operation costs

Paying employees a living wage is part of operating costs. If a business cant afford to pay its employees a living wage, then it has failed as a business and should no longer operate.

Yeah, I run a private prison now. Turns out these places are really expensive to operate, so to save costs I’m having the inmates work on mandatory Let’s Play videos. Hopefully once we get a good income stream coming in from that we can spin off into a Prisoners React channel

ok but just how rich is yondu though? im just thinking about the first gotg when he put a huge bounty on peter like its no problem at all. and he also owns a massive carrier ship with like at least a dozen of smaller fighter ships including the milano and lots and lots of crews. the operating cost must be crazy expensive. and at the end when the ravagers were helping out to defeat ronan they must’ve lost at least half their fleet but they don’t seem to mind that much? i mean those ships cant be cheap right? i mean even ayesha was stressing out when she lost her fleet in gotg2. how much money do they make exactly omg

and then in gotg2 it turns out there are 99 other ravager factions like yondu’s. so like, there’s 100 crazy loaded pirate gangs just hanging around in space. thats insane

anonymous asked:

Websites and journal sites need money to run and that's why they have paywalls you goddamn moron. Would you rather they ran ads? Running a site like JSTOR isn't free, they need to pay operating costs somehow.

No offence, but I have to ask–have you ever read our blog for like, 3 seconds, beyond reading one post? I’m seriously asking.

Also, “would you rather they ran ads” lmao. Lol. Okay then.

- Mod A

artisticautistic  asked:

"Companies cant run if you pay them living wage." "Then they aren't a functioning business." "Thats not fair to businesses!!!" Like lol are you serious??? Businesses need to cover the costs of operations, including payroll, before calculating profits. That's basic economics. And the idea that a company like Walmart cant afford it is BS. The owners make over 1000x more per hour than the standard employee. They can afford it, they just dont want to so they can take as much money as possible

^^^ So true.


when erik lehnsherr, beleaguered middle school teacher and single father to three mutant kids under ten, moves back to the city…shit hits the fan. 

you see, mob bosses don’t tend to forgive easily, and sebastian shaw is no exception. when erik is forced to return to his old contacts to find work, shaw does his damnedest to ruin erik’s life - blocking his job prospects, manipulating his kids, messing up his finances. erik eventually turns to his old friend azazel, continued employee of shaw who was the one who secretly helped erik leave when magda fell pregnant, asking if there’s anyone powerful enough to take shaw out.

az confides that there’s only one crime family in the world powerful enough to challenge shaw - the notorious xavier siblings, charles and raven. they asked for azazel’s help in infiltrating shaw’s base in return for sparing him and his friends when they took down the hated crime lord shaw, and az puts erik in touch with them.

are charles and raven enough of a match for shaw? is erik willing to pay the price the xaviers demand of him? what’s going on between az and raven, and does charles know about it? is everyone going to get out of this mess unscathed???? and how much did that ridiculous custom button-operated throne-wheelchair cost???? WHO KNOWS, we haven’t written the fic yet. all that is certain is that I am never ever going to draw raven looking like jlaw.


Project Plowshare and Nuclear Explosions for the National Economy,

In the 1950’s scientists first proposed the idea of using nuclear weapons for peaceful purposes, essentially replacing TNT as the main explosive for moving earth, creating tunnels and canals, cutting paths through mountains for highways or railroads, and for other civil engineering projects.  Thus in 1961 Project Plowshare was created to study the use of nuclear weapons for peaceful purposes.  Between 1961 and 1973, 27 atomic bombs were detonated as part of the project.  Three were detonated to test the feasibility of using nuclear explosives to stimulate gas flow in a low permeability natural gas field. The study was a failure when it was determined that the natural gas produced was too radioactive for use. While the project was promising, it was doomed by the radioactive fallout that resulted after a nuclear explosion, thus making the results hazardous to the health of those who benefited from it. One of the most notorious tests was the underground Sedan explosion, conducted in Yucca Flat, Nevada on July 6th, 1962, to test the feasibility of using nuclear explosives for mining and excavating purposes.  The resulting blast ejected 12,000,000 tons of radioactive soil into the atmosphere, which spread as far as West Virginia, Ohio, and North Carolina.

Overall Operation Plowshare cost a total of $700 million.

Since the Americans were doing it, the Soviets had to do it too, except they had to do it bigger and better.  In 1965 the Soviet Union began the “Nuclear Explosions for the National Economy” project, which detonated 156 nuclear devices between 1965 and 1988.  Unlike Project Plowshare, the NENE project was done with practicality in mind.  Few of the Soviet peaceful nuclear explosions were scientific tests, but were used to actually excavate mines, create canals, build dams, and conduct other works of engineering. Like Project Plowshare, radioactive fallout often negated positive results, although the Soviets gave much less of a damn about it than the Americans did.  Many of the explosions caused irreversible environmental damage.  20 years after the Kraton-3 explosion in Siberia in 1973, plutonium levels in the nearby waterways and aquifers were still thousands of times higher than recommended safe levels. The Chagan explosion conducted in 1965 (top picture) spread radioactive material across Asia as far as Japan. 


Today, i’m bringing you a plane that’s been around for while, well, this “while” is 62 years, today, the photo series is about the Boeing B-52 Stratofortress or BUFF (Big Ugly Fat Fucker).

Photo series #5

Built in the 1950s with nuclear carrying capabilities, the B-52 replaced the Convair B-36 Peacemaker. Although it is a veteran of the USAF, it never got the chance to use it’s nuclear arsenal, all mission flown up to date has been for conventional bombing.

Because of it’s age, the US have made multiple attempts to replace it but the low operating costs and high subsonic performance has kept it in service, some of the planes that were tested as a replacement were the B-70 (cancelled program which gave way to the XB-70 Valkyrie), Rockwell B-1 Lancer and the Northrop B-2 Spirit, the last ones now are in service alongside the B-52.

The latest version of it is the B-52H with several upgrades done and more on the way, the BUFF is expected to stay in service all the way into 2040s.

One of the most impressive incidents with B-52H happened in January 10, 1964, when a testbed for structural integrity investigation lost it’s entire vertical stabilizer and continued flying after a severe turbulence, the plane landed safely.

With it’s eight Pratt & Whitney TF33-P-3 turbofans, a wide array of weapons and a great service record, the B-52 will continue to soar over the battlefield for a long time.

If you have any suggestions, contributions or want to send a entire photo series, don’t be shy, send them to me and i’ll upload them!

tinkchick555  asked:

What are your opinions on Disney's latest decisions in the parks? Good, bad, meh?


Good: Dumping lots and lots of money into the parks. In the late 90s/early 00s, the way the company tried to make stocks/shares go up was to close attractions, thereby lowering operating costs. Universal’s Wizarding World of Harry Potter reminded Disney that adding great stuff to your theme parks is an EVEN BETTER way to make money, and now look at the number of ‘coming soon’ announcements coming out of Florida and CA.

Good: They are actively listening to the fans, incorporating some of their loves/ideas/weird collecting fetishes into the Parks’ merch and special events. Granted, the ‘fans’ that they are listening to are actually Disney employees who have risen up the ranks enough to have a voice in the boardrooms and backrooms, but hey – at least they are listening!

Good: The folks in charge now really LOVE Disney and the basic Disneyland tenets. Going back to those dreaded late 90s/early 00s, back then, most of the decisions were being made by a group of presidents and vice-presidents who REPEATEDLY said they were trying to make Disney feel “less Disney”…you know, “for adults.” Right now, the opposite is true. So even if I don’t love a lot of what they are coming up with, it at least feels like *they* think they’re doing it for right reasons.

Good: Star Wars Land…in Disney Hollywood Studios. GREAT IDEA! WONDERFUL FIT!

Bad: Star Wars Land…wedged awkwardly in the back of the otherwise perfectly-themed Disneyland. Why not over in California Adventure where it could be tied into the whole ‘Hollywood/making movies’ part? Oh, well. Too late.

Bad/Good: Changing Tower of Terror to Guardians of the Galaxy. The re-do is UGLY on the outside. Hopefully the inside will be better. That said, I’m glad they’re creating their Marvel Land (or whatever they are planning to call it) in DCA instead of trying to shove it into a back alley on Main Street.

Bad: Adding more movie characters to EPCOT. Yes, Epcot has some super boring stuff in it, but why not rework those things to make them interesting? People love learning/knowledge/fun facts. EPCOT used to be all about providing that. Now Disney seems scared that people won’t visit that park unless it features Finding Nemo, Frozen and Guardians of the Galaxy. What makes this all the more crazy is that EPCOT is the 3rd most visited theme park in the U.S. Folks clearly DON’T hate it!

Bad: Avatar. Who really cares about those characters or that world???

Meh: The not-so-secret services for the uber wealthy (the $1000 Tomorrowland ‘cabanas’, the $15,000 dinner, etc.). I mean, Disneyland has always had a few expensive perks – Club 33, getting a private tour guide, etc. – but now it seems like they’re announcing a new one every month, and they are never really all that ‘special.’ None of them come close to the magic of, say, a Club 33…even/especially Disney’s recently announced plan to put a Club 33 in EVERY park around the globe! All of that said, I’d gladly see a bunch more cheap-looking cabanas than have management begin closing classic rides with low people-counts.


‘Hop’ is my little disabled budgie. He is almost 5 months old.

He is such a gorgeous little thing. Born on the 23rd or 24th of December '15, His name is Hop because he fell out of nest when fledging and broke his little leg so I nursed him back to almost good and 3 weeks later he got a fright and flew off me and landed hard on the floor and rebroke it and also his other little leg. After taking him to my avian vet I had a choice of an operation costing over $1200 that could have either damaged his nerves causing him to lose the use of one or both legs completely or not even make it through, euthanize OR take home under strict instructions and have him in the softest base possible and kept quiet and dark and hope for the best.
I am so glad I did because he is healing beautifully and in the last couple of weeks he has gotten stronger by the day. I am home almost all day everyday and when he wasn’t in his little hospital he was sitting happily on me. He has never been off his food or water and poos are all normal. He sings himself to sleep every night with the most adorable little song and today he spent the day happily in his cage playing with his toys and chattering away :) Definitely going to be a spoilt little fella.
I love him to bits.

U.S. Central Command on Twitter
“.@USFOR_A releases GBU-43 #MOAB strike video against #ISIS-K cave complex, #Nangarhar, #Afghanistan #DefeatDaesh https://t.co/MuhU7JXuNn https://t.co/qBqptpuzbE”

CENTCOM releases video of the MOAB dropped on an ISIS cave system.  According to the Afghan government 36 ISIS fighters were killed.

The cost of the MOAB is approximately $16,000,000.00 per bomb.  That’s $444,444.44 per ISIS scalp not including the operational costs and logistics involved.  

War is a racket.

bladesofglorywc replied to your post “Paying employees a living wage is part of operating costs. If a…”

The best part about this is that this chicks feels she is entitled to other people’s food and money. I work hard for what I have and in no way am I going to give it to someone else unless I want to. I get minimum wage is shitty and yea it sucks but find a way to better yourself so that you can make more than minimum wage; quit being fucking lazy and expecting handouts

Do you think minimum wage jobs should exist?

Do Walmart and McDonalds and Call Centers need people to staff them? 

Appeal for funding:

I have received a letter from the DWP in England, and I’m due to be moved over to PIP rather than receiving DLA: for this, I need an assessment face-to-face to prove I am really “disabled”. This is happening to everyone because of new sanctions.

However, until my face-to-face assessment, I am not going to be recieving any benefits I am due: I’ll instead receive a backdated payment once my PIP claim goes through. 

I’ve been to the doctors and had all my paperwork sorted and have had blood tests and hospital appointments confirming all my illnesses, very recently, however my assessment date is still up in the air and it could be 6 weeks till I get an interview, and another 4-6 weeks before I hear whether or not my claim has been accepted, and whether I must then appeal. This is potentially 3 months without money.

I’ve got arthritis and fibromyalgia as well as agoraphobia and type one diabetes (various other things too) and I have bills to pay - whilst my parents will not kick me out if I do not pay rent, we are very short on money this month due to several things (gas bill, car tax+new car to get to funeral + funeral expenses from last month) and I would like to be able to pay my parents the money they are owed. I have had several delayed bills go out, further pushing me into overdraft and I am swiftly running out of contingency fund.

Perhaps, more crucial: the money I HAD put aside in case of emergencies, to cover the cost of healthcare for my guinea pig, is now having to be spent on my other guinea pig, Zach. He has hurt his paw, a possible break in it, and needs x-rays to further confirm whether this is the case and has already been to the vets once, costing me £40 of a £60 saving fund. Further vet visits could set me back £90, plus £30 for consultation, and £30 for meds. I don’t know how much an operation would cost. Jak, my other guinea pig, also has stomach problems that require specialist food and fiber supplements, which come to £20 a month. Money I had set aside but no longer have, due to Zach’s injury. So, I’ve already eaten into my savings. I would have had enough to pay for Jak’s medication till my assessment, but now it is unlikely I can do that and pay for Zach. 

Any other month, I would loan from family members and pay them back however we are all sort of money due to the funeral of my great-grandmother: £200 round-trip tickets and fuel to get up to where she lived, times about 5 to shift all of her belongings and items. Its been an expensive few months.

Basically if anyone can spare a tenner here or there, I would greatly appreciate it. I would like to be able to support my family financially through this difficult period, and the health problems of my guinea pigs cannot be ignored. 

If you can spare a bit of money please send it over to my paypal jayisanerd@gmail.com. 

Limit of the Flesh (12)

(Shepard and Vakarian, post-war but pre-relationship. Also on AO3.)

ETA: I realized a little too late that this chapter should probably have a content warning. There’s nothing drastically out of line with the tone of the rest of the story, but there is a scene in this chapter where Shepard realizes that she doesn’t mind when Garrus lands a hit when they’re sparring, and the realization is framed in fairly depressing terms. I’m not sure if you’d call it self-harm or manipulation or both, but it’s dark, it’s there, and it’s part of an overall arc about Shepard’s mental health and slow crawl towards recovery.


He never asked what had happened in that last, desperate hour as she hung over London, and because the only person she’d consider telling hadn’t asked, there was no one who knew the whole story. In the hospital while hurry-up-and-waiting between bouts of nerve grafts for her new biomechanical leg, Shepard had been sure the Alliance would at least send an intelligence agent to collect an account of whatever she admitted to remembering; but instead they’d left her alone, and eventually she’d concluded that the brass considered that unaccounted period of time between Admiral Anderson’s death and the Citadel’s explosion self-explanatory. The Crucible had functioned as it was supposed to function, and the Navy was fond of functionality.

And since Garrus never asked, Shepard carried the weight of that hour by herself. She carried it around her neck like a mariner, across her shoulders like an Atlas; she carried it like she carried Kaidan Alenko and James Vega and three hundred thousand batarians who had lived in the Bahak System. Even if Garrus asked to share a portion of that burden, she wasn’t sure she would let him take up what was hers and hers alone to bear. The weight of that hour shamed her, but the unrelenting business of living swept her towards something that could in the right light resemble acceptance.

Garrus was reading on the couch when she finished updating the Valkyrie’s financial records and going over their operating costs for the month. The Council paid its Spectres generously, and war heroes didn’t want for money, but Shepard had only lived as long as she had because of her ability to ration her resources. It helped that Garrus was better at repairing their equipment than any professional gunsmith; Shepard herself was decent enough at maintaining and upgrading her rifles, but Garrus could take a third-hand Elkoss Combine M-8 and rebuild it so it fired like something straight out of the Spectres’ special stocks.

The greatest expense was the Valkyrie herself – both the cost of keeping her in the sky, and the cost of all the registration fees and docking licenses required to fly her legally from one side of the galaxy to the other. The communications array cost a hell of a lot to maintain, too, since it was as advanced a system as it was possible to fit on a ship of this size. After the ship and the armory came all the other expenses of living: food for both of them, armor and ammunition, clothes and weight equipment and toiletries.

There were medical costs, too, and not only the bills from patching one or the other of them up when some mercenary bullet punched through their shields; Garrus’s jaw was held together with microfilament implants, and his hearing on the right side had slowly failed him until surgeons had artificially reconstructed his entire aural canal. Shepard, meanwhile, was as much machine as woman. Miranda would’ve probably been able to better integrate her newer prosthetic leg with the older work done by Cerberus, but Shepard managed. Maybe she’d mention it one day; maybe she wouldn’t. At any rate, they required periodic check-ups from a bevy of specialists, although they both dragged their feet when it came to making those appointments.

“Reading anything good?” Shepard asked.

Keep reading

Article: Timing and Pricing

The question comes up all too often, and I hope this article will help guide you with tips on how to achieve fair pricing for your art, fursuits, and more!


Obviously there are a lot of ways for any given person to answer the question of pricing, in this article I am going to address how I arrive at pricing my creative efforts. It is one among many ways to price creative work. Once you read this article, I am happy to hear if this method worked for you, or see suggestions on improving accuracy (as I am still open to personal improvement!), but I do find this to be a professional, very reliable, accurate way to do it, as well as being useful for other aspects of the creative processes well! 

For a little backstory, I have been involved in the furry fandom since 1999, and fursuit making has been my hobby since 2001 and now it is my profession. I’m also an artist, a tailor, I do costume refurbishing, create unique props, and make my own merchandise that I sell at events. I am only one person, and don’t outsource my work to other companies, so I don’t have one single thing I do that doesn’t need the effort I put into it figured out. Even personal items, prototyping, and practice – I try to think about how much effort I put in to achieve the item I have created.

How to figure out pricing!

I time myself! I use a dedicated timer (I’ll touch on why I use a dedicated timer below), it is this one to be exact: http://amzn.to/1KOZdXK I ordered it in 2011, and have been timing everything I do ever since. I selected this timer specifically because it has a “count up” setting, so I can start and stop that as I work on my project, and set the other programmable preset buttons to count down to when I should stretch or take a break, (because I can totally work all day and forget to eat lunch), or even for when it is time to end work for the day.

I keep a log. You can organize your log however you wish, but I simply write my times down in a notepad each time I stop and switch tasks. I am careful to pause it when I need to take a break, or move away from my desk to end work for the day, if I didn’t do that then my times would not be accurate. In my log I write notes on what I accomplished within the timed span – this will help you generalize and find areas to improve in the future!

It is important to mention that I have decided to use a dedicated timer, rather than a timer app on my phone or a timing website on the computer, because I do not want the temptation of getting distracted from the task. You may have a different working style, that’s totally ok! Just be sure you are not approximating your times and are truly working towards accurate timing. How else will you know for sure? Part of being accurate about these times is being disciplined about starting and stopping the timer.

What does one of the timed project logs look like?

I recently worked on a fursuit prop skull for a client, a completely unique project that I had not made before. I couldn’t promise a flat price because of the possibility of undercharging, but I do work within a client’s specified budget so there are no surprises. 

Here is how my timed work on this project was written down in my log:
Planning: 30 min
Foamwork: 2 hour 50 min
Taping: 55 min
Pattern trace: 15 min
Cut fabric: 33 min
Sew: 1 hour 23 min
Glue: 25 min
Hand sew: 49 minutes
Teeth: 49 min
Paint: 37 min

546 minutes / 9.1 hours

I break down my times into minutes and then a decimal of the hours, this is so I can easily convert it into the agreed-upon rate. This timing process can even apply to illustrations or anything else you work on! Additionally I time all my prototypes and practice, even for things that are not as unique as this prop, this allows me to generalize future pricing to give an accurate quote on if I can work within someone’s budget or not.

Something I haven’t mentioned yet, but is an absolutely important part of pricing (especially if you are making physical things!) – Materials cost! Materials are also part of pricing, as is Overhead. If you are working for yourself, you should be keeping receipts of the things you buy for tax purposes. Looking back at the receipts for items you buy and use on your projects, you can more accurately estimate what you’ve used up for this project. If you bought extra material in the process, you can measure what you’ve used for your projects and figure out a fair materials price from there.

Here is another breakdown of my timed logs, this was for a Black Lab fursuit head I made. Is the time taken how long you expected? (Keep in mind I have been doing this for a lot of years, but I am also not a high producer. I make one or two fursuits a year, among other things. If you are new at this, or are a professional with a different working style, you will have a different experience from mine!) For this project, I also wrote a comprehensive materials list, shown below.

The time breakdown:
Foamwork: 4.85 hours
Head patterning: 2.39 hours
Liner: 1.43 hours
Furring: 15.83 hours
Nose: 1.56 hours
Ears: 1.43 hours
Eyes: 3.65 hours
Neck: 2.5 hours
Mouth detail: 2.4 hours

36.04 hours

Materials list:
Black fur (provided) - On forehead, upper brows, cheeks & back of head.
Beaver fur - on muzzle, lower brows & ears
2" (older lot) luxury shag - cheeks
2.5" (current lot) luxury shag - neck
Lycra, black - nose
Minky, pink - ears and tongue
Vinyl, black - eyelids
Anti-pill Fleece, black - Inner mouth & eyes
Whiskers (clear nylon) - face
Sculpy Ultralight - Nose, teeth
Upholstery foam - head structure
Quilted Broadcloth - liner for head & neck
Hot glue - various
E6000 glue - various
Paint, black/yellow/white - eyes
Plastic mesh - vision
Waterproofing sealant - eyes
Sandpaper - nose & eyes
Masking tape - patterning process

You can see that the amount of materials used adds up, even in small quantities! Think about the time it has taken to collect these items, running to the store to get them, ordering them online, going to the post office to deliver your finished project to your client, and so on. That should be included as part of your overhead. Overhead is your operating costs, and it is fair to think about to figure in to your pricing as well, especially if you are a digital artist who may have few materials costs yet have high equipment costs – or a fursuit maker, who also has high equipment costs, such as a sewing machine. I don’t have an exact figure on how I work in overhead in my pricing, but I absolutely think about it as part of pricing for something, especially if I need to buy a new piece of equipment to accomplish it!

What does this information do for you?

Okay, so I understand that the above may look like a lot to consider, but it truly is important to know. As a fellow businessperson I just can’t stress enough how important it is accurately knowing how long it takes you to make something! It is quite useful, not only for pricing but other aspects of crafting, such as deciding where you need to improve! I admit, it took a while to train myself to remember to start and stop the timer. I placed a few post-it notes around, stuck to my sewing machine that says “Start Timer” and another on my computer that says “Stop Timer,” little reminders definitely helped. Now it is second nature to use the timer and helps me get focused on working!

Using a timer also allows me to take into account if I need to shave off time to bring a price into an affordable range for my clients. I can think about it in the sense of “How can I pattern this more efficiently?” “Where can I design this to be simpler?” but still be stylistically good, and so on. It also allows me to see if something is not worth offering for commissions, because the price a client would likely pay does not match up with the amount of effort it takes me to create it.

Another important aspect that comes out of accurately timing your work is seeing how much effort you put into your pieces. It serves as a good marker to see if you are spending too much time on less-important parts of the task versus a very important part of the task. It allows you to quantitatively see where you can streamline or simplify your patterning process, or maybe just where to hone your practice more. When I started timing myself I found it incredibly easy to get distracted from the big picture while working on projects, in the past I have hyper-focused on details that just did not effect the end outcome, and timing has helped me recognize that. I’ve since thought of better ways to accomplish what needs to be done and use my time more efficiently. Some of these include rearranging the order I complete tasks, and even compiling a more efficient list to get started on future big projects. Setting yourself up to succeed is an important part of this!

In Summary

With your timing information and materials costs figured out, you now have a baseline for how you can price! This may not be the exact cost for the object or art that you charge in the end. However, it is absolutely a good start for beginning auctions, a low-end price for taking offers, or setting base commission prices by! Deciding your own rates are entirely up to you, I cannot tell you how much to charge, but I do need to stress DO NOT PRICE BELOW MINIMUM WAGE. You are worth more than that!!! You’re not doing yourself, your clients, or your colleagues any favors. Fandom work is very niche work, and it takes an immeasurable amount of practice and honed skill that should not be dismissed. You are a crafts-person who is skilled at your craft, and skilled labor has a value!

Old school fandom advice on pricing is incredibly varied, and sometimes involves the soul-crushing advice of looking at others’ work that you think matches your skill level and copying their price strategies. This doesn’t help you. I always thought it was really hard and demoralizing to try to research other makers I thought were in my skill range and ballpark pricing that way. I came up to a wall when I couldn’t find people making things like I was making, I was at a loss. I had to break away from that thought process and since I felt it was really unhealthy, and I really hate creative competition, timing myself has saved me the stress. Comparing yourself to others is a fast path to feeling discouraged – I’ve been there, grasping for pricing advice and feeling lost on how I should price a con badge or a sketch. Timing myself has thoroughly solved this! I can feel very good about pricing and the direction my work is going because I can quantitatively see the improvement as I practice a pattern and my times get better. I never feel like I am undercharging, additionally I never feel like I am overcharging either because I can see how much work it took! It is the one thing that has helped me get by confidently, without looking at what anyone else is doing, and still get a satisfying price for my work. A price that I am happy with and that clients are happy with.


  • Time yourself
  • Pause the timer for breaks and distractions, to keep your times accurate
  • Log your times with a few details on what you accomplished in that period
  • Keep track of expenses and overhead to figure in to pricing
  • Identify areas where you can practice more to improve
  • Use past timed work to generalize pricing for future work and have more accurate quotes!
  • Decide a fair rate, never go below minimum wage! 
  • You don’t have to compare yourself to others! 

I do commissions possibly a bit different than some of the other fandom content creators, but I do hope timing work becomes more a standard practice among the creative folks in the fandom. This style of pricing has really been what works for me, especially with all of the unique and varied things I do. 

Keep up the good work and keep moving forward. I hope these tips help, happy crafting! 

A lotta people on that Erwin Penland post I made somehow have conflated ‘The marketing firm that runs the Denny’s tumblr treats its employees poorly’ with 'The person running the Denny’s tumblr makes horrible meme posts and I hate it’, and thus are concerned popularizing the post will result in people losing their jobs.

1. Erwin Penland lays off employees every fall to reduce operating costs during the winter months, so if people losing their jobs is your concern perhaps turn to EP with that complaint.

2. Many of the posts on the Denny’s tumblr are created by freelancers who do not work for Erwin Penland, and likely have a plethora of other projects to which they lend their abilities.

3. If decision makers at Denny’s decide to terminate their contract with Erwin Penland, that would be the last option. In between 'doing nothing’ and 'discarding a lucrative marketing campaign that has won multiple industry awards’ there’s the option of applying pressure, which occurs when Denny’s threatens EP to ensure workers are being treated fairly, lest they take their money and marketing elsewhere.

In a business relationship such as the one between Denny’s and Erwin Penland, both companies are responsible for making sure the other has adequate ethical standards.

This is how capitalism works.

When consumers decide that a business is treating its workers unfairly, they must be vocal about their concerns and then pull their support from the company by refusing to, in this case, interact with their content. By tarnishing their corporate image, and in this case diluting the effectiveness of their marketing campaign, the company is much more likely to consider taking employee grievances seriously, because it will begin to affect the​ profits of both Denny’s and EP.

On BJD Costs

As the mod of this blog I have all the confession blogs blocked, but when I came across this one, I wanted to weigh in because it’s an area that I think involves general lack of information as to the costs of running a BJD business. Doll companies don’t like to whine, but in the end they’re often seen as greedy for their prices. 

Ever notice that affordable dolls aren’t recast? These companies can produce dolls at a lower cost with great quality, so why can’t others? Why do we need recasts?? Why can’t the companies just make them more affordable in the first place?? If a recaster can produce the doll for X amount… why can’t the company??? Especially if it isn’t limited,, I mean they are just reproducing the same thing the recasters are but from the original mold…

~ Anonymous

Okay, so here’s the deal: this blog’s mod works closely with several BJD artists. Here’s why some dolls cost more or less, etc, and why the price you pay may involve factors you’ve never considered. Factors that ‘cheap’ companies may have found ways to work around. 

Industry connections: So MOST doll companies have their molds made and their dolls cast by a casting studio. Large casting studios will demand large quantities and may use more industrial molds, while small casting studios like Haru (bless them for the work they do) may allow for more flexible casting quantities. The larger companies aren’t geared toward BJDs, so there’s a HUGE amount of effort in getting them to understand the industry and building a relationship with them. It’s expensive and a lot of reject dolls happen along the way. What casting studios are available to companies varies by region and country too. Obviously casting companies in places like Korea and Japan charge much more because their labor costs and overhead are much higher. So maybe a doll is more expensive because the best casting company the artist can find is also expensive. Resin costs can also vary widely from vendor to vendor, and that can also affect the price. 

Labor and Space: Labor and space is a huge factor for doll companies. You would be shocked to know how much doll work is totally unpaid, because it’s done by the artists and company owners directly, and they often don’t pay themselves for their own work. There are also doll companies who have a few employees, and if they’re any good, they pay those employees as best they can for their time and work. Labor costs are simply higher in some places than others. Same goes for space. If a doll company uses any studio or retail space (versus running the company from their home like most do), that will cost money as well.

Does your favorite doll company have an English website and customer service? Something that isn’t done by Google Translate? Then hopefully that doll company is paying someone or several someones for their time and effort in maintaining that. 

Packaging: Packaging can actually be a huge expense, but we wouldn’t want companies to skimp on it! Packaging is often how we distinguish legit dolls from recasts, and many people enjoy the packaging. In any case, custom boxes made to the right size, stickers, foam inserts, etc all have to be negotiated with vendors, who are all going to have quantity demands and costs associated with them. Again, if you don’t find a good vendor it’s expensive and time consuming to keep testing new ones out. 

Taxes: Hooo boy, does anyone like doing taxes? No way! Anyway, taxes can be very high depending on whether or not you’re reporting accurately and what the local regulations are. They’re especially high in EU countries like France and Spain, and in Asian countries like Japan and Korea. 

Mistakes:Mistakes happen a LOT. Stuff comes out flawed and can’t be used, or it gets shipped to the wrong address, or you send the wrong part or the wrong faceup. Companies are on the hook for correcting these mistakes when things go wrong. They do it gladly because it’s a part of customer service, but it goes into the final price of the doll. 

…And this is just SOME of what influences the cost of a BJD. Every company is different, and some may have found shortcuts, or ways to minimize costs, but the margin on BJDs is very low. No one’s making much money on them if they even get a salary at ALL. 

TL:DR: Some companies are “cheap” because maybe somewhere along the line someone worked out of love and didn’t see much financial reward, or maybe the cost of manufacturing is just cheaper because they have excellent vendors who do good work affordably or simply use cheaper materials. Some companies cost more because their costs of operation or manufacturing are higher, or maybe they just pay their workers slightly better wages. 

I don’t know anyone in the doll industry who makes a large salary by making and selling BJDs…if they even make one at all. This includes even the well-known companies. Just because they look big and have people with titles like ‘President’ and ‘CEO’ doesn’t mean they are hugely profitable or that they make a living wage, or even that running a BJD company is their primary job. 


Neurosurgeon Sergio Canavero insists ‘time is now’ for frontier-breaking head transplant

By Adam Justice

Dr Sergio Canavero, an Italian neurosurgeon, says he is getting ready to carry out the first ever human head transplant. He has already found a volunteer for the controversial operation - terminally ill Valery Spiridonov from Russia, who says he wants to help in any way he can to make a “huge scientific breakthrough”.

However, questions remain over the feasibility and the ethics of the operation. Canavero says he is preparing to carry out the operation within two years and according to his estimates, the procedure would see Spiridonov’s head being attached to the body of a donor through spinal cord fusion (SCF).

It is an operation that will require a team of more than 100 medical workers and could take 36 hours to complete.

According to Canavero’s calculations the operation would cost around $15m and would take place either in China or the US.

Canavero has also been quick to dismiss critics who do not believe the operation will work and has suggested anyone opposed to the idea should travel to Valery’s hometown in the Russian city of Vladimir, east of Moscow, to see for themselves.

“No problem. Come to Vladimir, Russia. I will tie you up to Valery’s wheelchair, you will poo and pee the way he does, you will sleep the way he does, for 24 hours, OK? After 24 hours, I will ask you 'do you still believe that this is going to be a crazy project?’ and I can bet you 100 to one that it is possible he will change his mind,” he told Reuters in his studio in the northern Italian city of Turin.

Canavero says the key to the procedure is a sharp severance of the spinal cords. The head needs to be removed with a sharp blade, causing minimal damage to the spinal cords. Speed, too, is of essence, he says.

“Actually, as everybody knows by now, the head will be cooled and there won’t be a single drop of blood inside so he will be clinically dead, as dead as it gets as I said in my TEDx talk. And actually this momentary absence of circulation is, it’s actually momentary because the two gurneys will be like this in the same room, so the head will gravitate for just a few seconds until the surgeon will start reconnecting the head to the new body,” he said.

Canavero, who is still seeking funding for the project, is due to address the American Academy of Neurological and Orthopaedic Surgeons’ 39th Annual Conference in Annapolis, Maryland, in June.

Dr Christopher J Winfree is an assistant professor of Neurological Surgery at the College of Physicians and Surgeons in New York City. He says most physicians agree on the ethical, technical and physiological limitations that a head transplant procedure poses.

Winfree said the main concern that had arisen in his talks with his colleagues was reattaching a severed spinal cord.

“The real issue is when we get down to the physiology of the situation. One of the problems that is brought up is the ability to heal the severed spinal cord, which is what would happen if you cut a head off and put it on a different body. You would try and fuse that spinal cord together. Our current technology doesn’t allow that healing to occur,” he said.

Spiridonov now speaks regularly with Canavero via videophone and admits he is scared about the procedure but says time is running out for him.

The computer scientist suffers from Werdnig-Hoffman disease, a rare form of spinal muscular atrophy, which causes severe muscle weakness. Life expectancy for his type is low, with few sufferers reaching adolescence or young adulthood. At 30, he says his condition is rapidly deteriorating.

read more and see video!

Taylor Swift NOW HIRING: Tour Roadie and Crew Jobs

Director of Operations

TAS Entertainment Group Nashville, TN

Posted: May 6th, 2017

Full Time Job

The Operations Department is responsible for all aspects of the touring units daily operating processes including but not limited to staffing, unit movement, trucking, lodging, transportation, permitting, operating costs and budgets, daily retail operations, and all logistical and operating concerns for an upcoming 2017-2018 World Tour of a 10 time Grammy winning artist in multiple genres.

The Director of Operations provides corporate management to the Operations Department Managers and Coordinators with emphasis on technical expertise, personnel management and financial analysis over areas including but not limited to Union and labor negotiations, box office arrangements, front-of-house staffing and cost controls, vendor contract negotiations, trucking operations, international operations and personnel relations.

This position works closely with the SVP of Production and Operations in the pre-season production planning of new shows with an emphasis on equipment purchases, show staffing, vendor contracts, budget creations and all other on-the-road operational areas.


1. Directs and supervisors the Operations department by allocating projects and assignments to meet established corporate deadlines.

2. Provide operational expertise and input to establish plans for the touring season with emphasis on those areas that cross over and affect other corporate agendas and strategic plans.

3. In collaboration with the department and tour managers, develop operating budgets for each touring property. Monitor the overall strategic and financial plans of each touring unit on a weekly basis to determine profit loss and variances from submitted budgets to adjust operating model to meet desired financial corporate goals. 

4. Establish a culture of financial discipline by creating programs and budget review process for Operations, Company and Retail Managers that not only hold them accountable to budgetary goals but also provide an incentive for these managers to be invested to succeed in meeting their goals.

5. Recommend capital expenditures and improvements in operating models as well as crew, management and local staffing needs for each production unit.

6. Advise Booking department on routing itineraries and election of performance schedules to ensure compliance with DOT regulations, travel restrictions, contractual obligations and maintain overall quality of life standards for touring personnel.

7. Negotiate vendor contracts including but not limited to Union and labor rates, staffing expenses, front-of-house and box-office costs, patron service charges, and any other costs not included in the venue contract arranged by the VP and the Director of Booking.

8. Create, manage and track performance plans to better evaluate financial and performance results of each touring model to provide insight into the launch of expanded or new touring products and shows.

9. Responsible for the creation, implementation and continued monitoring of touring unit compliance for all risk control and standards and regulations.

10. Maintain open channels of communication between touring production units and the corporate office for finding resolutions to issues efficiently, cost effectively and that continue to support the company’s overall business model and objectives.

11. Provide leadership in the creation of retention and succession plans for each tier within the Operations and Touring units’ organizational structure to develop a pool of talented, motivated and experienced personnel.

12. Oversight and management of direct reports as is needed for unique touring unit moves and projects.

13. Ability to carry out assignments thoroughly, neatly and accurately. Attention to detail and quality.

14. Accepts and performs all other assigned duties and projects by immediate supervisor.


1. Ability to perform duties and responsibilities under minimal supervision, recognizing when assistance is required.

2. Ability to achieve goals by using skills to maximize the motivation of co-workers and direct reports. Willingness to assist others in achieving success within overall corporate goals, policies and procedures.

3. Ability to anticipate what needs to be done and to act in advance. Ability to develop new work tasks, execute and apply innovative methods and skills. Develop and effectively communicate and disseminate proposals for new touring and operational models.

4. Strong communication skills to effectively deliver directions, assignments, conduct training sessions and establish expectations on performance to direct reports.

5. Active participation in decisions relating to the selection, promotion, transfer and pay of direct reports and assigned personnel.

6. Understand and administer in a fair and equitable manner the companies’ policies and standards of conduct with regards to inappropriate etiquette and performance by following HR’s process on documentation, coaching and counseling and write-ups.

7. Provide leadership and management to assigned touring production units by establishing policies and structure to maintain the integrity, efficiency and financial viability of every TAS Entertainment touring production and show.


1. Minimum +10 years in the Entertainment Industry in a Technical, Operations and/or Management field with a background or understanding of the Transportation industry.
2. Minimum of 5 years touring experience in the Entertainment Industry.
3. Former experience in managing multi-million-dollar production budgets.
4. Ability to read and interpret documents, blue prints, safety manuals and budgets as well as write technical reports and proposals proficiently
5. Ability to solve practical problems and interpret diverse instructions delivered in a variety of forms
6. Possess exceptional communication, organization and leadership abilities 
7. Self-motivated, resourceful and can work independently on a multitude of tasks simultaneously

Additional Information
Company Overview
TAS Entertainment Group (“TAS” or the “Company”) is one of the nation’s leading multi-concept media and entertainment platforms and producer of family-friendly consumer shows and events. The company owns, operates and promotes a 10 time Grammy winning artist of multiple genres in North American with World tours that is scheduled to visit more than 150 cities, including LIVE Broadcast. Past touring shows also include Taylor Swift, Fearless, Speak Now, Red and 1989 World Tour.

The Company also: (i) arranges international tours and operates tours with other artist; and (ii) owns a production shop that produces all sets, scenes, and costumes for its touring shows.

TAS is an attractive company with a strong financial profile, attractive EBITDA margins and high free cash flow. The Company is an institutional organization with senior management depth led by a CEO with a proven background in live events and expertise in architecting a clear company vision and cohesive company culture. 

As a leading touring entertainment platform with diversified content (active and operational shows), format (arenas, theatres, convention centers, state fairs, etc.) and geography (U.S. and international), TAS is uniquely positioned to capitalize on the large-scale entertainment market.

There are 549 more jobs available from this company that require immediate positioning to begin training. Must be willing to travel and work long hours.

Ion Propulsion…What Is It?

Ion thrusters are being designed for a wide variety of missions – from keeping communications satellites in the proper position to propelling spacecraft throughout our solar system. But, what exactly is ion propulsion and how does an ion thruster work? Great question! Let’s take a look:

Regular rocket engines: You take a gas and you heat it up, or put it under pressure, and you push it out of the rocket nozzle, and the action of the gas going out of the nozzle causes a reaction that pushes the spacecraft in the other direction.

Ion engines: Instead of heating the gas up or putting it under pressure, we give the gas xenon a little electric charge, then they’re called ions, and we use a big voltage to accelerate the xenon ions through this metal grid and we shoot them out of the engine at up to 90,000 miles per hour.

Something interesting about ion engines is that it pushes on the spacecraft as hard as a single piece of paper pushes on your hand while holding it. In the zero gravity, frictionless, environment of space, gradually the effect of this thrust builds up. Our Dawn spacecraft uses ion engines, and is the first spacecraft to orbit two objects in the asteroid belt between Mars and Jupiter.

To give you a better idea, at full throttle, it would take our Dawn spacecraft four days to accelerate from zero to sixty miles per hour. That may sounds VERY slow, but instead of thrusting for four days, if we thrust for a week or a year as Dawn already has for almost five years, you can build up fantastically high velocity.

Why use ion engines? This type of propulsion give us the maneuverability to go into orbit and after we’ve been there for awhile, we can leave orbit and go on to another destination and do the same thing.

As the commercial applications for electric propulsion grow because of its ability to extend the operational life of satellites and to reduce launch and operation costs, we are involved in work on two different ion thrusters of the future: the NASA Evolutionary Xenon Thruster (NEXT) and the Annular Engine. These new engines will help reduce mission cost and trip time, while also traveling at higher power levels.

Learn more about ion propulsion HERE.

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