#2012 Tins

[satorisoup]

people will think im ordinary until they say one (1) thing about tmnt and all of a sudden im explaining the entire lore starting from the 1990’s movie & why donatello is the best turtle i fear… T^T

tag limit fights me… i must yap… please listen… SOB </3

[hpnotfound]

I need someone to crack my back like Casey did shredder in that garbage press

[lokilysolbitch]

i don't see influencer content very much so i get confused why the "you don't need this" sentiment is so aggressive until i hear about influencers BUYING NEW BEDSHEETS FOR EVERY SEASON??????????????????????

YOU GOT BEDSHEETS AT HOME

[lovphobic]

Pls pet your dog for me! Mine is also afraid of rain lmao

she has been getting so many pets dont u even worry! shes currently sat across my lap and oh my god do her elbows hurt <3

[miru667]

The whole Once-ler family is working full tilt!

Here's my full piece for the VK Onceler Zine! I was very lucky to get to be a part of it...🥹 I used concept art as my inspiration this time: [link] Keep reading below for my process vid and all my director's commentary!

Thank you for being curious! Here's a video of my WIPs:

Deadlines were TIGHT for this zine! We were given only 2 months (compared to the 6 months I had on the previous onceler zine), so to make sure I could finish on time, I decided to do only base colours and lighting, with almost no shading anywhere. Still, trying to balance all the colours took the longest for me, as you can see in the vid. xP

Also idk if anyone noticed, but for the face I chose to use an already existing onceler doodle: [link] Why? Well, why not! I really liked that doodle and I didn't want it to go to waste. 😆

Things that I enjoyed sneaking in:

-the golden spiral! Vaguely, at least! At the very least I hope your eyes can follow the order of thneed production, from the fallen tree at the window to the tuft harvesting to the thread spinning, to knitting the thneed and then drawing up plans for bigger and better things, and then ending with him pulling on his iconic glove to show he's going to take control now

-15 cents, a nail, and a great great great grandfather snail, as well as a tin pail since that's where you're supposed to deposit your payment

-combining things from the 2012 movie and concept art, the 1972 movie, and the 1971 book (e.g. that funny wrench he uses to fix pipes)

-Miss O'Schmunce-ler! You can see from the vid that I added the bracelet pretty late, because it was a late decision to have a Miss O'Schumunce-ler somewhere. I chose her to be the one picking up the pencil in the end, since she's pretty good with a pencil in the movie hehe. You guys can pretend the arms holding the phone is Miss Funce-ler.

-a thneed, a seed, and a (grickle grass) weed on the floor. The thneed is just the first of many that will soon create a giant pile. The seed lies forgotten in the corner. The weed is foreshadowing the future.

-hinting that Lorax and Once-ler were actually good friends, like they were in the Lorax musical stageplay. 🥺 I kept this part of the script in my mind for this piece:

This was aftermath Once-ler talking to the Lorax, reminiscing on their good times...and also being stupid and inconsiderate because the Lorax was in fact there all along as his friend, trying to warn him of what was going to happen. 😔

So in my zine piece we're witnessing a peaceful time before all the real biggering really starts. I like to think that in this scene, the Lorax had been sitting on the Once-ler's lap, holding his gloves for him and having a nice chat together with maybe some harmless bickering, but then the Once-ler gets a phone call so he cuts their convo short and rolls his chair over to the window to answer it. Putting business over friendship as usual, of course. Inspo for the lap sitting comes from this fanart by Emi that I love: [link]

What else...the parts that I'm proud of the most are the stool (I spent 2 days just drawing this stool), the curtains, the fact that I was able to include every truffula colour, and the Once-ler's pose. I was close to giving up on that pose because I had no idea how to draw it but I'm glad that I tried again. I wanted to show him at ease during a stage in his life that we never got to see much: the happier and more innocent days of his biggering when he only had a small shop. 😊

That's all, I think! Thanks for reading if you did! Once again it was an honour to be part of this zine!!

[dykesynthezoid]

A Daniel Molloy Coded Movie List.

- Nightcrawler (2014) - Near Dark (1987)

- Naked Lunch (1991) - Talk Radio (1988)

- Strangers on a Train (1951) - Mikey and Nicky (1976)

- Cruising (1980) - Lost Highway (1997)

- Cat on a Hot Tin Roof (1958) - Point Break (1991)

- Videodrome (1983) - Mahler (1974)

- The Graduate (1967) - Midnight Cowboy (1969)

- Premium Rush (2012) - Stalker (1979)

[tavolgisvist]

'Just call him on the phone'

Q: Aside from the millions you’ve been offered for a reunion concert, how did you feel about producer Lorne Michaels’s generous offer of thirty-two hundred dollars for appearing together on Saturday Night Live a few years ago?* A: Oh, yeah, Paul and I were together watching that show. He was visiting us at our place in the Dakota. We were watching it and almost went down to the studio, just as a gag. We nearly got into a cab, but we were actually too tired. Q: How did you and Paul happen to be watching TV together? A: That was a period when Paul just kept turning up at our door with a guitar. I would let him in, but finally I said to him**, “Please call before you come over. It’s not 1956, and turning up at the door isn’t the same anymore. You know, just give me a ring.” He was upset by that, but I didn’t mean it badly. I just meant that I was taking care of a baby all day, and some guy turns up at the door … But anyway, back on that night he and Linda walked in and he and I were just sitting there watching the show, and we went, Ha-ha, wouldn’t it be funny if we went down, but we didn’t. Q: Is that the last time you’ve seen Paul? A: Yes, but I didn’t mean it like that.

<...> Q: You say you haven’t really listened to Paul’s work and haven’t really talked to him since that night in your apartment— A: Really talked to him, no, that’s the operative word. I haven’t really talked to him in ten years. Because I haven’t spent time with him. I’ve been doing other things and so has he. You know, he’s got twenty five kids and about twenty million records out — how can he spend time talking? He’s always working.

(John Lennon, 1980, All We Are Saying, David Sheff)

*It was in 25 April 1976 **it was in 26 April 1976

Well, when I, when I was Just a little baby boy, Every night, every night I would call, Because your number, you know, Brought me such sweet joy. I've called your name, John, Every night since then But I ain't never, no, no, never Heard you calling me, My sweet, sweet babe, So, you know, you better call me back again, I call your operator but I still can't get through to you, Call me back again

(Call Me Back Again, presumably, 10 June 1976, Seattle)

Tell me, is she everything i see Or is she really not the one for me? We know, and though some may disagree But do they know the way we want to be? <…> Building something One thing made to last And holding something Special from the past And do I still believe in stories we've been told***? Are all the things she brings me worth their weight in gold? Oh yeah, (oh yeah) pure gold

(Pure Gold, Paul for Ringo, 1976)

***I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another.The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream’. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it – ‘Remember that dream we had?’; ‘Yeah, that was far out’. So the message of that dream was: keep digging lads.'

(Paul McCartney to The Big Issue, Feb. 2012)

After you've gone And left me crying After you've gone Ain't no deny You'll feel blue You'll feel sad You'll miss the dearest pal that you ever had

There'll come a time And don't you forget it There'll come a time When you'll regret it****

Someday when you grow lonely Your heart will break like mine You want me only After you've gone After you've gone away

(After You've Gone, 1977, Paul's version - 'just for fun' as he said - of a 1918 popular song written by Turner Layton and Henry Creamer, and it's Frank Sinatra's (and Sophie Tucker!) version.

****the line 'Don't you forget it/When you'll regret it' reminds another old (not as old like After You've Gone but old) song -  I Love You And Don't You Forget It by Perry Como. The song, what our lads were singing in their early years so playfully:

Klas Burling: Tell us something about how you find a song… how you get the idea about a song, to write it down. John: Well, sometimes it's the words first, and then the music after. Klas Burling: Very often you've got a title, you know… Me and you, and everything like that? Paul: Yeah. We try to do that, to make it personal so it's… so we really mean it. When we sing a thing about 'I love you,' it's easier. John: (singing) 'And don't you forget it!' John & Paul: (singing together, jokingly) 'I love you and don't you forget it!' Paul: Well, you see, it's easier than singing something about the cat that lives on the hill, man. (laughter) Paul: It's a lot easier just to sing about what you feel yourself.

(August 23 1963, interview with Klas Burling)

Was I just dreaming or was it only yesterday I used to hold you in my arms And now a baby, and a another on the way [Indescernable] in a farm Now must we be alone? If it don’t feel right, don’t do it If it don’t look right, look right through it If it don’t feel right, don’t do it Just call him on the phone

(John Lennon, Real Life, Feb 1977)

We'd had a bread strike over here***** and I rang him and I was saying, What are you doing? He says. I'm baking some bread.' 'Oh! Me too.' Imagine, with the stereotypes, John and Paul talking about baking bread.

(Paul McCartney, May 2001, interview for Mojo magazine)

*****a bread strike in England was in Nov 1978

Q: Do you regret that your life has become so public? A: I realized that a good fifteen years ago. I remember actually thinking when I went on holiday somewhere, ‘God I’d really better start thinking now about keeping a few countries aside where we don’t sell records. I won’t be able to go anywhere without being recognized.’ But now I think, ‘Really, I’ve reached the point of no return. There’s no going back.’ Even if I didn’t want to sing anymore, I’d just be like Greta Garbo or Brigitte Bardot. They both retired but you’d never know it. John said this to me a year before he died. He said, ‘Be careful what you wish for, it might just come true.’ That’s the way I look at it. I wished for all this and I got it. To regret it would mean I’d have to sit here and live with negative thoughts about it. I know that would only sink me. Even if I had feelings of regret my personality would not really let them out. ‘Look mate, you don’t regret it. Look on the other side,’ that’s me. Not to sink. I always used to do that instinctively, and not allow too many negative thoughts to surface.

(Paul McCartney, April/May 1982, interview for Music Express)

The couple of years after the Beatles broke up it was very touchy because I think we suspected each other of business manoeuvres. So anyone would ring up, it would be like, “Why is he ringing?” And when you put up the defensive like that it’s very difficult to say, “I’m not! Honest!” You just don’t know where to put yourself. So we had a lot of those ups and downs for quite a few years. But the favourite thing was that if ever we talked not business – and what we ended doing, actually, was make a rule not to talk business on the phone – and on those occasions, we had really good vibes, man. And it was great; we just talked kids, we talked family, we talked cats, we talked life, rather than, “oh, what songs are doing with x business affair?” And one of the great things for me, one of the consolation prizes after John was killed, the only thing– you know, you find yourself holding on to little bits of wreckage to keep yourself afloat. And with me it was the fact that our last phonecall was really one of the best we ever had together; it was really warm, we were really friends again.

(Paul McCartney, 1984, interview for CBS Morning News)

Q: Do you remember your last conversation with John? A: Yes. That is a nice thing, a consoling factor for me, because I do feel it was sad that we never actually sat down and straightened our differences out. But fortunately for me, the last phone conversation I ever had with him was really great, and we didn’t have any kind of blowup. It could have easily been one of the other phone calls, when we blew up at each other and slammed the phone down. Q: Do you remember what you talked about? A: It was just a very happy conversation about his family, my family. Enjoying his life very much; Sean was a very big part of it. And thining about getting on with his career. I remember he said, “Oh, God, I’m like Aunt Mimi, padding round here in me dressing gown”– robe, as he called it, ’cause he was picking up the American vernacular –“feeding the cats in me robe and cooking and putting a cup of tea on. This housewife wants a career!” It was that time for him. He was about to launch Double Fantasy.******

(Paul McCartney, Dec 1984, interview for Playboy)

******Double Fantasy released 17 November 1980

I was lucky. The last few wee... months that he was alive, we’d managed to get our relationship back on track. And we were talking and having real good conversations. Real nice and friendly.

(Paul McCartney about This One, interview with Bernard Goldberg for the TV series 48 Hours, 1989)

[ponytime]

Someone had a very similar idea about 11 years ago.

What I think it would be like if the Mane 6 (and Sunset Shimmer) were at the Normandy landings of 1944

[reasonsforhope]

"Samuel Onyango’s office at Kibera Primary School is serene and spacious. His table is neatly arranged, with an assortment of files and an array of books. One side of his cream-colored office is decked with aggregate performance scores, and another shows off several trophies in a glass cabinet. Last year, Onyango’s school performed a traditional dance and scooped third place in the National Drama and Film Festivals, where schools across the country competed for the top prize.

But today Onyango, the school’s principal, is bragging about something much more basic: Thanks to an innovative community program, his students and teachers are no longer getting sick from dirty water.

Onyango’s school, with a staff of 30 and a student body of about 1,700, is in Kibera, a neighborhood in the Kenyan capital of Nairobi that is widely known as Africa’s largest informal settlement. It is a community of houses made from mud or tin sheeting where residents have to hustle to meet even their most basic needs, like electricity or clean water.

It is also a community where creativity and innovation, at the heart of any hustle, are changing how some people can access clean water — and making major ripples in public health.

Onyango’s school has long gotten its water the same way many people in Kibera do: by buying it from independent suppliers, who truck water in and sell it for around $30 per 10,000 liters (about 2,650 gallons). But trucked water can be contaminated, despite suppliers’ promises, and Onyango’s students and staff were often using unclean water at home, too. It was common, he says, for both teachers and students to get sick and miss school because of waterborne illnesses.

Last November, Onyango’s school got connected to an aerial clean water system built by a local grassroots organization called SHOFCO, which stands for Shining Hope for Communities. “Once we got connected to SHOFCO’s water,” Onyango says, “cases of these ailments reduced to nil.”

SHOFCO’s water distribution system currently reaches about 40,000 people and distributes more than 3.7 million gallons of clean water per month.

Access to safe drinking water — and its equitable distribution — underpins public health. But for the estimated 250,000 people in Kibera, who live without any government infrastructure, clean water is often a luxury. Many people are using illegal water connections, which proliferate among the poor — there are nearly 130 in just three lesser-resourced Nairobi neighborhoods. But those DIY hookups can mix clean water with raw sewage, and Kenyan officials have recently warned of a looming public health crisis if water access is not prioritized.

Shifting weather patterns also increase the risk of waterborne illness, government officials say. The Ministry of Health and the Kenya Red Cross Society have called out severe flooding during the El Niño weather pattern as a source of a recent major cholera outbreak in parts of the country. Kibera was not spared this risk: The floods led to the contamination of various sources of water in the sprawling neighborhood.

But the aerial piping system SHOFCO built in 2012 — the one that brings water to Onyango’s school — saved some Kibera residents, quite literally. With collaboration from health and county authorities, SHOFCO has all but eliminated diarrheal disease in the communities that use its aerial piping system, according to Gladys Mwende, a program officer at SHOFCO. In the health facilities SHOFCO runs, the incidences of diarrheal infections have also gone down, she adds.

Pictured: People in Kibera’s Makina section pass by the signature blue pillars that hold up SHOFCO’s aerial water piping system. Visual: Sarah Waiswa/Harvard Public Health Magazine

“[Poor sanitation is the reason] that our water is aerial piped,” says Kennedy Odede, the founder and CEO of SHOFCO. Piping water in helps clean water maintain its integrity without interference from elements including tampering. In a huge community with no major infrastructure, piping seemed impossible — there was no money and no will to build a disruptive underground system connected to the city’s main water supply. Instead, Odede and his team put the pipes up in the air. “As somebody who grew up in Kibera, to see this clean water — which I have also drank — is powerful.”

SHOFCO’s water distribution system currently reaches about 40,000 people and distributes more than 3.7 million gallons of clean water per month — nearly 46 million gallons per year — at community water kiosks, which residents access with tokens linked to the mobile money platform M-Pesa. The water kiosks are pre-programmed to fill jerry cans that hold about five gallons at a cost of 3 Kenyan shillings, or about 23 U.S. cents.

A recent evaluation of SHOFCO’s clean water efforts, undertaken by the African Population and Health Research Center, shows diarrheal disease among children under age five have decreased by 31 percent where community members used SHOFCO water kiosks and received SHOFCO’s sanitation messaging.

“We don’t get as many cases of diarrhea even though now we are in the middle of the floods,” Mwende says. “Communities have not reported any outbreaks within the areas where we are working.”

Mohammed Suleiman is grateful for the change. Suleiman, 25, was born here, and it’s been his job for the last 18 years to fetch 135 gallons of water daily for his family’s personal needs and for their samosa business.

Two months ago, Sulieman contracted typhoid from the unsanitary water he was consuming. Once he recovered, he says, switching to SHOFCO water kiosks was a no-brainer.

“I don’t know where the other independent vendors get it from,” he says. But he trusts SHOFCO water. “Water sourced from SHOFCO is cleaner than that of other vendors,” he says. “I don’t have to treat water from [SHOFCO] kiosks before consuming it.”

And he’s the living proof: Since switching to SHOFCO water, Suleiman hasn’t been sick even once."

-via Undark, August 13, 2024

[paulandjohn]

“I remember when John and I were first hanging out together, I had a dream about digging in the garden with my hands. I’d dreamt that before but I’d never found anything other than an old tin can. But in this dream I found a gold coin. I kept digging and I found another. And another.

The next day I told John about this amazing dream I’d had and he said, ‘That’s funny, I had the same dream’. So both of us had this dream of finding this treasure. And I suppose you could say it came true. I remember years later talking about it – ‘Remember that dream we had?’; ‘Yeah, that was far out’. So the message of that dream was: keep digging lads.”

From an interview Paul did in 2012

I go back and forth between thinking this is rubbish and thinking that actually, yeah, of course they had the same dreams.

Sometimes, I feel like John just lied and told Paul that he had the same dream as him because he was so enamoured with Paul… idk. Does anyone have any insight or thoughts on this?

[tin-wufborf]

Tin's Favorite Sterek Fics (Part 6)

Hello, hello, hello, and welcome to the sixth installment of this little series of mine! Thank you all again for likes and shares on the previous parts. You all continue to blow me away with your support for this project of mine. Once again, smooches and squeezy-hugs to you all! But only if you want them.

As a quick heads up, we're entering into the "December 2012" era of fics, so you might start seeing a bit of a Christmas theme going on for a for a little bit. Generally, I don't prefer Christmas fics myself, but I'm a sucker for kid and pack fics (you may have already been able to tell), and those tropes tend to work well in a Christmas setting. Consider yourselves warned!

Okay, that's all from me for now. Ta-ta!

List and link to previous/next part(s) below the cut.

************************************************************************

DISCLAIMER: This is me warning you all that some of the fics I've included in this list may cover explicit, dark, and/or "taboo" subject matters. I cannot express enough how little I care what anyone thinks about any of that; all I want is for you to use caution when reading anything I've listed here and to please review and heed whatever tags the authors have provided in order to keep yourselves safe. Your experience from this point on is your own responsibility, not mine and not the authors'.

************************************************************************

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19

------------------------------------------------------------------------------

Nothing Satisfies Me But Your Soul by fadedhues (NR | 1/1 | 1,259)

“My name is Death,” he sings softly, and it’s fucking pretty, like he’s singing a lullaby to the winter sky, “and the end is here.”

------------------------------------------------------------------------------

must be a devil between us by hoars (NR | 1/1 | 2,081)

"What? Why would-- Derek, why would your daemon encourage mine to touch you?" Stiles fakes calm well, but his heart gives him away.

"Because Luminera is a deviant." He shrugs. He accepted Luminera's reckless behavior years ago.

------------------------------------------------------------------------------

souls of mischief by hoars (M | 2/2 | 2,695)

Stiles’ first memory of his mom is green.

Her green eyes, her green dresses, her green scarves, her green blouses and her green barrettes.

------------------------------------------------------------------------------

with the darkness fed by Rena (NR | 1/1 | 2,835)

It takes him several tries to dial the right number; his hands are slippery with blood (warm and sticky and bright red) and his entire body is shaking with the aftermath of puking his guts out, his breath is burning in his lungs and the phone keeps eluding his grasp.

------------------------------------------------------------------------------

What Could Have Been by thingcalledlove (G | 1/1 | 2,971)

The camera zooms in on the face of a very beautiful woman who looks vaguely familiar.

“Who’s the babe?” Stiles jokes, turning to look over at Derek.

“My mom,” Derek replies with a glare.

“Oh, shit, dude, I’m sor—” Stiles breaks off his apology as his eyes drift back towards the screen. Beside Mrs. Hale is another familiar face. One he hasn’t seen in a long time. His mother.

------------------------------------------------------------------------------

I Don't Want To Be Saved by Lapin (M | 1/1 | 3,132)

And everyone, everyone has their own ideas about this relationship, they all say the same things, they all do. "He's not good for you," "It's Derek," "This is the fourth night in a row," "What kind of asshole dates a high schooler?" "I'm not okay with this."

But Stiles pulls the red hood up, wanders from the path, and he's picking flowers, and he's breathing, "My, what big teeth you have," and Derek bares his fangs, and yeah. Fuck them.

------------------------------------------------------------------------------

Will Wonders Never Cease by thecheekydragon (T | 1/1 | 3,632)

Sheriff Stilinski wonders how Derek Hale fits into his working theory of a gigantic, two-ton pissed off moose shot-putting his son’s jeep.

------------------------------------------------------------------------------

Practically Perfect by betp (NR | 1/1 | 3,688)

WE NEED A NANNY PROBALLY. Reqirments: - eyes light up - wants to go places - can travel between dimentions - likes cheesebergers - a wear wolf - lisens to good music - SUPER STRONG - favorit color is pink - has friends who can fly - will merry our Dad

There is a stick figure drawing of a werewolf with red eyes and bared teeth, marrying Stiles on a cloud.

Or, "The one that has next to nothing to do with the kids." This is a straight-up unapologetic Mary Poppins AU.

------------------------------------------------------------------------------

Laura is Badass by hoars (NR | 1/1 | 5,079)

Laura's not expecting two teenage boys to burst into the bakery, brandishing lacrosse sticks yelling about “Kidnap!” and “Pedobears!” and “Sex slaves are illegal!”

She’s flabbergasted.

“Cupcake?” Derek offers.

------------------------------------------------------------------------------

When You Stop Believing in Santa You Get Underwear by owlpostagain (T | 1/1 | 7,817)

There are some salvageable things though. A virtually untouched heavy slate sign that says, engraved in an ornate script that confirms at least one person in the Hale family had a sense of humor (Stiles has a horrible suspicion it might have been Peter), When You Stop Believing in Santa You Get Underwear.

------------------------------------------------------------------------------

Beltane by DevilDoll (E | 1/1 | 8,254)

"Watching Stiles heal someone has always been a little uncomfortable for Derek, like he's seeing something intimate and private that shouldn't have an audience. That's nothing compared to how it feels." This is an AU in which Stiles has magical healing powers.

------------------------------------------------------------------------------

Your Words Are Robbery by dedougal (E | 1/1 | 12,127)

When Stiles is dragged back to Beacon Hills, he has to face everything he left behind.

------------------------------------------------------------------------------

cool story, bro by drunktuesdays (E | 1/1 | 13,087)

Based on a truly ridiculous conversation with Kalpurna about a hypothetical Stilinski Twins situation that ended up sounding something like:

“FUUUUUUCK, is it a sweet valley high situation where Stiles is very aware that his twin is way more attractive and confident than he is, EVEN THOUGH THEY'RE IDENTICAL, and he always ends up with the hotter significant others and more friends and Stiles guesses that's why he's attracted to the pack at first, because it's something that's just his, not his twin's too. But of course, Stiles's twin gets bit and now he's part of Derek's pack, and Derek doesn't snap at him like he snaps at Stiles, never slams him into things, fucking FIGURES, STILES'S TWIN GETS EVERYTHIIIIIIIING.”

Kalpurna/good ideas OTP.

------------------------------------------------------------------------------

Stay. by paradis (E | 1/1 | 15,537)

He leaves because the press of Derek’s lips and the sting of his teeth against Stiles’ neck are still burning his skin, and he can’t stop touching them, but then he remembers Derek telling him he’s not pack, he never was, and that he doesn’t belong here.

He leaves because Lydia asks him too, but he doesn’t go back to Beacon Hills because no one asked him to come back.

------------------------------------------------------------------------------

What To Expect When You're Expecting (A Litter of Sourwolf Puppies) by Brego_Mellon_Nin (E | 1/1 | 17,422)

The Sheriff sighs and plops down in a chair opposite his son.

“Stiles, I’m going crazy here. We need to get you to a doctor. You sleep like you’re trying to get into the Guinness Book of World Records, and your eating habits are bizarre! You vomit around the clock and for some reason only the tea your mother used when she was pregnant will get your stomach to settle down for any length of time. Is there something you aren’t telling me? Can werewolves get guys pregnant? I’ve noticed how you look at that Hale kid-”

Stiles meeps and flails, sloshing tea down his front. Luckily it’s not scalding anymore, but still hot, so he jumps up and wrenches his shirt off.

“God, dad, no! Guys can’t get pregnant, that’s ridiculous, it’s like...”

“Like werewolves being real?” his dad questions, deadpan.

------------------------------------------------------------------------------

Home by cofeeinallcaps (E | 1/1 | 18,464)

Derek has bought a beautiful house. Stiles can't stay away. (In which everyone hangs out at Derek's place all the time and Stiles tries but fails not to fall for a certain socially inept alpha.)

------------------------------------------------------------------------------

Assistant to the Consulting Detectives by idyll (T | 9/9 | 18,674)

Stiles is going to NYU and ends up working for Sherlock and Joan.

------------------------------------------------------------------------------

Metamorphsis by happyevraftr (E | 1/1 | 20,755)

Life isn’t easy for Stiles Stilinski. This is a truth he’d come to accept a long time ago, so it’s no surprise when an enemy pack shows up in town with a mysterious Alpha that’s hell bent on revenge. Things escalate quickly when Erica goes missing and Isaac is attacked by the new pack. As if that isn’t enough to handle, Stiles own body begins to betray him and he must decide whether to die as a human, or live as a werewolf.

------------------------------------------------------------------------------

The Birthday Fic by seussian (E | 1/1 | 21,066)

It's Derek's 30th birthday, and Erica and Boyd have been kidnapped. Again.

------------------------------------------------------------------------------

Tutor!Verse series by betp (10 works | NR-M | 41,579)

They meet when Derek is seventeen and hates history almost as much as he hates his ex, Kate, and Stiles is sixteen and taking junior-level history classes. Then they fall in love and do dates on each other and I didn't mean for any of this to happen. By which I mean Sterek fic!

1. Not Another Sterek Romance (It Is Absolutely Another Sterek Romance) (T | 1/1 | 2,405) In which Derek is the worst at history and Stiles wears glasses. 2. Boys, Interrupted (NR | 1/1 | 1,329) "I am the result of your academic ennui," Stiles summarises. 3. Jeepin' (M | 1/1 | 1,368) Stiles warns Derek four days in advance, resulting in Derek unable to concentrate in any of his classes that Friday, because all he can think about is his impending gay deflowering, which--jesus fucking christ. 4. Peer Pressure (T | 1/1 | 1,615) "Can't even answer a simple question, he's too good for that. I hope he knows what we do to kids who are too good to talk to us." 5. Golden (NR | 1/1 | 947) "It's like a recipe for a summer romance movie from the 80s." 6. Catch Me a Catch (NR | 1/1 | 1,828) In which Allison will never understand Stiles' sense of humour, Scott will never understand what Stiles sees in Derek, and Derek wonders what he would spend his free time doing if he'd never met Stiles. (The answer is CoD and literally nothing else.) 7. Education (NR | 1/1 | 2,990) "I'll try anything once." He pauses. "With you. Only with you."

In which Stiles and Derek have been dating for three years, and Derek decides to try something new. 8. Viridian (NR | 1/1 | 5,967) "Dude, forget Stiles." 9. Biological Imperative (NR | 1/1 | 2,206) "I want to have children with you someday," Derek interjects firmly. "Not that I know why I seem to think that would be a good idea." Tin here. Just wanted to pop in and say that this part (part 9) is the conclusion to this series as the next part is a WIP reboot of the series.

10. i brought my pencil (NR | 3/? | 20,924) Your typical, classic nerd/jock au, but with a shittier attitude. (A reboot of this series. Sorry guys.)

------------------------------------------------------------------------------

************************************************************************

[fictionadventurer]

Details:

1940s Hans Christian Andersen shorts: Intended as animated segments within a live-action film about the author's life, these would have adapted The Little Mermaid, The Fir Tree, Through the Picture Frame, The Emperor's Nightingale, and The Steadfast Tin Soldier. (Yes, I know we got adaptations of several of these, but I still want to share the concept art for old versions).

Gremlins: A film they worked on a lot during WWII but couldn't crack the story (or find money to make it)

Don Quixote: They tried to adapt the story in various ways in the '40s, '50s, and '00s, which is too long to get into here, but it led to some interesting concept art.

Chanticleer: A story about an arrogant rooster who thought his crow made the sun rise, and used this to rule over the other farmyard animals. Reynard the Fox was a villain who tried to take advantage of the discontent in the farm animals to take over as their leader (with plans to eat them), which leads to Chanticleer saving them and learning humility. Work started on it in the 1940s, and it was so close to being made in the 1960s, but they decided to go with The Sword in the Stone instead. Some of the animators loved it, though, and some of the character concepts were later adapted into Robin Hood.

Catfish Bend: I haven't found much about the story beyond "talking animals in the South", but the concept art intrigues me. It would have been released in 1981, but after it was shelved, some of the concepts went on to inspire The Rescuers.

Mistress Masham's Repose: An adaptation of T.H. White's novel, pitched in the late 1980s

Fraidy Cat: 2009 film about a pampered housecat named Oscar who is falsely accused of kidnapping another pet and has to team up with a cockatoo and try to find the real culprit to clear his name. Shelved because they figured kids and general audiences wouldn't understand the Hitchcock references (which seems like a terrible reason, but alas).

King of the Elves: Announced in 2009, it was a 3D animated film scheduled for 2012, before being shelved in 2016. Adapted from a Philip K. Dick story, it was about an ordinary man who saves some elves from a troll and (apparently reluctantly) gets declared their king.

Gigantic: A retelling of Jack and the Beanstalk set during the Spanish exploration, it involves Jack meeting an 11-year-old female giant who treats him like a doll, and eventually fighting much larger Storm Giants. Would have had songs written by the team from Frozen and was set to be released in 2018, then moved to 2020 before being cancelled because apparently they couldn't figure out the story.

[mostlysignssomeportents]

Rsync corrump linkdump

I'm coming to DEFCON! On Aug 9, I'm emceeing the EFF POKER TOURNAMENT (noon at the Horseshoe Poker Room), and appearing on the BRICKED AND ABANDONED panel (5PM, LVCC - L1 - HW1–11–01). On Aug 10, I'm giving a keynote called "DISENSHITTIFY OR DIE! How hackers can seize the means of computation and build a new, good internet that is hardened against our asshole bosses' insatiable horniness for enshittification" (noon, LVCC - L1 - HW1–11–01).

As per the uje, I've arrived upon a Saturday with a backlog of links that I have not managed to squeeze into the week's newsletters/blogs, so it's time for another linkdump, 22nd in an erratic series. Here's the previous 21:

https://pluralistic.net/tag/linkdump/

Let's start with some seasonal material, and by "seasonal," I of course mean Hallowe'en. Yes, August is the official start of Spooky Season, and yes, I am a monster for insisting on this, but being a monster is the point of Spooky Season (which is what differentiates Spooky Season pushers like me from the creeps who insist that you need to start prepping for Xmas in late September – they're monsters, too, but Yule Monsters are bad) (with the exception of Krampus).

I was a monster kid and now I'm a monster adult. It all started when I was bitten by a radioactive Haunted Mansion at the age of six:

https://memex.craphound.com/2012/10/22/how-a-haunted-mansion-addict-fell-in-love-with-the-greatest-ride-on-earth/

I am a sucker for all things monstrous, and so I was intrigued when I got a book of "creepy-cute" stickers in the mail from a publicist at Simon & Schuster:

https://www.simonandschuster.com/books/The-Creepy-Cute-Sticker-Book/Gaynor-Carradice/Creepy-Cute-Gift-Series/9781507222515

"Creepy-Cute" turns out to be an official designation, embraced by the illustrator GaynorCarradice, who has created several books on these lines, featuring her chibi/monster crossover creations, which do exactly what it says on the tin, by which I mean, there's some genuinely creepy stuff in the mix, along with the cute.

It's when the cute pastels rub up against the gore, skulls, eyeballs and other visceral viscera that these illustrations really kick off some heat – I've rounded up a few of my favorites here:

https://craphound.com/images/creepycute.jpg

One of the surefire signs that Spooky Season is upon us is that the (sometimes NSFW) Tumblr account Halloweenlandmotherfucker emerges from dormancy with a stream of images of vintage Hallowe'en cards (these were a thing!), photos of people in costume and other delightful visual novelties:

https://www.tumblr.com/halloweenlandmotherfucker

Monster culture isn't just for Hallowe'en, of course. The ancient and noble tradition of compiling and publishing bestiaries is alive and well, thanks to RPGs. In the beginning, there was the D&D Boxed Set, with its Monsters and Treasure booklet:

https://www.americanroads.us/DandD/ODnD_Monsters_and_Treasure.pdf

Then came the Monster Manual, the first hardcover D&D book, succeeded by the Fiend Folio, which featured Charlie Stross creations like the githzerai and slaad, Indeed, there was a whole, iconic library of hardcovers that fit perfectly in an oversized backpack that I dragged everywhere so that I could obsessively read and re-read them.

Eventually, these gave way to new hardcovers with new rules as well as new corporate owners (Wizards of the Coast, then Hasbro), culminating in the release of the Open Gaming License, an "open content" license that was a) grossly defective; b) largely irrelevant; and c) hugely controversial in 2023, when Hasbro terminated it:

https://pluralistic.net/2023/01/12/beg-forgiveness-ask-permission/#whats-a-copyright-exception

The Open Gaming License purported to license out game elements that weren't copyrightable (rules, tables, etc), as well as material that you could likely use under copyright exceptions like fair use:

https://www.eff.org/deeplinks/2023/01/beware-gifts-dragons-how-dds-open-gaming-license-may-have-become-trap-creators

And worst of all, it was revocable, so games publishers who tooled up to publish supplements and sourcebooks based on the OGL could have the rug yanked out from under them at any time (that time turned out to be early 2023).

Hasbro's OGL rug-pull had three salutary effects:

I. It gave gamers a crash-course in what was – and wasn't – copyrightable in an RPG design;

It encouraged game developers to look beyond D&D's OGL rules and into truly open (and often superior) alternatives; and

It inflicted so much reputational harm on Hasbro that, 20 months later, they announced that they would release a new set of D&D rules under the Creative Commons Attribution Only 4.0 license:

https://www.dicebreaker.com/games/dungeons-and-dragons-5e/news/dungeons-and-dragons-2024-srd-wont-be-another-ogl-fiasco

Now, CC BY 4.0 is a real-ass license. Notably, it corrects a defect in the earlier versions of the CC licenses that gave rise to a class of predatory copyleft trolls like the odious Pixsy:

https://pluralistic.net/2022/01/24/a-bug-in-early-creative-commons-licenses-has-enabled-a-new-breed-of-superpredator/

If Hasbro follows through on their promise, the new CC materials will kick off with the 2025 release of the next edition of the Monster Manual:

https://dungeonsanddragonsfan.com/new-2024-dnd-monster-manual/

It's wild to think that tabletop RPGs are now a cutting-edge way to learn about digital policy, but on the other hand, D&D arrived in my home around the same time as my Apple ][+, which was also around the time I first heard the name Ronald Reagan (rest in piss).

The legacies of the 80s – RPGs, digital technology and Reaganomics – cast a long shadow. Last month, many of us discovered the hard way that Reaganomics – specifically, the embrace of monopolies as "efficient" – has produced a world of unimaginable brittleness. Millions of people around the world found themselves cut off from ATM cash, flights, hospital care, and many other essentials thanks to the Crowdstrike Blue Screen of Death outage. While many of the explainers have focused on how Crowdstrike fatfingered a software update that crashed all those computers, there's been a lot less commentary about how it is that one company had it in its power to do so much harm.

Writing last week for EFF's Deeplinks blog, my colleague Rory Mir tackled that (far more important) issue:

https://www.eff.org/deeplinks/2024/07/crowdstrike-antitrust-and-digital-monoculture

Market concentration – monopoly – is the common thread wound around so many of our daily horribles. Think of the tech billionaires who threw in their lot with Trump last month. How did they get to be billionaires? Monopoly power. Remember back in 2017, that notorious photo of the tech industry meeting at the top of Trump Tower, with Peter Thiel at Trump's left hand?

https://techcrunch.com/2016/12/14/donald-trump-meets-with-tech-leaders/

People were appalled that this group of corporate leaders, who between them controlled virtually all the technology in our lives, would debase themselves by paying fealty to this buffoonish would-be dictator.

But far more consequential was the fact that you could fit everyone who controlled all of our technology around a single table. Once everyone important to an industry can fit around a single table, it's only a matter of time until they find a table to sit around, and that's when it all starts to go wrong. As the Communist firebrand Adam Smith once wrote, "People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public, or in some contrivance to raise prices."

Enshittification starts with market concentration. This is a subject I'm going to be going very deep on next Saturday, when I give my Defcon keynote, "Disenshittify or die! How hackers can seize the means of computation and build a new, good internet that is hardened against our asshole bosses' insatiable horniness for enshittification":

https://info.defcon.org/event/?id=54861

When I give that talk – and afterwards at my book signing – I will be wearing an N95 mask, just as I did last year. Why am I wearing a mask? Two reasons: first, Long Covid is a horror. One of the best writers I know – a living legend – recently told me that their book-writing days are likely done because of Long Covid brain fog.

A new Lancet article gets deep into the science of Long Covid:

https://www.sciencedirect.com/science/article/abs/pii/S014067362401136X

The principle author of the Lancet article is Oxford health professor Trish Greenhalgh, who gave an excellent lay summary in her newsletter:

https://independentsage.substack.com/p/long-covid-a-dystopian-game-of-pinball

In particular, Greenhalgh describes why some people don't get Long Covid, and some people do – and, most important, explains why the fact that you didn't get Long Covid last time doesn't mean you won't get it next time:

https://independentsage.substack.com/p/long-covid-a-dystopian-game-of-pinball

So I don't want to get covid, and so I'm gonna wear a mask. Because masks fucking work. A new study reveals just how well they work:

https://www.thelancet.com/journals/ebiom/article/PIIS2352-3964(24)00192-0/fulltext

The study shows that wearing any mask, even without knowing how to fit it well, offers substantial protection against both contracting and transmitting covid. Even better: wearing an N95 (even without paying attention to correct fit) offers "near perfect" protection against covid:

https://today.umd.edu/n95-masks-nearly-perfect-at-blocking-covid-umd-study-shows

I didn't get covid at Defcon last year, and I didn't get it at HOPE, and I didn't get it on our family vacation in July – all events where friends got sick. The difference? I wore a mask. Which works.

OK, I need to go work on my Defcon speech some more, so I'm gonna sign off, but I will leave you with just one more link, the wonderful new public domain image search tool, Public Work, which crawls and indexes the Met, the NYPL, and other sources:

https://public.work/

I rely on public domain, CC and other freely usable clip art to make the collages that accompany this newsletter/blog's stories. While I have very little talent in the visual arts, I'm getting steadily better. I mean, look at this amazing image I womped up for last week's story on Bitcoin bros' election campaign finance fraud:

https://www.flickr.com/photos/doctorow/53893519593/in/album-72177720316719208

You can see a collection of my recent collages in my Flickr gallery for them:

https://www.flickr.com/photos/doctorow/albums/72177720316719208?sd

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/08/03/smorgasbord/#creepy-cute

Image: Anne Lindblom (cropped) https://www.flickr.com/photos/kajsawarg/3600415175

CC BY 2.0 https://creativecommons.org/licenses/by/2.0/

[uwmspeccoll]

It’s Feral Friday! 

This week we’re taking a peek at Poetry Comics: from the Book of Hours by Bianca Stone. Published in 2016 in Warrensburg, Missouri by Pleiades Press, this 79-page collection of Stone’s work stretches the comic medium in a series of intimate and emotionally raw illustrations and panels. Poetry comics (a hybrid, experimental form of both mediums that can be seen in the work of artists such as Julie Delporte, Sommer Browning, and Anders Brekhus Nilsen among others) draw "from the syntax of comics, images, panels, speech balloons, and so on, in order to produce a literary or artistic experience akin to that of traditional poetry." As an unvarnished autobiographical comic with feminist undertones, it is in the lineage of artists like Aline Kominsky-Crumb. But Stone’s poetic approach, which informs her artistic style as well as her writing, injects an unruly tone of existential grappling that echos the illustrations and text of artists more akin to William Blake. 

Pleiades Press is based at the University of Central Missouri. Bianca Stone's work has been published in magazines like The New Yorker, The Atlantic and The Nation. Her poetry collection What is Otherwise Infinite (Tin House, 2022) won the 2023 Vermont Book Award in Poetry. Her other books include The Möbius Strip Club of Grief (Tin House, 2018) and Someone Else’s Wedding Vows (Octopus Books and Tin House, 2014). In 2012 she collaborated with Anne Carson to illustrate her translation of Antigonick.

View more Feral Friday posts.

View more Poetry posts.

View more Comics posts.

--Ana, Special Collections Graduate Intern

[cyber-corp]

okokok. Here is my understanding

In 2012, Illumination Pictures releases an animated adaptation of the Dr Seuss story, The Lorax. The Onceler is the movie is given a full blown arc (unlike the book which just portrayed him as a pair of hands).

No one else notices, except for a website called Tumblr, which presumably goes fucking nuts over this guy.

Now because there aren’t really characters in The Lorax as much as there are cardboard cutouts, you can’t really “ship” the Onceler with anybody (aside from The Lorax, which is a funnier choice). So what does Tumblr do?

Ship him with himself, of course!

The concept of “Onecest” developed with askblogs (which are exactly what they say on the tin). There were full-on story arcs and blog crossovers with these things! Which is a cool idea, but you’re doing it with fucking Onecest, so less points.

In conclusion: I’m scared of what you people used to get up to in your spare time.

[iamthepulta]

How competitive was the copper market? Would Ea-Nasir have been one of many sellers of broadly equivalent status all trying to make a buck, like how one town might have six building firms all competing for work, or would he have had a near-monopoly like Starbucks? Would he have been a sole trader who brokered deals between mines and consumers, or would he have managed a warehouse with employees and held stock, etc?

Oh SHIT, I never answered this and it got lost in my drafts! I'm so sorry.

This is a fantastic question! Just to flesh out the picture of the trade in the day: Bronze is an alloy of copper (Cu) with either arsenic (As) or tin (Sn). Arsenic is a common unwanted element in copper deposits, and copper-arsenic-oxide (Cu-As-O) minerals look very similar to plain copper minerals. However, tin (Sn) occurs in very different, rarer, geologic environments, and thus must be sourced from different areas.

Likewise, As-Bronze is less malleable than copper, but not by much; arsenic ions are about the same size. Tin ions form good bronze because they're larger than the copper ions and prevent the metal from freely deforming, so it was prioritized for weapons and tools. Arsenic was used when tin wasn't available.

Ur was known for being one of the best cities for bronzework during the Bronze Age: metalworking services were in high demand, and they were the center of the copper, arsenic, and tin trades. Copper from Oman (or Cyprus, as their industry was developing more at the time), tin from Afghanistan, Southeast Asia, or Turkey, (depending on which archaeologist you talk to), and arsenic from India or Egypt.

So yeah, as a middleman, Ea-Nasir probably had numerous competitors who procured copper from Oman, particularly from the halfway point in Qatar, and then sent it back to Ur. Also referencing the plural translation "-those of the people who travel to Dilmun-", although likely only a few of those merchants were chosen to sell to the temple/government. (But that's speculation. Maybe the temple picked one person a year? Maybe copper tithes meant there was usually supply, and it was only this year during war the temple picked Ea-Nasir to buy from.)

It's also quite possible there were people doing copper business like Ea-Nasir further up the Tigris and Euphrates closer to Cyprus, and there were definitely specialist merchants for arsenic-copper and tin procurement. Once the copper was in the city, his buyers were refiners and metallurgists who made the bronze or copper wares that were purchased/exported throughout the Middle East.

As for employees and stock, I honestly don't know. But from the letters, it sounds like he was stretched rather thin, and he was dealing with buyers' messengers himself. So I wouldn't be surprised (although this is speculation) if it was just him and perhaps a servant/slave of the period to handle things in Ur while he was in Dilmun.

[Image References under the cut]

meme from r/historymemes

Peterson, 2012. Forging Social Networks: Metallurgy and the Politics of Value in Bronze Age Eurasia. The Archaeology of Power and Politics in Eurasia. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9781139061186.018

Content References within my other Ea-Nasir writeups under iamthepulta: #mining history, or #ea nasir