#did you read our links?

[organized-chaotic-disaster]

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[unproduciblesmackdown]

Lackadaisy Enrichment

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.

[angeart]

the promised hhau confession rp/fic

this got a bit out of hand. as per usual.

here's 21k words of raw rp between me and link about these idiots. <3 spoiler alert: they have Feelings. they're also very gay for each other.

[brennan-lee-mother]

As a classics buff this fic killed me like. The bad kids as chorus? Cassandra as a begging devotee god to an unhearing deity prophet?

@sapph0sfriend, why not just kill me point blank?

Anyway read “I will walk with my song torn open” by Sapph0sfriend on ao3 if you like short fic and suffering

[phoenixcatch7]

Man I love ao3

(Time travel complete mdzs, it's so good)

[monsterqueers]

draft cleaning out results: below 500 drafts now starting from nearly 600 hell yeah the queue is full and so is the obsidian file with a fucktillion links to things

[kakusu-shipping]

I don't know how AO3 etiquette is when it comes to posting links to Fics or what not I don't go here the site scares me BUT I almost lost these two Koro-Sensei centered fics that are very near and dear to my heart and also I'd just like it if someone else read them too and left a comment for me telling the author I loved it so much <3

[therevengeoffrankenstein]

step 1: post "'we're pretty boys for secret girls' from 'austin, we have a problem' by fall out boy is a trans coded lyric."

step 2: turn phone on vibrate

step 3: ....

[malcriada]

Help save Bilal's family!

i want to talk about my friend Bilal @bilal-salah0. for over a year now, Bilal has been living in germany, trying to adjust to his new living situation in a foreign country, learning a new language and working full time. 

when the war started, he was far away from home and his family and has been living in daily fear for their lives ever since. 

being forced to work long hours and promoting his family’s fundraiser at the same time, he has taken on more responsibility than anyone ever should. still, he managed to raise money for their evacuation fund and helped take care of his family’s daily needs with the money he was making while working. 

in a cruel twist of fate, all of this got taken away in an instant. he lost his job and his apartment and even his residence permit. which means he is at danger of deportation from germany that could happen as soon as next week!

i have been in daily contact with Bilal for a while now and connected him with some of my friends in germany. together, we are trying our utmost to make sure he can stay in the country. anyone who knows german bureaucracy knows what kind of hell it is. but we won't give up.

without his job, he was forced to dip into the money of his family’s evacuation fund to cover their daily expenses like food and shelter. this meant he had to raise his goal from €70,000 to €100,000. this was not an easy decision for him to make, he even asked for my advice on whether or not to do it, because he did not want anyone to think he was scamming people. 

even in such a desperate situation, Bilal does not want to be seen as someone who would ever take advantage of people's generosity

his family is comprised of 18 members, 10 of them are adults and 8 are children under 16 years old, some of them newborns who were born amidst the chaos of war and displacement.

currently, he is sitting at:

€71,817 / €100,000

donations have been slowing down ever since he reached his original goal. i cannot stress how important it is that they pick back up!

WE ARE RUNNING OUT OF TIME! HE NEEDS TO REACH HIS GOAL BY AUGUST 15TH!

THAT MEANS HE HAS TO RAISE NEARLY 30K IN THE NEXT TEN DAYS. THIS CANT WAIT.

his campaign has been verified and can be found on @/el-shab-hussein’s and @/nabulsi’s list of vetted fundraisers here (#132, line 136) so PLEASE don't hesitate to share and donate.

With such a tight deadline, i cant do this on my own. So i implore you to PLEASE share this wherever you can– on your whatsapp groups, on your discord servers, please share his story on other platforms wherever you have reach! Please share his story wherever you can, so that we can ease this burden from his shoulders.

[ID: a gfm link with a picture of two small children sitting in the sand in front of a cooking pot. they are looking up a the camera, eyes half-closed. the title reads "Donate to Help Evacuate My Family from Gaza to Safety, organized by Bilal salah" End ID]

tagging for reach under the cut, please let me know if you'd like to be removed:

@meaganfoster @briarhips @dirhwangdaseul @mahoushojoe

@schoolhater @pcktknife @sawasawako

@feluka @terroristiraqis @irhabiya @commissions4aid-international @wellwaterhysteria

@deepspaceboytoy @post-brahminism @khanger @kibumkim @neechees

@mangocheesecakes @kyra45-helping-others @7bitter @tortiefrancis

@toiletpotato @fromjannah @vague-humanoid @criptochecca

@aristotels @komsomolka @xinakwans @heritageposts @nibeul

@ot3 @amygdalae @ankle-beez @communistchilchuck @dykesbat

@watermotif @stuckinapril @mavigator @lacecap @yugiohz

@socalgal @chilewithcarnage @ghelgheli @sayruq @northgazaupdates2

@vakarians-babe @wayneradiotv

@psychotic-gerard @mavigator @communistkenobi @socalgal @chilewithcarnage

@ghelgheli @determinate-negation @papasmoke @omegaversereloaded

@xinakwans @givemearmstopraywith @loombreaking @killy @deathlonging

@palms-upturned @blackpearlblast @littlegermanboy @loveaankilaq @sar-soor

@fridgebride @27-moons @tamarrud @familyabolisher @fleshdyk3

@decolonize-solidarity @palipunk @gothhabiba

[falesten-iw]

Warning: Long Post No one reads long texts anymore, but despite everything I've been through with my country, my family, and recently my son, I need to get this off my chest. It's completely unbelievable to me that so many people still don't understand the background of the genocide in Palestine. What kind of journalists or influencers do we have today? Are they too afraid to report and remind their audiences about the real story behind what's happening now? No, it's not just one year of suffering! It's outrageous how the media consistently ignores what Palestinians have been enduring for decades. Have they, or you, even bothered to look at the statistics of how many Palestinians have been killed by Israel since 1948? How many children have been killed? Who holds the responsibility for what's happening now? I often wonder: what if the situation Palestinians face was applied somewhere else? For example, what if, after World War II, the West had decided that all Jews should have a state in the USA—let’s say Chicago—how would the people of Chicago have reacted? Imagine the people there being driven off the land their families had worked for generations, stripped of their rights, and harassed or persecuted if they resisted. Do international laws simply not apply when ### is involved? Do you know that people in Gaza are killed simply for fun? Yes, for fun! Israeli soldiers have been known to shoot women, children, and even animals on the spot, then walk away. Did you feel the wind when those shots were fired? Or was it too far away for you? Do you understand what death means? Good. Do you know why there are so many Palestinians living in different countries, or maybe even right next door to you, even though they smell like hummus, garlic, za'atar, and other traditional foods? Do you know why your neighbors are Palestinian and not Israeli? It's because we've been forced to flee since 1948. Our cities were erased then, and more are still being erased—through violence, through apartheid laws, through genocide, through different methods. Ilan Pappe, an Israeli historian, wrote a book about hundreds of Palestinian cities that were erased to create the Israel you know today. This isn't a war that started a few days ago or even a year ago—this has been going on since at least 1948. More than 45,000 have been killed in Gaza just in the past year alone. 17 000 of them are children, and 13 000 are women. Do you even know what that means? How it feels to lose your children or part of your family? Are you going to tell us how it feels? Do you have no empathy? Is your heart so closed that you can't see the pain around you? Are you really so blind to the suffering of others? How can you ignore these realities? Do you know that the Israeli military has cut off all electricity and completely halted the import of food, water, fuel, and other necessities? There are no hospitals and no medicines left, and 85% of people in Gaza are living in makeshift tents. Yes, tents—but not like the ones you see in movies. These are handmade from plastic scraps. Do you know that my family is suffering from all of this, and I will lose them in this cold weather if you don't act now? Please help us and donate now!

Vetted and shared by @90-ghost: Link.

Verified and shared by @el-shab-hussein: Link

Listed as number 282 in "The Vetted Gaza Evacuation Fundraiser Spreadsheet" compiled by @el-shab-hussein and @nabulsi : Link

Listed on the Butterfly Effect Project, number 957: Link

Additionally, Al Jazeera News has documented apart of my family's case: Link

@timetravellingkitty @deathlonging @briarhips @mazzikah @mahoushojoe

@sar-soor @rhubarbspring @schoolhater @pcktknife @transmutationisms

@sawasawako @feluka @appsa @anneemay @commissions4aid-international

@wellwaterhysteria @mangocheesecakes @kyra45-helping-others @7bitter @tortiefrancis

@watermotif @stuckinapril @mavigator @lacecap @determinate-negation

@socalgal @chilewithcarnage @ghelgheli @sayruq @elbiotipo

@el-shab-hussein @heritageposts @communistkenobi @deepspaceboytoy @molsno

@mesetacadre @forevergulag @gazafunds @northgazaupdates2 @freepalestinneee

@komsomolka @muppet-sex @nabulsi @fading-event-608 @buttercuparry

@prierepaiienne @interact-if @unified-multiversal-theory @inkstay

@socialjusticekitten-blog @socialgoodmoms @nowthisnews @socialgoofy @fightforhumanity-rpg-blog

@fightforhumanity-rp @queerandpresentdanger @90-ghost @timogsilangan @punkitt-is-here

@fox-guardian @hiveswap @valtsv @helppeople @ibtisams

@annoyingloudmicrowavecultist @vakarians-babe @plomegranate @queerstudiesnatural @tamamita

@apollos-boyfriend @akajustmerry @marnosc @flower-tea-fairies @tsaricides

@belleandsaintsebastian @ear-motif @brutaliakent @raelyn-dreams @troythecatfish

@4ft10tvlandfangirl @communistchilchuck @fairuz @sarazucker @fairuzfan

@a-nautilus-as-pixel-art @13eyond13 @stil-lindigo @baby-indie-blog

@marnota @vivisection-gf @brutaliakhoa @the-bastard-king @magnus-rhymes-with-swagness

@neptunerings @malcriada @turian @girlinafairytale @abnormalicacid

@sylvianritual @mothblossoms @autisticmudkip @lesbianmaxevans

@nabulsi27 @palestinegenocide @orblesbian @palebluebutler @pallasisme

@fallahifag-deactivated20240722 @riding-with-the-wild-hunt @baby-girl-aaron-dessner @morallyrainyday

@jonpertwee @flipton @bell-bones @ragingbullmode @envytherose

@rodent178 @tangledinourstrings @kraigerzz-blog @frogbrainedfool @the-ending-of-dramamine

@mossdeep @redsavesquare @uninvited-eon @glenbot @ultimateumbreon33

@disastersim @airsigh @cowboy-queer @lapastelr0sa @sharingresourcesforpalestine

@rebel-girl-queen-of-my-world @kropotkindersurprise @cruzwalters @la7ma-mafrooma @rosyish

@bookskittychad @streakoflavender @gabajoofs @miraclemaya @devilofthepit

@gay-yosuke @cometcrystal @corvidkusnos @nb-marceline @cicadaland

@manletwizard @2blushie @antiauteur @acnologia-is-best-dragon @bitchmael

@penelopiaad @hashiramashonkers @laughtracklesbian @legallymean @b0nkcreat

@crapscicle @uwu-pinata @syntheticspades @momxijinping @longlivepalestina

@saberboi-1 @martinmynster @nako-funky @trans-leek-cookie @vaticinatrix

@moomoobug @narwa @twilightobservationtower @estrellasrojas @knxfesck

@lakeeffectbitch @fatbitchneedsfoodbadly @no-thats-absurd @humanmorph

@sandiwchirlinreal @tcda @misspiggyforvogueitalia @gamb0fficial @vincentspork

@gemstonedraws @frankendykes-monster @mizoguchi @kos-mos @ryoki-ph

@blackwoolncrown @nightwussy @freehologramreview @melancholy-hummingborb

@sister-lucifer @nonbinarymerbabe @raventhecoolestpersonever @ebenrosetaylor

@inkbomber @collectoroflovelythings @k00ldino @sundung @extrabitterbrain

@names-hard @killaltrock @thatdarngreenpixie-blog @angelsarecomputers

@secretgoths @cauli-flawa @faraliniste @adrowninggrip @thesavagesnakeplant

@g-l-a-s-s-h-e-a-r-t-s-s @illuminated-runas @silverstone-gp @saintverse

@emathyst9 @trasno-personal @turtles-on-turts @dendrosystem

@readingsquotes @bellybuttonblue2 @bees-fart-too @andiv3r-reblogging @sillyseer

@cloudedcari @tachycardial @evileyeamulet @pompompotato @shamemp3

@jihaad @italofobia @stealthjet @pinnyy @sivavakkiyar

@chronicowboy @bi-worm @ydic74the @amorosebeing @golvio

@dailyquests

[mostlysignssomeportents]

Happy Public Domain Day 2025 to all who celebrate

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

https://pluralistic.net/2024/12/17/dastar-dly-deeds/#roast-in-piss-sonny-bono

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

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

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

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

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

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

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

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

https://archive.org/details/ClosingKeynoteForGrandReopeningOfThePublicDomainCoryDoctorowAtInternetArchive

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[mantisgodsdomain]

(talking about ourself) Yeah they just have this sort of magnetic charisma that makes people want to talk to them. Like they're a real cool person y'know. Know a lot about bugs.

[ferociouslycreativemystery]

En såndär bockjävel eller vad fan det heter

↳ sytråd och virknål 0,6 mm + bonus: biblically accurate julbock

Note: I moved this under a read more since donations can no longer be made here. Feel free to make some to a charity of your choice though!

Did you know it used to be the Christmas goat that brought you your presents in Sweden?

To keep the spirit alive, you can officially make a donation in the name of this little crochet goat to support everyone's right to survive their pregnancy! Just go to this link and follow these steps:

Please note that this collection only remains active until 15 Dec 2024! More information about the organisers can be found at the bottom of this post.

On the right hand side/top of the linked page, you can see the current sum of donations. Below that are some options we need to fill out to make a donation of our own.

First we need to disclose whether the donation is being made by a private individual (Privatperson) or a business (Företag). I'm assuming you're a private individual, so leave the first option selected (on the left).

Next we choose the method of payment. "Swish" is a Swedish payment service that won't work for foreigners, and if you're Swedish I'm assuming you already know how it works. Foreigners, please choose the second option to pay by card (Kort).

Now for the fun bit! How much do you want to donate? The standard options are presented in Swedish krona (kr). I have put the rough exchange rates to US dollars for each option below:

50 kr ≈ $4.56 | 100 kr ≈ $9.13 | 300 kr ≈ $27.38

You can convert from your currency to Swedish krona using this tool. Just choose your own currency in the first drop-down menu ("from").

In the final field you have the option to instead enter your own amount, if you want to give less or more or in between any of the previous options. Note that the amount you enter is in Swedish krona, so look up the exchange rates so that you know how much you are giving if you choose this option!!

The final two check boxes are options that relate to the public display of your donation (see the bottom of the page). If you don't check either option, your donation amount will be visible but your name will not be.

Check the first box if you want your name to show up in the public list of donations, leave it unchecked to remain anonymous. Check the second box if you want to hide the amount you've donated, leave it unchecked to show the world your donation amount.

Finally, hit the red button to be taken to the payment page. Fulfil the payment, and be sure to double check the amount you're donating. Note that we use commas instead of dots to separate decimals in Swedish, so 50,00 kr means simply 50 kr.

And that's it! Thank you so much for your donation!! 🥳🐐

Please reblog this post so that more people will hopefully donate, or at least get to enjoy a tiny Gävlebock!

What is this charity thing?

Musikhjälpen is an annual charity event organised by the Swedish public broadcasters. Every year in December, 3 hosts are locked in a glass cage for a week and they broadcast in shifts, nonstop for 144 hours (6 days, 24 hours per day) to create an occasion for charity donations. They are visited by various music artist, celebrities, and talk to people who have special knowledge about the donation theme of the year or who organise initiatives for donations. You can watch clips of previous performances on their youtube channel here.

The event's official donations website also allows the public to set up their own "initiatives", to which donations can be made. This is what I have done! The money goes directly to the event organisers (the public broadcasters' aid agency, Radiohjälpen), who then pool all the money that is collected during the week. After the week is done they will begin portioning it out to trusted charities that are relevant to this year's theme. This year's theme is Alla har rätt att överleva sin graviditet, or in English: Everyone Has a Right to Survive Their Pregnancy.

Learn more about musikhjälpen on English Wikipedia or on Sveriges radio's website (in Swedish).

Or

If you prefer, the goat will be just as happy if you make a donation to a charity of your choice. You'll have to find links to other causes on your own though! 😊

I should probably also mention that I am in no way officially affiliated with Gävlebocken, I just crocheted a little guy and thought it would be nice to spread some constructive spirit among all the calls for arson. 😇

[ao3demographicssurvey2024]

The AO3 Demographics Survey 2024 was an unofficial demographics survey of 16,131 AO3 users conducted in January 2024. We have just finished posting our initial results, so here is just a taste of the graphs and data you can check out now over on AO3!

We will be continuing to work on this project in the New Year, so please make sure you follow this blog or subscribe to the project on AO3 to keep up to date.

A full list of the survey questions with links to the relevant data is below the cut!

Demographics

How old are you?

Do you identify as LGBTQ+ in any form?

What is your gender identity?

Do you identify as any of the following? (LGBTQ+ related identities)

What is your sexual orientation?

What is your romantic orientation?

What is your race?

Is English your native language?

Which geographic region best describes your current place of residence?

Which religious or spiritual tradition(s) do you believe?

Do you experience the following? (Disability, Neurodivergence, and Health Conditions)

Usage of AO3

Which of the following AO3 activities have you done in the last twelve months?

How frequently do you use the following methods to find works on AO3?

In a typical week, how long do you spend on AO3 or reading downloaded AO3 works?

When did you begin using AO3, with or without an account?

When did you create your first AO3 account?

What languages do you use for reading and posting on AO3?

Works You Post On AO3

Which of the following types of works do you post on AO3? (Media)

Of the works you post on AO3, how often do you post works with the following ratings?

Of the works you post on AO3, how often do you post works focused on the following types of relationships?

Of the works you post on AO3, how often do you post works in the following genres/tags?

Of the works you post on AO3, how often do you post the following types of works? (Format & Miscellaneous)

Works You Consume On AO3

Which of the following types of works do you consume on AO3? (Media)

How much do you enjoy works with the following ratings on AO3?

How much do you enjoy works focused on the following types of relationships on AO3?

How much do you enjoy works in the following genres/tags on AO3?

How much do you enjoy the following types of works on AO3? (Format & Miscellaneous)

Fandom Beyond AO3

Which of the following types of fanworks have you consumed in the last year?

Which of the following types of fandom activity have you done in the last year?

Which of the following websites or apps do you currently use for fandom activities at least once a month?

Which of the following websites or apps have you previously used for fandom activities, but no longer regularly use?

When did you first begin participating in fandom?

How many fandoms have you considered yourself a part of in the last five years?

Which of the following types of media do you participate in fandoms for?

[ibrah-01]

Emergency:Help me get out of Gaza for treatment🙏💔

🙏🏻😞Stop.. Don't Skip Read Our Story During The War To The End 🙏🏻😞

I am Ibrahim from Gaza, from a family of 3. I have a head injury, my eye was amputated, and there is a bullet in my head that has many complications. I need to receive treatment quickly, but I cannot because of the war on Gaza. The health situation is very difficult, and I need your help to travel outside Gaza and receive treatment, implant a lens in my eye, and remove the bullet that caused the cerebral fluid to bleed from my nose. We have nothing left and are unable to secure our basic needs such as food, water, and safe shelter. I cannot provide clothes for my daughter Shahd, nor can I provide diapers, milk, or anything that will make them forget the harshness of the war and the coming winter, and I am unable to provide for my family’s needs.

On October 7th, our lives changed forever. My family left our home to the southern Gaza Strip on the beach, hoping to return soon. 😭But that did not happen. Our home was surrounded and then completely destroyed. Our home, which was once a bastion of hope, is now in ruins and destruction. Our dreams have been shattered. I appeal to the whole world to hear my sad cries and the cries of my family and my daughter, for whom I cannot provide any of her rights as a child.

We need a helping hand to leave Gaza and receive treatment to implant a lens so that my daughter Shahad can see me in the most beautiful way and remove the bullet from my head that made me suffer a lot. I hope you will help me if each person donates 10 dollars. You will help us live in the difficult conditions in Gaza. The most difficult decision for us was to leave Gaza to overcome the obstacles we faced and the losses we suffered and start a new life from scratch and provide for the needs of my daughter Shahad like all the children in the world. Shahad deserves to live like the rest of the children in the world.

🙏💔Please donate or share. With all respect and gratitude🙏💔

Vetted by @90-ghost link

✅️Vetted by @gazavetters, my number verified on the list is ( #361 )✅️

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