Science vs. Art

People killed: around three quarters of a million.

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?

That one is from his autobiography, Becoming Superman. See also:

When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.

The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.

The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.

There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.

1) the U.S. entertainment industry (especially animation) is run by older conservative types who make up offensive terms and get really mad about them.

2) the people who run Disney would be the first to fall in line with a fascist regime.

3) most of the media we consume is tailor-made and watered-down to appeal to the tastes of older, deeply religious conservative audiences.

And published it in Penthouse, to force those same censors to buy a skin mag. The editor there asked, why Penthouse?

That one is from his autobiography, Becoming Superman. See also:

When he was making Pulp Fiction, he was worried that the MPAA would object to the high level of violence in the film, so he shot a bunch of extra-gory stuff that he didn’t actually want in the film, and added it in before submitting it to the MPAA. Predictibly, they asked him to cut most of it (without even commenting on some of the things that had him worried, like the bits of Marvin’s skull that lodge in Samuel L. Jackson’s hairpiece). The resultant cuts were actually more permissive than he’d expected, so he cut a little more and submitted it, and it got passed with an R.

The second story is about that artist on Morrowind whose name escapes me (I’m not a big ES fan tbh) who figured out that if he made two creature designs, one weird and what he wanted, and one even weirder, he could get Todd Howard to agree to just about anything by showing him the whopper first, then going back and “working” for another few hours on a second, “toned-down” version, and it worked every time.

The reason I bring these up is that the thing that drives censors isn’t some extant physical rubrick of what is and isn’t acceptable, it’s the idea that they can have absolute power over someone else’s creative work. It’s about the social dominance of the interaction.

There is nothing so innocent, so clean, that a censor will not find some fault with it. Because they must find something wrong with it to justify their existence, and because it makes them feel powerful.

yayyy photos yayyy

NO*Loza’s Lovely Sorpresa [Pedigree]

🐱 Norwegian Forest Cat

📸 Sofia Leonsen [NO*Loza’s]

The FBI cut the phone lines during the 1977 disability rights sit-in. Then they turned off the hot water.

They locked the doors from the outside. One hundred and fifty people were trapped on the fourth floor. Half of them used wheelchairs. The government assumed they would leave.

Kitty Cone was thirty-three. She had muscular dystrophy. Her muscles were failing, but her logistics were flawless. She knew how to organize people.

The federal government had promised to sign regulations protecting disabled Americans from discrimination. The policy was known as Section 504. They printed the promise on paper. Then they stalled. Without a signature, it was just typography.

The protesters entered the regional Health, Education, and Welfare building in San Francisco on a Tuesday morning. They took the elevators to the director's office. They brought sleeping bags and catheters. They informed the staff they were not leaving until the law was signed.

By sunset, the police surrounded the exits. Kitty sat near the windows. She organized the floor plan. She assigned committees for security and sanitation. She kept her medication in a small cooler.

According to federal memorandums released decades later, the strategy to end the occupation relied on medical attrition. The building was not equipped for long-term habitation. The FBI calculated that a population requiring ventilators, specialized diets, and daily medical aides would voluntarily evacuate if the environment became sufficiently hostile. They instituted a blockade.

The blockade went into effect immediately. No food deliveries allowed. No medical supplies permitted through the lobby. Guards stood at the main doors checking identification.

Kitty's muscles deteriorated faster under the physical strain. She couldn't walk. When the phone lines went dead, the fourth floor lost contact with the press. The government waited for the quiet.

Kitty dropped to the floor. She realized the barricades were designed for standing adults. The police had blocked the hallways at waist height. They hadn't blocked the linoleum.

The floors were covered in cigarette ash and spilled coffee. She dragged her body through it. She crawled under the barricades to reach the restricted elevator shafts and unguarded offices.

She carried notes in her pockets. She found a single working payphone the FBI missed. She called the local news desks. She called the mayor's office.

She crawled back. When her arms failed, someone pulled her by her ankles. The Black Panthers heard the news reports. They crossed the police lines with hot meals. The FBI could not stop them without a riot.

They shut off the elevators, so she crawled.

The occupation lasted twenty-five days. It remains the longest non-violent occupation of a federal building in American history. On April 28, the Secretary of HEW signed the regulations without a single alteration.

The protesters left the building the next morning. They went back to their apartments. The Rehabilitation Act regulations laid the groundwork for every accessibility law that followed. The HEW building still stands on United Nations Plaza. The elevators run on a schedule. The doors are heavy glass.

Kitty Cone: the woman who crawled under the barricades.

Source: Kitty Cone's oral history, Bancroft Library.

Verified via: National Museum of American History.