#american type founders

[uwmspeccoll]

Typography Tuesday

American Type Founders (ATF), established in 1892 with the merger of 23 type foundries, was the predominant producer of metal type in America for the first 50 years of its existence, and remained influential in the industry almost until its closing in the early 1990s. In its heyday, this conglomeration of foundries produced about 85 percent of all type manufactured in the United States at the time. As a behemoth type manufacturer, it also had most of the nation's top type designers producing original typefaces for the foundry, including Will Bradley, Frederic Goudy, Oz Cooper, T.M. Cleland, and the prolific Morris Fuller Benton, who was also the head of the ATF design department.

This ATF type specimen book, Book of American Types, published in 1934 presents some of the "Standard Types" offered by ATF. As the Preface notes:

During the last decade there has been a period of experimental effort in typography the influence of which at times has carried us a long way from the traditional past. . . . No type specimen book can ever be complete in the strictest sense. As printing proceeds, new designs enter the early stages of preparation. Alphabets from leading artists and from our own pre-eminent staff of designers are being continually studied in the effort to anticipate style trends. . . . Change is inherent in progress and every effort will be made to have these separate specimens reflect the most recent trends while at all times maintaining the highest typographic standards.

This statement, along with the title and the name of the corporation, place an emphasis on the spirit of progressivism during the interwar period, as well as the exceptionalism of American initiative and design. But as the display of the Broadway Series of type (designed by Benton in the late 1920s) reminds us, "Herds Ignore Granted Delusions." Our copy of Book of American Types is another donation from the estate of our late friend Dennis Bayuzick.

View other books from the collection of Dennis Bayuzick.

View other type specimen books.

View more Typography Tuesday posts.

[garadinervi]

From: The Goudy Type Family. A Composite Showing of Goudy Types: A Pamphlet Supplementing the Specimen Book of 1923, Showing Important Additions to the Goudy Family, American Type Founders, 1927 [Letterform Archive, San Francisco, CA]

[c-o-v-e-r-s]

I Am Brian Wilson, Brian Wilson with Ben Greenman

[ftmtftm]

Feminism has always, always had a history with Racism and White Supremacy - particularly in a way that promotes fascist leaning "Protection for Me and Mine" type "activism".

There have always been several Upper Class, White, Women at the helm of Feminist movements and it is something Poor, Working Class, Women of Color have been vocally criticizing since the First Wave.

I mean, US Americans, did you not learn about Sojourner Truth? Have you not read "Ain't I A Woman?"? It is one of the most famous early accounts of the racialized nature of gender. It perfectly highlights the way the social aspects of gender have always been barred from People of Color in a way they aren't barred from White People in a firsthand historical account.

Women's Suffrage, and subsequently the First Wave of Feminism was an actively Racially Segregated movement. White Suffragettes intentionally campaigned for themselves and themselves only because they thought that campaigning for Black, Immigrant, and Indigenous Women would undermine their own movement. They did not seek liberation for women, they sought the Systemic, Institutional Power of their White Male Peers and they got it - by intentionally leaving Women of Color behind them.

This is most evident in the fact that White Women received the right to vote in 1920, but Black Women did not receive the right to vote until 1965 with the Voting Rights Act. Almost 50 years later. That is over half a lifetime. This was also only approximately 2-3 years before Radical Feminism and the Second Wave began around 1967~1968.

If you think racial segregation and racism in the Feminist Movement ended with Black Women's suffrage and completely dissipated within the two years it took for the Second Wave to pick up it's feet, you are naïve at best and actively racist yourself at worst. The Women's Liberation Movement / Radical Feminism have always been White Woman's movements riding the coattails of the Suffragette's racism.

Look at the website for the Women's Liberation Front. WoLF is one of the original Radical Feminist organizations. It was founded in the late 60's and is one of the largest Radfem organizations to date. Now. Look at their board. Look at the photos of women they choose to include across their site. Look at the women who are speaking at their events. Beyond one or two token Black Women, it is a sea of Whiteness.

You know who is a special advisor to WoLF and the founder of the group "Standing for Women"? Kellie-Jay Keen-Minshull, aka Posie Parker. Kellie-Jay is the woman who popularized "Woman means adult human female" as an anti-trans slogan. Kellie-Jay is also real good buddies with - you guessed it! Neo-Nazis and White Supremacists!

WoLF also takes money from the Alliance Defending Freedom, (ADF) a Right Wing Christian Organization, and it's members have worked directly with the Heritage Foundation, a Conservative organization founded during the Reagan Presidency.

Radical Feminism as a political movement cares about the lives and held power of White Women under the guise of "Women's Liberation" in the exact same way as their foremothers, the Suffragettes. It's a foundationally White Supremacist movement. Black Feminists, Indigenous Feminists, Immigrant Feminists, and Colonized Feminists have been talking about this for over a century but it falls on White ears so why would they listen.

[hotvintagepoll]

Propaganda

Louise Brooks (Pandora's Box, Diary of a Lost Girl)—Louise Brooks started off as a dancer and went to work in the Follies before going to Hollywood. Disappointed with her roles there, she went to Germany and proceeded to make Pandora's Box, the first film to show a lesbian on-screen (not her but one of her many doomed admirers in the film), and Diary of a Lost Girl, both of which are considered two of the greatest films of the 20th century. She helped popularize the bob and natural acting, acting far more subtly than her contemporaries who treated the camera as a stage audience. After the collapse of her film career and a remarkably rough patch as a high-end sex worker, she was rediscovered and did film criticism, notably "Lulu in Hollywood," which Rodger Ebert called "indispensable." Also, christ. Look at her.

Vilma Bánky (The Son of the Sheik, The Eagle)—She's famous now for being a silent star ruined by the transition to talkies, unlike her frequent co-star Ronald Colman. I think that's a shame, as she has a real vivaciousness and charm in The Winning of Barbara Worth. In this *checks notes* western about environmental engineering, she rides around the desert and gets wooed by both Colman and a young Gary Cooper (good for her dot gif.) Even in stills from films that are sadly lost, I think there is a distinctive warmth and individuality to her. Also she is extremely hot in her extremely pre-Code dress in The Magic Flame.

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Louise Brooks:

"Defined the style of the modern flapper. A gaze that could make a stone fall in love."

"Louise Brooks left a legend far greater than her real achievement as an actress, but even today few people have seen her films. In our own time, the fascination with Brooks seems to have begun in 1979 with a profile by Kenneth Tynan in the New Yorker, which revealed that the actress who made her last movie in 1938 was alive and living in Rochester, N.Y. Such was the power of Tynan's prose that people began to seek out her existing films, primarily this one, to discover what the fuss was about. What we see here is a healthy young woman -- she was 23 when the film was released -- with whom the camera, under G.W. Pabst's influence, is fascinated. There is a deep paradox in Brooks and her career: the American girl who found success in the troubled Europe between two wars; the vivid personality who briefly dazzled two continents but faded into obscurity; the liberated woman who had affairs with such prominent men as CBS founder William S. Paley as well as with women including (by her account) Greta Garbo but wound up a solitary recluse. And all of this seems perfectly in keeping with her most celebrated role in Pandora's Box. For despite her bright vitality, her flashing dark eyes and brilliant smile, Brooks's Lulu becomes the ultimate femme fatale, careering her way toward destruction, not only of her lovers but eventually of herself."

"She invented having bangs to indicate that you have borderline personality disorder"

"chances are if youve ever seen a "flapper girl" character or even just art of a generic flapper type made after the 20s it was based on her appearance - particularly the bob hairstyle! she had some pretty rough experiences through her life before during and after her tumultuous acting career which ended in 1938 but she made it to the 80s, wrote an autobiography and did a lot of interviews that she was never afraid of being honest in about her own life or peers of the age, and apparently was unabashed about some affairs she had with well known women (including greta garbo!!)"

"She read Proust and Schopenhauer on set between sets. She was one of the original flappers/new women of the 1920s. She had a one night stand with Garbo and was the inspiration for Sally Bowles in Cabaret. Truly a stone cold fox."

"on her wikipedia page it says her biographer said she "loved women as a homosexual man, rather than as a lesbian, would love them" and while i have no idea if this is true or not i thought that was very gender of her"

"despite being american she was big in german expressionist films and thus her aesthetic was unmatched!!"

So far ahead of her time in regard to portraying complicated women. Timeless elegance. "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act.” - Louise Brooks

Vilma Bánky:

I love Vilma Bánky! She was called "the Hungarian Rhapsody" and apparently had a thick Hungarian accent which I think is cute. Several men fighting over the same women can be very cliche but when I saw her in The Winning of Barbara Worth (1926) I got it because my god she really is that drop dead gorgeous. She's also a wonderful actress though, expressive yet natural. I read once that seeing her in The Dark Angel (1925)—a film now seemingly lost—inspired Merle Oberon to become an actress :)

This is more of a factoid but she was apparently the women's golf champion at Wilshire Country Club through the 1940s. [link] I just think she's neat.

I love herrrrr she��s my everything. Watching her kiss Rudolph Valentino in Son of the Sheik made me so flustered I had to pause the movie to cool down. She’s the prettiest the most beautiful the most incredible woman I’ve ever seen. I could look at a picture of her for hours

[arimiadev]

why does aniplex want mahoyo to fail

I love visual novels. being a long time fate/stay night fan and only having heard of mahoyo from hushed whispers about its cinematography, I was super invested when it was announced to be coming to the west and I could finally play an official version of it.

however, a lot of people interested in type-moon works had never heard of mahoyo, let alone it getting an official english translation. but how? aniplex is publishing the game and they're one of the largest anime distributors in the world.

with the console release of mahoyo being almost exactly a year ago and the steam release being just 10 days away, I want to look over some of aniplex USA's bizarre and nonexistent marketing for one of my favorite visual novels.

let's clear up a few things, first.

mahoyo is the shortened form of mahoutsukai no yoru (not to be confused with mahoutsukai no yome, i.e. the ancient magus bride), which has been localized as witch on the holy night. mahoyo was a linear non-eroge visual novel released by type-moon in 2012, being one of the first scripts kinoko nasu (co-founder of type-moon) wrote back in 1996 and adapted into a VN many, many years later.

in April of 2022, a console remaster (switch, playstation 4) was announced with HD assets and voice acting, to be published by aniplex. notably, this console release would contain an english translation and was later confirmed in June to be sold in the west via online retailers. this was huge news, as this meant mahoyo would be the first type-moon visual novel (not including gameplay-oriented titles like fate/extella or fate/grand order) to be officially released in the west, as despite numerous fan translations, their more recognizable visual novels tsukihime and fate/stay night still had not received a localization.

type-moon is the developer behind mahoyo and aniplex is the publisher, meaning that type-moon made the game and aniplex is in charge of distributing (and marketing) the game worldwide.

timeline:

April 11 2022: Mahoyo rerelease announced for consoles (Switch & PlayStation 4), including English translation

July 4 2022: Aniplex confirms Mahoyo will be available to the West, localized under the name Witch on the Holy Night

October 14 2022: 2nd trailer released, more voice actor info announced

November 3 2022: physical pre-orders launched, demo version available

November 18 2022: Aniplex attends Anime NYC with Mahoyo

December 7 2022: Mahoyo released digitally on Switch / PlayStation 4 (Dec 8th in Japan, Dec 7th in America)

December 12 2022: Mahoyo reaches 110k units sold worldwide

January 27 2023: Mahoyo physicals release

July 5 2023: Mahoyo reaches 150k units sold worldwide

September 10 2023: Mahoyo announced for Steam via a now unlisted Aniplex livestream

December 13 2023: Mahoyo will be released on Steam (Dec 14th in Japan, Dec 13th in America)

some of the dates might be a little fuzzy, especially the release dates, as some sources go by japanese time and some go by american timezones, so just be aware of that.

now, let's talk a bit about mahoyo itself.

mahoyo is a masterpiece. it's a niche game not meant for everyone. its cinematography is top notch among visual novels. its writing style can be off-putting to people who want faster-paced stories. it's one of my most beloved visual novels I've ever played, and I've been in this field for almost a decade and have played well over 100 VNs.

mahoyo is a completely linear visual novel—meaning it has no choices or gameplay—that follows aoko, a high schooler mage trying to balance her perfect school president facade with her secret life as a mage, something she has to keep secret at the risk of death. this is one of the lesser known type-moon works but it's well beloved because of the care put into it.

if you've ever heard someone talk about it, it's almost impossible for them to not mention the visuals. mahoyo is one of the most visually impressive visual novels I've ever seen, with its inspired use of artwork and in-game animations. I cannot recommend this VN enough if you like modern fantasy and don't mind linear VNs.

before we dive into aniplex USA's marketing, I want to clarify a few marketing terms for people who don't market visual novels as a job. marketing is not just advertising—it's everything related to how a product communicates with potential users, including its branding, its packaging, its everything. when marketing a game, you have several different avenues: social media, press & influencers, trailers, store pages, and more.

today I want to show you how, based off what I have researched after a long, manic day, aniplex USA has failed mahoyo on all of these accounts.

so let's go back to its western release.

mahoyo has a few official english channels:

website

twitter

facebook

aniplex also has an official english twitter with almost 500k followers where they shared mahoyo very rarely—only 9 tweets about the game ever.

well, surely their other pages are more maintained right—

both accounts stopped posting July 10th/11th, with their last post being about mahoyo going on sale on consoles. let's look at their posts prior to this, though, starting with the twitter.

we can see that the twitter account was made in december of 2022. if we scroll down far enough (it's not hard, given they only have 33 tweets), we can see that their first tweet was on december 6th 2022:

let's go back to our timeline. can you tell me when mahoyo's remaster released digitally?

yes they made both of the english mahoyo social media accounts the day before the game launched

we can very easily add up the entire social media posts for the game thus far:

mahoyo english twitter - 30 tweets and 3 retweets

mahoyo english facebook - 27 posts

aniplex english twitter - 9 tweets

aniplex english facebook - 2 posts

no other english social media accounts were tied to the website, so these are the only ones I looked at. this means in total, there were only 68 social media posts for the console release of mahoyo by the publisher for english audiences.

but what about the steam release? after the game sold over 150k+ units on consoles, surely aniplex was ready to market it a bit more for pc users—

neither account has made a post about the upcoming steam release.

if we look at the twitter, they have 3 tweets since July that do talk about the upcoming steam release- however, these are retweets from the japanese mahoyo account.

we know that this twitter and this facebook account are the official social media for mahoyo as they're linked on the website, so they're definitely meant to be followed for game updates in the west. well, maybe the english aniplex twitter has posted about it—

none of the english aniplex or mahoyo accounts have made a single post about the steam release

that's right, the social media posts I counted above are the only posts for mahoyo on their english accounts, all dating back before the steam release was announced. since then, they have not made a single original post even mentioning the steam release.

meanwhile, the japanese mahoyo twitter has been hustling hard to promote the upcoming steam release—reposting trailers, character bios, and more almost every day with pretty good numbers.

in fact, the japanese mahoyo twitter did such a good job at marketing it that the aniplex USA twitter never mentioned the english mahoyo twiter, instead only @ ing the japanese one in tweets (despite the english one being linked on the website).

why they even bothered making social media accounts and then not running them despite being one of the largest anime distributors in the world I have no clue.

well, maybe they didn't need to rely on social media presence. maybe they were going for the in-person approach and marketing it at conventions.

mahoyo had basically no anime convention presence

the only reference I can find to aniplex notably promoting mahoyo at any western convention is this tweet of them at anime NYC. from someone who was at anime NYC, I've been told that they pushed the game heavily at their booth with TV screens promoting the game.

however, anime NYC is only one anime convention. you cannot hope to sell a game by just attending one anime convention. mahoyo might have had a presence at other american conventions, but I'm unable to find any images or news about this.

maybe they don't understand type-moon

aniplex is the publisher for fate/grand order, one of the most successful mobile games ever created. they're also the distributor for a majority of type-moon related anime, ranging from fate to garden of sinners to side series. aniplex's marketing team should have lots of experience with type-moon properties.

maybe it was promoted in other aniplex titles

I was also unable to find a news post in fate/grand order related to mahoyo's release, despite news posts for other type-moon series (namely fate but also things like melty blood) getting news posts in fate/grand order. I might've missed the news posts when looking back through FGO but I don't believe there was one.

maybe it sold well in other regions but not western ones

(I'm going to be referring only to the console release for these stats, keep in mind)

mahoyo released December 7th/8th 2022 with an english, japanese, simplified chinese, and traditional chinese translations. at the end of the release week, mahoyo's japanese twitter announced the game had sold 110k copies worldwide and famitsu reported that 66,344 of these units were sold in japan. this means we have around 43k units unaccounted for.

we know the game was available in english, japanese, and chinese languages but we don't know what regions. mainland china has a very large visual novel playerbase (I say this as someone who sells visual novels), which means if it were sold there then it's easy to say that a big chunk of that 43k units could be attributed to them—this also means it would be easy to believe that aniplex saw mahoyo selling worse in western countries and took this as a sign to not promote the game any more there.

but was it ever sold in mainland china? from what I could tell—no.

looking at pricing charts for the nintendo eshop and the playstation store, china is not listed on either. furthermore, searching the game's chinese title on the chinese playstation store does not bring back any results. it looks like the only predominantly chinese-speaking regions that were able to buy it are hong kong, taiwan and possibly singapore (the playstation store page for it doesn't look like it's available for purchase anymore).

so what does this tell us?

without any other numbers it's hard to tell how many of the 43k launch week sales came from english-speaking players, but even if we conservatively say that only around 20k of the 110k launch week units were from western countries, that's still almost a million in revenue (and remember, the physical limited edition of the game was available in english for $60, which is $20 more than the digital base version).

maybe the store page is so good they don't need to market it

here's a little secret: store pages matter a lot more than you'd think. there are entire job positions dedicated to tailoring store pages (like a steam game page) to make it perfect for the game's target audience. there's a science to it that includes the artwork, descriptions, tags, screenshots, and more.

let's see what aniplex did for the steam page of mahoyo.

A tale told with vivid colors and rich sound in a classic TYPE-MOON visual novel.

I don't know how to describe this short description charitably other than to say it sounds like a person who's never heard of a visual novel has been tasked with describing a visual novel.

this tells me nothing about the game other than it's a visual novel. I hope you know what type-moon is, because if you don't then you've learned nothing else from this. alright, well, let's look at the screenshots—

there's only 1.

currently as of writing this, there's 10 images uploaded as screenshots (no trailers, they keep adding and removing the trailers for some reason). 9 of these images are just the full artworks from the game while 1 is an actual screenshot.

I really hate this, as you're not actually shown what the game looks like unless you look at the very last screenshot. this will absolutely lead to some people not understanding what they're getting into. what's worse is that some of these CGs are spoilers, especially one in particular featuring my wife touko.

why are we spoiling people instead of showing them screenshots? why not show people what mahoyo actually looks like??

there's also absolutely no use of the announcements section on steam. each game on steam can post announcements related to the game, including upcoming releases, new updates, and more. it's customary to post a steam announcement when a game has a release date announcement. mahoyo's steam page has none.

well they probably released the trailers in english for hype

I wish I had that much hope.

on mahoyo's english website, all of the videos listed are from the official type-moon youtube, which is their japanese channel. type-moon went through the effort to translate these videos. aniplex didn't upload these to their own youtube, where they already upload everything related to the fateverse and nasuverse.

searching up witch on the holy night brings up no results for the trailer—aniplex never uploaded the trailer to their channel.

maybe they got influencers to play it

according to steamdb, the max amount of viewers mahoyo streams have had on twitch was 71 viewers.

furthermore, if we check twitch and look for vods attached to mahoyo, we only find 4 videos total, all of which were posted in the past week. it looks like they didn't even reach out to streamers to play the console release, much less pay them.

over on the press side, it does look like they reached out to at least a few reviewers. for example, on the review by noisy pixel, they clarify that a review copy was provided by the publisher for review purposes. we can add that to the bare minimum of marketing—reaching out to press.

however, they did get for some other influencers to share the game! ...twitter game sale influencers, that is.

there's actually a lot more of these types of tweets for mahoyo than I was expecting when I searched it on twitter. as a friend pointed out, just because it says "#ad" doesn't necessarily mean these were paid for by aniplex—a lot of these links look to be referrals, which means they're getting a cut of any purchases.

let's recap

mahoyo released over 110k copies in the launch week for it's worldwide console release despite very, very limited marketing efforts from its publisher aniplex. now that the game has proven it can sell very well despite being a lesser known linear visual novel, aniplex has done no marketing for the steam release- no tweets, no influencer outreach, no localization of trailers, no announcements via steam, nothing.

so why?

why does aniplex want mahoyo to fail?

even after all of this, I still do not know why. to me, it's clear that the marketing team at aniplex were (most likely) given no budget for this game and just couldn't do anything with it, deciding to spend what little money they had on press outreach and an anime NYC booth.

but why? why didn't aniplex give them a budget, even a small one? why was their budget so tiny they couldn't even afford to tweet? to RT more posts from the japanese twitter? to share the already translated trailers to their own accounts?

I've heard a few excuses like "type-moon hates western fans and probably caused it" but this doesn't make any sense either. why would you authorize a translation of your game and allow your publisher to sell the game overseas but specifically make them not market the game (and what publisher would agree to that)? I've even heard excuses like "they just forgot it was coming out", to which I ask "how does an entire marketing team (a company the size of aniplex absolutely has a team(s) for marketing and not a singular person) forget a release for a game that's already sold over 150k copies?". the only excuse I've seen that I somewhat buy is that they did not have much faith in the game and relied almost entirely on fans doing word of mouth marketing for the game.

I don't think we'll ever get an answer. while I do believe the marketing team at aniplex was most likely given no budget for mahoyo, it still begs the question of why. why did someone at aniplex not want to give mahoyo a marketing budget? why are the japanese accounts for mahoyo and type-moon the only ones doing the marketing?

I hope the information I've provided here is accurate—if it's not, I'll try to update with corrections. I don't want this piece to cast hate towards the staff at aniplex or anyone involved with this projects, I'm just trying to assemble the pieces on what feels like a game being left to word of mouth. I've tried to include as many links to my sources as I could so you could come to your own judgements about what has happened regarding mahoyo's worldwide release.

mahoyo is a visual novel that's dear to me and will absolutely sell well on steam—with an estimated 50-80k wishlists, it's going to have a solid launch despite the zero marketing for its steam release. if you love other type-moon works or want to see an absolutely visually stunning visual novel, please check it out.

— arimia

[alphajocklover]

EB Jewelry

I’ve mentioned before, just once in one of my earlier stories, about a mysterious jewelry store which sells items that change people. The ring that turned a younger man into a soon to be married muscle daddy came from said store. But I never went into details, I never even mentioned anything about the store, not even its name. But today I want to correct that. Today I want to introduce you all to EB Jewelry.

Also known as the Eye of the Beholder jewelry company, it started out as a small local business somewhere in the American Midwest, and began to spread like weeds. It isn’t the largest chain out there, but it is strangely far spread. You can find at least one in every state, and some in other countries. Despite their size and their unconventional and generally confusing business strategy, EB Jewelry has been surprisingly successful, making millions in profit and delighting their investors. But none of that really matters to you does it? You don’t care about how well the company is doing or how they operate. You just care about the transformations.

There are a lot of rumors about how the transformations work. Some people say that the original founder discovered a type of magical gems that are now used in the jewelry. Some people say that the entire company is a front for a group of scientists testing out new transformation technology. I even once heard a theory that the mysterious board of directors are a group of ancient gods enacting their will on the world. Whatever it is, the transformations usually follow a certain pattern. People who need a change are almost subconsciously drawn to EB Jewelry. Eventually they enter a store, and their eyes land on a certain piece of jewelry that they feel is calling to them. They go into a trance, and before they even realize what’s happening they buy it. Then they start to change.

It doesn’t always work like that however. Take their new CEO. The founder of the company and their original CEO died years ago, and the most recent CEO had to leave suddenly due to some… unforeseen circumstances. The company needed a new CEO, stat. And instead of trying to find one this time… they decided to make one. Colin here used to be a 24 year old internet troll who weighed over 250 pounds (most of it fat) and was living in his mothers basement. His Uncle, a high ranking investor in EB Jewelry, made a few calls to the board and ended up buying his pathetic nephew a new watch.

The new Colin was the perfect fit for a CEO. Charming, attractive, young, but also clever, with incredible business acumen and sense of style. He might be younger than a traditional CEO, but he is a better businessman and leader than the last CEO ever was. He’s truly been thriving, and I hear he’s even engaged to marry the company CFO later this year. I can’t wait to see the wedding rings.

[wheelsgoroundincircles]

Cadillac was founded in 1902 by Henry Leland, who named the company after Antoine de la Mothe Cadillac, who happens to be the founder of Detroit. Just 6 short years later Cadillac brought the idea of interchangeable parts to the automotive industry and laid the ground work for modern mass production of automobiles. As a result, Cadillac became the first American car to win the prestigious Dewar Trophy from the Royal Automobile Club of England. After earning such high praise Cadillac adopted the slogan "Standard of the World."

In 1910, Cadillac became the first company to offer a passenger car with a fully enclosed cabin, a major change from the vehicles of the time. Two years after that, in 1912, the company released the Model Thirty, the car with no crank, which was the first production car to feature an electronic self-starter, ignition, and lighting. By dropping the crank starter, Cadillac opened the door to women drivers, and was able to bring the prestigious Dewar trophy back to Detroit, making Cadillac the only car manufacturer to claim the award twice. Nearly three years later, Cadillac brought the world the V-type, water-cooled, eight cylinder (V8) engine, which would become the signature of the Cadillac brand.

The Roaring 20's was not only a big decade for the country but was also important for Cadillac. In 1926, Cadillac branched out and offered customers more than 500 color combinations to choose from. As the famous Henry Ford saying goes, you can have any color you want, as long as it's black. Cadillac changed this mentality. That same year, the company brought in designer Harley Earl to design the 1927 LaSalle convertible coupe, which made the car the first to be designed from a designer's perspective rather than an engineering one. What Earl created was elegant, with flowing lines, chrome-plate fixtures, and an overarching design philosophy, that made the Cadillac brand known for beauty and luxury.

In the middle of the 1930's a midst The Great Depression, while most companies and families were struggling Cadillac created the first V-type 16-cylinder engine for use in a passenger car. This engine would go on to be one of the most iconic engines in Cadillac history. Shortly thereafter, Cadillac released a V12 version to give buyers something between the already popular V8 and new V16 engines.

Cadillac went quiet in the 1941's when they suspended automobile production to help produce planes for the war. After the war ended Cadillac adapted some of the aircraft technology and created the first ever tailfin on a vehicle. This feature is now found on almost every car and was one of the biggest reasons that Cadillac was given the first ever Car of the Year award in 1949.

The tailfin took off rather quickly and by the mid to late 1950's it was being featured heavily in the design of nearly every vehicle. Also in the 50's Cadillac began developing power steering, which helped the automaker take third, tenth, and eleventh places at the 24 Hours of Le Mans. After Cadillac's stunning "victories" power steering quickly became the new standard of the industry.

Small but meaningful innovations filled the 1960's for Cadillac. In 1963, the company made front seatbelts standard in their vehicles, which lead to the eventual passing of a federal law requiring front seatbelts in all vehicles just one year later. Then, in 1964, Cadillac brought to market automatically controlled headlamps and redefines luxury with Comfort Control, the industry's first thermostatically controlled heating, venting, and air-conditioning system. Over the next few years, Cadillac introduced variable-ratio power steering, electric seat warmers, and stereo radio.

While the 1960's were fairly quiet, with only some smaller, luxury items being introduced, Cadillac started out 1970 with a major bang. Cadillac opened the decade by unveiling the 400 horsepower, 8.2-liter engine Eldorado. With its completely redesigned axle this model boasted the highest torque capacity of any passenger car available at the time. Closing out the decade, Cadillac brought to market the 1978 Seville which used onboard microprocessors in its digital display. This started the era of the computerized automobile.

Throughout the 1980's Cadillac laid low, working on some new technologies that would come to market in the early parts of the 1990's. The first feature to debut was an electronic traction control system on front-wheel drive vehicles. Cadillac began offering this as a standard feature on the 1990 Cadillac Allante. This same year Cadillac would go on to win the Malcolm Baldrige National Quality Award. Two years later, in 1992, the company developed a feature that allowed the engine to run for up to 50 miles without coolant, and a unique induction system for near-perfect fuel distribution. The Seville Touring Sedan of that year would become known as the "Cadillac of the Year" thanks to features such as an all electronically controlled Powertrain, traction control, anti-lock brakes and speed-sensitive suspension. Closing out the decade, Cadillac introduced the, now iconic, Escalade SUV.

CELEBRATING 100 YEARS AS 'THE STANDARD OF THE WORLD'

Coming up on the 100th anniversary of the Cadillac brand, the company had to do something big or the decade, and they did not disappoint. Cadillac started off the 200's by introducing the F-22 stealth aircraft inspired Cien Concept, which ended up winning a few design awards. Later in the decade, in 2008, Cadillac expanded the Escalade SUV by making it the world's first full-size luxury hybrid SUV. In the same year, the company redeveloped the CTS Sedan. This redesign has been incredibly popular and even won the coveted 2008 Car of the Year award. A short year later, the performance edition CTS-V, becomes the fasted V8 production sedan in the world, establishing a record lap time of 7:59:32 on Germany's famed Nürburgring.

[bioethicists]

responding to this with my shitty redaction because i'm not comfortable posting obvious bait with people's names in them (particularly dead names) but i just wanted to point out the ways in which this ask is prototypical bait written to purposefully generate drama or controversy (idk if this is in a kiwifarms trolling with right wing motives sense or an 'i love drama' person) by trying to appeal to online leftist culture/the fear of being 'problematic'. i see ppl fall for this constantly + i need people to start learning to recognize the signs instead of either engaging or using this as evidence that leftists are stupid/petty/hypocritical (which many of us are, but in much less amusing ways, unfortunately)

the implication that there is a single founder of the "neurodiversity movement" + that evoking this movement at all (which i don't do + i think it's actually pretty evident that my politics are distinct from the much more bioessentialist politics of those who prefer that term, which is part of what led me to conclude that this is a copypasta) is supporting the founder. tracing a broad social concept to a single individual, then disparaging that individual as morally unsound (by evoking other explosive, petty pieces of discourse, like baeddalism + transandrophobia) in order to provoke doubt, fear or anger. demonstrates a hope that leftists will flinch away from anything associated with anyone 'problematic' without applying any critical thinking.

misrepresenting complex events (or fabricating them entirely- idk if these things happened + i simply couldn't care enough to find out) in a way that hits the pressure points of performative activism (she's being mean to an autistic person! other people of color agree with me! this other person is anti physically disabled people!) while also betraying reactionary opinions through language use/implications (claiming to care about 'transandrophobia' yet deadnaming someone? claiming to care about specific events at specific autism conferences but using terms like "severely autistic"? saying you have spoken to "Blacks, Asians, Hispanics, American Indians" lmao did you type this out based on census checkboxes from the 70s?). the author of this ask is clearly not a member of the activist communities they claim to be from because they accidentally slip into the speech conventions + opinions of a kiwifarms/4chan loser who does a lot of hatereading. this one did a good job of hitting the bingo card of divisive intracommunity issues rn- great research skills, bud! put them to better use <3

reframing reactionary beliefs using leftist concepts. this works because many of us do not have a foundational politic outside of "well, i want to be good, so I'm going to support the things that other people i trust say are good". which doesn't make you bad (there is no good or bad! learn this now + quick, if you really want to play a part in building a better world) but it makes you easy to manipulate + unlikely to be capable of meaningful change. notice that the claims this ask is asserting are, at their core, "people make up microaggressions to cause problems when really they could easily suck it up" + "people fake disabilities and being trans for attention". these are reactionary concerns, no matter how artfully they are dressed in social justice language. kiwifarms in particular was very, very good at this- they loved finding the people they stalked to be racist, homophobic, ableist, etc, not because they thought those things were wrong (it was their hobby to be these things!) but because they delighted in identifying hypocrisy, stirring up drama, + destroying people's reputations.

this is hard to explain bcuz i blacked out the names, but if you have a passing familiarity with fascist/reactionary online spaces, particularly the history of kiwifarms, you will know that reactionaries have their own 'pet leftists', just like we have our 'pet fascists' (shapiro, alex jones, tucker carlson, etc). that is, ppl they obsessively follow, harass, + scrutinize + come to believe are representative of everything that we believe. these ppl are rarely ppl who are actually prominent in our online spaces but online reactionaries often believe we are just as obsessed with these people as they are, but as unquestioned paragons of virtue + brilliance. namedropping these ppl is often an accidental tip of the hat, particularly when the ppl aren't on tumblr, haven't been a topic of community discussion for quite some time, or run in a different circle than us (reactionaries don't understand that there are actually thousands of leftist social groups which have very little overlap with some others- pronouns in bio does not mean someone knows or cares about contrapoints, for instance)

tl;dr this ask is a fantastic example of the rhetorical features bait that someone might actually take seriously.

[lifea16]

Another Picrew Tag game because we can't have too many!

Link

Use this Picrew and talk about your life! (Don't feel pressured to do either tho! <3)

So.. I have a pretty normal life to be frank,

Well as normal of a life a girl with dyslexia and ADHD can have in school, which is bullied, feeling guilt for not being able to do anything sometimes, feeling afraid to tell others about your diagnosis, etc..

I was lucky enough to get a diagnosis, but I do fit most majorities where I'm from, I'm Asian (Indian, but I feel afraid to say that because people may confuse me for being Amarican-Indian/Native American), and Cis, and middle / upper class.

[My mum's a Psychologist and Dad's a founder of a small business that sells diamonds to jewelers]

I'm unsure if I have all the help I need, but I'm mostly good! Still struggle with doing anything related to school/work/whatever at home lol.

I've not told anyone other than my mum about my sexuality, but I don't really need to as I'm young enough to not have others wondering about why I've not tried dating yet, and I usually show attraction to men (Tho questioning if I just had a Lesbian phase of if I'm M-Spec, unsure if i ID as Heteroqueer or Bi), tho there was a rumor in my school that I was lesbian since I was when I was like ~10, and I didn't bother refuting it when I became older

I've recently developed a Hyperfixation on Helluva Boss, since I was forced by my YT recomendation page to learn about Hazbin Hotel, and I wanted to learn about the free spinoff I knew I could watch. Then promptly became obsessed.

Thankfully despite being bullied when I was younger, I still love myself, although when my teachers did say 'They were wrong but you actually need to work on X' because they didn't know I was Neurodivergent, it did affect my self confidence a bit, so now I take medication to help with my ADHD..

I honestly don't remember what past me wanted me to write, so sorry past me if I forgot to type anything you wanted me too

So ya, sorry for yapping, you don't have to lol, just like talking about my life, especially since this one is the first of the chain, sorry if it's a bother

@blitzosicedcoffee @blitzvo @samualjennings @amethystoceandespiser @blitzs-largest-horsiest-dildo @speakofthedebbie @toomuchdivergentformyneuro @imbatman27 and anyone else who wants to join!

(Update: Fixed tags)

[uwmspeccoll]

Typography Tuesday

New acquisition! A type specimen book from New York type foundry George Bruce's Son & Co., 1869. George Bruce (1781–1866) was a Scottish American printer and type founder. He and his older brother started off as type founders and printers in 1812 but jettisoned their printing business in 1816 to concentrate on founding type. His typefaces became widely popular among printers by the 1830s, and his company remained predominant for a generation. His son David Wolfe Bruce (1824–1895) took over the business after his father's death, and ran it until his retirement in 1890. The firm was eventually acquired, like so many other foundries, by American Type Founders.

View more Typography Tuesday posts.

[garadinervi]

From: The Goudy Type Family. A Composite Showing of Goudy Types: A Pamphlet Supplementing the Specimen Book of 1923, Showing Important Additions to the Goudy Family, American Type Founders, 1927 [Letterform Archive, San Francisco, CA]

[truthdogg]

How long can an extreme ultra-capitalist nation survive without becoming an authoritarian dystopia?

I’ve been pondering that today, but it’s occurred to me that it’s worth noting this extremist capitalist society called the United States did start out as an authoritarian dystopia.

I had originally typed “for a massive number of people living within it” to the end of the sentence above, but I’ve erased it because that’s what all dystopias are. They are never horrific dictatorships to everyone. There is always an in-group that lives in relative comfort with relative freedom that simply does not consider the suffering of others to be relevant to their lives.

The US was built by a wealthy merchant class to be that dystopia where those merchants and landowners were the in-group, replacing the king and his appointees. The country shifted toward freedom for all, toward democracy over time, not away from it. The right to vote was first held only by male landowners of the upper class, it was not designed to be egalitarian for all. The notion that it was ever meant to be for all people is a lie we tell ourselves so we can feel special about our country’s founding, but it’s still a lie, and it’s a dangerous one.

Accepting this history, and considering it, changes the question. It becomes:

How long can an extreme ultra-capitalist nation survive without returning to an authoritarian dystopia?

That’s a more tangible premise to consider. It shifts the argument from an inevitable economic condition in the hands of capital, to a political one in the hands of people. Extreme capitalist oligarchy has always been in direct opposition to full democracy, because under democracy, capital’s power can be overruled by the will of the people. When the needs of the people cannot override the interests of wealth, then democracy is no longer functioning; an oligarchy has control. Maintaining that control in the face of increasing hardship for people inevitably requires more power. This premise leads us to look at how oligarchy may strengthen its grip.

We can look right now and see precisely which elected politicians are arguing that the US is not (and should not be) a democracy, but a republic. We can see exactly who is arguing for a return to constitutional principles, while suggesting we suspend the Constitution. We can see exactly who preaches “Law & Order” while ignoring the law. We can see exactly who claims that some votes should count more than others, and that their candidate is “the real winner.” We can also listen and learn exactly who is paying them to do that. We can then gauge their support and the support for their ideas to see how much time we have left before we empower people to undo the past century of incomplete social progress.

An oddity of today is that the US is hurtling in two directions at once. One is toward a more empowered people, with unions rising, differences celebrated and enjoyed, and a support for struggling individuals. The other is accelerating wealth inequality, indifference to suffering, and desperation driving down wages while increasing profits. Both are happening, both are accelerating. That’s not sustainable.

The highly dedicated people pushing hard in both of those directions often see the other side as a destabilizing anti-American force, determined to upend whatever greatness we have. And they’re both right about that, it’s just that one sees America as a fully-formed sacred ideal that’s been lost, and the other sees it as a process for building a more perfect Union. This is the divide that the nation was born with, and the same divide that led to the Civil War.

I’m not shy about which side I’m on. We have to keep pushing for stronger democracy and a happier people.

The other side, the one that sees America as built by prophets, that wants to ban history so their prophets won’t be questioned, that unrealistically imagines themselves to be the in-group the founders intended, will return us to their authoritarian dystopia. That is where all of their arguments originate, and where all of their arguments lead.

That’s why MAGA uses the word “again.” They mean to return us to a time they thought was great, where the in-group was clear and life was miserable for everyone else, because they genuinely believe they’ll be the new in-group. They won’t, they all can’t, but they will take us there quickly as soon as they can.

[hotvintagepoll]

Propaganda

Louise Brooks (Pandora's Box, Diary of a Lost Girl)—Louise Brooks started off as a dancer and went to work in the Follies before going to Hollywood. Disappointed with her roles there, she went to Germany and proceeded to make Pandora's Box, the first film to show a lesbian on-screen (not her but one of her many doomed admirers in the film), and Diary of a Lost Girl, both of which are considered two of the greatest films of the 20th century. She helped popularize the bob and natural acting, acting far more subtly than her contemporaries who treated the camera as a stage audience. After the collapse of her film career and a remarkably rough patch as a high-end sex worker, she was rediscovered and did film criticism, notably "Lulu in Hollywood," which Rodger Ebert called "indispensable." Also, christ. Look at her.

Ruth Weyher (Secrets of a Soul, Warning Shadows)—my vintage crush

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Louise Brooks propaganda:

"Defined the style of the modern flapper. A gaze that could make a stone fall in love."

"Louise Brooks left a legend far greater than her real achievement as an actress, but even today few people have seen her films. In our own time, the fascination with Brooks seems to have begun in 1979 with a profile by Kenneth Tynan in the New Yorker, which revealed that the actress who made her last movie in 1938 was alive and living in Rochester, N.Y. Such was the power of Tynan's prose that people began to seek out her existing films, primarily this one, to discover what the fuss was about. What we see here is a healthy young woman -- she was 23 when the film was released -- with whom the camera, under G.W. Pabst's influence, is fascinated. There is a deep paradox in Brooks and her career: the American girl who found success in the troubled Europe between two wars; the vivid personality who briefly dazzled two continents but faded into obscurity; the liberated woman who had affairs with such prominent men as CBS founder William S. Paley as well as with women including (by her account) Greta Garbo but wound up a solitary recluse. And all of this seems perfectly in keeping with her most celebrated role in Pandora's Box. For despite her bright vitality, her flashing dark eyes and brilliant smile, Brooks's Lulu becomes the ultimate femme fatale, careering her way toward destruction, not only of her lovers but eventually of herself."

"She invented having bangs to indicate that you have borderline personality disorder"

"chances are if youve ever seen a "flapper girl" character or even just art of a generic flapper type made after the 20s it was based on her appearance - particularly the bob hairstyle! she had some pretty rough experiences through her life before during and after her tumultuous acting career which ended in 1938 but she made it to the 80s, wrote an autobiography and did a lot of interviews that she was never afraid of being honest in about her own life or peers of the age, and apparently was unabashed about some affairs she had with well known women (including greta garbo!!)"

"She read Proust and Schopenhauer on set between sets. She was one of the original flappers/new women of the 1920s. She had a one night stand with Garbo and was the inspiration for Sally Bowles in Cabaret. Truly a stone cold fox."

"on her wikipedia page it says her biographer said she "loved women as a homosexual man, rather than as a lesbian, would love them" and while i have no idea if this is true or not i thought that was very gender of her"

"despite being american she was big in german expressionist films and thus her aesthetic was unmatched!!"

So far ahead of her time in regard to portraying complicated women. Timeless elegance. "I learned to act by watching Martha Graham dance, and I learned to dance by watching Charlie Chaplin act.” - Louise Brooks

Ruth Weyher propaganda:

[frogchiro]

Hello um, I was the anon who told you that I thought Makarov and Graves were the same person when I was still new

Well I don't have the game nor I have the gadgets to play it to know the lore and I have some questions...

• What's the difference between Makarov and Graves? And who really is the one who killed Soap? (Deeply sorry if anyone seeing this got spoiled)

• Who's Valeria? I've been seeing edits of her and I know she has something to do with bombs in the lore but that's all I know (unfortunately)

• Are KorTac and TF141 enemies or they completely do not know each other at all

• What's the general idea or the summary of the lore of Modern Warfare 2?

It's fine if you can't answer all or some of it, I'm not really trying to dig into the lore but I need some clearance up because sometimes when I read fanfictions about COD, I read stuff that's part of the lore and I have 0 context about it, also I want to show genuine interest in COD because I don't want people to think that I'm just here for the hot characters (I am) Because I don't wanna be *that* type of girl that the COD fandom hates *cough* annoying girl who says she's a fan of COD but has 0 knowledge about the lore *cough*

Again ot's fine if you can't answer some or all of it, just really curious here

-✰anon (can I claim it? :3)

Please don't worry about it and I will happily amswer these tothe best of my knowledge♡

WARNING: MAJOR spoliers under the cut, if someone doesn't want to get spoiled then do not proceed!

I really hope I explained it as well as I can♡

1. Makarov is the main antagonist of Call Of Duty Modern Warfare both the original version and the now reboot although in MW1 he didn't appear at all and wasn't even mentioned, and in MW2 he was a background antagonist. He's the leader of the the Ultranationalist Konni PMC group who want to 'restore glory to Russia' and basically control the world. It was Makarov who killed Soap in both the og series and in the reboot although in the original it was indirectly by an explosion he caused and in the reboot he shot him in the head.

Philip Graves served as an secondary antagonist in MW2. He's the commander and founder of the PMC group Shadow Company and he was working closely with General Shepherd and then 141 during the events of capturing Hassan in Al-Mazrah. He betrayed the 141 on orders from Shepherd and then supposedly died, killed by Soap and Rodolfo Parra from the Mexican Special Forces in the epilogue of MW2 but then in one of the Season Episodes(?) it turned out he didn't die and is still working with Shepherd now to capture Makarov.

He didn't have a role as big in MW3 as he had in MW2 but he returned to work alongside 141 again before he was put on trial together with Shepherd but, as it turned out, he betrayed the general to save his own ass and denied everything he did in MW2.

2) Valeria Garza also known as 'El Sin Hombre' "The Nameless" is a drug lord/cartel lord who was an antagonist in MW2 when 141 worked with the Mexican Special Forces while in Mexico where they hunted for Hassan. She was the one who ruled in Las Almas with an iron fist and helped Hassan to escape from the military/transport the missiles. She was captured and put in prison but in Season 2 (I think) it showed her escaping the prison and for now her whereabouts aren't known.

3) KorTac and 141 as far as in game campaign canon goes they never met or worked together. I don't really know if this is really canon or fanon but as far as we know they're opposite fractions and are enemies.

4) MW2 has quite many storylines, the general main one is that Task Force 141 chase and have to capture Major Hassan Zyani, an Al-Quatala member who wanted revenge for General Ghorbrani, another terrorist who was killed in the prologue. During an attack on a base where Hassan supposedly was, Ghost and Soap discovered american ballistic missiles that had absolutely no business being there.

From there on it was a chase after Hassan and the missiles and how did Al-Quatala get them. It turned out that it was General Shepherd who ordered the missiles moved in an 'under the radar' operation with the help of Shadow Company because he wanted to send them to the Middle East (supposedly to aid Farah Karim) but the convoy who was responsible for moving the missiles was attacked and killed by Konni soldiers who then took them over and ultimately sold to Al-Quatala. Shepherd and Graves covered the incident and because the 141 + Laswell and Mexican Special Forces were close to finding them out, Shepherd ordered Graves to kill them.

Graves was declared K.I.A after Soap and Rudy exploded the tank he was supposedly in and Valeria later admitted that the last missile out of three was heading with Hassan for Chicago where then they moved and ultimately killed Hassan. In an ending scene it was revealed that now 141 are chasing after Vladimir Makarov therefore kickstarting the events of MW3.

[antisemitism-eu]

Hey there. I followed you some years ago as i found your posts helpful while i was writing about antisemitism in the media and academic spaces.

That is no longer the case. As a Jew, i am asking you to look more critically at what Israel is doing to the Palestinian people. To civilians. It is not antisemitic to say that Israel is wrong; that the military is committing genocide; any criticism.

It's painful to watch Jews defend the actions of Israel because of a feeling of obligation. I imagine that's what is driving you? It seems to be what drives my father's hatred of Palestinians and his belief that Israelis can do no wrong.

I am named after one of the founders of Israel. A terrorist by definition and action. He bombed facilities and killed civilians to make Israel what it is today; that was evil then and it is evil now.

I turned my back on my faith a long time ago; and it hurts to feel i need to turn my back on my culture as well, but it is becoming a culture of hatred and victimhood. We are a people like any other, we are not infallible, we are only chosen in that we received the torah; nothing more.

I'm sorry to hear that you care about antisemitism only when it fits your preconceived notions

I have always written about all types of antisemitism.  If you care about antisemitism only when it's from the opposite side of the  political aisle, then you don't really care about antisemitism.

You can be critical of Israeli policies and actions.  Almost all Israelis are.

But when you accuse Israel of genocide that is antisemitic.  It's not simply “criticism” but rather believing the claims of the antisemites who murdered and raped Jews.

In the US White supremacists claim that Jews are committing genocide.

Do you:

Demand that American Jews stop the genocide 

Call this antisemitic drivel for what it is

I suppose you'll go for B.

And yet, you believe Hamas.  Every word they say.

If White Supremacists in the US would declare war on Jews, invade a Jewish neighborhood and for hours murder, rape and torture.  Then pull back with hundreds of enslaved Jews in tow.

What would you demand from the US forces?  

Would you really protest against genocide?

Do you remember the genocide of Waco?  How could you stand by and watch it again?  28 children were murdered.

And here we're talking about hundreds of murderers, living in a white supremacist community of thousands of supporters.  Hospitals, churches, schools!

Do you know how many innocent lives will be lost if the US moves against them?  How many women and children will die?

Can you imagine the protests across US campuses if that happens?

I suppose that you would demand that the White Supremacists should continue living their lives as usual, though they threaten to do it again ( and probably will)

Surveys show that 40% of young Americans support Hamas.

Not Palestinians.  Not peace.  

They support the murder, rape and torture of Jews.

That's not “criticism of Israel”.  That's antisemitism.

If you wonder what's driving me, its numbers like these, and the fear that in a decade or two this would be the face of America 

You believe anything Hamas says unreservedly.

You blame Israelis when Gazan rockets hit Palestinians instead of Israelis, because you believe Hamas.  And you don't care when the rockets hit Israelis, because your criticism is aimed only at Israel.

You don't care when Hamas turns hospitals, mosques, schools, and refugee centers into military bases.   You don't even care when Hamas uses hospitals to torture Gazans (see Amnesty report on the topic)

You don't care when they use those places to fire rockets at Israelis

If Hamas says Israel killed innocent doctors or journalists - you trust them. You don't care about pictures of those same innocent Gazans armed in military uniform. 

You don't care when Hamas murders Gazans who try to leave when the Israeli army warns them to do so.

You don't care when Hamas take over human aid and kill Gazans who want food.

You didn't even care a few days ago when they attacked Gazan children who used an Israeli border crossing to leave Gaza and get medical help.

You might think that it's pro-Palestinian, but it's really antisemitism.  

I don't hate Palestinians.  I'm sad for them.  

Because of people like you that encouraged them to develop a toxic antisemitic society - at least two generations have been brainwashed with the aim of committing genocide and ethnic cleansing of Jews.

I am very pessimistic about this changing, because people like you prefer to blame Israel and give the Palestinians hope for Israel's future destruction, instead of encouraging real peace.

Palestinian society today:

Overwhelmingly supports the October 7th massacre and think it's the greatest day of Palestinian history

Overwhelmingly supports Hamas (In case you wondered why the Palestinian Authority hasn't held elections for the past 18 years)

Overwhelmingly supports the destruction of Israel and its Jews (In case you wondered why no Palestinian leader in his right mind would ever accept a peace agreement with Israel that would end hostilities)

Names almost every mosque, school, hospital and square after heroic Jew murderers 

Celebrates and honors the murder of Jews

Teaches children to murder Jews

Gives sermons every Friday about murdering Jews

Broadcasts shows encouraging people to murder Jews

Pays people to attack and murder jews 

This is toxic antisemitism.

You worry that Israel is commiting genocide, but you don't care about the plans to carry out another October 7th.

In the areas of Jenin and Tulkarm especially.  In the past few months - Palestinians shot at Israeli villages, Palestinians set off explosives next to Israeli villages, Palestinians flew a drone into Israel, Palestinians invaded Israel.  And Israeli residents along the border say they can hear digging of tunnels at night.

It's really just a matter of time.

People like you think that if you force Israel to stop attacking Hamas, and if you give Palestinians a state of their own - that in itself would ensure that the toxically antisemitic Palestinian society would magically become a peaceful neighbor of Israel

That is not “criticism”.  That is way past being naive.   

You are risking the lives of millions of Jews.

What would you say when the inevitable happens?  “Sorry”?  

Or that Jews should have  gone to Poland? (I really wish I was making this up.  Since you only care about the right kind of antisemitism, you might not realize or care how many people believe that)

Israel was quite happy to delude itself until now, but got its wake-up call on October 7th.

I hope you will at some point.  Maybe you will, most probably you won't.

In any case, Israel will not wait for you.  My life and that of the millions of other Jews (and non-Jews) in Israel is too important.

And if/when American Jews are attacked, you can be sure your brothers in Israel will defend you.  No matter what the antisemites say, or what “criticism of Israel” they come up with.

(That's actually already the case.)