Silliest Goose In The Pond

Who We Were Then: a The Society fanfiction

The people of West Ham often forgot that Allie Pressman and Sam Eliot were cousins. Actually, the people of West Ham usually forgot about them period. If they did think about them, it was only ever as Cassandra’s sister and the deaf kid, not as actual people. But Sam and Allie had grown up together, they were cousins, they understood each other in a way that no one else could. Sam knew how Allie both loved and hated the relative safety of Cassandra’s shadow, knew how easily her parents overlooked her in favour of their perfect, and sick, eldest daughter. Allie knew how Sam felt like his parents never saw beyond his deafness and sexuality, and just how terrified of his brother he really was. But they weren’t just cousins — after all, Cassandra and Campbell were their cousins too. No, Sam and Allie were best friends and had been for their entire lives and that? That changes everything.

It's a free, no sign-up, no ads fitness resource created by professionals who view this as activism (fitness should be accessible to everyone), and it's very thoughtful and thorough.

Features I really like:

- all instructions for workout routines are diagrammed on single pages with a clean, easy to read layout

- there's 30 or 60 day programs you can follow if you, like me, don't know what to do. they take you through a rotation of workouts so you're working different muscle groups on different day for a specific purpose

- there's so much variety and there's a filter so you can find the level and your goals and type of workout you wanna do

- you don't need any equipment

- some of the programs are RPGs or adventure stories! How's that for motivation. There's also badges and achievements or something but I haven't looked that closely at how that works yet

- they're nerds. they name workouts after D&D classes. There's a Lannistrr workout, a batcave workout, a witcher workout

- I've only scratched the surface

I'm doing this really easy one to start out

https://www.youtube.com/playlist?list=PLQSMS0J6JbrKdSOSbyJXaQ_zN_HSSp7zZ

“But Rue, where will these kids stay? Do you want them on the streets?”

of course not. In an ideal world, a kids would have multiple adults other than their parents they could look to for care, but I recognize that that will never be a reality for every single child. So: youth shelters, if they have nowhere else to go. There should be clean, warm shelters where anyone under 18 can stay for as long as they need, no questions asked. (And of course shelters that aren’t just for kids, but we’re talking about youth rights right now)

“But Rue,” I hear you say, “what if some moody teenager runs away after an argument?”

First of all, I’d rather a thousand moody teenagers run away than one abused child be trapped. Second, so what if one does? A kid needs time away from their parents, so they leave. The vast majority of them will get some time to cool down and then go back home, and if they don’t want to go back, period? Then nine times out of ten, they have a good reason. (Because yes, as hard as it is for you to believe, kids are humans who have common sense.)

“Okay, but what about the one time out of ten the kid doesn’t have a good reason?”

Sampling rights becoming prohibitively expensive to use by small artists

Musicians being forced to sign over sampling rights to their record company, making any benefits they would hypothetically gain moot.

The Digital Milennium Copyright Act leading to the vidmaker-stomping nightmare that is ContentID

The DMCA leading to making it harder than ever to preserve media due to the way it prohibits tinkering with any locks the megacorps put on it, meaning it's way easier for artists' hard work to end up vaulted and lost.

The way basic chord progressions and musical styles have become copyrightable thanks to various lawsuits by the Marvin Gaye estate

The fact that the artists of the past used to be able to remix; adapt and iterate on art made within 56 years of them, likely created in their lifetimes, and now artists can only do those things with art produced nearly a century ago by people long dead.

New and independent artists being crowded out of the market by megacorp-owned IPs that would be public domain (and thusly convey less of an overwhelming advantage-via-marquee-value to megacorps) if the US had its pre-1976 copyright laws.

Times That Copyright Expansion Has Actually Materially Helped Artists On An Institutional Level: