#art theft is inexcusable

[the-phantom-officianados]

To yusuke

What is your opinion on AI art?

Here we go.

Theft of an artist's work is always inexcusable, if you hate people for tracing and claiming the work as their own, then AI """"Art"""" is to be viewed as a million times worse.

It is a machine that can only create poor imitations with blatant errors, even the nicer more advanced pieces lack soul, you can always tell by looking into the eyes of a piece.

To steal from one artist without credit is disgusting, to steal from millions at once to create something infinitely inferior than what any one of them could do in twenty minutes?

As a human being with basic morals, I am opposed to it on a fundamental basis.

As an artist, its attempts to devalue my efforts absolutely disgust me.

☆ Yusuke 🎐

[shrimpleasthat77]

I’m always so late when it comes to shit going on in the orokabu community but holy shit

I try to give a lot of people the benefit of the doubt, and I especially try to stay out of drama, but blatant art theft, even after a person had blocked someone over it is inexcusable. I feel like it’s just common sense. I didn’t even want to publicly take sides but this is extremely upsetting to see.

[my-kaylah]

I think about this a lot, so I want to let people in on a little thing I do: I give the story to the world. You could make it a story prompt! I personally tell my friends and hope they bring something similar to life (and then use that to motivate me to start my own story. Works a whopping third of the time)!

I am someone who is big on integrity. This extends to all areas in my life, especially my writing world—even when I was committed to school. I would sometimes say I “write” papers for people… in reality, it was me helping them write it. I would send resources and research leads; I would sit with them on a Google Doc; a lot of them times I would offer suggestions or straight up edit the entire paper! If I am your friend, I would be doing such a disservice doing the work for you because in the end… what was truly accomplished beyond academic dishonesty??

In turn, the creative field I hold to a much stricter standard. Theft is inexcusable. There is no need to steal creativity when… you can simply use it to inspire you. Some of my favorite pieces I’ve personally made have been inspired while consuming someone else’s content.

When those annoying “how to write better!!!” blogs tell you to read as the first or last thing on their list… they’re not wrong. I consume so much more content than I create; most of my creator friends do too if I think about it. There are periods where—instead of writing—I’m reading a WIP, commenting on the story, talking to the artist (this is how I make friends, I really just be wanting to talk to the person behind the art because the two are inseparable).

Creating without consuming would be counter productive. If you’re familiar with the concept of the ecochamber—this is how they’re made. Think of that little input-output chart they kept tryna teach us in math. With no creative input… are you really going to enjoy the creative process and what you produce from it?

And it doesn’t even have to be reading! You can watch youtube channels; lurk through reddit subs; read twitter threads; content is whatever you consume on a daily basis. It’s the things you choose to engage with.

[trixybobbitt]

AI generated art is theft, do you have to have an AI Art Profile picture?? It really bums me out ):

Yes, I was using an AI profile portrait. It was one of those early photo style edits from before the AI art stuff really blew up. The photo it was based on was of me and taken by me. Still, I recognize that it is inexcusable laziness and complicit in theft almost certainly committed when the AI was trained. It was a placeholder which is overdue for replacement. This new vaguely heart shaped icon is one I created myself with a freeware vector art program called Inkscape for use in my book. It is based on a heart shape which I think is old enough that no one is quite sure where it's use started. It's also meant to resemble a pen nib. Pen nib shapes are largely functional and whether you would judge their origin in Roman ruled Britain in the 40s AD, or Egyptian reed pens far before then, those are both a bit past the copyright cutoff Mickey is staring down. I don't think I can get any more theft-free than that and still use a standardized web image format. I could be wrong. Posting publicly on the internet is an efficient way to be corrected and learn. I think I'll add some genderqueer colors to it after I'm done writing this. While the genderqueer flag was designed by Marilyn Roxie, it's covered by Creative Commons Attribution 4.0 International License so I think I can use it without taking food from the mouths of creators. I also own commissioned cover art, which I did not draw, but I own the reproduction and modification rights. If I wanted to use that for a bit more color, do I credit Angrboda in my profile, or a pinned post? Do I post the artist's legal name to avoid confusion with the norse goddess? Is it enough that tineye will reveal its origin? I haven't seen anyone else posting citations for their avatars, so I do not know the appropriate convention. I'm not sure what is enough. I also love the art of simz, but I have not commissioned a piece from them. Is there a way to use their art in an avatar without bumming you or other folks out? Is it enough if I'm a contributor to their patreon?

In addition, I've probably used one or two Felix Argyles in my few 'original' content posts which were not illustrated by Shin'ichirō Ōtsuka, and some backgrounds which may not have been either stock, meme template, or from recognizable intellectual properties. (I made a few of them while drunk-posting on a friend's couch, and probably didn't click through my google image search to check.) I'm not sure if they represent fair use, but I don't think you were raising a legal complaint, just feeling bummed about art friends struggling to commoditize their creativity in a capitalist society that is predatory toward small business, so I'm not sure what to do to cheer you up. ☺

[sabishiranami]

The art thief’s entire Instagram was finally deleted wOOO!!! I can finally rest easy knowing that they’ve fucked off for good.

[youngbounty]

The Problem with Apollo’s Backstories

It’s very rare I see this. So far, I’ve only seen two posts on Tumblr about this, but I’ve noticed a few posts that make mention about Phoenix Wright having no backstory. Now, whether they were made as a joke to not be taken seriously or not is something I cannot confirm. That being said, it did bring up something that does come up often: the problem with Apollo Justice having too many backstories. The thing is, Phoenix Wright has just as many backstories as Apollo, yet no one seems to make mention of it or perhaps are not aware. It made me question how this is possible. Certainly, if Apollo’s three backstories stick out like a sore thumb, wouldn’t Phoenix Wright’s three backstories stick out too? Shouldn’t Phoenix also have the same amount of complainers about having too many backstories?

I am a true believer that there is no such thing as a bad idea, but bad execution. I think Phoenix’s backstories are an example of Apollo’s backstories done correctly. To understand this, I’m going to go over each of Apollo’s and Phoenix’s three backstories, and explain where Phoenix got it right where Apollo did not.

With Apollo’s first backstory in the game Apollo Justice, where Apollo is introduced as the main protagonist of this game, we find out that he used to work for Kristoph Gavin at the Gavin Law Offices before finding out he murdered Shadi Smith. Later on, we find out his bracelet matches Thalassa Gramarye’s in her picture, proving that they are mother and son. Through Zak, we find out that Thalassa was once married to a different man before he passed away, believing that her first born had died with him. This draws the connection between Apollo Justice and Trucy Wright as being half brother and sister. And… that’s it. This information does not effect Apollo, since we don’t know his life outside of this during the time of the game’s release, and he does not know that Trucy is his half sister. This backstory does draw a connection between the two long lost siblings, but without any knowledge to create a reaction, it feels empty and shallow. It wasn’t until the two follow-up games that we get more of Apollo’s character and development that fans of the game began to care enough to demand the two half siblings discover their long lost relationship they are not aware of.

For Phoenix Wright, his backstory is the all-knowing class trial back in his elementary school. On one school day, Phoenix Wright was accused of stealing lunch money from a student, due to being sick and being dismissed from school that day, leaving him without an alibi. This lead to a class trial where everyone, including the teachers, shamed him, even though Phoenix claimed it wasn’t him, then crying over the humiliation and shaming. Just when Phoenix was about to forcibly apologize to this student, the student stands up and makes the claim that, since no proof was given that Phoenix had taken the money, he is innocent until proven guilty. A second student also defends him, leading to the teacher deciding to pay for the lunch money that was stolen. From that moment on, Phoenix became friends with the two students that stood up for him: Miles Edgeworth whose money was stolen and Larry Butz who was the second student to stand up for him.

The first thing that makes Phoenix’s backstory different is it creates a motivation and relatability. This backstory tells the story of what motivated Phoenix Wright to become a Defense Attorney. He had befriended the two boys that stood up for him when he was accused of theft at school. One of those friends grew up to become the Demon Prosecutor, Miles Edgeworth, who is known for falsifying and withholding evidence. When Phoenix tried to contact him, he would not answer. So, Phoenix Wright became a Defense Attorney both to meet with him and save him. With this, comes with relatability. Phoenix is someone longing for the friend he once lost, something most of us can relate to – if you’ve ever had a childhood friend, whose friendship broke apart over time. This creates motivation for Phoenix and the players to wish for Miles Edgeworth to return back to being Phoenix’s friend again. With Apollo, on the other hand, his first backstory doesn’t give us anything to relate or motivate us to want him and Trucy to discover their real mother or relation. The mention about Apollo’s biological father does come up, but not until Dual Destinies and Spirit of Justice, which I will get into later. Because of how shallow and empty this backstory feels, it’s no longer Apollo was called a Gary-Sue when the Apollo Justice: Ace Attorney first came out.

The second backstory for Apollo finally gives us something concrete. In this second backstory, Apollo had grown up with Clay Terran in a boarding school. We get a flashback of Clay crying because someone in his family died (I can’t remember who. Comment if you know). Apollo cheers him up with his “I’M FINE!” speech. This became a motto for him and Clay. From this backstory, we finally find out that Apollo had grown in a boarding school during his youth with Clay. We finally get a motivation and relatability from Apollo Justice to make us care and cheer for him. There’s just one problem… what does this have anything to do with Apollo’s connection to the Gramarye and his relation to Trucy? Nothing. Absolutely nothing. That’s where Phoenix’s second backstory differs.

For Phoenix Wright, his second backstory tells that he began studying at Ivy University to study on law and art. From there, he met a beautiful lady named Dahlia Hawthorn at the library inside the courthouse. She gave him a heart-shaped bottle as a token of their love and they hit it off. Having dated Dahlia for nine months, he began showing off his little gift to all his friends at the university, even when Dahlia asked him to give it back. Just then, Phoenix came across Dahlia’s ex boyfriend named Doug Swallow, who met with him to warn him that Dahlia was not who he thinks she is. Angry, Phoenix pushes him, then finds him dead not long afterwards. He is arrested for murder, defended by Mia Fey – who is an already established character, in the tutorial first case of the third game of Phoenix Wright: Ace Attorney. Through Mia’s defense, Phoenix realized that not only did Dahlia’s gift turn out to be evidence used to poison Mia’s boyfriend, but Dahlia had also tried to poison him with his cold medication and was the one responsible for Doug’s murder.

Just like with Apollo’s second backstory and Phoenix’s first, this creates relatability and motivation. It creates a motivation for why Phoenix was angry at Miles Edgeworth during the second game, why he trusts Mia so strongly and why he would go to Hazakura Temple, once he sees someone that looks like Dahlia. This also reveals one of Phoenix’s major flaws as someone that considers betrayal and murder by poison inexcusable actions, much like how Apollo’s second backstory reveals how and why Clay’s death pushes him to distrust his colleagues. Unfortunately, what Apollo’s second backstory does not show is any connection to the first. With Phoenix’s second backstory, it connects back to the first and second game. It explains how Phoenix met an already established character, explains why Phoenix was cross with Edgeworth in the second game and follows where the first backstory left off with wanting to become a Defense Attorney to meet with Miles Edgeworth. Aside from Apollo growing up in a Boarding School, confirming that he is an orphan, and why he always shouts “I’M FINE!” we get no connection or follow-up from the first backstory. There’s no connection to his former boss, Trucy or the Gramarye’s. Thus, Apollo’s second backstory feels like a separate story from the first, whereas Phoenix’s second backstory feels like a follow-up to the first.

Apollo’s third backstory is that Apollo’s father, Jove Justice, came to the Kingdom of Khura’in to play music inside Durke’s home. One day, a fire arose and Jove Justice was assumingly murdered. Dhurke had miraculously saved Jove’s infant son in the nick of time before the rest of his residence was burned, hiding in the mountains with his eldest son, Nahyuta. From there, Dhurke had raised Nahyuta and Apollo in the mountain as their father, watching them grow up. Unfortunately, because of the laws in the kingdom where Defense Attorneys were prisoned with any client declared Guilty and Dhurke being an outlaw, he sent Apollo to the United States. From there, Apollo never saw or heard from Dhurke or Nahyuta again, believing all his life that Dhurke had abandoned him.

Again, like the second backstory, this gives us relatability and motivation. Leaving any family is something all of us feel saddened about. It also follows up with the relatability of Phoenix’s first backstory of being close with someone, only to grow apart from them with age. But, again, there is no connection between this backstory or the other two. What does this backstory have anything to do with Apollo’s connection with the Gramarye, relation to Trucy, friendship with Clay, growing up in a boarding school as a youth or his reasons for saying “I’M FINE!” all the time? NOTHING! There’s not a single callback to any of these, not even to reoccurring characters from the fourth or fifth game. Nothing on Kristoph Gavin, the Space Center, nothing. There is mention of Jove Justice being Apollo’s biological father, but do we get anything on Thalassa or the Gramarye’s? Even a tiny bit? Nope! Any connection with Jove Justice and the Gramarye’s to explain how he may’ve met the daughter of the famous Magnify Gramarye and they may’ve fallen in love? Nope! Again, I get nothing. It’s sad, because the story could’ve also added Thalassa into the mix as being Jove’s singing partner, a subtle picture of her and explaining why she might be so talented in singing. The fact that the second case does involve the Gramarye, I think, is a missed opportunity to draw a connection to Apollo’s third and first backstory.

For Phoenix Wright, his third backstory is in Apollo Justice: Ace Attorney, believe it or not. This backstory takes place during the seven years between the third and fourth game. Phoenix Wright was defending Zak Gramarye for the murder of Magnify Gramarye. During this trial, he presents forged evidence unknowingly, which Klavier Gavin reveals to be forged via the surprising Witness. From there, Phoenix is disbarred from law and his client Zak disappears from site. Trucy, who is Zak’s daughter, is left behind and Phoenix cannot find any living relatives, thus decides to adopt her as his own daughter. From here, he turns his law offices into a Talent Agency for his new daughter and takes the job as a piano/poker player. He befriends the only Bar Associate that voted him to be innocent, Kristoph Gavin, who had used his friendship to stalk and watch him.

Again, this creates relatability and motivation as someone losing their job for unfair reasons, entering fatherhood and being manipulated by fake friends. This also is a great follow-up to the trilogy itself and confirming everything that’s already established canon such as Phoenix considering poison and betrayal to be inexcusable, which is what Kristoph does. It establishes the relationship and connection with Trucy and even Apollo. Even as weak as Apollo’s backstory is, it is enough to give Phoenix a strong motivation to take him in as a student. With how strong this third backstory to Phoenix is and its connection to the trilogy as a whole, it makes me wonder why he wasn’t the protagonist of this story. Though, it does conclude what this third backstory does so well that all of Apollo’s backstories do not do: continue where the previous left off.

With every backstory Phoenix gets, it always continues where the previous left off. They connect well like a puzzle. Each piece matches well and never feels separate. With each new backstory, it continues where the previous left off. The second backstory continues where the first and second game left off and the third backstory continues where the trilogy left off. With Apollo’s three backstory, they feel so disconnected, it’s like trying to fit three unmatching pieces together, while ignoring the rest of the 197 puzzle pieces. Sure, the third backstory might’ve mentioned Jove Justice as Apollo’s biological father, but we don’t know anything about Jove or Thalassa, their relationship, how they met or anything. Was Thalassa the lead singer when Jove played, like she is as Lamoure? I don’t know. Even Apollo growing up at a Boarding School or how he went there is never explained in the third backstory. Did Dhurke send Apollo there and pay for his classes? I don’t know.

In conclusion, Apollo’s problem with his backstories are not that there are too many, but that they do not connect. Backstories must fit together in order to work. There has to be a cause and effect. Phoenix Wright has full backstories that have always connected perfectly like puzzle pieces. He has one of the strongest established backstories in Ace Attorney, alongside Miles Edgeworth, who technically has four backstories. That just goes to show you can’t have too many backstories. Although, you can have botched up backstories that do not match up that makes it feel like there are too many backstories.

What are your thoughts on this? Feel free to comment, whether you agree or disagree. I might make a follow-up to this to explain how Apollo’s three backstories could be fixed to where they feel complete. It really depends.

[silentauroriamthereal]

So, I watched Happiest Season yesterday, and I have thoughts. A lot of thoughts. Spoilers abound and this is long, so I’ll put this under a cut. 

Happiest Season: a review

You have to ask yourself how “happy” a happy ending really is when you glance down at the time bar on the film and see that there’s less than fifteen minutes left and none of the story’s problems have been even remotely resolved.

Skip to the closing credits, and I hadn’t changed my mind. This is a “happy” ending where a great deal of the problems in the plot were left either completely unresolved, or whose happiness wasn’t earned – wasn’t properly fleshed out, developed, supported, or in fact, even happy.

What an incredibly toxic family the Caldwells are. Let’s start with them: there are three daughters. Sloan has apparently cemented her parents’ permanent disappointment by having left a promising legal career in favour of raising a family. Side tangent: are we really still having this discussion, in 2020? This binary choice between family OR career? Besides, Sloan evidently developed a different, and very lucrative career. I also strongly dislike the way the perception of her marriage ending is portrayed as a failure. Her awful parents both resent her having left the legal field, yet have refused to now see her as anything other than a parent, ignoring her new career choice and, it seems, literally anything else about her. Then we have Jane, who is overtly abused. Treated as lesser than anyone else in the family apart from technical support with malfunctioning printers, Jane is constantly criticized, chastised, literally told to not put herself in the centre of the family for a holiday photo. I was horrified and devastated by the wanton destruction of her painting at the end, too. I’m happy for her that her book got published and that she found success there, but I hate that this brutal, completely unnecessary destruction of her art happened and was totally overlooked.

I’m going to come back to Harper, because there’s a LOT to say there.

The way the parents, Tipper and Ted, treated Abby, was appalling from start to finish. Leaving aside the ENTIRE question of the secret girlfriend thing, if my family ever treated a friend or even distant acquaintance the way the Caldwells treated Abby, I would be furious with them. I used to frequently bring friends who were international students or just on their own for the holidays to my parents’ place for Thanksgiving dinner or Christmas festivities. These people were so, so, so incredibly rude to Abby, from ignoring her when she first arrived to giving her a terrible bedroom with a door that doesn’t lock, to walking in on her multiple times while she was changing or in bed – that level of complete disrespect infuriated me! Just allowing those awful kids to be in her private space without any sort of discipline, consequences, or apologies was unacceptable. The way they treated Abby after those same kids – which she was stuck with, without any sort of request to watch them – planted that necklace on her, was unacceptable. The utter lack of apology for having literally accused her of theft, for accusing her multiple times after that – WOW. Treating Abby as though she was the unexpected, extra guest at the restaurant that first night, and giving the ex-boyfriend the parents kept shoving on Harper the proper one was unacceptable.

Then there’s how Harper treated Abby. Let’s start with the restaurant: first of all, had my parents pulled that stunt on my friend/guest/secret girlfriend, I would have let them know then and there that it wasn’t okay. And then I would have, I don’t know, asked the staff to bring a proper chair, and if that turned out to be impossible, I would have insisted that she take mine instead, and sat on the little chair myself. Asking anyone to closet themselves is an act of violence, and watching that as a member of the LGBTQ2+ community was actively harmful to witness. Again, a lot of the crap that Harper subjected Abby to would have been awful no matter WHO Abby was: you don’t abandon your guest to hang out with old friends. If they’re ready to go home, then you go home with them. It’s basic hospitality. Considering that Abby was Harper’s partner, that’s a whole extra layer of harm. THEN add the ex-boyfriend, a horribly-treated ex-girlfriend, and toxic old friends to the mix, and you have something beyond appalling. Adding this stuff on top of not standing up for Abby to her family, not insisting that she be given somewhere proper to sleep during her time in her parents’ house, not insisting that she be treated with the most basic respect, not defending her during the whole jewellery theft situation, and even going along with the parents’ de-invitation to that dinner – that’s inexcusable. You don’t treat other people that way, much less your partner. Then add Harper calling Abby controlling, while simultaneously having the nerve to get angry about Abby spending time with Riley, which is possibly the only good thing that happened for Abby during that entire, awful trip – yeah. I was finished with Harper by that point.

Harper also actively participated in the way her sisters were constantly put down by their parents. The responsibility of being the privileged favourite is to use your status to bring others up. Harper doesn’t appear to have any sort of spine or courage whatsoever. It was only after she was forcibly outed by Sloan – and such was her privilege that the parents believed that it was a “malicious” lie rather than a “shocking” secret – that Harper even admitted the truth, and that was only after forcing Abby to watch her deny it yet it again. While I did love John (the gay best friend)’s entire speech about someone’s love not being the same thing as being ready to come out, there is nonetheless a ton of harm in forcing your partner watch that. It does affect them. It does disavow their identity at the same time, when they’re in a relationship with you. Her pattern of behaviour of throwing other people under the bus, like Riley, is very much intact.

I completely comprehend Harper’s fear of being rejected by her family. Apparently it was a well-founded fear, based on her awful, awful parents. That’s one of the reasons why the ending didn’t resonate for me at all: it wasn’t earned. Harper’s turn-around from being completely unwilling to have her parents know the truth to claiming that Abby was the only thing that mattered to her, came out of nowhere. It wasn’t a supported development. It happened too quickly. Similarly, the parents both going from being just about the worst parents on the planet to having a VERY sudden change of heart and behaviour, just happened unbelievably quickly. There was no questioning the entire history of their practises or what was wrong with them, no questioning how they’d treated any of their kids. The whole “consequence” for Ted was deciding, of his own accord, not to align himself with a politician who would force Harper to zip it – sorry, continue to zip it – about her identity. He shouldn’t have aligned himself with that woman in the first place. No one ever apologized to Abby about the way they treated her from start to finish, from patronizing her for being an orphan or the constant lack of respect shown her, to the false accusations of theft. Not a single part of it was atoned for at any point. Even Tipper being so disgusted with Abby’s ipad photography skills was disgusting. You just don’t talk to other human beings that way, and there was no resolution for me on any of this. There were also no consequences for Sloan’s horrific, SUPER-public outing of Harper, for Harper’s destruction of Jane’s painting, for the kids’ planting of the necklace on Abby, or for anyone’s horrendous treatment of Abby in general.

So yes: when you’re less than fifteen minutes out from the end of a supposed romantic comedy that was more upsetting to watch than entertaining or funny, and you’re actively rooting for the main character to walk away from her so-called partner and her toxic family, that’s not good. I’m not sold on the “romance” aspect, either. John (Dan Levy’s character) was the only good part of this movie, for me, and that’s overlooking his completely rude ignoring while on his phone at the beginning, or his negligent care of the animals he was supposed to be taking care of. (Gross, again – animals’ lives have value, too, and if my pet sitter killed my pet through negligence while I was away, I would be furious!) But his point about “sticking it to the patriarchy” in terms of Abby asking Ted for his permission/blessing to marry Harper was spot on. For all the hype about this being a progressive, lesbian, holiday rom-com, this film managed to perpetuate a lot of gross aspects of straight, white, misogynistic, heteronormative culture, like women being the property of their fathers and needing to obtain a male parent’s “permission” to marry another human being. The only person’s “permission” that was needed here was Harper’s, and then it’s not about permission – it’s about two adults making a consensual decision to commit themselves to each other. It’s great if you have the support of family – aka, BOTH parents, on BOTH sides – but that support is a bonus, not a prerequisite. Perpetuating the false dichotomy of family vs career for women only, is a harmful one to keep perpetuating. That question is never asked of men.

I was honestly kind of disgusted that Abby chose to stay with Harper by the end. I get it, but it definitely didn’t leave me with warm, romantic feelings. It left me with the deflated feeling I invariably experience whenever a woman makes the choice to be the bigger person and submit herself to a damaging situation or relationship. Mostly what I’m left with is anger that no one spoke up for Abby at any point, even John. That, and anger and sorrow over Jane’s painting. So yeah: it wasn’t as bad as bury your gays, but it also wasn’t really a happy ending for me, or super enjoyable to watch. Do better, Hollywood. Do a lot better.

[rapeculturerealities]

Our favorite feminist baker has been blatantly ripped off by a collaboration with Marc Jacobs, Planned Parenthood, Happy Hippie Foundation and Miley Cyrus. In an extremely sexualized image, Miley Cyrus posted on her Instagram a picture of her licking frosting off of a cake that says, “Abortion is Healthcare.” The design was already created by Becca Rea-Holloway, known as The Sweet Feminist, in December.

“@mileycyrus just announced a collaboration with @marcjacobs@plannedparenthood @happyhippiefdn using this image. It is a direct theft of my own original art work from May 2018, with no credit. It’s literally my exact handwriting, message, and concept. Swipe for comparison! Cake art is for everyone, but this is inexcusable,” wrote Becca on her Instagram.

Miley Cyrus clapped back at her to correct her post, claiming that they didn’t know it was her intellectual property and that this is “close to [Becca’s] heart” to alleviate the situation. She made sure to say that the image is not on any merchandise, because, well, capitalism always wins. However, they’re using Becca’s art for their marketing efforts.

read more

[reno0228-blog]

The theft is inexcusable.

In the future, all my arts will be watermarked, and the Goods Plan will not have a complete copy printed.

I have had two cases in which my painting was illegally stolen from ‘Taobao’ and sold. I draw them, but I haven't got a penny to my return.That is very upsetting for me.

This is a problem that happened at a Chinese shopping mall, but I just don't want to think that all Chinese people are bad.

Because there are people anywhere in the world who don't have concepts about creations. Nobody would like their paintings to be stolen at will.

I'm sorry to those who really like my paintings, but I have a duty and a right to protect my creations.

Ttanks.

[earlgraytay]

This is an art piece that’s at the @clevelandmuseumofart . It’s called Untitled and it’s by Oliver Laric. 

[Video description: A sequence of anime and cartoon characters transforming into other things, set to a piano cover of Cry Me A River. Notably, it contains a clip of Tetsuo’s transformation from Akira, one of the tanuki from Pom Poko, and a clip from Wolf Children. It also contains some softcore furry pornography, so please be cautious if you’re watching this at work.]

I have ranted about Untitled a couple times on this blog, but I’m going to try to do a reasoned analysis of it. The short version: I don’t think it should be in the Cleveland Museum of Art in its current state. I’ve contacted the Cleveland Museum of Art about it once before and received a reply which I’ll excerpt later on. (Also, this post is long and a little image-heavy.)

Untitled is composed of clips from many, many different cartoons -- both Western cartoons and anime- and very little else. According to the Museum, these clips were redrawn by uncredited professional illustrators - not Laric himself- and composited together.  

I’m going to repeat that. These are anime and cartoon clips made by uncredited professional animators, traced by uncredited professional artists and composited together by one man who takes credit for the entire work.

Untitled is art theft masquerading as high art. Untitled takes the work of other artists, uses it without credit, and claims it’s a bold statement on Art. 

This would be inexcuseable no matter what art Laric was 'borrowing’, but it becomes despicable because he’s ‘borrowing’ animation. 

In the High Art world, animation barely registers as a medium. Animation is ‘commercial’ and frivolous and for kids and not really worthy of artistic scrutiny. You could never see Ghibli clips in the Cleveland Museum of Art, for example, despite Ghibli animators and background artists being (IMO) some of the greatest visual artists of the 20th century.  Even animation for art’s sake that’s aimed at adults-- like, say, Persopolis-- barely registers in the High Art world. 

But, of course, here is animation in the Cleveland Museum of Art. ...Without attribution to any of the animators who worked on it, whether they be the original animators or the professional ‘illustrators’ hired to trace their work.   

Laric claims that his work is concerned with ‘questions of authorship’ and exploring how works can change and mutate in the age of the Internet. When I contacted the @clevelandmuseumofart about this piece, I recieved a statement, shortened here for length: 

It is absolutely true that ‘Untitled’ cites and makes use of existing imagery – indeed, much of Oliver Laric’s work is concerned with questions of authorship and the ongoing mediation, repurposing, and translation of  images, and the subsequent versions that these processes generate. The work of Laric expresses and explores – in a contemporary, global context – the status of the original in a time in which hybrid forms have become the norm....  Laric expresses a new cultural and political sensibility that encourages us to call into question traditional hierarchies that favor the original over the copy and that read cultural progress as linear and progressive. The sensitivity for forms, iconographic traditions, and aesthetic preferences that can be found in Laric’s work strongly resonates with the CMA’s comprehensive collection.

‘Untitled’ is based on fragments of animated films from different periods, where one character transforms into another character, an animal, or an object. Hiring professional illustrators (two- and three-dimensional, manual and digital), the artist has had film clips redrawn to highlight the intermediary stage between one identity and the other, before adding brief digital animations. I think by doing so, Laric actually honors and pays tribute to animation’s long and, as you point out, often overlooked history and tradition.

What the people who wrote this statement fail to understand is that in the ‘contemporary global context’ that creates these ‘hybrid forms’, there are still norms and rules about attribution, citing one’s sources, and not stealing other people’s art. These range from official standards like Creative Commons to unofficial community consensus. For example, it’s standard practice to credit the original creators of a series in fanworks, whether they’re fanfiction, fanart, or the AMVs- ‘anime music videos' -which Untitled most closely resembles. While they vary from community to community, they are usually strongly enforced, and people who break them are ostracized, banned, or even charged with copyright violations.

I could find many, many, many posts or threads about these standards, but in the interest of time, I’ll just quote the delightfully crude tumblr user @rakatakat:

IF YOU REPOST/POST UNSOURCED ART I SWEAR TO GOD IM GOING TO COME TO YOUR HOUSE W A KNIFE AND CARVE “SOURCE YOUR SHIT” INTO THE HEADBOARD OF YOUR BED THEN IM GOING TO EAT ALL THE GOOD FOOD OUT OF YOUR FRIDGE AND FLUSH A PAD DOWN YOUR TOILET

As you can see, many people on the Internet-- the home of the ‘new cultural and political sensibility’ Laric claims to represent-- vehemently support the concept of authorship, even while remixing and hybridizing different forms of art. Art theft isn’t celebrated, it’s recognized as a problem that needs to be taken care of so that creators can receive the credit that they deserve.

By this standard- the standard of the internet, the standard of the hybrid cultural sensibility Laric claims to champion- Mr. Laric is an art thief. And the problem isn’t that he used other people’s art to make his own; the problem is that he did not properly credit them for their work. That’s ‘calling ownership into question’ in the same way that a burglar calls the ownership of a stolen TV into question.

 The artists who made Untitled possible- the character designers and animators who created the original works Untitled draws from, the illustrators who faithfully reproduced that animation, and even the musician who covered ‘Cry Me A River’- deserve to be credited for their work just as much as Mr. Laric does. Untitled was a team effort; Laric may be the director and auteur, but his co-creators are artists in their own right and deserve to be credited for their work. 

I’m going to be extremely blunt: If a major art museum has lower standards for artistic integrity than a nine-year-old writing Sonic the Hedgehog fanfiction, the museum has a problem. If the Cleveland Museum of Art continues to host Untitled in its current state, without giving credit to the creators who made it possible, the Cleveland Museum of Art has a problem. 

I love the @clevelandmuseumofart-- heck, I’m a regular patron. But this is ridiculous. You can be better than this. 

I’m not asking you to take down Untitled- I’m asking you to show some respect for the artists involved in its creation. Please put the works Untitled cites on a placard and credit the animators and illustrators whose technical skills made it possible. 

Because if it weren’t for them, Untitled would be a projector playing nothing on a white stretch of wall.   

I’m reproducing a large portion of Untitled for the purpose of criticism; Fair Use applies. The art piece represented in this this video ‘belongs’ to Oliver Laric, and the animation within belongs to its original creators (Studio Ghibli, Warner Brothers Animation, Tokyo Movie Shinsha, Disney, + etc).    @copperbadge, @thebibliosphere, @cartoonbrew, @badcharacterdesign, @fierceawakening -- could you kindly reblog this? I’m really, really passionate about it and I’d like as many people to know about this as possible. Thanks.

[nichtschaden]

resources for we who can’t art

So there is a really inexcusable amount of art theft in the RP community. People are taking fanart for promos, icons, blog themes, etc. Sometimes it’s credited, a lot of the time it’s not, especially when it comes to icons. And giving credit isn’t the same as asking permission. Even if you give credit, the artist may not want their art to be used.

Get permission from the artist. Respect their answer.

It’s really not okay to take someone’s art, slap on your url and a filter and use it as free advertisement for your own blog, even with credit. It’s really not okay to take someone’s art, add your url, crop out the watermark and use it as your theme or blog header. It’s really not okay to take someone’s art, crop it into a headshot, and use it as an uncredited reaction icon.

Instead of the above, here’s some resources you can use instead:

hollow-art is a resource for face claim icons.

Snipping tool on PC will let you screencap from official sources like shows, movies and video games.

Shift-Command-4 will let you screencap on a Mac.

Freeimages is a good resource for royalty free photos, some of which are amazing, you just have to make an account.

Commission the artist if you really enjoy their style and want something of your own.

use official art sources to add your filters and urls and make your icons.

Yes, the artists don’t own the characters, but they own their hard work. Think of it this way, if someone took a chunk of your writing and slapped it onto one of their threads without permission, you’d probably be upset. Don’t be that person. If you have anxiety and asking permission sounds daunting, use any of the resources above. Taking fanart isn’t the only means of bringing art to your blog, you have a choice.

[paxohana]

Art theft of any kind is inexcusable. I don't see the point of why people decide to do it. I doubt it is for attention like most people claim it to be. *has encountered a lot of art/fanfic thieves* Show no mercy, Pax. (Also I didn't sleep because I need to finish this prompt lmao rip) Anyway, eat the thieves (๑و•̀ω•́)

Between feeling like shit and dealing with this, I don't even want to write at the moment. It's just like "Really?" I'm going to attempt civility first, but you better believe if they brush me off or laugh at me I'm going to wreck their world. Good luck with your prompt, Kai!~Pax

[asaltyrat]

Emulators and What Nintendon't Know

Surprise, let me drop a heartstopper on my community. I don't support the piracy of intellectual property. Other than the relationship I have with artists who have seen their works copied over or even blatantly cropped to remove a watermark or signature has teamed up with a general distrust of off-market tools. I am not going to brick my computer with bloatware or a sneaky virus just so I can play Spyro for a few days and put it down. Limewire's ill fated shareware platform is notorious for this.

That said, Emulators, Roms, and those working behind those tools are talented individuals which are making the transition from 'Anarchists going against societal norms' to 'Preservers of history.' The preservation of these games are incredibly important as works of art and nostalgic experiences we're slowly and steadily losing as days go by. Some of the every day public don't know what the big deal is, but to some, the fact that Konami does not have the full source code for Castlevania: Symphony of the Night is almost inexcusable. (Konami has a terrible track record for preserving their old games).

This leads to legality issues however, as while Emulators are not intellectual property theft, the distribution of ROMs for these games fall under piracy and is often pursued by legal action by their parent companies. Take down notices issued, websites dismantled, years of work gone in a flash because, to be frank, the guy working in his apartment ripping PS1 CDs for free isn't going to have the funds to battle Sony or Nintendo, let alone pay a fine.

But this comes at a detriment to 'gamer culture', as a whole. You cannot find these classic games anywhere on any market. HD remakes are a bandage, not a solution. And some games are simply going to be left in the dust due to either licensing restrictions or even a lack of sales. Months of some peoples lives locked behind failing cartridges, outrageous second hand prices, and a general lack of public interest.

Every takedown notice from these parent companies is the primary issue behind "Gaming Preservation". While I can see the merit of trying to protect these IP from bad actors, I feel that the biggest loss of culture is simply corporate paranoia. I don't think Nintendo or Konami is going to be harmed in the short or long term that their Pachinko Mascots Goemon and Alucard are being seen on a LCD Screen somewhere in Virginia by some 32 year old game enthusiast that wanted to slap a werewolf in the head with a rusty sword again.

There's a opportunity of cooperation that is going to be passed up by these larger companies that are stuck in copyright gridlock. Project64 recently saw it's 3.0 release and it's never been better. The Mario 64 HD project is a work of love and care for the genre and company but faces major hurdles.

There's been a recent resurgence of fan servers for discontinued MMOs, such as Star Wars Galaxies, City of Heroes/Villains, Vanguard: Saga of Heroes and a growing list of IP that these other companies acknowledge and immediately pretend they don't exist. Which is a GREAT thing for the gaming community. Hell, City of Heroes's fan project is putting out new classes and new content for players which is just mind blowing considering the age and neglect that the game had undergone.

We're looking at a new age of what I'm considering gaming Privateers that are doing their service for the food of the community. And larger companies with the resources, the clout and the knowhow can either continue trying to stop these countless individuals from infringing on their IP, or they can help ensure that this new age of archival work is well regarded, preserved, and safe for generations to come. Like what you see? You can find more of my content on my Patreon, releasing up to a week early for as little as $3 a month. You can also find me on Twitter, yelling about videogames, and Twitch, yelling about video games live. Follow me, or don’t. I’m just a rat.

[helloqldd-blog]

Electric Business - Hello QLD

Your business plan will be complete and correct—guaranteed. Helloqld, automatically creates all the financial tables that banks and investors expect, in a format approved by all common funding sources.Queensland is ne of the oldest cities. In the days of the early colony, it was the second most important port after Sydney and the place where thousands of sea-tossed immigrants took their first shaky steps on Australian soil after months at sea. It has a rich and fascinating history, but what really sets it apart is that much of that heritage remains – just waiting to be uncovered.This Business Directory is a complimentary online source of information showcasing businesses operating within the Central Highlands, Queensland Region as their primary place of business.

Customer service and administrative work often includes contacting emergency electrician queensland customers, scheduling appointments and completing regulatory requirements, such as taxes or permit applications. Maintenance duties include inspecting electrical equipment, replacing worn parts and repairing complex devices.When you hire electrical contractors queensland you’ll be getting a team made up of master electricians who are knowledgeable, highly skilled, and registered. We serve a wide variety of clients across the Gold Coast and Brisbane – from domestic to commercial. Rely on us for large new construction projects as well as smaller home-reno jobs. You can also rest easy knowing we only use industry standard products and never quote for work we can’t complete.Turning up on time isn’t an option for us. It’s the standard. You can be sure our electrical services queensland professionals will always arrive on time to your home or work site, ready to provide you with the highest quality workmanship using industry standard products – GUARANTEED!

It’s incredibly stressful when your contracted work runs over and you see your costs spiraling. Unlike other electrical contractors, we don’t believe in quoting for work we can’t complete. We always make sure your project is finished within the schedule we’ve agreed and we will never surprise you with nasty price-hikes. Our prices are always transparent – what we say is what you pay. Here at helloqld, we have decades of experience upgrading lighting and providing cost-effective lighting solutions to both commercial and domestic properties. Save time and money and make your property stand out with energy-efficient lighting upgrades today.Whether you want to prevent fire disasters with a new smoke alarm or avoid theft with state-of-the-art lighting and security systems, we can help. Our highly skilled and licensed electricians can install the latest smoke alarm and security systems at your home, install emergency lighting at your office, and more.

Like you, we get annoyed with shoddy workmen who treat their customers like an inconvenience.That's exactly why we decided to do things differently and found helloqld.com

When you turn to us, you'll know you're getting the highest quality of professional service because we believe running late without even a courtesy phone call is inexcusable. In fact, we promise you that if we don't get to your job on time and we don't call to let you know within a reasonable timeframe , we will give you 30 minutes of service absolutely free! You can rely on our top-notch workmanship,on-time guarantee, and incredible price promise!We turn up on time and guarantee all our work 100%. All costs are completely transparent with no hidden costs – GUARANTEED. What we say is what you pay! So, relax and let us keep your property safe and efficient with our comprehensive electrical solutions.Sometimes it's hard to know exactly which electrical service you need for safety, or what type of electrical service you need for your renovations. At helloqld.com we're happy to talk through any questions you have to help you find the best solution for your needs.

So whether it's a question about safety, or how we can manage your renovation or upgrade project, just call us and we will be happy to offer advice and assistance!

[blockheadbrands]

Success in the OC: How Santa Ana Became a Model Cannabis Market

Peter Hecht of Leafly Reports:

Mention cannabis and the city of Santa Ana, California, and the first thing that usually comes to mind is the video.

The infamous dispensary security camera footage, shot during a police raid in June 2015, appeared to depict police officers out of control.

3 years ago, an infamous video shredded the city's reputation. But today Santa Ana is a cannabis leader.

A team from the Santa Ana PD burst open the doors of the Sky High Holistic dispensary, ordered medical marijuana patients to the floor and—based on edited clips from a dispensary attorney—started smashing security cameras. But they missed one, which kept recording.

The resulting footage showed the officers humiliating dispensary workers, including 54-year-old volunteer Marla James, the manager on duty, who is a medical marijuana patient and a legally blind amputee who uses a wheelchair. (One officer joked about kicking her “in the nub.”) The cops played darts and laughed while ripping up the store, and appeared to munch on medical marijuana edibles. The Orange County district attorney later concluded they were eating non-medicinal snacks from an employee lounge.

It was, to say the least, not a good look.

Rising From a Low Point

The Sky High raid came to represent the low point in city-cannabis relations. At the time—only three years ago—more than 100 unpermitted cannabis dispensaries were flourishing in the Orange County, CA, city. They sprouted near neighborhoods, industrial parks, and the downtown arts and historic district. Cops in the city of 350,000 people had been given orders to crack down hard.

Although there was no excuse for the behavior of the cops, the raid did not come without warning to the owners of Sky High, one of many unlicensed dispensaries that continued to operate despite the city’s efforts to shut them down.

The Sky High video changed things—on both sides.

“It affected the city and definitely the police,” said political consultant Melahat Rafiel, executive director of the Santa Ana Collective Association, an industry group that formed after the Sky High incident to advocate for a locally regulated cannabis sector. “For the industry, there was a recognition that it was time to shape up and address the issues facing us. I wanted to make sure that all of the City Council members knew who the legitimate owners were—and knew us as people with families.”

Brightening the neighborhood: 420 Central is the best-looking building in Santa Ana’s light industrial district.

Three cops in the raid were fired. They were sentenced in court to community service on misdemeanor charges of petty theft and vandalism. They later filed personnel board appeals and won reinstatement. After multiple raids, unlicensed Sky High Holistic was eventually shuttered by a city code enforcement order.

What turned the city around? Foresight, compromise, and courage from local officials.

Here’s the surprising twist in the story. In the three years since the Sky High raid, Santa Ana has emerged as Orange County’s model for a calm, well regulated, tax paying cannabis market.

Most unlicensed operations have been closed, without the use of harsh raid tactics. The city now has 19 locally authorized cannabis retail stores open for medical and adult use. Eleven more authorized locations are expected to open soon.

How did it happen? What it took was a little foresight, compromise, outreach—and a lot of courage on the part of local city officials.

Orange County’s Changing Population

Orange County, birthplace of President Richard Nixon and home to his Yorba Linda presidential library and museum, has long been one of America’s most renowned bastions of white suburban conservatism. But seismic demographic changes, unfolding particularly in Santa Ana, have moderated its political culture.

More than 78 percent of the Santa Ana’s residents are Latino; 11 percent are Asian, 9 percent are white, and nearly half are foreign-born. Budtenders here service customers in English, Spanish, Vietnamese and Mandarin. Hillary Clinton narrowly defeated Donald Trump in Orange County in 2016.

'Instead of being a city that has to have this industry, Santa Ana became the city that wants this industry.'

Chris Glew, Orange County cannabis lawyer

Orange County’s notorious conservative firebrand – Republican Rep. Dana Rohrabacher of Huntington Beach – became famous for his staunch advocacy of cannabis reform and leadership in Congress. But Rohrabacher remains an outlier. Fighting cannabis seems to be one of the county’s most enduring conservative causes, given the city-by-city opposition to dispensaries and other marijuana businesses.

In the early 2010s, they were losing that fight. Cities across Orange County found themselves overrun with unlicensed, often sketchy medical marijuana dispensaries that flourished under California’s vague medical marijuana law, Prop. 215.

By 2011, the south county city of Lake Forest had such an influx of illegal cannabis stores that one single address targeted in a federal seizure action contained six separate dispensaries. But that raid only brought about a whack-a-mole effect. When one dispensary got shut down, two more popped up overnight in different locations. “When the feds did an intervention in Lake Forest, Anaheim, Costa Mesa and Garden Grove just exploded” with more dispensaries, said Orange County cannabis lawyer Chris Glew.

In 2014, Glew decided to stand up and fight for a better way. That year he spearheaded the industry’s Measure CC effort, a citywide initiative that would have forced the city to license a limited number of cannabis businesses. The cannabis lawyer was pleased when city officials chose not to fight—but, instead, to offer voters an alternative model for regulation.

“We saw the policymakers come around,” Glew said. “They decided that instead of being the city that has to have this industry, they would be the city that wants it.”

Reaping the Rewards

In November 2014, 57 percent of local voters supported a cannabis industry initiative—Measure CC—that could have allowed unlimited dispensaries in the city. It lost out to competing Measure BB—put on the ballot by the City Council—that authorized a regulated industry with stricter zoning rules and higher local cannabis taxes. The city’s measure prevailed because of greater voter support: 66 percent.

Sal Tinajero: Santa Ana ‘ahead of the game.’

“We are ahead of the game,” Santa Ana City Council member Sal Tinajero said after Measure BB passed. Tinajero, a nationally recognized high school history teacher, was one of the city officials advocating for an allow-and-regulate policy. “While other cities are creating bans on medical marijuana, we are creating infrastructure to allow people to get their medicine in a safe manner.”

Santa Ana’s reform measures paid off. Tax revenues increased, with few complaints over licensed cannabis operators.

But the measures also resulted in some painful blowback. The 2015 Sky High dispensary raid came about in part because of the city’s desire to allow a certain number of licensed cannabis dispensaries, and close those operating without a city permit—in accordance with Measure BB. The inexcusable conduct of the cops aside, the Sky High raid happened because Santa Ana wanted to allow licensed dispensaries—and to do so, the city had to shut down the unlicensed shops.

After the Raid

After suffering the black eye of the Sky High raid, the city continued to work on its licensing regime, moving unlicensed dispensaries out of the market without resorting to police raids and mockery.

When California legalized adult-use with Prop 64, Santa Ana was fully prepared to embrace the adult-use market.

By the time California voters approved the Proposition 64 adult use legalization initiative in 2016, other cities in Orange County (where Prop 64 passed by a 52 to 48 percent margin) had mobilized tough bans on cannabis businesses. Thirty-three cities outlawed retail sales; 32 also barred cultivation and manufacturing.

Voters in Costa Mesa approved a measure to permit cannabis manufacturing and distribution companies, but the City Council imposed a strict dispensary ban. And while residents in the liberal coastal enclave of Laguna Beach supported Prop 64 by a 62 to 38 percent margin, they voted by an even wider margin (71 to 29) to ban cannabis stores in their city.

Santa Ana, meanwhile, stuck to its game plan. And in early 2018, when California’s licensed adult-use cannabis industry opened for business, the city was ready.

Because of the city’s planning, high-end Santa Ana dispensaries like Evergreen were ready for adult-use customers in early 2018.

Taxes: $6m Last Year, $9m Next

Today, Santa Ana’s early moves to issue local licenses for cannabis stores looks like a savvy move.

With 3.2 million residents in the county, and 33 other Orange County cities not allowing retail cannabis stores, Santa Ana is reaping the tax benefits as a regional cannabis mecca.

“The growth of cannabis here is just going up month after month,” said Chris Francy, 34, owner of the city’s Bud and Bloom and OC3 dispensaries. “Santa Ana is a destination because it is the sole city that stood up.”

The city’s legal cannabis sector is a far cry from the unregulated days gone by. Today’s stores are decidedly professional and upscale, from the elegant furnishings and marble dispensary counter at Bud and Bloom, honored by Leafly as one of the “ten most beautiful cannabis dispensaries in America,” to the pop art paintings and hip-hop stylings of “The Joint.”

'On all fronts,' Santa Ana's dispensary regulation 'has been judged a success.'

Jose Solorio, Santa Ana City Council member

With a month to go in the 2017-18 fiscal year ending July 1 (data tallies are still catching up), the city took in nearly $4 million in revenues from a 6% gross receipts tax on medical cannabis, and 8% on adult use sales that began Jan. 1. Adult use sales brought in $1.8 million in new tax revenues in just five months.

Next fiscal year, the city projects it will take in $8.8 million in local cannabis retail taxes. Another $2.6 million is expected from newly authorized commercial cultivation or manufacturing centers yet to open. In a city facing a budget shortfall of $17 million, that’s a pretty big deal.

City Council member Jose Solorio said Santa Ana went from “playing whack-a-mole to shut down illegal dispensaries” to partnering with cannabis advocates and neighborhood representatives to create a local industry and a regulated system that works.

“We have moved forward in a way to ensure that we have retail stores operating and generating the revenues they were expected to,” said Solorio. “On all fronts, it has been judged a success.”

‘Other Cities Wanted To Be Second’

There are still a small handful of unlicensed dispensaries left in Santa Ana. But the licensed cannabis industry flourishes here, with retail outlets signing city-mandated labor peace agreements and local hiring requirements. Cannabis tax dollars are ear-marked for youth programs, including summer activities, sports and after-school tutoring. They also fund a police compliance unit – a sergeant and five officers – that works with code enforcement officers.

Rafiei, former co-operator of the city’s 4th licensed dispensary, Hand N Hand Patient Care dispensary, is a veteran political operative who served as executive director of the Democratic Party of Orange County. She said Santa Ana showed political courage on cannabis as anxious neighboring cities sought sanctuary from the industry through sweeping bans rather than contemplating intricacies of regulation.

“We have moved forward in a way to ensure that we have retail stores operating and generating the revenues they were expected to,” said Solorio, a former lawmaker who served in the state Assembly from 2007 to 2013. “On all fronts, it has been judged a success.”

That result, Glew believes, will eventually lead some other Orange County cities to follow suit. “We will see other cities start to liberalize because they see the revenue opportunities,” he said. “But I don’t think there is another city in Orange County that has quite the same view on cannabis as Santa Ana.”

He said Costa Mesa, which allows licensed cannabis manufacturers, may consider retail sales in the not-too-distant future. Fullerton and Garden Grove – both with strict bans – could be candidates to follow.

“Some of the other cities aren’t necessarily opposed to cannabis regulation,” Glew said. “They just wanted to be first to be second. They wanted other cities—namely Santa Ana—to iron out the landscape.”

TO READ MORE OF THIS ARTICLE ON LEAFLY, CLICK HERE.

https://www.leafly.com/news/politics/success-in-the-oc-how-santa-ana-became-a-model-cannabis-market

[pamphletstoinspire]

Psalm 57 - Interpreted

Daily Plenary Indulgence

Per Vatican II, one of the ways to gain a daily plenary indulgence is to read Scripture for ½ hour per day. For Pamphlets to Inspire (PTI), the Scripture readings that inspire us the most are the Psalms. Reading the Psalms and understanding their meaning can sometimes be challenging. In an attempt to draw more individuals to not only read the Psalms, but to understand their meaning, PTI has found an analysis of their meaning by St. Cardinal Robert Bellarmine. The method that will be employed is to list the chapter and verse, and then provide an explanation of that verse. Your interest in this subject will determine how often we will chat about this topic. The Bible that will be used is the official Bible of the Catholic Church and used by the Vatican, that is, the Douay-Rheims or Latin Vulgate version.

David reproves the wicked, and fortells their punishment.

1. If in very deed you speak justice: judge right things, ye sons of men.

1. “If in very deed you speak justice: judge right things, ye sons of men.” When men are asked whether it is right to steal, commit adultery, cheat, and the like, they, very properly, answer that it is not right; because the law written in their hearts teaches them so, and no one wishes to be robbed, abused, etc.; and thus, all evildoers stand convicted of deceit when they say so, and still rob, steal, commit adultery, etc.; things they would not do unless they believed a certain amount of good or advantage was in them. Not only that, but they stand convicted of falsehood while they cry up justice, and descant on the sin of theft, adultery, etc.; but they also prove themselves to be laboring under a deplorable blindness, loud in their denunciations of theft, etc., and, at the same time, devoted themselves to those vices, and dealing with others as they would not be dealt with themselves. For, if theft be good in itself, why are they unwilling to be plundered? If it be not good in itself, why plunder another? The Holy Spirit exclaims against such voluntary and inexcusable blindness, saying, “if, in very deed, you speak justice,” when you condemn theft, anger, etc.; “judge right things, ye sons of men;” consider it in your hearts that you should not do them, and do not what you have acknowledged to be bad.

2. For in your heart you work iniquity: your hands forge injustice in the earth.

2. “For in your heart you work iniquity: your hands forge injustice in the earth.” He shows he had reason for the admonition he gave them, to judge justly if they would speak justly; for, it appears, they did the very contrary; and thus spoke with the semblance of justice, while they were full of malice and deceit. “For in your heart you work iniquity;” you think of nothing but what is bad, and you do not stop there; for “your hands forge injustice in the earth;” your hands put into execution what your heart conceived.

3. The wicked are alienated from the womb; they have gone astray from the womb: they have spoken false things.

3. “The wicked are alienated from the womb: they have gone astray from the womb: they are spoken false things.” Another misfortune of sinners is, that they fall, not after a lapse of years, but at once, almost from the cradle. “The wicked are alienated from the womb.” Scarcely out of the womb when they leave the straight path, the path of life, of happiness. “They have spoken false things;” lies and falsehood our corrupt nature first shows itself.

4. Their madness is according to the likeness of a serpent; like the deaf asp that stoppeth her ears:

4. “Their madness is according to the likeness of a serpent; like the deaf asp that stoppeth her ears.” No explanation given.

5. Which will not hear the voice of the charmers; nor of the wizard that charmeth wisely.

5. “Which will not hear the voice of the charmers; nor of the wizard that charmeth wisely.” Having told us that sin, as a disease, attacks us in our very infancy, he now adds that the disease is of long duration, but that it is also a most grievous disease; sinners being sometimes so overpowered by it, and hurried on to ruin others by it, that they may be compared to serpents of a certain kind, that will yield to no incantations whatever. “Their madness,” the madness of those grievous sinners, such as Saul, “is according to the likeness of a serpent,” that no art will tame; nay, even like a “deaf asp,” that stops her ears with her tail, for fear she should “hear the voice of the charmers, nor of the wizard, that charmeth wisely;” that is, of one well skilled in charming. Whether such be true of the asp or not is no matter for David speaks according to general opinion on the subject. St. Augustine observes that this passage no more approves of the arts and practices of wizards and charmers, than do the parables of our Lord regarding the unjust steward, and the man who found the treasure in the farm, of their honesty in such cases.

6. God shall break in pieces their teeth in their mouth: the Lord shall break the grinders of the lions.

6. “God shall break in pieces their teeth in their mouth: the Lord shall break the grinders of the lions.” Having painted the enormity of the sins of certain persons, Saul being the principal person in view, he now describes the punishments in-store for such sinners, by most appropriate similes. The first is in this verse, the gist of which is, that however great and formidable the power of the sinner may appear to be, still that he would be deprived of it. No animal more terrible, more formidable than a lion, and his teeth are the weapons he makes most use of, and the most destructive to his enemies. “God will break in pieces their teeth,” the teeth of the sinners, who, like lions, tear and plunder the unoffending. However powerful and strong like lions they made appear to be; “in their mouth,” while they are alive, and not after death – a thing easily done; and it is not the small teeth will be so broken, but their very grinders; for, “he shall break the grinders of the lions,” the largest and most durable of all the teeth.

7. They shall come to nothing, like water running down: he hath bent his bow till they be weakened.

7. “They shall come to nothing, like water running down: he hath bent his bow till they be weakened.” Another simile, teaching us that the power of the wicked would be very brief, and, after a very short time, would be so extirpated that not a trace of it would be found; like a sudden fall of rain, that creates, for the moment, a great inundation, of which, in a few hours, not a trace can be found. Such was the case with Saul, Achab, Jeroboam, Nero, Caius, Domitian, and, with the great heresiarchs, Arius, Nestorius, and others. “Theyshall come to nothing, like water running down;” that runs with great velocity, leaving not a trace of itself. And lest we may suppose this happened in an ordinary way, he adds, “he hath bent his bow till they be weakened;” the show it was all God’s work, all his doings; for it was he who bent his bow against them, and kept it bent against them until they were utterly ruined.

8. Like wax that melteth they shall be taken away: fire hath fallen on them, and they shall not see the sun.

8. “Like wax then melteth they shall be taken away: fire hath fallen on them, and they shall not see the sun.” The third simile, showing that it is as easy for God to destroy the power of the tyrant or the sinner, as it is for the fire or the sun to melt wax, which, however hard it may be, readily yields to the action of either. “like wax that melteth away,” when the fire or the sun comes to act upon it, so shall the sinners “be taken away,” and utterly destroyed. “For fire hath fallen on them;” the fire of the anger of God; and being thus melted, they disappeared; “and they shall not see the sun;” a thing they could not do when they were utterly destroyed.

9. Before your thorns could know the briar; he swalloweth them up, as alive, in his wrath.

9. “Before your thorns could know the briar; he swalloweth them up, as alive, in his wrath.” The last simile through which the Prophet teaches us that the wicked will be uprooted and cut down by God, before they can carry out their wicked designs against the just, and thus balk them of the gratification they calculated on from their ruin. Thus Saul had an unhappy end, before he could rejoice on David’s death; so with Diocletian and the other persecutors of the Church, we had a miserable exit before they could witness the extirpation of Christianity they were so bent on. The simile is taken from thorns, which, when young, are easily cut down, but when they grow to any age, so as to get into timber, or, as the verse expresses it: “to know the briar,” cannot be rooted out but with great difficulty. “He swalloweth them up as alive in his wrath.” He will annihilate, them is completely as if the earth opened and swallowed them up alive.

10. The just shall rejoice when he shall see the revenge: he shall wash his hands in the blood of the sinner.

10. “The just shall rejoice when he shall see the revenge: he shall wash his hands in the blood of the sinner.” When the sinners shall have been so signally punished, “the just shall rejoice when he shall see the revenge;” not through love of revenge, but from a love of justice, seeing it was God’s goodness that prevented himself will falling into such sins and meriting such punishment; and he will not only rejoice, but “he shall wash his hands in the blood of the sinner;” that is, his own good works will shine forth in bright contrast to the wickedness of the sinner. Contraries show more clearly when placed in juxtaposition; and the Scripture not infrequently uses the term “blood” to signify sin.

11. And man shall say: If indeed there be fruit to the just; there is indeed a God that judgeth them on the earth.

11. “And man shall say: if indeed there be fruit to the just; there is indeed a God that judgeth them on the earth.” When the wicked shall be punished and that just shall rejoice, then, in reality, “a man shall say;” the men, witnessing those things, will say: if justice brings any advantage with it, the greatest is, that God, the supreme Judge, does not let the wicked go unpunished, nor the just unrewarded; but he reverses all unjust judgments, and judges all, both good and bad, rewarding the good for the good works they did, and for all the persecutions they suffered; and inflicting condign punishment on the wicked for all their bad acts, and for all the wantonness in which they reveled; and thus is fulfilled the sentence in Apocalypse 18, “as much as she had glorified herself; and hath been in delicacies, so much torment and sorrow give unto her.”

End of Psalm 57