the last time I reblogged this post right before I got a great job, in a permanent work-from-home position, with benefits, retirement, and a salary literally 3x what I was making before, doing something I really like. 

So you know. 

Imagine seeing this two, three, eight hundred years after the fact. Imagine this little girl through centuries of time holding up her hand to show you her most precious rock. It’s potent enough now, this intimate knowledge of a complete stranger, this tiny insight into what was explained to her and what she thought was important and who listened to her long enough to let you see it, but imagine centuries in the future. Imagine this little bit of rock that looks like every other bit of rock, with no context and no explanation to it. And then imagine finding/seeing this little sign, and realising that it was Bethan’s rock. That it was a rock that a little girl loved the look of , and picked up, and carried around with her, and when it was explained to her that museums were places where precious things were shown so that other people could see and enjoy them, the precious thing she wanted them to show, that she wanted to show you, was this rock.

This is what material history is. These windows through time into a person’s life and beliefs and mundane treasures, these bridges across centuries where a child a hundred, a thousand, ten thousand years ago can show you her favourite rock.

i’m happy because i signed new contract. i’m happy! they not eat you if you happy!

1. With Roger’s voice actor standing off camera, Bob Hoskins acts into empty air and frantically sawing at his handcuff, continually looking up and down at different visual marks of various depths. Look at the slow pan up of his eyes in gif 4, and then the quick shift to his side. Think about how, on set, he was looking at nothing. 

2. Starting in gif 2, The box must be made to stop shaking, either by concealed crew member, mechanism, or Hoskins own dextrousness, as he is doing all of the things mentioned in point 1. 

3. In all gifs, Roger’s handcuff has to be made to move appropriately through a hidden mechanism. (If you watch the 4th gif closely you can see the split second where it is replaced by an animated facsimile of the actual handcuff, but just for barely a second.)

4. The crew voluntarily (we know this because it is now a common internal phrase at Disney for putting in extra work for small but significant reward) decided to make Roger bump the lamp and give the entire scene a constantly moving light source that had to be matched between the on set footage and Roger. This was for two reasons, A) Robert Zemeckis thought it would be funnier, and B) one of the key techniques the crew employed to make the audience instinctually accept that Toons coexisted with the live action environment was constant interaction with it. This is why, other than comedy, Roger is so dang clumsy. Instead of isolating Toons from real objects to make it easier for themselves, the production went out of its way to make Toons interact more with the live action set than even real actors necessarily would, in order to subtly, constantly remind the audience that they have real palpable presence. You can watch the whole scene here, just to see how few shots there are of Roger where he doesn’t interact with a real object. 

The crew and animators did all of this with hand drawn cell animation without computerized special effects. 1988, we were still five years out from Jurassic Park, the first movie to make the leap from fully physical creature effects to seamlessly integrating realistic computer generated images with live action footage. Roger’s shadows weren’t done with CGI. Hoskin’s sightlines were not digitally altered. Wires controlling the handcuff were not removed in post. 

After setting up a rudimentary website for CARP, the satirical, but still real company was offered a $15 million package of medical debt for $60,000.

Oliver explained that the debt was out of statute, which means it is the kind of debt that a collector can only continue to collect, but not sue the debtor for.

RIP Medical Debt is a charity (and therefore takes donations). They buy the rights to medical debt and then forgive them. So far they’ve forgiven over 1B in medical debt.

Determined, he found that the “hauntings” stopped when the industrial air conditioning unit, that had just recently been installed, was turned off. We’ve found that measurable micro vibrations in a structure cause immense fear, and a feeling of a presence and corner eye hallucinations – just like when you watch a scary movie alone at night and you see things move in the corner of your eye or are afraid to go in the cellar because you’re convinced someone’s in there.

Why?

Because many members of our species built homes in and around cliffs and caves for tens of thousands of years. And it’s likely that these certain shaky vibrations give us intense fear and a need to move far away because that would have saved our lives if the cave were collapsing or unstable.

You know what also causes infrasound? A LOT of machines, especially large industrial ones. There’s a reason haunted house stories started popping up in post industrialization. That scientist was Vic Tandy and he wrote about it in a the paper Ghosts in the Machines

like, what other song can make that claim?

The crowd cheering after the first stanza when they realize what they’re all doing

So many people audibly ‘doing the guitar parts’… like ya do

The sheer number of voices joining the rediculous falsetto (thanks, Roger)

How they all start jumping at the ramp-up “so you think you can stomp me”

There’s good reason why, nearly fifty years after the height of their career, Queen is still considered one of the best bands of all time ever.

Okay. You’re back? Welcome back. Unless you’re a trained singer, you probably can’t do it. There are too many long notes, too many key changes, and too many places where–if you’re singing all the parts–you’re just up and down the scale too damned fast. I’m saying this as a trained singer and I can’t do it. I always crack on “magnifico” and “leave me to die,” and I have a pretty decent range, but I know I sound ugly as hell on that final coda.

Okay. Now that we’ve established that, I want to talk a little about singing as a chorus. One of the things a lot of people learned during the pandemic is how hard it is to take twenty people, all in different places, and stitch them together to make a single coherent song with perfect pitch and timing. You’re all practicing on slightly your own tempo, slightly your own key, even if you’re all working from the same base track. (You can see this in a lot of the Wellerman compilations from Tiktok, where someone always says “Soon” a moment before everyone else on “soon may the Wellerman come.”) When you have a chorus comprised of many smaller choruses that are all traveling to be together, this is what dress rehearsal is for–to get all of you onto the same tempo so you’re starting and finishing at exactly the same time. This is a thing that normally only happens after at least several days of practice, and it is an important skill that must be taught. You’re not just born knowing how to do this.

I do not know how many people at that Green Day concert were trained singers. But I do know there is no way in hell all few thousand of them were a single group–they showed up a few at a time, maybe even flying solo for the night. Now go and listen to the video again. Listen to the ends of verses and the pickups. They’re fucking crisp as hell. Everyone is starting and ending at the same place. Not even a single note off. (And yes, you can hear when it’s a single note off, even in a crowd that big. A handful of people would be enough to throw it off.) And while a few in the crowd may be off-key, so many more are on-key that the cumulative effect is of the song being on-key. This isn’t even the band they’re there to see.

They don’t just know this song, this technically-difficult song, this long and complex song by a completely different band. They know it perfectly. They know it down to the fucking note. They know it so well that they did it in perfect synchrony, without a single chance to practice.

The maximum weight that a vehicle is allowed to carry on the Interstate System per federal law is 80,000 pounds gross vehicle weight (with a max of 20,000 pounds per axle). That’s 40 tons. That limit applies to every inch of pavement, not just the bridges. Since this is a known cap, a new Interstate bridge will be designed to accommodate an 80,000 lb GVW load on it. You could say the bridge’s weight limit is 80,000 lb/40 tons but that doesn’t really have much meaning, because a load higher than that would be illegal to transport on public roads anyway, and the road leading up to the bridge has the same weight restriction. (In practice, the bridge doubtlessly will be designed to have a little bit of let to it just in case some idiot tries to squeak by a few hundred extra pounds.)

Now, note that that law applies to the Interstate System only, because the federal government only has a governing interest in the Interstate System (and other roads that together make up something called the National Highway System) because they partially fund it. Most long-distance roads are owned and funded by the states. The states could theoretically set lower standard weight limits and/or design bridges with lower weight limits...but in practice they don’t.

One, because all of that 80,000 lb GVW traffic on the Interstate system has to go somewhere when it exits the system.

Two, because a group called the American Association of State Highway and Transportation Officials (AASHTO, who are best known for picking the road numbers) maintains a catalog of standard components for making bridges that meet Interstate System requirements. Engineers are expensive on a per-hour basis, so if you can direct your engineer to use standard components and make a standard bridge, that’s a lot cheaper than having them design a bridge from scratch to go over the creek in Nowheresville. As a result, most new bridges meet Interstate standards and have an 80,000 lb GVW rating even if they aren’t on the Interstate system. (This is also why all new bridges kind of look the same, but we’re not worried about how boring the bridges are for the sake of this post.)

So a bridge only has an explicit weight limit if it has been damaged in some way (through failure to properly maintain it usually) or because it predates the application of Interstate System standards and the standard AASHTO bridges.

Older bridges often have other problems in addition to the weight limits: many older designs are what we call “fracture critical”, which means that if one component of the bridge fails the whole thing collapses. Modern bridge designs have redundancy designed into them so that if one beam fails the other beams will carry the load until the damaged beam can be replaced. Older bridges also often don’t meet other standards, like height (16 ft clearance) and width (12 ft per lane plus 14 ft for shoulders) requirements.

The writer of two of the most well known stories worldwide, The Three Musketeers and The Count of Monte Cristo was a black man. 

chose to take on his slave grandmother’s last name, Dumas, like his father did before him.

grew up too poor for formal education, so was largely self-taught, including becoming a prolific reader, multilingual, well-travelled, and a foodie, resulting in his writing both a combination encyclopedia/cookbook (which just— is fucking outrageous to me) AND the adaptation of The Nutcracker on which Tchaikovsky based his ballet

he also wrote a LOOOOT of nonfiction and fiction about history, politics, and revolution, bc he was pro-monarchy, but a radical cuss, and that got him in a lot of hot water at home and abroad.

even beyond that, he generally put up with a lot of racist bullshit in France, so he went and wrote a novel about colonialism and a BLATANTLY self-insert anti-slavery vigilante hero (which he then cribbed from to write the Count of Monte Cristo, the main character of which, Edmond Dantés, Dumas also based on himself).

(…a novel which also features a LOAD of PoC beyond the Count, and at LEAST one queer character, btw, bc EVERY MOVIE ADAPTATION OF ANYTHING BY DUMAS IS A LIE; seriously, at LEAST one of the four Musketeers is Black, y'all.)

famously, when some fuckshit or other wanted to come at Dumas with some anti-Black foolishness, Dumas replied, “My father was a mulatto, my grandfather was a Negro, and my great-grandfather a monkey. You see, Sir, my family starts where yours ends.”

for the bicentennial of his birthday, Pres. Jacques Cirac was like, “…sorry about the hella racism,” and had Dumas’s ashes reinterred at the Panthéon of Paris, bc if you’re gonna keep the corpses of the cream of the crop all together, Dumas’s more widely read and translated than literally everybody else.

and they are still finding stuff old dude wrote, seriously; like discovering “lost” works as recently as 2002, publishing stuff for the first time as recently as 2005.

ALSO IMPORTANT:

daddy general dumas was an immense fierce french warrior who was a 6 foot plus, stunningly gorgeous and charismatic Black gentleman 

he invaded egypt

the native egyptians said “is this napoleon? this must be napoleon. we for one welcome our majestic new overlord”

then napoleon showed up

napoleon has all the presence of yesterday’s plain Tesco hummus

the native egyptians were like “… no… no, we’ve thought very hard and we’ll have General Dumas actually”

this did not make napoleon happy

in fact it made him jealous

…and like this…

…while “Napoleon has all the presence of yesterday’s plain Tesco hummus“…

:-D

I suspect Alexandre Dumas would have laughed at that, because besides looking like someone who laughed a lot…