label machine

How to make: Briar Label Bacon Soup

Welcome welcome, lovelies. Today, I’ll show you how to make Bacon Soup. May taste sketchy after 30 years in a decrepit studio, but I can honestly see why it was popular in the day. 

First is to get your ingredients. For this, you’ll need:

  • 1 (8-12oz) package of bacon
  • 1 cup yellow onion, diced (1 medium onion is enough)
  • 1 cup diced carrots
  • 1 cup diced celery (I found this was about 3 stalks)
  • 3 cloves garlic, minced
  • 4 cups chicken broth
  • Salt and Pepper to taste
  • 3 (14oz or 15oz) cans of beans, drained and rinsed (Great Northern beans are the best, but honestly Navy or simple white beans work)
  • 1 (8oz) can of tomato sauce

As you can see, some of these haven’t been cut yet, but-!

Hey Bendy! Sorry lil’ buddy, but you can’t be in the kitchen like that.


I know you wanna help, but you need the proper attire first. 

-A FEW MOMENTS LATER- 

Much better. Now we can get started. 

Keep reading

anonymous asked:

I don't get it. She's been all "no explanation just reputation" and she pulls this bs? Like I've been DYING over her "idgaf about the media" attitude ever since reputation was announced because we're not getting /anything/ from her, but I respected it because i thought "damn, she got so much hate by the media over the years, no wonder she's done with them" but then she just...?? So much for the "new era". It's not only team klossy who can't seem to get their shit together after all lmao

Funnily enough @princessandsunshine and I were just discussing this while I was bored at work.

Note: the following is a truly reaching theory and you probably shouldn’t put much stock in it.

reputation has meant we’ve all been focusing on the media and Taylor’s relationship with them as she addresses the narrative assigned to the name Taylor Swift. Even as we watch Taylor address the headlines of the last decade through lyrics and video, we tend to overlook another critical relationship Taylor has and might be clapping back at: her relationship with her label.

Keep reading

The Smile (Doctor Who) & Sherlock parallels

Previous Doctor Who/Sherlock parallels in Series 10:

The Pilot (opening episode of Doctor Who Series 10) & Sherlock parallels

The Smile (Doctor Who) & (smiley) Sherlock

And a look back at Series 9 etc parallels here 

This episode was written by Frank Cottrell Boyce but as we’ll see, Steven being showrunner I feel definitely influences the potential for Sherlock parallels… big things to be screamed about soon, but I’m going in order of as things appeared in the episode.

  • The Doctor calling Nardole “Mum”= similar to Mycroft and Sherlock’s “I’ll be mother” moment in A Scandal in Belgravia.
  • Eurus’s “Smiling is advertising” quip in The Final Problem is quite literally in play here- little emoji’s ‘advertising’/displaying your mood constantly.
  • The Doctor saying “a thing” happened= Sherlock lying and saying he has a “thing” in Many Happy Returns. Well, ‘only lies have detail.’
  • Bill saying “You can’t offend a machine.” And it turns out the things she’s referring to are not machines at all… just as John incorrectly labels Sherlock as a machine in The Reichenbach Fall.
  • The fact that you can’t see your own ‘mood disc’- Bill highlights the problem: “What if you fancy someone?” The Doctor supposes you simply have to maintain eye contact with them so they don’t see your true feelings. Reminds me of Sherlock’s “We can’t both stare” remark in A Study in Pink.
  • Rosemary= the smell of home? Mary as Rosamund…hmm, not sure how to parse that one yet.
  • The Doctor’s “magic haddock” reminds me of a “red herring.” Of which there are plenty in Sherlock. But there’s also literally Mycroft’s “red herring” page in his notebook in The Abominable Bride- a note saying “scarlet rollmops”, a pickled (red) herring.
  • The Doctor cradling a skull. Obvious Hamlet-esque vibes and of course, Sherlock’s skull.
  • The Doctor saying, “What a lovely beautiful morning. It makes me so happy.”= Sherlock’s ‘#ohwhatabeautifulmorning in The Six Thatchers.
  • The Doctor says “Don’t sentimentalise me.”= Sherlock’s line in The Great Game: “Don’t make people into heroes John. Heroes don’t exist and if they did I wouldn’t be one of them.”
  • The Doctor and Bill’s banter about memorising the map on the wall and Bill taking a photo of it visually reminded me of John taking a picture of the graffiti on the wall in The Blind Banker.
  • The Doctor: “Not bad, not good. Just different.”= John in The Final Problem: “It’s not good, it’s not bad… it is what it is.”
  • The Doctor exclaiming “Fascinating!” is an all round Sherlock-y moment.

“Do you know why I always win at chess? I have a secret move. I kick over the board.” HELLO, ATTEMPT AT AN EXPLANATION FOR THAT CHESS PROMO PICTURE, 3 MONTHS LATE. ;)

And let’s end with a Final Scream:

AN ELEPHANT STANDING ON THE FROZEN THAMES RIVER IN LONDON. OH SURE, NOTHING SYMBOLIC TO SEE THERE, NO ELEPHANT IN THE ROOM WANDERING FREE, NO SYMBOLIC FEELINGS LITERALLY FROZEN UNDERNEATH SAID ELEPHANT, NO NEED FOR IT TO BE SET IN LONDON, SHERLOCK’S HEART AND HOME.

…Ahem. ;) Bring on next week, that was a cracker of an episode! <3

Taylor: So the albums going to have my full face and my name in different fonts. Big Machine Record Label: Yes Taylor we're listening to you this time.

anonymous asked:

Do you think HSHQ messed up by making SC a buzz single instead of an actual single released to radio? I feel like that is the most liked/streamed song amongst a majority of people (both fans, general public, and even his mom and BFF Grimmy) that it sucks to be missing out on the music video and radio treatment. What are your thoughts?

Interesting question! 

There are two ways to think about the answer.

First, I think the success of Sweet Creature might be due to the fact that it was released early, as the second song from the album, so that there was increased interest in the song. Ever Since New York was technically the second song we heard from the album (on SNL), but not released, per se, in HQ. The fact that it is the second-most watched YouTube video in the album tells me that while it is popular, it may already have peaked. That is, everyone’s heard it. They are less likely to purchase and watch it more. 

You can see that Two Ghosts, is the fourth-most watched video (after SOTT, SC, and Kiwi). There is definitely interest in the song, and it does not have the exposure (or over-exposure) that SC has.

Second, what is the purpose of a single, exactly? A single from an unreleased album is a way to generate excitement for the album/ tour, but in the case of Two Ghosts, the album has been released, the tours have been sold (and mostly to capacity). Fans are unlikely to buy the single, although we may stream it. I don’t think they are expecting this song to hit top 5 or to generate significant revenue. So what’s the point? 

Answer: to promote Harry Styles. His team choosing Two Ghosts means that they want the song to showcase a different aspect of Harry, perhaps to drive traffic to his website, and to increase his visibility. 

What they want to show may be inferred from its synchronicity with Dunkirk. The singer of Sign of the Times is a magnetic classic rocker who revels in symbology and dramatic metaphor. The singer of Two Ghosts is a romantic poet. Juxtapose these personae against the sensitive, intuitive actor who plays a role seemingly opposite of his personality: Alex is supposed to be a hardened, difficult soldier insistent on his own ways. They are showcasing Harry’s protean abilities and natural talents. 

I know everyone is worried that Two Ghosts will use Taylor for promo, but I think it is really meant to illustrate how versatile, talented, and romantic Harry can be. Sweet Creature could have done that too, but Two Ghosts has had less exposure, and has been universally well-received on his television broadcast. 

FWIW Taylor Swift is on Big Machine Label Group, of which her father owns a sizable stake. 

Sea

When Taylor Swift’s entire back catalog returned to streaming services including Spotify, Pandora, Tidal and Amazon on June 8 (it was already on the subscription-only Apple Music), she posted a note on her Taylor Nation Instagram account saying the move was in “celebration” of her album 1989 selling over 10 million albums worldwide and hitting the RIAA’s 100 million song certification milestone.

In November 2014, however, when she decided to remove her catalog from Spotify, Swift’s record label Big Machine wrote in a blog post, “We believe fans should be able to listen to music wherever and whenever they want, and that artists have an absolute right to be paid for their work and protected from piracy.”

The issue of piracy hasn’t changed since that post was written nearly three years ago but the streaming market has. At the time Spotify was paying $0.0009, or one-seventh the rate that its premium subscriber tier paid, which is $0.0063. Swift also enjoyed the benefit of physical sales, so she didn’t want her album to appear on the ad-sponsored tier, but was okay with it appearing on the paid Spotify tier. That way her sales and premium plays, and thus the overall revenue and her royalties, wouldn’t be cannibalized by the much lower paying ad-sponsored tier.

Spotify wouldn’t accommodate her and wanted the album on both tiers because they insisted that their business model was to use the free tier to attract users that they could then convert to a paid tier. Now, however, that her albums have their best sales days behind them–until perhaps a new album comes out–it makes perfect sense to let her albums appear on the streaming sites, since she doesn’t have to worry about the low-paying ad-tier hurting potential sales; or potential streams from Spotify’s paid tier.

Another incentive in putting her catalog back on Spotify is that the paid tier is now generating much more streams than the free tier which available directional data demonstrates. Streaming services revenue in 2016 grew a massive 68.5 percent to $3.93 billion, up from $2.33 billion in 2015 and became the primary driver of recorded-music income.

According to Nielsen Music, on-demand audio streams of songs from Swift’s catalog totaled 51.53 million in the U.S. last week, up 608 percent from the 7.3 million streams accumulated in the prior week. That means that, according to Billboard estimates, streams of Swift’s songs generated about $310,000 in revenue in their first week of availability, compared to around $44,000 in revenue the week prior, based on an average blended per-stream audio-on-demand rate of $0.0063. Although, neither estimate is discounted for whatever amount of streams are from Spotify’s lower paying ad-supported tier, which nowadays has a slightly better rate of about $0.0015 per streams.

How much Swift herself would receive from that $354,000 depends on her deal with her label Big Machine.

Meanwhile, the publishing royalties generated from the streams would total a little more than $64,000, up from about $9,000 in the prior week. That revenue would be divided among Swift and her co-writers and their publishers depending on their pro-rata shares of the plays on the songs each writer was affiliated with.

That would put Swift’s catalog’s total U.S. haul since releasing her five albums on June 8 to all streaming services at $418,000, which by itself is reason enough for the return. (Billboard)

billboard.com
Taylor Swift's Songs Generated $400K After Returning to Streaming Services Last Week
When Taylor Swift’s entire back catalog returned to streaming services including Spotify, Pandora, Tidal and Amazon on June 8 (it was already on the subscription-only Apple Music), she posted a note on her Taylor Nation Instagram account saying the move was in “celebration” of her album 1989 selling over 10 million albums worldwide and hitting the RIAA’s 100 million song certification milestone.

[…]

According to Nielsen Music, on-demand audio streams of songs from Swift’s catalog totaled 51.53 million in the U.S. last week, up 608 percent from the 7.3 million streams accumulated in the prior week. That means that, according to Billboard estimates, streams of Swift’s songs generated about $310,000 in revenue in their first week of availability, compared to around $44,000 in revenue the week prior, based on an average blended per-stream audio-on-demand rate of $0.0063. Although, neither estimate is discounted for whatever amount of streams are from Spotify’s lower paying ad-supported tier, which nowadays has a slightly better rate of about $0.0015 per streams. How much Swift herself would receive from that $354,000 depends on her deal with her label Big Machine.

Meanwhile, the publishing royalties generated from the streams would total a little more than $64,000, up from about $9,000 in the prior week. That revenue would be divided among Swift and her co-writers and their publishers depending on their pro-rata shares of the plays on the songs each writer was affiliated with.

That would put Swift’s catalog’s total U.S. haul since releasing her five albums on June 8 to all streaming services at $418,000, which by itself is reason enough for the return.

[…]

House of Cards in The Wind

TITLE: House of Cards in the Wind

CHAPTER NO./ONE SHOT: Chapter Four

AUTHOR: wolfpawn

ORIGINAL IMAGINE: Imagine you were a powerful villain who was captured by S.H.I.E.L.D. and put in Cryogenic storage because there was no other way to deal with you. After doing some research, Loki learned about you and became obsessed. So much, that he looked for you and woke you up, knowing that you’d seek revenge and he would be more than willing to help.

RATING: Teen and Up

NOTES/WARNINGS: This story is the result of an imagine I saw on another blog theartofimagining13. The credit for the imagine goes to the author on that page.

Warning death of minor characters and violence in this fic

“Banner, where are you?” Tony thought to himself as he found himself looking fearfully on as Loki walked across the room, with one flick of his wrist, he sent Barton careering into the far wall, his body making a sickening crunch as he did so. Then he walked over to Rogers, who finally stopped glaring down at Wanda and noticed the God. As happened in Stuttgart, Rogers, though he put up a fight, was little match for Loki, all too soon, Loki was able to pierce his sides several times with his blades before the super soldier fell to the ground, leaving Stark as the only one standing, though that was partly because he could not physically move. “Who is the girl?”


“That is none of your concern really, though she is brilliant, do you not think?”

Keep reading

Stretch applique is a huge pain, but it’s totally worth it in the end.

My tips for stretch applique:

- If you don’t have a stretch straight stitch, use a narrow zigzag with a short stitch length. I used the narrowest zigzag my machine allows with a stitch length around 20 stitches per inch (which is how it’s labeled on my machine). You may need to play around with these settings to prevent skipped stitches.

- Use a tear-away stabilizer on top of the applique. It may be difficult to see your applique through the stabilizer (I used white tissue paper), so go slowly and carefully, and feel for the edges. You may be able to mark the edges with pins by pinning the issue directly to the fabric.

- Use lots of pins! you don’t want it to shift around as you sew.

- Use a stretch needle. this is a ballpoint needle specifically designed to prevent skipped stitches on knit fabrics.

- Be very careful not to stretch the materials as you sew, since this causes wrinkles and ripples and increased likelihood of skipped stitches.

- Make sure your materials have a similar amount of stretch and recovery. If you need to have one with more stretch than the other, it would be better to have the applique be stretchier than the main fabric, since there would be no risk of the applique preventing the rest from stretching properly.

She’s Ready For AnythingThe Swift ascension continues…

Sep 6, 2017 By: Adam Soybel

After the incredible worldwide success of “Look What You Made Me Do”, Big Machine’s Taylor Swift decided to bless us with a second taste of her forthcoming album reputation over the weekend. “…Ready For It?”, which debuted in a teaser during college football programming on Saturday night, shook the pop world, which was certainly not ready for it. (We think those fans are super ready to replay it again and again now.) 

After its full release on Sunday morning, the song quickly leaped to #1 on iTunes, displacing “Look” into the #2 spot, making Swift one of a handful of acts to hold down the top two positions simultaneously this year. 

(Atlantic’s Ed Sheeran was the first on January 6.) As the track soars towards seven million streams on Spotify, it also claims the lead position on the all-important New Music Friday, Pop Rising, Today’s Top Hits and Weekly Buzz playlists, giving Swift the top two songs (“Ready”, followed by “Look”) on Tuesday’s U.S. Top 50, two of the top three songs (“Look” at #1, “Ready” at #3) on the Global Top 50 and the top position on their respective Viral tallies. 

Regardless of what this star drops next, we’ll be running to our phones to have a listen or ten. (Image courtesy of Big Machine Label Group)

As @taylorswift herself would say YASSSSSS WHALE

Fear(less)

RATED: G
PAIRINGS: The usual suspects, Rivamika
SETTING: Canonverse. Post War AU and sort of a continuation to this. 

-I’m afraid- her voice comes out insecure and Levi remains in silence –I’m grasping to the idea that he is a normal kid…I wish for that every night and every day…our genes are cursed and you know it and it makes me so mad and so scared at the same time that Aren has to go through the same hell-

Keep reading