A couple of friends asked me for advice on this topic, so I collected my thoughts and turned them into a blog post. This input is general by design. I want to make it helpful to the largest possible group.
What this article is not: deeply detailed, time-sensitive advice or stock tips. I am personally wary of that type of opinion, but there’s plenty of it out there if you want it.
What this article provides are basic principles that a novice can understand, but that anyone can apply. I believe in keeping investments simple, so you don’t get in your own way or lose sight of what you’re trying to accomplish. This advice is meant to help people grow their money throughout their careers, not to get rich quick.
Why Should You Contribute to your 401k?
I’ve started a new podcast with TJ Bartczak. We look at typical water cooler conversations, funny stories and hopefully give you some interesting topics to talk to that one person in the office that you seem to have nothing in common with.
Please check it out if that sounds interesting.
Michael Allred’s art is completely distinct from that of the rest of the comic world. Though it would seem impossible, somehow Allred’s art both closely resembles the classic comic art of the 60s while looking completely original and unlike anything else in comics. The work of colorist, Laura Allred, contributes a big part of what makes the art in this book so great. The husband and wife team have long standing partnership and that continuity means their work supports each others styles and never clashes.
For readers who might be unfamiliar with what a colorist does, the nature of work is contained right there in the name. The colorist takes outlines from the penciller and inker and fills in the colors of the art. If this sounds like a mechanical or simple job, it absolutely isn’t. For evidence, compare the work of this book with that of the classic Vertigo comics of the early 2000s. It’s not that one is right and the other is wrong, it’s that the choices of the colorist completely change the tone and feel of the book. A muted pallet can suggest ambiguity or uncertainty; a brighter higher-contrast pallet makes a book feel more exuberant. Beyond style, there’s a simple issue of skill. Colorists can obscure the detail of the original pencils if they don’t work carefully, golden age comics often suffer from this. Read more
This is one of two Rucka books on this list. Haven’t heard a lot about this book, but since I finished Queen and Country, I pretty much try to check out everything he writes. How good is Queen and Country? You will not find a book that is better researched. It is a workplace drama that gets the details of the work dynamics perfectly.
What’s this book about? Magick maybe? African Americans? I’m not sure. I’m going in cold.
In some ways, Paper Girls is a classic Brian K. Vaughn comic. It tells a strange, unpredictable, fantasy adventure story. Paper Girls intrigues and maybe even confuses its reader by moving fast and saying little. The first issues of a long series usually have a lot of explaining to do, especially when they can’t lean on established worlds and characters. Paper Girls, however, doesn’t stop and chat. There are a number of wordless pages. There’s more showing than telling, and it’s not just a series of fights, there’s a lot to look at in the way characters dress and interact and there are images in the background that help guide the audience through the unusual world.
Comic books are a distinctive medium in that there is such a small group of fans that read them that the authors really end up speaking to a certain kind of fan. In the worst circumstances, small audiences lead derivative comics, but in the best circumstances, it means authors don’t have to hold their readers’ hands. The self-selecting group that reads comics knows to pick up the traces in the background, they can infer what happened between panels. Paper Girls rewards attention. Read more
I’ve been invited to blog for Planetizen. You can find my first post here. Much of my city planning writing will likely live there for the coming months, though this blog will live on for comic-related content, among other things. Thanks for checking in.
We Can Never Go Home
I picked up this book because I was drawn to the strange, spare covers. One in particular shows a shopping cart full of improvised weapons, and it hints at a book that balances the silly invincible feeling of being a teenager with a grim real world. We Can Never Go Home tell a story of super powers, high school in the 80s, and robbing drug dealers. It combines genres and styles. The wild story is grounded in reality by the art. Wal-marts and cheap motels look real, even when they share pages with bullets bouncing off our heroes.
We Can Never Go Home is a teen romance, adventure, superhero story by Mathew Rosenberg, Patrick Kindlon and Josh Hood. The characters are distinct, feel real, and demand your sympathy. The story elements are familiar at times, but the mix is what makes the book feel original. If you’ve ever felt like an underdog or made a mix tape, you’ll probably like this book.
According to the Census Bureau Cook County lost 10,488 people, more than any other county in the nation. Counties in Texas, Florida and the Carolinas grew the fastest. Much of the population change likely took place between 2007 (when the last census took place) and 2010, since then estimates of the city’s population change have flattened out.
For a more in depth investigation of what these population changes mean for the country overall, I recommend Lyman Stone’s article How Migration Changed in 2015.
In planning vibrant cities, residents get excited about parks, multi-use dense neighborhoods and public transit. But there are also necessities that most folks don’t want near their houses or workplaces: power plants, heavy industry, halfway houses or shelters are also necessary for societies to run effectively and thrive. The authors of The Smart Growth Manual called these developments “Locally Undesirable Land Uses” or LULUs.
Where LULUs get built should be planned as carefully as we plan the locations of highways or bike paths. If, because of a lack of political will or imagination, the LULUs collect in the part of the region with the least political capital, that area will become or remain blighted. Shortsighted politics can put resources in places that compound their negative attributes, this reduces their ability to accomplish the purposes they’re designed for.
At the same time, no benevolent dictator should decide at random where things should go. In an ideal situation, a regional design authority can create plans to distribute LULUs in a way that is both equitable and efficient to the geographic and cultural realities of the region. Then, that planning group can share this plan with the public to try to understand the concerns of the community. Though some single-issue residents can create counterproductive discussions, engaging with the public usually uncovers insights that are impossible to uncover through any other method. Public comment provides a way to bring the views of a wider audience into the conversation and give planners access to view they wouldn’t necessarily hear otherwise. Read more
There’s mountains of writing on cities, planning, and transportation written everyday. I’ve collected links to some of my favorites, feel free to add yours in the comments below.
- Before and After Photos of the Riverfront (Detroit)
- The Need for Low Quality Housing
- E.P.A. Faces Bigger Tasks, Smaller Budgets and Louder Critics
- BART’s Communications Team Explains Brutally Honest Social Media Strategy
- De Blasio Unveils Citywide Ferry Plan (New York)
- The Fading Romance of America’s ‘Cinderella Homes’