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|Love and Rockets LOCAS Digital Bundle
|Written by Jen Vaughn | Filed under Love and Rockets, Jaime Hernandez, digital comics, comiXology
|1 Jul 2013 2:59 PM
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New Releases
Upcoming Arrivals
Massive: Gay Erotic Manga and the Men Who Make It [Pre-Order]
Price: $35.00
A Valentine for Charlie Brown [Pre-Order]
Price: $9.99
The Comics Journal Library Vol. 9: Zap The Interviews [Pre-Order]
Price: $35.00
more upcoming titles...
Fantagraphics and comiXology are now offering a five book digital bundle to save you money. The entire collected "Locas" saga (to date) by Jaime Hernandez stars Maggie, Hopey, their friends, families, rivals and lovers in 5 digital volumes, offered here at a special package price!
Maggie the Mechanic includes the earliest, punkiest stories with a heavy science-fiction bend. Meanwhile The Girl from H.O.P.P.E.R.S. centers on one of Jaime's peaks, "The Death of Speedy," and various love triangles. In third volume, Perla La Loca Jaime drops a narrative bomb on Hopey, a murderous hooker AND an amorous lady wrestler appear; and Maggie gets married? The fourth volume is all about Penny Century and returns to the wrestling ring for some real fun followed by the fifth volume (but not final) Esperanza in which an older and wiser Maggie faces down her demons, Hopey transitions from tending bar to tending schoolkids, and Ray tussles with the volatile bombshell Vivian.
The Locas Library bundle is a perfect gift item for a long-time fan or a new reader. A bajilliondy hours of reading for $60.99!
"One of the most talented artists our polyglot culture has produced." - The New York Times Book Review
"Jaime Hernandez is taking a lifetime to create The Great American Graphic Novel, and if you're lucky, you'll outlive him. That way, you get to see how it ends." - R.C. Baker, The Village Voice
Adam and I go waaaayyy back professionally. We hosted the 2010 Nerdlinger Awards together pre-SPX at Atomic Books and I designed his first set of shirt. Here Euge (center) and I are handing Fantagraphics' cartoonist Drew Weing his Nerdlinger award for Best High Seas Adventure, Unpronouncable Name or something silly like that (the awards are beers, people). So for fun, music and Kupperman comics, donate to a worthy cause.
To get everyone excited about Volume 2 coming out soon, Fantagraphics and comiXology released Eye of the Majestic Creature Vol. 1 to add to your digital comics library. Leslie Stein's book is a collection of semi-autobiographical and fantasy-based comics that combine dry humor, psychedelia, and emotion to show the viewpoint of one person's world internally and externally.
The story follows a young girl, Larrybear, and her talking acoustic guitar Marshmallow on their adventures through the countryside, Chicago, San Francisco and New York. While Larrybear struggles to connect with strangers, her friends, and her family to various degrees of success, her growing population of anthropomorphic friends have adventures of their own.
Enjoy this 122-page unique work for only $14.99 over at comiXology today. And start practicing on your own Marshmallow guitar for Volume 2!
"Stein's cartooning is broad and trippy, and if she occasionally becomes intoxicated with her own gimlet-eyed sensibility, she's never afraid to turn that dark wit on herself. Eye of the Majestic Creature... is ultimately the tale of a young woman rejecting the things that shaped her and attempting to figure out what comes next for her. Thanks to Stein's loose, amiable approach, you'll want to know that, too." –Glen Weldon, NPR
"Underground-influenced comics fall into certain patterns - idiosyncratic art, rambling tales of daily life, copious use of mood-altering substances - but [Leslie] Stein makes hers [Eye of the Majestic Creature] fresh with the addition of a talking guitar.... Stein's style is very readable, with sparse linework and a lead character that resembles a more tripped-out Little Orphan Annie, with huge blank buttons for eyes. Stein's settings and other characters show more detail, especially in the complex stippling, demonstrating her outward focus.... Her world is full, even if it's one that's a bit off-kilter..." –Publishers Weekly
This week's comic shop shipment is slated to include the following new titles. Read on to see what comics-blog commentators and web-savvy comic shops are saying about them (more to be added as they appear), check out our previews at the links, and contact your local shop to confirm availability.
340-page full-color 8.75" x 11.25" hardcover • $39.99
"Instead of a tidy narrative, [New School] is about art, about the art that's in the book itself...There's stuff going on at other levels, the intuitive, the leve of the unconscious, the subconscious I guess you could say....This book is just fascinating." –Glen Weldon, NPR
"The experience of reading New School is like temporarily inhabiting the body and brain of an artist: This is what growing up might feel like for someone who lives and breathes colors and shapes. It's heady, hallucinatory, and bizarre, but it's grounded in the simple experience of growing up in the shadow of a beloved older sibling." -Allison Hallett, Portland Mercury
Zippy: The Dingburg Diaries
232-page black & white/color 8" x 10" softcover • $29.99
"He's about the only guy in America who's doing a readable, interesting daily comic strip for daily newspapers. He' s the only one left, as far as I know. I don't know of any others." -R. Crumb
Fantagraphics and comiXology bring you a delight for children and adults of all ages, Barnaby by Crockett Johnson. Barnaby revolved around a precocious five-year-old named Barnaby Baxter and his fairly godfather Jackeen J. O'Malley. Yet O'Malley, a cigar-chomping, bumbling con-artist and fast-talker, was not your typical protector. His grasp of magic was usually specious at best, limited to occasional flashes, often aided and abetted by his fellow members in The Elves, Leprechauns, Gnomes, and Little Men's Chowder & Marching Society. Hilarity and confusion often ensue all couched within the setting of World War II. Edited by Associate Publisher Eric Reynolds and Philip Nel, this beloved comic strip is finally given the Fantagraphics treatment.
Barnaby's deft balance of fantasy, political commentary, sophisticated wit, and elegantly spare images expanded our sense of what comic strips can do. With subtlety and economy, Barnaby proved that comics need not condescend to readers. Its small but influential readership took that message to heart.
So get this first volume that collects 1942-1943 of the newspaper strip for only $29.99 via comiXology! (Strip reformatted below so you can read it on our FLOG)
"I think, and I'm trying to talk calmly, that Barnaby and his friends and oppressors are the most important additions to American arts and letters in Lord knows how many years." –Dorothy Parker
"Johnson combined low-impact serialized adventure with some gentle comedy based around the ways that adults and kids diverge in their perspectives. The result is a compulsively readable strip with a winningly off-kilter point-of-view-and a cultural treasure that's been long-overdue for this kind of prestige archival project... " –Noel Murray, The A.V. Club
This week's comic shop shipment is slated to include the following new titles. Read on to see what comics-blog commentators and web-savvy comic shops are saying about them (more to be added as they appear), check out our previews at the links, and contact your local shop to confirm availability.
Edited by Eric Reynolds & Philip Nel; Introduction by Chris Ware; art direction by Daniel Clowes
320-page black & white (with some color) 11"x 6.75" hardcover • $35.00
"Johnson combined low-impact serialized adventure with some gentle comedy based around the ways that adults and kids diverge in their perspectives. The result is a compulsively readable strip with a winningly off-kilter point-of-view-and a cultural treasure that's been long-overdue for this kind of prestige archival project... " –Noel Murray, The A.V. Club
"Fantagraphics deserves a Nobel Prize in Literature for their efforts to reprint complete runs of classic American comic strips... There is rarely an attempt at more than 2-dimensions but that flatness provides a late art deco elegance to [Barnaby]....This strip is fun, funny, I'm so glad its back and Fantagraphics is giving it their usual top-notch presentation," –Kevin Lauderdale, It Has Come To My Attention
The last thing you'll read before the San Diego PR Storm 2013:
• Review: The AV Club looks at Ulli Lust's Today is the Last Day of the Rest of Your Life. Noel Murray writes, "Today Is The Last Day Of The Rest Of Your Life takes the form of a post-apocalyptic horror story, wherein the heroine ekes out a meager existence by day and then fights off monsters by night.…Lust takes readers inside her experiences, letting them feel how high hopes can devolve into raw survival."
• Review: Ulli Lust's Today is the Last Day of the Rest of Your Life is reviewed in the New York Times by Douglas Wolk. "the book ripples with exuberance:… Lust's pen-and-ink work (augmented by the pale green tint of European paperbacks) depicts the stretched and crimped features of the people from whom she bummed change, the architecture of St. Peter's Basilica and the chaos of a Clash concert with equally manic panache, and her line is as seemingly unkempt but as deliberately molded as her younger self's punk-rock shock of hair."
• Plug: Whitney Matheson on USA Today's Pop Candy thinks Ulli Lust's new book, Today is the Last Day of the Rest of Your Life, is right for you. "This epic memoir from the Austrian cartoonist (now translated into English) tells the story of her crazy travels through Italy as a true punk-rock girl in the '80s."
• Review: Booklist Online spends the day with Donald Duck: The Old Castle's Secret by Carl Barks. "The applause-worthy effort… Oodles of shorter pieces provide more evidence yet that this series is an essential addition to any serious (or just plain fun) comics collection" writes Ian Chipman.
• Review: The New York Journal of Books reads Donald Duck: The Old Castle's Secret by Carl Barks. "There is no tantrum like a Donald Duck tantrum…Every single page of this new collection of classic Donald Duck stories is filled with silliness and slapstick and adventure…Try not smiling at Carl Barks' work. It's impossible," says Mark Squirek.
• Interview: Zak Sally on The Comics Journal interviews on Peter Bagge and The Beat follows up. Bagge states, "I like the way [a pamphlet or floppy comic] feel. To me it's an ideal format, the traditional comic book format. It's the perfect amount of material to read in one sitting."
• Commentary: The Beat and Hannah Means-Shannon discuss the humor panel from HeroesCon 2013 featuring Peter Bagge (there promoting his new book, Other Stuff). When asked advice from a younger cartoonist Bagge replied, "If you're goal is to be a starving artist, it's an easy road ahead."
• Review: Dead Canary Comics look at Prison Pit series by Johnny Ryan. "It's so extremely excessive in its hilarity it draws stifled belly laughs from your gut on packed trains as parents and politicians glance witheringly at images of monsters shitting themselves, ghouls eviscerating ghouls... in an age when we've got more X Men titles than people on the planet it's refreshing to just have a comic book that's all about entertainment!"
• Plug: Speaking of Johnny Ryan, show off how you don't fucking mess around with a PRISON PIT patch! Only $5 (plus shipping).
• Review: Brian Heater of BoingBoing looks at Leslie Stein's Eye of the Majestic Creature Vol. 2."It's a sort of childlike forgiveness of life's darker corners, which carries on into grown up stories…Stein's is a welcomingly unique take on the well-trod world of autobiographical comics, and once you've excepted her rhythms as your own, it can be a hard world to step away from."
• Review (audio): NPR's Pop Culture Happy Hour enjoy Dash Shaw's New School. Glen Weldon states, "Instead of a tidy narrative, [New School] is about art, about the art that's in the book itself…There's stuff going on at other levels, the intuitive, the leve of the unconscious, the subconscious I guess you could say.…This book is just fascinating."
• Review: Booklist Online reviews Goddamn This War by Jacques Tardi and Jean-Pierre Verney. "…six years of hopelessly indistinguishable trenches, explosions, corpses, mud, and maggots, all of it depicted via three panoramic panels per page rendered in smoky grays and foggy blues—with blood accents… The pages are strewn with images of dead bodies and midexplosion terrors, but the unforgettable centerpiece is two wordless pages of disfigured postwar faces"
• Review: About.com looks at Anders Nilsen's The End. Jeff Alford writes "these pages come from such a raw emotional place that they'll reverberate like an echo from a well....It's a message we've heard before, but its majestic delivery and the difficult path that led to this revelation make The End all the more exceptional."
• Review: Comic Pusher looks at Anders Nilsen's The End. "This isn't a non-fictional description of grief written after the fact, this is grief, unfiltered and complete…The best sequences are where Nilsen breaks away from the heartbreaking emotional literalism and opens out into almost abstract expressions of the nature of grief."
• Review: Johanna Draper Carlson of Comics Worth Reading unpacks Walt Disney's Mickey Mouse Color Sundays by Floyd Gottfredson. "The lighter approach makes this book a better choice to share with your young ones. They should love the timeless highjinks of the mouse and his friends. And anyone can appreciate the skilled cartooning and astounding art, so well-done it almost seems to move on paper."
• Commentary: Heidi MacDonald of The Beat talks about Lorenzo Mattotti at BEA. "In Italy Mattotti is pretty much an all around art and design god, and he's known here for his New Yorker covers, and Fantagraphics has been putting out his recent work in Englias."
• Review: Wandering Son Vol. 4 by Shimura Takako gets reviewed by Read Comic Books. "…what continues to make Wandering Son a fantastic read is the frankness it presents developmental sexual identity…Few comics will challenge you like Wandering Son. It covers a topic not widely written about or discussed, and does so in a tactful, warm, embracing manner," concludes Nick Rowe.
• Review: The Smithsonian Asian Pacific American Center gives Wandering Son Vol. 4 a whirl. Terry Hong comments," 'Fresh' is exactly the right word to describe this gentle gender-bender series…Creator Shimura Takako is a compassionate, empathetic storyteller without judgment or guile. Her young characters face their inescapable maturity as best as they can in a brave new world of 'gender-fluid'."
• Review (audio): It Has Come to My Attention recorded a short 7-minute review of Barnaby Vol. 1 by Crockett Johnson. "Fantagraphics deserves a Nobel Prize in Literature for their efforts to reprint complete runs of classic American comic strips… There is rarely an attempt at more than 2-dimensions but that flatness provides a late art deco elegance to [Barnaby].…This strip is fun, funny, I'm so glad its back and Fantagraphics is giving it their usual top-notch presentation,"
• Review: Letterer Todd Klein looks at Pogo Vol. 2 Through the Wild Blue Yonder by Walt Kelly. "…this strip is perhaps the opposite of 'Peanuts,' which went with a minimalist approach. 'Pogo' is maximalist! Both are great fun and often quite funny.…There's really not a single thing to fault in this fine book"
• Review: Jack Davis' new collection 'Tain't the Meat reviewed on Sound on Sight. "It's entertaining in the juvenile delight it takes in grossing out readers. You also get to witness Davis' style as it improves with every story: his lines get sharper, there's more detail and contrast in the panels… It might also provide a good trip down memory lane for some, reminding them of late nights spent with smuggled comics contraband and a flashlight under the sheets. It's a good introduction as well to a genre that may today seem corny and hackneyed, but I'll be damned if it still ain't pretty creepy, bad puns an all," writes Chris Auman.
• Review: Broad Street Review gazes upon 50 Girls 50 by Al Williamson with love. Bob Levin pens, "Williamson's art could infuse aliens and monsters, no matter how hideous, with sympathetic personalities that reinforced Feldstein's feelings about brotherhood and tolerance.…His delicate line, intricately constructed panels and gossamer-like space-station cities and landscapes are fully on display in this book."
• Review: Comics Bulletin on Came the Dawn by Wallace Wood. "…the true delight and fascination of Came the Dawn will be seeing again Wood's sublime understanding, indeed his enrichment of, the comics language, from panel and page composition to the pacing, direction, of capturing and conveying of mood…Let's face it: No one draws an emaciated corpse - especially in zombie form - better than Wood," pens Eric Hoffman.
• Review: The Last Vispo edited by Crag Hill and Nico Vassilakis is reviewed on Ler BD.
• Plug: The Love and Rockets Library makes it onto Robot 6's latest edition of Shelf Porn ....with a kitty! Pictures and shelf ownership by Guido Cuadros.
• Commentary: MTV Geek talks about the awesomeness of CAKE and artists like Kim Deitch and Noah Van Sciver appearing to sign books.
• Commentary: Aside from eating some suspect local food, Noah Van Sciver does great with The Hypo and his one-man anthology BLAMMO at Denver Comic Con on The Beat.
• Plug: Jim Woodring's first beer in the Oddland Series was included in the Best Labels of the week.
The only thing that could make Al Columbia's Pim and Francie even more terrifying is to add color. Columbia recently sent Hi Fructose some exclusive new paintings they are featuring on their website that continue the horrorscape he created in 2009's Pim and Francie. Turn the lights down low, grab that gristle pie you made for lunch and enjoy these haunting illustations after the jump.
Maakies and Sock Monkey cartonist, Tony Millionaire, continues to be funnier than you on paper, in person and on film. This weekend Funny or Die released the video The Edge of Alligiance featuring Millionaire as George Washington on Mount Rushmore. If this made you spit out your cuppa joe, check out the older Fun With God where Millionaire plays who else but God? Keep your eyes peeled for our San Diego announcements so you know when Tony Millionaire will be signing books at our booth!
Join us this weekend at CAKE at Center on Halsted in Chicago from Saturday, June 15 through Sunday, June 16th! Table 13-14 is the place to be. We're pumped to announce our special guests, Kim Deitch, Ben Catmull, Charles Forsman, Leslie Stein, Josh Simmons, Tom Kaczynski, Lilli Carré, and Noah Van Sciver! Check out our lush signing schedule:
Saturday, June 15th
Leslie Stein 11:00am-Noon
Sunday, June 16th
Tom Kaczynski 11:00am-noon
Our artists will be partaking in programming throughout the weekend, so check out their panels! - See more at: http://www.fantagraphics.com/index.php?option=com_myblog&show=Fantagraphics-at-Stumptown-Comics-Fest-2013-in-Portland.html&Itemid=113#sthash.R89fGTf6.dpuf
We have some lip-bustin' new books to debut at CAKE.
• The Amazing, Enlightening and Absolutely True Adventures of Katherine Whaley by Kim Deitch
• The End of the Fucking World by Charles Forsman
• Eye of the Majestic Creature Vol. 2 by Leslie Stein
• The End by Anders Nilsen
• Wake Up, Percy Gloom by Cathy Malkasian
• Good Dog by Graham Chaffee
• The Daniel Clowes Reader edited by Ken Parille
aaaannnnd Wandering Son Vol. 4 by Shimura Takako
Our cartoonists will be partaking in programming throughout the weekend, so check out their panels!
On Friday, June 14th Kim Deitch has a signing from 6pm-8pm at Chicago Comics. (3244 N Clark)
Saturday, June 15th
Noon-1:00pm // Chris Ware: Special Guest Chris Ware is the author of Jimmy Corrigan - the Smartest Kid on Earth, which received the Guardian First Book Award and was included in the 2002 Whitney Biennial of American Art. His most recent book, Building Stories, was voted a 2012 Top Ten Book of the Year by the New York Times, Time Magazine and Publishers Weekly. Jake Austen, editor of the vital and influential Chicago cultural magazine Roctober, will host Mr. Ware in conversation, speaking on Ware's career and his connection to Chicago and its living comics history.
3:00 - 4:30pm // Eyeworks: Parallel Lines: The Eyeworks Festival of Experimental Animation is a film festival with a focus on abstract animation and unconventional character animation. The festival programs showcase outstanding experimental animation of all sorts: classic films, new works, and rare masterpieces. Founded in 2010 by Alexander Stewart (Library Book, Sideral) and Lilli Carré (Heads or Tails, The Lagoon), Eyeworks is held annually in Chicago, with additional curated programs presented in Chicago and other cities throughout the year. The Eyeworks program showing at CAKE this year, Parallel Lines, features animated work that highlights an overlap between alternative comics and experimental animation. The screening will include both classic and contemporary works on this theme, showcasing narrative and graphic parallels between the two forms. Immediately following the screening there will be a Q&A, with presented animators Kim Deitch, Kevin Eskew, and Leif Goldberg.
Sunday, June 16th
12:30 - 1:30pm // Mega-Solutions to Micro-Publishing: Oily Comics: In the current expansion of the micro-publishing field, Special Guests Oily Comics is a premiere imprint. Operated by Chuck Forsman (The End of the Fucking World, Snake Oil) and Melissa Mendes (Lou, Freddy), Oily Comics features some of the best talent in alternative comics. Joining them on stage will be fellow Special Guest Michael DeForge (Adventure Time, Elizabeth of Canada, Lose), and German cartoonist, Anna Haifisch (The Buddies, Future Tense). CAKE co-organizer Max Morris will moderate this exciting discussion.
2:00 - 3:00pm // Kim Deitch: Special Guest Kim Deitch came from a legacy in the animation field and continues to form a legacy of his own. From the hey-day of the undergrounds, through the breakthrough of Raw, Kim Deitch remains a seminal force in alternative comics. Deitch will be speaking about his new book, The Amazing, Enlightening and Absolutely True Adventures of Katherine Whaley, out this year from Fantagraphics. He will be joined by Caitlin McGurk (Good Morning You), librarian at the Billy Ireland Cartoon Library and Museum.
3:30 - 4:30pm // Intimate Anxiety: Beyond the shock tactics of portraying "inappropriate" subject matter in comics, we find the medium is exquisitely suited for grappling with explicit content, unchained from the trappings of taboo. Intimate Anxiety focuses on three artists' ferocious visions of sex and death, made all the more visceral through gorgeous and painstaking details. Special Guest Phoebe Gloeckner sets the standard for work that probes these realms. From her experimental memoir, Diary of a Teenage Girl, to her iconic illustrations for RE/Search to her current work dealing with the ongoing femicide in Cuidad, Juárez, Gloeckner continues to confront difficult realities with groundbreaking graphic integrity. Julia Gfrörer's art vibrates off of the page while crafting oblique erotic worlds laced with terror. Through sparse text and a perfect sense of visual timing, Gfrörer's comics, such as Too Dark to See, Flesh and Bone and Black Is the Color bring language to the unspeakable. Joining them will be Special Guest Heather Benjamin, whose obsessively rendered drawings aim straight for the jugular vein. Author of the cult art zine Sad Sex and contributor to the prolific output of Collective Stench, Benjamin's art delves headfirst into complicated scenarios that are emotionally fraught and sexually feral. Moderated by Caroline Paquita, author of Womanimalistic and founder of Pegacorn Press, Intimate Anxiety is a conversation about the power and truth that lies within impropriety.
So come visit Jacq and all our cartoonists at tables 13-14 this weekend at CAKE! 3656 N Halsted, Chicago, IL 60613
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Cryptic Wisdom - Hurts the Same
Artist: Cryptic Wisdom
Producer: Sinima
Album: One EP
Avg Rating: 4.2 ( 5 votes )
In September, Cryptic Wisdom made his grand entrance onto our pages with If You Knew, the lead single from his latest EP. Today, he returns to our pages with another fresh song release off the DJBooth-hosted set. Like its precedessor, which depicted the artist's experiences as an elementary-school outcast, this cut features the Tucson representative working through past trauma—but this time around, the wounds are still fresh. Over Sinima's melancholy piano chords, the emcee spits about the shattering effects of a recent breakup, lamenting, "Ever since… you left me, Nothing Hurts me The Same." Director Carlos Berber's official visuals round out the package. For this cathartic cut and much more, check out Cryptic Wisdom's One EP, available here for free streaming and digital download. Additionally, fans can support the artist by purchasing the project's retail version on iTunes.
Cryptic Wisdom Music VideosIndieAlternative
Written by richard on 11/14/13
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First DJ Booth Appearance:
"If You Knew " (2013)
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Vinyl Applicator
Safely adheres and smooths your vinyl
Leatherman Super Tool 300 Multi-Tool with Leather Sheath
Sloped-top handle design
Rolled handles for a comfortable grip
Large side cutouts for easy grabbing
Contains over a dozen tools
Leather sheath included
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Parker RED HOT Wax and Lube Kit
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Comes with 2 bonnets
Great Neck Mariner 65-Piece Tool Set
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1975 Chevrolet Caprice Classic Convertible. Original garaged/maintained and pampered example. Original desirable colors, original Slate Blue, with white top and interior. 96K with great... More
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Stewart Udall knew first-hand the dangers of reckless mining
By Phil Hocker
March 26, 2010
Phil Hocker cofounded EARTHWORKS (as Mineral Policy Center), along with Stewart Udall and Michael McCloskey. Phil served as Mineral Policy Center s first executive director from its founding in 1988 through 1997. He writes:
I mourn the loss of Stewart Lee Udall.
From 1954 to 1960, Stewart Udall served as Congressman from a mining-dominated region of Arizona. He knew first-hand the reckless damage the mining industry causes. He knew that the 1872 Mining Law still gives mining corporations vast power to overwhelm other values on public lands. He strove to fix it.
In January 1969, when he stepped down after eight years as Secretary of the Interior, Stewart wrote:
"...after eight years in this office, I have come to the conclusion that the most important piece of unfinished business on the nation's resource agenda is the complete replacement of the Mining Law of 1872."
When EARTHWORKS (then known as Mineral Policy Center) was formed in 1988, Stewart Udall volunteered to be Chairman of our Board of Directors. He lent his prestige and his knowledge to the campaign to reform the 1872 Mining Law. Stewart testified in person at an early Reform hearing in the Senate. He and I went door-to-door in the offices of Congress, meeting with Representatives and Senators to explain the need for 1872 Reform. He wrote letters and op-ed pieces to help spread the word.
Tagged with: stewart udall, phil hocker
Udall was unique in marrying vision to action
By Stephen D'Esposito
March 26, 2010
Stephen D Esposito was Phil Hocker s successor, and served as EARTHWORKS second president and executive director from 1997 through 2008. He is now the President of RESOLVE. He writes:
Stewart had a unique capacity to match a global conversation vision with actions that made a difference to the people and the places that we all love.
EARTHWORKS had the good fortune to be guided by this vision and pragmatism from the outset. The Udall spirit and drive to find solutions to environmental challenges lives on in organizations like EARTHWORKS, the Udall Foundation and the foundation's support for the U.S. Institute of Environmental Conflict Resolution.
Tagged with: stewart udall, stephen d'esposito
Udall's stamp of approval aided EARTHWORKS mining reform fight
By Michael McCloskey
March 26, 2010
Michael McCloskey, cofounded EARTHWORKS (then Mineral Policy Center) with Stewart Udall and Phil Hocker. He also was EARTHWORKS' board chair from 1997 to 2001, and Sierra Club executive director from 1969-1987. He writes:
I had known Stewart Udall from the time when he was Secretary of the Interior under President Kennedy. During Kennedy's time, he embodied a surge of optimism that Kennedy's presidency would usher in a new wave of progress on conservation, particularly in protecting nature.
While things did not always work out that way, especially after Kennedy's demise, nonetheless Udall carried the mantle of that period of hope into his future life.
We were delighted when he agreed to give his stamp of approval when the Mineral Policy Center was formed and become its chairman. When he had been Interior Secretary, he emphasized the importance of reforming the mining act of 1872 and gave that hope historical stature.
I heartily agreed and served with him from the outset and was delighted to renew my acquaintance with him. In his mind, I was always an environmental lobbyist, who was up-to-date on events on the hill. His attitude reminded me of the times I was in his office when he was Interior Secretary and what an exciting time it was.
Tagged with: stewart udall, michael mccloskey
A Giant of Conservation
By Karin Sheldon
March 26, 2010
Karin Sheldon joined EARTHWORKS Board of Directors in 1994, has been the chair of the board from 2001-2010, and is currently the Executive Director of Western Resource Advocates.
I had the honor of serving on the board of Earthworks (then called Mineral Policy Center) when Stewart Udall was Chair. I was enthralled by his stories of the battles to create new national parks and monuments, protect migrating salmon from massive dams, and preserve wilderness.
Secretary Udall promoted reform of the Mining Law throughout his career and long after retiring from public office. He was also committed to the appropriate control of unbridled oil and gas development, and the protection of our historic, archeological and cultural treasures.
Stewart Udall was the consummate Westerner, with a Westerner s deep connection to the landscapes, people and history of the region. He was handsome, courtly and charming with wry sense of humor and absolute zest for life.
Stewart Udall was a member of Congress and in charge of the sprawling Department of the Interior at a time when environmental protection was a bi-partisan issue. He and an array of Democratic and Republican colleagues recognized that the wealth of natural resources of America belong to all, a shared inheritance of value and beauty requiring stewardship and conservation.
Tagged with: stewart udall, karin sheldon
Stewart Udall, an Inspiration
By Cathy Carlson
March 26, 2010
Cathy Carlson is EARTHWORKS' current Policy Advisor and a longtime advocate for mining reform, clean water and healthy communities.
Stewart Udall inspired a generation of activists like myself to pursue the balanced management of our natural resources. As Congress and the Administration grappled with the questions of how to manage our public lands in the country, Stewart Udall wrote in 1969:
...after eight years in this office, I have come to the conclusion that the most important piece of unfinished business on the nation's resource agenda is the complete replacement of the Mining Law of 1872."
His book about uranium mining in the West continues to illustrate how we need to balance the development of nuclear weapons and nuclear power with the impacts of communities near the uranium mines. He was adamant about the importance of looking at the consequences of our Nation s energy policy. EARTHWORKS is proud to recognize Stewart Udall as one of the founding members of our organization (then called Mineral Policy Center). We continue the work he started in the 1960s.
Sitting in a Natural Resources Policy at the University of California in the late 1970s, we learned about the legacy that Stewart Udall left in the eight years that he served as Secretary of the Interior. He created much of the policy that was being debated at the time in college classrooms, and his leadership continues to be discussed and admired in classrooms around the country.
Tagged with:
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Palm OS Emulator 1.0
The advantages of being portable
The tool can be run directly on your computer by bypassing the installation process and opening the EXE file. In order to uninstall it you only need to delete the files that you have grabbed from the Internet.
What's more, it doesn't leave any entries in your Windows registry and leftover files in your system, so you can run it without administrative privileges. Plus, you may store it on any USB flash drive or other devices and carry it with you.
Minimalistic looks
Palm OS Emulator adopts a simple GUI that integrates only a few features that you can play with. Everything is kept as basic as possible, and there are no intricate configuration settings hidden under its hood.
Although there's no support for a help manual, the dedicated parameters are intuitive so tweaking them is just a matter of a few minutes.
Emulation sessions
Palm OS Emulator gives you the possibility to start a new emulation by selecting the ROM file, picking the desired Palm device from a drop-down list, choosing the skin, as well as altering the RAM size.
What's more, you are allowed to load a previous emulation session from disk (PSF file format) and download ROM images from a Palm OS device by choosing an appropriate serial port and speed, so as to be able to create a new emulation session using the grabbed ROM files.
The application is able to reveal an on-screen image that looks like a Palm handheld. It lets you select the handheld that you want to emulate, show the screen in double size, move the mouse on your desktop computer as if you use the stylus on a Palm device, as well as work with several keyboard shortcuts for faster actions.
Bottom line
In conclusion, Palm OS Emulator delivers a straightforward software solution for helping you emulate the hardware for Palm devices, and suits rookies and power users alike.
Reviewed by Ana Marculescu, last updated on October 30th, 2014
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Application descriptionThe Palm OS Emulator application was designed to emulate the hardware for most Palm Computing Platform Hardware device...


text:
10 Tips for Cocktail Photography, from Manhattan Cocktail Classic's photography workshop at PDT#4273
Rum, Gin, Vodka, Tequila, Cointreau, Guava Juice & a Splash of Soda make this Tickled Pink Tropical Island Iced Tea Pretty (Lethal) in Pink!#4272
Orson Salicetti of Covet in NYC created the Icarus cocktail ~ with flamed absinthe, Iranian saffron oil and Louis XIII cognac. NY Daily News reports on this "sensual" cocktail with rare luxury ingredients.
Wild hibiscus flowers in syrup ... OC Weekly shares this brilliant cocktail ingredient and demonstrates that it's just made for champagne.#4267
Saveur's recipe for the Tante Marie Fizz includes Whitley Neill gin, Benedictine, egg whites and cayenne pepper. A truly unique cocktail!#4266
This is what 1853 tastes like. The Rare Wine Company's Reserve King Pedro V. !47 years in the cask and a revelation on the palate! It made Filet with Port WIne a masterpiece!#4262
This weekend I pulled out the muddler and made a delicious cocktail with strawberries, homemade simple syrup, Prosecco, and lemon.#4260
Employees Only in NYC bottles its mixers like grenadine and lime cordial for home use#4258
Bourbon, egg white, Averna, bitters and mint cocktail at San Francisco's Alembic Bar#4257
Cocktail Culture continues its "24 Drinks with Beefeater 24" series with the Golden Cup.#4256
Cafe Amaretto. A slight deviation from the sweet frilly after dinner drink. Amaretto, coffee, cream AND - cognac.#4254
The Food Addicts combine two of my loves ~ champagne and watermelon. Watermelon Champagne Cocktail!#4251
Need a break from the standard Bourbon Mint Julep? The Platonic Julep pairs mint with sherry and yellow Chartreuse for a refreshing and complex delight!#4242
The summer cocktails for real gentlemans. Part two - the Collins. Great brothers - Tom (gin) and John (bourbon) - they are good friends for you at summer!#4241
$100 Margarita at the Cheeky Monkey in Puerto Vallarta-Mexico ... includes edible gold flakes, black truffles and more#4240
The Rhubarberol: A fresh, nicely balanced, springtime cocktail that makes use of rhubarb!#4239
Exploring of two classic summer drinks - The Fizz and The Collins at SoD Blog now! Part one - The Fizz, great and delicious refresher for real cocktail geeks.#4237
Rose Raspberry Champagne Cocktail with Crispin's Rose Liqueur from the brilliant Craft Distillers#4236
A recipe for the Von Kaiser as part of Remixed: From Astro to Zadar, featuring recipes, brand recommendations, tips, and cuddly narwhals to help you navigate the quintessential tiki tome, Beachbum Berry Remixed.
Making aguas frescas from fruits like watermelon, cantaloupe and honeydew reminds me of summer. Add vodka in a cocktail shaker full of ice and voila — martini!#4228


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|By David Skok
Article Rating:
|January 19, 2013 09:00 AM EST
"If you cannot measure it, you cannot improve it" – Lord Kelvin
This article is a comprehensive and detailed look at the key metrics that are needed to understand and optimize a SaaS business. It is a completely updated rewrite of an older post. For this version, I have co-opted two real experts in the field: Ron Gill, (CFO, NetSuite), and Brad Coffey (VP of Strategy, HubSpot), to add expertise, color and commentary from the viewpoint of a public and private SaaS company. My sincere thanks to both of them for their time and input.
SaaS/subscription businesses are more complex than traditional businesses. Traditional business metrics totally fail to capture the key factors that drive SaaS performance. In the SaaS world, there are a few key variables that make a big difference to future results. This post is aimed at helping SaaS executives understand which variables really matter, and how to measure them and act on the results.
The goal of the article is to help you answer the following questions:
- Is my business financially viable?
- What is working well, and what needs to be improved?
- What levers should management focus on to drive the business?
- Should the CEO hit the accelerator, or the brakes?
- What is the impact on cash and profit/loss of hitting the accelerator?
(Note: although I focus on SaaS specifically, the article is applicable to any subscription business.)
What's so different about SaaS?
SaaS, and other recurring revenue businesses are different because the revenue for the service comes over an extended period of time (the customer lifetime). If a customer is happy with the service, they will stick around for a long time, and the profit that can be made from that customer will increase considerably. On the other hand if a customer is unhappy, they will churn quickly, and the business will likely lose money on the investment that they made to acquire that customer. This creates a fundamentally different dynamic to a traditional software business: there are now two sales that have to be accomplished:
- Acquiring the customer
- Keeping the customer (to maximize the lifetime value).
Because of the importance of customer retention, we will see a lot of focus on metrics that help us understand retention and churn. But first let's look at metrics that help you understand if your SaaS business is financially viable.
The SaaS P&L / Cash Flow Trough
SaaS businesses face significant losses in the early years (and often an associated cash flow problem). This is because they have to invest heavily upfront to acquire the customer, but recover the profits from that investment over a long period of time. The faster the business decides to grow, the worse the losses become. Many investors/board members have a problem understanding this, and want to hit the brakes at precisely the moment when they should be hitting the accelerator.
In many SaaS businesses, this also translates into a cash flow problem, as they may only be able to get the customer to pay them month by month. To illustrate the problem, we built a simple Excel model which can be found here. In that model, we are spending $6,000 to acquire the customer, and billing them at the rate of $500 per month. Take a look at these two graphs from that model:
If we experience a cash flow trough for one customer, then what will happen if we start to do really well and acquire many customers at the same time? The model shows that the P&L/cash flow trough gets deeper if we increase the growth rate for the bookings.
But there is light at the end of the tunnel, as eventually there is enough profit/cash from the installed base to cover the investment needed for new customers. At that point the business would turn profitable/cash flow positive - assuming you don't decide to increase spending on sales and marketing. And, as expected, the faster the growth in customer acquisition, the better the curve looks when it becomes positive.
Ron Gill, NetSuite:
If plans go well, you may decide it is time to hit the accelerator (increasing spending on lead generation, hiring additional sales reps, adding data center capacity, etc.) in order to pick-up the pace of customer acquisition. The thing that surprises many investors and boards of directors about the SaaS model is that, even with perfect execution, an acceleration of growth will often be accompanied by a squeeze on profitability and cash flow.
As soon as the product starts to see some significant uptake, investors expect that the losses / cash drain should narrow, right? Instead, this is the perfect time to increase investment in the business. which will cause losses to deepen again. The graph below illustrates the problem:
Notice in the example graph that the five customer per month model ultimately yields a much steeper rate of growth, but you have to go through another deep trough to get there. It is the concept of needing to re-enter that type of trough after just having gotten the curve to turn positive that many managers and investors struggle with.
Of course this a special challenge early-on as you need to explain to investors why you'll require additional cash to fund that next round of acceleration. But it isn't just a startup problem. At NetSuite, even as a public company our revenue growth rate has accelerated in each of the last three years. That means that each annual plan involves a stepping-up of investment in lead generation and sales capacity that will increase spending and cash flow out for some time before it starts yielding incremental revenue and cash flow in. As long as you're accelerating the rate of revenue growth, managing and messaging around this phenomenon is a permanent part of the landscape for any SaaS company.
Why is growth important?
We have suggested that as soon as the business has shown that it can succeed, it should invest aggressively to increase the growth rate. You might ask question: Why?
SaaS is usually a "winner-takes-all" game, and it is therefore important to grab market share as fast as possible to make sure you are the winner in your space. Provided you can tell a story that shows that eventually that growth will lead to profitability, Wall Street, acquiring companies, and venture investors all reward higher growth with higher valuations. There's also a premium for the market leader in a particular space.
However not all investments make sense. In the next section we will look at a tool to help you ensure that your growth initiatives/investments will pay back: Unit Economics.
A Powerful Tool: Unit Economics
Because of the losses in the early days, which get bigger the more successful the company is at acquiring customers, it is much harder for management and investors to figure out whether a SaaS business is financially viable. We need some tools to help us figure this out.
A great way to understand any business model is to answer the following simple question:
Can I make more profit from my customers than it costs me to acquire them?
This is effectively a study of the unit economics of each customer. To answer the question, we need two metrics:
- LTV - the Lifetime Value of a typical customer
- CAC - the Cost to Acquire a typical Customer
(For more on how to calculate LTV and CAC, click here.)
Entrepreneurs are usually overoptimistic about how much it costs to acquire a customer. This probably comes from a belief that customers will be so excited about what they have built, that they will beat a path to their doors to buy the product. The reality is often very different! (I have written more on this topic here: Startup Killer: The Cost of Customer Acquisition, and here: How Sales Complexity impacts CAC.)
Is your SaaS business viable?
In the first version of this article, I introduced two guidelines that could be used to judge quickly whether your SaaS business is viable. The first is a good way to figure out if you will be profitable in the long run, and the second is about measuring the time to profitability (which also greatly impacts capital efficiency).
Over the last two years, I have had the chance to validate these guidelines with many SaaS businesses, and it turns out that these early guesses have held up well. The best SaaS businesses have a LTV to CAC ratio that is higher than 3, sometimes as high as 7 or 8. And many of the best SaaS businesses are able to recover their CAC in 5-7 months. However many healthy SaaS businesses don't meet the guidelines in the early days, but can see how they can improve the business over time to get there.
The second guideline (Months to Recover CAC) is all about time to profitability and cash flow. Larger businesses, such as wireless carriers and credit card companies, can afford to have a longer time to recover CAC, as they have access to tons of cheap capital. Startups, on the other hand, typically find that capital is expensive in the early days. However even if capital is cheap, it turns out that Months to recover CAC is a very good predictor of how well a SaaS business will perform. Take a look at the graph below, which comes from the same model used earlier. It shows how the profitability is anemic if the time to recover CAC extends beyond 12 months.
I should stress that these are only guidelines, there are always situations where it makes sense to break them.
Three uses for the SaaS Guidelines
- One of the key jobs of the CEO is to decide when to hit the accelerator pedal. The value of these two guidelines is that they help you understand when you have a SaaS business that is in good shape, where it makes sense to hit the accelerator pedal. Alternatively if your business doesn't meet the guidelines, it is a good indicator that there is more tweaking needed to fix the business before you should expand.
- Another way to use the two guidelines is for evaluating different lead sources. Different lead sources (e.g. Google AdWords, TV, Radio, etc.) have different costs associated with them. The guidelines help you understand if some of the more expensive lead generation options make financial sense. If they meet these guidelines, it makes sense to hit the accelerator on those sources (assuming you have the cash).Using the second guideline, and working backwards, we can tell that if we are getting paid $500 per month, we can afford to spend up to 12x that amount (i.e. $6,000) on acquiring the customer. If we're spending less than that, you can afford to be more aggressive and spend more in marketing or sales.
- There is another important way to use this type of guideline: segmentation. Early-stage companies are often testing their offering with several different uses/types of customers / pricing models / industry verticals. It is very useful to examine which segments show the quickest return or highest LTV to CAC in order to understand which will be the most profitable to pursue.
Unit Economics in Action: HubSpot Example
HubSpot's unit economics were recently published in an article in Forbes:
You can see from the second row in this table how they have dramatically improved their unit economics (LTV:CAC ratio) over the five quarters shown. The big driver for this was lowering the MRR Churn rate from 3.5% to 1.5%. This drove up the lifetime value of the customer considerably. They were also able to drive up their AVG MRR per customer.
Brad Coffey, HubSpot:
In 2011 and early 2012 we used this chart to guide many of our business decisions at HubSpot. By breaking LTV:CAC down into its components we could examine each metric and understand what levers we could pull to drive overall improvement.
It turned out that the levers we could pull varied by segment. In the SMB market for instance we had the right sales process in place - but had an opportunity to improve LTV by improving the product to lower churn and increasing our average price in the segment. In the VSB (Very Small Business) segment, by contrast, there wasn't as much upside left on the LTV (VSB customers have less money and naturally higher churn) so we focused on lowering CAC by removing friction from our sales process and moving more of our sales to the channel.
Two kinds of SaaS business:
There are two kinds of SaaS business:
- Those with primarily monthly contracts, with some longer term contracts. In this business, the primary focus will be on MRR (Monthly Recurring Revenue)
- Those with primarily annual contracts, with some contracts for multiple years. Here the primary focus is on ARR (Annual Recurring Revenue), and ACV (Annual Contract Value).
Most of the time in this article, I will refer to MRR/ACV. This means use MRR if you are the first kind of business, or ACV if you are the second kind of business. The dashboard shown below assumes monthly contracts (MRR). However in the downloadable spreadsheet, there is a tab that shows the same dashboard for the second kind, focusing on ACV instead of MRR.
SaaS Bookings: Three Contributing Elements
Every month in a SaaS business, there are three elements that contribute to how much MRR will change relative to the previous month:
What happened with new customers added in the month:
- New MRR (or ACV)
What happened in the installed base of customers:
- Churned MRR (or ACV) (from existing customers that cancelled their subscription. This will be a negative number.)
- Expansion MRR (or ACV) (from existing customers who expanded their subscription)
The sum all three of these makes up your Net MRR or ACV Bookings:
I recommend that you track these using a chart similar to the one below:
This chart shows the three components of MRR (or ACV) Bookings, and the Net New MRR (or ACV) Bookings. By breaking out each component, you can track the key elements that are driving your business. The one variation we would recommend making to this chart is to show a dotted line for the plan, so you can track how you are doing against plan for each of the four lines. This is one of the most important charts to help you understand and run your business.
Ron Gill, NetSuite:
This chart is really good. I also like to look at this data in tabular form because I want to know y-o-y growth rates. E.g. "Net new MRR is up 25% over June of last year". The Y-o-Y % is a metric easily compared with increased spending, sales capacity, etc.
The Importance of Customer Retention (Churn)
In the early days of a SaaS business, churn really doesn't matter that much. Let's say that you lose 3% of your customers every month. When you only have a hundred customers, losing 3 of them is not that terrible. You can easily go and find another 3 to replace them. However as your business grows in size, the problem becomes different. Imagine that you have become really big, and now have a million customers. 3% churn means that you are losing 30,000 customers every month! That turns out to be a much harder number to replace. Companies like Constant Contact have run into this problem, and it has made it very hard for them to keep up their growth rate.
Ron Gill, NetSuite:
One oft-overlooked aspect of churn is that the churn rate, combined with the rate of new ARR adds, not only defines how fast you can grow the business, it also defines the maximum size the business can reach (see graph below).
It is an enlightening exercise to build a simple model like this for your business and plot where your current revenue run rate sits on the blue line defined by your present rate of ARR adds and churn. Are you near the left-hand side, where the growth is still steep and the ceiling is still far above? Or, are you further to the right where revenue growth will level off and there is limited room left to grow? How much benefit will you get from small improvements in churn or the pace of new business sign-up?
At NetSuite, we've had great success shifting the line in the last few years by both dramatically decreasing churn and by increasing average deal size and volume, thus increasing ARR adds. The result was both to steadily move the limit upward and to steepen the growth curve at the current ARR run rate, creating room for increasingly rapid expansion.
The Power of Negative Churn
The ultimate solution to the churn problem is to get to Negative Churn.
There are two ways to get this expansion revenue:
- Use a pricing scheme that has a variable axis, such as the number of seats used, the number of leads tracked, etc. That way, as your customers expand their usage of your product, they pay you more.
- Upsell/Cross-sell them to more powerful versions of your product, or additional modules.
To help illustrate the power of negative churn, take a look at the following two graphs that show how cohorts behave with 3% churn, and then with 3% negative churn. (Since this is the first time I have used the word Cohort, let me explain what it means. A cohort is simply a fancy word for a group of customers. In the SaaS world, it is used typically to describe the group that joined in a particular month. So there would be the January cohort, February cohort, etc. In our graphs below, a different color is used for each month's cohort, so we can see how they decline or grow, based on the churn rate.)
In the top graph, we are losing 3% of our revenue every month, and you can see that with a constant bookings rate of $6k per month, the revenue reaches $140k after 40 months, and growth is flattening out. In the bottom graph, we may be losing some customers, but the remaining customers are more than making up for that with increased revenue. With a negative churn rate of 3%, we reach $450k in revenue (more then 3x greater), and the growth in revenues is increasing, not flattening.
For more on this topic, you may wish to refer to these two blog posts of mine:
- Why Churn is SO critical to success in SaaS
- Multi-axis Pricing: a key tool for increasing SaaS revenue
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text:
Mary Ruwart rocks! I agree with her, No to Gary Johnson, he
is NOT libertarian .... or libertarian enough.
He is NOT against the drug war
He is NOT against the Income Tax (he's for a national sales tax)
He is NOT an anti-interventionist (he loves Israel)
The LP is now a twice over joke. Bob Barr and now Gary Johnson. Nothing libertarian about those two.
Ron Paul is more libertarian in his right pinky finger then both those two bozos.
The LP should chose Mary.
The LP should realize what the R3VOLution is about: ie re-branding Liberty inside the 2 party Duopolies.
We now have Ron Paul Republicans and Jeffersonian Democrats. That is how its done. That is the path we must take. We must RE-BRAND Liberty inside the two party duopoly. We must take our principles to the INSIDE. Want a detailed reason why? Read this: http://www.dailypaul.com/217383/go-libertarian-or-go-freedom...
Yes, please BUY this wonderful libertarian BOOK! We all must know the History of Freedom! Buy it today!
"The System of Liberty: Themes in the History of Classical Liberalism" ...by author George Smith --
Buy it Here: http://www.amazon.com/dp/05211820
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THE VIEW's Barbara Walters Suffering from Chicken Pox
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On today's The View on ABC, host Whoopi Goldberg revealed that fellow couch-mate Barbara Walters is recovering in the hospital from a case of the chicken pox. The legendary broadcaster recently fell and hit her head while covering the Inauguration weekend.
Announced Goldberg, "We want to give you an update on Barbara. You all know that she fell and cut her head 10 days ago, and then was running a temperature, but it turns out it is all the result of a delayed childhood. Barbara has the chicken pox. She'd never had it as a child. So now she's been told to rest, she's not allowed any visitors. and we're telling you, Barbara, no scratching."
Added the comedian, "We love you. We miss you. We just don't want to hug you!"
About THE VIEW:
"The View," recipient of the 2003 Daytime Emmy Award for Outstanding Talk Show, is ABC Daytime's morning chatfest, featuring a team of dynamic women of different ages, experiences and backgrounds discussing the most exciting events of the day. The program has received critical acclaim since premiering August 11, 1997. It's broadcast live weekdays from NYC (11:00 a.m.-12:00 noon, ET; CLOSED-CAPTIONED; broadcast in stereo; TV-14).
"The View" is features ABC News correspondent Barbara Walters -- who appears on average three days a week - moderator Whoopi Goldberg, comedian Joy Behar, actress/comedian Sherri Shepherd and designer and former "Survivor: The Australian Outback" participant Elisabeth Hasselbeck. "The View" consists of hot topics in the news, the best experts in their field, celebrity interviews and general entertainment. The program celebrated its 2000th show on February 2, 2006, and is now in its 12th season on the ABC Television Network.
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