#I used to do a lot of commission work before i got my broadway job and tbh i kinda miss that

[scarletttbitch]

how did u get into sewing!!

omg this somehow got totally buried in my notes (thanks tumblr mobile) but!!

Imma be real i dont Actually remember Why i got into sewing haha it was just something that my family thought i should know (and a way to keep my little autistic hands busy) but my mom was a big sewer when i was a kid, would make my halloween costumes every year and i started helping her with that when i was like 8, so my mom taught me hand-sewing when i was old enough to safely hold a needle (like 10?? i think??) and then my great-aunt taught me to use a machine when i was about 14. i would go to her condo for 'lessons' since she had a sewing room in her basement and she taught me how to read patterns and such :) I started making my own clothes very soon after, and by 16 I was either making or altering all my dresses for school dances 😂 and now [redacted] years later, I do it professionally!

#i also have a degree in costume design- shoutout to my 4.5yrs at my college shop and also my mentor charlotte- huge reason why im where i am #not to dox myself here but i've been sewing for like 20yrs... and costuming for about 15.... #which is wild bc i forget that very often until I start sewing lol #sewing is alot like riding a bike tbh and no i'm not just saying that- once u know You Know #I used to do a lot of commission work before i got my broadway job and tbh i kinda miss that #it is cool that stuff i made is on broadway/movies/tv tho! #theres a movie i worked on with jessica lange (yes shes stunning and i almost embarrassed myself at her fitting) #but i cannot Wait for it to come out so i can see her in my skirts!! jane greenwood complimented my stitching :) #anyway #sorry for the long answer lol stitching is a huge part of my life but its a very small industry tbh Especially in nyc #asks #answered

[rott1ngbra1n]

Sorry for being sudo inactive!! I’ve been on a trip, where I got to see Sweeney Todd on Broadway!! Genuinely such a good show. If I went on about how amazing it was, we’d be here all day

But on the note of me being gone for a bit, ya boi has been crafting! Along with some more ramblings as usual-

More art below the cut (under my ramble-)

The chapter one outline of the Alley Cat AU has been completed! Now it’s on to drawing some panels out and finalizing the draft! Of course I will probably post more concept work before then, as some details still need to be worked out. But we are making headway!

I’m going to also work on making a masterpost here soon, so that way everything is in one neat spot. But the story will be hosted here! Here’s some more smaller concept work to tide you guys over until the next post! I obviously want to finish a couple chapters but I’ve also started work on a chapter explaining how Morro met his cat! Originally the cat was unnamed but I think Wisp works well for them, I will try to finish the reference sheets for all of the characters before I post any chapters.

I’m also going to finish up my work on chapter one, before posting any of it. So that way the wait between isn’t as awful (fun fact that’s been my New Year’s resolution- to try and post more-) but please be patient with me, I’ve never really worked on a project this big before and I am a full time college student with a job. So I will do my best!

I want to let you guys know as well, the ninja and their dynamic with Lloyd will stay pretty similar to that of the show. With them obviously being suspicious of Lloyd and his “cat”, but because they find him and Lloyd doesn’t try to do anything regarding the Serpentine (because Morro shook some sense into him-) there’s no residual “you unleashed the snakes on us-“ vibes. Instead right off the bat Kai takes one look at Lloyd and says “You are now my little brother. You cannot deny this.”, adding more fluff.

That also means we have to find another person who unleashes the serpentine. Because plot reasons and all that jazz, I’m working on it but I think it would be funny if Jay did it by accident or one of the other darkly boys did it. I’ll toy with both ideas and some other ones before I settle on it, I have time. I hope.

I’ve got some other things I’m cooking up, some Ninjago related, others pertaining to other fandoms I’m in.

Aside from that, I also have a Redbubble! There’s some stuff in there I’m reworking, so a minder and apology for that, but I’m going to try to get some more Ninjago works posted up there. Along with some original works! Here’s the link if you’d like to check it out!

I also have a KoFi that I am also redoing and working on! If you’d like to commission me, that would be the spot! I’m still trying to figure it out so if you have any questions don’t be afraid to ask! KoFi link here!

I really appreciate all of your kind words and reblog tags (I do see them, they make me laugh and smile), it means a lot and I hope you all enjoy what else I’ve got in the oven!! Thank you so much!!

#art #my art #digital art #fanart #lego ninjago #lego ninjago fanart #lego ninjago lloyd #lego ninjago morro #ninjago morro #Ninjago Lloyd #lego Ninjago lloyd fanart #lego ninjago morro fanart #ninjago morro fanart #ninjago lloyd fanart #ninjago fanart #alley cat AU #rottingbrain ramblings #commission #art commisions #redbubble #artist on kofi #ninjago au

[buzzdixonwriter]

Hoo Noo Shmoo?

Never let it be said that this blog is flagging in its enthusiasm for flogging horses so dead they’re found in the glue bin at Office Max.

To whit, the Scorsese vs MCU brouhaha.

Bottom line: Scorsese is right.  As well made as MCU movies are, they ain’t cinema, they’re glorified commercials to sell MCU product.

Full disclosure: I should know, since I wrote for G.I. Joe, Transformers, and a host of other toy-based syndicated animation shows.  I’m happy with the work I did, I can point proudly to specific episodes I wrote that aspire to be more than mere half-hour commercials…

…but they ain’t art.

They ain’t art, despite our aspirations to do the best job we could, because ultimately we creators were not allowed to create what we felt best for our stories, but what Hasbro deemed vital to their sales.

(The closest we got to art was when Hasbro cancelled The Inhumanoids toy line in mid-production of the TV series, and said we could finish our broadcast commitment however we saw fit so long as it didn’t result in an FCC complaint.  As a result, we went nuts.)

My Hasbro / Sunbow experience remains a highpoint of my creative life, so I’m not denigrating the talent, skill, ability, spirit, and enthusiasm of those making MCU movies.

…but they ain’t art.

Now, those who love MCU movies think Scorsese’s comments are a slam against them.

Welllll…no, not directly.

But they do underscore how popularity -- especially of media designed to push product -- is a faulty measuring stick for artistic merit.

Case in point: The Shmoo.

Wuzza shmoo, you ask (and thus proving my point)?

Shmoos were extremely popular in the late 1940s.  Part of the wonderfully wacky world cartoonist Al Capp created for his hit Li’l Abner comic strip, shmoos represented a parable on American consumerism, modern day geese laying not mere golden eggs but birthday cakes with candles a’blazin’.

As Capp described them:

They reproduce asexually and are incredibly prolific, multiplying faster than rabbits. They require no sustenance other than air.

Shmoos are delicious to eat, and are eager to be eaten. If a human looks at one hungrily, it will happily immolate itself -- either by jumping into a frying pan, after which they taste like chicken, or into a broiling pan, after which they taste like steak. When roasted they taste like pork, and when baked they taste like catfish. Raw, they taste like oysters on the half-shell.

They also produce eggs (neatly packaged), milk (bottled, grade-A), and butter -- no churning required. Their pelts make perfect boot leather or house timbers, depending on how thick one slices them.

They have no bones, so there's absolutely no waste. Their eyes make the best suspender buttons, and their whiskers make perfect toothpicks. In short, they are simply the perfect ideal of a subsistence agricultural herd animal.

Naturally gentle, they require minimal care and are ideal playmates for young children. The frolicking of shmoos is so entertaining (such as their staged "shmoosical comedies") that people no longer feel the need to watch television or go to the movies.

Some of the more tasty varieties of shmoo are more difficult to catch, however. Usually shmoo hunters, now a sport in some parts of the country, use a paper bag, flashlight, and stick to capture their shmoos. At night the light stuns them, then they may be whacked in the head with the stick and put in the bag for frying up later on.

Of course, in the original strip continuity, the shmoos were quickly eradicated, driven to extinction by food packagers who feared bankruptcy.

It was a sharp, biting message, and one that looked critically at both insatiable consumerism and capitalism’s claims of superiority.

Capp, of course, was too savvy a marketeer himself to eliminate the shmoos entirely, and so he provided for one breeding pair to survive…and for the shmoos to make repeated appearances for the rest of Li’l Abner’s run.

Shmoo mania ran rampant with shmoo dolls, shmoo clocks, shmoo games, shmoo candy, shmoo snacks, and shmoo apparel.  

The money truck basically backed up to Capp’s front door and dumped its load on his porch.  Shmoos proved insanely popular and it seemed the mania would never end…

…except it did.

To mangle metaphors, you can only take so many trips to the same well before your audience starts asking “What?  Beans again?”

And then, in a fickle flash, it’s over.

I’d be hard pressed today to find anyone younger than the boomer cohort who ever heard of Al Capp or Li’l Abner unless their school or community theatre presented the Broadway musical adaptation of the strip (the show remains popular with amateur theatrical troupes such as high schools and colleges because the huge cast of Dogpatch citizens guarantees everybody who tries out for the show will land some part in it).

For all their popularity and merchandise and media impact -- songs on the radio, big spreads in weekly news magazines -- the shmoos left virtually no cultural footprint.

(Full disclosure yet again: I wrote for a Scooby-doo knock-off by Hanna-Barbera called The New Shmoo and it was a piece of crap, abandoning the whole consumerism point of the original shmoos and making them -- or just “it” in our case -- a pseudo-funny dog sidekick for a squad of mystery solving kids.  And it wasn’t a piece of crap because we didn’t try our best, it was a piece of crap because the shmoo was treated as ubiquitous “product” under the misconception that of course everybody younger than Joe Barbera would recognize the name and love the character so deeply that they’d simultaneously develop amnesia about what made the original character so appealing.)

Product.

That’s what one of the most brilliant, most poignant, most spot-on commentaries on rampant consumerism and ruthless capitalism ironically reduced down to.  Product.

There’s a line in Jurassic Park that resonates here:  ”Life will find a way.”

Let’s paraphrase that to “Art will find a way” because like life, art is an expression of the creative urge.

Right now, by and large, it’s trapped in the giant all encompassing condom of corporate consumerism, providing fun and pleasure and excitement, but not really creating anything new, to be wadded up and thrown away when the suits are done screwing us.

But every now and then there’s a tiny pinprick in the sheath, and when that happens there’s the chance of something wonderful, something meaningful, something of lasting value emerging.

It is possible for art to emerge from a corporate context, but only if the corporate intent is to produce a work of art for its own purposes.   Michelangelo carved David as a work for hire, the local doge commissioning the sculpture because he wanted to impress peers and peasants by donating the biggest statue ever made by the hottest artist of the era (and even then Michelangelo needed to resort to subterfuge to keep the doge from “improving” on his work with “suggestions” [read “commands”].)

The very first Rocky movie was a work of art because the producers focused on telling a simple, singular story about a loser who could only win by going the distance, not by defeating his opponent but by refusing to be beaten by him.

It’s a great cinematic moment that rings true and it’s going to last forever…unlike sequels Rocky II - V where Rocky fights supervillains like Mr. T and a robot (hey, that was the movie playing in my head when I watched Rocky IV and it was a helluva lot more entertaining than what I actually saw onscreen).

The suits castrated Rocky, reducing him from a unique universal cultural touchstone down to…well…product.

The MCU movies are product; rather, they are two-hour+ commercials to sell product in the form of videogames, action figures, T-shirts, and Underoos.

The real art occurred almost 60 years ago when Jack Kirby and Steve Ditko knocked out page after page as fast as they could, drawing deep from the wellsprings of their own interests, experiences, and passions.

(“What about Stan?” I hear you ask.  Look, we all love Stan, but truth be told his great contribution to the MCU came in his service as drum major for the Merry Marvel marching Society.  God bless him for firing up the fan base’s enthusiasm for the Marvel bullpen’s work, but compare what his artists did before and after their collaboration with him to what he did before and after his editorial tenure at Marvel and it’s clear upon whose shoulders the muses rested.)

As much fun as MCU movies are (I’ve seen about 1/3 of ‘em and enjoyed most of what I saw), I also recognize in them the harm they do.

They are promoted heavily to sell product to raise the fortunes of one of the biggest corporations on the planet, a corporation that holds control over five of the largest, most popular entertainment brands on the market.

To protect their cash cows, Disney chokes potential rivals in their cribs.

Think there’s going to be another Alien or Predator movie now that Disney owns them and Star Wars?  Why create rivals to a mega-successful property you already own?  (I will be genuinely surprised if we see another Guardians Of The Galaxy movie in light of the faltering popularity of Star Wars in Disney’s eyes; they’re going to want to shore up their billion dollar investment rather than call it a day and let some upstart -- even an upstart they own 100% -- rob them of revenue.)

Disney’s battle plan to choke out all potential rivals leaves no room in the DEU (Disney Expanded Universe) for independent minded creators.

They want competent hired pens who can churn out the product they desire in order to bolster sales of other products derived from those.

(Even more full disclosure:  I wrote for Chip ‘n’ Dale’s Rescue Rangers as well as some Aladdin and Scrooge McDuck comic book stories.)

Disney’s MCU, for all its expertly executed whiz-bang, is a bloated, soulless zombie, a giant gaudy inflated parade balloon blocking the vision of others.

There’s a scene in the movie The Founder -- a genuine cinematic work of art that comments ironically on the selling of a product --  that applies here.

Ray Kroc (Michael Keaton) relentlessly browbeats the McDonald brothers (Nick Offerman and John Carroll Lynch) into letting him replace their real milkshakes with what will come to be known as the McShake, an ersatz product that at best reminds one of what a real milkshake should taste like.

The McDonald Brothers are horrified.  Not only does it not taste like a real milkshake, but it goes against the very grain of what they desire as restauranteurs:  To provide quality food quickly for their customers, trading value for value.

Kroc will have none of this.  To him the customers are simply one more obstacle between him and their money.

He doesn’t see them as the source of his revenue, but as impediments to same.

What benefits them, what nurtures their diets, what gives them pleasure, what trades value for value is completely unimportant to him.

They exist only to make him rich and powerful.

By the end of the film, Kroc has effectively declared war on his own partners, his own employees, his own customers.  He recognizes he is not in the business his customers and employees and partners think he’s in (i.e., fast food) but rather in the real estate business, buying land that McDonald’s franchises must lease from him in order to operate.

By the end, he’s not concerned with how well his customers eat, or how well his employees are treated, or how financially secure his franchise managers feel.

By the end, all he wants is the money, and he doesn’t care how his franchises make it so long as they pass it along to him.

As a result, McDonald’s contributes heavily to America’s obesity and diabetes epidemics, advising their employees to take second jobs so they can afford to continue working for them at substandard wages.

Disney’s MCU is a super-sized Happy Meal™ that’s ruining the cultural health of its consumers.

   © Buzz Dixon

#Marvel #Disn #Jack Kirby #Stan Lee #Steve Ditko #Star Wars #MCU #Rocky #Martin Scorsese #media #movies #superheroes

[boredout305]

Huma Aatifi of Unda Fluxit

Huma Aatifi is a Boise, Idaho-based artist and musician.

Born in Kabul, Afghanistan, Aatifi moved to the United States when she was ten. Aatifi’s artistic pursuits are influenced by musicians and painters on the periphery. Unda Fluxit, a solo vehicle Aatifi started last year, is inspired by artists like Jandek and BJ Snowden. Unda Fluxit will appeal to fans of The Godz (from NYC), The Shaggs and contemporary groups like Mordecai.

Unda Fluxit’s debut, Master of the House, will be available later this year. Gavin Swietnicki of Mordecai and Boise-based artist/musician Elijah Jensen-Lindsey appear on the album. Master of the House contains the first recordings Aatifi’s made; she only picked up the guitar a year ago.  

In addition to playing shows around Boise with Unda Fluxit, Aatifi was recently commissioned to create the artwork for Daniel Ojeda’s play The Monster and the Gift. Aatifi is currently dividing her time between recording a follow-up release and painting.  

Interview by Ryan Leach

Photos courtesy of Huma Aatifi

Ryan: You were born in Kabul, Afghanistan.

Huma: Yeah. I came to the United States as a refugee in 2002. After September 11. Boise, Idaho, was a big place for refugees. They still host a lot of Afghan and Bosnian refugees. I’ve lived in Boise for a long time.

      Initially, we left Afghanistan in 1992 after the Mujahideen took over. The Soviets had invaded and left.

Ryan: The Soviets left in 1989.

Huma: Right. And then the Mujahideen transformed into the Taliban. They ousted the president (Mohammad Najibullah) in 1992 so we left to Pakistan. We were in Pakistan for a number of years before moving to the United States.

Ryan: You would’ve been about nine or ten when you moved to the United States.

Huma: I was ten.

Ryan: How did your interest in art and music develop?

Huma: I always had a real interest in art and poetry, even when I was really young. I liked music. I had a lot of uncles who were also self-taught musicians. That’s just part of the Afghan culture. You don’t go out and get a degree. Knowledge is passed down by what’s called an ustad. You would learn music from somebody else. My uncles would buy harmoniums or tablas; they were playing music all the time. I grew up around that.

      Music is a new way to express myself. I started recording about a year ago.

Ryan: When did you start putting your art out before the public?

Huma: The ballet you had mentioned before the interview—The Monster and the Gift—I had been commissioned by the Morrison Center to create the art for that. I think the Morrison Center is owned by Boise State University. Those are some of my newest paintings. Before that, I had done a lot of sketches and other things. In a sense, I’m also a novice painter as well.

Ryan: There’s a symbiotic relationship between your art and music—a clear nexus. Often when I work with visual artists/musicians, I can’t easily identify a connection between the two media. An example where you can would be Mondrian’s Broadway Boogie Woogie (1943) which—although Mondrian wasn’t a musician himself—was influenced by jazz as well as New York City’s grid layout.

Huma: I hadn’t thought about that. That’s interesting. I guess there’s a common language there.

Ryan: You’re into artists like Howard Finster. Hearing your music and seeing your art, that makes total sense.

Huma: Howard Finster is amazing! I couldn’t believe his art when I finally saw it. I was driving with my brother and we visited the High Museum of Art in Atlanta. Finster had an exhibition there. He was a preacher and a self-taught artist. I like self-taught artists—whether they’re making movies, music or art. They’re continuously riding the edge of constructs. Obviously, their work is almost always original and pushing the boundaries.

Ryan: There’s a lack of inhibitions.

Huma: Right.

Ryan: I speculate this also dovetails with what you had mentioned earlier about the ustad and that aspect of Afghan culture—passing traditions down through an oral tradition or an informal apprenticeship as opposed to rigid institutions like universities or conservatories.  

Huma: Exactly. Irwin Chusid from WFMU had made a documentary with the BBC called Outsider Music. It’s so good. I discovered a lot of musicians through that film, but one of my favorites was BJ Snowden. She’s amazing. Chusid states that the outsider artists he highlighted have to be unaware of what they’re doing. That’s an interesting observation.

Ryan: Long before I was regularly on the Internet, the big resource for outsider music was Songs in the Key of Z.

Huma: That’s Chusid’s book!

Ryan: I completely spaced it on that. That’s a great book, although it’s been about fifteen years since I’ve read it.  

Huma: I need to get a copy.  

Ryan: I used to order decks through CCS mail order. So, I was surprised to see you did a graphic for one of their skateboards. How did that happen?

Huma: CCS commissioned me to do a little graphic. The one that they used came to their attention at a friend’s house. It was a birthday gift, a pastel work. It’s an abstract figure. The person from CCS contacted me about using it. I said “sure,” but they cut off my signature. They also printed the design on a baseball cap; I really liked how that one turned out. They gave the deck and baseball hat kind of a cheesy name: The Huma Being deck.

Ryan: Can you talk a little about Unda Fluxit and Master of the House. These are your first recordings, correct?

Huma: Yes. I lived in Savannah, Georgia, for a few months about a year ago. I lived in a small apartment with my mom, so I couldn’t really paint. I had been thinking about doing music, so I bought a guitar at the local shop. It was a little Teisco guitar, made in Japan. That was really the start of it. I started playing with an electric guitar. Later on, I bought a 12-string guitar in New York. It opened up so many doors. I could express myself differently through music than I could through painting.

I got the idea to name the album Master of the House while reading Lorca’s book In Search of Denude. In it, he discusses the notion of duende which refers to “duen de casa,” a Spanish folklore which is a mischievous, rebellious and fiery spirit that comes in a burst of inspiration. I feel like that is what happened when I started recording this album. The music came out in bursts. These ideas that I had which I put to music were ruled by the idea of denude in a sense.

Ryan: That’s really interesting how you started playing music due to environmental constraints. It was organic and noble. If they’re honest, most people would say, “Yeah, impressing a bunch of people was also a big part of getting into music!”  

Huma: No. No. Not in my case. (laughs)

Ryan: I envision Master of the House is a fairly autobiographical work, based off of the song titles and your mother being on the cover.

Huma: Yes. I had found that photo a few weeks before laying out the album cover. I thought it was such a mesmerizing photo. I didn’t edit it at all. Whoever took the photo—it was taken in Pakistan by maybe one of my aunts—somehow it worked perfectly. The way it’s so dark around the edges. I couldn’t stop looking at it. But, yes, that’s my mom and I’m the one in the shadows. I don’t know what symbolism there is to that.

Ryan: You’ve got the date stamp and everything on it. It looks like it was taken by an old disposable camera.

Huma: It was. That date stamp wasn’t added or anything. People do that nowadays to make photos look old.

Ryan: Gavin (Swietnicki) from Mordecai plays on the record. So does Elijah Jensen-Lindsey.

Huma: I met Gavin a few years ago. He moved to Boise from Missoula, Montana. We met by accident; I was meeting up with a friend at a poetry reading and I just started talking with him. We became really good friends. I asked him to play sax on one song; he also plays the sort of lead guitar parts on “American Dream.” Elijah is in another band here in Boise and I had asked him to play cello. Almost everything was first takes. I let both of them do what they wanted to. I didn’t give them any direction. They had listened to the songs before, but that’s all the preparation there was.

Ryan: You’ve been playing shows with Gavin too.

Huma: I have. I really like how he approaches music. We take a similar approach, I think.

Ryan: Being the drummer for Mordecai, that makes total sense.

Huma: Yeah, I think Mordecai is great. I met Elijah and Holt (Bodish) for the first time about a year ago. They’re great people. They’re fun to hang out with and I’m into their thoughts on music.

Ryan: What’s on the horizon, Huma? I know Master of the House is about to come out and you’ve been playing shows.

Huma: Since I graduated from college recently, I took some time off to work on my paintings and finish up this album. I was able to use money I had saved up. I’ve started applying for jobs full time. I plan to just repeat this cycle.

#unda fluxit #huma aatifi #spacecase records #interviews

[gotatext]

hullo everyone, i’m nora, i’m 22, from the gmt timezone, and i love gillian flynn w all my withered heart. below the cut is info on my latest baby frida parrish. LIKE THIS and i’ll hit u up for plots xo

       ( kristine froseth, cis-female ) did you hear how FRIDA PARRISH is applying to columbia university as a CLASSICAL CIVILISATION major ?! the 20 year old is living in the WALLACH HALL. i heard that they got in because they are + MAGNETIC and + TENACIOUS, but honestly i think SHE can be -DOUBLE-CROSSING and -FANCIFUL. they’re a real SYRABITE. oh well, only time will tell if the SOPHOMORE will make it til the end.   + a bubble of pink gum on chapped lips, pouring over leather-bound volumes in a library, bloodstains on the insoles of pointe shoes.

BACKGROUND.

—  born in vermont and lived there til she was about eleven, but then her family moved to new york for her dad’s job. her dad is kind of famous. a big shot art dealer. he actually got so well connected in the art world by creating forgeries of famous works when frida was still really young, but once he had enough money and contacts, he decided to follow a more legal and reputable path and now he just deals legit art rather than fakes. —  her parents, mara dagney and richard parrish met doing a fine art cause at nyu. richard was raised in the uk, one of three cambridge-born brothers. mara grew up on a ranch in new mexico. they met in freshers week and were basically inseparable after that. —  pretty soon after graduating, her parents realised there was very little money to be made taking art commissions in a little new england town, and plenty of competition, so they began forging famous works and selling them to collectors for thousands.  —  when frida was a born (her brother two years her senior, a nuclear family), her parents were still involved in forgery. the parrish kids were taught that people and places were temporary with suitcases permanently packed for the move. they were raised on the fluidity of identity and taught to be resourceful and wise rather than school-smart. phillip was never as resourceful as frida, but he was incredibly learned when it came to literacy and numeracy, and a bit of an art prodigy. —  when frida (affectionately referred to as ‘fox’ by her family because of her auburn hair – it stuck) was nine and phillip (’pippin’, after the broadway musical lmao her mum is lame) was twelve, the family ran into some trouble, managed to bribe an officer to stay quiet, but had to move from burlingdon to new york, to start a new, legal life. —  mara retrained as a grade school teacher. richard opened up his own arts collective space and coffee shop. within a few years, her father had a really large collection of rothko’s, pollock’s and johns’, and began to appear on a tv show where he would value and auction paintings. frida and phillip attended a public new york day school, where frida took up flute, lacrosse and ballet.

PERSONALITY.

— both her parents had Large Personalities, so frida’s never really been shy around adults, even as a kid she’d speak to them in a forthright, confident manner, and because she was always surrounded by adults, she’s always seemed a bit Wise Beyond Her Years. — very much a consolidation of every character in the secret history. has a morbid longing for the picturesque at all costs. obsessed with w.h. auden and the beat poets. — ”aestheticism is the only thing worth pursuing and even that is pointless”  — is majoring in classical civilisation. can read ancient greek and latin. also speaks french. — studies hard and plays hard. she gets top marks but it’s because academia is literally her life, she loves the smell of libraries, the ancient smoke of learning, of feeling like old wine in a new bottle reincarnated from the bones of some old, dead witchy woman who invented a cure for cowpox or somethin. — isn’t a foward-planner, however. frida prefers to leave her options open, play the field, live in a spontaneous manner so her study style is mostly cramming a few days before a test, or staying up all night writing an essay on a massive adrenaline boost powered by red bull or probably adderall, scribbling (or typing) furiously into the night. — pretentious motherfucker. LOVES poetry, especially the romantics, loves morbid ones too, edgar allen poe, sylvia plath, allen ginsberg, she just loves them all. can’t get enough. her favourite films are like…. wanky artfilm independent european cinema. especially french new wave. “what do you think of goddard’s work??” while snorting a line off someone’s sink at 5am on a school night, but you can bet she’ll make it to that 9am class. — very Intelligent and Beautiful and knows both of those facts. vocal feminist. soapbox sadie. Very Passionate about Issues. plays devil’s advocate. humanitarian, vegan. — judgemental but takes great care not to appear so. — just wants to be Loved By All. a party girl ; doesn’t rlly enjoy it, jst feels she Should enjoy it. — tries to be an Enigma. wants to be mysterious and unreadable because that’s what books have taught her makes women Desirable and Interesting and Cool. — obsessively devours mystery and thriller novels. she herself is a gillian flynn book waiting to happen. — act like the flower but be the serpent under it. is a user. manipulative. leads people on. will throw another student under the bus to demonstrate her own intelligence and integrity — heavily involved in the theatre society. loves attention. — has an addictive personality. seems unable to do anything in a small dose, she has to let it utterly consume her. with sports, she’s fiercely competitive, runs track, played lacrosse at school, now is a cheerleader probably. with alcohol, it’s never a shot, it’s a whole bottle – wine or whiskey – she’ll be table dancing before the night’s up and making out with someone she’ll regret in the morning.  — her clothing style is like…. vintage thrift store but make it preppy. berets and cute hats, neck scarves, large fluffy cardigans or like those leathery jackets with big suede fringes on them, mini skirts (very 70s), and knee high socks or boots. quite often she’ll be in sports kit, maybe a cute tennis skirt, n when she’s feeling casual she’ll wear like, a talking heads tshirt with a pair of mom jeans and converse, but otherwise, the library is her catwalk. — relates to ophelia from hamlet and sibyl vane in dorian gray. weirdly obsessed with women who commit suicide. loves jackson pollock paintings and abstract art. – likes old things. old books, old music, old houses, it reminds her of happier times like when she wasn’t alive. buys all her music on vinyl and has a gramphone because “The Sound quality is Better” kfdsjj. 

anyway, here you will find a pinterest board, and here u will find a stats page.

PLOTS.

here are some generic wanted plots but by all means message me so we can flesh them out more if any strike ur interest:

study buddies !! someone who is equally unprepared and so spends all night in the library with frida before a big deadline, maybe they even met in the library

if they’re from new england or vermont, then cousins . second cousins / extended family / family friends –  probably spat volavons on your character once as children, omg childhood friends !

people who live on the same floor and only know each other from brief interactions in the lift or the canteen

frinds !! unlikely friends !! toxic friends !! former best friends separated by sporting or academic rivalries ! 

hockey / cheer friends who are on other teams but who she absolutely loves playin against!!! 

fellow academics who like meeting up to discuss latin and greek ! gimme a secret society bonding by their love of ancient learning

i reckon she’s in a lot of societies, definitely the film club, maybe works as a projectionist at the uni cinema if they have one so give me ppl affiliated with that, give me fellow wanky pretentious art-lovers and poets and historians who will go to museums and galleries with her and listen to the velvet underground on vinyl

people she gets mortally fucked off her tits with at parties

people who think she is throwing her academic potential away by caving to hedonistic impulse

people she has drunkenly made out with, hooked up with, or regularly sleeps with casually, maybe even a friend w benefits she is repressing feelings for, i love angst, 

people she used to date or unrequitedly likes, but to them it’s just a physical thing, give me all the thirsty angst plots, and maybe some softness too, i need some religion in this girls life, she is a roman catholic after all

thats all for now folks jeez louise thanks for stickin with me

#columbiaintro #here we go Bois

[theatredirectors]

Kate Jopson

Hometown? 

I am from Etna, CA. Which is a town of 700 people on the Oregon/CA border. 

Where are you now?  

Los Angeles. 

What's your current project? 

I recently become Artistic Director of Circle X Theatre Co. in LA and just opened Hole in the Sky, a piece we commissioned from Octavio Solis about water issues facing my hometown.

Why and how did you get into theatre? 

There was a Broadway actress who fell in love with a cowboy in my area and moved there and started a theatre. I was an emotive child and my scientist parents didn't know what to do with me, so they decided to try sticking me into her annual production of Christmas Carol at 7 years old. Apparently, I ran off into the parking lot in tears after being teased by some older kids and was "put on probation" until I was older (all of 8 years old). I went on to perform in 40 plays by the time I was 17. The theatre became my "home." It gave me an outlet, a way to find discipline and control, a place to grow and become a leader, and a key to finding people who would accept me.  Still, I didn't think it could ever be a profession. So I studied Anthropology and Arabic at UC Berkeley. It wasn't until I was in Egypt and I realized 1) writing papers in academia can't change shit, 2) that the closest bonds I made were thru theatre and 3) theatre could spark real conversations, that I decided to pursue it professionally. 

What is your directing dream project? 

I want to do an epic piece of theatre that lasts hours and maybe people even spend the night. I am currently working on a project like that. It would be adapted from these old Arabic poems that I fell in love with. I tried translating them into monologue form before and it didn't really work. You can't translate them with words, you need to translate them into an experience. My plan is to have people go out into the desert and be immersed in the world of these poems and camp out under the stars. 

What kind of theatre excites you? 

Surprising theatre. I like theatre across genre's and styles. I just like to be surprised by the creativity or the journey. I used to like theatre with poetic texts, now I like theatre better with poetic images, movement, concepts, or experiences. 

What do you want to change about theatre today? 

I wish that there was more experimentation with theatre as a form. Immersive and site-specific theatre is blooming, but I think there are other ways to push theatre too. Some of that is happening, but it is remaining largely on the periphery or in graduate programs. Once you leave school there is pressure to "normalize" so that you become more marketable. Also, it is much more costly to take those risks. There needs to be a lot of mistakes before you reach true innovation.  To that end, I wish there could be greater collaboration between playwrights and directors. I want us to have  honest, hard conversations about plays. It's really difficult. It's vulnerable. But I think new play creation process should be free of the director feeling like they are there to "serve" the playwright, or the playwright feeling like they are there to "serve" the director or the company. I think playwrights and directors should discuss visuals and staging from the beginning and also give hard feedback about text. The director's work shouldn't begin once the play is written and there is the danger of them "imposing" something on the piece that doesn't fit. Or the playwright "freezing" a play before a director has ever been able to get involved and the director being stuck trying to work around something that doesn't fit this individual production of the play. Theatre is a living art form, not a written one. Solutions won't  come from the text alone. Ideas need to arise that suit the specific time, place and production otherwise it becomes what Peter Brooke called "deadly theatre."  I have had one process that was collaborative in the way I am talking about, it was difficult in terms of swallowing ego and taking criticism, but  I was really proud of it. I have also had processes like that fail because people got their feelings hurt. So it is a delicate balance. It requires a great deal of trust and sensitivity without becoming so "careful" that you cease to be honest. 

What is your opinion on getting a directing MFA? 

I am glad I did. I didn't major in theatre in undergrad and so I felt that I needed the training. But it was hard and hardening. On one hand,  I met amazing collaborators, I got to experiment and make mistakes. On the other, it was brutal mentally and physically and it made be so disenchanted with my original goal of finding an academic job, that even though I love teaching, I haven't really pursued it. I don't think it's for everyone. I think people can craft experience out of the "real world" too. But, for myself, I don't regret doing it. 

Who are your theatrical heroes? 

Thomas Ostermeier, Arianne Mnouchkine, Emma Rice, Taylor Mac. 

Any advice for directors just starting out? 

See as much as possible. See theatre in/from other countries. Find ways to travel, or get videos, or see shows when they tour to your city. Often, you don't need to understand the words to have an amazing experience. It helps expand what you think is possible. Then find a way to practice. Your imagination will often be beyond your skill to execute a vision. You need to hone skills in communication, problem solving, producing, management/leadership, time management, budgeting, fundraising etc... All that takes a lot of practice and you will continually make mistakes. It is only in extremely rare moments when the "fates" align to give you the right skills, with the right vision, with enough money, with the right timing to make a beautiful piece that blows people away. But you can find fragments of that experience in many productions and you'll be learning every time to do. 

#Kate Jopson #ask a director #theatre director

[fairytalefantasia]

this doesn’t belong on this blog

but it’s here, and I need an outlet to get these thoughts out

ever since I was in high school, probs around freshman year (and for reference, I graduated in 2007. Yikes.) I knew that I wanted to go into musical theatre. I was obsessed with Broadway musicals and obviously obsessed with Disney, and I just knew that my destiny was there. I took vocal coaching lessons in high school along with being cast in my high school’s most prestigious choir and show choir, and after being cast in 2.5 (it’s complicated) of the school’s yearly musicals everyone agreed with me that that’s where my talents belonged.

so I went to college. Aaaaand immediately dropped out after a semester. I didn’t even pass a single class, so all that time was wasted. Also, living in the adult world and entering the work force only made me realize that working in the theatre wasn’t going to give me the life I craved--basically, one where I could pay all my bills and eat every night. So I let the dream die. For 10 years, I placed my dream in a box and hid it in the attic. 

Fast forward to now, right now. Recent weeks, even. I took a job that I knew I would be good at based on my job history and experience in a similar place. This had nothing to do with theatre--just a regular j-o-b in the real world, working for the man. I knew I could make a fair amount of money (somewhere between $40k-$50k) and it would come naturally to me, along with knowing I wouldn’t have to invest a lot of my time into doing it. How wrong I was. After 6 weeks, I was more stressed than I’d ever been and wasn’t even making ends meet--which is worse than I was doing on unemployment and living on credit cards. I decided to go back to the place I’d worked before. I set up a meeting with the upper management, took my lunch at my current job, and met with them. They agreed to take me back. I was so happy and I felt good, for once. I took my drug test, submitted to a background check, filled out the mountain of paperwork and all I needed from them was my start date. One day at my current job, the managers had pulled a childish stunt and I decided “You know, I got this in the bag. I don’t need this stress.” So I walked out. I can say with all humility intact that I’m great at what I do, so they understandably shat their pants. The owner of the business called me the following week with offers of more money. It was guaranteed to be more than my other place could ever pay me, and if you know anything about me, it’s that I like to take vacations and decorate and eat out at restaurants and that comes with a hefty price tag...the extra money would definitely help. So I accepted and burned the bridge with the other place.

Two weeks later, they fired me. And since the pay plan they’d offered me that would guarantee me more money wasn’t set to take effect until after 01/01/18, they are telling me now I won’t even get the commission check for the month of December. 

As frustrating as it is, I’m glad to put that place in my past. However, this whole debacle has left me with deeper and darker mental health issues than I’ve had to deal with in the whole last 5 years or so. I’m at a loss. I’m presently unemployed, I’m hopeless, I’m broke. But while I was looking around at other jobs, I could hear myself saying “you don’t want to do any of this. You want to do something that you’re good at and brings you joy.”

So, all this to say...I think I’ve decided to go back to school. There’s a local community college with a pretty decent musical theatre program where I could earn my associates, and even though I would have to still look for a job in the meantime so that I can continue to pay bills and pay down debt, it would only be a temporary situation while I work towards a larger goal. And then finally, finally, I could begin to realize my dream. 

I might literally end up with a piece of paper saying that I wasted hours upon hours of time working to gain knowledge and skills that I will never use, but I feel like I will never know unless I try???? 

I don’t know if I’m going to follow through with this yet. I’m going to discuss it with my family and see if my logic holds any weight, if it’s actually what I want and not a pipe dream fueled by melancholy and anxiety. So we’ll see. But for now, this prospect excites me. It terrifies me. It worries me, But it really gives me hope, too. So we’ll see.

Sorry to spam your dash with personal bleck. 

#ooc #tbd probs #mun stuff #ignore me

[oselatra]

Loaves and fishes

A proposed ordinance would limit the ability of charities to feed the homeless in LR city parks. Opponents say it's about keeping the poor out of sight, out of mind.

From a purely civic standpoint — from a keeping-your-constituency-from-hating-your-guts standpoint — the issue of homelessness is so thorny for a politician it almost makes you pity them. Almost. There is no right answer to be had, no one-size-fits-all solution big enough to stretch over the issue, bristling as it is with handy petards ready to hoist both those deemed insufficiently business-oriented and those seen as insufficiently compassionate. No matter what decision a city official makes with regard to homelessness, somebody, somewhere, is going to think that person either a bleeding-heart dope or a heartless bastard for making it.

Still, there are insufficient answers, and then there are the willfully tone-deaf ones. That seems to be the case with Little Rock's recent attempt to regulate mass feedings of the homeless in city parks, via a surprise ordinance that seemed so punitive and downright mean that it gave even some reliable business-first folks around town pause for thought. Dropped on city directors at the tail end of a City Board agenda meeting May 9, the ordinance as originally written would have prohibited feeding meals to more than 25 people in a city park without securing a "Large Group Feeding Permit" from the city at least 30 days before the event, with groups not allowed to serve meals in the same park more than twice a year. Though certain restrictions in the ordinance have been softened after public outcry, the original draft required each group to put down a $500 refundable security deposit "to cover the cost of repairing any damage to the hardscape, furnishings and landscape" in the park where the feeding occurred, with the deposit potentially forfeited if the group failed to pick up trash following their event. If the group wanted police protection for the event, the draft ordinance stated, it had to hire off-duty police officers at its own cost. In addition, the ordinance gave the city manager's office the ability to summarily cancel a feeding event in a city park at any time, postponing it for up to 15 days if City Hall determined the event should not proceed because of "weather, public health conditions, public safety conditions, or because of an intervening event that was not foreseen at the time the large group feeding application was filed."

Attempts to reach City Manager Bruce Moore, who brought up the ordinance, were unsuccessful before press time.

Groups serving the homeless fed large groups under the Broadway Bridge on a monthly basis for over a decade until the bridge was closed for construction in September 2016. It appears the ordinance was tailored to preserve the aesthetics of Riverfront Park and has outraged those who work with the homeless. In the process, it has managed to shove one of Little Rock's most enduring elephants in the room back into the rotunda of City Hall.

At a May 16 City Board meeting — one packed with homeless people and their supporters, who streamed in directly from a protest picnic hosted by homeless advocacy groups at the front of City Hall — Vice Mayor Kathy Webb and City Director Dean Kumpuris moved to table the ordinance (by then somewhat defanged, with the required security deposit dropped from $500 to $100 and other concessions) for 45 days and empanel a commission of city employees, homeless advocates and business leaders to study the issue and look for solutions. Members of the committee include representatives from River Market district businesses, the Arkansas Homeless Coalition, the Little Rock Convention and Visitors Bureau, area faith leaders, the Little Rock Police Department, the Clinton Presidential Center, two representatives who are homeless and others. The move to table and study passed by a vote of 9-1, with Director Ken Richardson voting against.

While the talking cure hasn't managed to budge the issue of homelessness in Little Rock much in the past, as some on the City Board pointed out, at least people are discussing it again. Given that homelessness is so easy for city leaders and workaday folks to ignore, maybe that's progress.

oddest things about the draft feeding ordinance was that nobody, even city directors, who will vote to kill or pass an amended version in mid-July once the committee's recommendations are made, seems to have known that it was coming.

"I don't know of any director that knew that was coming down," Capi Peck, Ward 4 city director, said. "Bruce Moore passed that ordinance out to us at the very end of the agenda meeting. We normally get a packet of information with what's going to be in the agenda meeting. That was not included. It was passed out literally five minutes before we recessed. We were all taken aback. I did later find out that this was something that the city attorney had been working on and researching for a couple of years."

Peck said her initial reaction to the ordinance was that it was "awful," and not something she or any board member could get behind. While Peck said she believes the city does more for the homeless than it gets credit for — she points to the Jericho Way homeless day resource center at 33rd Street and Springer Boulevard, noting that Jericho served over 10,000 meals to the homeless and provided over 10,000 shuttle rides to the facility last year — she believes the attempt to float an ordinance restricting compassionate feeding of the poor gave the city an unneeded black eye.

While Peck said she was initially in favor of voting down the ordinance as it was originally presented, she said the establishment of a committee to study the issue was a step in the right direction.

"I was appalled, and I think most of us [on the City Board] were absolutely appalled," she said. "With that being said, we do have a lot of work to do in that respect. Maybe this wasn't a bad thing that it came out this way. It brings it out into the public arena. Let's not react, let's do something positive about it."

Ward 2 Director Richardson, the lone board member to vote against tabling the ordinance and forming a committee to discuss it, said he is still questioning why city leaders thought the ordinance was necessary. "Nobody has presented to me a rationale for us doing this," he said. "The notion of us trying to penalize or criminalize people trying to help the least of us doesn't make any sense at all. I don't think it's a good or fair representation of the city I represent and the city I grew up in. It's just not the image that we want to have."

Like Peck, Richardson said the ordinance seemed to have "dropped out of the blue" at the end of the May 9 agenda meeting. Also like Peck, Richardson was taken aback by the seeming mean-spiritedness of the proposed ordinance. He believes the city has bigger fish to fry than trying to curtail compassionate feedings. "I thought the ordinance and the idea — let's say this so I don't hurt anybody's feelings — I thought both of those didn't make sense," he said. "I won't say it was idiotic, but it was crazy to me in terms of the issues that are pressing before us right now. ... It just came out of the blue. It's crazy, at best, if I had to have a word to describe it. That's at best."

Webb, who represents Ward 3, said she was surprised when she saw the language of the ordinance, which she has heard came in response to "numerous complaints" about the downtown homeless, including reports of panhandling. She said she wished the city had handled the issue differently, including giving the board advance notice that an anti-feeding ordinance was being considered.

"I wish somebody would have said, 'Look, we're getting all these complaints. This is something we need to talk about.' " Webb said. "We could have gotten some folks together to talk about it so we could have done what we're doing now, rather than have this ordinance, which — I don't think people are really mean — but I think the ordinance sounds very mean-spirited, even though other cities have done this. I don't like surprises, and to a lot of people this was a surprise."

While Webb said she understands the call to have simply voted the original ordinance down, she believes forming the committee to study the problem, look at solutions found by other cities, and make suggestions is a better approach to an issue that isn't going away.

"We don't talk much anymore," she said. "We've got people who get their news from one source, and people who get their news from another, and whatever either one of them says is true. We don't discuss. ... I think we have to talk about hard issues and give folks a chance to say, 'I know this is what you think, but this is the reality.' "

Webb said that while the time for the committee to make recommendations is tight — it will present its report at the agenda meeting July 11, with a vote on the possibly amended ordinance on July 18 — she believes its members can move the ball on the issue. She said her ultimate goal is reaching voluntary agreements between advocates, business owners and the city so the board doesn't have to put in place an ordinance to regulate feedings. She would like to see the committee stay on for the foreseeable future, to try to find long-term solutions.

"One of the things that's exciting about [the committee] is that we have people at the table with differences of opinion," she said. "It gives us an opportunity. ... We've got a starting point here. ... In my mind, if we can work together and have more collaboration on this, we can talk about, 'OK, we can work together on tiny houses, we can work together on mental health services, we can work together on more effective job training.' When we talk about homelessness, there's not one solution for everything. But when we can provide these additional services that can get at the core of what's an underlying issue for many people, we can drastically reduce the number of people who are homeless, and help people."

asked by the Arkansas Homeless Coalition to serve as one of their representatives on the committee to study the ordinance and the issue, Aaron Reddin, founder of the mobile homeless outreach charity The Van, declined. He's got better things to do with his time than talk, he said, including — until the crankcase seal on his tractor blew a few days back — bush-hogging an overgrown, 5-acre plot he recently secured behind The Van's headquarters on Faulkner Lake Road in North Little Rock. When it's cleared and the stumps pulled, Reddin plans to plow the acreage into turn rows and plant the whole thing in vegetables — beans, potatoes, corn and tomatoes — which he said he will then give away to whomever the hell he pleases, preferably in a Little Rock city park.

Lean and bearded, a former Marine who carries a megaphone around in his cluttered and mud-splattered 4-wheel-drive truck, Reddin has been helping the homeless all over the state for 12 years now, working 80-hour weeks at times to fulfill a near-monastic calling to bring help, food, clothing and services directly to those who need it most. Like many local homeless advocates, Reddin was incensed by the anti-feeding ordinance, and incensed again when the City Board voted to table and study the issue instead of voting to kill it altogether. Reddin said he has yet to hear a rationale that justifies hindering the feeding of hungry people in city parks.

"These city parks are maintained by city sales tax dollars," he said. "Every homeless person in this town spends money in this town. They pay tax. They don't have the luxury of going on Amazon and ordering shit. Everything they buy, they pay taxes on. So they have just as much right to be there as anyone else. Food is life. To tell folks they can't share food one with another, it's just absurd."

Reddin said he sees the homeless feeding ordinance as the latest move in a longstanding effort by the city to push the homeless out of sight, out of mind — and away from the downtown areas where tourists and visitors congregate. He sees the location of Jericho Way — which is miles from the downtown core, closes at 4:30 p.m., and isn't open on weekends — as indicative of that effort, along with a series of recent evictions of homeless camps, which Reddin said have stepped up drastically since the first of the year.

Several city leaders have disagreed that the placement of Jericho Way was part of a calculated effort to draw the homeless out of downtown. But, Reddin said, "You take Jericho Way and you put it three miles from downtown? And then your argument against feeding in the parks is 'well, we've got Jericho Way'? They don't serve supper. That's not a bash on Jericho Way. They're doing a great job, and I'm glad that it's there. But we've got folks all over. Southwest, West Little Rock. You don't want them all in one place, why have one resource center? Do multiple small ones around town."

Reddin is skeptical that the committee studying the issue can find real solutions in only 45 days. He said if the ordinance is approved in any form, it will undoubtedly curtail the advocacy and outreach work by his group and others. "We try and make sure we have food in the van when we're out," he said. "We may have two or three people walk up when we pull up, or we may have 15 or 20. ... Say I pull into MacArthur Park to help one person who has called in distress, and the next thing I know, 26 people show up. You're going to write me a ticket for giving out some food?"

The ACLU of Arkansas has come out in opposition to the feeding ordinance, saying it would lead to litigation, and Reddin said he'll be meeting shortly with a lawyer who has offered to help Reddin's group fight the ordinance in court for free if need be. Whatever the case, he plans on pushing back against the idea that he can't distribute food to friends who happen to be homeless.

"There's enough of us that we're going to keep sharing food," Reddin said. "They can write all the tickets they want, they can pass all the ordinances they want. It's unconstitutional and blatantly discriminatory. If that's the Little Rock they want to have, then they can have that at City Hall. The rest of us are going to fight for the people that really make this city what it is, which is a great city that cares about people."

Clark Gray, who said he has been homeless on the streets of Little Rock for over three years, agrees that many in Little Rock care about the homeless. Standing in front of City Hall, eating a dripping ice cream cone at the protest picnic the night the City Board voted to table the homeless feeding ordinance, Gray said there are numerous groups, including Reddin's The Van, that work hard to better the lives of homeless people. But, he said, there are other people who seem to see right through him.

"There's a lot of people who will shrug their shoulders at us, stick their noses up at us," he said. "All we're trying to do is survive. There's a lot of people out here with health problems, like me. I'll probably end up dying in these streets because I don't have a way to get to the shelters or the churches that have food. There's people who would starve to death if it wasn't for the kindness of the folks at the mission down here and The Van."

Usually confined to a wheelchair by painful blood clots in his legs, Gray said he believes the city's recent efforts to evict people from homeless camps and the proposed ordinance to limit group feeding in the city parks are part of a conscious effort to push the homeless away from the River Market area where tourists congregate.

"The old saying is, 'out of sight, out of mind,' " Gray said. "They just don't want to have to look at us. I don't think that's right. I'm trying to figure out a way to get the public to realize we're human, too. Ya'll got your fancy houses and cars and all this. But we just want to survive. There's a lot of times that people aren't able to go way across town to these homeless shelters or to a place where we can eat."

to study the homeless feeding ordinance held its first meeting at 7:30 a.m. May 23 at the Willie L. Hinton Neighborhood Resource Center on 12th Street. Fifteen coffee-stoked and fresh-scrubbed people met in a sparse, high-ceilinged room, untouched boxes of bagels and pastries growing stale on a nearby table. Though it was mostly a getting-to-know-you session with introductions all around, the conversation did eventually plunge into the red meat of the issue, with crosstalk often veering away from feeding to adjacent concerns about homelessness, from panhandling to mental illness to addiction. At one point, assistant City Manager James Jones, who serves as the facilitator of the committee, spoke up to say that the city Parks and Recreation Department has employees who sweep through Riverfront Park every morning before dawn, "collecting numerous syringes [and] needles," including from the playground area. At that, committee member Father Fred Ball, the pastor of San Damiano Ecumenical Catholic Church, asked the obvious. "That's important, safety," Ball said. "But I wonder how syringes found in the wee hours of the night tie to the feedings?"

Jim Garrett, an advocate for the homeless from St. James United Methodist Church who leads one of the groups that used to feed under the Broadway Bridge and serves dinner to the homeless and working poor twice a month at churches near Little Rock's Union Station and in Southwest Little Rock, asked much the same thing: Why was the connection being made between feeding people and drug abuse?

"Well," Jones said, "there's the perception. Real or not, the perception is there, whether it's true or not."

"We're there one hour, two times a month," Garrett said. "We're being considerate. We don't allow drug dealers or drug users. I'm insulted by that. We're not responsible for those parks the other 23 hours a day. If you're going to take that kind of stance, I don't see where we can possibly go with this."

While all present agreed they wanted to find a solution so that feeding the needy could continue, the meeting often spun away from the topic of filling hungry bellies and toward the negative effects of homelessness. One issue that came up was the urge to move the homeless away from tourist-heavy areas around Riverfront Park and the Broadway Bridge.

"A basic human need is survival and food," said Alan Sims, Little Rock Convention and Visitors Bureau vice president for sales and services. "So if you're feeding, it's an attractant. They're going to be attracted there. Why can't we balance? Why can't we attract them? It doesn't have to be in a park. It doesn't have to be where our children are. It doesn't have to be where there are safety issues and visitor issues. Why can't we attract them someplace else? I hope this group can find that. We want to feed and we want a great city. We can have both."

Parks and Recreation Director Truman Tolefree said the ordinance is about providing structure so that feeding in city parks doesn't become what he termed a "free-for-all."

"We have employees who are out there in cars at all times of the day," Tolefree said. "They work structured hours. If we don't know when groups are showing up, if we don't know when they're feeding or where they're feeding, or that kind of thing, we may have another activity planned. So we need to be able to have some kind of structure when people are coming to feed in the park."

After the meeting, Garrett, whose church has been holding large group feedings of the homeless in Little Rock for almost 10 years, said he felt a little more hopeful that the committee might be able to provide some solutions to the issue. He saw room for compromise, he said.

"In talking to [Vice Mayor] Webb," Garrett said, "I think there's some light at the end of the tunnel. I don't have the answer, but I feel that somewhere there's room to compromise. But it's got to be a pretty limited compromise. If we're talking about feeding, it's going to have to be in the downtown area somewhere. That's where the homeless people are. They're on foot. They can't come to us. They can traverse maybe a mile or so, but that's their area."

Father Ball and Garrett said they fail to see a direct correlation between problems like panhandling and drug abuse downtown and feedings in city parks. Both said they see it as their duty to continue to help find ways to get food to Little Rock's homeless.

"We weren't asked to do this. We were told to do this," Garrett said. "It's not one of the Ten Commandments, but maybe it's No. 11: to take care of the least and the widows and the poor."

Reached after the meeting, Jones said the committee is off to a productive start and will work toward consensus and a recommendation that everyone on the committee can support. "Working together, we can come to some kind of consensus and agree that there is a solution that everybody can be a part of and accept," he said. Asked whether he believes there is a direct correlation between feeding in Riverfront Park and needles found in the park, Jones repeated that the perception of a link is there.

"Are there facts to support that? I don't know. There's a perception that there is," he said. "There are a lot of homeless people who do sleep in the park. ... There are some people who think that when the feedings take place, they're going to stay where they're fed, and they'll stay there until the next day. That is a perception of citizens that call us all the time. They believe that. Is it a fact? I can't say that I have actual documentation to back that up."

The LRCVB's Sims said he is also optimistic that the committee can reach a solution. He said everybody on the committee agrees the feedings are a good thing, but a balance must be struck between what's good for the homeless and what's good for the city. Visitors to Little Rock, he said, serve as temporary taxpayers, spending money in local businesses. Because of that, he said, visitor perception of the city is a big concern.

"We want visitors to leave here and talk about how clean and great our city is and what wonderful generous and friendly people we have here," he said. "The old cliché 'perception is reality' very much applies. It goes back to what we started with: There's got to be a way that we can all do what we need to."

Sims said he's heard the arguments that every city has an issue with the homeless, but "that doesn't justify having an issue. We've got to be able to provide services for the homeless, be compassionate to the homeless, but also do that in consideration of the experience that our visitors have coming to the city. We need to balance all those."

Sims said he and the LRCVB are convinced that feeding the homeless needs to continue (his comments at the committee meeting about food possibly being used as an "attractant," he said, were misunderstood), and he added that the area near Riverfront Park is "very much part of a visitor zone for Little Rock" and probably shouldn't be used for mass feedings for that reason.

"Our convention center is right downtown, our primary hotels are right downtown, and they're all adjacent to the park," he said. "To be a guest in the hotel and look out the window and there's a large mass feeding going on right outside your hotel room, I'm questioning whether that's the image or the perception that we want. Would there not be a better place that might be more conducive to the feeding?"

Loaves and fishes

#Loaves and fishes

[mrdanielblack]

From $8,500 to $3.5 billion

The billion dollar performer who gets embarrassed talking about money when the first thing she has to do is ask about money.

Topic – Find the real you

Mentor – Louise Phillips Forbes

Transcript:

Kevin:   This morning we top off a great week. It’s been brilliant this week, just featuring so many of the great people we spoke to when we were at Inman Connect in New York. Thanks to Sherrie Storor and Kylie Davis who’ve carried a lot of the interviews this week. We had an absolute ball. This morning I’m going to talk to Louise Phillips Forbes. Wait till you hear this. She is a powerhouse.

Kevin:   Right now, I’m talking to Manhattan’s most powerful broker. She is a powerhouse. That’s correct, isn’t it? Louise Phillips Forbes, welcome to the show.

Louise:   Hi, thanks so much, Kevin. Great to be here.

Kevin:   I’ve really got so much to dig into, so I don’t want a big intro, but $3.5 billion in sales, and that’s not counting this last year, so that’s a huge number. Of course, Manhattan, we expect big figures, but still, that’s a lot of property.

Louise:   Truthfully, that’s one deal at a time, over … this’ll be my 30th year in the business.

Kevin:   30 years? What were you doing before property, before real estate?

Louise:   I came to New York, I was born in Nashville, Tennessee, and I came to New York to find the lights of Broadway as a dancer. I injured myself after about a year, just shy of a year, but I do what all New Yorkers do when they try to be a New Yorker, is, I had a million jobs. I bar tended, and I modelled, and I did industrial for dance companies, but somebody said I would be great real estate and gave me their business card of a friend of theirs. I went to go meet this guy and he’s like, “You want a job?” I had no idea that it was commission only, first of all, and my first year in real estate, I made $8,400, so there’s hope out there for all those-

Kevin:   So how did that change, that first year? I mean, you obviously had a view from the outside, you’d been told what real estate was all about, then you got into it. How did it change?

Louise:   Well, the truth is, I thought I was getting a job that was built around brick and mortar and architecture-

Kevin:   I see.

Louise:   … but it’s the business of people.

Kevin:   It’s people.

Louise:   I do people. I do that very well.

Kevin:   Yeah. So did it take you a year to understand that?

Louise:   I think that it took me a year to really own who I was-

Kevin:   Interesting.

Louise:   … and not try to be something I wasn’t.

Kevin:   Interesting, yeah.

Louise:   You know, I’m Southern, and we talked about that, and I find it so interesting. We’re raised, my whole life I was raised to never talk about money, and the first thing I do is, “Hi, how are you? What do you want to spend? What do you do? How much have you got?”

Kevin:   How much money have you got?

Louise:   30 years later, it’s the strangest thing, I still do, but whenever I talk about money my accent comes back because it’s not comfortable for me. So for myself, I needed to figure out what made me tick, own it, and part of it was not to be a salesperson. I wanted to be an educator. I wanted to be of service. I didn’t want to focus on billion-dollar deals. I wanted to be with the regular person, and understand for myself that my home is really where the rest of my life is built from, and to be a part of that for somebody is really powerful.

Kevin:   How important is it for you to have empathy, to empathise with the person you’re dealing with, and do you think that’s a great skill set that every broker should have?

Louise:   It’s interesting that you use that word because I, my mother used to tell me when I was a little girl I had a tremendous amount of empathy. I don’t have it for myself so much. That’s part of the drive, which-

Kevin:   But do you need it for yourself?

Louise:   I think so. I think, you know, I’m an overachiever, I’m a perfectionist, I’m never where I should be, and the truth is, I’m fine.

Kevin:   Yeah, but so many overachievers, so many actors, people who are just brilliant at what they do, they have a lot of difficulty coming to terms with who they are, what they are, accepting that as a success. In other words, almost waiting to fail.

Louise:   Well, I think also-

Kevin:   They’re fragile.

Louise:   … another little fragment of my background is that I was undiagnosed dyslexic until 6th grade, with a 45% reading comprehension, and what is amazing about that is that my spatial memory is like Rain Man, so I’m in the right place.

Kevin:   Yeah, you are.

Louise:   Yes, empathy, compassion, patience. There’s a reason, I heard somebody say on the stage, there’s a reason why God gave us two ears and one mouth, because listening skills is something that we really have to hone, and we have to exercise that muscle. I think the compassion of it, you know, I really only cared about the right deal, and if you come from that premise, then you will attract business.

Kevin:   Yeah. Two eyes, two ears, one mouth. One-fifth of everything we should be, should be talking.

Louise:   Yes.

Kevin:   But so often, we want to dominate the conversation or direct it, but I think with empathy you need to be really skilled at listening and understanding where the person you’re talking to, or trying to help, is going, or needs to go.

Louise:   Absolutely, and not be afraid to ask questions, and not … I also take this position of not … You know, every no I get is a data point, and that is how I back into what’s right. I almost don’t care if the piece of property that I believe, once I understand my buyers, I don’t care if it’s even on the market, because once I understand what makes you tick, I wait for it. I know the inventory because I’ve sold some of them six or seven times.

Kevin:   In some ways a no is very positive because it means they just want a bit more information, and that’s your role, to give them the information and try and help them.

Louise:   That’s as an educator.

Kevin:   Yeah, that’s right.

Louise:   So if you come and you … everybody picks up on that salesmanship, and I’m grateful that I built my business one deal at a time. I had no Rolodex when I came here, and through just connecting and just being myself, you attract business, as opposed to trying to promote it.

Kevin:   Yeah. You’ve probably answered my question, but I’ll ask it anyway. How do you break into the New York market? How do you break in and become one of the best brokers in Manhattan? How do you do that?

Louise:   I had this conversation with my son, he was like, “Well, why were you onstage last night?” I was like, “Well, I kind of have a pretty successful business in one of the most difficult markets in the country.”

Kevin:   Yeah, in the world.

Louise:   And I think that I learned early on that buyers are here today, sellers are here today, they’re gone tomorrow. Our industry people are with us for the next decade, two decades, three decades. So generosity with knowledge, accommodating, treating your colleagues as you want to be treated. Being happy when you lose a piece of business to somebody you respect, that takes, like, it takes the pressure off of having to be fighting for-

Kevin:   To win all the time.

Louise:   Yeah. It’s not about losing, it’s just not the right time, and when I tell sellers, “Do you mind me asking who you chose and why you made the choice you made?” first of all, I get feedback, so I could learn from it, and second of all, it’s great when I say, “You know what? I love that person, and if I’m going to lose business, I’m grateful I’m losing it to that kind of individual.”

Kevin:   Yeah. So you ask the question when you lose the business, why did I lose it? Is that the question you ask?

Louise:   Absolutely.

Kevin:   Yeah.

Louise:   No, I don’t say, “Why did I lose it?” I say, “Tell me how you made that choice?”

Kevin:   Okay, yes.

Louise:   Because I don’t want them to feel on the defence. Because to me, I think that how we leave somebody feeling is one of the most important things. In other words, I want that respect and I want to give them the respect of their choice.

Kevin:   Brand, let’s talk about that. We’ve got a minute of two to go. Tell me about your brand. How do you create it, how do you protect it?

Louise:   I think that that starts with every action. I carry a coin around that has Latin words that says, “If you go today, if you leave today, you … ” It’s a momentum mori. I’m clearly not Latin, but it’s a memento mori, and what that means is that if you were to leave today-

Kevin:   What would you leave?

Louise:   … you would leave in a good spot.

Kevin:   Okay.

Louise:   So every action one takes, you have no regrets. So I think part of that, how I choose to live in the industry, and in my own life, and how I treat my customers, whether they’re future clients, is part of that action, and letting people know and own who you are.

Kevin:   I’m going to leave it there because that’s the perfect spot to leave it. You are fabulous and I’ve so enjoyed talked to you.

Louise:   Thank you. Next time.

Kevin:   Thank you-

Louise:   Thank you.

Kevin:   … very much for your time. What a thrill, talking to one of the best brokers, probably in the world, arguably, working in the most difficult market in the world, in Manhattan, in New York. It’s been my pleasure talking to you.

Louise:   Thank you, Kevin.

Kevin:   Yes, as I said at the start of today’s show, it was just phenomenal catching up. We did about 60 interviews. We’ve featured them over the last few weeks, and we’ve had a lot of fun doing it, too. But thanks to all of the contributors, the people who helped us put all this together, and the team that we took to New York. It was a great experience.

Kevin:   Over the next few weeks, we’re going to tell you about some really exciting developments happening right here at RE Uncut. After well over 10, even 11 years, we’re about to strike 2,500 shows and we’ve got a special way to celebrate it. That’s coming up in a couple of weeks’ time, so stick around, we’ll tell you more about that. Have a great weekend. Thanks for your company. Look forward to talking to you again on Monday.

  from Real Estate Uncut https://ift.tt/2XYMBLK

[mysteryshelf]

FALL INTO MYSTERY BLOG TOUR - A Fatal Obsession

Welcome to the “Fall Into Mystery Event” happening Sepetember 10th to 21th, 2018, at SHANNON MUIR’S THE PULP AND MYSTERY SHELF!

DISCLAIMER: This content has been provided to SHANNON MUIR’S THE PULP AND MYSTERY SHELF arranged by Partners in Crime Book Tours. No compensation was received. This information required by the Federal Trade Commission.

A Fatal Obsession

by James Hayman

on Tour September 1 – 30, 2018

Synopsis:

“James Hayman’s edgy, ingenious novels rival the best of Lisa Gardner, Jeffery Deaver, and Kathy Reichs. A Fatal Obsession is his finest to date: a ferocious live-wire thriller starring two of the most appealing cops in contemporary fiction.” —A.J. Finn, #1 New York Times bestselling author of The Woman in the Window

Zoe McCabe is a beautiful young actress on the verge of stardom who has been basking in the standing ovations and rave reviews she’s been getting from critics and fans alike for her portrayal of Desdemona in an off-Broadway production of Othello. As she takes her final bows, Zoe has no idea that, seated in the audience, a man has been studying her night after night, performance after performance. A man whose carefully crafted plans are for the young actress to take a starring role in a far deadlier production he has created just for her.

Portland, Maine detectives Mike McCabe and Maggie Savage are settling into the new rhythm of their relationship when McCabe gets a late night call from his brother Bobby that Zoe, McCabe’s favorite niece and Bobby’s daughter, has suddenly disappeared. The NYPD is certain Zoe’s abduction is the work of the man the tabloids have dubbed “The Star Struck Strangler,” a killer who has been kidnapping, abusing and finally strangling one beautiful young performer after another. Bobby begs McCabe to return to the New York City crime beat he’d left behind so many years ago, to work his old connections, and to help find Zoe before her time runs out. The stakes for McCabe and Savage have never been higher. Or more personal. And suddenly the race is on to stop a vicious attacker, before the McCabe family is torn apart beyond repair.

  Book Details:

Genre: Mystery, Thriller Published by: Witness Impulse Publication Date: Aug. 21, 2018 Number of Pages: 432 ISBN: 9780062876676 Series: McCabe and Savage Thrillers #6 Purchase Links: Amazon | Barnes & Noble | Goodreads

  Read an excerpt:

Prologue

The worst thing about the rage was its randomness. Tyler Bradshaw never knew what might trigger one. A tone of voice. A look. An innocent or perhaps a not so innocent remark. Tonight he could feel it starting to build just seconds after he’d begun walking down the center aisle of the small McArthur/Weinstein Community Theater on Manhattan’s Lower East Side.

Having attended all eleven previous performances in this limited-run production of Othello, Tyler knew exactly where he wanted to sit for tonight’s finale. The same seat he’d occupied for every performance so far. The same seat he was going to sit in tonight no matter what. A12. On the aisle. Front row. Right-hand side. By far the best seat in the house in terms of offering him the most intimate view of the death of Zoe McCabe, the young actress cast in the role of Desdemona.

This would be Tyler’s last chance to watch the woman he wanted so desperately, the woman who’d been haunting his dreams for months, meet death at the hands of Randall Carter, the well known black actor who was playing Othello the Moor. And if all went according to plan, this closing night would become opening night for a much more intimate relationship.

But Tyler had taken only a few steps down the aisle when he was stopped short by the sight of some son of a bitch sitting in his seat. The theater was practically empty, and some asshole had actually had the nerve to plant his butt in the seat Tyler claimed as his own. He stood for a few seconds watching the guy as the anger grew. Some skinny twerp with a shaved head and black-framed hipster glasses leaning over and talking to the woman next to him as if unaware of his transgression. Tyler barely managed to suppress an urge to run down the nearly empty aisle to the first row, pull the guy up by his ears and kick the shit out of him right then and there.

Take it easy, Tyler told himself. Don’t start a fight. Don’t cause a scene. Don’t get your ass thrown out of here. Do that and you’ll miss Zoe’s final death scene, and you really don’t want to do that. Still, when something he so desperately wanted was denied him, when something he considered rightfully his was withheld or taken away, Tyler found it nearly impossible to suppress the anger filling his brain. But he knew he had to try. Taking a deep breath, he managed to walk at a measured pace the rest of the way down the aisle. He stopped and stood directly in front of the guy in A12. He looked down. “Sorry, buddy,” he said in a voice filled with no more than a hint of threat, “you and your girlfriend are gonna have to move. This seat’s taken.”

“I beg your pardon,” the guy said in what Tyler thought was a condescending tone. Tyler hated it when people condescended to him. New York was full of them. It was one of the reasons he really didn’t like spending time in the city even though he’d been born here. Even though he still kept an apartment here. Even though he’d worked three years at his uncle’s fancy Wall Street law firm. That job had gone down the crapper the day Tyler totally lost it when one of the other associates had condescended to him. Told Tyler in front of like ten other people that the only reason the firm had hired Tyler was because his uncle happened to be managing partner. Tyler reacted by slugging the guy right then and there in front of six other lawyers. Knocked the bastard flat on his ass. Then followed up with a kick to the gut. A deliciously satisfying kick even though it marked the end of his legal career. The only reason Tyler hadn’t been charged with assault was that his uncle convinced the other guy his own career would go much better if he simply forgot about the whole thing. Tyler still got pissed off when he thought about that asshole.

“You heard me,” Tyler said to the guy who’d taken his seat, making sure he kept his voice quiet and controlled. “You’re sitting in my seat. This has been my seat for the last two weeks. The entire run. And it will continue to be my seat for tonight. That means it’s time for you to tell me how sorry you are and get up and move.”

Condescension changed to huffiness. “I don’t know who you think you are but there’s no reserved seating in this theater. We took these seats first. That means they’re ours. There’s plenty of empty seats all over the place. Just take one of those and leave us the hell alone.”

“This is my seat and you are going to have to move.”

For exactly twenty-three seconds the guy said nothing. Tyler knew it was twenty-three without having to consult his watch. It was this brain thing he’d had ever since the so-called accident. He always knew precisely to the second what time it was and precisely how much time was passing. Just as he knew how many steps it would take to get from one place to another without having to think about it. It hadn’t always been that way. Just since his old man had tossed him headfirst into the shallow end of the swimming pool at their country place when he was fourteen and he’d bashed his head against the concrete. That’s when the rage problems started as well.

For the entire time, the guy just sat where he was and looked up at Tyler. Maybe he was debating whether to challenge someone who, at six foot three and two hundred and twenty pounds, was way the hell bigger than he was.

Tyler was getting closer to hoisting the guy out of the seat and tossing his skinny little ass out into the aisle. Which would have ruined everything. Thankfully, one second before he would have done just that, the guy’s wife or girlfriend or whatever she was, broke the impasse.

“Come on, Richard,” she said. “Let’s move. I don’t like being this close to the stage anyway.”

“I oughtta call the police,” said Richard.

“Call whoever the fuck you want, Richard. Just get your ass out of my seat.”

“Richard. Please,” said the woman. “This guy’s unhinged.”

“Yeah, Richard, I’m unhinged,” said Tyler, putting as much menace in his voice as he could.

“And if you want to know the truth, I’m getting more fucking unhinged by the second.”

The woman rose, took Richard’s hand and pulled. “Please,” she said.

The guy finally stood. No doubt relieved not to have to confront someone as big and angry-looking as Tyler. But, Tyler figured, also ashamed that he lacked the cojones to stand up to the bully who’d shamed him in front of his girlfriend. A lot of people responded to Tyler that way. He usually enjoyed it when they did. He especially liked it when people backed down and did exactly what he told them to. Which was most of the time. Most people were too chicken-shit to stand up for themselves.

Tonight was no different. The guy named Richard picked up a canvas messenger bag from the floor and let the woman lead him across to the other side of the small auditorium, where they found seats a couple of rows back. Tyler watched them go. Neither looked back at him. Neither noticed the small, satisfied smile he threw at them. Confrontations that ended like this and the adrenaline rush that came with them always made him feel better.

Before sitting down, Tyler unzipped his backpack, pulled a pair of latex gloves from the package he’d put in there, and put them on. Then he took out a packet of antibacterial wet wipes and used three of them to wipe down the seat, the backrest and the arms before easing his large frame down into seat A12. His seat. That done, he closed his eyes and focused on breathing deeply in and out. Pictured the rage that had come from the confrontation slowly dripping out of him, drop by drop, like water from a leaky faucet. That’s what Dr. Steinman, the therapist he started seeing a year after the swimming pool incident, had taught him to do when he felt this way. He watched the drops falling . . . exactly one drop per second . . . and knew without counting that one hundred and forty-four drops had fallen before he’d totally emptied himself of the anger and felt calm enough to open his eyes.

Tyler had another twenty-one minutes and twelve seconds to wait before scheduled curtain time. Maybe even more minutes and seconds before the curtain actually went up, because they never seemed to get the timing right. To pass the time he popped a couple of sticks of Juicy Fruit gum in his mouth and started chewing. Then he pulled a week-old copy of the New York Daily News from his backpack and unfolded it. He stared for what had to be the hundredth time at the banner headline, the big black letters seeming to leap out at him from the front page. StarStruck Strangler Strikes Again. He wondered if that was just one headline or if that was the nickname they were going to give the killer. He wondered if the name would stick. Tyler thought about it. Star-Struck Strangler wasn’t nearly as interesting as, say, Son of Sam. Though it was, he supposed, equally alliterative. Both had multiple S’s, which had always been one of Tyler’s favorite letters. He repeated the headline to himself. Star-Struck Strangler Strikes Again. Four ST words in a row. Tyler preferred S words when they were followed by L’s. Words like slasher. Slimy. Sleazy. Slippery. Slinky. Slick. Slutty. Yes, SL words were much better than ST words. His favorite SL word, slithy, wasn’t a real word at all. Just something made up by Lewis Carroll. ‘Twas brillig, and the slithy toves / Did gyre and gimble in the wabe. Wonderful creepy-crawly sounds.

Beneath the headline that dominated the front page was a subhead set in slightly smaller black type. It read, Missing Ballerina Found Murdered on Beach. No alliteration there unless you counted the M’s in Missing and Murdered and the B’s in Ballerina and Beach, and Tyler didn’t think that really counted. Tucked next to the headline and subhead was a color photo of an attractive young blonde, her hair pulled back in a bun, smiling at the camera. A happy smile, he thought, for a woman who’d turned up dead over a week ago. Tyler flipped open the tabloid and read full the story once again:

Friday, October 2, 2015. The body of 21-year-old Sarah Jacobs, a dancer with the New York City Ballet who had been reported missing two weeks earlier on September 15, was discovered late last night lying in a shallow, sandy grave on a stretch of beach in Sherwood Island State Park., The beach is located on the Long Island Sound in the affluent suburb of Westport, Connecticut.

Investigators say Ms. Jacobs’s body was discovered at approximately six a.m. by Westport resident Edward Todd. Todd told police he was walking his dog on the beach as he does every morning, when the dog raced ahead and started sniffing at something in the sand. When Mr. Todd was close enough to see it was the remains of a human body, he immediately dialed 911 on his mobile phone and informed Westport police, who arrived moments later. After identifying the body, Westport detectives notified the NYPD, which had been searching for Ms. Jacobs since her disappearance.

The victim, Sarah Jacobs, was a well-regarded dancer who was considered a rising star with the New York City Ballet. According to police sources, the victim’s body, when found, was wearing a black leotard and black ballet slippers, an outfit identical to the one she wore on stage during her last performance at Lincoln Center on September 12, three days prior to her disappearance. Her hair was also arranged identically to the way it had been during the performance.

Ms. Jacobs was the daughter of prominent Broadway producer Frederick Jacobs and Chelsea art dealer Marjorie Hanscomb Jacobs. Both parents refused to comment on the discovery of their daughter’s body. André Komar, the company’s ballet master, told reporters, “Sarah was an exceptionally gifted young dancer with a bright future ahead of her. All of us who knew and worked with her here at the New York City Ballet are grieving along with her parents. This is a real tragedy and we will all miss her enormously.”

Assistant New York City Medical Examiner Dr. Peter Weisman told reporters the apparent cause of death was strangulation. He also said the body was badly bruised and there were clear signs that Ms. Jacobs had been sexually assaulted prior to death. Her body is scheduled to be autopsied by the Office of the Chief Medical Examiner to determine, among other things, time of death and if strangulation was indeed the cause.

The victim has been the subject of an intense New York Police Department manhunt ever since her disappearance. She was last seen leaving a private party at the Museum of Modern Art in Manhattan on the evening of September 15th. Her father told reporters she left the party early after complaining of feeling “queasy” and said that she was going to take a cab home to her Greenwich Village apartment.

Ms. Jacobs is the third young member of New York’s performing arts community to have disappeared from Manhattan since the beginning of the year. The body of an earlier victim, Ronda Wingfield, 28, an actress who appeared frequently in musical productions in Manhattan and elsewhere, was discovered last May 19th in a wooded section of Manhattan’s Highbridge Park.

A third performer, actress Marzena Wolski, who also lived in Manhattan and who, for the last two years, had a starring role in the TV crime drama Malicious, was reported missing September 28th. Police have reportedly found no clues as to Ms. Wolski’s whereabouts.

When asked if police believed the three kidnappings and two confirmed deaths were the work of a serial killer, the NYPD’s chief of detectives, Charles Pryor, told reporters, “While we can’t be absolutely sure at this point in the investigation, given the obvious similarities in the choice of victims, all of whom performed on television or on stage, as well as similarities in the cause and manner of death of the two victims found so far, we are fairly certain that that is the case.” Pryor added, “There are currently no suspects but we are hopeful that the discovery of Ms. Jacobs’s remains will provide some relevant leads.”

Tyler reread the article a couple of times even though he already knew it pretty much by heart, as he did just about everything else that had been published about the kidnappings and murders. He then turned back and examined the front-page photo of Sarah Jacobs. With her long, narrow face, Sarah wasn’t really all that pretty. At least not compared to Zoe McCabe. For Tyler Bradshaw, there was no one who could compare to Zoe.

Tyler finally returned the paper to his backpack, relaxed in his seat and waited patiently until the curtain rose, and Roderigo and Iago entered a bare-bones version of a sixteenth-century Venetian street. Tyler watched the beginning of the play with minimal interest. It wasn’t Iago or Roderigo he’d come for. Tyler’s only reason to sit through this part of the play over and over again was to make sure he got the right seat to feel the closeness of the woman he so desperately wanted. His gaze never strayed from her from the moment she first came on stage in Act I, Scene III, until she was finally done to death in Act V, Scene II, bloodlessly smothered by the actor who played the title role. When the play got to that point, Tyler whispered Desdemona’s last words to himself, doing his best to mimic the way Zoe spoke them.

That death’s unnatural that kills for loving.

Alas, why gnaw you so your nether lip?

Tyler sometimes practiced gnawing his nether lip when Zoe said the lines. She was right. It didn’t seem natural. Still, the most famous writer who ever lived had written it that way.

Some bloody passion shakes your very frame: These are portents; but yet I hope, I hope They do not point on me. . . . A guiltless death I die. Oh yes, my love, he whispered to himself, a guiltless death you die. But not too soon I hope. For I’m quite sure I want you with me for a much longer time than the Star-Struck Strangler had allowed either of the others.

And then, when it came time, he mouthed the famous lines spoken by the Moor.

When you shall these unlucky deeds relate, Speak of me as I am; nothing extenuate, Nor set down aught in malice: then must you speak Of one that loved not wisely, but too well . . .

Tyler had fixated on these words since he’d watched the first performance two weeks ago, for he believed they precisely defined who he was. They were his lines because he believed that he too was one who loved not wisely but too well.

When the play finally ended and the curtain fell two hours, twenty-seven minutes and thirty seconds later, it was the third longest of the twelve performances he had attended. It irritated Tyler that the actors couldn’t do a better job of getting the timing right. Yes, in one performance, the actor playing Iago had even screwed up one of his lines and Othello had to ad-lib filler dialogue until Iago got his brain back on track. But that was the only time they had an excuse.

He let the irritation go when Zoe and the rest of the cast stepped in front of the curtain to take their bows. He stood with the audience and applauded as loudly as, if not more so than, anyone else in the theater. Took the overchewed ball of gum from his mouth and whistled loudly.

Of course, Tyler’s applause was only for Zoe. His gaze fixed only on her. Her dark and penetrating eyes. Her glorious smile. The slender perfection of her figure. At last, when the curtain calls were finally finished and the actors gone from the stage, Tyler slung his pack around one shoulder and walked out, once again practically the last to leave the theater. For the first time, his mind was finally and truly made up. He could wait no longer. He pulled a crushable Aussie outback hat from his backpack and put it on. Kind of goofy-looking, but what with all the damned surveillance cameras on the streets these days, the wide brim did a good job of hiding his face. And on a cold, drizzly night like this, it wouldn’t even attract much attention. Tyler left the theater by a side exit, crossed the street and stood in the shadows of a darkened computer repair shop, waiting for Zoe to emerge from the stage door dressed in her own street clothes.

When she finally walked out, she wasn’t alone. She was with Randall Carter, the big black dude who played Othello. They stood together on the sidewalk talking. Tyler felt rage once again building as they talked. Especially when Carter leaned down and kissed Zoe on the lips. Nothing passionate. Nothing sexy. But still. The woman Tyler considered his own kissing some hotshot Hollywood bastard? A black hotshot Hollywood bastard no less, which made it even harder to take. Tyler could barely keep his rage from roaring back, barely restrain himself from rushing across the street and kicking the shit out of Carter. While he stood there seething, a black Lincoln SUV pulled up. Randall Carter got in. Zoe waved. The car drove off. Zoe pulled up the hood on her rain jacket and started walking by herself along the street. Tyler watched and waited until she was a little ahead before following.

***

Excerpt from A Fatal Obsession by James Hayman. Copyright © 2018 by James Hayman. Reproduced with permission from Witness Impulse. All rights reserved.

  Author Bio:

JAMES HAYMAN, formerly creative director at one of New York’s largest advertising agencies, is the author of the acclaimed McCabe and Savage Thriller series: The Cutting, The Chill of Night, Darkness First, The Girl in the Glass, The Girl on The Bridge, and A Fatal Obsession.

Catch Up With James Hayman On: jameshaymanthrillers.com, Goodreads, Twitter, & Facebook!

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Visit these other great hosts on this tour for more great reviews, interviews, guest posts, and giveaways!

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This is a rafflecopter giveaway hosted by Partners in Crime Virtual Book Tours for Harper Collins/Witness Impulse and James Hayman. There will be 3 winners of one (1) copy of The Cutting by James Hayman (eBook). The giveaway begins on September 1, 2018 and runs through October 1, 2018. (FOR BOOKS Open to U.S. addresses only). Void where prohibited.

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FALL INTO MYSTERY BLOG TOUR – A Fatal Obsession was originally published on the Wordpress version of Shannon Muir's The Pulp and Mystery Shelf

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[newssplashy]

NEW YORK — Sarah Saltzberg knew from an early age that she wanted to be an actor and a writer, too, because she loved concocting improvisations.

Then again, as a teenager, she did have a nice little business designing, making and selling macramé bracelets, which made her think about an entrepreneurial career.

But never during her childhood did Saltzberg fantasize about a life in real estate.

This is not one of those stories with a surprise ending, so the cards are going on the table right now: Saltzberg, 42, who made good and continues to make good in the theater, is also a founder, with Jon Goodell, of Bohemia Realty Group, a 6-year-old niche company that specializes in rentals and sales, river to river from 96th Street to the top of Inwood, plus a bit of the Bronx.

Saltzberg’s staff shares her creative inclinations. The majority of Bohemia’s 120 agents have degrees in the performing arts. The roster includes actors, dancers, burlesque performers, an opera singer and a professional clown. The head of training at the company is a folk/rock singer and songwriter. The uncertainty that is part and parcel of a real estate agent’s life (where, oh where, is that next commission coming from?) is familiar to actors who routinely deal with similar anxiety (where, oh where, is the next role coming from?).

“Real estate is constantly shifting. You have to hustle to be successful, which is the same as being an artist,” said Emily Ackerman, a Bohemia sales agent who is also an actor and playwright. “We’re comfortable with instability. In fact, a lot of us thrive on it.”

Prospective sales agents will undoubtedly be relieved to learn that no audition is required and that the culture of the agency’s two offices — in West Harlem and Washington Heights — is decidedly un-corporate. Employees bring dogs and babies to work, and have been known to break into song — with perfect pitch, of course.

“I’ve worked at traditional real estate companies, and agents didn’t speak to each other,” Ackerman said. “But the vibe here is very different.”

She added: “So many of us have collaborative experiences working in the arts, and we’ve translated that directly to our real estate business. We work together on deals.”

Some Bohemia staff members will work on a Broadway show for several months, then come back to Bohemia. “The door is always open,” said Brian Letendre, a sales agent for high-end properties and an actor whose credits include featured and principal roles in the musicals “Urban Cowboy,” “Movin’ Out” and “Mary Poppins.”

“Working in real estate has allowed me choice,” he continued. “I can be more selective about what I want to audition for and the roles I want to take.”

And, Letendre insisted, he is relentless on both fronts. “I go after the property a client wants just the way I go after an acting job,” he said.

Not surprisingly, perhaps, a number of Bohemia clients are also in the arts. Among them are Jesse Tyler Ferguson, Benj Pasek, who helped write the Tony Award-winning score for “Dear Evan Hansen,” Laura Benanti, a Tony Award-winning actor who has a standing gig as Melania Trump on “The Late Show With Stephen Colbert,” and Celia Keenan-Bolger, who plays Scout in the forthcoming Broadway adaptation of “To Kill a Mockingbird,” as well as stage managers and ensemble members of musicals.

And who would know better than Saltzberg and her Bohemia colleagues how tough it is for a theater person to get approved by a bank or a co-op board?

“I’ll say to landlords, ‘Hey, I know that on paper this person looks like a risk, but let me explain what this means: This guy just got a job in ‘Hamilton.’ That show is not closing. He’s going to be in that show for a while,'” Saltzberg said. She is also able to tell potential clients which buildings have flexible management companies and board presidents.

“This is a relationship business the same as other businesses,” she said. “And when you specialize in a geographic area the way we do, and you really have an understanding of the people in the neighborhood and the people who are running things, you can get things done in a way that maybe you couldn’t do otherwise.”

Saltzberg got into the business in 2002 while helping to develop and raise money for a fledgling show that would grow up to become the Broadway musical comedy hit “The 25th Annual Putnam County Spelling Bee.”

She had a featured role in the show as the lisping, pigtailed Logainne Schwartzandgrubenierre, “the daughter of two gay dads,” a character that she created (and that continues to provide her a few thousand dollars in royalty payments every year).

“A friend was like, ‘You should do real estate. Just do it for a little bit. It takes 40 hours to get your license. Make a bunch of money. Put it in your show, and then you can stop doing it,'” Saltzberg recalled. “And I was like, ‘That sounds pretty good.'”

Wendy Wasserstein, the playwright for whom Saltzberg was then working as a weekend nanny, urged her on as well.

Three weeks after becoming a sales agent, Saltzberg, who was living on Central Park West and 108th Street at the time, took note of the vacancies in her building. She phoned the landlord about showing them. He hung up. She dialed again. He hung up again.

“I kept calling until he finally listened to me,” Saltzberg said. “I was like, ‘I’m what you want: I’m young, I’m energetic, I’m an artist. Artists are OK with living in these parts of the city that are not fully developed yet, and I have tons of friends who would want to move into the vacant apartments.'”

It was a Thursday. The landlord gave Saltzberg the weekend to make good. By Monday, she had applications on all the available units.

Something clicked. “I found that it was all a lot like being an actor,” she said. “It was persistence and using improvisation to solve problems.”

Since then, she has seen the neighborhood evolve. “When I first started doing this, I walked through drug deals with clients all the time,” she recalled. “We’d get to the apartment, and I’d have to think fast, so I’d say things like, ‘Well, at least you know you don’t have to go very far.'”

Within months, she said, the formerly skeptical landlord opened his expansive portfolio of buildings in Upper Manhattan to her.

All the while, “Spelling Bee” was moving on a fast track to Broadway. “Once we opened, I was thinking, ‘I don’t need to do real estate anymore because I’m making a living wage with the show,'” said Saltzberg, who worked at several other agencies before starting Bohemia. “But I realized I loved it. I loved that what you put into it was what you got out of it. I loved the art of the deal, and I loved the neighborhoods I was working in. It was very exciting to be part of them.”

Between performances on matinee days, she showed properties, frequently to other actors, frequently in the company of “Spelling Bee” castmate Jose Llana, a future star of the David Byrne operetta “Here Lies Love,” who had gotten his real estate license, too.

“We were in Upper Manhattan, where a lot of Broadway people would be looking,” Saltzberg said. “And sometimes they would be like, ‘You look so familiar.’ And we’d say, ‘Well, have you seen “Spelling Bee”?’ There was so much trust because clients knew us from this other thing.”

Ferguson took due note as Saltzberg sized up the agents on the other side of the deal when he was looking for a pied-à-terre in Chelsea. “I watched Sarah figure out how to work with them based on what they brought into the room. She has this great ‘Yes and —’ skill.”

“As an actor, Sarah puts herself into other people’s shoes, and I think that makes her more attuned to her clients’ needs,” said Benanti, who turned to Saltzberg for assistance in finding a two-bedroom, two-bathroom co-op in Upper Manhattan.

If Saltzberg’s theater training has been a help in her real estate career, her real estate training has proved equally useful in the theater.

“I have learned things about business that I had never learned as an actor,” she said. “I could do a great Irish accent, but I couldn’t look at a contract and think, ‘This doesn’t make sense. I have to negotiate on this and this point’ and fight for what I want. And that’s a huge pitch we make to agents with an arts background who come into the firm.”

As both an actor/writer and a real estate broker, Saltzberg knows the importance of setting a scene. Shrewdly, she has made Bohemia’s offices a celebration of the neighborhoods they serve. Vintage photos of subway cars hang in the Bohemia outpost on Frederick Douglass Boulevard and 113th Street. The centerpiece of the reception area is a map of legendary Harlem nightspots. In the agency’s Washington Heights office, work by local artists is displayed.

By way of strengthening its community ties, Bohemia contributes money and time to the Harlem Children’s Zone and Morningside Park, and does adoption events for Bideawee.

“Sarah lives in Harlem and loves Harlem, and it comes across,” said Avi Feldman, a partner in Omek Capital, which develops rental buildings, mostly in the 125th Street corridor, and retains Bohemia as its exclusive rental broker. “She involves herself in neighborhood activities and is an integral part of the community.”

Saltzberg can be forgiven if she seems a little distracted at the moment. She is working on marketing for the Ammann, a condominium that has just opened in Hudson Heights; Bohemia is the exclusive agent for the development.

And come Monday, there will be another opening, this one on Broadway, for the musical “Gettin’ the Band Back Together.” Saltzberg is credited with providing “additional material” (and is pleased to report that two former Bohemia sales agents, Ryan Duncan and Tad Wilson, are members of the show’s ensemble).

“We’re offering discounts on tickets to friends and business associates in Harlem,” she said. “And to my son’s preschool.”

This article originally appeared in The New York Times.

Joanne Kaufman © 2018 The New York Times

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[ismael37olson]

"New Line Theatre is Saving the Musical."

New Line will soon start our 28th season. And I'm feeling more optimistic right now than I have in a long time. We have some long overdue good fiscal news...! Believe me, this has never been an easy journey. I knew that when I started the company in 1991, but knowing it doesn't make it any easier. Throughout most of our history, we've generally stayed on an even keel fiscally -- one season might end in the hole a few hundred dollars, or less often, a few thousand, but the next season would always compensate. Only once were we in real fiscal trouble, after we had to close an already badly selling run early, due to a death in the New Line family. But the Regional Arts Commission stepped in with a loan, and within a year, we had corrected the imbalance and repaid the loan. That was the only time, until a couple years ago. Suddenly, for various reasons, we lost two big donors, a foundation grant, and then we were hit with the indignity of getting zero-funded by the Regional Arts Commission (under new management) after twenty-seven years of funding. More than fifty local organizations were similarly cut off by RAC for the coming season. So since 2016, we have been struggling mightily and we've completely retooled our budget, reducing it by about a third. But still we soldier on, and all this time we've have had amazing support, incredible loyalty, and venders with the patience of Job. And now, I'm extremely happy to report that our 2017-2018 season ended with a surplus for the first time in three years, and two-thirds of our debt has been erased. If the season ahead sells half as well as we expect, we'll soon retire the rest of our debt. I would be remiss if I didn't point out at this time that donations made before our fiscal year ends on August 31, can make that surplus even bigger and put us in an even better position as the new season begins! (hint, hint)

I make that pitch because New Line needs to replace that funding we lost. So we need to step up our fundraising efforts, and we hope all our supporters and fans will help us with these increased efforts. Ticket sales cover only about 40-45% of our budget. The rest is grants and donations. (Here's a post of mine that explains why nonprofits work this way.) You can make a donation right now by clicking here. You're welcome. And let me make a pitch to my readers who don't live in St. Louis about why you should still support New Line. For much of our history, New Line has been the only company in the country producing only alternative musical theatre. Today, we're thrilled that small companies around the country now frequently do the kind of work New Line does. But New Line is still unique in our ability to bring back to life shows that were ill-served and left for dead in New York, and to bring national attention to weird, lesser known, but brilliant shows, like Night of the Living Dead and Bukowsical. Our art form, the American musical theatre, is in a new Golden Age, and New Line is one of the forces moving us forward. But don't just take my word for it... Broadway composer-lyricist-bookwriter Kyle Jarrow says:

I love New Line Theatre. Not just because they did a great production of one of my plays -- not just because Scott Miller is one of the most thoughtful, passionate and engaged artistic directors I’ve ever interacted with -- but because New Line Theatre is saving the Musical. The musical is one of the most iconic American popular art forms. And yet, it’s struggling to stay relevant. As I see it, this is the result of a number of factors: ticket prices rising, the average age of theatergoers rising, as well as the commercial pressures that bring more and more unnecessary film adaptations to Broadway. For the next generation of audience, for whom theater is competing with film and television and video game systems, it’s not surprising that musicals often don’t feel like a very good investment of time and money. But it doesn’t have to be this way. A great piece of musical theater can have incredible power. Music has the ability to drill straight into our emotional cores, to elevate drama in a profound way. New Line Theatre understands this. From my discussions with Scott, it’s clear that his company approaches musicals as drama -- committed to digging deep to excavate the best in the works his company chooses to produce. In every production, they work to prove why the musical form is important. They demonstrate why this form deserves to live on, and why it deserves to evolve with the times. I don’t know of any other theater that does the kind of programming that New Line does. They take chances on new, cutting-edge works. They revisit quality shows that flopped on Broadway but deserve another look. And they do game-changing reinterpretations of classics. It’s a varied, exciting mission, and I’m honored to have been included in it. I very much hope to be again. New Line deserves your fullest support. What they’re doing is truly important.

Broadway composer-lyricist Amanda Green says:

I have had the honor and pleasure of having two of my shows produced at New Line Theater: High Fidelity (twice!) and Hands on a Hardbody. New Line was the first theater to produce High Fidelity after its brief run on Broadway. I went with trepidation. I came away floored by the intelligence, scrappy fun, big heart, talent of the actors and acumen of the production. It was a reclaiming to me of the show I wrote and loved, produced in the right spirit. Led by Scott Miller, New Line proves you can do a lot with a little. In a way, this production was more satisfyingly right to me than the Broadway production – and got to the heart and humor of the story. I knew as soon as I walked into New Line’s production of Hands on a Hardbody in 2015, that once again, Scott ‘got’ the material and it was in excellent hands. Entertaining, funny, deeply moving, performed in an intimate space, with a supremely talented cast. Scott’s masterful understanding of the show, and ability to draw the audience in, made for another transformative experience. I know I’m not alone in being a Broadway professional who holds New Line Theater in high regard: Ann Harada (Avenue Q), Stephen Sondheim (!) and a host of others count themselves vocal fans and supporters. I am not only a grateful author, I am a donor to New Line Theater. I believe in Scott Miller’s vision, in the talent, ability, and dedication of this community of actors, designers and audience members he has created. This is what theater is all about: bringing bold new work, undiscovered overlooked work to the community – with intelligence passion and heart Transforming both those who produce it and their audience.. New Line Theater deserves to have a long healthy life in St. Louis.

Broadway producer Jennifer Ashley Tepper (author of the Untold Stories of Broadway series), says, “New Line Theatre is an essential maker of musicals. Their work over the years in bringing worthwhile, lesser known shows to life for the St. Louis community is commendable. I recently saw New Line's production of Yeast Nation and was wholly impressed by the top-notch work of every artist involved. New Line has made it a priority to present challenging, thought-provoking musicals rather than prioritizing shows that happened to be the biggest commercial hits. In that, they are unique among theatre companies. Their integrity and their follow-through over many seasons of great work are extraordinary.” Broadway actor Ann Harada says, "Their success proves that there's an audience for musicals that might be just a little bit outside the mainstream. Even though everything in life is only for now, I hope these guys are now and forever."

John Waters -- yes, that John Waters -- called us “the coolest theatre in town.” He says, "New Line Theatre can make it work. They know how to make a show biz dollar holler. St. Louis, you're lucky to have this gang. Theatre-goers, put your money where you mouth is!" American Theatre magazine wrote, in a glowing profile of our company, "You might say Scott Miller's in the business of changing people's minds: about shows they thought they hated, about subjects they didn't think could be sung about, about the musical form itself. The key to Miller's success may be that-for all the ego necessarily involved in running a theatre and writing several books and blog posts expounding your point of view-what has guided him above all is his willingness to have his own mind changed, even occasionally blown." Our own Riverfront Times did a wonderful profile of New Line, writing, "New Line has won a national reputation not just for launching new productions, but for saving shows that have been savaged on Broadway." We New Liners have been ridiculously blessed over the years to have the kind of support we enjoy from our community. My friends running theatres in other cities are very jealous. But we have to do better in our fundraising efforts to keep our company healthy, and we hope you'll all help us. Think about making a donation before the end of August -- it would help us immensely. And don't forget, season tickets are still on sale through Sept. 3. You don't want to miss this season -- The Zombies of Penzance, La Cage aux Folles, and Be More Chill...! Thank you, St. Louis, for being such an amazing place to make cool musical theatre! Long Live the Musical! Scott from The Bad Boy of Musical Theatre http://newlinetheatre.blogspot.com/2018/08/new-line-theatre-is-saving-musical.html

[tainghekhongdaycomvn]

Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday

Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday

Posted by randfish

Competing with comparison sites in the SERPs can feel like a losing game, but it doesn't have to. In today's Whiteboard Friday, Rand explains the challenges and outlines five solutions that can help you begin ranking for those high-value comparative terms.

Click on the whiteboard image above to open a high-resolution version in a new tab!

Video Transcription

Howdy, Moz fans, and welcome to this impossible edition of Whiteboard Friday. This week we're chatting about one of the toughest things that a lot of SEOs face, which is trying to rank for these specific types of queries that have a plural comparative intent behind them.

Some examples:

So I'll give you a bunch of examples just to set the stage for this.

Let's say I'm a hotel operator in Edinburgh, and I run one individual hotel, maybe a boutique hotel, and I want to rank for "best hotels in Edinburgh." But that is nearly impossible, because if you look at the front page of results, all the folks there are comparative types of sites. They're media properties. They're hotel comparison shopping sites. So it's TripAdvisor and Telegraph and US News & World Report, and This is Edinburgh, which is a media magazine there.

If I want to rank for "compare headphones" and I am the maker of one particular type of headphones, it's incredibly difficult to outrank a PC Magazine, Forbes, HeadphonesCompare.com, CNET, Reevoo. This is an incredible challenge, right?

"Best Broadway shows," if I'm operating a new Broadway show and I want to come up for this, which would be really meaningful for my Broadway show, which, by the way, most of them lose money. It's an incredibly tough business. NYC Theatre, Time Out, Broadway.com, how do I get in there?

Or let's say I'm in the software field. I'm FullContact, and I want to rank for "FullContact versus Clearbit." There are lots of comparative types of searches like this. If you search for your brand name or your product's brand name and "versus," you'll almost certainly come up with a bunch of suggestions. Well, it turns out neither FullContact nor Clearbit rank for this type of query. It's Inbound.org and StackShare and Quora and Analyzo.

For "Android word games," if I've come out with a new word game, it could be huge for me to rank for this term. But you know what? It's going to be Android Central and Google Play, Tom's Guide, Android Headlines, right?

If I have a new TV comedy, it would be fantastic because a lot of people are searching for "TV comedies" or "TV comedies on Netflix" or what have you. If I was Netflix or if I were some of these folks, I would love to come up here. But instead, it's UPROXX and Ranker and IMDB. It's comparative media sites almost always.

The problems

So what do we do? The first step is we have to identify the problem, like what is fundamentally going on. Why is it that these types of sites consistently outperform? This is not universal, but it's close enough, especially on competitive head terms, like some of these, where it gets close to impossible or feels that way. I. It's really tough to rank without using the right words and phrases.

If you are a boutique hotel in Edinburgh, you might not be very comfortable using words like Hilton or Marriott or some of these other words that are branded terms that are owned by your competition. There could be legal issues around that, but it might also just be a brand guidelines type of thing. So that's one part of the hard problem. II. It's really hard to rank without serving the searcher's true intent.

In these cases, the searcher's intent is, "I want to compare multiples of these things." So if you have an individual hotel website or an individual headphone website, an individual Android word game, that's not actually answering the searcher's intent. It used to be easier, back before RankBrain and before Google got really smart with Hummingbird around their query intent understanding. But these days, very, very challenging. So that's the second one. III. It's really hard to get links, hard to get links when you're purely promotional or self-interested, you're just one brand trying to outrank these folks, because these types of pieces of content seem sort of less selfish. The comparisons feel less self-interested, and therefore it's easier for them to get organic links.

So tough challenge here. Three big issues that we have to address.

5 primary solutions

There actually are some solutions. There are some ways that some very creative and clever folks have worked around this in the past, and you can use them as well.

1. You can try separating your media or your blog or editorial content.

By separate, I mean one of two ways. You could go with a wholly separate domain. That's pretty tough. You won't inherit the domain authority. It will probably be a new domain, so that will be a challenge. Or you simply separate it editorially, such that it's segmented from the promotional content. Moz actually does this, and, as a result, we rank for a lot of these types of queries. We even rank for a lot of SEO software types of queries that are clearly comparative, because we have that editorial independence in our editorial content. So this is one way you can go about doing that.

2. You could try a guest posting strategy or a guest contribution.

So if you can go out to the websites that are already listed here or ones like them, those independent, editorial, media-driven properties and say, "Hey, I will contribute to this as an independent author or writer. Yes, I work for this brand, but I think when you see my content, you will see that I've done my research and I am not biased." If you can prove that to the editors at these publications, you can often prove that to the audience as well, and then you can earn these types of rankings. You can actually see an example of this. I think it was, yes, I think the Forbes contributor here, I suspect they worked either with or for or at least in conjunction with a brand, because it seemed like they had a preference behind them and the author had a connection there.

3. You can commission independent research.

This is something that a lot of big companies will do. They'll go out and they'll say, "Hey, you're an independent research firm that's well-trusted. Will you do some research in our particular space?" Then hopefully it's something that the press will pick up. It's these press websites that you're actually hoping are going to earn the rankings over here. I will say while most of the folks doing this right now are very large companies with big research budgets and big advertising and promotional budgets, you don't have to be. You can go and contract a single expert in the field, someone that you trust to do a great job, and you can say, "Hey, you already contribute to CNET, you already contribute to Time Out, you're already a contributor to Tom's Guide or Android Headlines or whatever it is. Could you do this independent research? We'll pay you. Whatever the results you find, we'll pay you regardless." That can be quite successful.

4. If you need to do it yourself, but you don't want to keep it on your own site, you could use a microsite.

So creating a site like if I'm Q over here and I'm XvsYvsQ.com, I'm not sure the exact match domain is precisely the route I'd take, but conceivably that microsite can perform well in these searches, and there are several examples, few and far between though they are, of this strategy working.

5. Win all the lists.

So if I want to rank in "best Broadway shows," well, maybe I could just be "Hamilton." If I want to win at "compare headphones," maybe I could invent that patent on the noise-cancelling headphones that Bose have, which, by the way, win like three out of five of these. If I want to win the FullContact versus Clearbit, well, I need the features and the functionality and the things that these reviewers are using in order to win. There's almost always a bunch of objective criteria that you can identify by looking through these SERPs and related SERPs to figure out what you need to do. The challenge is it's not just a marketing or an SEO or a content problem. Now it becomes a product and a positioning and oftentimes an engineering problem as well in order to have that win. But now you've got the strategies, hard though it may be. This is not impossible. It's just difficult. All right. Look forward to your comments and we'll see you again next week for another edition of Whiteboard Friday. Take care.

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Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday http://ift.tt/2tPoKSJ xem thêm tại: http://ift.tt/2mb4VST để biết thêm về địa chỉ bán tai nghe không dây giá rẻ Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - 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[lawrenceseitz22]

Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday

Posted by randfish

Competing with comparison sites in the SERPs can feel like a losing game, but it doesn't have to. In today's Whiteboard Friday, Rand explains the challenges and outlines five solutions that can help you begin ranking for those high-value comparative terms.

Click on the whiteboard image above to open a high-resolution version in a new tab!

Video Transcription

Howdy, Moz fans, and welcome to this impossible edition of Whiteboard Friday. This week we're chatting about one of the toughest things that a lot of SEOs face, which is trying to rank for these specific types of queries that have a plural comparative intent behind them.

Some examples:

So I'll give you a bunch of examples just to set the stage for this.

Let's say I'm a hotel operator in Edinburgh, and I run one individual hotel, maybe a boutique hotel, and I want to rank for "best hotels in Edinburgh." But that is nearly impossible, because if you look at the front page of results, all the folks there are comparative types of sites. They're media properties. They're hotel comparison shopping sites. So it's TripAdvisor and Telegraph and US News & World Report, and This is Edinburgh, which is a media magazine there.

If I want to rank for "compare headphones" and I am the maker of one particular type of headphones, it's incredibly difficult to outrank a PC Magazine, Forbes, HeadphonesCompare.com, CNET, Reevoo. This is an incredible challenge, right?

"Best Broadway shows," if I'm operating a new Broadway show and I want to come up for this, which would be really meaningful for my Broadway show, which, by the way, most of them lose money. It's an incredibly tough business. NYC Theatre, Time Out, Broadway.com, how do I get in there?

Or let's say I'm in the software field. I'm FullContact, and I want to rank for "FullContact versus Clearbit." There are lots of comparative types of searches like this. If you search for your brand name or your product's brand name and "versus," you'll almost certainly come up with a bunch of suggestions. Well, it turns out neither FullContact nor Clearbit rank for this type of query. It's Inbound.org and StackShare and Quora and Analyzo.

For "Android word games," if I've come out with a new word game, it could be huge for me to rank for this term. But you know what? It's going to be Android Central and Google Play, Tom's Guide, Android Headlines, right?

If I have a new TV comedy, it would be fantastic because a lot of people are searching for "TV comedies" or "TV comedies on Netflix" or what have you. If I was Netflix or if I were some of these folks, I would love to come up here. But instead, it's UPROXX and Ranker and IMDB. It's comparative media sites almost always.

The problems

So what do we do? The first step is we have to identify the problem, like what is fundamentally going on. Why is it that these types of sites consistently outperform? This is not universal, but it's close enough, especially on competitive head terms, like some of these, where it gets close to impossible or feels that way. I. It's really tough to rank without using the right words and phrases.

If you are a boutique hotel in Edinburgh, you might not be very comfortable using words like Hilton or Marriott or some of these other words that are branded terms that are owned by your competition. There could be legal issues around that, but it might also just be a brand guidelines type of thing. So that's one part of the hard problem. II. It's really hard to rank without serving the searcher's true intent.

In these cases, the searcher's intent is, "I want to compare multiples of these things." So if you have an individual hotel website or an individual headphone website, an individual Android word game, that's not actually answering the searcher's intent. It used to be easier, back before RankBrain and before Google got really smart with Hummingbird around their query intent understanding. But these days, very, very challenging. So that's the second one. III. It's really hard to get links, hard to get links when you're purely promotional or self-interested, you're just one brand trying to outrank these folks, because these types of pieces of content seem sort of less selfish. The comparisons feel less self-interested, and therefore it's easier for them to get organic links.

So tough challenge here. Three big issues that we have to address.

5 primary solutions

There actually are some solutions. There are some ways that some very creative and clever folks have worked around this in the past, and you can use them as well.

1. You can try separating your media or your blog or editorial content.

By separate, I mean one of two ways. You could go with a wholly separate domain. That's pretty tough. You won't inherit the domain authority. It will probably be a new domain, so that will be a challenge. Or you simply separate it editorially, such that it's segmented from the promotional content. Moz actually does this, and, as a result, we rank for a lot of these types of queries. We even rank for a lot of SEO software types of queries that are clearly comparative, because we have that editorial independence in our editorial content. So this is one way you can go about doing that.

2. You could try a guest posting strategy or a guest contribution.

So if you can go out to the websites that are already listed here or ones like them, those independent, editorial, media-driven properties and say, "Hey, I will contribute to this as an independent author or writer. Yes, I work for this brand, but I think when you see my content, you will see that I've done my research and I am not biased." If you can prove that to the editors at these publications, you can often prove that to the audience as well, and then you can earn these types of rankings. You can actually see an example of this. I think it was, yes, I think the Forbes contributor here, I suspect they worked either with or for or at least in conjunction with a brand, because it seemed like they had a preference behind them and the author had a connection there.

3. You can commission independent research.

This is something that a lot of big companies will do. They'll go out and they'll say, "Hey, you're an independent research firm that's well-trusted. Will you do some research in our particular space?" Then hopefully it's something that the press will pick up. It's these press websites that you're actually hoping are going to earn the rankings over here. I will say while most of the folks doing this right now are very large companies with big research budgets and big advertising and promotional budgets, you don't have to be. You can go and contract a single expert in the field, someone that you trust to do a great job, and you can say, "Hey, you already contribute to CNET, you already contribute to Time Out, you're already a contributor to Tom's Guide or Android Headlines or whatever it is. Could you do this independent research? We'll pay you. Whatever the results you find, we'll pay you regardless." That can be quite successful.

4. If you need to do it yourself, but you don't want to keep it on your own site, you could use a microsite.

So creating a site like if I'm Q over here and I'm XvsYvsQ.com, I'm not sure the exact match domain is precisely the route I'd take, but conceivably that microsite can perform well in these searches, and there are several examples, few and far between though they are, of this strategy working.

5. Win all the lists.

So if I want to rank in "best Broadway shows," well, maybe I could just be "Hamilton." If I want to win at "compare headphones," maybe I could invent that patent on the noise-cancelling headphones that Bose have, which, by the way, win like three out of five of these. If I want to win the FullContact versus Clearbit, well, I need the features and the functionality and the things that these reviewers are using in order to win. There's almost always a bunch of objective criteria that you can identify by looking through these SERPs and related SERPs to figure out what you need to do. The challenge is it's not just a marketing or an SEO or a content problem. Now it becomes a product and a positioning and oftentimes an engineering problem as well in order to have that win. But now you've got the strategies, hard though it may be. This is not impossible. It's just difficult. All right. Look forward to your comments and we'll see you again next week for another edition of Whiteboard Friday. Take care.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

from Blogger http://ift.tt/2tPWsYh via IFTTT

#IFTTT #Blogger

[swunlimitednj]

Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent - Whiteboard Friday

Posted by randfish

Competing with comparison sites in the SERPs can feel like a losing game, but it doesn't have to. In today's Whiteboard Friday, Rand explains the challenges and outlines five solutions that can help you begin ranking for those high-value comparative terms.

Click on the whiteboard image above to open a high-resolution version in a new tab!

Video Transcription

Howdy, Moz fans, and welcome to this impossible edition of Whiteboard Friday. This week we're chatting about one of the toughest things that a lot of SEOs face, which is trying to rank for these specific types of queries that have a plural comparative intent behind them.

Some examples:

So I'll give you a bunch of examples just to set the stage for this.

Let's say I'm a hotel operator in Edinburgh, and I run one individual hotel, maybe a boutique hotel, and I want to rank for "best hotels in Edinburgh." But that is nearly impossible, because if you look at the front page of results, all the folks there are comparative types of sites. They're media properties. They're hotel comparison shopping sites. So it's TripAdvisor and Telegraph and US News & World Report, and This is Edinburgh, which is a media magazine there.

If I want to rank for "compare headphones" and I am the maker of one particular type of headphones, it's incredibly difficult to outrank a PC Magazine, Forbes, HeadphonesCompare.com, CNET, Reevoo. This is an incredible challenge, right?

"Best Broadway shows," if I'm operating a new Broadway show and I want to come up for this, which would be really meaningful for my Broadway show, which, by the way, most of them lose money. It's an incredibly tough business. NYC Theatre, Time Out, Broadway.com, how do I get in there?

Or let's say I'm in the software field. I'm FullContact, and I want to rank for "FullContact versus Clearbit." There are lots of comparative types of searches like this. If you search for your brand name or your product's brand name and "versus," you'll almost certainly come up with a bunch of suggestions. Well, it turns out neither FullContact nor Clearbit rank for this type of query. It's Inbound.org and StackShare and Quora and Analyzo.

For "Android word games," if I've come out with a new word game, it could be huge for me to rank for this term. But you know what? It's going to be Android Central and Google Play, Tom's Guide, Android Headlines, right?

If I have a new TV comedy, it would be fantastic because a lot of people are searching for "TV comedies" or "TV comedies on Netflix" or what have you. If I was Netflix or if I were some of these folks, I would love to come up here. But instead, it's UPROXX and Ranker and IMDB. It's comparative media sites almost always.

The problems

So what do we do? The first step is we have to identify the problem, like what is fundamentally going on. Why is it that these types of sites consistently outperform? This is not universal, but it's close enough, especially on competitive head terms, like some of these, where it gets close to impossible or feels that way. I. It's really tough to rank without using the right words and phrases.

If you are a boutique hotel in Edinburgh, you might not be very comfortable using words like Hilton or Marriott or some of these other words that are branded terms that are owned by your competition. There could be legal issues around that, but it might also just be a brand guidelines type of thing. So that's one part of the hard problem. II. It's really hard to rank without serving the searcher's true intent.

In these cases, the searcher's intent is, "I want to compare multiples of these things." So if you have an individual hotel website or an individual headphone website, an individual Android word game, that's not actually answering the searcher's intent. It used to be easier, back before RankBrain and before Google got really smart with Hummingbird around their query intent understanding. But these days, very, very challenging. So that's the second one. III. It's really hard to get links, hard to get links when you're purely promotional or self-interested, you're just one brand trying to outrank these folks, because these types of pieces of content seem sort of less selfish. The comparisons feel less self-interested, and therefore it's easier for them to get organic links.

So tough challenge here. Three big issues that we have to address.

5 primary solutions

There actually are some solutions. There are some ways that some very creative and clever folks have worked around this in the past, and you can use them as well.

1. You can try separating your media or your blog or editorial content.

By separate, I mean one of two ways. You could go with a wholly separate domain. That's pretty tough. You won't inherit the domain authority. It will probably be a new domain, so that will be a challenge. Or you simply separate it editorially, such that it's segmented from the promotional content. Moz actually does this, and, as a result, we rank for a lot of these types of queries. We even rank for a lot of SEO software types of queries that are clearly comparative, because we have that editorial independence in our editorial content. So this is one way you can go about doing that.

2. You could try a guest posting strategy or a guest contribution.

So if you can go out to the websites that are already listed here or ones like them, those independent, editorial, media-driven properties and say, "Hey, I will contribute to this as an independent author or writer. Yes, I work for this brand, but I think when you see my content, you will see that I've done my research and I am not biased." If you can prove that to the editors at these publications, you can often prove that to the audience as well, and then you can earn these types of rankings. You can actually see an example of this. I think it was, yes, I think the Forbes contributor here, I suspect they worked either with or for or at least in conjunction with a brand, because it seemed like they had a preference behind them and the author had a connection there.

3. You can commission independent research.

This is something that a lot of big companies will do. They'll go out and they'll say, "Hey, you're an independent research firm that's well-trusted. Will you do some research in our particular space?" Then hopefully it's something that the press will pick up. It's these press websites that you're actually hoping are going to earn the rankings over here. I will say while most of the folks doing this right now are very large companies with big research budgets and big advertising and promotional budgets, you don't have to be. You can go and contract a single expert in the field, someone that you trust to do a great job, and you can say, "Hey, you already contribute to CNET, you already contribute to Time Out, you're already a contributor to Tom's Guide or Android Headlines or whatever it is. Could you do this independent research? We'll pay you. Whatever the results you find, we'll pay you regardless." That can be quite successful.

4. If you need to do it yourself, but you don't want to keep it on your own site, you could use a microsite.

So creating a site like if I'm Q over here and I'm XvsYvsQ.com, I'm not sure the exact match domain is precisely the route I'd take, but conceivably that microsite can perform well in these searches, and there are several examples, few and far between though they are, of this strategy working.

5. Win all the lists.

So if I want to rank in "best Broadway shows," well, maybe I could just be "Hamilton." If I want to win at "compare headphones," maybe I could invent that patent on the noise-cancelling headphones that Bose have, which, by the way, win like three out of five of these. If I want to win the FullContact versus Clearbit, well, I need the features and the functionality and the things that these reviewers are using in order to win. There's almost always a bunch of objective criteria that you can identify by looking through these SERPs and related SERPs to figure out what you need to do. The challenge is it's not just a marketing or an SEO or a content problem. Now it becomes a product and a positioning and oftentimes an engineering problem as well in order to have that win. But now you've got the strategies, hard though it may be. This is not impossible. It's just difficult. All right. Look forward to your comments and we'll see you again next week for another edition of Whiteboard Friday. Take care.

Video transcription by Speechpad.com

Sign up for The Moz Top 10, a semimonthly mailer updating you on the top ten hottest pieces of SEO news, tips, and rad links uncovered by the Moz team. Think of it as your exclusive digest of stuff you don't have time to hunt down but want to read!

from Blogger http://ift.tt/2sNZ6xV via SW Unlimited

[ubizheroes]

Mission SEO Impossible: Rank a Single Brand Website for a Broad, Plural Search Query with Comparative Intent – Whiteboard Friday

Posted by randfish

Competing with comparison sites in the SERPs can feel like a losing game, but it doesn’t have to. In today’s Whiteboard Friday, Rand explains the challenges and outlines five solutions that can help you begin ranking for those high-value comparative terms.

https://fast.wistia.net/embed/iframe/sprs61bmrs?videoFoam=true

https://fast.wistia.net/assets/external/E-v1.js

Click on the whiteboard image above to open a high-resolution version in a new tab!

Video Transcription

Howdy, Moz fans, and welcome to this impossible edition of Whiteboard Friday. This week we’re chatting about one of the toughest things that a lot of SEOs face, which is trying to rank for these specific types of queries that have a plural comparative intent behind them.

Some examples:

So I’ll give you a bunch of examples just to set the stage for this.

Let’s say I’m a hotel operator in Edinburgh, and I run one individual hotel, maybe a boutique hotel, and I want to rank for “best hotels in Edinburgh.” But that is nearly impossible, because if you look at the front page of results, all the folks there are comparative types of sites. They’re media properties. They’re hotel comparison shopping sites. So it’s TripAdvisor and Telegraph and US News & World Report, and This is Edinburgh, which is a media magazine there.

If I want to rank for “compare headphones” and I am the maker of one particular type of headphones, it’s incredibly difficult to outrank a PC Magazine, Forbes, HeadphonesCompare.com, CNET, Reevoo. This is an incredible challenge, right?

“Best Broadway shows,” if I’m operating a new Broadway show and I want to come up for this, which would be really meaningful for my Broadway show, which, by the way, most of them lose money. It’s an incredibly tough business. NYC Theatre, Time Out, Broadway.com, how do I get in there?

Or let’s say I’m in the software field. I’m FullContact, and I want to rank for “FullContact versus Clearbit.” There are lots of comparative types of searches like this. If you search for your brand name or your product’s brand name and “versus,” you’ll almost certainly come up with a bunch of suggestions. Well, it turns out neither FullContact nor Clearbit rank for this type of query. It’s Inbound.org and StackShare and Quora and Analyzo.

For “Android word games,” if I’ve come out with a new word game, it could be huge for me to rank for this term. But you know what? It’s going to be Android Central and Google Play, Tom’s Guide, Android Headlines, right?

If I have a new TV comedy, it would be fantastic because a lot of people are searching for “TV comedies” or “TV comedies on Netflix” or what have you. If I was Netflix or if I were some of these folks, I would love to come up here. But instead, it’s UPROXX and Ranker and IMDB. It’s comparative media sites almost always.

The problems

So what do we do? The first step is we have to identify the problem, like what is fundamentally going on. Why is it that these types of sites consistently outperform? This is not universal, but it’s close enough, especially on competitive head terms, like some of these, where it gets close to impossible or feels that way.

I. It’s really tough to rank without using the right words and phrases.

If you are a boutique hotel in Edinburgh, you might not be very comfortable using words like Hilton or Marriott or some of these other words that are branded terms that are owned by your competition. There could be legal issues around that, but it might also just be a brand guidelines type of thing. So that’s one part of the hard problem.

II. It’s really hard to rank without serving the searcher’s true intent.

In these cases, the searcher’s intent is, “I want to compare multiples of these things.” So if you have an individual hotel website or an individual headphone website, an individual Android word game, that’s not actually answering the searcher’s intent. It used to be easier, back before RankBrain and before Google got really smart with Hummingbird around their query intent understanding. But these days, very, very challenging. So that’s the second one.

III. It’s really hard to get links, hard to get links when you’re purely promotional or self-interested, you’re just one brand trying to outrank these folks, because these types of pieces of content seem sort of less selfish. The comparisons feel less self-interested, and therefore it’s easier for them to get organic links.

So tough challenge here. Three big issues that we have to address.

5 primary solutions

There actually are some solutions. There are some ways that some very creative and clever folks have worked around this in the past, and you can use them as well.

1. You can try separating your media or your blog or editorial content.

By separate, I mean one of two ways. You could go with a wholly separate domain. That’s pretty tough. You won’t inherit the domain authority. It will probably be a new domain, so that will be a challenge. Or you simply separate it editorially, such that it’s segmented from the promotional content. Moz actually does this, and, as a result, we rank for a lot of these types of queries. We even rank for a lot of SEO software types of queries that are clearly comparative, because we have that editorial independence in our editorial content. So this is one way you can go about doing that.

2. You could try a guest posting strategy or a guest contribution.

So if you can go out to the websites that are already listed here or ones like them, those independent, editorial, media-driven properties and say, “Hey, I will contribute to this as an independent author or writer. Yes, I work for this brand, but I think when you see my content, you will see that I’ve done my research and I am not biased.” If you can prove that to the editors at these publications, you can often prove that to the audience as well, and then you can earn these types of rankings.

You can actually see an example of this. I think it was, yes, I think the Forbes contributor here, I suspect they worked either with or for or at least in conjunction with a brand, because it seemed like they had a preference behind them and the author had a connection there.

3. You can commission independent research.

This is something that a lot of big companies will do. They’ll go out and they’ll say, “Hey, you’re an independent research firm that’s well-trusted. Will you do some research in our particular space?” Then hopefully it’s something that the press will pick up. It’s these press websites that you’re actually hoping are going to earn the rankings over here.

I will say while most of the folks doing this right now are very large companies with big research budgets and big advertising and promotional budgets, you don’t have to be. You can go and contract a single expert in the field, someone that you trust to do a great job, and you can say, “Hey, you already contribute to CNET, you already contribute to Time Out, you’re already a contributor to Tom’s Guide or Android Headlines or whatever it is. Could you do this independent research? We’ll pay you. Whatever the results you find, we’ll pay you regardless.” That can be quite successful.

4. If you need to do it yourself, but you don’t want to keep it on your own site, you could use a microsite.

So creating a site like if I’m Q over here and I’m XvsYvsQ.com, I’m not sure the exact match domain is precisely the route I’d take, but conceivably that microsite can perform well in these searches, and there are several examples, few and far between though they are, of this strategy working.

5. Win all the lists.

So if I want to rank in “best Broadway shows,” well, maybe I could just be “Hamilton.” If I want to win at “compare headphones,” maybe I could invent that patent on the noise-cancelling headphones that Bose have, which, by the way, win like three out of five of these. If I want to win the FullContact versus Clearbit, well, I need the features and the functionality and the things that these reviewers are using in order to win.

There’s almost always a bunch of objective criteria that you can identify by looking through these SERPs and related SERPs to figure out what you need to do. The challenge is it’s not just a marketing or an SEO or a content problem. Now it becomes a product and a positioning and oftentimes an engineering problem as well in order to have that win. But now you’ve got the strategies, hard though it may be. This is not impossible. It’s just difficult.

All right. Look forward to your comments and we’ll see you again next week for another edition of Whiteboard Friday. Take care.

Video transcription by Speechpad.com

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from Moz Blog https://moz.com/blog/rank-site-for-broad-plural-search-query-comparative-intent via IFTTT

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