My name is Eamon.

It has been literal years but every time I see Martin’s tweets posted somewhere and his word is shared as truth while her post is not shared it sort of reiterates the fact that we trust men to speak about feminism more than we believe women who experience it. 

Adding screenshots of her post. His whole post is there without needing a link. Hers should be, too.

“So if little girls experience their menstrual cycle in 5th grade or 4th grade, will that prohibit conversations from them since they are in the grade lower than sixth grade?” asked state Rep. Ashley Gantt, a Democrat who taught in public schools and noted that girls as young as 10 can begin having periods.

“It would,” McClain responded.

I'm going to put the finished product in my masterpost, but I'm so proud of the thing that I have to put it in an extra post beforehand. Enjoy!

Behold: the elephants! 😁

I'd say never again, but I know myself too well...

And because I always think it's really interesting to see the back of the embroidery - bonus:

And I also remember how, especially under cover of darkness, cops became particularly nasty and brutal.

We protested to say Black Lives Matter,

People protested to Occupy Wall Street, the police brutally attacked them.

Water protectors protested at Standing Rock, police and the National Guard pepper sprayed them.

The police are attacking and killing unarmed protesters right now today at Cop City in Atlanta. So please let’s knock off the “imagine if people in the US protested like that” nonsense. Sometimes it feels like we stay protesting, like since before I was even ever born.

In addition to all the innocent and unarmed Black people they routinely murder, the police also did things like shoot protesters directly in the head with tear gas canisters, at point blank range. I remember police wilding out on students who were protesting at UC Davis campus to protest tuition hikes. I remember the police tear-gassing a young girl named Sarah Grossman. The cops gassed her in the face and she died from it. And the media even tried covering for the police by parroting their version of events that she had asthma.

I could continue…

But I do not begrudge the French protesters. Like, not at all. They are right to protest Macron’s callous neoliberal ass, and I hope they get what’s theirs. I hope they win. We are on the same side.

#Solidarity #PowerToThePeople ✊🏿

When they protest, it’s good and heroic, but when we do the very same thing, it’s condemned and vilified. What was it James Baldwin once told us?

My name is Helga Sinclair. I’m acting on behalf of my employer, who has a most intriguing proposition for you. Are you interested?

The Impact of Aids on the Artistic Community

‘But I am very poorly today and very stupid and hate everybody and everything.’

Hokusai’s Great Wave fascinates me because, unlike almost every other artwork in that bracket of fame, it was never a bespoke piece that was only later reproduced. It was a commercial print right from the start, and while versions of it can be identified as belonging to different print runs, there is no meaningful ‘original’ aside from the long-since-discarded printing plates.

Even better, this state has been imposed on artworks that were once unique. In 2021, the art collective MSCHF bought an Andy Warhol sketch at auction for $20,000, made 999 meticulous forgeries of it, shuffled them to destroy any record of which was the original, and sold each piece for $250 as Possibly Real Copy of ‘Fairies’ by Andy Warhol, by MSCHF.

As with many smartass art collectives, MSCHF’s projects range from eye-rolling to kinda clever to brilliant, but I think this is their magnum opus. It has exactly the kind of unwieldy literal title I adore. The original work has been arguably destroyed, but in a way that Warhol would adore. It’s the most pointed way to ask art buyers, do you care about the actual artistry of the work or just the bragging rights of owning the original?

—

Artistic domains where reproduction is trivial are often prone to the Superstar Problem: Why would I listen to the world’s 50th-best cellist when I can stream all the Yo-Yo Ma I want just as easily? NFTs were pitched as a solution to this, marking the original or master copy of a natively-digital work to let it retain value. But even if the crypto market didn’t have its own 2008 every few weeks, I don’t want fine-art auction houses to be the future of digital art, especially when there are already plenty of existing ways to mitigate the problem. A fursona, a tabletop-game character, a niche Blorbo, etc. are all bespoke value-adds that enable a much greater range of artists to get commissions. But these require a culture of art fans who don’t care about flipping it at Christie’s, often overlapping with fannish cultures where plenty of artists operate at all experience levels.

I don’t have any tidy conclusions for this, but I just want to say that an earlier version of this process - “paint me a biblical scene, and put me in it to flex my wealth and piety” - culminated in one of the funniest artworks I’ve ever seen, Francisco de Zurbarán’s Christ Crucified (With Donor):

A measure of safety. A fear submitted by Carolina to Deep Dark Fears - thanks!

New Crow Time! (I’m the artist - NOT a repost).