@rippledragon linked this to me and a good time is being had.
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@rippledragon linked this to me and a good time is being had.
I love that the internet saw people comparing women and other alienated groups of people and went, âtheyâre dating,â and, âthey support each other.â Weâre improving as a society.
Does anyone know who these artists are?? Theyâre brilliant and Iâd like to credit them!!
THIS IS HOW TO TAKE A TRASH OPINION COMIC AND MAKE IT BETTER. THANK YOU.
The best genre to ever have existed
These improved my day
GAY RIGHTS
these are the only things in the world i find worth crying for becayse itâs so fcking cute and wholesome wtf
I WOULD LIKE TO ANNOUNCE THAT THE OG ARTIST GREW OUT OF THEIR IâM NOT LIKE OTHER GIRLS PHASE
AND NOW THE GIRLS ARE CANON
The âguys I respectâ artist also came out as non-binary, generally got more accepting. Itâs growth.
I follow the artist for the book club art! @nomsikka on instagram :)
What is coming ten million people in the street cannot stop What is coming the American Armed Forces cannot control the President of the United States and his counselors cannot conceive initiate command or direct everything you do or refrain from doing will bring us to the same place the place we donât know your anger against the war your horror of death your calm strategies your bold plans to rearrange the middle east to overthrow the dollar to establish the 4th Reich to live forever to silence the Jews to order the cosmos to tidy up your life to improve religion they count for nothing you have no understanding of the consequences of what you do oh and one more thing you arenât going to like what comes after America
-Leonard Cohen
HI ITâS ME AGAIN
YOUâRE FUCKING UP YOUR TEETH AND YOUR MUSCLES AND SHIT
Mild concern for this to turn out to be true
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The cards see all.
bro choose every possible cheat code đđș
QA tester behavior
The submissions from my followers are top notch. Happy Pride Olethra đłïžââ§ïž
Sub-Radio, the band that did Stacy's Dad, coming out with another banger for Pride.
It's what MyChem would have wanted
I am so glad I have been reminded this band exists.
That video of Alex Hirsch reading S&P notes for Gravity Falls conveys a few things to me:
1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.
2) the people who run Disney would be the first to fall in line with a fascist regime.
3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.
4) conservatism, not the left, is and always has been the biggest voice of censorship in American culture.
J. Michael Straczynski, creator of Babylon 5, was before that a producer and writer for a number of cartoons in the late â80s/early â90s (The Real Ghostbusters and the original She-Ra, most notably). After a few years of dealing with the censors and their obsession with finding Satanism (or at least looking for Satanism to further political agendas) he wrote an article about the whole corrupt and bullshit system.
And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?
That one is from his autobiography, Becoming Superman. See also:
(As he goes on to say, heâs never worked in animation againâheâs effectively been blacklisted by the cartoon industry.)
Every time something like this comes up, I remember two stories about making media. The first is about movies, and comes from Quentin âFeet Manâ Tarantino.
When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didnât actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvinâs skull that lodge in Samuel L. Jacksonâs hairpiece). The resultant cuts were actually more permissive than heâd expected, so he cut a little more and submitted it, and it got passed with an R.
The second story is about that artist on Morrowind whose name escapes me (Iâm not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and âworkingâ for another few hours on a second, âtoned-downâ version, and it worked every time.
The reason I bring these up is that the thing that drives censors isnât some extant physical rubrick of what is and isnât acceptable, itâs the idea that they can have absolute power over someone elseâs creative work. Itâs about the social dominance of the interaction.
There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.
This is true of all censorship.
Iâve been a professional designer for 8 years and that last bit is so true. In addition to politics, a huge part of people meddling with creative work is just ego. They want to feel like they had a hand in the final product, even though they not only did not create it but are in fact incapable of creating something on that level. So they reach their hand into someone elseâs work and command it to change, not in service of a mutual artistic goal, but simply because they have the power to do so and they like feeling that power.
Offer a child a food they donât like much and then a food they just donât want right now but you want them to eat often works super well* and most people donât grow out of being tricked like that. I use it when I can to reduce the amount of unnecessary control exerted on me by objectionable people in a position to deny me what I need, and you should too.
* Because this is the piss on the poor site, I have to state that I am not talking about kids who have serious food aversions, and that I donât think parents of kids without food aversions should be allowed to be overly controlling about their kids food. But you kind of do need to get your kids to eat things like plants sometimes.
Women in Shakespeare
Also like to point out that when her mother says âI was your mother much upon these years that you are now a maid,â (translation: I had you when I was your age) you have to remember her fatherâs words: âearth hath swallowed all my hopes but she,â (translation: all the other children died.)Â The whole plot point of Juliet being an only child is explained by her mother being a Margaret Beaufort type who had her first child too young and it damaged her past the point of being able to bear more children.
Margaret Beaufort died in 1509. She was a major player in the Wars of the Roses, the swirling on-again-off-again civil wars that consumed England from 1455-1487. Romeo and Juliet was written and first performed in the early 1590s. Your average English person of Shakespeareâs day would probably have had at least a vague understanding of who she was and what happened to her, because she was a key figure in recent history and was still getting passed around as a cautionary tale.
There are two great problems with what happened to Margaret (and that her parents are trying to do to Juliet). One is easy for modern people to spot (but was also a common response back in her own day). And thatâs the moral implications of what was done to her. She was too young to be married, and it was horrifying that she was forced into it so young. Every one of the adults around her either acted immorally or failed to protect her. They were wrong. This is what modern people see, and itâs important to remember that people back in her day mostly agreed with it. Youâre supposed to think itâs fucked up! When girls were married that young (and it didnât happen often!) it was a formality 99% of the time. It was for dynastic or financial reasons (the girl has lots of money and/or land and/or a title that her husband wants), but the âcoupleâ donât consummate their marriage for years. And itâs not just that they would have separate bedrooms. They might not even live in the same country until the girl was in her late teens and physically and mentally mature enough to bear and raise kids. Hell, a lot of times they didnât even meet until the girl was older! They had this thing called âproxy marriageâ where you would have two separate ceremonies, in two separate places, with each party saying their vows separately, one in one city and the other in a different one. So, yeah, sure, the girl was technically married at 12, but she didnât actually meet her âhusbandâ in person until she was 17 and they didnât start sleeping together until she was 20. That was a thing they did.
The other problem, the one that modern people donât notice, is dynastic. See, marriage wasnât generally because you loved someone. It was because you had the resources to support a family, and you or your family wanted to pool those resources with someone. Itâs about âour family has these resources, and we want that to continue.â Itâs about continuity across generations. Itâs about making sure that your children and grandchildren have the best possible resources to survive and thrive, whether those resources are land or a trade or a title or money or whatever. In order for this to work, you have to have kids! The family and the familyâs resources depend on the married couple having children. If the couple doesnât have children, the marriage is a failure. And that failure affects not only the couple, but both families. This is a really big problem. And you canât have just one kid to pass on the family name, because half of all kids die in early childhood. If you want to be safe, you need several kids, to be sure at least one will survive to adulthood (when they can marry and pass on the family name and resources.
You know what happens when a girl has her first pregnancy too young? She is very likely to either die in childbirth, or have complications that destroy her future fertility. Just like Margaret Beaufort. Just like Julietâs mother. In other words, the marriage is a failure, not just for her, but also for her family, and her husband (who canât divorce her, itâs not allowed except in extremely rare circumstances), and her husbandâs family. So even the people who didnât have a moral problem with adult men having sex with pubescent girls had a practical problem with girls married too young because you are very likely to destroy the entire purpose of the marriage by doing it. As Shakespeare reminds us in the play through Julietâs mother having been married too young and only having one child.
Shakespeare is telling us âyeah, this is fucked up. but even if youâre the kind of awful person who doesnât think girls marrying too young is morally wrong, itâs also a problem for practical and dynastic reasons, donât forget that by doing this wrong thing you are very likely to destroy what you most want out of it.â
Interesting
It bears repeating:
donât forget that by doing this wrong thing you are very likely to destroy what you most want out of it.â
yes, excellent discussion!
another thing i noticed, the year my local community shakespeare theater did r&j, and i made the costumes so i got to watch the show every night: part of why capulet is telling paris, take your time, get to know each other, no rush, is that he still has his nephew tybalt as his heir. as long as tybalt is in the picture, there is no pressure on juliet to go further with paris, than get acquainted. once tybalt is killed, then suddenly capulet needs an heir, he needs a husband for juliet, now, this week. (the role of capulet is best given to the actor in the company that can do over the top apoplexy, you need to believe his urgency comes at least in part by how clearly he could drop dead any moment from giving himself a stroke)
i feel like this play is often taught in middle schools as if it was somehow relevant to, or about, teen hormone storms. really it's got more to do with the social structures around family and inheritance. leaving that context out makes it confusing, why is capulet suddenly flipping from nice dad to evil dad?
art history matters.
I've been thinking about this play a lot lately. I really wanna highlight that Lord Capulet asks Paris to wait and get to know her, and to woo her, while Tybalt lives. While Tybalt is alive, Juliet has something of a reprieve, and her wellbeing as his only child matters more to Capulet. But once Tybalt has died, the gloves come off. Lord Capulet was worried about his daughter's wellbeing when he felt he had the space to care, but as soon as his dynasty is at stake, as soon as this becomes larger than Juliet's happiness, his consideration for her health and mental wellbeing get thrown away. Which also is due in part to the fact that Capulet's family is implicated in a brawl that has left several dead after the Prince's family EXPLICITLY told the Capulets and Montagues to stop fighting or face dire consequences, AND Capulet is trying to align himself with the Prince's family by marrying Juliet off to County Paris, a relative of the Prince. So to Lord Capulet, it is now less important that Juliet is happy, and more important than he reminds the Prince of his loyalty via this marriage and aligns his family with the Prince's before it's too late. And he believes this must be done, at any cost...until Juliet kills herself. And that's when he realises the devastating cost of treating his family as chess pieces. He realises his wrongdoing far too late.
Seriously Romeo and Juliet is HEAVY on the dynastic politics, and I think you can't fully understand the play without understanding how that all works, especially because the impact of dynastic marriages on women and girls is like. THE POINT of the play
And I think if it was taught this way, and maybe taught just a couple of years later, not in middle school but in high school, students would actually understand and get a lot more interested. Helping them understand HISTORY through the lens of art? Showing them how it relates to their own lives? Major big deal.
Young folks understand family pressure, the pressure to fill a role...they feel it in different ways, but they feel it. My god the pressure to choose a career and get into college when I had only been driving a car for a year, could not vote, had no control of my finances, and was basically property of my family according to the laws and customs of my culture, that was INTENSE. Pretty much every child goes through that!
These days younger folks usually understand "ew, Juliet was too young". My generation was pretty sexually and romantically rebellious, most other teens I knew were not bothered by it. Teens today are more likely to be. They just need to be told that yes, that is the point. It's a fantastic way to teach how an author's choices to do troubling things is often social commentary, and that all works of art exist in a context. That they can be timeless, but also, sometimes to see those timeless themes we need to know a little about when they were made.
Kids understand not feeling valued by their parents (even the ones treated well at home often feel this way, it's just part of being a teenager, they are becoming new people but their family is slow to adjust and parents especially cling to the child they knew and not the adult that child is rapidly becoming).
They understand family being overly invested in them and their success.
They understand the repercussions they might experience from a family member's actions, often resulting in more pressure to do better somehow, or in rejection because they have been tainted by proximity.
Many do understand that they will eventually be under a lot of pressure to have kids even though they are not allowed deep romantic connections yet. They understand that dismissal as unjust, and the double standard.
And honestly, they usually understand despair and suicidality when what they wanted, the only thing they feel like they actually chose, is taken away. When the tiny bit of agency they scrounge up is destroyed. They get it.
For sure they understand rivalry, throwing shade, and throwing hands, those were my favorite parts.
Futility, the struggle to have something for yourself, the pressure to do what adults want you to do at the cost of you finding out who you are, adults dismissing your feelings, especially romantic ones, struggles with your peers, your decisions isolating you, teens live all of this. Being shown that their stories are not unique, but have been understood so well that a truly great artist devoted a whole play to say how fucked up it is to make kids go through this...that William freaking Shakespeare wrote about this hundreds of years ago. That he told their stories to make people care, and see how their behavior has to change. That is powerful.
It isn't a bad play! But it is not a romance! It is a tragedy! It just isn't usually taught that way.
Yes the protagonists are kind of stupid, and even people their age can see that. You can acknowledge that while also seeing that it wouldn't have mattered if they had been brilliant. It wouldn't necessarily have changed anything. It was the adults who were the fucking problem.
Taught well, it could be extremely validating for young people.
It could also teach adults a thing or two, if we encouraged and helped adults to continue learning and didn't just burn them out and then suck all their life away with debt and two jobs and no time to reflect.
Always a good time to burn down yet another village!
Patreon
so my fridge is covered in femboy pinups i got when i was a subscriber to this porn artist's patreon and i just have like so many femboy pinups and also a furry pinup on my fridge it really is quite erotic
and my wifi password is "onthefridge"
so whenever someone new comes over and i offer to let them use the wifi i tell them the password is "onthefridge" and they go and look at the fridge and are met with all this femboy ass and are like where is it there's a lot of stuff here and i reiterate it's onthefridge and they go where!!! and i come over and type "onthefridge" into their phone and they get so mad
Please make art. You don't have to bare your soul or make a masterpiece, you can be silly and you can be derivative if you want. You don't even have to show it to anyone. Just please make something, it's so good for you
Trying to explain Killie et al to my husband as he gets ready to leave for larp, and he goes:
"Killie and the Hellhorse sounds like a children's book."
yiddish theatre, yiddish newspapers and other yiddish cultural stuff was illegal in israel for years and actively discouraged and attempted to make obsolete, yiddish lectures were disrupted and the israeli state translated the testimonies of holocaust survivors to hebrew rather than keep them in yiddish (the language spoken by most jewish holocaust survivors) but tell me more about how israel and zionism are saving jews and making jewish cultural identity stronger rather than destroying and devaluing jewish diasporic culture đ€
reminder that Jews from North Africa and West Asia also often spoke dialects of Judeo-Arabic as their first language and this is still heavily repressed by the Israeli state in an effort to distance Arab Jews from Palestinians and other non-Jewish Arabs
Moreover, only after the Yom Kippur war Israel allowed Holocaust survivors to openly speak about their experiences. Between 48â and the 70âs, there was no support nor sympathy for Holocaust survivors. They were seen as weak, a âperfect exampleâ for what a Jew or zionist shouldnât be. The Holocaust survivors were just used as a reason to spread and justify the zionist ideology
also around 1/3 of holocaust survivors in israel live in poverty and israelis very vocally talk about how much they look down on holocaust survivors and diaspora jews
Several dozen impoverished elderly Israelis, among them Holocaust survivors, received food donations from a charity ahead of International H
people in the notes (and myself) were wondering about any sources of Yiddish being suppressed and I found this article talking about it
Exhibit chronicles Yiddish's 500 year presence in the Land of Israel
Itâs 1945, three years before the establishment of the state of Israel and at the very end of the Holocaust. Vilna Ghetto fighter Rozka Korczak-Marla comes to Tel Aviv, addressing the assembled in Yiddish about the extermination of Eastern European Jews. David Ben-Gurion, who would soon become Israelâs first Prime Minister, then spoke to the crowd in Hebrew. âA comrade has just now spoken here in a grating, foreign language,â he declared. Ben-Gurionâs shocking remark was part of a pattern of denigration expressed by advocates of Modern Hebrew within the Zionist movement during the pre-state years. It aimed to delegitimize the Yiddish language using violence, intimidation and propaganda.
i first read about this in academic papers that i dont have access to right now, but here are some more articles about it
While there is something unsavory and very intolerant about the Zionist movementâs assault on Yiddish, I would argue that it was, in some wa
In his superb study of Yiddish, Words on Fire, Professor Dovid Katz tells of an incident that troubles me. The Israeli government hosted a reception in the early years of the Jewish state for Rozka Korczak, a survivor of the Vilna Ghetto who organized partisan units in the forests to fight the Germans. Korczak, according to Katzâs account, was one of the first partisans in the nascent Jewish state to speak about her experiences and her heroism in the Shoah.At the reception, she told her story in Yiddish.David Ben-Gurion, Israelâs founding father, became visibly upset as the survivor told her tale. Eventually and abruptly, he stormed out of the reception, claiming â in Hebrew â âthe language grates on my ears.âYiddish was Ben-Gurionâs first language, as it was for every Israeli leader at that reception. Zionists had even published exhortations in Yiddish to convince young Jews in Eastern Europe to join the movement and make aliya. [âŠ] Yiddish was not a âjargonâ or a âdialectâ â it was a powerhouse that could have undermined the Zionist project.
destroying the strength of jewish diaspora culture was necessary to creating the âjewish stateâ
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NEW YORK â The nearly 100-year-old photo features half a dozen young Jewish men all bandaged up. They appear to be victims of a pogrom.
Except, as the caption reveals, this photo was not taken in Eastern Europe. Nor were the attackers non-Jews.
In fact, these young men were beaten up in Tel Aviv by fellow Jews. Their crime? Speaking Yiddish in public.
Published in a Jewish weekly in Warsaw, this black-and-white photo, taken in 1928, is part of an exhibit that opened this week at New Yorkâs YIVO Institute for Jewish Research, dedicated to âPalestinian Yiddish.â That is, Yiddish spoken before 1948 in the territory that encompasses the modern State of Israel.
A major focus of the exhibit is the outright hostility and disdain shown by many of the early Jewish settlers toward the Yiddish language. In creating a ânew Jewâ in what they called the Land of Israel (Eretz Israel), these fervent, Hebrew-speaking Zionists were determined to break away from anything that smacked of the Diaspora â first and foremost the language widely spoken by European Jews.
âNegating the Diaspora was a core part of the ideology of early 20th-century Zionism, and for this reason Yiddish had to be suppressed,â says YIVO academic adviser Eddy Portnoy, who curated the exhibit. âIt was almost like a Jewish self-hatred.â
***