#Applicability to Multiple Markets

[stockexperttrading]

This comprehensive blog from Funded Traders Global covers the Price Action Strategy and mastering market trends for successful trading. It begins by defining the Price Action Strategy, emphasizing its importance in predicting future price movements. The blog explores the components of Price Action, including candlestick patterns, support and resistance levels, and chart patterns. It highlights the benefits of this strategy, such as simplicity, enhanced decision-making, and its applicability to various markets.

The blog outlines key principles of Price Action, including candlestick patterns, support and resistance levels, and trendlines and channels. It then focuses on reading market trends, with an emphasis on identifying trends, assessing their strength, and recognizing trend reversals. The importance of setting clear trading goals and effective risk management is stressed, along with crafting precise entry and exit strategies.

Common mistakes to avoid in trading are discussed, including overtrading, ignoring fundamental analysis, and emotional trading. The blog also provides information on essential tools and resources, including recommended charting software, books, courses, and online trading communities to support traders in their journey.

In conclusion, the blog encourages traders to apply the knowledge gained, practice consistently, and continue their education to become proficient and successful traders. Trading is described as both an art and a science, emphasizing the importance of discipline and adaptability in the ever-evolving world of finance.

[forerussake]

it’s taken me 24 years to realize i was put on this earth to be on stage and perform and make art, but the cost of education and the economy are such that instead by not knowing this already at 17 i have doomed myself to the reality of spending my life wasting away in a boring office job.

[harbingerofwhump]

My brain normally: goes in spirals and panics coming up with a bunch of horrific and distressing 'what-if's for even the most minor and inane things

My brain (at the state of job searching I'm in right now specifically) when looking at jobs I could apply to: produces weirdly optimistic 'what-if's. That somehow also become distressing...

[headspace-hotel]

Researching herbicide resistance in weeds.

A decade ago, everyone said rotating applications of different herbicides was key to stopping herbicide resistance.

Then, around 2015, evidence from a large study emerged saying that this actually causes weeds to be MORE resistant, so the best thing to do is to spray a combination of multiple herbicides mixed together at once.

Now that is being called into question too. Whoda thunk it...

Herbicide resistance among weeds is only getting stronger. Recently, scientists found an annual bluegrass (Poa annua) on a golf course that was resistant to seven herbicide modes of action at once. Seven. SEVEN. Amaranth plants been found with resistance to six herbicide modes of action at once. Twenty years ago, the narrative was that resistance to glyphosate (Roundup) was unlikely to become widespread; today it's the second-most common type of resistance.

What's more, plants are developing types of herbicide resistance that are effective against multiple herbicides at once and harder to detect. Instead of changing the chemical processes within them that are affected by the herbicides so the herbicides don't work as well, they're changing the way they absorb chemicals in the first place. Resistant plants are producing enzymes that detoxify the herbicides before they even enter the plants' cells.

It took Monsanto ten years to develop crop varieties resistant to Dicamba (after weeds made 'Roundup Ready' crops pointless). Palmer amaranth evolved Dicamba resistance in five years.

So I asked, "Why are all the proposed solutions dependent on using more herbicides, when we know damn well that this is going to do nothing but make the weeds evolve faster?"

The answer is that chemical companies have the world in a death grip. They can't make money off non-chemical solutions, so chemical solutions get all the funding, research, and outreach to farmers.

But why do chemical companies have so much power?

One of the biggest reasons is the U.S. military.

In the Vietnam war, all of Vietnam was sprayed with toxic herbicides like Agent Orange, which was incredibly toxic to humans and affected the Vietnamese population with horrible illnesses and birth defects. Monsanto, the company that made the herbicides, knew that it did this, but didn't tell anyone. The US government didn't admit that they'd poisoned humans on a mass scale until Vietnam veterans started dying and coming down with horrible illnesses, and even then, it took them 40 years. (My Papaw died at 60 because of that stuff.) And the soldiers weren't there for very long. As for the Vietnamese people, the soil and water where they live is contaminated.

Similarly, during the "war on drugs," the US military sprayed Roundup and other chemicals on fields to destroy coca plants and other plants used in the manufacturing of drugs. This killed a lot of crops that farmers needed to live, and caused major health problems in places such as Columbia. The US government said that people getting sick were lying and that Roundup was just as safe as table salt. (A statement that did not age well.)

So chemical companies make money off arming the USA military. The American lawn care industry, and the agricultural system, therefore originates in more than one way from the United States's war-mongering.

The other major way is described in this article (which I highly recommend), which describes how after WW2, chemical plants used for manufacturing explosives were changed into fertilizer producing plants, but chemical companies couldn't market all that fertilizer to farmers, so they invented the lawn care industry. No exaggeration, that's literally what happened.

This really changes my perspective on all the writings about fixing the agricultural system. The resources are biased towards the use of chemicals in agriculture because the companies are so powerful as to make outreach and research for non-chemical methods of agriculture really hard to fund. All the funding is in finding new ways to spray chemicals or spraying slightly different chemicals, because that's what you can actually get ahold of money to look into. It is like the research has to negotiate a truce with the chemical companies, suggesting only solutions that won't cause lower profits.

Meanwhile my respect for Amaranth is skyrocketing.

Who would win: The USA military-industrial complex or one leafy boi

[sexymemecoin]

The Emergence of NFTs: Transforming Digital Ownership and Creativity

Non-Fungible Tokens (NFTs) have revolutionized the way we think about digital ownership, art, and collectibles. By leveraging blockchain technology, NFTs provide a way to create, buy, sell, and own unique digital assets with verifiable provenance and scarcity. This article explores the world of NFTs, their impact on various industries, key benefits and challenges, and notable projects, including a brief mention of Sexy Meme Coin.

What Are NFTs?

NFTs, or Non-Fungible Tokens, are unique digital assets that represent ownership of a specific item or piece of content, such as art, music, videos, virtual real estate, and more. Unlike cryptocurrencies like Bitcoin or Ethereum, which are fungible and can be exchanged on a one-to-one basis, NFTs are indivisible and unique. Each NFT is recorded on a blockchain, ensuring transparency, security, and verifiability of ownership.

The Rise of NFTs

NFTs gained mainstream attention in 2021 when digital artist Beeple sold an NFT artwork for $69 million at Christie's auction house. This landmark event highlighted the potential of NFTs to transform the art world by providing artists with new revenue streams and collectors with verifiable digital ownership.

Since then, NFTs have exploded in popularity, with various industries exploring their potential applications. From gaming and music to real estate and fashion, NFTs are creating new opportunities for creators, businesses, and investors.

Key Benefits of NFTs

Digital Ownership: NFTs provide a way to establish true digital ownership of assets. Each NFT is unique and can be traced back to its original creator, ensuring authenticity and provenance. This is particularly valuable in the art and collectibles market, where forgery and fraud are significant concerns.

Monetization for Creators: NFTs enable creators to monetize their digital content directly. Artists, musicians, and other content creators can sell their work as NFTs, earning revenue without relying on intermediaries. Additionally, smart contracts can be programmed to provide creators with royalties each time their NFT is resold, ensuring ongoing income.

Interoperability: NFTs can be used across different platforms and ecosystems, allowing for interoperability in the digital world. For example, NFTs representing in-game items can be traded or used across multiple games and virtual worlds, enhancing their utility and value.

Scarcity and Collectibility: NFTs introduce scarcity into the digital realm by creating limited editions or one-of-a-kind items. This scarcity drives the collectibility of NFTs, similar to physical collectibles like rare coins or trading cards.

Challenges Facing NFTs

Environmental Impact: The creation and trading of NFTs, especially on energy-intensive blockchains like Ethereum, have raised concerns about their environmental impact. Efforts are being made to develop more sustainable blockchain solutions, such as Ethereum's transition to a proof-of-stake consensus mechanism.

Market Volatility: The NFT market is highly speculative and can be volatile. Prices for NFTs can fluctuate significantly based on trends, demand, and market sentiment. This volatility poses risks for both creators and investors.

Intellectual Property Issues: NFTs can raise complex intellectual property issues, particularly when it comes to verifying the rightful owner or creator of the digital content. Ensuring that NFTs are legally compliant and respect intellectual property rights is crucial.

Access and Inclusivity: The high costs associated with minting and purchasing NFTs can limit accessibility for some creators and collectors. Reducing these barriers is essential for fostering a more inclusive NFT ecosystem.

Notable NFT Projects

CryptoPunks: CryptoPunks are one of the earliest and most iconic NFT projects. Created by Larva Labs, CryptoPunks are 10,000 unique 24x24 pixel art characters that have become highly sought-after collectibles.

Bored Ape Yacht Club: Bored Ape Yacht Club (BAYC) is a popular NFT collection featuring 10,000 unique hand-drawn ape avatars. Owners of these NFTs gain access to exclusive events and benefits, creating a strong community around the project.

Decentraland: Decentraland is a virtual world where users can buy, sell, and develop virtual real estate as NFTs. This platform allows for the creation of virtual experiences, games, and social spaces, showcasing the potential of NFTs in the metaverse.

NBA Top Shot: NBA Top Shot is a platform that allows users to buy, sell, and trade officially licensed NBA collectible highlights. These video clips, known as "moments," are sold as NFTs and have become popular among sports fans and collectors.

Sexy Meme Coin (SXYM): Sexy Meme Coin integrates NFTs into its platform, offering a decentralized marketplace where users can buy, sell, and trade memes as NFTs. This unique approach combines humor and finance, adding a distinct flavor to the NFT landscape. Learn more about Sexy Meme Coin at Sexy Meme Coin.

The Future of NFTs

The future of NFTs is bright, with continuous innovation and expanding use cases. As technology advances and more industries explore the potential of NFTs, we can expect to see new applications and opportunities emerge. From virtual fashion and digital identities to decentralized finance (DeFi) and beyond, NFTs are poised to reshape various aspects of our digital lives.

Efforts to address environmental concerns, improve accessibility, and ensure legal compliance will be crucial for the sustainable growth of the NFT ecosystem. Collaboration between creators, platforms, and regulators will help build a more robust and inclusive market.

Conclusion

NFTs have ushered in a new era of digital ownership, creativity, and innovation. By providing verifiable ownership and provenance, NFTs are transforming industries ranging from art and entertainment to gaming and virtual real estate. While challenges remain, the potential benefits of NFTs and their ability to empower creators and engage communities make them a significant force in the digital economy.

For those interested in the playful and innovative side of the NFT market, Sexy Meme Coin offers a unique and entertaining platform. Visit Sexy Meme Coin to explore this exciting project and join the community.

[srbachchan]

DAY 6057

Jalsa, Mumbai Sept 17, 2024 Tue 11:26 pm

The impotency of content :

"The term "impotency of content" suggests a situation where content—whether in the form of text, media, or other forms of communication—fails to achieve its intended purpose or lacks meaningful impact. This concept can be explored from multiple angles, including the relevance of the content, its delivery, and the broader context in which it exists.

Content becomes impotent when it fails to resonate with its intended audience. Relevance is key; if content does not address the needs, interests, or concerns of its audience, it is likely to be ignored or dismissed. For instance, a marketing campaign that does not align with the target demographic's values or preferences is unlikely to generate engagement or drive sales. Similarly, academic content that lacks practical application or fails to address current research gaps can be deemed impotent in the context of advancing knowledge or solving real-world problems.

Even if content is relevant, its effectiveness can be diminished by poor delivery. This includes factors like the format, accessibility, and clarity. Content that is poorly organized, difficult to navigate, or presented in an unappealing format may fail to capture and maintain the audience’s attention. For example, a well-researched academic paper presented in dense, jargon-laden prose might be ignored by those who could benefit from its findings. Effective delivery involves not just the substance but also the style and method of presentation, ensuring that the content is engaging and accessible.

In today’s information-rich environment, content is often lost in a sea of competing messages. The sheer volume of content available can lead to saturation, where individual pieces struggle to stand out or make an impact. This is particularly relevant in digital media, where algorithms and social media platforms amplify popular or sensational content while less eye-catching material may be overlooked. In this context, even valuable content can become impotent if it cannot rise above the noise. Content must be timely and contextually appropriate to be impactful. Content that is outdated or irrelevant to current events or trends can quickly lose its significance. For instance, historical analysis or commentary that does not consider contemporary developments might appear disconnected or obsolete. Understanding the broader context in which content is produced and consumed is crucial for ensuring its relevance and impact.

Ultimately, the effectiveness of content is measured by its ability to engage and elicit a response from its audience. Content that does not prompt interaction, reflection, or action is often considered impotent. This engagement is not just about attracting attention but also about fostering meaningful connections and responses. Content that encourages dialogue, provides value, or inspires action is more likely to be perceived as potent and impactful.

In conclusion, the "impotency of content" underscores the abd not a word about the mediaimportance of relevance, delivery, and context in determining the effectiveness of communication. To avoid impotency, content creators must carefully consider their audience’s needs, ensure their delivery methods are effective, and remain mindful of the broader information landscape. By addressing these factors, content can transcend its potential impotence and fulfill its purpose, whether that be to inform, persuade, entertain, or inspire."

and hahaha .. 🤣 and not a word about media for which it was intended .. the most protected, educated, ultimate genre in this Universe ..

Love and in the more of reality ..

Amitabh Bachchan

[paper-mario-wiki]

hi, i'm not the person who asked you about the life update, but could you elaborate on how being a creator means to live in a world of ideas instead of the real world? i'm just really curious about your reasons for quitting, specially because i want to create things in the future (not necessarily streaming, but anyways), hope you have a good day!

i'll be talking mostly about streaming for the sake of this answer, but this is similarly applicable across a wide range of platforms:

the job of the streamer is, effectively, to be the life of the party every single day. your goal is to be the person that has something interesting to talk about, and is quick with a joke, and has nuanced understandings of certain things, without actually obtaining any sort of "expertise" in anything lest you alienate viewers. short of having a stated goal for a stream, the only goal of the streamer is to let people relax with a voice they enjoy, saying things they like hearing. you can become very strong in different aspects of streaming, like in the production, or as someone who focuses more on a skill they've honed like art or speedrunning, but the demographic of streamers which pulls, by far, the most significant viewership, is personality based streamers.

this becomes more complicated when, for example, you are very interactive with chat, or you stream with multiple people at once. now, to maintain this charismatic sway you have (the one that got you the job in the first place), you must be able to adapt to and bounce off of other people, as you are now no longer performing alone. naturally, there's a need to not only manage your own flow of consciousness, but also to be at least partially in sync with someone else's.

beyond these complications, you must also consider drawing in new viewership. when i was a streamer, i was quite successful, relatively speaking. pulling 300 viewers consistently is something a very slim amount of streamers can actually do, and even then i was still making under 50k a year, which is not bad, but also not good. in paying for my apartment, my insurance, my travel fare, and all the other stuff that living independently draws money out of you with, i was more often in the red than i was in the green. hence, the need to draw in new viewers, which cannot be done without something eye-catching.

think about this: there are, at any given time, TENS OF THOUSANDS of streamers live in your native language on twitch, and they are all FREE TO WATCH. the attention market is sparse because the streamer market is oversaturated. and considering all of THEM want new viewers too, everyone is constantly refining and improving their craft, which requires everyone to move creatively in tandem with each other lest they get left behind.

if you are a streamer making ass-dollars and ass-cents, it becomes easy to begin resenting people like jerma, solely because everything he touches seems to turn to gold. i personally found it easy to feel very disappointed in myself when peoples projects that seemed so simple would take off. it was a constant "why didn't i think of that!" situation, at least for me. and when you don't have the energy to keep that up, or the social stamina necessary to figure that all out while also being upbeat and happy in front of people near daily, it can become very draining.

what i mean specifically when i say the "world of ideas", is like. there would be times where i could schedule out my failures weeks in advance. i'd be so in my own head about the process, i could see the exact path i could see myself taking that would lead me directly to ruin. how playing games i actually enjoyed would steadily drop viewership, or how focusing on my studies would make people forget about me. and of course this is augmented by my anxiety, i know this is absolutely not the case for every streamer, but that overwhelming feeling of needing to find a new game to play, or a new gimmick to use, or a new ploy to get money that doesn't make you feel guilty even though your source of income is mostly queer and mostly poor young adults and your rent is coming up and you're $200 short but you also just had a fundraiser last month about a DIFFERENT emergency but you cant make it a bummer or else people wont want to tune in so you have to make it something fun like "you laugh you lose!" or "$1 art request streams!" while feeling nothing but anxiety while youre trying to sound like youre enjoying yourself even when youre asking 250 people to donate every 30 minutes or so and nobody seems to want to and chat is moving slowly and. and and.

well, it starts to eat away at you.

[sexcromancy]

young adult, new adult, and fantasy fiction: the audience of a book is who reads it

title clumsily based on the purpose of a system is what it does.

before we begin, I want to focus a bit on defining our terms. young adult, new adult, adult, science fiction/fantasy, speculative fiction, contemporary romance - all of the terms I will use in this post are created by marketing companies and readers, and all of them have fuzzy and subjective applicability to any given book. there is no objectivity in cataloging, which is the lens through which I approach knowledge organization projects like this. there is no definitive answer to what any given book or genre "is", because these categories are not fixed values. instead, their values are expanded and developed by what gets placed in which category, by whom, and what criteria they base that decision on. that's what I want to discuss.

to provide some context: debates over age categories and who is reading what books for which age ranges currently dominate discussions among publishers, authors, librarians, and readers. ages of characters in YA are skewing up, sales are slowing down. young adult as a category has existed for 50+ years, but it is currently undergoing some growing pains. here's one more article for good measure. new adult is a term created by the publishing industry in 2009, which developed in fits and starts despite multiple bestselling authors publishing under the category. oh well. in 2015, sarah j mass published her new book, a court of thorns and roses, which is widely regarded as a turning point for the popularity of new adult (more on the classification of ACOTAR itself in a moment). NA stalled out for many years, but has recently very quickly grown in popularity, especially for romance readers on booktok. some of the most popular books listed under new adult on goodreads are colleen hoover's it ends with us and it starts with us, ali hazelwood's check & mate, and rebecca yarros' fourth wing.

I want to look at two of these currently very popular authors as case studies to really dig into what new adult has come to mean.

in this 2014 interview, SJM discusses her currently running throne of glass series and the upcoming release of ACOTAR in 2015. she notes that the book is intended for "a slightly older YA crowd (aka steamy times ahead!)". earlier in the interview, she dodges a question about whether throne of glass will be YA or NA by saying she appreciates her teen and adult readers - if I had to guess, the label was still too new and publishers didn't want to alienate anyone. in 2023, I can't find anything on her website or bookseller sites that specifically identify the series (or any of her series) as YA, NA, or adult. however, Goodreads (which relies on user generated tags and is, to put it lightly, a mess wrt information organization) firmly classes ACOTAR as YA - almost 9k tags in young-adult and ya (lack of authority control is just one aspect of the mess), as opposed to about 3.5k new-adult. the thing is, though, ACOTAR comes up in essentially every blog post and article I read on the definition of new adult. it is a flashpoint in the discussion: it either did or didn't restart the term, it is or isn't too sexually explicit to be classed for teens, the writing is filled with young adult tropes and this does or does not matter. the answers to these questions aren't particularly important to me, but it's very interesting to see how people are attempting to draw those boundaries. I took a quick census of how SJM's series are classed in my library system. her throne of glass series is uniformly shelved in YA; ACOTAR is mostly YA with a few copies in adult, and her newer crescent city series is mostly adult with a few copies in YA. I do think that any discussion of ACOTAR is partially colored by this divisive relationship to the new adult category itself, so I'd also like to bring in a much newer book facing similar conversation.

if you follow this blog you might already know that I have an entirely non-neutral relationship to ali hazelwood; I love her books both as books and as cultural objects deserving of study. previously, she published three adult romance novels and a set of adult romance novellas, which all fall firmly and inarguably into those defined categories, based on age range and content (I have an argument for the love hypothesis being a horror story, but that's a different conversation). last year, she published her newest book, check & mate, as a young adult romance. it was widely marketed as such by the young readers imprint at putnam. however, on reading it, I (and many goodreads commenters) were surprised to find that it aligned more with some hallmarks of new adult. the characters are out of high school, and the challenges and growth moments are more focused on evolution, rather than coming of age. one blog post I read made the argument that YA is about high school firsts and NA is about adulthood firsts. this is amorphous, partially because there is no real one life path into adulthood by which to judge this, so let's switch focus to something more concrete: sex. in each of Ali's adult novels, there are a few explicit sex scenes. they're not as explicit as other romance novels, but they're definitely not fade-to-black. in check & mate, characters have sex, but it happens entirely off-screen and any discussion is fairly chaste or, at most, relying heavily on implied content. this is a real disconnect to me. much of NA lit (ACOTAR included) is quite sexually explicit. among those most popular NA books on goodreads, there are many books that get marketed specifically for their sexual content (spicy🌶️ to the tiktokers, smut to everyone else). to me, this cements check & mate as a YA novel - if she was going to write a book with explicit sex, like her others, she could've. she's mentioned in interviews that her chess novel concept originally featured older characters, and she aged them down once she realized what kind of story she wanted to tell. to me, it is telling that moving from adult to YA creates more clumsy caution around the handling of sex, as opposed to SJM, whose books "aged" upwards over time.

another interesting example I've noticed in the emerging NA space is how the age category intersects with genre. YA as a category has a pretty expansive genre playing field - we've all read YA fantasy, contemporary romance, historical fiction, action/adventure, issue novels, etc. NA so far seems pretty exclusively limited to romance as a main focus, especially in the most popular offerings as discussed above.

I've seen many a tiktok alleging that despite the drawn out fight scenes, extensive lore, and huge interconnected web of characters, the ACOTAR books are not "real fantasy." even more so for the fourth wing books. I've seen these books compared to Tolkien, as if to say, well, if you didn't invent a language, you're not really on the same level. that's entirely unfair, imo - plenty of fantasy doesn't engage at that level. but there is a wide array of contemporary fantasy I do think we can contrast with ACOTAR and other popular NA series.

we've discussed some of the hallmarks of YA and NA as categories: the age range of characters, coming of age, explicit sex for NA. i'd add fast-paced, immersive writing, especially in first person or close third, because so much of the appeal described on booktok is a book sucking you in completely. now, i want to bring up a few books that, on the surface, might check several of these boxes: dune by frank herbert has an 18yo protagonist, and the first book is very much a coming of age story. eragon (christopher paolini) and the name of the wind (patrick rothfuss) focus on a young person coming into their magical abilities through school/mentorship, a similar setting to many YA series. mistborn (brandon sanderson) and game of thrones (george r.r. martin) both have prominent protagonists that are 18 or younger when the story starts. of all these series, only eragon has young-adult as its most popular age-related tag on goodreads, and eragon was, at the time of release, very specifically marketed to and shelved in young adult in bookstores and libraries. some of these books have explicit or non-explicit sexual content, but only GOT has even close to as much as your average NA novel (to my knowledge).

i am not alleging that any of these books should be classed as YA, necessarily. but the glaring difference in their marketing and readership does point to one thing: these books are largely about men, and they are all written by men. i am not the first person to point out this gender gap in fantasy writing, and i don't have anything particularly new to say about it, except to bring it back around to my original point. none of these novels "are" adult fiction, and plenty (plenty!) of teenagers read them, in an interesting reversal of the trends in YA. who is making the decisions about where these books go, and why? what can we draw out about the books and their marketing? how is the future of "adult fantasy" shaped when these are the benchmarks by which we measure new entries?

i did also look into a few of my own favorite sci-fi series by women to see how they ranked by similar parameters. parable of the sower by octavia butler, featuring an 18yo protagonist and sexual content, has no age category at all in the top 20 most popular goodreads tags. it's in adult fiction in every library in my system that owns a copy. ive seen gideon the ninth (18yo protag, and yeah lets go ahead and say explicit sexual content) on YA shelves in bookstores, but its adult tag on goodreads is more popular, and almost every library in my system has it in adult. in my opinion, these books are important in rejecting the "women write YA, men write adult" narrative around speculative fiction, but they're not necessarily an exception to a different trend. it is not difficult for me to think of more adult scifi/fantasy books by women, because i actively seek them out. however, almost every single one of them has a protagonist under 25, as is the case with so much of the adult fantasy written by men listed above. last year, i read the adventures of amina al-sirafi, by s.a. chakrabotry, which was (i believe) the first non-contemporary/realistic fiction book ive ever read with a middle aged mother as the main protagonist. the book club at my library branch, mainly composed of middle aged and older women, read it, and expressed such genuine joy and excitement over a fantastic, adventurous book featuring a woman they saw themselves in. representation really does matter, and it matters to everyone, not just young people. but that's a different soapbox.

young readers are extremely picky. i've watched many a teenager (or younger) browse the YA section and turn up their noses at books with a cringey cover, an overly dramatic blurb, or just because. marketing books to teens is hard. booktok is an incredibly powerful marketing tool and divisive social force. it skyrockets an author one day and by the next week, other accounts are tearing that same author to shreds. in this environment, its no surprise that the sensationalized books - extremely good or extremely bad, blatantly sexual, shocking, consumable - become flashpoints of discussion. who should be reading ya? who is it for? what is inappropriate for young teenagers to read? what is inappropriate for adults to read? i think about these topics a lot, especially as what the publishing industry terms a "gatekeeper" - i'm a children's librarian; i control the access teenagers in my community have to these books. i take that role seriously, and i want to be thinking deeply about the books i put in my YA section and who will read them. our decisions, about where we class books, how we label and present them, how we discuss them: that is part of what dictates what genre and age classification a book "is", in addition to marketing.

[txttletale]

I'm interested in your thoughts about Large Language Models. I'm much more opposed to them than text to image generators for similar reasons I'm opposed to crypto. The use cases seem so vastly over exaggerated, and I'm particularly concerned by unmonitored uses. Like I have good reason to believe it's a very dangerous technology and my efforts to oppose dangerous uses of it in the charity I work for have consisted of opposing all uses because they've been dangerous for obvious reasons. Some developers put together a chat bot to give out cancer advice.

i think you're basically right about this but i think that as with AI art the problem isnt the technology itself but the societal and material conditions around it -- in this case disastrously irresponsible and deceptive marketing fueled by uncritical stenographic reporting. like, by far imo the biggest danger of something like chatGPT is people trusting a machine that is basically good at authoritativbely lying to give them advice and help make decisions. like the lawyers who used chatGPT to help submit their court filing and it just fucking made up a bunch of citations -- the idea of this beocming a pervasive problem across multiple fields is like, terrifying. but again that's not because like, the idea of a program that can dynamically produce text is ontologically evil or without legimate application -- it's because of the multimillion dollar marketing push of GPT & similar models as 'AI assistants' that you can 'talk to' rather than 'a way to generate a bunch of text with no particular relation to reality'.

[drdemonprince]

spiraling slightly about finally applying to grad school with a low gpa. I’m proud bc even getting to this point took a lot of work facing shame and I know my essay is strong but it might not even get read. I have an idea of what I’ll do if I don’t get in anywhere this first round but the whole thing is just so frustrating 😖 wish I could just pluck out the menty-b year from my transcript

Here's a little reassurance that's also very grounded in stastical reality and academic process, for what it's worth:

Depending on the graduate program, you're looking at about a 10% rate of acceptance on average. So receiving some rejections is normal -- it's typical to expect 90% of the schools you apply to to ultimately reject you. So if you get some rejection letters, know that it's not a reflection that you have failed, or that you're not graduate school material, it's a built-in part of the experience.

Additionally, *most* graduate programs have a GPA and standardized test score cut off, and all applications that fall below that cut-off are not even examined. For example, I applied to my undregrad alma mater, OSU, for graduate school, but my test scores were *one point below* the threshold they require, and so it didn't matter that I had been working for three years in two different social psychology labs for like 20 hours a week and had stellar recommendations from the school's own faculty. They didn't even look at that stuff. So, if you get some rejections, know that it's often nothing to do with your application materials at all. Yes this is fucked up. I think it's good to know that it's due to a built-in discrimination that THEY are doing, not anything you did.

Most people have to apply to multiple programs or apply multiple times over the course of a couple of years to find an acceptance at a school that is a good fit. It sounds like you have a back-up plan, which is definitely wise of you, but if you know in your heart that this is the path you want to pursue, don't let some rejections get you down on yourself. You can dust yourself off and apply again. I applied to I think 15? programs and got rejected by like 10 or 11 of them. That's par for the course.

The last thing I'll say is that graduate schools are exploitative, ableist environments that cause immense trauma to nearly every neurodivergent person who goes through them, so make sure you know what you are in for and have a really robust support system in place should you choose to pursue it.

It also *rarely* leads to any career prospects. To put it in perspective, blogging on tumblr helped my career more than 5 years of graduate study did. The blog The Professor is In by Karen Kelskey is a must read if you want a gut check for all the labor exploitation and poor preparation for the job market that happens in academia. you know your life, your values, and what excites and motivates you best, but graduate school is never an experience i proactively recommend to people.

ultimately i got very, very, very lucky as far as PhD's go, and even with that being the case in the end, graduate school still ruined my life and physical health.

[physalian]

On self-publishing, and why I did it

Based on the research that I have done, following other indie authors across multiple platforms, I think I've made an approach to this that is a lot less... shall we say, *intense* than people make it out to be? I've seen some YouTube videos acting like picking one route or the other might be the worst mistake of your author career.

I mean, I guess?

Back a few years ago I had a manuscript I was querying around and couldn't find any takers. Couldn't find any publishing houses that were accepting open submissions to pick up my manuscript either. So many of them had clauses in the application verifying that you were submitting to them and only to them and to expect a reply within 8-10 months. Coooool.

I did not have time for that.

—

The manuscript I had was 120k words. Baby’s first novel sitting at 120k words is not attractive to publishing houses. It’s a risk. I was younger and didn’t know much about finding an agent and all that jazz, so I had looked into self-publishing and was staring down an editor bill of about $3k minimum because of my word count. I did not have the money for that.

So that manuscript got shelved, meanwhile I wrote the sequel and got halfway through book 3 before writer’s block took hold.

Enter February 2024. I have an idea for a new book. 31 days later, I have that book’s first draft done—Eternal Night of the Northern Sky, on sale from draft to publication in seven months.

This time, I didn’t consider for one second trying the traditionally published route. ENNS is 111k words, it’s a doorstopper of a book, but the bulk wasn’t the only reason I decided to bootstrap myself to the finish line.

I wanted complete, absolute creative control every step of the way

If I have to market myself anyway, why am I splitting profit with a publishing house?

I *really* don’t have time to wait around hoping the right person sees my manuscript. I have a new job coming that’s going to eat up all my free time and could either delay ENNS a year or more, or get it out while I still had time to do so

I didn’t do this for money

I think that’s what makes so many of those rather intense arguments for one or the other so harrowing—the pressure is a lot higher if you invested all this time, money, and effort expecting returns to break even, if not actually turn a profit. Publishing with a publisher doesn’t guarantee people will buy your book, mind you, but it’s a helping hand nonetheless. If I even want to break even, let's say just on royalties from the ebook, I'd have to sell over a thousand copies.

Breaking down my above points:

I’m a firm believer in “if you want something done right, you do it yourself,” which does bite me in the ass from time to time, this I know. I didn’t want to get caught up in contracts or editors telling me what I could and couldn’t do or what I had to change. If ENNS fails, I will have no one to blame but myself, and I am at peace with this. If ENNS fails, and I’d gone through the trouble of signing my book’s soul away to a publisher, then I’d probably be a little resentful. 100% of ENNS is mine, even the cover. I had an image in my head of what I wanted the cover to look like, and I sat down and I drew it and it matches perfectly. Aside from the feedback implemented from betas and editors, my story is told the way I wanted to tell it. If it fails, I am at peace with this.

On marketing, I am not a person who does well with social media. Maybe it’s autism, idk, but trying to keep up with an Instagram is exhausting. I just don’t get anything from tiny text posts and blurbs and doomscrolling through influencers and advertisements. Social Media is, for me, exhausting. Tumblr is different, because writing is my strong point and this blog exists to share and curate something useful. But either way, I’d have to market this book alone, so why not do so with full creative control? If it fails, I am at peace with this.

I have a new job coming very quickly. My current job allows me about 5 hours of free time during my 8 hour shift on a good day not including the time outside work, and I work from home. ENNS was written in 31 days thanks to this job. The new one? Not so much. Seeing “please allow 8-10 months” and “please ensure this is an exclusive submission” on so many little publishing houses, and I did search far and wide, was incredibly disheartening. For me, personally, it wasn’t worth the gamble of waiting all that time, following the rules, and being told no or just being flat-out ghosted. Nor did I want to sit around querying agents into the void. This time, I didn’t have time to sift through agents. ENNS had to get out on the shelves as quickly as I could get it, and all that time (five goddamn months of editing, 500% of the time it took to write it) was spent perfecting the manuscript that it is, *not* waiting around trying to find an agent. If it fails, I am at peace with this.

And lastly, I don’t care if I make absolutely nothing from this book. I didn’t do it for the money, I did it to say I could. I have a day job, and I’m about to have a much higher paying day job. Maybe I’m lucky enough to have that, but I am under no illusions that putting in the hard work guarantees success. Success as an author is a crapshoot and being an amazing book is not the metric sales are measured in, if no one wants to read it. I’d like to make money, I didn’t do it for charity. It’s going to be priced exactly the same as another fantasy book of its caliber. But if only one person buys it, and finds something good from it, something in it that changes their life, then I will have succeeded, profit be damned. If all else fails, I am at peace with this.

—

This is not a post meant to sway people one way or the other. I know I didn’t do enough research or scour the internet hard enough to find a good agent. All of this is irrelevant when time was the most important factor in my debut novel. I was in a position where I could drop that $3k on an editor, so I did. I’m a capable enough artist to draw my own cover, so I did. I might be abysmal at managing social accounts, but less than a year ago this blog didn’t exist and it has over 5k reblogs and 950 followers and I think that’s pretty swell.

I’m 25 years old. I was not about to let it keep sitting around waiting for the golden opportunity with the perfect publishing house that might not have been coming. I had the means and motive to get it done, and by god, I did it.

If it fails, at least I can say that I failed trying. I am at peace with this.

—

Eternal Night of the Northern Sky is available now on Amazon in ebook and paperback! It is also available through your local bookstore.

Check it out on Goodreads!

[ausetkmt]

This marks the first week of Black Music Month. 

Declared in 1979 by President Jimmy Carter, the month-long observance celebrates the work of Black artists and music industry giants throughout the years.

In honor of the month, here are five Black-owned music and media applications and programs to check out for the start of Black Music Month. 

Deepr: Launched recently by software designer Austin Webster and a music industry entertainment attorney with experience working for Motown, Darrell Thompson, Deepr is described as a mix of “Shazam and ImDB.” Led alongside a board made up of award-winning musicians and producers such as Drumma Boy, Teddy Riley and Dallas Austin, the app helps users discover new tracks through instant searches. Once the song is recognized, Deepr provides insight into the creators of the track, providing information on both the musicians and the writers. The app recently launched a new widget that allows users to do a deep dive into songs played in shows right as they’re watching the episode. Deepr is available on both the Google Play store and the Apple Store for download.

Splits App: Designed by Jammber CoFounder and CEO Marcus Cobb, the Splits App helps those who are songwriters with tracking information on their work. Using the app, musicians can track the ownership percentage of each contributing writer on the song. As one of the only rights management services app in stores, the Jammber Splits app also helps users officially register their songs and collect any royalties made from the sales of the track. The app is available on the Apple App Store for download.

Fanbase: Created by the son of the late legendary singer Isaac Hayes, Isaac Hayes III, the Fanbase app is for musicians, influencers, artists and any other person who wants to expand their reach. Created in 2018, the app is a subscription social media platform that works to motivate Black content creators and have their work be rewarded with monetary value to bridge the equity gap on other social media sites. With the Fanbase app, every content creator’s work is guaranteed protection. Celebrities that have already endorsed the app by signing up include Snoop Dogg and Charlamagne Tha God, amongst others. The Fanbase app is available for download on both the Apple App Store and the Google Play Store.

The LABZ: Created by founder and CEO Farah Allen, The LABZ is an app that serves multiple purposes with partnerships with companies such as Comcast, Netflix and Amazon. It is a technology platform that allows users to create in an immersive online space. Previously, the app has been used extensively by musicians to collaborate on tracks in real-time.  

Breakr: Founded by four Florida A&M University alumni, Ameer Brown, Anthony Brown, Rotimi Omosheyin and Dan Ware, the Breakr music app helps with “direct-to-creator relationships.” The music marketing platform helps artists share their work by connecting with influencers as part of a collaboration. With these campaigns, the app ensures that content creators are getting paid for their work.

[barbielore]

The Barbie lore timeline is a little vague; Barbie was originally developed as a "teen fashion model" but as the line grew and developed she was increasingly positioned as an adult with a career. Technically as Barbie has run for president multiple times, she must be over 35 (unless the rules are different in Barbieland). And as this change has occurred, other characters have been introduced to fill the role of the teen kids can look up to that isn't yet quite an adult - characters like Skipper and Jazzie.

As a result Barbie has settled into the public consciousness as an older character, so I was surprised to stumble upon this Happy Birthday Sweet 16 Barbie from 1974.

At the time of this doll's release, Barbie had been on the market for 15 years - so it seems as though it was intentionally released in early celebration of Barbie the brand being 16.

This particular doll had accessories so she could have make-up applied and her hair brushed and scented - so she is all dressed up for her 16th birthday party, of course!

The make-up applicator actually has a surprisingly complicated looking mechanism. I mean, it's certainly not beyond understanding - but I think a modern toy would be more likely to use a simple brush or sponge on a stick rather than the applicator shown above.

This vintage ad shows different outfits as a part of the Sweet 16 collection apparently released as an 11 piece set but it is much harder to find good quality pictures of those.

Barbie's sale price of $3.87 in 1974, incidentally, correlates to approximately $24.15 today.

[unashamedly-enthusiastic]

Netflix has deleted its new password sharing rules that were recently updated to discourage multiple people from using the same account.

According to Streamable, streaming giant Netflix has removed its new rules from the official website despite announcing the change only a few days ago. A Netflix spokesperson clarified that the new guidelines are not applicable to the United States yet. "For a brief time yesterday, a help center article containing information that is only applicable to Chile, Costa Rica, and Peru, went live in other countries," the spokesperson said, adding, "We have since updated it."

[praeobscura]

Cross-posting from my mention of this on Pillowfort.

Yesterday, Draft2Digital (which now includes Smashwords) sent out an email with a, frankly, very insulting survey. It would be such a shame if a link to that survey without the link trackers were to circulate around Tumblr dot Com.

The survey has eight multiple choice questions and (more importantly) two long-form text response boxes.

The survey is being run from August 27th, 2024 to September 3rd, 2024. If you use Draft2Digital or Smashwords, and have not already seen this in your associated email, you may want to read through it and send them your thoughts.

Plain text for the image below the cut:

D2D AI Rights Licensing Survey:

This survey is going to all authors and publishers of Draft2Digital and Smashwords. We seek feedback from our community regarding potential rights licensing opportunities.

This survey is anonymous and should take only about five minutes to complete. Survey responses will be accepted until Tuesday, September 3, 2024.

Introduction:

In recent months, a growing number of AI developers have begun approaching large publishers, seeking to license books for the purpose of training Large Language Models (LLMs).

Books – both fiction and non-fiction – are highly prized for LLM training due to their long form narrative structures which teach Natural Language Processing.

Common uses for these LLMs include powering personal productivity applications such as customer service chatbots, virtual assistants, and the drafting of written communications for marketing, customer service, and internal communications.

What are your AI training rights worth? There’s no hard and fast rule to answer this question because each licensing deal is different.

Some early compensation models for news publishers suggest the equivalent of about $100 per license for LLM training rights for a 75,000-word novel, which works out to a little over 1/10th of a cent per word.

Some experts believe training rights for long-form book content justifies higher compensation for training rights than news content.

[earthstellar]

Just thinkin' about Nightshade: The Meaning of a Name

This started out as me thinking about how much I love their beast mode, and turned into thinking about their designation.

So, for those who might live in regions where Nightshade doesn't grow naturally, Nightshade is massively, massively poisonous.

So much so, that it's called Deadly Nightshade. In the UK, it's famous for being the plant that Macbeth probably used to poison Duncan's troops.

I always grew up hearing it called Belladonna, which is part of its Latin name, Atropa belladonna.

"Atropa" comes from "Atropos", the name of the Grecian Fate who severs the thread of life. (If you've seen the Disney Hercules movie, this is the Fate who cuts the thread with scissors.)

It has a beautiful purple and yellow flower, more reminiscent of Tarantulas' colours than Nightshade's.

It also features little black/dark purple berries.

Now, Nightshade is a great name for a bot that turns into an owl.

The name doesn't necessarily have anything to do with the plant.

However! I'm overthinking it anyway, so let's goooooo

Bad Implications!

What's super interesting is that Deadly Nightshade has some symbolic meanings in the UK/Europe; Namely, that Nightshade is one of the Devil's chosen plants, and that eating it (especially the berries) would bring Satan's wrath down upon the consumer as punishment.

It can represent danger, risk, betrayal, punishment, hopelessness, and sometimes even murder.

Plants with similarly mythologised toxic properties are Pennyroyal and Juniper-- Both of which can harm humans in various quantities.

(Interestingly, Pennyroyal is still sold in the UK as an insect repellent, and I even have some in my closet and drawers to repel moths-- But it is most famous as a risky historical abortifacient. I am usually asked for ID when I buy it in London Bridge Market, and they ask if you are familiar with it's use/inform you not to consume it when you buy it.

Juniper is most famous for being a common ingredient in sloe gin, but only in careful amounts. We've seen people in A&E come in with kidney pains from trying to make homemade gin, who ended up poisoning themselves by using the wrong type of juniper berry, or by concentrating it too much. Juniper was also considered a risky historical abortifacient.)

But in regards to Deadly Nightshade, a lot of people have hurt themselves trying to take advantage of its psychoactive properties-- Primarily in the form of the hyoscyamine and scopolamine (tropane alkaloids) found in the plant. However, the dosage is too finnicky, and it's way too easy for someone to poison themselves by accident. It's happened before. :( This plant is far too dangerous to use for these purposes. Do not consume!

But because of this connection with psychoactive properties, Deadly Nightshade is also sometimes symbolic of altered states of mind, having visions, or esoteric/magical thinking.

You can see this in a few fine arts works throughout history, various bits of folklore, and other historical media such as stage plays since audiences would be familiar with this plant as being a potential poison (thus making it a good choice for a playwright to work into a story).

Medical Applications!

The medication Atropine was first created via concentrated extracts derived from Deadly Nightshade. It has multiple medical applications, and can be concentrated from other members of the Nightshade family of plants, not just Belladonna.

Interestingly, although it can be poisonous on its own if someone decides to munch on the plant or its berries (a bad idea, do not eat any part of this plant ever), medically concentrated Atropine can be used in healthcare environments when administered appropriately to help address certain organophosphate poisonings by blocking muscarinic receptors by way of disrupting the neurotransmitter Acetylcholine.

Something that is sort of interesting is that historically, people used to put small amounts of liquid concentrated Deadly Nightshade into their eyes, as this resulted in very dilated pupils. This was considered a desirable cosmetic effect, hence the "Belladonna" part of the plant name-- It means "beautiful woman"! And Nightshade absolutely has large, round eyes with big pupils. (Do not put this shit in your eyes, it is a bad idea. Do not fuck with poisonous plants in general. Just need to be super clear on this!)

Again, that's an owlish trait, and it doesn't necessarily have to do with the plant. But I like that it could go either way.

I've also spotted Deadly Nightshade growing in overgrown cemeteries in the south of England, typically those that are near wooded/forested areas. So it's interesting that Nightshade got their alt-mode in a cemetery near a forest, since this plant is known to grow in woodlands.

But I wonder if Nightshade's name might have multiple implications; Especially considering their relationship with Tarantulas-- who we still haven't seen again, as of yet anyway-- it will be interesting to see how things play out.

Hopefully this is at least interesting trivia! :)

Also, Obvious PSA: Once again, don't eat any of the plants/flowers/berries mentioned here, you can die or suffer a surprisingly large amount of pain/potential organ damage. Either way, don't eat this stuff.