text:
Home / Essay Examples / Society / Gender / Gender Roles on the Culture of American Medicine
Gender Roles on the Culture of American Medicine
Alternative Medicine , Anthropology , Gender , Gender Roles , Medicine , Patriarchy
2 Social Sciences discipline – Sociology
3 Applied Sciences – Education and Anthropology
4 Diversity framework – Gender Bias in Western Medicine and the Beauty Myth
6 Self-Reflection
7 References:
Social constructs are embedded in the everyday lives of people. Constructs can range from a vast majority of things within different cultures throughout the world. Women have gone through a history of steps in order to get to a place where they can be equal to men and even now, there are gender differences between men and woman that are still prevalent today. Woman have gone a long way from the woman's suffrage movement since the 1800s. Women have fought their way to vote, to own land, and to be more independent overall. Women have been expected to be obedient to their husbands and to stay at home to watch over the kids. They weren't allowed in politics, they weren't allowed to vote, and they were not allowed to be apart of the sciences. It is interesting that women were always a central provider in caring for the family or acting as the nurses, however, Medical professions have been male-dominated for most of medical history. "It was only in the 1900s, after much struggle, that women won the right to study and practice medicine in the same way as men" (Women in medicine). The social construction of gender roles that are rooted in America, has created a certain criterion in how males and females are supposed to act. Women in the medical field are in a historically male dominated profession. They are watched more closely and are expected to uphold a certain image created by a male dominated profession. The gender roles constructed in American culture affect the culture of American medicine in how woman and men are perceived in the setting of medical professions.
Social Sciences discipline – Sociology
Occupational Segregation is defined as separating workers across and within an occupation based on certain characteristics, most often gender. Judith Lorber a professor of sociology in women's studies, describes women in the medical system to be "ghettoized". In other words, women are restricted or confined to a carrier. Lorber suggests in "Paradoxes of Gender" (1995) that women tend to be restricted to the lower hierarchy of medical careers because there are not as many opportunities for them in higher positions. Susan Hinze works in the department of medical sociology and her work titled, "Gender and the Body of Medicine or At Least Some Body Parts" (1999), focuses on how physicians perceive the medical hierarchy regarding gender roles. The physicians interviewed agreed that there is a hierarchy between positions, however, women are more resistant to the idea of hierarchy based on prestige. The study showed that medicine is institutionalized by symbolic bodies. The higher body of prestige is described as macho, action-oriented, and physical. While the lower body of prestige is described as passive, less physical, and effective. In the 1960s, women made up 5% of medical students and in 1993 they made up 42%. As the increase of specialization and women in the medical industry began, the wage gap between specialization and primary care physicians grew. Hinze states that there are few studies that focus on the hierarchy of the medical system based on gender because not many women took careers as physicians. The most recent studies only focused on why women paid greater interest in primary care specialties. According to Hinze, there are three types of explanations. The "social roles perspective,"" suggests that women choose specialties that are less time-consuming and demanding…because of family responsibilities" (Hinze, 1999). Her second explanation is "Cultural feminist perspective", this means that woman want to be more active in their patient lives and have a holistic approach to medicine. The last explanation is the "liberal feminist perspective", this suggests that woman have more discrimination or deterrents from other associates. The concept of prestige hierarchy can impact both women and men. One of the women that Hinze interviewed, suggested that men are concerned about how much money they make and what woman they would get, while women focus on time for herself and having a fulfilling job. In the larger study of 405 participants, 58% of women expressed that prestige is not as significant compared to only 40% of men. Two important questions arose from those who opposed the idea of prestige. "Are women more likely to resist because they see the hierarchy as male-defined or because they tend to be lowest in the hierarchy?" (Hinze, 199, p224). Women in higher positions like surgeons didn't resist, they believed that they were more valuable. It became clear that status represents resistance more than gender. The second question was, "what is the resistance based upon?" (Hinze, 1999, p. 224). It is based upon high value attached to interventionist specialties, the "macho" value, and the stress for those women choosing a male persona when going for higher renown specialty.
Looking at gender roles through the discipline of sociology gives a different perspective on how gender roles are formed in a society, especially in the medical fields. Many residents placed surgery at the top of the hierarchy chain in the medical field, because of a "surgeon's hands touch, enter, or probe the human body" (Hinze, 1999, p 225). Surgery is a form of "active" medicine because of the use of the hands in "fixing" the problem. Women used to have the healing hands, but it wasn't until medicine became professionalized is when men decided to take the role on themselves. Hinze mentions that women are more likely to go into specialties like pediatrics and psychiatry which are deemed as inactive because they do not fix anything with their hands.
Applied Sciences – Education and Anthropology
There is no doubt that there are stereotypes that come with certain jobs and how males dominate certain professions. There are stereotypes that woman are nurses and men tend to be surgeons or in positions that are more "difficult"/make more money. In "Doing Gender, Doing Surgery: Women Surgeons in a Man's Profession" by Joan Cassel, a professor of anthropology at Harvard University, Cassel looks at women involved in the male-dominated world of surgery and how they are different from their male counterpart. There is this spectrum of the "gender differences" when it comes to male versus female in the medical field. Women are assumed to be more caring, while men are detached and competitive. "In the 1980s, surgery was a ""men's club"" — it still is, in many ways, although the number of women in surgery has increased almost tenfold from 1970 to 1993 and is still growing" (Cassel, 1997, p. 47). The woman surgeons that Cassel interviewed stated that in order to be a good surgeon, you must have compassion in order to relate to the patient. Behavioral scientists, Kessler, and Mckenn (1978) argue that when humans talk about differences, we generally put them in two categories, "[t]he basis for classification being the 'incorrigible proposition' that humans are 'naturally' divided into two genders" (Cassel, 1997). Female surgeons are aware that they are being observed and this sentiment pressures them to perform well. They can feel isolated from professional networks and confined into gender-stereotyped roles. As a male surgeon, they are expected to be the "King of the Hill" while women are expected to be "Captain of the Team". (Cassel, 1997). Female surgeons are expected to use their "feminine ways" of teaching to bypass getting called difficult to work with. Woman have received access to the "men's house" since the 1980s and been expected to perform a certain way in the world of surgical medicine. Cassell is an academic anthropologist with a focus on gender. Anthropologists have studied human culture and looked at social structures, especially on gender roles associated with inequalities. Anthropologists look at human experiences holistically. We can learn about gender roles cross-culturally to get a better understanding of how gender is viewed throughout the world. Sex is a "fixed classification based on perceived morphological criteria defining an individual as male, female, or hermaphrodite — gender is a socio-cultural construction, which is not necessarily binary" (Kessler and McKenna 1978). We can see how culture can construct gender through education and viewing gender cross-culturally. The past of the medical industry in America was mostly male-dominated and this history has rooted these gender roles between male and female medical professionals.
Diversity framework – Gender Bias in Western Medicine and the Beauty Myth
Since Gender is socio-cultural construction, each culture has their own rules and biases when it comes to gender. Western medicine, from an anthropological perspective, is different than traditional healers. We see a difference in gender roles in traditional medical practices, where shamans can be a woman and held equally in medical practices. "[P]ractitioners of Western biomedicine invoke metaphors that reveal underlying social meanings: activity vs. passivity, fixing vs. maintaining, hands-on vs. hands-off, invasive vs. noninvasive, technological vs. personal care-and in each, the former dominates the latter, and the latter is associated with the feminine." (Hinze, 1999). America's culture of medicine is predominantly following the biomedical system. Biomedicine for centuries has been associated with the doing and fixing model where they treat symptoms alone. Biomedicine is a "hard science, real medicine, aggressive intervention, the cure, and conquest of real disease" (Stein, 1990, p 51). These are phrases that are associated with masculinity. The way language is used in a medical setting is anchored to be more of a male dominant. Surgery is associated with expressions that are masculine. The languages associated with femininity tend to be associated with the "soft sciences". These would include those working in family medicine. Howard Stein from the University of Oklahoma looked at medicine in America as a culture. Gender issues are prevalent in the culture of medicine. "In medical education and practice alike, clinical roles, knowledge, skills, and theories are compartmentalized according to culturally widespread categories of gender" (Stein, 1990, p. 53).
When thinking about beauty and the concepts that society has created, pain is something that has been accepted as a part of being beautiful. The saying "pain is beauty", the statement "Women must labor to be beautiful" and the Bible telling women that because of the sins of Eve, God will increase the pain for women in labor to bring children, and women must desire and honor their husbands (Genesis 3:16), has created something that has affected women's emotional and physical health for ages. Naomi Wolf is a feminist author and journalist, is most known for her book, "The Beauty Myth". She looks at the relationship between beauty and female Identity. She notes on western culture, "A culture fixated on female thinness is not an obsession about female beauty, but an obsession about female obedience. Dieting is the most potent political sedative in women's history; a quietly mad population is a tractable one" (Wolf, 2009, p. 186). The way that women are seen in the world, especially in patriarchal societies, is that women are weak and are characterized as a "misbegotten man". Woman have menstruation, they age, they have menopause. This was a form of weakness and now it is a norm. The reclassification of the new age women of pain is the beauty caused by cosmetic surgery. The surgical age took over the age of female mental illness in the 19th century. Hysteria was a phase of "medical coercion consistently finding new ways to determine that what is female is sick" (Naomi Wolf, p. 221). This myth had benefited doctors in medical history and they profited from saying that women were sick. As more women entered medical schools and taking on their original roles as traditional healers, and being capable to attend to the sick, the surgical age for cosmetic surgical doctors expanded. "Victorian doctors helped support a culture that needed to view women through ovarian determinism, modern cosmetic surgeons do the same for society by creating a system of beauty determinism" (Wolf, 2009), as the aesthetic value of a woman's face and body supports today's culture.
Women from the very beginning are taught to see that throwing tantrums or throwing fits was not ""ladylike"" and males were taught to be tough and if they fall down and cry they were seen to be weak. Female surgeons must act a certain way but can't too aggressive, they must use their "feminine strategies" to get their way. Cassel (1997) states that males need women not only as wives and sexual triumphs but as a category for exclusion. What is considered right is something fragile and any women's involvement is a formula for destruction. Motherhood is the only gender associated with women, every other role woman fit was something created by man themselves. Gender is a socially constructed idea that can be organized to fit people into categories society sees fit as male and female. The position of a surgeon has been originally established in the male territory. A woman can symbolically grow balls because she must be macho and tough in order to compete with men in medical school. (Hinze, 1999). In order to be a well-respected female surgeon, they must be assertive and tough, but still be feminine by dressing well, being professional and competent. Women in male-dominated specialties are pressured to be tough while still acting like a girl and it is a lot more difficult for them while working because men never have to worry about things like that. "There is more to gender than social structure, process, and interaction. Something else is going on, something deeper, less easily altered or eradicated … gender exists not only ""in the head,"" … but also ""in the body."" (Hinze, 1999). In other words, gender is not only performed, but it is also embodied. The culture of American medicine is affected by gender roles. We see it in the relationship women have with themselves and the pressure they must uphold a social standard in the medical field and in physical beauty, as Naomi Wolf states, "Beauty provokes harassment, the law says, but it looks through men's eyes when deciding what provokes it." (Wolf, 2009).
When I saw the topic of gender roles to be a topic of choice for the multidisciplinary analysis of human sexuality, the first thing that popped in my head was gender roles in American Medicine. I have previously taken Medical Anthropology last semester and we briefly read a chapter from Naomi Wolf's book, "The Beauty Myth". When I looked further into the culture of medicine, I found more information on how there are gender differences between female and male surgeons. The Beauty Myth reminded me of the saying "beauty is pain". I feel like this saying is well known amongst people and woman have been more known to get cosmetic surgery than men. I find it interesting that woman is targeted for cosmetic surgery and women are also expected to "be a certain way" when working in the medical field. I saw woman being stereotyped both within the medical field and those seeking medical cosmetic surgery due to this embedded cultural structure in America. This assignment was essential in approving my research and writing skills. I am trying to improve my research and writing skills, because I am planning on going to grad school and I do know that I will be conducting more multidisciplinary research papers, especially on my future thesis. This assignment helped me be more self-aware on how the roles of females have been historically constructed by men and how women are now trying to break free from this idealized vision of how a woman should be.
Cassell, J. (1997). Doing Gender, Doing Surgery: Women Surgeons in a Man's Profession. Human Organization, 56(1), 47-52.
Hinze, S. W. (1999). Gender and the Body of Medicine or at Least Some Body Parts: (Re)Constructing the Prestige Hierarchy of Medical Specialties. The Sociological Quarterly, 40(2), 217-239.
Kessler, Suzanne J. and Wendy McKenna
1978 Gender: An Ethnomethodological Approach. New York: John Wiley & Sons.
Lorber, J. (1995). Paradoxes of gender. Yale University Press.
Science Museum. Brought to Life: Exploring the History of Medicine. (n.d.). Retrieved from http://broughttolife.sciencemuseum.org.uk/broughttolife/themes/practisingmedicine/women
Stein, H. F., & Stein, M. A. (1990). American medicine as culture. Boulder: Westview Press.
Wolf, N. (2009). The beauty myth: How images of beauty are used against women: With an introduction by the author. London: Vintage Books.
Gender Roles on the Culture of American Medicine. (2020, Mar 27). Retrieved from https://papersowl.com/examples/gender-roles-on-the-culture-of-american-medicine/
Gender Roles and Biases Pages: 2 (477 words)
Changing Gender Roles in Marriage, Society, and Workplace Pages: 4 (1275 words)
Traditional Gender Roles Since the 1800's and 1900's Pages: 3 (929 words)
Romeo and Juliet Gender Roles Pages: 2 (668 words)
Facts of Gender Roles Pages: 3 (754 words)
Gender Roles: Attitudes and Behavior Pages: 6 (1946 words)
Gender Roles in Marriage
Japanese-American Families Gender Roles
Antigone Essay on Gender Roles
Shakespeare and Gender: Traditional Gender Roles
Gender Roles and Stereotypes
Modernist Take on Gender Roles


When Emily Ratajkowski takes off her clothing, it's not exactly a surprise.
But when Emily Ratajkowski goes out and gets married without giving the public a heads-up, this definitely qualifies as a surprise.
The 26-year-old model and occasional actress took fans by total shocked on Friday when she announced via her Instagram story that she has exchanged vows with some dude named.
He is reportedly an actor and a producer and the two got hitched a few weeks ago at City Hall in New York City.
"I got married today," Ratajowski wrote on the selfie above, which features she and her husband looking very cute and awfully cozy.
In another snapshot, Bear-McClard smooches the model's cheek as the couple holds hands.
We don't know a ton about this couple or its history, but People Magazine talked to Oscar Boyson, who produced Good Time with Bear-McClard and is a partner at Elara Pictures.
Sounds like a solid guy to us.
As a caption to the picture immediately above, Ratajkowski surrounded the letters "ny" with two diamond ring emojis.
As for what she donned for the ceremony and her big day, Ratajowski did not go the traditional route.
The controversial brunette instead rocked a mustard-colored power pantsuit … straight off the rack from Zara.
According to People once again, Emily belted the $119 long double-breasted jacket from the brand and paired it with matching flared $69.90 trousers.
So she spent around $200 total on her wedding outfit.
In response to the big news, social media users wrote of their very pleasant surprise on Twitter and Instagram.
"Congrats baby," Orange Is the New Black star Jackie Cruz wrote, for example, while Kim Kardashian's ex-assistant Stephanie Shepard also shared her well wishes by commenting with two simply emojis.
Ratajkowski and boyfriend of over four years, Jeff Magid, broke up just a few weeks ago.
Or so we had been led to believe.
A few photos of Bear-McClard and Ratajowski emerged online around that time, but they didn't make it official… until now!
Now that's how you go public, people!
PreviousAnt and Dec talk royal wedding invite – find out more!


text:
Announcing the 2023 Indy 500 Snake Pit All-Star Lineup Presented by Coors Light
January 18, 2023 | by Indianapolis Motor Speedway
Indianapolis (Wednesday, January 18, 2023)
Grammy-nominated musician Cascade will headline a star-studded line-up of international electronic music artists at the Indy 500 Snake Pit presented by Coors Light on Sunday, May 28 at Indianapolis Motor Speedway.
Subtronics, John Summit, DJ Diesel (aka Shaquille O'Neal) and Jauz will also perform at the Race Day concert during the 107th Indianapolis 500 presented by Gainbridge. Performances begin early in the morning on the stage located in the infield adjacent to Turn 3 of the IMS Oval, with exact times to be announced.
"One of the biggest parties of Race Weekend is the Indy 500 Snake Pit presented by Coors Light," said IMS President J. Douglas Bowles. "Always an epic and memorable concert at the Snake Pit is a special May event for many of our fans and an experience like no other. Music fans won't want to miss out on this amazing lineup."
General admission and VIP tickets to the Snake Pit are on sale for $50 and $155 in IMS.com. VIP amenities will include access to an elevated viewing platform located beside the stage, a private cash bar, and air-conditioned private restrooms.
All Snake Pit ticket holders must be at least 18 years old and in possession of a valid Indy 500 general admission ticket or reserved seat ticket. Ticket holders must be willing to show proper identification to enter the concert.
Packages that include general admission tickets are available for race day. A package that includes general admission to the Indianapolis 500 and the Snake Pit is $90, while general admission to the race and the Snake Pit VIP package is $195.
Snake Pit concert-goers are encouraged to purchase tickets now, as prices will increase as May approaches and limited supplies of wristbands are available.
Known as Kaskade, Ryan Raddon is a household name in electronic music with many impressive debuts being credited to his name. He was the first solo electronic dance artist to sell out both Chicago's Navy Pier (his hometown) and Los Angeles' Staples Center (now his home). Kaskade was also the first DJ to secure residency in Las Vegas, creating the landscape for the city's future entertainment structure. He was the first electronic artist to headline Coachella. In July 2021, Kaskade emerged from the swing of quarantine as the first female solo musician ever to sell out and perform for a public event at SoFi Stadium in Los Angeles.
This will be Kaskade's second performance at the Snake Pit, as he also provided the soundtrack for the Snake Pit during the 99th Indianapolis 500 in 2015.
Kaskade has recorded 12 studio albums and received seven Grammy nominations. With his collaborations with heavy hitters Alicia Keys, Jennifer Lopez, Gwen Stefani, and Meghan Trainor, he has a unique knack for creating his own signature sound in any genre. Most recently, Kaskade teamed up with fellow producer and Snake Pit artist deadmau5 to form Kx5. Their debut single "Escape" cracked the Top 40 and climbed to #1 Dance Song on the Mediabase charts.
Jesse Cardone, better known as Subtronics, fuses a unique blend of high-end sound design with powerful bass to push the envelope with sound engineering.
In January 2022, Subtronics dropped their debut album, "FRACTALS", which charted at No. 4 on the charts. painting Dance album chart and custom billboard in New York's Times Square. The album coincided with his 50-plus mega-date, and a nationwide sell-out headlining bus tour, the FRACTAL TOUR, which featured state-of-the-art production and visuals. The tour featured a specially designed stage, including a floating DJ table inside a reflective black hole dubbed The Wormhole.
Subtronics dropped his album "ANTIFRACTAL" in December 2022, featuring exclusive characters and remixes from himself and heavyweights including Virtual Riot, Wooli, Peekaboo, A Hundred Drums, and more. He's gearing up for his 2023 ANTIFRACTUAL headlining tour, a first-of-its-kind touring deal across Live Nation, Insomniac Events, and C3, along with their international properties.
From a city steeped in house culture, Chicago's John Summit has quickly become one of the most recognizable names in dance music worldwide. His soulful fills take the powerful grooves of his hometown classic house music, add a healthy dose of melody and top it off with 2020 studio polish.
Summitt's prolific output has resulted in him accumulating 5 million monthly listeners on Spotify, the best-selling artist across all genres on Beatport in 2021 and the #1 track on US dance radio with his record "The Human." In 2022, he's touring the world with major festival plays at Coachella, Lollapalooza, Tomorrowland, Bonnaroo, Parklife, and more. With the announcement of its new Off The Grid event/event brand, Summit shows no signs of slowing down anytime soon.
O'Neal is one of the most dominant basketball players in NBA history and he is also one of the greatest entertainers on earth like DJ Diesel. At 7-foot-1, 325 pounds, Shaq's larger-than-life personality and rugged athleticism have led to worldwide admiration and one of the most enthusiastic fan bases in sports and entertainment. The Hall of Famer first discovered electronic dance music after crashing the TomorrowWorld festival in 2014, a milestone that changed his life forever after exposure to DJs like Steve Aoki and Skrillex. It debuted at the same festival a year later.
DJ Diesel has been passionate about music since he was young. At just 14 years old after seeing Public Enemy live for the first time, while confined to a crowd of 5,000, O'Neil became DJ-focused. He mowed his neighbors' lawns, walked dogs, and scraped whatever cash he had until he saved $200 to buy his first set of turntables at the local pawn shop. Fast forward to 1993, O'Neal's rap album, "Shaq Diesel", was unimaginable selling over a million copies and peaking at No. 25 on the charts. painting 100, cementing him as the only player ever to have a platinum-selling album.
Jauz, the project of Sam Vogel, a 26-year-old Los Angeles alumnus, combines slick productions, energetic sets, and an underground vibe that has captured the hearts of the dance community. Jauz's version of the addictive mid-tempo original "Feel the Volume" earned him international recognition following its release. Gaining support early on from industry heavyweights like Zedd, Skrillex, Diplo, and more, Jauz quickly became included in every major festival line-up. His delightful originals and virally remastered tapestries weave seamlessly in and out of many musical categories.
Jauz boasted two sold-out tours – "The Friendzy Tour" in 2016 and "The Bite America! Tour" in 2018 launching his "Bite This!" art label in 55 different cities across the US and Canada. All while releasing his debut album "The Wise & The Wicked" which reached #1 on the dance charts in less than two hours and racked up over 20 million streams in less than three weeks of its release.
Tickets for the 107th Indianapolis 500 presented by Gainbridge on Sunday, May 28 and for the GMR Grand Prix on Saturday, May 13 are available at IMS.com.
Categories NASCAR Post navigation
Newly discovered galaxies are 'pure fossils of the early universe'
Lynx star Maya Moore has officially retired from basketball

redpajama_set_name: RedPajamaCommonCrawl


451 Government Street Block bounded by Governments Street, South Hamilton Street, Church Street, and South Lawrence Street. Sign Variance to allow one 25? x 10? wall banner, two 5? x 5? wall banners (with a total of 300 square feet of banners), and ten 2?-6? x 11? lamp post signs from October 1, 2010, until January 31, 2012, (sixteen months) on a single tenant commercial site in a B-4, General Business District; the Zoning Ordinance allows three banner permits per year with a maximum allowance of 32 square feet per banner, each valid for thirty days, with at least a thirty-day break between permits, and does not allow lamp post signage on a single tenant commercial site in a B-4, General Business District.
3950 Hamilton Boulevard North side of Hamilton Boulevard, 4/10± mile West of Rangeline Road. Parking Surface and Enclosure Variances to allow an aggregate parking surface and an open equipment wash pad in an I-1, Light Industry District; the Zoning Ordinance requires all parking surfaces to be asphalt, concrete, or an approved alternative paving surface, and equipment wash pads to be within an enclosed structure in an I-1, Light Industry District.
3704 Dauphin Street North side of Dauphin Street, 150?+ West of Du Rhu Drive. Sign Variance to allow four wall signs on an ATM kiosk and one building wall sign (five total wall signs) for a tenant on a multi-tenant commercial site in a B-2, Neighborhood Business District; the Zoning Ordinance allows one wall sign per tenant on a multi-tenant commercial site in a B-2, Neighborhood Business District.
112 South McGregor Avenue Southeast corner of McGregor Avenue and Vickers Place. Front Yard Setback Variance to allow a 22? x 30? carport/storage room within 8? of the front property line in an R-1, Single-Family Residential District; the Zoning Ordinance requires a 25? minimum building setback from the front property line in an R-1, Single-Family Residential District.
505 Hillcrest Road East side of Hillcrest Road, 370?+ North of Airport Boulevard, extending to the North side of Airport Boulevard, 235?+ East of Hillcrest Road. Height, Setback, and Buffer Separation Variances to allow a 197? high telecommunications tower, setback 65.27? from a side property line and 158.24? from a front property line, with a 220.25? residential buffer separation in a B-2, Neighborhood Business District; the Zoning Ordinance allows a 45? maximum height limit, requires a 197? (tower height) setback from property lines, and requires a 295.5? (150% of tower height) buffer separation from residentially zoned properties in a B-2, Neighborhood Business District.
1512/1514 South Broad Street West side of South Broad Street, 200'± South of Sutton Street, extending to Lucille Street (unopened right-of-way). Frontage Landscaping and Access/Maneuvering Variances to allow 6,396 square feet of total frontage landscaping and to allow a portion of the front parking access/maneuvering area to be located within a dedicated right-of-way; the Zoning Ordinance requires 10,858 square feet of total frontage landscaping, and requires all parking access/maneuvering areas to be located on-site.
Northeast and Southeast corners of Hillcrest Road and Oakleigh Way. Fence Height Variance to allow a 6? high masonry wall within the 25? recorded building setback on two subdivision entrance lots in an R-1, Single-Family Residential District; the Zoning Ordinance requires structures 3? high or higher to meet a 25? front setback in an R-1, Single-Family Residential District.
1066 Hillcrest Road Northwest corner of Hillcrest Road and Johnston Lane. Front Yard Setback Variance to allow a structure 11? from a front property line in a B-2, Neighborhood Business District; the Ordinance requires a minimum 25? from front property lines in a B-2, Neighborhood Business District.
175 2nd Avenue Northwest corner of 2nd Avenue and Avenue C. Use Variance to allow a mobile home in an R-1, Single-Family Residential District; the Zoning Ordinance allows mobile homes in an R-1, Single-Family Residential District with Planning Approval. Request for a six-month extension of the previous approval.


But how is Vlad a 'probable'? I read this view a lot on the Internet and it always astonishes me.
He was one of the most 'feared' batters of his time. Five times through the 2000's, he led the League in Intentional Base on Balls. For a career, he is 5th all time, behind only Bonds, Aaron, McCovey & Pujols.


text:
Facebook testing new personalized 'Search' layout
The new layout is rolling out to a select number of Canadian users
By Aisha Malik@AiishaMalik1
Facebook is testing a new 'Search' layout that shows users links, photos and videos related to their interests.
The social media giant notes that new layout is meant to make it easier for users to discover and join popular conversations on the platform.
Users will see this content appear when they tap on the Search bar before they begin typing in their search. Facebook says that only a small number of iOS and Android users in Canada will be a part of this initial test.
"We're exploring whether people find value in a search experience that helps them discover popular public discussions happening on Facebook about a variety of culturally relevant moments and movements–not necessarily the topics that are garnering the highest level of chatter on Facebook, but topics that are conversational, diverse, relevant, and potentially interesting," the social media giant notes.
Facebook says that it's going to learn from its community and update this user experience based on the feedback it receives.
The social media giant tested a new search experience last year that allowed people to explore relevant content they haven't connected with yet on Facebook, and this test appears to be similar.
Image credit: Facebook
WhatsApp clarifies its privacy policy to reassure users it can't read messages
Snapchat permanently bans U.S. President Donald Trump


No singular event impacts hair trends more so than the tradition of the Red Carpet.
The brightest stars of stage and screen carefully select with their stylist the perfect hairstyle to complete their overall ensemble. So carefully watched, talked about and dissected, the best looks will ripped out of magazines in the months to come and presented to you by a client who is inspired by their favorite celebrity. But how did it all begin?
In 1922, Egyptian Theatre owner and Hollywood showman Sid Grauman was faced with a difficult challenge posed by celebrity Douglas Fairbanks: to launch his latest picture Robin Hood "with a splash". Grauman did just that, creating a crimson-colored walkway in front of his Egyptian Theatre for the first-ever Hollywood premiere and then invited a "who's who" of Hollywood. The event was a sensation and over the decades has become one of the biggest television events of the year next to the Super Bowl. If the catwalk is where fashion is born…the Red Carpet is where they come into their own.


On April 28, Kajsa Wilkins was our guest organist. It is always wonderful to have her visit. Kajsa, her husband Bray and their children will be moving to New York City soon.
Before they leave town to pursue their musical careers, we have a chance to hear and enjoy their music. Bray and Kajsa will present "A Smattering of Music" on May 9 at 7:00 p.m. at Auburn Avenue Presbyterian Church and May 10 at 7:00 p.m. at the Strauss Theater. Admission is free, but donations are accepted.
Let's turn out to wish them well and great success!


text:
Not Quite Ready to Abandon Value-Based Purchasing
Milbank State Leadership Network State Health Policy Leadership Health Care Consolidation
Charles Milligan
Health Provisions of the Inflation Reduction Act of 2022: Opportunities to Maximize the Impact
The pursuit of value over volume remains an epic quest in health care. Motivated to discourage overutilization of services, and by the importance of improving health outcomes through incentives for prevention and evidence-based care, purchasers continue to experiment with value-based contracting models.
Into this context comes an article in The Milbank Quarterly by Scott Greer and colleagues that argues strategic purchasing of health care services is doomed to fail. The authors reason that insurers cannot succeed because of asymmetry in four ways: insurers lack sufficient information to distinguish "value" among providers; the political system protects low-performing providers and undercuts market discipline by propping up those providers; insurers lack power at the local level to move volume to high-performing providers; and purchasers' financial power is weak and lacks adequate clout to change providers' behavior.
The authors conclude that rather than rely on insurers to improve health system performance, it is better to return "to the long-standing foci of health care policy studies: professionals, hospitals, voters, and politicians." But I'm not quite ready to give up on strategic purchasing in the United States.
Let's start with the obvious: as a higher percentage of individuals age into Medicare or enroll in Medicaid than enroll in commercial insurance, governments themselves have turned to insurers as proxies to impose discipline on providers' utilization patterns and delivery of quality care. Administrators of governmental programs—hired by voters and politicians—long ago recognized their limited ability to contain costs when disgruntled providers enlist legislators or other elected officials to contravene those administrators' actions.
That's why, at least in the United States, the clear trend is to outsource those accountabilities to private entities. Yes, strategic purchasing might not pay providers different rates for the same service based on perceived quality, but strategic purchasing can mean value-added (and strategic) blocking and tackling through efforts like prior authorization and credentialing.
But there's an even deeper issue: we can't declare strategic purchasing ineffective without defining the value proposition we're evaluating in the first place. The authors define strategic purchasing as "active, evidence-based engagement in defining the service mix and volume, and selecting the provider mix in order to maximize societal objectives" (emphasis added).
Thus, before pronouncing strategic purchasing ineffective, we need to define the objectives we're trying to maximize. I'll follow the authors' lead and focus on Medicare.
Quality, Supplemental Benefits, and Take-Up in Medicare Advantage
As measured by the STAR rating system, which is a proxy for quality and includes metrics related to evidence-based care, member satisfaction, and members' perception of their health status, strategic purchasing in the Medicare Advantage program is consistently improving over time, with the percentage of individuals enrolled in plans earning four or more stars growing from 62% to 78% between 2015 and 2020:
In addition, Medicare Advantage members receive numerous supplemental benefits not offered in original fee-for-service Medicare, and many of these benefits, such as oral health, food, fitness and gym memberships, and in-home support for disabilities, are correlated with avoidance of unnecessary medical services.
Not surprisingly, with better quality and supplemental benefits, take-up in Medicare Advantage has grown, from 13% of all Medicare beneficiaries in 2005 to 36% of beneficiaries in 2020:
In short, if the goal of Medicare Advantage plans as a strategic purchasing tool is to maximize quality, supplemental benefits, and perceived value as measured by enrollment decisions, then Medicare Advantage has been successful.1
"Choice" as a Societal Objective
For better or worse, one of the societal objectives that US health policy promotes is choice. Individuals want options, and not just among providers, but also among insurers. Medicare Advantage was designed to offer choice and encourage consumers to discern among the options based on benefits, STAR ratings, provider networks, and other factors. The average Medicare beneficiary now can choose from among 28 Medicare Advantage plans. If success is measured by choice, Medicare Advantage is an unequivocal success.
It is this degree of choice, perhaps more than anything, that confounds strategic purchasing:
Insurers offer plans intended to attract membership (i.e., produce sales), which can mean broad, open networks that impede discipline on delivery of evidence-based care because low-performing providers with strong brands might be retained to help sell the product.
Choice adds complexity and more confusion for consumers, and increases the administrative costs at the Centers for Medicare and Medicaid Services to evaluate and approve the various offerings.
The effectiveness of evaluating outcomes over time is complicated by a continuously changing enrolled population; insurers and providers often debate at the end of a period whether positive or negative results tied to bonuses or shared savings were driven by the provider's performance, or by a shift in the mix of member acuity (or heath needs) over time.
Insurers and Providers Converging
In most strategic purchasing discussions, a key goal is to obtain provider "buy-in." Various strategies are used, including shared savings and quality incentives, so the provider has "skin in the game."
We've seen that not only do providers increasingly accept these goals, but they also want to displace insurers and directly hold the contracts with payers (i.e., government agencies and employers). Simultaneously, insurers want to become providers and drive outcomes directly, rather than through arms-length contracts with independent providers. This has resulted in provider-sponsored plans; providers and insurers merging (e.g., CVS/Aetna); and insurers buying providers (e.g., UnitedHealthcare's growth in its Optum unit). Although these consolidations sometimes increase overall costs, they often better align incentives as well.
Greer and colleagues set up a somewhat false dichotomy between insurers and providers—as buyers and sellers of medical services, respectively—but these distinctions are losing their meaning. That, in itself, is evidence that strategic purchasing is succeeding, to better align and integrate insurers and providers.
It all comes back to what we mean when we talk about "societal objectives." If the goal is better health, are we making progress? On that score, the results are mixed.
For one thing, it's clear that health is dictated by many factors outside of medical care: social and environment factors, health equity and disparities, individual behavior, genetics, and poverty collectively impact health more than any clever purchasing scheme. The coronavirus pandemic has demonstrated the profound importance of public health and health equities on health.
We shouldn't judge insurers as deficient for failing to "strategically purchase" solutions to health equity or poverty from providers. So, if Greer and colleagues' thesis is that we should attend to the political and social power framework to focus more on public health and equity, and less on insurance, then perhaps we're in agreement after all.
Charles Milligan is a former Medicaid director in two states and former CEO of UnitedHealthcare's Community Plan of New Mexico.
1The same trends in expansion of managed care, value-added benefits, and attention to quality and outcomes are also true in Medicaid. See Hinton E, Rudowitz R, Diaz M, Singer N. 10 Things to Know About Medicaid Managed Care. Washington, DC: Kaiser Family Foundation; 2019. https://www.kff.org/medicaid/issue-brief/10-things-to-know-about-medicaid-managed-care/ Accessed August 6, 2020.


Don't just settle for a patio set that looks like everything else, the Leucadia Sectional (2601-SEC) by Sunset West will recreate your outdoor space with a style that's unique. The frame is constructed from welded aluminum and is covered with a beautiful Summer Wheat finished resin wicker that features a thick, rounded weave for a sturdy, roomy effect. The cushions are covered with the industry's go-to, Sunbrella® fabric and is available in a large assortment of fabrics, giving you the ability to create a look for your Leucadia collection that's all your own.


text:
Annamila First Nations Foundation
Koorie Youth Council
BlackCard
Culture Is Life
Ebony Institute
AIGI
Bangarra
Annamila and Bangarra have built an incredible partnership over the past six years, working together to deliver Bangarra's Return to Country and Creative Development programs. Our support has directly enabled Bangarra to strengthen their traditional connections with Aboriginal and Torres Strait Islander communities across Australia, and to nurture Aboriginal and Torres Strait Islander creative artists.
Return to Country
Bangarra's Return to Country and On Country programs are a vital component of their Cultural Creation Life Cycle.
Bangarra's productions are created from the stories and culture of the land and its people. Spending time On Country with Aboriginal and Torres Strait Islander Elders and communities enables Bangarra's artists to establish and maintain respectful connections with the cultural traditions that shape the stories presented in each of their productions.
The objectives of Return to Country are:
Continue to build strong relationships between Bangarra and Aboriginal and Torres Strait Islander communities and Elders
Exchange knowledge and culture between Bangarra and Aboriginal and Torres Strait Islander communities through the practice of cultural reciprocity
Provide regular opportunities for Bangarra's artists and creatives to reconnect with traditional Aboriginal and Torres Strait Islander culture to deepen their artistry and sense of identity
Creative Development
Annamila also supports Bangarra's creative development program, but investing in the creative development of work and people.
The objectives of the Creative Development program are:
Develop and nurture the professional development of Aboriginal and Torres Strait Islander creatives working 'off the stage' with Bangarra – particularly the roles of Head of Design and Cultural Consultant
Support the creative development of new work and provide opportunities for the next generation of Aboriginal and Torres Strait Islander creatives by investing in choreographic development, set and costume creation and score development.
Email: admin@annamila.com
© 2021 by Annamila Foundation


When live gives you lemons, make a gin and tonic!
This handmade GINSTR tonic opener in Stuttgart television-tower-style is made of solid hardened aluminum. It will not let you down when the right tonic has to be opened for the GINSTR.
Do something good and order the original GINSTR tonic opener! Just like our GINSTR – Stuttgart Dry Gin, this original GINSTR tonic opener is 100% made in Stuttgart.
Every single piece is handmade in the workshops of the Rudolf-Sophien-Stift in Stuttgart. In this rehabilitation center, people with mental impairment live and work. From the milling of the blank, to the lasering of the GINSTR logo, to the packaging: everything is handmade by people with disabilities.
We at GINSTR – Stuttgart Dry Gin like to support this good cause and give 100% of the revenue of the opener to these and other social institutions in Stuttgart. Who buys this opener, does good!
An original handcrafted GINSTR tonic opener.
100 % of the proceeds go to the good cause!


Kristen Stewart reportedly purchased two guitars for boyfriend Robert Pattinson.
Kristen Stewart reportedly purchased two vintage guitars for boyfriend Robert Pattinson as a Christmas gift.
The Snow White and the Huntsman actress reportedly shopped at Norman's Rare Guitars in Los Angeles on December 23 to buy Pattinson two instruments valued at over $12,000 (£7,500).
Us Weekly reports that the guitars were a 1959 Fender Jazzmaster and a 1947 K&F Lap Steel.
Shop owner Norman Harris recalled Stewart's excitement upon taking home the guitars, telling the publication: "She said, 'He's gonna s**t when he sees them!'"
Stewart recently insisted that she will not discuss her relationship with Pattinson as she is afraid of revealing too many personal details about their romance .
Earlier this year, Pattinson confessed that he became an actor to meet girls, but also revealed that he has become more insecure since finding success in the industry.
Pattinson, Stewart buying UK home?
Pattinson family disapprove of Stewart?


The connection between chronic pain and depression runs deep. There are many different ways that these two chronic illnesses overlap. Here are 26 things you need to know about chronic pain and depression.
The simple fact that chronic pain and depression don't have visible symptoms make these two conditions difficult to treat on their own, much less together.
Chronic pain sufferers are much more likely to suffer from other mood disorders like anxiety than those who don't suffer from chronic pain.
Monitoring pain levels can help manage depression levels, too. Keeping track of food, sleep, and exercise with a pain diary app can help pain patient see how these things relate to the level of both chronic pain and any depression symptoms.
Getting outside in nature is a great way to boost mood and keep the physical body healthy.
September 10th is World Suicide Prevention Day, a day to raise awareness and prevention strategies for suicide. Chronic pain patients are at much higher risk for suicide attempts and completion. It's important to recognize the signs.
It is unclear how they work, but anti-depressants are commonly used as a method to treat chronic pain. Many patients experience an improved mood and a decrease in pain after just a few weeks.
Meditation is commonly suggested to reduce the perception of pain, but it can also be successful in treating depression.
Barring a physical cause of chronic pain, much of chronic pain is due to patterns and grooves worn into the brain. This can also be the case for depression.
The connection between chronic pain and depression is a two-way street. It used to be that researchers believed that chronic pain caused depression, but new science is showing that it can go either way.
Achy body or sore joints? These may be symptoms of depression.
Mindfulness meditation, exercise, changes in diet: all of these treatment recommendations are listed for both chronic pain and depression. Treating one also helps to treat the other.
Chronic pain may ache in the body and depression may ache in the mind, but the effects of both are far-reaching. Relationships, work, and hopes for the future are all impacted by these two conditions.
One of the most damaging side effects of chronic stress is the increased chance of developing serious health conditions including chronic pain and depression.
A good night's sleep can help improve mood and decrease the perception of pain.
There are many different ways to improve sleep naturally to help with both chronic pain and the symptoms of depression.
Because stress can intensify chronic pain and depression, managing it through diet is a great way to work through all three conditions.
Many who suffer from chronic pain and depression may feel guilty for taking time out for massage, meditation, or a hot bath, but these things can be an essential part of treatment.
Compassion fatigue occurs when caregivers of those with chronic illness reach the end of their rope. Caregivers face high levels of depression and illness as well, and prevention of compassion fatigue is important.
When chronic fatigue and depression strike in a rural area, specialists and therapists may be hundreds of miles away. Telemedicine can help bring specialists to a patient online, resulting in high-quality care wherever patients may live.
Research is now noting that minority populations are undertreated for chronic pain and mental illness, even though their need may be greater and more complex.
Chronic pain and depression disproportionately affect women, but women are routinely left out of medical research including clinical trials.
Our returning soldiers often struggle with the triple threat of addiction, chronic pain, and depression, with few resources tailored to their specific circumstances (and Veterans Administration hospitals closing all over the country).
Talk therapy is one of the most crucial treatments for both chronic pain and the symptoms of depression. This can be with a traditional therapist or with new options, such as free (or more affordable) therapy online.
Sometimes the difference between a successful treatment and one that does not work is a little extra support.
Can saying "Thank you" actually decrease the amount of pain you feel? Probably not, but it can certainly put things in perspective. Remembering all of the things you are grateful for can serve as a reminder that there are actually good things happening in your life, which can help treat both chronic pain and depressive thoughts.
It can truly be a struggle to stay positive when your body is wracked with pain and you are feeling depressed. If there is any way to find even one small ray of hope, your chances for pulling through your pain and depression increase exponentially.
The connection between chronic pain and depression is powerful. Talk to your doctor today about addressing both conditions.
Doctor of many years is no longer available for treatment. I'm so tired of the hunt!!!
Hi Deb — We recommend reaching out to a doctor in your area: https://paindoctor.com/get-relief-now/ or using the tips here to find one near you: https://paindoctor.com/pain-management-doctors/.


Our Châteauneuf has been produced by André Brunel on the classic stony soil of Châteauneuf du Pape, the most important appellation of the southern Rhône.
It is a blend of 70% Grenache, 15% Mourvedre, and 15% Syrah. The wine is aged for 18 months, partially in oak and is then bottled without fining or filtration.
The heat of the south of France provides a typically rich palate but there is finesse poise and beautifully integrated tannins on the finish.
Produced by renowned André Brunel, our Châteauneuf-du-Pape with ripe red fruit notes stands up to our decadently rich Truffled Cheddar Wedge.


text:
package org.approvaltests.reporters;

import com.spun.util.io.FileUtils;
import com.spun.util.tests.TestUtils;
import org.approvaltests.core.ApprovalFailureReporter;

public class FileLauncherReporter implements ApprovalFailureReporter
{
  @Override
  public void report(String received, String approved)
  {
    if (FileUtils.isNonEmptyFile(approved))
    {
      TestUtils.displayFile(approved);
    }
    TestUtils.displayFile(received);
  }
}

redpajama_set_name: RedPajamaGithub


text:
Plan the Perfect Universal Studios Hollywood Getaway for You
By: Heather Lalley
With so much to see and do at Universal Studios Hollywood in California, it's easy to craft an unforgettable getaway to suit every interest.
Looking to make memories with the family? Check. Enjoy grown-up thrills? Check. Want to become immersed in the world of iconic films and entertainment? Check. No matter what kind of vacation your group is seeking, here's your guide to crafting it at Universal Studios Hollywood.
Family Fun for All Ages
Kids (and kids at heart) will delight in the adventures around every corner at Universal Studios Hollywood. The original voice talent behind the lovable characters of Illumination's global blockbuster hits The Secret Life of Pets and The Secret Life of Pets 2 unleash their animal instincts to reprise their roles in the all-new ride The Secret Life of Pets: Off The Leash! (coming soon), where you'll assume the roles of stray puppies on the ultimate quest to find forever homes. For laugh-out-loud fun, embrace your inner Minion aboard the popular Despicable Me Minion Mayhem ride and adjacent Super Silly Fun Land, an elaborate themed play zone that features wet and dry play areas, a Silly Swirly Fun Ride and carnival games just like the ones in the movie. For a Jurassic adventure, visit Jurassic World –The Ride and wander the interactive "Dino Play" area designed to inspire children of all ages to explore and excavate giant dinosaur fossils. Bring the whole gang to The Wizarding World of Harry Potter™ to soar high above the land aboard the family-friendly outdoor roller coaster, Flight of the Hippogriff™, for dips and dives around the pumpkin patch and past Hagrid's Hut.
Family exploring The Wizarding World of Harry Potter™
Universal Studios Hollywood: Uncover Movie Magic on the Studio Tour
A Grown-Ups' Day (and Night) Out
From action-packed rides with mesmerizing creatures to sipping craft beer and cocktails, Universal Studios Hollywood is a prime destination for an adult getaway. Are you brave enough to come face-to-face with the massive Indominus Rex as she battles a colossal T. rex? Find out on Jurassic World – The Ride, an epic experience that brings the blockbuster movie to life. Next, join The Simpsons™ as they adventure through Krustyland on a virtual roller coaster! Wind down at one of the many restaurants inside the theme park or at Universal CityWalk Hollywood with a craft beer or specialty cocktail.
Dining with friends at Antojitos Cocina Mexicana in Universal CityWalk
The Ultimate Hollywood Experience
What's most unique about Universal Studios Hollywood is that it borders an authentic working movie and television production studio – and theme park visitors have the rare opportunity to discover the true meaning of "Lights, Camera, Action!" on the world-famous, behind-the-scenes Studio Tour. Film lovers of all ages can enjoy an insider's look at iconic movie sets and see where Hollywood's biggest stars go to work. Hop on the sleek trams to see special effects, learn high-tech secrets and tour one of the largest movie studios in existence. This unforgettable tour culminates with the epic Fast & Furious — Supercharged attraction, based on the blockbuster Fast & Furious movies, that takes guests on a high-stakes chase and street race with actual stars from the movies. Your immersion in movie magic continues with WaterWorld, an action-packed stunt show featuring high-flying jet skiers, firefights, massive explosions and even a flying plane.
An insider's look at movie-making on the world-famous Studio Tour
Heart-Pounding Thrills
Whether it's a giant tidal wave, a thrilling ride with ghastly creatures or a memorable flight with magical wizards, Universal Studios Hollywood is packed with action. The bravest will want to start on the adrenaline-surging Revenge of the Mummy – The Ride indoor roller coaster, which features heart-pounding special effects, life-like mummies and surprise twists around every turn. Prepare to be amazed by the 3D media and flight-simulation technology on the one-of-a-kind TRANSFORMERSTM: The Ride-3D immersive experience. And don't miss the chance to come face-to-face with magical creatures as you soar high above the grounds of Hogwarts™ castle on Harry Potter and the Forbidden Journey™ in The Wizarding World of Harry Potter™.
All smiles on the thrilling Revenge of the Mummy – The Ride
Universal Studios Hollywood – Copyright & Trademark
Please refer to safety guidelines here.
Universal Studios Hollywood: Dining and Entertainment with Movie Magic
Universal Studios Hollywood: Can't-Miss Seasonal Events
Universal Studios Hollywood: Can't-Miss Thrills for Movie and TV Buffs
Warner Bros. Studio Tour Hollywood: Walk in the Footsteps of Legends
An Insider's Guide to Hollywood
What to Do and See in West Hollywood, California


Films are subject-based and when producers set out to communicate their viewpoints, some do it flamboyantly while others take the subtle path. Unlike live theatre before it, the possibility of a virile spiral regarding the themes treated in movies can be as much repugnant as they can be fascinating. In this case, the audience are wont to receive without bias some nuances expressed in motion picture for several reasons. Notably, religious orientation, gender bias, cultural and racial views, intellectual and philosophical stand, genres as well as mode of reception condition the audience to relate with certain artworks. Without the audience, actors and show promoters would have birth a production meant only for the empty theatre. It is common knowledge that concerns with taste and culture, socio-economic and political considerations affect conception and execution of all audio-visual materials intended for audience consumption. Whether a producer knows it or not, his or her theatrical productions can meet stiff competition from other shows, meaning that the audience is a free for all market. 30 Days in Atlanta, with a favourable record of audience reception and patronage, stands tall as a reference point for manipulating social commentary in its contextual projection of notable issues. Adopting the historical-analytic review approach, the study evaluates the themes inherent in the film as a prerequisite for audience patronage.


text:
PodcastThe Keys to Building a Modern Brand with Chris Payne
By Chris Wilks, Kyle Smith, Chris Payne
The Keys to Building a...
Solving for B°
The Keys to Building a Modern Brand with Chris Payne
Chris Payne is an award-winning designer who has worked with soccer clubs in both the U.K. and United States to help them launch or revitalize their brands. Chris joins the Solving for B° podcast to talk about fusing his passions to specialize in football design and why a cohesive, scalable identity helps brands build trust and brand believers.
Follow Chris on Twitter: @chrisypayne
See more of Chris' work: Website
The research and branding process (2:18)
The discovery process and listening to key stakeholders (8:16)
Why a cohesive visual identity is important for every brand (11:52)
The biggest mistake clubs/businesses make with their brands (14:26)
Case study: creating the Flower City Union brand (16:51)
Why clubs like Nashville SC stand out with their brands (25:36)
How Juventus brought their brand into the 21st century (30:16)
The keys to a modern, scalable brand (33:44)
**This transcript has been edited for readability
Chris designing the Flower City Union crest
Kyle Smith: Hey everyone, I'm Kyle Smith and you're listening to Solving for B° with BrandExtract. This is the place where we cover all things, branding and marketing, digging into what it takes to build brands people believe in. So with us, I've got our Director of Digital Marketing, Chris Wilks on hand. And our guest on today's episode is Football Logo Designer, Chris Payne, who's worked with clubs across the world to develop their brands and visual identities.
Hey Chris, thanks so much for doing this. I'm really, really excited to talk to you and for our audience to hear from you as well. So let's dive in and start with your backstory. Give us the two to three minute version of where you came from all the way up to launching your company, Football Brand Designer.
Chris Payne: Two minutes. Let's see what I can do with it. So as you've probably already started to gather from the accent, I'm from England. I'm from a small little place called Derby in England, not very famous, but we do have a really bad football team who I support. Which is unfortunate because it's a roller coaster of emotions in Derby. But yeah, I grew up in Derby. Went to university in London, which was really nice, studied graphic design and advertising in London, always been a massive football fan. And when I say football, obviously I mean soccer. I come from a big footballing family, so growing up there was always a match on. I was always playing football. My brother played football, I play football, my mates play football.
And so that's always been instilled in me from an early age. And then when I realized I wasn't going to become a professional footballer, because that was the big dream like everybody. When I realized that I got some skills, but probably not enough skills, I then had to think, "Well, what am I going to do with my life? How I'm going to make some money?" And that's when graphic design kicked in. And that's when the love of being creative and the passion for creating interesting visuals and telling interesting stories and helping organizers grow through design. And so I've been a graphic designer for about 15 years. And then in the past five years, I've really focused on graphic design in the sports industry, particularly football/soccer.
The Research and Branding Process
Designing the Hitchin Town FC logo
Kyle Smith: It's cool to hear how there was this transition. So awesome to see that you're channeling that passion in the industry in just a little bit different way. So I'd love to chat about your process for branding. You did the recent launch of the club in my hometown Rochester, New York. Flower City Union got a really, really positive response from the community. I'm really excited to see it on the kits when the club actually plays its first match, I think 2022. What's your typical process for where you start when you develop these brands or rebrand as you do research and assessments? Walk us through what you typically go through.
Chris Payne: Well, it depends because each club is different, obviously you're dealing with different owners, different fan bases, different communities. And then also I worked with a lot of teams in England, but also teams here in America as well. And so typically with teams in England it's not a new team that's starting up, it's usually a rebrand of a football club that has had a logo or a design for probably about a 100 years, typically because there's a lot of older teams in England who are now realizing that, "Hey, we're falling behind. We need to kind of catch up on our branding. Our logo, it obviously means a lot to the club, but does it work? Is it practical in today's digital world?" And a lot of them come to the conclusion that it doesn't, and so they look to simplify, but they still want to retain a lot of that history that the club has gathered over the years.
So with English clubs, it's more of a rebrand. It's just a bit of a different approach. We have clubs in America who are typically starting up, at the very start of their journey. It's a different approach because there's no football history, there's no the history of the town or the history of the city and the history of the community which should always be incorporated, but it's just a slightly different approach. But one thing that is consistent across both approaches is that it's always rooted in conversations between, well, I'd say conversation, but it's three parties who are involved, especially initially and all the way through actually.
So you have the owners of the club or the directors of the club. So a big conversation happens with them. It's about understanding their vision for the club, what they want to do with it. Which direction they want to go. Just questions about the tone of the club. Just really getting to understand what the vision is from the owner's perspective. The second party that's involved is the fan base, existing fans or new fans. This is kind of like the big group of people who you also have to please, so you have to please the owners, obviously, but you also have to please the fans and make sure that you're giving them something that they can have an emotional attachment with.
And then the third party is the designer himself, which in some cases is me, right? So with that, it's all about the designer's experience and his preferences and his aesthetic choices and knowledge and knowing what works and what doesn't work. So those three parties have to come together and then a lot of conversations happen to really kickstart the process.
New Amsterdam FC apparel and graphics
Chris Wilks: Yeah. And I think it's really interesting, Chris, with the backdrop of what we saw over the weekend with admin Manchester of whatever ownership and the fan base are completely on opposite sides of the spectrum about what's important. So it's great. I think that you get the perspective of the fan base because one thing that we say here and that we always, we convey to our clients and anybody who will listen to us, is that you don't really own your brand, you manage it.
If you're the owner of the company of the club, you really are managing the brand because the brand exists in that relationship between the fans, even on a one-on-one level, what that brand means to those supporters at United, obviously, we can debate the merits of how they went about it, but there was a lot of passion behind what they wanted to see and felt was not being heard by ownership. So I think it's a great approach and glad to know that you're taking that all into consideration.
Chris Payne: Yeah. I think that comes a lot because of growing up in a football family. I'm a big football fan, so I feel it. It's an emotional thing. With football, you're selling emotions more than anything. People want to be a part of something. They want to be part of a movement. They want to enjoy the highs and the lows. Well, probably not enjoy the lows, but yeah, through the lows and we're all in this together type thing. And then when the highs do come, celebrate it. So it's a very emotionally charged industry and I think that's a part of the reason why I got into it eventually, so.
Chris Wilks: Yeah. And people identify so much to that point their identity in a lot of cases is tied to this brand. How many tattoos have you seen of crests of clubs and people wearing head to toe decked out in certain gear. I know from my own sports fandom, soccer, football, baseball, whatever it is, whenever someone kind of attacks your team or puts down your team, there's a resistance, there's some sort of emotional charge that goes through you that you're going to defend your team because you have that emotional connection. And that's what a good brand does, right? A good brand allows you to connect with that and that's really what we're looking for when we're developing brands. So yeah, I think the approach and the thought process just sounds really great from you, so I'm glad to hear that.
Kyle Smith: Well, I think more and more in today's culture too, there's an expectation for brands to stand for something, to be values driven too. People want to feel an emotional connection when they even make a purchase. And your brand being your reputation. And customer experience, I think, mattering more than ever. And I think some of that translates to what we saw over the weekend, how the ownership, the club are connecting with the customers, the fans.
The Discovery Process and Listening to Fans
The Alfreton Town crest
Kyle Smith: So how do you talk to the fans? What's part of your research process to tap into that in a discovery? That's part of our process, doing interviews with customers. Do you do focus groups? What's part of your research so that you can tap into those fans and those emotions?
Chris Payne: I guess you could frame them as focus groups, but I like to call them more listening sessions, because it's a session where we speak to various people within the community where the football club is located, right? And then it's probably about an hour's conversation. Sometimes it's one-on-one, sometimes it's in a group and we ask them just a variety of questions. We show them symbols and we dig into what they like, what they don't like, what resonates, what they hate as well, stuff like that.
And we do this over and over again asking them why they're proud of the place where they come from, what they feel best represents the place that they come from, what are the people like. And then we also balance that out against data as well, because in some cases, a lot of clubs I work with have some data and some ideas towards what their target audience may be or what they presume that their target fan could be. Sometimes it's surprises along the way. But yeah, we have these listening sessions about an hour long, and then over time we probably do about between 10 and 20 of these with very diverse groups.
So it could be the local soccer teams in the area, or people who have an interest in soccer. It could be season ticket, deposit holders. It could be lifelong fans, for example, it's a team who's going through a rebrand. And then over time, what happens is you start to get a little bit of consistency in the answers. So the first listening session is like, "Oh, wow." It's a little bit overwhelming actually, because you get so many different answers. It's like, "Okay, I like this." And then another person would say, if it's a group setting, we'll say, "No, but I like this." There's so many answers coming in.
Then the more you do it, and the more you speak to people, and the more you dig in, you start to see a little bit of consistency in the answers. And that's when you know, okay, all right. Well, we could build a brand around this, right. We can ask some questions, not super direct questions, but open-ended questions where we can find out if it's a new club and new colors are going to have to be chosen. What are those colors? We don't ask exactly directly what it would be, but it's like, we can say, "When you think of your hometown, what colors do you think of?" Things like that. And we can really get under the surface of what people's feelings are. What certain aspects of what could make them a compelling brand.
Chris Wilks: That's awesome. So one of the things that stood out to me there, Chris and I think it's such a great approach because my thought would be, we'll just look at the flag of whatever town or whatever, right? My hometown it's like a navy blue kind of deal. But instead of just assuming, you go and say to your audience, "What do you think of this?" So you're drawing that connection to the important piece of the brand, as opposed to making those assumptions.
Why a Cohesive Visual Identity is Important for Every Brand
New Amsterdam FC logo and kits. Photo credit: New Amsterdam F.C. / Mike Mansfield
Kyle Smith: And that popped up in the launch video that you put together for again, Flower City Union recording some of the Zoom conversations with fans and lilac, lilac, lilac, a color that was pretty constantly mentioned and it lead to the final design, which again, looks really, really good.
I want to go back to what you mentioned earlier about going in and seeing some of these historic clubs realize they need to update their visual identities for a digital age. How do you consult them and why is a cohesive visual identity important for a club in the sports world or for any business?
Chris Payne: I think it goes back to trust. I think having a consistency with your brand shows that you are an organization that can be trusted, that it's the same voice speaking to you every time. Over time you get brand recognition and you can get really, really good when you take the logo or the crest out of one of your assets, but you still know which club it represents.
There's a few clubs who can do that, like Manchester United you can probably do that, you could probably put a shirt out there which is red, white, and black, and you probably instantly associate it with Manchester United. So that's been done. That exists because of years of consistency, right? A lot of clubs who I consult with and I work with, especially from England, they're coming from a 100 years of history and not too much brand management up until recently, because that's just the way it's been.
They usually have a very inconsistent style, lots of different visual elements. One week they're using one typography, the next week they're using another one. And so it's not the same voice and it's not the same level of consistency. And so the end... I can understand, the fans will always be fans. They'll have that emotional connection, but when it comes to talking outside the fan group, such as sponsors or business partners, you really want to show yourself as being that consistent, that brand conscious football club because it helps, it helps with the trust. It helps with the organization.
And also a little secret for your, which you guys will know, but it's also very practical as well. If you're consistent it's practical. So you can create assets faster, you can put more content out there. You don't have to reinvent the wheel every time. There's a moment where you can be a little bit outside of the box, but generally you can be very efficient with your assets and you can continue with a very cohesive style, look and feel. And so yeah, you're able to put more assets out there. You may be able to do it faster and it's consistent and your brand just looks better for it.
The Biggest Mistake Brands Make: Trying to Please Everybody
New Amsterdam FC crest
Kyle Smith: Is there one mistake that you see clubs consistently make in terms of managing their visual identity or their brand? The whole idea of brand management is becoming more top of mind for these clubs. Do you come in and you pretty consistently see, "Hey, you need to address this issue."
Chris Payne: Pretty much. Yeah. There are a couple of things especially when clubs go through a rebrand and that's going to change the club's crest or logo. Typically there is an urge or kind of an instinct to say, "Hey, let's put everything. Let's put every single thing that we can think of within the logo. Let's have this because it represents this part of the city or let's have this because it represents that part of the city." And you try and get all this hidden meaning in there and all these little Easter eggs in there.
But I would say that that's probably the wrong approach and I get where it comes from. You really want to please everybody, but ultimately you'll end up pleasing nobody, because it will look overcrowded and it won't be memorable. It stands a little chance of being iconic as the years go by. So I always come in and I say, "Look, it's all about simplicity. Resist the urge to have everything within the design of the logo, because the logo, I mean, it's a canvas. It's super small. It's really small. And when you've looked at it on social media where it's going to be seen probably the most it's even smaller.
So you really want to resist the urge to include everything within the design of the logo, but you can have those additional elements within the wider brand, right? So you can reference a certain thing in the brand pattern or in some club imagery, or in a secondary mark, or in other areas within the brand, but within the logo, keep it super simple, right.
Have a single point of focus, make sure... Some clubs don't even want typography within their logo and I say, "Look. Especially if you're a new club and you're trying to get established, you really want your name front and center because people want to see it and build up that brand recognition, they will see the symbol, but they really need to know who it represents." So yeah, that's one of the things which I consistently see and I get where it comes from. That's probably one of the biggest challenges in going through the process. It's knowing what to leave out, as opposed to what to put in.
Case Study: Creating the Flower City Union Brand
The Flower City Union crest
Kyle Smith: Yeah. That's interesting. There's so much symbolism that you could include and it sounds like there's a lot of clamoring for that, but at the end of the day less is more, especially in a digital world, I guess. I'm not a designer, but minimalistic I think is... There's a shift to that. I think what you've put out recently in Rochester and then some of your other work reflects that.
I'd like to talk about a mini case study. It could be the launch in Rochester. That's a brand new club that's starting something from scratch or another process where you guided a historic club through a rebrand. Could you walk us through a specific case and some of that process and the end result?
Chris Payne: Yeah, of course. So I'll talk about Rochester because it's obviously your heart and that is barely recent and I'm very proud of it. So the process was I actually worked with another team who play in the same league who were also in New York or in Manhattan, New Amsterdam. And so the ownership group at Rochester knew me because of my work I did at New Amsterdam which is a completely different brand with a completely different vibe. For example, New Amsterdam has got like this kind of antiestablishment kind of a little bit edgy, urban style brand. And then ultimately what we did with Flower City Union it's a lot more kind of optimistic right.
It's inclusive and it just takes on a very different vibe. So Flower City Union, they knew me because of what I had previously in the space. And so we set up a number of meetings just to discuss my process, to talk a little bit about how my third would be, all that kind of stuff. And so once everything was agreed and they told me I was the person to partner with for their brand.
Chris Payne: I also had a mini celebration because I was very, very happy to work with these guys because they are really, really nice people. But then we went through the process of the listening sessions. This is a new club, so it's a blank piece of paper. I like it that I've got some knowledge from what I hear from the ownership group and I understand their vision and I want to execute on their vision, but it's also important that I'm listening to the fans and I'm listening to the community.
So we set up a series of listening sessions, probably about 20 in total, various different groups. I asked a number of different questions but within each listening session, the questions were the same, so that I could kind of almost not turn it into data, but definitely see what answers were trending. And so throughout that process I found out many things about Rochester. One of the things that you'll know about this is Garbage Plates. I learned about that.
Chris Wilks: I had a feeling you were going to mention that.
Kyle Smith: Chris has heard about this for two years now. And at one point, I'm going to bring one down for you or whip one up, but yeah, a "delicacy" up in Rochester.
Chris Payne: Probably not so delicate from what I hear, but yeah, they tell me that I've got to get a few Genny beers and I got to try Garbage Plate. In fact, can I show you something?
Kyle Smith: Absolutely.
Chris Payne: So this is very important to the process. So this is the local beer from Rochester and I learned very early on in a lot of the listening sessions that Genesee Beer is something the local community are very proud of. I live in California and it's very difficult to get this. So I had to put a lot of money for this to come my way, but it was definitely worth it because this helps in the creative process and in the research process also. So yeah.
Kyle Smith: So you did all the consulting over Zoom, but you brought a little bit of Rochester to you in California.
Chris Payne: Yeah, I'm learning lots about Rochester. I would have liked to have gone to Rochester because, obviously speaking to people in person, maybe doing some listening sessions in pubs and things like that is also very interesting and brings up some interesting answers, but because of COVID and safety and all that the development of the brand was right in the middle of this pandemic. So unfortunately I wasn't able to, but I will get out to Rochester as soon as I can. And so, yeah, so that was one of the things that was mentioned, Genny Beer, Garbage Plates.
Using a budding lilac as inspiration
And then over time I kept on hearing all these mentions of Rochester been a very festival city. There's lots of festivals. Loads, and loads of festivals happening all the time and the biggest one is the Lilac Festival, which I'm sure Kyle, won't be news to you. And so digging into this a little bit more, I learned about Rochester is a place where lilacs flourish. And so I was very intrigued by this whole lilac theme, and then obviously the name, Flower City Union. That was already decided before I came into the process.
In the back of my mind, I knew with a name like Flower City Union, it would be odd to have anything other than a flower as the single point of focus for the brand. And so the question was quickly, which flower? And lilac was the very obvious choice. So not super challenging in terms of thinking of what that symbol would be.
I also learned that Rochester is a cold place, very cold most of the year, but when the flowers start to bloom and start to blossom, Rochester becomes a little bit of a happy place. There's a lot of optimism around because the cold days are gone and the good times are coming because the flowers are out, the festivals can start. People can start having a few Gennys by the river.
So that was an interesting thing. I liked the optimism that flower brings. So I wanted to incorporate that into the identity as well. And so with all this information, it probably takes around about two months to get all of the listening sessions done. But then while you're doing it, you're sketching, you're experimenting with ideas. You're looking at shape hierarchy life. We are to go for this lilac as the center point of the design, then what does the topography look like? Is it wrapped around? Is it a shield shape? Is it on top and then the lilac is on the bottom?
So you're assessing all of these things. And I don't go straight to the computer, I always use a pen and a piece of paper, so I can make some very, very quick designs and make some good designs, but also make some bad designs and move on really fast from them. So I do all that. And then once I find one which has got a lot of potential, I'm digging it.
And I like the fact that it's got a good hierarchy, it's simple, it's got a good symmetry. I always try and have symmetry within the design. I think that's important for club branding. I then move on to the computer and digitize it and go through the process of making sure that it's as perfect as it can be. And that can probably typically take three weeks to a month, lots of experimentation.
And then beyond that, you kind of looking at, "Okay, so this looks great as a standalone logo." You get to the point where you're fairly happy with it, but then you have to test it and you have to see what it looks like when it's really smallest like an icon on social media or massive as a signage outside the stadium. How does it look on merchandise? Because obviously this is football clubs, fans are going to want to buy the merchandise. Does it look good on hats? Does it look good on t-shirts, on hoodies.
Flower City Union's custom typography
You also think about the typography that you choose, can that be extended beyond the logo and using the wider brand for banner ads, for advertising campaigns, for typography on merchandise. How extendable could the brand be? Because you want to have the logo, obviously as the principal identity, but then just below that you want to have maybe a secondary mark or you want to have typography that can extend, or you want the colors to obviously be a big part of the story as well. And then also looking at brand patterns as well, which is something that a lot of clubs might not initially think of, but I think it's always advantageous to have a brand pattern which is derived from the the principal crest.
So in the case of Flower City Union, we've created this brand pattern which is... We created a couple of brand patterns actually, but one of the main ones they're using at the minute is the shape of the lilac and it's just repeated over and over again, it just adds a little bit of a sort of texture. And so this goes back to what I was saying earlier about being practical with your brand, because Flower City Union have all these assets, they have this typography which is strong and recognizable.
Flower City Union apparel and graphics
They have the flower design, which is strong and recognizable, and now they have this brand pattern and you can put them all together in pretty much most formations and it will look good and it will be consistent. And so what that leads to is efficiency. So you can create assets faster and they all look good, and they're on-brand and they're consistent.
What Brand Stands Out in the American Soccer Landscape?
Kyle Smith: Who stands out to you in the American soccer landscape, in terms of having a really strong visual identity coupled with brand experience, because the brand goes beyond any visual identity. Like you said earlier, it's a key part of building that trust because the experience is so consistent over time. Is there any club that stands out to you at the moment doing a really good job of that?
Chris Payne: There's a couple in Major League Soccer, I would say... I'm really a big admirer of Nashville Soccer Club. When they launched their new identity, it was fairly controversial. A lot of people were like, "Okay, I don't quite get it." But they've really embraced the simplicity. And I think it's a clever design as well, because it's based on the vibrations of music and as you can see the shape of it as well, references a guitar or at least the top part of the guitar.
And I just really liked how they've extended their brand and how all their social media assets look. And the logo is almost like a brand pattern. They're very close to each other. So if you look at how they present themselves on social media with photography and just the visual aspect, you can tell that it's all derived from this very simple mark which is their logo. So I'm a big fan of what they're doing.
I admire that there would have been a lot of push for like, "Let's include everything. Let's include every single Nashville reference." I think it was done by Athletics of New York. They came up with something simple and it's proven to work. It really is. A logo is a symbol that represents, it doesn't need to tell the whole story. The brand can tell the wider story, and how you act, and how the club is portrayed every day, will tell that story. So the logo just needs to be simple. So keep it simple.
Chris Wilks: Circling back to your story about the process for the Flower City Union. One of the things I wanted to kind of point out to the listeners is that... I think there's a misconception when it comes to branding, is that we go into a lab or you go into a lab and you just kind of go away and do your work and there's this beautiful brand.
The brand and the essence and what it should be kind of presents itself to you. Right. You mentioned in your process, one of the things you heard... You knew it was Flower City Union, but then you also just kept hearing lilac, lilac, lilac. And it was like, "Well, yeah, it's going to be the lilac."
And that's frankly, in my opinion, and I don't know, you may disagree, but that's the way that it should happen. It should happen organically rather than me coming up with all these different things and trying to make it fit into the brand, as opposed to letting it kind of come up organically. But I wanted to kind of point that out to the listeners who may not quite understand, or maybe haven't as much experience with that and show that that's the way that should be done.
Chris Payne: Yeah. No, it absolutely is. You listen to the fans and they were saying lilac, lilac, lilac. But then also in the back of my mind was the ownership group who stated from the start that they wanted this club to be super inclusive, really optimistic. We've just come off the back of a really tough year, we want this club to be like a beacon of positivity. And so the colors like purple and lilac, they're bright and they're optimistic. And we have the budding flowers within the design.
So if you look at the design just next to the principal part of the lilac is these little kind of like budding things which are coming out and they represent the budding flowers. And that is just part of what the ownership group wanted in terms of being super optimistic. Yeah. They do come out... These brands are formed organically, and it's definitely not, as you say, in a lab for three months working independently, and then. There's definitely a lot of collaboration between all parts.
Bringing a Historic Club into the 21st Century: The Juventus Rebrand
Kyle Smith: I like what you were talking about with the Nashville logo, which I think it got some mixed reactions initially, but like you said, they're being so consistent in sustaining this over time that I think there's this evolution where it is connecting with people. There is the "less is more" approach where it's working. It made me think of an example of a historic club, Juventus, they had their rebrand a number of years ago, which was very controversial. I think their approach was really trying to emphasize a brand experience like being a lifestyle brand more than just a football club.
I would love to know your thoughts on their approach. You obviously work with some very historic clubs and Juventus is right up there in those conversations, but I don't know how much they engaged with their fans before doing that. It seems to be paying off though. What are your thoughts on how they did that and how they're managing their brand?
Chris Payne: Oh, it's amazing. Honestly, it's like it was so bold at the time. I was like, "Oh, wow. That is bold." But it's actually really intelligent, super intelligent if you look at it because you might look at it and think, "Okay, well simple means that it was done in five minutes." But it's definitely not the case, especially with Juventus because the more you look at it, the more you see. So obviously you have the J, Juventus in there. You also have the stripes, you think of Juventus, you think of Del Piero wearing the stripes. You think of Zidane wearing the stripes. All these classic players and that the stripes, that's what makes Juventus.
Newcastle fans might argue that they own the black and white stripes, but Juventus... Well. Notts County as well, a team in England who originally actually gave... Notts County originally gave Juventus their stripes because they went over to Italy to play a friendly back in the day, a long time ago. And Juventus apparently didn't have any kits or something like that, so Notts County gave them their black and white striped kits to play a game, and then they adopted it ever since.
Yeah, when you think of Juventus, you think of the stripes and that's included within the very, very simple design of the Juventus logo. Also, you look really closely and you see a football kicking a ball, the position of the J and then the top part of the J, it just looks like a footballer getting ready to strike the ball.
Yeah, I was a big fan when it first came out. It was obviously very controversial, especially with a lot of traditionalists, but I completely get where they're going with it. And it wasn't just the launch of their logo, obviously that was front and center, but they also have this custom typographic as well, which came with the logo, which took on some stylistic characteristics of what the logo has as well.
So they did a really good job, a lot of photography in black and white. They're really embracing what is true to their brand, which is the black and white color scheme. Yeah. No, I loved it straight away, but I knew that it would be a split audience in terms of like, "Do we like this? Do we not?" And I think most people will look at it now with the gift of hindsight and go, "Okay, all right. Yeah. They're more recognizable." I know their new logo now more than I remember their old logo.
Kyle Smith: That one's so fascinating to me because can you imagine Liverpool or Man United, where you have so much equity in something that's so recognizable and Juventus had that, but they said, "We're going to be really forward-looking to create this identity that transcends just what's on the pitch." I guess. The lifestyle, the brand experience stuff, and they just committed to it top to bottom and I think it seems to be paying dividends.
The Keys to a Modern, Scalable Brand
The Eastleigh logo design, kits, and apparel
Kyle Smith: Maybe this is a good question to tie everything together and wrap things up Chris. What do you think are the keys to building a modern scalable brand? Juventus committing to that. What are universal principles that you think are really important for any club or brand to consider?
Chris Payne: Obviously listening to the fans. We spoke a lot about that. Listening to the fans is very important. Make sure it's representative of the place and the people that the club represents, but at the same time, simplicity as well. Especially when we're talking about the design of the logo, definitely go for as simple as you can make it.
There's a fine balance between getting enough references to make it stand out and make it be unique, but you also need to keep it pretty simple and let the wider brand tell the story. And that's another principle as well, storytelling within the brand, the visual language of the brand. How does it reference the place in the community?
Eastleigh's crest
Just a quick example, I worked with a team in England called Eastleigh. This is the place where the Spitfire was manufactured and invented, and the community are very proud of that. Like really, really proud of the fact that that was the birthplace of the Spitfire. It was considered an engineering feat by the local community and the rest of England as well.
So when I was going for the rebrand of Eastleigh, their nickname is the Spitfires because that's the place where the Spitfires came from. And with that, we created a custom typography, custom typeface for the club, which is based on the markings on the side of the Spitfire. And so that's just a little bit of what I'm referencing when I'm talking about telling a story with your brand and creating a visual language.
Eastleigh's custom typography
So that would be another go-to for me. I would say also passion, make sure you care about it as well, because one of the reasons why I got into football brand design is because I care about it. And I feel as if I am in many ways, embodying the fans of the club because I'm a football fan myself. I understand the emotions of supporting a football team. And so I got into it because I really wanted to fuse my two passions, one is design and the other one is football. And so by creating brands for football clubs, I was able to do that.
This isn't something that the people can adopt. I think it's just something that comes naturally. I think it's just part of you like football is part of me. Each and every design that I do is fueled by passion and fueled by desire to work hard and do the best and give the club the best possible chance of being successful with their brand. So yeah, that would be one of the key go-tos for that.
See more of Chris's work: Website
Chris Wilks
Resources & Presentations
Sports Team Branding: 5 Identity Breakdowns
Brand Analysis: The NCAA