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mostlysignssomeportents · 3 years ago

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Scammers sell griefers social media banning services

The Big Tech platforms can be horrible places. Harassers, abusers and griefers have figured out how to use them to meet one another, form vicious assault squads, and drive their targets off the service and make life miserable for those who stay.

https://www.themarysue.com/phd-in-gamergate/

What’s more, the platforms have so little competition — and are so siloed from one another — that leaving a platform comes with a heavy price, separating those who depart from their families, communities and customers.

https://www.eff.org/deeplinks/2021/07/right-or-left-you-should-be-worried-about-big-tech-censorship

With such high stakes and so many terrible actors, it’s natural that the platforms all have account suspension and account termination policies so they can kick the worst offenders off their services.

But these policies have an obvious weakness: they can be abused by harassers to trump up cases against their victims and get them terminated, or get their content removed.

The platforms’ natural solution to this has been to add safeguards to their policies, making them harder to invoke, creating ever-more-specific criteria and procedures for takedown, suspension and termination.

Likewise, the platforms armored their put-back and account restoration policies, lest harassers figure out how to game them, returning to revictimize their targets. So takedown and put-back and termination and restoration have grown more complex and esoteric over time.

This sounds like common sense, but it’s a Red Queen’s race, where you have to run faster and faster to stay in the same place. The thing is, harassers are dedicated to understanding these rules — that’s their whole thing. Their victims just want to use the service.

So harassers become rules-lawyers. They know exactly which phrases not to use to avoid a ban, and they know which phrases to invoke to get their accounts back. They have sprawling forums dedicated to developing and refining tactics to game platforms’ policies.

If you know where the tripwires are, you can avoid them — but you can also use them to trip your opponents. You can tiptoe up to the line and goad your victims into crossing it, then nark them out, with the exact phrases that get them sanctioned.

https://pluralistic.net/2020/09/18/the-americanskis/#algorithm-lawyers

This kind of abuse is present in every mass-scale removal and termination system. Think of the blackmailers who figured out how to use Youtube’s copyright termination policies to extort creators’ wages from them with threats of copyright complaints.

https://www.techdirt.com/articles/20200115/17362843740/as-we-get-closer-closer-to-eu-requiring-contentid-everywhere-more-abuses-contentid-exposed.shtml

And the companies’ response to each abuse scandal is to make the policies more complex, adding new procedures to paper over the holes in the old ones. Those new procedures have their own holes, and so more patches are applied.

We all know that if you swallow a spider to catch a fly, you’ll have to swallow a bird to catch the spider, and so on. You can’t fix a complex system’s defects by adding more complexity.

Online services create a monoculture, where a single set of policies control all our outcomes. As we know from agriculture and forestry, monocultures attract rich, parasitic ecosystems of specialized attackers, each with its own niche.

So it is with account termination. Termination systems aren’t just abused by griefers — they’re also abused by professionals who establish account termination as a service businesses that sell Instagram bans for as little as $7.

https://www.vice.com/en/article/k78kmv/instagram-ban-restore-service-scam

These services have a pretty straightforward methodology: they create an account that matches all the personally identifying information of the victim, then claim that the victim is an identity thief.

Because these are professionals, it’s literally their job to know how to present and defend an identity theft case — while the victims are just everyday Instagram users, mired in the complex systems created to fend off scammers.

The ban-as-a-service market is specialized. There’s bottom-feeders who’ll do the job for 6 euros; others sell to blackmailers who extort social media influencers by taking down accounts with millions of followers, with a sliding scale based on follower count.

Given that sophistication, it’s not surprising that Joseph Cox was able to link some of these ban-vendors to services that charge thousands of dollars to expedite ban-reversals, capitalizing on their esoteric mastery of platform policies to get your account restored.

The fact that account restoration costs hundreds of times more than banning teaches us a few things about the political economy of platform warfare, starting with the Kafkaesque nightmare that is account restoration.

It’s so bad that Facebook users who lost their accounts started buying $300 Oculus VR headsets in the (seemingly mistaken) belief that this would get them human attention, bypassing the unnavigable automated appeal system.

https://www.npr.org/2021/08/02/1023801277/your-facebook-account-was-hacked-getting-help-may-take-weeks-or-299

But the disparity also tells us that users value their accounts far more than attackers prize the ability to banish their targets. No wonder — the platforms didn’t monopolize social media; they’re into home automation, cloud services, online retail, payment processing, etc.

Which means that losing your account could brick your thermostat, or cut you off from your creative wages, shut down your business’s website, or erase decades of family photos and correspondence.

https://www.eff.org/deeplinks/2021/08/utilities-governed-empires

There are ways this could be better — the platforms could have a duty to return your data to you if they terminate your access and they could be required to separate social account termination from across-the-board termination on all their services.

But when we’re talking about proprietary silos with hundreds of millions or billions of users, there’s only so much room for improvement. As Masnick’s Impossibility Theorem has it, “Content moderation at scale is impossible to do well.”

https://www.techdirt.com/articles/20191111/23032743367/masnicks-impossibility-theorem-content-moderation-scale-is-impossible-to-do-well.shtml

In other words, when it comes to the fairness that arises from a nuanced, situation-specific judgment — the only way to separate trolls from victims — scale is a bug and not a feature.

It’s a fool’s errand to try to scale moderation and termination up to serve as full-fledged civil justice systems for a wholly owned corporate “country” that is more populous than any nation in world history, with hundreds of languages and millions of community norms.

Far more plausible is scaling these giants down to the point where it’s at least possible to parse through conflicting claims about nuance and meaning — and also where a bad call doesn’t cost the loser access to a full digital life.

Maybe we could do that with federation, through interoperability mandates like the ones in the ACCESS Act:

https://digital-lab.consumerreports.org/2021/06/15/inside-the-clock-tower/

And maybe we could do it through merger reviews and even unwinding the mergers that got us to this situation:

https://www.whitehouse.gov/briefing-room/presidential-actions/2021/07/09/executive-order-on-promoting-competition-in-the-american-economy/

But we have to stop adding complexity to systems in order to cure the problems of complexity! The more specialized knowledge to need to keep your account online, the more we’ll all have to fear from griefers, harassers and trolls.

#pluralistic

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iturbide · 3 years ago

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Oh! That is a fun ask list. Can I ask 19, 20, and 27 please?

Guess who forgot about their inbox for a while it was me whoops

19. You get to make one more DLC for Awakening. What do you make?

I mean, me personally? Knowing how big I am on Grima backstory and also political intrigue? I'd...kind of want to see a DLC where Ylisse and the new Plegian government are actually working on establishing good, fair terms and becoming friendly, to the point that Ylisse has been invited into Plegia to get a better understanding of their history and culture -- something that we never got to see in the main game, and therefore something we desperately need to humanize these people more. Missions could be focused on addressing any Risen holdouts as they make their way through several important Plegian historical sites, and various spots on those maps could be interacted with to learn more about the nation, its origins, and its roots, going back through time from most recent in the first battle to most ancient in the last.

If it sticks to a three-chapter structure like Future Past, it could always start with a memorial to those lost in the crusade waged by Chrom's father, then move to the history of Grima's fall, and finally to Grima's earliest origins at Thabes Labyrinth (making it a subtle nod to Echoes, as well), thereby painting a more nuanced picture of both Plegia and Grima, showing the Fell Dragon as a protector who was mistreated and lost to despair before they lost their life (and that's just going with the Heroes read, imagine if the conspiracy theory snuck in) and the nation they fostered as a place struggling to survive in the face of harsh natural conditions and hatred from beyond its borders.

20. What do you feel is underappreciated about Awakening?

I don't know if this counts or not, but I feel like Robin being Plegian isn't appreciated enough. Beyond the fact that most of the Plegians we encounter are bizarrely pale (exceptions being Validar and Aversa, who are coded as evil and we don't have time to unpack how shitty that is), I've seen a significant amount of fanart that puts Robin in more Ylissean-style clothes, effectively erasing their heritage (and implicitly vilifying that part of themselves, given how they're removing any visible trace of it). I just feel like people don't appreciate that Robin is not a good person despite being Plegian: they're just a good person, and their Plegian heritage doesn't impact that in any way because a person's ancestry is not a mark of character.

27. A big change you'd make to Awakening:

Where do I start. If I had to pick anything to start with...I'd probably have to go with Gangrel. I've talked before about how weak his canon backstory feels to me, and I really think that a re-write of that part of his character -- and moreover an adjustment to bring aspects of it to the forefront in ways that force the Ylissean characters to confront that history in ways the game doesn't presently address -- would be a great benefit to the story, showing that the first conflict in the game is one firmly rooted in the unaddressed horrors of the past, and that by trying to leave them there without doing the work to put them to rest Emmeryn has effectively caused the present unrest. She meant well, it's true -- but her inaction is what gave Gangrel the foothold he needed to start a new conflict.

Awakening Ask Game

#answered #alerawolf #ask game #fire emblem: awakening #i've been doing a lot with the 'emmeryn made mistakes' thing #but i really do think it needs to be addressed #she is absolutely a wonderful and radiant exalt don't get me wrong #i love her with all my heart #but boy did she fuck up with plegia #and yes my grima bias is showing through again #also no offense to anyone that likes to draw robin in ylissean clothes #i just personally find it uncomfortable #i would love to see more of chrom in plegian clothes #but that's something i never get to see from fandom #gotta do everything myself #too bad i haven't felt like drawing much lately

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antoine-roquentin · 4 years ago

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If every language is acquirable, its acquisition requires a real portion of a person’s life: each new conquest is measured against shortening days. What limits one’s access to other languages is not their imperviousness but one’s own mortality. Hence a certain privacy to all languages. French and American imperialists governed, exploited, and killed Vietnamese over many years. But whatever else they made off with, the Vietnamese language stayed put. Accordingly, only too often, a rage at Vietnamese ‘inscrutability,’ and that obscure despair which engenders the venomous argots of dying colonialisms: ‘gooks,’ ‘ratons’, etc.12 (In the longer run, the only responses to the vast privacy of the language of the oppressed are retreat or further massacre.) Such epithets are, in their inner form, characteristically racist, and decipherment of this form will serve to show why Nairn is basically mistaken in arguing that racism and anti-semitism derive from nationalism – and thus that ‘seen in sufficient historical depth, fascism tells us more about nationalism than any other episode.’13 A word like ‘slant,’ for example, abbreviated from ‘slant-eyed’, does not simply express an ordinary political enmity. It erases nation-ness by reducing the adversary to his biological physiognomy.14 It denies, by substituting for, ‘Vietnamese;’ just as raton denies, by substituting for, ‘Algerian’. At the same time, it stirs ‘Vietnamese’ into a nameless sludge along with ‘Korean,’ ‘Chinese,’ ‘Filipino,’ and so on. The character of this vocabulary may become still more evident if it is contrasted with other Vietnam-War-period words like ‘Charlie’ and ‘V.C.’, or from an earlier era, ‘Boches,’ ‘Huns,’ ‘Japs’ and ‘Frogs,’ all of which apply only to one specific nationality, and thus concede, in hatred, the adversary’s membership in a league of nations.15 The fact of the matter is that nationalism thinks in terms of historical destinies, while racism dreams of eternal contaminations, transmitted from the origins of time through an endless sequence of loathsome copulations: outside history. Niggers are, thanks to the invisible tar-brush, forever niggers; Jews, the seed of Abraham, forever Jews, no matter what passports they carry or what languages they speak and read. (Thus for the Nazi, the Jewish German was always an impostor.)16 The dreams of racism actually have their origin in ideologies of class, rather than in those of nation: above all in claims to divinity among rulers and to ‘blue’ or ‘white’ blood and ‘breeding’ among aristocracies.17 No surprise then that the putative sire of modern racism should be, not some petty-bourgeois nationalist, but Joseph Arthur, Comte de Gobineau.18 Nor that, on the whole, racism and anti-semitism manifest themselves, not across national boundaries, but within them. In other words, they justify not so much foreign wars as domestic repression and domination.19 Where racism developed outside Europe in the nineteenth century, it was always associated with European domination, for two converging reasons. First and most important was the rise of official nationalism and colonial ‘Russification’. As has been repeatedly emphasized official nationalism was typically a response on the part of threatened dynastic and aristocratic groups – upper classes – to popular vernacular nationalism. Colonial racism was a major element in that conception of ‘Empire’ which attempted to weld dynastic legitimacy and national community. It did so by generalizing a principle of innate, inherited superiority on which its own domestic position was (however shakily) based to the vastness of the overseas possessions, covertly (or not so covertly) conveying the idea that if, say, English lords were naturally superior to other Englishmen, no matter: these other Englishmen were no less superior to the subjected natives. Indeed one is tempted to argue that the existence of late colonial empires even served to shore up domestic aristocratic bastions, since they appeared to confirm on a global, modern stage antique conceptions of power and privilege. It could do so with some effect because – and here is our second reason – the colonial empire, with its rapidly expanding bureaucratic apparatus and its ‘Russifying’ policies, permitted sizeable numbers of bourgeois and petty bourgeois to play aristocrat off centre court: i.e. anywhere in the empire except at home. In each colony one found this grimly amusing tableau vivant: the bourgeois gentilhomme speaking poetry against a backcloth of spacious mansions and gardens filled with mimosa and bougainvillea, and a large supporting cast of houseboys, grooms, gardeners, cooks, amahs, maids, washerwomen, and, above all, horses.20 Even those who did not manage to live in this style, such as young bachelors, nonetheless had the grandly equivocal status of a French nobleman on the eve of a jacquerie:21 In Moulmein, in lower Burma [this obscure town needs explaining to readers in the metropole], I was hated by large numbers of people – the only time in my life that I have been important enough for this to happen to me. I was sub-divisional police officer of the town. This ‘tropical Gothic’ was made possible by the overwhelming power that high capitalism had given the metropole – a power so great that it could be kept, so to speak, in the wings. Nothing better illustrates capitalism in feudal-aristocratic drag than colonial militaries, which were notoriously distinct from those of the metropoles, often even in formal institutional terms. 22 Thus in Europe one had the ‘First Army,’ recruited by conscription on a mass, citizen, metropolitan base; ideologically conceived as the defender of the heimat; dressed in practical, utilitarian khaki; armed with the latest affordable weapons; in peacetime isolated in barracks, in war stationed in trenches or behind heavy field-guns. Outside Europe one had the ‘Second Army,’ recruited (below the officer level) from local religious or ethnic minorities on a mercenary basis; ideologically conceived as an internal police force; dressed to kill in bed-or ballroom; armed with swords and obsolete industrial weapons; in peace on display, in war on horseback. If the Prussian General Staff, Europe’s military teacher, stressed the anonymous solidarity of a professionalized corps, ballistics, railroads, engineering, strategic planning, and the like, the colonial army stressed glory, epaulettes, personal heroism, polo, and an archaizing courtliness among its officers. (It could afford to do so because the First Army and the Navy were there in the background.) This mentality survived a long time. In Tonkin, in 1894, Lyautey wrote:23 Quel dommage de n’être pas venu ici dix ans plus tôt! Quelles carrières à y fonder et à y mener. Il n’y a pas ici un de ces petits lieutenants, chefs de poste et de reconnaissance, qui ne développe en 6 mois plus d’initiative, de volonté, d’endurance, de personnalité, qu’un officier de France en toute sa carrière. In Tonkin, in 1951, Jean de Lattre de Tassigny, ‘who liked officers who combined guts with “style,” took an immediate liking to the dashing cavalryman [Colonel de Castries] with his bright-red Spahi cap and scarf, his magnificent riding-crop, and his combination of easy-going manners and ducal mien, which made him as irresistible to women in Indochina in the 1950s as he had been to Parisiennes of the 1930s.’24 Another instructive indication of the aristocratic or pseudo-aristocratic derivation of colonial racism was the typical ‘solidarity among whites,’ which linked colonial rulers from different national metropoles, whatever their internal rivalries and conflicts. This solidarity, in its curious trans-state character, reminds one instantly of the class solidarity of Europe’s nineteenth-century aristocracies, mediated through each other’s hunting-lodges, spas, and ballrooms; and of that brotherhood of ‘officers and gentlemen,’ which in the Geneva convention guaranteeing privileged treatment to captured enemy officers, as opposed to partisans or civilians, has an agreeably twentieth-century expression. The argument adumbrated thus far can also be pursued from the side of colonial populations. For, the pronouncements of certain colonial ideologues aside, it is remarkable how little that dubious entity known as ‘reverse racism’ manifested itself in the anticolonial movements. In this matter it is easy to be deceived by language. There is, for example, a sense in which the Javanese word londo (derived from Hollander or Nederlander) meant not only ‘Dutch’ but ‘whites.’ But the derivation itself shows that, for Javanese peasants, who scarcely ever encountered any ‘whites’ but Dutch, the two meanings effectively overlapped. Similarly, in French colonial territories, ‘les blancs’ meant rulers whose Frenchness was indistinguishable from their whiteness. In neither case, so far as I know, did londo or blanc either lose caste or breed derogatory secondary distinctions.25 On the contrary, the spirit of anticolonial nationalism is that of the heart-rending Constitution of Makario Sakay’s short-lived Republic of Katagalugan (1902), which said, among other things:26 No Tagalog, born in this Tagalog archipelago, shall exalt any person above the rest because of his race or the colour of his skin; fair, dark, rich, poor, educated and ignorant – all are completely equal, and should be in one loób [inward spirit]. There may be differences in education, wealth, or appearance, but never in essential nature (pagkatao) and ability to serve a cause. One can find without difficulty analogies on the other side of the globe. Spanish-speaking mestizo Mexicans trace their ancestries, not to Castilian conquistadors, but to half-obliterated Aztecs, Mayans, Toltecs and Zapotecs. Uruguayan revolutionary patriots, creoles themselves, took up the name of Tupac Amarú, the last great indigenous rebel against creole oppression, who died under unspeakable tortures in 1781. It may appear paradoxical that the objects of all these attachments are ‘imagined’ – anonymous, faceless fellow-Tagalogs, exterminated tribes, Mother Russia, or the tanah air. But amor patriae does not differ in this respect from the other affections, in which there is always an element of fond imagining. (This is why looking at the photo-albums of strangers’ weddings is like studying the archaeologist’s groundplan of the Hanging Gardens of Babylon.) What the eye is to the lover – that particular, ordinary eye he or she is born with – language – whatever language history has made his or her mother-tongue – is to the patriot. Through that language, encountered at mother’s knee and parted with only at the grave, pasts are restored, fellowships are imagined, and futures dreamed. 12. The logic here is: 1. I will be dead before I have penetrated them. 2. My power is such that they have had to learn my language. 3. But this means that my privacy has been penetrated. Terming them ‘gooks’ is small revenge. 13. The Break-up of Britain, pp. 337 and 347. 14. Notice that there is no obvious, selfconscious antonym to ‘slant.’ ‘Round’? ‘Straight’? ‘Oval’? 15. Not only, in fact, in an earlier era. Nonetheless, there is a whiff of the antique-shop about these words of Debray: ‘I can conceive of no hope for Europe save under the hegemony of a revolutionary France, firmly grasping the banner of independence. Sometimes I wonder if the whole “anti-Boche” mythology and our secular antagonism to Germany may not be one day indispensable for saving the revolution, or even our national-democratic inheritance.’ ‘Marxism and the National Question,’ p. 41. 16. The significance of the emergence of Zionism and the birth of Israel is that the former marks the reimagining of an ancient religious community as a nation, down there among the other nations – while the latter charts an alchemic change from wandering devotee to local patriot. 17. ‘From the side of the landed aristocracy came conceptions of inherent superiority in the ruling class, and a sensitivity to status, prominent traits well into the twentieth century. Fed by new sources, these conceptions could later be vulgarized [sic] and made appealing to the German population as a whole in doctrines of racial superiority.’ Barrington Moore, Jr., Social Origins of Dictatorship and Democracy, p. 436. 18. Gobineau’s dates are perfect. He was born in 1816, two years after the restoration of the Bourbons to the French throne. His diplomatic career, 1848–1877, blossomed under Louis Napoléon’s Second Empire and the reactionary monarchist regime of Marie Edmé Patrice Maurice, Comte de MacMahon, former imperialist proconsul in Algiers. His Essai sur l’Inégalité des Races Humaines appeared in 1854 – should one say in response to the popular vernacular-nationalist insurrections of 1848? 19. South African racism has not, in the age of Vorster and Botha, stood in the way of amicable relations (however discreetly handled) with prominent black politicians in certain independent African states. If Jews suffer discrimination in the Soviet Union, that did not prevent respectful working relations between Brezhnev and Kissinger. 20. For a stunning collection of photographs of such tableaux vivants in the Netherlands Indies (and an elegantly ironical text), see ‘E. Breton de Nijs,’ Tempo Doeloe. 21. George Orwell, ‘Shooting an Elephant,’ in The Orwell Reader, p. 3. The words in square brackets are of course my interpolation. 22. The KNIL (Koninklijk Nederlandsch-Indisch Leger) was quite separate from the KL (Koninklijk Leger) in Holland. The Légion Étrangère was almost from the start legally prohibited from operations on continental French soil. 23. Lettres du Tonkin et de Madagascar (1894–1899), p. 84. Letter of December 22, 1894, from Hanoi. Emphases added. 24. Bernard B. Fall, Hell is a Very Small Place: The Siege of Dien Bien Phu, p. 56. One can imagine the shudder of Clausewitz’s ghost. [Spahi, derived like Sepoy from the Ottoman Sipahi, meant mercenary irregular cavalrymen of the ‘Second Army’ in Algeria.] It is true that the France of Lyautey and de Lattre was a Republican France. However, the often talkative Grande Muette had since the start of the Third Republic been an asylum for aristocrats increasingly excluded from power in all other important institutions of public life. By 1898, a full quarter of all Brigadier-and Major-Generals were aristocrats. Moreover, this aristocrat-dominated officer corps was crucial to nineteenth and twentieth-century French imperialism. ‘The rigorous control imposed on the army in the métropole never extended fully to la France d’outremer. The extension of the French Empire in the nineteenth century was partially the result of uncontrolled initiative on the part of colonial military commanders. French West Africa, largely the creation of General Faidherbe, and the French Congo as well, owed most of their expansion to independent military forays into the hinterland. Military officers were also responsible for the faits accomplis which led to a French protectorate in Tahiti in 1842, and, to a lesser extent, to the French occupation of Tonkin in Indochina in the 1880’s . . . In 1897 Galliéni summarily abolished the monarchy in Madagascar and deported the Queen, all without consulting the French government, which later accepted the fait accompli . . .’ John S. Ambler, The French Army in Politics, 1945–1962, pp. 10–11 and 22. 25. I have never heard of an abusive argot word in Indonesian or Javanese for either ‘Dutch’ or ‘white.’ Compare the Anglo-Saxon treasury: niggers, wops, kikes, gooks, slants, fuzzywuzzies, and a hundred more. It is possible that this innocence of racist argots is true primarily of colonized populations. Blacks in America – and surely elsewhere – have developed a varied counter-vocabulary (honkies, ofays, etc.). 26. As cited in Reynaldo Ileto’s masterlyPasyón and Revolution: Popular Movements in the Philippines, 1840–1910, p. 218. Sakay’s rebel republic lasted until 1907, when he was captured and executed by the Americans. Understanding the first sentence requires remembering that three centuries of Spanish rule and Chinese immigration had produced a sizeable mestizo population in the islands.

Benedict Anderson, Imagined Communities

#citation 24 is gorgeous

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letterboxd · 3 years ago

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How I Letterboxd #13: Erika Amaral.

Film sociologist Erika Amaral on the blossoming of Brazil’s women filmmakers, the joys of queuing for the movies, the on-fire Brazilian Letterboxd community, and the sentimental attachment of her entire nation to A Dog’s Will.

“It is hard to produce art without institutional support and it is very complicated to produce art during this tragic pandemic.” —Erika Amaral

In the wide world outside of English-language Letterboxd, Brazil occupies a particularly fervent corner. Sāo Paulo-based feminist film theorist Erika Amaral has connected with many other local film lovers through her Letterboxd profile, and for anyone with an interest in Cinema Brasileiro, her lists are an excelente place to start.

From her personal introduction to Brazilian film history, to her own attempts to fill gaps in her Latin American cinematic knowledge, Erika’s well-curated selections are a handy primer on the cinema of the fifth-largest country in the world, and its neighbors. These lists sit alongside her finely judged academic deep-dives into filmmakers such as Luis Buñuel, Glauber Rocha and Sarah Bernhardt.

Endlessly fascinated by how “the history of cinema is all intertwined”, Erika has also written on Jia Zhangke for Rosebud Club, is an Ana Carolina stan, enjoys collecting films directed by women featuring mirrors and women, and, like all of us, watched many remarkable movies during quarantine.

Suzana Amaral (left, rear) with cast and crew on the set of her film ‘A Hora da Estrela’ (Hour of the Star, 1985).

Olá, Erika. Please give our readers a brief introduction to your brilliant Introduction to Brazilian Film History list. I’m so happy to see this list getting popular! I’m a sociologist interested in film and gender studies. It’s been four years since I started studying Brazilian film history but my passion for film is much older. I tried to combine those two aspects in this list; films that are meaningful to me, historically relevant films, and historically relevant films erased from film-history books, for instance, those directed by women. The main purpose of my list is to highlight Brazilian women filmmakers’ fundamental contributions to Brazilian cinema.

I listed some absolute classics such as Hour of the Star by the late director Suzana Amaral, and other obscure gems such as The Interview, by Helena Solberg, which is a short feature released in 1966 alongside the development of Cinema Novo. Solberg’s work was hidden for decades. No-one knew about it. In Brazil, especially in the field of film studies and feminist theories, we are experiencing the blossoming of public debates, books being released, and film festivals that look specifically into films such as Solbergs’s and [those of] many other women directors, including Adélia Sampaio, the first Black female director to release a feature film in Brazil in 1984, Amor Maldito. We need these debates on Letterboxd as well, so I wrote this list in English.

As a representative of the passionate Brazilian community on Letterboxd, can you provide some insight into the site’s popularity where you live, especially for those of us who have not learned Brazilian Portuguese? I feel at home using Letterboxd. Everywhere I see Brazilian members posting reviews in both Portuguese and English. It’s a passionate community. It’s directly related to Twitter where Brazilian cinephiles are so active and productive, always sharing film memes (and even Letterboxd memes). Many content creators are using both Letterboxd and Twitter to showcase their podcasts, classes and film clubs. I once started a talk at a university for film students mentioning that my Masters research project came into life when I watched Amélia, showing my mind-blown Letterboxd review in the presentation. I follow many of those students now and it is so good to be connected. Brazilian Film Twitter and [the] Brazilian Letterboxd community are on fire!

Alexandre Rodrigues as Buscapé in ‘City of God’ (2002), directed by Fernando Meirelles and Kátia Lund.

When uninitiated cinephiles think about Brazilian cinema, City of God is most likely top of the list. It’s the only Brazilian film to be nominated for Best Director at the Academy Awards (despite co-director Kátia Lund being shut out!) and it’s the only Brazilian film in IMDb’s Top 250. After nearly 20 years, is it fair for City of God to represent Brazil? Of course, it is fair for City of God to represent Brazil! The only problem is if we think all Brazilian cinema is exclusively City of God. The film is entertaining, well-directed, has a great cast, but it has some flaws—for example, the aestheticization of violence and misery in Brazil, which scholar Ivana Bentes calls the “cosmetics of hunger”. Even so, it is a great film and it captivated Brazilian and international audiences. We shouldn’t limit any country to only one or two films.

If you enjoy City of God, check my list for Brazilian films directed by women in this period, which we call “Cinema da Retomada”—the renaissance of Brazilian cinema after the economic problems [that] hampered the film industry in the 1990s.

Selton Mello and Matheus Nachtergaele in beloved Brazilian comedy ‘O Auto da Compadecida’ (A Dog’s Will, 2000).

Several Brazilian films have stunningly high ratings on Letterboxd, giving them a place on many of our official lists. This includes A Dog’s Will, which is in the top ten of our all-time Top 250. On Letterboxd, A Dog’s Will reviews are cleanly divided into two camps: Brazilians (who absolutely love it) and everyone else (who fail to understand its popularity). What drives this home-team spirit? People truly love A Dog’s Will! It’s funny, has a fantastic rhythm, and it references many aspects of Brazilian culture, especially regarding north-eastern Brazilian culture. It was shown both as a film and as a miniseries infinite times on the largest and most popular television channel in Brazil. I can’t help mentioning that A Dog’s Will portrays Jesus Christ as a black man and Fernanda Montenegro as Brazil’s patron saint, Nossa Senhora Aparecida. It’s a brilliant moment for Matheus Nachtergaele, one of the greatest Brazilian actors ever.

Can you offer us a ‘Gringo’s Guide to A Dog’s Will’? I love the idea of a ‘Gringo’s Guide to A Dog’s Will’! You need to have good subtitles. The beauty of A Dog’s Will is that it is regional but it was made to be understandable to all of Brazil. You are going to need subtitles that [cover] the expressions, slang and proverbs—not mere translations. I would recommend watching some other films from north-eastern Brazil; Land of São Saruê, Love for Sale and Ó Paí Ó: Look at This. This can help you understand other social and cultural dimensions of Brazil beyond, for instance, City of God. A Dog’s Will is a movie that we would watch on a lazy Sunday afternoon with the family, so we have a strong sentimental attachment to it.

Leonardo Villar bears the weight of a cross in ‘The Given Word’ (1964).

Religion plays an important role in Brazilian cinema—for example, one of the few Brazilian films to win the Palme d’Or is the masterful The Given Word. Is this connection a part of what makes Brazilian cinema so potent for the local community? Religious symbolism and religious beliefs are extremely significant in Brazilian cinema. Its presence in cinema seems to address our daily challenges, rituals, history, but not always apologetically—as you can see in the despair of Zé do Burro in The Given Word. Religion does not seem to help him. There’s nowhere to run. The spiritual belief, as well as the cross itself, is a weight on his shoulders.

So you see, religion in Brazilian cinema is so potent because we can think beyond it, we can understand how people relate to their beliefs and how sometimes religion can fail a person. That’s what happens when a priest falls in love with a local girl (The Priest and the Girl), when a curse falls upon a man who turns against his people (The Turning Wind), when we teach fear and sin to young girls (Heart and Guts), when religion becomes a determining way of life that does not pay back efforts (Divine Love), when we accept the possibility of going against religious institutions (José Mojica Marin’s, AKA Coffin Joe, films).

We have all these movies fascinated by religion and how it creates meaning in our society. This is just from Christianity, because if we think of African and Indigenous heritage, we have another whole dimension of films to reflect upon, such as Noirblue and the documentary Ex-Pajé.

We have some Brazilian films in our Official Top 100 by Women Directors list, including The Second Mother, which sits in the top five with City of God. Who are some overlooked female Brazilian filmmakers that you want to celebrate and put on our map? Undoubtedly Juliana Rojas and Gabriela Amaral Almeida. They’re both on the horror scene and their work is astonishing. I strongly recommend Hard Labor and Rojas’ latest film Good Manners (if you are into werewolves). I can’t even pick one for Almeida—The Father’s Shadow and Friendly Beast are awesome. Beatriz Seigner’s The Silences—filmed in the frontier between Brazil, Colombia, and Peru—is really impactful. Glenda Nicácio’s films, co-directed with Ary Rosa, are among my favorite recent Brazilian films. Watch To the End immediately!

Eduardo Coutinho’s ‘Twenty Years Later’ (1984).

Brazilian documentarian Eduardo Coutinho has not one, not two, but three of his films in the Official Top 100 Documentaries list, including the all-time number one Twenty Years Later. Can you describe Coutinho’s significance in Brazil? Coutinho is a monument! Coutinho is an institution! Coutinho is everything. His works are of strong political importance, as you can see in Twenty Years Later. A movie he was making in 1964 was interrupted by the dictatorship installed in Brazil, and the main actor and activist, João Pedro Teixeira, was murdered, then his wife Elizabeth Teixeira had to flee and change her identity.

The documentary follows Coutinho and his crew looking for the actors from his movie from twenty years before. Later, his works developed many different tones and formats as you can see in Playing, an experimental portrayal of real women and their personal experiences side-by-side with actresses representing their real-life events as if in a play. Playing was one of the mandatory films to be analyzed for [my] Film School entrance exam, so I had to watch it a million times in 2017. His works are profound studies on Brazilian people and culture—piercing, but also delicate.

Contemporary documentaries are also doing well; Petra Costa’s latest, The Edge of Democracy, was nominated for an Oscar, and Emicida: AmarElo – It’s All for Yesterday was briefly Letterboxd’s highest-rated film late last year. How are these docs tapping into the zeitgeist? Those are both very different films. Emicida is part of a strong and structured movement against racism, against the marginalization of Black people, against limiting the access to art and culture to certain social groups, which is a common practice in the history of this country. Petra Costa’s documentary is another form of reflection on contemporary politics but in a melancholic tone since, recently in Brazil, we have been facing political storms such as the impeachment of ex-president Dilma Roussef, the imprisonment of ex-president Luiz Inácio Lula da Silva (who has recently been declared not guilty), and rising far-right politicians. Not to mention another of our losses, the still-unsolved killing of Marielle Franco, a Black and lesbian political representative. These films have helped us face these difficulties and try to gather some hope for the future.

Bárbara Colen (center) and villagers in ‘Bacurau’ (2019).

How has Brazil’s cinema industry been affected by the one-two punch of the pandemic on top of ongoing social and political issues? And, can you talk a bit about how the acclaimed Cannes-winner Bacurau shocked the nation two years ago, and in what ways the film confronted these problems? This question is challenging because there’s so much happening. At this moment, we have 428,000 deaths [from] Covid and we are still mourning the Jacarézinho favela massacre in Rio de Janeiro. We have very troubled political representatives that are not fighting Covid in an adequate way to say the least, and we have had major cut downs in the cultural sector since, in Brazil, a lot of artistic and cultural projects are developed with governmental incentives. It is hard to produce art without institutional support and it is very complicated to produce art during this tragic pandemic.

Right before this chaos, we had Bacurau. Actually, I have a pleasant anecdote about my experience with Bacurau. Everybody was talking about how it was going to premiere at a special event with the presence of its directors. We had some expectations regarding the premiere because it was going to be free of charge and it would take place at the heart of São Paulo, the Avenida Paulista, in an immense theater.

We arrived at 1pm to form a line and people were there already. I discovered through Twitter that the first boy in line was hungry so I gave him a banana. I had brought a lot of snacks. The line was part of the event, and it got so long you couldn’t believe it. It was great to see so many friends and people gathered to see a movie—and such an important movie! There weren’t enough seats for everyone but they exhibited the film in two different rooms so more people could enjoy it.

I love everything about that day and I think it helps me to have some perspective on cinema, culture, politics and what we can accomplish by working collectively—people uniting to fight dirty politicians, people joining forces to fight social menaces, generosity, empathy, fight for justice and the power of the masses.

The life of 17th-century nun Sor Juana Inés de la Cruz is explored in María Luisa Bemberg’s ‘Yo, la Peor de Todas’ (I, the Worst of All, 1990).

Would you like to highlight some films from your neighboring countries? I have been watching some fascinating films from South America. Bolivian filmmaker Jorge Sanjinés has an extensive filmography and his films were the first to portray characters speaking Aymara. I really like his Ukamau. I also love Argentine director María Luisa Bemberg’s films, such as I, the Worst of All. I’m currently studying Jayro Bustamante’s La Llorona, from Guatemala. I have no words to say how incendiary this film is. You’ll have to watch it for yourself!

Who are three Brazilian members that you recommend we all follow? Firstly, I recommend you follow my beautiful partner in crime and cinema, Pedro Britto. Secondly, a fantastic painter and avid researcher of Maya Deren and Agnès Varda, my adored friend Tainah Negreiros. Finally, I recommend you follow Gustavo Menezes, who is the author of many excellent lists [about] Brazilian cinema. He’s also the co-founder of a streaming platform called Cinelimite, which everyone should take a look at.

Related content

Silvia’s Cinema Novo list

Gabriela’s Cinema Brasileiro master list

Serge’s list of films that have won the Grande Otelo (Grande Prêmio de Cinema Brasileiro for Best Film)

Follow Erika on Letterboxd, Tumblr and in print

Follow Jack on Letterboxd

#letterboxd #how i letterboxd #erika amaral #film academic #film study #feminist film theory #feminist film #feminist theory #brazilian cinema #cinema o brasilia #Cinema Brasileiro #Brazilian film #suzana amaral

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firelxdykatara · 4 years ago

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unquestionably-queer replied to your post “I mean, since we're at it, could you maybe talk about the double...”

i agree w a lot of this!! i dont want to speak out of turn but from what ive heard from indigenous women (which im not) the problem isnt the ship itself but its representation ig? basically my understanding is that in fanfic n what not katara is often stripped of her autonomy and relocated and Thats what people have problems with? i think youre right just bc zuko and sokka and are close and age and its Gay doesnt suddenly make it not vaguely racist (for lack of better terms)

That is a perfectly fair and valid criticism of the corners in fandom in which that happens. However, at that point, it’s an issue with racism in general in fandoms at large--and, I promise you, this is not an issue that’s exclusive to Zutara. I can only speak for my own experience, of course, but the Zutara discord server of which I am part has a lot of poc as well as queer people (including some queer poc!!!), some of whom are indigenous, and so when people call the entire fandom ‘white, straight, and racist’ (which is effectively what happens when they say that just shipping zk is racist/heteronormative, regardless of like, context), it not only erases all of us and our contributions to the fandom, but it also like... ignores the fact that those fics and metas are soooo not the norm.

Like, I’ve lost count of how many ‘fire lady Katara’ metas take into account how much of her culture she would bring with her to the Fire Nation. Everything from spectacular fanart designing clothing that incorporates her own culture with her husbands, to having her called Lady of the Moon rather than Fire Lady, to having their courtship extend over the years she spent as an ambassador and making so many changes for the better to the nation she would eventually marry into.

I almost never see meta or fanart where Katara marries Zuko and then completely assimilates and abandons her culture. But you know where I do see Katara stripped of her autonomy, made an accessory of her husband, denied agency, and having her legacy completely erased to the point where if you hadn’t watched AtLA you’d have no idea why she’d be well known at all except for who she married?

Canon.

That’s what the comics and LoK did to Katara, so I really don’t understand how these things get flung at the Zutara fandom as if we haven’t been fighting back against that future for her for years. The Northern and Southern Water Tribes went into a full blown civil war and Katara didn’t lift a finger to try and use her political clout or just her fierce passion and love for her people to knock some sense into them. Her son and his entire family were kidnapped by zealots and threatened with death and she didn’t even try to help the rescue effort. I get that LoK wasn’t the Gaang’s story, but AtLA wasn’t the White Lotus’ story either, and those old ass men got to kick ass and take names all over the place, so don’t hand me that ‘Katara was too old’ crap. She was, what, eighty something? Bumi was 112 in AtLA!!!

Sorry, I didn’t mean to go off on an LoK rant, but my ultimate point is, it doesn’t make sense to me to come after zutara shippers when, by and large, we wish canon had done better by Katara and that is reflected in much of our fanworks and metas. Does this mean there won’t be racist shlock in our fandom??? Of course not! Because racism is insidious and no fandom is free from it, so of course if there are works that perpetuate harmful ideals it’s perfectly fine to talk about them and ask that the people involved do better in the future, or just avoid those who refuse to change. But slamming an entire fandom for the actions of a few, while ignoring the fact that their preferred ship pulls from the same exact fanbase (and I’m sorry, but white gays are no less racist than white straights, that’s just a fact), is hypocritical in the extreme.

Tl;dr: people in glass houses really shouldn’t throw stones.

#unquestionably-queer #atla #zutara #katara #zuko #atla fandom salt #just covering my bases

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snarkesthour · 3 years ago

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#NotMyOBONDay

I hope you like the title. It was an attempt to be funny and light-hearted, but I'm afraid that is as good as it’s going to get for the rest of this post, because the British government has been At It Again.

I’m sure some of you at least will have seen/heard of this idea of “OBON” day, or “One Britain One Nation” day. It is an idea endorsed by the British government to “celebrate the values we [the British people] share: tolerance, kindness, pride, respect and a tremendous desire to help others.”

Because we’ve seen so much of that from the government recently.

Also problematic, taken from their website, is the idea that “our diverse cultures are inextricably linked by the sole fact that we are British”, which is a disgusting sentiment. Not only does it mask the struggle of our minority communities, it erases their culture by implying that British culture takes centre stage, and is somehow better. This is dangerously racist. I will argue that our diverse cultures are inextricably linked by the sole fact that we are British - but not in the way they want to believe. They are linked because Britain once owned a quarter of the world. One quarter. 25%. That’s what links these cultures to Britain, and it is not a link that should be celebrated. Which makes the next sentence “it is this fact that has prompted OBON to reinforce and revive what collectively unites us” particularly distasteful, and offensive.

Let’s not get into the bit where they say that “OBON aims to give new impetus for the creation of a harmonised society”, (harmonised in the particularly “British” way they want), in order “to make Britain an international model of moral rectitude.” (Just… no.)

There are a number of issues with this first point, about “British values”. There is no mention of how conditional these values really are to the British people, or the times in history we have not extended the merits of these values to others. The day includes clapping and singing songs which are very nationalistic and contain worrying lyrics, which we will touch upon in a minute. All of these are serious problems, but the one that angers me the most is the existence of an Obon Day already.

The aforementioned song gained some traction online, but did not make main news in Britain. It is a song supposedly written by a class of schoolchildren in

the city of Bradford, a multicultural hub in the north of England. It contains such lyrics as: “we have one dream to unite all people in one great team”, which is uncomfortable when you think of the UKs history of colonisation and forced assimilation of indigenous peoples; “we’ve opened our doors, and widened our islands shores”, which is uncomfortable weighed against the UKs history of slavery (and more recently, its rejection of many boatfuls of refugees and asylum seekers; “we celebrate our differences with love in our hearts.” This one is just laughable given the recent protests over the rampant racism within our government, political landscape, and country at large. Protests over women’s mistreatment in British society, the horrific abuse of the transgender community, the rampant Islamophobia and Anti-Semitism, particularly within our major political parties, and the treatment of the autistic community. All of this is worsened by the government’s refusal to acknowledge the atrocities and crimes of Britain’s past. Nay, they actively take steps to censor them by refusing to allow this part of history to be taught in schools. The rhetoric of “so many races, standing in the same place” comes with no mention of just why so many different races of people reside in the UK (once again, because we invaded 90% of the world), making the seemingly unproblematic line “united forever, never apart” abruptly ominous. The song finishes with the repeated phrase “Strong Britain, Great Nation, which is the sort of fetishistically nationalistic thing you’d expect to be sung in a country such as North Korea.

All of these points disgust and disturb me. Yet the thing that personally angers me the most is that Obon Day already exists. If you are a reader of manga/watcher of anime, you may have already heard of it. Obon is Buddhist festival in Japan for honouring one’s ancestors. It is the Japanese Buddhist version of the Buddhist festival Ullambana and is celebrated in August, when the gap between the human world and the spirit world is smaller, or weakened, and the spirits of ancestors can cross over in ghost form.

While Obon is a Japanese Buddhist festival, that doesn’t mean it doesn’t affect those of us in Britain. As of October 2019, there were around 66,000 Japanese people living in the UK. Given that nearly 70% of Japanese people are Buddhist, we can assume a fair number of them will be practitioners. Not only that, it will affect non-Japanese people following Japanese branches of Buddhism, such as Nichiren Shu Buddhism, founded in the 13th century. It will impact the wider Buddhist community that does not celebrate Obon too, because, as said above, Obon is the Japanese Buddhist version of the Buddhist festival of Ullambana, observed by a wider array of Buddhists.

All of this infuriates me. Buddhism is a religion of peace, tolerance, love, and everything the British government seems determined to stand against. Buddhism does not look at people and see division. It sees unity, and it certainly does not see hatred. The British government’s “OBON Day” is insensitive and tone-deaf to Britain’s minority communities at best, and divisive and quietly hate-fuelled at worst. Either way, it amounts to another act in a repeated pattern of behaviour seeking to destroy cultures already existing within the UK to assimilate them all into one perfect “British” society, and Buddhism does not tolerate those qualities one single bit.

Find another name for your day of fascistic pride.

This one is taken.

#obon #buddhism #uk politics #one britain one nation

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alewyren · 3 years ago

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I dislike redemption arc culture.

I hate seeing arguments over which characters are “irredeemable,” and this notion that every villain story has to be a morally didactic narrative in which the bad guy gets punished, the end.

I’m almost tempted to say we were all spoiled by having Zuko as a formative experience, because he’s really just the picture perfect redemption arc. He started out as a legit villain, but he never did anything too atrocious, had a tragic backstory that explained why he was like that, and went through three whole seasons of gradual character development. Like, Zuko was an amazing character. That’s the problem, though; he set our expectations too high for what “the perfect redemption arc” should be. Everyone expects their “reformed villain” characters to follow those same beats, but not every story is that cut and dry. There are lines between redemption and reformation, reformation and rehabilitation, rehabilitation and just... continuing to exist but no longer hurting anyone, and there’s a lot of nuance lost when people try to cram all that into the box of “redemption arc.”

Gonna be bringing a lot of different examples to the table here, but let’s start with Azula for ease of transition. She went through the same abuse that Zuko did, but she never got a redemption arc in ATLA proper. Some people say this isn’t fair. I disagree. This is not to say I don’t think she should be afforded the opportunity for post-canon character growth, because I absolutely do. I fully think she is capable of Getting Better, and spinoff media has consistently portrayed her as a sympathetic character. But like... she’s done some shit. She was a straight up war criminal, and emotionally abusive towards basically everyone in her social circle. I understand why. She was a 14 year old raised in an environment that rewarded that behavior, and never given a healthy outlet for her aggression.

The difference, in my opinion, is this: Zuko was fundamentally a good person from the start. Far from perfect, but he has a strong sense of values even as a child. Azula is not. Redemption for someone like Azula would look much different than it did for Zuko. Besides, in ATLA proper she was already filling an important villain role. She’d need her own show. (Which would be awesome, actually.)

But I think that’s where you have to ask the question: what even is a redemption arc? Is it any story where a villain stops being a villain? Is there a scale for like, “must do X amount of good deeds equal to Y bad deeds to qualify for redemption”? Must they be sufficiently punished for their bad deeds? What if reformation is possible without punishment--is punishment for its own sake truly justice? The focus people have on penance and atonement feels very baked in Christian moral philosophy. People don’t work like that. There’s not a cosmic scale of right and wrong, or a cosmic sin counter, there’s just... actions and their immediate impact. Bad people being let off the hook too easily can leave a bad taste in your mouth, and there are of course things with unfortunate real world implications which can’t be divorced from real-world context which are... irresponsible to allow in the hands of Certain Groups, but I hate this notion of “villains must be punished appropriately for their crimes, always, even if they have extenuating circumstances, even if they have demonstrated the capacity for personal growth, because that personal growth will never negate their misdeeds.”

In real life, it’s different. In real life, you can never be sure what’s going on in another person’s head. But the prison system of justice is fundamentally broken. People are rarely fundamentally evil, but there are some people who are too twisted and dangerous to society to be allowed to live without, at the very least, constant supervision. True evil is banal, rooted in social systems, not individual “bad people.” People have individual will, but ultimately they’re just the products of the environment and systems that fostered them. Setting aside the questions of whether people can be born evil or at what age you become personally responsible for your actions, you will get bad apples in any sufficiently large group of people. If someone has to be punished and removed from society, that’s not a success of justice. The fact that they reached that point in the first place is a failure of society in and of itself.

In fiction, technically everyone is redeemable. You can get into the heads of the bad guys and do basically whatever you want with them. Fiction should be responsible when dealing with real-world issues that affect real people, but it does not have to be morally didactic. Sometimes there just... isn’t an easy, morally didactic answer for dealing with morally complicated characters or situations. And more importantly, sometimes the morally didactic answer isn’t the narratively interesting answer. 9 out of 10 times, what’s more interesting to read about? A horrible villain being put to death, or a horrible villain being forced to live and grow?

Some hypothetical examples to ponder, purely in the context of fiction.

Horrible war criminal villain with a body count in the millions has all memories of their crimes wiped, or is forcibly brainwashed into being a better person. Setting aside the ethics of brainwashing: are they still required to “repent”? Would a victim still be justified in seeking penance from this guilt-free shell? Would this change at all depending on who was responsible for the mind-wipe?

More realistic: horrible war criminal villain with a body count in the millions straight up retires. Gets older. Bloodlust, national zeal, whatever once motivated them to do such evil loses its edge. They fall in love. Start a family. As they grow as a person, learn the value of life, the weight of their crimes starts to sink in. They atone in little ways, through little random acts of kindness and helping the people around them, but for one reason or another (not wanting to risk harm to their family, knowing they’ll be tortured for information? you decide) don’t turn themselves into the proper justice system and are never punished. Should they be punished, or allowed to continue existing? Would this change at all depending on the surrounding political circumstances, i.e.: whether their public execution would hold any symbolic value, whether affected groups are calling for their death? Does it matter at all in deciding justice whether this hypothetical villain feels personal guilt or regret over their war crimes? Why or why not?

Child villains. IRL there are documented cases of violent crime in children as young as grade school age, not all of whom had violent backgrounds. Should they be held to the same standards as adult villains, even if the scale of their crimes are the same? What’s the cutoff age? Are all villains under 18 capable of rehabilitation, no matter how horrible their crimes? How about 16? 14? 12? What about villains whose ages aren’t really clear, ie Cell from DBZ being like, six?

How much does backstory matter? Should it matter if there’s a good reason someone is Like That, or should their actions be judged as-is? It doesn’t matter to the victims whether or not the villain had a bad childhood, right? Moreover, does it matter at all whether someone is “fundamentally a good person,” at least insofar as genuinely caring about the people around them and caring about a moral code? People do evil things for reasons other than “being evil people.”

Morally bankrupt person who regularly fantasizes violent harm on the people around them, wholly selfish with no love for any other human being, fundamentally incapable of meaningful self-reflection or growth. Just a complete piece of shit all around. But they never have, and never will, commit any crimes, either due to some divine ordinance or just plain self-preservation/fear of getting caught. They might, at worst, just be a toxic asshole, but not one who holds any power over others. Should they be punished solely for their moral character, rather than actions?

There aren’t always easy answers. It’s okay to acknowledge that, and it’s okay to tackle hard moral questions like this in fiction. And I hate seeing this boiled down to “stop trying to redeem villains who are Actually Horrible People” or whatever. Especially in kids’ media which takes an optimistic stance on people being capable of change in the first place. Y’all gotta stop holding it to the same level of moral realism as gritty stuff for adults.

On the whole, I think we should do away with the term “redemption” in the context of morality entirely. Like redemption arc, redemption equals death, what does that mean? It implies one has sufficiently made up for their past deeds, that that’s the gold standard, but is that really ever possible? Like I said, there’s not a cosmic good deeds | bad deeds counter for every person, or at least not one that living people have any way of knowing about. And that’s a flawed way of thinking to begin with. Those bad deeds can never be erased, ever. There plenty of examples of villains who commit crimes they can never realistically atone for. Regardless of whether they want to atone in the first place, it’s like I said: in fiction, it’s often just... more fun to force them to live and deal with the consequences. But on the flipside, there are so, so many people who see themselves as “good” and use that to justify their own bad deeds. Which ties back into what I said about the whole discourse reeking of Christian moral philosophy, because lmfao @ corruption in the catholic church.

The point is. There are shades of grey. Not everything has to be a full-blown bad guy to good guy redemption arc. You don’t need to “properly atone for your sins” to be worthy of life or love.

Here are some better questions to ask than “is this character redeemable”:

Is it believable, from what we know of this villain as a character, that they are capable of becoming a good, law-abiding citizen?

How about capable of love?

Guilt?

Are they capable of any personal growth whatsoever?

Are they capable of being a positive impact on the lives of the people around them?

Is it actively harmful to leave them alive, even with clipped wings?

Is it interesting to leave them alive?

How morally didactic is the narrative as a whole?

How much forgiveness are they offered, versus how much could they possibly ever deserve?

How abstracted is this character from reality, ie: are there any real world parallels that make it uncomfortable to frame this character in a sympathetic light? (be careful not to fall into a black and white abuser/victim dichotomy)

Would further punishment or suffering be productive? (Productive, not justified, that’s a key distinction--punishment for its own sake is just pointless cruelty.)

Even the most vile, irredeemable bastards can still be dragged like... an inch. And that’s still a fun and valuable story in and of itself, even if it’s nothing remotely approaching a redemption arc and they’d very much still deserve to rot in Hell by the end of it. I don’t believe Hell is real, as much as I personally wish it were sometimes, but like. If it were, or in fictional universes where it is.

But also, there really are some characters and botched “redemption arcs” that just come off insanely uncomfortable. And there is a subjective aspect to that as well, but more than once I’ve seen people say “X villain did not deserve redemption/forgiveness” and 9 times out of 10 I’m like “that’s... really not what they got, though?”

It’s complicated.

#idk how coherent it is #i just saw a tweet that annoyed me #''villains deserve happiness and redemption arcs *guy who murdered 20 million people* no not him''#i don't even entirely disagree but it's... complicated #musings

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hellomynameisbisexual · 4 years ago

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5 Ways That Bi Erasure Hurts More Than Just Bisexual People

December 2, 2014 by Milo Todd

This year, Bisexual Awareness Day/Celebrate Bisexuality Day was on September 23rd.

That same day, the National LGBTQ Task Force thought it’d be a good idea to post an article entitled “Bye Bye Bi, Hello Queer,” in which leadership programs director Evangeline Weiss said “she is ready ‘to say bye bye to the word bisexuality.’

She said it does not describe her sexual orientation, and she encouraged readers to cease using the word as well as she felt it reinforced a binary concept of gender.

Let me drive that home a little more. The National LGBTQ Task Force not only thought it would be a good idea to publish an article insulting, misrepresenting, and forsaking the bisexual letter in their own name, but did so on Celebrate Bisexuality Day.

Rude.

And a fantastic example of the constant, ongoing erasure bisexual people have to deal with. This one just happened to be incredibly blatant.

What happened as a result of that article? People got pissed.

People got so pissed that the Task Force not only removed the article from their website, but posted in its place this non-apology (it keeps being referred to as an apology, but I’m not so easily pleased): “Having listened to a wide array of feedback on the timing and content, we recognize that this blog offended people. For this we sincerely apologize. It has been removed.”

In other words, “Sorry you got pissed off. Hopefully you’ll shut up if we take it down.” Which, as far as I can tell, isn’t much of an apology for a blatant disregard of an entire community of people.

Misunderstanding of the bisexual community has been the crux of biphobia’s history and the ongoing battle to erase bisexuality from the LGBTQIA+ community.

It’s a scary time to be bi, especially when your lesbian, gay, pansexual, and queer siblings and allies are calling for your blood simply because they’ve fallen victim to the mainstream agenda without realizing it. (Say what?! Jump to #5.)

It’s time for a change.

It’s time for all of us to properly understand one another and to — hope of hopes — become allies for our incredibly similar endeavors. To help initiate that friendship, I ask you, dear reader, to go through the following three steps.

Step 1: Look below. If I’ve played my cards right, virtually every reader should find at least one category with which they identify.

Step 2: Approach your designated section(s) with an open mind, an unprejudiced heart, and a desire to further enhance your own community/ies. It’s difficult for people to learn new things and see different views if they automatically approach them with resistance, which is often the case with bisexual topics.

Step 3: See how bi erasure hurts you as a person and, while you’re at it, likely hurts the people you care about. Because it really is happening.

So here are five ways in which bi erasure is hurting people of layered identities.

1. Female-Identified People and Feminists

Bisexuality is one of the only non-monosexual* identities currently recognized in the English-speaking world. If bisexuality is kept underground, it suppresses our limited, precious resources for open discussion about non-monosexuality. This hurts female-identified people and feminists regardless of their sexual orientation.

To this day, female-identified people can’t get a fair shake. Pay is unequal, birth control access is limited, and objectification is a daily thing. Non-monosexual women in particular are often not taken seriously because they’re seen as sluts, greedy, or unable to make up their minds.

Also, the general fetishizing of women is particularly intensified in the bisexual realm by (straight-identified) men, turning the very act of women’s sexual freedom, empowerment, and self-expression into nothing more than something for male gazes. (This is most often seen through the relentless prompts for female-female-male threesomes and masculine catcalls in bars when two femme-appearing women make out.)

By participating in or casually allowing bi erasure to happen, we’re ignoring the specific plights and abuses of bisexual women, thereby contributing to the ongoing problem of female inequality, objectification, and silence.

As feminists, we can’t pick and choose which women to fight for. The complexities of womanhood — and all of its cultural suppressions — are an all-or-none deal.

*Note: Non-monosexuality usually refers to someone who is interested in more than one sex or gender. (In other words, somebody who isn’t gay, lesbian, or straight.) Another way to say “non-monosexuality” would be “polysexuality” to help keep it from sounding negative.

2. Male-Identified People and Male Liberationists*

Just like with female-identified people and feminists, bi erasure hurts male-identified people and male liberationists regardless of their sexual orientation.

Allow me to make this pretty basic: Men continue to be fed the message that being gay is bad. Being gay means you’re not really a man, which means you lose your dude membership and the bulk of your male privilege. And since gayness equals the slightest shred of attraction to or intimacy with another male, all manners of bromance must be squashed.

In short, many guys live in a state of silent terror in this regard.

Bi men are afraid of being banished from the world of lady-loving, gay men are worried about losing all of their connections to hetero land, and nothing is worse for a straight man than being called a fag.

Constant monitoring, constant filtering, constant stress: Is this really the kind of world we guys want to keep living in?

By being able to talk about bisexuality — remember: one of our only non-monosexual identities — male-identified people can begin to break free from the masculine ideal.

Bi talk helps bridge the gap between being a man (straight) and not being a man (gay) and realizing, hey, having some manner of attraction to or intimate interaction with another guy is totally okay, masculinity unscathed.

Gay men can begin to regain their identities as men, bi men can finally start coming out, and “fag” will lose its strength as an insult from one straight man to another.

*Note: Male liberationists are more or less seen as allies to feminists and vice versa. Both will argue that patriarchy is bad, but while feminists talk of how it’s bad for females, male liberationists talk of how it’s bad for males. Examples include the inability to romantically or sexually love another male, the emasculation of men of color, and the physical, verbal, and mental abuse that comes from society’s expectations to be stereotypically masculine.

3. People Who Identify as Trans Sexual, Trans Gender, Genderfluid, Genderqueer, or Gender Non-Conforming

This one’s pretty easy. Some people on the trans spectrum identify as bisexual. But then they’re told they can’t or that it’s an insult to their trans siblings because bisexuality is believed to be trans-exclusive.

The problem with bi erasure is it adds to the ongoing problem of cis people — LGQ or not — telling trans people what to think. Cis people have a bad habit of thinking they need to speak for people on the trans spectrum even when trans people are quite capable of speaking for themselves. This is even more frustrating when it comes from a community supposedly meant to support them.

Despite the personhood for which they’re continuing to fight, trans people can receive backlash from the lesbian, gay, and queer communities as their identities and bodies are turned into political battlegrounds.

Sometimes, they’re used without consent by some cis individuals so that points can be made for non-trans-specific agendas, and sometimes they’re ironically used in the attempts for cis identities to help better the trans worlds.

For instance, automatically dismissing bisexuality as trans-exclusive and guilting any person on the trans spectrum that wants to identity as bisexual, if I may make so fine a point.

As blogger Aud Traher writes, “If you want to support trans people like me, don’t erase me or speak over me or cause me harm out of self-righteous biphobia. Look into yourself and deal with that internalized biphobia and then help others get over theirs. Don’t advocate for the destruction of a community in the name of ‘saving’ it. And, especially, don’t do it in my name.”

4. People Who Identify as Gay, Lesbian, or — Yes — Straight

Quite simply, it makes gays and lesbians (and straight people) look bad, too.

Bisexual people get a bad rap for apparently upholding the gender binary by saying they love only (cis) men or (cis) women, but isn’t that pretty much exactly what gays, lesbians, and straight people are saying when they identify as gay, lesbian, or straight? That they’ll only love either (cis) men or (cis) women?

But where’s their rampant backlash from the rest of the community for upholding the gender binary? I’m just sayin’.

Even when these groups extend their definitions to include trans people and people on the gender non-conforming spectrum, it’s often still as long as those trans people exhibit some manner of gender representation that falls into the lover’s category of desire.

Now, I’m honestly not trying to rag on gays, lesbians, or even straight people. They have as much right to identify how they want as anybody else. And there’s nothing wrong with feeling primarily attracted to only, say, cis or trans men if your brain simply tells you that you only like guys. That’s fine. Go ahead and do that. I’m not saying you can’t.

What I am saying is you can’t be spewing bi hate or letting bi erasure slide because 1) it’s incredibly one-sided and unfair, and 2) in the end, it’s making you look bad, too.

What do you think will happen if bi erasure is a success? You’ll be next, dears.

*cue Jaws theme*

5. People Who Identify as Queer, Pansexual, or Another Fellow Non-Monosexual

In late October, Lizzy the Lezzy — who I quite enjoy, by the way — shared a photo on her Facebook timeline explaining sexuality in terms of guests at a BBQ.

This would be all well and good if it didn’t include a glaring misconception about bisexual people, especially when compared to pansexuals. While bisexual people were defined as getting both hot dogs and hamburgers, pansexuals were defined as getting hot dogs, hamburgers, “and a salad.” Oops. What year is this again?

I’m going to make something very plain to you, dear reader: Bisexual people don’t just love (cis) men or (cis) women. That’s not how the ballpark definition goes. The “bi” in “bisexual” does not indicate a binary. Well, okay, it does indicate a binary, but probably not the one you think.

Instead of “bi” meaning a love for only cis men or cis women or otherwise putting men and women at two opposite ends of a spectrum, “bi” means a love for identities bisexual people identify with themselves and identities that they don’t.

Or, as the popular Robyn Ochs definition goes: “I call myself bisexual because I acknowledge that I have in myself the potential to be attracted – romantically and/or sexually – to people of more than one sex and/or gender, not necessarily at the same time, not necessarily in the same way, and not necessarily to the same degree.”

Look at that very closely. That’s still a binary. That’s still “bi.” And there isn’t a thing wrong with it, no exclusion to be seen.

When compared with the general concepts of pansexuals and queers, our orientations suddenly sound pretty darn similar: We love everyone.

Bisexual people get a bad rap for apparently being transphobic. While we’ve already seen a little bit in #3 as to why we aren’t, I want to further drive the point home here. A large portion of the transphobic accusations toward us come from the queer and pansexual communities, which in turn seem to derive from some serious misinformation and misdirection by the mainstream.

For the record, queers and pansexuals are cool. I like them. But the fact of the matter is that the misconception of the “bi” in “bisexual” as meaning an attraction to only (cis) men or (cis) women — and therefore upholding the gender binary — was created and imposed upon bisexual people by the mainstream. You know, the people that want the gender binary to stick around.

And some queers and pansexuals ate the propaganda they were fed? That’s terrifying. It starts to show just how large and sneaky the mainstream’s gender binary monster truly is.

By defining and erasing bisexuality on the grounds that it upholds the gender binary, pansexuals and queers are not only reinforcing the binary they so sorely wish to dismantle, but they are losing important focus on where the problem actually resides: the mainstream’s insistence to force the gender binary on non-mainstream groups such as bisexual people.

Further, holding bisexual people responsible for the abuse they’ve suffered is simply wrong. All that’s doing is blaming the victim. But, by recognizing and respecting bisexual people as they truly are, bisexual people can not only help dismantle the gender binary and put a new definition on the concept of the spectrum, but finally be allowed to team up with pansexuals and queers to crush mainstream abuse on non-mainstream identities.

Doesn’t that sound nice? I think it sounds nice.

TL;DR

Dear non-bisexual identities, please stop shooting yourselves in the foot and then wondering why you’re missing toes.

We’re here for the same reasons you are: for the right to love whoever we want and for the right for others to do the same.

So let’s finally be friends. We’re never going to get anything done if we keep spending our time putting each other down.

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octerminal · 4 years ago

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I’ve talked before about how Nadia being Earthborn is the central reason she’s renegade leaning, but I really want to get into it again because I’ve been listening to Hadestown a lot recently and that always makes me think of Nadia because the musical touches on how traumatizing poverty is. And also just because, well, I always want to talk about Nadia.

But before I can do that, I have to talk about a few other things first.

(This is going to be niche and also super self-indulgent, but it’s my blog, so who cares. Note that because of what both Hadestown and the Earthborn background entail, this is going to get slightly political. But again, it’s my blog, so who cares.)

Generally speaking, Mass Effect has an issue with downplaying trauma. Ashley, Tali, Garrus, and James all go through the traumatic experience of being sole (or almost sole) survivors. Tali goes through this twice, because the comics show that before she even met Shepard she lost the team she’d been traveling with. (And that’s not even counting the fact she also loses a chunk of her team on Freedom’s Progress. They use this trope with her a lot.) Liara loses her mother in the first game and she has almost no reaction. Shepard dies in the beginning of the second game and spends the rest joking about it, with very few opportunities to express anything but humor over the situation.

People respond to trauma differently, and the game is also told primarily from Shepard’s point of view, so consequently we only see what Shepard sees. All of these characters likely grieved in private, and they definitely do carry scars (literal and figurative) from what they’ve gone through. But I also think that Mass Effect likes making characters go through objectively traumatic things without fully considering how someone might act coming out of it. In fairness, that’s the fun of fanfic, and I also do think everyone on the Normandy has some degree of experience in compartmentalizing because they simply don’t have the time to sit down with their feelings. (A lot of them are also just averse to doing this.)

But exploring that trauma is what I’m interested in the most, and that’s how I approached Nadia. Earthborn is my favorite background for that reason. It’s not a single event that’s shaped their life thereafter, but a sustained stressful environment they endure for years and only escape once they sign up with the Alliance. And in that regard, Nadia rather sees it as trading one cage for another, but that’s neither here nor there.

Like, to go back to Hadestown (I swear I’m not going to write Hadestown meta on this blog), “When the Chips are Down” is one of my favorite numbers because it so accurately describes Nadia’s response to poverty. “How can you expect me to care about another person and put their wellbeing above my own, when doing that will result in my own death? How can you expect me to trust another person, when that could result in my own death? How are you going to lecture me on having no morals when if I had prioritized morality, I never would have survived?” (This is something I love bouncing off Kaidan, but I’ll get to that later.)

In other words, and this is an incredibly obvious thing to say, poverty is traumatizing and violent. It is an incredibly violent thing to put another human being through, to make them worry for their basic safety, to live their day to day in a constant limbo of uncertainty that permeates every facet of their life. Will you be able to eat today? Will you be able to sleep in a safe environment? Can you trust this person you’ve never met? Will trusting them endanger what little safety you’ve managed to achieve? How much money do you have? How long can you make that money last? Where will you be tomorrow? How about the day after?

This is something that leaves its mark on anyone it touches. It’s hard enough for an adult to plan for the future when they don’t have the luxury of knowing how they’ll even survive the week; when you’re a child, and that sort of stress is all that you’ve known, how do you even imagine a better life when you’ve known nothing different?

Before I get any further, I want to pause for a moment. Something that’s always been curious to me are the codex entries for Earth. Here’s a portion of ME1′s codex:

Here’s a portion of ME3′s codex:

(Written transcripts of the complete codex entries at the links.)

In both of them, they talk about how humanity is in a new golden age. A lot of pollution and common diseases have been eliminated. The colonies have brought in more resources. There's even been some correction to the damage early climate change caused. Then the Fire Nation—I mean, Reapers, attacked and ruined all of this. Except, take a closer look at ME1′s codex:

“While every human enjoys longer and better life than ever, the gap between rich and poor widens daily. [...] Less fortunate regions have not progressed beyond 20th century technology, and are often smog-choked, overpopulated slums.”

This seems incompatible with the idea of Earth being in a golden age. How can Earth be thriving if the class disparity is growing, not narrowing? How can Earth be thriving if entire swaths are still "smog-choked” and using centuries old outdated technology?

It’s not incompatible if the idea is that Earth has entered a golden age only for the ones who can afford it. And this is the reality Earthborn Shepards were raised in: the idea that their suffering is an unimportant, insignificant underbelly to an otherwise “prospering” homeworld.

So, resuming with that in mind: the way Nadia sees it is that to allow poverty to exist is an inherent societal failure that reflects on the government. This is why Nadia has no loyalty to the Alliance, and why she doesn’t trust them. This is why she subsequently has no loyalty to the Council, and why she doesn’t trust them, either. It doesn’t matter that the Alliance and the Council weren’t personally responsible for her childhood, because they’re still governments. She knows that governments will lie and exploit and allow for people like her to fall through the cracks if it will benefit them. She knows they will broadcast only the best of what they have to offer while conveniently pretending people like her don’t exist.

Like, personal politics aside, as shown above with the codex entries, this is just...canon. And Thane’s loyalty highlights poverty on the Citadel through Mouse and the concept of “duct rats,” so we know that it exists there, too. How the Council presumably feels about poverty on their station is outlined if you speak to Avina on the Citadel in the second game:

AVINA: Asari futurists believe poverty cannot be eliminated without “cornucopia” technology, which will create anything the user desires. Such technology is unknown outside science fiction.

Essentially: yeah, unfortunately, poverty exists on the station, but what can you do? Believing poverty is avoidable is actually utopian and therefore unrealistic, sorry!

But when you meet Anoleis on Noveria as Earthborn, he can literally tell you poverty doesn’t exist on Sur’Kesh. (And sure, he could be lying, and we have no proof either way. It doesn’t erase the fact that, at the very least, the existence of widespread poverty is something that even a corrupt and money embezzling salarian thinks is an easy jab.)

ANOLEIS: My homeworld is clean. Poverty is non-existent. If you take some perverse pride in that overheated, acid-washed slum, that is your business.

There’s nothing about the Alliance and poverty that I know of¹, which makes sense considering the main branch of the Alliance we see throughout the games is its military branch. There are still plenty of instances in the trilogy where the Alliance does exploit the vulnerable, or attempts to cover up their self-inflicted shortcomings. An obvious one is with Kaidan and Conatix; Kaidan literally tells you the Alliance is the one who “made mistakes.” That in their haste, they allowed a man to brutalize children for the sake of research. And when it backfired, they sealed the documents and pretended it never happened.

UNC: The Negotiation is one of my favorite ME1 missions for this reason, too—it highlights a part of the Alliance the series doesn’t really focus on otherwise. Darius tells you that the entire reason he’s operating in the region at all is because the Alliance is the one who set him up there.

DARIUS: You see this gun? This is your gun. Your military set me up here, and now it wants to pretend it doesn’t know me! But I know the truth. The Alliance needed me here! So treat me with the respect I deserve!

SHEPARD: You said we set you up. Did the Alliance give you weapons?

DARIUS: After the batarians were driven out of the Verge, the Alliance wanted to stabilize the region. I had the strongest syndicate in the area. They gave me the weapons and money I needed to take over.

After the mission, Hackett implies the entire reason he sent renegade Shepard to cover a diplomatic negotiation is because he expected and wanted them to kill Darius, because he was now more trouble than he was worth.

HACKETT: I’m sorry that you were unable to negotiate with Darius peacefully. His death is regrettable. Nevertheless, the resulting chaos will create a power vacuum that makes future raids upon our miners unlikely.

SHEPARD: You didn’t think I’d negotiate with him. You wanted me to kill him.

HACKETT: Sometimes extreme measures must be taken to ensure humanity’s safety. Or did you think you were the only one willing to break the rules to get the job done?

(Link, so you can watch the mission yourself.)

None of this is me saying the Council and the Alliance have no redeemable features whatsoever, or that they have never contributed positively to galactic wellbeing. It’s just me citing instances in canon that support why Nadia has the opinion she does of them, and why she’s not exactly incorrect in having them.

So, to loop this back around to Kaidan? As I said, he’s not a stranger to government-level negligence. But Kaidan had a much different reaction than Nadia did, and this is something that absolutely fascinates her once she finds out.

Before that, though: the two of them don’t really hit it off in the beginning—though they’re both still professional—and this is mainly due to Nadia being, well, Nadia. She is not a people person and she never tries to be, which consequently makes her off-putting to most people. On her end, she’s generally unimpressed and uninterested in the people around her. She sees a lot of them as puzzles to be solved and then to move on from, or threats to assess.² The rare times someone does pique her interest enough to act on it, she still prefers to not linger around for long. So, you know, just general unhealthy behavior.

So, Eden Prime is illuminating for them both. Like, on Kaidan’s end: Nadia comes off as callous. She doesn’t care about the colonists, she doesn’t care about Jenkins’ death. On Nadia’s end: Kaidan comes off as naive. How has he been a marine for this long and she has to tell him to suck it up after someone dies? (This is one of the reasons why she didn’t want to work with regular marines again; in my canon, Anderson had to needle her³ into accepting the Normandy position.)

But the truth of it is that the reason Nadia comes off as callous is because she’s thoroughly desensitized. Like, when you grow up poor, on the streets, and in a gang? You’re both witnessing and being put through a lot of traumatizing situations. Akuze, of course, only adds onto this. There’s this one dialogue option in the beginning of the second game when Miranda and Jacob are assessing Shepard’s memory, and while Nadia doesn’t take this option in canon, it is how she feels:

JACOB: You enlisted, and you survived a thresher maw attack that wiped out the rest of your team. Do you remember that?

SHEPARD: Yeah, I remember it. Everyone screaming, gunfire, blood everywhere. I was the only one focused on survival.

Paragon Shepard focuses entirely on the other marines: how they were their friends, how something like that can destroy you if you let it.

Renegade Shepard barely thinks of anyone else at all. There were fifty other marines on Akuze, and renegade Shepard thinks they survived simply because they were the only one focused on it. For Nadia, that’s because that’s what her entire life has already been until that point.

Look, there are a lot of different ways to play renegade; it runs a much larger gamut than paragon, in my opinion. Nadia is more of a neutral renegade. She’s not particularly bigoted, just dispassionate and apathetic⁴. She resorts to violence and intimidation because it’s the easiest way to control her surroundings, not because she thinks what she’s doing is particularly righteous⁵. This can get brought up in Samara’s loyalty when talking with Morinth:

MORINTH: Violence is the surest expression of power.

SHEPARD: Violence is a means to an end. Power is that end.

Like, Nadia is a person who’s had to live a life surrounded by violence, not because it’s what she initially chose, but because it was repeatedly inflicted on her. She didn’t have the luxury of nursing her compassion and generosity, or of prioritizing morality. Those things would’ve gotten her killed. What she focused on instead was survival: the best way to survive, the easiest way to survive, the way that consistently ensured her own safety. This meant violence, and in order to survive, she became very good at inflicting violence.

That’s what I meant when I said Nadia thinks she traded one cage for another: the Alliance wasn’t freedom in the truest sense; she’s still doing what she ultimately would’ve done if she had remained with the Reds⁶. She’s just doing it with government approval and a steadier paycheck. She knows she’s still being used, and it’s only who’s using her that’s changed. All that’s to say, she isn’t an N7 ranked infiltrator because she feels strongly about protecting Alliance space and dirtying her hands to do it. She’s an N7 ranked infiltrator because it’s simply what she’s good at.

One of my favorite renegade lines in the entire trilogy is during Thane’s loyalty because it perfectly highlights Nadia’s philosophy on her situation:

SHEPARD: Your father and I have killed a lot of people. You haven’t. There’s no reason you should start.

To Nadia, her life is what it is because of the circumstances she was raised in and the decisions she made in response to that. She doesn’t deflect blame for the sort of person she’s become; she holds herself the correct amount of responsible.

She kills people for the Alliance, she kills people for the Council, she kills people for Cerberus. Other Shepards might dress it up differently when death is unavoidable: “it’s a shame, but it was necessary,” said along with the appropriate amount of guilt. Or: they were a terrorist, they were a mercenary, they forced my hand. To Nadia, it’s all death, and there’s no inherent difference between killing someone “to protect humanity” (read: protect the Alliance’s interests) or killing someone “to protect the galaxy” (read: protect the Council’s interests) and simply killing someone in a situation paragon Shepards would deem unnecessary. And to Nadia, if you haven’t had to live a life like this—why start? You still have other options. Use them.

One thing I love about Hadestown is how it discusses the simple accessibility of being able to live your life, let alone live it virtuously. Like whether or not I agree with that, it’s an interesting thing to explore, and it gets brought up multiple times:

“When you’re hungry and there ain’t enough to go round / ain’t no length to which a girl won’t go / [...] and sometimes you think / you would do anything / just to fill your belly full of food”

“See how the vipers and vultures surround you / and they’ll take you down, they’ll pick you clean / if you stick around such a desperate scene / see, people get mean when the chips are down”

“Aim for the heart / shoot to kill / if you don’t do it, then the other one will / [...] nobody’s righteous / nobody’s proud / nobody’s innocent / now that the chips are down”

“Go ahead and lay the blame / talk of virtue / talk of sin / wouldn’t you have done the same? / in her shoes / in her skin / you can have your principles when you’ve got a belly full”

“I did what I had to do / that’s what they did too”

“Some flowers bloom / where the green grass grows / our praise is not for them / but the ones who bloom in the bitter snow”

Again, I’m not going to meta about Hadestown⁷ and the precise context for these verses are different in that canon (for starters, Eurydice never kills anyone), but the concept is similar: when you’re poor, you’re often driven to desperate measures to survive. Sometimes that means stepping over other people, or otherwise ignoring how your actions will affect them. Often, this is to your own detriment. And it’s really, really easy to cast judgment on the poor people driven to these decisions when you were never in their position. It’s really easy to just live when you’re not in a situation where you had to worry about your survival on a day-by-day basis.

I bring up Hadestown because it’s a nice conduit to explain Nadia’s issues. She’s not renegade because she thinks she’s on a crusade and anyone who gets in her way is acceptable collateral damage. She’s renegade because her survival depended on it, and as Sha’ira points out, it’s what has allowed her continual survival:

“I see your skin, tough as the scales of any turian. Unyielding. A wall between you and everyone else. But it protects you, makes you strong. That strength is what kept you alive when everyone else around you was dying. You alone survived. You will continue to survive.”

For her to survive her childhood, she had to step over other people and put herself first. This meant not allowing herself to get close to other people, and to not care about them beyond what they can give her to ensure her own survival.

And this is why Kaidan interests her. Kaidan’s response to brain camp wasn’t to minimize the importance of his morality, it was to double down on it. (Yes, partially to his own detriment, but that’s a different post.) His response wasn’t to distrust others, because after all, one of his defining characteristics is his compassion. It’s just that Kaidan’s inclined to troubleshoot everything, even his interactions with other people. He might be “once burned, twice shy” but he’s not going to be “once burned, byedon’tfollowmeI’mgoingtorelyonlyonmyselfforever.”

Like, he still wants to help...

SHEPARD: So why are you telling me this? Are you saying I’m cutting corners somewhere?

KAIDAN: I’m saying...it’s probably inevitable that we’ll have to. And when that happens, I want to help you. When someone important to you is up on a ledge, you help them. Keep them from mistakes better made by a kid.

SHEPARD: I’m a big girl, Alenko. I don’t need your help.

KAIDAN: I didn’t say you needed it, I said I’m offering it.⁸

...even though his desire to help (because he cares, because he thinks it’s the right thing to do) is precisely what led to the culmination of his trauma.

KAIDAN: He hurt Rahna. Broke her arm. She reached for a glass of water instead of pulling it biotically. She just wanted a drink without getting a nosebleed, you know? Like an idiot, I stood up. Didn’t know what I was gonna do...just, something.

He figures out what went wrong and tries to avoid repeating that mistake. He doesn’t just stop trying at all. He doesn’t lose his faith in having faith.

It’s antithetical to how Nadia responded to her own circumstances, and she can’t quite process the logic behind...why you would be this way. It’s not that she expects everyone to be like her. She’s seen a lot of different people traumatized, and consequently a lot of different ways people have reacted to trauma. It’s more like: “fool me once” is enough for Nadia. There are no second chances after that. She sees no point in ruminating over why something went wrong. Just accept that it did. (Or don’t, but never think about it, anyway.) She thinks living any other way is akin to, I don’t know, laying down in a snake pit right after one just bit you. Stupid, in other words.

(I should also clarify: this is mainly when it concerns people. She will troubleshoot when it comes to things like tech.)

Like, I’ve joked about this to a friend, but when Nadia first reads Kaidan’s file⁹ her impression is: alright, boy scout. Then she actually meets him and she thinks her assessment was more or less spot on, and she loses whatever vestiges of interest his file did manage to leave despite its otherwise boy-scouty-ness.

But the thing is, Kaidan isn’t naive. He chooses to have the faith he has in the Alliance despite what they’ve put him through. He’s acutely aware that the Alliance is capable of mistakes, because he’s been on the receiving end of it—yet he still wants to help and feels that as a biotic, the Alliance is his best avenue to do that:

KAIDAN: I’m not looking for “the dream.” I just want to do some good. See what’s out here.

KAIDAN: Commander, I thought real hard about how to use my talents. When I swore the oath to defend the Alliance, it wasn’t on a whim.

Like, Nadia thinks Kaidan giving his loyalty to the Alliance is a stupid reaction, yes (in fairness, Nadia thinks loyalty to organizations in general is stupid), but it still fascinates her precisely because Kaidan has some semblance of an idea of what the Alliance’s negligence can and has caused, and yet he still continues to put his faith in them. Kaidan hasn’t had the easiest life¹⁰, but instead of closing himself off, his reaction was to give the Alliance a second chance, to still place his faith in others, all because he still wanted to do some good.

It’s not what Nadia has done, and she can’t say she understands it, but realizing that Kaidan isn’t the ignorant boy scout she pegged him as goes a long way when it comes to the development of their relationship. (For instance: it allows the relationship to develop at all, lmao.) And the development of their relationship is one of the early domino pieces in a long line of dominoes that sets Nadia down a much healthier path.¹¹

¹ We do know, however, that the Alliance does offer to pay college/university tuition in exchange for serving with them in some capacity, thanks to conversations with Traynor and Ashley.

² You know that one Iron Bull banter with Cole where he talks about how one of the first things he does when he meets a new person is to figure out the best way to kill them? Yeah, that’s Nadia.

³ This is because Anderson’s brain is huge, and he understood no one can forever live life the way Nadia was living hers unless they’re a death seeker.

⁴ One of the most in character renegade lines in the trilogy is, once again, during Thane’s loyalty (a big reason why it’s one of my favorites: it’s really, really good Nadia content) when you choose the first renegade check during the interrogation. Shepard sounds so bored, so matter-of-fact. That’s the kind of renegade Nadia is.

⁵ This is probably worse to some people compared to “hard” renegade, since at least “hard” renegade can genuinely believe in what they’re doing, even if others consider it evil. Fortunately, I don’t care.

⁶ I don’t really think she killed anyone during her time with the Reds. (Or, if she did, it was only one person and it would’ve been near the end of her time with them.) I think they primarily used her for cybercrime. She still would’ve witnessed and been expected to participate in a lot of beatings, etc. And, as previously said, had she stayed with the Reds I do think this would’ve ultimately progressed into her killing for them, too.

⁷ Though if you enjoy criticisms of capitalism, an exploration into the traumatizing effects of poverty, and an ultimately hopeful message that meaningful change is possible even when everyone is conditioned to believe it’s not, I recommend giving it a listen. It’s easy to follow along through audio alone, but you can find a low quality bootleg pretty easily, too. (Be warned that some of the songs will differ from the official album recording, though.)

⁸ If the remaster brings better lighting to Kaidan’s little hub area and doesn’t hideously whitewash him like in ME3, this is absolutely one of the first things I’m going to gif because it’s one of my favorite moments in the entire romance.

⁹ Nadia reads the files of everyone she’s going to work with, not because she’s particularly interested in them, but because she wants to know what level of incompetency to expect.

¹⁰ Unrelatedly: ask me about my headcanon about how disgustingly rich Kaidan’s family is, and how much Nadia wants to kill him when she finds this out.

¹¹ This is absolutely not saying love, romantic or otherwise, cures her lifetime worth of unpacked trauma.

#ch: nadia shepard #this post brought to you by: my very desperate need #not to look at the fic i've been trying to work on all month #this post also brought to you by: my obsession with nadia and hadestown overlapping #this post also-also brought to you by: my desire to simply talk about hadestown #and finally #this post also-also-also brought to you by:#my desire to regain the ability to string sentences together again #(see point 1)#i'm going to go farm balloons in acnh now

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96thdayofrage · 3 years ago

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How History Textbooks Reflect America’s Refusal to Reckon with Slavery

Textbooks are a battleground in which the humanity and status of black Americans are contested

“Textbooks shaped how generations of white Americans thought about their black compatriots and how black Americans who read such textbooks thought about themselves.”

Four hundred years ago, a group of about 20 Africans were captured in the African interior, probably near modern-day Angola, and forcibly transported on a slave ship headed to the Americas. After tumultuous months at sea, they landed ashore in the first British colony in North America — Jamestown, Virginia — in late August 1619.

Hazen’s Elementary History of the United States: A Story and a Lesson, a popular early 20th-century textbook for young readers, picked up the story of the first black Virginians from there.

“The settlers bought them,” explained the 1903 text, “... and found them so helpful in raising tobacco that more were brought in, and slavery became part of our history.”

Its barebones lesson plan included just two easily digestible factoids for the year 1619: the introduction of the Africans — with an illustration of two half-naked black people standing on a beach before a pontificating pirate and a crowd of onlookers — and the creation of the Virginia House of Burgesses, the first formal legislative body in the American colonies.

Hazen’s Elementary History of the United States: A Story and a Lesson, published in 1903, included very little about 1619 and the role slavery played in the formation of the United States.

But the history of Jamestown and slavery isn’t that simple. Even though the 1619 landing wasn’t the first arrival of Africans in the Americas, it fits within the history of colonial America, black America, the global slave trade, and ultimately the foundation of our country. So how textbooks summarized this history — one characterized by a scant documentary record and often from the perspective of European settlers and white Americans — matters.

“Textbooks are supposed to teach us a common set of facts about who we are as Americans ... and what stories are key to our democracy,” said Alana D. Murray, a Maryland middle-school principal and author of The Development of the Alternative Black Curriculum, 1890-1940: Countering the Master Narrative.

As textbooks show — through omissions, downright errors, and specious interpretations, particularly regarding racial issues — not everyone enjoys the perks of civic belonging or gets a fair shake in historical accounts. This is even true of textbooks used today — 400 years after Africans’ 1619 arrival, more than 150 years after emancipation — with narratives more interested in emphasizing the compassion of enslavers than the cruelty endured by the enslaved.

Textbooks have long remained a battleground in which the humanity and status of black Americans have been contested. Pedagogy has always been preeminently political.

From fast facts to black inferiority: how slavery has been portrayed historically in textbooks

The Hazen’s textbook framed Jamestown and its role in the development of US slavery as an inevitable matter of labor demand and economic pragmatism, a common argument in US school materials at the turn of the 20th century.

Yet that was just one school of thought. After slavery’s end in this country, many Southern-focused textbooks promoted a Lost Cause approach to Jamestown and slavery writ large, portraying the institution as part of a natural order. White Southerners created ideologically driven narratives that yearned for the Good Ole Days where whites sat atop the hierarchy and African Americans were faithful slaves. In this racist revisionism, they didn’t have to reckon with the new black citizen, voter, or legislator as nominal equals.

Somewhat typical in this distorted history was A Child’s History of North Carolina, circa 1916, which also focused on slavery’s profitability and erased its violence. In this view, the enslaved people were happy, and Southern slave owners were reluctant masters at best.

“White Southerners created ideologically driven narratives that yearned for the Good Ole Days where whites sat atop the hierarchy.”

According to the book, enslaved people “were allowed all the freedom they seemed to want, and were given the privilege of visiting other plantations when they chose to do so. All that was required of them was to be in place when work time came. At the holiday season they were almost as free as their masters.” Moreover, “most people in North Carolina were really opposed to slavery and were in favor of a gradual emancipation. Slavery was already in existence, however, through no fault of theirs. They had the slaves and had to manage as best they could the problem of what to do with them.”

Furthermore, the book argued that abolitionists — never a huge voting bloc — were responsible for electing Abraham Lincoln, and that their unspecified violence made the South “indignant.”

Some Northern writers tried their hand at what they believed was a more nuanced approach in revising children’s history books in light of emancipation. And that included how they talked about that slave ship arriving in Virginia and the people aboard.

Take the example of Children’s Stories of American Progress, published in 1886. Northern white writer Henrietta Christian Wright, known for her popular stories of fairies and magic, described that day in August 1619 as a time when the meadows alongside the James River were “beautiful with summer” — a sight lost on the African captives.

However, Wright also imagined eyes that “looked wearily out from the port-holes of the ship” and saw a new landscape that “only seemed dreary and desolate, a land of exile and death.” She alternated between seeing through their eyes with being the omniscient narrator viewing them from above. She implicated European powers for turning Africa into “the great hunting-ground” and capitalizing off internecine struggles on the continent. Yet the plunder that carried Africans “like dumb beasts across the Atlantic” was “all because the white man chose to use his greater intelligence to oppress instead of befriend them.”

Wright didn’t skimp on moralizing about slavery as an evil, unsuitable enterprise for a putatively Christian nation, but she didn’t see Africans as Europeans’ peers, either. Her portrayal of the inferiority of black people reflected a common belief among white Americans, even some former abolitionists. Accounts like hers shaped how generations of white Americans thought about their black compatriots and, according to a rising cadre of black educators, how black Americans who read such textbooks thought about themselves.

Black voices enter the textbook industry after the Civil War — but barely disrupt it

The benevolent racism that infected textbooks also inspired a new generation of history writers who wanted to inject less bias and more accuracy into instructional materials. African Americans, often women teachers or laypeople with little formal training, began authoring textbooks and creating history pageants that spanned centuries with song, speech, and dance in the decades after the Civil War.

“You have these big textbooks that were in schools, but they had nothing to do with what black people are writing. Black history textbooks and black people had a totally different view of citizenship [in the late 1800s to mid-1900s],” Murray said.

She became interested in how black people wrote their own history when her graduate class on teaching social studies failed to even mention the father of what became Black History Month, Carter G. Woodson. Shocked by the glaring omission, Murray began researching and found women like Dorothy Guinn, a YWCA director, who co-wrote Out of the Dark (1924), a pageant in which spectators and its high school performers got a theatrical tour through the slave trade in Africa, Reconstruction, and then-contemporary moments.

A character named the Chronicler intones about Phillis Wheatley, Benjamin Banneker, and Sojourner Truth. She gets an assist from musical numbers like “Go Down, Moses,” Paul Laurence Dunbar poems, and muse-like characters called the Children of Genius, who represent music, literature, science, and art. They are her Greek chorus, there to enlighten with well-placed tidbits of information.

The zeal to correct and counter other people’s accounts of black history motivated people like North Carolina’s Edward A. Johnson, a black lawyer who released his own textbook, A School History of the Negro Race in America from 1619-1819 in 1890.

In his preface, he wrote of his 11 years teaching and observing “omission and commission on the part of white authors, most of whom seem to have written exclusively for white children, and studiously left out the many creditable deeds of the Negro. … But how must the little colored child feel when he has completed the assigned course of U. S. History and in it found not one word of credit, not one word of favorable comment for even one among the millions of his foreparents who have lived through nearly three centuries of his country’s history!”

“African Americans began authoring textbooks and creating history pageants that spanned centuries with song, speech, and dance.”

Leila Amos Pendleton, a former Washington, DC, teacher, expressed similar sentiments in her A Narrative of the Negro. Dating to 1912, it preceded Woodson’s 1933 pioneering Mis-Education of the Negro, which railed against the American educational system’s failure to teach accurate black history.

Pendleton reframed the Jamestown arrival of those first African Virginians, putting it in a diasporic context that discussed African civilizations (an oxymoron, according to many white authors), the African presence in Mexico, slavery in Muslim countries, and the systematic abuse of indigenous peoples in the colonies.

She also made a direct emotional appeal to black children: “PICTURE to yourselves, dear children, a small group of foreigners frightened and sad, with hearts aching for home and for the loved ones from whom they had been torn …. The early part of the seventeenth century belongs to the dark ages of the world’s history, to the time when men had not yet understood that it is the right of every human creature to be free and that it is the solemn duty of every man and every race to help toward true freedom every other man and every other race.”

LaGarrett King, a professor and founding director of the University of Missouri’s Carter Center for K-12 Black History Education, said it’s hard to know how widely used such texts were. He can say Johnson’s was used in a black Raleigh, North Carolina, high school. Murray, the Maryland principal and scholar, pointed out that Pendleton’s was advertised in the NAACP magazine the Crisis, and that she likely had an unusual advantage: Her husband owned the publishing outfit that produced her book.

But their explicitly political versions of history, which recounted a black past that was more than slavery and sometimes had its own share of romanticism, couldn’t dislodge decades — centuries, really — of white supremacy via textbook. It couldn’t stop such ideologies from being circulated in American schools, even in more recent decades.

From the civil rights movement to today, textbooks still leave a lot to be desired

Even in the heyday of the civil rights movement and beyond, textbooks still failed to capture the reality of what the enslaved endured through their perspective. “In the greater number of textbooks, slave life is pictured as a not too unpleasant condition; in fact, it was often described as having been rather nice in the sheer beauty of relationship between the slaveowner and the slaves,” wrote graduate student James O. Lewis, whose thesis on black representations in textbooks in 1960 influenced the NAACP’s efforts to revamp racist textbooks.

Lewis also concluded that instructional materials were quick to equate blackness with slavery, especially when writing about Jamestown. He noted that all textbooks in his sample included the arrival of the first Africans to Jamestown, and though he observed diversity in how the books described the Africans’ arrival, the majority insisted that slavery began with them in the Jamestown colony.

Lewis, however, supported the view of a minority of those textbooks that these involuntary migrants were indentured servants, a debate that continues today. In 1619, when the Africans arrived, Virginia had no legal framework for slavery in the colony, but moved in successive decades to cement slavery as a hereditary racial institution.

King said that, overall, textbooks have failed to clearly communicate the nuances, questions, and debates about the Africans’ status in early Virginia. And that’s part of a larger, existential problem.

“The way we teach K-12 black history is either oppression or liberation,” he said. “The majority of teachers know that 1619 is a year that we represent the first Africans [to come to British North America] on what would become US soil. But then what’s missing is what happened next. Then, in terms of black history, we just move on to slavery. A lot of textbooks now will center them as both [slaves or indentured servants], but the way we understand slavery is very vague. Our textbooks say they were sold for goods, but they could have been indentured and sold for goods, until their terms [of their labor contracts] were up.”

But few K-12 instructors know enough about the debate over the Africans’ status to be able to sort out what’s what, and many agree that textbooks they use are ineffective. A 2018 report from the Southern Poverty Law Center (SPLC), “Teaching Hard History: American Slavery,” found that more than half of teachers (58 percent) polled weren’t happy with their textbooks and almost 40 percent said that their state offered little or no support for teaching about slavery.

King said there’s also the issue of what teachers themselves learned in the textbooks they read as students because “we regularly saw egregious and racist references to black people as late as the 70s.” The birth of black studies programs and the “new” social history, the popularity of Alex Haley’s Roots, and civil rights activism helped usher in curricular changes. The NAACP, for example, had a textbook committee that monitored how schoolbooks portrayed black communities and history. But sometimes, so did groups such as the Confederate Veterans of America, which released a 1932 report decrying one textbook’s portrayal of Jamestown as a raggedy settlement that didn’t compare well with New England’s early colonies.

Even if most textbooks are no longer overtly racist, it doesn’t mean pedagogy has sufficiently changed. Over the past decade, school districts around the country have come under fire for the way they teach slavery, including incorporating slavery references into math equations.

In 2012, an Atlanta elementary school posed this homework question: “If Frederick got two beatings per day, how many beatings did he get in one week? Two weeks?” And just last year, San Antonio, Texas parents complained about a history homework assignment that asked eighth graders to list positive and negative aspects of slavery. Turns out the activity was directly tied to a textbook used by the school for about 10 years. Prentice Hall Classics: A History of the United States argued that all slaveowners were not cruel: “a few [slaves] never felt the lash,” and “many may not have even been terribly unhappy with their lot, for they knew no other.”

It’s no surprise then that, according to the SPLC report, only 8 percent of high school seniors surveyed knew that slavery was the central cause of the Civil War, 12 percent understood slavery was important to the Northern economy, and just 22 percent could identify how the Constitution benefited slaveowners.

Textbooks remain a reflection of the political climate

Textbooks have been a part of the culture wars for a long time, said King. In the late 1990s, scholar Leah Wasburn analyzed slavery representation’s in US history textbooks used in Indiana, and she noted how the religious right influenced textbooks in the 1980s and’90s. During this period, there were more conservative references to how Christianity got the enslaved through hard times, as well as traditional family rhetoric that said the wives of slave owners (which assumed women weren’t slaveowners themselves) took care of the enslaved in motherly ways.

King explained, “It boils down to money and politics. One of the strategies of conservative politicians is taking over state school boards, where textbook policies are been adopted.” Seats on those boards are often appointed, and large states — those who can deliver big sales to publishing companies and may require school systems to buy particular textbooks — have a massive say in what content makes its way into student’s hands and minds.

Texas, for example, earned a reputation for inserting dubious information and interpretations about the nation’s creation, evolution, and slavery into its school books. In one case, Moses — he of the Ten Commandments — was listed as a Founding Father, and enslaved people were referred to as immigrant workers in a textbook caption a student flagged in 2015. And this is a problem that transcends the Lone Star state; as a New York Review of Books analysis of the state’s curricular curation stated in this epigram: “What happens in Texas doesn’t stay in Texas when it comes to textbooks.”

However, outcry has sparked some change: In late 2018, the Texas state school board decided that public school curricula should be changed to emphasize slavery as a primary cause of the Civil War, when it previously prioritized sectionalism and states rights; those changes are scheduled to go in effect this school year for middle and high school students.

But despite many Americans’ desire to see history as one straight line of progress — and that applies to the timeline of both America the country and American textbooks — King sees a future of hard work ahead.

There are still few textbook authors of color, and in K-12 “more than 80 percent of [public elementary and secondary] teachers are white,” King said. “The curriculum is still Eurocentric, despite the cosmetic diversity. We have quantitatively improved in diversifying the curriculum, though we haven’t qualitatively improved.” This is because so much of black history is defined only through contact with Europeans and American whites, he says.

He suggests intentional evidence-based reframing — which complicates assumptions that black people’s reasons for their actions were the same as white people’s. For example, instead of pointing to black Americans’ fighting on both sides of the American Revolution as mere proof of patriotism — as black Americans are constantly required to prove their fealty in history and contemporary politics — he points out blacks were promised freedom, directly or indirectly, if they took up arms.

Still, he explains there are more good resources for teachers to learn from and use today. This includes materials that aren’t hardbound texts, like the recent 1619 Project from the New York Times; Teaching Tolerance’s “Teaching Hard History” series, which has multiple episodes on slavery featuring accomplished scholars and has recently updated content on teaching K-5 students; and online readings lists about a variety of topics dealing with race, such as the Ferguson syllabus.

For her part, Murray says that as a former teacher and now an administrator, she’s always striving to create another alternative canon.

“There’s always a group of teachers who will teach the curriculum. But there’s one teacher in every department who’s engaged in upper-level discussions about how to create a curriculum that matters to their students. For them, it’s not just about how many facts they have to memorize; it’s about how to include LGBTQ history, for example.”

To push forward, she says educators must continue to pull from intellectual descendants like Leila Amos Pendleton, whom she calls “dream weavers and writers, people who were in front of children teaching them and writing for them.” As Murray notes, “They were imagining for them and for us.”

Dr. Cynthia R. Greenlee is a North Carolina-based historian, journalist, and editor. Her writing has appeared in Literary Hub, Longreads, Smithsonian, and Vice, among others. Follow her on Twitter at @CynthiaGreenlee.

This article previously appeared in Vox .

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arcticdementor · 4 years ago

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Can you believe ...?

Perhaps no question has been repeated more times in reaction to more events this year than that one.

The most recent major outrage in the Jewish community, now several news cycles behind us, came on the Shabbat before Yom Kippur—the holiest day in the Jewish calendar—when many American Jews seemed dumbfounded by what was to me predictable news: Alexandria Ocasio-Cortez, progressive superstar, had pulled out of an event honoring Yitzhak Rabin, the Israeli prime minister assassinated because of his efforts to make peace with the Palestinians. Rabin was, as Bill Clinton said at his funeral, “a martyr for his nation’s peace.”

…

But it wasn’t AOC who was mixed up. The savvy politician had read the room and was sending a clear signal about who belongs in the new progressive coalition and who does not. The confusion—and there seems to be a good deal of it these days—is among American Jews who think that by submitting to ever-changing loyalty tests they can somehow maintain the old status quo and their place inside of it.

Did you see that the Ethical Culture Fieldston School hosted a speaker that equated Israelis with Nazis? Did you know that Brearley is now asking families to write a statement demonstrating their commitment to “anti-racism”? Did you see that Chelsea Handler tweeted a clip of Louis Farrakhan? Did you see that protesters tagged a synagogue in Kenosha with “Free Palestine” graffiti? Did you hear about the march in D.C. where they chanted “Israel, we know you, you murder children too”? Did you hear that the Biden campaign apologized to Linda Sarsour after initially disavowing her? Did you see that Twitter suspended Bret Weinstein’s civic organization but still allows the Iranian ayatollah to openly promote genocide of the Jewish people? Did you see that Mayor Bill de Blasio scapegoated “the Jewish community” for the spread of COVID in New York, while defending mass protests on the grounds that this is a “historic moment of change”?

Listen, it’s been a hell of a year. We all have a lot going on, much of it unnerving and some of it dire. Moreover, many of these stories only surface on places like Twitter; they don’t make it into the pages of The New York Times or your friends’ Facebook feeds, which is where most Americans get their news these days. Reporters don’t cover these stories adequately, contextualizing them, telling readers which ones are true and which ones aren’t, which ones matter and which ones don't.

So it makes sense that many smart, well-intentioned people are confused. Or rather: Looking for someone to explain why an emerging movement that purports to advance the ideals they have always supported—fairness, justice, righting historical wrongs—feels like it is doing the opposite.

…

To understand the enormity of the change we are now living through, take a moment to understand America as the overwhelming majority of its Jews believed it was—and perhaps as we always assumed it would be.

It was liberal.

Not liberal in the narrow, partisan sense, but liberal in the most capacious and distinctly American sense of that word: the belief that everyone is equal because everyone is created in the image of God. The belief in the sacredness of the individual over the group or the tribe. The belief that the rule of law—and equality under that law—is the foundation of a free society. The belief that due process and the presumption of innocence are good and that mob violence is bad. The belief that pluralism is a source of our strength; that tolerance is a reason for pride; and that liberty of thought, faith, and speech are the bedrocks of democracy.

The liberal worldview was one that recognized that there were things—indeed, the most important things—in life that were located outside of the realm of politics: friendships, art, music, family, love. This was a world in which Antonin Scalia and Ruth Bader Ginsburg could be close friends. Because, as Scalia once said, some things are more important than votes.

Crucially, this liberalism relied on the view that the Enlightenment tools of reason and the scientific method might have been designed by dead white guys, but they belonged to everyone, and they were the best tools for human progress that have ever been devised.

Racism was evil because it contradicted the foundations of this worldview, since it judged people not based on the content of their character, but on the color of their skin. And while America’s founders were guilty of undeniable hypocrisy, their own moral failings did not invalidate their transformational project. The founding documents were not evil to the core but “magnificent,” as Martin Luther King Jr. put it, because they were “a promissory note to which every American was to fall heir.” In other words: The founders themselves planted the seeds of slavery’s destruction. And our second founding fathers—abolitionists like Frederick Douglass—made it so. America would never be perfect, but we could always strive toward building a more perfect union.

I didn’t even know that this worldview had a name because it was baked into everything I came into contact with—my parents’ worldviews, the schools they sent me to, the synagogues we attended, the magazines and newspapers we read, and so on.

…

No longer. American liberalism is under siege. There is a new ideology vying to replace it.

No one has yet decided on the name for the force that has come to unseat liberalism. Some say it’s “Social Justice.” The author Rod Dreher has called it “therapeutic totalitarianism.” The writer Wesley Yang refers to it as “the successor ideology”—as in, the successor to liberalism.

…

The new creed’s premise goes something like this: We are in a war in which the forces of justice and progress are arrayed against the forces of backwardness and oppression. And in a war, the normal rules of the game—due process; political compromise; the presumption of innocence; free speech; even reason itself—must be suspended. Indeed, those rules themselves were corrupt to begin with—designed, as they were, by dead white males in order to uphold their own power.

…

Critical race theory says there is no such thing as neutrality, not even in the law, which is why the very notion of colorblindness—the Kingian dream of judging people not based on the color of their skin but by the content of their character—must itself be deemed racist. Racism is no longer about individual discrimination. It is about systems that allow for disparate outcomes among racial groups. If everyone doesn’t finish the race at the same time, then the course must have been flawed and should be dismantled.

…

In fact, any feature of human existence that creates disparity of outcomes must be eradicated: The nuclear family, politeness, even rationality itself can be defined as inherently racist or evidence of white supremacy, as a Smithsonian institution suggested this summer. The KIPP charter schools recently eliminated the phrase “work hard” from its famous motto “Work Hard. Be Nice.” because the idea of working hard “supports the illusion of meritocracy.” Denise Young Smith, one of the first Black people to reach Apple’s executive team, left her job in the wake of asserting that skin color wasn’t the only legitimate marker of diversity—the victim of a “diversity culture” that, as the writer Zaid Jilani has noted, is spreading “across the entire corporate world and is enforced by a highly educated activist class.”

The most powerful exponent of this worldview is Ibram X. Kendi. His book “How to Be an Antiracist” is on the top of every bestseller list; his photograph graces GQ; he is on Time’s most influential people of the year; and his outfit at Boston University was recently awarded $10 million from Twitter CEO Jack Dorsey.

…

And just in case moral suasion is ineffective, Kendi has backup: Use the power of the federal government to make it so. “To fix the original sin of racism,” he wrote in Politico, “Americans should pass an anti-racist amendment to the U.S. Constitution that enshrines two guiding anti-racist principals [sic]: Racial inequity is evidence of racist policy and the different racial groups are equals.” To back up the amendment, he proposes a Department of Anti-Racism. This department would have the power to investigate not just local governments but private businesses and would punish those “who do not voluntarily change their racist policy and ideas.” Imagine how such a department would view a Jewish day school, which suggests that the Jews are God’s chosen people, let alone one that teaches Zionism.

Kendi—who, it should be noted, now holds Elie Wiesel’s old chair at Boston University—believes that “to be antiracist is to see all cultures in their differences as on the same level, as equals.” He writes: “When we see cultural difference we are seeing cultural difference—nothing more, nothing less.” It’s hard to imagine that anyone could believe that cultures that condone honor killings of unchaste young women are “nothing more, nothing less” than culturally different from our own. But whether he believes it or not, it’s obvious that embracing such relativism is a highly effective tool for ascension and seizing power.

It should go without saying that, for Jews, an ideology that contends that there are no meaningful differences between cultures is not simply ridiculous—we have an obviously distinct history, tradition and religion that has been the source of both enormous tragedy as well as boundless gifts—but is also, as history has shown, lethal.

By simply existing as ourselves, Jews undermine the vision of a world without difference. And so the things about us that make us different must be demonized, so that they can be erased or destroyed: Zionism is refashioned as colonialism; government officials justify the murder of innocent Jews in Jersey City; Jewish businesses can be looted because Jews “are the face of capital.” Jews are flattened into “white people,” our living history obliterated, so that someone with a straight face can suggest that the Holocaust was merely “white on white crime.”

This is no longer a fringe view. As the philosopher Peter Boghossian has noted: “This ideology is the dominant moral orthodoxy in our universities, and has seeped out and spread to every facet of American life— publishing houses, tech, arts, theater, newspapers, media,” and, increasingly, corporations. It has not grabbed power by dictates from above, but by seizing the means of sense-making from below.

Over the past few decades and with increasing velocity over the last several years, a determined young cohort has captured nearly all of the institutions that produce American cultural and intellectual life. Rather than the institutions shaping them, they have reshaped the institutions. You don’t need the majority inside an institution to espouse these views. You only need them to remain silent, cowed by a fearless and zealous minority who can smear them as racists if they dare disagree.

It is why California attempted to pass an ethnic studies curriculum whose only mention of Jews was to explain how they, along with Irish immigrants, were invited into whiteness.

It is why those who claim to care about diversity and inclusion don’t seem to care about the deep-seated racism against Asian Americans at schools like Harvard.

It is why a young Jewish woman named Rose Ritch was recently run out of the USC student government. Ms. Ritch stood accused of complicity in racism because, following the Soviet lie, to be a Zionist is to be nothing less than a racist. Her fellow students waged a campaign to hound her out of her position: “Impeach her Zionist ass,” they insisted.

It is why the Democratic Socialists of America, the emerging power center of the Democratic Party in New York, sent a questionnaire to New York City Council candidates that included a pledge not to travel to Israel.

It is why Tamika Mallory, an outspoken fan of Louis Farrakhan, gets the glamour treatment in a photoshoot for Vogue.

And this is why AOC, the standard bearer of America’s new left, didn’t think Yitzhak Rabin was worth the political capital, but goes out of her way, a few days later, to praise the Black Panthers. She is the harbinger of a political reality in which Jews will have little power.

It does not matter how progressive you are, how vegan or how gay, how much you want universal health care and pre-K and to end the drug war. To believe in the justness of the existence of the Jewish state—to believe in Jewish particularism at all—is to make yourself an enemy of this movement.

…

If you’re nearing the end of the essay wondering why this hasn’t been explained to you before, the answer is because, yet again, we find ourselves in another moment in Jewish history at a time of great need and urgency with communal leadership who, with rare exception, will not address the danger.

I understand why people have been blind to this. Life has been good—exceedingly good—for American Jews for half a century. Many older communal leaders seem to lack the moral imagination to see this threat. It’s also hard for anyone to hear the words: They’re just not that into you.

So when I try to discuss this with many Jews in leadership positions, what I face is either boomer-esque entitlement—a sense that the way the world worked for them must be the way it will always work—or outright resistance. Oh please, wokeness isn’t important anywhere but in silly Twitter microclimates. When you explain that no, in fact, this ideology has taken over universities, publishing houses, the media, museums and is now making quick work of corporate America, you hit another roadblock: Isn’t this just righting some historical injustices? What could go wrong? You then have to explain what could go wrong—what is already going wrong—is that it is ruining the lives of regular, good people, and the more institutions and companies fall prey to it, the more lives it will ruin.

…

Last month, I participated in a Zoom event attended by several major Jewish philanthropists. After briefly talking about my experience at The New York Times, I noted that if they wanted to understand what happened to me, they needed to appreciate the power of that new, still-nameless creed that has hijacked the paper and so many other institutions essential to American life. I’ve been thinking about what happened next ever since.

One of the funders on the call launched into me, explaining that Ibram X. Kendi’s work was vital, and portrayed me as retrograde and uncool for opposing the ideology du jour. Because this person is prominent and powerful enough to send signals that others in the Jewish world follow, the comments managed to both sideline me and stun almost everyone else into silence.

These people may be the most enraging: those with the financial security to oppose this ideology and demur, so desperate to be seen as hip; for their children to keep their spots at the right prep schools; so that they can be seated at the right tables at the right benefits; so that they are honored at Brown or Harvard; so that business does well enough that they can renovate their house in Aspen or East Hampton. Desperate to remain in good odor with the right people, they are willing to close their eyes to what is coming for the rest of us.

Young Jews who grasp the scope of this problem and want to fight it thus find themselves up against two fronts: their ideological enemies and their own communal leadership. But it is among this group—people with no social or political capital to hoard, some of them not even out of college—that I find our community’s seers. The dynamic reminds me of the one Theodor Herzl faced: The communal establishment of his time was deeply opposed to his Zionist project. It was the poorer, younger Jews—especially those from Russia—who first saw the necessity of Zionism’s lifesaving vision.

Funders and communal leaders who are falling over themselves to make alliances with fashionable activists and ideas enjoy a decadent indulgence that these young proud Jews cannot afford. They live far from the violence that affects Jews in places like Crown Heights and Borough Park. If things go south in one city, they can take refuge in a second home. It may be cost-free for the wealthy to flirt with an ideology that suggests abolishing the police or the nuclear family or capitalism. But for most Jews and most Americans, losing those ideas comes with a heavy price.

#bari weiss #tablet magazine #anti-semitism #cancel culture

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queermediastudies · 5 years ago

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Milk - It’s not just for cereal anymore.

Milk, is a biographical film based on the life of Harvey Milk, who was the first openly gay San Francisco politician, who was gunned down by a disgruntled city supervisor. This film was also not just about the life of Harvey Milk, it was also a film that depicted the time frame in which he lived in, the 1970’s, a time where men and women came together to fight the injustice and inequality that was being levied against the population of the city of San Francisco, and across the United States of America. The film follows the last few years of Supervisor Milk’s life, starting on his 40th birthday and follows him to his 48th birthday, as well as following his endeavor to incite change and provide for not only the LGBTQ community, but for everyone (seniors, minority, kids, and heterosexuals). Milk is the story of leaving a mark on society, and helping cause change that would affect the lives of the people around you.

The film originally started to gain traction when Oliver Stone showed interesting producing the film, in early 1991 (Gus Van Sant); however, after signing a director in 1992, the film production fell on hard times in 1993 and was not revisited until 2007, when Van Sant wanted revisit the biopic. Before filming, Harvey Milk’s life was heavily researched, and many one of the sources used to recreate the life of Supervisor Milk was the GLBT Historical Society in San Francisco, his personal belongings, as well as speaking with people who knew the City Supervisor. With several weeks of photographs, researching film, video, historic textiles and other resources ( The Times of Harvey Milk, a documentary that was released in 1984, directed by Rob Epstein, was a huge resource) Milk started filming until January 2008, after a second project, helmed by Brian Singer, met its demise due to a writer strike.

Milk provided a look into the life of the first openly gay city supervisor in San Francisco, however the cast was made up of primarily of a heterosexual cast. At the time, this was seen to be common place for Hollywood, however as the times are changing there is the potential for blow back of having a heterosexual actor portraying an openly gay politician. Was the issue of representation at the time? Or was it as Dr. Martin states “cisgender heterosexuals are “brave” in taking on roles different from themselves” (Martin, 2018)?

While the main plot point of Milk was that of equal rights for gays and lesbians, the production company responsible strayed from the belief that City Supervisor Milk strived for. Was the film more successful or successful because of the actors that were picked to portray their on-screen versions of their real-life counter parts? While the performances that were delivered in a manner that would be considered believable, if not true to the real man that the film was based off, were there not other actors capable of giving authentic performances as well. This topic is something that has just, in the last decade or so started coming to light, the casting of heterosexual actors/actresses. This has been a hot topic as there has not be fair representation of the LGBTQ community on television or film, but there is change coming, this change is due, and slow to come. With equality balancing slowly for the LGBTQ community, more and more actors/actresses have been accepted in larger and larger films, they are no longer bottom of the barrel actors/actresses in mediocre movies, or low budget straight to DVD movies.

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While watching the film, I also had noticed that there were minorities being represented in the film as well, but once again they were being represented by cisgendered heterosexual males. This did not bode well for LGBTQ community members who are a minority. While there was minority representation in the film, again the bigger roles were filled by the heterosexual actors, and unfortunately there was no way for me to ascertain if any of the smaller actors (extras) were of the LGBTQ community. However, as progress is being made with equality for those of LGBTQ community, the biggest being that members of the of the LGBTQ community are being included, nay, not included but being placed in positions on where they have the ability to put real life back into art. More importantly, they are putting themselves, their culture, on to the screen. In away they are educating masses, they are providing information on what was one considered to be a taboo, disgusting life style. As Milk took a chance to show us life back in the 1970s for members of the LGBTQ community had to face, but as mentioned before, progress has been made. Take for example, the show Pose, has been taking strides and advances to create equality at one level. “But there is something transgressive about what Pose is doing” (Fallon, 2018), they are placing trans actors in main roles, they are placing them in the writing rooms; Ryan Murphy, creator of show, chose a cast of actors and actresses who are breaking ground and creating a foothold in territory controlled by the heteronormativity. Murphy placed Janet Mock, the first openly trans woman of color, not just in the writing room for Pose, but also behind the camera allowing her to direct an episode of the popular show.

Now, as the bard say, here in lies the rub; the creation of shows and film that cast LGBTQ members, placing them in staring rolls, are great educational tools that don’t require the violence that has been exposed in the past. The history, the hate, the animosity that the people have faced is something that cannot be erased; more importantly it is something that can be untaught, but it will take time and patience. As the Stonewall riots brought a physical stand, the line that drawn in the sand so to speak, about equality rights; shows like Pose are just a new face on a prolonged battle equality. In the third chapter of Stonewall and Beyond, it was brought to our, no my attention that there were shows in the past that were attempting to make the same head way as Pose, “the success of the 1972 TV movie That Certain Summer drew the attention of activists because of the potential it demonstrated for television to reach national audiences” (Gross,2002,p.43). This allowed for more people to become aware of the issues that men and women of the LGBTQ community were facing, I say this in the sense that it opened the eyes of millions to the fact that there were people hiding their true selves from the rest of the world, because of fear and persecution.

Watching Milk unfold on the screen in front of me has opened my eyes about a lot of things, and being a person who has seen themselves as a neutral party for my those of my friends who are of the LGBTQ community, I find myself trying to find a reason as to why people need to be afraid of difference. I am a minority, a member of the heterosexual norm, so to speak, of a near complete college education. I find that to me; it is neither my sexuality or my skin color that influences my engagement on this topic. It is, the education that I experienced in the real world. I have friends, I have served with men and women, who are members of the LGBTQ community; and it is from those men and women that I have learned my lessons. As a friend to these men and women, equality is starting to play a big factor into my understanding on how society runs and how we a species, are so willing to draw a line in the sand and shun people are on the other side of that line. Critically, looking at the movie, I am some what dismayed that Milk did not take the time to break more barriers at the time. Opening the door on a politically charged topic like equal rights, would have been a great platform on which one could have chosen actors who were of the LGBTQ community to be the cast of characters, creating a stronger foothold for which to spread the word of equality. Despite that, Milk was a great film, the story telling was complied with real new reel footage that was shot during the time of Harvey Milk’s rise and untimely fall, added more of a personal touch to the film, as well as having an actor who bore a similar resemblance to the late Harvey Milk. In the end, consuming Milk opened my eyes to one thing that has been, until recently, and that is “writers seem to continue you balk at the idea that queer characters of color are deserving of dynamic and standalone narratives” (Leiva, 2017). The research and writing that went into developing this film did not leave out any of the characteristics of Jack, portraited by Diego Luna, as Milk’s second lover in the film, who suffered from serious depression, alcoholism and suicidal thoughts. While, Sean Penn delivered an award-winning performance, and being able to humanize the character so that people unfamiliar with the plight of the LGBTQ community and the on-going battle for equality had a better connection to the story and struggle.

Jr, A. L. M. (2018, August 2). Pose(r): Ryan Murphy, Trans and Queer of Color Labor, and the Politics of Representation. Retrieved from https://lareviewofbooks.org/article/poser-ryan-murphy-trans-queer-color-labor-politics-representation/.

Gross, L. P. (2002). Up from invisibility: lesbians, gay men, and the media in America. New York: Columbia University Press.

Fallon, K. (2018, June 1). 'Pose' Isn't Just Great TV. It's Making Trans History. Retrieved from https://www.thedailybeast.com/pose-isnt-just-great-tv-its-making-trans-history.

Leiva, L. (2017) TV Is Getting More Progressive, But It's Still Failing Queer People Of Color. (n.d.). Retrieved from https://www.bustle.com/p/tv-is-getting-more-progressive-but-its-still-failing-queer-people-of-color-64520.

#milk #harvey milk #LGBT Rights #lgbtq community #lgbtq history #sanfrancitizens

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stolligaseptember · 6 years ago

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hey, so you seem to know a lot about politics. i don't understand what the hell is going on with article 13 again? like i get it, it was voted upon but is it really going to change anything? or is it just tumblr trolls trying to get a rise out of people for nothing? wasn't it supposed to be a directive for countries?(also why everyone's biggest concern over eu banning memes?)

Okay, first of all, it’s so funny that I’m now somehow known as “the one who seems to know about politics”, seeing how I’ve been known to be very vocal about my absolute distaste for politics. But, yeah, I study law, which is basically just the aftermath of politics, so I guess I do keep kind of updated.

So yeah. Okay.

Article 13: Here we go again 🎶my, my, how can I resist ya🎶

Oh boy. Where do we even start with article 13.

Well, first of all, the parliament voted on reworking the directive and then voting on it again next year. The draft proposals have slowly started becoming public though, and that is most likely the reason behind people having started to freaking out again. Why people are freaking out is a pretty big question though. I’m not saying it’s most likely because of right-winged anti-EU advocates, but it’s most likely because of right-winged anti-EU advocates.

I explained the basis of a directive back in June, and attached the then-proposed draft text. And yes!! You’re very correct in it being a directive for countries! The proposal has gone through a number of votes and redrafts since then though, and this is the current form of article 13 that is being discussed;

So, the first thing here; this is still a draft. Nothing has been decided yet. Not even the final text that is going to be voted on. The directive is being discussed behind closed doors as we speak, and things may still change before the vote goes through. But for now there is nothing substantial for us to be drawing any kind of conclusions from. Pretty much anything can happen from this point out.

But, if we’ll go through the changes that has happened in the last couple of months;

First of all, the so called “bots”, that was the biggest fear concerning article 13, have been removed. This is huge news!! This is great news!!!

I explained why bots would have been such a fucking bad idea here, and in this draft they have removed the “effective content recognition technologies” aka. bots, and put in place a human review system instead. This is much more in line with the already existing copyright laws, and means that automated blocking of content will be avoided, as stated in the third paragraph.

Any complaint of copyright infringement will now go to human review instead, which will most likely end in the same situation as when my class of law students, most of which does not even have a single artistic bone in their body, discussed if a few different shades of magenta constitutes as copyright infringement or not. Copyright law is weird y’all.

The memes!! Are also so fucking safe in this draft!!!

They’ve never really been in danger though, but the parliament has gone the extra mile and clearly stated that memes, and all other transformative works as in “non-infringing works or other protectedsubject matter, including those covered byan exception or limitation to copyright”, is not part of the scope of this article and, in extension, the rest of the directive.

This covers fanart, fanfiction, edits, parodies, and just any and all transformative work you can think of. Whatever you’re thinking of and freaking out over, it’s most likely never been threatened to begin with.

And like. I get that this can seem all very scary and threatening, seeing how it deals with things that we’re all very passionate about i.e. the power struggle between copyright and transformative works, and on the very specific battle ground of the internet, which we are all very protective of and how the directive text doesn’t really give that much to go on, especially not for people not used to legalese. But what I need everyone to understand is that what the directive is aiming for, is the pirating industry. Of people taking very clearly copyrighted material and uploading it to the internet, without any own input, for public consumption, and for their own gain. This is what the directive is aiming to get a better grip on, and that is the scope the EU is giving the member states to regulate. Any and all transformative work is as safe as it’s ever been, both on and off the internet.

So no, your social media isn’t going to be shut down. No, the EU isn’t going to erase your fanworks and make you pay fines for it. And no, the EU isn’t going to ban memes, jesus christ, why would they even want to do that.

What the directive sets out to regulate is that “onlinecontent sharing service providers”, i.e. corporations such as Facebook and Youtube, have to take responsibility for the copyright infringement on their platforms. This will not in any way affect you as a user of said platform. Even if you’re such a vaguely shitty person that you upload an entire copyrighted movie in its unedited form to a video sharing platform, nothing is going to happen to you as an individual. At least not in relation to the directive, you can still be sued for copyright infringement due to your national laws, but that’s a whole other story. What the directive regulates is that it’s the platform’s obligation to give the copyright holder their fair share of the revenue, seeing how the infringement takes place on their platform. Hence the huge backlash from Youtube and the like. These huge, multi-billion companies, would suddenly have to take responsibility for the copyright infringement that takes place on their platforms on a daily basis.

And if you still think that’s unfair, then yeah, go wild, I guess.

But the hysteria that has spread across tumblr in particular, is so completely unfounded. As I’ve already stated, this is the draft of a directive, which means we really have no way of knowing how or when this is all going to fall out in the end, and copyright law is already so fucking weird, that I have a really hard time seeing how this will even make a dent in the status quo of things.

So just. Please. Calm down. This is not even anywhere near as bad as everyone is crying and screaming about it being. Unless you’re a money sucking social media platform or a political Pirate, then you probably still think this is pretty fucking bad. CoughcoughJuliaRedacoughcough.

And, as usual, this has just derailed to me babbling on without really knowing where I’m heading. But also as usual, don’t be afraid to ask me follow-up questions, and I’ll try to answer them as clearly as I can!! I also highly recommend everyone to read through the commission’s FAQs regarding the directive! Their answers can get a little technical at times though, so if you need help translating what they’re saying or just want to clear anything up, don’t be afraid to ask!

But just. Please. Please. Everyone calm down. You’re all giving me heart palpitations just thinking about this whole mess.

#article 13 #swearing tw #Anonymous #storytelling september

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