Author: scot

This is gonna get boring before it gets exciting.

There are some hard truths in this post that might sound too basic to be true. “Getting fans is supposed to be like Hungry Hungry Hippos, right? You just grab a bunch!” Nope.

Start from the outside

Many showbizzers look at fan growth from the perspective of the showbizzer. Instead of thinking about increasing your numbers, I hope as long as you read this article, you’ll think about the perspective of a potential fan.

People are fans of what you make

It seems like there are millions of people who love Garth Brooks, but then he releases an album from a different genre and his peeps jump ship. Fans connect with the creators and characters of stuff, but it’s usually through the service of the entertainment. The assumption is the entertainment service is the most authentic expression of the people within.

If you have three fans right now, don’t expect them to follow you anywhere. Remember that they like something that you do. They might all three like three seperate things you do. If so, you might not be able to take them all with you.

Making the first good thing

The people that are able to make a good thing, and stick with it for as long as it takes, are often filling a gap that they see in the world, not just seeing something that’s popular and trying to duplicate it. Scratch your own itch and it’s likely there are other itchy people like you.

This formula doesn’t only enflame your passion, but it helps you create something with a feeling of authenticity and originality. If you’re serving people in a way nobody else is, you’ve got a monopoly!

Fans trust that the next thing you make will serve them again

You’ve seen 12 episodes of “Dinosaur Battles” and you liked them. You are a fan. You will watch episode 13. You trust that the show will deliver either the same thing you liked about the others, or something adjacent to that thing. If suddenly, they have a love story between two cartoon horses, you might lose trust in “Dinosaur Battles” and become a non-fan.

Consistency builds trust.

This can be tricky because sometimes you don’t always know what part of the thing you made is beloved.

Yes there has to be a next thing and a next

You won’t get a fan before they consume a thing you made, so you can’t sell an album to a fan that hasn’t heard your music. They’re not a fan yet. Just because someone clicks ‘follow’ doesn’t mean they’re a fan either. You need trust for them to commit to getting on board with your next project and telling their friends about what you’re doing just based on your name.

This is why you can’t grab a fan. You have to build up the trust.

Then, if you want to sell something to a fan, you do that with the next thing.

Less scatter more scalpel

So, if you believe me that a fan is made of trust, the game isn’t so much about exploding your work out to the world, hoping a percentage of people see it and like it. It’s instead, how do I meet up with the person who is served by my good thing and serve them consistently well?

I do puppet shows for the children of celebrities. How do I make some things they want in line with my puppet shows, get in front of celebrity parents, give them some awesome thing, and then keep on giving them consistent good puppet show content.

More details on small effective fanbases : 1000 true fans

Consistency signalling

A fan can see something they like and have different levels of trust depending on whether they see the thing as a part of a consistent portfolio or not.

Scot Nery’s Boobietrap has a high barrier to entry, so we want people to get the idea that, even though the show is different every week, it serves the same amazing feeling every time. Here are some tricks to that.

1. Have a long track record : we announce how many show’s we’ve done.
2. Have good reviews : we have 5 stars on review sites like Yelp.
3. Have other fans
4. Show confidence in what you do
5. Don’t give the signal that everything’s made up on the spot
6. Mimic qualities that other consistent organizations have
7. Express your mission. When people know the core driving force behind a piece, they can imagine that the next piece will also spring from that mission.

Serve individuals

Now, more than ever, we need to think of fans as individual people with individual expectations. Everyone wants a bespoke experience. If you can’t give it (or part of it) to them, they can get it from an algorithm.

Flyer the block

If you have the budget to make 300 flyers for your show, you’re better off putting all 300 up around one city block than around the whole town. The people on that block will see your flier, get impacted by it, read it, and possibly respond to it by buying a ticket or at least looking up the website.

Since this game is about consistently building a relationship of trust with fans, you’re going to have to stop spreading yourself out, and figure out how to fence yourself in to your people so they can see you’re always showing up.

I know I didn’t cover this whole topic, so please ask questions in the comments.

There are people in your field working for free. If you’re trying to keep up with them, your value ( no matter how important, experienced, imaginative, skillful you are) is $0.

If you’ve ever been angry at people providing good quality work for lower prices, I am writing to you. If you’ve ever been pissed that someone has hired a crappy entertainer because they are cheap, this is for you too.

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From an entertainment and branding standpoint, church has a lot of lessons.

Disclaimer: I did a lot of Christian church time in my early years, but I’m not a church historian, I’m not looking up much info during this writing, and I am not going to approach this from any theological perspective. I hope if church people use this post to get more people to attend and enjoy, they use that attention to improve lives.

I hope entertainment people can pickup some inspiration from this especially. What we do is bigger than some lights and makeup and smoke and mirrors. We affect people and add meaning to their lives. We are community leaders and public servants. We are healers.

Institutions are time capsules

I have a repulsion to institutions. I try to get into things like clubs and stuff, but the way they hold on to past ways really makes it difficult for me. Even reverence of old theater companies gets under my skin a little bit.

The positive side of institutions like giant churches being slow to change is that we can see what worked for a long time. We can analyze why humans needed certain rules and traditions because they are living demonstrations of optimized gatherings.

New churches are messing up

I think that contemporary Christian churches are trying to be modern and youthful and accessible. Often, they’re trying to be gentler and more open. This stuff can be nice, but this article is about how they’re throwing out the baby with the baptism water. The experience can be more sticky and more cathartic.

Lock in

“Lock in” in marketing is about making it difficult for the customer to switch to one of your competitors. Like imagine if you decided to switch cell phone providers today. Oh, man! It takes forever. Maybe two and a half hours at the Verizon store!

Since people generally feel like a phone plan is more required than a church, a person who’s not locked in to your church may get exploration fatigue and not go to any church. Comedy shows are even more vulnerable to this problem.

Wanted to define lock in really quickly because it’s gonna come up a lot.

Youth doesn’t matter. Leadership does

Diversity of viewpoints is important to good entertainment, but while congregations are diminishing because of aging-out, many places are thinking they need young ministers to bring in young people.

Great entertainment is about leadership. A great leader must be aware of what the audience is experiencing and be able to take them to the next level. Usually experience makes a person better at this, so getting a dude because he’s 22 and has tattoos isn’t necessarily the way to “rock” your congregation and keep them coming back.

Accessibility isn’t everything

There’s often a thought, “If we want more visitors, we gotta make it easy for them to join in.” The problem is that churches aren’t going for visitors. They’re going for members. Repeat customers are easier for acquisition, and they build the community. A first time visitor probably won’t donate much money or rake the church yard Sunday afternoon. Need more lock in.

Lack of accessibility helps with retention. When someone comes to Scot Nery’s Boobietrap, they enter through the back, the venue is a little shifty, the hallway is long, and they’re not really sure what they’re into. It takes a while to pick up on what’s going on and feel a part of it. After you’ve dealt with that experience, you know that next time will be easier and the time and energy you expended with that introduction is a sunk cost that will make you want to experience it again.

Lack of accessibility also adds to exclusivity (this is something special) and it makes a person want to see their friends experience the integration process.

Serve a Small Community

When the population of earth was smaller, there would be a church to fit a village or a neighborhood. Now, there’s a huge number of people. I can’t count them all. There a bunch of kinds of churches. People are willing to drive to get to their favorite church.

The lines that describe your community maybe aren’t geographical anymore, but drawing those lines in social circles can be really helpful for determining what your group is about.

Let’s say one group you’re focussed on is parents in their 20s. That means you might want to setup a daycare, parenting classes, student debt classes, alternatives to clubbing, stuff like that. You’re tax-free, so set up great services to the community, but make sure you know who your community is.

If you’re doing a thing for everyone, you’re doing a thing for no one.

Serve who your community cares about

If your community is older people who are really into patriotism, maybe create programs for veterans, or soldiers’ families. Then, your community feels good about being part of an important service.

Talk about yourself

Gatherings gain a lot by setting up their edges and constantly explaining to attendees that they are within the edges. “This is who we are!” This church is a thing.

Glide in San Francisco is really good at this. I don’t know if they ever mentioned Jesus in the service I attended, but they mentioned Glide about 1000 times. This gains them lock-in and also reminds the members that no matter what disagreements we have or differences of opinion, we are all pro-Glide.

Become the authority (of something)

When people couldn’t read, when books were scrolls and were rare, folks could go to church to hear the bible. The church was the authority on what was expected for life. It was the authority of a lot of things.

It’s hard to decide a position for a group of people, but deciding to be the authority in one realm, gives attendees something to latch onto.

Scot Nery’s Boobietrap is an authority in weird/variety/circus badassery. People can come and know that and feel like they can trust us for at least one thing.

Art

A lot of new churches are gatherings in auditoriums. Blank spaces with projector screens. You gotta make that sitch special, folks! You ever walk into a historical opera house or a Cirque Du Soleil Show? That’s religious!

With entertainment, we want to be in sheep mode. When people are awe-struck, they’re more receptive, and more trusting of leadership. Create a wonderful, artistic emersion so people can connect and accept. I’m not saying have a bunch of kids paint murals. I mean hire Michelangelo or some other ninja to blow people away!

Ditch the background band

Music is art too, but I wanted to say… some new churches have these anonymous background rock bands because kids love the rock music? I don’t know what it is. Contemporary christian rock is not my jam. Regardless of that. The band is just some people making music.

Compare this to an organ player who’s positioned on this high bench playing a ridiculously loud, grand and dynamic instrument while wearing a totally bananas shiny robe. There are not pipe organs at any bars in town. You can’t travel with an organ. This is special.

I don’t listen to pipe-organ radio or anything, either, but the point is make the music grand! If you’re going to have a band, have a band you can’t hear anywhere else. Give the band a name so that they’re on a pedestal. Get them to write the songs or commission original songs. It isn’t about ego. It’s about making the experience potent and giving value to your audience.

Fear works

Damn, if those old churches didn’t know how to weaponize fear! Well, fear works. You don’t have to terrorize people to use fear. There’s fear of lost opportunity, there’s fear of missing out, there’s fear of loneliness. All these things can be leveraged to sell more of whatever you’re selling. The difference between using fear for good and bad: you don’t have to manufacture fear, you can use the fear that already exists and offer a solution to the problem.

Offer clarity

I went to church as a kid because I was overwhelmed with life and I wanted answers. I found the most strict church in my town because they seemed very confident and very black and white in how they translated the bible. I got some clarity and direction. Very calming.

Just like I said to be an authority, fence yourself in and make some statements. Be clear. Say yes to some things and say no to others. Make commitments. Many organizations are trying to say nothing so as not to offend. If you’re serving a specific community, there will be some black and white things for them and they’ll want to hear it. Maybe it isn’t “You’ll go to hell for dancing with the opposite sex,” but it’s “We won’t stand for children suffering in our town.”

Ritual is wonderful

Ritual is baked in to humans. It’s so nice to do the same thing over and over. It’s a relief to let a practice be more important than your momentary comfort or opinion.

All the standing up, sitting down, repeating things, singing from the same book, and whatnot is incredible in certain ways. It reduces stress, gets engagement, and give the audience a feeling of purpose. When people learn the rituals of a church that are peculiar at first you get more lock in!

Boobietrap is every Wednesday (well we’re on a little break because squirrels have taken over) and that weekly nature is incredible for people’s mental health… especially mine!

I wrote this as an exploration.

I’ve sat through a ton of bad church services. I’ve just spent so much time there that I want to get something out of it. Writing this has helped me to refine my thinking and see what applies and what I’ve learned. If it helped you to develop your show, your church, or your weird hamster cult, please lemme know.

I might not go to your church, but I feel if you’re making people sit there, you could at least give ’em a good show!

We can get lost in the technical complications of making shows / games / books; it can get murky in the details, but what our audiences want is a relationship with a person. It’s very simple, but difficult to achieve. It might be a relationship with a character, with a creator, or with the human they imagine from an experience.

Humans’re evolved for human relationships, not for downloading a song.

Our primitive brain tells us “There’s safety in the village. Make friends”

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Why do people pay for diddly-squat?

In my mission to hunt down more value for audiences, I noticed a little chasm that I don’t hear discussed. Often, when entertainment is purchased, the customer gets nothing.

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I think the first time I wanted to do a magic show was when I was about six years old. I saw a magic show. I saw the audience respond. I felt the feeling they felt too! I had a hope that there’s a supernatural. I had the pleasure of being wrong. I had the delight of a crowd laughing together. I wanted more of that.

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Entertainment is about humans. We want to see good humans. We think we’re one of them… Or, we want to see bad humans to make us feel better.

I don’t have words for these things

This belief in good people is the opposite of cynical. In English, we only have the word “naive.” Funny that a word with a negative connotation can be the opposite of another.

Insincerity?

This isn’t quite the right word either, but when something separates us from the humanity we desire it’s seen as insincere. Kinda a punch to the gut of our naivety.

I am amazed by Wayne Newton, but when I see someone trying to be Wayne Newton, they have taken all the humanity out of it. Ruins it. It sucks the life out of it, and it’s counter-productive.

Tech points out our insincerity

Technology itself is very human. It’s flawed and ambitious and nonsensical. When entertainment pros think the opposite, the human connection is breached.

Simple example: microphone goes out during a show. Performer tries to smooth it over. Now we’re all looking at the microphone. The performer is not showing anger, frustration, surprise or any emotional response to an obstacle. Insincere.

Zoom

The whole reason I’m thinking about this is we are now trying to use technology to bridge the gap in entertainment. We can’t be like the mic person above. We can’t try to make a human connection in spite of technology. We will find entertainment success by using the technology to amplify the humanity that we share.

Video chat is buggy and it’s very difficult to make an online show seamless – not that seamless is human. If your goal with an online show is comedy, you better have a funny and surprising approach to the bugs. If the bugs are preventing you from your plan, do a long rant about video chatting that’s funny.

We want to connect with a human.

Technology gets in the way of that when we deny ourselves to support technology.

I’m going to get specific about one scenario for performers who have been primarily live trying to make a change-over. You have a potential client who wants to hire you to make a custom video. If you’d like me to give you a guide for a different scenario, you could email me, I’d be glad to help.

I have worked in a lot of different sitches for a bunch of different companies. This is a stripped-down freelancer’s version of how to make a pitch for a video and understand the stages of the production process.

Hopefully, if this world is alien to you, you will see how to give more value to your clients and how to make a smooth process so you can create something everyone’s pumped about!

The main difference is the timing of everything and the scope

When someone’s hiring you for a live show, they are booking you based on your track record, what you provide, and what they think they need. They decide based on past work whether you’ll be right for the job. When the job happens, it’s over. No chance to refine it. It’s not concrete. It was an experience. Although there are definable and objective parts of it, it’s hard to debate whether the job was done. The gig itself happens instantly.

The scope is usually set pretty easily. You will do a 45 minute show on a stage. Although there are a lot of factors that go into that, you probably aren’t defining them before you get booked.

This video is custom

You are not sending this company just another copy of the same thing. When you do a live show, every performance is special because it’s exclusively happening for that one crowd at that place at that time.

Recorded video is made before the viewing and can be shown to as many people as you want. Your client needs you to make it special and exclusive by making it custom to their needs. Every moment they hear about how it’s special to them is poking some value into their brains!

You’re in control of more aspects

In a stage show, you probably aren’t in control of the lights, sound, stage set, pacing, context, branding, fonts, some of the music, etc. These aspects include lots of creative decisions. These aspects are extra value, but also a lot of extra communication and a lot of work.

First contact

Note to yourself: communication about creative works is super hard and you won’t get it 100% right. If people can’t agree on what to call a shade of blue, how do you think they’ll agree on how to describe a brand.

On first contact with the client here are some things to find out.

1. what problem are they trying to solve with this video?
2. have they commissioned videos like this before?
3. try to get an idea of the budget for past projects as similar to this as you can get.
4. how important is it that they get this right?
5. how long of a video?
6. who is the video for?
7. how will they be showing it to them?
8. get examples of what is similar in the look, feel, pacing, objective, and whatever else you can think of.
9. when do they want the video delivered?
10. are they the decision maker, or is there some other process for making the decisions?
11. does the video tie into other parts of their brand, their company, other videos they’ve put out?
12. how do they want the video to affect the audience (get them to buy something, entertain them for 5 minutes during a zoom meeting, get them motivated to take a pay cut)?

Your goal is to understand the scope of the project and start to clearly visualize every single part of the gap this video is filling. You don’t want to completely visualize the video too quickly, but understand what need it’s serving.

You also want to understand the cost of the problems you’re solving. If they don’t really care about whether the video’s good or bad and they are considering just using some video they have lying around instead, it might not be worth it to them to hire you.

Define the scope

When you feel like you know what they want ( it may take more conversations ), you will determine what the scope of the project is (how long will it take, what defines the finished project, etc.)

Then, you can talk to the client about your pricing. Make sure you talk them thru what the scope of the project is and remind them how you’ll solve all their problems and give them more value than they might have already considered. This can be in the form of documents, a video of you talking to camera and showing what kind of thing they can expect, etc.

Get a contract signed or an agreement thru email if you don’t mind.

This seems like a lot of work upfront for free because it is. It’s a lot.

Line Items

It’s tricky to list each part of the process that costs money. The upside is that it can give the client more of an idea how big the project is and how much you provide as well as giving them things they can cut out for negotiation purposes. The downside is that it can bring cost-based pricing into the project instead of value-based and it takes a lot of thoughtfulness up front.

Examples of similar work must get granular

When you and the client talk about examples of similar work, this is a great way to really understand the job. If you have examples of your own work, this is super because you know exactly goes into creating that work. No matter what, you have to be specific about what you’re agreeing is the part of the example that is duplicatable.

The client is a Lexus dealership. They say, “we want it to be kinda like Fight Club.” That means something real to them, but what?

• Subversive?
• Bloody?
• Underground?
• Grungy?
• White male driven?
• 90s?
• Psychological?
• Romantic?

Most of these don’t make sense at all, but who knows?

“Oh, no, I just mean the lighting of the scenes”

Getting closer. Which one of these lighting setups do you like?

The client will likely say, “Oh, I none of these. Just kind of bluish lighting. I don’t know what I was thinking from Fight Club.” Keep asking questions to get specific because this will prevent extra work, disappointed clients and communication headaches later.

Script, Storyboard, Mood board

I’m hoping this part comes after the contract, but it’s possible that sometimes the client will need to get approval on something more complete. Let’s assume this is after the contract is signed, though. People who sell intellectual property like recorded media often do a lot of spec work before getting the job. That’s why your budgets must be higher than you might expect.

Script is the written words describing what happens pretty simply and the words that are said either in type or thru audio. It’s like short story without too many aesthetic descriptions.

Storyboard is a black and white illustration of the video’s different shots, pacing, framing, and camera movement kind of stuff. It’s like a comic strip.

Mood board is some visual specifics about how the video will look and feel. Font choices, color palettes, costuming, set, and hopefully still images that look the way the final product will look. It’s like pinterest.

Seperating all these things is really helpful because you don’t want the client to ever think they’re looking at your best work, and you don’t want them to shoot down an entire concept because they have issue with the color of a shirt.

Timeline

Another crucial part of your conversation includes timeline. Here’s a super basic version. It takes a lot of thinking and talking to your crew to figure out what’s reasonable. Waiting for revisions can be insane and them not knowing when you deliver can be frustrating and lead to a lot of checking in.

Another thing that a timeline does is shows the client that there’s a lot going on and you need their help to complete it.

March 1 (today) I deliver you version 1 of the timeline, mood board, storyboard, and script

March 4 you send me all revisions

March 5 I will send you version 2 of timeline, mood board, storyboard, and script

March 7 You send approval or any small notes. No other version will be sent, but we can agree over the phone to save time

March 15 I will send you version 1 of the video

March 18 you will send me revisions

March 19 phone call to discuss revisions

March 25 I will deliver to you completed video final version

Two shoots

It’s helpful to notice in the above timeline that you may need to reshoot things for the final version of the video. Prepare for that by making sure your video setup is repeatable; that you have enough time and crew to shoot twice, etc.

You will mess up

If you’re a stage performer making this transition, you are bringing awesome stuff to the client that doesn’t have to do with video production. Don’t forget that.

Don’t feel the need to be Universal Pictures. Keep it a human connection with your client. Ask a lot of questions. Mess things up.

You will probably mess up your budget, you’ll forget to ask some important questions up front. You’ll have some hiccups in meeting your timeline. You’ll say something that takes away from a flowing collaborative process. Stay open and forgive yourself. Your client will be happy if you are are honest and playing from your strengths.

Tricky things to remember

When playing out of your depth, imposter syndrome can kick in making you feel perfection is necessary. Fight of your perfectionism at every turn.

Everything is a variable that you’re not ready for. Things will take at least 3 times longer than you expect.

Don’t forget new expenses. Because of all the aspects you’re dealing with, you may need to check prices on lighting rental, video editors, new props, hard drives and more. Be patient with this.

When setting up the timeline, get feedback from people who will be involved and tips from people who are experienced.

All the production materials only have to look good enough so everyone understands what’s up. They’re for communication. Your script doesn’t have to have perfect spelling or line spacing. Your storyboard doesn’t have to be drawn by the guy that worked on Back to the Future.

Money is a measure of what matters.

I’ve been to so many shows where some lady from a committee stands up and says “Thank you for supporting live entertainment.” It makes me squirm.

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It’s non-essential and it’s dangerous.

“Art, as I see it, is any human activity which doesn’t grow out of either of our species’ two basic instincts: survival and reproduction.” Scott McCloud

Many creative pros including those in the entertainment industry are lashing back against a Singapore newspaper poll about how artists are ranked #1 as non-essential jobs. I agree with the people polled.

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Audiences need a leader to create a safe space for their entertainment. They need to trust that things are handled so they can dig in, engage, and enjoy.

This trust is not about being smart or even about being benevolent. It’s about ability to navigate the particular entertainment experience consistently and give the audience what is promised.

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Don’t worry everyone! We’ll be back to normal by July 17.

I know we’re all relieved that the end of this pandemic and its financial, social, and medical fallout will end completely on July 17, 2020. It’s perfect timing for us to start up all our shows again and start celebrating all those late July holidays!

What I want is not that

I can’t seriously guarantee anything will be anything ever, but the three things I don’t want are…

• things staying the way they are
• normal
• the way things were in January

The two most popular normalcy quotes I’m hearing are “When can we get back to normal?” and “This is the new normal.” My answer to both is “NO”

I’m not intimate with “normal”

We had a baby in April, so my 2020 was changing a lot anyhow. Regardless, I have lived joyously for a long time with chaos. It’s part of being a freelancer and a multidisciplinary creative. Not only was my life not steady, or normal, but I rejected being normal as a way to differentiate and offer something interesting to the world.

Plus, I see “normal” as a thing that doesn’t exist. It’s a concept to either shame people into falling in line, or a way to find something concrete in a world with no answers.

I’m not trying to return to anything

I’m not into the past or the MAGA philosophy. I don’t revere history, I revere the advances history has made toward a better society. My part in history is making something better for tomorrow.

If you want to honor history, don’t put it on a pedestal, bury it under a glorious future.

I am working forward + would love others to join me

I have been producing, teaching, consulting, and otherwise assisting show business people for a while because I didn’t like the way things were and I knew they could be better. I’m now working to raise the tide for all entertainment, but my main scope was variety and circus. Here are some of the things I believe need to improve.

We’ve gotta remove racism from entertainment. The privileged are the people who can pursue careers that seem frivolous like hula-hooping or acting. So, we can offer more privilege to more diverse people to counterbalance and hear the voices of the real world.

Let’s fix the frivolity thing too. I don’t think jugglers are essential workers, because they aren’t required immediately, but entertainment is crucial to humanity. When I was questioning whether to go all in on entertainment, a mentor told me, “I don’t know a single juggler who’s really going for it that is not able to make it.” A career in “the arts” is not as unstable as its reputation suggests.

The income mystery and disparity in entertainment would be great to resolve. We see people scraping by with the lowest priced kids shows, and professional athletes making multi-millions. There are people in between. We can educate entertainers that there is a spectrum, and educate them on running a small business.

Let’s dismantle the power of fame. I think it’s already happening. The world is dividing up into bubbles that are ever smaller and more specified. We have people that are famous in our bubbles, but not necessarily global celebs. Thought leaders are important to advancement, but our idea of fame as it is diminishes what’s great about being a human. As we celebrate humanity more, we give more efficacy to cathartic entertainment.

I want more transparency in entertainment. We are hopefully growing away from a world where PT Barnum was the greatest showman. He was a man who was cherished for his ability to lie to everyone — he did a bunch of other horrible things too! Lies are not the only way to escape the harsh realities of life for a moment. We also have great realities!

Can showbiz people have more fulfillment? When entertainers have more of the tools they need, when we are abundant and sharing, we can steer the ship toward doing what’s awesome. We don’t need to be so scrappy and desperate.

Not now, not then

My hope is this right now is not the new normal. I hope we’re building a new growing world where entertainment can really thrive and serve the world in a stronger way. I think we’re going to need it more than “jobs” or an “economy.” I believe in the possibility for us to redefine everything the way we actually want it, not just the way we think it can be.