Honestly, it can stand as it's own post. The tobacco industry is evil they want to get you smoking yadda yadda you've heard it a million times and like. I think we hear it so much but that a lot of the younger generations in the us dont really get why there's such an aggressive anti smoking campaign, I think people buy into the narrative South Park has spun about it "the cigarette companies are all upfront about it and people still chose their service and everyone against smoking are just obsessive fascists" and it's like. Genuinely, the cigarette companies are some of the most evil entities this world has ever seen. From knowing cigarettes caused cancer before anyone else and lying about it, to being the reason the majority of 50s television existed (shows like I Love Lucy existed to sell you cigarettes) to specifically making flavors of cigarettes and cartoon mascots to sell to kids. And I'm not saying that if you smoke cigarettes you're bad but I do really want the tobacco industry abolished and have it's wealth distributed to the society it controlled for so fucking long.
Seriously, go read about it. They did shit that manipulated the country, politics, and the lives of your parents and their parents, and likely their influence is affecting your life in this day and age still.
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the funniest part of any Robin meeting the JL is that every Robin is so distinctly different from the previous one in terms of personality and vibes that the league literally gets backlash. and like, I don't blame them. not to mention that they are non-meta children that dress as a traffic light and fight crime alongside batman in gotham on a nightly basis. i'd also be a bit concerned.
Batman, literally The Night of Gotham personified in the League's eyes, coming into a JL meeting: This is Robin, my crime-fighting partner.
11-year-old Dick Grayson, dressed in the brightest primary colours possible, vaguely hidden murder behind those eyes, never stops moving even for a moment: Hi!
Superman: That's a child. That's-- Bats that is a child. You let a child--?
Batman, deadpan: You try to stop him. Would you rather he try and murder a grown man with a wire?
Batman: This is Robin.
12-year-old Jason Todd, with the biggest grin on his face, about 3 books in his hand, stars in his eyes and a distinct street-kid drawl: Hey!!!
Green Lantern: That's ... that's a different child. What??
Jason: I stole his tires :)
Batman: Tried to.
Jason, stage whispering to the League: basically did.
Green Lantern: that is a different kid, right?? I'm not seeing shit??
Batman: This is Robin.
14-year-old Tim Drake, bo staff clutched in his hand, a wary and tired expression on his face, more on the quiet side, the literal walking definition of don't judge a book by it's cover: hello
Flash: Where do you even find these--
Tim: I found myself.
Batman: This is Robin.
17-year-old Stephanie Brown, literally blonde, with a shit-eating grin, eyes full of nothing but mischief and the most explosive personality you've ever seen: hiya!!
Superman: I give up.
Stephanie: I know, I have that amazing effect on people.
Batman: This is Robin.
13-year-old Damian Wayne, a literal wet cat that will hiss at you, has a sword, the most judgemental stare you'll get from a teenager, ready to jump anyone there:
Green Lantern: WHY DOES HE HAVE A SWORD?!
Batman: ... he came with the sword.
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I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.
What I thought that meant: telling us about unique sculpture materials and paint mixtures.
What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.
What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.
The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.
And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.
But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.
I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.
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corrupted godhood. reluctant false messiah. prophecy as a creeping all consuming malady. does the oracle see the future or make the future? the horror of trapping yourself inescapably on purpose. the chains of destiny dragging you towards the path you are fighting tooth and nail to free yourself from. there never having been a chance to begin with. no other choice to make. but making that choice regardless.
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