Experiential Knowledge: Realistic Expectations for Hollywood/Entertainment Hopefuls

There will be solutions at the end of this, with advice on what to do if Hollywood is not for you but you still seek to pursue a career as an artist, and what to do if you are certain you would like to move to one of the most unaffordable places in the country in pursuit of your dreams. In order to really enjoy Los Angeles, they say one needs to be netting about $200,000/year minimum. Keep that in mind, because beneath that, it will be a struggle. The longer that struggle persists, the more it will sap your creative spirit and drive.

The purpose of this work is not to dissuade anyone from the pursuit of his or her dreams, but rather to share my experience and what I wish someone told me before I left everyone and everything I knew behind to travel over 3,000 miles away to pursue my dreams. With realistic expectations, and now the ultimate technology to make art on your own anywhere in the world, you can create a healthy environment for entertainment that caters to the best talent and highest ideals while creating work that nourishes your soul.  

Before I get into the reality of Hollywood, I'll disclose who I am, and a little about me so you can look me up and decide whether my words are worth considering. First of all, I am a working theatrical performer, meaning I'm fortunate enough to book a couple projects per year. I don't call myself an actor, because the legal definition of an 'actor' is something to the tune of "a slave who tends to his master's business affairs." This occult meaning is also an important aspect of the nature of what actors do in Hollywood, which is why so many of them are on drugs, or addicted to some sort of substance or behavior, and why the brightest and best of them eventually seem to break down or burn out. You do not have free speech in Hollywood. If you get caught saying the wrong thing about the wrong person, you can find yourself totally blacklisted, no matter how talented you are. I don't mean that you'll stop working. I mean that the quality of work coming across your agent's desk will be dramatically less lucrative. 

So, here's my resume: http://www.imdb.com/name/nm3324902/?ref_=ttfc_fc_cl_t27

The latest film I had a speaking role in is called "Trafficked," and it is slated to come out sometime within the next year. As you can see, there are name actors involved and it's an incredibly important subject that needs to be exposed and abrogated by all: 

I've been in Hollywood permanently since 2005. I came out here for the summer of 2004 when I was 20 years old, saw that there was more work for film & TV in 3 months in Los Angeles than there was all year round in NYC, so I knew that's where I had to go. Prior to that, I had been in NY for four years, which is primarily a theatre town. LA is dirty human farm that's kinda like a bunch of small towns connected to small towns rather than an overwhelming city like Manhattan, so there wasn't anything intimidating about living there. It also helped that I got to meet one of my idols and inspirations, John Frusciante, at one of his solo shows at a place called The Knitting Factory during my first three-month stay. To my naive, childlike mentality, I sincerely expected that I would come out here, meet the people I needed to meet, and begin working on the projects I dreamed about. Struggle? Hell no. That's for people who aren't prepared, aren't professional, care more about fame and fortune more than the craft, aren't talented, and aren't unique enough and confident enough to hold their own in a scene. 

I graduated a school that was known for its drama program in NY, and to be honest, even though Francis Ford Coppola went there and formed the Spectrum Players, it was a total joke during my stay, a sham, that does not prep people for the real world of the entertainment industry. Going to university or any other school for performers is a total waste of resources, time, and a massive delay of the inevitable for those who have already honed their skills. Now, if you don't have skills and need to learn how to use certain equipment, it's a little understandable. However, I dated a cinematographer once, and she was going to be over $100k in debt after school. Cinematographers can make decent money, but with that type of burden, there are surely better ways to learn the craft. The debt slavery that it puts people in is just another part of the control system that we'll touch upon later or in another work. You're better off investing in the equipment yourself, learning how to use it with your free time, and getting a hands-on education rather than sitting in a boxed room while listening to a Cultural Marxist pig warp your worldview and degrade your soul. 

Universities are indoctrination factories where failures go to maintain some sort of cashflow. Very few, if any, are qualified to give you advice because they have not done what you seek to do. Being in their presence saps your drive and focus, dumbs you down, and through unhealthy food programs, college deadens your senses and creative spirit. Under no circumstance should any creative soul surround themselves with such apathetic lowlifes in an environment where video games, sports, and drinking games are the top priorities. It is a recipe for involution. So if you want to be an artist, don't fuck around with indoctrination factories. Get your ass out into the real world, find a decent part-time job, and if you can get your parents to assist you with that rather than taking out a huge debt, you'll have way more opportunities to meet people and get work. Live humbly so you can invest in yourself and not be beholden to anyone.

The entertainment industry has changed so much over the last decade or so that when I first came out here, headshots (marketing photos) were still done on film AND were black and white as far as industry standards went. Casting Directors (CDs) were scoffing at these new abominations called colored headshots that were starting to emerge onto the scene. Keep this constantly changing and evolving nature in mind and know that any advice I give is only temporarily effective and should not be taken into account 2 years from the time this is written.

Back in the 80's, 90's and early 2000's, artists used the Post Office to market their material (VHS tape reels & 8x10's) to agents, managers, producers, etc. It served as a natural filtration system, but only lent itself to people who were making money, because they could afford all that postage while the average artist fights to make rent, car payments, and basic necessities. However, those who did their homework, and kept up with projects that they were right for, could mail their submissions and still have someone take a look at it at the agency or production office that it was sent to. Furthermore, there was a trick that would legally guarantee that your material would reach its intended recipient. You could send it to a director or producer c/o their agent's name, and unless that representative was given permission to open mail, they had to deliver it to them. Even then, you had a snowball's chance in hell, but it's better than nothing. Wifi internet was not used on a broad scale yet, but people who had the means were beginning to convert their databases into online formats to save office space, as well as networks where actors could submit their reels and headshots with the click of a mouse rather than create all this clutter that was bound to find its way into a trashcan anyways.

Convenience made everything cheaper and easier, but the tradeoff was, and still is, an oversaturated market. To give you an idea how difficult it is to get an audition these days, CDs get roughly 800-1800 submissions for every role in every project that they cast. So if they have 1 week to cast a whole episode of a show, and there's 27 roles that need to be filled, do you think they're gonna spend the week stressing over finding new talent, or do you think they're gonna call in people they know? Keep in mind, their reputation is on the line for each actor that they bring to producers/directors. If they bring shit performers, people who can't hit the beats while being natural, that may spell the end of their business relationship with the client. It's exactly like dating. Are you gonna keep trying to go out with someone who is boring, or mean, or selfish? Will you keep spending your resources on someone who you just don't get along with or get off with? Of course not. Hollywood works the same way. It's an industry built on relationships and favors, and sometimes blackmail. I dated someone who worked for a major studio, and she left the industry after she found an amazing pilot, did all this work to get it green-lit, and her higher up chose another project because he owed someone a favor. There is no use in trying to reform it from within the system. It's too old and pervasive. The solution is to form new pockets of entertainment centers that don't involve themselves with corporations and politics.

Technology now allows people to be anywhere in the world and submit themselves to a project and have their name in the running. Gone are the competitive advantages of knowing how to get mail directly to certain people and being a go-getter. 

During the internet boom, various online sites developed and hosted profiles/resumes/reels like NowCasting, LACasting, and Actor's Access (the artist version of Breakdowns Services, the primary service that all the agents, managers, and CDs use to book roles outside of their spheres of influence), etc., that both sides of the industry use to cast projects more efficiently and quicker... but with these sites came the racket. 

All of these websites charge a good amount of money to sign up for, and most importantly to keep updated, relative to their efficacy. I'm already getting bored of talking about it, and those who aren't familiar with the systems in place won't know what I'm writing about anyway, so to skip all the bullshit, everything, and I mean EVERYTHING, at every level of Hollywood, is a racket. It is exactly like politics and the corporate world, because it is run by the same people, and never is that more apparent than at Hollywood parties. It is disturbingly homogenous in terms of what kind of predators and service-to-self entities are running the show.

For a long time, I was incredibly naive. I'm such an anarchist, openminded, loving soul that I appreciate everyone because I know you at your best will raise me to my best, so I never gave a damn about someone's sexual orientation, ethnicity, religion, etc., until I realized that those who control Hollywood, Politics, Banking, Religions, Wall Street, etc., only care about that. Sure, they have filtration systems to see who will be the most useful pawns, but you can be sure that just about every group you join will be used to filter out your usefulness, and even if you're aware of it, you cannot hide your nature from someone who is a master of the psyche, unless you're one of them. I'm not referring to what you think I am. I'm referring to a type of being that transcends all ethnicities, religions, and sexual orientations. I'm referring to the psychopath.

The religion of the psychopath is Satanism, and since Hollywood is controlled by psychopaths, the religion of Hollywood is Satanism, so don't get fooled by all the different ways it dresses itself up. To clarify what the ideology is, Satanism is not devil or demon worship in the sense of actual entities, although if you roam around the Hollywood Hills long enough, you'll find severed goat and chicken heads. The demonic stuff does exist, but you won't encounter it unless you are well-vetted. You're not just gonna pop into a party like Tom Cruise did in "Eyes Wide Shut." Real Satanism is unfettered service to self, the ego, the four major tenets of which are: 

1) Self-preservation (at all costs) 

2) Moral Relativism (the erroneous idea that there's no such thing as Truth, and since the Truth is relative, one gets to decide what is right and wrong based on his whims; sound like your legal system? That's because man's law is Satanism) 

3) Social Darwinism (the idea that people's abilities and status in life are based upon the quality of their genetic code; a perfect example of this is the Divine Right of Kings) 

4) Eugenics (well-born; preferred stock; good genes; the process of culling the population through dysgenics to ensure the preservation of the well-born bloodlines)

If you don't believe me, I can send you a PDF copy of the Satanic Bible.

The symbolism is everywhere, and if you become symbol literate it will all make sense. If you choose to remain ignorant, then they will keep taking advantage of you because you will be willfully incompetent. So I'm not going to spend much energy on it other than bringing it up so that you can research it further. I would not recommend watching YouTube videos on it, because most people are not qualified to speak on it. The best person I've seen put presentations forth on it, but not really touch about what it's like in Hollywood, is Mark Passio's site www.whatonearthishappening.com. Start at podcast 1, and don't skip. After about 160 podcasts, you'll have an excellent conception/foundation of what's going on, and then you'll be ready to actually delve into it on your own.

ONE OF THE BIGGEST MYTHS/DECEPTIONS:

They craft origins of artists carefully. They love for you to think that all of their stars came out here and got "discovered" while they were at work or grocery shopping, etc. The reason for this is that it is the primary snare for luring waves of thousands of young, naive people every season who have come to Hollywood with a few hundred bucks and a dream to "make it." This constant flow of Hollywood hopefuls should be called by what they really are: Hollywood prey. 

This single illusion targets young people from 15-18, so that from age 19 - 28 they have a mind-control program that keeps them grinding through the processes that have been set up to profit/feed off of them. The reason they implement all these boy bands and girl groups, etc., is to trick children into falling in love with their teen idols and moving out to Los Angeles to be with them and be one of them. Once out here, these kids are getting scouted by people on payrolls who invite them to parties with "industry" people. 

They're meeting famous and "successful" people at these parties, and so when perverse, depraved lifestyles are pushed upon them, they give in to the peer pressure to fit in, because they realize real quick that Hollywood is like high school. Everyone knows (or knows of) everyone, and it's very much a hive mind because the majority of them are hardcore Satanists. So young people are afraid of being black-listed because their dreams are all built on the wrong reasons. They wanted fame and fortune to replace the love they didn't get in childhood. They want "to be someone." So they stick around at these parties, maybe just another hour, in hopes of meeting their next big connection that will get them work. And then it happens. They meet an academy award winner or a creator of a hot new show. They socialize and become friends. That influential person mentions that they can help them. In fact, there's a role that they'd be perfect for in an upcoming project. But don't worry about that. We can talk about that tomorrow. Let's get in the jacuzzi with the others. So these Hollywood hopefuls are finding themselves in jacuzzis or in private rooms with influential people, thinking that they're friends, and everything's going well. Then that person breaks out some coke or other substance to enhance the experience. The Hollywood hopefuls do it because why not? Everyone else is doing it. So they're getting high, and even though this is a bizarre experience that is defying their intuition and common sense, they're getting closer to their dreams... Right?

And then a hand touches them intimately. They feel awful about it. But they say nothing because they're being considered for a huge project. The hand continues to work on them, the feeling gets worse, and still they say nothing. Fear has paralyzed them. Another hand joins in, as one last chance to say "no" presents itself. But this person controls the media, has ties to the legal system and government, so the "no" is merely a horrible emotion that doesn't manifest as action because the person's thoughts are still focused on "making it." Little did they know that as they're being sodomized, this type of "making it" was what would be happening. All the while, their silence was golden. It was a consensual act because that's how the Satanic system works. If you don't use the word of all power, "no," then you did not object and thus consented. People allow it to happen because their Satanic fear based mind-control programming is so strong that they won't allow themselves to let go of their dreams of "making it."

I don't know the full feeling of sodomy from experience, all glory to God for that, but I've stayed long enough at parties to be aggressively confronted by people I wasn't interested in who thought their power and money was enough to get what they want. It's so uncomfortable, but I have a strong volition, and I also had some people looking out for me in the community who protected me in a sense. But ironically, if it weren't for them, I wouldn't have ended up at the parties. So it's a catch 22 that I removed myself from. I've been around that predatory energy enough to know that this is what is going on, and I've heard enough stories from people on both ends, some bragging and some complaining, to know it all corroborates. I usually left around midnight, before the events that the majority of people came for commence. Some of the victims succeed as artists, at least temporarily, but even if they do, most of them end up addicted to substances that help them numb the pain of knowing everything they acquired came from allowing someone to blow them or fuck them in a manner that wasn't a natural choice. Many of them are straight guys allowing homosexual guys to have their way with them. But there is also a huge market for the women from psychopaths in other industries that have ties to their friends in entertainment. 

If this happened to your child, it was only possible because you were a bad parent. You taught them to love money more than Freedom, success more than Truth, fame more than Knowledge. Money is only as valuable as what I can trick you into believing its worth is. As fucked up as Hollywood is, and all the other systems are, because they're all really just the same system, I don't blame the people controlling it. They have a right to sell you a lie. I blame YOU because you're the fools who buy the lies wholesale and then distribute them to your kids who aren't experienced or developed enough to resist them.

Hollywood is just a glorified prostitution ring made legal under the guise of an "entertainment business." That's why it can't seem to tell the whole Truth in any motion picture that gets made. They omit the relevant details. It's legalized propaganda, which is redundant because propaganda has been legalized in Amerika. And most artists are too dumb, too dependent, or too enthralled by the system to do anything about it, and when they do speak out, the media goes into character assassination mode. But that's the real reason you see all of these breakdowns from famous people that seemed like they had the perfect lives. They're getting abused physically, mentally, and spiritually, and many of them have no one to blame but themselves.

I've been open about it. If you let your kids come to Los Angeles, even just to visit, you're a bad person. No one under 35 should come out to LA because the majority of the people in power are pedophiles. At 35, you're too old for them. Some of them admittedly don't even want to fuck you, they "just want to suck your cock." Does that make them bad people? Not if it's consensual. As long as all parties are willing participants, then their sexuality is moral. They will not suffer the karmic consequences of their behavior so long as no violations of Natural Law occur, and regardless of what your opinion of that is, THIS IS THE WAY THE UNIVERSE WORKS. Grow up, discover it, and deal with it! Know it like you know your mother's maiden name. Do you think Black Magi are stupid? They know how to sidestep karmic consequences like the majority of people know how to visit a porno site or pull up to a fast food drive-thru. How do you think they've kept their power for so long? Coincidence? You're NAIVE. 

That being said, the causality of the world being imbalanced and degraded is due to a selfish mafia controlling everything, but disguising itself in so many different garbs that most people fail to see that it's all the same ilk of people. So, if people want change, they must form a decentralized network of artists who work with people based on merit rather than personal/selfish reasons. 

If you're going to come out to LA in this dying paradigm, there are very few ways to build real relationships. In my experience, training environments are the safest, surest way. Train in whatever you can afford, whether that's standard acting companies, stage combat, stunts, improv, scene study, etc. The more people you see regularly and get to know organically, the higher the likelihood you'll be in someone's mind when a role you're right for pops up. That's the name of the game. You need people working in the industry regularly, who know you well enough, that when something you're right for is on their radar, they refer you. I have people that hit me up out of the blue to work on projects sometimes because they enjoyed working with me in the past. A perfect example of this is that my friend Jessica Obilom got me booked on a project to play her boyfriend a couple years ago, and now she's one of the leads in "Trafficked," which exposes the lucrative human trafficking racket in this country. 

Even though my friends think I'm a crazy conspiracy theorist, they've seen me work enough to know my range, what I'm right for, and they also know that I'm like a mercenary on set, professional enough to leave all of my world views and opinions at home, but gregarious enough and silly enough to be fun on set and to make people feel comfortable and confident when they work. People like my teamwork oriented style, my efforts to be supportive and bring out everyone's best, and my passion for the art. I get to work sometimes because I'm invaluable on set. Even when I'm not working in the scene, my attention to detail has saved people a lot of money and the stress of having to reshoot things because of missed continuity issues that would've rendered footage useless in the editing booth. I'm not bragging. I'm stating facts. With that being said, I'm still JOE NOBODY. Why am I telling you this? Because if you're not a fuck-up, you're punctual, prepared, professional, kind, generous, and somewhat talented, there will always be people who will work with you. I don't even have representation and I booked three feature films last year. I have a high booking ratio because I treat auditions like they're my first day on set. The only reason I don't book more is because I don't have a team of good representation, and I'd rather have no representation than some spaghetti-slinging agent submitting me for everything in my age range, but with no contacts to get me meaningful auditions. I go to auditions to work, not to try out for the team and see if I'm a good fit. Two thirds of the films I booked in 2015 came from me doing a great audition, not being as right for the role that I auditioned for as the people who booked the role, but being offered another role just because they wanted me on the project due to how well I performed and how strong I was. One of the other roles I lost out on was only due to the fact that I was up against name talent, and so that's what people go with to make their investors happy. But the moment you get too selfish, too egotistical, unless you're the box office draw, you won't work very much. Stars have to align for you to get roles. There are so many talented performers in Los Angeles that people lose out on roles for reasons that have nothing to do with how they auditioned or how talented they are. There is so much choice that sometimes it comes down to who has more social media following, or it comes down to physical traits. Or it comes down to who's willing to fuck the producer or director. There is so much you cannot control affecting your chances of getting work that you need to master control of that which is within your ability to harness control of. And what can you control? Your own thoughts, your own emotions, and your own actions. That's it. Let them be aligned in unison in such a way that so you think, so you feel, and so you act.

For those who are still interested, here is my advice for people who feel drawn to Los Angeles:

1) Get involved with a good acting company. Do not pay for acting classes with anyone who is not working in the industry every year. You need to surround yourself with people who are working consistently, even if only on small indie stuff, because the nature of the business changes frequently. The days of getting a million dollars for your indie film are over. Amerika is in terminal decline. Everything's rigged to keep you ignorant of how bad it really is. Be patient, don't be desperate. Be in an acting class that invites agents/managers every once and a while. There was a girl who booked good representation out of class and now she's on that show "The 100." Outside of being gorgeous, she didn't really blow anyone away with her performances in class, but she was good. However, when she walks into a room, all the straight men fawn over her and girls want to be her. It's just a natural thing that no one can help. When everyone wants to have sex with you, its going to naturally facilitate you getting booked, but talent and likability are what will carry you long term. That's all it really takes. You don't have to give academy award winning performances. You just have to do the job. If you want a referral, let me know when you're out here and what your experience is. Most of your auditions will come from people who you know till you become somewhat renown. One of my favorite actresses worked with me when she was 17, and we became friends on set. Well, a year later she booked a big role in a film and when given the opportunity to pick who would play here husband, she picked me and brought me onto the project. Now she's ballin' on a pilot called "Famous in Love." I've been lucky to cross paths with wonderful people. But I never kissed their asses. We're gonna be real friends, or nothing. The end. I don't like fake-ass people in my life. Period. My character is permanent, and I'm not doing this work to please anyone, so while CDs, Producers, Directors, and performers come and go, I'm still going to be walking my path to wisdom. I don't care if I don't make another cent doing it. The paper we use is not money. You attract what you are, and so if you find yourself attracting powerful predators, like I did early in my career, it's a sign that you need to work on yourself. Remember, a person has no ability to make contact with that which he/she cannot attract, and he/she cannot attract what he/she is not like. Even now, I'm working on myself to try to attract additional people who are more into occult subjects and projects that will raise consciousness and provide solutions to this decaying paradigm of debt, dysgenics, and war. The more I improve myself, the better my life becomes, and I don't really ever attract bad people anymore. 

2) Get good headshots for less than $200. Your look will change every 4-6 months. It is not practical to be spending $400-800 on headshots unless you're making a lot of money. OG Photography does amazing sessions, 2 looks for $100, a few times each year. They're one of the best, and that's all your really need: 1 Commercial and 1 Theatrical look. 

3) Right now the industry standard is still Breakdown Services, but for the performers it's called Actor's Access. Go to Showfax.com to enroll for your yearly subscription for Actor's Access, then go to Actor's Access and set up your profile and have unlimited submissions for like $70/year.

4) Once you've booked a project that adds you to IMDB, sign up for IMBDPro and upload your profile, as this is the primary go-to when industry people look you up. This is the best resource to get everyone's public contact information so that you can submit yourself to agencies and get representation. If you're in SAG-AFTRA, you can get a good discount on the yearly fee. 

5) Get into SAG-AFTRA by doing a web-series or something under a SAG New Media Contract, then cough up the $3K to join the union. This way you can book bigger projects without them paying a fee so that a Non-SAG actor can work on a SAG project. It sucks, but it used to be a lot harder to get in the Union, and it's never been based on merit. But it's a lot better than ten years ago.

6) So now you're SAG, you've got a couple indie projects on IMDB, you're training every week, and you've got an agent. Hopefully you're getting auditions. If not, don't worry. There are still things you can be doing on your days off. Join an extras casting agency like Central Casting, and put yourself on sets. You'll get paid a SAG rate, meals, etc., and you'll see what all the sets are like and how they are similar and different. Sometimes it can be intimidating on these elaborate sets with huge stars. If you're not used to that, and you book a role that puts you on sets with people you idolize, you won't be your best if you're not comfortable, or if you're too nervous. This is also a great way to network because you'll meet other people who are in the same position as you are and are creating projects in their free time, which will lead to other work. Obviously, don't get comfortable. It's not something you want to do for too long, but it'll be great for your psyche to see what it's like on big budget film/TV sets. But also, don't get comfortable and think you can say or do anything and still have those people you thought were your friends in your life. Fortunately, I've always been an Anarchist, so when liberals ask me about my views, I bust their balls and say they're too conservative for me. I'm way more liberal. I'm so liberal I don't need anyone telling me how to live my life. But believe it or not, there are definitely all types of people in Hollywood, but it's like being in the intelligence world, and you never know who is a double or triple agent. So it's best to keep your focus on the work and not try to change the system from within the system (if you want to fit in).

7) Create work on the side. Whether it's writing screenplays, treatments, or any other craft, one of the main reasons people get depressed is due to them not creating anything they can be proud of. Read. Learn new skill sets. If work has dried up, book a trip and go on an adventure. The best thing you can do as an artist is to LIVE and EXPERIENCE life so that you can acquire new feelings and memories to draw from. If you aren't worried about missing out on anything, you'll never miss out on anything. If you worry about missing opportunities, then every time you try to leave LA, something will present itself. There's even a saying, "If you're not getting enough work, book a ticket out of LA."

8) Don't waste your money on Casting Director workshops unless you are spending $20 or less on them. They are a total racket, but can still be useful every once in a while. More than likely, you will just be accumulating debt, but you can meet people in the process. CDs aren't looking for talent like they claim. They're making money on the side, tons of it, and in most cases they're making more from workshops than from the projects they work on. People are paying $35-75 for a workshop where they spend 5 minutes actually working for the CD. Plus, most of the readings are cold reading situations, so you're not even able to perform at your best because you're not off-book with your lines, and you may have no chemistry with your scene partner. CDs see so many thousands of faces every week that even if you do good work, you'll be forgotten due to the sheer number of people that CDs audition.

Now, if the LA is not a scene that interests you, do everything listed but in your local area. If there's no work, then form your own acting company. Build your own network. You can make awesome films on smartphones these days and edit them on your own software. There's literally no excuse if it's your passion. Content is king. Build it and they will come. With social media, you can market yourself for free, you can list your projects on YouTube, Vimeo, Amazon, etc., and generate residual income. 

The only thing I would warn someone about is the mentality of assuming you're just going to show up and work. That may happen if you're well-connected, but most likely, you will reap what you sow. Inaction begets inaction because it cannot produce any other effect. If you sit around watching TV, playing video games, and other activities that don't generate work, that will be what you harvest. If you're out working all the time on small projects or whatever else you can get, then you'll generate more opportunities for yourself. That's where the saying "work begets work" comes from.

I hope you found this useful, but if not, I couldn't care less. I did my part by putting this out there without even scratching the surface of how bad it is. It should be enough to make you reconsider what it is that you truly seek in this lifetime.