28/She/They/PROSPIT /??? OF MIND/ā PISCES I'm Theresa/Reesie, and I like Homestuck, Bravely Default, Gunnerkrigg Court, Ava's Demon, and other things. I don't understand the hiveswap personality quiz. Much reblogging.I also love food, war themed hat simulators, and Dr. McNinja. Icon by Andrew Hussie
āIf I have one message to give to the secular American people, itās that the world is not divided into countries. The world is not divided between East and West. You are American, I am Iranian, we donāt know each other, but we talk together and we understand each other perfectly. The difference between you and your government is much bigger than the difference between you and me. And the difference between me and my government is much bigger than the difference between me and you. And our governments are very much the same.ā
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Real photos of the event, since the original Twitter post seems been written by a bot using an AI image.
This pictures were taken by Enrico Scuro during the italian punk festival Bologna Rock in 1979.
Skiantos were considered an art, comedy and performative band and they leave the stage that night famously screaming: "You do not understand a fucking thing: this is avant-garde, you piece-of-shit audience."
What they did was conceptual and protest art, the denial of putting a show against the expectative of it. Punk was born in part as a rejection of the grandiosity of progressive rock: no 20-minute solos, no stages with pyrotechnics, no distance between the band and the listener.
But there's an irony that Skiantos pushed to the limit: as soon as punk became a spectacle, it also began to betray its own code. Counterculture and performance art.
Ultimately, she spent 20 hours redoing the copy from scratch ā and with her $100-per-hour rate, that meant her client was shelling out $2,000 for copy that likely would have ended up being far cheaper had a human just written it in the first place.
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Thought I would share this here. Image is a clickable link that will take you to the account that posted it! ID in alt text. If anyone wants to pop it out, feel free.
Fascism isnāt caused by long COVID or lead exposure or mental illness or brain damage thatās magical thinking. We have to be materialists about this. Fascism is caused by an excess of both yellow bile AND black bile in the blood disrupting the regular functioning of the humors, all the medical literature proves this. Letās not spread misinformation or pseudoscience.
Fascism isnāt caused by long COVID or lead exposure or mental illness or brain damage thatās magical thinking. We have to be materialists about this. Fascism is caused by an excess of both yellow bile AND black bile in the blood disrupting the regular functioning of the humors, all the medical literature proves this. Letās not spread misinformation or pseudoscience.
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it's pretty easy to imagine that you are one of some fractional holdout against AI while everyone else has fallen into some misguided love affair with LLMs, and I am so happy to tell you that this is not the case.
the US public is deeply suspicious of AI's impacts on jobs and education. Kamala Harris and the Republican party are both polling better than AI. 8/10 gen zers are concerned about AI's impact on education and only 18% are positive about this technology. there is widespread, bipartisan grassroots organizing against data centers. 97% of Britons are against Grok's "undressing" technology. the majority of Americans are concerned about AI in arenas like self-driving vehicles and healthcare. Even polling data from companies centered on AI shows significant concern around generative technology. OpenAI isn't meeting internal growth bench posts. On top of all that, Musk and Altman are currently both making fools of themselves in a very public trial.
I wrote this to ground myself because within the last month my workplace and gym have become overrun by AI graphics, then I logged out of Tumblr and immediately discovered that my Chemistry professor has switched to transparently AI generated exam feedback
āThe widely circulated timeline created by @Zerflin does a great job in showing how recently slavery & segregation occurred & that they lasted longer than the modern era.Ā
āI'd like to offer this timeline as another way of viewing the same period of history to show the constancy of both Black resistance in US & efforts of the white power structure to maintain racial caste since 1619.ā
I had the exact same experience the second time I looked at this picture as the first time. I was looking like "what is this green line? Like suddenly everything is OK? It's not. Racists are still trying to push us back to 1619. Nothing has been fixed. We still need to fight. Hard!
ask and ye shall receive:
When I write in Japanese I usually also throw it in google translate to double check that I'm not using the wrong kanji by mistake, and two years ago it gave me very dry and literal translations.
I was doing it today and noticed it had a pretty strong voice added to the output
For reference, to give a dry translation I would put:
Lately I'm into in Hanafuda. Nobody seems to know anything about it here, so they probably wouldn't understand my brilliant jokes. I guess you guys will never be able to understand "Mister November and the Scary Cave".
I have a fluent friend who is able to check my work for me and give me tips on hitting the correct tone (I was going for a comically casual feeling), so I'm confident that I'm expressing the feeling I'm intending. While Google is also hitting the same emotion, I really don't like knowing that it's assigning tone in the first place.
To check if it was editorializing based on informal grammatical choices, I formal'd up the writing to be more polite and remove any non-standard vocabulary.
I'm just like... what is anyone who is translating what I'm thinking into their own language going to think when a translation app decides that it knows my intended tone? When online communication is already so complicated and nuanced? I'm a non-native so I'm spending ages agonizing over 117 characters, but when I'm chatting in English I'm not being so deliberate. How likely is it that tools that 'naturalize' are going to make choices that don't reflect reality and lead to insulting misunderstandings?
I spoke with an English learner just yesterday who thought they were being bullied (they were not, the commenter in question was just excitedly infodumping about sociology) because something was lost in translation, and I wonder if it's because of tools making choices like this.
I'm just a luddite I don't trust stuff like this. stinks of ai asking me if it can rerwrite my email in a more quirky style.
Do you think were any kind of specific aspects of the culture, industry, economy, etc that made making cartoons in 90s / 2000s better or worse than trying to make them today?
They're literally different worlds.
As a 22 year old neurodivergent, I was able to pitch show ideas directly to executives. Part of that was because TV Animation wasn't a glamorous profession (quite yet), so the higher-ups were genuinely passionate about the medium. I earned good money for the time and was generally trusted to run my show and tend to the crew. I would periodically be handed portfolios, which I would personally review and pass on to other show runners. For the networks it was always corporate, cutthroat, and ultimately about the money, but as an artist you could still have a voice and make art while being paid a living wage.
The pay for a freelance storyboard in 2005 is almost exactly what it is today, but now you're likely to have less time and be required to do an animatic on top of it. Portfolios are online, and (beyond metrics) you'll probably never know if anyone looks at it or not.
Animation got big. Too big. The executives got "glamorous", then the talent got "glamorous". By then you probably wouldn't get a pitch meeting unless you were a celebrity or knew one willing to be connected to your project. Animation eventually got so big that it popped. And that's where we are now.
Most of the people I know from Kid's TV Animation are currently unemployed. I have been off Jellystone for over a year, and I'm starting to get genuinely worried. Like, "move away to save money" worried. Most of the employed artists I do know are on long-running legacy series, and they're concerned about their futures when/if those series end. Right now is not a fantastic time for "animation as a money-making profession". The "glamorous" part popped years ago.
That being said, there are still opportunities out there. If you're just starting out, apparently there's a planned surge in adult and pre-school animation. It's also a great time (as long as YouTube remains sane) to be crafting your own content. But I think that the time of Big Studio Patronage is over for most of the industry. It's up to the individual artist now more than ever, not only to make but to promote their own content.
Back at the height of Billy & Mandy, we mostly pulled fours and fives in the Neilsen ratings, but we occasionally got a seven. For reference, E.R. consistently got eights. It's difficult to say exactly how many people that actually was due to how those ratings work, but it was a big deal for the time. Millions. Enough people that if I had a dollar for each person that just watched that one episode, I would have been set for life. Now, nobody gets a seven. A four is huge. Back then there were maybe fifteen or twenty channels of programmed content as opposed to the streaming smorgasbord we were all just enjoying (and which now also seems to have popped). Point being, even though I wasn't paid-per-view, I was able to use those views as justification for an eventual raise. In modern times, streaming numbers are seemingly deliberately kept secret. You'll never really know how well your show was doing until it's over. Or maybe never.
In modern times, a million views on YouTube is enough to get you noticed online. It's a lower bar for entry in a way, but you've got to get there all by yourself. Once you're there (hello Hazbin) a network may indeed come and scoop you up. Even if they don't, you can probably make a decent living with numbers like that if you're savvy and willing to take the time.
I feel like I could go on all day, shaking my fist at the sky, gray-ass beard blowing in the wind. Was it better or easier making cartoons in the past? It seemed that way to me, but that was a world I knew. There was no AI to sell you out to, and the media was more of a "Wild West" than it is today. I do think that AI is going to continue to displace artists (and soon others), making it even more difficult to get anyone's eyes on anything at all.
Culturally, we lack the common touchpoints that bonded our society in the 20th Century. I suspect that the media landscape will continue to become more "bubbly" and disjointed unless some powerful force swoops in to mandate a common viewpoint. Those are two very divergent, uniquely tiring futures, each presenting a different challenge for an artist's survival.
Outside of whatever our modern world is, animation was made for a century by photographing drawings. If Ćmile Cohl could do it in 1908, you can do it now. It's a lot of labor, but maybe that's part of what makes it special.
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If anyones interested in learning about the first black vampire short story, published in 1819, heres a link to the wiki, its called The Black Vampyre, and its about a former slave turned vampire who seeks revenge on his slave master. Its actually a first in many categories!
Not only is it the first Black vampire story, it's the first comedic vampire story, the first story to include a mixed race vampire, the first vampire story by an American author, and probably the first anti-slavery short story. Some scholars believe that the text was written in response to John William Polidori's The Vampyre.
If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
I've got good news and bad news for Trump. The good news: you can get elected by promising to do something about the cost of living crisis, and the president actually has a lot of ways to improve people's daily costs. The bad news: everything you could do to fix working people's cost of living will make an oligarch worse off.
This is the essential conundrum of Trumpismo: to keep his base happy, he needs to make their lives better; but to make their lives better, he'll have to make oligarchs angry. The oligarchs' wealth bonanza caused the cost of living crisis. Oligarchs' pleasure causes our suffering, so alleviating our suffering will reduce their pleasure.
This means that while Trump can promise help with prices, all he can deliver is union-busting, ICE lynchings, and pointless wars, none of which have any hope of materially improving the lives of working people. Indeed, all of this stuff makes working people materially worse off, as wages fall, crops rot in the fields, and gas prices shoot through the roof.
Trump would dearly love to find an ox he can safely gore, but all the good oxen are owned by his oligarch chums. Trump can't punish Ticketmaster, because the billions Ticketmaster steals from the WWE, F1 and football fans in his base all land in the pocket of oligarchs who own stock in Ticketmaster, and Trump can't afford to upset those oligarchs:
Indeed, I can't think of a single corrupt racket that Trump can afford to do something about. Not even the only cost of living metric that can approach gas prices in the hierarchy of American electoral salience: grocery prices.
Your grocery bill went up because oligarchs price-gouge you. Eggflation was caused by Cal-Maine, the monopolist that owns every brand of eggs in your grocer's fridge, who jacked up prices because they knew they could:
Pepsi and Walmart conspired to force every retailer to jack up the prices of all Pepsi products (including Frito-Lay, Gatorade, Aquafina, etc) at every retailer's store, so that Walmart could also jack up their prices and still undersell their competition (naturally, Trump let them get away with it):
This stuff isn't exactly a secret. Grocery store owners hold earnings calls with their investors where they boast about the fact that they can raise their prices far in excess of their increased costs, and blame it on inflation:
They boast about their "personalized pricing" swindles, whereby they use surveillance data to figure out how desperate you are and jack up the prices you see in their apps:
Trump has the power to put a stop to all of this, but still, he can't, because his oligarch pals would squeal, and when they squeal, Trump jumps. In theory, Trump has lots of power, but in practice, Trump can't do anything.
Which brings me to the cost of meat. Meat inflation has raced ahead of other forms of food inflation, even as the payments to ranchers and other producers fell sharply, leading to waves of bankruptcies:
Partly, that's because meat processing is controlled by cartels, with 85% of all the beef being processed by four packers, and nearly every chicken going through one of four poultry processors. These middlemen jack up prices to grocers while colluding to push down the payments to their suppliers.
How do they rig those prices? After all, it's very illegal for these four companies to get together around a table to rig prices. Instead, they use a "price consultancy" called Agri Stats that does the price-rigging for them. Every week, the packers send a detailed list of all their costs and prices into Agri Stats, and Agri Stats "advises" them all to raise all their prices at once, and anyone who doesn't play along is pushed out of the Agri Stats cartel. Everyone wins ā except families paying for groceries:
Agri Stats has been doing this since the Reagan years, but they grew steadily more brazen, until, back in 2023, Biden's DOJ brought history's most obvious, easily won antitrust case against them:
And wouldn't you know it, Trump just settled that case, in a way that will make Agri Stats much, much richer and give them far more opportunities to rig prices:
Under the terms of the settlement, Agri Stats must "allow" restaurants, farmers, and other parts of the supply chain to pay it for the data it consolidates. This will allow more parties to collude to rig prices, and provide more income to Agri Stats. As David Dayen writes in The American Prospect, they've been "sentenced to make money."
Agri Stats isn't the only "price consultancy" that is used to launder a price-fixing cartel that's driving up the cost of living for all Americans, including Trump's base, in order to make oligarchs better off. Companies like Realpage do the same thing for residential rents:
Trump can't do anything about any of these scams, not without goring some oligarch's precious ox. But, as Dayen points out, there are dozens of Democratic state Attorneys General who can kill Trump's sweetheart deal for Agri Stats using the Tunney Act, which gives them standing to sue to force a federal judge to review the settlement and determine whether it is fair.
Whether any AG will seize the moment remains to be seen, of course, but it would be very good politics to do so ā after all, the path to political power in America runs through credible promises to do something about the cost of living crisis.
