#Mickey's

[dzone-16]

Malt Liquor Showdown! Time for another taste review!

Malt liquor is not beer! Not technically anyway. The flavors can be very similar, but the main differences are the reduced or completely omitted presence of hops, and the higher sugar content compared to beer. They also tend to have higher ABV, though this isn't really the case with Mickey's.

I found the Silver City Brewery's DeLuxe Craft at a big wine and beer shop last week, and it got me thinking about Mickey's. So I found the latter, returned for the former, and did a side-by-side! I had fun with my last written tasting, so why not go again with another slightly obscure beverage...

The Mickey's (Milwaukee, WI) is classic stuff, my grandpa used to drink these when I was very young. That stubby, wide-mouthed green bottle is iconic alongside that wasp mascot. On the nose is quite similar to a typical lager, bready, yeasty, not a strong hop presence. Flavor-wise, it again reads as a lager, but with a slightly syrupy texture. This is one of the only beers I've ever seen that lists corn syrup (specifically NOT high fructose) as an ingredient, as well as a standard nutrition facts label. Anyway, malt forward with a smooth corn roundness on the tongue. Hoppy bitterness only comes in toward the end, has subtle fruity notes, and is quite weak. I assume this is because it uses hop extract rather than the real thing. No real complaints about this, it's nostalgic for me personally, and the sweetness makes it easy to pound. The pictogram on the underside of each cap is fun too, just like classic glass bottle SoBe bottles!

Silver City Brewery's (Bremerton, WA) DeLuxe Craft brings a slightly more refined presentation as well as flavor. Refined in terms of can design, meaning it fits well with the rest of their lineup while standing out with that classic turquoise hot rod color and script lettering. To be honest, Mickey's still wins in this category for me. On the nose, DeLuxe is fruitier than Mickey's, which comparatively has a heady, chronic scent. I could take either, both smells appeal to me. As I drink DeLuxe, I notice it's a fair bit more aggressively carbonated than Mickey's. DeLuxe also brings a longer lasting malt flavor and less corn syrupy-ness. The flaked corn mentioned on the bottom of the box tastes more real, and balanced against the barley. There may be some corn syrup in it though, because it is still softer and smoother than a regular lager. The hop extract (or however they hopped this) leaves the mouth with more fruity aromas than Mickey's, and dryer overall in terms of sweetness. But only JUST so. The higher alcohol content (5.6% vs 7%) opens up these flavors that much more.

I would personally give the win to DeLuxe here, as I prefer the bubbles, less sweetness, and more hoppy combination to Mickey's. This is in no way saying that Mickey's is bad, it rides high on nostalgia, drinkability, and availability. But the refined character just barely beats the bee.

[opencharacters]

It looks like Mickey has something to say

[kcsplace]

Top Gun Silliness

[tanookitalez]

the undying love of mickey mouse

[shitty-check-please-aus]

What we need to do is convince all the disney adults in america that high speed rail would be a preferable way of getting to disneyworld compared to driving or flying. We could maybe harness their fondness for the monorail or something, but this is a group of people that has time, income, and passion that we could leverage. If we could direct 5% of the enthusiasm they have for limited edition popcorn buckets into calling their representatives and demanding high-speed interstate rail, we could get it by 2030

[peejalien]

Happy Mickey Mouse is mine day

[hell0mega]

people are drawing Steamboat Willie Mickey doing all this crazy shit and whatnot, but you could always do that. you can do that now, with current Mickey, just fine. it's fanart and it's legally protected. hell you could take Disney-drawn Mickey and put a caption about unions or whatever on it and it would still be protected under free speech and sometimes even parody law.

what is special about public domain is that you can SELL him. you could take a screenshot and sell it on a tshirt. you can use him to advertise your plumbing business. people have already uploaded and monetized the original film.

you could always have Mickey say what you want, but now you can profit off it.

[skiplo-wave]

Fyi

( x )

Happy creating folks

[mostly-funnytwittertweets]

[teddybeartoji]

18+ mdni; gn!reader

toji is okay with you not making eye-contact with him during sex because he knows that you're just overwhelmed, right? it's because he simply loves to feel your lips against his skin when you hide your face in the crook of his neck because that's how he knows he's taking good care of you, right?

fuck no.

those are not the only reasons.

if you look toji in the eyes while he's fucking you, he will cream his pants like a fucking teenager who's just seen a pair of tits for the first time.

when he has you on your back with your heels digging into his lower back and with your hands clawing at your back, his own arms barely supporting his body as he sinks into you; you look beautiful like this – a layer of sweat covers your body and he thinks about licking it all up, your bitten lips are parted and the sounds that spill from you cloud toji's mind like a drug. you're writhing and you're squirming, squeezing around his cock so tight that he feels like he's about to pass out.

and then... your eyes.

eyebrows scrunched together, you stare up at him and toji thinks he's going to die instead. tears brim in the corners while your pupils are blown wide, a mix of pleasure and adoration swimming in the dark orbs as he brings you closer and closer to another high. oh, he thinks you look like a fucking painting. like you belong in a museum.

the way you're looking at him is making his cock twitch inside you and that in turn makes you blink at him. you flutter your eyelashes while pressing your heels deeper into his back, silently begging for more.

"f-fuck..."

toji's head falls as he squeezes his own eyes shut. he feels like he's on fire. he feels like he's about to fucking explode. he's going to cum just because you're looking at him with nothing else but love in your eyes. he feels stupid for it – a little embarrassed that such a simple thing is getting to him so easily, but when he feels your hand on his jaw, cradling him like he's something that could break – the shame fades.

the combination of meeting your gaze once again, the care in them, and the love you offer him, makes the knot in his belly snap.

you caress his cheek as you hold your eyes on him, eager to watch him unfold in front of you. a fucked out smile makes its way to your lips and toji's heart skips a beat at the sight. he's never felt weaker, he's never felt more loved. oh, you're something alright.

he also can't handle your eyes whenever you're giving him head. he simply cannot do it. he does love watching you, he really fucking loves it – how you screw your eyes shut, your eyebrows furrowing as you concentrate on your breathing. how the drool pools in the corners of your mouth and how it dribbles down your chin. how your whole body twitches when you gag around him. how small your hand looks on him, how you massage his heavy balls. how pretty you look while doing it all – he's obsessed.

but the second you open your eyes and look back up at him... he's throwing his head back and hiding behind his arm. and while the view of his neck does get you to rub your own thighs together in want – it's not enough.

you want more.

taking your lips off his cock and ignoring the line of spit that connects you to it, you patiently wait for him to look at you. you even stop jerking him off, just resting your hand around his base. his dick twitches and another glob of pre-cum trickles from his tip.

"toji?"

your voice is as sweet as ever and he knows it's a trap. he grumbles back at you in hopes of convincing you to continue, but he's wrong. merely giving his base a squeeze, you watch how the older man buck his hips into your fist.

"look at me."

he won't, he won't, he won't. you're evil, you're awful, you wish to torture him until he dies. this is how it all ends for him. he won't.

"please..."

his balls twitch and his his body burns. he needs to cum so fucking bad but he hates looking like an actual old man, who can't keep his shit together.

"look at me, baby."

it's more of a demand now and he can't resist you. he never has and he never will. whatever you say goes – if you tell him to jump off a damn cliff, he will do so. if you want to break him just like you're doing right this moment, then so be it. he's all yours.

his arm falls from in front of his face and his green eyes crack open to the most glorious sight in the world. you look completely fucked out and your hair is a mess, your lips and your chin are all covered in spit and he thinks of you as an angel of some sort.

you give him a smile and his hips buck into your fist again, but you don't tease him for it – you want him to feel good. so you press a kiss to his sticky tip as you hold his lust-filled gaze and it's enough for him to blow his load all over your gorgeous face.

you lap at his tip like a kitten, collecting the few drops that threaten to escape while still pumping him with your one hand and massaging his balls with the other. toji grips the sheets below with both his hands – his fingers tug at the material so hard that they almost rip but neither of you care.

you worshipping his cock, or better yet worshipping him, is baffling to him. but he's not complaining. you take him into your mouth again, eyes still on his, you wrap your lips wrap around his tip and push him into overstimulation.

curses tumble from his scarred lips like they're the only words he knows and you can't help but smile while still having him him in your mouth. you're covered in his cum and now you're fucking grinning up at him – he really does think he's about to pass away. there's no way this is real, that you're not something his mind conjured up to plague him with. your hands feel godly and your mouth feels so fucking warm. no, this is it – he's officially dying.

taking your lips off of him with a pop, your smile widens even more as you give him an 'ahhh!' as if you've just had the best meal of your life and toji doesn't waste a second before pushing off the bed.

"fuck, come here."

his knees hit the floor with a thud as he lunges at you like a starved beast. he grabs your cheeks and pulls you toward him, smashing his lips to yours in a desperate kiss. he needs to feel you, he needs to taste you. he needs to love you.

he needs to give you his all.

[bigtasty]

I CANT FUCKING DO IT

[princess-pine-cone]

[terristre]

🙏 GET FUCKED RICKY RAT

[mostlysignssomeportents]

Happy Public Domain Day 2025 to all who celebrate

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/2024/12/17/dastar-dly-deeds/#roast-in-piss-sonny-bono

In 1976, Congress set fire to the country's libraries; in 1998, they did it again. Today, in 2024, the flames have died down, and out of the ashes a new public domain is growing. Happy Public Domain Day 2025 to all who celebrate!

For most of US history, copyright was something you had to ask for. To copyright a work, you'd send a copy to the Library of Congress and they'd issue you a copyright. Not only did that let you display a copyright mark on your work – so people would know they weren't allowed to copy it without your permission – but if anyone wanted to figure out who to ask in order to get permission to copy or adapt a work, they could just go look up the paperwork at the LoC.

In 1976, Congress amended the Copyright Act to eliminate the "formality" of copyright registration. Now, all creative works of human authorship were copyrighted "at the moment of fixation" – the instant you drew, typed, wrote, filmed, or recorded them. From a toddler's nursery-school finger-painting to a graffiti mural on a subway car, every creative act suddenly became an article of property.

But whose property? That was on you to figure out, before you could copy, publish, perform, or preserve the work, because without registration, permissions had to start with a scavenger hunt for the person who could grant it. Congress simultaneously enacted a massive expansion of property rights, while abolishing the title registry that spelled out who owned what. As though this wasn't enough, Congress reached back in time and plopped an extra 20 years' onto the copyrights of existing works, even ones whose authors were unknown and unlocatable.

For the next 20 years, creative workers, archivists, educators and fans struggled in the face of this regime of unknowable property rights. After decades of well-documented problems, Congress acted again: they made it worse.

In 1998, Congress passed the Sonny Bono Copyright Act, AKA the Mickey Mouse Preservation Act, AKA the Copyright Term Extension Act. The 1998 Act tacked another 20 years onto copyright terms, but not just for works that were still in copyright. At the insistence of Disney, Congress actually yanked works out of the public domain – works that had been anthologized, adapted and re-issued – and put them back into copyright for two more decades. Copyright stretched to the century-plus "life plus 70 years" term. Nothing entered the public domain for the next 20 years.

So many of my comrades in the fight for the public domain were certain that this would happen again in 2018. In 2010, e-book inventor and Project Gutenberg founder Michael S Hart and I got into a friendly email argument because he was positive that in 2018, Congress would set fire to the public domain again. When I insisted that there was no way this could happen given the public bitterness over the 1998 Act, he told me I was being naive, but said he hoped that I was right.

Michael didn't live to see it, but in 2019, the public domain opened again. It was an incredible day:

https://archive.org/details/ClosingKeynoteForGrandReopeningOfThePublicDomainCoryDoctorowAtInternetArchive

No one has done a better job of chronicling the fortunes of our fragile, beautiful, bounteous public domain than Jennifer Jenkins and James Boyle of Duke University's Center for the Study of the Public Domain. Every year from 2010-2019, Boyle and Jenkins chronicled the works that weren't entering the public domain because of the 1998 Act, making sure we knew what had been stolen from our cultural commons. In so many cases, these works disappeared before their copyrights expired, for example, the majority of silent films are lost forever.

Then, in 2019, Jenkins and Boyle got to start cataloging the works that were entering the public domain, most of them from 1923 (copyright is complicated, so not everything that entered the public domain in 2019 was from that year):

https://web.law.duke.edu/cspd/publicdomainday/2019/

Every year since, they've celebrated a new bumper crop. Last year, we got Mickey Mouse!

https://pluralistic.net/2023/12/15/mouse-liberation-front/#free-mickey

In addition to numerous other works – by Woolf, Hemingway, Doyle, Christie, Proust, Hesse, Milne, DuBois, Frost, Chaplin, Escher, and more:

https://pluralistic.net/2023/12/20/em-oh-you-ess-ee/#sexytimes

Now, 2024 was a fantastic year for the public domain, but – as you'll see in the 2025 edition of the Public Domain Day post – 2025 is even better:

https://web.law.duke.edu/cspd/publicdomainday/2025/

So what's entering the public domain this year? Well, for one thing, there's more of the stuff from last year, which makes sense: if Hemingway's first books entered the PD last year, then this year, we'll the books he wrote next (and this will continue every year until we catch up with Hemingway's tragic death).

There are some big hits from our returning champions, like Woolf's To the Lighthouse and A Farewell to Arms from Hemingway. Jenkins and Boyle call particular attention to one book: Faulkner's The Sound and the Fury, its title taken from a public domain work by Shakespeare. As they write, Faulkner spoke eloquently about the nature of posterity and culture:

[Humanity] is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance…The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.

The main attraction on last year's Public Domain Day was the entry of Steamboat Willie – the first Mickey Mouse cartoon – into the public domain. This year, we're getting a dozen new Mickey cartoons, including the first Mickey talkie:

https://en.wikipedia.org/wiki/Mickey_Mouse_(film_series)#1929

Those 12 shorts represent a kind of creative explosion for the Disney Studios. Those early Mickey cartoons were, each and every one, a hybrid of new copyrighted works and the public domain. The backbone of each Mickey short was a beloved, public domain song, with Mickey's motion synched to the beat (animators came to call this "mickey mousing"). In 1929, there was a huge crop of public domain music that anyone could use this way:

Blue Danube, Pop Goes the Weasel, Yankee Doodle, Here We Go Round the Mulberry Bush, Ach Du Lieber Augustin, Listen to the Mocking Bird, A-Hunting We Will Go, Dixie, The Girl I Left Behind Me, a tune known as the snake charmer song, Coming Thru the Rye, Mary Had a Little Lamb, Auld Lang Syne, Aloha ‘Oe, Turkey in the Straw, My Bonnie Lies Over the Ocean, Habanera and Toreador Song from Carmen, Lizst’s Hungarian Rhapsody No. 2, and Goodnight, Ladies.

These were recent compositions, songs that were written and popularized in the lifetimes of the parents and grandparents who took their kids to the movies to see Mickey shorts like "The Barn Dance," "The Opry House" and "The Jazz Fool." The ability to plunder this music at will was key to the success of Mickey Mouse and Disney. Think of all the Mickeys and Disneys we've lost by locking up the public domain for the past half-century!

This year, we're getting some outstanding new old music for our public domain. The complexities of copyright terms mean that compositions from 1929 are entering the public domain, but we're only getting recordings from 1924. 1924's outstanding recordings include:

George Gershwin performing Rhapsody in Blue, Jelly Roll Morton playing Shreveport Stomp, and an early recording from contralto and civil rights icon Marian Anderson, who is famous for her 1939 performance to an integrated audience of over 75,000 people at the Lincoln Memorial. Anderson’s 1924 recording is of the spiritual Nobody Knows the Trouble I’ve Seen.

While the compositions include Singin' in the Rain, Ain't Misbehavin', An American in Paris, Bolero, (What Did I Do to Be So) Black and Blue, Tiptoe Through the Tulips, Happy Days Are Here Again, What Is This Thing Called, Love?, Am I Blue? and many, many more.

On the art front, we're getting Salvador Dali's earliest surrealist masterpieces, like Illumined Pleasures, The Accommodations of Desire, and The Great Masturbator. Dali's contemporaries are not so lucky: after a century, the early history of the works of Magritte are so muddy that it's impossible to say whether they are in or out of copyright.

But there's plenty of art with clearer provenance that we can welcome into the public domain this year, most notably, Popeye and Tintin. As the first Popeye and Tintin comics go PD, so too do those characters.

The idea that a fictional character can have a copyright separate from the stories they appear in is relatively new, and it's weird and very stupid. Courts have found that the Batmobile is a copyrightable character (Batman won't enter the public domain until 2035).

Copyright for characters is such a muddy, gross, weird idea. The clearest example of how stupid this gets comes from Sherlock Holmes, whose canon spans many years. The Doyle estate – a rent-seeking copyright troll – claimed that Holmes wouldn't enter the public domain until every Holmes story was in the public domain (that's this year, incidentally!).

This didn't fly, so their next gambit was to claim copyright over those aspects of Holmes's character that were developed later in the stories. For example, they claimed that Holmes didn't show compassion until the later stories, and, on that basis, sued the creators of the Enola Holmes TV show for depicting a gender-swapped Sherlock who wasn't a total dick:

https://www.theguardian.com/books/2020/dec/22/lawsuit-copyright-warmer-sherlock-holmes-dismissed-enola-holmes

As the Enola lawyers pointed out in their briefs, this was tantamount to a copyright over emotions: "Copyright law does not allow the ownership of generic concepts like warmth, kindness, empathy, or respect, even as expressed by a public domain character – which, of course, belongs to the public, not plaintiff."

When Mickey entered the public domain last year, Jenkins did an excellent deep dive into which aspects of Mickey's character and design emerged when:

https://web.law.duke.edu/cspd/mickey/

Jenkins uses this year's entry of Tintin and Popeye into the public domain to further explore the subject of proprietary characters.

Even though copyright extends to characters, it only covers the "copyrightable" parts of those characters. As the Enola lawyers wrote, the generic character traits (their age, emotional vibe, etc) are not protected. Neither is anything "trivial" or "minuscule" – for example, if a cartoonist makes a minor alteration to the way a character's pupils or eyes are drawn, that's a minor detail, not a copyrightable element.

The biggest impediment to using public domain characters isn't copyright, it's trademark. Trademark is very different from copyright: foundationally, trademark is the right to protect your customers from being deceived by your competitors. Coke can use trademark to stop Pepsi from selling its sugary drinks in Coke cans – not because it owns the word "Coke" or the Coke logo, but because it has been deputized to protect Coke drinkers from being tricked into buying not-Coke, thinking that they're getting the true Black Waters of American Imperialism.

Companies claim trademarks over cartoon characters all the time, and license those trademarks on food, clothing, toys, and more (remember Popeye candy cigarettes?).

Indeed, Hearst Holdings claims a trademark over Popeye in many traditional categories, like cartoons, amusement parks, ads and clothes. They're also in the midst of applying for a Popeye NFT trademark (lol).

Does that mean you can't use Popeye in any of those ways? Nope! All you need to do is prominently mention that your use of Popeye is unofficial, not associated with Hearst, and dispel any chance of confusion. A unanimous Supreme Court decision (in Dastar) affirm your right to do so. You can also use Popeye in the title of your unauthorized Popeye comic, thanks to a case called Rogers v Grimaldi.

This all applies to Tintin, too – a big deal, given that Tintin is managed by a notorious copyright bully who delights in cruelly terrorizing fan artists. Tintin is joined in the public domain by Buck Rogers, another old-timey character whose owners are scumbag rent-seekers.

Congress buried the public domain alive in 1976, and dumped a load of gravel over its grave in 1998, but miraculously, we've managed to exhume the PD, and it has been revived and is showing signs of rude health.

2024 saw the blockbuster film adaptation of Wicked, based on the public domain Oz books. It also saw the publication of James, a celebrated retelling of Twain's Huck Finn from the perspective of Huck's enslaved sidekick.

This is completely normal. It's how art was made since time immemorial. The 40 year experiment in life without a public domain is at an end, and not a minute too soon.

You can piece together a complete-as-possible list of 2025's public domain (including the Marx Brothers' Cocoanuts, Disney's Skeleton Dance, and Del Ruth's Gold Diggers of Broadway) here:

https://onlinebooks.library.upenn.edu/cce/

[spectralid]

Steamboat Willie has been in public domain for the last three days, and yet I've seen no one post this Pop Team Epic strip...