dollar project


How to turn your boring money gift into something special x 💸


- Dollar bill

- Creative hands


Step 1. Crease the bill horizontally down the middle and fold both the top and bottom sides inward

Step 2. Take the upper side and fold a little piece behind

Step 3. Fold the two corners over, just like the picture is showing. Later, these corners are used to keep the shirt in place

Step 4. Take the opposite side of where we were working on earlier and bring it over

Step 5. Flip again and make sure it goes underneath the collar, this must be the case otherwise you can’t complete the shirt

Step 6. Unfold the last 2 steps

Step 7. Here’s where it gets a little trickier. Pay close attention. You are now back to the long section, use the first fold line to fold the sleeves. Fold out and crease back so that it winds up looking like you popped a sleeve out of the side

Step 8. Now fold back up like you did in step 4 and 5

Step 9. Put the shirt underneath the collar

There you have it, the ultimate lazy gift!

So, I love how everyone is getting all into the eldritch horror visibly fae knowingly magical encounters. The descriptions are SO COOL. 

But I’ve been thinking about how our understandings of the Fair Folk originated not with people who had these super obvious encounters with this visible magic figure. Instead, they come from people attuned to the ways in which this world as it is, is magical and frightening and overwhelming, and decided that eldritch monsters were the most logical and comforting explanation. So, I’ve been thinking a lot about how so many interactions with the fair folx could happen without the student knowing it….how many of these interactions and deals may have happened already. A few true stories: My roommate joined ROTC her freshman year. Four years of university for free, for five years of military service. Don’t tell me that there is just flesh and bone under the glamour of a military uniform, under the medals worn by those who watched her sign her contract. The Fair Folk have always loved games, and to gamble your life in the future of uncertain war is certainly worth $60,000 tuition per year for four years, plus a monthly stipend.  I have a friend whose financial aid is paid by a grant from some folks from New York City. In exchange, once a year she dresses up, takes out her piercings, and goes to dinner with them.

Sit with us, tell us the stories of your studies, sing for us. Oh, you don’t sing anymore? But you sing so lovely. Sing.

At these dinners, she does not let her smile drop.  I worked with a senior who would be Successful. They did everything, could not say no, every opportunity bigger than the last and they could Do It All. Directing a musical with a full orchestra in the biggest theater, performing across town themself in a different show each weekend for months on end, five classes and a thesis. One night, drunk and at 2am, a time were the glamour drops and world blurs into honesty, they said “I am so fucking lonely.” That is a powerful trade: love as fair as can be, a beating heart, community. But they wanted to be able To Do It All and they did.  A few years ago, the school was raising money for the endowment (the school is always raising money for the endowment). They were holding a fundraising dinner, with Big Important People who must be Inspired by Students Like You in order to donate. They gathered together the most talented performers of the whole university. Dancers whose bodies defied physics, pianists who seemed to play with extra hands, singer whose voices rang inhuman. Maybe there is a reason we already had those skills, it’s hard to know. We’ve all made so many sacrifices already to end up at a school where we can get not a single credit for our talents. Maybe something is already taking its due. Still. They gathered us, and planted us through the field to mime silent excitement as the Big Important People entered the tent in a procession. They had us perform for them – but never in the way we do best. Bottle up your talent, make it look like this. Dressed us all head to toe in white. Gave clear instructions.

Hand them this book. Collect these cards. They will write a wish. If they speak to you, just smile. Do not speak back.

They had us wait behind the kitchen.

Whatever you do, do not eat the food.

The university knows how to make a deal. They know what a little Talent and a little Dignity is worth. And we already owe them so much…why not this too?  In the morning I went back to where the tent had been, only to find an empty football field.  —— I feel like I have to add that the last story is literally 100% true. The others I have taken small creative liberties with (mostly the ‘lonely’ one cause I don’t want that person to be identifiable). But this one is hundo percent reality. Nothing I could add about it would make it sound less weird. They set up this crazy huge tent for it and thousands of dollars of lights and projection equipment, and the next morning had taken down the entire thing. They had this whole projection thing that took up a side of the stadium with a video about how great the university is, except I’d never even HEARD OF most of the professors or programs they interviewed or discussed in it (like its a big uni but still). Went to go look them up the next day, but couldn’t remember the names. They had us count a specific number of steps from one section to another. They had us do a weird running pattern on the stadium stairs that was supposed to look cool but I think just opened a portal in to my own personal hell. I still have the white sneakers and sweatshirt they gave us but I legit have not worn them since that night; I’m slightly scared to wear them but somehow can’t throw them out. When the donors walked in to the tent, we literally just stood around the field jumping up and down with excitement (silently) and waving flags (silently) and for the first time I understood Artaudian horror. They had cards at their table that they were supposed to write these messages on, and then we would collect them in these books, and honestly the whole night is pretty hazy but it was weird. The whole thing was directed by Tony Award winner Diane Paulus (I swear to you this is true). Guys I’m low key pretty sure I’ve been to a revel and let me tell you, you are not a participant. You are there, but at best you are quaint entertainment, to be hidden in the corner when you’re not amusing them. You will do what they ask you (tell you). And there will be a part of you sitting on your shoulder saying, are you really doing that? And the answer will be yes, and it won’t be until after you leave that the wave will crash over you, nearly drowning you in the question, as you sputter awake asking, WHAT THE ACTUAL FUCK JUST HAPPENED? 


anonymous asked:

out of all the things you've done –– especially for the LGBTQIA+ community ––what are you most proud of?

I love that my community of viewers have raised over a million dollars for The Trevor Project. How incredible is that?! I’m so lucky to have y’all. I’m so grateful that you care about important causes & doing good in the world.

This month in conjunction with “Chosen Family: Stories of Queer Resilience”, if you want to help causes that directly give support to the LGBTQ+ community, I’m selling a limited edition shirt each week - designed by queer artists. I love all four shirts, & a portion of the proceeds of each shirt is going toward nonprofits. Just another way to help! Check out this week’s shirt here.

lumidee-mahariel-deactivated201  asked:

Alright, I saw that signal boost about you. What exactly can I comission from you, and is there an example of what you create?

If you’ve got any sort of project you need to build a social media campaign for (personal and business) or need me to fix up your social media presence in general, you can commission my services. I do 10-15 dollars an hour per project. That will include a consultation with me on your current status and a written proposal on what you’re doing well and can improve on. IF you’re a business/company and want me in a community management role for your social media, it becomes 20 dollars an hour part time.


You can commission my writing. Great examples of my work (story snippets, poetry, and small essays) can be found here:

Writing prices will vary according to what you need so these are more negotiable :)

IF you want to do more long term support and have access to really cool things no one on my Tumblr will, you can become a Patron here
I Support OUAT Season 7 And So Should Everyone Because...

I love the cast and crew. I have stuck with this show through thick and thin. Through terrible plot turns, reprehensible storylines, and the heartbreaking happiness of my beloved Emma Swan. I am so sad that she will not be continuing on along with the rest of the immediate Charming Family as we know them. It won’t be the same no matter what they do or how they spin it, reboot it, or rework it.

That being said….

I love Colin, and Lana, and Robert, and all the rest of the cast. They have contributed some of the more talented performances throughout the run of the show. They are fantastic actors. But they are still actors. We tend to think of actors in the mindset of movie stars and A-listers who make tens or hundreds of millions of dollars for any project they work no matter how small.

The reality is that acting is an inconsistent career that can leave a professional out of work for long stretches of time if the projects aren’t coming in. Colin has interviewed stating that before OUAT he had been basically out of work for a year and on the verge of giving it up because he had a family and it just didn’t seem to be working out. I can name maybe a couple of tv appearances for Lana outside of OUAT. And Robert is perhaps a more well known, established actor, but I would imagine that having steady work while looking for other projects (see Trainspotting 2) has great appeal if he chooses to come back as well.

As a fan of them and their work I support anything that keeps them working. And for the professionalism, and dedication that they have shown this show and it’s fans, especially in the face of so much hate and disgusting harassment from disgruntled trolls on social media, I will continue to watch this show. I will continue to support them because I still love this show and I still care about its characters and their journeys, wherever they take us.

So please let’s all wish season 7 good luck.

Oni And How Much Of A Chance You Have To Score With Them:

  • Shuten-douji: Buddy, don’t even think about it. Her standard is Kintoki’s Goldion Crusher, and she tops him. Literally nothing you could do to her would even be perceived. You could launch a million dollar-budget spelunking project deep inside her caves and she’d be more interested in the telenovela reruns. You could set off industrial fireworks inside her Mt. Ooe and she’d think it’s a mere itch. Chance: 0%
  • Suzuka Gozen: You are fecal matter out of luck, because Suzuka is a married woman. She’s married to Sakanoue no Tamuramaro and they are turbo lovey dovey and in love with each other, to the point that Tamuramaro dove right into the realm of the dead and pulled her out with his own two hands, unlike a certain other weak bitch, and they enjoyed adventuring together for the rest of their lives. Chance: -70%
  • Ibaraki-douji: It’ll be a hot day in the river Cocytus when Ibaraki agrees to touch a human in a way that isn’t reminiscent of professional wrestling and mass murdering. To her, your intimate touch would literally deactivate her ovaries and wither her clitoris, but you won’t be able to see it because you’ll already be missing your eyes by the time it happens. Chance: You Will Literally Die%

The 2017 America’s Most Beautiful Roadster winner belongs to Bruce Wanta of Bellevue, WA.  “The Mullholland Speedster” a 1936 Packard (or a stylized version thereof) was reportedly a six year, two million dollar project.  Powered by a Lincoln Zephyr V12, it was designed by E. Black and built by Hollywood Hot Rods.  Over 80% of the car is hand formed.  Grand National Roadster Show, Pomona, CA.

(S/O asks, ah, like haven’t got about 11 of these on my phone! haha, it’s fine, thanks for sending it in anon!) ((SIDENOTE: 300 POST ON THIS BLOG!!! WOOHOO, MAY THAT NUMBER KEEP GROWING! :D)

Scout: Kinda shrugs it off like, ‘c’mon don’t be a baby!’ But he’ll still run and grab a band aid. Absolutely lost in disbelief if they are seriously injured or in mortal peril. Just in pure shock, not believing what is happening… Also he’s totally useless, ‘cause he’s just standing there and not moving.

Engineer: Kinda takes it serious either way, makes sure S/o is well, and the the paper cut doesn’t get infected. Gets extremely serious if its a worst injury, but very calm and moves through the motions of getting them stable.

Sniper: Rolls his eyes if they’re whiny about like, babe, I get shot everyday for a LIVING. You’ll live. If its a serious injury, then it’s straight into survival mode. Jacket is torn for make-shift bandages, someone go cut him that plant to use as anti-poison, and go grab him a bucket for Scout to puke in, cause it’s about to be amateur surgery hour

Soldier: Same either way, really. Hold S/O in his arms and scream bloody murder into the sky. Romantic if they’re life is in peril, but Soldier it’s just some spilled coffee, chill the hell down.

Demoman: Paper-cut = Pour some alcohol on it. Coffee burns = Pour some alcohol on it. Bullet Holes= ‘aw hell’+ Pour some alcohol on it, and hope for the best until Medic comes. He hides his worry well

Medic: Sigh, but fine. Come in, he’ll get you a proper band-aid. Pulls out all the stops if it’s serious, I mean, guys, he did a multi-million dollar project to bring back Sniper, who wasn’t even on his side at that point… His S/O is in perfect hands, and he knows that, hence why he’s so causal while pulling out bullets from their body. Eh, just a normal Wednesday, really…

Pyro: SO CONCERNED OVER SMALL BOO-BOOs, OH GOD. you can hear his panicked mumbles as they try to drag they’re S/O to the emergency room, No, honey, please, it’s fine. Big injuries completely destroy Pyro, they’re just desperately trying to make everything right… just a frantic mess, really.

Heavy: Kinda raise his brow if his S/O comes crying about some minor scrap or bruise, like, really? But he’ll help them out, grab an ice-pack or whatever, make sure they’re comfortable. If it’s serious, run. Run, because if you hurt his S/O, he’s gonna leave them with Medic, make sure they’re in good hands… Then he’s coming for YOU.

Spy: What, do you want a kiss to make it all better? *wink wink* Kinda brushes it off, laughs or scoffs it away… If it’s serious, he will stop at nothing to make his S/O well again. He will blackmail, cheat, lie, and kill to make sure his S/O is safe, all the while with an air of calmness that almost gives the impression that he doesn’t care so much… But he does. Oh, he does.


Margaret Bourke-White wasn’t just the first woman photographer at Life— her images dominated the magazine’s inaugural issue when it premiered in November 1936. Her assignment to cover the building of the Fort Peck Dam was meant as a continuation of the kind of industrial documentation she excelled at while working for Fortune, but as the telegrams she sent back to her editors make clear, her interests went beyond the project itself to include the lives of people living in the nearby settlement. The cover image she produced remains iconic, and the accompanying photographic essay helped set the tone for what Life would be as a publication. 

The magazine’s editors described her work in their introduction:

Photographer Margaret Bourke-White had been dispatched to the Northwest to photograph the multi-million dollar projects of the Columbia River Basin. What the Editors expected—for use in some later issue—were construction pictures as only Bourke-White can take them. What the Editors got was a human document of American frontier life which, to them at least, was a revelation. Having been unable to prevent Bourke-White from running away with their first nine pages, the Editors thereafter returned to the job of making pictures behave with some degree of order and sense.

Margaret Bourke-White. Telegrams to Dan Longwell. October 27–November 4, 1936. Time Inc. Bio Files. New-York Historical Society.

Life. November 23, 1936. Time Inc. New-York Historical Society.

Processing of the Time Inc. Archive is made possible through the generous support of the Henry Luce Foundation

Steven “Trevor” Ogg | GTATurk Exclusive Interview

Rockstar’s billion dollar project Grand Theft Auto V definitely has one of the most interesting characters in the video game history, Trevor Philips. The Canadian television and stage actor Steven Ogg did not just do voicing, but also spent almost 3 years in a motion capture studio to perform and give life to the character of Trevor. Despite his character in the game being a totally crazy and violent guy, we’d say Ogg is surprisingly such a kind and nice guy. Big thanks to him for taking the time out of his very busy schedule to do this exclusive interview!

Steven: Hi Ipek and GTATURK.COM!

İpek: Grand Theft Auto is the biggest video game franchise in the industry. With Grand Theft Auto V, you’ve made a big progress in your career. Trevor Philips, the psycho meth dealer of Blaine County, is the most ruthless, crazy and funny protagonist we’ve ever seen in GTA history and he’s become the favoured character of GTAV for everyone so easily – us too! But under this crazy and notorious personality, Trevor is very loyal to his friends and he’s a really good guy in some ways. Do you think there are some similarities between you and Trevor?

S: I’d say we share passion – great passion. We are both committed and give 150% – balls deep in everything we do. The sense of humor – all be it a little dark at times. The love of life. As for the violence? Nope. We are also both VERY loyal – you get back exactly what you give in.

İ: You not only did the voice but also played Trevor in motion capture sessions. Was all we have seen for Trevor in GTAV your own work?

S: It was a full motion capture performance. Take any performance by an actor in film or television and animate it – that’s exactly what Trevor was. There was never any sitting around just throwing a “voice” on a character -everything seen in Trevor was performed in a motion capture studio and then the amazing animators and crew turned it into a fully realized animated character- the face, the body it was all captured during the performance of that character.

İ: What was the most interesting/exciting/memorable part?

S: The best part is the people I met and worked with. Obviously the brotherhood formed with Solo and Ned in addition to the entire family at Rockstar. It’s rarely the roles an actor remembers, but rather the relationships formed on set. Shooting for over 3 years it definitely became a family. There are some funny moments on set – usually the “blooper” type situations when you find yourself laughing uncontrollably or just giggling like a little girl at something ridiculous. Always felt good to laugh and we certainly had plenty on the set. A very fun, encouraging and free atmosphere that created the safety to perform at your best and always want to give your best every day.

İ: What do you think about fans’ reaction so far?

S: The fans are incredible. It has been amazing to see the global impact and to receive such lovely words of encouragement, support, and love from so many people from all across the world. It certainly surprised me to see the variety of people – certainly not your stereotypical gamers. It means the world to me to have people recognize me as Steven Ogg and comment how the performance of Trevor really touched them. It’s very wonderful and I really thank everyone for begin so generous with their kindness, loyalty and support – it really touches me and I hope to continue to have an impact on people and do my fans proud through my work.

İ: Most of the game dialogue really sounds natural, like it wasn’t scripted. Was there any point where you just improvised an unscripted thing in a scene?

S: There were always little moments when something might be added – I believed I did some “dry humping” of people in scenes that was not always in the script, but certainly felt very Trevor-like and appropriate at the time. Much of Trevor’s imitations of peoples’ accents and gestures – those were generally ad-libbed and then kept in. Behavior that was then repeated and became part of Trevor’s character.

İ: We’ve learned your son’s name is Bodhi. It’s so amazing that the truck that Trevor drives in the game is named after him!

S: It was a wonderful surprise for my son. He certainly deserves a planet named after him for being such a wonderful, beautiful son – I’m so lucky to be his father and it is a lovely gift.

İ: You also played the main character “Jake Conway” in the videogame “Ride to Hell: Retribution”. What was that experience like?

S: I thought – I’d kill the crazy bastard too!! ha ha. He is an interesting, dynamic and crazy character so everyone is fair game. It’s kind of fun when you lose a character that you really don’t want to see die just because he is such a gong show!

İ: Can you tell us about your current and upcoming projects? What’s next for Steven Ogg?

S: I love the opportunity to explore all the facets of humanity – the foibles, the dark side, the light side, and definitely all that grey in the middle is what appeals to me. Every character is an opportunity to explore and find the unexpected in the expected – that is exciting.

Thanks so much for your patience and support. It really means the world to me and I apologize for taking so damn long to respond. Life is a beautiful thing and gets rather hectic sometimes. There should be lots more projects upcoming for fans to check out and I hope to continue to grow, to challenge, and to give back as much as I have been blessed to be given. Into the fire baby! Into the fire!!!

'Star Wars' Director Drama: How J.J. Abrams Jilted Paramount for 'Episode IX'
The director takes on the Lucasfilm gig despite a $10 million obligation to his "home" studio, leaving newly crowned Jim Gianopulos to ask Disney for make-good money.

If there is one thing Paramount chairman and CEO Jim Gianopulos could use right now, it’s the hope of a few hit movies. He inherited a pretty bare cupboard when he took over the studio in April, and the crushing failure of Darren Aronofsky’s mother! over the Sept. 15 weekend did not help in terms of revenue or perception.

One promising thing Gianopulos found waiting for him at the studio was the prospect of a movie directed by J.J. Abrams. The filmmaker has made his home at Paramount since 2006 with a deal now said to be worth a hefty $10 million a year in overhead and development. It is very possibly the last, richest deal of its kind. But if Gianopulos hoped that pact soon would bear fruit in the form of an Abrams-directed project — which Paramount hasn’t had since Star Trek Into Darkness in 2013 — he soon learned that it was not to be.

His predecessor, Brad Grey, had tried to ensure that such a film was next on Abrams’ dance card. Grey was known to be furious when Abrams, in January 2013, signed on to direct Star Wars: The Force Awakens for Lucasfilm and Disney. He didn’t understand how Abrams’ generous deal with his studio could allow the director to take the job. So once Abrams finished his duties on Force Awakens, which was released in December 2015, Grey entered into a renegotiation obligating Abrams to direct his next movie for Paramount.

Jump forward in hyperspace to Sept. 5, when Lucasfilm parted ways with Jurassic World director Colin Trevorrow, who was supposed to write and direct Star Wars: Episode IX. With the movie scheduled for a May 2019 release, Lucasfilm needed a replacement fast. “The question was, who can drop into this world and get it done?” observes one source with knowledge of the situation. There also were the optics, with Ron Howard having just been brought in to take over the young Han Solo spinoff after Phil Lord and Chris Miller were fired. Lucasfilm did not need a prolonged who-is-going-to-direct-this-movie debate on the internet.

The solution was Abrams, 51, and though the release date was pushed to December 2019, the pressure remains. With the script still unwritten, Abrams is going to be occupied for the next two years. (His deal at Paramount runs through summer 2018, long before he finishes his work in a galaxy far, far away.) The director declined comment, but a source in his camp says he was enticed by a “once-now-a-twice-in-a-lifetime opportunity,” and all parties understand that.

As for Gianopulos, the exec accommodated the move even if he was not happy, say sources. Paramount declined comment, but the studio chief is said to be irked to see Abrams get poached again — this time despite a specifically negotiated obligation. But fighting Abrams would have meant alienating the filmmaker and taking on major adversaries: Lucasfilm, Disney and possibly even Steven Spielberg, who isn’t involved with Star Wars but has a long-term association with Lucasfilm chief Kathleen Kennedy and has taken credit for luring Abrams to helm The Force Awakens in the first place. And then there are Abrams’ reps at CAA. With Paramount in need of all the support it can get, Gianopulos had to be realistic.

In these circumstances, sources say he did the best he could by extracting some money from Disney for maintaining Abrams in the style to which he has become accustomed. But the payment is said to be a one-time shot of less than seven figures, which isn’t much to cover a two-year absence. And obviously, given a choice between taking that negligible payment or having a film that could make money and boost Paramount’s prestige, Gianopulos would have jumped at the latter.

But even if Gianopulos had been willing to take on the forces arrayed against him, one former studio chief says there’s no point in trying to force a person to direct a film. “Saying, ‘You’re going to do something for us’ and handing them millions of dollars for that project, you’re putting yourself in great peril,” he says. When it comes to rich deals, he adds, “How to enforce them is as complicated as the deals themselves.”

So what has Paramount gotten from Abrams in his 11 years at the studio? As a director, three films: Two Star Trek movies and Super 8, which grossed $260 million worldwide in 2011. Abrams also has been a producer on several films, including three Mission: Impossibles, a third Star Trek, two Cloverfield films and a third set for release in February. Throughout his career, Abrams’ films, directed or produced, have grossed more than $5.7 billion.

Still, Abrams has not fulfilled the hope that the late Grey had when he hired him to direct his first film, Mission: Impossible III, back in 2006. “We think J.J. is the next Steven Spielberg,” said Grey at the time. Maybe it’s more accurate to say Abrams is a Spielberg for the 21st century. His commercial instincts, his gift for salesmanship and his skill with reboots have kept him in a rich movie deal at Paramount as well as a very rewarding TV deal at Warner Bros., even if neither studio is getting as much of his attention as they would like.

Abrams is “operating a machinery, an enterprise,” says one producer of his string of hit movies. And if Paramount didn’t want to accommodate Abrams, someone else would snap him up “in a New York minute.”

Paramount likely will attempt to renew Abrams’ deal; he’s valuable enough that two years is not too long to wait for his services. “You might not put him in the pantheon [alongside Spielberg],” says one studio insider, “but he’s a writer, producer and director. There aren’t too many of those guys.” With Star Wars again beckoning, says this person, “You can’t be an asshole and say no. You do the right thing, and hopefully people repay that.”

Someone on here: Why did The Get Down get cancelled after only one season, but *insert actually successful show* gets a bunch of seasons?

Listen, The Get Down was a fantastic show, but it was a major financial loss. Netflix spent millions of dollars on this project, and it wasn’t making much of that money back. From a business and financial standpoint, why wouldn’t they cancel it?

When Auliʻi Cravalho, a relatively unknown Hawaiian actress was cast as @Disney’s first Polynesian princess, Moana, the magnitude of the role wasn’t lost on her. “I just want to make sure that whoever sees this movie understands this is more than an animated film,” she told@hawaiimagazine. “Polynesia is definitely one of the minorities and anyone who has their #culture being represented wants it to be correct. We don’t want some kind of half good, half bad—no, no, no, no. If you’re going to do it, do it right and I think we really have.” Photographer @oceanelyse took this portrait of Auliʻi on her favorite beach in Hawaiʻi where she seems to be calmly handling the demands of a multi-million dollar #Disney project just fine. For the 15 year old, there were clear parallels to draw between herself and Moana. “I’m not going to boast and say that I would go out on a canoe and, like, voyage hundreds of miles—I’m not even going to lie!” she confessed. “But, we’re both definitely going on similar journeys. I’m a teenager, trying to get through high school and figuring out who I am, so I totally understand where she’s coming from.” Read our full Q&A with Auliʻi about making “Moana” on our site. #moana#disney