#Hire a Professional Article Writer

[mckitterick]

The End Is Near: "News" organizations using AI to create content, firing human writers

source: X

source: X

source: X

an example "story" now comes with this warning:

A new byline showed up Wednesday on io9: “Gizmodo Bot.” The site’s editorial staff had no input or advance notice of the new AI-generator, snuck in by parent company G/O Media.

G/O Media’s AI-generated articles are riddled with errors and outdated information, and block reader comments.

“As you may have seen today, an AI-generated article appeared on io9,” James Whitbrook, deputy editor at io9 and Gizmodo, tweeted. “I was informed approximately 10 minutes beforehand, and no one at io9 played a part in its editing or publication.”

Whitbrook sent a statement to G/O Media along with “a lengthy list of corrections.” In part, his statement said, “The article published on io9 today rejects the very standards this team holds itself to on a daily basis as critics and as reporters. It is shoddily written, it is riddled with basic errors; in closing the comments section off, it denies our readers, the lifeblood of this network, the chance to publicly hold us accountable, and to call this work exactly what it is: embarrassing, unpublishable, disrespectful of both the audience and the people who work here, and a blow to our authority and integrity.”

He continued, “It is shameful that this work has been put to our audience and to our peers in the industry as a window to G/O’s future, and it is shameful that we as a team have had to spend an egregious amount of time away from our actual work to make it clear to you the unacceptable errors made in publishing this piece.”

According to the Gizmodo Media Group Union, affiliated with WGA East, the AI effort has “been pushed by” G/O Media CEO Jim Spanfeller, recently hired editorial director Merrill Brown, and deputy editorial director Lea Goldman.

In 2019, Spanfeller and private-equity firm Great Hill Partners acquired Gizmodo Media Group (previously Gawker Media) and The Onion.

The Writers Guild of America issued a blistering condemnation of G/O Media’s use of artificial intelligence to generate content.

“These AI-generated posts are only the beginning. Such articles represent an existential threat to journalism. Our members are professionally harmed by G/O Media’s supposed ‘test’ of AI-generated articles.”

WGA added, “But this fight is not only about members in online media. This is the same fight happening in broadcast newsrooms throughout our union. This is the same fight our film, television, and streaming colleagues are waging against the Alliance of Motion Picture and Television Producers (AMPTP) in their strike.”

The union, in its statement, said it “demands an immediate end of AI-generated articles on G/O Media sites,” which include The A.V. Club, Deadspin, Gizmodo, Jalopnik, Jezebel, Kotaku, The Onion, Quartz, The Root, and The Takeout.

but wait, there's more:

Just weeks after news broke that tech site CNET was secretly using artificial intelligence to produce articles, the company is doing extensive layoffs that include several longtime employees, according to multiple people with knowledge of the situation. The layoffs total 10 percent of the public masthead.

*

Greedy corporate sleazeballs using artificial intelligence are replacing humans with cost-free machines to barf out garbage content.

This is what end-stage capitalism looks like: An ouroborus of machines feeding machines in a downward spiral, with no room for humans between the teeth of their hungry gears.

Anyone who cares about human life, let alone wants to be a writer, should be getting out the EMP tools and burning down capitalist infrastructure right now before it's too late.

[correlance]

Theory: Valentino was the famous 1920s actor Rudolph Valentino, the "Latin Lover".

Who was Rudolph Valentino?

Rodolfo Pietro Filiberto Raffaello Guglielmi di Valentina d'Antonguella (May 6, 1895 – August 23, 1926), known professionally as Rudolph Valentino and nicknamed the "Latin Lover", was an Italian actor based in the United States who starred in several well-known silent films from 1921 to 1926, including The Four Horsemen of the Apocalypse, The Sheik, Blood and Sand, The Eagle, and The Son of the Sheik.

Valentino was a sex symbol of the 1920s, known in Hollywood as the "Latin Lover" (a title invented for him by Hollywood moguls), the "Great Lover", or simply "Valentino". His early death at the age of 31 caused mass hysteria among his fans, further cementing his place in early cinematic history as a cultural film icon.

Valentino was born in Castellaneta, Apulia, Italy…unable to secure employment in Italy, he departed for the United States in 1913. He was processed at Ellis Island at age 18 on December 23, 1913. Valentino never applied for American citizenship, and retained his Italian citizenship.

Arriving in New York City, he supported himself with odd jobs such as busing tables in restaurants and gardening. Around 1914, restaurateur Joe Pani who owned Castles-by-the-Sea, the Colony, and the Woodmansten Inn was the first to hire Rudolph to dance the tango with Joan Sawyer for $50 per week.

Eventually, he found work as a taxi dancer at Maxim's Restaurant-Cabaret. Among the other dancers at Maxim's were several displaced members of European nobility, for whom a premium demand existed…Valentino left town [in 1917], and joined a traveling musical that led him to the West Coast.

[…] With his dancing success, Valentino found a room of his own on Sunset Boulevard, and began actively seeking screen roles. His first part was as an extra in the film Alimony, moving on to small parts in several films. Despite his best efforts, he was typically cast as a "heavy" (villain) or gangster. At the time, the archetypal major male star was Wallace Reid, with a fair complexion, light eyes, and an All-American look, with Valentino the opposite; he eventually supplanted Sessue Hayakawa as Hollywood's most popular "exotic" male lead.

[…] With the Douglas Fairbanks type being the supposed epitome of manhood, Valentino was sometimes portrayed as a threat to the "All American" man. One man, asked in a street interview in 1922 what he thought of Valentino, replied, "Many other men [say they] desire to be another Douglas Fairbanks. But Valentino? I wonder…"

Women in the same interview found Valentino, quote, "Triumphantly seductive. He puts the love-making of the average husband or sweetheart into discard as tame, flat, and unimpassioned."

Some journalists were still calling [Valentino's] "masculinity" into question, going on at length about his pomaded hair, his dandyish clothing, his treatment of women, his views on women, and whether he was "effeminate" or not. Valentino hated these stories, and was known to carry clippings of the newspaper articles around with him and criticize them.

In July 1926, the Chicago Tribune reported that a vending machine dispensing pink talcum powder (face powder) had appeared in an upscale hotel's men's washroom. An editorial that followed used the story to protest the supposed feminization of American men, and blamed the talcum powder on Valentino and his films. The piece infuriated Valentino, and he challenged the writer to his choice of a boxing or wrestling match, since dueling was illegal. Neither challenge was answered.

Shortly afterward, Valentino met with journalist H. L. Mencken for advice on how best to deal with the incident. Mencken advised Valentino to "let the dreadful farce roll along to exhaustion" (i.e. "do nothing"), but Valentino insisted the editorial was "infamous", [and must be answered for in a one-on-one fight].

After Valentino challenged the Tribune's anonymous writer to a boxing match, the New York Evening Journal boxing writer, Frank O'Neill, volunteered to fight in his place. Valentino won the bout, which took place on the roof of New York's Ambassador Hotel.

Heavyweight champion Jack Dempsey, who trained Valentino and other Hollywood notables of the era in boxing, said of him: "He was the most virile and masculine of men. The women were like flies to a honeypot. He could never shake them off, anywhere he went. What a lovely, lucky guy."

Mencken found Valentino to be likable and gentlemanly, and wrote sympathetically of him in an article published in The Baltimore Sun a week after Valentino's death:

"It was not that trifling Chicago episode that was riding him; it was the whole grotesque futility of his life. Had he achieved, out of nothing, a vast and dizzy success? Then that success was hollow as well as vast—a colossal and preposterous nothing. Was he acclaimed by yelling multitudes? Then every time the multitudes yelled, he felt himself blushing inside…the thing, at the start, must have only bewildered him, but in those last days, unless I am a worse psychologist than even the professors of psychology, it was revolting him. Worse, it was making him afraid…here was a young man who was living daily the dream of millions of other men. Here was one who was catnip to women. Here was one who had wealth and fame, and here was one who was very unhappy [in spite of that wealth and fame]."

[…] Valentino was also the "sex symbol" of his time in the 1920s. The sheet music cover for "Rodolph Valentino Blues" written in 1922, to quote the lyrics, "Oh Mister Rodolph Valentino / I know I've got the Valentino blues / And when you come up on the screen / Oh! You're so romantic, I go frantic at the views!

[…] [Prior to his death], Valentino was fascinated with every part of movie-making. During production on a Mae Murray film, he spent time studying the director's plans. He craved authenticity and wished to shoot on location, finally forming his own production company, Rudolph Valentino Productions, in 1925. Valentino, George Ullman, and Beatrice Ullman were the incorporators.

[…] Valentino once told gossip columnist Louella Parsons that: "The women I love don't love me. The others don't matter." He claims that despite his success as a sex symbol, in his personal love life, he never achieved happiness.

[…] In 1919—just before the rise of his career—Valentino impulsively married actress Jean Acker, who was also [romantically] involved with actresses Grace Darmond and Alla Nazimova.

Acker became involved with Valentino in part to remove herself from the lesbian love triangle, quickly regretted the marriage, and locked Valentino out of their room on their wedding night. The couple separated soon after, and the marriage was never consummated [on account of Acker being a lesbian]. 

The couple remained legally married until 1921, when Acker sued Valentino for divorce, citing desertion. The divorce was granted, with Acker receiving alimony. She and Valentino eventually renewed their friendship, and remained friends until his death.

[His second marriage to actress Winifred Shaughnessy, known by her stage name, Natacha Rambova—an American silent film costume and set designer, art director, and protégée of Alla Nazimova, his ex-wife's lesbian lover—ended far more poorly.

The two married in 1922, remarried in 1923, and divorced in 1925. Towards the end of their marriage, Rambova was banned from his sets by contract. The end of the marriage was bitter, with Valentino bequeathing Rambova one dollar in his will.]

[…] From the time he died in 1926 until the 1960s, Valentino's sexuality was not generally questioned in print. At least four books, including the notoriously libelous Hollywood Babylon, suggested that [Valentino] may have been gay, despite his marriage to Rambova. For some, the marriages to Acker and Rambova, as well as the relationship with Pola Negri, added to the suspicion that Valentino was gay, and that these were "lavender marriages".

Some claim that Valentino had a relationship with Ramón Novarro, despite Novarro stating they barely knew each other. Hollywood Babylon recounts a story that Valentino had given Novarro an art deco dildo as a gift, which was found stuffed in his throat at the time of his murder. It is believed that no such gift existed.

There were also claims that he may have had relationships with both roommates Paul Ivano and Douglas Gerrad, as well as Norman Kerry, and openly gay French theatre director and poet Jacques Hébertot. However, Ivano maintained that it was untrue, and both he and Valentino were heterosexual. Biographers Emily Leider and Allan Ellenberger generally agree that [Valentino] was most likely straight, [though others have disputed this].

There was further supposed evidence that Valentino was gay; documents in the estate of the late author Samuel Steward indicated that Valentino and Steward were sexual partners. However, evidence found in Steward's claim was subsequently found to be false, as Valentino was in New York on the date Steward claimed a sexual encounter occurred in Ohio.

[Valentino died on 23 August 1926, at the age of 31, due to complications from perforated ulcer surgery, resulting in sepsis (bacterial poisoning), a collapsed lung, and other fatal conditions.]

[a-strange-inkling]

Ew Grace joined a misogynistic org. U still gonna Stan her?

A good time to say my piece on this and then that will be it. I’m a fan blog for fictional characters, not a celebrity commentator.

Not my field of expertise.

Anyway… People are really losing it right now as they do with anything this woman does and the best thing for us to do is handle this all with awareness. Real awareness. Like everyone needs to stop and take a second to think about this, then look at themselves.

First things first, yes I really enjoy and admire Grace as an actress, she brought to life a character I love and strongly connect with. I consider myself a fan of her work and have also witnessed her receiving a disgusting amount of hate for simply existing in the same space as her male co-star because many of his fans behave so atrociously that multiple articles have been written about them. They’ve made subfandom history as one of the most toxic groups of people on the internet.

I’ve always had sympathy for her having to deal with this and constantly having to stand up for herself for a small role connected to a side character. And then, of course, having to deal with the backlash of actually standing up for herself and continuing to dare to have an online presence. Because how dare anyone try to counter lies and unjustified hate about/directed toward themselves?

That being said, I don’t believe in blind loyalty either. Especially for celebrities. We can admire them all we want, but we don’t know them and they don’t know us. They’re not the characters that they play. Grace is not Chrissy. Joe is not Eddie. Grace is a human being that I don’t know in real life. Being a fan is not the same as really knowing someone and being their friend. I don’t believe in parasocial relationships with actors, actresses, musicians etc, it’s not healthy. As much as I enjoy her as an actress, and will speak up for her against unnecessary hate, I don’t have to agree with everything that she does or says. I don’t put her on a pedestal. She’s liable to make mistakes like the rest of us and I don’t think this was a wise or safe decision on her part.

With all the information I have on this current situation (which is not much), I can say that I’m worried for her more than anything else. This woman has gone through the ringer for a full year now and it seems this will just be used as more fuel against her. Whatever she chooses to do professionally, she is met with so much hate and frankly misogynistic hypocrisy. All that negativity worries me the most. She’s young and trying to make a living doing what she loves, so I feel bad seeing things going in the direction that they are presently.

I don’t know much about the gaming community, I’ve avoided it and have always played solo because what I do know is that it can be a very toxic and hate fueled place. Especially for women. After having to deal with what she already has, angry gamers and her own fans turning on her is going to be sad to see. And I’m not saying calling her out on this decision is turning on her, or hating on her, I think people should call out their faves when they do something wrong… it’s just going to be sad to see the discourse that follows this.

For context, for those that don’t know, this organization she’s signed up with has some really bad allegations against it, really bad, and I don’t condone or support anything to do with that.

But this is where the self awareness has to kick in for anyone in fanbase communities or, you know, just going about their daily lives.

What large entertainment organization or company doesn’t have red in their ledger? Tell me honestly. Anything dealing with a big group of people is going to have skeletons in the closet. Not condoning anything, but also trying not to be a hypocrite here, as we all should.

If you watch and enjoy Stranger Things on Netflix, if you’re a Joe Quinn/Eddie fan, you’re supporting a company that’s riddled with scandal, hiring numerous actors, writers, producers and directors accused of s*xual assault. Do you watch Disney? Visit the parks? Wear Sketchers? Any name brand clothes? Buy from Amazon? Wal-Mart? Target? Listen to Taylor Swift? Support or watch anything in Hollywood? Read Harry Potter? Watch the movies? Are you on Twitter? This website? YouTube? Facebook? Eat name brand food? If so, you’re supporting problematic, at best, people, companies, and organizations all around. We all know they’re tied to histories of scandal, hate, controversy, or even criminal activity, yet we keep watching, buying, wearing, listening, eating, consuming and supporting them as a whole. Unless you’re living off the grid, grow your own food, make your own clothes and don’t watch any form media, no one has any room to talk here. No one wants to hear this, but we’re all supporting things we would normally speak out against either consciously or unconsciously. Hollywood and streaming services are full of misogynistic, r*cist, behavior. They’ve hidden countless accusations and protected numerous r*pists since the beginning of film. But we’re still watching their movies and shows. Not saying it’s right, but we should criticize ourselves first before going after one working actress signing a deal with just one of the many bad organizations out there.

Joe recently did a voiceover for an organization that apparently is really problematic. He’s currently working with a big Hollywood film industry that also has some really shady (again, at best) history, but everyone’s going to go watch his movies, aren’t they? His stans are going to keep stanning him. So make sure you anon ask all of them the same question, kay?

Being hateful and criticizing a twenty-six-year-old actress/streamer really should not be anyone’s first steps toward activism or change. Especially if you originally didn’t like her because she’s standing near the favorite white British boy of the month. I’ve said it from the beginning, if you don’t like her or what she’s doing, block her. Unfollow her. Obsessing over her and everything she does is on the same level of intensity as stanning her.

I am disappointed in her decision, I’m worried what this means for her and her fans who’ve been in the trenches for her, but Grace’s decisions are not mine. From what I’ve heard and seen, she said she considered the risks and wants to be apart of rebuilding the organization that is trying to move forward from the allegations last year and be more supportive of female gamers. All I can do is hope that’s true. What they need to do first is call out and condemn the parties responsible for any and all crimes they’ve committed. I hope they do and that Grace will encourage that as she’s signed on with them. If not, I hope she leaves them for her own morals and safety.

This is how I feel on the matter. I’m not going to get into this any further via asks. This blog is for hellcheer content and will continue to be so. I want it to be a safe space. Anything negative in my anon messages will be reported and/or ignored from here on. So keep that in mind. I’m not into drama. If any mutuals just want to talk or vent about this you can always DM me.

🤍

[opinated-user]

Trust Lily to see some fun facts about Across The Spiderverse and instantly say the film used child labor at the fun fact about the Lego Spiderman scene in the film. "For some reason" Lily avoiding research I see: Preston recreated the first trailer for Across The Spiderverse in Lego (as the fun fact states), and the directors were so impressed they hired him to do a scene of a lego spiderman universe. And I say a scene, as its one scene and that's it. You'd think if Lily cares about the stuff coming out about the animators on Across The Spiderverse, she'd focus on that but no, she focused on saying Across The Spiderverse used child labor instead because Lily is showing she's happy to be able to take shots at Spiderverse now.

so they saw a kid doing an impressive animated work on his own and brought him in to let him do another piece of animation. assuming that he did got paid and was credited... it's kinda messed up to call that unethical. the kid was already doing that work for fun, he taught all himself how to do it digitally, and for a brief moment he got to do it in a professional setting. i don't know Preston, but if he is anything like any other kid i have seen, that kid is bragging right now with all his friends about having a hand into doing one of the most visually impressive movies in years. i would as an adult if i were him. that is absolutely not what victims of unethical child labors go through, at all. this is the equivalent of a show doing a contest for the best artist on their audience and bringing them into the show to help script an episode. something that has happened before. Tiny Toon Adventures actually did this by flying three little girls to the studio just to see the script they already made done into a real episode. they were paid just the same as any writer at the time and they were happy to participate. just as Preston, it all happened just because Spielberg, the director for the show, was impressed with their work. since you brought it him up, i googled Preston too and found this article on variety: https://variety.com/2023/film/news/spider-man-across-the-spider-verse-hired-14-year-old-animator-preston-mutanga-toronto-1235637160/

the article also explains that Preston worked remotely from home. so he had all his usual accommodations, never had to move anywhere, was around his family or guardian at all times and also got to do something he loved to do and he plans to turn it into a career in the future. he wasn't used against his will, forced to work until his whole body was permanently damaged and threatened using the safety of his family against him. you can criticize the management on the movie, that is the actual issue at the core of it all, but this, specifically this, it's truly just a fun trivia fact that probably will be a fond memory for Preston.

[fairycosmos]

how did you get that kind of job without a university marketing degree or whatever? i'm kinda struggling here :(((((

it was a (relatively) long process of trial and error and a lot of freelance work/not having a stable income but basically to break it down. a few yrs ago i went to careers advice and asked how to maximise my future prospects or whatever and the first thing they said was add ALLL of ur skills onto your resume even if youve never used them in a job role before. if you're proficient in (or capable of learning) excel, photoshop, adobe creative suite, wordpress, social media, copywriting, seo software....even if youve never used it in a professional capacity its rly good to kind of emphasize ur digital skill set as much as possible and start researching it as much as possible too. then i started a wordpress blog and would write copywriting articles on there (or in google docs) even though i had no one to send them to lol just to build a portfolio that i could send out to freelance content and copy writer agencies who were hiring. there's tons of tips and articles and pdfs online that can help you write great articles and help u learn content design. anyway i did this for a longgggg time and finally got some actual freelance work coming in. from this, i started interviewing for actual full time copywriting jobs, and was hired to intern at a digital agency at the end of 2021. did that for months then went back to freelance but was able to get more projects with my slowly growing experience. while doing freelance i was interviewing for a shit ton of full time copywriting and content management roles, most of which i got rejected from after like the 1st interview. finally i heard back from a team i had interviewed for and they had me give a presentation outlining my approach to copywriting/media managemenet and from that they've hired me and ive been really really lucky that they have. unfortunately that's what i think it was more than anything, like a stroke of luck that they saw smth in me and took me on despite me unconventional background. im rly rly grateful to them for it. i would also encourage you to look for literally any volunteer opportunities in admin, soc media, bookkeeping - it looks rly good on the resume and can sometimes expand into a job. also look up general cv tips cause there's a ton of cheatsheets out there that can help you get yours to the top of the pile or near the top. good luck and im really sorry you're struggling atm!! ive absolutely been there and it's honestly so discouraging, the amt of times i quit job hunting while doing freelance out of sheer despair was a lot. it's hard but there are ways to show what you have to offer in a really favourable light, and the more you interview/resume edit/write the better you will get. it's all one horrible big skill at least that's how it felt to me, and i still suck at it. just clawing my way up TBH. anyway sending you a lot of love ❤️ hope you catch the break u deserve soon. X

[porterdavis]

"A Test of Character"

Tom Nichols is a conservative writer who spent 20+ years as an instructor at the Naval War College, not a particular bastion of left-wing loonies. His article for The Atlantic is behind a paywall, but available for free if you subscribe to one of the magazine's newsletters, so I don't think it's totally out of bounds to reprint it here. It's a #long-read, but worth every second of your time.

(tl;dr -- we face a moral character test for the second time in seven years. We failed miserably the first time)

"Donald Trump went to CPAC and gave a speech that was, even by his delusional standards, dark and violent. Much of it was hallucinatory. Amusing as it is to listen to President von Munchausen and his many “sir” stories, Trump is the former commander in chief of the U.S. armed forces and the current front-runner for the Republican nomination in 2024. He is as  dangerous as ever to our democracy and to our national security.

But I also want to turn attention from Trump’s evident emotional issues to consider a more unsettling question: How, in 2023, after all we know about this man and his attacks on our government and our Constitution, do we engage the people who heard that speech and support Donald Trump’s candidacy? How do we turn the discussion away from partisanship and toward good citizenship—and to the protection of our constitutional order?

In the past, reporters have approached such questions gingerly, poking their head into coffee shops, asking for comments at rallies, and claiming to overhear conversations at gas stations, all in the service of trying to understand Trump voters. (Only The Daily Show’s Jordan Klepper has ever managed to get anywhere in such interviews, and the answers he elicits are often terrifyingly dumb.) These respectful conversations with Trump voters have produced almost nothing useful beyond failed theories about “economic anxiety” and other rationalizations that capture little about why Trump voters continue to support a posse of authoritarian goons.

In 2016, Trump supporters could lean on a slew of hopeful arguments: Trump is just acting; he’ll hire professional staff; the “good” Republicans will keep him in line; the job will sober him up. All of these would be disproved over time. (It didn’t help that the alternative at the time was Hillary Clinton, for whom I voted but whose campaign was a tough sell to many people.) But by 2020, Trump, along with his enablers at Fox and other right-wing outlets, had created a kind of impermeable anti-reality field around the GOP base. This shell of pure denial defeated almost any argument about anything.

Media, flummoxed by having a sociopathic narcissist in the Oval Office, treated Trump like a normal political leader, and soon we all—even me—became accustomed to the fact that the president of the United States routinely sounded like the guy at the end of the bar who makes you decide to take your drink over to a table or a booth. When Joe Biden won, I hoped that this strange fever gripping so many Americans would finally pass. But the fever did not break, not even after January 6, 2021, and the many hearings that showed Trump’s responsibility for the events of that black day.

And now Trump has kicked off his attempt to regain office with a litany of lunacy. His speech at CPAC has been recounted by my Atlantic colleagues; John Hendrickson notes Trump’s return to the classics of grievance, and McKay Coppins describes how Trump has managed to become part of the typically boring CPAC kitsch.

But we shouldn’t mistake Trump’s gibbering for harmless political glossolalia. As Charlie Sykes said this morning, CPAC is “a serious threat masquerading as a cultic circus cum clown car,” and revealed “what a Trump 2.0 would look like.” This is a former president whose pitch included “I am your retribution.” Retribution for what, exactly, was left unsaid, but revenge for being turned out of office is likely high on the list. The Trumpian millennium turned into a tawdry four years of grubby incompetence and an ignominious loss. If Trump wins again, there will be a flurry of pardons, the same cast of miscreants will return to Pennsylvania Avenue, and, this time, they won’t even pretend to care about the Constitution or the rule of law.

Imagine an administration where we’ll all be nostalgic for the high-mindedness of Bill Barr.

Trump also reminded us that he is an existential menace to our national security. He reveled in a story he first told last spring—almost certainly a fiction—about how he informed a meeting of NATO leaders that he would let the Russians roll over them if they weren’t paid up. (Trump still thinks NATO is a protection racket.) He then fantasized about how easily a Russian attack could destroy NATO’s headquarters.

We’ve all cataloged this kind of Trumpian weirdness many times, and I still feel pity for the fact-checkers who try to keep up with him. But I wonder if there is any point. By now it should be clear that the people listening to Trump don’t care about facts, or even about policy or politics. They enjoy the show, and they want it back on TV for another four years. And this is a problem not with Trump but with the voters.

It is long past time to admit that support for Trump, after all that we now know, is a moral failing. As I wrote in a recent book, there is such a thing as being a bad citizen in a democracy, and we should cease the pretend arguments about policy—remember, the 2020 GOP convention didn’t even bother with a platform. Instead, anyone who cares about the health of American democracy, of any party or political belief, should say clearly that to applaud Trump’s fantasies and threats at CPAC is to show an utter lack of civic character. (I might say that it is no better than applauding David Duke, but why invoke the former KKK leader when Trump has already had dinner with Nick Fuentes, a white supremacist who he seems to think is a swell guy?)

The man who bellowed and sweated his way through almost two hours of authoritarian madness is still the same man who instigated an attack on our Capitol (and on his own vice president), the man who would hand our allies to Russia if they’re behind on the vig, the man who thinks a free press is his enemy, the man who tried to wave away a pandemic as thousands and thousands of Americans died.

Stigma and judgment have a place in politics. There was a time when we forced people out of public life for offenses far less than Donald Trump’s violent and seditious corruption. We were a better country for it, and returning to that better time starts with media outlets holding elected Republicans to account for Trump’s statements—but also with each of us refusing to accept rationalizations and equivocation from even our friends and family. I said in 2016 that the Trump campaign was a test of character, and that millions of us were failing it. The stakes are even clearer and steeper now; we cannot fail this test again."

[magnetocerebro]

PSA About AI in the news

Okay, so. In my professional life, I’m a fact-checker for a news organization. I get an email that an article has been completed, and it takes me a few hours to go through every paragraph to check the claims and make sure it’s both accurate and not plagiarized. 

Recently, I was asked to be part of a “new program” at my organization. This program would involve making listicles/fluff pieces purely from AI, and I would be in charge of fact-checking those articles.

I turned them down. I equivocated for a minute, because I don’t think AI articles should be going out without fact-checking, but I also didn’t want to be the fact-checker that allows them to stop hiring writers.

Now, I’m not getting nearly as much work as I used to. That’s okay. I’m lucky enough to be in a financial place that I can take that stand. But not everyone else in the industry can do that.

So, get ready to see AI-generated news stories. And get ready to scrutinize every one of those stories, because I doubt that every organization is going to care as much as mine did about putting those articles through a thorough fact check.

And the worst part? The worst part is that these articles, as far as I can see, are going to require just as much work on the backend as they would have taken to write in the first place. The human writers I worked with cited their sources, for one thing, which made fact-checking much easier. Sure, I had to go sleuthing for anything they didn’t source, and I had to get on to more than one writer for thinking rewording is the same as not-plagiarizing, but I could find where all their ideas were coming from. With AI, that’s not the case. A good fact-checker is going to be working twice as hard to avoid plagiarism when every single sentence could be pulled from a different place. 

Check the bylines of your news artiicles is what I’m saying. Misinformation and Disinformation is already a problem. 

Also, screw everyone who thinks automating creativity is anything less than dystopian. 

[plrprofits]

What is PLR Products

PLR Products: What They Are and How They Can Benefit Your Business

Hey there! Have you ever come across the term "PLR products" and wondered what it actually means? Well, you're not alone. In the world of digital marketing and online businesses, PLR products are a hot topic. In this article, we'll dive into the ins and outs of PLR products—what they are, how they work, and why they're so popular among entrepreneurs. So grab a cup of coffee and get ready to learn all about this exciting aspect of the online business world!

What are PLR Products?

Understanding PLR Products

Individuals or businesses can purchase and use PLR products, or Private Label Rights products, for their own purposes. This includes articles, ebooks, graphics, software, and more.

Benefits of Using PLR Products

Save time and effort by creating content from scratch

Cost-effective compared to hiring a writer or designer

Customize the content to fit your brand's voice and style

Whether you're looking to fill your website with valuable information or create lead magnets for your email marketing campaigns, PLR products offer a convenient solution for busy professionals.

Understanding the Rights of PLR Products

PLR licenses exist on a spectrum, each granting different levels of usage and modification rights:

Private Label Rights (PLR):

This is the most comprehensive license. Buyers can edit, modify, and rebrand the content as their own. They can sell it, give it away, bundle it with other products, or use it as a lead magnet. Essentially, they have full control over the content's usage.

Resell Rights (RR):

With Resell Rights, buyers can sell the product as-is, but they cannot modify the content. They can package it with other products or use it as a bonus, but they cannot claim authorship.

Master Resell Rights (MRR):

Similar to Resell Rights, but with one key difference: buyers can also grant Resell Rights to their customers. This means they can sell the product and allow their customers to resell it as well.

Giveaway Rights:

This license allows buyers to give away the product for free. They can use it as a lead magnet, offer it as a bonus, or include it in a free membership. They cannot, however, sell the product.

Personal Use Rights (PUR):

This is the most restrictive license. Buyers may only use the product for personal purposes. They cannot modify, sell, or give it away.

Important Considerations for Entrepreneurs:

Read the License Agreement: Each PLR product is accompanied by a license agreement that outlines the specific rights granted. It's crucial for entrepreneurs to read and understand these terms before purchasing or using any PLR content.

Choose the Right License: Before making a purchase, consider how you intend to use the PLR product. Do you want to sell it, give it away, or use it for personal use? Choose the license that best aligns with your goals.

Respect Copyright Laws: While PLR grants certain rights, it's important to remember that copyright laws still apply. Always give credit to the original author where required, and avoid any unauthorized use of the content.

Add Your Unique Touch: Even with PLR, adding your unique voice, branding, and expertise can make the content truly yours and help it stand out in the market.

By understanding the different types of PLR rights and choosing the right license for their needs, entrepreneurs can leverage the power of PLR to create valuable content, save time and resources, and grow their businesses effectively.

Benefits of Using PLR Products

Time-saving: PLR products offer ready-made content that you can quickly customize to meet your needs, saving you valuable time and effort compared to creating content from scratch.

Cost-effective: Purchasing PLR products is often more affordable than hiring a professional writer or designer to create custom content for your business.

Flexibility: With PLR products, you have the freedom to edit, customize, and rebrand the content as much as you like to make it unique to your brand.

How to Use PLR Products in Your Business

Make necessary edits: To make the PLR products unique to your business, customize them with your branding and voice.

Create valuable content: Use PLR articles, ebooks, and courses as a base for creating new content that provides value to your audience.

Offer incentives: Use PLR reports or templates as lead magnets to grow your email list and attract potential customers.

By following these simple steps, you can effectively incorporate PLR products into your business strategy and maximize their benefits while saving time and money on content creation. Remember to always stamp your own materials before sharing them with your audience for a personalized touch that sets you apart from competitors.

Common Myths and Misconceptions about PLR Products

Myth 1: All PLR products are low quality. While some PLR products may be of inferior quality, there are also many high-quality PLR resources available. It's essential to research and choose reputable sources for your PLR content.

Myth 2: You can't customize PLR products. Contrary to popular belief, you can edit, modify, and personalize PLR products to fit your brand or target audience. This flexibility allows you to create unique content that aligns with your specific needs.

Myth 3: Using PLR content is plagiarism. As long as you follow the licensing terms provided by the creator of the PLR product, using it in your own work is completely legal and ethical. Just make sure to review the usage rights included with the product before incorporating it into your projects.

Tips for Finding High-Quality PLR Products

Look for reputable sources: When searching for PLR products, make sure to only buy from trusted and well-known PLR websites. This will help ensure that you are getting high-quality content that is worth investing in.

Check the license agreement: Before purchasing any PLR product, carefully read through the license agreement to understand what rights you have with the content. Make sure it allows you to modify, brand, and sell the product as your own.

Review samples before buying: Many sites offer free samples of their PLR products. Take advantage of this by reviewing a sample to assess the content's quality before making a purchase.

How to Customize and Brand PLR Products

Customizing and Branding PLR Products

Edit the Content: To customize PLR products, the first step is to edit the content.This can include changing text, images, and formatting to match your brand's style and voice.

Add Your Logo: To further brand PLR products, consider adding your logo or watermark to any images included in the product. This will help reinforce your brand identity.

Create Packaging: Finally, package the customized PLR product with additional materials, such as a branded cover or bonus resources, to create a cohesive and professional look for your audience.

Remember that when using PLR products, customization is key to ensuring they align effectively with your brand values and messaging.

Legal Considerations When Using PLR Products

Rights and restrictions: Be aware of the terms outlined in the PLR license agreement, which dictate how you can use the content. Ensure that you are following these guidelines to avoid any legal issues.

Attribution: Some PLR products require you to give credit to the original creator when using their content. If the license agreement specifies this requirement, make sure to comply.

Modification: Before using the PLR products for your own purposes, check that you have permission to modify or customize them.Violating any such restrictions could result in legal repercussions.

Understanding and adhering to these legal considerations allows you to use PLR products ethically and within the boundaries set by their creators. It's vital to respect intellectual property rights and abide by licensing agreements when utilizing these pre-made resources for your projects or business needs.

Strategies for Monetizing PLR Products

Rebrand and Customize: One strategy to monetize PLR products is to rebrand them with your own logo, colors, and branding. This will make the product feel unique to your audience and increase its perceived value.

Create Upsells and Bundles: Another effective strategy is to create upsell offers or bundles with complementary products. This can help you maximize revenue by offering additional value to customers who have already purchased a PLR product from you.

Offer Licensing Options: Consider offering different licensing options for your PLR products, such as personal use, resell rights, or private label rights. This provides flexibility for customers and allows you to earn more depending on how they intend to use the product.

Should You Use PLR Products in Your Online Business?

Save Time and Effort: Using PLR products can save you time and effort when creating content from scratch.

Cost-Effective Solution: Purchasing PLR products is a cost-effective way to get high-quality content for your online business.

Customization Options: When using PLR products, remember to customize them to fit your brand and audience for better results.

Quality Control: Always ensure that the PLR products you purchase are of excellent quality and relevance before using them in your online business.

Avoid Duplicate Content: Be cautious not to use the same PLR product as other businesses, as it may dilute your unique brand voice.

In conclusion, leveraging PLR products in your online business can be beneficial if used wisely with proper customization and attention to quality control practices. For more tips and guides and how to earn with PLR, follow our blog on Tumblr.

[thatrickmcginnis]

JERZY KOSINSKI, Toronto 1988

I was vaguely aware that Jerzy Kosinski was under a cloud of scandal when I photographed him at the 1988 authors festival, but I didn't know the details and in any case he was the most distinguished writer I photographed in that little alcove off the main lobby of the festival hotel on the lakeshore. The hit Hal Ashby movie version of his third book, Being There, starring Peter Sellers, had made him famous as a celebrity and not just a writer. I'd read his acclaimed first novel The Painted Bird as a student, then subsequent books like Steps, The Devil Tree, Cockpit and Passion Play. He'd been the president of PEN twice and starred in Warren Beaty's film Reds; he was a frequent guest on talk shows, played polo and moved in high society as well as literary circles. It was an incredible success story for a man who had emigrated to the US from communist Poland in 1957, sponsored by a fake foundation he had created, and forging letters from communist officials guaranteeing that he'd return. In retrospect this deception would end up setting the tone for his life decades later.

The rumours about Jerzy Kosinski's work had as much to do with his working methods as allegations of plagiarism or his inspiration. It began with charges that the CIA had sponsored his first two nonfiction, anti-communist books, written under the pseudonym Joseph Novak. It was widely assumed that the nightmarish story of the Jewish boy hiding from Nazis in the Polish countryside told in The Painted Bird was based on Kosinski's own wartime experience, and later attempts to correct this did nothing to dispel suspicion that grew as he became more successful and high profile. Critics in Poland had attacked him when Being There was published, claiming that it was based on a Polish novel famous when Kosinski was a boy. Kosinski was known to have an active and kinky sex life, which no doubt fueled resentment that ended up focusing on his creative methods, which employed multiple editorial assistants - translators and editors and proofreaders. By the time I photographed Kosinski this had turned into a campaign to discredit him, started in earnest by a 1982 Village Voice article, and the book Kosinski was promoting at the authors festival in 1988 was The Hermit of 69th Street, his attempt to address the allegations in a kind of literary fantasy.

The Hermit of 69th Street, the book Jerzy Kosinski was promoting when I photographed him, was a curious attempt to answer his accusers and rebut the allegations made about his creative methods and inspiration. Presented as a collection of papers left to Kosinski by another writer, Norbert Kosky, who had left them behind on a leased fishing boat after his disappearance, Kosky was clearly Kosinski's alter ego, but the book's 529 pages do little to frame a clear self-defense of the writer. It's a maddening book - far less satisfying than anything else he'd written before - and seems like it was meant to taunt both his enemies and supporters. It's full of puerile sexual wordplay and imagery (the frequent use of the number 69, for instance) Kosky/Kosinski writes about the "privately hired, part-time professional literary vulvar cleft, be it a typist, a proofreader, a line editor or even a licensed full-time galley printer - an indispensable tax deductible literary ghost every writer must employ at one time or another." Then goes on to admit that "the very thought of a woman typist excites him. Whether she is black, yellow or white; whether she is nice or nasty, petty or pretty, stubbornly fat or weakened by anorexia nervosa or by typing novels written in Esperanto, he cares not."

Kosinski could not, of course, directly address the creative process by which writers produce their work, fiction or nonfiction - that would have been pulling back the curtain on a profession that was still admired, even revered, back in an age when a man who looked like him could be both regularly on the bestseller lists and infamous as a bit of a sexual satyr. It's a world that seems like a long time ago now, and subsequent scandals in journalism and the publishing world over plagiarism and authenticity (Stephen Glass, James Frey, Jonah Lehrer, Herman Rosenblat, "JT LeRoy", Jayson Blair) have dulled us to just how damaging the charges against Kosinski were to his reputation, despite his high profile defenders at places like the New York Times. I can't claim that I tried to suggest any of this in my brief shoot with Jerzy Kosinski in that little space off that hotel lobby, but the man had a defiance about him that I think I captured in these frames. I put one of these shots in my portfolio where it stayed for many years, until Kosinski's infamy had subsided into the first stages of obscurity, and I got tired of having to explain who he was when showing my book. Jerzy Kosinski committed suicide in his New York apartment three years after I took these photos.

[youroriginalcontent]

Reasons to Choose the Best Content Writing Agency in Delhi

As we live in the digital era, the content is the king. Whether you have a small business or a big corporation, providing quality and "engaging" content is crucial to capture and retain your customers. In addition, generating interesting and useful content would be a big undertaking, especially if you can't find just the right time, talent, or resources to do it. Then comes the role of the Content Writing Agency in Delhi, where its services are required. Collaboration with a skilled agency provides access to all opportunities for your content to transform your business targets. The following article will unveil what stands behind the choice of the best Content Writing agency in Delhi, which can be the right option for the success of your business.

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Among the crucial reasons is their knowledge and rich experience in the given sector. A professional organization should have a constellation of writers and editors with the requisite comprehension of the major market sectors and niches. These experts embrace new technologies for content creation and keep abreast of the latest trends and innovations to ensure that the content is always engaging, unconventional, and fresh.

The Content Writing Agency in Delhi will also have an established practice of consistently producing superior writing material for people of various business backgrounds. They will clearly explain how the content writing service effectively generates measurable results through the proofs they will provide.

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Building high-quality content can be quite expensive and time-consuming unless you are committed to outsourcing, i.e., employing a third party and managing an in-house team. Hiring a Content Writing Agency in Delhi to outsource the content creation process can save you much of the time and money you would otherwise spend, freeing up those resources for other business areas.

The professional firm must have a strong structure and tools and techniques to ensure your content is delivered on time and within budget. This team will collaborate with you to define your particular demands and aims and then develop a content plan that harmonizes with your business objectives.

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The finest Content Writing Agency in Delhi will feature many service options to attain your content goals. Whether it is website copy, blog posts, social media content, or email marketing, they’ll have the know-how to create engaging content across several platforms and formats.

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Conclusion

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[colleendoran]

Hello Colleen!

How did you become an illustrator?

With much admiration,

-Cindy

Thank you kindly for asking.

When I was a very little girl, I liked to draw a lot. So I did. I won some prizes when I was very little.

I come from a very poor family. I did not know you could make money as an artist, so it didn't seem to me like something I could do for a living. I really wanted to be an astronaut and go to the moon like Neil Armstrong, but the moon missions were already over when I was a kid. So I decided to become a doctor. It seemed like a good thing to do with your life; you helped people, it was respectable, and you could make a good living at it.

My mother worked at a veterinary hospital and both doctors there were very supportive and even let me work there where I learned to do things like sew sutures.

This probably seems a little weird today. But when I was little, it was not at all unusual for kids to go to work, especially in agricultural/rural communities.

I'd enjoyed comic books when I was very small, but they were hard to find.

When I was twelve, I got very sick and was bedridden for a long time. A family friend brought over a big box of old comics for me to read. I loved them and realized that people worked in comics for a living, mostly from reading about the writers and artists in Marvel Bullpen articles.

From that point on, I looked neither right nor left, and arranged my entire life around becoming a professional artist. This was all before the internet. So I spent a lot of time in the library learning about the publishing business. I started sending out samples when I was twelve to both trade and comics publishers after reading about how to submit in Writer's Digest. My first rejection letter came from Random House.

I saw fliers for a science fiction convention and a fan club. I also heard an ad for one on the radio, There weren't many comic book conventions back then and I never attended one until after I was already a professional comic book artist.

The science fiction club was near NASA. My mom would dutifully drive me to club meetings once a month. Most of the people in the club were adults, and many worked at NASA. One of them had an advertising business. She saw my work when I was around 14/15 and hired me.

That is how I became an illustrator.

[potatosteinsillustrations]

Gamurs the owner of Destructoid, Zero Punctuation and other sites fired 250 writers and they are hiring an AI bro to churn AI articles.

This is the very reason why writers are on strike and taking stand against AI: Greedy executives wanting to make their fat yearly bonus checks bigger while firing professionals writers in the process. @neil-gaiman could you please spread the word?

[liskantope]

A professional acquaintance who is herself at some stage of menopause recently posted on social media this NYT piece on the difficulties working women face when going through menopause. I know menopause can be pretty rough for a lot of people, and I also know in principle the article could be exaggerating or cherry-picking to make a feminist point, and as long as my current state of knowledge on this topic remains close to zero, I'm completely agnostic on how fair an assessment it's making of how much of a challenge menopause presents for the average woman in the workplace.

But I do want to make a point about the nature of the feminist point articles like this are clearly trying to make, which is that the feminists propounding them don't come across to me as looking at the full picture and being wary of the possible consequences of playing the "women are so physically disadvantaged" hand. Now maybe the article paints a perfectly accurate picture of the direness of the situation for menopausal working women, or even downplays it, in which case, fine. But a major rationale for sexist biases, particularly in hiring, seems to come from the idea that having a body that menstruates and goes through all the related things makes someone less fit, less pleasant to be around, and more likely to complain or make excuses for not being able to do things. (I wasn't around during the main women's lib movement, but I'm pretty sure "women have too many, uh, feminine ailments to be welcomed into the workplace at all without leading to problems for everyone involved" was a pretty common view from the conservative side.) It's not exactly subtle that articles like this are going to play right into that narrative, big time. Or to put it another way, it's good to raise awareness of true problems but also important to be as truthful as possible about the degree of the problems, because regardless of truth values the more strongly problems like this are played, the stronger "women are too weak to be relied on" narratives are going to become, period.

This is one particular type of Women Can't feminism (low-agency-ism) versus Women Can feminism (high-agency-ism) situation, except that unreservedly leaning into the Women Can't side arguably comes with fewer concrete advantages and certainly its dangers are more blatant than usual here: the disadvantages of one's body having to go through menopause can't be framed as the fault of other individuals or of society*; and claims of these physical forms of weakness are very explicitly weaponized by sexists.

*Yes, clearly, writers of articles describing health difficulties of this type tend to be indirectly framing them as such, I guess, by claiming they're exacerbated by the medical establishment not taking women's health seriously or workplaces not making enough accommodations for women.

[hasanurrahmanseoexpert]

Monthly SEO blog content writer

If you are looking for someone to SEO blog content writer for your website every month, you have come to the right place. An SEO blog content writer can help you create high-quality content that will help boost your website's ranking in search engine results.

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[dreaminginthedeepsouth]

Y'all. I am not a trained writer. I never went to journalism school. Wish I had. Until last year your faithful correspondent had never even taken a writing class. By then l’d been writing professionally for years. I’m only telling you this because there are a lot of y'all out there who really want to do something, but think you can’t. We humans spend a lot of time and energy talking ourselves out of things we really, in our heart of hearts, want badly. Don’t. The excuses are only real in your mind. The excuses: “I’m too old.” -- Unless you’re 74 and want to be a skateboarding champ, you’re probably not too old. As long as you’re alive, you can do new things, whether you’re 22 or 82. “I don’t have time.” -- Well, make time. Time is really all you have while you're here. And it's your time. Dreams only die if you kill them. Your dreams are trying to tell you something. Don't ignore them. “I’m scared.” -- We’re all scared. Life is scary. Next. “I don’t know how.” -- Ah, this is a good one. I didn’t either. I had no idea “how” to write for publication. I just knew I was a writer and was tired of being the only one who knew it. First, let’s talk about the “why.” Why did I want to be a journalist? I love information. I love people. I love people’s stories – their tragedies, triumphs, wild and wise ideas, their crazy aliveness. There are more fascinating people and events in this world than I could write about in a lifetime. I wanted to get some of those stories into real or virtual print. No one would hire me. And when I say “no one” I mean absolutely no one. Not a single paper, magazine, or media outlet was interested in a theatre and non-profit professional who wanted to be a journalist. There were (and are) tons of good writers out there, and more on the way who were (and are) younger, hungrier, and just as or more talented than I. You can't worry about what other people are doing. You can't control that. Focus on what you can do. My first professional writing “job” was for a professional wrestling magazine. They were the only ones who were remotely interested in having me. They paid me $80 for a story and photos. I was thrilled. I got a check. That made me a professional writer, right? Well, it was a start. From there I queried and submitted to other outlets until Mental Floss magazine hired me to write two articles. My first article was good, very good, but my second was uneven. That’s the learning process of doing anything new. I was probably in over my head, but I was determined not to sink. I knew there were people out there who knew more than I did and I sought out those people. Always, but always, seek out folks who know more than you do. It will save a lot of time. Learn, and one day you will be the person others seek out. I put together a lot of work over the years and my writing resume grew. I wrote some great stories and some "meh" ones. Some editors were very generous to me. They liked my words and just let me write. I wrote dozens of articles for one newspaper and they didn’t change a single sentence. That gave me confidence. However, it didn’t make me a better writer, just a more experienced one. There’s a difference. Later I had one editor who was so hard on me it would make me cry. She would literally yell at me. No one likes to be screamed at, but I hung in there because her criticism was valid and she made me a better writer. A much better, clearer, writer. And, I was getting paid. I didn't want to give up the cash. I think there are other ways to pull the best out of someone without yelling or degrading them, but I couldn’t change her and I knew it. All I could do was change my approach to one that worked. After a few years, when I finally couldn’t take it any longer, I quit. But I left a better writer than when I showed up. I got what I wanted, even though I had to get roughed up to get it. That's the important thing. You won’t always enjoy the lessons you receive in life. But you can use them, and that’s the value of craptastic experiences. If you don’t use them, then all you got was abused and hurt. Use those lessons. I have a point and this is it: Whatever you want to do, you can do it. If smart and silly, shy, messy, emotional me can do it, you can too. Believe me. You can.

[Therra Gwyn Jaramillo]

[papersowl]

You Can Hire the Best Essay Writer for Your School Project at HomeworkNest.com

Introduction

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