#broadwings universe

[transingthoseformers]

[cavarano]

Fun LoL & LoR skin line idea

Imagine a skinline of "runeislands", an alternative universe of runeterra where characters we know changed just a bit, like: Quinn, the mageseeker. Her bird becomes a durands beast, like the petricite broadwing from LoR, that when shes close to the mages comes to life to search the source of magic.

Ryze the rune stealer, and Brand the rune protector, where their roles switch! Caitlyn the unjusticed. Lone sniper from Zaun that hunts the rich and protects her people. Any of Ascended as a baccai! Voidborn Kaisa! Noxian gladiator Riven!

[aarolli]

Amazon anaconda

#Amazon anaconda software

#Amazon anaconda plus

With more than 20 years in the technology industry, Stephen now serves as the SVP of Product at Anaconda. Michael received a PhD and MS in Electrical Engineering from Stanford University, and a BS in Electrical and Computer Engineering from The University of Texas at Austin. Prior to joining Anaconda, Michael served as a consulting assistant professor in the Information Systems Laboratory, a research associate in the Department of Energy Resources Engineering at Stanford University, and a staff scientist in the Department of Applied and Computational Mathematics at the California Institute of Technology. As a recognized subject matter expert in convex optimization, Michael’s open source modeling tools for optimization have twice been recognized with awards from the International Society for Mathematical Programming. He assists clients in the development of advanced Python data science applications using Anaconda Distribution. Michael is a computational mathematician specializing in optimization, signal processing, and simulation, and a contributor in classroom, research, and commercial settings. He resides in Sherborn, Massachusetts and Santa Fe, New Mexico. He is married (37+ years) and has two grown sons and a daughter-in-law, all of whom he adores. Barry is a graduate of Tufts University (BA, Magna Cum Laude) and Columbia University (MBA, Beta Gamma Sigma). Finally, he co-created the first AI program for leaders in EdX.īarry began his career with McKinsey & Company, was a partner and co-leader of Global Research and Innovation at Arthur Andersen, and co-led John Hancock’s $2B Real Estate Equity arm. He has also appeared on CNN, CNBC, Fox News Network, NPR, and Facebook Live. In addition, Barry has delivered more than 500+ keynote speeches to 50,000+ people globally on digital business models. Past and present clients of Barry’s include CEO’s at Neiman Marcus, Barrick Gold, iRobot,, Deloitte, GE Healthcare, Sun Life, ESPN and ATT.īarry has co-authored 1,500 articles for the WSJ, NYT, HBR, MIT, and Forbes six books, including his most recent, The Network Imperative, published by HBR, and 20+ e-books. He also served as a senior fellow and Board Member of the SEI Center at The Wharton School responsible for platform and network business model research.

#Amazon anaconda plus

He is the founder and CEO of AIMatters, Inc., an AI start up a strategic advisor and board partner at BuildGroup, a growth equity firm that invests in SaaS plus marketplace companies, and an advisor to chairmen and CEOs on their AI powered platform business model transformations. She is a CPA and has a Bachelors in Finance and an MBA from The University of Texas at Austin.īarry is a digital board member, CEO advisor and AI leader. As VP of Finance at Broadwing, Angela led the raising of more than $200 million and managed the company's M&A activities and investor relations functions.Īngela also previously managed financial services and corporate banking as an executive with The Bank of Tokyo Mitsubishi and Deutsche Bank. Previously, as CFO of Trillion Partners, she spearheaded the effort to raise $60 million in debt and private equity for the business.

#Amazon anaconda software

In her tenure as the CFO for AirStrip Technologies, a med-tech software company backed by Sequoia Capital, she supported the successful scale of the business and raised more than $100 million in equity and debt financing. Angela is no stranger to crafting financial management plans for technology leaders. With more than 25 years years of executive-level financial development experience for a wide range of businesses, Angela Pierce now provides financial stewardship and executive leadership at Anaconda.

[chiseler]

Hello, Molly

Molly Picon stopped growing when she was a kid and topped out at around four foot eight -- four-eleven standing on her tiptoes, she liked to say. The biggest thing about her was her impish Betty Boop eyes. But she packed a lot of energy and spirit into that miniature package. She could and would do anything to amuse an audience -- sing, dance, do a somersault, climb a rope, crack jokes, wear blackface or boy's knickers. She played gamins, waifs, soubrettes well into her matronly years. The one thing she wouldn't and maybe couldn't do was to hide or even just tone down her essential Jewishness to appeal to the goys in the mainstream audience. It sets her apart from many other Jewish entertainers of her day. Whether she was performing in Yiddish or English, on Second Avenue or in Hollywood, there was never any question that Molly Picon was Jewish. Very Jewish.

She was born Malka Pyekoon on the Lower East Side in 1898, in a fourth-floor back bedroom of a tenement on Broome Street near Bowery. Her mother was a seamstress who'd escaped the pogroms near Kiev as one of a dozen children. Her father was an educated man from Warsaw who was never happy doing an immigrant's menial labor in America, so he did as little as he could. He also turned out to have a previous wife back in Poland he'd never legally divorced. He drifted in and mostly out of Molly and her sister Helen's lives. Decades later, when Molly became well-off and world famous, he'd drift back into hers, to borrow money.

Their mother and grandmother picked up and moved the girls to Philadelphia, where Mom became a seamstress at a Yiddish theater and took in boarders. Later she'd run a small grocery store. The story of how Molly got her start in show business -- like many of the tales in her charming and irrepressibly schmaltzy memoir Molly! -- is too good not to be true. When Molly was five her mother, who made all her daughters' clothes out of odds and ends, stitched her up a fine outfit and took her on a trolley headed for amateur night at a burlesque theater, the Bijou. On the trolley a drunk challenged the little girl to show him her act. She sang and danced in the aisle. Charmed, he passed the hat and collected two dollars. At the Bijou the audience tossed pennies on the stage while she performed. She also won the first prize, a five dollar gold piece. Her grandmother was astonished at the ten dollars she'd earned -- roughly a week's wages for an adult worker. When her mother said she was going to start taking her around to all the amateur contests, her grandmother said forget the theaters, there weren't enough in Philadelphia -- just keep taking her on the trolley.

Boris Thomashefsky's brother Mike ran Philadelphia's Columbia Theatre. He soon put Molly and Helen in a Yiddish production of Uncle Tom's Cabin, Helen as Little Eva, Molly in blackface as Topsy. Molly, billed as Baby Margaret, continued to act through her childhood. She dropped out of high school in 1915 to tour small-time vaudeville in a female quartet, the Four Seasons. In Boston in 1918 she visited a Yiddish theater group who performed one night a week at the Grand Opera House, a large but no longer grand theater in the South End that staged wrestling and boxing the rest of the week. One of the young actors she met there was Muni Weisenfreund; ten years later he'd go to Hollywood and become Paul Muni.

Jacob Kalich, who ran the theater company, came (like Weisenfreund) from Galicia, a province on the Austro-Hungarian empire. He'd studied to be a rabbi but then fell in with traveling Yiddish theater troupes. He'd slipped into America without a passport and speaking no English in 1914. Kalich hired Molly away from the Seasons, they fell in love and were married the next year in the back room of her mother's grocery store. According to Molly's memoir, her mother stitched her wedding gown from a stage curtain.

Yonkel, as Molly called Kalich, wrote parts and whole plays specifically for his new wife. One was Yonkele, an operetta in which she wore boy's clothes and sang, danced and did her somersaults as a kind of Yiddish Dennis the Menace. Kalich was unsuccessful in trying to get one of the Yiddish theaters on Second Avenue interested. On the Lower East Side as in American theater generally, leading ladies tended to be stately Lillian Russell grandes dames, not petite gamins in knickers.

After a child was stillborn in 1920 Kalich distracted Molly with a new project. They sailed for Europe. His plan was to make her a star (and improve her Yiddish) in the theaters there, then return in triumph. They started in Paris, where Yonkele was a hit, then toured it around Europe for two years. In her memoir she says they did three thousand performances, almost surely an exaggeration, but they did keep busy, and her star kept growing. She made her first Yiddish-themed silent films in Vienna starting in 1921, playing a sassy soubrette or a boy. When they were in Bucharest hundreds of university students shouting anti-Semitic slurs rioted in and outside of a theater where she was performing. They may have been put up to it by the Romanian National Theatre, which was losing business to Picon. It was time to come home.

Jews around Europe had been writing their American relations about the wonderful new star. Kalich's plan had worked. By 1922 the Second Avenue Theatre near Second Street was happy to host Yonkele and anything else Kalich put together, as long as it had Picon in it -- Gypsy Girl, The Circus Girl, Schmendrick, Oy is dus a Madel (Oh, What a Girl!). Picon played to houses packed not just with Yiddish-speaking Lower East Siders but with celebrities like Greta Garbo, Mayor Jimmy Walker, Albert Einstein and D. W. Griffith. Griffith was on the downside of a long career by then and tried, without success, to raise money for a film starring Picon. Flo Ziegfeld and his wife Billie Burke (the good witch in Wizard of Oz) came over from Broadway to see Molly perform. Afterward, Yonkel and Molly took them to a Jewish restaurant, where the waiter covered the table with plates of pickles, sauerkraut, fried steak, radishes slathered in schmaltz. The very goy Burke asked the waiter if she might have some vegetables. What, he snorted, pickles and sauerkraut aren't vegetables?

Picon was such a star that Kalich got the idea of renaming the theater the Molly Picon Theatre. When their packed performance schedule there permitted, they toured Yiddish theaters around the country. Later, Jews who had fled Eastern Europe for South America organized a tour for her there. She would also tour South Africa.

She returned to vaudeville in a big way, headlining at the Palace in Times Square with Sophie Tucker. Picon sang half her songs in English, Tucker sang half of hers in Yiddish, and they triumphed. When Picon played the Palace in Chicago, Al Capone (who had started out on the Lower East Side himself) bought out the first three rows. After the show he took Picon and Kalich out to dinner. At his request she sang "The Rabbi's Melody" (a big hit on Second Avenue) and, she claims, he "cried like a baby." For the rest of her career she introduced it as "the song that made Al Capone cry."

The crash of 1929 ruined Picon and Kalich along with everybody else. They scrambled to get back on their feet. They took over the grand Yiddish Art Theatre on Second Avenue and renamed it Molly Picon's Folks Theatre. In 1936 she and Yonkel sailed back to Europe to film a Yiddish musical in Poland, Yidl mitn Fidl (Yidl with a Fiddle). She plays a penniless girl who disguises herself as a boy to join a band of traveling musicians. Location shooting took place in Kazimierz, the once grand, now bedraggled Jewish zone in Krakow. They recruited the whole neighborhood as extras for a big wedding scene that took days to shoot. Few if any of the locals, deeply Orthodox and very poor, had ever seen a movie. They marveled at the food that kept appearing as scenes of the wedding feast were shot and reshot.

Yidl was a hit with Yiddish audiences worldwide. It inspired one of Hollywood's great eccentrics, director Edgar G. Ulmer, to shoot a couple of his own Yiddish films in America. Ulmer, another Jewish immigrant from the Austro-Hungarian empire, had started his career in Hollywood directing the 1934 Karloff-Lugosi vehicle The Black Cat for Carl Laemmle's Universal Pictures. On the set he met and stole the wife of one of Laemmle's nephews, for which the mogul reputedly banished him from Hollywood. Ulmer drifted to New York. When he saw Yidl drawing big crowds on Second Avenue he started a small Yiddish production company, Collective Film Producers, and filmed Grine Felder (Green Fields), recreating the shtetl in a field in New Jersey on a shoestring budget. Ulmer spoke no Yiddish himself, so he hired the Second Avenue star Jacob Ben-Ami as co-director and go-between with the cast of Second Avenue actors. The movie went on to be one of the most praised in the history of Yiddish film. (Ulmer later went back to Hollywood and a now-celebrated career as a Poverty Row maker of lowest-budget B's, ranging from brilliantly idiosyncratic noir like Detour to zero-budget sci-fi like Beyond the Time Barrier.)

As the 1930s drew to a close, Picon and Kalich saw that they were playing to the same dwindling and aging audiences over and over. Yiddish was dying out among the American-born children of immigrants, taking Yiddish theater with it. Although they would continue to work on Second Avenue through the 1950s, Picon still playing Yonkele in her fifties, it was clear they needed to work harder to crack the mainstream.

In 1940 she took her first serious roll on Broadway in Morningstar, a short-lived and soon-forgotten drama notable mostly for her spot in it and that of a thirteen-year-old actor named Sidney Lumet. In 1942 she returned to Broadway with a big gamble, her and Yonkel's musical Oy Is Dus a Leben! (Oh Is This a Life!), the first Yiddish play on Broadway. It was a vanity piece about Molly's life and their marriage, and they played themselves on stage. The Al Jolson Theatre -- where Jolson had taken thirty-seven curtain calls on the opening night of the revue Bombo in 1921 -- was renamed the Molly Picon Theatre for the occasion. The Times' Brooks Atkinson (who later got a theater named for him, too) caught the opening night, when the house was packed solid with fans and Molly pulled out all the stops. They adored her; Atkinson, who was as goyish as Molly was Jewish, thought she overplayed and mugged for them too much, coming off "gauche and coy." Atkinson was the most powerful theater critic in New York at the time, and his reviews made or broke plays. But his tepid response to Oy Is Dus a Leben! couldn't overpower Picon's appeal with Jewish audiences. The show ran for a respectable seventeen weeks, and she claims it only ended when the producers, feeling that they'd shown it to every Jew in New York by then, decided to quit while they were ahead.

During World War Two Picon did many USO concerts, played every military base she could get to, joined in many all-star benefits for refugees. She stands out in a very brief and uncredited scene in The Naked City, the 1948 cop movie inspired by Weegee's book. She runs a soda fountain at the corner of Norfolk and Rivington Streets. "Got any cold root beer?" a detective asks her. "Like ice!" she replies, then goes into a bit of endearing Yiddishe mamele schtick. After that, while she remained very busy on stage and did some tv, there was nothing much from Hollywood until 1963, when she played Frank Sinatra's mom in the screen version of Neil Simon's Come Blow Your Horn. When Frank had signed on they changed Simon's Jewish family to Italian to accommodate him. Then they hired Picon and changed it back to Jewish. This turned into a problem for Lee J. Cobb, who played the father despite being just four years older than Frank; they gave Cobb old man make-up to age him and put a wig on Frank to make him look younger. Cobb was Jewish, born Leo Jacob in the Bronx, but he hadn't played Jewish in years. He had to relearn it. It's not a good movie but it was a box office success and Picon earned an Oscar nomination for her performance.

In 1961 she was in another hit on Broadway, Milk and Honey, a Jerry Herman (Hello, Dolly!) musical comedy about a busload of Jewish widows from America trying to find new husbands in Israel. She was in her early sixties, but still managed to work a somersault into the part. When she left the show to go film Come Blow Your Horn, Hermione Gingold replaced her.

Then Fiddler on the Roof opened on Broadway in 1964. It was a record-setting hit that ran until July 1972. Picon was not in it. The role of Yente the matchmaker went to Bea Arthur. But when Norman Jewison -- not himself Jewish, despite the name -- put together the cast for the 1971 film adaptation, he studied Yidl mitn Fidl for background and hired Picon for Yente. Inarguably the schmaltziest Hollywood film ever made about Jews, it was the perfect setting for her and remains the role she's most known for today.

After Yonkel died in 1975 she gradually withdrew from the public eye, puttering around in their home up the Hudson, which they'd named Chez Schmendrick. She wrote her memoir, did a little more tv (Grandma Mona on The Facts of Life) and a couple more movies (Mrs. Goldfarb in The Cannonball Run and Cannonball Run II), and in 1979 toured a one-woman show, Hello, Molly! But her own health was deteriorating. She lived her last decade quietly and was ninety-three when she died in 1992.

by John Strausbaugh

[banditsneverdie]

#BND003 Knotted Orbits - Brenna Sahatjian https://banditsneverdie.bandcamp.com/album/knotted-orbits @bsahatjian @banditsneverdie Brenna Sahatjian is a Portland, OR based songwriter and a member of Portland bands Strangeweather and Aradia. Former member of Riot-folk Collective Songs written in from 2015-2017. Knotted Orbits-Inspired by irregular moons and their strange orbit patterns, unseen unless traced, revealing the knots. Our movements through the world gravitate around what's important to us, what illuminates our consciousness like the sun, the Jupiter-like giants we have gotten used to revolving around, or perhaps we just got scooped up by forces larger than ourselves on our way through the universe. Our paths cross with others, their gravity affects and can change our course, depending how close we get. At any one time, we are in relation to so many other bodies, and there are periods of retrograde (confusion, misunderstanding, conflict), and of resolution (understanding, clarity, love). So may thanks to: Merlin Mackenzie, Chase Czolgosz, Resundra, Sina Yz, TJ Minich, Strangeweather, Aradia, Kris Peterson for the last minute album-saving software and enduring support, "wind beneath my Broadwings" Shannon Murray and Adhamh Roland, Sahatjian and Anderson families, Louise Erdrich and Peter Fraser for inspirational writings, Nicole Sara Simpkins for the amazing artwork, all my friends (yes, you!), and everyone who comes out to shows and supports DIY music. XOXO Brenna Sahatjian: acoustic guitar, cello, singing, looping TJ Minich: Bass Guitar, percussion Recorded, mixed and mastered by Sina Youssefzadeh at Blackfire Audio except for The Thistle, recorded by Brenna, mixed and mastered by Sina Youssefzadeh. Artwork by Nicole Simpkins of Scylla and Circe Press All songs written by Brenna Sahatjian license all rights reserved https://brennasahatjianmusic.com/ #brennasahatjian #banditsightings #banditsneverdie #banditsNdie #diybandits #diy #punkdistro #ashevillepunk #portlandpunk #portland #asheville #northcarolina #folkpunk #riotfolk #anarchopunk #crustpunk #banditsneverdieagainsttrump #idratherbelisteningtofolkpunk (at Asheville, North Carolina) https://www.instagram.com/p/B9SKfK7pyff/?igshid=1ktovb4alspkn

[thebrainscoop]

Thanks to everyone who came out on Saturday- whether you were in Chicago, or around the world. Here is the talk I gave in front of this incredibly generous crowd of 40,000+ people: 

-----------

Thank you. I’m Emily Graslie, Chief Curiosity Correspondent for The Field Museum, and host and creator of the educational YouTube science channel, The Brain Scoop. And today, I’m also proud to be your commencement speaker. 

more below the break -- photo c/o John Weinstein, The Field Museum

So to the March for Science graduating class of 2017, congratulations on your tremendous achievements. Wow. Give yourself a round of applause! Unfortunately, none of you will be receiving a physical diploma today because we had to spend $10k on all of those porta-potties. Yeah, pooping is expensive, but let’s all be grateful to the scientific progress that let us understand bacteria and parasites, and that allowed us to improve our infrastructure for excrement. After all, modern sanitation is one of the greatest medical advancements of the last century!… I could have probably started this with a better example. It’s just that my boss and like seven hundred people from The Field Museum are here, also my Mom — hi, Mom — and I’m sort of nervous.

I’ll be brief- it’s cold, and all that’s between you and a brisk walk down Columbus is my babbling, so thanks for your patience, but I’ve waited a long time to give this talk. About.. Seven years.

I never had the grades to be valedictorian of my high school, and I skipped my college graduation to go camping instead. So when the March for Science Chicago organizers asked if I’d want to be the keynote, I thought — here’s my chance to give an inspirational commencement speech, one I never knew before now I wanted to do. After all, in a way this is a graduation ceremony, the preface of a new book. In spite of what I read in the news and online every day — that the world is doomed and our planet is turning into a dumpster fire — I can’t help but be hopeful for the future if we put in the work, energy, and time needed to face the challenges ahead. I long to celebrate the incredible unlikeliness of our very existence, and to marvel at the truly extraordinary circumstances which came together over millions and billions of years, culminating in this very moment now. I mean, it’s difficult not to be hopeful when I think about how our common ancestors survived five mass extinction events on this planet already. Many of you already know that or at least can appreciate the awesomeness of that statement, which perhaps is why you are here. But I’m here because I hope you feel hopeful, too.

The March for Science is an opportunity to reflect on those who have come before us, on the developments we humans have achieved not only in the last few years, but hundreds, and thousands. But this is not merely a party to celebrate and pat ourselves on the back for our characteristics as truth-seekers and fact checkers. This March is a chance to also acknowledge our pitfalls, our historic and persistent challenges, and our shortcomings as scientists and as supporters of scientific endeavours and progress — because we are graduating onto the next phase, the next chapter of our story. This is but a new beginning. Part of what I want you to do after today is take the ideas and messages from this event and share them with the people you know who did not want to be here today. That’s, like, the first step.

Undoubtedly there are a great number of you in the audience wondering, who is this wackadoo, and why didn’t you get a real scientist up there to say something more, I don’t know, academic sounding? To which I’d say — if this talk isn’t your speed, then I look forward to reading your rebuttal. Part of the reason I was asked to talk today is because I showed up. Consistently. And I’m going to tell you a story about the importance of showing up.

My life so far can be divided up into two eras: Before Science, and After Science. I studied art as an undergraduate at the University of Montana because — and I just painfully reread a diary I wrote when I was 17 in order to corroborate this fact, so you’re welcome — because I thought it was the only thing I was good at. Grades and standardized test scores told me I was not exceptional at much else.

In art school everything is about you, your work, your individual mission statement, and I found it to feel pretty isolating at times. But then a friend took me to visit the zoological research museum on campus where she worked in the preparation lab, and I got the chance to prepare a specimen myself — a mouse that had been collected for a research project studying the distribution of rodents in Montana. I’ll save you the gooey details, but the final part of the preparation process involves writing your name on the specimen label as the preparator — mostly for accountability reasons — but that moment was one of the gratifying in my life. It was like signing a piece of art, but more than that, I had made a contribution, even if it was tiny and seemingly inconsequential, to something much larger than myself. I had helped to create a small time capsule of data which would outlive me in that museum collection, along with tens of thousands of others. I made a very tiny dent in an increasing body of knowledge. It felt electrifying.

Since I had extra course credits and some free time that following semester, I continued to show up in that museum and figure out how else I could participate to this thing that was bigger than me — and I felt a sense of ownership of the specimens in the collection I was volunteering to help manage. The more I learned about those specimens the more I felt obligated to speak for them, especially when I saw few others saying anything. I pointed a finger at the University’s administration for not allocating appropriate funds or support for specimens that were spoiling in a basement room across campus — and I pointed that finger again when that collection sustained further damage. I was picking up dehydrated fish specimens from a shattered jar with a label that told me those organisms were collected in Montana in the late 1800s, and in that moment I realized that I was holding the fragile and vulnerable parts of a now-broken time machine. And that, even if I wasn’t the researcher to study them or make new discoveries through their use, maybe my children would, or my grandchildren. And what sort of steward would I be of our planet if I didn’t do everything within my power to ensure I could help manage some small, minute aspect of our collective knowledge?

It wasn’t about just a few fish. It was about the biologist who ventured out west to make some of the first biological collections in Montana. It was about the scientist who trained them, and the wealth of knowledge passed down through generations before. My anger was for the lost potential for that wealth of knowledge to grow because of inaction, or because it seemed too big of a problem to solve, or maybe not even worth the effort. It was about the principle of the matter- that this was a blatant disregard for our collective past, present, and future.

Those specimens and that museum forever altered not only the course of my life, but how I view the world and my role within it. A dead mouse helped me understand what it means to meaningfully and collaboratively participate in community- the scientific community, museum community, and with any number of future individuals or groups that would be curious about the rodents of Montana. I thought about the uses by the agricultural community, or wildlife management groups who will need to use that data to track invasive rodent species that destroy crops. Pest control groups who need data about prey population numbers to show how their pesticides are — or are not — impacting local wildlife. Medical researchers who can make links between some rodent species and the transmission of certain illness and who need to know how far or abundantly distributed those rodents are in order to mitigate outbreaks. Climate scientists using decades of aggregated data of these animals to map and see how rodents are moving to higher elevations as seasonal temperatures rise. Conservation communities wanting to advocate for a rare and unsung mouse found only in that area, or for a threatened or endangered species which relies on those rodents as their primary food source- and those creatures that would be further harmed should the rodent populations suffer. Hardly any of this information can be known without deliberate surveys of our planet’s plants and animals, through which we are discovering new species constantly. Science — curiosity — and the desire to find solutions to the myriad of problems we face as a global society, is at the root of all of these endeavours. This type of work is carried out by scientific organizations all around the world, including The Field Museum, and now I’m lucky enough to get to talk about the work of our great Chicago institution every single day.

But I’ll tell you — man, it was hard to get people to listen to me at first, especially when I’m running around campus screaming my head off about how we need to save a bunch of dead fish and mice. I get how that sounds, well, crazy. I had friends tell me it wasn’t worth the stress and effort. I had others question the appropriateness of my actions, saying it wasn’t my place to care for or worry about those objects, that it was someone else’s responsibility. But I learned that if I am aware of a problem that I can help fix, it is my responsibility, whether I take ownership of the issue or not.

So I kept showing up. I showed up with paints and brushes, I showed up with my art school buddies, I showed up with a digital camera, with a blog, I showed up with every tool in my box. And then one day, someone else showed up with a videographer and a microphone and an audience of a few hundred thousand people on YouTube. And as they say on Broadway — I did not throw away my shot.

And that’s why I’m here today, and part of the reason The Field Museum is here today, too. I’ve been showing up to talk about the importance of science in our daily lives for seven years, and The Field Museum’s got a good track record of showing up, too- for about 125 years, now. But for some of you out there, this might be your first time showing up and speaking out. I hope it is not the last. My greatest hope for the March for Science is we see this as a new beginning, and a commitment to keep showing up in the future.

Marchers — whether you are a professional trained and practicing scientist, or a student, advocate, and supporter of these endeavours — familiarize yourself with the scientific institutions and organizations this great city has to offer. Participate in our local and regional programs — and if those programs don’t exist, commit to creating them. Engage in citizen science projects, curate an art show or a poetry slam about the impact science has had in your life, talk to your children’s classroom about the nature in your neighborhood. Attend the next March for Science. Speak up for science.

We are all members of the scientific community in one way or another. We are educators, artists, communicators and writers, and passionate lifelong learners who have an obligation and a mission to help others understand and empathize with our beautiful and fragile world.

And on that note — beauty — for all of you out there: commit yourself to curiosity. Curiosity is a light that illuminates the beauty of our world, our cherished existence. I’m a firm believer that curiosity is the first step towards empathy. Ask questions of things you don’t understand, and seek answers. Commit yourself to the beauty and diversity of your neighborhood- and commit yourself to learning the name of whom you share your street and city with. Learn your neighbor’s name, whether they are a person, a bird, a beetle or a tree. Value them all. The freedom to pursue that knowledge is no longer an idle luxury — it’s of the utmost import.

To conclude, I’m going to quote a line from a great commencement speech that was delivered by Kermit the Frog — “On behalf of frogs, fish, pigs, bears and all of the other species who are lower than you on the food chain, thank you for dedicating your lives to saving our world and our home.”

Now, we March!

[transingthoseformers]

Also thinking about BWU Megatron learning how to fly the old fashioned way: fucking throw his altmode off of a cliff and fail until he succeeds

He swears he still has dents from it.

[transingthoseformers]

Thinking about Languidly's The Assassination. I want more stuff of Optimus being insanely thirsty for Megatron. Especially when he's thinking about spiking him, which is even more unusual!

You're entirely right, yes, and I've wondered a lot about what comes next in that fic

Situations where Optimus is simping, consider:

TFA Optimus always having had a crush on Megatron but now that they're fighting on the regular these fantasies have grown more and more real, with a much different inflection. Involving his grapplers.

Beast wars Megop with Optimus not being able to sleep because he's just that horny about Megatron

Tfp Optimus who may or may not be exes with Megatron in this situation (it's up in the air) having a fantasy sequence for his "if I won the war and everything went my way" horny Megop moment

IDW Optimus having a guilty wank once in his habsuite after a rough victory over Megatron on the battlefield

G1 Optimus doodling in his diary in which he dips into some rather choice descriptors for Megatron

Remember that one comic where Megatron made a Optimus clone and "oh no he's hot" happened? That but it's SG and the reverse

In general SG Optimus pining over his ex who still looks ravishing in his opinion

Orion in the shower making up imaginary situations where he'd hit on Megatronus in the Best Way Possible ™️

Tfa Optimus Magnus trying to write his half of a pre-treaty and he's just. Lost in his thoughts about Megatron and he knows if he looks down he's gonna see he's making a mess of himself

In general we did this with tfp au Optimus flirting mercilessly with Meggsie

Earthspark Optimus embarrassed yet desperate to reignite his relationship with Megatron now that they're on the same side

I'm so torn about wanting SG Optimus to bottom for once in my life or him being an absolute service top for Megatron and him thinking so much about either

Broadwings Universe! Optimus the night after learning of Megatron's new aerial form and having ~emotions~ regarding it because I'm totally thinking megastarop for the BWU au

Orion Pax watching Megatronus in battle and immediately thinking "I need him and his body or I'm going to 💙explode💙"

Optimus Primal getting possible intel of Megatron and Inferno being a thing and having thinky thoughts. Many thinky thoughts.

[transingthoseformers]

BWU Knockout will never admit to the silly stuff he has done to impress Breakdown

Never

Not even including that time he participated in a more official sounding human race for the sake of showing Breakdown the trophy.

This does not fool any of the stunticons (excluding Breakdown and eventual Wildbreak)

[transingthoseformers]

Megatron gets wings. Starscream looks on like that is the Hottest mech I have ever seen. Megatron looking on going why is Starscream's being extra fancy and nice.

Would the Arialbots be feeling confusing things over this? Either from flying fortress Megatron or a Very Shiny Starscream's doing the Vosian equivalent of the dance of the seven veils trying to attract Megatron.

Sdfghj okay so this can go several ways

Some of them simp for Megatron more now

Some of them simp for Starscream more now

Some are very very torn between both options

Some are like "no, wtf why are you suggesting that?"

Do you think the rest of the elite trine is being so smug to Starscream while also absolutely helping be his (well) wingmen?

[transingthoseformers]

G1 Megatron gets reformatted into a plane and Starscream's reaction is basically, to his own horror, "I need to breed this mech RIGHT NOW."

Cue flashy aerial manoeuvres and extra polishing because Starscream really wants to get between those thighs.

This is basically the point of the broadwings universe /hj

[transingthoseformers]

Another steam filled vent escaped him, the light blindfold almost heavy on his faceplates. Though, considering how his optical sensors were previously disabled, it was merely symbolic of Starscream's control over him. He sucked in a breath as her talons traced a line up his back. Megatron squirmed under the ministrations of his lover, wings carefully bound so that they didn't wind up getting injured as he squirmed under the rope. Megatron could feel another pearl of lubricant trailing down his thigh.

"st-starscream I swear toO—!"

"just relax into it, shh."

[transingthoseformers]

So, uh, do you think Starscream preened and bragged about performing his courting dance some minor credit to his trinemates so well that he managed to seduce Megatron?

Also he's gonna be a sire! He's doing great in life.

Sdffdss yes, but also also also may I suggest that Megatron didn't know it was seducing until Starscream pointed it out to him

But yes Starscream will definitely brag about it and Skywarp n TC are almost proud of him.

Soundwave is tired of this shit already but also can't lie to himself about how much smoother high command is running

Optimus will never admit how he's jealous.

[transingthoseformers]

Then I hope BWU Screamer gets to breed Megatron repeatedly :3

Especially if the new flight coding in Megatron reacts to Starscream's displays in a very unfamiliar but positive way, but Megatron isn't complaining.

Sdfhdss yes. Megs is thoroughly not used to this, but he is not going to disagree with wanting to be railed into the berth by Starscream.

[transingthoseformers]

Broadwings Universe?

Okay so that's a small fan continuity of mine that i build from an ai dungeons i did like a year or two ago that was basically just "Megatron with wings"

It turned into this whole thing at three am and there's altmode coding as a metaphor for hormones and megastar but also your typical homoerotic megop bullshit and Megatron going "this can't be that hard!" "It was that hard." and extra stunticons and biolights

So many biolights

[transingthoseformers]

I've thought about this before yes yes but.

At some point, Megatron implements a new holiday for the decepticons: Morale Day.

Basically, the entire day, the roles are reversed. Everyone but Megatron is in charge, and he is the subordinate/submissive. It's basically a free use and exhibitionist fantasy, and typically speaking Megatron gets railed or rode within an inch of his life many times, because of course he does.

Ended up tag talking again