Revenge of the Jewfro

in aotearoa, june isn’t our pride, it’s theirs. marsha p johnson and sylvia rivera are their historical figures, not ours. the phrase that “you owe your rights to Black trans women” is true there, but here we owe our rights to (mostly) Māori historical figures. i have the freedoms i do because of the legacy of an entirely different set of people operating in an entirely different context at entirely different times.

But because of american cultural imperialism, most queer people in Aotearoa don’t even know our own queer history. Carmen Rupe, Ngahuia Te Awekotuku, the Dorian Society, Gillian Laundon, Georgina Beyer, and the Wolfenden Association are some of our queer history. We should know their names! we should know what they did for us! but because of the power of the american imperial machine, we don’t.

our national pride month should be july, the month that the Homosexual Law Reform Act passed in 1986. our two largest cities hold their pride festivals in february and march, respectively. american queer history has very little (or nothing, depending on who you ask) to do with our queer history. anecdotally, from my own queries, queer youth in aotearoa know more about american queer history than our own.

This post talks about a new DM feature in youtube. What it fails to mention is that as part of this new feature is that when you send someone a link to a video, and they open it in the youtube app, they will see who sent them the link. Specifically, your channel name.

If your google account name is your real name, so is your channel name by default.

This means the new default behavior is that everyone you send a youtube link to will see your full name if they open it in the mobile app.

To turn this off:

Go to your youtube app settings

Go to Privacy

Turn off "Channel visibility for shared links"

"A planned community in Arizona has used time-honored Mediterranean strategies to keep temperatures down and attitudes high.

Western civilization has grown remarkably climate conscious over the last 20 years, but not when it comes to building, civic planning, and especially zoning. Perhaps the interiors of buildings are becoming more climate adapted, and in some cases the facades as well, but in a way that’s a little like inventing a freezer designed to keep ice cream frozen while sitting next to a fire.

Wooden or concrete boxes arranged side-by-side across leveled ground with sprawling, largely treeless gardens and concrete sidewalks alongside wide, blacktop roads is simply a culture of construction that has to be abandoned if living in a world of 2°C or higher annual temperatures [or, hopefully, less than that, but nonetheless likely over 1.5°C] is to be tolerable.

Fortunately for Arizonans, change may have finally arrived in the form of a carless, planned community that looks and feels like a Greek island village.

In the Phoenix suburb of Tempe, Culdesac has arisen as a 17-acre mixed-use neighborhood from the ground up to stay cool and local, taking the concept of the 15-minute city, where anything a resident might need is only 15 minutes away, and putting a Mediterranean spin on it.

Buildings are tall, thick, and totally white. The residential areas look like they were built atop of the ashes of the Phoenix zoning code burnt in effigy. Crammed together, they create narrow streets and alleys that are almost constantly shaded, through which wind is channeled and accelerated in passing.

Windows open towards each other, allowing wind that enters one building to exit into another, while the total lack of asphalt means that the ground temperatures are a staggering 50-60°F lower than pavements beyond the limits of Culdesac.

No privately-owned cars are allowed to enter the neighborhood, in which electric bikes, robotic mini taxis, and light rail shuttle people around town, to downtown Phoenix, or out to the airport.

The street life is lively—there are no cars to bisect movement between the 21 different businesses and eateries, among which is a James Beard Award-winning Mexican restaurant, DIY ceramic business, and some stores run out of apartments—a big no-no under Phoenix zoning laws.

“Once you pull the cars out,” Architect Daniel Parolek who designed Culdesac, told BBC, “there’s so much more opportunity to make a vibrant, thriving community.”

His inspiration was sun-soaked locales like Italy, Greece, and Croatia, where town centers were designed before the automobile and before air conditioning.

Technically speaking, the entire Culdesac neighborhood is one apartment complex, but the paseos, or little alleyways, open up into plazas of open space exactly liked one would expect in a little village in the Cyclades.

Because no one has to jump in a car to get from place to place, people run into each other, sparking conversations, relations, and breaking through the counterintuitive phenomenon of big city loneliness, which in Phoenix hits particularly hard.

“Culdesac Tempe has shown that people do want to live car-free in the US, even in a metro area like Phoenix that’s often seen as the poster child for car dependency,” says Erin Boyd, Culdesac’s government relations and external affairs lead. “This success has shifted the conversation around what’s possible in American development.”

and when it released for ios? holy fuck were they DROWNING in money. when they took a weekend to put the game on sale for a dollar, down from five, a couple months after release, they made as much in that one weekend as they did since its release. it was among the top paid apps for weeks.

with critics, peggle was among some of the top downloadable, mobile, and general best games of all time at the time of its release in 2007 and onwards, and it only shot up in popularity as they made it more accessible to more people. and this was in a time before candy crush.

the thing about simple addictive puzzle games is that they make you feel competent, confident, smart, and cool for being good at them. not everybody can learn how to aim in a shooter or the best strategy in an rpg. but anybodys grandmother or baby brother can play a simple puzzle game, and the nature of these games and the way they make you feel only makes you want to play more and more.

however very very fucking few people who play simple puzzle games that you can master on the toilet would be going to E3 in the early 2010s. remember in 2012 when every ~hardcore gamer~ would screech about ‘fake gamers’ who only play candy crush? thats what peggle was. it was THE crack mobile game from the pre-candycrush era.

no one who was excited about peggle was going to E3. the hundreds of thousands of people who played peggle were not the type of people who would consider going to (or even giving a shit about) E3.

but it sold like hot cakes, and candy crush was churning out content like a madman, and EA owned popcap now, so because the game sold amazingly, and because they wanted to keep cashing in on it, and because corporate drones who controlled the scripts didnt comprehend that their consumerbase isnt one homogeneous mass, they decided to announce peggle 2 at E3 2013.

but not just “oh by the way peggle 2”, no. peggle sold like skyrim, it sold like black ops, clearly they should be saving the best for last, they should announce it like it was the craziest most incredible announcement of the night!

thus:

Then my sister commented that maybe you're supposed to break the glass when you're about to die, to free the seed.

And then it hit me that when the pendant breaks, and Simon reacts by sobbing like he had just lost everything in the world—it hit me that he maybe wasn't just responding to a precious thing breaking, but to the symbology, that a broken pendant means you have died.

Which could be a more concrete thing he was referencing when he said he thought he died. Yes, he had just been through an incomprehensible hell that felt like dying, but also... the glass was broken.