I can't find full version of Polyphemus theme on official chanel Supergiant his theme ends too early, before cool moment begin, so anybody know how to find it?

Tried to post on other places but pretty sure it's gonna get deleted because it's meme related
I have been following the Kitty tweets mostly for entertainment, they are fun, but I think I see a theme. So here is my tinfoil hat theory.
1.It's not about GME anymore. The game powerup logo, batman tweet says - now we have a symbol, that is a warning, fear etc.
Braveheart meme, dying gamestoooop rallying cry - Wallace dies at the end of movie, but inspires with his death.
Finally, the diversion tweet, magic, the prestige, kasas city shuffle. Everyone is looking at GME stock again, but that's the diversion, kansas shuffle

1. So what is it if not GME ?? He is, saying he is very careful what he says so listen. He is posting SIGNS. What signs do many of the tweets have in common?

Candman says "Be 🐝 my victim" with the bee emoji after the word be =BB
It's Britney Bitch BB
Goosebumps- Bear Beware BB
Busta rhymes -Busta Bust BB
Breaking Bad, and Jason Borne in Boston might be a stretch, but
BLACKBERRY. There is some dd out there about solid fundamentals for BB..
Not a bagholder, I only played amc in 2021.
My positions : shares and june/July calls
Just lottos, not full porting on some meme tweets, but this a casino, so I'm gonna gamble.
Thanks for coming to my Ted Talk

I love this sub so much! I've learned of brands I've never heard of and wanted to return the favor. I created a list of brands we love in this sub with hyperlinks! They are in alphabetical order because I couldn't possibly rank these as we have quite the range of loves!
I thought it'd be nice to include well-known brands for anyone just getting their start in their handbag journey.

• Acne Studios: Based in Stockholm, Sweden. Made in Italy. Known for: Contemporary and minimalist designs, innovative materials, and effortlessly cool style.
• Adelle Stoll: Based in Sonoma, CA, USA. Made in USA. Known for: Handcrafted leather bags with a modern aesthetic and attention to detail.
• Advene: Based in New York, USA. Made in Italy. Known for: Luxury handbags and accessories crafted from premium materials, featuring sleek designs with a contemporary edge.
• Aesther Ekme: Based in Copenhagen, Denmark. Made in Italy. Known for: Architectural-inspired leather goods with a focus on clean lines and functionality.
• Aimee Kestenberg: Based in New York, USA. Made in China. Known for: Fashion-forward handbags and accessories with a focus on functionality and versatility.
• Akris: Based in St. Gallen, Switzerland. Made in Switzerland and other locations. Known for: Modern and architectural designs, offering luxury handbags with a minimalist aesthetic and Swiss craftsmanship.
• Alaïa: Based in Paris, France. Made in Italy. Known for: Avant-garde and sculptural designs, impeccable craftsmanship, and body-conscious silhouettes.
• Amélie Pichard: Based in Paris, France. Made in Portugal. Known for: Eclectic and avant-garde designs, including unconventional handbags with a retro-futuristic aesthetic and sustainable practices.
• Anine Bing: Based in Los Angeles, USA. Made in China and other locations. Known for: Effortlessly cool and timeless designs, offering luxury handbags with a rock 'n' roll edge and Scandinavian influences.
• Alexander McQueen: Based in London, UK. Made in Italy. Known for: Avant-garde fashion and innovative design under the creative direction of Sarah Burton.
• Alexander Wang: Based in New York, USA. Made in China and other locations. Known for: Urban-chic designs, edgy aesthetic, and modern luxury handbags, including the "Rocco" and "Attica" bags.
• AllSaints: Based in London, UK. Made in China and other locations. Known for: Edgy and urban style, offering leather handbags with a rock 'n' roll aesthetic and distinctive designs.
• Animal Handmade: Based in Colorado, USA. Made in Colorado and other locations. Known for: Handcrafted leather bags and accessories with a bohemian aesthetic.
• Anya Hindmarch: Based in London, UK. Made in Italy. Known for: Playful and whimsical designs, including the iconic "I Am Not A Plastic Bag" tote.
• APC: Based in Paris, France. Made in France and Portugal. Known for: Minimalist and understated French fashion with a focus on quality materials and craftsmanship.
• Aranaz: Based in Manila, Philippines. Made in the Philippines. Known for: Handwoven bags and accessories inspired by Filipino craftsmanship and culture.
• Aspinal of London: Based in London, UK. Made in England. Known for: Luxury leather goods including handbags, wallets, and accessories with a timeless British aesthetic.
• Ateliers Auguste: Based in Paris, France. Made in France. Known for: Modern and minimalist designs, functional details, and premium materials, offering urban-inspired leather goods.
• ATP Atelier: Based in Stockholm, Sweden. Made in Italy. Known for: Minimalist and Scandinavian-inspired designs, handcrafted from vegetable-tanned leather for timeless elegance and sustainability.
• Baggu: Based in California, USA. Made in China and USA. Known for: Simple and sustainable designs, offering eco-friendly handbags and accessories with a focus on versatility and practicality.
• Balenciaga: Based in Paris, France. Made in Italy. Known for: Avant-garde designs and innovative silhouettes under the creative direction of Demna Gvasalia.
• Bally: Based in Caslano, Switzerland. Made in Switzerland and Italy. Known for: Classic and elegant leather goods with a focus on craftsmanship and quality.
• Betsey Johnson: Based in New York, USA. Made in China and other locations. Known for: Whimsical and playful designs, offering handbags with bold prints, quirky embellishments, and vibrant colors, reflecting Betsey Johnson's signature fun and eclectic style.
• Bimba y Lola: Based in La Coruña, Spain. Made in Spain and other locations. Known for: Contemporary and colorful designs, offering fashion-forward handbags with a playful aesthetic and Spanish flair.
• Bleu de Chauffe: Based in Ariège, France. Made in France. Known for: Handcrafted leather bags inspired by workwear and vintage styles.
• Brandon Blackwood: Based in New York, USA. Made in China. Known for: Contemporary handbags with a focus on inclusivity and social consciousness.
• Bolinder Stockholm: Based in Stockholm, Sweden. Made in Italy. Known for: Timeless leather goods with a Scandinavian design aesthetic.
• Bottega Veneta: Based in Milan, Italy. Made in Italy. Known for: Intrecciato woven leather and understated luxury under the creative direction of Daniel Lee.
• BOYY: Based in Bangkok, Thailand. Made in Thailand. Known for: Structured handbags and accessories featuring oversized buckles and bold hardware.
• Brunello Cucinelli: Based in Solomeo, Italy. Made in Italy. Known for: Luxurious cashmere clothing and accessories with an emphasis on ethical and sustainable practices.
• Burberry: Based in London, UK. Made in Italy and other locations. Known for: Iconic trench coats, British heritage, and classic plaid patterns.
• Bvlgari: Based in Rome, Italy. Made in Italy and other locations. Known for: Italian luxury and glamour, offering iconic handbags and accessories with bold designs and exquisite craftsmanship.
• By Far: Based in Sofia, Bulgaria. Made in Bulgaria. Known for: Retro-inspired handbags and shoes with a modern twist.
• Campomaggi: Based in Teodorano, Italy. Made in Italy. Known for: Handcrafted leather bags and accessories with a distressed and vintage look.
• Cafune: Based in Hong Kong. Made in China. Known for: Minimalist and functional handbags designed for the modern woman.
• Carolina Herrera: Based in New York, USA. Made in Italy. Known for: Timeless elegance and feminine designs, including the iconic "Good Girl" fragrance.
• Cartier: Based in Paris, France. Made in Italy and other locations. Known for: Iconic luxury and timeless elegance, offering exquisite handbags and accessories with the brand's signature craftsmanship and heritage.
• Celine: Based in Paris, France. Made in Italy. Known for: Minimalist and modern designs under the creative direction of Hedi Slimane.
• Chanel: Based in Paris, France. Made in France and Italy. Known for: Iconic quilted handbags, timeless elegance, and classic fashion under the creative direction of Virginie Viard.
• Charles & Keith: Based in Singapore. Made in China and other locations. Known for: Trendy and affordable footwear and accessories for the fashion-forward woman.
• Christian Louboutin: Based in Paris, France. Made in Italy and other locations. Known for: Red-soled shoes, bold and theatrical designs, and statement-making luxury handbags.
• Chloe: Based in Paris, France. Made in Italy. Known for: Bohemian-inspired designs, including the iconic "Drew" and "Faye" handbags.
• Chylak: Based in Warsaw, Poland. Made in Poland. Known for: Minimalist and timeless leather bags with a focus on quality and craftsmanship.
• Clare V: Based in Los Angeles, USA. Made in USA. Known for: Chic and playful designs, including the iconic "Le Box" and "Le Big Sac" clutches.
• Claudie Pierlot: Based in Paris, France. Made in Europe. Known for: Feminine and romantic designs, including leather handbags with a touch of Parisian glamour.
• Coach: Based in New York, USA. Made in China and other locations. Known for: American heritage, quality leather goods, and timeless designs, including the iconic "Rogue" and "Tabby" bags.
• Coccinelle: Based in Sala Baganza, Italy. Made in Italy and other locations. Known for: Colorful and contemporary handbags with a youthful aesthetic.
• Coperni: Based in Paris, France. Made in France and Italy. Known for: Innovative and geometric designs inspired by technology and architecture.
• Cult Gaia: Based in Los Angeles, USA. Made in China and other locations. Known for: Unique and sculptural handbags and accessories, including the iconic "Ark" bag.
• Cuoieria Fiorentina: Based in Florence, Italy. Made in Italy. Known for: Traditional craftsmanship and Florentine heritage, offering leather handbags and accessories with timeless elegance and Italian artistry.
• Cuyana: Based in San Francisco, USA. Made in Italy, Turkey, and other locations. Known for: Timeless and versatile essentials with a focus on sustainability and craftsmanship.
• Deadly Ponies: Based in Auckland, New Zealand. Made in New Zealand. Known for: Luxury leather goods with a focus on quality and innovation.
• Demellier: Based in London, UK. Made in Spain. Known for: Classic and elegant handbags crafted from sustainable materials.
• Delvaux: Based in Brussels, Belgium. Made in Belgium. Known for: Timeless and luxurious leather goods with a rich heritage dating back to 1829.
• Dior: Based in Paris, France. Made in Italy and France. Known for: Iconic designs, including the "Lady Dior" and "Diorama" handbags, under the creative direction of Maria Grazia Chiuri.
• Dooney & Bourke: Based in Norwalk, USA. Made in USA. Known for: Classic American style, quality craftsmanship, and durable leather handbags and accessories.
• Elleme: Based in Paris, France. Made in Italy and Portugal. Known for: Minimalist and contemporary handbags with clean lines and geometric shapes.
• Etro: Based in Milan, Italy. Made in Italy. Known for: Bohemian-inspired designs, intricate patterns, and exotic prints, offering luxurious handbags with a global aesthetic and Italian craftsmanship.
• Faure le Page: Based in Paris, France. Made in France. Known for: Heritage craftsmanship, luxurious materials, and iconic gun-sleeve canvas designs, offering elegant and timeless handbags.
• Fendi: Based in Rome, Italy. Made in Italy. Known for: Luxurious fur and leather goods, including the iconic "Baguette" and "Peekaboo" bags.
• Fleuron: Based in Paris, France. Made in France. Known for: Timeless elegance and craftsmanship, offering luxury leather goods and accessories with a focus on sophisticated designs and high-quality materials.
• Fount: Based in Cleveland, USA. Made in Mexico or the Dominican Republic. Known for: Handcrafted leather bags and accessories with a focus on quality materials and timeless design.
• Fossil: Based in Richardson, USA. Made in China and other locations. Known for: Vintage-inspired designs, quality craftsmanship, and accessible luxury, offering a wide range of leather handbags and accessories.
• Freja New York: Based in New York, USA. Made in USA. Known for: Luxury handbags crafted from sustainable materials, featuring minimalist designs and timeless elegance, reflecting the brand's commitment to ethical fashion.
• Furla: Based in Bologna, Italy. Made in Italy. Known for: Colorful and accessible luxury handbags and accessories with a playful aesthetic.
• Ganni: Based in Copenhagen, Denmark. Made in China and other locations. Known for: Contemporary and feminine designs, including trendy handbags with a Scandinavian twist and bold prints.
• GG Maull: Based in New York, USA. Made in Italy. Known for: Artistic and innovative designs with a focus on functionality and craftsmanship.
• Givenchy: Based in Paris, France. Made in Italy. Known for: Avant-garde designs and urban chic style under the creative direction of Matthew M. Williams.
• Gucci: Based in Florence, Italy. Made in Italy. Known for: Iconic GG logo, vibrant prints, and eclectic designs under the creative direction of Alessandro Michele.
• Hammit: Based in Los Angeles, USA. Made in USA. Known for: Edgy and versatile handbags with a focus on functionality and craftsmanship.
• Hemlock and Hyde: Based in Cleveland, USA. Made in USA. Known for: Handcrafted leather bags and accessories inspired by American heritage and vintage styles.
• Hevitz: Based in Seoul, South Korea. Made in South Korea. Known for: Elegant and sophisticated handbags with a modern twist.
• Hereu: Based in Barcelona, Spain. Made in Spain. Known for: Handcrafted leather goods inspired by Mediterranean culture and traditional craftsmanship.
• Hermès: Based in Paris, France. Made in France. Known for: Timeless luxury, exquisite craftsmanship, and iconic designs such as the "Birkin" and "Kelly" bags.
• Hulme: Based in Manchester, UK. Made in UK. Known for: Sustainable and functional bags with a focus on recycled materials and innovative design.
• Il Bisonte: Based in Florence, Italy. Made in Italy. Known for: Timeless leather goods, including handbags and accessories crafted from high-quality materials with a focus on traditional Italian craftsmanship.
• Irevedi: Based in Seoul, South Korea. Made in South Korea. Known for: Minimalist and understated designs with a focus on quality materials and craftsmanship.
• Isabel Marant: Based in Paris, France. Made in Italy. Known for: Effortlessly chic and bohemian designs, including leather handbags with a Parisian flair.
• Issey Miyake: Based in Tokyo, Japan. Made in Japan. Known for: Innovative and avant-garde designs, including the iconic "Bao Bao" bags featuring geometric shapes and unique textures, reflecting the brand's commitment to creativity and technology.
• Jacquemus: Based in Paris, France. Made in Spain and other locations. Known for: Provencal charm and avant-garde designs, offering unique handbags with a playful and whimsical aesthetic.
• Jil Sander: Based in Hamburg, Germany. Made in Italy. Known for: Minimalist and modern designs, impeccable tailoring, and understated luxury.
• Jimmy Choo: Based in London, UK. Made in Italy and other locations. Known for: Glamorous and elegant designs, luxury footwear, and iconic evening bags adorned with crystals and embellishments.
• JW Anderson: Based in London, UK. Made in Spain and Italy. Known for: Avant-garde designs that blend traditional craftsmanship with modern aesthetics.
• Joseph Duclos: Based in Paris, France. Made in France. Known for: Elegant and timeless leather bags with a focus on luxury and craftsmanship.
• Judith Leiber: Based in New York, USA. Made in Italy and other locations. Known for: Exquisite craftsmanship and iconic designs, including luxury handbags adorned with Swarovski crystals and sculptural minaudieres, representing the pinnacle of elegance and luxury.
• Just Campagne: Based in Saint-Junien, France. Made in France. Known for: Traditional French craftsmanship and heritage-inspired designs.
• Kate Spade: Based in New York, USA. Made in China and other locations. Known for: Playful and colorful designs, including the iconic "Kate Spade New York" logo.
• Kevin Germanier: Based in Paris, France. Made in France. Known for: Avant-garde designs and sustainable practices, offering unique handbags with a focus on upcycled materials and innovative techniques.
• Khaite: Based in New York, USA. Made in Italy and other locations. Known for: Modern luxury and refined craftsmanship, offering timeless handbags with a focus on quality materials and sleek designs, reflecting the brand's commitment to effortless sophistication and elevated essentials.
• Kurt Geiger: Based in London, UK. Made in China and other locations. Known for: British heritage and craftsmanship, offering a wide range of fashion-forward handbags and accessories.
• Lancaster: Based in Paris, France. Made in China and other locations. Known for: French elegance and craftsmanship, offering stylish and practical handbags with a focus on quality materials and timeless design.
• Lanvin: Based in Paris, France. Made in Italy and France. Known for: Sophisticated and luxurious fashion with a focus on draping and fluidity.
• Lancel: Based in Paris, France. Made in France. Known for: French elegance and craftsmanship, including the iconic "Premier Flirt" and "Charlie" bags.
• Le Tanneur: Based in Romans-sur-Isère, France. Made in France. Known for: Classic and refined leather goods with a focus on quality and functionality.
• Leatherology: Based in Carrollton, USA. Made in USA. Known for: Personalized leather goods and accessories with a modern and minimalist aesthetic.
• Leo et Violette: Based in Paris, France. Made in Europe. Known for: Timeless and elegant leather bags and accessories with a focus on quality materials.
• Lemaire: Based in Paris, France. Made in Europe. Known for: Minimalist and understated designs with a focus on quality and craftsmanship.
• Liberty London: Based in London, UK. Made in Italy and other locations. Known for: Heritage prints and luxury fabrics, offering a curated selection of designer handbags and accessories.
• Liebeskind: Based in Berlin, Germany. Made in India and China. Known for: Contemporary and urban-inspired handbags and accessories.
• Little Liffner: Based in Stockholm, Sweden. Made in Italy. Known for: Scandinavian minimalism and sleek designs with a playful twist.
• Lo & Sons: Based in New York, USA. Made in China and other locations. Known for: Functional and stylish travel bags and accessories designed for modern lifestyles, featuring innovative features and high-quality materials, reflecting the brand's commitment to smart and versatile design.
• Loeffler Randall: Based in New York, USA. Made in China and other locations. Known for: Modern and feminine designs, offering versatile handbags with unique silhouettes and playful details.
• Loewe: Based in Madrid, Spain. Made in Spain. Known for: Innovative leather craftsmanship and avant-garde designs under the creative direction of Jonathan Anderson.
• Longchamp: Based in Paris, France. Made in France and other locations. Known for: Iconic "Le Pliage" bags, timeless designs, and French elegance.
• Lotuff: Based in Providence, USA. Made in USA. Known for: Handcrafted leather bags and accessories with a focus on traditional techniques and materials.
• Louis Vuitton: Based in Paris, France. Made in France and other locations. Known for: Iconic monogram canvas, luxury travel goods, and innovative designs.
• Lulu Guinness: Based in London, UK. Made in China and other locations. Known for: Quirky and playful designs, including statement handbags adorned with unique motifs and iconic lip-shaped clutches, reflecting the brand's British heritage and whimsical aesthetic.
• Madewell: Based in New York, USA. Made in China and other locations. Known for: Effortless style and laid-back chic, offering versatile handbags with a focus on quality materials and casual sophistication.
• Maison Margiela: Based in Paris, France. Made in Italy and other locations. Known for: Avant-garde and conceptual designs, offering innovative handbags with a deconstructed aesthetic and artistic flair.
• Maje: Based in Paris, France. Made in Europe. Known for: Parisian chic and effortless elegance, offering feminine and contemporary handbags with a bohemian touch.
• Mako: Based in Seoul, South Korea. Made in South Korea. Known for: Modern and edgy designs with a focus on functionality and versatility.
• Mandel: Based in Berlin, Germany. Made in Europe. Known for: Sleek and minimalist designs with a focus on quality craftsmanship and materials.
• Mansur Gavriel: Based in New York, USA. Made in Italy. Known for: Clean lines, vibrant colors, and timeless designs, including the iconic "Bucket" bag.
• Manufactum: Based in Waltrop, Germany. Made in Germany and Europe. Known for: High-quality and sustainable products for everyday life.
• Marc Jacobs: Based in New York, USA. Made in Italy and other locations. Known for: Quirky and eclectic designs, including the iconic "Snapshot" and "The Softbox" bags.
• Marimekko: Based in Helsinki, Finland. Made in Finland and other locations. Known for: Bold and vibrant prints, offering iconic handbags and accessories with a focus on Finnish design and creativity.
• Marni: Based in Milan, Italy. Made in Italy. Known for: Eclectic and avant-garde designs, bold prints, and unexpected silhouettes, offering unique and artistic handbags.
• Massimo Dutti: Based in Barcelona, Spain. Made in Spain and other locations. Known for: Timeless elegance and sophisticated designs, offering leather handbags and accessories with a contemporary European flair.
• Max Mara: Based in Reggio Emilia, Italy. Made in Italy. Known for: Timeless sophistication, Italian craftsmanship, and luxurious materials, including the iconic "Whitney" and "Grace" bags.
• MCM: Based in Munich, Germany. Made in Italy and other locations. Known for: Luxury leather goods with the iconic "Cognac Visetos" monogram.
• Mietis: Based in Barcelona, Spain. Made in Spain. Known for: Sustainable luxury and innovative designs, offering handcrafted handbags with a focus on ethical production and contemporary style.
• Metier: Based in London, UK. Made in Spain and Italy. Known for: Timeless and elegant leather goods with a focus on craftsmanship and functionality.
• Michael Kors: Based in New York, USA. Made in China and other locations. Known for: Classic American style, luxury handbags, and accessories with a timeless appeal, including the iconic "Jet Set" and "Hamilton" collections.
• Miu Miu: Based in Milan, Italy. Made in Italy. Known for: Playful and feminine designs, offering luxury handbags with a youthful spirit and innovative details, including the iconic "Matelassé" and "Madras" collections.
• Min & Mon: Based in New York, USA. Made in Colombia. Known for: Quirky and artistic designs, offering vibrant and playful handbags with unique embellishments and bold colors, reflecting a creative and whimsical aesthetic
• Mlouye: Based in Istanbul, Turkey. Made in Turkey. Known for: Modern and architectural designs with a focus on versatility and functionality.
• Moreau: Based in Paris, France. Made in France. Known for: Handcrafted leather bags and accessories with a focus on traditional French craftsmanship.
• Motherhouse: Based in Tokyo, Japan. Made in Japan. Known for: Minimalist and functional designs inspired by Japanese craftsmanship and aesthetics.
• Moynat: Based in Paris, France. Made in France. Known for: Heritage craftsmanship, innovative designs, and iconic trunk creations since 1849.
• Mulberry: Based in Somerset, UK. Made in UK and other locations. Known for: Classic British style, including the iconic "Bayswater" and "Alexa" bags.
• Naghedi: Based in New York, USA. Made in China and other locations. Known for: Handwoven neoprene handbags that combine durability with stylish, modern designs, focusing on versatility and practicality for everyday use.
• Nanushka: Based in Budapest, Hungary. Made in Hungary. Known for: Modern and sustainable fashion with a focus on vegan leather and innovative materials.
• Neil Felipp: Based in Cebu, Philippines. Made in the Philippines. Known for: Handcrafted clutches and minaudières inspired by Philippine culture and craftsmanship.
• Nichole Kwon: Based in Houston, USA. Made in Italy. Known for: Elevated essentials and statement pieces with a focus on quality and craftsmanship.
• Nina Moniz da Maia: Based in Lisbon, Portugal. Made in Portugal. Known for: Luxury handbags crafted from sustainable and ethically sourced materials, featuring minimalist designs and timeless elegance.
• Neous: Based in London, UK. Made in Italy. Known for: Contemporary and architectural designs, combining modern aesthetics with traditional Italian craftsmanship.
• Olympia Le-Tan: Based in Paris, France. Made in Italy and other locations. Known for: Vintage-inspired designs, handcrafted embroidered book clutch bags, and whimsical storytelling themes, combining literary references with luxurious craftsmanship.
• O My Bag: Based in Amsterdam, Netherlands. Made in India. Known for: Sustainable and eco-friendly leather bags, ethically made with fair trade practices and timeless designs.
• Orciani: Based in Fano, Italy. Made in Italy. Known for: High-quality leather goods with a focus on innovation and functionality.
• Opelle: Based in Toronto, Canada. Made in Canada. Known for: Handcrafted leather bags and accessories with a focus on minimalist design and quality materials.
• Orla Kiely: Based in London, UK. Made in China and other locations. Known for: Retro-inspired designs, bold patterns, and playful prints, offering vintage-inspired handbags and accessories with a nostalgic charm.
• Oroton: Based in Sydney, Australia. Made in China and other locations. Known for: Luxury accessories with a focus on craftsmanship and timeless design.
• Osoi: Based in Seoul, South Korea. Made in South Korea. Known for: Contemporary and minimalist designs with a focus on functionality and versatility.
• Patricia Nash: Based in Knoxville, USA. Made in China and other locations. Known for: Vintage-inspired leather bags and accessories with a bohemian flair.
• Parisa Wang: Based in New York, USA. Made in China. Known for: Contemporary and innovative designs, combining functionality with fashion-forward aesthetics, offering versatile and stylish handbags for the modern woman.
• Parker Clay: Based in Santa Barbara, USA. Made in Ethiopia. Known for: Ethically-made leather goods crafted by artisans in Ethiopia.
• Peter Nitz: Based in Zurich, Switzerland. Made in Switzerland. Known for: Bespoke luxury handbags crafted with meticulous attention to detail, offering personalized and artisanal designs that emphasize timeless elegance and exceptional craftsmanship.
• Pinko: Based in Fidenza, Italy. Made in Italy. Known for: Contemporary and feminine designs with a focus on bold prints and innovative fabrics.
• Portland Leather Goods: Based in Portland, USA. Made in USA. Known for: Handcrafted leather bags and accessories with a focus on sustainability and quality.
• Polene: Based in Paris, France. Made in Spain. Known for: Chic and minimalist designs with a focus on craftsmanship and affordability.
• Pourchet: Based in Paris, France. Made in France. Known for: Handcrafted leather bags and accessories with a focus on timeless elegance and French savoir-faire.
• Prada: Based in Milan, Italy. Made in Italy. Known for: Iconic nylon bags, innovative designs, and timeless luxury under the creative direction of Miuccia Prada.
• Proenza Schoeler: Based in New York, USA. Made in Italy and other locations. Known for: Edgy and contemporary designs, including the iconic "PS1" and "Hex" bags.
• Radley: Based in London, UK. Made in China and other locations. Known for: Playful and functional designs with a British heritage aesthetic.
• Rag & Bone: Based in New York, USA. Made in USA and other locations. Known for: Modern and downtown style, offering contemporary handbags with a New York edge and understated sophistication.
• Rebecca Minkoff: Based in New York, USA. Made in China and other locations. Known for: Contemporary and versatile designs, including stylish handbags with a downtown vibe and accessible luxury.
• Repetto: Based in Paris, France. Made in France. Known for: Classic ballet flats and dance-inspired fashion with a focus on craftsmanship and comfort.
• The Row: Based in New York, USA. Made in Italy and USA. Known for: Luxurious fabrics, impeccable tailoring, and understated elegance, offering timeless pieces including handbags known for their simplicity and quality craftsmanship.
• Sacai: Based in Tokyo, Japan. Made in Japan. Known for: Innovative and hybrid designs that blur the lines between fashion and function.
• Saint Laurent (YSL): Based in Paris, France. Made in Italy and France. Known for: Rock 'n' roll aesthetic, iconic tuxedo jackets, and the "Sac de Jour" and "Kate" bags.
• Salvatore Ferragamo: Based in Florence, Italy. Made in Italy. Known for: Italian luxury and craftsmanship, iconic designs, and innovative materials, including the "Gancini" and "Vara" bags.
• Sandro: Based in Paris, France. Made in Europe. Known for: French chic and modern elegance, offering sleek and sophisticated handbags with a Parisian twist.
• Saonara: Based in Milan, Italy. Made in Italy. Known for: Handcrafted leather bags and accessories with a focus on traditional Italian craftsmanship.
• Savette: Based in Paris, France. Made in France. Known for: Timeless and elegant leather goods with a focus on quality and craftsmanship.
• Senreve: Based in San Francisco, USA. Made in Italy. Known for: Versatile and functional luxury handbags crafted from Italian leather, designed for the modern woman.
• Serapian: Based in Milan, Italy. Made in Italy. Known for: Luxury leather goods with a focus on craftsmanship and innovation.
• Sézane: Based in Paris, France. Made in Portugal and Italy. Known for: Parisian chic and romantic designs, offering a curated selection of leather handbags and accessories.
• Smaak Amsterdam: Based in Amsterdam, Netherlands. Made in China. Known for: Contemporary and stylish bags designed for the modern woman.
• Soeur: Based in Paris, France. Made in Europe. Known for: French chic and effortless style, offering a range of timeless and versatile handbags with a focus on quality materials.
• Songmont: Based in Guangzhou, China. Made in China. Known for: Affordable and trendy handbags and accessories with a focus on quality and style.
• State of Escape: Based in Sydney, Australia. Made in Australia. Known for: Neoprene tote bags with a minimalist aesthetic, perfect for beach days and everyday use.
• Staud: Based in Los Angeles, USA. Made in China and other locations. Known for: Playful and modern designs, bold colors, and eclectic silhouettes, offering trendy handbags and accessories with a focus on accessibility and style.
• Stella McCartney: Based in London, UK. Made in Italy and other locations. Known for: Ethical and sustainable luxury, vegan leather alternatives, and modern designs with a focus on sustainability.
• Strathberry: Based in Edinburgh, UK. Made in Spain. Known for: Clean lines and signature bar closure design, including the iconic "Strathberry Midi Tote."
• Tia Woven: Based in Denver, Colorado. Made in Ghana. Known for: Baskets made of Kinkanhe grass that function beautifully as fashion, storage, or art.
• Thom Browne: Based in New York, USA. Made in Italy and other locations. Known for: Tailored suits, preppy style, and avant-garde designs.
• Tod’s: Based in Sant'Elpidio a Mare, Italy. Made in Italy. Known for: Classic driving shoes, leather goods, and luxury accessories.
• Tory Burch: Based in New York, USA. Made in China and other locations. Known for: Preppy-chic designs, including the iconic "T" logo and "Robinson" tote.
• Toteme: Based in Stockholm, Sweden. Made in Italy. Known for: Scandinavian minimalism, clean lines, and understated elegance, offering versatile and timeless leather bags.
• Tumi: Based in New Jersey, USA. Made in China and other locations. Known for: Innovative and functional travel bags and accessories, featuring durable materials and smart design details for the modern traveler.
• Valentino: Based in Rome, Italy. Made in Italy. Known for: Romantic and couture-inspired designs, iconic "Rockstud" detailing, and Italian craftsmanship.
• Valextra: Based in Milan, Italy. Made in Italy. Known for: Sleek and minimalist designs with a focus on fine craftsmanship and premium materials.
• Versace: Based in Milan, Italy. Made in Italy. Known for: Bold and glamorous designs, iconic Medusa logo, and luxury Italian craftsmanship.
• Wandler: Based in Amsterdam, Netherlands. Made in Italy. Known for: Sculptural and modern handbags with clean lines and bold shapes.
• Wicker Darling: Based in Melbourne, Australia. Made in the Philippines. Known for: Handwoven wicker bags and accessories with a bohemian aesthetic.
• Yu Mei: Based in Wellington, New Zealand. Made in New Zealand. Known for: Modern and functional leather bags designed for everyday use.
• Yuzefi: Based in London, UK. Made in Spain. Known for: Bold and sculptural designs with a focus on artisanal craftsmanship and unexpected details.
• Zac Posen: Based in New York, USA. Made in China and other locations. Known for: Glamorous and sophisticated designs, including luxury handbags with feminine silhouettes and red-carpet appeal.
• Zadig & Voltaire: Based in Paris, France. Made in Europe. Known for: Rock 'n' roll inspired designs, edgy and urban style, and luxurious materials.
• Zarah Juan: Based in Manila, Philippines. Made in the Philippines. Known for: Handwoven bags and accessories that celebrate Filipino culture and tradition.
• 3.1 Phillip Lim: Based in New York, USA. Made in China and other locations. Known for: Modern and sophisticated designs, combining luxury with street-style influences, offering contemporary handbags and accessories.

I hope you found this fun! Happy to edit this list for any ones that I missed!

For many, Guerlain’s Habit Rouge represents a high watermark in perfumery. Since its original release in 1965, the composition has been beloved by gentlemen (and ladies) across the world. It is also a well known favourite of many of the most well regarded perfume historians and reviewers out there and, because of that, one could well argue that there is precious little further useful opinion that can be added to the existing cannon (and they may well be right!).
Still, Jean-Paul Guerlain’s multi-faceted composition has been no stranger to a remix over the years and, since Delphine Jelk took over from Thierry Wasser as in-house perfumer at the historic French house, she has managed to deliver a staggering three new takes on the fragrance in as many years. What better opportunity could there be, therefore, to undertake both a reappraisal of the original release and, in doing so, compare it to some of the new kids on the block? Note: I have not sampled the first of Jelk’s flankers, 2022’s Habit Rouge L'Instinct but, given the almost unanimous negativity surrounding it, it’s not high on my hit list! We’ll be looking at Rouge Prive and the Parfum today.
Habit Rouge EDT (1965)
The concept behind Habit Rouge (or ‘Red Coat’, if translated in to English from its native language) was to create a perfume that brought to mind the jackets worn by the landed gentry when they went hunting. In the UK, we’re no stranger to this nefarious practice - our own fox hunting aristocrats also wore red coats and, despite now being banned, the idea of chasing helpless creatures to their deaths is still a subject of debate in our national politics (with right wing politicians often promising to offer a ‘free vote’ to MPs on the issue to energise their base).
As an animal lover myself, this is perhaps the only element of Habit Rouge I find somewhat jarring. There is nothing within this perfume which brings to mind sport, adrenaline, blood, or violence. I find it somewhat curious, consequently, that Guerlain sought to relate it to hunting. The only thing wearers of Habit Rouge were likely to be chasing on its release were sexual partners!
That statement isn’t made wholly in jest either. Habit Rouge is a gentleman’s fragrance, but it carries within its structure not only aspects of formality and traditional masculinity, but also sensuality and sensitivity. It is, as such, a fragrance well suited to old fashioned romantics. Indeed, if it didn’t have these traits, I’d argue that it wouldn’t have survived for the almost 60 years that it has. When you think about it, it’s almost incredible that, despite how radically concepts of masculinity have changed over the years, Habit Rouge has still been a regular seller for Guerlain, with devotees now spanning across 5 generations.
Created to be the younger brother to the company’s 1925 release, Shalimar it, like its sibling, contains a citrus top note, which descends into a floral heart, before culminating in a vanillic leather and amber base. Habit Rouge is not simply a three card trick, however, and its complete run of notes can be summarised as follows (as per Basenotes):
Top Notes: bergamot, lemon, rosewood, basil, pimento
Heart Notes: sandalwood, carnation, patchouli, cedar, rose, cinnamon
Base Notes: vanilla, amber, moss, leather, benzoin, labdanum, olibanum
When it comes to the head of the perfume, the real star of the show is the bergamot, which radiates wonderfully off the skin when first sprayed. Whilst it is effervescent, though, it is also a powdery affair. In fact, it can most accurately be described as being akin to orange sherbet - fizzing whilst maintaining a chalkiness. It is warm and reassuring as opposed to enthusiastic. It also maintains a cologne like structure, however, by incorporating herbal and spicy notes through the use of basil and rosewood.
This accord is then joined to a rose and carnation-dominant middle phase, through which the powdered facets of the fragrance continue to run, and through which the fragrance begins to show its romantic side.
Finally, the dry down of the fragrance provides a semi-sweet backdrop with the vanilla taking the edge away from the traditionally masculine moss and leather accords and combining with the rest of the ingredients to produce a soft, light amber.
It is not hard to see, in this context, why Habit Rouge has continued to be successful over the years - it, essentially, captures hearts and minds because it resonates with the personality of its wearer in a way that other traditional masculine fragrances can sometimes struggle to do (as they were often, like their owners of the period, more buttoned up).
Habit Rouge - Rouge Prive (2023)
That doesn’t mean that the EdT of Habit Rouge smells like it was composed yesterday, however. It just means that it has aged like a fine wine as opposed to being the perfume equivalent of a kipper tie. In fact, if it were any item of clothing, I’d compare it to a 1960s slim lapelled suit - of its time, but still stylish today.
Still, as the years have gone by, the term ‘legibility’ has become more and more important in the perfume industry, and there now seems to be a distinct trend towards the creation of perfumes whose formulas are more streamlined than Habit Rouge. Or to put it another way, perfumers are being encouraged to reduce the number of notes in a perfume’s composition, with the aim of producing a more direct product. For lovers of vintage fragrances, legibility can be an anathema but, personally, I have no issue with the principle behind the concept. Nor it appears, does Delphine Jelk. Enter Habit Rouge Rouge Prive.
Top Notes:Bergamot, Ginger
Middle Notes: Orange Blossom, Iris
Base Notes: Leather, Patchouli, Vanilla
As can be seen from the notes list, Rouge Prive maintains the structure of Habit Rouge (bergamot, floral, vanillic leather), but switches out or culls a number of the traditional accords that were contained within the original. Gone are the cologne-esque elements. Gone too are the powdery rose and carnation. The leather, meanwhile, has been amped up and modernised - more akin to Tom Ford’s Tuscan Leather than Knize 10. Whisper it quietly, but it also seems that Jelk has snuck an oud accord in to the base too.
Given the number of changes, you could be forgiven for thinking that Rouge Prive would end up smelling completely different to the EdT, but fans of the OG need not worry - this is still unmistakably Habit Rouge. To paraphrase Persolaise (my favourite reviewer of perfumes), it’s like the whole perfume has simply been redrawn with clean bold lines. The bergamot continues to shimmer and, in spite of the florals being listed as Orange Blossom and Iris, the ultimate accord generated is still interpreted by my nose as being a rose. It is very much a rouge perfume as opposed to an orange or purple one (which is, incidentally, roughly what you get if you combine an iris hue and orange on a colour wheel…).
Where Rouge Prive differs to the EdT is in its brute strength. The leather note really does have a serious kick to it and, given that, the perfume is pulled from the bottom up, as opposed to the top diffusing off the skin to reveal the heart.
Whilst I’ve always found the EdT to perform quite well, the longevity of the Prive is genuinely outstanding, again due to the material in the base. Pleasingly though, the dry down still does maintain the powdered amber facets contained within the original. It’s a superb flanker that updates Habit Rouge without necessarily ripping up the original composition.
Habit Rouge Parfum (2024)
Not to rest on their laurels, Guerlain have now revisited Habit Rouge again in 2024, introducing a parfum version to go alongside new stablemates Vetiver Parfum and L’Homme Ideal Parfum.
I’ll say in advance that I’m a little sceptical of the allure of parfums myself, as I often find that the actual performance difference between fragrance concentrations can be completely counter-intuitive (I have EdTs that vastly out-perform EDPs and Parfums, both in terms of silage and longevity). In addition, given that Rouge Prive was already quite beastly, the necessity for a parfum to be made only a year later seems curious to me.
Parking those views for the moment though, the theme across these three new releases appears to be alcohol. In the case of Habit Rouge, the drink of choice is listed as rum, although there seems to be confusion in that regard, with Jelk being quoted in the marketing as saying:
For Habit Rouge Le Parfum, I Created a leathery vanilla liqueur with plenty of bold bourbon-inspired intensity
Perhaps Guerlain are suggesting that the perfume has been matured in bourbon casks? Hmm. In any event, the notes list for this one is as follows:
Bergamot, Vanilla, Rum, Patchouli
Well, I did say perfumers were streamlining their notes list, didn’t I!
What’s most striking to me about the Parfum is, firstly, how base heavy it is (we’re talking sub-woofer level) but, secondly, how patchouli dominant it is - there’s a definite chocolate element in that respect, but my nose also detects something slightly medicinal, smoked, and perhaps even burnt (think coffee beans). When combined with the vanilla, the result is a perfume that very much lies within the domain of the gourmand.
This is somewhat a blessing and a curse - if you’re not a particular fan of the EdT or Prive’s floral elements, you’re likely to get along a lot better with the Parfum. At the same time though, I’d argue that the floral heart of Habit Rouge is, to a large extent, key to its DNA, and vastly reducing the components that make this element ‘sing’ lead to a very different fragrance profile.
My second critique is that the perfume, generally, feels less balanced than Rouge Prive. I have no issue with the concept of a Habit Rouge that focuses on patchouli - readers of my previous pieces will know that I’m a huge fan of the note - I just wished that, on a technical level, the Parfum still maintained a decent top end. As it is, the whole thing sits very deep against the skin, with any radiance from the bergamot being buried by the heavier materials. This ultimately leads to a fragrance that, rather than being a sparkling rouge, comes across as a heavy-set chocolate and beige. Because of that, I can’t decide whether or not I’ve truly fallen for the Parfum.
That being said, you honestly couldn’t go wrong with any one of these three and I’ve no doubt they’ll appeal to different elements of the fragrance market. I look forward to Jelk’s next flanker in 2025, even if these variations are becoming a little bit akin to Marge Simpson’s Chanel jacket…!

Computer hardware is used and pulled from working systems.
Blackberry is used but in flawless condition. Unlocked to any carrier.
Quadro SOLD
Quadro
i7-10700 -SOLD elsewhere
i7-9700 -$125/each SOLD elsewhere
i5-9400f -$50/each
i5-7400 -$30
i5-6400 -$20
Blackberry -$250
Blackberry
Blackberry
Blackberry
Blackberry

I have been down a rabbit-hole these past few days, in search of the perfect companion for my tropical vacation this summer. I wasn't disappointed! There are plenty of options out there, for every income and every taste. To preface this, I must say I'm a little difficult when it comes to fresh fragrances: I tend to prefer heavier scents that make a statement, and I am sort of a vintage-style scents lover. I profoundly dislike cardamom, lemon is a no-no, and lavender usually is too masculine for me. I prefer floral, musky scents with the occasional citrus kick, but I avoid the usual tropical flower and fruit. In consequence, these aren't your typical summer fragrances. Here we go, in no particular order:
​

Granado - Rosa Damascena

OK, this comes in a huge bottle: even 100 mL of an eau de cologne is too much for me. I have been on a rose kick since last year, so I hope this has that intense (or well, freshly intense) rose scent I crave for. The brand also offers shower gels and lotions of the same scent, and I am so excited to try this all together!
​

Berdoues - Freesia & Coton

I imagine this as a delicate floral, powdery cloud with notes of freesia (duh), musk, cashmere blonde woods and some light citrus to bring some sparkle. I really enjoy cotton notes in perfumes for spring and summer, and usually Berdoues doesn't disappoint with respect to fresh fragrances, so I hope I will like this.
​

Chanel - Paris Venise

I usually find neroli, petit-grain and orange blossom too harsh, or at least on my skin. So, with the addition of tonka bean and vanilla I hope it won't be the case! I do like orange, for example, but find orange-centric fragrances too masculine for my specific taste so this is the next best thing. And don't even get me started on lemon! My boyfriend and, by transitivity, I, find it too toilet-cleaning-supply-ish: that's why most of the other fresh fragrances are out of the question for me.
​

Guerlain - Aqua Allegoria Mandarine Basilic

But worry not, dear friend, there's still some citrus to explore! Well, I know, this one is well-known but I couldn't not mention it. I love, love, LOVE juicy mandarin scents. I tend to avoid bitter, green unripe citrus fruits scents, and this is not like that. I have a sample of this fragrance, so I can actually give a review: in some way, the basil gives a coriander-like human-skin muskiness that I find comforting.
​

Goutal - L'Île au Thé

Another mandarin scent, even though I don't have any sample nor have gone to test it in person. Tea fragrances seem to smell fresh by consensus, even if it's a hot drink, and reviews say this particular fragrance is "sparkly", "a little bit herbal", and "inoffensive" which is exactly what I'm looking for.
​

Fragonard - Jasmin Perle de Thé

I love jasmine, even in its dirtiest forms, so finding a fragrance for summer that contains it is a dream come true. I suppose the flower won't be as indolic as I'm used to, and that along with tea it will be greener than I usually wear, but I'm eager to give this a try.
​

Olibanum - Ambrette

Here we enter into the clean musk territory, with a strong contender: ambrette seed and olibanum resin (frankincense, if I'm not mistaken). For some reason, I find incense rather cooling instead of warming, so together with a vegetal musk it is the recipe for success.
​

Le Couvent - Mimosa

When thinking summer, I think of not-so-classic florals and musks. So, I naturally gravitated towards mimosa: reviews say it smells like the real thing, a honeyed but very subtle floral brightened by some zesty bergamot and backed up by cedar. I suppose there are some other notes, but the notes pyramid doesn't reveal anything else.
​

Fragonard - Lilas

Hurry up, this is a limited edition scent! I saw that some of us love lilac, with its spring-time freshness and delicate powderiness, and are actively looking for our holy grail. I associate the fragrance to fresh linen in my mind, so that's why such a spring-themed perfume is tropical appropriate to my nose. I had the pleasure to try it in store, and needless to say, it is very pretty.
​
Of course, L'Occitane offers a number of fresh fragrances that are worth every penny, but I haven't been personally in a store to try them and none appealed me from the notes. Also, have you tried any of these? Or do you have any other uncommon summer scent recommendations? I'm all ears!
​
(Originally posted in another website by me)
​

I wan’t to smell like a natural garden - fresh, wet, green, herbal, earthy, aromatic (https://www.fiskars.com/-/media/fiskars/images/legacy/inspiration-tips/gardening/how-to-plant-a-shade-garden/page_main_image_how-to-plant-a-shade-garden.jpg):

• Herbs
• A bit of soil or related earthy smells
• Greenery, but not fresh cut grass, more as in some green leaf that is aromatic in itself, like black currant leaves, or something like that.
• Maybe some water, like dew drops or something
• Maybe some fresh berries or apples in the mix, but not as main characters - I don’t want this fragrance to be of ‘fruity’ accord, more of ‘green’, ‘earthy’, maybe ’aromatic’, maybe ‘fresh spicy’ accord
• Maybe some cucumbers even???

But not limited to only these ‘ingredients’ because I myself might not know what I’m looking for. I just know I probably don’t want it to be citrusy, because that’s immediately a whole different vibe for me. And maybe it shouldn’t have a strong floral accord, because it would also overpower my initial green garden wish (but maybe somewhere in the background would help with the photorealistic garden feel?)
I also want to share my 'library' of potential garden scents. Big part of them I haven’t even smelled yet so let me know if something from this list matches my criteria. Meaning - if something you would recommend is already in this list, I still want to hear your recommendation! Some are more straightforward green garden, some are less, some are a bit foresty gardens, but all of them are mostly green:
4711: Acqua Colonia Lavender & Thyme (https://www.fragrantica.com/perfume/4711/4711-Acqua-Colonia-Lavender-Thyme-5828.html) Aedes de Venustas: Aedes de Venustas (https://www.fragrantica.com/perfume/Aedes-de-Venustas/Aedes-de-Venustas-Eau-de-Parfum-14890.html) Aesop: Hwyl (https://www.fragrantica.com/perfume/Aesop/Hwyl-46895.html) Aesop: Karst (https://www.fragrantica.com/perfume/Aesop/Karst-69187.html) Avatim: Águas Naturais Concentração (https://www.fragrantica.com/perfume/Avatim/Aguas-Naturais-Concentracao-74206.html) Balenciaga: Florabotanica (https://www.fragrantica.com/perfume/Balenciaga/Florabotanica-15512.html) Bjork and Berries: Botanist (https://www.fragrantica.com/perfume/Bjork-and-Berries/Botanist-92385.html) Bottega Veneta: Parco Palladiano V: Lauro (https://www.fragrantica.com/perfume/Bottega-Veneta/Parco-Palladiano-V-Lauro-38267.html) Carine Roitfeld: George (https://www.fragrantica.com/perfume/Carine-Roitfeld/George-55143.html) Chanel: No 19 (https://www.fragrantica.com/perfume/Chanel/Chanel-No-19-Eau-de-Parfum-12345.html) Comme des Garcons: Hinoki (https://www.fragrantica.com/perfume/Comme-des-Garcons/Scent-One-Hinoki-2558.html) Comme des Garcons: Laurel (https://www.fragrantica.com/perfume/Comme-des-Garcons/Scent-Two-Laurel-12639.html) Comme des Garcons: Sugi (https://www.fragrantica.com/perfume/Comme-des-Garcons/Scent-Three-Sugi-18879.html) Comme des Garcons: Yoyogi (https://www.fragrantica.com/perfume/Comme-des-Garcons/Scent-Four-Yoyogi-57931.html) Creed: Original Vetiver (https://www.fragrantica.com/perfume/Creed/Original-Vetiver-468.html) Demeter Fragrance: Greenhouse (https://www.fragrantica.com/perfume/Demeter-Fragrance/Greenhouse-17903.html) Demeter Fragrance: Provence Meadow (https://www.fragrantica.com/perfume/Demeter-Fragrance/Provence-Meadow-25475.html) Diptyque: L’Ombre Dans L'Eau (https://www.fragrantica.com/perfume/Diptyque/L-Ombre-Dans-L-Eau-Eau-de-Parfum-49099.html) Diptyque: Venise (https://www.fragrantica.com/perfume/Diptyque/Venise-69015.html) Diptyque: Vinagre de Toilette Edition Méditerranée (https://www.fragrantica.com/perfume/Diptyque/Vinagre-de-Toilette-Edition-Mediterranee-67809.html) DS&Durga: Bistro Waters (https://www.fragrantica.com/perfume/DS-Durga/Bistro-Waters-73416.html) DS&Durga: Coriander (https://www.fragrantica.com/perfume/DS-Durga/Coriander-8798.html) DS&Durga: Cowboy Grass (https://www.fragrantica.com/perfume/DS-Durga/Cowboy-Grass-8805.html) Eris Parfums: Green Spell (https://www.fragrantica.com/perfume/Eris-Parfums/Green-Spell-61741.html) Ffern: Summer 23 (https://www.fragrantica.com/perfume/Ffern/Summer-23-83511.html) Frederic Malle: Synthetic Jungle/Synthetic Nature (https://www.fragrantica.com/perfume/Frederic-Malle/Synthetic-Jungle-68794.html) Gucci: Mémoire d’une Odeur (https://www.fragrantica.com/perfume/Gucci/Memoire-d-une-Odeur-56096.html) Guerlain: Aqua Allegoria Herba Fresca (https://www.fragrantica.com/perfume/Guerlain/Aqua-Allegoria-Herba-Fresca-60.html) Hermès: Le Jardin de Monsieur Li (https://www.fragrantica.com/perfume/Hermes/Le-Jardin-de-Monsieur-Li-29818.html) Hermès: Un Jardin en Méditerranée (https://www.fragrantica.com/perfume/Hermes/Un-Jardin-en-Mediterranee-19.html) Hermès: Un Jardin Sur Le Nil (https://www.fragrantica.com/perfume/Hermes/Un-Jardin-Sur-Le-Nil-18.html) Hermès: Un Jardin Sur Le Toit (https://www.fragrantica.com/perfume/Hermes/Un-Jardin-Sur-Le-Toit-11502.html) Hilde Soliani: Stelle di Ghiaccio (https://www.fragrantica.com/perfume/Hilde-Soliani/Stelle-di-Ghiaccio-23710.html) Honore des Pres: Nu Green (https://www.fragrantica.com/perfume/Honore-des-Pres/Nu-Green-5163.html) Imaginary Authors: Every Storm a Serenade (https://www.fragrantica.com/perfume/Imaginary-Authors/Every-Storm-a-Serenade-34470.html) Jacomo: Silences (https://www.fragrantica.com/perfume/Jacomo/Silences-1550.html) Jo Malone London: Blackberry & Bay (https://www.fragrantica.com/perfume/Jo-Malone-London/Blackberry-Bay-15134.html) Jo Malone London: Lavender & Coriander (https://www.fragrantica.com/perfume/Jo-Malone-London/Lavender-Coriander-35882.html) Jo Malone London: Sorrel & Lemon Thyme (https://www.fragrantica.com/perfume/Jo-Malone-London/Sorrel-Lemon-Thyme-35878.html) Jo Malone London: Wild Strawberry & Parsley (https://www.fragrantica.com/perfume/Jo-Malone-London/Wild-Strawberry-Parsley-35879.html) Kajal: Sareef (https://www.fragrantica.com/perfume/Kajal/Sareef-41078.html) KITOWA: Hiba (https://www.fragrantica.com/perfume/KITOWA/Hiba-76525.html) KITOWA: Hinoki (https://www.fragrantica.com/perfume/KITOWA/Hinoki-76492.html) L'Artisan Parfumeur: Vétiver Écarlate (https://www.fragrantica.com/perfume/L-Artisan-ParfumeuVetiver-Ecarlate-73105.html) Le Couvent Maison de Parfum: Kythnos (https://www.fragrantica.com/perfume/Le-Couvent-Maison-de-Parfum/Kythnos-53525.html) Le Labo: Baie 19 (https://www.fragrantica.com/perfume/Le-Labo/Baie-19-57513.html) Les Liquides Imaginaires: Tellus (https://www.fragrantica.com/perfume/Les-Liquides-Imaginaires/Tellus-29613.html) Lorenzo Villoresi: Spezie (https://www.fragrantica.com/perfume/Lorenzo-Villoresi/Spezie-5093.html) Maison Francis Kurkdjian: Aqua Media Cologne Forte (https://www.fragrantica.com/perfume/Maison-Francis-Kurkdjian/Aqua-Media-Cologne-Forte-82030.html) Maison Martin Margiela: From the Garden (https://www.fragrantica.com/perfume/Maison-Martin-Margiela/From-the-Garden-87457.html) Maison Trudon: II (https://www.fragrantica.com/perfume/Maison-Trudon/II-46323.html) Malin+Goetz: Stem (https://www.fragrantica.com/perfume/Malin-Goetz/Stem-67400.html) Miller Harris: La Feuille (https://www.fragrantica.com/perfume/Miller-Harris/La-Feuille-23218.html) MiN New York: Coda (https://www.fragrantica.com/perfume/MiN-New-York/Coda-32465.html) MiN New York: The Botanist (https://www.fragrantica.com/perfume/MiN-New-York/The-Botanist-25504.html) Molinard: Thé Basilic (https://www.fragrantica.com/perfume/Molinard/The-Basilic-58510.html) Mugler: Mystic Aromatic (https://www.fragrantica.com/perfume/MugleMystic-Aromatic-49025.html) Nishane: Unutamam (https://www.fragrantica.com/perfume/Nishane/Unutamam-54787.html) Nomenclature: Shi-sõ (https://www.fragrantica.com/perfume/Nomenclature/Shi-so-44299.html) Olympic Orchids Artisan Perfumes: Chevalier Vert (https://www.fragrantica.com/perfume/Olympic-Orchids-Artisan-Perfumes/Chevalier-Vert-45515.html) Oriza Le Grand: Deja Le Printemps (https://www.fragrantica.com/perfume/Oriza-L-Legrand/Deja-Le-Printemps-16254.html) Oriza L. Legrand: Chypre Mousse (https://www.fragrantica.com/perfume/Oriza-L-Legrand/Chypre-Mousse-23716.html) Parfum d'Empire: Corsica Furiosa (https://www.fragrantica.com/perfume/Parfum-d-Empire/Corsica-Furiosa-24803.html) Parfum d'Empire: Mal-Aimé (https://www.fragrantica.com/perfume/Parfum-d-Empire/Mal-Aime-67708.html) Parfums Dusita: Le Sillage Blanc (https://www.fragrantica.com/perfume/Parfums-Dusita/Le-Sillage-Blanc-40838.html) Perris Monte Carlo: Lavande Romaine (https://www.fragrantica.com/perfume/Perris-Monte-Carlo/Lavande-Romaine-60335.html) Pierre Guillaume Paris: Aube Pashmina (https://www.fragrantica.com/perfume/Pierre-Guillaume-Paris/Aube-Pashmina-10868.html) Profumum Roma: Ichnusa (https://www.fragrantica.com/perfume/Profumum-Roma/Ichnusa-3891.html) Profumum Roma: Victrix (https://www.fragrantica.com/perfume/Profumum-Roma/Victrix-6971.html) Régime des Fleurs: Falling Trees (https://www.fragrantica.com/perfume/Regime-des-Fleurs/Falling-Trees-42185.html) Santa Maria Novella: Melograno (https://www.fragrantica.com/perfume/Santa-Maria-Novella/Melograno-Pomegranate-11480.html) Santa Maria Novella: Potpourri (https://www.fragrantica.com/perfume/Santa-Maria-Novella/Potpourri-11483.html) Scents of Wood: Hinoki in Hinoki (https://www.fragrantica.com/perfume/Scents-of-Wood/Hinoki-in-Hinoki-76053.html) Sisley: Eau de Campagne (https://www.fragrantica.com/perfume/Sisley/Eau-de-Campagne-1003.html) Solstice Scents: Wilcox's (https://www.fragrantica.com/perfume/Solstice-Scents/Wilcox-s-52537.html) Sora Dora: Greasque (https://www.fragrantica.com/perfume/Sora-Dora/Greasque-75825.html) St Giles: The Writer (https://www.fragrantica.com/perfume/St-Giles/The-Writer-48106.html) St. Clair Scents: Gardener's Glove (https://www.fragrantica.com/perfume/St-Clair-Scents/Gardener-s-Glove-52608.html) Svensk Parfym: Prakt (https://www.fragrantica.com/perfume/Svensk-Parfym/Prakt-45661.html) Tom Daxon: Salvia Sclarea (https://www.fragrantica.com/perfume/Tom-Daxon/Salvia-Sclarea-18350.html) Zoologist Perfumes: Sloth (https://www.fragrantica.com/perfume/Zoologist-Perfumes/Sloth-59597.html)

So i search a japanese cover of a remix of Shinmy theme That I heard on YouTube. The titre is in japanese, and The Chanel That uploaded it has a short name, like 3 lettres in latin alphabet (something like Hua, or Mua, something like that) The thumbnail is Shinmy on her knees, looping upwards tocard the caméra, With a slighty creepy smile

DISCLAIMER: I'd like to note that I do not consider myself an expert on many of the topics he talks about or even economics in general but a lot of what I'm about to say is pretty easily verifiable and basic, and I'll try to be clear that I'm expressing my opinion and not fact when I'm doing so. Given my lack of expertise, none of what I say here should be considered as the final authority on these topics, it's a reddit post for fucks sake, I encourage everyone to search up the relevant data and information on the topics they are interested in or claims they find dubious. It's really not that hard and all the links and data I'm gonna cite here took me less than five minutes to find for each piece of information. If you're not familiar with where to find this data it might take you longer but I promise that anyone with access to the internet can do the same thing I'm doing. Finally, for those looking for some opinionless, academic argument, that's not what this is, this is gonna sound like a rant because it is, I'm posting this for nothing more than my own satisfaction, take from it what you will.
Ok I'm writing this after I finished the whole thing and I said that I'd try to be clear that I'm expressing my opinion and not fact when I'm doing so and the basically entire second half of this is my opinion and I don't make that very clear so sorry about that.
Honestly I'd love to be wrong because I really do think that younger people are at a disadvantage compared to previous generations at the same age but the arguments he makes and the data he uses throughout his talk just sound like such bullshit to me.
https://www.ted.com/talks/scott\_galloway\_how\_the\_us\_is\_destroying\_young\_people\_s\_future?
https://www.profgalloway.com/war-on-the-young/
Scott Galloway recently did a Ted talk titled "How the US is destroying young people's future", as well as an accompanying blog post. He's made some fair points about how young people have been put at an inherent disadvantage and that they have it harder than previous generations. That's most likely true and I personally support that point of view, but the a lot data and numbers he makes this argument with seem to be cherry picked, misleading, or just straight up wrong. So let's break his talk down. u/JustTaxLandLol made a pretty good post about him comparing median wages to the S&P500 (https://www.reddit.com/badeconomics/comments/1cc3rs8/scott\_galloway\_compares\_median\_wage\_to\_sp500/) but I think that Galloway's mistakes are much more comprehensive than just that particular slide.
The first slide with data makes a claim about how pre-tax income, adjusted for inflation, has decreased across generations from grandparents to parents to kids, and that cost of public colleges and home prices have increased significantly across generations too. First of all, categorising generations by whether they have children or grandchildren is kinda nuts. That's a very wide, overlapping, range of ages. If he has actually fixed age ranges for each generation that don't overlap and just made these categorisations for the sake of understandability to a nonacademic audience, I still think that's the wrong choice but fine. However, his claim that real income has decreased across generations is weak at best. This working paper (https://www.federalreserve.gov/econres/feds/files/2024007pap.pdf) from the Fed Reserve was published February 2024, and from the figures that start at page 35, shows that by almost every categorisation they could think of, GenZ earns more at the same age than every previous generation before them. There's some conflict here with Raj Chetty's work but I don't have the time or knowledge to reconcile the two perspectives but at best, the pre-tax income numbers Galloway presents are questionable at best. Furthermore, he doesn't provide anyone a chance at even checking the sources he gets this information from. Not once in his entire talk does he cite a single source. He couldn't even have some tiny text at the bottom of his tables or diagrams saying what organisation he got this data from. Ok so that crossed out bit is wrong, he does have sources they're just very very faint and you can see them if you squint hard enough at the bottom left corner of his graphs. But the source he gives for this slide is a joke. Here's the link https://www.profgalloway.com/wp-content/uploads/2024/04/Table-01.png
His "source" is his own analysis. Ok so by his analysis, the average cost of public college is 56000*0.43 = 24080. I'm gonna use numbers from this US News page (https://www.usnews.com/education/best-colleges/paying-for-college/articles/paying-for-college-infographic), which might not be the most reliable source in the world, but it's probably somewhere in the ballpark. So according to US News, average tuition for the 2023-2024 school year for out of state students going to a public school is 23,630 and 10,662 for in state students. If these numbers are anywhere near accurate, the only conclusion I can draw is that Galloway has cherry-picked his data by only including the cost for out of state students in his analysis. First of all, public schools in the US are there to provide affordable access to higher education FOR RESIDENTS OF ITS STATE. Using only out of state numbers is absolutely ridiculous. Secondly, even if he used only the in state numbers, 10662/56000 is approximately equal to 19%. So if I use his very very questionable pre-tax income numbers, cost of public college for in state students has still increased across his categorisation of generations. It's not like his point would have been invalidated if he had used the in-state numbers, a trend of tuition increasing as a percentage of real income across multiple generations is still very bad. This is my opinion but I guess that he just wanted to find a nice shocking number. I didn't catch this but in their post, u/JustTaxLandLol notes that later on Galloway says "real median income from labor is up 40% since 1974" so he's also contradicting himself in the same talk.
I couldn't be bothered to look into the house price to income column he has so I don't have any comments on that.
His next slide is a point about how the percentage of 30 year olds earning more than their parents did at 30 has been decreasing very significantly over time. This is from a paper in 2016 by Raj Chetty (link: https://www.science.org/doi/10.1126/science.aal4617). I've seen some counterarguments about the methods used in the paper but there are counterarguments for basically every inequality paper in existence so I'd take them with a grain of salt. Those points are more complex than the scope of this post and I lack the expertise to be making them anyways so I believe this slide. I'll admit that Galloway makes a good argument for this slide.
Right after this slide he says "As a result, people over the age of 55 feel pretty good about America, but less than one in five people under the age of 34 feel very good about America. This creates an incendiary, righteous movement...". He supports this with data on the percentage of US adults who feel "extremely proud" to be American.
Before I talk about the data on this slide, I'd like to be a little anal about things and pick apart his wording and causal claims he makes. When Galloway says "as a result" he's making a causal claim about the relationship between a young person's earning ability and their national pride. Leaving aside the econometric issues of making random causal claims, this is a ridiculous marginalisation of all the other critically important issues in the US. It seems pretty clear to me that reduced national pride amongst younger individuals is a combination of a lack of social mobility (or however you want to word your version of the fading American dream), the continued existence of systematic racism and sexism, US response to ongoing conflicts in Ukraine and Gaza, bodily autonomy (abortion), and many other issues. Not to say that the economic disadvantages of young people doesn't play a role in causing this lack of national pride but come on. He also says "this creates an incendiary righteous movement...". Ok if the "as a result" from the last sentence could be interpreted as the economic disadvantages of young people play some part in their dissatisfaction with the government, it should be obvious to anyone not living under a rock that many of the political conflicts and movements that have erupted in the US over the past few years have little, if anything, to do with earning ability. In the slide after the poll data he shows three photos, one of a MeToo protest, one of a BLM protest, and another of a pro-Palestine protest. I can only interpret this as him making the claim that the younger generations economic difficulties are causally linked to those movements, which is totally bananas.
Now lets talk about the data. He got this from the Gallup polls (link: https://news.gallup.com/poll/394202/record-low-extremely-proud-american.aspx, there's a link to download the pdf with the poll numbers at the end of this article). There are 5 options for the Gallup poll: "Extremely proud"; "Very proud"; "Moderately proud"; "Only a little proud"; or "Not at all proud". So Galloway is cherry-picking again. To be fair, it's true that even including the rest of the answers, a quick glance at the data suggests (very strongly) that young people are less proud than older people. There are also more young people who choose "Not at all proud" (11% for 18-34 and 1% for 55+). Though there is probably some argument to be made about whether "extreme" pride is a good thing. Furthermore, "pretty good" and "very good" do not reflect the extremity of choosing, well, the most extreme option.
As an introduction to his next slide he says that "a decent proxy for how much we value youth labor is minimum wage". I've never heard of this before and am very very skeptical but I'm willing to attribute this to my own ignorance so I'll leave that sentence alone. So on this slide there's a graph with two lines, one is minimum wage across time adjusted for inflation, the other is whats supposed to be minimum wage if adjusted for productivity (also adjusted to inflation I assume). Galloway got this data form the Economic Policy Institute (EPI) (https://www.epi.org/productivity-pay-gap/), which shows that this gap between productivity began around 1979. This was when Carter was president and right before the Reagan administration. Those who know about the economic history of this time probably won't be surprised since a lot of the policies of this time were rather inegalitarian and heavily favoured the wealthy. I agree that many of the policies of the time contributed heavily to the inequality America faces today and though I haven't read any studies about how this affects minimum wage workers, I believe that minimum wage workers or low income workers in general today have significantly lower purchasing power relative to a few decades ago.
What I have a problem with here is the idea that productivity and minimum wage should increase in tandem. According to the EPI, "Productivity measures how much total economywide income is generated (i.e., for workers, business owners, landlords, and everybody else together) in an average hour of work" and "pay is defined as the average compensation (wages and benefits) of production and nonsupervisory workers. The pay for this group is one appropriate benchmark for 'typical worker pay' because production and nonsupervisory workers have made up roughly 80% of the U.S. workforce over the entire period shown in the figure and because the data for production and nonsupervisory workers exclude extremely highly paid managerial workers like CEOs and other corporate executives". Before I try to break down my complaints with the measures used, my immediate reaction when I saw this was that it seems rather stupid to compare the relationship between average productivity and minimum wage in an industrial economy against the same relationship in a service oriented one. There are just more jobs now that let you make an impact on the economy far beyond what you are paid and it is so so difficult to quantify this change. Using a similar argument, I really have no clue how macro people make models or do estimates for things like productivity but I'm quite skeptical about the reliability of using such a measure of productivity because of the increased prevalence of second, third, or n-th order effects that would be present in a measure of something like total gdp but pretty much impossible to identify for any employer. For those who want to read more about this difference between productivity and compensation I think this is the most relevant paper from EPI (https://files.epi.org/2015/understanding-productivity-pay-divergence-final.pdf). There are some points I'm not satisfied with in this paper like them attributing the entirety of the difference between median hourly compensation to average consumer hourly compensation but that would take more time than I want to spend on this.
Now we're still on the same slide. Galloway says "we've kept it [minimum wage] purposely pretty low" twice in three sentences. Now he's suggesting that there's some collective out there that has the political power and desire to keep minimum wage low. By "we" I think he means to suggest that the old-timers have banded together to screw the young people over. Ok buddy. I'm stepping outside the bounds of what's considered strictly economics here a little but pinning the injustices of society on some ethereal enemy whose existence can never be disproven is the same as taking "advantage of the flaws in our species with medieval institutions, Paleolithic instincts, and godlike technology" (Galloway's words, same TED talk) to me. Maybe there really is some cabal of scheming geezers out there who have some twisted desire to keep the minimum wage low, but I'm more inclined to believe that a lot of these "injustices" are a result of our existing political and societal institutions being poor and inefficient aggregators of our desires as a society, rewarding selfishness instead of cooperation. This certainly makes the problem harder to solve than if there were just some evil 'others' we could get rid of and be done with. Having a target to direct our outrage at, believing that I am good and they are bad, is easier than facing the reality that everyone is born with the selfishness that creates the injustices we live with but that's not gonna make people more agreeable. As an economist, I study the theory of incentives to use the same human selfishness that creates all the problems Galloway talks about to create solutions that hopefully improve our quality of life. This is what I believe is the beauty of being human, all the good and bad that happens stem from the same desires, it is our job to create institutions and systems that allow us to channel our desires in a way that benefits everyone, but I digress. The point is, this enemy that Galloway creates is an effective tactic at convincing people of his argument, but I don't believe such a perspective benefits society at all. Mistakes should be corrected, that doesn't mean they're always the result of ill intentions.
His next slide compares the difference between percentage increase in median household income against percentage increase in median home price, as well as a comparison of the median monthly mortgage between 2019 and 2024. I have nothing to say about the graph, I agree that over time, home prices have increased to an unacceptable level. The Fed funds rate went from 2.4 percent in Feb 2019 to 5.33 percent in Feb 2024 (https://fred.stlouisfed.org/series/fedfunds). To his credit, Galloway does attribute this increase in mortgage payments to "an acceleration in interest rates" but what's the alternative? Don't increase interest rates? Then if I was Galloway I'd make the same TED talk and talk about how the continued low interest rates contributed to rampant inflation that made all the poor people even poorer. It seems like he's decided to take whatever bad economic event that seems somewhat relevant and made it to be the result of some group's dogged determination to keep the younger generation down. Why is the increase from pre- to post-covid prices on anything surprising. I'd like to meet the genius who saw covid coming and intentionally created this increase in home prices.
He also says "the most expensive homes in the world, based on this metric, are number three, Vancouver. Why? Because 60 percent of the cost of building a home goes to permits...". I have no idea what point he's making here. Based on what metric, median home price? Monthly mortgage payments? Why do I care about Vancouver, a Canadian city, being number three? Then he talks about how "the incumbents that own assets have weaponized government". Either he's switched to talking about oligopolistic lobbyists in general without saying so or he's still talking about Canada. I dunno. Someone please explain. Then he says "this is the transfer I'm going to be speaking about". Also, everything he just said is talking about how there exists a group of people trying to PREVENT transfers of wealth to new entrants. And there was huge applause after that sentence. Nutsos, all of them.
Ok next slide. Galloway presents two pie charts, comparing the share of household wealth by age in 1989 to 2023. So he's talking directly about inequality in wealth now. Inequality in the US is really really bad, that's a fact. I'm a big fan of the work of Emmanuel Saez, Gabriel Zucman, and Thomas Piketty. These people have been at the forefront of research on inequality for many years now and though their work is not flawless, I'm convinced by the data they present and the methods by which they have aggregated the data and what they show is that inequality is worse than even what the pie charts Galloway presents suggest. However, this is not to say that Galloway makes a valid argument. Please note the grey bits in the pie chart. If Galloway has shown the numbers for everyone under 40 and above 70, the group that's excluded are those between 40 and 70. So those in the age range of 40-70 owned 100 - 19 - 12 = 69% of household wealth in 1989 and 100 - 30 - 7 = 63% in 2023. I could probably go and find how the age demographics of the population have changed over time and I think that with declining birth rates, the percentage change in age demographics would be pretty close to the percentage change in household wealth but I'm tired of beating every slide to death so I'll leave that to someone else if anyone's motivated enough to do that (if my hypothesis is wrong here just comment and I'll make that change). My first thought when I saw this though was again, this guy has paid no regard to structural change in society. Given the increased accessibility of buying stocks over the past three decades is it really that surprising that older people who have had more time and cash at the start of the digital age to invest in companies that are now massive mega-corporations have experienced a higher return on their capital. This is not to say that none of this change in the share of wealth held by those under 40 is due to some inherent unfairness in our society and I have neither the time nor knowledge to separate these effects out but to say that this was a "purposeful" effort to cut their wealth in half is complete and utter bullshit. Also, this guy makes another causal claim WITH NOTHING BUT A CHANGE IN SHARE OF HOUSEHOLD WEALTH. Congratulations everyone Scott Galloway has just made every econometrician in the world redundant, I always knew my professors were just trying to confuse me with funny symbols and Greek letters, someone get this guy a Nobel Prize.
Then while introducing his next slide Galloway says that his analyst's presence in the audience "brings the average age of the entire conference down in 11 days". So he's saying that TED knows exactly who's showing up to their event before it happens and that they have the exact birthdates of everyone in the audience too and that they've given this information to one of their speakers. A friend of mine has told me he's just making a joke and that I should let this point go because I'm being too anal about things but yeah I become anal about things when someone suggests sweeping institutional changes in a talk viewed by millions of people so thought I'd include it anyways just as another example of the bullshit this guy has been spewing.
When he moves on to the actual content in the slide the first point he makes is about lower acceptance rates in schools. So I don't have data on this because I couldn't be bothered to go find any so again, I'll change my statement if anyone has reliable data indicating otherwise but I think its pretty safe to say that way less people used to apply than before and combined with an increase in international student applications and enrollments the competition is just way higher than before. The most obvious explanation would be that higher education institutions have made the mistake of not increasing enrollments at a rate quick enough to meet demand. However, according to US News (https://www.usnews.com/education/best-colleges/articles/how-many-universities-are-in-the-us-and-why-that-number-is-changing) there were 3982 degree-granting postsecondary institutions in the US. and UCLA is ranked 15th in national universities. So why is it surprising now that university education is becoming more popular that higher ranked universities are harder to get into. So instead of expanding enrollment I think that a well thought out plan of affirmative action would be a much better option of giving "unremarkable kids and giving them a shot at being remarkable" (what this well thought out plan may be I don't know, I honestly didn't even search up any statistics about affirmative action this was just the first solution I thought of that didn't involve ignoring the crowning achievement of statistics). To his credit, Galloway does include a point about income-based affirmative action at the end of his talk, though he overwhelmingly emphasises increasing enrollment in schools. I don't have any data about that but I think that class sizes at public universities are large enough as it is.
The rest of the slide gives numbers on college debt of house price compared to first year income. College debt is ridiculously high and many people struggle because of it. I don't have the solution and neither does Galloway because he doesn't really mention it. I think that house price-to-first year income is a poor comparison because it doesn't take into account average rate of income increase and no normal person from any generation is looking to buy a house with first year income but there's probably a more appropriate metric out there that shows a similar change anyways so I'm ok with that.
Then he talks about him and his "colleagues" who "artificially constrain supply to create aspiration and scarcity". I would like to meet the professors who have control over enrollment rates because none of mine did. Then he says "to my colleagues in higher ed: we're public servants, not fucking Chanel bags". The marketing professor from NYU says he's a public servant...ok.
The slide after that compares Harvard's increase in endowment compared to their increase in enrollment and he calls them a "hedge fund offering classes". I see no issue with this point, he made a great argument, can't really criticise anything here.
Don't worry though he makes up for it by immediately making one of the most egregious statements in this whole talk. We're looking at his next slide, the one titled "Grand Bargain" now. He says that the government should take some of the money that's supposed to be used to forgive existing loans to about 500 of the top public universities to reduce tuition by 2% and year, expand enrollments by 6% a year, and increase vocational programs to 20% of the degrees granted. Then the slide after that, claims this will double freshman seats and cut costs in half in just 10 years. Ok so he thinks that most of the money "earmarked to bail out the one third of people that got to go to college on the backs of the two thirds that didn't" should go to future students instead because, I assume from the tone of his words, he doesn't think they need or deserve all that loan forgiveness. So why bring up the increase in college debt previously (the slide I talked about three paragraphs ago)? Anyways that's not the crazy thing. Let's see what happens if you reduce tuition by 2% a year for 10 years. So the calculation goes like this 0.98^{10} is approximately equal to 0.81. So with the number he puts up, tuition decreases by 19% in ten years. If everything before this slide could be attributed to cherry-picking, stupidity, or lack of good data, then fine he's just ignorant even though he shouldn't have been if he went up there to make that talk. But now this is just a FUCKING BAREFACED LIE. I cannot think of a greater insult to the audience's intelligence than the fact that this guy didn't think anyone would pull out a fucking calculator and do the calculation themselves. I won't blame the audience for not saying anything because I'm not sure I would have wanted to do that either but at least from youtube and reddit comments there are a decent number of people who didn't realise this. A similar calculation shows that expanding enrollment by 6% per year increases seats by about 80% total (1.06^{10}). Not sure how that translates in terms of freshman seats but at least this is closer than the tuition claim.
Then his next slide compares wages to the s&p500. This is the point of u/JustTaxLandLol's post and I think his post and the discussion in the comments covers most if not all of my thoughts so you can just read that. https://www.reddit.com/badeconomics/comments/1cc3rs8/scott_galloway_compares_median_wage_to_sp500/
Ok next slide, "The Transfer: Purposeful". Oh yay he's about to make another causal claim with nothing but a graph on the change in top marginal tax rates for corporations and individuals. And if we skip ahead to the next slide we'll realise that this claim is that the gradual decrease in top marginal tax rates for corporations and individuals results in lowered senior poverty and child poverty either remains constant or increases. Yes everybody the newest advancement in economic research has just been released. Lowering top tax rates decreases senior poverty and increases child poverty. And Scott Galloway made that argument in 24 seconds (transcript on TED website has time markers).
Man I really set out with the intention to keep the tone of this post as neutral as I could but I'm just writing out my internal dialogue with less swearing now. I apologise to those who would have preferred a more careful and less emotional knee-jerk response of an analysis but this is a reddit post, its not like there are standards.
Now he moves on to talking about social security. Galloway says "it would cost 11 billion dollars to expand the child tax credit. But that gets stripped out of the infrastructure bill". So zero explanation about why it would cost 11 billion dollars to expand the child tax credit, why not more or less, no comment about how many children it would affect, how much money it would mean for each child or family, just some number that you have to accept. Most of the time there's no why to the amount of funding that the government allocates to policies but at least there's some breakdown to how its going to be used, Galloway doesn't even have that. This is before we even consider the fact that child tax credit was expanded this year (https://www.cbsnews.com/news/child-tax-credit-2024-who-qualifies/). Maybe he's talking about some other issue that I'm not aware of but I don't think so. He says he got the social security spending data from the Center on Budget and Policy Priorities, which is a think tank. I don't want to sort through their website to fact check so I'll accept it as the truth but as far as I know the actual social security administration releases their facts and figures for the year August of next year so I'm not sure why he didn't just use the 2022 numbers from a more reliable source.
His next few couple slides are about the increasing age of politicians. I think this is a great point but he probably should have used a better example of a younger politician than Justin Trudeau.
Then at around the 10 minute mark, using his slide titled "Generational Theft", Galloway claims that "we pumped the economy" during covid so that the Nasdaq would gain value, causing "intergenerational theft". I don't know if he thinks it was intentional or not but how is he going to completely ignore the fact that the stimulus checks were primarily for households that were struggling due to the greatest unemployment rate we have seen in our lifetime (https://www.pewresearch.org/short-reads/2020/06/11/unemployment-rose-higher-in-three-months-of-covid-19-than-it-did-in-two-years-of-the-great-recession/). I'm really kind of tired of this so I'll let those at the CBR make my argument for me. "Within the first 10 days, households spent an average of 29 cents from every dollar received. The bulk of this spending was on food, rent, and bills" (https://www.chicagobooth.edu/review/how-effective-were-stimulus-checks-us). Damn so turns out struggling families did need these stimulus checks pretty urgently. Shocker. I also think that most people in finance would agree that tech stocks surged over covid because people needed fucking technology... People built PCs to play video games, used online shopping services because they couldn't go to malls, all that.
The next slide is supposed to support his point that the increase in stock prices doesn't allow young people to find "disruption". What. The only thing that matters to any investor is the percentage increase in value of the stock price after you've invested. It doesn't matter if 7 dollars is 1 share of apple or 0.04 of a share of apple. Its stock price going up by 100% means you get 14 dollars either way. I think this guy's arguments are getting dumber as the talk goes on, I actually had to go and find data to refute his points earlier on. Now arithmetic does the work for me, I should have hired a grade schooler to do my analysis.
His next point is about how algorithmic content selection is bad. Yeah its bad. Its bad for everyone, turns everyone into psychos. Though I think there's a very good argument to be made about how such content could affect developing brains. He makes a point about age-gating social media at the end of the talk. This is actually the only drastic measure he proposes that I agree with so I'll leave this alone too.
After a couple slides about Zuckerberg and TikTok (which I agree with, though I think Zuckerberg's damage probably leans more towards older people than young now), he gives a bunch of graphs showing upward trends in all sorts of terrible things happening to young people. Every single one is an issue of critical importance in the US, but importantly, no comparison to older people. For all we know, the trend on every graph could be the same or even worse for older generations. If I had written about this first then I'd go and find the data for it but at this point I just want to be done with this but can't stop without getting to the end so I'm just gonna slap this slide with lack of comparisons and move on.
His next slide shows the difference in 30 to 34 year olds who have at least one child, some of that is probably due to family planning but I still think its a great indicator of people not wanting to have children because its not affordable. Great point, I believe in it.
Next slide, oh god it's a happiness report. I think happiness reports are a fun conversational tidbit but I see no way for it to be reliable enough to be used as an argument in any semi-serious setting. That said, I have no idea how they do these measurements so maybe I'm wrong.
As if the happiness report wasn't bad enough, Galloway is gonna compare the biggest one-day market cap gain (in an unspecified time frame) to the budget of several policies implemented by the government. Oh man. This is too stupid, there's so many things to pick from it'd take too much effort to sort through them. Someone else please make the argument for me.
Then he says universal basic income should have been called negative income tax. Wow the frequency of good points is going up, though I think this is accompanied by an increase in the frequency of absolutely idiotic arguments.
Then he says we should eliminate capital gains tax deduction. The issue of taxing capital gains is a very serious one, but I don't think it actually matters that much how much we tax realised capital gains. Again, not an expert but here's my understanding. If you have a high net worth with a lot of it in stocks and you need cash, you don't have to sell them and get taxed on the realised gains. You go to the bank and say I want to borrow money, I'm going to put these stocks up as collateral so if I can't pay you back you can take these stocks which are somewhere around the value of the principal amount plus total interest over the course of this loan. Because the bank is now convinced they'll get the money back regardless of if you make the payments or not, they say ok here's the money you asked for at a nice low interest rate. Then you take the money, you keep your stocks, which will probably gain value at a rate that exceeds the interest rate by a pretty decent margin, and you can probably make your interest payments pretty easily because hey, you were rich to begin with. If you're really strapped for cash a couple years down the line, you can sell some of the stocks that are now worth more than they were before and cover your payments and not have to pay taxes on the rest that you don't have to sell. Free money. There's plenty more ways to avoid taxes if you're rich but you get my point by now. Now that's a lot of problems without a solution. Luckily we have some economists far more skilled than I am who work very hard to find solutions to these problems. Here's one example of a policy that may help (https://www.nytimes.com/interactive/2024/05/03/opinion/global-billionaires-tax.html). This is an opinion piece written by Gabriel Zucman (famous economist), for the New York Times. If you don't have an NYT subscription, sorry for giving a link you can't read but if you search Gabriel Zucman billionaire tax, you could probably get a decent idea of what this talks about. Here's Zucman tweeting his proposal for his suggestion (https://twitter.com/gabriel\_zucman/status/1763253132572729623). It probably requires a little more thinking than the NYT article but he did present this at the G20 so that might sound more exciting to you than some news article.
Then Galloway says "we need to remove 230 protection for all algorithmically-elevated content". Zero mention on what 230 protection is so here's an explanation (https://www.law.cornell.edu/uscode/text/47/230). Basically that was a fancy way of saying that companies should be held accountable of the content on their platform, even if it's posted by an unrelated third party. I'm not sure getting rid of it in its entirety is a great idea (though I have no arguments against that except Orwellian ones) but I certainly agree that most if not all social media platforms have abused this protection and it should be at the very least restricted. To what extent? Again, I have no clue.
Then he goes "break up Big Tech". That's the whole suggestion. This is a terrible idea but the fact that he doesn't elaborate more on how to do this, the ramifications of doing so, or really provide any explanation at all makes me automatically ignore this. Then he makes his point about age-gating social media, like I said before, I agree with it.
His next suggestions are universal pre-K, great idea, then "reinstate the expanded child-tax credit". Not sure what he's going on about here, child tax credit exists and like I said before, was just expanded. Then it's income-based affirmative action. I don't know what kind of affirmative action is best and that sounds like an interesting idea so I won't criticise it. I think the rest of his suggestions are pretty normative arguments so I'll leave those alone too.
Don't get me wrong, I wholeheartedly agree with the overall theme of his talk. I believe that young people in the US (and many places worldwide) are at a massive disadvantage when it comes to accumulating wealth, buying homes, inter-generational transfers, etc. But you cannot go up on a popular platform like this, make claims as sweeping as he has, and make suggestions as radical and drastic as he has, with garbage arguments and data like this. Saying the right things for the wrong reasons is arguably worse than just saying the wrong thing because it makes it easy for those who want the status quo to remain to make counterarguments. Given how divisive opinions have become over the past decade or so I guess I shouldn't be surprised at how many people are eating this up but it kinda scares me how easily people will eat up this shit as long as its for a cause that sounds like its going for some kind of radical change for the good of all and has some imaginary "them" as the common enemy to everyone.
So that's it, I've finally covered all his points. I'm free, thank fuck. I should really proofread this but this has been my past eight hours and my back is breaking from all this sitting, I'm just gonna post this and read it over tomorrow. Maybe do a tl;dr, fix some formatting.
EDIT: As u/myphriendmike and u/Mordoci have pointed out, my dummy corp example was just tax fraud, that's illegal and so it's a bad example, I've removed it. Zucman has some estimates on the "real" tax rate wealthy people (mostly billionaires) pay, maybe I'll include that at some point.
I also corrected my wording in some places.

After almost an entire year of waiting, tonight we finally get to watch Eurovision again as the first fifteen fabulous performers face their fate. But which ten acts will rise like a phoenix, and which five will trip over their giant rock props? In a semi-final this open literally anything could happen, and it probably will! So, to weigh up each entry like I did last year, I present a tongue-in-cheek look at everybody's chances tonight. Please don't take anything here too seriously, and remember I'm writing this as a regular Eurovision fan, not as a mod!
Cyprus

• Why they will make it:
  • Silia's charisma, stage presence and energy are ridiculously good considering her young age
  • History as shown you should never underestimate a girlbop, and this is incredibly catchy and danceable
  • Dimitris Kontopoulis has only failed to qualify once with a song he's written, and in that case came 11th in one of the strongest semi-finals of all time
  • Silia has enrolled in the Noa Kirel school of dancing - it worked for Noa, so why not for Silia?
• Why they might not:
  • Inviting two Eurovision's most prominent girlbop queens, Chanel and Eleni Foureira, to perform directly before Silia does her no favours
  • This really is a girlbop by numbers, and that lack of standout novel feature could cost them dearly
  • Lying is a sin, and therefore voting and endorsing a song called 'liar' is a big naughty no-no

Serbia

• Why they will make it:
  • 'Ramonda' is very similar to 'Džanum', which went internationally viral on TikTok, proving how popular ballads like this can be with a broad audience
  • Atmospheric staging and an engrossing, emotional performance by Teya
  • They pretty much have an ideal draw to optimise diaspora support, with a guaranteed 22 points from Slovenia and Croatia and likely smaller points from Sweden, Germany, Cyprus and the Rest of World vote.
  • She capitalises on the often understated yet undeniably important 'botanist' demographic by singing about a flower
• Why they might not:
  • Even Teya isn't massively happy with the amount of wide camera-shots towards the end of the song, robbing it of some of its intimacy
  • The curse of the dreaded #2 slot strikes again - in a semi which also features three of the big 5/host performing in the mix with impressive staging, performing 2nd out of 18 performances means this could well be forgotten by the end
  • Breskvica's fans travel to Malmo to protest live, disrupting Teya's performance

Lithuania

• Why they will make it:
  • You don't need to understand Lithuanian to enjoy what's happening on stage or vibe with its catchy tune
  • The song reached #1 domestically and has also placed consistently in top 10s in fan polls this year, showcasing its broad appeal
  • Even if the song wasn't already brilliant, Lithuania has substantial diaspora voting allies in this semi, with a large televoting score guaranteed from United Kingdom, Ireland, Ukraine and Sweden and likely from many others.
  • Incredibly polished live performance, with hypnotic lights, choreography and an entrancing club atmosphere
• Why they might not:
  • Could be forgotten this early in the draw as Lithuanian language club-pop isn't as accessible as other songs in the semi
  • 'Luktelk Luktelk' sounds a little too much like 'Lockdown Lockdown', causing Covid-related trauma flashbacks with casual voters
  • Do people really want to vote for a song about erectile dysfunction?

Ireland

• Why they will make it:
  • One of the most impressive performances this year, never mind of all time. Ridiculously tight camerawork and a clear artistic vision which commands attention
  • Beloved by fans, could also be beloved by casual
  • Everybody loves an underdog, and Ireland is the ultimate underdog of modern Eurovision, with one qualification in the last nine contests.
  • QUALIFY THE WITCH
• Why they might not:
  • Could be too artistic and too scary for a casual audience
  • 'ouija pop' is an incredibly niche genre, and the recap basically just being screaming at the camera could well turn off first-time listeners
  • Bambie's satanic ritual accidentally summons a demon, or worse, Anri Jokhadze

Ukraine

• Why they will make it:
  • The song navigates multiple genres with ease, taking the best parts of both recent Ukrainian winners and doing something unique with them
  • With lasting sympathy for the nation as it continues to labour against Russian invasion, and millions of displaced Ukrainians across Europe, Ukraine the most powerful guaranteed televote at the moment and would have to send something truly awful to fail to qualify from a televote only semi
  • Some of the most powerful and effective stage graphics of the year, adding an extra layer of poignancy to an already spiritual and otherworldly song
• Why they might not:
  • The religious imagery, particularly the use of a controversial figure in Mother Teresa, may prove a barrier to votes by evoking religious trauma
  • Perhaps sounding so much like both 'Stefania' and '1944' will prove an unhelpful comparison
  • 'All the divas are born as a human beings' ignites an angry mob of grammarati

Poland

• Why they will make it:
  • Some of the wackiest and most colourful staging of the year. I dunno why we need Luna on a horse, but it looks great and generally is a lot more cohesive than some of the snippets/gallery shots made it seem
  • Catchy, radio-friendly pop which will appeal to a broad audience
  • Subtly revamped for Eurovision with some additional instrumentation which gives it a bit more punch
  • They have pretty much a perfect draw for optimising diaspora support, with high televote scores guaranteed from Ireland, Ukraine, Germany, United Kingdom, Iceland and potentially Luxembourg.
• Why they might not:
  • Some of the wackiest and most colourful staging of the year. Less random chess piece people flailing limbs and more Luna please!
  • Though much improved from the preparties, Luna is still a little weak vocally, especially in the 'big notes' at the end and when doing the convoluted choreography
  • Luna didn't get planning permission to build her tower, getting her into legal trouble with the local authorities

Croatia

• Why they will make it:
  • It's one of the big favourites to win, has captured the soul of a nation and the hearts of thousands of fans across Europe
  • Manages to be both incredibly fun, incredibly catchy and also poignant in its message and themes
  • Baby Lasagna is an inspiration for all introverts
  • Call and response chorus always works excellent with a live audience - hearing the crowd do the 'woahs' raises this to another level
  • Never underestimate the power of the cat-lover diaspora vote - cat memes aren't popular for nothing!
• Why they might not:
  • Maybe the comparisons with Kaarija haven't been overdone, and the similarities in style and staging (because Kaarija has a copyright on neon green lighting of course) will work against viewers
  • Rammstein-esque electronic rock isn't everybody's cup of tea
  • The goat from the song's cover art, angry at being completely overlooked in subsequent graphics, promotions and the songs lyrics, causes a stage invasion wearing a t-shirt which reads 'Bleat goat, please bleat back'

Iceland

• Why they will make it:
  • Hera's lovable mum energy makes her an endearing performer
  • Surprisingly effective staging, which is upbeat and colourful
  • Hera is Eurovision royalty and must be treated as such!
  • People may have seen the TikToks about Iceland sending a Palestinian back when Bashar was in contention and may mistakenly vote for Hera still under that false understanding
• Why they might not:
  • 'Scared of Heights' somehow sounds more dated and less current than her previous Eurovision entry, which was release fourteen years ago.
  • Consistently at the bottom of fan polls
  • Hera is too scared of heights to climb her platform at the start of the performance, missing her opening cues

Slovenia

• Why they will make it:
  • Slovenia has strong diaspora support in the semi, with a near-guaranteed 20 points from Croatia and Serbia and likely smaller support from Poland and Germany.
  • Vocally impeccable from Raiven, and the camerawork is much improved from the rehearsal snippet
  • #SendTheWitch might also translate to some votes for Slovenia's own 'witchy' story
• Why they might not:
  • The song and its choreography aren't the most accessible on first listening - it lacks too much of a catchy melody to stay in the minds of viewers
  • The stage lights are a lot brighter than we were expecting, robbing it of the moody atmosphere of the music video
  • Too much nudity for a family show #outrage

Finland

• Why they will make it:
  • Historically the televote has almost always appreciated a good 'joke song' (non derogatory), and the crowd will lift them immensely
  • Great fun in a draw half full of more sombre songs
  • Gags like the giant jegg and the jorts descending from the ceiling are genuinely hilarious on first watch and will definitely resonate in viewer's memories
• Why they might not:
  • Perhaps the divided response to the nude gag and other shenanigans from the fandom itself will also translate to the general public - Latvia 2022 shows that Europe doesn't always resonate with 'joke songs'
  • Surprisingly dark and unexciting use of the LEDs, especially when compared to the likes of Joost
  • The Jegg hatches pre-emptively into a beatiful Jickin, which consumes Windows95man

Moldova

• Why they will make it:
  • The message of the song - Natalia's love for her children - may resonate with mums across Europe
  • Very beautiful use of the LED screens and cubes to create one of the most colourful performances of the year
  • Decent late-half draw and some guaranteed televote support from Portugal and Ukraine
• Why they might not:
  • The staging is lacking any of the usual Moldovan magic which has historically elevated Moldovan songs
  • Like Hera, this is sadly nowhere near as good as her first attempt, reflected in finishing low in fan polls all year
  • The song is not performed directly in the middle of the running order, and therefore is false advertising

Azerbaijan

• Why they will make it:
  • The song has a very chilled vibe which could appeal to a broad audience
  • Atmospheric staging with tight camerawork
  • Non-English Eurovision songs are in a bit of a Renaissance at the moment, and an Azeri language song is what fans have been asking for for years
  • Mugham has worked well to elevate a song before - see Azerbaijan 2012!
• Why they might not:
  • Azerbaijan has historically struggled to score highly in the televote and is lacking their only consistent televoting ally Georgia to help them out
  • The song isn't particularly instant, and has also had a pretty muted response in the fanbase too
  • The giant hands are quite a clumsy prop and don't really work

Australia

• Why they will make it:
  • Catchy, accessible pop with the added Eurovision national flair of having a digeridoo appear on stage
  • An excellent late stage draw
  • Surprisingly effective staging, with tight camerawork, warm colours and charismatic energy from our leads
  • Australia has only failed to qualify once, under circumstances where they weren't able to perform live. They also have both the UK and Ireland voting in this semi
• Why they might not:
  • The staging is noticeably low budget, lacking in any major gimmick or memorable moment
  • Australia traditionally struggles in the televote
  • Australia is not a part of Europe
  • The repressed trauma of the music video and those facial expressions may haunt fans

Portugal

• Why they will make it:
  • Some of the most engrossing staging of the year, with incredible use of colour
  • Last year proved that there is an audience for ballads in a televoting-only semi, with songs like Estonia, Lithuania, Switzerland and Cyprus all qualifying with ease, especially when they are as impeccably performed as this
  • The emotion Iolanda conveys transcends understanding of the Portuguese language
• Why they might not:
  • Facing stiff competition with Serbia for emotional ballad lovers
  • Portugal is lacking as many likely voting allies as most other countries in the semi, with only the Luxembourgish 12 points near-guaranteed
  • Voters mistake her name for Lolanda and try to vote for Lolanda instead

Luxembourg

• Why they will make it:
  • RTL have thrown the kitchen sink at this performance, with pyro, dry ice, big LED graphics, the lot!
  • Catchy, instant bop with the statistically best draw of the semi, serving as an effective closer
  • Tali is a charismatic performer and engages the camera well
  • The novelty of a country returning after 30+ away may resonate with viewers
• Why they might not:
  • Luxembourg is unlikely to have any kind of diaspora/bloc voting support, and perhaps the novelty of voting for them this year has been overstated
  • The revamp unfortunately has made the song disjointed and overcomplicated, making it hard to digest on first listen
  • Tali's braids, after being subject to so many comments over the past week or so, take on a life of their own and start to rotate like Rayman's hair midway through the song, carrying her away and into the rafters mid-performance

Whatever the result tonight, I hope you all have a wonderful start to the Eurovision week. For all the issues with the turquoise carpet, this really is an excellent production by SVT and this is one of the hardest semi-finals to predict of all time. Expect the unexpected, and may your favourites make the cut!

I posted the following as a comment a few months ago and people found it helpful. I thought reposting today might be useful before the Met Gala red carpet coverage tonight:
There are a lot of misconceptions about the Met Gala that drive me nuts.
Firstly, it’s a charity event to raise money for the Met’s Costume Institute, not a random fancy-dress ball.
Secondly, the “theme” is the subject of that year’s special exhibition. Calls to “just change the theme” a few weeks before the event because it’s controversial, like “Karl Lagerfield: A Line of Beauty,” are silly because museum exhibits are planned well in advance. There would be no feasible way to just have a different exhibition at the last minute.
Thirdly, speaking of themes, there is no requirement for attendees to dress to match the subject of the exhibition (EDIT: dress code this year is “garden of time.” Sometimes it’s more general like “white tie.”). Many do, because it’s fun and good press, but the constant “it’s great but they don’t match the theme ☹️” discourse after every Met Gala is eyeroll-worthy.
Lastly, most celebrities who attend the Met Gala are guests of the invited designers/fashion houses (some do buy their own ticket but they’re a minority). Therefore, if Margot Robbie is a guest of Chanel, then she has to wear Chanel. This also impacts the “following the theme” aspect - e.g. the celebrity guests for Moschino looked great at the “Camp: Notes on Fashion” gala but, unsurprisingly, looked less great at the “China: Through the Looking Glass” gala. And no one really, except Rihanna, went for the Rei Kawakubo/Commes des Garçons theme.
So, I love fashion, and love how much discussion the Met Gala generates. It’s like the red carpet Olympics, but the overexposure plus lack of understanding of why people might be wearing what they’re wearing can be irritating.

For context - my girlfriend and I wanted to make drinks to go with the semis/finals, and prepared for the EXPECTED top 4 teams… however, oxygen and resolve threw a wrench in those plans.
But with some quick adjustments, I present to you themed cocktails for the EU top 4!
(In order)
Potion of vitality - pineapple, mint, rum, club soda
William’s basil gimlet - gin, lime, basil, simple syrup
Os-kiwi melon Joyo-hito - kiwi, melon liqueur, blue curacao, rum, club soda
The gintlemate - blackberries, gin, cointreau, lime, club soda
Fittingly, the potion of vitality was our favorite :)

Platform(s): i think only mobile
Genre: action-adventure
Estimated year of release: 2009-2012
Graphics/art style: really similar to spelunky, that's the best way i can describe it. also pixel art
Notable characters: the main guy that is the explorer
Notable gameplay mechanics: digging blocks of dirt, placing torches or ropes (?), trying not to fall and die.. MAYBE puzzle? very big maybe
Other details:
i have been looking for this game's name for a while now and i can't find it at all.
i used to play it as a kid so i can't recall much because it was like 10 years ago. i am almost 100% sure i played it on my mom's blackberry (i think it was blackberry 9700), but there is a chance of it being from other cellphone from that time, maybe a samsung from that time
the game was HARD, HARD, at least to me as a kid. my cousin (that was my age) and my mom also thought that it was difficult, so it wasn't just me. the art style and the vibe of the game reminds me of spelunky, cause the main guy was a miner that wears a little hat with a flashlight attached OR like a fedora hat or something.
i even got myself thinking if it really WASN'T spelunky, but i really don't think it was because the pixel art style of it seemed to be a little different and maybe simpler, plus spelunky wasn't even released to cellphones.
i really can't remember what the goal was, but i think we could use a shovel to dig some dirt blocks, and there were traps with holes (?) or giant rocks that could crush us to death. there IS a chance that there were snakes as enemies, but i'm not sure if it's just my mind making it up. maybe there were ropes too as items?
well, that is everything i can remember, i know that it isn't a lot but i would really really appreciate if someone could help me with that :)
*btw i posted first without the template and then edited it, so sorry if it looks messy!

T-Minus 1 week until the next edition of the very contest we all love and enjoy. We are approaching the best of the best that this contest has to offer, as we are in the top 20! These countries represent 40 of the 50 highest ranked songs since 1975, which just shows how much all of these countries have contributed to the longest running singing competition.

The Countries

Placement	Country	Score
16	Malta	140231.278
17	Spain	138804.573
18	Austria	125761.301
19	Finland	120225.116
20	Turkey	118659.853

We are getting some big hitters now! At #20, we have Turkey, who first participated at the start of this time period and is really a late bloomer to this competition, as they started to get consistently great results in the 2000s, the last full decade they would participate in. Coming in in front of Turkey is our second Nordic nation in Finland, who like Turkey really struggled to place well at this competition until their Magnum opus arrived, which really shook the foundation of who could win at this contest, and since then have really started to come into their own, embracing their wacky nature. Above them is Austria, who is the oldest ESC nation on this list so far, getting their start in only the contest’s second year, 1957. They actually had one of the longest winless streaks in Eurovision since their first win in 1966, taking 48 tries after that to claim their second crown. Our first “Big Five” nation comes up at #17, with Spain, as they are part of some of the wackiest results ever at this contest, and in back to back years as well! The reason why they are the lowest ranked “Big Five” nation is because they really bottomed out in the 2000s and 2010s, only recently finding redemption in the early 2020s. And at #16 on our list is Malta, who have participated in every edition of ESC since ‘91, and is the best performing country to never win Eurovision, considering that they are the only country in the top 20 to not have one ESC crown on their resume, which is a big shame, considering the bangers they have given us over the years.
Some Notable Artists: Athena (Turkey), Blind Channel (Finland), Bravo (Spain), Chanel (Spain), Chiara (Malta), Anabel Conde (Spain), Sergio Dalma (Spain), Destiny (Malta), Sertab Erener (Turkey), Thomas Forstner (Austria), Grup Etnik (Turkey), Hadise (Turkey), Käärijä (Finland), Lordi (Finland), Ira Losco (Malta), Manga (Turkey), Betty Missiego (Spain), Şebnem Paker (Turkey), Pihasoittajat (Finland), Alf Poier (Austria), Anneli Saaristo (Finland), Cesár Sampson (Austria), Mary Spiteri (Malta), Conchita Wurst (Austria), Zoë (Austria)

The Worst Years

Austria 2015 The Makemakes - I Am Yours

Contest Ranking: 26th (last, 0 pts) My Ranking: 39th (last, -3.9)
What a difference a year makes! Coming off high from their win in 2014, their first in almost 50 years, Austria was set to host this year’s edition. As such, they had a free pass to the Grand Final, with their song “I Am Yours” performed by The Makemakes, an Austrian pop rock band. I didn’t think much of this song when I initially heard it, so imagine my shock when I saw that it didn’t receive a single point on the final scoreboard. I actually don’t know why this got last place, maybe this entry is an example of the douze points system rearing its ugly head, or maybe no one remembered to vote for this song at the end. Either way, this is a confusing entry in the Hall of nul points. And because there were so many countries that year, this song sinks far to the depths of this club.

Turkey 1987 Seyyal Taner and Grup Lokomotif - Şarkım Sevgi Üstüne

Contest Ranking: 22nd (last, 0 pts) My Ranking: 22nd (last, -2.1)
A common theme you will see here for countries like Turkey or Finland or any non Western European Country (besides Portugal), is that with the language rules, they would struggle to do well at all, especially in the 80’s and 90’s, where English was overtaking French as the dominant language of Eurovision. It would take some time for these countries to find a formula that transcends language (see Turkey 1997 for more details), but for now it would be rough sailing for Turkey and these other countries to appeal the juries. That doesn’t mean that bangers weren’t being sent in though! This song seems like it would be the opening for a space odyssey or something, it just has that feel. Unfortunately, a little nervousness would doom this performance, scoring zero points** in Belgium.

Spain 1983 Remedios Amaya - Quién maneja mi barca

Contest Ranking: 19th (last, 0 pts) My Ranking: 19th (last, -1.9)
Ok, so I kind of take back what I said about only Western European countries doing well in this era of ESC. Spain, like Portugal, struggled mightily when they entered in 1961. They already had two last place, nul point entries by the year 1968, where they would pull off one of the most infamous wins in Eurovision history, pipping the United Kingdom by a singular point. The year after they would have another infamous win at this contest, sharing the win with the UK, France, and The Netherlands. Since then, it would be alright for Spain… until this year, where they would have *another last place, nul point entry. This one probably didn’t deserve the honor, and I say “probably” because after listening to this song, I’m confused on where it should place. Probably not last though. People say that ESC was not ready for this type of music, which I probably agree with, I just don’t know when ESC would be ready for this type of music though.
** Turkey only has two entries that have scored nul points at ESC, with the other one being in 1983

Finland 1982 Kojo - Nuku pommiin

Contest Ranking: 18th (last, 0 pts) My Ranking: 22nd (last, -1.7)
Like I said, tough sledding for the non Western European Countries, especially tough for the Nordic nations, who really were seen as jokes at this competition for the longest time (really until Sweden and Norway went back to back in ‘84 and ‘85). Fortunately for Finland, this time period gets rid of two other last place, nil point performances in 1963 and 1965. This also doesn’t count their 1 point performance in 1968, but I think you get the point. They have finished last six** Other times since 1975 however, and since they do not have as many hits as their Nordic contemporaries (sans Iceland), they are only 19th. Anyway, while Germany ran away with the contest singing a song about peace (another ESC staple), Finland would obtain last place with a song about peace, in particular a song about protesting nuclear bombs. While Germany’s song was a neatly composed song that was nice on the ears, this one is the complete opposite, so it’s fitting that this one finished last. I would say more but I don’t want to listen to this song again, so…
** Six last place performances in the Grand Final, they have an additional two last place finishes in the semifinals.

Malta 2017 Claudia Faniello - Breathlessly

Contest Ranking: DNQ (16th 2nd Semifinal , 55 pts) My Ranking: 22nd (41st, 0.062)
Malta surprisingly has not had an entry receiving nul points (though 2016 and 2023 are very, very close). But they have struggled to qualify in the last 8 years, only qualifying twice in that span. This entry was one that did not make the cut, a decent ballad that just didn’t work with enough people, which is unfortunate. Malta used to rule with dramatic ballads, in fact, all of their top 3 finishes (sans 2002), were ballads, so they do know what they are doing in this department. Maybe like Ireland, their type of ballads just don’t work anymore in modern Eurovision, which is sad to say, but maybe Malta can reinvent themselves and be back on top one day!

The Best Years

Malta 2021 Destiny - Je me casse

Contest Ranking: 7th (255 pts) My Ranking: 6th (398.4*)
Surprised? Like I said earlier Malta have sent in some classics to this competition, this one included. Despite the fact that there are at least 3 other songs with higher placements, none of them were able to outperform Destiny, our second COVID participant! Before this entry, she was more well known for winning Eurovision for Malta! Well, it was actually Junior Eurovision, but still, that is a heck of an achievement to have in your locker. She has also appeared on Britain’s Got Talent, and she has also won the X Factor in Malta, so safe to say she definitely has the talent to compete! From the ESC website, she says that her dream was to represent Malta and obtain that first victory for her country, and with the support of former Maltese entrant Ira Losco, she would get the chance to do so with her song “All of My Soul” for ESC 2020… and well you know what happened after that. But for 2021, she will have another opportunity to achieve her dream with her new song “Je Me Casse”. This song is just energy personified. Destiny said that her influences for singing were Lizzo, Beyonce, Aretha Franklin, Cardi B, and Megan Thee Stallion, women who are known for their energy that they bring to every performance. She definitely brings it here, with her song about empowerment and breaking free. Destiny has a powerful voice as well, which really helps bring out the emotion in this song, commanding the attention of everyone who watched it! When I heard this song for the first time, I immediately thought she would win, the song just has that winning energy surrounding it, and Destiny is the main reason why. Unfortunately for Destiny and for Malta, while this song would finish in the top 10, it would not be the one for the country, as they end up 7th, which is pretty respectable considering the stacked lineup for this year. Even more unfortunately for Malta, they haven’t qualified to the Grand Final since that year (even though it’s only been two years). Who knows, maybe in the future Destiny can come back for Malta to get the elusive crown, if Portugal can win one, anything is possible.

• This song is ranked 68th of all entries since 1975

Turkey 2004 Athena - For Real

Contest Ranking: 4th (195 pts) My Ranking: 4th (401.842*)
The most points Turkey has ever received at Eurovision, which is crazy to say considering the renaissance they were going through at the time. No it’s not their only win that takes the top spot (3 way battles tend to make the winner’s score weaker, and according to my formula Turkey didn’t even win this year), but rather the entry after it, that does. Meet the rock/ska band Athena, regarded as one of the best rock bands in Turkey. The band got their start in 1987, formed by twin brothers Gökhan Özoğuz and Hakan Özoğuz. After releasing their first album, they switched their style from rock centered to ska centered, which is like a fusion of punk rock and ska music (basically there are a lot of trumpets, trombones, and woodwind instruments). Once they switched their style they caught fire in Turkey, which culminated in a large tour of their country as well as opening for the Rolling Stones(!). They were selected by the Turkish broadcaster to be the host’s act for ESC 2004. I was wondering what this song was, considering that I didn’t recognize it when I started writing this piece. But then the song started, and I was like “Oh, this song”, which is nothing against the band, because this song is pretty decent! The ska influence still rings large in this entry, with the horns blaring throughout the song. Songs like this tend to be really catchy, with this one being no exception. Other examples of songs like this that I can name off the top of my head are “Alcohol is Free” in 2013 and Turkey’s future entry in “We Could Be The Same” in 2010. While "For Real" may not have been immediately recognizable to some compared to the other two, its infectious charm quickly captures attention. It finished 4th, showcasing the future promise of songs from this region, while continuing Turkey’s strong period that would disappointingly end with their withdrawal in the early 2010s.
This entry is ranked 65th of all songs since 1975.

Spain 2022 Chanel - SloMo

Contest Ranking: 3rd (459 pts) My Ranking: 3rd (481.959**)
Their best result in decades, and it is in the most sexy Spanish way! After a turbulent 2010s, which included several finishes in the 20s, a last place finish (which contained a legendary voice crack), it seemed to be more of the same in the 2020s, as their 2021 entry only received 6 measly points and a 24th placement. Then Chanel appeared. Born in Cuba, Chanel Terrero Martínez moved to Spain at the age of 6. Once she moved to Spain, she began taking acting, singing, and ballet classes, culminating in her beginning her musical theater journey when she was 16. Chanel featured in many Spanish shows and musical productions, and she almost got the part of the musical West Side Story, directed by Steven Spilburg. Notice how I haven’t mentioned much about her singing, it’s because her musical career started very recently! Chanel decided to participate in Benidorm Fest 2022, with her debut single called “SloMo”. This song had a lot of hands in production, as Chanel worked with stars like Jennifer Lopez, Britney Spears, among others. The effort would be worth it, as she won the Festival, claiming her ticket to Turin for ESC 2022. The last time Spain finished in the Top 5, you would have to go all the way back to the year 1995, with Anabel Conde delivering a Eurovision classic with the song "Vuelve conmigo", which finished 2nd to Norway’s entry. That song was a slow, methodical ballad, this song is the complete opposite, it leaves almost everyone (including the singer) breathless! Like with Destiny, this song is pure energy, but this entry falls in line with the typical “sexy Spanish energy”, and when you look at the performance (this link is for the Benidorm version), I mean, the woman literally says “booty hypnotic” about 6 times! Singing wise, it’s nothing special, but the performance really takes this to another level. It’s like Spain got the memo that Latvia sent out about how performance really drives an entry about 20 years too late. But they definitely got the message alright! It must be difficult to be a fan of Spain at Eurovision, considering that the country has been swimming in mediocrity along with its fellow Big Five brethren (except for Italy and sometimes France/UK, but definitely with Germany). But when the stars align, this is what Spain can do, and it’s so amazing when they do it! Spain in this contest's history really surprises you when they do well, and then you wonder why they can’t do this more often, only to disappear until the next great performance, rinse and repeat. Maybe after this entry and last year’s one (which got robbed of a better placement), Spain can finally flex their might at this competition, and one day we may go back to Spain for an ESC!
** This song is one of the Top 50 ESC songs since 1975.

Austria 2014 Conchita Wurst - Rise Like a Phoenix

Contest Ranking: 1st (290 pts) My Ranking: 1st (602.765**)
48 years between podium finishes, but what a way to do it! Austria occupies an interesting place within ESC lore. At the beginning of their journey, they weren’t much of anything, and it took a certain Udo Jürgens performing three times in back to back to back years to finally take the crown for the country. Since then, nothing much, just wading in the ESC waters, with the occasional decent tune once in a while. Then comes 2014. Austria up to this point were not known to be that influential in Eurovision, but then there was Conchita Wurst, who changed that perception in about 3 minutes. But first, some backstory. Conchita Wurst is the drag persona of Tom Neuwirth, who had a long career before joining the ESC stage. He was the founding member of a boy band in the early 2010s, and before that embarked on his singing career through an Austrian casting show. In 2011, Tom would start appearing as Conchita Wurst, a name literally meaning “Vagina (Spanish slang) Penis (German slang)” Conchita is also well noted for having a beard, a decision consciously made because as Tom/Conchita put it, “you can achieve anything, no matter who you are or how you look”. In 2012, Conchita almost became the representative for Austria at Eurovision, but narrowly lost out to Trackshittaz by 2% of the vote. In 2014, Conchita would not need a vote, as the national broadcaster would select Wurst and the song “Rise Like A Phoenix” to perform in Copenhagen. Now Conchita’s inclusion in ESC did not come without its outroar of disapproval, specifically from conservative groups in Eastern Europe. There were even petitions made for the local broadcasters to cut out Conchita’s performance entirely. Of course there were comparisons made between Conchita and Dana International, not only because of the LGBT likeness but also because of the threats and disapproval they both received prior to the contest. This disapproval would extend onto the ESC stage, as Armenia’s representative that year would make various remarks about how Conchita wasn’t living a “natural life”. That wouldn’t stop the drag queen however, as Wurst would go on to deliver a stunning ballad, appropriately about how she would rise from the ashes of her haters to become stronger. It reminds me of James Bond music, just with the horns and the overall vibe of the song. The entry was meant to be serious and on that note it succeeded, and overall it just has the commanding energy that so many winning songs demonstrate. This entry would not only win for Austria, breaking a nearly 50 year drought*, but would become one of the most iconic ESC entries of the 21st century, maybe even ever! Like with 1998, this would open the door for LGBT visibility in this contest, something that would only be embraced more and more in the years since this song took gold.
** This song is one of the Top 50 ESC songs since 1975. *** He would say that those comments were a joke, but you get the picture **** The 2010’s (and some of the 2020s) overall were really an era of breaking droughts. You got Germany (first since 1982), Azerbaijan (first ever), Sweden (first since 1999), Denmark (first since 2001), Austria (first since 1966), Sweden (first since 2012 lol), Ukraine (first since 2004), Portugal (first ever), Israel (first since 1998), and the Netherlands (first since 1975) all winning. Maybe countries like France (1977), Spain (1969) the UK (1998), even Ireland (1997, and who am I kidding, this drought will not be broken for a long time) could break their droughts as well?

Finland 2023 Käärijä - Cha Cha Cha

Contest Ranking: 2nd (526 pts) My Ranking: 1st (732.848**)
All of the songs on this list have surprised me, sans Austria and Spain. Finland’s best ever performing entry prior to 2023 was Lordi’s “Hard Rock Halleujah”, an entry that broke the barrier on what type of entries could win at this competition. Lordi’s song will forever remain in ESC lore, and for Finland it would be at the top of a surprisingly lackluster list. Outside of Lordi,there is only one other entry that has a score of over 150 (basically Top 7ish) prior to 2023, which was Blind Channel’s song “Dark Side” in 2021. Finland when it comes to the power of Scandinavia at this contest are really only above Iceland when it comes to performance and impact. The other three countries are loaded with iconic songs and impact to this competition, something that Finland has been lacking, until recently. Of course there’s Lordi and in 2021 there was Blind Channel, but both of those songs demonstrate what Finland can bring to this competition, which is hard party rock, and that is perfectly demonstrated with the song many people thought should have won, “Cha Cha Cha”, performed by Käärijä. Käärijä, or Jere Mikael Pöyhönen is a rapper and songwriter, known for his bowl cut and his shirtlessness, with the ladder having a nice sentiment driving it.*** There are many more things that he is known for and has done, from how his name is a play on the word for gambling in Finnish, to how he mostly performed shirtless due to the fact that his original yellow suit would get too hot, but you are all here for me to talk about the song, so let’s get to it. There are many similarities between this song and “Hard Rock Hallejah”, but the similarity that matters most is the fact that these songs are so unapologetically themselves. They both invite you to join their worlds, promising a hell of a time if one were to accept the invitation. While Lordi’s song involved the “acrocoplis” this song involves a party, a crazy party, nonetheless. I think what works the best for this song is that despite the fact that all of the lyrics are in Finnish, the first time that has happened for Finland since 2010, the chorus is where everyone can let loose, and boy does it let you. The roars you hear when the audience says “CHA CHA CHA CHA CHA CHA CHA EY” are really a testament to how much energy this song has (I feel like I’ve said this a lot today). This song is pure fun, and it’s such a joy to go through all of the acts with Käärijä. Did this song deserve to win? Well… yes and no. This song did get the highest televoting percentage of any entry not named “Stefania”, even surpassing Portugal’s entry in 2017. And if you see my contest ranking, according to my formula it placed first. On those fronts, it deserved to win. Does this song carry more winning energy than Sweden? Yes, but then I’m reminded of 2007, and how the more serious song (“Molitva”) won over the more campy fun song ("Dancing Lasha Tumbai"). From the history of ESC, the more serious songs win out most of the time, so I can see why this song didn’t surpass Sweden. Do I think this song deserved to win? Well I’m torn. Both songs have the potential to win, and I love both of them for different reasons. I could talk about it more, but this is a Finland post, and this song could have the impact of Ukraine 2007, even if it didn’t win. What this song has done is raise Finland’s profile in ESC and in my rankings, because without this song Finland may be below Iceland in the rankings.
** This song is one of the Top 50 ESC songs since 1975. *** Basically Käärijä said that going topless should be more accepted, no matter what size you are, which is a pretty cool message if you ask me.

Final Thoughts

So what do you think? Do you believe that Finland deserved to win last year? Which country here has delivered the biggest impact to ESC? Will Malta ever join the winner’s circle at Eurovision? And who will be next?