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eIdeas was probably designed to mirror the business process by which many things happen in the company, but the process is the root cause of the problem. If we were to change the business process for evaluating new ideas to be more like crowdsourcing with feedback permitted by anyone, ranking, weighting, etc. then we could devise a better technical solution. A better technical solution that emulates a best practice process without changing how people actually work is, likewise, not a good approach. The other option is to adopt a commercially available best practice process and solution and change how we operate internally to emulate the best practice process. After all, idea generation and innovation management is a commodity capability, and we should not be building solutions to address such functionality in the first place. An example of a best practice process and solution is something like Spigit. Do not concern yourself with the solution per se but rather the process and the capability. There are any number of best practice solutions that are commercially available.
Enterprise Architect
e-Ideas was designed for only one, rather limited, type of suggestion. It only works for ideas that can be tested locally and expanded if the local test is successful. e-Ideas doesn't work at all for suggestions for improvements to any national systems, processes, or programs. And frankly, there are very few systems, processes, or programs anywhere in this organization which are local in design and execution. So as far as I'm concerned, e-Ideas is 95% irrelevant and is therefore a failure.
Thank you, I have recently been searching for information
approximately this subject for a long time
and yours is the greatest I've found out till now. However, what in regards to the bottom line? Are you positive about the source?
Should be set up as you would a Patent...
I put in two suggestion (eideas) and both were shot down' but two to three years later someone else got the "eIdea through. How'd that happen?
One suggestion through the Carrier Envolvement Program, for the USPS to recycle all of the UBBM!
Shot down by the postmaster. Two years later - - adopted ...
Now how much do we make in recycling of waste from UBBM???
The other to have Government Payroll check review on website...
Shot down by my manager again... Again adopted a year or two later...
Another suggestion I had submitted was to conduct route inspection on a Ipad type computer... Naw! no chance....
Forgot to suggest this one...
Have the suggestion (eIdeas) go through the same process as one would submit a Patent....
eIDEAS is a good system on paper, but a terrible one when applied. I know of too many instances where a low level employee put in a suggestion through eIDEAS, only to be shot down and a member of management later taking the idea and getting credit as if they came up with it.
Another problem is that there is too much fear of retribution. You cannot be in the position of clerk, carrier or Postmaster and make a suggestion to improve things without being seen as "rocking the boat" or causing trouble. Once that happens, then you are on the radar. We know how to do our job better than those in upper management do, yet they are the ones who think they know better-despite never doing the job. With the PS being run as a top-down organization, systems like this will always fail.
Something that needs to be done is some form of required feedback from those who actually do the job whenever a new system is implemented or revised. This did happen when the eLearning system rolled out, and should be done with all other systems and programs (especially ebuy2-a system that is probably costing us more time and money than the original system).
Nothing will work until management starts listening to the ideas that are already - daily- coming in. The name of the game is get today's work done. "we don't have time for problem solving. Tomorrow is another day and we'll deal with it tomorrow". That is the attitude.
I retired in 2007 but several months (maybe even a couple of years or longer) before I retired I submitted a suggestion outlining how USPS could save millions by removing collection routes and collection boxes that were not needed. Included in my suggestion was my ideas on modified 6-day delivery. My suggestion(s) was submitted to my PM - I never received confirmation for my suggestion. Move several months down the road and my suggestion starts being implemented nationwide...collection boxes, and collection routes, being abolished everywhere you look.
So, some PM, and I believe I know which one, must have received credit and possible award for my suggestion. That, sir, is the reason USPS can not move forward...they see no value in their employee ideas and suggestions...even down to asking them the best, safest, quickest way to deliver a mail route.
Back to the suggestion...this also happened to me LONG ago at USPS. I suggested a national postal museum (long time before our current one) - my idea was published in our local USPS newsletter. As you know - no credit was given to anyone for suggesting the birth of a national postal museum.
Hey, I heard of this program. Oh, sorry about that. You have to be a career employee to have a brain and an idea which could benefit our team. Sorry part timer, you can't play.
The process takes too long. I, for instance, offered an idea. I asked the postmaster numerous times what had happened to my idea. He said that it was working and had indeed been sent on to Washington for final analysis. 17 months later I got an email that said that the idea had been canceled by the postmaster. He said he didn't do it. Ha!Ha! I filed an appeal and that only took 3 or 4 months before denial. They said it was turned down because we already did what I was proposing. What I proposed originally was not in practice at the time of submission. By the time my appeal was denied the PO had started using my idea. Guess someone else got credit for the idea. Local management is scared to pass on new ideas in fear that they will be looked sown upon as rocking the boat. They either deny ideas or steal them for themselves. I have an idea that could save a ton of money, but, I am not going to waste my time since it will be turned down. Let the really smart managers figure it out for themselves, if in fact we are still in business by the time they get around to thinking up such a simple idea.
All USPS really cares about is conformity. They send in function4 people to tear apart your office and tell you how to do things. Their changes make things less efficient and harder. Management does not want to hear ideas, they only want to dictate, right down to how much mail do you pick up in a handful, or where you set the flats bucket down {I realize the flats bucket and my feet will not fit in the same space at the same time, but they can't/won't understand such things, you have to do it "their way" as they know better}. If they can't even allow enough atonomy to allow you to decide where to set down a bucket of Mail you re boxing from, how will they ever take a suggestion about anything serious?
I find eIDEAS laughable. Customer Connect was my idea. About 8 months before Customer Connect came on-line, I'd referred a potential customer to the CMO of the Postal Service...customer had a satellite office in my district, but corporate was somewhere else. After submitting the lead and hearing back from the CMO that they were on it, I followed up with a suggestion that the Postal Service establish an incentive-based program for letter carriers to submit leads for new business. After all, carriers are in businesses every day and can see what competing products companies are utilizing. Never heard back…then 8 months later; Voila! Customer Connect.
I'm done. YOU save the Postal Service. I'm just going to continue to do my job safely, accurately and efficiently and then I'm out. Plagiarists…
when I retired I had seven e-ideas that had not been acted upon. these ideas had been on the books since the e-idea program started.
the program is like every other postal program USELESS because no one in management is held responsible.
With a real company,an ideas program engages and motivates the employees to make a difference, it connects an employee to his work. Well we all know the Postal Service isn't a real company, thus the e-IDEA system is run by individuals who don't care about the employee , who don't know how the system works, and who wouldn't know a good idea if it slapped them in the face!
Employee input is not wanted, period! Where have you been living the past several years? Not on this planet, especially not in the Post Office. This must be a joke.
I have known clerks and mail handlers that have submitted ideas to management regarding the efficiency of mail flow. The ideas were ignored, only to implemented by HQ five years later.
Of course they listen to you! Here's the proof....
Some internal postal management committee member
had the "brilliant" idea to include this optional eIDEAS periperal, into the "EHR" suite of Human Resources software, when they purchased it from XXX in 2004.
As you will note from the above URL. It's resulted in
many benefits to the USPS? Er... I guess...
Somebody at the USPS got a "well deserved" bonus... Particulary after the recent sub-committee press release about eIDEAS.
WASHINGTON, D.C. – On March 25, 2010, Reps. Lynch, Chaffetz, and Davis announced the reconvening of the Congressional Postal Caucus (CPC). Recently, the United States Postal Service unveiled a new business model to address unprecedented challenges largely due to the current economic environment and the rise in alternative means of communication. If nothing is done, the Postal Service expects to have an $8 billion shortfall by September 30, 2010 and suffer a net loss of $238 billion over the next 10 years.
Bringing the CPC back on line is intended to inspire and stimulate new ideas on how to put the Postal Service back on sound financial footing, assess the benefits and drawbacks of the proposals in Postal Service's new business plan, and help Federal Policymakers tackle important postal matters such as 6-day delivery. The caucus will allow for a productive exchange of information and insight among members and will make sure that Congress is well-equipped to provide successful, permanent solutions to the Postal Service's current and future issues. Collectively, the Members of the Congressional Postal Caucus will evaluate all viable options for securing a robust and vibrant Postal Service for years come.
According to CPC co-chair, Stephen F. Lynch, "The Congressional Postal Caucus will ensure that Congress effectively addresses the most challenging and important postal issues of our time. I am excited to be involved with the restoration of this important organization and am looking forward to seeing the benefits that this collaborative effort will bring to the entire postal industry."
Jurisdiction includes federal employee issues, non-appropriation municipal affairs of the District of Columbia, and the Postal Service, including post office namings, holidays, and celebrations.
Stephen F. Lynch, Chairman
Eleanor Holmes Norton
Danny Davis
Elijah Cummings
Dennis Kucinich
Wm. Lacy Clay
Gerry Connolly
Jason Chaffetz, Ranking Member
Mark Souder
Brian Bilbray
Ahn "Joseph" Cao
Bill Shuster
Moral of story;
The next time you want to have management look at an idea you've got bouncin around up in your coconut,
send a copy of it to the above sub-committee members,
and be sure to include a copy to your district congressional member as well.
When I first read the survey questions I voted "NO" to "Is the eIdeas program beneficial to Postal Service Management" but then I thought about the question, and I would have to now vote "YES" , because Postal Service Management are the ones getting the credit and the money from the employees suggestions!
Are you kidding me? Until this Postal Enron stuff is resolved, we know nobody's listening.
The OIG Engineering and Facilities team would like to thank everyone who responded to our blog concerning the eIDEAS program. We really appreciated your comments and suggestions expressing opportunities for improvement, and plan to post a follow-up blog soon.
Years and years ago, on the last page of whatever the little news magazine was back then, was a suggestion form to clip, fill in, and mail in. I suggested to buy some cheap portable tables for the people in post office lines to use to slide their parcels along on, and have forms available on them to use while they were waiting. No response, zip. But poof! They started building NICE ones, with the bells and whistles, and it is the best thing that ever happened for the postal customer in a post office.
I have two more suggestions that would save time and all that, but we could not access the idea site at home. At work was a joke. You can hardly go to the bathroom, much less ask for time on one of their precious computers to fill in a suggestion!
But I am going to try again!
I am with the guy who feels management sits on suggestions and then turns them in themselves.
Eideas is manipulated until someone at the top can pretend they came up with the idea.
2 comments worth noting. I submitted a suggestion at my post office that was adopted 12 years later. I also submitted 12 suggestions that just happened to disappear. one of the suggestions was for suggestions to be logged in and out at every level to prevent disappearance.
Do you think it would have made a difference if you printed out the information that was submitted? for proof?
I have been trying to submit ideas but it is impossible. eideas is not located anywhere on liteblue. the links supplied in PUB333 for eIDEAS are both invalid. PS FORM 1270 no longer can be downloaded anywhere that I have found and management cannot supply me a copy. What a horrible waste of employees idea power and incredible squashing of any initiative to help the company that we all work for.
The idea that local management, the last I knew, has to approve and test the idea, etc, (in any form or fashion) is ridiculous. Most of them either don't have time, or would not know the first thing about improving things, and now they have no empowerment at all. They can't do anything without approval from all steps higher up.
I have two ideas that would save a lot of time and make things easier at such little cost, but even to dare ask for time on the clock to get to one of "their" computers to be able to access wherever it is you submit ideas now is a joke.
Suggestions should be totally accessible via LiteBlue, and the general sense of it should be all that is necessary. Diagrams, cost analyses, etc are not necessary for some of the simpler ideas.
Make saving money and time easy and accessible!
I submitted an idea to local managment about recycling metals. It was in evaluation for two years. I made a transfer to another plant. The idea followed me. My new supervisor disapproved it because the new plant was already doing it. He refused to send it back to the original plant where it applied.
I recently retired and sent in an eideas suggestion. I see now that sadly my idea will either die on the vine or be stolen. Too bad because my idea was field tested for 5 years. Guess I'll wait to read about it in the paper.
I have submitted plenty and just recently am getting emails!a to evaluate the idea. It has link to go to but link does not load. The idea submitted was to the then supervisor which is no longer in my office. I think that was 8 years ago!!!! Really slow to adapt new ideas it seems and when considered well..... Website not accessible! SMH
I submitted an idea in 2009. It is now being implemented nationwide. I have documentation for proof. I have not received any credit as of yet. I will pursue this matter fully.


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On comparing iPad apps with iPhone equivalents, one thing rapidly becomes clear: apps for Apple's tablet are pricier.
Many of the best free iPhone apps cost money in their iPad incarnations, and the quality level of what's still free is often ropey. But among the dross lie rare gems – iPad apps that are so good you can't believe they're still free.
Of those we unearthed, here is our pick of the best free iPad apps. Note that apps marked 'universal' will run on your iPad and iPhone, optimising themselves accordingly.
For a mix of free and paid apps, check out our amazing Best iPad apps chart or if you're more into a smaller form-factor or are considering an iPhone 6s / iPhone 7 later this year check out our list of the 50 best free iPhone apps.
1. AccuWeather for iPad
Annoyingly, some free iPad weather apps refuse to believe that the UK has any weather (or that the country exists), so AccuWeather gets props for merely working. Happily, AccuWeather also proves to be a decent – if quirky – weather app. The interface is odd (but fun) and there's a 'lifestyle' page that determines how your current local conditions might affect over 20 activities, including dog-walking and stargazing.
2. Facebook (universal)
The social networking giant has gone back-and-forth with its mobile apps, finally settling on this smart, native implementation. Much like the slightly simpler iPhone equivalent, Facebook on iPad is such that you won't want to use the comparatively clunky website again for seeing which of your friends really shouldn't have internet access after midnight.
3. Air Video Free (universal)
Despite naysayers whining about the iPad screen's 4:3 aspect ratio, it's a decent device for watching video, although it lacks storage for housing large video collections. Air Video enables you to stream video (converting it on-the-fly, if necessary) from your Mac or PC. The main limitation of the free version is that it only shows a few items (randomly selected) from each folder or playlist.
4. Beatwave (universal)
Beatwave is a simplified Tenori-On-style synth which enables you to rapidly build pleasing melodies by prodding a grid. Multiple layers and various instruments provide scope for complex compositions, and you can save sessions or, handily, store and share compositions via email. You can also buy more instruments via in-app purchases.
5. Bloomberg for iPad
It used to boast an eye-searing white-and-orange-on-black colour scheme that was a little like being repeatedly punched in the eyes, but now Bloomberg has grown up, discovered a palette (a subtler, serious 'things on black', for the most part), and has subsequently become a much more usable business news and stocks app.
6. Comics (universal)
On the iPhone, Comics is innovative, but zooming each panel and constantly rotating your device gets old fast. By contrast, the iPad's screen is big enough to display an entire page without the need to zoom or scroll. And with dozens of free comics available via the bundled store, comic book fans should lap this app up.
7. Dictionary.com - Dictionary & Thesaurus
We approached Dictionary with scepticism, since most free dictionary apps are sluggish interfaces to websites. That's certainly what this looks like, but it works offline, providing speedy access to over two million words and definitions. The app's search is also reassuringly fast.
8. Dropbox (universal)
Dropbox is a great service for syncing documents across multiple devices. The iPad client works like the iPhone one (hardly surprising, since this is a universal app), enabling you to preview many file types and store those marked as favourites locally.
9. Evernote (universal)
Like Dropbox, Evernote (a free online service for saving ideas – text documents, images and web clips – that you can then access from multiple devices) works the same way on the iPad as it does on the iPhone. It benefits from the iPad's larger screen, which enables you to see and navigate your stored snippets more easily.
10. YouTube (universal)
When the YouTube app presumably became a victim of the ongoing and increasingly tedious Apple/Google spat, there were concerns Google wouldn't respond. Those turned out to be unfounded, because here's yet another bespoke, nicely designed Google-created app for iOS. The interface is specifically tuned for the iPad, and AirPlay enables you to fire videos at an Apple TV.
11. The Guardian Eyewitness
A showcase for engaging photography, The Guardian Eyewitness provides a daily, visual reflection of global events. You get access to the most recent 100 photos, which can be viewed full-screen or with a caption and 'pro tip'. You can also save photos to your iPad or share them via email.
12. iBooks (universal)
Going head-to-head with Kindle, iBooks is a decent ebook reader, backed by the iBookstore. As you'd expect from Apple, the interface is polished and usable, with handy cross-device bookmark syncing, highlighting, and various display options. It's also a capable PDF reader, for your digital magazine collection.
13. IM+ (universal)
Although the iPad enables a certain amount of basic multi-tasking, anyone who constantly juggles a number of instant messaging services will soon be tired of leaping between apps. IM+ is a good solution, enabling you to run a number of IM services in a single app, and there's also a built-in web browser for checking out links.
14. Kindle (universal)
Amazon's Kindle iPad app for reading myriad books available at the Kindle Store is a little workmanlike, and doesn't match the coherence of iBooks (you buy titles in Safari and 'sync' purchases via Kindle). However, Kindle's fine for reading, and you get options to optimise your experience (including the ability to kill the naff page-turn animation and amend the page background to a pleasant sepia tone).
15. Movies by Flixter (universal)
One for film buffs, Movies figures out where you are and tells you what's showing in your local cinemas – or you can pick a film and it'll tell you where and when it's on. The app is functionally identical on iPad and iPhone, but again the extra screen space improves the experience.
16. PaperDesk Lite for iPad
Effectively a souped-up digital notepad, PaperDesk Lite for iPad enables you to combine typed words, scribbles and audio recordings in user-defined notebooks. Be mindful, though, that this free version restricts you to three notebooks, each of which can only have three pages, and there are no export options.
17. PCalc Lite (universal)
PCalc Lite's existence means the lack of a built-in iPad calculator doesn't bother us (in fact, we'd love to replace the iPhone Calculator app with PCalc Lite as well). This app is usable and feature-rich – and if you end up wanting more, in-app purchases enable you to bolt on extras from the full PCalc.
18. Reuters News Pro for iPad
Spurious anti-competition complaints meant the BBC News app took a while to come to the UK; in the meantime, Reuters offered the next best free news app for iPad with its Reuters News Pro for iPad. It's a little US-centric, but can be skewed towards UK coverage via the Settings app, and it's worth downloading for a more international take on news coverage than BBC News provides.
19. Cooliris (universal)
Long ago, Cooliris lived within browsers, converting online galleries into 3D walls of thumbnails you could zoom along. On the iPad, the concept seems more at home. It's of course a gimmick, but it's a great-looking and tactile one, and more fun than using the Photos app to rummage through your snaps.
20. Wikipanion for iPad
The Wikipedia website works fine in Safari for iPad, but dedicated apps make navigating the site simpler and faster. Wikipanion is an excellent free app, with a sleek iOS 7-style design, an efficient two-pane landscape view, and excellent bookmarking and history access.
21. eBay for iPad
Use eBay for iPad and you'll never touch eBay in a web browser again. It's fast and efficient, beautifully showcasing important details and images in its main results view. Gallery images can often be displayed almost at a full-screen size, which is particularly useful on an iPad with a Retina display. Speedy sorting options are also available.
22. Soundrop (universal)
Soundrop is a minimal generative sound toy that offers an endless stream of balls, which make noises when they collide with and bounce off user-drawn lines. The overall result is surprisingly fun and hypnotic. For more advanced features – save, multiple instruments and gravity adjustment – there's an in-app 'pro' purchase option.
23. Granimator
Wallpaper apps litter the App Store, but are mostly dull, offering photos of brick walls or bored animals. Granimator is a bonkers art tool, enabling you to choose a background and spray all manner of shapes around. Compositions can be fine-tuned by dragging objects, and then shared to Flickr, Twitter or your device's Photos app.
24. Google Earth (universal)
It's not the smoothest app in the world, and it lacks some elements from the desktop, but Google Earth is nonetheless a joy on the iPad. Touch gestures are an intuitive means of swooping around the planet, and the optional layers enable you to display as much or as little ancillary information as you wish.
25. Explore Flickr (universal)
Explore Flickr provides an engaging way to discover new photography. On launch, your iPad screen fills with a grid of thumbnails, drawn from Flickr.com's top daily images. Tap one to view (and, if rights permit, download to your device), or just leave the app lazily updating (every now and again, a thumbnail spins to reveal a new image) while your iPad charges in its dock.
26. Rj Voyager
One for budding iPad DJs, Rj Voyager enables you to choose from a selection of bundled tracks, turn parts on and off and edit parameters in real-time via an intuitive, futuristic interface. Play through headphones or a decent sound system and the result is infectious.
27. BBC News (universal)
Although the BBC News website works nicely on the iPad, BBC News is still worth downloading. Rather than trying to provide all of the news, it instead concentrates on the latest stories, with inline video. Categories can be rearranged, stories can be shared and the app's layout adjusts to portrait and landscape orientations.
28. Epicurious (universal)
Tens of thousands of recipes at your fingertips (as long as you have a web connection) ensure Epicurious is worth a download for the culinary-inclined. The app even composes a shopping list for recipes; it's just a pity it doesn't include measurements for those of us who use that new-fangled metric system.
29. WordPress (universal)
This official WordPress app has a reputation for being a bit clunky, but it's fine for authoring the odd blog post on the go, along with making quick edits to existing content and managing comments. It also offers both text-based and visual approaches to crafting posts, so you're not stuck with HTML.
30. Speedtest X HD (universal)
Truth be told, we're always a touch suspicious of apps that claim to test your connection speed, but Speedtest X HD seems to do a decent job. It's also handy to have installed for when your broadband goes all flaky and you need to record the figures for a subsequent moan at your ISP.


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At Ease
Landscape architect Douglas Reed enlisted friend and AD 100 interior designer Thad Hayes to decorate his weekend house outside Boston. In keeping with the owner's desire for simplicity, Hayes installed the same bed, nightstands, and rug in the guest and master bedrooms. A gouache by Sol LeWitt gives the guest quarters a burst of color and originality. (June 2007)
Photo: Scott Frances


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I get it. I really do. The inspiration for your Spring/Summer 2009 collection came from the past. The graceful pleats of Madame Grès....
...and the draping skills of Vionnet.
Dear Blumarine, is this really the example you want to set for our young women? Do you mean to communicate that a girl needs to starve herself to wear your clothes? Do you mean to say that normal body weight is not beautiful? Is that wise?
Dear Blumarine, take a look at these ads from years past. Aren't these women beautiful? Don't they look alive and healthy? Isn't your attention drawn to the garments because the models wear the dresses so well?
Dear Blumarine, please reconsider your choice of models for your runway and your advertising. Please set a better example for women. And please buy your model a meal....or two.


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The history of science is the history of great revolutions. The actors are bold rebels who come charging in, waving new swords and laying waste to the status quo. "Who was that masked man?" ask astonished onlookers as they survey the carnage and drag venerable (but now useless) ideas off to be buried. When the dust settles, a new scientific hero—Galileo, Einstein, Hawking—emerges through the haze, standing—or sitting in a wheelchair—atop the vanquished ideas of what was, just yesterday, settled truths about the natural world. You gotta love the history of science.
Unfortunately, this is not the history of science.
This is what passes for history of science in a "World Civilization" course, or some such superficial survey that leaps from Aristotle to Galileo to Newton to Einstein like a child playing hopscotch. This exciting romp is not remotely the history of science, any more than home run moments are the history of baseball.
The history of science is almost entirely a history of the status quo being refined, extended, tested and retested as new technologies become available. It can be quite boring to outsiders. Take the lowly electron. It was a really big deal when the really little electron was discovered. Physicists now understood that charge was not a big gob of electricity but a set of tiny charged particles, every one of which had exactly the same charge. The discovery of the electron is the sort of thing that might get into your survey course but my guess is you have never even heard of J.J. Thomson, who discovered the electron.
In the century since the electron was discovered tremendous energies have been invested in figuring out exactly what it is like. Robert Millikan—you remember him, right?— performed a "famous" experiment getting oil drops to move in an electrical field. It was a clever way to estimate the charge on an individual electron. I spent countless hours as an undergraduate physics major trying to duplicate his result, staring through a tiny scope at dimly lit drops of oil, wondering if the story about Millikan's assistant going blind doing this was true. In the decades since Millikan originally performed his experiment, it has been repeated every time a new technology made it possible to measure the charge on the electron to a higher level of accuracy. In the back of all our physics books we find a table informing us that the charge on an electron is −1.602×10−19 coulombs. No doubt you have that highlighted in the back of your physics book and have commented on it numerous times.
I mention this mundane example to make a point about the nature of science. Scientists spends most of their time refining their understanding of the central ideas of science, and very little time overturning those ideas. But the long period of refinement is quiet and of limited interest to outsiders who would wrongly perceive that nothing of interest is happening. Only when something disruptive occurs does everyone take notice, like a vase on a mantle falling off and shattering on the hearth. Then we all notice the formerly obscure vase. For a brief and shining moment that vase was truly exciting.
The great revolutionaries in science almost always begin as honest toilers working diligently within the status quo, making modest refinements on existing theories, extending the explanatory domain of a theory into new territory, or solving a puzzle of some sort that doesn't quite fit into the received wisdom of the community. Virtually all of them fully understand and accept the consensus of the community and then, through some fortunate circumstance, they are presented with the golden opportunity to modify or even overturn that consensus with a radical new idea—they become the revolutionary heroes with the gleaming sword. They get to push the vase off the mantle and watch it smash. Such scientific heroes are almost never outsiders who are not even a part of the scientific community.
The Intelligent Design Movement desperately wants a scientific revolution where it topples the vase that Darwin set on the mantle and smashes it into a million pieces. Followers of ID want to be the Einsteins and the Galileos of a major breakthrough in our understanding of natural history. Rob Koons, a philosopher at the University of Texas at Austin, endorsed William Dembski's popular book, Intelligent Design: The Bridge Between Science & Theology, with these words: "William Dembski is the Isaac Newton of information theory, and since this is the Age of Information, that makes Dembski one of the most important thinkers of our time. His "law of conservation of information" represents a revolutionary breakthrough."
I am not sure what Rob Koons thinks of these comments now—he has not responded to my email—but they represent a thoroughly unrealistic view of scientific revolutionaries. William Dembski works at a Baptist Seminary; he teaches apologetics and publishes popular work with evangelical presses and not in scholarly journals. If another Newton arises out of this generation of scientists, he—or she—will not be on the faculty of a seminary writing popular books. I hasten to add that I am also not going to be the Newton of this generation. I work at a Christian College; I teach Science & Religion; I publish primarily popular work. I am nowhere near that vase needing to be smashed.
If this generation gets a Newton, it will be someone working at the heart of the scientific enterprise on ordinary scientific problems. They will hold the consensus view, with their peers, as taught to them by their mentors. They will publish in conventional journals. One day their computerized printout or digital image will have an odd glitch in it—a number will be too large, a speck of light too bright, a graph too asymmetric. They will show it to their colleagues who will puzzle with them. They will repeat the measurements several times until they dare show it to their supervisor, who will be dismissive at first but finally concede that it is worth veering off on this side road for a few weeks. Excitement will build as they work in obscurity for a while and then finally publish something that startles the scientific community, who are initially skeptical but finally come around. Ten years later a key idea has been overturned. Twenty years later they win a Nobel Prize.
That is how Newtons are born.


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If you can dream it, you can do it. -Walt Disney
Quality is a great business plan. -John Lasseter
Let's make some funny pictures. -Tex Avery
I never considered a difference of opinion in politics, in religion, in philosophy, as cause for withdrawing from a friend. -Howard Zinn
When critics sit in judgment it is hard to tell where justice leaves off and vengeance begins. -Chuck Jones
And what do you benefit if you gain the whole world but lose your own soul? -Jesus
A man should never neglect his family for business. -Walt Disney
What's most important in animation is the emotions and the ideas being portrayed. -Ralph Bakshi
Once you have heard a strange audience burst into laughter at a film you directed, you realize what the word joy is all about. -Chuck Jones
Before enlightenment: chop wood, carry water. After enlightenment: chop wood, carry water. -Buddhist Proverb
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Questions regarding The Animation Guild
Share your views on the state of the Animation Industry.
Re: Questions regarding The Animation Guild
I don't get the same impression as you do EAllen. Maybe it's because of his diction. My obvious frustration with the Guild as SteveK claims, is more along the lines of indifference to them. Aside from that one article concerning Scott Ross that was brought to my attention by the Entertainment Economy newsletter, I haven't been to the Guild's blog in a long time. Probably about a year. Sometimes I try and bring up the Guild in discussions at my school and at Cal State Northridge but nobody cares to talk about it. Students see the guild as something they'll have to deal with when the time comes for them. Aside from that, there really isn't much interest in the Guild as a subject of discussion. I find people get more enthusiastic when we start to talk about the prospects of an independent union.
Frankly, I don't see sincerity in this move to organize, nor do I believe in the people who run the show there. I think this attempt at organizing is just a money grab. I don't feel the Guild really wants to help artists who are dealing with inequity at a non-guild studio. I just don't get the feeling that they really care. If they were sincere they'd address the issues that exist at their own studios first.
The guild will go on whether or not they do a good job or not. If you want to work at their studios you have to join. There isn't a free market mechanism in place where there's an option of choice. If there was, we'd see a much different attitude coming from them. There's no pressure for them to change. It will always be business as usual, along with their accusations of hatred and vitriol while their trolls engage in personal attacks under the guise of free speech.
As I said before, SteveK is coming from a point of ignorance about AN and I don't think he even understands the obvious frustrations and indifference that his own membership has towards his union. I feel sorry for him in a way, as I think the job he has before him as guild organizer is daunting. Maybe he'll be successful at it, but he'll get farther if he listens to people and asks for suggestions instead of towing the party line. I don't see that happening with him based upon the time he's spent with us. It's more of the same. He can answer questions about the way that things are, not about the way things can be.
Open your mind as well as your mouth.
As I said before, good luck to him.
Re: Questions regarding The Animation Guild
Believe is a strong word. My beliefs are not up for discussion here and have nothing to do with this. I commend you on your delicate methods of manipulation and distortion, or maybe you're not aware of it. You're very good at it either way. It's not very polite to transform someone's words into something they were not quite saying in order to pursue a motive.
Well, I regret that you believe that is what I believe. "Looks like" does not mean "believe" as far as I read it. Remember, I'm just pointing out some of the things I see here. I have no connection with the Guild because it has nothing to do with me, but I know people who have had to deal with it. Other people's perceptions that I acknowledge may not be my own. I am an AN bystander watching the turn of events and have no personal concern with how the Guild operates. I'm more concerned with what happens here though.
Your positive actions are not what would cause any trouble here. It is strange that you would think that, although an occasional overblown opinion may not be so positive or accepted. If in the future you can refrain from casting any judgment upon anyone, contradicting yourself or your "actions" in the forum, manipulating peoples words, and then proceed to do what you say you're actually here to do which is answer questions about the Guild, then you are always welcome. Even if you mistakenly create negative images here you may still be welcome, within reason. AN has had much open-mindedness and patience for everyone as long as they make an attempt to be polite and real.
Re: Questions regarding The Animation Guild
Skynet's a warrior!
Wow, Skynet's post really took me aback. There's a lesson in what Skynet wrote above, but I'm still mining it!
Charles, SteveK basically is just coming into his own as Organizer. Even leaders of countries take time to really find their voice, to formulate their approach to issues they were chosen to deal with. As you said, Charles, nothing easy about that.
But this is what I see. sorryguyz had questions on unpaid overtime at Studios that SteveK wasted no time answering. Sure, he could've B.S.ed a response, misinforming sorryguyz in the process, but there was (near as I could tell) nothing SteveK wrote that seemed even a little bit ambiguous. Guild policy of requiring anyone filing a Grievance to use their real and full name in the process is not that much different from requiring pros participating in an industry forum to use their real names when authoring posts, and abide by fair rules and regs.
Could the Guild be more proactive in this area of curbing unpaid overtime? Of course and even the Guild has admitted such in the past, but largely Guild signatories that do just about anything to win Studio work have the ball in their court. ILM recently took a stand after PotC 3: At World's End had a post schedule so ridiculously compressed that some artists took their frustrations public. Even Gore Verbinski didn't shut up about the way Disney refused to negotiate deadlines or quality requirements. Shots which were only a bit better than Draft quality got a FINAL (then partially obscured using volumetric solvers) because the artists simply were not allotted enough time to polish it the way they usually do. The release date held despite Hell and High Water. And yet, we have a not-as-well publicized situation where the Guild gets some of the blame for this, and . . . whaaaaaa? Hope someone can enlighten us on that one at some point.
We talked about the "race to the bottom". Richard Kerrigan wrote about it on his own blog, in very candid detail. And yes, there are situations where the Guild has failed to mediate or arbitrate a matter towards a desirable conclusion, a matter for a future topic since I'm attempting to keep this post at a reasonable length. But again, SteveK is just getting into this mix, and I kinda feel we might not be giving him as much of a benefit of the doubt a guy in his situation usually gets.
I was enlightened by your previous response, Charles, which went into detail about how your students feel about Guild matters. If I were them, yeah, at that point it wouldn't matter so much to me either. I hope they begin thinking about these matters now so they will be better prepared to deal with them when the occasion arises.
Again, Charles, you're dead on when you advised us to keep our minds open. Great advice.
Keeping our minds open permits the influx of ideas we never knew existed. Good ones and bad ones. Still, it's the path to liberation.
Re: Questions regarding The Animation Guild
I'm all for benefit of the doubt...but I doubt there's any benefit.
Re: Questions regarding The Animation Guild
Haaaa, Bite, and you said you weren't a wise man!
Your above post strongly demonstrated wisdom and reasonableness!
As time goes on, things will come to light and we'll understand and wise up. I'm anxious to learn from SteveK and about the challenges that'll inevitably find his lap.
Re: Questions regarding The Animation Guild
I have to come back to say that I'm kinda where Adrian is at with all of this. Even though I have personally worked in animation, I still have a big disconnect where I sit in all this. Because I'm not really relying on this industry. I love the medium too much to approach it the same way other people do.
So I certainly don't want anyone telling me how to do it, or what dues I should pay even though I see no benefit to the bigger picture...but hey, lots of people like the idea of a Union..I say the only way we can all come together to help each other is to be totally self sufficient. No man owning the other. Working together for mutual benefit, treating each other accordingly.
Corporate statues in the guise as law, unions. These are all illusions. The fact that we need one to get affordable health care just smacks me of a larger problem. But they all benefit from each other. If we had awesome affordable health care as a US citizen, do you think we give two shts about unions? I mean, if thats pretty much what it is.
We've been told that they can't tell your employer what to do...like, if your employer wanted you to work 24 hours a day, the Union has asked me what I would do because they didn't have an answer for that kind of problem...so, I really don't see what there is to entertain at this point other then calling it out. I never used them anyway and I've done some cool ass work.
Besides,We all worked really hard for this platform, I figure why not use it.
I'm coming from a place where if people can't see what a scam it all is at this point, and maybe always has been, then they deserve what they get.
Step outside the box and work on new solutions, is
the challenge I gave myself.
I'm doing my best to build my own thing. I know life throws curve balls, and I might have to freelance animation gigs again to get by..but the idea is to build capital to fund my own productions.
My intent is to raise the bar. Because it needs lifting.
After 18 years dealing in this business one could call me the Professor of PeePee and PooPoo Antidotes. I think I qualify considering how much we have to deal with it in the animation industry/community.
After all, its only people. Not some super secret science mystery. It's not hard to figure it out. They make it sound so difficult. It's just people.
Re: Questions regarding The Animation Guild
Bite, as Charles said earlier, there'll always be Unions for as long as the destructive forces of greed continues to infringe on the basic fundamental rights of human beings.
When working with the Studios, or taking $-for-hire work and it's on a project-by-project basis, sometimes just laying out a set of stipulations isn't enough. There'll be a need for guys to have your back, and it would be fair to give those guys something fair and equitable in return for insuring that your rights are protected.
These abuses need to be curbed. Rights abuses will never be eliminated from the equation, but they need to be minimized to the point where they're not severely impacting the health of artists.
I'm sure the point of lawyers or managers will be brought up--as in, without a union, I as an artist can still make it with a manager or lawyer--but again, we have seen or experienced so many situations where the artist still got screwed even though a previous relationship with the same guy doing the screwing was successful. And that's sad, when it's the exception that an artist is not screwed over by an individual providing representation, but that's how pervasive greed and selfishness can be, even in business. No surprises at all.
Again, as technology advances and business models change, there'll be less of a need for Guilds and Unions, and I'm hoping for (and working towards) a better alternative (in time there will be); again, I defer to Charles on Union matters as he has worked in the industry longer than I've been alive.
And as you guys know, I hope AN is the answer to many of these issues!
Re: Questions regarding The Animation Guild
You see, the way I read your opening quote from Charles is different then how you read it. I see it as there's a reason why Unions will always be around as long as there is abuse...because Unions are part of that abuse. They help perpetuate the abuse and keep people from working on real solutions. because real solutions are found outside a system like a Union. And as long as you work for them, a union shop following the union ways, then you will always be abused. IM not so HO.
that doesn't mean I can't see the good people working for the Union. Much like I know there is good people in government...but the greatest trick the devil played was that he didn't exist and got good people to do bad things...I mean, if you believe in the devil and god and stuff...just sayin.
I feel like individuals keep abuse from happening. Not Unions. Unity comes from strong, self sufficient, self sustaining individuals balancing each others lives through proactive stances while participating with each other.
The Union is basically a club. You have to buy into it and follow their rules and deal with their infrastructure who's major flaw is their dogma and lack of evolution.
Re: Questions regarding The Animation Guild
Heh, it's funny that SteveK basically said that much when he wrote . . .
Haaa, Bite, some artists have to be told they have the option to fight for their own rights!
And Bite, according to your own experiences in the comics industry, how many artists were you surrounded by who could be counted on to be strong enough to stand up and speak out against all the wack s#!t that went on? Quite a few AN Nights I was shocked by the stories you told from the podium of weak artists bending over in the face of some oppressive situations!
On their own, how many artists are well-versed enough in labor laws to get monies owed to them in situations where they worked overtime and wasn't paid for it?
Spot on about the Devil analogy. And again, not even I'm saying the Guild is the end-all, be-all answer--but, and this is a strong but, all of their very obvious flaws considered the Union, and all due respect to Scott Ross, won many monies owed to a league of artists . . . and those situations don't exist in that exact form anymore.
Without the Union, what do you think, given the sheer amount of artists willing to take money or perks to shut up about the situation over doing what it would take to prevent such situations from happening to begin with--how do you think the Studios would behave without a Guild or a Union checking their every move? If the Union subscribed to these behaviors, why then aren't these behaviors more prevalent? I'm sure there's still cases (like what went on at Meteor and Fake, even before they were called out on not having monies to pay their guys), but again, the Union as entity-in-concert with scandalous Studio treatment of the artists = a reduction in frequency of incidences? Again, whaaaaaa? And compensation for hours not paid--whaaaaaaaaa? What Union would investigate a matter, find their partner guilty of not paying an artist on a project per a grievance and get the money? That would be tantamount to two robbers knocking a bank over, then one of the robbers returning some of the money to the same bank saying to the clerk, "Sorry, we took too much!" Again, doesn't compute.
That said, I agree Unions look the other way too many times, on matters they shouldn't have. I must elaborate on your Devil reference again, Bite, by saying, "The Devil you know . . ."
Re: Questions regarding The Animation Guild
AND this is exactly where I am, brutha Enoch. Know the nature of the devil you know...And act accordingly. This is my position. I know the real and I will not participate...my participation is reserved for that in which I believe in.
You're right. Artists, generally, don't fight...and they can back stab too. But thats fear based and I forgive them...well, most of them.lol...So to join a system of people who don't general stand their ground and then put too much faith into a system that keeps them the status quo all seems too counter productive to me. I'm stronger finding my center and then rolling with small niche groups of fellow bad ass mutha fukas like me. Is that ego? HEY, leggo my ego, mofo! I say I'm just embracing who I am. Whatever that might be will only work for me.
We could speculate and say without unions it would be worse. But then again, without Unions it might be better too...I mean, if your doctrine is "you need us to keep things from going to s***" then that makes me mighty suspicious of your intent...thats how we went to war unjustly, thats how we went into 100 trillion dollar debt and bailed the culprits out with our childrens blood, thats how our oppressors oppress us...with fear and doubt. I say, we have more potential then that.
Strength in numbers, sure. But be careful how many numbers you have because you might find you're only as strong as your weakest link...and when that link is suppose to be the leadership then you're done.
Re: Questions regarding The Animation Guild
All good and valid points Bite, to be sure.
(As an aside, I think this is why so many believe you'll end up leading a movement as opposed to just towing the line on one . . . you're being the change, as you were telling us to be . . .)
At least in this industry, the Union began with the best of intentions--not necessarily as this arrogant "you need us" bulls#!t SAG, AFTRA and even WGA have reportedly pulled on occasions. They're still--y'know, if you put them side by side with Teamsters (and pretty much any Union entity in Chicago prob should take it easy on them), this Union comes off looking like Doctors Without Borders by comparison.
And again I think it's necessary to take into account that there are some artists who have a lifelong goal of working with or for the studios, and that was a goal of mine before I wised up (still, not that I'm adverse to working with Studios, but it's no longer a main objective of mine), and I don't think they should be ridiculed or chastised or criticized for that. Maybe they'll have to sign up with the Guild, maybe not, the Guild to the best of my knowledge hasn't forced anyone to sign--but, that's for them to decide. For themselves.
Again, some of the artists who signed with the Guild are some of the most fearless people (one guy, can't write his name here, but one guy reminds me of you Bite) who have ever made the decision to work in the animation industry. They could be their own Guild, their own Negotiating Entity--but then they'd have less time to focus on their creative endeavors. More time negotiating and filing grievances and less time working on the art--sounds like a bad deal to me, Bite. And yet, that would be the situation.
I think it's less of an issue with fear as to why some artists choose to deal with the Guild and more of a convenience. It's, "as a Union, this is what we can do for you" type thing. If you like it, cool. If you don't, that's cool too. Here's the advantages of signing; here's the disadvantages if you don't. No horror shows, no bad cop intimidation tactics like the ol' days, no Popeye Doyle-style showdowns--just the facts, ma'am.
My position is still that, in a situation where so many artists want to focus on their art (understandable) or are just too afraid of coming out and taking a stand because they can't do it anonymously--they got families or mortgage payments and the like (understandable to an extent), in a situation where the aforementioned are the facts of life and the minuses of working in this industry, Union stewards may be inadequate from time to time but a bit far from being a weak link so weak that the artists who depend on them can't get over on the regular because of it.
Jussssst a bit of a stretch to make that comparison, but again considering the amount of unemployed Guild members who are artists, not as much of a stretch.
Re: Questions regarding The Animation Guild
Well, the Union gets members no matter what . They have the monopoly. But the fundamental argument I always hear in defense of the Union, besides benefits, is the speculation of what would of been without them...or what might be. To me, thats fear based propaganda.
Especially with what we know now and what we are capable of. That kind of thinking keeps everyone in the past. I believe we're all bigger then that...even the ones that just want to be employees...thats fine. We're all needed. but you can still think you're bigger and be an employee at the same time...and I'm not talking super ego, I'm talking loving yourself and knowing what you are capable of.
(takes a huge hit from bong)
and what if C A T really spelled Dog...and Dog backwards is God...Woooo...I kid I kid
I know, when I speak this way people become cynical, thats why I kid myself. But to me there is nothing about a club that interests me when it comes to being able to work and afford health care. Seems like another branch of the problem and these days I like to go to the root...or the herb...did I tell you guys that there is a medical marijuana facility attached to my gallerie? yep! thats right.
So yeah, I don't know about heading up any movements...the great spirit knows I don't want anything to do with heading up anyone elses movement...head up yo movement....hahahahaha, that sounds awful..like some fetish porn movie. jeebus
Head Up Yo Movement
a story of people, fuking each other for a long time
it's brilliant, we could retire off this movie!!!
..man, it really lends itself to all sorts of clever sub titles..but I won't go there. Out of respect for Charles..but I got to say, the concept inspires.
Re: Questions regarding The Animation Guild
Everyone has their own opinions and feelings when it comes to the subject of organized labor in animation. What I want to impress upon our community and especially to those whose propaganda involves spinning accusations that I'm against the Guild/union, is that I am an ardent supporter of organizing. Whether it be a union or a guild or what have you in name, I believe we're better off organized.
I support the Guild, I'm just not a big fan of the person or peoples that control it the way they do. They make personal issues out of criticism of the Guild. And although I'm ardently on the side of its general membership, I don't see its membership being very pro-active, nothing near what they could be. I see a lack of imagination in dealing with the issues members have within the Guild itself and also in matters that could bring others into the fold. I'm not inspired by the Guild, and it's hard for me to believe in the sincerity of an organization that blacklists us. Especially after the track record we have of helping to invigorate the union in animation.
All of it and more has bundled up into a big ball of apathy. Aside from a few members, there's no Guild presence at any AN Night and never has been. A perfect place to recruit and organize, or at least lay the seeds for a positive view of the Guild, and they basically boycott us. Perhaps they don't want to face a crowd that is more substantial than the numbers they get at their own meetings, a crowd that has some hard questions to ask.
And what about April 1 as Animation Day? When it comes to Guild support you can friggen fuget abowt it.
They can get away with this kind of stuff when people have no choice but to join. But if there was a choice, it would be a far different story.
We call for unity, they call for... I don't know what they call for. I don't know what they represent anymore other than a benefits management company.
To me, as long as the Guild is seen in this context, the Guild makes sense. Beyond that and it becomes something of an anachronism.
Re: Questions regarding The Animation Guild
As first Kevin, then SteveK said, Animation Nation is kind of a non-issue with them. The AN subject is dropped as soon as it is raised.
As long as we're perceived as professionals moonlighting as unenlightened, uncivilized savages who can't hold a sophisticated public discussion without having it degenerate into name-calling and other assorted displays of juvenilia, we won't be taken seriously on the level that pro organizations usually are. Again, that seems to be the perception and it won't change until there is an aggressive commitment towards defusing the tensions that exist. Does it really matter who gets this ball rolling? TAG obviously screwed up somewhere along the way, why can't that screw-up be addressed in a thoughtful, considerate manner, opening the door to a thawing of grudges?
Bite's comment about speculating on a situation without the Guild as propaganda is thought-provoking, to an extent. I don't see it as propaganda; I see it merely as good situation vs. not-so-good situation. Not even a worst-case scenario outlook--just, hey honey, you want this Lexus? How 'bout settling for a Kia?
Ultimately artists prefer to focus on their art. If they need a Guild to help them do that, why would that be perceived as propaganda? They could live without them, and even SteveK and the Guild says about as much. The artists can live without the Guild. But what's the trade-off? What do they have to compromise in order to allow for such a situation to exist? How will they and their ability to be artistically productive be affected? Again, there are ramifications we can't even see through the foggy window that is our anxieties about Union behavior.
And that's my point. Why can't we allow for a more optimistic viewpoint than the ones we expressed if we admittedly are unaware of unfavorable--not even frightening--but unfavorable situations that could exist if we took the Guild out of the equation? Given what we know about conditions in the industry before the Guild (which were truly frightening), a time when women would put distance between you and them if you told them you worked in the animation industry, what exactly is the appeal of having less time for art, and more time for self-representation or inadequate representation?
Keep this in mind, this is coming from someone who has no plans to join a Guild (other than Animation Nation). And since the argument over whether the Guild should exist is moot (and even kinda foolish) why aren't we seeking ways to co-exist harmoniously and respectfully with the Union?
Doesn't that say more about us than it does about them?
Again, Charles has basically ended this argument by saying artists are better off organized. We're better together. Sounds like a plan. Let's continue to work towards making that a reality sans all the strife and backbiting currently permeating our environment. And let's not take any more of our energies away from making art than is necessary.
Re: Questions regarding The Animation Guild
This is what I'm saying. And correct me if I'm wrong, Enoch, but it sounded like you were still entertaining this notion that it might be worse without the Union. This is whats been sold for a long time. Propaganda to me... That was my point. Thats fear based. The idea that we need an organization to be organized. Religion doesn't necessarily mean religious and the legal system doesn't practice law. Unions don't always mean unity.
Personal feelings aside, I always saw Charles and AnimationNation as a door wide open to them. No matter what questions and suggestions we have on our end.
We're a non issue to the Union? Right. sure.
Methinks the lady doth protest too much.... Everyone read that sht awhile back right? If not, go back in our archives and see how a non issue we are...
But my point has always been that the Union has nothing to do with what we're doing. One of the subjects me and Charles think differently on. I've always supported his desire to work with them but I haven't seen the benefit other then spreading awareness. Me and Kevin are cool, Steve's impression was brief and revealing. And everything else has been poopoo peepee...because I'm an expert on poopoo and peepee....especially with the scent of duedues.
So I never saw anything to "work out". For what? I don't think we need them. I think our power as creators is deep. I think needing a Union is continuing to lower the bar..thank you everyone for lowering the bar. I like to focus on the more progressive and positive nature of what we are capable of. We give these people power, just like we give our government power. By buying that they are in charge and they care for us. I can take care of myself thank you very much, communities can help themselves. They don't need clubs to buy into for protection.
I'm not saying I have all the answers for everyone, screw that, I'm just saying this Union thing is wack and maybe Charles ideas about their leadership lacking is valid..I mean, I've experienced and seen it happen.
Re: Questions regarding The Animation Guild
Well, the Guild is something of a non-issue here as well, it's SteveK that brought it up with this thread. And EAllen, if indeed this comes down to... "unenlightened, uncivilized savages who can't hold a sophisticated public discussion without having it degenerate into name-calling and other assorted displays of juvenilia"... We're not the ones hosting trolls who call others whose message they don't like douchebags, or calling people who question the Guild haters. Or calling disenfranchised members disgruntled. Or dogs chasing a caravan. This is all Guild rhetoric.
The discussion standards on AN are way more than a cut above the Guild's. The problem is with the Guild. Even their own president resorts to insults and name calling. Who can take an organization like that seriously. They get away with it cuz people have to join to keep their jobs at union studios. If not for that, they'd have no choice but to engage society in an appropriate manner, or risk going out of business.
The Guild showed their colors with their behavior in recent years. Too much foolish pride and inflated egos.
Hey Guild... UNITY... remember that word? Can't get your one dimensional minds around that concept. Kinda like a vampire in the sunlight. Don't turn away, I know it hurts, but it's what you're about, or supposed to be about.
Doesn't matter anymore. It is what it is. Good luck to all.
Re: Questions regarding The Animation Guild
Well, Bite, this is what we know and has been documented--
-The Guild has gotten artists monies which were owed to them, much more than if the artist were to independently pursue the matter.
-Artists cannot be forced anymore to work overtime. That's a grievance as well. (Sure, not doing it can result in blacklisting, but even this occurrence happens far less than in the past.)
-Works submitted in portfolios to Studios, either as part of a pitch or for evaluation-for-hire purposes, cannot be used later as the basis for nor as a compliment of designs which are to be included in a motion picture intended for general release unless the artist(s) responsible for those designs are compensated and accredited or employed outright. The Guild has taken a stand against this behavior and were successful, although Charles has a story involving the Guild about what the Studio can really do with artists' portfolios that does not paint the Guild in a favorable light.
-The Guild has also been successful in enforcing various workplace condition stipulations which led to the end of the existence of those particular situations. Unless an artist is willing to come on here and talk about the current state of workplace conditions in the animation industry, it's safe to call the previous unfavorable conditions a thing of the past.
And there's much more, just search the TAG blog and then Google, Dogpile or Bing the subject. I'm sure Mr. Hulett has written thoroughly of these things; others have as well.
Bite, you couldn't be more right. Unions don't always mean unity. In that case, it's not a Union but sets of haphazardly, inharmoniously assembled artists who congregate occasionally out of a sense of duty, and to retain their ability to work and be in good standing in the industry. As you educated me earlier, they like their lifestyle so they drink the Guild Kool-Aid.
I won't argue that some artists make choices based on the amount of fear they have, but I do believe the primary reason is convenience for the rest of the artists who decide to ally themselves with Unions. Convenience, which is oftentimes lacking a fear element but is saturated with greed and a general inconsideration for one's fellow professionals, is the catalyst for many decisions, moral or immoral. And I implore you not to mis-read the above as a generalization of the concept of convenience--what I'm getting at is that like everything, there are situations where convenience-based decisions are harmless and fruitful--and situations where the most favorable outcome come from decisions contingent upon how much each party will compromise, or are willing to endure with inconveniences. In these situations the atmosphere is casual, and not tense with fear-based anxieties so palpable you could cut it with something sharp.
You can make good deals. Or you could make better deals.
Or you could make the best deal.
People scared of not making the best deal? That's a fear. Although, I argue that's more of a concern since the artist knows about her/his alternative options.
The artist knows what options she has. But artists more often than not are ambitious, and if they see what they perceive to be an opportunity to rise in the industry--and then they see a roadblock that threatens to derail them--then, they'll do what it takes to be where they wanna or gotta be. Again, these groups of artists don't fear the roadblock--they tend to see them as mere inconveniences--they will just find a way to get around it. Some will travel on the path of least resistance, which often leads to an alliance with a Union.
So again, this notion that the Union is some sort of an imperialistic entity in the industry, spreading propaganda (even smear) campaigns and fear-mongering, so forth is, I feel, a bit exaggerated. Even the Guild has often stated artists don't need to align themselves with the Guild in order to make a living in this industry. It would just make those artists ineligible for benefits offered by the Guild.
I may be missing something here, but that hardly constitutes fear-mongering.
And again, talking about comparisons to the Guild to some imperialist nation or corporation, no one in a country subjected to imperialist rule is immune from oppression, and yet we have an industry in which artists like you, Bite, are able to get away with saying some pretty incendiary things (funny as s#!t of course ) on a public forum about the Guild and Unions in general without suffering dramatic career repercussions as a consequence. Under the rule of Imperialistic nations or Big Brother Corps, the consequences could mean the difference between you waking up in the morning (or not waking up at all) with guns pointed at you . . . and you just waking up with a scary-looking cease-and-desist waiting in your mailbox or inbox from some lawyers.
Just sayin'!
Charles, I'm overjoyed that your postings have become milder recently. Before, even I shuddered a little, even after you were making some valid and legitimate points about Guild behavior.
But again, what're the odds that the Guild wouldn't take exception to being described as having "one dimensional minds", then making the unfavorable comparison to "vampire(s) in the sunlight"? These are a bit more gentle, which I'm amazed at seeing. But again, I'm worried these words can be used to illustrate an example of Animation Nation's conduct, and that it would not be taken lightly. This would be counter-productive to an effort to be civil.
I repeat, I look forward to a time when we can communicate with each other with mutual respect and not condescension or malice.
Re: Questions regarding The Animation Guild
I'm not really impressed with the notion that since I can "get away" with saying something I should see the progression of things...and I certainly would NOT give the Union credit for me getting away with sharing my opinion or anything of the lik.
Oppression has evolved.
This has kinda blurred into my personal philosophy about life in general, but once you take the pink pill, the third pill in morpheus' pocket, then you just don't see the same way. So many more options to building ones reality.
Sure, the Union says stuff like, "Hey you don't have to align" but the reality is if people want to be successful "employees", as you pointed out, they have to find jobs at places they can find some sort of illusion of stability. THose types of illusions can usually be found at big studios who are all Union...so, yeah, one doesn't "have to" but thats kinda smug coming from people who hold the monopoly in the industry.
I just don't see it anymore. We all know too much to believe we need a club to continue the habit of being human beings with each other. MAYBE and I mean, maybe at one point it was needed..but everything I hear and everything I see are always two different things about the good in the industry.
Copyright protects my ideas from being stolen if studios rip them off from my portfolio...not Unions.
I don't think fear propaganda is an exaggeration. I think its plagued our country, our world and so establishments like a Union will only perpetuate that. The idea that without them everyone would be mistreated and abused is kinda sick. The idea everyone excepts that is kinda sicker. A reflection of the mass hysteria of our current time line.
It's just people. Not some mystery...well, not for some of us at least.
Even this new Union rep asked me what I would do if my employer wanted me to work 24 hours a day because he said something to the effect that the Union can't tell companies how to schedule their time...???
It's just people working with people. Are we not aware enough where we still need to pay someone to remind everyone else to be humane to each other? Where we have to pay some third person, to make this other bill we're paying for, cheaper?
Does this really make sense to people? If so, then I am certain the mothership dropped me off on the wrong planet.
People say, thats the way its always been...wha? how the hell do you know? You time travel? if so, hook me up, I need to go to the future someplace where the mothership comes back to pick me up. But history books don't always tell the truth..and they only go so far back...lol
The Union IS some big corporation, Enoch. Tied with other corporations. The intent is to profit. They don't care about you. They might have nice people working for them, some not so nice, but the bosses of the bosses..yep, they don't care. You pay your dues? thats what they care about.
Smoke and mirrors.
Re: Questions regarding The Animation Guild
Man, all this hate and vitriol aimed at the Guild. How can they endure it!
Just having some fun guys.
EAllen, I understand and appreciate where you're coming from, but I think you're missing the point. First off, if the Guild is actually doing its job, then perhaps that's reason to celebrate. If it's doing its job, then what's the big deal? Why are we making a big deal about a union that is actually functioning as a union? That alone underscores the long standing frustrations that many people in animation have had with them. The Guild is supposed to work for its members.
As far as name calling goes, well, I talked about this on the old forums and it comes down to the double standard the animation community has towards this kind of thing. It's okay for the guild to engage in personal insults, cuz it's freedom of speech according to them. And it's okay for other industry blogs to engage in personal insults, cuz for whatever reason, the community seems to be forgiving and tolerant towards them. But when it comes to me and/or AN, it's a whole nuther matter.
I've helped bring alot of people into this industry. And most of them, the very great majority, all became union/guild members. Yet some guilders continue to portray me as a guild or union hater. The guild has forgotten how much we've done in support of the them, forgotten and distorted the history we have together, trivialzed the significance of the movement which we have in common.
I have strong opinions and side with the artists instead of the ruling elite. For that I've been subjected to way more than my share of abuse for whatever I've done to piss them off. I've been blacklisted from long ago for my views that artists should in control their own industry. It's not executives that have done this, it's friends, or people I thought were friends. Fear and anger makes some animation folk do strange things it seems.
There's a lot of power in what we preach, and controversy makes people in animation uncomfortable. The passive aggressive nature of many people in this biz tends to make them strike in ways that are contrary to who they really are. They're not bad people, in fact, they're great people, but they have issues with themselves which they project on others. It's difficult to understand and even to explain. You have to have hosted an industry message board for 11 1/2 years to really comprehend it. Forums are tough, and if you're an outspoken individual like I am, peers can be pretty darn cruel and unforgiving.
So I'm past the point of apologizing for the sake of peace, past the point of appeasement, past the point of caring very much about what they think. As I said before, it is what it is. They're going to hold onto their grudges and I'm going to keep speaking my mind. I'm with the artists. That's who I care about the most.
Re: Questions regarding The Animation Guild
I thought I'd go back into the old forums and feature links to happier days when AN's relationship with the Guild was solid and we didn't have to deal with the nonsense that's been brought into the picture later on.
A reminder that it wasn't always the way it is now.
Here's the Guild's president Kevin Koch inviting everyone to the Guild's Holiday Party in 2002.
http://www.animationnation.com/ubb/ulti ... 392#000000
Here's Jeff Massie from the Guild inviting everyone to the Guild's Holiday Party in 2003.
http://www.animationnation.com/cgi-bin/ ... 1;t=006970
This is Steve Hulett's post announcing pictures from the 2003 Holiday Party posted on the Guild's website.
http://www.animationnation.com/ubb/ulti ... 201#000000
This is me announcing the Guild's Holiday party in 2004.
http://www.animationnation.com/cgi-bin/ ... 1;t=009522
Here's Kevin Koch the Guild's president inviting everyone to the 2005 party.
http://www.animationnation.com/ubb/ulti ... 924#000000
Here's photos I took of the 2005 party.
http://www.animationnation.com/ubb/ulti ... 926#000000
Here's photos I took of the 2006 party.
http://www.animationnation.com/ubb/ulti ... 913#000000
Here's photos I took of the 2007 party.
http://www.animationnation.com/ubb/ulti ... 847#000000
Here's photos I took of the 2008 party.
http://www.animationnation.com/ubb/ulti ... 397#000000
Good times.
Please take note of all the hate and vitriol.


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ETSU men's basketball sweeps top honors in SoCon preseason voting
Monday, October 13, 2003CHARLESTON, S.C. (October 13, 2003) - The Southern Conference's head coaches and media have voted, and the East Tennessee State University men's basketball team is their pick. The Buccaneers swept first-place honors in both the coaches and media polls Monday at the SoCon Tipoff Media Rouser at the Embassy Suites Hotel in North Charleston, S.C. Receiving eight of 12 first-place votes in the coaches poll and 21 of 28 first-place votes in the media poll, the Bucs were a landslide pick to win the North Division for a fourth-straight season over longtime rival Chattanooga. "High expectations are good because usually that means you have good players," said ETSU head coach Murry Bartow. "But there are good players and good coaches throughout this league. The preseason polls are nice, but we still have a lot of work ahead." In addition to the polls, the Buccaneers placed three players on the preseason all-conference team - more than any other school - with senior forward Zakee Wadood (Lonoke, Ark.) being selected as the preseason player of the year. Along with Wadood, fellow senior Jerald Fields (Gainesville, Fla.) and sophomore Tim Smith (Newport News, Va.) were picked to the preseason all-conference team. In fact, Smith finished second to Wadood in balloting for player of the year honors. Wadood, Fields and Smith are three of five starters returning from the 2002-03 team which finished first in the SoCon North Division for a third-straight year, won the SoCon Tournament for the first time in 11 years, and nearly upset No. 2-seeded Wake Forest in the first round of the NCAA Tournament. A year ago, Wadood was the team's leading rebounder (8.1 rpg) and second-leading scorer (14.7 ppg), while also ranking second in the country in steals (3.2 spg) and setting a new single-season record for blocked shots with 66. Meanwhile, Smith was the team's leading scorer (15.3 ppg) while garnering honors such as SoCon Freshman of the Year and SoCon Tournament Most Outstanding Player. Fields, who had also set a single-season record for blocks with 56 in 2001-02, was third on the team in scoring and second in rebounding a year ago. Both Fields and Wadood - who have 911 and 894 career points, respectively - should eclipse the 1,000-point mark for their careers early in the upcoming season. "Those are three very talent players," Bartow said. "Having guys like that is a huge asset." Along with Wadood, Fields and Smith, the rest of the preseason team included Western Carolina's Kevin Martin, College of Charleston's Thomas Mobley, Chattanooga's Ashley Champion, UNC Greensboro's Jay Joseph, Georgia Southern's Frank Bennett, The Citadel's Max Mombollet, and Appalachian Stat's Chris McFarland. See accompanying sheet for voting results and complete polls. Coaches Poll First-place votes in parenthesis North Division 1. East Tennessee State (8), 63 pts 2. Chattanooga (4), 59 pts 3. UNC Greensboro, 43 pts 4. Appalachian State, 32 pts 5. Western Carolina, 32 pts 6. Elon, 17 pts South Division 1. College of Charleston (8), 63 pts 2. Davidson (4), 58 pts 3. Georgia Southern, 46 pts 4. Wofford 37 pts 5. Furman, 25 pts 6. The Citadel, 17 pts Media Poll First-place votes in parenthesis North Division 1. East Tennessee State (21), 155 pts 2. Chattanooga (7), 139 pts 3. UNC Greensboro, 95 pts 4. Appalachian State, 83 pts 5. Western Carolina, 65 pts 6. Elon, 31 pts South Division 1. College of Charleston (12), 147 pts 2. Davidson (13), 145 pts 3. Georgia Southern (2), 106 pts 4. Wofford 76 pts 5. Furman, 61 pts 6. The Citadel, 32 pts


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Ana began the 2014 season in ideal fashion as she defeated seven-time Grand Slam champion Venus Williams 6-2, 5-7, 6-4 to win the ASB Classic title in Auckland.
The 26-year-old recovered from losing the second set after holding a match point at 5-3, keeping her cool admirably in the decider to score an extremely morale-boosting triumph Down Under. It was Ana's first tournament win in over two years.
The performance of the local war dance, the Haka, was not just a short artistic intermezzo before the match started. It was a true prelude of what would turn out to be a top-class, nail-biting contest in which two former world No.1 warriors pushed each other until the very end. Two hours and 19 minutes later, Ana was rewarded with the capture of her career's 12th tournament win.
At the beginning of the match it was immediately visible that the elder Williams sister is on her way back after suffering several injuries that have kept her away from the tennis courts for the majority of the past four seasons. The American applied great pressure on Ana's defence with her powerful groundstrokes, but she was sometimes a little too eager too impatient to pull the trigger.
Ana, on the other hand, built up the rallies and patiently waited for a short ball to finish the points. In the third game, the 26-year-old maximally exploited the many unforced errors coming from the other side of the net and she secured a first break to grab control of the match.
It was more of the same in the following games. After consolidating the break and moving 3-1 ahead, Ana turned around a 40-15 score in the fifth game to take a double break lead. She went on to wrap up the opening set in utterly convincing style.
In the second set, no breaks of serve were permitted until the fifth game. Williams reduced her unforced errors – she had hit 20 in only the opening set – while Ana remained acting extremely solidly.
At 30-all in that fifth game, the American threw in a double fault and followed it up with a wild forehand mistake. The 26-year-old broke the Williams serve for a third time in the match.
The title gradually moved to within Ana's reach and a confident hold of serve in the eighth game appeared to be crucial. The second seed released a loud 'idemo' scream - "come on" in Serbian - as she was just one more game away from a first tournament win since the Tournament of Champions in Bali in November, 2011.
The 26-year-old enforced a first match point in the following turn but unfortunately for Ana, it was at this moment that the class of the seven-time Grand Slam champion manifested itself. Williams powered away the match point with a huge serve and she still something up her sleeve. While Williams' all-or-nothing game didn't pay off in the early stages of the match, it did now, and emphatically.
After she vitally had held her serve, the 33-year-old came up with an array of flashy return winners in the next game and broke Ana to level the set at 5-all. Moreover, with the American also enjoying some fortune with a couple of net cord, the momentum of the match completely shifted. Williams claimed four successive games and took the contest into a deciding set.
However, as the third set got underway, Williams' impeccable manner of playing from the previous 15 minutes collapsed entirely. The American opened the set with a double fault and added three unforced errors to instantly surrender her serve. Suddenly, Ana again held all the aces.
In game eight of the deciding set, Ana produced one of the most impressive games of the match, including a winning serve, two aces and a forehand winner. She moved 5-3 ahead, just as she had done in the second set; Ana was just one game away from the trophy,
Many of Ana's fans probably experienced a sense of déjà-vu as the second seed again faced two break points while serving for the match. "Not this time," Ana must have thought. She wiped away the break points in extraordinary style with a forehand winner and a winning serve before she wangled a second match point moments later. Another intense rally followed, but when Williams' forehand sailed long, Ana fell to the court and let a squeal of delight as she began the new season perfectly.
By Joeri Moerman