#Bee Stanton

[bumblingest-bee]

oh i finally got around to watching manhunt btw. it was so fucking good that sometime around episode 5 or 6 my roommate walked in on me lying face-down on my bed screaming into the blankets in legitimate emotional distress

[chris-makes-art]

White-Fronted Bee Eater - Acrylic on Canvas Panel - 6" by 6"

[softgrungeprophet]

Actually, posting that motivated me to move the rest of my pins onto the wall hanging so I can actually look at and admire them—

So here is my little pin collection, in no particular order:

The Fool, The Sun and Death from Kevin Jay Stanton's Botanica pin collection

Dark Entomology European Stag Beetle pin by Emily Cannon. Her shop is currently closed for maintenance and this was a kickstarter pin so it is probably not available

"I Am The Gay Agenda" rainbow pin is from dom+bomb (a local size inclusive queer indie clothing brand) to support Spectrum Center — I got it at the local pride event recently 🏳️‍🌈 Currently out of stock but maybe they will restock it in the future

Harpy pin by Samantha Mash whose store currently does not have any pins but does have a lot of pretty stickers and prints

Ball python pin by Aspen Eyes — no longer in stock but they still have some eyes pins plus some other pins... The eyes glow in the dark, just FYI.

Star Servings constellation pin by Chan Chau — store is currently closed

Froggy pin from the Froggy Plush kickstarter by Allie Mehner/grind3h — again, another kickstarter pin, so likely not available, and I'm not sure the artist even has a store

Mars: Iron pin by vipi.ink (weirdly enough their store pictures don't look like my pin, because the texture of the planet is like, screenprinted or something? but this is where I got it because it's in my email receipts lol)

Queer enamel pin by lychgate aka mr. kittys

Green Peas pin from the Produce Pin Series I kickstarter by Katie Berntson — another KS pin, and the creator doesn't appear to have a shop linked

Tiger skull pin — I can't find my email receipt for it, nor a backing card. It's not from etsy so there's no past order there... It does glow in the dark, though, and there's text hidden in the lines above the skull that are only visible when it glows...

Those little round things next to it are just some random earrings I got to hold a shirt closed btw

Flower bee pin by crowlines (currently sold out)

Mushroom Twins pin by sugarnova (not available but other mushroom pins are)

Egg ghost pin is another one I'm not... sure... can't find the receipt lol

Pansy Pride Flowers Pin by doki rosi (another kickstarter pin)

Funny Lil' Guys Garden Eels soft enamel pin by QuailteaGoods

Octopus Medusa pin was an add-on from eightfish's Puppeteer kickstarter

Saggitarius sparkly Zodiac pin by JackalandhareArt

Sword and shield pins from Emily Cheeseman's armory series (the sword and shield are sold out but there are some other armory pins still available)

Moon and cloud enamel pin was an add-on from the World Roulette kickstarter, by Light Grey Art Lab who I'm not sure are still like... in business

Bat pin by zombieisok (no longer available/shop is closed but reopens in like a week)

No idea what company made the Fay and Kurogane rubber pins, I got those at Sakuracon or something like 15 years ago, if not longer lol

Shaggy Inkcap mushroom pin by place called bliss/broadfootlenny

Okapia "Rainbow Sunset" pin by faunwood (no longer available)

Zelda pin was from a zine I'm not sure is still available

Carmico strawberry letter pin (no longer available)

And

Diver enamel keychain by Verena Loisel

Here they are all together:

Still plenty of room!

I don't buy pins super often because they're a little pricey for the size (but, also, if you think of it like jewelry, $15-$20 per pin is very reasonable), but every once in a while I do see something that's too pretty, cute or interesting to pass up.

When I was in high school I had a shitload of regular pins, like, the circular kind, pin badges, whatever you wanna call them—idk I'm American, they're pins—and I would put them all over my sweatshirt. Which is... a little unwieldy and less than elegant LOL but those were also crappy cheap aluminum pins that eventually got rusty, broke, etc.

Obviously the nice pins I want to be set up in a nice way, and also not potentially risk losing them... lol

[cowbirdbeebop]

Hullo, Melina! It’s a pleasure to meet you– I hope this letter finds you well!

I have to say, it’s an interesting experience to be able to speak to a bird of prey in such a direct sort of way. Can I ask– are you able to use your wings to fly? Do you and your partner ever go flying together?

Best regards, Will Stanton

(@frankmillerturnonyourlocation :DDDDD ty for reblogging aaaa!!!!!)

hiya! unfortunately my wings are useless for flying T_T sometimes i wish i could be like a bee and fly anyway because i don't care what humans think is impossible LMAO

thanks for the ask will!!

[female-malice]

A goat named Cedar was slaughtered by Shasta County fair officials over the objections of her nine-year-old owner, according to reporting from Sam Stanton published last week in the Sacramento Bee. 

The parents of the girl had initially purchased the Boer goat for their daughter to raise and enter into a livestock auction held for 4-H and other youth farm groups at the Shasta District Fair in Northern California last June. But the girl became attached to the goat, sobbing and pleading with her parents to save Cedar from slaughter. Eventually they relented and tried to back out of the deal, even hiding the goat at a rural farm. But by that point, it was too late. 

Though the parents offered to pay the goat’s price, and the buyer even agreed, fair officials wouldn’t back down. Within weeks, local law enforcement used aerial photography and search warrants to track down Cedar, who is now presumed slaughtered, possibly eaten at a community barbecue.

The story quickly went viral, sparking outrage on behalf of the girl and her goat. But what happened in Shasta County is far from an aberration. The purpose of 4-H — one of several national training programs for young future farmers — is not just to sell livestock but to indoctrinate young people into a food system centered around raising animals for meat. 

Teaching Children Agriculture Industry Values

Livestock auctions like the one at the Shasta District Fair are a part of a long history of agricultural programming led by groups like 4-H. 

For well over a century, the non-profit youth development organization that stands for Head, Heart, Hands and Health has sponsored local livestock fairs for young participants. Born out of afterschool clubs and local community events, 4-H is a national organization that aims to train and teach responsibility to students interested in the business of farming. 

In 1939, the organization was subsumed under the USDA — even assisting in the rollout of agricultural subsidies. By the late twentieth century, the program began shipping its pro-agribusiness values overseas, especially to Latin America and Africa.

Since its founding, 4-H’s purpose has always been much more than practical — instilling a very particular set of cultural values on everything from race relations to gender roles. Early on, 4-H primarily recruited white members, taught young girls household chores instead of other skills and engaged in culturally insensitive depictions of Indigenous Americans. 

Nowadays, it boasts over six million members, partnerships with schools and universities and a handful of national conferences. These youth programs include hands-on experience with rearing cows, record-keeping and courses on agricultural systems. And, of course, fairs.

Livestock fairs are integral to the success of the 4-H program — the Shasta District Fair calls its junior livestock auction the “backbone” of the festival. Within the livestock program, children and teenagers are responsible for every aspect of rearing an animal. The youngsters spend months or even years with their farmed animals – which can be rabbits, pigs, cows, chickens and more – cleaning, feeding and even exercising together. Eventually, the other shoe drops, and the animals — now called “products” — are auctioned off to buyers in the community.

The overarching goal of the livestock fair is not to sell animals, but to enroll the next generation of farmers into the value systems of 4-H and, more broadly, animal agriculture. Fair websites frequently tout the skills and values instilled into young farmers, who, by the end of the experience, will have learned the ins and outs of animal husbandry and walk away more self-sufficient and industrious.

At least, that’s the plan. But Shasta District Fair learned the hard way what happens when a child bonds with their living product. According to the livestock auction rules, exhibitors are forbidden to take back the animals. The sale is “terminal” — even if the buyer and seller change their minds, there is no backing out. No exceptions.

Training Children To See Farm Animals as Livestock

The rules must be resolute for a reason — the 4-H livestock programs are an example of “dominionism”, a doctrine that originates from Christian texts to imbue humans with power and responsibility over animals. This ideology is essential to the existence of animal agriculture. 

Children, however, start out seeing animals in a very different way — the relationship is more like a best friend or family member. The evidence for this is everywhere — the prevalence of stuffed animals as gifts, the line-up of most Disney movies or the glee of a kindergartener when first encountering their class hamster. Researcher Gene Myers argues that children connect to animals as part of their moral and social development — tending to see all animals — even farm animals — as individuals.

The 4-H programs are designed to reshape this relationship. According to a 2010 research paper on 4-H youth livestock programs, many 4-H’ers regard farmed animals as friends — recounting conversations, memories and affection for the creatures in their care. 

Yet, a majority of the youngsters don’t feel sad when the animals are eventually trucked away for slaughter. The longer a person has been in the 4-H program, the more likely they are to actively avoid attachment to the animal, making the auction less emotional. 

The programs even teach emotional avoidance skills to the children — avoiding names for the animals so they think of them purely as commodities and potential profit. According to the authors’ research, the children learn to re-categorize their empathy by dissociating the individual animal with its eventual function —  “‘market animals’ destined for slaughter.”

Seeing farm animals as commodities is an important yet conflicting cultural bedrock of animal agriculture. According to sociological research by Rhoda Wilkie, farmers young and experienced alike express contradictory attitudes towards their animals — simultaneous empathy for their well-being and a desire to sell them for slaughter. Returning again and again to the idea of animals as ‘livestock’ is one way to reconcile these paradoxes. 

The 4-H program helps to instill this way of thinking. As part of the 4-H education, kids and teenagers involved in animal projects must learn to treat animals according to their category — either a ‘food’ or ‘companion’ animal. 

To livestock fair officials, Cedar’s recapture and slaughter was part of this essential lesson. The buyer and the parents both wanted to rescind the transaction but as one official put it —  the fair is set up for “future generations of ranchers and farmers to learn the process and effort it takes to raise quality meat.” 

It’s Not About the Money

This isn’t the first time the meat industry has gone to extreme lengths to thwart farm animal rescue efforts. 

Last year, two high-profile lawsuits were filed against animal rights activists who “stole” injured animals from factory farms. In the first, two underweight piglets named Lily and Lizzie were rescued from Smithfield Foods and in the latest, animal activists rescued two disfigured chickens named Ethan and Jax from Foster Farms. 

In both cases, all four animals were unhealthy and worth very little to the agricultural companies — just 16 and 24 dollars each, per chicken and pig respectively. All defendants faced jail time for their alleged crimes, and all defendants were eventually acquitted. 

Just as with Cedar the goat, the meat industry went to great lengths to recoup the animals, involving local police and, in the case of Smithfield, the FBI.

Here too, neither lawsuit was ever about the money. Why would a multi-billion dollar company need to spend months of litigation and work with the police to recoup less than a hundred dollars? 

The meat companies — like the local agricultural fair — are invested in something far bigger — maintaining animals’ status as commodities. As journalist Marina Bolotnikova writes, the open rescue tactic is “intentionally provoking conflict with a legal system that treats living beings on farms as though they were inanimate property rather than sentient individuals.” 

Taking a farm animal out of the system calls into question the meat industry’s implicit assertion that all farmed animals exist as commodities instead of creatures, as livestock instead of lives. Rescuing an animal from slaughter — either by picking her up from a truck or trying to renege on the terms of a livestock auction — threatens the place meat holds in our food system.

In order for animal farming to exist, farmers must be taught over and over to reframe their perceptions of animals as commodities instead of creatures. The 4-H program is a crucial part of that effort, starting with children at a very young age to raise the next generation of farmers. 

Sadly for Cedar, there cannot be any exceptions.

[kylekozmikdeluxo]

A FINDING NEMO Memory or Two

FINDING NEMO was one of the first films I actually really anticipated a long while before its release.

As a kid, I would often start anticipating movies once I saw a trailer in theaters during one of my frequent movie theater visits, and then that would be it. Whenever I was on the Internet, I wasn't frequenting movie news sites or anything like that. If anything, the release of FINDING NEMO had me going on those sites more often to see what was coming. What the news was...

I first saw concept art for FINDING NEMO in a DK-published hardcover book called DISNEY: THE ULTIMATE VISUAL GUIDE. I had gotten it as a birthday gift in October 2002. I was immersed into that book, a chronological tour through Disney feature film and even park history, throwing in television stuff as well. The page spreads so inviting, and so many great images and stills from the movies, made for really well put-together arrangements. My well worn-out copy is still with me.

The final page spread detailed movies then slated for 2003 and 2004... Only concept art for FINDING NEMO appeared, no stills from the actual movie. The images depicted were Nemo peaking out from behind a coral, Marlin and Dory looking at Sydney Opera House, and a long stretch of Nemo inside the dentist office fish tank. These images completely engrossed me. Just this colorful fish movie, incoming: I always had a thing for the underwater world anyways, between the many animal books I had as a kid to the nature documentaries I'd often see on like Animal Planet, Discovery Channel and such. I was taken to two big aquariums in home state every year or so, and was always fascinated and mesmerized by all those tanks, all that aquatic life. I had PC games about it, and there was also - semi-related - that Titanic phase I went through... The ocean, the sea, it's all very neat.

(As an add-on, the other movies on that page spread were PIGLET'S BIG MOVIE, THE JUNGLE BOOK 2, HOME ON THE RANGE, and BROTHER BEAR back when it was called "BEARS".)

Then, I got MONSTERS, INC. on DVD for Christmas... And when I saw that a teaser trailer for the movie was ON THERE?? I watched it over and over, along with just about everything else on that 2-disc DVD set...

I was all about FINDING NEMO, and I caught it on opening weekend... and loved it so much, I saw it two more times in theaters, which is something I rarely got to do as a kid back in the day. Then I was somehow able to rent it the Friday before its Tuesday DVD release. Rented it, over and over, til I got the DVD and VHS for Christmas. At the time, I didn't have a DVD player in my room, it was only in the family room and my mum's room... So the VHS sufficed, despite no bonus features! In early 2004, after winning a $200 gift card to Circuit City (lol, remember that? No? You might be a young'un reading this!) from a spelling bee, I bought an extension for my Xbox - which I also got for Christmas - that allowed me to play DVDs in my room. Yes, we kids/preteens of the early 2000s had it rough, haha.

On a personal note, this movie came out when my life was in a weird flux, and I was in a part of growing older that didn't go so smoothly. Not to divulge too much, but when you're autistic, neurodivergent, and you're coming of age in the early aughts... Not the nicest time, for sure... Yeah, things weren't easy... And at the end of the year, when the movie was finally out on DVD, I was going through a very big family loss. My first one, really... So, I really gotta hand it to FINDING NEMO for being one of the things that really helped get me through all of it... Just keep swimming, indeed...

Similarly, director Andrew Stanton's sophomore Pixar effort, WALL-E, got me through another tough time in my younger days...

I would say FINDING NEMO and MONSTERS, INC. made me fall in love with the work coming out of Pixar, especially in those early days when it was the movies being made exclusively by the Lasseter circle. As a little kid, I wasn't really that much into the TOY STORY movies, but I did like A BUG'S LIFE and played the PlayStation game quite a bit. MONSTERS, INC. I remember being a blur in the theaters for other reasons... But I asked for MONSTERS, INC. on video the year after because I did remember enjoying the door vault chase, so that was enough to make me want the disc and to watch it again. I got the DVD that Christmas, and as said earlier, I think the combination of that film, the FINDING NEMO teaser and the NEMO concept art in the DISNEY: THE ULTIMATE VISUAL GUIDE book turned me into a cultist for the Luxo lamp in December 2002, haha.

Then I went back to TOY STORY and TOY STORY 2, which I had on VHS, and gave those a proper re-watch. Now that I was 10, knew what computer animation was and how it was made, and having more of an appreciation for the way visual stories were told than I did at - say - age 6 or even 8... And I fell in love with both. Then I rented A BUG'S LIFE over and over until I was able to buy the DVD... I wanna say it was sometime in 2003, maybe early 2004, but it was the "Collector's" set DVD that promoted FINDING NEMO with a giant sticker on the shiny slipcover. Hell, if I remember correctly, I bought it at a Suncoast Motion Picture Company outlet in a mall... Back when there were more than... 4 of those across the country!

And then some 9 years later, I went and saw the 3D re-release... Surprisingly, for a movie made in 2003, it was converted wonderfully to 3D. The 3D actually added a very subtle but very immersive depth of field to many of the underwater scenes, it looked fantastic. So yes, I saw FINDING NEMO four times in theaters. I'd probably see it a fifth if it gets re-released for whatever reason, again.

It's a favorite of mine.

Hey, I once did a video essay on it, too!

Happy 20th Anniversary.

[seerauber-entartete]

I really try not to dismiss a show just because I don’t like the way an actor looks but OH MY GOD I cannot bring myself to watch the Sandman Netflix series. The guy playing Dream looks like Robert Pattinson got stung by a bee.

20-something Dream is not doing it for me. The dude should be gaunt and haggard. Patti Smith or Tim Roth or Harry Dean Stanton.

[akwarts]

Things are pretty turbulent right now. The working class is being abused. Productivity is higher than it's ever been, but wages haven't risen to match or even kept up with inflation. Despite profits being at record highs, our wages are lower than they were two generations ago if you account for purchasing power. My grandparents made about $800 a month and their mortgage was $50. Most people where I live make $2,500 - yet the mortgage for a 2-bedroom home is $2,600. If you want to *RENT* that exact same home, you'll be paying $3,000 because the owner has you paying the mortgage, plus a profit.

(Yeah most people need roommates into their late 30s here, or one partner's entire pay goes toward housing.)

I'm also pretty sure all this anti-LGBTQA and pro-choice nonsense isn't about morality at all; it's about making sure the USA doesn't fall into a population crisis like the rest of the world.

Thing is, there's no such thing as a population crisis, except with endangered species and in capitalism. The world has finite resources; wouldn't fewer people be better? Fewer people means more resources to go around. I realized recently that they use our Social Security to scare us on this point. They claim that if we don't have babies, there won't be enough people paying taxes when we're old to support our SSI - but that's not how SSI works. We're paying into it NOW, actively, and if they'd keep their grubby fingers off of it, it would be fine from generation to generation. Thing is, they keep dipping into it like it's a petty cash box. But regardless, the idea that it will be paid by our children is nonsensical and a blatant scare tactic to get us to breed, because THEY need it, not because we need it.

The only way fewer people (when there are already 8,000,000,000 people on the planet) is a bad thing is because it means less worker bees.

Especially since the worker bees are more easily exploited if they're desperate, and what makes them desperate? Feeling replaceable - which requires lots of other worker bees waiting to replace them. That can't happen when there are fewer people and more than enough jobs to go around. Just the other day, a real estate giant was televised at The Australian Financial Review Property Summit saying that workers are "arrogant," and think employers are lucky to have them when they need to think they're lucky to have jobs. He had the audacity to say that "we" (as in him and the owning class) need to "create a recession" and "we need unemployment to go up, ideally 40-50%."

SCREW. HIM.

Your time is a commodity that YOU own. Time is more valuable than money. All acquisition of money is for the purpose of being able to get back your time and be able to enjoy it.

YOU. OWN. YOUR. TIME.

And they don't like it. They don't want you to know that.

Because it's the most valuable thing on Earth. Without it, they have no one to make their products or perform their services. Without YOUR TIME, they would be broke.

So they want really badly to be able to own it. To make you feel like it doesn't actually belong to you. For you to feel "lucky" to give it away to them for pennies on the dollar of what you will make for them.

As Andrew Stanton, Donald McEnry, and Bob Shaw said (writers of A Bug's Life) "Those puny little ants outnumber us 100 to 1, and if they ever figure that out, there goes our way of life."

Well, guess what.

In the US, people like us outnumber billionaires by 412,500 : 1.

Globally, we outnumber them 2,504,696:1

Let's help each other figure it out.

Let's take back our lives.

ACT. In any way you can. Don't be passive; it enables them.

EDUCATE. They are terrified of a well-educated working class, so learn something every day. If you don't understand something as well as you'd like, read/watch/listen to as many sources as you can until you do. Never repeat something you see or hear unless you verify it by doing your own research. I like to do this by reading at least three separate articles from different sources, and then looking into the backstory of an issue. If you can afford to, go back to school, even if it's just online community college classes after work. Most importantly, share what you know. Teach others, if you can, with loving intention and their consent. Try to really connect and think of teaching as an opportunity to lift people up, not show off how smart you are. I mean, smart is sexy, but smart and humble? F'whoosh!

INCITE. You know that expression, "if you're paying attention, you should be angry"? Yeah, that's relevant here. Things are bad. If you look around and really take it in, the only people who shouldn't be angry are the super-wealthy, because they're on top and they're benefiting from the problems. Channel your anger into passion and drive, not rage or violence. Use that energy to make a positive difference, and inspire others to do the same.

ORGANIZ.: We really do outnumber them by 400,000 to 1 domestically and 2.5 million to 1 globally. They can push individuals around, and they can dominate a submissive, non-confrontational mass population. They can't take us all on. They control everything because they have so much more money than the average person, and can use it to buy power by putting it in the pockets of officials and politicians to influence our governing bodies. But when we group together and push back, we're stronger. That's why unions work, and why they HAAATE them. If we normalize unity, it won't be just unions, though. If we normalize unity, if we organize in everything, not just at work, we can really fight back. We can pool our resources to get our own lawyers and bill-writers and lobbyists to send to DC. We're not going to bribe officials like they do, but together we can make those "perks" and "gifts" and "donations" legally defined as the bribes they are and take the money out of politics. We can demand ethics and equal representation return to the norm for our elected representatives.

UPLIFT. We are all in this together. We are all housemates here on our home planet, and it's the only one we've got. They want us fighting. They want us to blame each other. They want us mad at teachers and burger flippers for wanting as much money as "skilled labor" instead of mad at our own employers for not paying us fairly, either. They want us mad at the migrant worker for "stealing our jobs" instead of mad at the person who exploits foreign workers, or the media for pushing that narrative when in reality, nobody else even wants those jobs. Because they're hard, dirty, exhausting, and have no growth potential. Even the Red vs. Blue thing is manufactured. They're playing us against each other so that we're too busy in-fighting to face the real threat with any effectiveness. Don't let them. Learn to recognize your peers, have compassion for your fellow humans, and uplift others. If the status quo is to think of the other person, we all do better. It is possible to thrive.

Just remember that you can't take care of others if your own basic needs are not met. That's what the Y is for - YOU. In a world where we all look out for one another, everyone's needs get met - but we're still fighting for that world. So, for now, please, don't forget to breathe, rest, sleep, take a break, drink some water, connect with people, and do something that makes you happy when you can.

In other words, please, take care of yourself. For me. For all of us. Okay? Credit to the podcasts and video documentary makers I follow regularly. I learned a lot of this from them, and I'm sure much of what I've said here echos their own statements. They are: https://www.youtube.com/c/SecondThought https://www.youtube.com/@ThenNow https://www.youtube.com/@JamesJani https://www.youtube.com/@FDSignifire https://www.youtube.com/@leejamiller ... and a whole lot more. I'll have to make a bigger list sometime.

[klobast]

FNaF Timeline Upcoming Updates Teaser

ACTUAL TIMELINE THEORY IS A FEW POSTS BELOW

Ballora mirrors Aurora/Briar Rose from Sleeping Beauty by Disney. Ballora was later reused by Hayden-Burney.

Ella mirrors Cinderella by Disney.

Charlie Bee mirrors Jollibee. Charlie Bee's (Charlie's, from Fazbear Frights' What We Found) is an ice cream parlor opened by Henry Sr. Emily in memory of his dead wife Charlie Cooper.

Stanley the Unicorn mirrors Quickdraw McGraw.

Leonardo the Lion and Barker Wolf mirrors Lippy the Lion and Hardy Har Har.

In 1972, Thad Osterley and Steven Osterley were born.

The Pinwheel Funhouse characters (FNaF World) might mirror the Really Rottens from Laff-A-Lympics (1977).

In 1978, Dave Watson is born.

In 1978, Davey Emily is run over by a truck driven by the serial killer known as Brock Edwards. Sammy Emily, the brother of Davey, is able to see the truck driving away but cannot remember the license plate.

In 1981, Bite Inc. buys Conman-Wolf's Diner and begins to design animatronics for it.

In 1982, the demon serial killer known as Maria Anders begins to kill off her boyfriends during her highschool years.

In 1983, the animatronics for Conman-Wolf's Diner debut to the public.

This mirrors the opening of Wolfman Zapp's Bar & Grill in 1983.

In 1983, the videogame Superstar was released by Springle Inc. It introduces the character Superstar, who wore the Faz-Watch and wielded the Fazerblaster, as well as the robot known as Candy Cadet.

This mirrors the vidyagame Space Ace, which came out in 1983.

Snocone's Cavern (Meme Cavern from Freddy in Space 3, Ice Cave from FNaF World), an ice cream parlor, opens during Winterfest 1984 in Dusting Fields, Hurricane, Utah.

Snocone mirrors Frosty the Snowman.

Vert the Christmas Tree mirrors the Grinch.

Villain the Devil mirrors Krampus.

Chilly mirrors Frau Holle/Old Mother Frost.

Cherry the Reindeer mirrors Rudy the Red-nosed Reindeer.

Stook the Goat mirrors The Yule Goat (Which is made from a bundle of wheat -- a stook).

Pollyanna mirrors Father Christmas and Mother Nature.

Blazon the Elf mirrors Blinky the Elf from Flintstones.

Glamorant the Elf mirrors Twinky the Elf from Flintstones.

In 1986, Freddy in Space was released for the FES. Mirrors Metroid 1.

In 1987, Margie Taggart marries the Circus Baby's technician called Abe Thayer.

In 1987, Samantha McNally, the sister of Susie, is murdered at Freddy Fazbear's Pizza.

In 1987, Abe Thayer is murdered by Ennard at Circus Baby's Entertainment and Rentals after scooping Circus Baby.

In 1987, Abby Taggart is born. She is the daughter of Margie Taggart and Abe Thayer and the half-sister of Sammy Taggart.

In 1987, Fazbear Entertainment hires technician Burt Stanton to design new animatronics for an upcoming new restaurant.

In 1988, the demon known as Brock Edwards secretly kills the wife of an engineer while she is in Heracles Hospital. The engineer then discovers this and decides to run over the serial killer with his truck. The demon serial killer comes back to life as a vampire.

In 1989 (Tux Chuck), Fazbear Entertainment opens a new restaurant with new springlock animatronics called Leonardo's Pizza.

In 1990, Shelly Girard becomes a police officer.

In 1992, Burt Stanton and his family move from town to town after he finds a serial killer keeps trying to frame him for crimes.

In 1992, Dave Watson attends Dr. Little's class and is killed and replaced by a Faz-goo clone. Springtrap then proceeds to use the name Dave Watson for a new false identity.

In 1993, Virgil Fondeur burns down Geist Lair.

In 1993, the animatronic known as Ella is used by Conman-Wolf's Diner. A police officer is killed by Ella.

In 1993, Conman-Wolf's Diner burns down through the efforts of Michael Afton.

This mirrors the closure of Wolfman Zapp's Bar & Grill in 1993.

In 1994 (Coach Chuck Era begins), the restaurant known as Snack Space opens up, which features the Space Soldier Animatronics introduced during the videogame Freddy In Space.

In 1995, Burt Stanton moves back to Hurricane, Utah and buys Leonardo's Pizza. Burt's first son begins working at the pizzeria.

In 1995, a serial killer disguises himself via demonic magicks and takes on a job at Leonardo's Pizza. He tampers with the animatronics' AI to kill security guards. The serial killer also wears a springlock suit in order to murder kids at the restaurant.

In 1995, Leonardo's Pizza closes down due to drama resulting from children who go missing there. Despite closing down, the restaurant still hires security guards to look after the place on the nightshift.

In 1996, Mike Afton becomes manager of Snack Space.

In 1997, Sammy Taggart is fired from Rocket House for insubordination after he is instructed by higher ups to cover up a murder done by one of the animatronics. Sammy refused to comply with this order.

In 1997, Margie Taggart dies.

In 1997, Sammy gets a job at Hurricane Mall.

In 1997, Sammy Taggart takes the nightshift at the closed down Leonardo's Pizza. The demon known as Brock Edwards uses the Barker Wolf springlock suit and tries to kill Sammy whilst he is working the nightshift. This serial killer suffers a springlock failure before he can kill Sammy. After Springtrap discovers that this serial killer now possesses the springlock suit, Springtrap then gives them an illusion disc to continue their murders. This serial killer haunting an animatronic becomes known as Twisted Wolf.

Brock is a name similar to Brak -- a Dutch word for hunting dog. Dogs descend from wolves. Poetic, I think.

In 1997, the daughters of Maria Anders are born: Hope Anders and Halley Anders.

In 1998, The Faz-Goo clone of Dave Watson has the son Chris Watson.

In 1999, Leonardo's Pizza reopens with new animatronics.

In 1999 (End of Coach Chuck Era), Leonardo's Pizza is burned down by an employee who tries to frame Burt Stanton as a serial killer. Burt dies in the fire.

Marley (From Pizza Kit) is the daughter of Cindy Henderson and Brandon Campbell.

In 2005, Maria Anders, the best friend of Gillian Henderson, and Maria's husband known as Officer Harris have the daughter Heather Anders.

In 2005, Devon Blaine Marks is born.

In 2007, Garrett Henderson is killed by a female serial killer wearing a springlock Chica suit.

In 2012, Chris Watson takes a class with Dr. Little and is killed and replaced by a Faz-Goo clone.

In 2012, Lally's Lollies reopens after it is rebuilt.

In 2013, Miles Henderson gets a job at Freddy Fazbear's Pizza and Games

In 2013, a female serial killer wearing a springlock chica suit suffers a springlock failure at Freddy Fazbear's Pizza and Games. After dying, the serial killer possesses the suit. She then becomes known as Twisted Chica.

In 2014, Robert Stanton, a detective who works alongside Jack Weston, goes on a trip with his family to Camp Etenia.

Oswald is the protagonist of Prankster from 2016. He is killed by Glitchtrapped Michael Afton/Jeremy.

Oswald's spirit becomes trapped by Glitchtrap in a game released by Springle Inc. in 2017 called FNaF: Into the Pit.

[spectershaped]

I've been thinking about the line "I don't think of the audience" and similar said by artists (it seems that, despite being attributed to Hayao Miyakazi, that's actually something Andrew Stanton said rather than him. Of course, he wasn't the only one ever who said it but I find no primary sources of Miyazaki saying it. so yeah). I think that it's something that can mean a bunch of different things

I believe part of the artistic process inherently involves adopting something of an "outside perspective" simply because of the nature of creating something; when you're making something, you're grasping for a way to solidify as concept and, thus, it's no longer this fuzzy thing inside your head. Now it can be grasped by the senses - now, even if you never show it to anyone, it's a form of proto-communication. The relationship between art and communication is...complex and I don't have a very cohesive theory of it, but I do believe expression and communication overlap in various ways. Of course, there are ways of making art that eschew - intentionally or otherwise - some kind of authorial control, but that's a whole different matter

So, among the things that the phrase might mean - and I admit I'm doing my fair share of hermeneutics here - you have:

"I am not going to simply chase trends and put out material that I just don't care about in order to get eyeballs"

"I am not going to let people's expectations of what art, or of what my art, should look and feel and be like interfere with my vision"

"I'm going to make the stuff that I would like to see someone else do if I was a spectator, which I am at least some of the time"

"I am actively refusing to seek praise from, and become beholden to, an audience which does not have an actual personal relationship with me, or even a smaller one which does"

"I do have a great deal of respect for my audience which is why I want to give them something which they are not expecting but will probably enjoy more than something which they would likely ask for if prompted"

"I have a bee in my bonnet about the concept of 'audience appeal' and who it serves and this is me kind of vagueblogging the entirety of mainstream pop culture [add 'nowadays' and/or 'from ' as needed]"

Various others

[sutrala]

LEXINGTON, KY - Local man Jared Stanton found himself increasingly unsure whether the guy next to him in church was crushing a complex harmony or just singing horribly off key.

[writemarcus]

THE 24 HOUR PLAYS Make Their New Jersey Premiere At Mile Square Theatre In April

The 24 Hour Plays are a non-profit theater company that bring creative communities together to write, rehearse and perform new plays and musicals in twenty-four hours.

By: A.A. Cristi

Mar. 27, 2024

On April 7th, The 24 Hour Plays make their New Jersey debut at Hoboken's Mile Square Theatre. Established in 1995, The 24 Hour Plays are a non-profit theater company that bring creative communities together to write, rehearse and perform new plays and musicals in twenty-four hours.

“Mile Square Theatre and The 24 Hour Plays honor an abiding belief in the power of creative collaboration to develop transformative multicultural voices for the theater,” said Kevin R. Free, Artistic Director of Mile Square Theatre. “We're thrilled to be a partner to The 24 Hour Plays for its New Jersey premiere and host to a delightful mix of talents from New Jersey and New York City to make the program really sing.” 

“The relationships artists build during formative theatre experiences like The 24 Hour Plays last their entire careers,” said producer Leo Layla Diaz. “We seek the very best cross-section of multi-generational and multi-cultural theater artists – and we arm them with what they need to hone their voices for this unique event."

Actors slated to participate include Gabriel Hernandez (Quarter Rican), Nirvaan Pal (School of Rock), Matt Lawler (“Station 11”, “Billions”), Kennedy Kanagawa (Into the Woods), Stephanie Kurtzuba (“The Irishman;” Wolf of Wall Street;” “Annie”), Joy Katharine Donze (Funny, Like an Abortion), DeAnna Supplee (B.R.O.K.E.N. code B.I.R.D switch.), Jason Yanto, Joelle Zazz, Maya Jeyam, Julia Way, Rich Frohman, David F. Gow (“The Girls on the Bus”), Jordan Ho, Grant Madison Stanton, Ross Cowan, Keivana Wallace (The Christmas Tree Farm) and Ian Lloyd Sanchez.

Writers include Susie Felber (Host/Producer "The Hawk"), DW Gregory (The Yellow Stocking Play, Radium Girls), Iraisa Ann Reilly (The Jersey Devil is a Papi Chulo), Pia Wilson (Black Bee), Marcus Scott (Sibling Rivalries), and Raakhee Mirchandani (JOURNEY TO THE STARS: KALPANA CHAWLA, ASTRONAUT). Directors include Julie Tucker, Rachel Dart (The Christmas Tree Farm) and Goldie Patrick (Paradise Blue). Musical Guests include Faye Chiao and Tasha Gordon-Solmon (Fountain of You). Additional artists to be announced.

Participating actors, writers, directors and production staff gather for the first time on the evening of Saturday, April 6th to introduce themselves and share prop and costume items they've been asked to bring. The writers will take inspiration from this meet and greet to write new plays overnight. In the morning, the actors and directors will receive the six new plays and team up with production staff to begin their rehearsal and tech process, with curtain at 7pm that night.

The 24 Hour Plays: Hoboken are produced by Leo Layla Diaz and Mark Armstrong in conjunction with Mile Square Theatre's Artistic Director Kevin R. Free.  The event will honor the long-standing contributions of the Rostan Family to Mile Square Theatre with the dedication of the naming of the gallery space. Proceeds from The 24 Hour Plays: Hoboken will benefit Mile Square Theatre's non-profit theatre making and educational programming.

About The 24 Hour Plays

The 24 Hour Plays (est. 1995) bring together creative communities to produce plays and musicals written, rehearsed and performed in twenty-four hours. Through our radically present approach to theater, we make work that responds immediately to the world around us, builds communities and generates new artistic partnerships. Our events include The 24 Hour Plays on Broadway and The 24 Hour Musicals, as well as productions in Athens, Denver, Dublin, Finland, Florence, Germany, Little Rock, London, Los Angeles, Mexico City, Minneapolis, Philadelphia, Sacramento, San Francisco, Savannah and more. Beginning March 17 2020, The 24 Hour Plays Viral Monologues series generated over 600 new free-to-view theater pieces, featuring over 1000 artists, viewed millions of times worldwide and archived in the Library of Congress. 

About Mile Square Theatre

Mile Square Theatre, a non-profit company, has been producing original and gently used theater since 2003 in Hoboken New Jersey. Located at 1400 Clinton Street in Hoboken, New Jersey, Mile Square Theatre enriches and engages the region through the year-round production and presentation of professional theatre and innovative arts education.

[dertaglichedan]

Liberals Replace Star Of David On 'Coexist' Sticker With Hamas Paraglider

LOS ANGELES, CA — Merchandising companies released an updated version of the iconic 'COEXIST' bumper sticker this week with the Star Of David removed and replaced by the image of Hamas paragliders.

"The best way for everyone to coexist peacefully is by killing off the Jews," said liberal activist Molly Stanton. "It was high time we decolonized the 'COEXIST' message."

According to makers of the sticker, the paraglider symbol of murderous Hamas terrorists encapsulates the freedom and tolerance that all true liberals yearn for. "This change helps convey how serious we are about peaceful coexistence," said sticker designer Deandra Martinez. "We are so committed to peaceful coexistence we will commit mass murder of a particular ethnic group if necessary. We're just one genocide away from utopia, folks."

As of printing time, Rep. Rashida Tlaib had been seen covering flyers showing the faces of hostages with the new 'COEXIST' stickers.

***That Bee!!!

[ajstanton8]

"poison ivy on turtle creek off the Brazos river" my kind of paradise. Poison Ivy, Poison Oak, Snapping Turtles, Diamond Back rattle snake, alligators and a fish that looks like one called a Gar, poisonous Brown recluse spiders (about the size of a nat), daddy long leg spiders that can kill a redback spider but wont harm us, praying mantis that loves to bite the heads off those killer bees and some flesh eating bacteria of my favorite gulf coast, my kind of neighbors. acrylic and ink mono-print, inverted contrast images by anthony stanton

[library-thoughts]

Reading Log 5

Where Have All the Bees Gone?

Category: Young adult nonfiction Author: Rebecca E. Hirsch Format: Print Publisher: Twenty-First Century Books Publication Date: February 4, 2020 Target Audience: Ages 13–18 Physical Structure: 6in x 9in, 104 pages Content: This nonfiction book discusses the crisis of bees' disappearance in the wild that has been ongoing for many years now. The book covers different bee species as well as facts about bees and their habitats. It also posits different explanations for the bees' disappearance, such as parasites, disease, pesticides, and climate change. The final chapter discusses what people can do to help the bees, including doing further research, buying local, and planting a pollinator garden.

Assessment: The suggested age range for this book is perfect. The content is appropriate for almost any age group, but the writing and some of the sections make it ideal for high schoolers. There are tips about following the scientific method and how to dissect and understand facts. The photographs in the book are beautiful and high quality enhancements to the text. Quality: This is an important text that brings the bee population crisis to the attention of the upcoming generation. It informs and raises awareness while encouraging readers to take action and do further research. Potential Use: This would be a great research resource for high schoolers learning about the scientific method, climate change, or environmental science. Appeal: Where Have All the Bees Gone? is sure to appeal to budding climate activists, curious vegans, and empathetic inhabitants of our planet. This is a great informational resource as well as a beautiful tribute to bees and their contributions to the environment.

Finish the Fight!: The Brave and Revolutionary Women Who Fought for the Right to Vote

Category: Middle grade nonfiction Author: Veronica Chambers and the staff of the New York Times Illustrator: Monica Ahanonu, Rachelle Baker, Kristen Buchholz, Alex Cabal, Noa Denmon, Ellen Duda, Shyama Golden, Johnalynn Holland, Hillary Kempenich, Nhung Le, Ella Trujillo, and Steffi Walthall Format: Print Publisher: Versify | Houghton Mifflin Harcourt Publication Date: August 18, 2020 Target Audience: Ages 8–12 Awards: Kirkus Reviews Best Book, Washington Post Best Book, Jane Addams Book Award Honor Book, New York Times Bestseller Physical Structure: 7.5in x 9in, 144 pages Content: This book tells the story of women's suffrage in America by focusing on women who had a key role in the movement. Each chapter gives a short biography of one of these women and a description of her contribution to the cause. The opening of the book contains a page of "suffragists you may have learned about," such as Susan B. Anthony, Alice Paul, and Elizabeth Cady Stanton, and emphasizes that there are way more than those that are usually taught in schools. The book focuses on these lesser-known women, such as Mabel Ping-Hua Lee, Angelina Weld Grimke, Juno Frankie Pierce, and Elizabeth Piper Ensley. Finish the Fight! is not only a biography of all these women and many others, but it also documents the injustices dealt to people of color such as Native Americans, Chinese immigrants, Puerto Ricans, and more. The closing of the book emphasizes that the fight for what's right may leave you standing on your own occasionally and that this is sometimes more important than voting with the majority.

Assessment: I think that the suggested age range for this book is great, though I might expand it to include older teens, perhaps even through high school. The content of this book is fantastic; it gives a complete history of women's suffrage in the United States (up until 2020), and tells why voting is so important. It is my belief, therefore, that this should be read by any young adult approaching voting age (regardless of gender). The illustrations in the book are a combination of photographs and drawings, and they bring the text to life through vibrant colors and historical accuracy. Quality: As I said, I think this book should be read by anyone approaching voting age; it emphasizes the importance of the vote and depicts the lengths that so many had to go through in order to earn the right to cast a ballot. Suffrage is explored through a BIPOC lens as well as a queer lens, and this book's focus on queer, nonwhite historical figures makes it stand out among other books about this topic. Readers also come away with a deeper understanding of how change is made in America and how far the country still has to go in terms of equality. Potential Use: This book would be great for a middle or high school research project or background reading/pleasure reading for any tween or teen interested in American history, civil rights, or feminism. Appeal: The illustrations will draw readers in immediately, and the content will keep readers' attention with no problem. There are facts, tidbits, and games throughout the book as well as timelines, statistics comparisons, and profile cards that make the information easily digestible and interesting to look at.

The Crayon Man: The True Story of the Invention of Crayola Crayons

Category: Children's narrative nonfiction/biography Author: Natascha Biebow Illustrator: Steven Salerno Format: Print Publisher: Houghton Mifflin Harcourt Publication Date: March 19, 2019 Target Audience: Children ages 6–9 Physical Structure: 8.5in x 11in, 48 pages Story: This book tells the story of Edwin Binney, the inventor of Crayola crayons. Edwin worked in a carbon factory, where the only color he ever saw was black. His wife, a teacher, told him how the low-quality crayons in America weren't good enough for kids and how they needed a higher quality, more affordable alternative. Edwin put together a team to create a new formula out of wax and different natural (non toxic) pigments to create vibrant, long-lasting crayons.

Assessment: The publisher's target audience estimation is spot-on. Children as young as six years old are familiar with Crayola crayons and will appreciate the book's vibrant illustrations as well as identifying the color names bolded within the text. Older children can learn more from the boxes of additional info found on each page, as well as the notes at the end of the book describing how Crayola crayons are made today. The illustrations and text in this book create a full picture of Edwin's experience; when Edwin is feeling dismayed or lost, the pages lack color. When he is feeling happy and inventive, the pages become vibrant again. Quality: This book is fun and engaging, and it's a great way to inform kids while entertaining them. The artwork is beautiful and bright, reflecting the content of the text; oftentimes, the illustrations imitate a crayon-like style. Potential Use: This book is great for teaching kids about biographies as well as helping younger children identify colors. Appeal: The Crayon Man is an engaging, fun story with lots of bright illustrations and fun facts about how crayons are made. It's great for children who love art and/or learning about technology and

inventions.

Uma Wimple Charts Her House

Category: Picture Book Author/Illustrator: Reif Larsen and Ben Gibson Format: Print Publisher: Anne Schwartz Books Publication Date: June 15, 2021 Target Audience: Ages 4–8 Awards: Mathical Book Prize Physical Structure: 9.44in x 11.31in, 40 pages Content: Uma Wimple is a young girl who loves to make charts. She charts herself, her eating habits, her family, people holding hands in the park, the trees on her way to school, and so much more. One day, her teacher tells the class that their next assignment is to chart their houses. Uma panics at this, wondering why none of her charts are coming out just right. What makes a house housey? she asks her family members. Finally, after much stress and research, she creates the perfect chart that contains her house and her family, complete with pancake smell, squeaky step, and Papua New Guinea the iguana.

Assessment: The age range for this book is perfect. Younger children would really enjoy this as a read-aloud, while older children (second or third grade) would be able to appreciate the math aspects of the book and the fun, whimsical drawings. The illustrations in this book do a great job of enhancing the text by depicting other examples of charts drawn by Uma. Quality: The artwork is a very effective imitation of a child's technical drawings and also a great way for readers to learn about charts and how they can be used in creative ways. The book overall normalizes enjoying math and using it in interesting ways during daily life instead of seeing it simply as something that is required during school. Potential Use: This book would be a great group or one-on-one read-aloud, but it can also be used as an additional resource during a graphing unit in math class. Appeal: The bright, childlike drawings will definitely catch readers' eyes, and the book is sweet, silly, and humorous. I think it will appeal to many children and adults alike for its heartfelt message and comedic illustrations.

Ophie's Ghosts

Category: Middle grade historical fiction novel Author: Justina Ireland Format: Print Publisher: Balzer + Bray | HarperCollins Publication Date: May 3, 2022 Target Audience: Ages 10–14 Awards: Scott O'Dell Award for Historical Fiction Physical Structure: 5.5in x 8.25in, 336 pages Story: Ophelia is a young Black girl living in Georgia in the 1920s. The story opens with her father telling her to get her mother out of bed and flee their house, which Ophie does. She finds out the following morning that she had actually seen the ghost of her father, who had been killed earlier that evening by White men who were upset that he had voted. The men came and burned down Ophie's house that night, displacing Ophie and her mother, who moved to Pittsburgh to live with Ophie's Aunt Rose. There, Ophie and her mother begin working for the Caruthers family. Ophie learns that her Aunt Rose can see ghosts as well, and the house that she works in is full of them. Ophie befriends a ghost named Clara, who worked for the Caruthers family before she died. Clara was Black but passed for White once she moved up North. Ophie helps other ghosts pass on, and she wants to do so for Clara, who cannot remember how she died. Ophie helps Clara solve the mystery, at which point Clara's ghost disappears, as she is able to move on to the afterlife.

Assessment: The age range suggested by the publisher for this book is perfect. This is an age-appropriate middle grade novel with great representation, historical accuracy, and an engaging mystery to draw middle schoolers in. Quality: Ophie's Ghosts is well-written and tells an interesting story while also bringing important historical truths about racism to light. To be fair, I don't read a lot of middle grade historical fiction, but I cannot think of any other books in this genre that tackle issues of lynching, passing, and White cruelty like this one. This book is important for representation and education purposes while also being a story with great prose and a compelling mystery. Potential Use: This is a great book for teaching about genres, as it combines horror/fantasy and mystery with historical fiction seamlessly. Appeal: Upper elementary and middle school children who enjoy mysteries, historical fiction, or stories with horror elements will really like this book. Because it combines so many genres (and does so well!), it has wide appeal and can be appreciated by many different kinds of readers.

**all photos from www.goodreads.com

[chris-makes-art]

Portrait of a European Bee-Eater(reworked) Acrylic on Canvas 7" by 9"