#and 98% will be years if not decades old

[crash-likes-cookies]

Physically bought single player games, that can no longer be played.

Live-Service games, forced always-online games, everything that is Steam...

The recent crackdown on ROM sites hosting software that has not been sold in DECADES...

Also, the subscription model for software, all that is fraud.

Nothing else.

[hamliet]

Derry Girls: A Masterclass in Detailed, Thematic Writing

Several years after the end, I finally watched Derry Girls, and it's become one of my favorite shows. Not only for the way it captures the absolutely unhinged aspects of Irish families (askmehowiknow) but for the sheer writing skill.

The vast majority of the episodes are laugh-out-loud hilarious, while also offering insightful commentary on the Troubles and on humanity's foibles as a whole. The characters are allowed to be human and act in unlikable, unsanitized ways, and to still be human and come back from that. (Almost like a metaphor for the Troubles or something.)

The story is also incredibly detailed; for example, when the girls are accused of killing a nun and Erin points out the nun was like, 98 years old and askes "might that shed some light on the situation?" there's an hourglass behind Sister Michael--emphasizing the idea that her time was up. Even more than that... the window is behind the hourglass, literally shining a light on it.

But that's a micro level. On a macro level, I also appreciated the way the story discusses the political backdrop that is part of its premise. Even as Erin, Michelle, James, Clare, and Orla grow up in a place that's been in a state of low-level warfare for decades, they live full lives. In fact, that's kinda the point.

Case in point: episode 4 of the first season, wherein Erin gets an exchange student from Chernobyl. The way the Northern Irish in general treat the Ukrainians is hilariously awful and patronizing, believing that they are giving them a respite from the troubles "over there" while Northern Ireland isn't in a much better state. But, as Sister Michael assures the Ukrainian students, the Irish troubles don't matter because "we're the goodies."

This line gets to the heart of what the episode is saying about political divisions and the way people view an "other." Everyone sees themselves as the "goodies." Because of that, they don't self-examine and wind up hurting the people they see themselves as wanting to help/save with their ignorance. It's a paradoxical egotistical (and frankly teenage) worldview that is also unwilling to look critically at oneself. The focus on their own perceptions over focusing on the actual humanity of the other results in ruining gifts that could come with cross-culture interaction, as seen in how Erin's misunderstandings and petty jealousy of Katya leads to her literally ruining a surprise gift Katya had prepared.

And the end of the episode also comments thematically on the story. One of the Ukrainian boys turns out not to be Ukrainian after all--he's actually Irish and from just down the road. He just didn't know how to say that. The ironic message is clear: despite differences in culture and views, they are actually all human beings, and assumptions make it hard for people to speak. If they could actually talk openly and without presumptions about who is "good" and who is "bad," they could prevent and solve a lot of problems.

This kind of background, symbolic commentary on the Troubles continues in just about every episode of the series. For example, even after the ceasefire, season 3 has an episode where it's discussed how negotiations are stalling, and the entirely of the rest of the episode takes place on a train that stalls between two separate places.

The Troubles are always something affecting their lives, but the only time the Troubles ever become the main story is in the finale episode. Which is also an episode that makes everyone cry. Michelle's brother is finally mentioned for the first time the entire series, yet it doesn't feel like a retcon so much as a recontextualization, and again mirrors how a lot of society (and Michelle's own family) have treated those who murdered others during the conflict.

Erin and James' relationship also works as a metaphor for the Troubles--an Irish Catholic girl and an English boy. Earlier in season 3, after they finally kiss, they're told they can't be together, that it's wrong, and that it'll create problems for everyone around them. Michelle doesn't want things to change. And Erin agrees that it's not good to pursue something.

But, in the final scenes, as Erin prepares to vote in the Good Friday Agreement and talks to James, she directly states she thinks things can't stay the same forever--thereby countering what she said to reject James earlier:

There's a part of me that wishes everything could just stay the same. That we could all just stay like this forever. There's a part of me that doesn't really want to grow up. I'm not sure I'm ready for it. I'm not sure I'm ready for the world. But things can't stay the same, and they shouldn't. No matter how scary it is, we have to move on, and we have to grow up, because things... well, they might just change for the better. So we have to be brave. And if our dreams get broken along the way... we have to make new ones from the pieces.

Symbolically, also, given that we know the outcome of the Good Friday Agreement, I think it's pretty clear Erin and James end up together even if we're not directly shown it.

That the last shot of the episode (besides the funny epilogue) is Grandda Joe, one of the eldest characters, helping his youngest toddler granddaughter Anna leap over a threshold as they leave the voting station, is also incredibly clear in its symbolism.

Erin: People died. Innocent people died, Grandda. They were someone's mother, father, daughter, son. Nothing can ever make that okay. And the people who took those lives, they're just gonna walk free? What if we do it, and it's all for nothing? What if we vote yes and it doesn't even work? Grandda Joe: And what if it does? What if no one else has to die? What if this all becomes a--a ghost story you'll tell your wee-un's some day? A ghost story they'll hardly believe?

I dunno, I think this is a sentiment we need more of in the world. A peaceful future means taking risks and accepting that punitive justice will not be perfectly doled out; however, if you allow more people to be hurt, is that not also injustice? It's a paradox that the story leaves us without a dogmatic answer to (for example, we never find out if Michelle's brother gets released), but it's also hopeful--because we know that the Good Friday Agreement largely worked.

(For further analysis of the final scene, I recommend PillarofGarbage's analysis on YouTube!)

[artbyblastweave]

So for those of you who don't read twenty-year-old marvel comics a lot, the 2005 Marvel Crisis Crossover was called House of M. The basic premise of this was that this was smack dab in the middle of the Scarlet-Witch-is-Having-a-Normal-one arc that was very, very loosely adapted into Wandavision; in her initial breakdown, she'd killed several of the Avengers, wound up in the protective custody of Magneto, and the recently reformed team was debating whether or not they were going to have to kill her before she deleted reality on accident or some such thing. But when they're on their way to Magneto's stronghold to have a "talk" with her, the world is enveloped in white, and Wolverine (the initial POV character) wakes up in a world where Mutants are 98% of the human population and have been for decades, and Magneto and his family (the titular House of M) are leaders of the global political order, and Wolverine is one of the only people in this realigned world who remembers that it was ever different.

Wolverine initially is operating under the assumption that Magneto cajoled Wanda into rewriting reality in his family's favor, but after rounding up and waking up several of his allies, he realizes that what actually happened is that Wanda rewrote reality so that everyone she knew would get everything they wanted- Magneto being in charge with a 98 percent global mutation rate is just the inevitable byproduct of that. The resulting world is an amalgamation that has to accommodate the conscious or subconscious "perfect life" of every superhero on earth, in a way that acts as a fascinating characterization tool, often with a monkey's-paw angle. Spider-Man is a beloved celebrity wrestler, and Uncle Ben and Gwen are both alive, but he attained that status by pretending to be a Mutant and he lives in constant fear of being exposed. Mystique, Rogue, Nightcrawler and several of their associates are the tight-knit family unit they were always kept from being.... as the elite jackboot of Magneto's regime. Luke Cage and Hawkeye lead the human resistance, standing in perpetual principled opposition to the powers that be, but with no real hope of accomplishing anything. Captain America didn't lose years of his life to the ice, but he had to live through a global authoritarian takeover he ultimately couldn't do anything about. Wolverine gets to remember his entire life, but that includes remembering that his current ideal circumstances were manufactured to keep him placated. And on and on and on. Lot of really interesting character takes packed up in there, paired with the equally interesting project of packing as many of them as possible into the same timeline without contradicting each other- after all, from the word go you have to contort everyone's happiness around the basic conceit that Magneto rules the world.

Anyway. House of M AU for Worm. Discuss.

[into-the-feniverse]

Finished reading Trigun/TriMax a couple days ago and have been feverishly trying to piece together a timeline, so here’s the result of that ✨

EDIT: as of 3/13/24 this has been UPDATED

For a more detailed timeline (with vol/ch marks): google sheet

Full res of the graphic (& other resources): bit.l/trigunresources

Notes & rest of the timeline under the cut!

Edits as of 3/13/24

The detailed spreadsheet is organized and color coded! If you'd like a more concise breakdown of events/see some of my reasoning behind certain time stamps feel free to skim through that

Changed where in the timeline the Maylene and Wolfwood events happened (originally where I had placed them would have made Maylene like 6 when she and Wolfwood reunited which is NOT correct)

moved where in the timeline Knives started collecting the GungHo Guns (at latest he started in 0090 (20 years before 0110) since it's noted that Monev has been training in a cellar for the past 20 years

Moved where Knives initially tracked down Conrad (felt like it needed to happen at least a decade before July)

Changed up some of the months (personally, I don't think the Ark launched in December, since that'd put Milly and Meryl's arrival to the colony in July, which wouldn't make sense. So I placed the ark launch in October which of course offset some of the other month stand ins)

Added an earth year for when Knives and Vash are born. The explanation is I think at minimum there was at least a 2 year period between them and Tesla (since Rem was around for that whole process). I do think it was more than that, but that’s the earliest possible year I think it could have happened. Personally I’m more in the camp of 5-10 years, but def not 50 like in tristamp

Old Notes:

If you see any typos or phrase inconsistencies: no you don’t 💕 (😭)

Blue text can be completely ignored, that’s just kinda my personal preference/wild guesstimating of when “exactly” those events happened

Blue lines can also be ignored, they’re also just rough guesstimates on where exactly in the timeline these could have happened

The distance of the lines from one another doesn’t really mean anything, I started trying to follow a system to notate when things happened really close together but it was//// not consistently done ngl

Fun fact: by the time Wolfwood leaves the orphanage Meryl is 18! And she was 14 at the time of July’s destruction

Additional fun fact: Brad is 17 when he and sensei meet up with Vash in the Factioned city (which I think is absolutely RIDICULOUS), and we know this because he was 4 the one/last time he had met Vash and it’s been 13 years since

It was noted by Karen, one of Meryl’s coworkers, that she and Milly had been on assignment with Vash for about 4 months. (Might be that they were out searching for him during that time as well, but I’m choosing to interpret it as they were actually with him for that amount of time)

I’m also working on a 98 timeline for comparison (but more like just sequence of events cause I don’t think I have the patience to sift through the lore quite as much… mainly making it just to clarify how the anime delineates from the manga)

I am//::: feeling v unhinged after this and feel like it could be improved/i need to do a more thorough read, but I’m calling it quits for now before I actually go insane (but hopefully some people will find it somewhat helpful!)

Also: if anybody has any notes to add or clarifications/corrections I would be more than happy to hear them 👂

[merylstryfestan]

i'm sure this has been discussed before, but this still brings up so many questions for me.

my memory of '98 isn't perfect, but i'm pretty sure that at least in the manga, no one really knew who Vash was before the destruction of July. the manga and '98 deviate on the timelines here, but in both he stuck around with Knives for a very long time before being on his own, and between them separating and July, Vash was probably getting himself involved with gangs and thugs trying to save lives and such, but nothing that made him well known. it wasn't until July and his bounty that he became infamous, so that makes sense to me.

so what's going on in Stampede then? because as far as we know, Vash and Knives haven't seen each other between Vash losing his arm and Juneora Rock. What happens in the ~150 years between for Vash to gain a reputation? i'm assuming it's the result of Knives stealing plants over the years, so has Vash just been chasing after his brother trying to prevent the thefts? and that's how he got associated with them in the first place?

then there's the fact that in the beginning, Meryl seems to almost not believe the Humanoid Typhoon is even a real person, in the sense that "surely all this stuff can't be one guy's fault". does that make the persona of the Humanoid Typhoon almost a conspiracy theory? or perhaps more similar to a cryptid?

and if this is all true, how are people not more surprised when they learn that the 25 year old looking dude is the guy that's supposedly been terrorizing the planet for at least 20 years? why would it take Roberto and Meryl finding the photo to realize the timeline isn't adding up here?

the only explanation to that i can think of is that since the windmill village is essentially run by the Eye of Michael, then it's the Eye that started calling Vash "the Stampede" and the "Humanoid Typhoon" and spreading his reputation. that's why Rollo would know about him. and if those rumors took a couple decades to become more widely known, it would explain why Roberto and Meryl weren't suspicious of Vash's age at first.

i don't think it's a perfect theory, so i'd definitely be interested to hear other people's ideas. could just be me totally missing something (very likely tbh). i still find the idea interesting though, that it could be the Eye specifically, and therefore Knives, that starts villainizing Vash amongst the human population. an early attempt to get Vash to turn his back against humanity perhaps?

@tristampparty

[whencyclopedia]

Social Change in the British Industrial Revolution

The British Industrial Revolution (1760-1840) witnessed a great number of technical innovations, such as steam-powered machines, which resulted in new working practices, which in turn brought many social changes. More women and children worked than ever before, for the first time more people lived in towns and cities than in the countryside, people married younger and had more children, and people's diet improved. The workforce become much less skilled than previously, and many workplaces became unhealthy and dangerous. Cities suffered from pollution, poor sanitation, and crime. The urban middle class expanded, but there was still a wide and unbridgeable gap between the poor, the majority of whom were now unskilled labourers, and the rich, who were no longer measured by the land they owned but by their capital and possessions.

Urbanisation

The population of Britain rose dramatically in the 18th century, so much so that a nationwide census was conducted for the first time in 1801. The census was repeated every decade thereafter and showed interesting results. Between 1750 and 1851, Britain's population rose from 6 million to 21 million. London's population grew from 959,000 in 1801 to 3,254,000 in 1871. The population of Manchester in 1801 was 75,000 but 351,000 in 1871. Other cities witnessed similar growth. The 1851 census revealed that, for the first time, more people were living in towns and cities than in the countryside.

More young people meeting each other in a more confined urban setting meant marriages happened earlier, and the birth rate went up compared to societies in rural areas (which did rise, too, but to a lesser degree). For example, "In urban Lancashire in 1800, 40 per cent of 17-30-year-olds were married, compared to 19 per cent in rural Lancashire. In rural Britain, the average age of marriage was 27, in most industrial areas 24, and in mining areas about 20" (Shelley, 98).

Urbanisation did not mean there was no community spirit in towns and cities. Very often people living in the same street pulled together in a time of crisis. Communities around mines and textile mills were particularly close-knit with everyone being involved in the same profession and with a community spirit and pride fostered by such activities as a colliery or mill band. Workers also got together to form clubs to save up for an annual outing, usually to the seaside.

Life became cramped in the cities that had grown up around factories and coalfields. Many families were obliged to share the same cheaply-built home. "In Liverpool in the 1840s, 40,000 people were living in cellars, with an average of six people per cellar" (Armstrong, 188). Pollution became a serious problem in many places. Poor sanitation – few streets had running water or drains, and non-flushing toilets were often shared between households – led to the spread of diseases. In 1837, 1839, and 1847, there were typhus epidemics. In 1831 and 1849, there were cholera epidemics. Life expectancy rose because of better diet and new vaccinations, but infant mortality could be high in some periods, sometimes over 50% for the under-fives. Not until the 1848 Public Health Act did governments even begin to assume responsibility for improving sanitation, and even then local health boards were slow to form in reality. Another effect of urbanisation was the rise in petty crime. Criminals were now more confident of escaping detection in the ever-increasing anonymity of life in the cities.

Cities became concentrations of the poor, surviving off the charity of those more fortunate. Children roamed the streets begging. Children without homes or a job, if they were boys, were often trained to become a Shoe Black, that is someone who shined shoes in the street. These paupers were given this opportunity by charitable organisations so that they would not have to go to the infamous workhouse. The workhouse was brought into existence in 1834 with the Poor Law Amendment Act. The workhouse was deliberately intended to be such an awful place that it did little more than keep its male, female, and child inhabitants alive, in the belief that any more charity than that would simply encourage the poor not to bother looking for paid work. The workhouse involved what its name suggests – work, but it was tedious work indeed, typically unpleasant and repetitive tasks like crushing bones to make glue or cleaning the workhouse itself. Despite all the problems, urbanisation continued so that by 1880 only 20% of Britain's population lived in rural areas.

Continue reading...

[aztarion]

Give me some fun facts about Soledad rn or I’ll do something…dunno what yet…

im sorry i took so long getting to this T_T thank you for asking!!! this went off-road many times with me overthinking it i just couldn't save it but hopefully it's still readable, i tried to do a mix of character and meta while not repeating anything from prev asks and then it kind of morphed into a weird bio lmao

her full name is Solona ‘Sol’ ‘Soledad’ Castillo; born 1/11/72 and raised in soledad, california, until her parents moved to sierra vista, arizona. died embraced 1/11/98, so forever 26 (and chronologically a fresh 48 during the events of Night Road).

by that time in 2020 her mom and dad have both passed and her older brother is 52; he runs their dad’s mechanical repair workshop there. she absolutely still does the sad little drive-by late at night every couple of months if she's in the area on a job (surgical mask on and hood up of course). i hc that julian, while keeping an occasional spying eye on her during the 10 yr absence, also looks out for her brother and sends business his way unbeknown to her lol

she ended up 3/3 fully blood bonded to julian in the beginning while they worked for the cam, and julian was 2/3 bonded to her. his “wasn't it romantic?” comment -- yeah literally too romantic, get back to work and feed the big underground nosferatu both of you 😤 i like that headcanon personally as another reason why he would cut contact so suddenly with sol when they were in a relationship — to break the bond on both sides; he could obsess strictly over 2100X and her desires would be completely her own again

another headcanon i'm sorry... after the diablerie of aila and the intense guilt that came with the act, plus julian (her sire) abandoning her and essentially straining and forcing their bond to fade, she gains the bulimia derangement. i paired that with the siren predator type lmfao. so very um dramatic all around when shes having a bad night. she restricts to bagged blood for like ten years working as a courier and just resigns herself to being perpetually dour and unsatisfied. i like to write her easygoing and much more lively when she's with julian during their work for the local camarilla, like the reality of her new condition hasn’t really sank in because omg julian's sooo fun and woah this world is crazy but at least julian's here he's gonna change everything or something (she believed in his vision and ideals even if she didn't fully grasp the scope at that time -- like she was on board at least. bless her she had 2 intelligence). she then becomes very muted pre-night road while the bond fades and the uglier, lonelier facets of being a vampire surface; having to pull together an independent undead existence for herself, trying to control her beast while feeding exclusively on bagged blood as job payment, then a little more tearing at the seams upon arriving in tucson during night road (resentment, guilt, anger, desire, longing, hunger for something that won't have a plastic aftertaste, all rushing back and blurring together at once; not so good a grasp on those when she’s been keeping herself numb and isolated and constantly on the move for a decade). behind everything she is desperate for connection

she has a good control on her beast thanks to that (monastic? lmao) decade (and high willpower/composure/resolve), until returning to tucson and stirring aila’s presence; the strange link to lettow, julian showing up, old memories and feelings that aren't even always her own now gathering on this very carefully crafted veneer like plaque. also suddenly having a ghoul and her own assets to worry about kind of freaks her out due to her own existential uncertainty and not really trusting herself. not even really knowing who she is. and she really likes elena right off the bat; she usually puts herself in more danger as to not risk her ghoul in the exact situations one would find themselves needing a damn ghoul in — she is literally the worst kindred ever in terms of priorities and self-preservation

speaking of her beast, it's very much that of a scorpion or snake… yes blunt-object-to-the-back-of-the-head-symbolism with some of her tattoos 😭 she stays lowkey, tries not to put herself under circumstances that would provoke or overly strain it, can keep it in check relatively well due to avid practice being a loner control freak, but when it snaps it's like an inland taipan. actually one of my fav moments playing with her in night road: so she chooses to continue feeding on blood bags in tucson, but when she finally had the opportunity to indulge with her predator type and a live target in dallas, she fucking got a critical success and killed them T_T this was after impulsively kissing julian back at the apartment d'espine allows you to stay at while in the area too. real in-character off-the-rails moment rip

i mentioned before but under the composed exterior she tries to present, she intensely seeks connection to something or someone. unfortunately the way she sees it: lettow is drawn to her because of the remnants of aila lingering within her -- also she literally ate his girlfriend, she's still not ok with that even if he forgives her because of course i gave my vampire oc morals and a guilty conscience (meanwhile cobie is eating people whole like twice a day); julian has no issue using her for whatever despite his affections, and elena is literally blood bonded to her, which sol is constantly thinking about elena's feelings and best interests — its a little bit of a sore spot for past reasons...

she gets on well with dove and begrudgingly really likes carlos (they absolutely cuss eachother out in very aggressive spanish one minute but he will pass her the roach the next) and she simped so bad for invidia caul — i think sol’s type is just a combo of super intelligence + willingness to engage in unethical experimentation lmfao. she's like omg noooo i don't understand wtf you're saying and that's sexy to me also your actions make me feel bad and are very ‘end-justifies-the-kind-of-morally-bankrupt-means’ but i cannot deny if they work out the ‘end’ would be really beneficial to kine and kindred... woe… hashtag conflicted and a little turned on. but she's very drawn to people who are idealistic or driven in an inherent ‘i want to help then i'll have purpose’ way. also the thrill. omg im just psychoanalysing her at this point sorry. this bitch would easily be indoctrinated into a cult is what it all boils down to + the extreme loyalty means she'd probably end up the cult leader's right-hand arm man his everything his confidant his best friend his silly rabbit 🤦‍♀️

also a follower in the streets but more of a leader in the sheets who said that

ok random stuff... she has those brown eyes that when she was human would glare almost red-orange when caught in straight sunlight; super deep chestnut, it only comes through under certain fluorescents these nights

very thick long hair; naturally has a kink/wave to it, quickly prone to returning to that state even when straightened, esp in the southwest's heat. usually loose when in tucson or dressing up, or braided ponytail on the road/job which i am so afraid to draw

nails are sharp like mini claws unless she’s specifically clipped them after rousing. they extend obscenely when she pops protean. i need to draw her fangs but they’re feline/kittenish: weirdly long and thin like staple punches, and again when she pops protean they extend like a snakes

her character color scheme runs warm-dark: black, brown, ochre, sienna, umber, burnt orange, deep shades of red, and maybe some random olive. style-wise it’s a mixed bag of practical minimalist and sleek; street and active wear, the occasional gold-ruby-emerald or leopard print dolce & gabbana-esque gaudy accent. very feminine on top; skin tight, low cut, corseted or cropped, paired with something oversized; men’s beaten-soft leather jackets, vintage driving jackets, or blazers. pants go either way: form fitting or baggy and belted depending on whatever silhouette she wants to cut. think of like the swaggiest 70s cuban drug lord/80s gangster restyled on 90s supermodel Naomi Campbell or something. with formal-wear i really like her in off-shoulder stuff. i try to draw her tattoos more in art bc it makes her more fun to look at but as a courier she wears driving gloves and long pants/boots to cover them up, and baseball caps or large sunglasses (yes at night. loser) to keep herself mostly unidentifiable

THANK YOU FOR ASKING ABOUT MY BLORBO!!!! :'3

prev info/asks jic: 0 , 1 , 2

[luvtonique]

I realized something this morning.

This is probably gonna be a long post. (Edit, yep)

I'm a pretty fairly public figure on the internet, and I very regularly interact with a huge amount of people. From YouTube Comments to Discord to Tumblr Asks/Comments to Newgrounds Reviews to MMO Chat to Mic-Chat on Games to Twitch Chat to Stream Chat, blah blah blah.

I've, for years now, over a decade (hell over two decades) talked to probably thousands of people, and have been able to get a gauge on a pretty safe to say "average" of collective human intelligence on the internet.

I've come to realize that not everybody has that kind of experience talking to people online as I do. I've talked to literally thousands, probably near ten thousand, people online in my life.

This is a staggeringly high number and puts me in an outlier position among the rest of you, who likely have only interacted with a double digit number of people online in your life.

Now that you have that information in mind, here's what I realized this morning.

I realized that the reason I don't listen to people, ESPECIALLY when it comes to politics, is because I have learned through talking to all these people that fucking nobody knows what they're fucking goddamn talking about.

I study a lot of things in my spare time, and history is a huge one that I study. I very regularly read and listen to multiple sources talking about historic events, and I make sure to look at as many sources as possible, sometimes including reading encyclopedias in my own home that we've owned for like 40 years.

I cross-reference all of these things and paint a picture of the most likely truths through various means.

Why's that important? Because sometimes a 14 year old on Twitter, literally nearly less than a third my age, will occasionally come along telling me that I'm wrong. Not about history necessarily, but about some opinion that I have based on my own experience and my own knowledge that I've researched myself.

I usually ask them where they got their information, and I'm met with boldfaced idiocy. Completely braindead shit like "180,000 people said it on Twitter," or they link me a Tumblr post with 100k notes, or they say "It's common knowledge," (which is the biggest red flag of them all because not only does it prove they have no evidence to back up what they're saying, but as this post will go on to explain, "common knowledge" is quite literally the worst source of information on anything. People commonly think the earth is flat and that Scientology is real. People commonly think that walking under a ladder or breaking a mirror gives you bad luck. People commonly think that naturally blue food exists.)

In my life I have met thousands of people, and THOUSANDS of them are fucking idiots who very very smugly state completely incorrect knowledge. Earlier today someone tried to tell me that the creators of Beat Saber never sold the company to Facebook, and I showed them proof and they went silent for 3 hours and then went "Yeah so what, Facebook is still a good company" and I wanted to beat my head against the desk.

The internet is full of people who are fascinatingly ignorant. I'm not calling myself "better" or "smarter" than anyone here, I'm just saying that I have learned better than most people that people on the internet are not, and never fucking will be, a good source of information. I don't care if they're your best fucking friend, the coin-toss of them knowing what they're talking about or actually having the facts is so heavily weighted against them, it's seriously like a 98% chance they have no fucking clue what they're talking about.

I urge everyone to take a moment and realize that the internet is, in fact, a good place to find information and do research, but PEOPLE ON THE INTERNET, especially MEDIA AND SOCIAL MEDIA, are NOT SMART PEOPLE AND ARE NOT GOOD SOURCES FOR YOUR INFORMATION.

These are angry, smug, annoying little idiots who are likely 14 years old with a 1st grade reading comprehension who aspires to be a TikTok content creator as a career, and under no fucking circumstance should you ever, ever, EVER listen to any social, financial, religious, gendered, medical or political advice they give.

The world has gotten vastly out of control with how much people think "A lot of people agree with me" is a good enough reason to solidify your opinions. "A lot of people agree" is the biggest red flag ever, because people on the fucking internet are complete fucking idiots, I'm sorry, but I'm someone with far more experience talking to people on the internet than literally any of you reading this. I talk to people on the internet as a career and have been doing this for longer than most of you reading this have been alive.

So what's the point of this? What's the take-away?

The take-away is that I'm saddened by how many people will attack each other vehemently, cut off friends and family members, label people as toxic or problematic, jump to conclusions, etc. based on complete and utter misinformation spouted to them by people who have never once in their entire life actually looked up what the fuck they're talking about. They treat random strangers on Twitter as "experts" because that person is well articulated or put together a YouTube video with really good editing that's softly spoken by a British accent guy and has scary music whenever some "evil" person is on the screen.

The take-away is that people, like yourself (don't you dare try to deny it) will just believe whatever they read on social media, or whatever their Discord friend-group is talking about, because they are living in a complete falsehood that people on the internet know better than they do.

You are not incapable of doing your own research. You are not incapable of finding the truth. You are not stupid. Just do your own research, look into things yourself, cross-reference, use the scientific method, go to a library, read books, for fuck sake please adopt the basic social skill of "If someone says it on the internet it is most likely not true and I should look into it myself."

Because the current state of people is monstrous.

Y'all get so fucking mad about things that are just plain not true, and you revolve your entire life around things you were told by complete idiots and/or children on Twitter and other social media websites.

Stop.

Look at yourself, look at how angry you get about things, and consider that there may be a possibility that anger stems from a complete lack of any foundation or truth in your own beliefs.

Consider the almost 100% guaranteed possibility that you have been blatantly lied to by people who have no fucking idea what they're talking about, and that you are violently upholding standards that are incorrect because you have placed trust in the word of untrustworthy people.

Look up confirmation bias, read about it.

Look up manipulation tactics, read about it.

Look up "Plato's Republic" and read about it.

Absolutely, under no circumstances, should you ever, EVER, form your social or religious or political or financial or gendered or sexual etc. opinions based on SHIT YOU READ ON SOCIAL MEDIA.

And while we're here, don't listen to the news either. They're just a bunch of parrots saying what needs to be said to get you all fighting with each other so that the government can fuck things up while you're distracted. Do your own research, check multiple sources, don't consider social media or regular media to be a 'source,' get every bit of information from every angle, and for fuck sake, stop attacking people for disagreeing with you when you, yourself, only believe what you believe because your friend group believes it and you know that if you disagree with your friend group they'll all attack you so you'd rather be on their side, which only further proves my point that y'all need to fucking chill.

"Democracy will never work. If 3 medical experts tell you that you must eat a ginger root to cure your ailments, but 100,000 idiots with no medical experience tell you otherwise, you're more likely to believe the 100,000 idiots. They are louder, there are more of them, and you will gamble on the hope that among those 100,000 idiots, there must be more than 3 medical experts. The voice of the ignorant will always drown out the voice of the educated."

-Plato's Republic, 375BCE (Paraphrased)

"I can't believe Jay just called us all idiots and expects us to listen to him"

-Someone in the comments of this (It's gonna happen)

PS: If you looked up "Naturally Blue Food," and found out it does in fact not exist, good for you for doing your own research!

[frankenstein-ate-my-left-shoe]

okay i went down a rabbit hole of names and here’s what i found out

each name is either from their birth year's top 100 in indiana, or their decade's general US top 200 for their decade if it's before 1960

Steve:

in the 60s, Steven (with a V not a PH!!) was #11 on the most popular baby names list in the US.

specifically in indiana in 1967 (1986-19 years old), it was #15

Steve’s parents would definitely be in the top most common names in my mind:

in the 40s, Richard was the #5 most popular name, so good job naming Steve’s dad ‘Dick’, everyone, it’s entirely possible.

looking at the 40s list’s top 10, Linda at #2 stood out most for Steve’s mom.

Eddie:

in the 60s, Edward was #29 on the most popular baby names list in the US, 'Eddie' by itself was #112, Edwin #155.

specifically in indiana in 1965 (1986-est. 21 years old), Edward was #42

There weren’t any other names that started with ‘Ed’ on the 1965 indiana list.

In my own personal headcanon though, with Eddie being short for Theodore, it’s a whole other story:

Theodore is #152 for the whole US in the 60s, and doesn’t appear in Indiana’s top 100 for 1965 BUT my headcanon is that his mom named him after her dad, who would’ve est. been born in the 20s. (Her in the 40s, Eddie in the 60s) and the name Theodore was #64 in the 20s.

the other Munsons:

Wayne was #49 on the 1930s list (taking into account Joel Stoffer’s age for this one, I’m thinking he’s Eddie’s dad’s older brother).

Albert was #47 on the 1940s list (i’m just assuming Al is short for Albert)

Eddie’s mom was harder, but when I thought about it, the first name that popped into my head for her was Margaret (#13, 1940s), but I think she’d go by Peggy, (#42, 1940s) which matches Wayne and Al’s location on the list.

the rest of the spicy six, indiana top 100, 1968 (seniors/est. 18 in ‘86):

Nancy: #47

Robin: #43 (actually surprised this was on the list!)

Jonathan (no really, this spelling specifically): #64

Argyle: not on the top 100 in California, or on the general 60s list

The Party, indiana top 100, 1971 (freshmen/est. 15 in ‘86)

Michael: #1

William: #10

Dustin: #103 for the US in the 70s, not on top 100 for indiana, 1971

Lucas: not on either US 70s or indiana 1971 list

Jane: not on either US 70s or indiana 1971 list

Maxine: not on either US 70s or indiana 1971 list

Erica (11 in ‘86, born 1975): #63 on top 100 for indiana, 1975

a few of the other adults i saw while doing this (general US 1940s list):

Joyce: #19

James: #1

Robert: #2

Karen: #16

Theodore: #98

Lonnie: #146 (again, was actually surprised this name was even on the list!)

[eugenedebs1920]

In their last term, The Supreme Court of the United States of America (SCOTUS), mainly the men, but occasionally Barrett showed the American people how little we are worth to them. They made it blatantly obvious that we are nothing more than serfs, subjugated, whose purpose is to pay taxes and STFU.

This was also made apparent with the reversal of Roe. The 2023-24 term had its share of long term dire consequences yet to be felt. The overturning of the Chevron doctrine was a devastating blow to the middle class/working poor. Its reversal will, at one time or another, affect the lives of 98% of Americans (the middle class, upper middle and working poor).

The right wing apparatus will tell you that regulations, protections, and limitations prohibit productivity which leads to less profits and in turn, a cooling of economic prosperity. What they aren’t divulging is the massive amounts of wealth they have amassed over the past 4 decades.

As far back as the Nixon administration, one could go back as far as the New Deal but, it’s a post, not a novel, certain restrictions, limitations, protective measures, and practices have been imposed on major corporations and industries. These regulations range from environmental protection, labor practices, safety standards, hazardous substances, banking practices, equal pay, the list goes on.

These regulatory agencies specialize in the field in which suits their skill set. Some call it the bureaucratic state. These non partisan civil servants work throughout changing administrations in their various fields without being inhibited by the views held by the party in power.

What the overturning of Chevron did is lessen the power that these agencies have. Putting the rules and regulations they enforced in peril. Now regulations created to protect the health and safety of Americans and the environment we live in, as well as the financial institutions and practices in which they can engage in, are put in peril.

The effects of this won’t be immediately noticeable. We are the frog in a warm pot of water, slowly being boiled to death. What does this have to do with Helene and future natural disasters one may ask?

Some of those regulatory agencies impacted by this reversal are, the EPA, FEMA, NOAA, the Department of Labor, OSHA, The FCC, the SEC, and so many more. Pretty much any agency that limits the exploitation these massive conglomerates and giant corporations can impose on Americans and the world they reside in.

We live in a time where the Supreme Court is rogue. With an extreme right wing MAGA majority, dead set on revoking rights as opposed to instilling them. A Supreme Court who, when scandals arose of lavish gifts coming from billionaire benefactors, rather than enforce a code of ethics they simply legalized bribery (Snyder vs the United States). A Supreme Court, so lawless and void of standards, that justices refuse to recuse themselves from constitutional crises cases, where they flew flags in support of the defendant, where the wife of another was in direct contact with the cheif of staff of a man who, while watching from the dining room of the White House, while a mob, led by his incendiary rhetoric ramshacked our capital. All the while chants of “hang Mike Pence, Hang Mike Pence” rang through the the halls of that hallowed ground. When told the mob wanted to hurt the Vice President, the defendant said, “So what”.

I’ve had tacos more supreme than this court! This November 5th, it is not a choice between a vile demented old man and a lifetime protector and prosecutor for the people, it is the direction, the safety, the environment, the lending practices, the food we eat, the wages we make, the lives our children will have that is the choice because. If Trump is elected, Alito as well as Thomas WILL retire, giving the mandarin Mussolini FIVE SCOTUS appointments. This will dictate the next 30 plus years of our lives. So please! Get out and vote! Vote the Harris Walz ticket and blue down ballot. The freedoms of women, LGBTQ rights, labor rights, environmental protections, food and drug safety, fair banking/lending practices, our federal lands, clean water, green energy for the future, so much hangs in the balance and the effects will be felt for a majority of the rest of our lives. We are one nation, indivisible, we stand for liberty and justice for all! ☮️🇺🇸

[mariacallous]

WARSAW, Poland — In the heart of the former Warsaw Ghetto, where Jews were killed and their neighborhood razed during World War II, a Jewish community has never recovered — but a museum has for a decade drawn visitors to learn about their history.

The Polin Museum is marking 10 years since opening its exhibition about the 1,000-year history of Polish Jews. In that lifespan, it rose to fame as one of the world’s leading Jewish museums and a symbol of Poland’s long-deferred recognition of its extinguished Jewish past.

But it also faced down challenges from a government ruled by Poland’s right-wing nationalist Law and Justice party, which sought to remove museum leaders seen as too critical of government policies or unwilling to conform with nationalist versions of history. Law and Justice was overturned by a centrist coalition last year.

During a weekend of anniversary programming in late September, which included a gala, a symphony orchestra concert and curatorial tours, nearly 10,000 people passed through the museum, a modernist building designed by the Finnish firm Lahdelma & Mahlamäki.

Special guests ranged from government officials and museum founders and donors to influential members of Poland’s small Jewish community, including Polish Chief Rabbi Michael Schudrich and Marian Turski, a 98-year-old historian and Holocaust survivor who presides over the museum council.

The hoopla surrounding Polin’s 10-year anniversary reflects its impact on Poland, a society that only in recent decades has confronted the history of its Jewish community and the 3 million Polish Jews who were killed there under the Nazis. The museum’s name draws from a story about Jews who fled persecution in Western Europe and arrived in Poland during the Middle Ages. According to legend, they heard birds singing “Po-lin,” a transliteration of the Hebrew words for both “rest here” and “Poland.”

Before Germany invaded Poland in 1939, it was one of the most diverse countries in Europe. Jews made up 10% of the total population and a majority in many towns. Warsaw was home to more than 350,000 Jews — about 30% of the city.

After the Nazis killed most of Poland’s Jews, the country came under decades of communist rule. Soviet authorities suppressed Jewish religious and cultural life and folded the Holocaust into an ideological narrative about the Soviets’ total victory over the Nazis — relegating Polish-Jewish history to what scholars call “the communist freezer.” Only in the early 1990s, after the fall of communism, did the idea of the Polin Museum first come into being.

Over 20 years and more than $100 million later, with the help of wealthy American donors and the Polish government, the Polin Museum opened its core exhibit in October 2014.

“For 50 years, people didn’t learn anything about what Polish Jews were about — including Polish Jews,” Schudrich told the Jewish Telegraphic Agency. “What’s really happened since 1989 is people beginning to learn, and the key pivotal place for that education to take place is here.”

The ambition of Polin was distinct from the memorials at Poland’s slew of concentration camps and Nazi killing centers: This place called itself a “museum of life.”

Only one of the eight multimedia galleries is dedicated to the Holocaust. The rest follow a millennium of Jewish life in Poland, from the first appearance of Jews in the 10th century to the development of Jewish towns; life under Poland’s partition between Russia, Prussia and Austria; waves of pogroms; the birth of modern Jewish social, political and religious movements; and a period of newfound freedoms after World War I, in the Second Polish Republic, all before the devastation wrought by the Holocaust.

A final gallery also traces the post-war years, when a small number of Jews remained in Poland. After a government-sponsored antisemitic campaign in 1968 purged thousands of Jews from the country, only about 10,000 remained. This gallery also looks at a renewed curiosity about Jewish history since the 1990s, which has given rise to festivals of Jewish culture across Poland, many of them organized by non-Jews.

Dariusz Stola, a historian at the Polish Academy of Sciences and the museum’s first director, said that Polin arrived at the perfect time — when interest in the Jewish heritage of Poland was surging at home and interest in the Polish heritage of Jews was surging abroad. (About 70% of the world’s Jews have roots in Poland, according to Barbara Kirshenblatt-Gimblett, a professor emerita of New York University and chief curator of Polin’s core exhibit.)

Today the museum has been visited more than 5 million times, with about half of its visitors from Poland and half from other countries. Its collection of accolades includes the European Museum Academy Award and the European Union’s Europa Nostra Award.

“The Polin Museum was an outcome of the opening of Polish society after 1989, of democracy, of certain liberal principles — such as the idea that people are different and we should live together — but it also contributed to these developments,” Stola told JTA.

But the past 10 years have also brought challenges for people who work in education about Poland’s Jewish history. Between 2015 and 2023, a nationalist-conservative government made controlling history a central part of its platform, promising to revive Poland’s pride in its past and eradicate a so-called “pedagogy of shame” — which meant stifling discussions about Polish people who killed Jews or cooperated with the Nazi regime.

In 2018, the country passed a law that outlawed accusing Poland or the Polish people of complicity in the Holocaust. Although its penalty has changed — lawmakers downgraded it from a crime punishable with three years in prison to a civil offense — the law remains in effect today.

Stola was among the casualties of the eight-year government, which accused him of “politicizing” the Polin Museum after an exhibition that documented Poland’s antisemitic campaign of 1968. Stola was pushed out as the director in 2019, despite winning a competition to extend his tenure.

Still, Stola believes that Polin has triumphed in educating the Polish public about the Jewish history in their midst. He pointed out that even those who oppose the museum’s contents have been forced to contend with them.

“There was a moment a couple of years ago, when a group of antisemites made a little campaign online: ‘This is Poland, not Polin,’” Stola said in his remarks at the 10-year anniversary gala. “I’m pretty sure they had never heard the name ‘Polin’ before we opened this museum, so they also learned something.”

For Jews in Poland and abroad, Polin presented an opportunity to learn about Polish-Jewish heritage beyond the most-remembered story of death and destruction. At the Auschwitz memorial in Oświęcim, a regular parade of Jewish students, tourists and officials leaves dizzy with despair — but Polin sought to inspire other feelings, too.

“Many of our Jews in Poland today didn’t even grow up knowing they were Jewish, so one of the challenges is for people to learn about their history — and also have a great sense of being proud,” said Schudrich. “This is a place where someone who has Jewish roots can come and learn, wow, look what my ancestors have created.”

That offering has made the museum some high-profile friends in the United States. The actor Jesse Eisenberg spoke remotely at the gala about visiting Poland to shoot his new film “A Real Pain,” about two cousins who travel there to learn about their grandmother’s Holocaust story, based on his own roots in the country.

Eisenberg joked that when he arrived for filming last year, he was annoyed to see the Polin Museum built on a site he remembered being empty during his first trip to uncover his family history.

“I was initially frustrated because it conflicted with my image of that set from 2008, but when I went in the museum, I was just overwhelmed,” said Eisenberg, who has applied for Polish citizenship. “I cannot wait to go back.”

Kirshenblatt-Gimblett, the chief curator, said Polin rose from a demand to understand what vanished from Poland together with most of its Jews. Unlike many other Holocaust museums in Europe, Polin’s founding was not based on a collection of Jewish relics and remains — but on their absence.

“This museum is built on the rubble of the ghetto, on the rubble of the pre-war Jewish neighborhood,” Kirshenblatt-Gimblett, professor emerita at New York University,  said at the gala. “That is for me a very powerful symbol, because we began without a collection. We’ve now formed a collection — we have over 19,000 objects — but our greatest asset wasn’t a collection. Our greatest asset was the powerful story of the largest Jewish community in the world.”

[ikibli]

Does this man look 98 to you?

This is Jay Garrick from Young Justice. According to the series timeline, he is 98 in this scene. He looks early sixties at the oldest, and possibly could be mistaken for being in his late forties.

Joan looks a lot more reasonable for a 94-year-old woman done in an art style that doesn't really support realistic wrinkles, hair loss/weakening, liver spots, connective tissue weakening, etc.

That still raises the question- why does a man almost a century old look 20-40 years younger than a woman four years his junior?

Well, Jay's a speedster. Joan isn't. There you go, that's the main difference.

Barry could also be mistaken for being in his early twenties or even late teens, despite actually being in his late thirties/early forties. His voice is certainly squeaky enough.

The younger speedsters(Wally and Bart) seem to have aged normally enough- but then again, growth is different from aging, and Bart is obviously not still a baby, despite being born with super speed.

Jay is also able to pick up Barry and Bart and run while carrying both of them without any issues, as well as accelerate fast enough to pull them out of the way of Neutron's explosion despite having not even been in the area before that.

From all of this, we can conclude that speedsters age much slower than humans(about 1/2 to 1/4 the rate), and that aging is mostly cosmetic for them. They aren't really that much slower or weaker than they were in their youth, though they possibly have less stamina.

If that wasn't enough, the only surviving(as far as we know) members of the JSA are Red Tornado and Doctor Fate. You know, the android who was in stasis for several decades, and the magic user who actually looks his age, and explicitly suffered the normal side effects of aging?

Therefore- Jay will probably live another oh, 300 years. (Admittedly assuming the minimum possible aging rate, but even if he only ages at 1/2 rate instead of 1/4 rate(thus being effectively 60 at 98, instead of effectively 40 at 98), he will still live for another 80-100 years.)

The average speedster lifespan is thus not 90(as for a human) years, but anywhere from 200 to 400 years.

(Lifespan estimations calculated by subtracting 22(the age he got powers at) from 98(his age in 2016), then taking the result(76), and dividing it by either 2 or 4, then adding the result of that(38 for 1/2 and 19 for 1/4) to 22 until I get a result over 90 but less than 110 and eyeballing the result based on how many times I needed to add 38 or 19 to get ~90. It's clumsy, I know, but it works.)

[justforbooks]

Ratan Tata

Indian business tycoon who turned his family’s Tata Group into a global player, and invested heavily in British industry

Ratan Tata, who has died aged 86, was India’s most celebrated industrialist. He modernised the unwieldy business empire founded by his great grandfather in the 19th century and internationalised it. In the process he spread his interests into western countries, with mixed results.

For the UK, that included the £271m purchase of the Tetley Group in 2000, followed more controversially by the acquisition of the steel company Corus for £6.2bn in 2007. Then, in 2008, Tata, himself a car enthusiast, added the troubled Jaguar Land Rover motor business for a further £1.75bn.

He joined the family firm, Tata Steel, in 1962. Educated in the US, and newly qualified as an architect, the young Tata had, he said, no intention of returning to India. But family ties won out. When his ailing grandmother, Navajbai, who had raised him, asked him to return he did so. He was soon promoted, building his reputation with tough reorganisation, followed by more troubleshooting at the electronics and textile companies.

In 1981, he was made chairman of Tata Industries, and found himself confronting an assortment of separate businesses, with different ownership patterns over which there was little formal control. He made a blueprint for reorganisation, having spent time at the Harvard Business School, but it was rejected after opposition from semi-autonomous bosses.

However, in 1991, the 81-year-old patriarch of the group, JRD Tata, chose him as his successor as the overall chairman. Asked why, he replied: “He has a modern mind.”

Tata soon demonstrated it with a tough programme of reshaping that, against continuing opposition, brought closures, job reductions, and the departure of the heads of the steel, hotel and chemical businesses.

He began to focus more on brands and less on heavy industry, and he benefited from the deregulation of Indian industry championed by Rajiv Gandhi. As part of it, he took the company more heavily into the motor industry. Tata lorries already dominated Indian highways, but now he moved into the car business in line with his own enthusiasms. While always seen as a man of modest habits, he had his own lovingly maintained collection of high-powered and classic cars, and delighted in driving them along Mumbai’s Marine Drive most Sundays.

Tata produced what was called “the first Indian car”, designed by and for Indians, in 1998. Ratan did some of the first drawings himself. The Tata Indica was a success. But when he went further a decade later, and the company conceived the Nano, a tiny saloon described as the world’s most affordable car at a price of about £2,000, the project failed. Such a cheap car was not enticing even to those “on two wheels” whom he hoped to attract.

In 1999 Tata had travelled to Detroit to discuss the sale of the motor business to Ford, only to be asked why his firm had gone into the passenger car business when it clearly knew nothing about it. Later he would turn the tables, buying underperforming Jaguar Land Rover from Ford and reviving it.

With sell-offs and cutbacks, Tata reorganised the group into 98 operating companies from more than 250, reducing the labour force by more than a third. He forged alliances with foreign companies and went into information technology.

He stepped down in 2012, observing the compulsory retirement rule he had himself introduced, but was still regarded as “chairman emeritus” and was brought back unhappily for a few months when his successor was sacked four years later.

His most shocking day came in 2008, when terrorists took over the Tatas’ Taj Mahal hotel on the front at Mumbai with great loss of life. The company has continued to support staff affected and the families of those who died.

Ratan was born in Mumbai, into the large Parsi Tata family, whose wealth came from a scattered collection of businesses including textiles, hotels, engineering, steel and tea. His father, Naval, had been adopted by the son of the founder, Jamsetji Tata. After Naval and his wife, Soonoo, separated when Ratan was seven, the child was brought up with his younger brother, Jimmy, by his grandmother in a grand Tata mansion in central Mumbai.

Aged 17 he was sent to the US to attend Riverdale Country school in New York City, from where he entered Cornell University in Ithaca, New York. He studied engineering before switching to architecture, graduating in 1959. He worked as an architect for a while in Los Angeles before returning to India, and Tata Steel.

In his 20 years at the helm, Tata’s sales grew by 22% annually and its international revenues rose from a quarter to 58% of the total, while Tata Consultancy Services became Asia’s largest software company.

His British investments have been among his less successful. Corus was bought for an over-the-top £6bn just before the global financial crash devastated the industry. Tata claimed it as “the first big step that Indian industry has taken as a global player”. It was later described by a senior Tata executive as “worthless”. The firm is currently negotiating terms of new investment at Port Talbot, which would be accompanied by hundreds of redundancies, while huge plants on Teesside and Scunthorpe have already been closed or sold for a nominal sum.

Jaguar Land Rover was initially a happier story. Tata’s major investment, including in research and development, made the company for a while the largest foreign investor in British industry. But eight years of profits have been followed by losses since 2018.

Surveying the British scene in 2011, Tata told the Times: “Nobody seems to want to exert the effort to make the UK truly competitive. It’s a work ethic issue. In my experience in both Corus and JLR, nobody is willing to go the extra mile.”

He was a major figure in the international business community, close to US politicians as well as the Indian government, advising the former prime ministers Gordon Brown and David Cameron, and sitting on the boards of multinational institutions.

He was also known as a major philanthropist. Many of the Tata companies were owned through trusts he chaired, and huge sums were provided for medical research and university projects both in India and abroad, particularly in the US, where a number of campuses have buildings bearing his name.

A softly spoken man, renowned for his courtesy, he never married, although he described himself as having come close four times. He was known for living modestly, although his recreations included flying his private jet and driving his collection of expensive cars, as well as a speedboat. He was noted for his love of dogs. The Tata headquarters in Mumbai had kennels and made provision for street dogs, and he was a donor to canine charities. In 2014 he was made GBE.

He is survived by Jimmy, by his stepmother, Simone, a half brother, Noel, and two half sisters, Shireen and Deanna.

🔔 Ratan Tata, businessman, born 28 December 1937; died 9 October 2024

Daily inspiration. Discover more photos at Just for Books…?

[bojackandherb]

Had Crackerjack lived how long would he have lived and how long would he be in Bojack’s life? Taking account that his sister was 5 and he was a young adult when he died. Also taking account he’d be more health conscious after becoming Bojack’s guardian.

He lives to his late 90s, maybe 98 or something! I’m thinking the sugarman’s are pretty long lived in general, Joseph was super old when he died, (considering CJ was in his early 20s in 1944, (he’s 20 or 21 in 1944 in my Au), that means he was born in the 1920s, and I feel like Joseph and honey had CJ in their early 20s or even earlier, so I think joseph was born in the early 1900s, and then he died in 1997, making him in his 90s). And Beatrice lived to be 80 despite chain smoking and drinking heavily for decades. So yeah. Also, I don’t imagine Crackerjack getting dementia.

Considering how much of a health nut crackerjack becomes and his family’s good genes, had he not gone through so much stress and been such a mess for much of his 20s and 30s due to trauma, he might’ve even lived to his 100s!

Considering everything he did go through thought, I feel late 90s makes the most sense. 98 is probably the oldest I could realistically make him (or maybe 99-100 if we’re really pushing it). I wanted to give him a lot of years of happiness near the end of his life, considering how much I put him through in this au!

Plus him living that long means he gets to meet characters like Diane, which is fun! (Crackerjack would be like 90 or 91 in 2014)

[cheesybadgers]

Out West, the Gay Cowboy Roams Free

The frontier has long been a symbol of American masculinity. Now a rising generation of artists are creating a new queer mythology.

The gay cowboy ensemble — Manu Rios (from left), José Condessa, Jason Fernández and George Steane — from Pedro Almodóvar’s “Strange Way of Life” (2023), photographed in Madrid on July 12, 2023. From left: Y/Project shirt, about $715, yproject.fr; and Cartier ring, $3,700, cartier.com. Loewe shirt, showpiece only, and jeans, $990, loewe.com. Gucci T-shirt, $590, gucci.com; Levi’s jeans, $98, levis.com; and stylist’s own belt. Gucci shirt, $2,100, and jeans, $1,300.Credit...Photograph by Carlota Guerrero. Styled by Alicia Padrón

By Evan Moffitt

Published Sept. 5, 2023 Updated Sept. 27, 2023

TWO MEN, A grizzled sheriff and a gunslinging vigilante, confront each other in a dusty saloon town. It’s a scene familiar from countless western films, but in Pedro Almodóvar’s new short, “Strange Way of Life,” in theaters next month, only a few minutes elapse before the two characters end up in bed together. When Silva (Pedro Pascal) visits his former lover Jake (Ethan Hawke), he rekindles their romance before revealing less amorous intentions. Intrigue ensues, and the shock of two gay cowboys gives way to what we might expect from a classic western: shootouts, horseback chases, fugitive justice. Almodóvar’s second film in English forgoes the melodrama for which he is best known, adhering instead to genre traditions, so “the interrupted and then resumed love story between these two men will be taken more seriously,” the 73-year-old Spanish director says.

In America, as Almodóvar knows, cowboys are serious business. They might be our national paragon of masculinity: Generations of American boys were taught that real men should have the swagger of the Marlboro Man and the gruff voice of John Wayne. But like so many aspects of gender, those were just performances. This is partly why over the decades many queer artists have made winking references to cowboy culture. By homing in on make-believe and dress up, they’ve deflated some of its homophobia-tinged machismo — and even sometimes turned it into an object of horny fun. Campy versions of the Lone Ranger’s costume appear in explicit photographs by Bob Mizer from the 1950s that were distributed in physique pictorials, a forerunner of gay porn magazines. In 1965, Andy Warhol directed some friends in a western-themed striptease for his film “Horse”; three years later, he released “Lonesome Cowboys,” a drunken romp among five gay gauchos, a madam and a cross-dressing sheriff. Then there was the gay disco troupe the Village People’s dime-store cowboy, Randy Jones, who was meant to be read as a tongue-in-cheek archetype (one since referenced by musicians like Lil Nas X and Orville Peck).

Oscar yi Hou’s “Coolieisms, a.k.a.: The Fugitive (John Chinaman)” (2023). Photo: Evan Sheldon. Courtesy of the artist, 12.26, Dallas, Los Angeles, and James Fuentes, New York, Los Angeles

While such appropriations subvert the straightness of cowboy culture, they also highlight its latent homoeroticism. From cattle drives to prisons to navy ships, men will often have sex with each other when there aren’t any women around. Western films in particular are spectacles of rowdy male bonding on the open range, where a lot can happen after a drink or three. There’s palpable sexual tension in the 1969 buddy drama “Butch Cassidy and the Sundance Kid” and the 1959 classic “Warlock,” from which Almodóvar took inspiration. In the 1970s, men in urban gay enclaves began wearing Stetsons and bandannas color-coded to indicate their sexual proclivities. These gestures weren’t entirely ironic; they also reclaimed a masculinity that gay men were told they lacked.

As lone riders in a land characterized as empty and lawless, cowboys were also a perfect symbol for queers seeking to liberate and reinvent themselves. Such is the fragile hope of “Brokeback Mountain,” the 2005 blockbuster (which Almodóvar turned down an offer to direct) that was adapted into a West End play earlier this year. Its portrayal of a doomed love affair between two male shepherds was groundbreaking in many ways, but its presentation of the West as somewhere white, masculine men might be safe to explore their desires for each other without ever having to run into anyone else — including a person of color — mostly followed conventional tropes.

Kenneth Tam’s “Rabbit” (2022). Courtesy of the artist and Commonwealth and Council, Los Angeles, Mexico City © Kenneth Tam. Photo documentation: Ian Byers-Gamber

NEARLY 20 YEARS later, several younger artists and filmmakers are developing a more nuanced vision of queerness in the American West, with particular emphasis on the country’s changing race and gender dynamics. This builds on past efforts by writers, artists and filmmakers like Kahlil Joseph and Chandra McCormick to celebrate the many nonwhite cowboys who have always been an essential part of American life.

“National Anthem,” a feature film written and directed by the Los Angeles photographer Luke Gilford that premiered at South by Southwest in March, chronicles queer rodeos and ranches in the Southwest. Many of the movie’s diverse characters and the actors who play them identify as trans. Notably, while the plot hinges on relatable, everyday dramas (jealousy in open relationships, the pain of a first heartbreak), homophobia and transphobia are mostly absent — a reminder that queer life needn’t be defined by a culture that oppresses it.

The frontier has always been a place where people have come to live on their own terms. At the turn of the 20th century, the trans huckster Harry Allen was a notorious outlaw in the Pacific Northwest. Hundreds of newspaper reports from the era reveal that trans cowboys weren’t uncommon in the West, even if they’re absent from official accounts. When the 32-year-old artist Gray Wielebinski was growing up in Dallas, he saw 10-gallon hats and boots as the marks of a fantastical machismo that belonged as much to him as to cisgender men. In 2022, the trans-masc artist erected a mechanical bull at Bold Tendencies, an arts organization that stages shows on the roof of a disused South London parking structure, where visitors were invited to take a ride that, like sex, was brief but ecstatic. The bull bucked in a ring of fencing set with stained-glass panels that recalled gay bars and public cruising sites, which Wielebinski notes are at risk of disappearing because of gentrification. In his work, the cowboy is a tragic figure professionally endangered by commercial ranching, making him an analogue to the queer establishments that have closed in recent years.

Rafa Esparza’s “Al Tempo” (2021). Courtesy of the artist and Commonwealth and Council, Los Angeles, Mexico City

“Cowboys only live in a sense as myth,” says Nora Burnett Abrams, a director at the Denver Museum of Contemporary Art, which will open the expansive exhibition “Cowboy” this month. “But you also have this lived experience of contemporary cowboy life and a culture far more diverse not just in terms of identity but also labor and function.” A new installation and video by the artists Rafa Esparza, 41, and Fabian Guerrero, 35, will document the queer cowboy bars popular among Mexican and Central American immigrants throughout the Southwestern United States. Esparza’s 2021 diptych “Al Tempo,” painted on adobe, distills one such scene: gay Latino couples in sombreros dancing under the soft lights of Club Tempo, an East Hollywood institution. Esparza, who grew up in nearby East Pasadena, visited the venue for the first time in the late 1990s. “I remember thinking, ‘My dad or my uncles could very well be here, and I wouldn’t be able to set them apart from everyone else,’” he recalls. “It felt like a beautiful, queer version of what my family members have striven to preserve of their life back in Mexico.”

The dreamy scenes in the Austin, Texas-based 34-year-old artist RF. Alvarez’s paintings, which were on view at Alanna Miller Gallery in Manhattan through June, on the other hand, are mostly imagined. White and Latino men dine outdoors and lie naked in bed together. Cowboy hats abound: in a self-portrait of the artist wearing nothing but white briefs and in a still life hanging above a wardrobe beside a silhouetted portrait of a gay male couple. The paintings are a kind of reclamation — of history, but also of space. “There is no place for me in the West,” Alvarez says. “But multitudes can exist.”

RF. Alvarez’s “Luncheon on the Pasture” (2022). Courtesy of the artist and Taymour Grahne Projects

OTHER ARTISTS ARE mining time instead of place, looking at the past for clues to the inner queer lives of those who have been removed from most historical accounts of the West. In the artist Kenneth Tam’s 2021 film, “Silent Spikes,” also included in the Denver show, Asian American men in cowboy garb pose and dance in front of a purple backdrop, intercut with footage of railroad tunnels dug by Chinese immigrant workers in the 1860s. The piece imagines what kinds of relationships might have formed among these laborers, who were treated brutally and paid poorly. “I wanted to think about how their bodies must have felt against one another’s in that space, working together in close proximity,” says Tam, who is straight but whose work, he adds, is concerned with homosocial dynamics. Scant evidence of the Chinese laborers’ lives has survived, so Tam’s vision of them as queer cowboys becomes a speculative attempt to complete the record.

Stills from the film were on display this summer in “The Range,” an exhibition at 12.26 Gallery in Dallas that likewise explored cowboy iconography. There, they hung near paintings by Oscar yi Hou, 24, a British-born, New York-based artist whose works are replete with clichéd signifiers of Asian and American identity, including cowboy hats and details from the Japanese anime series “Dragon Ball Z.” His solo exhibition at the Brooklyn Museum, which closes later this month, includes a self-portrait of the artist as a muscled, pickax-wielding miner, his pose modeled on a 1970s flyer for the Manhattan gay bar the Mineshaft, referencing both cruising culture and those same railway workers. Another buff Chinese laborer appears in a black leather bondage mask and cowboy hat in “Coolieisms, a.k.a.: Leather Daddy’s Highbinder Odalisque” (2022) — the series’ title riffing on a slur for immigrants from Asia — holding his long braid like a whip.

The work is “about the American cult of masculinity and rugged individualism ... conquering the ‘uncivilized West’ — and how this gender ideology dovetails with American expansionism,” says yi Hou. The raw sexual power of his subjects refutes stereotypes of Asian masculinity while offering a fantasy about how the Chinese men who literally built the West might have explored their own desires. In challenging the outdated image of the cowboy as a white, cisgender macho man, clearing the land in the name of racial purity, they suggest that America’s national mythology can be made to speak for everyone in it — that the West is more expansive after all.

Hair by Olga Holovanova at Another Agency using GHD. Makeup by Lucas Margarit at Another Agency using Dior Beauty. Set design by Cito Ballesta. Photo assistant: Guillermo Tejedor. Stylist’s assistant: Irene Monje. Produced by Alana Productions SL

[hit-song-showdown]

Year-End Poll #47: 1996

[Image description: a collage of photos of the 10 musicians and musical groups featured in this poll. In order from left to right, top to bottom: Los del Tio, Mariah Carey and Boyz II Men, Celine Dion, The Tony Rich Project, Mariah Carey, Tracy Chapman, Bone Thugs-n-Harmony, Donna Lewis, Toni Braxton, Keith Sweat. End description]

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A lot of major moments to talk about this year. Like my birth. I was born out of the Macarena Summer.

In 1996, the Bayside Boys remix of Los del Rio's Macarena became a cultural phenomenon as well as an incredibly popular song (I'm clarifying it's a remix, because the non-Bayside Boys version also reached the Hot 100 at number 98). The track's record for longevity in the Hot 100 would only be broken almost two decades later by Adele.

Speaking of record-breaking songs, One Sweet Day, the duet between Mariah Carey and Boyz II Men, is a towering R&B number. At 16 weeks, the song held the record for most weeks at the number one spot until Lil Nas X came out with Old Town Road in 2019.

One Sweet Day is a song about grief, specifically the track was inspired by the ongoing AIDS epidemic. It's not the only song on this poll related to this issue. Bone Thugs-n-Harmony wrote Tha Crossroads to honor Eazy-E, one of the establishing figures behind the West Coast rap scene who passed away from AIDS-induced pneumonia in 1995 when he was just 30-years-old.

Sadly, the stretch between 1995 and 1996 would be marked by several losses among legends in rap and hip-hop. In 1996, The Notorious B.I.G. and Tupac Shakur would be murdered with only a few months between their deaths. These losses will be relevant in a direct manner when we get to the next poll, but it's not an exaggeration to say that the music world was shaken by their deaths. There were those who were quick to make bad-faith arguments blaming the violent subject matter of the music itself. And while the coast-based rivalries did get extremely intense, I think this is a reductive conclusion to come to. To many, however, this moment in music history felt like a nation-wide wake up call.

As rap became more mainstream and started to absorb more of pop music influences into its sound, the genre was bound to change. We've already seen this with the increasing number of R&B fusions and rap verses on pop songs. But some mark this year as another turning point for the genre, as the gangster rap era starts to fade in the mainstream music scene. Even outside of rap, after this point pop music starts to feel a lot sunnier, for lack of a better term. Whether this is due to coping with these recent tragedies, a larger demographic of younger music listeners dictating the majority taste, people gearing up for the new millennium, the record industry reaching record numbers in profits, or genuine positivity and optimism (think that might have been still a thing lol), the times are certainly about to change.