#dancing rabbit

[the-fuckwizard]

Everybody here is dressed like a granola lesbian. Even the men.

[the-fuckwizard]

This is Dancing Rabbit ecovillage

About 80 residents live here. It's an "intentional community" in Missouri. A lot of the buildings were built by amateurs and you can tell. There's a community center and a cafe and a bike repair shop and an Airbnb and supply shed they have the audacity to call a "grocery store" and a lake and a treehouse. And most of the "yard" space on the land is taken up by kitchen gardens.

They call places like this eco-villages and intentional communities because it's a gathering of people with intent to live a different way from mainstream society. Check out Dancing Rabbit's "Ecological covenant"

I'm here for two days.

[danskjavlarna]

Source details and larger version.

My collection of vintage dancing animals is hopping along.

[ramabear]

Can anyone help me find that dancing animated gray rabbit video with the voice over from some girl complaining about something, it's like from a game I think???

[danskjavlarna]

Source details and larger version.

My collection of vintage dancing animals is hopping along.

[danskjavlarna]

Source details and larger version.

Here's my collection of vintage dancing imagery.

[ricardotomasz]

Such is life! Behold, a new Post published on Greater And Grander about The Dancing Rabbit; 9to5 Gay Pins

See into my soul, as a new Post has been published on https://greaterandgrander.com/the-dancing-rabbit-9to5-gay-pins/

The Dancing Rabbit; 9to5 Gay Pins

Why did you get into making high-quality pins?

I started collecting pins in 2001 with Stitch pins [of Lilo and Stitch] from Disney. He was my main collection and by 2018 I felt the quality of pins that Disney was making had gone downhill, and I decided if Disney wasn’t going to make good pins of characters I wanted to collect, then I would. I was 23 years old when I commissioned my first pin design and was 24 when it was finally made and ready to be sent out to buyers.

What was the pins project you were most proud of?

The series that I am most proud of is my Framework Series, it was a series that I really eased back on the effects. Just enamel and screen print for the base designs. The idea for the series was that with new effects coming out, I felt that collectors and makers were forgetting how beautiful the metal plating could be. So the Framework Series set out to highlight the metal.

What were your goals when you started?

When I started to make pins, I had really two goals in mind.

1) Make pins that I want to collect because others weren’t and

2) pay off my student loans. Sadly I very much underestimated the cost to make enamel pins, so goal number two is still a work in progress.

What are your future goals?

Well right now, the goal is to clear some backlog that we have lingering from troubles we faced at the end of Covid. Unfortunately, we lost contact with one of our manufacturers and due to that we lost lots products in production. So goal number one is set things right with our buyers and fans and fulfill all their orders. Then after that, our goal is to return with some new designs we have been planning for a while now. We have some big plans for when we have all the backlog squared away.

We want to revamp our birthday club, introduce a new loyalty program, and make for the first time original content.

Did you go to art school?

I attended San Diego State University and studied TV and Film, critical studies. I forced on the writing side of the film. I still in my free time write. But that is also how a lot of the pin designs start out. They are ideas or prompts that I send out to the different artists that are commissioned for the series we do. But also you can find my writing as well on them. Both the PlayBoy/Girl series and the Tarot Card series feature my writing as the cover article titles and the readings on the back of the pins respectively.

What advice would you give to a prospective student who is applying to colleges?

One thing I wish I had done was done a minor. It was something I thought about early in my 3rd year but my degree was so far removed from the others. I would say look at the minors in your first year and try to take on an extra course or two so that maybe you get a minor without adding on to your loans. I also strongly recommend summer classes, not a lot just one or two to less the chance of needing a 5th year.

What are the biggest mistakes an art school student can make while in school?

The biggest mistake you can make is completely changing course, I started off wanting to get an engineering degree. I love to build and design things but I was not able to the math, I wasted a good chunk of my time at school trying to make it work and retook classes instead of changing gears and going after what I was good at and had a passion for.

Did you have trouble finding work when you first got out?

Well, I still don’t work in film. But after some stumbling I did get a good job that allows me the flexibly to do what I want. So, I can write and make my pins. Even if I can’t do it full time, I am able to do the things I love and pay the rent. I think what is most difficult is admitting that just because you want to do something doesn't mean that is what you can do.

I spent time struggling right out of school because I didn’t want to take a job if it wasn’t writing for a studio. That just isn’t how it works, sadly. So yes work on your art, but don’t sacrifice your lifestyle to do. Day jobs are definitely important.

When did you decide to stop working for free?

You mean I could be paid? Just kidding,

I do offer my services to make pins at a markup as a middleman to those that don’t want to deal with manufacturers and I do sell the pins I make. I don’t just hand out things I spent $500 or more on for free.

What are the biggest mistakes a person can make when they first start working making pins?

For making pins the biggest mistake you can make is thinking you can just jump into it and everything will be prefect. It takes time and practice to get good. Get a pantone book, find a good manufacturer, don’t be afraid to try new effects and build with each new design. But don’t start off doing a 4 inch pin, with sandblast, glitter and 3D metal. Take the baby steps. You have to start with the basics before you can run.

What’s the biggest thing you depend on making and selling pins?

Well, content. If there isn’t good content then I don’t have a base to make great fan art to make into pins.

Did you ever pay for a program that promised big results to help further your career, but it never delivered?

Yes and no, I wouldn’t say I drop hundreds on something that promised to make me hit the big time. But I have dropped money on platforms that promise to bring in buyers and I basically should have burnt the money instead.

Did you ever come across a project or a person that looked promising, and then the whole thing blew up in your face?

Yes, I had one artist that I LOVED their work and wanted them to do a series for me but they wouldn’t draw gay characters or women that were “naked.” If you can call Ariel and Jasmine naked. These weren’t lewd designs either these were little chibis. And the artist admitted to going to conversion therapy and that it turned them into a self hating person basically. But I was commissioning pieces, paying for them and then being told they couldn’t be made. I got my money back for the ones that they didn’t make. But it was sad because their style was so cute and I wanted to do much more with them.

What’s been the highest point of your career so far?

For the pins it’s when I make a design that I have to crease the number I am ordering to meet demand. For my day job, getting my current job because I finally have enough to pay my bills and have a little money left over.

How would you advise people to network?

Well, pins I feel is very much on Instagram. But also at conventions. Talk to the your booth neighbors and stuff. You never know if you’ll make a connection.

What’s the worst part of your job?

The worst part is the work and stress delaying with buyers and manufacturers. This is because both those parties tend to be self interest driven and don’t understand that you are in the middle. You aren’t there in the factory to get updates immediately. At the same time you need to do your best to enforce a speed acceptable to buyers while maintaining a budget and quality level that works for your bottomline and the exceptions of buyers.

If you had it to do over again, what would you do differently?

Start smaller and grow slowly. I started with making way too many of a single design and had them for years. Then when sales picked up I expanded rapidly which worked out great for a little while but when something goes wrong, a manufacturer disappears with thousands of dollars and multiple designs or cashflow drops. You are left in a hole that is really hard to get out of. It is doable but it takes time and you basically have to pause everything new to focus on fixing the problem. Doing everything you can to keep cashflow. Personally, I have expanded how I do business and now do popups. I buy into events with friends to reduce my overhead and increase my chances of leaving that event with more money than I had before it.

Where’s your favorite place in Los Angeles?

I know I sound basic, but West Hollywood, mainly because I find myself there several times a year with friends and a lot of the houses look really cute. Now I have heard bad things living super close to the clubs but I would love to live in one of the cute townhouses or homes that are away from the loud club music. Cause I do got to sleep when I have work or a popup early the next day.

Where can people find you and your work online?

I am mainly on Instagram at @9to5gaypins and my online shop is 9to5gaypins.com readers can get a special discount on their first order with code GANDG up to 25% off select deigns and free shipping (on most orders).

#9To5GayPins, #Art, #ContentDissemination, #DancingRabbit, #LosAngeles, #PostPromotion, #TheProducersLoungePodcast, #WestHollywood

[ricardotomasz]

Such is life! Behold, a new Post published on Greater And Grander about The Dancing Rabbit; Derek Carranza

See into my soul, as a new Post has been published on https://greaterandgrander.com/the-dancing-rabbit-derek-carranza/

The Dancing Rabbit; Derek Carranza

Raised in Southern California, Derek attended the Mae West Drama school at age 15, now defunct, where he found representation with Todd Turzo at Encino Talent, an also now defunct agency. Over the course of that year Derek auditioned for big brands like Nike, adidas, Nintendo, Dr. Pepper, and Quaker Oats cereals, to name a few.

Once 18, after deciding acting wasn't for him, Derek attended Cal Poly Pomona, where he obtained a bachelors and Master's degree in Biological Sciences and even taught Human Anatomy there for four years. Always a fan of films and fiction novels, plus with the added experience of thesis writing and teaching, this influenced Derek's attitude toward conveying information, and storytelling.

A few years ago, Derek made the decision to return to the entertainment business, in a different capacity: screenwriter and director.

Since leaving his job as a Professor, Derek has dedicated his time to writing several scripts and making films, which is how Derek got his first work - PEPPERBOX REVOLVER - optioned by producers. During this time, and before, he also worked on several videos for GIER PRODUCTIONS, in many capacities.

Furthermore, Derek is also an alumni for Jimmy Lifton at LIMSLA, where he took part in several productions that have included talent like Viveca A. Fox, Adrian Paul, Joe Montegna, and Nichelle Nichols.

He continued writing other works until eventually making his first feature. The low budget I FEAR NO BEAST, which opened at the IFS film festival to great response. Currently, he's in pre-production on his second feature.

What are you working on now that you’re excited about?

I’m currently working on a few projects, but the one I’m most excited about at the moment is a small contained crime mystery thriller called CAFÉ MONTEVIDEO. This is the one I’m working very hard on to get made at the moment. We’ll see it soon.

Why did you get into the entertainment industry?

For me it started back in 2003 with Kill Bill Vol. I. I was 21. Before that, I was in college, trying to make my way into Dental School, then I went to the theater on the Friday it opened and it was like holy crap! I knew from that point what I wanted to do, which was to make these commercial auteur vehicles that were all written and directed by me. As soon as the picture started, I was in on it. I got it instantly. I knew what Tarantino was trying to do in a way I hadn’t noticed before. He was paying homage to everything he loved and cared for, including himself. Before that, I didn’t think that was a thing. I certainly didn’t think you could make a profession out of directing movies like that. I said, I think I can do my own version of that. I want it to be funny and exciting and tense and engaging. Definitely pay homage, but go entirely my own way. That’s how it started for me. Now, I didn’t necessarily know what my own style would be, I just knew I had to work hard to find it. It took years, but it was worth it.

What was the first project you worked on?

It was an original screenplay I wrote called Pepperbox Revolver. It was a low-budget heist film. I wrote it with the intention of directing it myself, but when I got offered to get it optioned by actual producers, I couldn’t resist. I let it go. Well, I was actually talked out of it, but I didn’t resist much, because I knew I wasn’t ready to do a serious one yet. I was still developing my own signature. In the end, they paid me to rewrite it and optioned it for two years.

How did you find the optioning experience?

I saw many crime films, noirs, westerns, behind the scenes interviews and documentaries and decided that I needed to write something low-budget that had some punch to it. At the time, that was the best idea I could come up with. Thank God I let it go. Now, I look back on it and I realize why. It wasn’t that good. It was primer of who I wanted to be. But, at least it got me noticed.

What were your goals when you started Pepperbox Revolver?

My goals at the beginning, whether I knew how to articulate them or not, were to find my signature style. My personal niche. Define my uniqueness if you will. Even before writing that thing that sold for a lot of money and got recognized. I knew I didn’t want to be like everyone else, that much I did know, even when I tried to. I also wanted to learn and socialize with others who had similar goals in order to learn.

What are your future goals?

At this point, I have several screenplays in several stages of development, including CAFÉ MONTEVIDEO. I would really like to get all of them made, maybe not direct all of them, but certainly putting them in front of an audience. I think this is gonna help direct my original objective within the industry, which is to be that auteur director whose work is seen by lots of people.

What kind of school did you originally go to? And do you regret not going to film school?

I went to a polytechnic school where I majored in Biological Sciences. The plan was to go to Dental School and follow in my dad’s footsteps, but that really wasn’t what I wanted. Then I thought I’d be a teacher, which I eventually did for a few years, then I just decided to stop kidding myself and dove into the entertainment business, which is what I really wanted for myself.

Well, I think people should do what they feel they’re ready for with no pressure. If you want to go to film school and build yourself up, then by all means do that, but if you feel ready to play along with professionals and learn by doing, then I think diving into the industry is the path for you.

What advice would you give to a prospective student who is applying to film school?

Learn all you can, but definitely make your own movies. It never hurts. I did. No one’s gonna make them for you.

I always wanted to write and direct my own films. That’s still the goal.

What difficulties did you encounter in Hollywood?

Well, first of all, this is an industry (entertainment) where you really have to know people. A simple resume won’t do it. Moreover, it’s an industry where no one wants to help you get ahead. And no one wants to pay you for anything. Everyone wants you to help THEM get ahead and pay THEM. I mean, I understand it. Everyone has dreams. We’re all selfish. The challenge is that you have to be persistent and make things happen for yourself. Keeping that energy up. Waiting around for others to help you is a bad way to go about it, I think, here or anywhere. But especially here. If you want something done, you have to really sell yourself along with it.

What did you do for a day job while looking for showbiz work?

I’ve been a teacher, an insurance broker, a busser, a courier, a waiter, cashier. I’ve had lots of day jobs.

When did you decide to stop working for free?

As soon I got my first work optioned. That script wasn’t even that good, yet someone was willing to pay me for it. Why would I go back to doing free work? My writing would only get better, I thought.

So far all the scripts I’ve written have been on spec. It’s the only way I know I can write exactly what I want. But hey, look, I’m not opposed to working on assignment, it’s just that if you’re not into the project you’re writing or the direction it’s going, or the people with whom you’re doing business, then why get involved? Money only provides so much motivation.

I’m currently working on CAFÉ MONTEVIDEO. This is a confined crime thriller with elements of mystery, suspense, romance, character study and comedy. By confined I mean that it all takes place in a steakhouse. It’s an odd little duck, but a very entertaining one that I think is far above average. I think this is exactly what I always wanted to make with my first optioned work - Pepperbox Revolver - it’s just that I didn’t know enough and wasn’t refined enough as a writer at that point. I mean, it’s a completely different story and has completely different characters, but the energy of what I wanted drove it, I think. It’s an idiosyncratic signature piece that exemplifies everything I like about movies and then some, plus it’s probably the first purest creation that I wrote. Everything I’ve written after that has been more enjoyable to find.

What are the biggest mistakes a person can make when they first start working in the industry?

I think not improving and being lazy are the two biggest errors people make when they “break in.” Resting on your laurels is unfortunately how many people in the business fade away never recover. Look, if you make it in, that’s great, but then something else has to keep you there. Consistency in your work is a must. So overtime if you don’t learn or collaborate with other talented people, I think you’re shutting yourself off and won’t go beyond a certain point. Always learn how to do it better, keep entertaining people and avoid doing what you don’t want to do.

What’s the biggest thing you depend on, on set?

(laughs)

You mean besides the equipment and the script? Well, I don’t really have a thing I depend on, like a personal thing. No. Well, maybe my sense of humor. That definitely gets me through the day, always. I like making people laugh. That also comes through in my work, I think.

Did someone ever try to take advantage of your inexperience in Hollywood?

Yes. There was one work I got optioned a while back where one of the producers wasn’t fully aware of the terms of our contract and tried pushing me down over the phone when I asked for my option money. He was yelling and insulting. I told him to settle down, then when he wouldn’t I just swore at him, quit and ended the call. I was done and I meant it. About an hour later the other producer called and patched things up with me and got me paid.

Did you ever pay for a program that promised big results to help further your career, but it never delivered?

I once paid a line producer to make me a schedule and budget for $600.00 and he did a very poor job, so I fired him, then hired someone else [at Greater & Grander] who charged me less and did a way better job.

Did you ever come across a project or a person that looked promising, and then the whole thing blew up in your face?

A couple times. Mainly the one I just mentioned. That was the worst. The telling signs are when they seem standoffish or you feel you’re not welcome by them on the project; they won’t tell you certain things. They’re not friendly. It’s all in the energy that they project. In that case, from the very beginning I felt unwelcome. They thought of me as “just the writer.” It was all in how they dealt with me.

What did you do?

When he insulted me. That was the last straw. I quit. I meant it. It wasn’t a ploy, a game or a bit for me. When they called me back and ended up giving me what I wanted, I learned a lot.

Did anyone ever approach you and say they would offer you a job if you slept with them?

No, nothing like that. And I’m a little insulted, to be honest. (laugh) No, I’m kidding.

The BEST part of my job is finishing a project or getting it made. Even while you’re on set getting it made. It feels like you’re actually accomplishing something. It’s tangible. The worst part is when you’re gathering all the elements together; the writing of the script, the gathering of funds, the talent referrals, etc. It’s a lot of work.

Did you ever embarrass yourself in a job interview?

As a P.A. on a show I did once. I took a nap after my duties were done. That was not seen well. They still invited me back the next day to work though, so it all worked out.

Did you ever meet someone casually at a club that wound up leading to a great job, or a major step in your career?

Never at a club, but definitely online and on other sets. I met a few great people online which turned out to be people I’m collaborating with on Café Montevideo. One of them I met on a set that I was a part of a long time ago. Also, my first script option was done through people I met online.

How would you advise people to network?

Wherever you meet like-minded people, be sure to keep their contact information and reach out when you need them. Don’t be embarrassed to call and say hi even once in a while if nothing’s going on and definitely try to elicit other contacts from them that might be of use to you. Make sure it’s synergistic, too. You might have something THEY want.

If you had it to do over again, what would you do differently?

I would’ve started doing this when I was a teenager instead of at 30. (laugh) The quicker the better.

What motto do you try to live your life by?

A motto? I don’t really have a motto. Well, maybe something cheesy like:

LIVE AND LET LIVE. (laugh) There is something I do live by though, which is: be cordial and polite, but don’t just make friends with anyone. Not everyone’s friendship or acquaintance can lead to something. You also have to learn how to read people’s energy quickly. If it matches yours, then it could lead to something fruitful. If you spend too much time being casual, you’ll never go your own way or reach what you want. Things are earned, not given.

Where’s your favorite place in Los Angeles?

Definitely going to the New Beverly Cinema or the Aero Theater in Santa Monica. I just love seeing films on 35mm, they way, I think, they were intended to be seen.

Where can people find you and your work online?

You can go to my youtube page online at Oranje Pictures. It’s spelled with a J, not a G. Or type in Derek Carranza. You’ll see my work there. Or go to filmfreeway.com. All my work is on there, too.

Do you have your own thoughts? Let us know in the comments! Or join our community of successful creators on Patreon!

#CAFÉMONTEVIDEO, #Celebrity, #DancingRabbit, #DerekCarranza, #Interview