#2017/05/10

[findingcasualmagic]

can't stop. won't stop.

[sugdensdingle]

10/11/17 -> 05/11/24

[shallowseeker]

In a way, Sam "killed" his father before he was even born.

Azazel was protecting his own vision for how Sam's life should play out:

///

And in a way Jack "killed" Cas, too, before he was even born. Lucifer was protecting his own vision for how Jack's life should play out:

[mostlysignssomeportents]

Google’s new phones can’t stop phoning home

On OCTOBER 23 at 7PM, I'll be in DECATUR, presenting my novel THE BEZZLE at EAGLE EYE BOOKS.

One of the most brazen lies of Big Tech is that people like commercial surveillance, a fact you can verify for yourself by simply observing how many people end up using products that spy on them. If they didn't like spying, they wouldn't opt into being spied on.

This lie has spread to the law enforcement and national security agencies, who treasure Big Tech's surveillance as an off-the-books trove of warrantless data that no court would ever permit them to gather on their own. Back in 2017, I found myself at SXSW, debating an FBI agent who was defending the Bureau's gigantic facial recognition database, which, he claimed, contained the faces of virtually every American:

https://www.theguardian.com/culture/2017/mar/11/sxsw-facial-recognition-biometrics-surveillance-panel

The agent insisted that the FBI had acquired all those faces through legitimate means, by accessing public sources of people's faces. In other words, we'd all opted in to FBI facial recognition surveillance. "Sure," I said, "to opt out, just don't have a face."

This pathology is endemic to neoliberal thinking, which insists that all our political matters can be reduced to economic ones, specifically, the kind of economic questions that can be mathematically modeled and empirically tested. It would be great if all our thorniest problems could be solved like mathematical equations.

Unfortunately, there are key elements of these systems that can't be reliably quantified and turned into mathematical operators, especially power. The fact that someone did something tells you nothing about whether they chose to do so – to understand whether someone was coerced or made a free choice, you have to consider the power relationships involved.

Conservatives hate this idea. They want to live in a neat world of "revealed preferences," where the fact that you're working in a job where you're regularly exposed to carcinogens, or that you've stayed with a spouse who beats the shit out of you, or that you're homeless, or that you're addicted to Oxy, is a matter of choice. Monopolies exist because we all love the monopolist's product best, not because they've got monopoly power. Jobs that pay starvation wages exist because people want to work full time for so little money that they need food-stamps just to survive. Intervening in any of these situations is "woke paternalism," where the government thinks it knows better than you and intervenes to take away your right to consume unsafe products, get maimed at work, or have your jaw broken by your husband.

Which is why neoliberals insist that politics should be reduced to economics, and that economics should be carried out as if power didn't exist:

https://pluralistic.net/2024/10/05/farrago/#jeffty-is-five

Nowhere is this stupid trick more visible than in the surveillance fight. For example, Google claims that it tracks your location because you asked it to, by using Google products that make use of your location without clicking an opt out button.

In reality, Google has the power to simply ignore your preferences about location tracking. In 2021, the Arizona Attorney General's privacy case against Google yielded a bunch of internal memos, including memos from Google's senior product manager for location services Jen Chai complaining that she had turned off location tracking in three places and was still being tracked:

https://pluralistic.net/2021/06/01/you-are-here/#goog

Multiple googlers complained about this: they'd gone through dozens of preference screens, hunting for "don't track my location" checkboxes, and still they found that they were being tracked. These were people who worked under Chai on the location services team. If the head of that team, and her subordinates, couldn't figure out how to opt out of location tracking, what chance did you have?

Despite all this, I've found myself continuing to use stock Google Pixel phones running stock Google Android. There were three reasons for this:

First and most importantly: security. While I worry about Google tracking me, I am as worried (or more) about foreign governments, random hackers, and dedicated attackers gaining access to my phone. Google's appetite for my personal data knows no bounds, but at least the company is serious about patching defects in the Pixel line.

Second: coercion. There are a lot of apps that I need to run – to pay for parking, say, or to access my credit union or control my rooftop solar – that either won't run on jailbroken Android phones or require constant tweaking to keep running.

Finally: time. I already have the equivalent of three full time jobs and struggle every day to complete my essential tasks, including managing complex health issues and being there for my family. The time I take out of my schedule to actively manage a de-Googled Android would come at the expense of either my professional or personal life.

And despite Google's enshittificatory impulses, the Pixels are reliably high-quality, robust phones that get the hell out of the way and let me do my job. The Pixels are Google's flagship electronic products, and the company acts like it.

Until now.

A new report from Cybernews reveals just how much data the next generation Pixel 9 phones collect and transmit to Google, without any user intervention, and in defiance of the owner's express preferences to the contrary:

https://cybernews.com/security/google-pixel-9-phone-beams-data-and-awaits-commands/

The Pixel 9 phones home every 15 minutes, even when it's not in use, sharing "location, email address, phone number, network status, and other telemetry." Additionally, every 40 minutes, the new Pixels transmit "firmware version, whether connected to WiFi or using mobile data, the SIM card Carrier, and the user’s email address." Even further, even if you've never opened Google Photos, the phone contacts Google Photos’ Face Grouping API at regular intervals. Another process periodically contacts Google's Voice Search servers, even if you never use Voice Search, transmitting "the number of times the device was restarted, the time elapsed since powering on, and a list of apps installed on the device, including the sideloaded ones."

All of this is without any consent. Or rather, without any consent beyond the "revealed preference" of just buying a phone from Google ("to opt out, don't have a face").

What's more, the Cybernews report probably undercounts the amount of passive surveillance the Pixel 9 undertakes. To monitor their testbench phone, Cybernews had to root it and install Magisk, a monitoring tool. In order to do that, they had to disable the AI features that Google touts as the centerpiece of Pixel 9. AI is, of course, notoriously data-hungry and privacy invasive, and all the above represents the data collection the Pixel 9 undertakes without any of its AI nonsense.

It just gets worse. The Pixel 9 also routinely connects to a "CloudDPC" server run by Google. Normally, this is a server that an enterprise customer would connect its employees' devices to, allowing the company to push updates to employees' phones without any action on their part. But Google has designed the Pixel 9 so that privately owned phones do the same thing with Google, allowing for zero-click, no-notification software changes on devices that you own.

This is the kind of measure that works well, but fails badly. It assumes that the risk of Pixel owners failing to download a patch outweighs the risk of a Google insider pushing out a malicious update. Why would Google do that? Well, perhaps a rogue employee wants to spy on his ex-girlfriend:

https://www.wired.com/2010/09/google-spy/

Or maybe a Google executive wins an internal power struggle and decrees that Google's products should be made shittier so you need to take more steps to solve your problems, which generates more chances to serve ads:

https://pluralistic.net/2024/04/24/naming-names/#prabhakar-raghavan

Or maybe Google capitulates to an authoritarian government who orders them to install a malicious update to facilitate a campaign of oppressive spying and control:

https://en.wikipedia.org/wiki/Dragonfly_(search_engine)

Indeed, merely by installing a feature that can be abused this way, Google encourages bad actors to abuse it. It's a lot harder for a government or an asshole executive to demand a malicious downgrade of a Google product if users have to accept that downgrade before it takes effect. By removing that choice, Google has greased the skids for malicious downgrades, from both internal and external sources.

Google will insist that these anti-features – both the spying and the permissionless updating – are essential, that it's literally impossible to imagine building a phone that doesn't do these things. This is one of Big Tech's stupidest gambits. It's the same ruse that Zuck deploys when he says that it's impossible to chat with a friend or plan a potluck dinner without letting Facebook spy on you. It's Tim Cook's insistence that there's no way to have a safe, easy to use, secure computing environment without giving Apple a veto over what software you can run and who can fix your device – and that this veto must come with a 30% rake from every dollar you spend on your phone.

The thing is, we know it's possible to separate these things, because they used to be separate. Facebook used to sell itself as the privacy-forward alternative to Myspace, where they would never spy on you (not coincidentally, this is also the best period in Facebook's history, from a user perspective):

https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3247362

And we know it's possible to make a Pixel that doesn't do all this nonsense because Google makes other Pixel phones that don't do all this nonsense, like the Pixel 8 that's in my pocket as I type these words.

This doesn't stop Big Tech from gaslighting* us and insisting that demanding a Pixel that doesn't phone home four times an hour is like demanding water that isn't wet.

*pronounced "jass-lighting"

Even before I read this report, I was thinking about what I would do when I broke my current phone (I'm a klutz and I travel a lot, so my gadgets break pretty frequently). Google's latest OS updates have already crammed a bunch of AI bullshit into my Pixel 8 (and Google puts the "invoke AI bullshit" button in the spot where the "do something useful" button used to be, meaning I accidentally pull up the AI bullshit screen several times/day).

Assuming no catastrophic phone disasters, I've got a little while before my next phone, but I reckon when it's time to upgrade, I'll be switching to a phone from the @calyxinstitute@mastodon.social. Calyx is an incredible, privacy-focused nonprofit whose founder, Nicholas Merrill, was the first person to successfully resist one of the Patriot Act's "sneek-and-peek" warrants, spending 11 years defending his users' privacy from secret – and, ultimately, unconstitutional – surveillance:

https://www.eff.org/deeplinks/2013/03/depth-judge-illstons-remarkable-order-striking-down-nsl-statute

Merrill and Calyx have tapped into various obscure corners of US wireless spectrum licenses that require major carriers to give ultra-cheap access to nonprofits, allowing them to offer unlimited, surveillance-free, Net Neutrality respecting wireless data packages:

https://memex.craphound.com/2016/09/22/i-have-found-a-secret-tunnel-that-runs-underneath-the-phone-companies-and-emerges-in-paradise/

I've been a very happy Calyx user in years gone by, but ultimately, I slipped into the default of using stock Pixel handsets with Google's Fi service.

But even as I've grown increasingly uncomfortable with the direction of Google's Android and Pixel programs, I've grown increasingly impressed with Calyx's offerings. The company has graduated from selling mobile hotspots with unlimited data SIMs to selling jailbroken, de-Googled Pixel phones that have all the hardware reliability of a Pixel, coupled with an alternative app suite and your choice of a Calyx SIM and/or a Calyx hotspot:

https://calyxinstitute.org/

Every time I see what Calyx is up to, I think, dammit, it's really time to de-Google my phone. With the Pixel 9 descending to new depths of enshittification, that decision just got a lot easier. When my current phone croaks, I'll be talking to Calyx.

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

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:

https://pluralistic.net/2024/10/08/water-thats-not-wet/#pixelated

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

[toskarinarchive]

Toskarin Database

Last updated: 2024-08-25, 23:02+00:00

Current Toskarinlike Count: 44

toskarin-blog - First post (2017-11-14, 08:38)

toskarin - First post (2021-09-08, 21:59)

niraksot - First post (2022-10-25, 23:55)

toskarinfr (original, deleted) - First post (2023-05-26)

toskarinfr - First post (2023-12-08, 14:05)

toskarinpl - First post (2023-12-19, 22:31)

yoskarin - First post (2023-12-21, 04:18)

toskarintetris - First post (2024-02-13, 02:26)

kojmahid - First post (2024-02-14, 21:53)

toskarinalternia - First post (2024-02-15, 00:21)

yamitoskarin - First post (2024-02-16, 21:09)

toskarinus - First post (2024-02-22, 20:41)

shkinamiasuka - First post (2024-02-23, 19:51)

toskarintoast - First post (2024-02-28, 08:14)

toskarinnl - First post (2024-03-01, 16:01)

toskarinjp - First post (2024-03-01, 16:31)

toskarinfrfr - First post (2024-03-01, 21:18)

toskarines - First post (2024-03-01, 21:36)

arturigon - First post (2024-03-01, 23:11)

tossedkarin - First post (2024-03-01, 23:41)

toskarin-gpl - First post (2024-03-02, 01:04)

cambrarin - First post (2024-03-02, 01:47)

toskarinhole - First post (2024-03-02, 01:58)

toskarininthecornerofyourvision - First post (2024-03-02, 04:37)

toskarinkr - First post (2024-03-02, 05:27)

toskarinarchive - First post (2024-03-02, 07:05)

toskarinde - First post (2024-03-02, 18:04)

toskarinternetexplorer (deleted) - First post (2024-03-03, 21:23)

tezkarin - First post (2024-03-04, 19:51)

castgil-cmd - First post (2024-03-05, 01:46)

Oskar In (LinkedIn) - First post (2024-03-05, 20:50)

toskarincoffee - First post (2024-03-06, 01:42)

newtoskarin - First post (2024-03-06, 07:58)

halimedefr - First post (2024-04-13, 00:17)

homumi - First post (2024-05-05, 04:40)

toskalain - First post (2024-05-18, 19:57)

ntriderpt - First post (2024-06-13, 17:00)

ntriderie - First post (2024-06-17, 20:47)

cyberbunes - First post (2024-06-20, 17:18)

bulletliger - First post (2024-06-25, 04:20)

kirikomamurafr - First post (2024-06-25, 07:13)

freyalisefr - First post (2024-06-26, 02:06)

ntriderbr - First post (2024-06-26, 04:03)

toskarinbunny - First post (2024-07-06, 21:09)

ingridgal - First post (2024-08-21, 04:32)

[louisupdates]

By Ed Power | Sat Nov 30 2024 - 05:15

During the pandemic the songwriter and producer James Vincent McMorrow would rise early, go for a run and write songs for Louis Tomlinson, of One Direction.

“I actually made half of a record for him,” he says. Tomlinson’s team “had a lot of songs but maybe not a lot that he was as into as he wanted to be. I think they were maybe looking for a weirdo. So they reached out to me. I love him. He’s a fascinating human being. I absolutely loved making that album,” adds McMorrow, who is about to start a tour of Ireland.

When it comes to potential collaborators with a boy band megastar, McMorrow’s name is not the first that springs to mind. He’s an indie songwriter whose open-veined, falsetto-driven pop has been compared to that of folkies such as Bon Iver and Sufjan Stevens. But Tomlinson was a fan of the Dubliner’s beautifully wrought music. He wasn’t alone: Drake famously sampled McMorrow on his 2016 track Hype.

One of the tracks they wrote together, The Greatest, would serve as the opener to Tomlinson’s second LP, Faith in the Future. As is often the way with the music industry, the rest are in a vault somewhere. Still, for McMorrow the opportunity to work with a pop star was about more than simply putting his craft in front of a wider audience. The call from Tomlinson’s team had come at a low point for the Irishman, who had become mired in confusion and doubt after signing to a major label for the first time in his career.

Executives at Columbia Records had recognised potential in McMorrow as an artist who bridged the divide between folk and pop. The fruits of that get-together would see daylight in September 2021 as the excellent Grapefruit Season LP, on which McMorrow teamed up with Paul Epworth, who has also produced Adele and Florence Welch.

The album was a beautifully gauzy rumination on the birth of his daughter and the muggy roller coaster of first-time parenthood. It went top 10 in Ireland and breached the top 100 in the UK. Yet the experience of working within the major-label system was strange for McMorrow, who at that point had been performing and recording for more than a decade. He didn’t hate it. But he knew he didn’t ever want to do it again.

“It was a weird time. I stopped touring in 2017. My daughter was born in 2018. I signed with Columbia Records at the same time and made a record that ... There were moments within it I was proud of. But fundamentally, I think if I was being very honest, I would say that I definitely got lost in the weeds of what the music industry wanted for me rather than what I wanted for myself.”

[…]

McMorrow grew up in Malahide, the well-to-do town in north Co Dublin; as a secondary-school student he suffered debilitating shyness. In 2021 he revealed that he had struggled with an eating disorder at school, ending up in hospital (“Anorexia that progressed into bulimia”). He was naturally retiring, not the sort to crave the spotlight. But he was drawn to music. “It was definitely a difficult journey,” he says. He wasn’t alone in that. “The musicians that tend to cut through and make it ... A lot of my friends, musicians that are successful, they’re not desperate for the stage.”

The Tomlinson collaboration was part of his strange relationship with the mainstream music industry. It went back to McMorrow’s third LP, Rising Water, from 2016. A move away from his earlier folk-pop, the project had featured engineering from Ben Ash, aka Two Inch Punch, a producer who had worked with chart artists such as Jessie Ware, Sia and Wiz Khalifa.

That was followed by the Drake sample in 2016 and by McMorrow writing the song Gone, which was at one point set to be recorded by a huge pop star whom he’d rather not identify.

“Gone is the red herring of red herrings in my entire career. I wrote that song for other people. I didn’t write it for myself. The whole reason I signed to Columbia Records and I had all these deals was because of Gone. I was very happy tipping away in my weird little world. And then I wrote that song, and a lot of bigger artists came in to try to take it,” he says.

“I won’t name names. There were recordings of it done. It got very close to being a single for someone else. I would go in these meetings with all these labels, and I would play it for them – just to play. Not with any sense of ‘This is my song.’ And they were, like, ‘You’re out of your mind if you don’t take this song. This is the song that will make you the thing that is the thing.’ And I was, like, ‘You’re wrong.’ For a year I basically was, like, ‘I disagree.’ And if you go in a room with enough people enough times and they tell you that you’re crazy ... I loved the song, but I did not love it for me. I never felt I fit. There was a little part of me that wanted to believe.”

As he had predicted, Gone wasn’t a hit. He received a lot of other strange advice, including that he cash in on the mercifully short-lived craze for NFTs by putting out an LP as a watermarked internet file. All of that was swirling in his brain when Tomlinson got in touch. To be able to step outside his own career was exactly what McMorrow needed.

“With Louis it was like boot camp. I had a very limited time with him. I had to wake up every morning, go for a run, write a song in my head, go to the studio. We made songs all day long. It lit a fire in my head again. I loved the process. I like sitting and talking to someone like Louis, who’s had this unbelievably fascinating lifestyle – so much tragedy in his life,” he says. Tomlinson’s mother and sister died within three years of each other, and his 1D bandmate Liam Payne died in October. “So many things have happened to him. I chatted to him and then write constantly. That was a lovely process.”

Because life is strange and full of contrasts McMorrow ended up working with Tomlinson around the same time that he was producing the Dublin postpunk “folk-metal” band The Scratch, on their LP Mind Yourself. “Totally different animals,” he says. “The Scratch album was an intense period in the studio of that real old-school nature of making music. A lot of fights. A lot of pushing back against ideas. A lot of different opinions. And you have to respect everybody’s opinions and find the route through.”

During his brief time on a major label, McMorrow was reminded of the music industry’s weakness for short-term thinking. In 2019, the business was obsessed with streaming numbers and hot-wiring the Spotify algorithm so that your music posted the highest possible number of plays.

“Everyone was driven by stats. ‘This song has 200 million streams.’ ‘That song has 400 million streams.’ I went into my meetings with Columbia Records ... the day I had my first big marketing meeting was the day my catalogue passed a billion streams, which, for someone like me, who started where I started, was a day where I should be popping champagne corks. Instead they immediately started talking about how they have artists that have one song that has two billion streams. So by their rule of thumb I was half as successful as one song by one artist on their label.”

Five years later he believes things have changed. He points to Lankum, a group who will never set Spotify alight yet who have carved a career by doing their own thing and not chasing the short-term goal of a place on the playlist. They are an example to other musicians, McMorrow says.

“I was in Brooklyn, doing two nights, a week and a half ago. In the venue across the road from where we were, pretty much, Lankum were doing two nights and had [the Dublin folk artist] John Francis Flynn opening for them. Those are two artists that, if you were to look at their stats, you wouldn’t be, like, ‘These are world-beating musicians.’ You start aggregating to this stat-based norm and you miss bands like Lankum, bands like The Mary Wallopers, people like John Francis Flynn.”

McMorrow is looking forward to his forthcoming Irish tour, which he sees as another leg of his journey to be his best possible self.

“The last two, three years have been a process of building it back to a version of me that actually made me happy rather than making me cry at night-time – a version that was making music because I liked it. Within this industry there’s so much outside noise. It’s quite overwhelming. I was overwhelmed. It’s been nice to reset the clock.”

In November 2022, McMorrow posted this now deleted Instagram post:

Text: late 2021 I got a phone call asking me if I wanted to come to London to meet @louist91 and possibly write some songs. A few years ago he released a statement talking about changing his path musically, instead of the immediate search for hits, he’d start with music he genuinely loved and see where it got him. Seems like a simple and obvious thing to say, but considering the amount of people just chasing hits with little regard for vision or artistry, a statement like that struck me when I read it. So I was excited to meet him and see what he was about. First day we met we all wrote Common People, second day we wrote Lucky Again. In December of last year we went back in again, finished those ones, wrote and produced 3 others that are also on this album. It was the studio line-up of dreams, @mrfredball @jmoon1066, @riley_mac. Shouts to Louis for letting us do our thing, letting a dork like me come write some weird lyrics and weird melodies, trust us to shape the vision that he had. These last few years were dark at times, but it was moments like that where I remembered why I’m obsessed w music and why it’s all I’ve ever understood. incredibly proud of the work, Holding on to Heartache is genuinely one of my most favourite songs I’ve ever been a part of.

Also I was reading something about the album and it mentioned something about the gospel choir on the bridge of that song… nah man thats’s just 200 stacked of me singing super super high in the studio out back of Fred’s house😂]

[henrykathman]

The Miraculous Horror of Stop Motion

From the same artform that brought you Coraline and Rudolph the Red-Nosed Reindeer, comes three stories that evoke the existential fear of art.

Original Music by Molly Noise

Bibliography below

Atrocity Guide. “The Animators Who’ve Spent 40 Years on a Single Film.” YouTube, 9 Oct. 2021, www.youtube.com/watch?v=73hip3pz0Xs&pp=ygUMdGhlIG92ZXJjb2F0. Accessed 19 June 2024.

Brubaker, Charles. “The Japanese Studios of Rankin/Bass.” Cartoon Research, Jerry Beck, 14 Apr. 2014, cartoonresearch.com/index.php/the-japanese-studios-of-rankinbass/.

Bute, Paris. “Introduction to “a Rankin/Bass Retrospective from a New Perspective.”” Citizen Jane, Stephens College, 19 Nov. 2021, www.citizenjane.org/home/cwwicd2ucb2fvs64kgfaocfykjhaum. Accessed 19 June 2024.

Crome, Althea. “Coraline.” Althea Crome | Micro Knitter, 2012, www.altheacrome.com/coraline. Accessed 19 June 2024.

Harold Halibut. Directed by Onat Hekimoğlu, Slow Bros., 16 Apr. 2024.

Hekimoglu, Onat, and Gabriel Schmitz. “Unite Berlin 2018 - Harold Halibut and Making a Stop Motion Game.” Unity, YouTube, 6 Aug. 2018, youtu.be/9usssSQc0wQ. Accessed 6 May 2023.

Jon "Sikamikanico" Clarke. “The Making of Harold Halibut.” XboxEra, YouTube, 21 Mar. 2024, youtu.be/WMyxM9t3o7A. Accessed 19 June 2024.

LAIKA Studios. “Sweater and Gloves: Knitting Coraline by Hand.” YouTube, 11 July 2017, youtu.be/zUvkfcGR-7U. Accessed 19 June 2024.

Mad God Productions. “Phil Tippett’s “Mad God.”” Kickstarter, 17 May 2012, www.kickstarter.com/projects/madgod/phil-tippetts-mad-god/posts.

Olson, Mathew. “Report: Michel Ancel Accused of Abusive, Disruptive Practices on beyond Good & Evil 2.” VG247, 25 Sept. 2020, www.vg247.com/report-michel-ancel-accused-of-abusive-disruptive-practices-on-beyond-good-evil-2. Accessed 19 June 2024.

Ono, Kosei. “Tadahito Mochinaga: The Japanese Animator Who Lived in Two Worlds.” Animation World Network, AWN, Inc, 1 Dec. 1999, www.awn.com/animationworld/tadahito-mochinaga-japanese-animator-who-lived-two-worlds.

Orland, Kyle. “Claptrap Voice Actor Accuses Gearbox CEO of Assault, Underpayment.” Ars Technica, 7 May 2019, arstechnica.com/gaming/2019/05/claptrap-voice-actor-accuses-gearbox-ceo-of-assault-underpayment/. Accessed 19 June 2024.

Pilling, Jayne. A Reader In Animation Studies. Indiana University Press, 1998. Project MUSE muse.jhu.edu/book/40033.

Prehistoric Beast. Directed by Phil Tippett, Tippett Studios, 1984. https://www.youtube.com/watch?v=hlaXIRTjNfo

Randles, Jonathan. “VFX Studio with Star Wars, Jurassic Park Credits Goes Bankrupt.” Bloomberg Law, 1 May 2024, news.bloomberglaw.com/bankruptcy-law/vfx-studio-with-star-wars-jurassic-park-credits-goes-bankrupt. Accessed 19 June 2024.

Shanley, Patrick. “Gearbox Software CEO Accused of Contempt in Latest Filing.” The Hollywood Reporter, 27 Aug. 2019, www.hollywoodreporter.com/business/digital/gearbox-software-ceo-accused-contempt-latest-filing-1235064/. Accessed 19 June 2024.

The Making of “Jurassic Park.” Directed by John Schultz, Amblin Entertainment, 1995. https://youtu.be/8r01mk6F_Pk

The Making of Mad God. Directed by Maya Tippett, Shudder, 2021. https://youtu.be/sfUOHh0xmwc

The Tale of the Fox. Directed by Irene Starewicz and Ladislas Starevich, UFA GmbH, 10 Apr. 1941. https://youtu.be/Us_Pn6Q1dBQ

Wikipedia contributors. "List of films with longest production time." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 12 Jun. 2024. Web. 19 Jun. 2024.

Wikipedia contributors. "List of media notable for being in development hell." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 19 Jun. 2024. Web. 19 Jun. 2024.

Wikipedia contributors. "List of Rankin/Bass Productions films." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 9 Jun. 2024. Web. 19 Jun. 2024.

Wikipedia contributors. "Tadahito Mochinaga." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Nov. 2023. Web. 19 Jun. 2024.

Wilson, Josh. “Phil Tippett: 24 Frames per Second < the Fabulist Words & Art.” The Fabulist Words & Art, 5 Nov. 2021, fabulistmagazine.com/24-frames-per-second-the-phil-tippett-interview/.

Worse than the Demon. Directed by Maya Tippett, Shudder, 2013. https://youtu.be/ghKqvDNRe4c

[jokeroutsubs]

Joker Out Masterpost for new fans

New fan of Joker Out? Say no more! 

Getting to know a new artist you’ve found can be intimidating if it’s all in another language, so we’ve compiled some of our favourite interviews, articles and lore here! You’ve arrived in a wonderful fanbase, welcome from all of us here at JokerOutSubs! 

If you’d just like a short overview of the band and their history, you can watch this excellent Finnish summary of them that we’ve translated (14m 53s).

But if you want to dive into the details, then check out our timeline, full of videos and articles translated by JokerOutSubs! 

Timeline graphic:

Timeline in details below the cut 👇

Timeline in details: 

How did the band form? 

Joker Out was formed from two bands, Apokalipsa and Buržuazija. 

Apokalipsa included Bojan Cvjetićanin (vocals), Martin Jurkovič (bass) and Matic Kovačič (drums) 

They gained some traction with young people around Slovenia, particularly with their song 'Mogoče' ('Maybe'), which you can watch on YouTube here.

They came to the attention of Kris Guštin, who was inspired to start learning guitar! He discusses the details in this video (at 9:40). 

Kris then met Jan Peteh, another student of his guitar teacher, and at their teachers advice, they formed the band Buržuazija. 

Bojan attended their second ever gig in 2016, and decided these two excellent guitarists were exactly what had been missing from Apokalipsa, as he wasn’t happy with their current guitarists. He asked them to join, and they accepted

The new lineup (Bojan, Jan, Kris, Martin and Matic) decided to rename themselves Joker Out. The name means nothing, but they thought it sounded good and was the ‘least horrible’ of all the ideas they could think of. 

So, in 2016, Joker Out was officially formed! 

November 2016, Kot srce ki kri poganja: 

Joker Out’s first music video was for their song ‘Kot srce ki kri poganja’ ('Like a heart that pumps blood'), filmed in Jan’s hometown of Vrhnika! We eventually got this song on Spotify on their 2023 album Live from Arena Stožice!

Music video: Kot srce ki kri poganja

English Interview (from 3:37 to 6:05): Joker Out discusses filming the music video

June 2017, Špil Liga:

One of the earliest performances for Joker Out was at Špil Liga, a competition for young bands in Slovenia. They won, and recorded their winning song, Omamljeno telo (intoxicated body) in November as part of the prize. 

Live (33m): Joker Out at Špil liga

Interview (5m): Reflections on Špil Liga in 2023 

c.2017/18, Bojan’s attempt at going solo:

The band took a hiatus c.2017/18, and Bojan considered going solo at that time, even working with a few producers. He eventually realised that he belonged with the band! Hear him tell the story:

Reel (1m 23s): A1 Vajb - Bojan’s fail

2019, A change up for the band:

The band began working with their current producer, Žare Pak, and their videographer Mark Pirc, in 2019 - both of whom have been referred to as the sixth member of the band. This led to a change in their sound and production quality, which culminated in ‘Gola’ ('Naked'), the first of their songs to be a big hit!

Music video: Gola

Zlata piščal ('Golden Flute') - Best New Artist 2019:

Joker Out won their first Zlata piščal award in 2019, for best new artist (one of many they’d go on to win!) This is a kind of Slovenian Grammy! Covid interrupted the proceedings, but you can see their interview for it here (3m 59s)- 

Interview: Joker Out wins a Zlata piščal ('Golden Flute') for Best New Artist 2019

Umazane misli, and a new member: 

During the Covid times, the band began recording their first studio album, 'Umazane misli' ('Dirty thoughts'), which was originally going to be released in March 2020 but was repeatedly delayed until October 2021. The first half was recorded with drummer Matic Kovačič, but the band felt they needed something extra and brought in Jure Maček to help write the arrangements. They loved him so much, he never left! 

Interview (from 10:40 to 11:36): Bojan talks briefly about Jure joining the band

COVID times, and Cvetličarna: 

The band had arranged to do two concerts at Cvetličarna, a very important venue in Slovenia and a big break for them. This was delayed several times due to Covid, but eventually managed to go ahead in October 2021 for the release of their first album. 

Video (1m 14s): Cvetličarna promotional video

Live (1h 28m): Joker Out at Cvetličarna

Interview (34m 55s): Bojan discusses Cvetličarna, its importance, and Covid

Umazane misli album launch: 

'Umazane misli' was extremely well received! The band would go on to win two more Zlata piščal awards, Newcomers of the Year in 2020 and Artist of the Year in 2021.

Interview (37m 08s): Umazane misli album presentation

An acting career for Bojan? 

Around the same time as 'Umazane misli' was released, Bojan began considering an acting career. He acted in two episodes of the series ‘Gospod Professor’ and in another series, which was eventually reworked as a film called ‘Kaj pa Ester’ and released in December 2023. He decided music was his passion though, and he wanted to fully focus on that. 

Interview (from 10:04 to 11:30): Bojan discusses his acting career

Interview (2m 11s): Kaj pa Ester interview

Interview (2m 30s): Kaj pa Ester première

Article: Bojan on Kaj pa Ester

September 2022, Križanke:

The band got straight to work writing their second album, 'Demoni' ('Demons'), and decided to present it in September 2022 at Križanke, another hugely important venue in Slovenia. This whole concert wasn’t recorded, but we have an interesting advertisement they did for it, an interview and a clip of one song live from Križanke! 

Video (5m 4s): Full Joker Out Hotline trailers

Interview (2m 16s): Joker Out with parachutes to Križanke?

Live (4m 7s): 'Novi val' ('New wave') live at Križanke

Interview (44m 35s): Demoni album presentation

Another new member! 

After Križanke at the end of 2022, Martin Jurkovič, one of the founding members of the band, made the decision to leave to focus on his studies.

Video (2m 20s): Martin's departure

Thankfully, he was replaced by the wonderful Nace Jordan, who remains the bassist in the current lineup.

Article: Nace Jordan discusses joining the band

2023, Eurovision:

Joker Out were then internally selected to go to Eurovision 2023, and began recording their Eurovision song, 'Carpe Diem', in Hamburg in December 2022. To learn more, you can watch the Carpe Diem series, a documentary series which followed their entire journey. 

The first episode, recording Carpe Diem, can be found with subtitles in multiple languages by JokerOutSubs!

Video (16m 41s): Carpe Diem Ep. 1 - Hamburg

The band performed their song for the first time live on Misija Liverpool, a televised debut, on the 4th February 2023.

Video (27m): Joker Out performing at Misija Liverpool

There are quite literally hundreds of interviews with Joker Out during the Eurovision era. Here's one from just before the final, that we have translated.

Interview: Joker Out before the final on the 13th May

And a few English interviews that became famous in the fanbase! 

Interview (24m 29s): Eurovanja

Interview (8m 10s): Seize the Day situations

Interview (17m 18s): Tiktok Live

Interview (6m 30s): ‘Never have I ever’

Interview (14m 12s): Madrid Eurovision

Result

Joker Out came 21st at Eurovision, which they were satisfied with.

Interview (1m 36s): Bojan talks about their results

European tour and Sunny Side of London (22nd September)

Luckily, the best was still to come for Joker Out! The rest of 2023 was spent on an extremely successful European tour, and they also released their first English single, 'Sunny Side of London', in September. 

We at JokerOutSubs were also thrilled to interview the band twice on their tour!

Original Interview (15m 25s): JokerOutSubs interview in Tampere

Original Interview (14m 37s): JokerOutSubs interview in Poznań

6th of October 2023, Stožice:

All of this, however, was building up to Stožice. This is the biggest closed venue in Slovenia and Joker Out managed to sell out their October show there - an extremely important milestone for Slovenian artists. 

Interview (15m 4s): Stožice and their whirlwind post Eurovision career

Live: Full concert live-streamed part 1 and part 2

A lovely moment at Stožice was when former members Martin Jurkovič and Matic Kovačič joined the band onstage to perform 'Kot srce ki kri poganja'!

Interview (2m 4s): Martin and Matic discuss the experience

Interview (5m 9s): Joker Out post Stožice impressions

London era and Everybody’s Waiting: 

Joker Out spent the beginning of 2024 in London, where they wrote new music, did live cooking shows on Instagram and met the incredibly talented photographer, Damon Baker, who did a beautiful series of photoshoots with them. They also released their next English single, 'Everybody’s Waiting', in February. 

They sat down with us at JokerOutSubs to discuss all this on the 20th February!

Original Interview (59m 13s): JokerOutSubs interview in London

March and April 2024, ‘See you soon’ tour:

The boys then embarked on the ‘See you Soon’ tour, another very successful European tour. They played three new songs live during the tour, two of which we translated from the concert videos of our members!

Live:  First performance of 'Bluza' ('Blouse')

Live: First performance of the hugely popular 'Šta bih ja' ('What would I')

We at JokerOutSubs also interviewed the band a fourth time in Padova!

Original Interview (22m 7s): JokerOutSubs interview in Padova

Now you know a little bit about Joker Out’s history, let’s look a little bit at the members of the band as individuals! 

Who are the members?

Bojan Cvjetićanin - singer

Charming, charismatic and an all round green flag, deep down we’re all Bojan girlies! See him here on Cosmopolitan's Blind date, Portrait with Coffee and a lovely interview he did for Delo! 

Interview (8m 49s): Cosmopolitan's Blind date

Interview (18m 3s): Portrait with Coffee

Article: “If we believed that we were “kings”, that wouldn’t be us”

Jan Peteh - guitarist

The mysterious mathematician of the band, Jan and his cat Igor have stolen the hearts of the fanbase. Here he is on Undercover Mathematician and on Metropolitan podcast with ex bassist Martin! 

Interview (3m 26s): Undercover mathematician

Interview (43m 57s): Jan and Martin on Metropolitan podcast

Kris Guštin - guitarist

Known for his organisational expertise, 'slay pose' and 'cake baking skills,' Kris stays fabulous on and off stage!

Video (1m 5s): NGVOT backstory (Kris’ breakup) at Cvetličarna

Article: Interview with the entire Guštin family

Jure Maček - drummer

Described consistently by his band mates as ‘čaga’ (party), Jure brings a chaotic energy to Joker Out that we love to see!

Video (41s): Jure’s cheating (in school!) story

Interview (18m 3s): Sunday Chat on Radio 94

Nace Jordan - bassist

The oldest member of Joker Out, Nace is a genuine sweetheart who fit like a glove into Joker Out despite joining much later! 

Article: "Enriched by a special [Eurovision] experience"

Interview (18m 24s): Interview with JokerOutSubs in Umag

Get to know the whole band! 

They mostly do interviews together, so here are some of our favourites!

Interview (16m 52s): Vičstock Unplugged

Video (7m 3s): Joker Out pre-Križanke Instagram Q&A compilation

Interview (54m 42s): Multisciplinary panel at Bežigrad High School

Article: Joker Out for DELO

Article: Joker Out for Mladina magazine

Interview (6m 42s): Joker Out for RTV SLO

Interview (1h 1m): Joker Out for N1 podkast

We hope you’ve enjoyed learning a bit more about our favourite band! 

If you’d like even MORE translated interviews, articles and Instagram stories, you can find us on Tumblr, X, Facebook, Instagram, TikTok, YouTube and Spotify under the name JokerOutSubs!

P.S: If you wish to share this post with new fans, we also provided QR codes!

[thealieninhiding]

The Katie McGrath Archives (WIP)

A repository of my ongoing digital archeology & archival work please contact me if you have anything to contribute and buy me a coffee if you value my content

Updates

(last updated 2025-01-14)

2025-01-14

Scans:

2008-10 InStyle (LQ)

2009 DRAMA Magazine (LQ)

2009-10 The Sunday Times Style (Ireland)

2010-10 Tatler

2010-12 InStyle

2011-02 Instyle (LQ)

2011-07 Tatler (LQ)

2011-10 Sunday Independent

2012-03-14 Sci-FiNow

2012-03-23 The Lady Magazine

2024-07-03

Scans:

2014-02-07 London Times - Dracula sets

Audio:

(Un)likeminded 2x02 How to Survive The Apocalypse

2024-05-24

Video:

2017 Katie McGrath interview [CW|KMcGsource]

2017 Supergirl Season 3 Sweet dreams (are made of this) Music Video

2017 CW SDCC Promo Supergirl and Arrow

2019-01-01 The CW Promo Open To All

2021-04-25 Supergirl Season 6 Katie McGrath Lena Luthor

2021-09-15 Supergirl Season 6 Katie McGrath Reflecting on Supergirl

2024-05-22

Audio:

Interview - 2009-07-17 Katie McGrath Mr Media interview

Interview - 2009-10-15 Geek Syndicate Merlin BTS special

Video:

BTS - 2008-10-08 Blue Peter Merlin BTS

Events - 2009 TV Choice Awards Digital Spy interview

Events - Getty Videos of 2009 TV Choice Awards, 2010 Merlin Series 3 launch, 2011 W.E. premiere, 2017 King Arthur Premiere

2024-05-17

Archived interviews

2008-12-07 Tribune Magazine - What Katie Did

2011-10-14 What's on TV - Merlin's Katie McGrath- 'Bad girls have more fun!'

2012-12-03 Fanhattan Blog - Colin Morgan, Katie McGrath and Bradley James on Season 5 and The Series Finale

2018-08-01 The TV Junkies - Supergirl SDCC 2018 Interviews- Lena’s Impractical Lab Outfits, the Return of Reporter Kara and a More Grounded Season 4

Audio

HHush samples

Interview - 2009-2011 Sci-fi Talk rewind merlin the series specials episode 1

Interview - 2011? Merlin S4 Sci-fi talk byte katie mcgrath on morgana

Interview - 2013 BBC Radio 1xtra part 1 & part 2

(Un)likeminded 1x02 While You Were Dreaming

Trees a crowd- Irish folklore segment

Magazine scans

2008-09-20 Radio Times

2009-06-08 TV Week (Aus)

2010-09-05 Sunday Express

2010-09-30 Totally Merlin Magazine

2011-12 Total Film

2012-03-14 Sci-Fi Now

2012-10-06 Radio Times

2013-04-06 Irish independent

2013-09-02 Marie-Claire (UK)

2013-12 Instyle

2013-12 Total Film

Video:

Fans - 2012-04-16 Merlin4 [carlospyrrhus]

Fans - 2017-08-30 Supergirl cast together on set [Joyce Law]

Interview - 2009-09-?? Merlin S2 audio interview with Katie McGrath [BJsRealm] part 1

Interview - 2010-09-06 Merlin Series 3 - BBC Radio 1xtra Interview with Angel Coulby & Katie McGrath [BJsrealm]

Interview - 2011-10-14 Merlin S4 Colin Morgan, Eoin Macken Katie McGrath on The Late Late Show

Interview - 2012-07-15 Colin Morgan and Katie McGrath at SDCC 2012 - innerSPACE [merlinnetwork2]

Interview - 2012-07-18 Katie McGrath Talks Merlin At Comic Con 2012 [ThinkHeroTV]

Interview - 2012-10-25 BBC Radio 1 Breakfast - Colin & Katie part 1 & part 2 [BJsRealm]

Interview - 2012-12-03 Merlin S5 Katie McGrath interview international press day [BJsRealm]

Interview - 2012-12-03 Colin, Bradley, Katie phone interview [BJsRealm]

Interview - 2013-11-09 Katie McGrath on BBC One Saturday Kitchen [BJsRealm]

Interview - 2019-07-22 ENTREVISTA SUPERGIRL Elenco fala sobre a nova temporada [Warner Channel Brasil]

Interview - 2019-07-23 Melissa Benoist Teases Directing An Episode Of 'Supergirl' [ET Canada]

Interview - 2020-02-21 ‘Supergirl’ Celebrates 100th Episode [ET Canada]

Panels - 2011-07-28 Merlin Comic Con 2011 Panel [ThinkHeroTV]

[robronpolls]

links to kisses below for proper comparison

04/12/2014 - "Because you know why we're both still here" - first kiss 25/12/2014 - "So... you going home?" - Christmas back room kiss 06/04/2015 - "You're meant to live off sugar!" - Easter kiss 14/04/2016 - "I want to be able to rely on you, Robert." - Officially BoyFriends kiss 14/10/2016 - "Oh, well, he hasn't said yes yet!" - horny pre-proposal boyfriend kiss 23/01/2017 - "Got too much keeping me here these days." - after hours at the pub kiss 21/02/2017 - "I promise I'm gonna be the best husband I can be." - unofficially officially husbands in the garage kiss 25/12/2017 - "What kind of friend would you be to me, Aaron?" - the saddest kiss on the cheek that Christmas has ever seen 22/02/2018 - "Do you want to get dumped again?" "We definitely don't have a song." - officially back together kiss 05/10/2018 - "...I'm delighted to pronounce you husband and husband!" - Officially Official Husbands Kiss 17/10/2019 - "Maybe I'll have a vege patch, then." - "last" kiss in the woods 28/05/2025 - "Not going to punch me again, are you?" - the 'we are so back' kiss <3

[sleepanonymous]

I mentioned this in an ask on Thursday, that II also had a YouTube channel. Unfortunately all but one of the videos are lost to time. It’s an original song for the band he was part of around the beginning of ST. I’ve got the audio posted below for you. It is live drums over a guitar/bass track, no vocals. The genre is kinda deathcore metal? I’m very bad at naming genres, so there's probably a better term.

In all of his descriptions I cut out the drum kit specs to save space in this post. They are all as follows:

Specs:

Dw Collectors Exotic maple in Okume Feather. 22x18, 10x8, 14x12, 16x14 Craviotto Cherry 13x5.5 Solid Shell Snare. Meinl Byzance cymbals (drivers seat L-R): 16" Vintage trash crash 13" Dark hi hats 6" Traditional splash 17" Traditional medium thin crash 20" Vintage sand ride 18" Vintage crash 18" Extra dry china stacked with a 16" Vintage trash crash 18" Extra dry china Remo heads - p77 (snare), Clear vintage Emperors (toms), Clear PS3 (Kick) Dw 9000 hardware, 5000 hi hat stand and Pearl Eliminator pedal

[Band Name] - Wraiths

Upload Date: 26 August 2017

I remember when I first realized II was in another band at the same time as the ST EPs and it blew my mind for some reason lol. But of course he was, he's a phenomenal drummer. This was also before I realized it's common for drummers to be in literally every band in a 50 square mile radius lmao.

Zara Larsson - I Would Like 

Upload Date: 11 August 2017

His description here about being nervous when he’s filmed 🥹 He’s grown so much and he absolutely slaughtered the Drumeo video’s he’s been doing.  And who guessed our percussion king likes pop music? I guess after that first Drumeo interview it’s not much of a shocker lol. I wonder if Ves has chilled out on his pop/BritPop hate? I feel like it’s likely.

Limp Bizkit - Boiler

Upload Date: 24 August 2017

No comment on his music tastes here ✌️ not a fan of Limp Bizkit but I'd happily listen to this cover lol.

Daniel Bedingfield - Gotta Get Thru This 

Upload Date: 05 September 2017

If you haven't heard this song before it's very dancey/edm/pop. I love how insanely wide II's range is, he's such a great fit with Ves in that aspect.

Deftones - When Girls Telephone Boys

Upload Date: 21 September 2017

I love that he chose a generally unknown/unpopular Deftones song to cover. 10/10 for the percussion on that song, though.

[Band Name] - Ø 

Upload Date: 12 October 2017

There's a jump cut about 7 seconds in because he didn’t want to wait for the “long” intro the song has (it's literally like 12 seconds lol impatient man).

[sugdensdingle]

[mostlysignssomeportents]

Dirty words are politically potent

On OCTOBER 23 at 7PM, I'll be in DECATUR, presenting my novel THE BEZZLE at EAGLE EYE BOOKS.

Making up words is a perfectly cromulent passtime, and while most of the words we coin disappear as soon as they fall from our lips, every now and again, you find a word that fits so nice and kentucky in the public discourse that it acquires a life of its own:

http://meaningofliff.free.fr/definition.php3?word=Kentucky

I've been trying to increase the salience of digital human rights in the public imagination for a quarter of a century, starting with the campaign to get people to appreciate that the internet matters, and that tech policy isn't just the delusion that the governance of spaces where sad nerds argue about Star Trek is somehow relevant to human thriving:

https://www.newyorker.com/magazine/2010/10/04/small-change-malcolm-gladwell

Now, eventually people figured out that a) the internet mattered and, b) it was going dreadfully wrong. So my job changed again, from "how the internet is governed matters" to "you can't fix the internet with wishful thinking," for example, when people said we could solve its problems by banning general purpose computers:

https://memex.craphound.com/2012/01/10/lockdown-the-coming-war-on-general-purpose-computing/

Or by banning working cryptography:

https://memex.craphound.com/2018/09/04/oh-for-fucks-sake-not-this-fucking-bullshit-again-cryptography-edition/

Or by redesigning web browsers to treat their owners as threats:

https://www.eff.org/deeplinks/2017/09/open-letter-w3c-director-ceo-team-and-membership

Or by using bots to filter every public utterance to ensure that they don't infringe copyright:

https://www.eff.org/deeplinks/2018/09/today-europe-lost-internet-now-we-fight-back

Or by forcing platforms to surveil and police their users' speech (aka "getting rid of Section 230"):

https://www.techdirt.com/2020/06/23/hello-youve-been-referred-here-because-youre-wrong-about-section-230-communications-decency-act/

Along the way, many of us have coined words in a bid to encapsulate the abstract, technical ideas at the core of these arguments. This isn't a vanity project! Creating a common vocabulary is a necessary precondition for having the substantive, vital debates we'll need to tackle the real, thorny issues raised by digital systems. So there's "free software," "open source," "filternet," "chat control," "back doors," and my own contributions, like "adversarial interoperability":

https://www.eff.org/deeplinks/2019/10/adversarial-interoperability

Or "Competitive Compatibility" ("comcom"), a less-intimidatingly technical term for the same thing:

https://www.eff.org/deeplinks/2020/12/competitive-compatibility-year-review

These have all found their own niches, but nearly all of them are just that: niche. Some don't even rise to "niche": they're shibboleths, insider terms that confuse and intimidate normies and distract from the real fights with semantic ones, like whether it's "FOSS" or "FLOSS" or something else entirely:

https://opensource.stackexchange.com/questions/262/what-is-the-difference-between-foss-and-floss

But every now and again, you get a word that just kills. That brings me to "enshittification," a word I coined in 2022:

https://pluralistic.net/2022/11/28/enshittification/#relentless-payola

"Enshittification" took root in my hindbrain, rolling around and around, agglomerating lots of different thoughts and critiques I'd been making for years, crystallizing them into a coherent thesis:

https://pluralistic.net/2023/01/21/potemkin-ai/#hey-guys

This kind of spontaneous crystallization is the dividend of doing lots of work in public, trying to take every half-formed thought and pin it down in public writing, something I've been doing for decades:

https://pluralistic.net/2021/05/09/the-memex-method/

After those first couple articles, "enshittification" raced around the internet. There's two reasons for this: first, "enshittification" is a naughty word that's fun to say. Journalists love getting to put "shit" in their copy:

https://www.nytimes.com/2024/01/15/crosswords/linguistics-word-of-the-year.html

Radio journalists love to tweak the FCC with cheekily bleeped syllables in slightly dirty compound words:

https://www.wnycstudios.org/podcasts/otm/projects/enshitification

And nothing enlivens an academic's day like getting to use a word like "enshittification" in a journal article (doubtless this also amuses the editors, peer-reviewers, copyeditors, typesetters, etc):

https://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=enshittification&btnG=&oq=ensh

That was where I started, too! The first time I used "enshittification" was in a throwaway bad-tempered rant about the decay of Tripadvisor into utter uselessness, which drew a small chorus of appreciative chuckles about the word:

https://twitter.com/doctorow/status/1550457808222552065

The word rattled around my mind for five months before attaching itself to my detailed theory of platform decay. But it was that detailed critique, coupled with a minor license to swear, that gave "enshittification" a life of its own. How do I know that the theory was as important as the swearing? Because the small wave of amusement that followed my first use of "enshittification" petered out in less than a day. It was only when I added the theory that the word took hold.

Likewise: how do I know that the theory needed to be blended with swearing to break out of the esoteric realm of tech policy debates (which the public had roundly ignored for more than two decades)? Well, because I spent two decades writing about this stuff without making anything like the dents that appeared once I added an Anglo-Saxon monosyllable to that critique.

Adding "enshittification" to the critique got me more column inches, a longer hearing, a more vibrant debate, than anything else I'd tried. First, Wired availed itself of the Creative Commons license on my second long-form article on the subject and reprinted it as a 4,200-word feature. I've been writing for Wired for more than thirty years and this is by far the longest thing I've published with them – a big, roomy, discursive piece that was run verbatim, with every one of my cherished darlings unmurdered.

That gave the word – and the whole critique, with all its spiky corners – a global airing, leading to more pickup and discussion. Eventually, the American Dialect Society named it their "Word of the Year" (and their "Tech Word of the Year"):

https://americandialect.org/2023-word-of-the-year-is-enshittification/

"Enshittification" turns out to be catnip for language nerds:

https://becauselanguage.com/90-enpoopification/#transcript-60

I've been dragged into (good natured) fights over the German, Spanish, French and Italian translations for the term. When I taped an NPR show before a live audience with ASL interpretation, I got to watch a Deaf fan politely inform the interpreter that she didn't need to finger-spell "enshittification," because it had already been given an ASL sign by the US Deaf community:

https://maximumfun.org/episodes/go-fact-yourself/ep-158-aida-rodriguez-cory-doctorow/

I gave a speech about enshittification in Berlin and published the transcript:

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel

Which prompted the rock-ribbed Financial Times to get in touch with me and publish the speech – again, nearly verbatim – as a whopping 6,400 word feature in their weekend magazine:

https://www.ft.com/content/6fb1602d-a08b-4a8c-bac0-047b7d64aba5

Though they could have had it for free (just as Wired had), they insisted on paying me (very well, as it happens!), as did De Zeit:

https://www.zeit.de/digital/internet/2024-03/plattformen-facebook-google-internet-cory-doctorow

This was the start of the rise of enshittification. The word is spreading farther than ever, in ways that I have nothing to do with, along with the critique I hung on it. In other words, the bit of string that tech policy wonks have been pushing on for a quarter of a century is actually starting to move, and it's actually accelerating.

Despite this (or more likely because of it), there's a growing chorus of "concerned" people who say they like the critique but fret that it is being held back because you can't use it "at church or when talking to K-12 students" (my favorite variant: "I couldn't say this at a NATO conference"). I leave it up to you whether you use the word with your K-12 students, NATO generals, or fellow parishoners (though I assure you that all three groups are conversant with the dirty little word at the root of my coinage). If you don't want to use "enshittification," you can coin your own word – or just use one of the dozens of words that failed to gain public attention over the past 25 years (might I suggest "platform decay?").

What's so funny about all this pearl-clutching is that it comes from people who universally profess to have the intestinal fortitude to hear the word "enshittification" without experiencing psychological trauma, but worry that other people might not be so strong-minded. They continue to say this even as the most conservative officials in the most staid of exalted forums use the word without a hint of embarrassment, much less apology:

https://www.independent.ie/business/technology/chairman-of-irish-social-media-regulator-says-europe-should-not-be-seduced-by-mario-draghis-claims/a526530600.html

I mean, I'm giving a speech on enshittification next month at a conference where I'm opening for the Secretary General of the United Nations:

https://icanewdelhi2024.coop/welcome/pages/Programme

After spending half my life trying to get stuff like this into the discourse, I've developed some hard-won, informed views on how ideas succeed:

First: the minor obscenity is a feature, not a bug. The marriage of something long and serious to something short and funny is a happy one that makes both the word and the ideas better off than they'd be on their own. As Lenny Bruce wrote in his canonical work in the subject, the aptly named How to Talk Dirty and Influence People:

I want to help you if you have a dirty-word problem. There are none, and I'll spell it out logically to you.

Here is a toilet. Specifically-that's all we're concerned with, specifics-if I can tell you a dirty toilet joke, we must have a dirty toilet. That's what we're all talking about, a toilet. If we take this toilet and boil it and it's clean, I can never tell you specifically a dirty toilet joke about this toilet. I can tell you a dirty toilet joke in the Milner Hotel, or something like that, but this toilet is a clean toilet now. Obscenity is a human manifestation. This toilet has no central nervous system, no level of consciousness. It is not aware; it is a dumb toilet; it cannot be obscene; it's impossible. If it could be obscene, it could be cranky, it could be a Communist toilet, a traitorous toilet. It can do none of these things. This is a dirty toilet here.

Nobody can offend you by telling a dirty toilet story. They can offend you because it's trite; you've heard it many, many times.

https://www.dacapopress.com/titles/lenny-bruce/how-to-talk-dirty-and-influence-people/9780306825309/

Second: the fact that a neologism is sometimes decoupled from its theoretical underpinnings and is used colloquially is a feature, not a bug. Many people apply the term "enshittification" very loosely indeed, to mean "something that is bad," without bothering to learn – or apply – the theoretical framework. This is good. This is what it means for a term to enter the lexicon: it takes on a life of its own. If 10,000,000 people use "enshittification" loosely and inspire 10% of their number to look up the longer, more theoretical work I've done on it, that is one million normies who have been sucked into a discourse that used to live exclusively in the world of the most wonkish and obscure practitioners. The only way to maintain a precise, theoretically grounded use of a term is to confine its usage to a small group of largely irrelevant insiders. Policing the use of "enshittification" is worse than a self-limiting move – it would be a self-inflicted wound. As I said in that Berlin speech:

Enshittification names the problem and proposes a solution. It's not just a way to say 'things are getting worse' (though of course, it's fine with me if you want to use it that way. It's an English word. We don't have der Rat für englische Rechtschreibung. English is a free for all. Go nuts, meine Kerle).

Finally: "coinage" is both more – and less – than thinking of the word. After the American Dialect Society gave honors to "enshittification," a few people slid into my mentions with citations to "enshittification" that preceded my usage. I find this completely unsurprising, because English is such a slippery and playful tongue, because English speakers love to swear, and because infixing is such a fun way to swear (e.g. "unfuckingbelievable"). But of course, I hadn't encountered any of those other usages before I came up with the word independently, nor had any of those other usages spread appreciably beyond the speaker (it appears that each of the handful of predecessors to my usage represents an act of independent coinage).

If "coinage" was just a matter of thinking up the word, you could write a small python script that infixed the word "shit" into every syllable of every word in the OED, publish the resulting text file, and declare priority over all subsequent inventive swearers.

On the one hand, coinage takes place when the coiner a) independently invents a word; and b) creates the context for that word that causes it to escape from the coiner's immediate milieu and into the wider world.

But on the other hand – and far more importantly – the fact that a successful coinage requires popular uptake by people unknown to the coiner means that the coiner only ever plays a small role in the coinage. Yes, there would be no popularization without the coinage – but there would also be no coinage without the popularization. Words belong to groups of speakers, not individuals. Language is a cultural phenomenon, not an individual one.

Which is rather the point, isn't it? After a quarter of a century of being part of a community that fought tirelessly to get a serious and widespread consideration of tech policy underway, we're closer than ever, thanks, in part, to "enshittification." If someone else independently used that word before me, if some people use the word loosely, if the word makes some people uncomfortable, that's fine, provided that the word is doing what I want it to do, what I've devoted my life to doing.

The point of coining words isn't the pilkunnussija's obsession with precise usage, nor the petty glory of being known as a coiner, nor ensuring that NATO generals' virgin ears are protected from the word "shit" – a word that, incidentally, is also the root of "science":

https://www.arrantpedantry.com/2019/01/24/science-and-shit/

Isn't language fun?

Tor Books as just published two new, free LITTLE BROTHER stories: VIGILANT, about creepy surveillance in distance education; and SPILL, about oil pipelines and indigenous landback.

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:

https://pluralistic.net/2024/10/14/pearl-clutching/#this-toilet-has-no-central-nervous-system

[seoul-bros]

Jikook Week 47 Complete (29/10-05/11/2024)

Their 47th week in the military is now complete and we celebrate with a look back at this week in 2017.

It was a very special week for Jimin and Jungkook marking their first trip together. They went to Tokyo between 28/10 and 31/10 on a trip that JK organised as a birthday present for Jimin, a trip that they are still talking about seven years later.

"We were walking down an alley, there weren't many cars, there was the light from the street lamps.... It was really beautiful. And then Jimin said that his feet hurt and so we walked slowly. These simple things were so fun" Jungkook, Real Love, Beyond the Story

"We went around wearing masks from the move Scream with black fabric covering our bodies, and black umbrellas. When people came over, we took picture, it was fun. We went around people watching, and when we went to the restaurant, we took off our masks and ate" Jungkook, Real Love, Beyond the Story

They wandered the streets, went shopping, ate good food and visited Disneyland before returning to Korea on the 31/10.

The first Golden Closet Film came out about a week later on 08/11 much to JK's delight as its talented creator and Jimin as its star.

No one before or since has shown Jimin quite like JK does here. He is completely open, relaxed and joyful. He beams at JK behind the lens. This is what it must feel like to be in Jimin's inner circle and have his complete trust. It is a Jimin that we don't really see anymore, although perhaps, in Are You Sure? we caught glimpses of that guy.

On 31/10, Jimin posted this photo of them looking relaxed and happy with an emoji caption. The trip seems to have done them a lot of good and brought them even closer.

😊💐

The trip took place during a break in the Wings tour between the Taiwan concerts on the 21-22/10 and the Macau concert on 04/11. If you want to know how crazy this time was for them and how hard they were working nothing can demonstrate that more clearly than the Burn the Stage series and in this case Episode 8 which shows the October and November leg of the tour and its final concert in Seoul on 10th December 2017.

It is in this episode that Taehyung asks us to love all seven of the members of BTS which seems worth repeating at this moment.

Watching their 2017 selves talking about what they learnt about each other and about themselves during the Wings Tour made me nostalgic for a time when I wasn't even in the fandom and hopeful for the future that they deserve, pursuing the next steps of their musical journey together as a group. Just over seven months to go before that future can become a reality and all we need to do until then is hold it together, ensure we put out our share of positivity to balance the incessant toxicity of SM and TRUST IN BTS.

Post Date: 05/11/2024

[bakibakideemon]

I’m back to into Haikyuu!! And before I say anything - I absolutely adore Kageyama. It’s been a minute that have thought about his character/ discussed him. But recently came across some really great character studies of him.

Here is a list of Fics I read recently which I fell do his character justice (and just because I like them). (These are amazing fics by some great authors)

1) The best thing you (n)ever had by eleasofia

Summary: When Oikawa is asked out by Kageyama for the first time, he turns him down, saying he wouldn't date someone who is so clearly inferior to him. Three years later, after Seijou's loss to Karasuno, Kageyama asks again, and despite not really (read as: absolutely not) wanting to, Oikawa somehow ends up agreeing nevertheless. It might really be time to forget about old grudges and move on. Turns out, it's even harder than he thought it would be.

Published: 2017-12-05 Words: 6,425 Chapters: 1/1

2) Normal by AuthorInDistress

Published: 2018-10-15 Words: 5,031 Chapters: 1/1

Summary: A special guest is here in Kageyama's town and he couldn't care less.

3) I don’t know where we’re going, but I’d like to be by your side by voices_in_my_head

Published: 2020-08-03 Words: 8,548 Chapters: 1/1

Summary: "Atsumu doesn’t approach Kageyama Tobio the first day of the youth training camp, but he does keep an eye on him. He’s not the only one; everyone is curious about the main setter of the team that finally uncrowned Shiratorizawa."

Or: once Atsumu got to meet the real Kageyama, he never stood a chance. Honestly, he's not that bothered about it.

4) With all my love (And almost all of my mind) by rumxrs

Kei heaves a sigh, raking a hand through his short blonde curls. Tobio repeats the action unknowingly, and shivers shortly afterwards. A nervous shiver, like death was sending spearmint puffs of air down his neck.

Their story; told in snapshots, phone conversations, and dreams.

Published: 2016-03-29 Words: 2,175 Chapters: 1/1

5) Make It True, Takeru by luvtooru

Summary: After overhearing his uncle Oikawa mention he had a crush on someone with 'black hair and blue eyes,' Takeru assumes he’s talking about Kageyama, the grumpy setter from Karasuno. Unaware that Oikawa actually meant Shimizu-san, Takeru dives headfirst into a chaotic mission to play matchmaker—for the wrong person

Published: 2024-11-10 Words: 7,969 Chapters: 1/1

6) can this be a real thing (can it?) by akaashism (acciomerlin)

Summary: Tobio has an unexpectedly steamy dream about Oikawa one night. He tries his best to grapple with the resulting cocktail of feelings it invokes, but maybe an accidental revelation has its own set of rewards in store.

Published: 2023-06-20 Words: 10,712 Chapters: 2/2

7) What do you see when you look at me? By Aync1lgw

Summary: Three people - A woman who has been pining after Oikawa for years and finally wants to confess her feelings, a taxi driver who just happened to pick Oikawa and Kageyama up from the bar and then Oikawa's old roommate from medical school with whom Oikawa was sharing a rental apartment for the week. What is it that these people see when they look at Oikawa Tooru and Kageyama Tobio together?

Published: 2021-11-24 Words: 5,739 Chapters: 1/1

8) infernal devices by lettucehope

Summary: In a quest for revenge, Tobio learns that store-bought flames work just fine when you're summoning the powers of Hell.

Published: 2022-07-02 Words: 26,886 Chapters: 8/8

9) Cute bastard by mitoe

Summary: Oikawa calls Kageyama cute bastard every time he sees him and Kageyama hates it

Published: 2022-05-03 Words: 4,254 Chapters: 1/1

11)

10)

[the-louseum]

Daniel "Hondo" Harrelson, a Los Angeles S.W.A.T. lieutenant, is assigned to lead a highly skilled unit in the community where he grew up. Torn between loyalty to the streets, where the cops are sometimes the enemy, and allegiance to his brothers in blue, he strategically straddles the two worlds. Hondo encourages his team to rely on communication and respect over force and aggression, but when a crisis erupts, these unflinching men and women are prepared to put their tactical training to the test.

Season 1 (2017-2018)

✦ 1×01 - Pilot

✦ 1×02 - Cuchillo

✦ 1×05 - Octane

✦ 1×08 - Miracle

✦ 1x09 - Blindspots

✦ 1×10 - Seizure

✦ 1×12 - Contamination

✦ 1×13 - Fences

✦ 1×14 - Ghosts

✦ 1×18 - Patrol

✦ 1×19 - Source

✦ 1×21 - Hunted

✦ 1×22 - Hoax

Season 2 (2018-2019)

✦ 2x01 - Shaky Town

✦ 2×05 - S.O.S.

✦ 2x09 - Day Off

✦ 2x14 - The B-Team

✦ 2x15 - Fallen

✦ 2x17- Jack

✦ 2x19 - Invisible

Season 3 (2019-2020)

✦ 3x04 - Immunity

✦ 3x06 - Kingdom

✦ 3x07 - Track

✦ 3×08 - Lion's Den

✦ 3x17 - Hotel L.A.

Season 4 (2020-2021)

✦ 4x03 - The Black Hand Man

✦ 4x06 - Hopeless Sinners

✦ 4x07 - Under Fire

✦ 4x09 - Next of Kin

✦ 4x14 - Reckoning

Season 5 (2021)

✦ 5x02 - Madrugada

Season 6 (2023)

✦ 6x11 - Atonement

✦ 6x14 - Gut Punch

Season 7 (2024)

✦ 7x02 - Peace Talks

✦ 7x09 - Honeytrap

Season 8 (2025)

✦ 8x12 - Deep Cover

✦ 8x20 - Devil Dog