Fake book covers, celebrating 19th century women writers.
Not only is it morally wrong to let people live desperately on the streets, but it doesn’t make much economical sense either.
A new study has found that it’s significantly cheaper to house the homeless than leave them on the streets.
University of North Carolina Charlotte researchers released a study on Monday that tracked chronically homeless adults housed in the Moore Place facility run by Charlotte’s Urban Ministry Center (UMC) in partnership with local government. Housing these people led to dramatic cost savings that more than paid for the cost of putting them in decent housing, including $1.8 million in health care savings from 447 fewer ER visits (78% reduction) and 372 fewer hospital days (79% reduction). Tenants also spent 84 fewer days in jail, with a 72% drop in arrests.
Moore Place cost $6 million in land and construction costs, and tenants are required to contribute 30% of their income (mainly benefits) towards rent. The remainder of the $14,000 per tenant annually is covered by donations and local and federal funding. According to the UNCC study, that $14,000 pales in comparison to the costs a chronically homeless person racks up every year to society — a stunning $39,458 in combined medical, judicial and other costs.
What’s more, Moore Place is enabling the formerly homeless to find their own sources of income. Without housing, just 50% were able to generate any income. One year after move-in, they’re up to 82%. And after an average length of 7 years of homelessness, 94% of the original tenants retained their housing after 18 months, with a 99% rent collection rate.
The general population is biased: The original proposal for Moore Place was “controversial, if not ridiculed,” according to the Charlotte Observer. Locals mocked the idea that giving the homeless subsidized housing would do any good. A 2011 report commissioned by the Los Angeles Homeless Services Authority found that people have condescending attitudes towards the homeless, with the public perceiving higher levels of substance abuse problems (91%) and mental health issues (85%) than reported by the homeless themselves (41% and 24% respectively). It concluded that if “personal failings as the main cause of homelessness, it is unlikely that they will vote for increased public assistance or volunteer to help the homeless themselves.”
But “you can’t argue with the statistics," said UMC housing director Caroline Chambre. “This approach was controversial at one time because of the stereotype of who the homeless are, and we had to change that stereotype.”
In 2012, total welfare spending for the poor was just 0.47% of the federal budget. It turns out that maybe if we spent a little more to help the chronically destitute solve their problems, we could save a lot of money.
harry potter meme → one house [1/1]
Here’s some of the most amazing and invaluable advice you’ll most-likely ever get from one of my good colleagues and legends in comics/gaming, creator JOE MADUREIRA. It’s what i’ve been preaching to you aspiring artists since i arrived on DA, but i think his POV says it perfectly:
*WARNING: SOME MATURE LANGUAGE*
"DO YOU REALLY WANT TO BE A SUCCESSFUL ARTIST?
Or a successful WORKING PROFESSIONAL?
Believe it or not there is a difference. I’m not usually a soapbox type guy, I don’t like instructing people, and I think I’m a terrible teacher. But hey, it’s Friday and I’m in a strange mood. So here goes:
I’ve noticed that a good number of my fans happen to be aspiring artists themselves. This is for all you guys. I get asked constantly: "Where should I go to school?" "What classes should I take?" "What should I study for anatomy?" "What pencils and paper do you use?" "Should I be working digitally now instead of traditionally?" "How do I fix my poses? Learn composition? Perspective?" "When am I going to develop my own style?" "Who were your influences?" "Teach me how to draw hands!" The list goes on…
Here’s the deal. All of that stuff *is* important, and it may nudge you in the right direction. A lot of it you will discover for yourself. What works best for one person doesn’t work for another. That’s the beauty of art. It’s personal. It’s discovery. DON’T WORRY ABOUT ALL THAT CRAP!
Instead I’m going to answer the questions that you *SHOULD* be asking, but aren’t. These are things that have only recently occurred to me, after doing this for 20+ years. These things seem so obvious, but apparently they elude a lot of people, because I am surprised at how many ridiculously talented artists are 'failing' professionally. Or just unhappy. The beauty of what I’m about to tell you is that it doesn’t matter what field you’re in or what your art style is.
In no particular order:
1) DO WHAT YOU LOVE. If you are passionate about what you’re doing, it shows. If you’re having fun, it shows. If you’re bored, IT SHOWS. Some guys are able to work on stuff they have zero interest in, and still pull off great work, but I find that when I do this my motivation takes a huge hit. And Motivation is key. Money is not a great motivator. It’s temporary like everything else. And honestly, I’ve gotten paid the most money for some of the shittiest work I have ever done. That may sound awesome, but it’s not. And here’s why…
2) You MUST stay Excited and Motivated. Have you noticed that there are days you can’t draw a god damned thing? And some days you feel like you can draw anything? It’s 4am but you don’t notice because you are in the ZONE. Your hand is racing ahead of your mind and you can do no wrong?! Maybe it’s some new paper you got. Or a new program you’ve been wanting to try out. Or you just found some amazing shit on DeviantArt, or watched some movie that just makes you want to run straight to your board. This relates to the above because while it is possible to involve yourself in projects you aren’t excited about—maybe you need the cash, or think it will look good on your resume, whatever it is—it’s not going to last. You need to stay fresh. Expose yourself to new things. New techniques. You should be getting tired of your own shit on a fairly regular basis. Otherwise other people will.
3) Check your Ego. If you think you’re the shit, you’re already doomed. You may be really, really good at what you do, but there’s someone better. Sorry. There’s always plenty to learn, even for us old dogs. So when I meet young upstarts who have this sense of entitlement, or a know-it-all attitude, I just have to laugh. Some of the biggest egos I’ve ever witnessed were from people who have accomplished the least. Meanwhile, most guys who are supremely talented AND successful, and have EARNED the RIGHT to have an ego and throw their weight around, don’t. Why is that? It’s because…
4) RELATIONSHIPS ARE IMPORTANT. This may be one of the biggest lessons I’ve had to learn. Early on, I didn’t value my relationships with people. Creatively or otherwise. I felt like I didn’t need anyone’s help and I could figure everything out on my own. Let’s face it, many of us become artists because we are reclusive, social misfits. We’d rather stay inside and draw shit than go outside and play. We like to live inside our own minds. Why not?! It’s awesome in there! And sometimes we don’t want to let other people in. But like I said—you can’t do it alone. I can honestly say that as much as I try to stay current, as much as I try to push my work and draw kick ass shit that will excite people, I would not be where I am today if it weren’t for all the other people I’ve met and learned from along the way. Guys who pulled strings for me. Took risks on me. Believed I was the right guy for the job. You need to manage your relationships. You need to network, and meet people. Drawing comics is still a pretty good place for reclusive types—but if you want to work in big studios—Making games, Films, animation, basically any other type of job on the planet, you’d better start making some connections. Be likeable. Be professional. That doesn’t mean be an opportunistic ladder climber. Fake people lose in the end. Be yourself, but be professional. It’s no secret that when people are hiring, our first instinct is to bring in people we know. It’s human nature. I don’t like unknowns, even if their portfolio is awesome. If we have a mutual connection, if they have great things to say about you, you’re in. If you have AMAZING artwork to show, and I call your last employer and they tell me what a pain in the ass you are to work with, you’re done. Talent and skill only get you so far. I am literally amazed at how often I meet guys that are total assholes and think they are going to get anywhere.
5) Here’s the BIG ONE. The greatest obstacle you will ever have to overcome IS YOURSELF. And the Fear that you are creating in your own head. Stay positive. Stop defeating yourself. There are artists I know that are so damn good they make me pee my pants. I look up to these mofos. I study their shit and I want to draw like them. And they are almost NEVER working on their DREAM project. And—big surprise, they aren’t happy in their job. “Why NOT?! WTF is WRONG WITH YOU?!” is usually my reaction. And the answer is almost always "The market isn’t great right now" "Other stories/games/comics like mine don’t do very well" "The shit that’s hot right now is nothing like mine, It’s just going to fail." "I’m not sure I’m good enough." "I need the money." "Too Risky." "I tried it before and failed. " It doesn’t matter what words they use, they are afraid for one reason or another. I know. I’ve been there.
But here’s the deal. YOU NEED TO TAKE RISKS. Guess what? YOU ARE MOST LIKELY GOING TO FAIL. If you want it—REALLY want it, that won’t stop you. You will learn A LOT. My good friend Tim constantly jokes about how I jump out of planes without a parachute and worry about the landing on the way down. You may think that I’m lucky, that it’s easy for me to say because I’m already successful, that I’m in a different situation than you all are. But it’s not true. Risk is risk, no matter what level you’re at. If you’re already successful, you just take even bigger risks. But they never go away. Everything in life is Risk vs. Reward. Not just in your career. LIFE. You’d better get used to it.
I didn’t know what the hell I was doing when I got into comics. I left the #1 selling book at the time ( Uncanny X-men ) to work on Battle Chasers during a time when 'Conan' was about the only fantasy comic people knew. And no one was buying it. I wanted to work in games, so I started a game company. I had NO IDEA WTF I was doing. I just wanted it, really bad. We tanked. It failed. No big surprise. But the people I worked with got hired elsewhere and rehired me. I started ANOTHER game Company. We had 4 people and a dream, and some publishers wouldn’t even meet with us, because their ‘next gen console’ teams had 90+ people on them. I literally got hung up on. "Stick to handheld games, it’s smaller, maybe you can handle that…" one MAJOR publisher told us. I don’t blame them. But we didn’t let it stop us. Thank god we didn’t listen to them. Vigil was born. Darksiders happened, AND we got to make a sequel. It stands shoulder to shoulder with the best games in the industry, and the most elite and experienced game dev studios in the world. How is that possible?!!! Hardly any of us had even worked on a console game before. I’ll be honest, I was thinking we would fail the whole time. I just didn’t care. If I had to play the odds on this one, I’d bet against us.
Why am I telling you all this shit? This is not me patting myself on the back. It’s just stuff that has somehow only dawned on me recently when it’s been staring me in the face for so long. I feel like I need to wake you guys up!!! I’ve been limiting myself. I’ve gotten afraid. I’ve taken less risks. I saw my career going places I didn’t want to go. I wasn’t happy and I wasn’t excited. And I’ve realized, that all that stuff I just talked about is the reason I am where I am today. Not because I have a manga style, or I draw cool hands, or there’s energy in my drawings, or all the other things people rattle off to me. There are other guys that do all that same shit, and do it better. And amazingly, those same guys constantly tell me “Man, I wish I could do what you are doing.” “SO DO IT!!!!!” PLEASE listen to me—because I want you guys to make it. I want to look to one of you people for inspiration some day when it’s 2am and I need to keep drawing. Stop worrying about all the other stuff—the pencils, the paper, the anatomy, all that shit. It will only get you so far. You’ve already got most of what you need. I hope this helps some people. From the bottom of my heart, thank you for all the support over the years. You are all one of the greatest motivating forces in my life and my career. Sappy but true. Ok, let’s go draw some shit!!!”
Fantasia, Dance of the Sugar Plum Fairy (1940)
GUYS YOU HAVE NO IDEA HOW WONDERFUL THIS IS
Parkinson’s is a degenerative disease and while it’s progress can be slowed down, it currently doesn’t have a cure. People suffering from Parkinson’s will experience a gradual loss of coordination and ability to perform even the most basic of every day tasks, including feeding themselves.
This fucking spoon is HUGEfor them. Look at that gif of the man just trying to eat with the regular spoon and compare it to the liftware device. It’s NOT just a spoon, by the way, it comes with a fork as well, for example.
I found the website for the project where you can purchase a spoon for someone you know/love and even possibly donate money to help someone out who can’t afford it themselves right: HERE.
At the very least, please spread this for all the people who have Parkinson’s or loved ones with Parkinson’s.
You’ll help them take part of their life back.
i googled basically “why isnt there something like grindr but for ladies” and the answer was “there have been but they all fail because men kept infiltrating them and being disgusting and predatory” amazing why didnt i figure that out on my own
Childhood movies taught me the most important thing of all: parents aren’t always right and they don’t always know what’s best for you.
look how many notes this thing has
Another lesson in these movies is that if parents/authority figures actually listened to their kids, a lot of the drama that results from them forcing their expectations wouldn’t occur.
- Triangular rotated sidebar (automatically resized)
- The description slides from the subtitle
- 11 custom links + 3 fixed main links
- Post sizes: 250 / 400 (default) / 500 pixels.
- Optional: Infinite scrolling, bigger sidebar
- Lazy load
- Jump pagination
- It is a grid theme & more collumns will appear on higher resolution screens.
Credit goes to: Starious for her lazy load tutorial
Inspiration: Yukoki’s Shinjitsu theme (more specifically the header & permabar design) has given me the initial thought for this theme, my 9th theme - which is my favourite grid, summer, Amy Pond, lemonade, lemons in general and the 11th Doctor.
During the scene when Mulan decides to go to war instead of her father, she decides to do it while sitting on the foot of the Great Stone Dragon. The image of the dragon looking over Mulan is repeated several times throughout the sequence, and the bolts of lightning strike at significant times whenever the dragon is in sight. When Mulan takes her father’s scroll and when she is praying to her ancestors, the Great Stone Dragon can be seen. It is also engraved on the sword Mulan uses to cut her hair and the handles of the wardrobe containing the armor are in the shape of the dragon’s head. The dragon’s eyes glowing in the temple symbolizes Mulan’s role as protector of her family awakening, instead of the actual dragon.
The reason Mushu couldn’t wake the dragon is because the dragon was no longer there. Mulan is implied to be the Great Dragon that protects her family.