Donny Winter sat down last week with fellow writer (and friend), H.M. Kanicki, to discuss multiple aspects of his book of poems, Carbon Footprint. Incrementally, these episodes will be uploaded to Winter’s “DonnySpeaks” poetry YouTube channel of the course of this week. So far, two episodes feature discussions about themes of geology in the book and Winter’s love of the characters Godzilla and Mothra.
Whenever producing work, it’s always significant when the opportunity arises to collaborate with friends who are also incredibly talented. After discovering that my book, Carbon Footprint, would be published by Alien Buddha Press, I approached Tiffany Schmieder-Kups to see if she’d be interested in creating the art piece for the cover. For years, we both wanted to work together on something, so this supplied to the perfect opportunity.
Together, Tiffany and I wrapped up our successful 2020 by discussing the art process behind Carbon Footprint in an interview-style video. Check it out below!
I’ve been selected as Alien Buddha Press’ Artist of the Month for December 2020. Check out my interview! I discuss the writing process behind my book, Carbon Footprint, my other creative endeavors, and share some advice for aspiring creators.
ABP– Thank you for taking this interview, Donny. I want to start things off by talking about Carbon Footprint, which is Alien Buddha Press’ best-selling book ever. What can you tell us about the process that went into writing this collection? How do you feel about it now, 3 months after its release?
DW- Honestly, I’m still trying to process the book’s success. I’ve been working on Carbon Footprint for over five years, so knowing that it’s been well-received by many fills me with joy. Some seeds leading up to this collection began in 2009 during my undergraduate study at Central Michigan University. After creating a body of LGBTQ+ themed poems, I started organizing a collection back in 2011 and titled it “An American Crucifix” after my Matthew Shepard themed poem. Unfortunately, I ended up shelving it because I was really insecure as a writer. I never believed I…
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Watch my debut poetry reading for my book, Carbon Footprint.
My first, full-length collection of poems, Carbon Footprint, is now available to purchase on Amazon thanks to Alien Buddha Press. Purchase it here.
I’m excited to announce that my first full-length collection of poems, Carbon Footprint, will be released by Alien Buddha Press on Friday, September 18, 2020. This is a pretty significant milestone for me as a writer. Stay tuned also for further promotional tidbits, announcements, and additional publications. Two poems from the collection will be published in Kaiju Galaxy and Sonder Midwest in late August / early September.
By: Donny Winter
The 90’s Mothra Trilogy are films that have been often overlooked by Godzilla fans in the past because they are aimed more toward young audiences with their whimsical stories and colorful spectacles. However, in recent years, they have received a bit more admiration considering they establish Mothra as one of the only Godzilla-franchise kaiju to star in solo films after having been incorporated in Toho’s Godzilla Cinematic Universe. Considering the upcoming film, Godzilla: King of the Monsters (2019), it’s possible that its creators may be paying homage to the underestimated trilogy in other ways: through the MonsterVerse designs and personalities of Mothra and King Ghidorah.
In the introductory film of the trilogy, Mothra (1996), also known as Rebirth of Mothra, kaiju fans are introduced to a sinister “cousin” of King Ghidorah known as Death Ghidorah, or sometimes referred to as Desghidorah. This adversary proves to be one of the most powerful and unique versions of Ghidorah considering its diverse (and deadly) abilities. Additionally, it is quadrupedal, much darker in color, and more rugged in texture.
Despite some of Death Ghidorah’s body-design differences, it’s arguable that its facial design has served as inspiration for MonsterVerse King Ghidorah’s facial structure. It’s known that this new, Americanized King Ghidorah is brought to life with motion capture effects, so each head has slightly different features. Despite this, the wideness of King Ghidorah’s jaws reflect the wideness of Death Ghidorah’s. Dominantly, prior renditions of King Ghidorah have relatively narrow jaws, including the version featured in the final film of the trilogy, Mothra 3 (1998). Complimentarily, this new Ghidorah’s eyes are were designed with a red-tint, just as Death Ghidorah’s. It also appears that at least one of King Ghidorah’s heads (left in the photo above) has horns closely based on Death Ghidorah’s thick, short horns.
The culmination of the similarities between these two may only be revealed on film in the form of their intended personality. Death Ghidorah is depicted as malevolent, almost finding satisfaction in the destruction it creates, along with the harm it inflicts on Mothra. In fact, the same behavioral observation could be made about King Ghidorah’s violent behavior in Mothra 3. Likewise, in Godzilla: King of the Monsters trailers, King Ghidorah is also seen exhibiting similar malicious behavior in the revealed, yet short battle sequences.
Additionally, it’s strongly possible that Mothra’s design in this ever growing MonsterVerse may have been inspired by her diverse appearances throughout the Mothra Trilogy. In Mothra (1996), the audience is introduced to the first Mothra whose design deviates from original: Mothra Leo. This version sports an appearance favoring earth-tones, has thicker antennae, and has slightly slanted eyes. In Mothra 2 (1997) and Mothra (1998), various transformations shift this Mothra’s colors into a bluer-range, also culminating in a sleeker appearance with longer legs in the final film.
Analogous to Mothra 3’s Rainbow Mothra, Legendary’s version of Mothra has wing patterns favoring blues, greens, and reds. Many may draw attention to the difference in shades, but aside from this version of Mothra, no other has favored any shade of blue as heavily as these. Additionally, the slanted eyes, thick antennae, and sleeker legs in MonsterVerse Mothra echo those of Rainbow Mothra as noted in the comparison above. Despite film producers noting the inspiration taken from the original 1961 Mothra, coloring, wing-shape, facial structure, and body design seem to largely favor Rainbow Mothra’s.
Consequently, observing MonsterVerse Mothra’s agile and benevolently aggressive behavior in various TV spots and trailers may also suggest inspiration taken from Mothra 3’s Rainbow Mothra. In the trilogy, Mothra does not exhibit these qualities until facing the Cretaceous version of King Ghidorah after time traveling to a point in history when a younger, less powerful Ghidorah existed. One well-remembered moment of the film is their violent battle during those ancient times, where Mothra uses claws to physically injure Ghidorah in close-quarter combat. This typically uncharacteristic battle moment may have inspired the need for MonsterVerse Mothra to have longer legs and a more instinctively aggressive personality, considering prior forms of Mothra never utilize such battle tactics.
Despite much of this being speculation based in observation, it would be difficult to imagine Michael Dougherty and his team overlooking the adaptations of both iconic kaiju in the 90’s Mothra films. Perhaps these films deserve a second chance seeing as they contain pivotal moments where the kaiju are arguably given more personality, intent, and motivation than prior adaptations. After all these years, perhaps these films are getting the credit they deserve as creative source material fueling the MonsterVerse adaptations of Mothra and King Ghidorah
What do fans think? Share thoughts on Kaiju Galaxy’s forum or on its Facebook page.
Summary of the Current Situation on YouTube
If you are small content creator on YouTube right now, you likely received an e-mail on January 16th telling you that you will be losing your YouTube partnership on February 20th because your channel “is no longer eligible for monetization because it doesn’t meet the new threshold of 4,000 hours of watchtime in the past 12 months and [have at least] 1,000 subscribers.” Many people believe that this new policy simply impacts monetization. It affects much more than simply monetization for YouTube creators. Small channels (like my own) who have been partnered for years will be losing: algorithmic search priority, access to video professionalization opportunities, access to YouTube networks that provide numerous opportunities, access to social circles with other top-notch content creators, and the list could go on. Additionally, people who choose to speak out against this change in policy are subject to mass-subscriber deletions and view count reductions. While this may be a result of YouTube’s automated systems, the timing is interestingly “coincidental.”
The “Small Channels Big Voices” Movement
My own YouTube channel has been in-and-out of hitting its 2,000 subscriber milestone for the past 3 days because the platform repeatedly mass-deletes subscribers. I have made two videos, one outlining the fact that I’m losing my partnership, the other, speaking out against YouTube’s restriction of smaller creators. After multiple attempts reaching out to large YouTubers (and YouTube itself) with no response, it is clear that small channels like my own only have their few followers to depend on for support.
Many have asked: what else can we possible do but tuck our tails between our legs, leave YouTube, or simply give up on making videos? The answer: we must continue to speak out. Since small content creators only have each other and their audiences to fall back on for support, the only thing we can do is assemble in an attempt to make our concerns heard by YouTube and the upper echelons of large content creators.
The easiest way to assemble as small content creators is through other social media platforms like Facebook, Twitter, Tumblr, and Instagram. Assembling can take the form of sharing our content on pages, giving shout outs, collaborating in videos, or circulating this message to YouTube. In our correspondence, we a striving to get YouTube’s attention through using the hashtag: #SmallChannelsBigVoices when communicating or sharing content. This is our way of telling YouTube that we’re here and that we matter.
Other Ways YouTubers and Viewers Can Help
1. Continue to Watch, Share, Comment, Like, and Subscribe:
- As you may expect, the easiest way to support small content creators is by actively engaging with their content: watching their videos all the way through, sharing them on social media platforms, commenting on them, liking them, and even subscribing to their channels. As small creators, we seriously have to fight for every subscriber we get because they mean that much to us.
2. Support the #SmallChannelsBigVoices Movement:
- Supporting this movement will also help considerably; there’s power in numbers and the more people we have sharing this hashtag on Facebook and Twitter, the more coverage we’ll get. Large YouTubers participating would be valuable for our movement as they have large followings that listen to their words. Ultimately, our hope is that if YouTube hears our concerns they may compromise and change this policy so it is more inclusive. Check out the
- Facebook Page, created by YouTuber
3. Post Consistently:
- In order to gain further attention, we may have to share things consistently. Additionally, for small YouTubers, I encourage you to upload quality content daily, if possible. That will increase the likelihood of your views and watch hours increasing.
4. Watch YouTube Videos About This Policy Change:
- Many YouTubers, other than myself, have been making videos about their own fears of losing partnerships. The following playlist contains some of those videos:
To be a small content creator on YouTube means a lot of invalidation, erasure, and difficulty right now. Since YouTube and large YouTubers have remained silent, all we have are our audiences and each other to rely on. Let’s keep fighting for our outlet and continue making a difference.
For inquiries and collaboration requests: message me on YouTube or e-mail me: email@example.com
June is notable to many because it marks a month-long celebration of LGBTQ Pride. For most, this means attending vast pride parades, enjoying vibrant spectacles, and ogling half-naked, Greek-God-esque men. At least, that is often the media’s depiction of pride events.
When I was a young gayling far back in 2007, and even before, I was always fascinated by gay pride celebrations because of the media depiction. I, along with other young gay men I knew, were drawn to pride because of the fearless sexualization of other gay men. There was a certain excitement in a provocatively physical public spectacle. For others, pride celebrations were a safe place for us to meet other guys to potentially connect with on an intimate level.
When attending college for my undergraduate degree, I experienced my first pride-week celebration. It involved the usual festivities: a drag show, open-mic poetry night sharing coming out stories, and game sessions- but it also included a considerable amount of educational moments. College pride-week opened my eyes to the deeper meaning behind Pride. I was introduced to Harvey Milk, who I learned was essentially one of the founding voices of the modern LGBTQ-rights movement. I learned about the Stonewall Riots and what they did for LGBTQ liberation. I learned where we came from, understood where we are now, and began to think about our future.
The other day, a gay friend on my Facebook page made a comment stating: “I can’t wait to go to Pride to see all the hot guys.” The comment left me feeling empty because most people view Pride as simply a spectacle. Many don’t acknowledge its roots in history. Pride is about acknowledging the breadth and complexity of what it means to be LGBTQ. This leads to the question: how do we re-claim this aspect of pride?
We must talk about the history more. We must confront comments like the one prior with education. Pride celebrations are safe-spaces for us to be who we are. They also must be safe places for educators to help remind our community where we’ve come from.