January 19 2019 - A gang of Neonazi boneheads pick a fight with a group of punks of color during a concert by Reagan Youth. Apparently one of them, wearing a Skrewdriver shirt, had earlier given a Nazi salute and yelled “Orange County is a white town!”. Obviously, this didn’t sit well with not just the group of punks they harassed, but many of the other punks at the show too, who come running to kick their Nazi asses. NAZI PUNKS FUCK OFF!
Click the video link to watch a punk song performed the way all punk songs should be performed: while a bunch of nazi fucks get their shit kicked in on stage. [video]
Bonus gif of the crowd joining in to chase the fuckers off:
you can actually easily be a Nazi Punk. All you have to do is listen to punk music and be a right-wing piece of shit, that’s how easy it is to be a nazi punk. If Nazi punks didn’t exist there wouldn’t be a song called “Nazi Punks Fuck off!”
The only reason punk is seen as a leftist subculture is because leftist punks have consistently fought against right-wingers trying to take over the scene.
Punk being antifascist is an on-going battle, not just something inherent to punk, and the same with any other subculture! you have to actively fight to keep the fascists out, you can’t just congratulate yourselves that your group is inherently all good guys.
in conversation about white people who go to Japan and expect their knowledge of anime to culturally carry them, I was once posed with “it’s like if there was a Japanese guy who was obsessed with spongebob and came over here and thought he could get by just communicating in spongebob quotes.” This is a false equivalence because if such a man existed we would crown him king. We’d love him. Americans would fucking love that. sometimes I get sad that this isn’t a real guy I can invite to a party.
People still tend to lump JK Rowling in with the category of ~problematic artists~ and I need everyone to understand that is not the problem with her. She is not comparable to anyone who wrote a piece of fiction you hate, or someone who made rude comments in 2015 and has since learned better.
She is far more like Elon Musk. She is a radicalized person with an extreme amount of social and financial power, and for YEARS she has been using that power to try to influence her government into hurting vulnerable people, on purpose. And she has succeeded. THAT is the problem with her, and THAT is why spending money on her books is so dangerous, not because her books aged badly.
Critiquing her work is fine, of course (I personally was never a fan so I really don’t care) but you NEED to understand that fiction is not the main issue here. And I truly think acting like she’s the same as the rest of any giant list of ~problematic creators of the week~ waters down how dangerous she is.
i have to reblog this again because i go insane when people act like the problem with her is "its cringe for adults to like kids media" or like "the books sucked anyways" like those are completely irrelevant and try to shift the blame and focus from the active harm. even the fact the books also have bioessentialism and antisemitism is a whole different conversation
Put this picture in your pocket, next time you get into an argument with someone about 'useless' scientific studies, ask them "Do you think that we should give funding to study the mating habits of endangered iguanas in the Sonoran desert, or should we be funding cures for alzheimer's and diabetes?" and then when they say "Of course we should be using that money to fund cures!" you can whip out this picture and say "trick question, it's the same thing"
People with aphantasia have no mental imagery—and they’re offering brain scientists a window into consciousness
I saw this mentioned a few years ago and realized that I have this. Up to that point it never even crossed my mind that it was a thing and that other people didn't have it.
I'm obsessed with this chair. The artist takes a flimsy hunk of injection-molded plastic that's been cost-cut to hell and back, and insists that we look at it with fresh eyes and understand its beauty. And they went about it in the most labor-intensive way I can think of.
Absolutely nothing about this design is convenient to execute in wood. Every piece is curved, most have compound curves. This is artisan craftsmanship: it's inherently slow, manual, and skilled. Notice, also, that most features of this chair must be thicker and heavier than on the plastic chairs being imitated. Injection-molded chairs can be produced in this shape in a matter of minutes with far less material at very low cost.
If these flowing, organic curves are so beautiful in polished wood, perhaps they are also beautiful in the mass-produced chairs that are far more accessible. Perhaps we should remember to admire designs that succeed enough to become ubiquitous. I don't know about you, but I'll never see injection-molded chairs the same way again.
I agree with all of this, but YOU HAVE HIT UPON A FORGOTTEN TRUTH OF PLASTIC CHAIRS!!!!!
The standard one-piece injection molded plastic chair is referred to as a "Monobloc", literally just describing it as a single piece. The history of this chair is fascinating, and it all starts back in 1946, with the D.C. Simpson Monobloc.
Douglas Colborne Simpson was an architect mostly active in the 40's and 50's, designing a lot of classic mid-century style buildings in Vancouver, Canada(1). In 1946, as part of a government project to find new uses for materials developed for WWII, he and engineer James Donahue developed the design you see above, simply called the Monobloc(2). Unfortunately, we don't know a lot about this chair as it was only ever a prototype, and no modern examples have survived, nor have most of the records surrounding it(3). To my knowledge, we don't actually know if this was technically injection molded, or crafted some other way. We can't even be sure if it was technically the inspiration for the designs that followed, but no matter the case it has lent its name to the entire genre.
Plastics technology was simply not what it is today back in the 1940's. Most people would have had very little plastic in their homes, most likely just a few pieces of Bakelite (the first commercially viable plastic, made from a formaldehyde based resin in a Bakelizer, the best name for any industrial manufacturing equipment ever). Over the following few decades, however, as a wider variety of plastics were both developed and came down in price to the point of commercial viability, the concept of the plastic chair was revisited, and the first folks to revisit it were Helmut Batzner, in 1964, and Joe Colombo, in 1965.
This, is the Bofinger chair, Batzner's design:
The elements of D.C.Simpson's Monobloc were pretty alien compared to todays mass-manufactured plastic chairs, but here we start to see some more modern elements come into play. The first thing you probably notice is the front legs, which have that characteristic visible 90 degree bend in them for added rigidity, plus a much more comfortably leaned back and slightly scoop-shaped seat. We also see much more support in the back rest, with broad triangles allowing for a more efficient use of materials without losing back support.
Similar to Simpson, Batzner was not an industrial designer, but an architect, and this chair had a very specific purpose. Batzner and his team designed it as part of a project to build a new theater in Karlsruhe, Germany, which required a large amount of additional seating which could be easily packed away into storage or distributed around the theaters rooms by the staff (4). As such, it was designed to be both lightweight and stackable, so several of them could be moved by one person, and they could be stored compactly. This piece of furniture was a huge hit a the theater, and was so popular that 120,000 units would ultimately be manufactured and sold around the world, with each one taking just 5 minutes to produce (4).
Around the same time, Joe Colombo enters the scene with this:
Colombo was an artist in several mediums who, after taking over his families appliance company in the 50's, made the shift towards architecture and interior design, and started designing a wide array of trend-setting furniture(5). The chair shown above is known as the Universale (sometimes referred to as the Chair Universal 4867), designed in 1965. This chair differs pretty greatly from the ones that came after it, it many ways it represents a different path that could have been taken, but it's also very widely referenced as an inspiration for what is broadly considered the origin of the white plastic chair the world over.
Enter: the Fauteuil 300
This is, arguably, the first iteration of the white plastic chair we all know today. Designed by Henry Massonnet in 1972, the Fauteuil 300 and it's imitators are, collectively, the single most widely used piece of furniture in the entire world(6). Before that, however, it was something else entirely: works of art.
What might be hard to recognize in hindsight is that all of these chairs described so far were not everyday objects. They were on the forefront of modern design, they made use of brand new materials and manufacturing processes, and at the time they were each made, they were slick, stylish, and fairly expensive. Despite the speed at which they could be manufactured, these innovative, high-end chairs rose sharply in cost up through the early 1980's due to the sheer demand for them. They weren't cheap spare seating you stuck in the garage, they were placed at dining tables and on fine patios, and they were a wildly popular talking point. That's not to say their expense justified their artistic value, but rather that their expense and popularity was a product of their status as highly contemporary and boundary-pushing designs.
With the price of plastics declining after the 70's, the increasing accessibility of injection molding to manufacturers, and the widespread popularity of these designs, copycats proliferated rapidly, and eventually drove the price down. This era, in the 80's and 90's, is when these chairs became cheap an ubiquitous, and where they became manufactured the world over.
And here is where we reach this piece, "Plastic chair in wood", by Maarten Baas, and a piece of the history I've left out so far. The Monobloc was designed to be made out of wood. Like the the other chairs designed by Joe Colombo, like the chairs that predated the Simpson, the Monobloc was designed with the intention of using laminated plywood, but as the artists and designers behind them began to experiment with new materials they fell in love with the idea of making them from plastic, and so they did. They redesigned and redesigned until they made something that would be impossible to make in wood at a price most people could afford, but which could be made from plastic in mere minutes. The organic curves and thin profiles would take so much time, so much waste material, so much skill and effort to create if made of wood that they could never be furniture, they could only be art. Baas' chair is a perfect, beautiful reflection of that.
That, in brief, is the history of the design of the white plastic Monobloc chair, but it's not all there is to know. In fact, it's kind of just the start. I've linked my sources below, but I would strongly recommend checking out the German documentary Monobloc, by Hauke Wendler. It goes over the history, but it's far more interested with what the Monobloc means, and what it's place is in our world today. The impact it's made, the better and the worse, and what it says about us. It's fascinating, and well worth your time.
Went to an Oedipus Rex adaption today and my friends were debating whether the Oedipus/Jocasta age gap was problematic. Like guys…I think their relationship has bigger issues
This post is how I've learned that the sexual meaning of "spit roast" has now become more well known than the literal meaning of roasting something on a spit, and the slangy way of using it to describe an ass kicking or a humiliating defeat is completely forgotten
They're squeans I'm pretty sure! If they pop like that anyway. But the term for this kind of "symbol to refer to the general vibe of something in art" is called "Emanata" because it emanates from a person or object.
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