi’s experiences on this new alien planet change the way she thinks about humanity’s past? How might it change how she conveys humanity’s past to other humans? Overall, what do you believe the story has to show us in regards to balancing the past, the future, and why both are needed?

G (Title Unrelated)

immortal jellies make for a good contrast to Halisi's fears of her own mortality

mathtans

They can be injured though, like the one who had a thing fall on it. It'd suck to be immortal that way.

RebelVampire

that is true. and contrasts like that are good.

Jabbage

(imma point out, Little One also notes that they're going to get better one day, although Halisi is a bit incredulous about that)

mathtans

The connecting to the past thing makes me think of that society. Which didn't seem to have a lot of members. Also, it took them, what, ten years to decide on things? (I was amused by "say that to my face" because, um, I think that's what the person is doing.)

Delphina

Totally saying, if I had a bunch of tentacle arms that would grow back and my weird human buddy was dying, I'd let her eat a couple to survive.

G (Title Unrelated)

I assume their tentacles don't have stingers. XD

RebelVampire

for me itd depend on how fast theyd grow back. cause if i had to spend like 500 years waiting for tentacle arms to grow back, that doesnt sound pleasant

mathtans

If so, they must have turned the stingers off to crawl around on her.

RebelVampire

they probably wouldnt have stingers cause their planet seems peaceful. like none of the jellies are like "oh no predators who will destroy us" so theres no need for their evolutionary track to lead to stingers in so far as i can see

kayotics

in response to the question: There's a lot of parallels to humans expanding to other planets and our own planet's history of colonization. There's a lot of cultural pain that comes with leaving your home and leaving your country (whether by force or by choice), and reconnecting to that cultural heritage is something that decedents often go through to feel like they belong in the world. I can see that being a driving point for delivering some of these artifacts to other planets.

G (Title Unrelated)

IRL Jellies mostly use their stings for catching prey?(edited)

Delphina

Do we even know if they feel pain?

mathtans

Wait, do they eat?

khkddn

they seem to have difficulty understanding when a human is unhappy or feels pain

kayotics

they might not need to eat in the same way

they might just kind of absorb what they need

Jabbage

I'm not sure it's going to come up specifically, but I think they probably dont' feel pain like we feel it? Just because i don't think they have the same sensory capabilities. Little One is frustrated that they can't move around as fast as the others, but I don't think they're in pain as such

G (Title Unrelated)

yeah. I was thinking about the Question and I think... it's interesting how it's framed as this thing where they've decided the colonists NEED this, but like, they can't agree on what's actually important

mathtans

Maybe Halisi will make a tiny scooter for Little One.

G (Title Unrelated)

I think it's the stories, not the objects, that are important.

And like... All stories are important???

RebelVampire

i think that is true, that all stories are important. cause stories are subjective and whats personally important to one person isnt important to someone else

kayotics

i think a few cultural trinkets to go with the stories can help, like... like I remember being a kid and my family having a christmas wooden carousel from germany or something, which is where my family emigrated from, so it was like "oh that's my people" I think having something to connect to some of the stories is important.

RebelVampire

thus why its worth preserving them all and no agreeance is needed really. because any single story can have an affect on someone

Jabbage

@kayotics I really like your point about our history of colonization, and it's something that I've tried to be careful with and approach thoughtfully, because I think that IS a driving factor in Halisi wanting to share people's cultural heritage with them. One of the things that sparked this story is thinkign about how current issues with repatriating cultural objects and deciding who has control over them would translate into a world where we don't even all live on the same planet any more

Delphina

The beginning showed that humanity has VR technology to "experience Earth", but it's several very comfortable degrees apart. I like that normally, being so advanced would make the hardships of the very distant past feel less real (just vaguely amusing/educational) But having Halisi have to figure out how humans lived and survived kind of brings that back and grounds her in a way that establishing Cookie Cutter Terraform Colony Number 14792 wouldn't.(edited)

So in that sense, the physicality of it is important

RebelVampire

i do think @kayotics has a point. especially in this story because of that vr scene where they were touring the roman thing. cause its not like they dont already have stories and ways to view historical things. and the actual objects can really tie that together. but i also think the stories are just as important via the scene where theyre shown to be able to print 3d objects. in essence the object means nothing without the story, but the story is made more powerful by the object. its a symbiotic relationship in a way.

kayotics

I'm glad it's something you've thought about!

I can't help but think about how colonization has affected the planets that the humans have landed on, and how it'll effect the planet that Halisi has landed on as well, no matter how small.

G (Title Unrelated)

I was thinking about that, too!

mathtans

Maybe she'll want it purged from the records to preserve it. And since Dad was just using grad students, he can oblige.

Jabbage

I thought long and hard about what race to make my astronaut because when they were a random white academic, the whole thing had a very different feel. Landing on some planet and educating the rather silly native denizens. I also wanted someone who grew up around the earliest archaeology created by anatomically modern humans so it made sense to make her black and from South Africa anyway

but then I'm white and British and so... yeah, I've basically had a lot to think about and juggle on that one

mathtans

Jabbage: Well, damn. I hadn't considered that, but you make a good point.

At least she's not building churches and asking the jellys to worship.

Incidentally, speaking of growing up, I liked the flashback image with her and dad looking youthful.(edited)

RebelVampire

im interested in the idea of who has control over the cultural objects we deem important, especially in regards to technology. because the comic touched on it a bit with the 3d printing and it really starts getting into the ship of Theseus issues of identity for those objects

mathtans

"Fax me your statue. No, I'm not paying you for it, I'll display it on Planet X for the Xposure."

Jabbage

And is seeing a reproduction ever 'the same?;

Even if it's identical in every way?

mathtans

Probably not, which is why they haven't figured out teleporters.

kayotics

if it's identical in every way i feel like maybe it is the same

but... wait maybe not

mathtans

Just to sum, pretty grand scale for this one, and a powerful beginning. Here's to Halisi and the Jellies.

Sounds like a strange band name.

RebelVampire

see its a really interesting philosophical question to explore. is whether cultural significance relies on the exact object or if we can transfer that as humanity spreads into the stars

mathtans

(I wonder if we'll learn more about jelly civilization.)

G (Title Unrelated)

Also, what stories do we remember or forget...

kayotics

I feel like there's something to be said about the energy that we as humans put into things. Like there's something there in the reverence we give something. like when you see a giant statue that's been prayed to vs a huge statue to commemorate someone, those have different feelings.

RebelVampire

COMIC TEA PARTY- THURSDAY BOOK CLUB END!

Sadly, this wraps up this week’s Thursday Book Club chat for now. Thank you so much to everyone for reading and joining us! We want to give a special thank you to Jabbage, as well, for making Earth in a Pocket. If you liked the comic, make sure to support Jabbage’s efforts however you’re able to~!

Read and Comment: http://earthinapocket.spiderforest.com/

Jabbage’s Ko-Fi: https://ko-fi.com/Y8Y8HEYO

Jabbage’s Twitter: https://twitter.com/Jabbageart

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #book club #bookclub #webcomic book club #webcomic bookclub #comic tea party #ctp #earth in a pocket #jabbage

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awhichofawind · 7 years

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ABC Tag

Tagged by @purple1sh (thanks kessa! <3 )

A - age: 21

B - biggest fear: i’m too tired to dwell on the really deep emotional things, so I’m going to say like diseased spongy skin

C - current time: 21:53

D - drink you last had: tea! Yorkshire English Breakfast, black, no sugar.

E - every day starts with: see d.)

 F - favourite song: !!!!!!!!! wow um ???? SO MANY. Landslide, Fleetwood Mac. Absolutely any Beatles song, but particularly A Day In the Life. You’re Gonna Make Me Lonesome When You Go by Bob Dylan (anything from Blood on the Tracks, also Mr Tambourine Man and Like A Rolling Stone). Both Sides Now, Joni Mitchell. Tops or You Can’t Always Get What You Want by the Stones, A Whiter Shade of Pale, Kathy’s Song by S&G ....more recently, probably Goodbye England (Covered In Snow) or Worship Me by Laura Marling. In trad, it’s a toss-up between Lakes of Ponchartrain by Christie Moore and Wrong Foot Forward by Flook. Classical, probably either Liszt’s Liebestraume, Valse Melancolique by Darzins, Debussy’s First Arabesque, Piano Concerto No.2 in C Minor by Rachmaninov, or basically everything Chopin wrote.

Recently, I’m a bit obsessed with The Notorious BIG ft. Ja Rule- Old Thing Back, but that was our tune for the long sunny roads in Iceland

G - ghosts, are they real?: there are days when I doubt the existence of everything, but these are unhinged days where logic doesn’t apply. In reality, while I don’t think humans are capable of comprehending every part of the universe, I think the evidence is on the side of the no-ghost camp. Spirits, however, I believe in...even if only in the mind of the observer. For more details hmu, I could discuss such esoterica til the cows come home

 H - home town: I’d rather not say in case anyone finds me on here ahaha

I - in love with: scented flowers, empty beaches, art galleries, ink stains, beautiful words and beautiful things and the persistent good in people

J - jealous of: hermits, fishermen, carpenters

K - killed someone: i desecrated an orphanage in the name of the sith last week

 L - last time you cried: two hours ago, I laughed so hard

M - middle name: none,,,, ((((I have a minimalist identity)))))

N - number of siblings: three

O - one wish: a future that was promised/guaranteed

P - person you last called/texted: called? my dad. texted? my pal Maria

Q - question you’re always asked: ‘why on earth did you do geology and not english?’

R - reason to smile: so much !!!! my friends, the fact of spring, hope for the future. i’m quite content at the moment and it makes me ill

 S - song last sang: aw Christ i have to admit it was J Biebs and Despacito

T - time you woke up: 4.15am, to get a flight from Reykjavik

U - underwear colour: black as my heart

V - vacation destination: AH! Florence, Venice, Rome; Vienna and Prague; St Petersburg. On the other hand, Hawaii and back to San Fran. Also, Angkor Wat in Cambodia, Marrakech, Agra, so manyyyyy

W - worst habit: gnawing at my nails, also probably procrastination and generally allowing my horrendous natural personality to overwhelm me

X - x rays you’ve had: teeth, ankle

Y - your favourite foods: I don’t really eat junk, but sweet-wise I love blueberry muffins, ice cream with a floral flavour, fruitcakes, scones... I just literally adore everything my mum has ever cooked or baked (I worship her skills). Almonds, bananas, avocados....fresh fish......lovely tomato-based sauces. Parsnips. Ham bone soup. Muesli and Greek yoghurt. Anything that could even loosely be considered Mediterranean.

Z - Zodiac sign: Virgo

I tag: @stealingtimefromthekeepers @evstum-blr @milkthefrog @sugdensquad @queenofsideeye

#if i am incoherent i apologise i am so tired i feel drunk #p

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homepictures · 5 years

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kickstarter-promotion · 7 years

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Another Amazing Kickstarter (Black Unicorn Subscription Box by Mary Jane Morgan —Kickstarter) has been published on http://crowdmonsters.com/new-kickstarters/black-unicorn-subscription-box-by-mary-jane-morgan-kickstarter/

A NEW KICKSTARTER IS LAUNCHED:

Hello! Welcome to the Kickstarter for the Black Unicorn Subscription Box. There are hundreds of different types of subscription box services available to us, but we wanted to create something a bit more unique. The typical model for how this service works is that a subscriber pays a monthly price along with shipping, and in return, receives a box filled with awesome items. Ours will follow this same model, but with some key differences – all explained below.

It is a monthly, themed alternative subscription box service that will combine handmade and curated products within the spectrum of the alternative subcultures to give you a unique and fun-filled experience.

Each month there will be a theme. The items in the box will go with that theme and will include:

A DIY element

A featured Etsy Seller or other Small Business

A Black Unicorn

A crystal or other magical item

A pop culture reference (if possible)

Items will be either handmade by the Black Unicorn Subscription Box team or curated from other sources. Each box will also include an information card explaining each of the items included in the box. Types of items that may appear in the box include:

Home decor

Beauty products

Kitchen knick-knacks

Snacks

Art

Office Items (like stationary, writing utensils, etc)

Accessories

And much, much more!

Because we know lots of people do not like spoilers, we will have a video going up soon on our YouTube Channel with what we have going on for the Black Unicorn box (aka the first box). So, if you’d like to check out the items, you will be able to see them, there! Be on the lookout for updates with the link.

As many of us know, there are many, many different types of styles and scenes within alternative subcultures. The goal of the box is to hit a broad spectrum of these subcultures. None of us are a “2-D, plain, one stop shop.” We are complex creatures and sometimes it is fun to explore other styles and branch out. We hope to hit everything from kawaii to trad goth, lolita to gypsy, geeky to vintage, and everything outside and in-between.

This does not mean every style will be represented in each box, but that each box is not strictly limited to a specific style. Sometimes, there may even be boxes that will be dedicated to one style! As we said, the goal of the Black Unicorn Subscription Box is inclusivity for alternative people everywhere.

Kickstarter is a great way to help get products off the ground and make any startup successful. The best thing, though, is that it helps create a community that has an interest in the same thing and we get your feedback to help create the best box. As a pledger, you will get exclusive rewards and get to see more behind-the-scenes of our processes and upcoming products.

We are funding the first 3 boxes of the subscription service. The first box, which is the Black Unicorn Subscription box, has already been designed and prototype boxes have been created. The second and third boxes will be created after we have successfully completed our Kickstarter campaign.

$9,000 seems like a hefty price tag, and you’re probably wondering where all that money is going. Below is a bit of a break down of what the money will be used for.

Products and supplies for inside the box

Boxes and packing supplies

Shipping

Taxes

Kickstarter and transaction fees

Silhouette Cameo for decals and future products

Subscription fees for Silhouette Cameo and CrateJoy

Cushion for any broken products that need to be replaced

The rewards for our generous pledges are unique, and so they will work a little bit differently because you get to have a choice! Section A, B, C, and D rewards, as well as the bags created for us by our Etsy friends, are all first come, first serve. Please message us your top 3 choices in the appropriate section and we will respond with which one we were able to give you. If for some reason all of them have been chosen, we will work something out with you.

Below is a chart to help you out in determining what goes with what.

By Felix Eddy of TheClockworkSphinx

By Mystical Magic Wands

Powerful Imagery and Hand Decorated Magic Keepsake Box

By Felix Eddy of TheClockworkSphinx

Hand decorated Wooden Uni Bank

For our first stretch goal at $11,000, we would like to add in some black unicorn stickers. We originally wanted to add each box, but it raised the base price too much to stay within our retail price of $29.00. This will be a Kickstarter exclusive addition to all reward levels.

The second stretch goal at $13,000 will allow us to create enamel pins of our logo. These will also be a Kickstarter exclusive and will be included in all pledges $25+. Lower level pledges will be able to select it as an add-on.

Our 3rd stretch goal at $14,000 is to get a Silouhette Cameo 3 as well. It may seem superfluous, but, having two machines can help produce products more quickly. Having two different types helps to expand our options with what products we can design and put out.

The 4th stretch goal at $17,000 would allow us to get a 3D printer. This would significantly increase the type of products we could create and keep costs down by doing them in-house.

Risks and challenges

Due to the fact that several of the items in the box are handmade and from small businesses, delays could occur due to volume, illness, etc. We hope that we will be funded far enough in advance so that we can get the items out at the planned date.

There are breakable items in our boxes and some of our rewards are also breakable. We will do our absolute best to package the items so that they will not break, but we cannot control those handling the products during shipping. This is partly why our shipping costs are a little bit higher, so that we can use the best packaging/shipping options to get the products to you, safely.

Of course, the main worry is that after the Kickstarter ends, that people will not subscribe to the monthly boxes. This is imperative to any subscription service – without subscribers, there can be no service. We hope that through this campaign we will build a community that will continue to be supportive after this initial kickoff stage.

Make sure to email us at [email protected] if you have any questions or concerns. Or, of course, message us on here or DM us on Instagram, if you’d like 🙂

Learn about accountability on Kickstarter

INFORMATION PROVIDED BY Kickstarter.com and Kicktraq.com VISIT PAGE SOURCE

#Black #Box #Jane #Kickstarter #Mary #Morgan #Subscription #Unicorn

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