#Radar-Platform-as-a-Service

[getvalentined]

An open letter to @staff

I already submitted this to Support under "Feedback," but I'm sharing it here too as I don't expect it to get a response, and I feel like putting in out in public may be more effective than sending it off into the void.

The recent post on the Staff blog about changing tumblr to an algorithmic feed features a large amount of misinformation that I feel staff needs to address, openly and honestly, with information on where this data was sourced at the very least.

Claim 1: Algorithms help small creators.

This is false, as algorithms are designed to push content that gets engagement in order to get it more engagement, thereby assuring that the popular remain popular and the small remain small except in instances of extreme luck.

This can already be seen on the tumblr radar, which is a combination of staff picks (usually the same half-dozen fandoms or niche special interests like Lego photography) which already have a ton of engagement, or posts that are getting enough engagement to hit the radar organically. Tumblr has an algorithm that runs like every other socmed algorithm on the planet, and it will decimate the reach of small creators just like every other platform before it.

Claim 2: Only a small portion of users utilize the chronological feed.

You can find a poll by user @darkwood-sleddog here that at the time of writing this, sits at over 40 THOUSAND responses showing that over 96 percent of them use the chronological feed*. Claiming otherwise isn't just a misstatement, it's a lie. You are lying to your core userbase and expecting them to accept it as fact. It's not just unethical, it's insulting to people who have been supporting your platform for over a decade.

Claim 3: Tumblr is not easy to use.

This is also 100% false and you ABSOLUTELY know it. Tumblr is EXTREMELY easy to use, the issue is that the documentation, the explanations of features, and often even the stability of the service is subpar. All of this would be very easy for staff to fix, if they would invest in the creation of walkthroughs and clear explanations of how various site features work, as well as finally fixing the search function. Your inability to explain how your service works should not result in completely ignoring the needs and wants of your core long-term userbase. The fact that you're more willing to invest in the very systems that have made every other form of social media so horrifically toxic than in trying to make it easier for people to use the service AS IT WORKS NOW and fixing the parts that don't work as well speaks volumes toward what tumblr staff actually cares about.

You will not get a paycheck if your platform becomes defunct, and the thing that makes it special right now is that it is the ONLY large-scale socmed platform on THE ENTIRE INTERNET with a true chronological feed and no aggressive algorithmic content serving. The recent post from staff indicates that you are going to kill that, and are insisting that it's what we want. It is not. I'd hazard to guess that most of the dev team knows it isn't what we want, but I assume the money people don't care. The user base isn't relevant, just how much money they can bring in.

The CEO stated he wanted this to remain as sort of the last bastion of the Old Internet, and yet here we are, watching you declare you intend to burn it to the ground.

You can do so much better than this.

Response to the Update

Under the cut for readability, because everything said above still applies.

I already said this in a reblog on the post itself, but I'm adding it to this one for easy access: people read it that way because that's what you said.

Staff considers the main feed as it exists to be "outdated," to the point that you literally used that word to describe it, and the main goals expressed in this announcement is to figure out what makes "high-quality content" and serve that to users moving forward.

People read it that way because that is what you said.

*The final results of the poll, after 24 hours:

136,635 votes breaks down thusly:

An algorithm based feed where I get "the best of tumblr." @ 1.3% (roughly 1,776 votes)

Chronological feed that only features blogs I follow. @ 95.2% (roughly 130,077 votes)

This doesn't affect me personally. @ 3.5% (roughly 4,782 votes)

[elliespassagerprincess]

okay HEAR ME OUT PLEASE

reader is a pop star and she gets asked what she does in her free time and she says she watches streams. the interviewer asks her who her favorite streamer is and it’s ends up being ellie. PLOT TWIST ellie finds out her #1 supporter has been reader this entire time

Heandcannons: streamer!ellie williams x popstar!reader

masterlist

☆ Despite a jam-packed touring schedule, you religiously tune into Ellie’s streams—live or playback—because her voice grounds you in a chaotic world.

☆ You first discovered her channel during a bout of post-show insomnia, and her deadpan humor instantly hooked you.

☆ You created a secret Twitch account with a low-key username just to fangirl without suspicion.

☆ You’ve sent multiple donations under aliases, each with cheeky, flirtatious messages that Ellie lowkey reads out but never realizes it’s you.

☆ You’ve used Ellie’s stream as background noise during studio sessions, claiming her voice keeps your “vocals warm.”

☆ You’ve paused interviews just to catch her going live, hiding your AirPods under your hair while nodding at journalists.

☆ Some lyrics in your last album are heavily inspired by Ellie’s sarcastic rants and niche gamer jokes—your fans think it’s about a mystery lover.

☆ You once canceled a red carpet appearance just to catch a rare dual-stream of Ellie gaming with another creator.

☆ You anonymously follow her on all alt platforms: YouTube, Discord, Twitter. You’re a mod in her Discord under a fake name.

☆ You once DMed her on your main account but chickened out and deleted it 30 seconds later.

☆ During a late-night talk show, you’re asked what you do to unwind. You casually say, “Watch this chill gamer girl who plays horror games. Her name’s Ellie.”

☆ The crowd laughs; the host teases, “A crush, maybe?” And you smile without denying it.

☆ Fans clip the moment instantly—#PopStarEllie trends within minutes.

☆ Ellie’s chat explodes when she goes live that night. Her mods can barely control the hype.

☆ At first, Ellie thinks it’s a prank or someone else with your name—until she watches the clip herself.

☆ She replays the way you say her name five times, mouth parted slightly, stunned.

☆ Ellie deep-dives your discography, suddenly realizing how many songs reference things she’s said on stream.

☆ Her obsession flips overnight—she combs through her past chat logs looking for your fake username.

☆ She notices that you’ve been her top donor for months.

☆ Ellie goes radio silent for 3 days, overwhelmed by the realization.

☆ You DM her again—this time not deleting it—just a simple: “Hi, it’s me. Hope I didn’t weird you out lol.”

☆ She doesn’t answer for two hours. Then she replies: “Is this a prank?”

☆ Once you prove it’s really you, she sends you a voice note that sounds half shocked, half flirty.

☆ You two start talking every night after your respective work. Her Twitch chat notices she ends streams faster now.

☆ Ellie makes a playlist of songs that remind her of your voice.

☆ You ask to FaceTime, and she nearly fumbles the phone out of nerves.

☆ Ellie’s stunned by how normal you are, how you just want to talk about games and music.

☆ You send her signed merch. She blushes and says she’ll never wear it—but she sleeps in your hoodie nightly.

☆ Ellie posts less and becomes more mysterious—fans think she’s hiding a girlfriend.

☆ You drop a surprise song with lyrics clearly about “a girl who doesn’t know she saved me.”

☆ You fly her out under the radar, booking a full suite with no cameras allowed.

☆ Ellie’s heart races the entire flight; she hasn’t stopped sweating since she saw your text.

☆ When you open the door, she freezes. You’re real, you’re soft, and you’re smiling only at her.

☆ You spend the weekend together—laughing, gaming, eating room service on the floor.

☆ Ellie’s too shy to touch you at first, but you make the first move—just a hand over hers while watching a movie.

☆ That night, you fall asleep on her shoulder. She doesn’t move for hours, afraid to wake you.

☆ You sing quietly to her in the dark. She almost cries.

☆ You give her a bracelet that matches yours. She never takes it off.

☆ Paparazzi catch her at the airport leaving. Headlines explode.

☆ Ellie goes live later and jokes, “Guess I like pop stars now.”

☆ Ellie writes your name in the margins of her notebooks, like she’s a teen again.

☆ You keep sneaking her backstage—your crew knows, and they adore her.

☆ Ellie starts showing up in your lyrics more clearly, fans catch on fast.

☆ She writes you short songs on her guitar, sending you voice memos at 2am.

☆ Ellie now owns every one of your vinyls. She keeps them sealed “for protection.”

☆ Your fans notice you smiling more, dressing like a tomboy. They say Ellie’s your muse.

☆ You beg her to stream one of your shows. She refuses—too shy—but watches from the wings.

☆ When you’re stressed, she sends you memes. When you’re sad, she sends you soft voice messages.

☆ You call her “your secret home.” She calls you her “checkpoint.”

☆ Ellie starts looking at apartments in LA.

☆ After months of dating secretly, you both go public via a soft Instagram post—just hands, bracelets showing.

☆ Internet breaks. Your fans explode with support. Twitch loses its mind.

☆ Ellie goes live and nervously says, “Yeah... she’s mine.”

☆ You surprise her mid-stream with a hug. Her face turns red as the chat explodes.

☆ You do a cozy “couple stream” playing Stardew Valley. You suck at it. She carries you.

☆ Ellie wears your merch on stream now. Casually.

☆ Fans beg you to collab musically—Ellie refuses at first but agrees if she can stay anonymous.

☆ You write a love song about “a girl who used to only exist through a screen.”

☆ She writes her own love letter in music form. You post it on your secret SoundCloud.

☆ Ellie has a hoodie drawer in your tour bus now.

☆ You talk about adopting a cat together—name ideas: “Pixel,” “Jpeg,” “Lyric.”

☆ Ellie builds a mini streaming setup on your tour bus.

☆ You fall asleep on calls together every night when apart. She plays you old songs.

☆ Ellie’s growing confidence is visible. She thanks you during stream anniversaries.

☆ You let her be a recluse while giving her the world in private.

☆ She starts designing your stage outfits—hoodie inspired, always soft.

☆ Ellie keeps every note you write her, every photo booth strip.

☆ She tattoos a small icon that symbolizes your first Twitch comment to her.

☆ You jokingly propose on stream with a candy ring. She cries anyway.

☆ The world may love your music, but Ellie knows—your real voice only sings for her.

[sayfada]

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[justinspoliticalcorner]

Ryan W. Briggs, Max Marin, and Ellie Rushing at Philadelphia Inquirer:

BETHEL PARK, Pa. — In the sea of caps and gowns, Thomas Matthew Crooks hardly stood out. Few people clapped when his name was called. A YouTube video of his graduation two years ago from Bethel Park High School shows a slender and bespectacled student receiving his diploma with a soft smile. But the class of 2022 awoke Sunday to learn that the 20-year-old Allegheny County man was notorious, the shooter in the assassination attempt on former President Donald Trump during a rally that left an ex-firefighter, Corey Comperatore, dead and two other attendees wounded. U.S. Secret Service counter-snipers killed Crooks moments after he opened fire on the Saturday night rally from a nearby rooftop. The FBI said Sunday they believed he acted alone. He had not been on the bureau’s radar.

Crooks’ actions shocked residents in his hometown, sparked countless conspiracy theories online, and prompted investigators to begin combing through every aspect of his life, looking for motive. The mystery has been fueled by a near-total absence of Crooks’ social media postings, political writings, or other digital fingerprints. Several former classmates appeared on national television Sunday, quickly casting Crooks as a stereotypical loner who was bullied heavily during his time at Bethel Park. One of them, Jason Kohler, told reporters Sunday that students tormented Crooks “almost every day” and that he often wore “hunting” outfits to class. “He was just an outcast,” Kohler said, “and you know how kids are nowadays.” Yet, two former students interviewed by The Inquirer disputed the characterization. They did not recall specific incidents of violence or other antagonism involving their now-infamous classmate in the community they described as generally tight-knit.

[...] The slight traces of public information Crooks left behind leave few clues about his political ideology. Federal campaign finance records show he made a $15 donation to progressive political action committee in 2021 after President Joe Biden’s election, but later registered as a Republican, according to Pennsylvania voter data. His father was a registered Libertarian, his mother a Democrat. Crooks’ body was found on the rooftop of an agricultural tool manufacturing plant a few hundred feet from the rally with an AR-style semiautomatic rifle — legally purchased by his father. The shooter was wearing a T-shirt promoting “The Demolition Ranch,” a YouTube channel for gun enthusiasts. If Crooks maintained any personal social media presence, it went largely undetected on Sunday. Discord, an instant messaging platform mainly used by video gamers, released a statement acknowledging Crooks held a “rarely utilized” account that contained no information relevant to the shooting.

Sigafoos did not recall Crooks making political overtures in class, but rather as someone interested in how government works, and “not trying to insert his own beliefs into it.” Another former classmate did not share this view. Max R. Smith recalled taking an American history course with Crooks as a sophomore. He did recall Crooks making political statements — but they shed no light on his actions Saturday. “He definitely was conservative,” he said. “It makes me wonder why he would carry out an assassination attempt on the conservative candidate.” Smith recalled a mock debate in which their history professor posed government policy questions and asked students to stand on one side of the classroom or the other to signal their support or opposition for a given proposal. “The majority of the class were on the liberal side, but Tom, no matter what, always stood his ground on the conservative side,” Smith said. “That’s still the picture I have of him. Just standing alone on one side while the rest of the class was on the other.”

The gunman who killed rallygoer Corey Comperatore and attempted the assassination of Donald Trump at Saturday night’s Butler, PA rally was not only a registered Republican but also a vehement conservative.

This should hopefully put an end to the right-wing’s nonsensical claim that a “violent leftist”/”Antifa” tried to kill Trump.

[noenvyy]

Bill H.R. 9495--Declares Certain Non-profits terrorist organizations

Please read and share and CALL YOUR SENATORS

EMERGENCY: Earlier today, MAGA Republicans in Congress just rammed through legislation that could give Donald Trump the power to destroy organizations that oppose him—including MoveOn.1

Even more terrifying, 15 Democrats voted in favor of the bill.2

The bill, H.R. 9495, gives the Treasury Department—i.e., the Trump administration—unilateral power to declare a nonprofit to be a "terrorist-supporting organization" and strip its tax-exempt status.3 Organizations that oppose him could be shut down with just a swipe of a pen from Trump.

While Trump's Cabinet appointees soaked up the news cycle, the House tried to push this thoroughly dangerous bill under the radar last week. Two-thirds of the House was initially needed to pass the bill. But now Speaker Mike Johnson has figured out a new way to require only a simple majority to pass the bill, and the House voted to pass the bill earlier today.

H.R. 9495 was originally written to attack organizations showing support for Palestinians, and it is a dire threat to nongovernment organizations trying to support the Palestinian people suffering in the current war, but it could give the Trump administration the ability to declare any organization as "supporting terrorists"—with no proof, no burden of evidence, no due process.4,5

More than 150 religious, reproductive health, immigrant rights, human rights, racial justice, LGBTQ+, environmental, and educational organizations, led by the American Civil Liberties Union, have spoken up against this awful bill.6

The House tried to push through the bill with a two-thirds majority procedure last week, and 52 Democrats voted for it.7 Today they needed only a simple majority, and the House passed the bill with the support of 15 Democrats. We cannot allow a MAGA-controlled Senate in January to pass this bill.

This bill is different. If it passes, it has the possibility to silence any organization that Trump targets. And considering his history of retribution, we know he won't miss out on this opportunity to try to shut us down. It's an especially frightening prospect given Trump's previous attempt to designate anti-MAGA protesters and pro-Palestinian advocates as terrorists, and to vilify those he disagrees with as the "enemy from within."10

We need to sound the alarm in a major way to stop H.R. 9495 and prevent Trump from shutting down nonprofit organizations!

Please, please please, flood the Senate with calls to make it very clear that we will not abide by this attack on our First Amendment rights. We need to step up before it's too late. Use this link to find and contact your representatives: https://www.house.gov/representatives/find-your-representative

Take Action: Tell Congress to OPPOSE H.R. 9495

1. Visit the IS Action Center to sign a petition to oppose H.R. 9495. 

2. Call your Congressional Representative TODAY and urge them to vote NO on H.R. 9495 when it comes up again for a vote. You can find contact information for your Member of Congress here. And the list of California representatives who already voted yes on previous votes here.

3. Social Media Engagement: Post on your platforms and tag your Representative to urge them to oppose H.R.9495.

Sample posts:

ACTION NEEDED As a constituent of [@RepresentativesSocialMedia] and a staunch supporter of the nonprofit sector, I urge you to vote NO on H.R. 9495. This bill may be well-intentioned but it erodes due process and jeopardizes vital services for vulnerable communities.

Nonprofits are critical to our communities. H.R. 9495 may mean well, but it threatens due process and risks harming those we serve. [@RepresentativesSocialMedia], vote NO on #HR9495. #ProtectNonprofits 

Sample script for calling your representative:

I’m calling to urge you to oppose H.R. 9495, the Stop Terror-Financing and Tax Penalties on American Hostages Act, scheduled for a vote later today. This bill poses a direct threat to nonprofits by granting the Treasury Secretary unchecked power to label organizations as “terrorist supporting” and strip their tax-exempt status. Even worse, this can happen without evidence, intentional links, or any requirement to disclose the reasons for the designation. The lack of due process and accountability leaves nonprofits defenseless against vague and potentially politically motivated accusations.

While the bill includes provisions for tax relief for American hostages—a noble cause—this should not come at the expense of jeopardizing nonprofit operations and democratic values. These provisions should be separated into their own bill that doesn’t include the unchecked harm to nonprofits. 

Please oppose H.R. 9495 to protect nonprofits and the communities they serve. Thank you for your time and consideration.

____________________________________________________________

Sources:

1. "HR 9495: Bill Threatening Nonprofits Passes House," Nonprofit Quarterly, November 21, 2024 https://act.moveon.org/go/200463?t=8&akid=416946%2E34090080%2EE7NXm5

2. Ibid.

3. Ibid.

4. "Congress Is About to Gift Trump Sweeping Powers to Crush His Political Enemies," The Intercept, November 10, 2024 https://act.moveon.org/go/200453?t=10&akid=416946%2E34090080%2EE7NXm5

5. Ibid.

6. "Civil Society Letter to House Opposing H.R. 9495," ACLU, September 20, 2024 https://act.moveon.org/go/198929?t=12&akid=416946%2E34090080%2EE7NXm5

7. "House GOP Moves to Ram Through Bill That Gives Trump Unilateral Power to Kill Nonprofits," The Intercept, November 15, 2024 https://act.moveon.org/go/200452?t=14&akid=416946%2E34090080%2EE7NXm5

8. "No Labels files DOJ complaint about groups boycotting its 2024 presidential ballot access effort," CBS News, January 18, 2024 https://act.moveon.org/go/186092?t=16&akid=416946%2E34090080%2EE7NXm5

9. "MoveOn.org and Bucks man defend post-insurrection petition in NAC, Worthington defamation claim," Phillyburbs.com, June 7, 2021 https://act.moveon.org/go/200454?t=18&akid=416946%2E34090080%2EE7NXm5

10. "Scalise preps vote on terrorism bill decried as a gift for Trump," MSNBC, November 19, 2024 https://act.moveon.org/go/200446?t=20&akid=416946%2E34090080%2EE7NXm5

[doomtheshroom]

Image taken from @marvelstudios Instagram page.

Rant Incoming:

So the episode names have finally dropped for the new Ironheart series that's about to come out on June 24th.

While I love this and I love Riri, the fact that they're having the whole season aired in only two weeks rubs me the wrong way.

I know streaming services have their ups and downs, but there are a few reasons why they tend to release shows by weekly episodes.

It increases customer retention (this is mostly for the streaming platform and the Disney corporation itself) more views and longer show run times equals more subscriptions and money for them.

It increases engagement: spreading out episodes encourages discussions and heightens viewers anticipation as they talk about each new episode. In short, it creates more of a buzz, whether this buzz is good or bad. It's called the "water-cooler effect" actually. This is important for the piece of media itself. The more people who talk about it, the more likely a show/movie is to renew or continue.

It helps build anticipation among the audience, and also fosters a community by connecting and discussing theories and opinions regarding a piece of media (again, good or bad communities can rise out of this....cough, cough, The Acolyte).

To me, the fact that they're releasing all episodes in only two weeks, feels like they are pushing this character and story to the side. It feels as if they're giving Ironheart its moment to shine only because it's a necessity and they are more concerned with other projects. In essence, kind of like throwing a dog a bone.

I could understand the choice to release three episodes per week if the show had 12 episodes or more.....but there's only six, already hardly enough time and space to really tell a decent story.

So in my mind, by giving us Ironheart in only a two week period...you're taking away the chance for the audience and fans to connect with each other, limiting the relevance of the characters and the story, and basically let's us know that this project is nothing more than a blip on the big corporations radar and that really curdles my milk.

And to be clear, I'm not talking about individual preferences on who likes to wait for all episodes to air before watching. This is strictly from a corporate and marketing point of view and I'm kind of fuming.

Anyway, I'm still going to go into Ironheart with an open mind and cheer for my girl, Riri. Even with my frustrations on how they're portraying the advertisement and marketing for this series, I am beyond excited and can't wait for Riri to shine and do great things!

Just my silly little thoughts on the whole thing.

[film3tte]

RYAN GOSLING MOVIE RADAR!

Hello, honey buns! I have searched high and far to bring you EVERY RYAN GOSLING MOVIE at the moment that is FREE TO STREAM!

YOUTUBE :

Song To Song (2017)

Half Nelson (2006)

Lars And The Real Girl (2007)

The Big Short (2015)

Stay (2005)

NETFLIX :

All Good Things (2010)

The Gray Man (2022)

La La Land (2016)

HOOPLA :

Fracture (2007)

The Slaughter Rule (2003)

ROKU :

The Believer (2002)

Only God Forgives (2013)

DISNEY+ :

Remember The Titans

————————————————————————————————————————

Now, streaming services often let go and add new movies to there platforms so this can be updated if you guys would like me to! (Btw Lalaland was just added to Netflix today + Blade Runner was just taken OFF of Disney+ a week ago T_T)

[captain-price-unofficially]

Ukrainian Security Service, using naval drones and FPVs launched from them, destroy Russian radar and storehouses on gas platforms in the Black Sea. May 2025

[usafphantom2]

The AD-5N ‘Skyraider’ and Its Little-Known Nuclear Role in the Cold War

David Cenciotti

AD-5N

In late 1958, during heightened tensions in the Taiwan Strait, Skyraider pilots were prepped for nuclear strike missions. They spent tense hours at night, seated in their aircraft and ready for catapult launch with nuke bombs, before the mission was ultimately called off…

The Douglas A-1 Skyraider, also known as the “Spad,” was a legendary single-engine aircraft, as well as the last propeller U.S. Navy attack aircraft to disappear from the decks of the Navy’s aircraft carriers.

In late 1958, during heightened tensions in the Taiwan Strait, Skyraider pilots were prepped for nuclear strike missions. They spent tense hours at night, seated in their aircraft and ready for catapult launch with nuke bombs, before the mission was ultimately called off…Nuclear attack Skyraider

Renowned for its rugged design and long endurance, the Skyraider had an exceptional payload capacity: even when it carried its full internal fuel of 2,280 pounds, a 2,200-lb torpedo, two 2,000-lb bombs, 12,5 inch rockets, two 20 mm guns and 240 pounds of ammunition, the Skyraider was still under its maximum gross weight of 25,000 pounds.

Conceived during World War II, the Skyraider saw extensive service during the Korean and Vietnam Wars, excelling in close air support, search and rescue, and interdiction roles. However, its ability to carry a diverse array of munitions, including conventional bombs, rockets, and even torpedoes, made it a versatile platform.

AD-5N

Douglas AD-5N Skyraider of VA(AW)-33 Det.42 circa in 1958 (Image credit: U.S. Navy)

Among its variants, the AD-5N was a specialized version of the Skyraider, featuring a widened fuselage to accommodate a crew of four and advanced avionics for precision operations in challenging conditions.

Nuclear attack Skyraider

At the end of the 1950s, pilots of VA(AW)-33 flew AD-5N aircraft off the USS Essex, primarily training for nuclear strike missions. They specialized in low-level, long-range operations, using tech like the Bureau of Ordnance Atomic Rocket (BOAR) rocket and the Low Altitude Bombing System (LABS) bombing system.

Flying just 50 feet above water or skimming treetops on land, missions were top-secret, with each pilot assigned a unique target. Crews of three or four included electronics techs, practicing whenever budget allowed, both in the U.S. and Europe. Real missions were essentially one-way, though their rocket-powered weapon offered a slight survival edge.

The pilot’s side panel on the AD-5N aircraft. The LABS timer light can be seen on top of the panel on the right side and the NAV/LABS cross pointer instrument is also on the right side, about half way down. (Image via Stephen Miller)

Stephen Miller is a retired electrical engineer, lifelong aviator who spent some time as a Naval Aviator. After flight training, he was assigned to VA(AW)33 in Atlantic City, NJ, flying AD-5N. Here’s what he wrote to us about his time flying the low level long range nuclear weapon delivery mission with the Skyraider.

I joined the Navy right after graduating from Miami of Ohio with a BS in business and was just a few hours short of a commercial certificate at that time. After flight training, I was assigned to VA(AW)33 flying AD-5N in 1956.

In 1957-1958 various detachments consisting of four aircraft were assigned to their respective carriers and were involved in the attendant cruises from time to time. Ours was the USS ESSEX, CVA9. This was strictly during the cold war, between the Korean war and Vietnam.

Our primary mission was low level long range nuclear weapon delivery. This consisted of 50 ft over water and about 150 ft over land (treetop level). All navigation was done using pilotage/dead reckoning and was practised both here and in Europe. There were no radars at that time that could detect a low flying aircraft, due to ground clutter. Our long range cruise airspeed was 160 kts and we’d wait for the engine to sputter before switching back from an empty drop tank to the main. We typically used one or two crewmen to help with the navigation, the same guys (ET’s, Electronic Technicians) who maintained the equipment.

We also had a ground mapping radar, the APS-31, a pod-mounted wing unit.

In mid 1957 we attended a special weapons school in Norfolk VA which covered the operation of the weapon, the Bureau of Ordnance Atomic Rocket (BOAR) and the Low Altitude Bombing System (LABS). They had a working BOAR in the classroom, minus the warhead and we learned how to connect and use the test box to check it out. I was scheduled to make a test run to a simulated target with a live BOAR which had the 1000 lbs of HE (high explosive) used to detonate the nuclear core, but without the core installed. This was ultimately cancelled, but the exercise proceeded without employing the BOAR.

The delivery sequence worked as follows: The LABS contained a timer, accelerometer and a precise gyro heading reference. Just before reaching the IP (initial position for starting the final run toward the release point), the aircraft had to be at max speed (about 240 kts), full or “military” power, limited to five minutes, on heading and maintaining a stable treetop altitude, with the weapon armed.

Upon passing the IP a button on the stick was pressed and the timer would start for the 2-3 minute run. Simultaneously, the vertical nav indicator normally used for VOR/TACAN/ILS LOCALIZER was switched to provide the precise heading reference. At the same time a short panel light and headset tone were activated as well.

When the timer ran out, another short light/tone indicated the aircraft had reached the point to start the launch maneuver. The pilot would then pull and hold the trigger while pulling the nose up in a precise manner using the accelerometer. The horizontal nav indicator normally used for the ILS GLIDESLOPE would switch to this function and initially drop down; it was up to the pilot to raise the nose smoothly to bring the indicator to the center (horizontal) position. This would insure the right amount of “g’s” to produce the desired weapon trajectory upon release, which was automatic when the release attitude was reached.

The BOAR was blown away from the aircraft by the equivalent of four shotgun shells and had a pigtail attached to the airframe which would stretch out and then pull out of the back of the weapon, starting the rocket motor. This weapon had a top speed in the 400kt range and covered a distance of about 7.5 miles.

At this point the AD-5N was entering the initial entry into a loop but was too slow to make it over the top, requiring a wing over to end the maneuver, pickup speed and reverse direction. This was a modified version of a maneuver called a “half Cuban 8”, in this case known as the “idiot loop”.

For propeller driven aircraft the completion of the loop was only possible by a more capable airplane like the single seat AD6, for example. Use of a rocket powered weapon would allow the aircraft to escape the blast zone but the enormous shock wave would have unpredictable results. Some nuclear weapons were unpowered bombs, such that no escape from the blast was possible if delivered in this manner by a propeller driven aircraft. No one was expected back from these missions. Fortunately it never became necessary.

On a Mediterranean cruise during the 1957-58 period we did have a night drill to get a live BOAR ready for launch, but that’s as far as it went, at least for our squadron. At one point we were each assigned top secret targets following background checks for this purpose. These targets were planned and the charts supplied by some unknown source, at least to us, and the zig-zag routes highlighted as well. My best guess is this came from the Pentagon. They were kept in a locked safe with individual combinations. We were required to study our respective routes in our spare time and no one knew what anyone else’s target was. These were strictly visual day missions, though we would probably launch at night in time to reach the beach by daylight. We did have the advantage of radar assist, at least to pick out prominent features like lakes/rivers etc, as well as crewmen to help look for check points. The biggest problem we faced was the fact that the charts over enemy territory were known to contain errors. This only added to the difficulty of attempting to navigate using pilotage/dead reckoning at treetop level in the first place!

In late 1958 during the Quemoy/Matsu island crisis, we were in that area and a friend of mine was there as well with a Pacific fleet squadron flying AD6’s. He sat for two hours on a dark night in his aircraft, hooked up to the catapult, ready to launch with a nuke until they finally called it off. I doubt that this is widely known. That nuclear bomb was a Mark 7 unpowered device. It was a standard nuclear bomb of that time, the yield determined by the size of the nuclear core. A typical mid range core was 18-22 kilotons, about the same as the one dropped on Nagasaki.

Other Navy/Air Force squadrons flying various types of aircraft (primarily jets) had other delivery methods as well. This was our particular experience.

LTJG Miller (via Stephen Miller)

After his tour as a naval aviator Stephen spent a few years in aviation doing charter and flight instructor work flying all the usual single/multi engine aircraft, a stint with Mohawk Airlines flying Convair 240/440 aircraft and ultimately had his own business as an FBO.

I eventually left the aviation industry to pursue a degree in electrical engineering, though I continued flying part time, graduating from Umass Dartmouth in 1967. My career as an engineer subsequently encompassed working for a variety of employers in both design and management, commercial and military and for both large and small firms. My duties often included serving as company pilot as well. One such firm was an autopilot manufacturer which introduced me to that particular industry as well.

In later life I spent some time with the CAP, but now at age 90 I haven’t been current for about 20 years. Hopefully, the information I’ve submitted will be of some historical value to those interested in the Cold War period of the 1950s.

@The Aviationist.com

[kushblazer666]

'Why I Won't Vote'

By W.E.B. Dubois, The Nation, 20 October 1956

Since I was twenty-one in 1889, I have in theory followed the voting plan strongly advocated by Sidney Lens in The Nation of August 4, i.e., voting for a third party even when its chances were hopeless, if the main parties were unsatisfactory; or, in absence of a third choice, voting for the lesser of two evils. My action, however, had to be limited by the candidates' attitude toward Negroes. Of my adult life, I have spent twenty-three years living and teaching in the South, where my voting choice was not asked. I was disfranchised by law or administration. In the North I lived in all thirty-two years, covering eight Presidential elections. In 1912 I wanted to support Theodore Roosevelt, but his Bull Moose convention dodged the Negro problem and I tried to help elect Wilson as a liberal Southerner. Under Wilson came the worst attempt at Jim Crow legislation and discrimination in civil service that we had experienced since the Civil War. In 1916 I took Hughes as the lesser of two evils. He promised Negroes nothing and kept his word. In 1920, I supported Harding because of his promise to liberate Haiti. In 1924, I voted for La Follette, although I knew he could not be elected. In 1928, Negroes faced absolute dilemma. Neither Hoover nor Smith wanted the Negro vote and both publicly insulted us. I voted for Norman Thomas and the Socialists, although the Socialists had attempted to Jim Crow Negro members in the South. In 1932 I voted for Franklin Roosevelt, since Hoover was unthinkable and Roosevelt's attitude toward workers most realistic. I was again in the South from 1934 until 1944. Technically I could vote, but the election in which I could vote was a farce. The real election was the White Primary.

Retired "for age" in 1944, I returned to the North and found a party to my liking. In 1948, I voted the Progressive ticket for Henry Wallace and in 1952 for Vincent Hallinan.

In 1956, I shall not go to the polls. I have not registered. I believe that democracy has so far disappeared in the United States that no "two evils" exist. There is but one evil party with two names, and it will be elected despite all I can do or say. There is no third party. On the Presidential ballot in a few states (seventeen in 1952), a "Socialist" Party will appear. Few will hear its appeal because it will have almost no opportunity to take part in the campaign and explain its platform. If a voter organizes or advocates a real third-party movement, he may be accused of seeking to overthrow this government by "force and violence." Anything he advocates by way of significant reform will be called "Communist" and will of necessity be Communist in the sense that it must advocate such things as government ownership of the means of production; government in business; the limitation of private profit; social medicine, government housing and federal aid to education; the total abolition of race bias; and the welfare state. These things are on every Communist program; these things are the aim of socialism. Any American who advocates them today, no matter how sincerely, stands in danger of losing his job, surrendering his social status and perhaps landing in jail. The witnesses against him may be liars or insane or criminals. These witnesses need give no proof for their charges and may not even be known or appear in person. They may be in the pay of the United States Government. A.D.A.'s and "Liberals" are not third parties; they seek to act as tails to kites. But since the kites are self-propelled and radar-controlled, tails are quite superfluous and rather silly.

The present Administration is carrying on the greatest preparation for war in the history of mankind. Stevenson promises to maintain or increase this effort. The weight of our taxation is unbearable and rests mainly and deliberately on the poor. This Administration is dominated and directed by wealth and for the accumulation of wealth. It runs smoothly like a well-organized industry and should do so because industry runs it for the benefit of industry. Corporate wealth profits as never before in history. We turn over the national resources to private profit and have few funds left for education, health or housing. Our crime, especially juvenile crime, is increasing. Its increase is perfectly logical; for a generation we have been teaching our youth to kill, destroy, steal and rape in war; what can we expect in peace? We let men take wealth which is not theirs; if the seizure is "legal" we call it high profits and the profiteers help decide what is legal. If the theft is "illegal" the thief can fight it out in court, with excellent chances to win if he receives the accolade of the right newspapers. Gambling in home, church and on the stock market is increasing and all prices are rising. It costs three times his salary to elect a Senator and many millions to elect a President. This money comes from the very corporations which today are the government. This in a real democracy would be enough to turn the party responsible out of power. Yet this we cannot do.

The "other" party has surrendered all party differences in foreign affairs, and foreign affairs are our most important affairs today and take most of our taxes. Even in domestic affairs how does Stevenson differ from Eisenhower? He uses better English than Dulles, thank God! He has a sly humor, where Eisenhower has none. Beyond this Stevenson stands on the race question in the South not far from where his godfather Adlai stood sixty-three years ago, which reconciles him to the South. He has no clear policy on war or preparation for war; on water and flood control; on reduction of taxation; on the welfare state. He wavers on civil rights and his party blocked civil rights in the Senate until Douglas of Illinois admitted that the Democratic Senate would and could stop even the right of Senators to vote. Douglas had a right to complain. Three million voters sent him to the Senate to speak for them. His voice was drowned and his vote nullified by Eastland, the chairman of the Senate Judiciary Committee, who was elected by 151,000 voters. This is the democracy in the United States which we peddle abroad.

Negroes hope to muster 400,000 votes in 1956. Where will they cast them? What have the Republicans done to enforce the education decision of the Supreme Court? What they advertised as fair employment was exactly nothing, and Nixon was just the man to explain it. What has the Administration done to rescue Negro workers, the most impoverished group in the nation, half of whom receive less than half the median wage of the nation, while the nation sends billions abroad to protect oil investments and help employ slave labor in the Union of South Africa and the Rhodesias? Very well, and will the party of Talmadge, Eastland and Ellender do better than the Republicans if the Negroes return them to office?

I have no advice for others in this election. Are you voting Democratic? Well and good; all I ask is why? Are you voting for Eisenhower and his smooth team of bright ghost writers? Again, why? Will your helpless vote either way support or restore democracy to America?

Is the refusal to vote in this phony election a counsel of despair? No, it is dogged hope. It is hope that if twenty-five million voters refrain from voting in 1956 because of their own accord and not because of a sly wink from Khrushchev, this might make the American people ask how much longer this dumb farce can proceed without even a whimper of protest. Yet if we protest, off the nation goes to Russia and China. Fifty-five American ministers and philanthropists are asking the Soviet Union "to face manfully the doubts and promptings of their conscience." Can not these do-gooders face their own consciences? Can they not see that American culture is rotting away: our honesty, our human sympathy; our literature, save what we import from abroad? Our only "review" of literature has wisely dropped "literature" from its name. Our manners are gone and the one thing we want is to be rich--to show off. Success is measured by income. University education is for income, not culture, and is partially supported by private industry. We are not training poets or musicians, but atomic engineers. Business is built on successful lying called advertising. We want money in vast amount, no matter how we get it. So we have it, and what then?

Is the answer the election of 1956? We can make a sick man President and set him to a job which would strain a man in robust health. So he dies, and what do we get to lead us? With Stevenson and Nixon, with Eisenhower and Eastland, we remain in the same mess. I will be no party to it and that will make little difference. You will take large part and bravely march to the polls, and that also will make no difference. Stop running Russia and giving Chinese advice when we cannot rule ourselves decently. Stop yelling about a democracy we do not have. Democracy is dead in the United States. Yet there is still nothing to replace real democracy. Drop the chains, then, that bind our brains. Drive the money-changers from the seats of the Cabinet and the halls of Congress. Call back some faint spirit of Jefferson and Lincoln,and when again we can hold a fair election on real issues, let's vote, and not till then. Is this impossible? Then democracy in America is impossible.

[cherrygirlystuff]

From Myspace to Spotify: The Journey of Indie Sleaze Music in the Digital Age 🌐

Hey there, indie dreamer! 🎸 Ready for a nostalgic trip through the evolution of indie sleaze music? From the early days of Myspace to the modern streaming era on Spotify, indie sleaze has undergone a wild transformation. Let's dive into how this raw, rebellious genre has adapted and thrived in the digital age, and why it’s still resonating with listeners today.

1. The Myspace Era: Indie Sleaze’s First Digital Playground

Back in the early 2000s, Myspace was the epicenter of indie music discovery. It was the place where bands could upload their tracks, connect with fans, and build a following without needing a major label. Indie sleaze artists were quick to embrace this new digital frontier, using Myspace as their stage and connecting with a global audience in ways that had never been possible before.

DIY Spirit: Myspace was a haven for the DIY ethos that indie sleaze embraced. Bands like The Strokes, Yeah Yeah Yeahs, and Arctic Monkeys used the platform to share their music directly with fans, bypassing traditional media and labels. Their raw, unpolished sound fit perfectly with the unfiltered vibe of Myspace.

Visual Aesthetic: Bands and fans alike used Myspace’s customizable profiles to express their indie sleaze style. With an abundance of glittery backgrounds, band posters, and those iconic “Top 8” friend lists, the platform was a digital reflection of the era’s grungy, glamorous aesthetic.

2. From Downloads to Streams: The Shift to Digital Platforms

As the digital music landscape evolved, so did indie sleaze. The rise of platforms like iTunes and, later, streaming services like Spotify changed the way music was consumed and shared. This transition brought new opportunities and challenges for indie sleaze artists.

Digital Downloads: Platforms like iTunes allowed fans to buy and download individual tracks, making it easier for indie sleaze bands to reach new audiences. Artists could release singles and EPs without needing a full album, and fans could curate their own playlists of their favorite tracks.

Streaming Services: Enter Spotify, Apple Music, and other streaming platforms. The shift from downloads to streaming changed everything. Indie sleaze bands had to adapt to a world where music was less about owning tracks and more about playlist placement and algorithmic recommendations.

3. The Rise of Playlists and Algorithmic Discovery

One of the biggest changes in the music industry over the past decade has been the rise of playlists and algorithmic discovery. For indie sleaze artists, this new way of reaching listeners has both benefits and challenges.

Playlist Power: Playlists like Spotify’s “Discover Weekly” and “Release Radar” have become crucial for indie artists. Getting featured on a popular playlist can lead to a surge in streams and new fans. Indie sleaze tracks with their catchy hooks and raw energy often find a perfect home on these curated lists.

Algorithmic Challenges: While algorithms help discover new music, they also mean that artists need to navigate an ever-changing digital landscape. Standing out in a crowded field requires savvy marketing, consistent releases, and a strong online presence. Indie sleaze bands are learning to leverage social media and streaming data to connect with listeners and build their brand.

4. The Influence of Social Media: TikTok and Beyond

The rise of social media platforms like TikTok has brought a whole new dimension to music discovery. For indie sleaze, TikTok’s short-form video format and viral trends have become a new way to connect with fans and introduce their music to a wider audience.

Viral Hits: TikTok has the power to turn obscure indie tracks into viral sensations. Songs that capture the spirit of indie sleaze—whether through their raw lyrics, catchy beats, or nostalgic vibes—are finding new life on the platform. Creators use these tracks in videos, dance challenges, and memes, leading to a resurgence of interest in the genre.

Fan Engagement: Social media allows artists to interact directly with their fans, building a community around their music. Indie sleaze bands are using platforms like Instagram and Twitter to share behind-the-scenes content, engage with fans, and keep their audience updated on new releases.

5. The Revival of Indie Sleaze: A New Generation Embraces the Sound

Despite the changes in how music is consumed, indie sleaze is experiencing a revival. A new generation is discovering and embracing the genre, inspired by the nostalgia of the early 2000s and the raw, unfiltered energy that indie sleaze represents.

Nostalgic Resurgence: The early 2000s sound is making a comeback, with both new and old artists embracing the grunge pop aesthetic. The rise of vintage-inspired fashion and music is bringing indie sleaze back into the spotlight, with playlists and radio stations dedicated to the genre.

Cultural Impact: Indie sleaze’s influence is seen in modern fashion, film, and art. The grungy, carefree style of the early 2000s is being reinterpreted for today’s audience, blending nostalgia with contemporary creativity.

Final Thoughts, Babe: The Journey Continues

From the DIY spirit of Myspace to the streaming era of Spotify and the viral world of TikTok, indie sleaze has navigated a complex and ever-changing digital landscape. Despite the challenges, the genre remains as vibrant and relevant as ever, resonating with both old fans and a new generation discovering its raw, rebellious charm.

So next time you’re curating your playlist or scrolling through social media, remember the journey indie sleaze has taken to get here. Whether you’re rediscovering the classics or finding new favorites, the spirit of indie sleaze lives on—gritty, glamorous, and forever cool. 🎶✨

[saeun]

cashier's revenge gojo satoru.

sum. annoying ex!gojo gets his lick back. not beta read !

satoru's existence itself is a warning. is it a harzardous warning? not quite, but it's also not a good one. at this very moment, at this very precised second, gojo satoru is contemplating the consequences of clocking out of work before his shift is up. in his eyes, if it's executed properly, it can work. the only downside would be the possibility of getting fired.

he cannot afford such a tragedy. being a man in today's day and age comes at an expensive cost. one day satoru promises to find AND deliver punishment to whoever created the "men are the breadwinners." motion. he suffers from society's insane capitalism and boy might he just dive into hell. head first, even. perhaps even toes first, if he's feeling special.

satoru's current employment stems from two reasons. not one, not three, but two:

1. his urge to prove that he can be better off without you.

2. getō suguru, someone's that's just as bad as he is, told him he had the chance to do the funniest thing ever.

now, don't mistake him! gojo satoru is not easily influenced ( he is. ) he knows right from wrong ( sometimes. )

prior to him signing up as a cashier, your break-up was mutual. he agreed to let you go and you agreed that you weren't committed to being in a full relationship yet. on his vision, he hated that he had to let you go; his attachment grew and he couldn't go two days without bothering you.

it would've disgusted satoru if he made you stay with him but god he wished you would've done so.

bored and bothered, satoru fiddles with his fingers, unable to find entertainment elsewhere due to his phone's low battery warning.

"if no one enters in the next five minutes maybe i can — fuck," feeling his right eye twitch, satoru exhales a deep sigh. not only did someone enter but that unlucky customer happened to be you, y/n l/n.

his eyes following your body, praying that you magically decided to no longer buy anything. unfortunately for him, he cannot get everything he wants in life. watching you make your way to his position, he chants a line of curses before going into automatic-customer-service mode.

"hi," satoru begins, forcing his sunshine-like smile, "what would you have today? any menu specials?"

"hello! i'd like to have a — oh my god it's you.." stopping mid-sentence, you clutch the strap of your handbag. the odds weren't one hundred but they definitely weren't zero.

'am i a curse or what?' gojo thinks. your expressions most certainly didn't bypass his radar. setting his offense aside, he continues, "i'm sorry, we don't have an "oh my god it's you" on the menu!"

"sorry, i'll have the daily special," counting the money needed, you wait for him to finish his cashier duties.

"that'll be ten dollars and ninety-nine cents," satoru says, raising his hand to collect the money. for some rather peculiar reason, it seems as though a twenty dollar bill is stuck on its owner's hand.

"miss, please let go of the bill."

"whatever do you mean?"

scoffing, satoru yanks the bill out of your hand. he watches as you twist your face into disgust and shake your hand off. he's sorry, really, but he has to put himself first at times.

—

although satoru was set on escaping early, he now has a reason to stay longer. going out of his way to deliver your meal, satoru sits in front of you. he has the plot and the platform.

"here's your meal, bill, and change," sliding everything to you, he sits with folded arms. this position means business. formal business.

"thank you — but what are you doing there?" you question him, squinting your eyes at his choice of movement.

"don't question me. how have you been though?"

pulling out your fries, you tilt them to his direction, offering them to him. "i've been wonderful, you?"

"my life has been fine. i've recovered ever since you broke up with me," taking a single fry, he shakes his head as he munches.

"that's crazy but why're you even here?" you couldn't contain your curiosity.

"ever since you broke my heart, i needed to get my life back." gojo takes two fries this time, munching them in sadness.

"ah, i see." you reply.

"it's amazing that you can see ever since you broke up with—"

"do NOT finish that sentence." glaring at satoru, you shut down his pity party. whatever he has going on needs to stop.

"you stop me from doing stuff the same way you stopped my heart ever since you —" satoru tries to finish but was met with a burger being shoved in his mouth.

smiling to himself, he compliments himself as he managed to annoy you. satoru can only thank the gods that you don't despise him. even if you do then that's a problem for someone else.

on your side, you're regretting handing over your burger to him. you were sure that breaking up with him will cause a broken heart but it seems like someone's doing fine. taking a sip from your drink, you look at satoru who's happily eating your food. 'he looks cute' you think.

"satoru," you speak up, redirecting his attention from the burger and onto you.

"hm?" he hums, wiping away the sauces on his face.

inhaling a deep breath, you mentally prepare before asking him, "wanna come over tonight?"

satoru's mouth shaped like an 'O', he thinks for a while before agreeing, "i'd love to — especially after you broke up with me."

"i swear i will kill you, satoru."

[madsworld15]

Why Queer as Folk (2000) Was Seemingly Forgotten

An analysis by a professional TV Critic

Let me start off by saying the initial run of Queer as Folk and its current resurgence can be represented by this mantra by Brian Kinney: There are two kinds of straight people. The ones who hate you to your back and the ones who hate you to your face.

The initial run of QAF coincides with the first half of the statement: hate behind your back.

So, recently I started thinking about how in the early 2000s, Queer as Folk seemed to be on a trajectory of going down in TV history. Then, seemingly just as quickly, people stopped talking about it. So much so that by the time I finished watching it in 2009, I only got a few good months of chatter on social media platforms (Twitter mostly) with other fans before it just stopped being talked about in a wide-reaching manner.

I will even admit that I stopped thinking about the show not long after that and wasn't reminded of its full impact on my psyche until late last year when it was back on easy-access streaming due to Showtime's merge with Paramount+.

But why is it that this show is only just now starting to pick up speed again? (I'm talking fan cams on TikTok, memes, etc.)

I have some theories about all of this, so buckle in.

To really get a grasp of what Queer as Folk was working against when it aired on Showtime -- a paid subscription channel back before the days of an overabundance of streaming services, you have to look at the climate we were living in. Also, how inaccessible a paid TV channel was for most people.

So, in the early 2000s, life in the United States, and probably the world, but I'm not fully educated enough to comment on that, wasn't the greatest for those in the LGBT+ community. It would be years before the President of the United States would pass legislation that Gay Marriage be legal nationwide.

Employers were able to fire people for being gay, and the employees couldn't fight it. Gay parents had very little in terms of rights to their own children; in fact, some couldn't even adopt the kids they wanted to because there were no laws against discrimination.

All of these things are depicted left and right throughout Queer as Folk, with Ted getting fired from his job, Michael being extremely closeted at his job, and Melanie not being afforded rights to Gus because of adoption regulations during that time.

So, for our community to receive a show that was by us for us, we were overjoyed. There was something so resolutely refreshing about the unapologetic manner in which these characters were allowed to present themselves and live their lives. And while the show gets dinged today for its lack of racial diversity, we were glad to see queer people represented in a variety of ways -- we got to see the Emmett's and Justin's of the world being friends with the Ted's and Michael's and Brian's.

Not only that, these characters got to love who they wanted, however, they wanted, and whenever they wanted. Characters like Michael and Emmett could go from wanting to freely fuck whoever to finding that special person and settling down. We got to see Ted find the right guy at the wrong time over and over and over again until it was finally the right guy at the right time.

But most of all, we got to see a character like Brian, who, in the hands of a straight person, might've actually gone "soft" and "domestic" just by being with Justin. Instead, we got to see him never change his opinion about what he wanted, but still finding love in his own way.

However, not long after the show ended (like around 2008), the climate in the United States started to shift more towards open acceptance of the queer community. So, people stopped needing an escape from the hardships of real life because things seemed to be on an upward trend toward love and equality. Therefore, Queer as Folk sort of fell off the radar of viewers because we didn't want more of the gritty, complicated, messy queer stories. We wanted our stories to be happy and lighthearted.

(Keep in mind I am speaking in terms of general viewers. There are always exceptions to the rule)

Then, in 2016, Donald Trump was elected President of the United States, and suddenly, it was totally okay for people to openly mock us and hate us.

This is where the resurgence of QAF falls into the second half of Brian's mantra: hate us to our face.

Around 2016/2017, people started talking about this show again. And the love and fervor for it has only increased exponentially over the last few years, especially with the onset of COVID-19 and the merging of Showtime/Paramount+. Both events made the public more aware and able to access the show.

Now more than ever, we need something that isn't afraid to show queer people as we are, not as the media and those outside our community paint us. We need to feel like there is a media format that understands what we are like when we are with our closest friends. We say things that, in today's world, would probably get us canceled, and we judge those around us and have very biased opinions about certain people.

Brian Kinney's unapologetic "I am who I am and fuck anyone who tries to change me" attitude is the exact level of strength and courage we wished more people right now had. His biased, but not illogical, opinion of non-queers needs to be loud. It needs to be shouted from the rooftops because we now live in a world where we are hated just for existing as we are.

Even our rights that had been given to us just a decade ago are being stripped away from us once more. So, the fight for love and equality continues, and the hope that Queer as Folk gives us is important now more than ever.

So, people are seeking this story out and are begging others in the world to watch it and understand that we have always been here. We've always been these flawed but loving characters. We deserve to be heard.

In 2022, Peacock tried its best to create a redo of the series but failed miserably. But why? If we are desperately looking for queer media that is gritty, unapologetic, and real, then why didn't we latch onto this latest iteration?

The answer is simple. This new version was great at creating a more diverse image of the characters created for the Showtime series but failed to understand that recreating things almost note for note with entirely new characters isn't what we want.

It would've been better if the show stuck to broad-stroke themes and made these characters and their experiences their own. Queer today is different than queer in the early 2000s, just like queer in the 2000s was different than queer in the 1980s. Trying to put queer 2000s stories into a queer 2020s world isn't going to work.

We need to embrace this resurgence of Queer as Folk (2000) and give it the love and attention it should've always had. Perhaps finally giving its rightful due in the eyes of the history of queer media. Does it have its issues as the world changes? Absolutely, but we also can't sit here and deny the insane level of impact this show had on the queer media we now know and love.

We wouldn't have casually queer shows like Schitt's Creek, Heartstopper, and Our Flag Means Death if Queer as Folk hadn't broken down our walls and made us realize that we can demand stories for queer people by queer people.

[mariacallous]

Less than three months after Apple quietly debuted a tool for publishers to opt out of its AI training, a number of prominent news outlets and social platforms have taken the company up on it.

WIRED can confirm that Facebook, Instagram, Craigslist, Tumblr, The New York Times, The Financial Times, The Atlantic, Vox Media, the USA Today network, and WIRED’s parent company, Condé Nast, are among the many organizations opting to exclude their data from Apple’s AI training. The cold reception reflects a significant shift in both the perception and use of the robotic crawlers that have trawled the web for decades. Now that these bots play a key role in collecting AI training data, they’ve become a conflict zone over intellectual property and the future of the web.

This new tool, Applebot-Extended, is an extension to Apple’s web-crawling bot that specifically lets website owners tell Apple not to use their data for AI training. (Apple calls this “controlling data usage” in a blog post explaining how it works.) The original Applebot, announced in 2015, initially crawled the internet to power Apple’s search products like Siri and Spotlight. Recently, though, Applebot’s purpose has expanded: The data it collects can also be used to train the foundational models Apple created for its AI efforts.

Applebot-Extended is a way to respect publishers' rights, says Apple spokesperson Nadine Haija. It doesn’t actually stop the original Applebot from crawling the website—which would then impact how that website’s content appeared in Apple search products—but instead prevents that data from being used to train Apple's large language models and other generative AI projects. It is, in essence, a bot to customize how another bot works.

Publishers can block Applebot-Extended by updating a text file on their websites known as the Robots Exclusion Protocol, or robots.txt. This file has governed how bots go about scraping the web for decades—and like the bots themselves, it is now at the center of a larger fight over how AI gets trained. Many publishers have already updated their robots.txt files to block AI bots from OpenAI, Anthropic, and other major AI players.

Robots.txt allows website owners to block or permit bots on a case-by-case basis. While there’s no legal obligation for bots to adhere to what the text file says, compliance is a long-standing norm. (A norm that is sometimes ignored: Earlier this year, a WIRED investigation revealed that the AI startup Perplexity was ignoring robots.txt and surreptitiously scraping websites.)

Applebot-Extended is so new that relatively few websites block it yet. Ontario, Canada–based AI-detection startup Originality AI analyzed a sampling of 1,000 high-traffic websites last week and found that approximately 7 percent—predominantly news and media outlets—were blocking Applebot-Extended. This week, the AI agent watchdog service Dark Visitors ran its own analysis of another sampling of 1,000 high-traffic websites, finding that approximately 6 percent had the bot blocked. Taken together, these efforts suggest that the vast majority of website owners either don’t object to Apple’s AI training practices are simply unaware of the option to block Applebot-Extended.

In a separate analysis conducted this week, data journalist Ben Welsh found that just over a quarter of the news websites he surveyed (294 of 1,167 primarily English-language, US-based publications) are blocking Applebot-Extended. In comparison, Welsh found that 53 percent of the news websites in his sample block OpenAI’s bot. Google introduced its own AI-specific bot, Google-Extended, last September; it’s blocked by nearly 43 percent of those sites, a sign that Applebot-Extended may still be under the radar. As Welsh tells WIRED, though, the number has been “gradually moving” upward since he started looking.

Welsh has an ongoing project monitoring how news outlets approach major AI agents. “A bit of a divide has emerged among news publishers about whether or not they want to block these bots,” he says. “I don't have the answer to why every news organization made its decision. Obviously, we can read about many of them making licensing deals, where they're being paid in exchange for letting the bots in—maybe that's a factor.”

Last year, The New York Times reported that Apple was attempting to strike AI deals with publishers. Since then, competitors like OpenAI and Perplexity have announced partnerships with a variety of news outlets, social platforms, and other popular websites. “A lot of the largest publishers in the world are clearly taking a strategic approach,” says Originality AI founder Jon Gillham. “I think in some cases, there's a business strategy involved—like, withholding the data until a partnership agreement is in place.”

There is some evidence supporting Gillham’s theory. For example, Condé Nast websites used to block OpenAI’s web crawlers. After the company announced a partnership with OpenAI last week, it unblocked the company’s bots. (Condé Nast declined to comment on the record for this story.) Meanwhile, Buzzfeed spokesperson Juliana Clifton told WIRED that the company, which currently blocks Applebot-Extended, puts every AI web-crawling bot it can identify on its block list unless its owner has entered into a partnership—typically paid—with the company, which also owns the Huffington Post.

Because robots.txt needs to be edited manually, and there are so many new AI agents debuting, it can be difficult to keep an up-to-date block list. “People just don’t know what to block,” says Dark Visitors founder Gavin King. Dark Visitors offers a freemium service that automatically updates a client site’s robots.txt, and King says publishers make up a big portion of his clients because of copyright concerns.

Robots.txt might seem like the arcane territory of webmasters—but given its outsize importance to digital publishers in the AI age, it is now the domain of media executives. WIRED has learned that two CEOs from major media companies directly decide which bots to block.

Some outlets have explicitly noted that they block AI scraping tools because they do not currently have partnerships with their owners. “We’re blocking Applebot-Extended across all of Vox Media’s properties, as we have done with many other AI scraping tools when we don’t have a commercial agreement with the other party,” says Lauren Starke, Vox Media’s senior vice president of communications. “We believe in protecting the value of our published work.”

Others will only describe their reasoning in vague—but blunt!—terms. “The team determined, at this point in time, there was no value in allowing Applebot-Extended access to our content,” says Gannett chief communications officer Lark-Marie Antón.

Meanwhile, The New York Times, which is suing OpenAI over copyright infringement, is critical of the opt-out nature of Applebot-Extended and its ilk. “As the law and The Times' own terms of service make clear, scraping or using our content for commercial purposes is prohibited without our prior written permission,” says NYT director of external communications Charlie Stadtlander, noting that the Times will keep adding unauthorized bots to its block list as it finds them. “Importantly, copyright law still applies whether or not technical blocking measures are in place. Theft of copyrighted material is not something content owners need to opt out of.”

It’s unclear whether Apple is any closer to closing deals with publishers. If or when it does, though, the consequences of any data licensing or sharing arrangements may be visible in robots.txt files even before they are publicly announced.

“I find it fascinating that one of the most consequential technologies of our era is being developed, and the battle for its training data is playing out on this really obscure text file, in public for us all to see,” says Gillham.