lunes, 24 de noviembre de 2014
domingo, 23 de noviembre de 2014
viernes, 21 de noviembre de 2014
Hugo Kalashnikov 16 poetas bebiendo absynthe en mi sala
por las llamas que te iluminan
recostado en la cama como el ostentoso
por los placeres que consumo
en los lienzos o el satén
por los niños que resucitaste
los querubines de los dormitorios inferiores
por los pétalos anónimos
de la rosa del amanecer
continuemos bebiendo vodka.
por el ladrón que debería ser atrapado
usando su cabeza roja sangrante
por las puertas que me abres
de las guaridas de los elegantes
por los condenados que castigamos
una abadía crece en el aire
por el syrah que me aconsejas
y el culo que me sirves
continuemos bebiendo whiskey
por las estrellas que sembraste
en el arrepentimiento de los asesinos
y por este corazón que late
en el pecho de las ruflas
por las ideas que creaste
en la mente de los ciudadanos
por la toma del poder
y nuestro beneficio como solitarios
continuemos bebiendo ron.
por el anarquista a quien le diste
los colores de tu país
el rojo del sacrificio humano
y el blanco de la cocaína
por los poetas que se resbalaron
en el lado opuesto de sus adolescencias
por el pecado que privilegiaste
como la virtud mas honorable
por la solicitud de los reyes
a sonreír sin calaveras
continuemos bebiendo cerveza.
recostado en la cama como el ostentoso
por los placeres que consumo
en los lienzos o el satén
por los niños que resucitaste
los querubines de los dormitorios inferiores
por los pétalos anónimos
de la rosa del amanecer
continuemos bebiendo vodka.
por el ladrón que debería ser atrapado
usando su cabeza roja sangrante
por las puertas que me abres
de las guaridas de los elegantes
por los condenados que castigamos
una abadía crece en el aire
por el syrah que me aconsejas
y el culo que me sirves
continuemos bebiendo whiskey
por las estrellas que sembraste
en el arrepentimiento de los asesinos
y por este corazón que late
en el pecho de las ruflas
por las ideas que creaste
en la mente de los ciudadanos
por la toma del poder
y nuestro beneficio como solitarios
continuemos bebiendo ron.
por el anarquista a quien le diste
los colores de tu país
el rojo del sacrificio humano
y el blanco de la cocaína
por los poetas que se resbalaron
en el lado opuesto de sus adolescencias
por el pecado que privilegiaste
como la virtud mas honorable
por la solicitud de los reyes
a sonreír sin calaveras
continuemos bebiendo cerveza.
miércoles, 19 de noviembre de 2014
CARITA DE CIELO Personaje de Lima en la obra DUELO EN MALAMBO
Para conocer un poco mas de uno de los protagonistas de DUELO EN MALAMBO ...
Era imaginativo y respecto a su familia, daba diversas versiones. Una de ellas que estaba en el Uruguay, otras veces que vivían en París y que, contaban con rentas. Tenían dinero.Contó también que tenía un familiar en el norte del Perú. Carita se habría establecido en el barrio de Malambo, aproximadamente en 1905.
Carita contaba que había sido ebanista y que trabajaba con su hermano.
Su primer acto de astucia fue ingresar a trabajar en un negocio de un "caballero inglés" de mucho dinero, residente en Lima.. Se ganó su confianza y luego le robó, motivo por el cual lo sacaron del trabajo. (El Comercio 3 de mayo 1915) Esa fue su puerta de entrada a la delincuencia.
Luego de ello según sus amigos se dedicó a la "contabilidad", que en la jerga de Malambo, significaba "las mujeres que uno tiene y el dinero que dan". (El Comercio 3 de mayo 1915) Es vivir como proxeneta y explotando mujeres dedicadas a la prostitución. Según sus amigos ello le proporcionaba mucho dinero. Siempre estaba elegante. Inclusive usaba un saco de alpaca. Su peinado era especial con raya al medio y unos rulos que le colgaban a los costados. Su apodo completo fue "Carita de Cielo".
Carita era también cantante, motivo por el cual atraía a las damas de su preferencia. Uno de los incidentes que tuvo con "Tirifilo", fue precisamente por una mujer.Tirifilo lo humilló públicamente en un "salón" o prostíbulo de Malambo y lo sacó del lugar. Esa fue una ofensa que siempre tuvo presente Carita.
Carita tomaba pisco y chacchaba coca con sus amigos. Siempre estaba en grupo. Nunca estuvo solo. Sus principales amigos fueron "Los Chunchos", Peña, Julio Risco, y Julio Allende (a) El Mono. El espíritu de grupo, es fundamental para comprender la vida de "Carita". Esa era una de las principales formas de protegerse y actuar. El tenía su propio espacio, su territorio y su banda o "collera" o grupo propio.
Tenía un cuchillo grande, en la faja del pantalón. Siempre andaba armado con su "chabeta". A estos personajes les llamaban "lobos" o "lobitos" en Malambo.
Cuando se produjo el desafío mortal, Carita tenía 24 años y Tirifilo 26.
Durante los sucesos de 1915, Carita saltó a la fama y la noticia fue materia de primeras páginas en los periódicos.. Fue entrevistado por José Carlos Mariátegui cuando estuvo en el Hospital Dos de Mayo. 17 años después fue entrevistado en la prisión por Ciro Alegría, quien tomando como base las conversaciones con èl, hizo la novela "Duelo de Caballeros". Esta obra tuvo mucho impacto en las generaciones que surgieron en el Perú a mitad del siglo XX.
Hay tres grandes momentos en la vida de "Carita" 1) Su vida antes de la pelea con "Tirifilo" 2) còmo se desarrolló la pelea a cuchillo y el desenlace que tuvo y 3) -Que pasó con la vida de "Carita" luego que salió de prisión. Cada período tiene sus propias características. La astucia de Carita se puede apreciar en varios actos de su vida y el uso que supo darle a los medios periodísticos desde un comienzo..Queda la pregunta sobre las grandes entrevistas que le hicieron ¿Sobre lo que declaraba Carita que era lo verdadero, que era lo falso y que ocultaba?...Es en estos detalles concretos que se puede apreciar toda la astucia de "Carita".....La leyenda de Carita fue levantada por periódicos, sectores de intelectuales, políticos y del poder judicial....En todos estos campos Carita supo moverse para lograr la libertad. ..Una de sus armas principales era la palabra...ya lo veremos en los próximos días.....Continuará la segunda parte (Fuentes, Sala de Investigaciones y Hemeroteca de la Biblioteca Nacional del Perú, Biblioteca del Congreso de la República y Archivo del Museo Afroperuano de Zaña. Libros de Luis Jochamowitz, Carlos Aguirre). Duelo en Malambo Julie Guillerot Luis Alberto Sandoval Zapata Tatiana Espinoza Sarita Aragón Cortez Gina Beretta Juan Pablo Lostannau Aliaga Ivon Muñoz Romero Sarita Calmet Ana Charun Felix Roberto Arguedas Caycho Alfredo Valiente Juan Medrano Cotito Juan Miguel Barandiarán Sánchez Felix Valdiviezo Vasquez Oscar Chambi Echegaray Peruska Chambi Echegaray Golpe Tierra Circulo Peruano Carlos Medrano Anai Medrano Luisa Cristobal Sanchez Víctor Guzmán Makarito Nicasio Percy Chinchilla Nemovalse Lima-Peru Actap Llampallec Juana Sono Hernandez Carlos Lopez Schmidt Bruno Ascaño Zaña te Espera Luz Zenaida Hualpa García Elsa Javier
Skanner darkly
22. A Scanner Darkly
Based off of Phillip K. Dick’s novel of the same name, Richard Linklatter’s adaptation of A Scanner Darkly serves as just another reminder in the writer/director’s filmography that reminds us he’s one of the most important filmmakers of our era.
The film uses the same animation stylizing, called ‘roto-scoping’, as used in Waking Life. The dystopian story stays quite respectful to the original, but Linklatter’s vision is endlessly unique and riveting. It may be hard to compare to some of Linklatter’s more dramatic and dialogue-driven film treatments, but A Scanner Darkly remains a gem in the world of sci-fi.
lunes, 17 de noviembre de 2014
lunes, 10 de noviembre de 2014
viernes, 7 de noviembre de 2014
sábado, 1 de noviembre de 2014
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Introduction To Goregrind And Pornogore, date: october 30, 2014
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Introduction to Goregrind and Pornogore
author: wateyy date: 10/30/2014 category: genres' battles
I like this
57
voted: 12
Hi! This is a friendly introduction to goregrind and pornogore the way I would describe it to someone interested. While it might seem a bit repulsive, meaningless, waste of time, energy and utterly insane, you might even take a liking to it after this article and some time spent with it alone. So let's jump right into this short article!
What is Goregrind? What is pornogore?
Low tuned or untuned guitars? Check.
Fuzzy, distorted bass? Check.
Blast beats? Check.
Gutteral vocals? Check.
Pig squeals? Check.
Pitch shifter? Check.
Samples? Check.
Groove? Check.
Under three minutes? Check.
Silly lyrics which you will never decipher? Check.
If the music you are listening to has at least 3 of the above, chances are you're listening to goregrind or pornogore.
Goregrind is basically grindcore with gory lyrical themes and over the top guttural vocals while pornogore is a more groove orientated, slower kind of goregrind with obvious lyrical themes. Think of it as death metal meets punk meets everything cheap slasher movies want to be.
So how to get into goregrind and pornogore?
First of all - quality is the name of the game (just bear with me please). You can find quite a lot of goregrind and pornogore bands that sound boring and have sh-t production a.k.a. DIY in your room/garage/basement. That's the way it is since most of those bands probably don't even take themselves seriously (and yes, there is a certain level of seriousness required for anything you do, even goregrind!). The genre is a joke, the music is a joke, the bend is a joke. And that is fine, really, taking your goregrind and pornogore too seriously means you will probably do something insane from the lyrics of one of the songs you've heard recently. Not cool. But, there is a certain level of seriousness required for anything you do, even goregrind! I used C&P on that last sentence.
So, let's assume we've found a band we like that isn't sh-t. What do we listen to and how do we listen to this garbage, how do we reach that feeling of sonic pleasure while our ears are being raped by demonic pig with a mic and a pitch shifter?
First tip - relax. Don't try to grasp the meaning of lyrics or the song structure. Go with the flow. Try to feel the groove since most of goregrind and pornogore is based on groove. Listen to the drums that drive the bass. Listen to the heavy bass that drives the rest of the band. Laugh to the funny vocals. Laugh to the sloppy guitars. Ohh, right, the band we picked isn't sh-t. No sloppy guitars here (or yes if you like them).
Example of a nice groovy song:
Things you shouldn't do include getting all tense, being sceptical, having high expectations of band's musical prowness, playing it load in a public space and if you live in America posting the song's lyrics to a social network.
Next thing that needs to be mentioned (again) is fun. This is fun music. Yes. It is. Vomiting, farting, raping, mutilation, genital accidents and meals that taste like STD are fun. I guess?
Don't take it too seriously. There is no deep meaning behind it. It is sort of on a level of disco dance music. It doesn't convey emotions or any of that artistic crap. It is not embedded into some philosophical universe which is inside of another universe which is inside of your spirit. It makes people dance. People like to dance. That's it.
Example of fun - check it out here.
Final thing that you should do is search the web (YouTube) for some bands. You can find real gems if you look hard enough. I will post few songs and bands below for you guys to check out. These are both some of my favourite and some that are considered "classics" - and are totally part of my opinion on goregrind and pornogore.
Also, check out OEF. It's Obscene Extreme Festival that's held worldwide and has grindcore, goregrind, pornogore, power-violence, punk, crust, thrash, death, blackned thrash and that sort of bands playing. And boy, is it a party or not (check it out! Go #swagobeypornopartygoregrind).
Gutalax is a bit more slower and groovy band from Czech Republic. CR probably has the strongest gore/porno scene together with Mexico and/or Spain.
Jig-Ai is more brutal than Gutalax. It often features blast beats and really over-the-top vocals and their riffs are tasty and groovy. Lots of death metal vibe can be found in their songs.
Check out another video here.
Another groovy band that makes your grandma wiggle her bottom.
For some reason I didn't really get into this band yet, but their live shows are fun.
This isn't really a goregrind or pornogore band but they are cool and you should check them out. #Dancemovesarereal
Side note: I highly recommend exploring all kinds of music. Metal is cool and metal is for life, but metal isn't all there is to music. Peace \m/
comments policy 5 comments posted
+1
bunnyh0pz
posted on Oct 29, 2014 03:58 pm #
So myspace
-1
pestleiche34
posted on Oct 31, 2014 09:41 am #
i actually like the music. if only the vocals weren't unbearable...
EpiExplorer
posted on Oct 31, 2014 12:59 pm #
Nice tumblr blog, bro.
madaniel
posted on Nov 01, 2014 01:35 am #
I didn't know goregrind can be fun, thanks!
+1
theogonia777
posted on Nov 01, 2014 02:19 pm #
This really reads more as a parody article than a serious introduction to the style of music (arguments over whether or not the style even deserves a "serious" anything). It's amazing that the author failed to even acknowledge any of the pioneers of the style such as Carcass (how could you possibly not mention them here?), Dead Infection, General Surgery, Impetigo, Repulsion, Regurgitate, etc. There is also no mention of differences, both aesthetically and musically, between goregrind and earlier grindcore, with no mention of deathgrind to be found. All in all, this shows a complete lack of understanding. Now, I understand that some people might think that this is silly music, but it still deserves a serious attempt rather than some goofy "name shitty bands that sing about gross things" approach that is being used here.
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Documental
The 15 Best Documentaries of The 2000s
1.1K Taste Of Cinema / by David Zou / 8 days ago
Due to consumer-priced digital video, a shrinking amount of grown up movies in multiplexes, increased global awareness, and a few films by a man named Michael Moore, the 2000s were a watershed moment for documentary film.
From the beginning of the decade to the end, production values were on the rise, as were the sheer number of people attempting to tell nonfiction stories. By 2009, documentaries were a mainstay in major theaters and the experimentation that has been infused into nonfiction films of the early 2010’s was already taking shape.
The following list attempts to be a snapshot of the very best documentaries the decade had to offer. Surely, films such as Man on Wire, Murderball, Spellbound, and The Fog of War deserve a look and any of those could be swapped for any of these. However, you could do a lot worse than using these 15 as a starting point for diving into this crucial period for the nonfiction form.
15. Zoo (Robinson Devor, 2007)
Hybrid documentary is a bit of a dubious term. Generally meaning a combination of styles to tell a nonfiction story, it’s at once limited and far too inclusive. That said, Robinson Devor’s Zoo is one of the best early examples of the current incarnation of the “hybrid documentary.”
Almost exclusively using re-enactments and voiceover, Zoo tells of the life and death of Kenneth Pinyan, a Seattle man who was killed after receiving anal sex from a horse. Devor has little interest in exploring the story from an objective journalist’s perspective. Instead, he smartly analyses the psyche of Pinyan along with others in his ostracized community who engage in sex with animals. Brief news clippings, which are expectedly mocking as well as judgmental, provide context, while the voices of participants reveal their sides of the story.
Beautifully shot with an emphasis on atmosphere, Devor’s camera often films from a deliberate distance with objects such as car bumpers and trees to obscure his view. This, matched with interview subjects whose voices and faces are purposefully anonymous, make for a voyeuristic gaze into a community operating on the fringes. Devor walks a careful line that never condones the behaviors of his subjects, while also never looking upon them with obvious judgment.
One scene, where a subject recounts giving up Pinyan’s horse, edges towards sympathy, as do convictions that these animals are loved more than most kempt up in pens. Yet, Devor’s model is to create a mood and provide a cinematic world. A subject that should have been too difficult to endure becomes an artistic portrait of an America that most would prefer to assume doesn’t exist.
14. Ghosts of Cité Soleil (Asger Roth, 2006)
If you want a glimpse into what created the horrible situations inhabited by citizens of Haiti, Ghosts of Cité Soleil will not be the place to look. Unlike the multitudes of objective stories told about the nation from a distance, director Asger Roth and his cameraman Frederik Jacobi thrust themselves right into the center of the storm. Following two brothers, Billy and Haitian 2Pac – each leaders of the deadly secret Army of the President called Chiméres – the film is a verite image of love, tragedy, violence, and pride.
The Chiméres are essentially a street gang, whose power is derived not from respect so much as brute force. Provided with artillery from the government, young men and boys are left patrolling the streets with little idea what to do or why they are there. Gunfire is an hourly occurrence in a place where human life has little value. Yet, the filmmakers never turn their subjects into monsters, providing us instead with the same hopes and dreams that make any person tick.
Perhaps most fascinating about Ghosts of Cité Soleil, while also the most maddening, is Roth essentially lets the viewer know how this will all end. With no sustainable government and heavy ammunition in the hands of uneducated, un-lead, and extremely macho men, every character we follow will likely end up dead. In fact, one of the ones who become most sympathetic had already died by the time the film reached final cut. Yet, we root for these people.
Partially because mixed in with the suspense of battle are scenes of honesty and passion. Most notably moments between Haitian 2Pac and his girlfriend, Éleonore. At one point, the filmmakers get caught right in the center of gunshots. Unable to escape, they take cover behind concrete walls. Where most creators would protect themselves, the camera here instead roves around the building, capturing the violence as it unfolds. It’s this kind of veracity that sets this small picture apart.
13. The Weather Underground (Sam Green & Bill Siegel, 2002)
The crime of organizations like the Weather Underground has a unique place in drama because depending on what side you are on, the criminals could quickly look like heroes or terrorists. Immediately one will have a prejudice, and conflict is born from how a story re-enforces or rethinks that assumption. At the very least, an understandable motive comes from approaching material of this kind.
The Weather Underground interviews students who made up the massive student-driven violent movement from the late 60s and early 70s, that used terrorist acts as scare tactics in order to protest a United states government that they felt was in a constant “state of war.”
The major message explored throughout the film relates to achieving peace by way of minor acts of war and whether there’s much of a difference between a military bombing innocent people overseas versus an organization doing it on our soil. The difference of course is that one act is governmentally ordered and thus its purpose must be for “good.” But what if you do not agree with that purpose?
Most of the subjects in The Weather Underground are the former students who made up the group. Now aged by three decades and seemingly settled into normal lives, they speak with candor and relative remorselessness about what they were a part of. And that being “a part” seems to be what helped most perpetrators to reconcile with how this violent time in their lives was worth the effort. The subjects stood for something and most still do. Modestly made, with few stylistic flourishes,
The Weather Underground build its story out of firsthand accounts. The ultimate goal is to stay objective and considering the gray areas related to everything – from environmental terrorism to 99% protectors to the Arab Spring – that has come since, the film plays like a rallying cry that citizens can make change in large groups, even if sometimes that change comes at a major price.
12. Manda Bala (Jason Kohn, 2007)
Only about half of Manda Bala will make any sense to the average viewer. Like any narrative that unravels the deep intricacies of corruption, that’s precisely how the people in the know get over on other, all in the name of money. If the complex systems of corruption don’t work, in Brazil at least, you then have to “send a bullet.” (The English translation of Manda Bala.) The story involves a frog farmer who uses his trade as a front for drug smuggling, as well as underground favela criminals who regularly hold wealthy people hostage to collect ransoms.
One typical scare tactic is to cut off a hostage’s ear and send it to the family. Enter a plastic surgeon who has made a living off his revolutionary technique of removing cartilage from a victim’s rib and remolding it into an ear. (Word to the squeamish: Kohn shows us the procedure up close and personal.) Manda Bala adds up to the most thorough portrait of the Bazilian criminal ecosystem put to film.
Kohn’s style is feverish, fast-paced, set to pop music and employing techniques like fast motion and long takes. Kohn is trying to make this the realistic Brazilian version of Goodfellas, only these guys make Henry Hill and his gang look like petty crooks. Shot on film, the vibrant colors of a nation at once crime-ridden and oozing with culture pop off the screen.
Like Bus 174, the decade’s other Brazilian crime masterpiece, Manda Bala emphasizes how little hope people living in the deeply impoverished favelas have. While their tactics are violent, if borderline sadistic, Kohn never once allows his film to judge them, nor does he become precious about defending them. It’s a harsh world out there and those who survive are the ones willing to go all in.
11. Rize (David LaChapelle, 2005)
Had Rize simply been a moving image version of fashion photographer David LaChapelle’s signature style, it may have already been worth the price of admission. That he smartly blends that style with a realistic look at the struggles of people living in South Central, Los Angeles makes this one of the foremost nonfiction experiences of the decade.
The subjects are gangs, but not the sort that the media has given us for several years. These are dance groups – the krumpers and the clowns – who give poor young people an outlet other than drugs and violence to express themselves. Within each group there are fights, jealousies, camaraderie, and necessary familial support.
LaChapelle structures his picture like a sports movie, presenting the ups and downs of training, prepping, and the seriousness of practice. Stitched between are slow motion, high contrast images of the dancers in all their glory. It’s in these moments that LaChapelle’s eye for color and contour shines by providing a celebration of the athletic bodies of his subjects. Muscular, sweating, moving each limb a mile a minute.
There’s so much beauty to these people and in these otherwise innocuous segues, we just get to watch in awe. Yet, just as effective are scenes such as Tommy the Clown breaking down into tears upon hearing that his house has been broken into. Never are racial or economic tensions jammed down the throats of viewers. If anything, LaChapelle wants to show us people who have not accepted their “Fate” and remain unwilling to maintain any stereotype. These dance competitions are their vessels to being better people who will not only survive, but also thrive at all costs.
10. Bus 174 (José Padilha, 2002)
Between City of God, Manda Bela, and José Padilha’s Bus 174, American audiences were exposed to the increasingly desperate lives lead by millions of impoverished people throughout Brazil. From a dramatic perspective, the violence meant for riveting storytelling, while the sociological ramifications have continued to send shockwaves through to today, were security concerns involving the World Cup and the upcoming Olympics make clear that not much has changed.
Bus 174, a mostly found footage documentary, tells the story of a hostage stand-off between police and a gunman in Rio de Janeiro. As television cameras descend upon the bus at the crime’s epicenter, the situation escalates from petty crime to a potential mass murder. While the stand-off stands as the thread binding the film together, Bus 174’s power comes from probing the psychology of the criminal, the law enforcement agents, and a culture generally fit with corruption.
Beyond its representative qualities, Bus 174 also plays as a smart thriller. Using interviews with those on the bus, there’s a slow build from people stating they thought this was just an “ordinary hold-up,” as if this sort of thing occurs all the time, to the panic that arises when failed attempts to negotiate build into rage.
Most interesting is how Padilha turns news footage into high-intensity action moments when cut together to create tension. The full effect of Bus 174 is to understand the fears of people trapped unwittingly in an unknown situation while also learning to sympathize with the perpetrators, as well as the less trained police officers faced with keep the problem to a minimum.
9. Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)
What becomes terrifying by Dear Zachary’s end is how modestly it’s constructed in its beginning. Kurt Kuenne seems to be shooting some raw footage on a cheap camera, attempting to give his murdered best friend’s son a nice portrait of his father. The framing is humble, straight-forward and unassuming. Friends and family talk in anecdotes and borderline idol worship, as one might expect from a dedication film.
By the time the film explodes into its suspenseful and terrifyingly tragic second act, the grounded opening feels as haunting as any other choice. One can’t talk about the full effect of Dear Zachary without giving away its most startling secret. I’d suggest knowing nothing about the story before going in.
Beyond it’s great mystery, Kuenne’s greatest trick is turning his portrait film into a suspense thriller and then ultimately into a social activist documentary. As such, he’s folded all of the prevailing documentary styles of the aughts into one microcosm. The film is also shot cheaply and likely edited on consumer software. While stylistically this adds a texture of intimacy from maker to subject, it also speaks to how the 2000s meant anybody with a story to tell could turn a camera on and reach an audience.
There’s some heartstring pulling that viewers might find grating and Kuenne, to his credit and detriment, bleeds every inch of creativity out of his limited resources. However, Dear Zachary is a testament above all to having an eye on a tremendous, far-reaching story, and having compelling passionate subjects to tell it.
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Análisis
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Analyzing The Top 2013 Kickstarter Campaigns By Category
We thought about launching a Kickstarter campaign, but when researching best practices, we only found studies that aggregated data across categories. Since products vary so much by category -- think movies versus sous vide machines -- we didn't find this very helpful. So we analyzed the 50 most-funded projects per category, 750 campaigns in all, to gain a better understanding of the Kickstarter landscape.
After examining the data, we found several compelling takeaways:
Technology loosens the purse strings. The median pledge in technology was 50% higher than the second-highest category, photography.
Court the masses. More than 52% of backers came from donations under $50 in seven categories. Small pledges can build momentum and excitement by offering cheap ways to participate.
Deep pockets funds the arts. A disproportionate amount of funding comes from big spenders in the cultural categories. For instance, pledges of $500 and more financed 46% of theater campaigns yet represented only 6% of backers.
Overfunding exposes Kickstarter chasm. Crowdfunding dynamics vary wildly. For instance, design projects exceeded goals by 771% while dance campaigns saw a surplus of only 5%.
Donating actively is not required. While it is probably preferable to support fellow creators, many raised money without participating heavily in the Kickstarter community. Journalism creators were the stingiest, only backing one campaign, while comic creators were the most generous and supported 17 campaigns.
30 days or so is sufficient. Top campaigns lasted 30-35 days across all 15 categories.
Rewards may vary. Music projects, along with film & video campaigns, offered the most rewards, with a median number of 21, while dance campaigns offered only 9.
Games raised the most while journalism raised the least. Games generated $783,000 at the median while journalism campaigns eked out a paltry $9,000.
Games were the prom king. Games attracted the most backers with 8,070 at the median. Journalism projects occupied the other end of the spectrum and only drew 146 backers.
Crowdfunding is growing in popularity and emerging as a viable means for underwriting new ventures. Hopefully understanding how different categories compare to one another will help you plan Kickstarter campaigns more effectively.
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