#garme journalism

[lyesander]

"...then notes that advertisers can choose to block all sorts of potential topics, especially those that may elicit negative emotions as detected by its artificial intelligence..."

This is the most dystopian sentence I've ever read.

"The irony of all of this, of course, is that ads end up in places they’re nominally not supposed to be, all the time, and ads are filtered away from high-quality sites doing high-quality journalism like Jezebel to garbage, low-quality websites all the time. For example, mere weeks ago 404 Media saw ads for Sephora, United Airlines, and Canva delivered by Google, next to Goatse, an image of a man spreading his asshole into a gaping chasm with both hands, on websites that steal internet games from other creators, which is an act of piracy, which violates the GARM brand safety guidelines. Society has not, to this point, begun a cancel culture crusade against these brands for being adjacent to this content."

And THIS is just darkly funny.

I wonder how much of this is really “unfounded fears that brands will get caught up in the culture wars” and how much of it is actually “the overarching culture of this particular brand is antithetical to the sort of heavy hitting left wing journalism Jezebel is doing, and therefore they don't want to support it.” The article talks about how there's evidence that advertisers actually do BETTER when placed next to hard news stories, so, you know, if money was the ONLY objective here, you'd think they'd be climbing over themselves, right?

I think amounting it to marketing purity culture is sort of a watered down take. These companies have political agendas beyond just “avoiding controversy.” E.g., why is Jezebel the site that was deemed provocative and not, say, Breitbart? Or fascist twitter?

Overall, it's a decent article but it's avoiding a very glaring part of why advertisers would find Jezebel SPECIFICALLY unmarketable. It's because good, “wholesome” conservative sites bank on marketing themselves as having traditional, ALL AMERICAN family values, which is already in line with a lot of the jargon brands use when hawking their own product

Most large brands are already run by conservatives; you don't get to the top by prioritizing humanitarianism and social reform.

[byneddiedingo]

Vince Barnett, Paul Muni, and Karen Morley in Scarface (Howard Hawks, 1932)

Cast: Paul Muni, Ann Dvorak, Karen Morley, George Raft, Vince Barnett, Osgood Perkins, Boris Karloff, C. Henry Gordon, Inez Palange. Screenplay: Ben Hecht, Seton I. Miller, John Lee Mahin, W.R. Burnett, based on a novel by Armitage Trail. Cinematography: Lee Garmes, L. William O'Connell. Set designer: Harry Oliver. Film editing: Edward Curtiss

Like so many early talkies, Scarface feels a little off in its pacing at times, especially in scenes with dialogue, as if the director was uncertain how much of the exposition was getting across to the audience. Which is surprising, considering the director is Howard Hawks, the master of fast-paced repartee. But the real Hawks shows up eventually, especially in the action scenes, and in some brilliant bits, such as the murder of Boris Karloff's Tom Gaffney in the bowling alley. We see Gaffney start to fall after the shot, but the camera follows the track of the ball he has just bowled: It's a strike, but one pin wobbles uncertainly for a second before toppling. François Truffaut commented on the scene, "This isn't literature. It may be dance or poetry. It is certainly cinema." For many, Hawks's Scarface has been overshadowed by Brian De Palma's 1983 version, and its rough contemporaries Little Caesar (Mervyn LeRoy, 1931) and The Public Enemy (William A. Wellman, 1931), the gangster films that set Edward G. Robinson and James Cagney on their road to fame, shadowed the Hawks film at the time, delaying its release as Hawks and producer Howard Hughes wrangled with the Hays Office censors, who were edgy about the plethora of gangster films. In response to their objections, the film has no fewer than three screens full of text before the movie actually starts, proclaiming that it's "an indictment of gang rule in America and the callous indifference of the government to this constantly increasing menace," and exhorting the audience to demand that the government do something about it. Later there are clearly interpolated scenes that suggest some of the things the government can do include gun control and immigration reform or even the imposition of martial law. The film was even released with a subtitle, Scarface: The Shame of a Nation. This heavy-handedness suggests that Hughes had less clout with the Hays Office than did Warner Bros., which didn't jump through quite so many hoops in releasing Little Caesar and The Public Enemy. Nevertheless, Scarface was a box office success, largely because it's a hugely entertaining film, showcasing what may be Paul Muni's best screen performance -- the only other contender would be I Am a Fugitive From a Chain Gang (Mervyn LeRoy, 1932). Muni has a leering, gleeful quality as Tony Camonte; he's almost sexy, which is something that would never be said of the actor after he began to take himself seriously in William Dieterle's stodgy biopic celebrations of Great Men like The Story of Louis Pasteur (1936) and The Life of Emile Zola (1937). Because Scarface was made before the Production Code clampdown on sex, it's pretty clear what's going on between Tony and Karen Morley's Poppy, but also that Tony's relationship with his sister, Cesca (Ann Dvorak), has a touch of the perverse about it. The film is full of delicious asides, too, like a minor character, a reporter known as "MacArthur from the Journal," a tip of the hat to screenwriter Ben Hecht's former colleague in Chicago journalism, Charles MacArthur, who was also his co-writer on the play The Front Page. The character is played by Hecht and MacArthur's friend John Lee Mahin, one of the screenwriters on Scarface. 

[ondessiderales]

Moumines

Version courte

Version longue

Yume no sekai he (Vers un monde de rêves)

Toi qui dis être si fort Tu dois pourtant bien avoir des moments de tristesse Dans ces moments-là, laisse couler tes larmes Et tout ce qui te fait de la peine disparaîtra

Allons, viens chez moi Et tends-moi ta petite main Je t'emmène vers un monde de rêves Nul besoin de se changer, tu peux venir en pyjama

Pleurant de frustration et trempant notre oreiller Il nous arrive tous de se faire dépasser par la situation Mais laisse la gentille lumière du matin te recouvrir Et un sourire éblouissant éclairera ton visage

Allons, viens avec moi Et tends-moi tes doux yeux Lorsque la fée des fleurs se met à danser Tous les animaux sont des amis

Allons, viens chez moi Et tends-moi ta petite main Je t'emmène vers un monde de rêves Un cœur d'enfant suffit pour y entrer

Version courte

Version longue

Tooi akogare (Un appel lointain)

My dream, my love (mon rêve, mon amour) Lorsque tu es à mes côtés Même le vent se met à changer de couleur

L'eau joue avec la lumière, scintillante et pure Et le ciel se fond dans le temps

Your dream, your love (ton rêve, ton amour) Lorsque tu me souris Mes yeux remplis de larmes scintillent de nouveau

Mon cœur bat fort pour toi Je pars bientôt pour un grand voyage Un chemin rempli d'espoirs et de rêves

Au travers des nuages dérivant dans le ciel La lumière du soleil se diffuse et illumine la forêt Et les oiseaux s'envolent en direction d'un horizon de liberté

« Les Moumines, ou Moomins sont des personnages créés par la Finlandaise suédophone Tove Jansson. Il s'agit d'une famille de gentils trolls ressemblant à des hippopotames.

Les Moumines vivent dans la vallée des Moumines, vallée imaginaire donnant sur le golfe de Finlande. Ils semblent se réduire à une seule famille, composée de Papa Moumine, Maman Moumine et leur fils Moumine. »

« Tove Jansson, née le 9 août 1914 à Helsinki et morte le 27 juin 2001 dans la même ville, est une écrivaine, peintre, illustratrice et dessinatrice de bande dessinée finlandaise suédophone. Elle est surtout connue pour son œuvre Les Moumines, des livres illustrés pour enfants. »

« À l'âge de 14 ans, elle entame l'écriture de son premier livre illustré Sara och Pelle och näckens bläckfiskar (Sara, Pelle et les pieuvres de Water Sprite), qui ne sera publié qu'en 1933, bien que certaines illustrations paraissent dans des magazines dès les années 1920. Durant les années 1930, elle voyage à travers l'Europe, écrit et illustre des articles et nouvelles pour divers journaux, publications périodiques et journaux. Elle réalise aussi à cette époque de nombreuses couvertures de livres, des cartes postales, des dessins publicitaires ou des illustrations parodiques et, selon sa mère, collabore au magazine Garm, journal satirique anti-fasciste finno-suédois.

En 1946, elle vit une histoire d'amour avec une femme, Vivica Bandler. Cette relation est documentée par une série de lettres échangées pendant quelques années. Elle rencontre plus tard sa partenaire Tuulikki Pietilä, une autre femme, avec qui elle vivra jusqu'à la fin de sa vie. Toutes deux collaborent sur de nombreux projets, dont un modèle de la « Maison Moumine », avec Pentti Eistola. Ce modèle est maintenant exposé au musée des Moumines à Tampere. »

« Tove Jansson a travaillé comme illustratrice et caricaturiste pour le magazine satirique suédois Garm, des années 1930 à 1953. L'une de ses caricatures politiques connait une brève renommée internationale : elle dessinait Adolf Hitler comme un bébé pleurant dans des couches, entouré de Neville Chamberlain et d'autres grands dirigeants européens, qui essayaient de calmer le bébé en lui donnant des tranches de gâteau - Autriche, Pologne, Tchécoslovaquie, etc. »

« Les Moumines, charmantes petites créatures imaginaires à l'apparence de trolls blancs, occupent une place importante dans la culture et l'histoire finlandaises, tout en ayant conquis le cœur de très nombreuses personnes du monde entier. »

« L'écriture des Moomines a commencé comme une récréation pendant la guerre. Tove se sentait comme dans un étau, et n'arrivant pas à peindre, elle s'est alors plongée dans les souvenirs d'enfance de la maison de son grand-père. Elle écrivait pour alléger la réalité, mais petit à petit l'écriture lui est devenue aussi importante, aussi exigeante que la peinture. Sa qualité d'écriture s'améliore petit à petit jusqu'à atteindre des sommets de beauté et de poésie. »

« Tove Jansson a eu en son temps un rôle précurseur qui a ouvert la voie à bien des femmes artistes. Les histoires des Moumines ne font pas qu'amuser les enfants, elles ont une signification plus profonde pour les adultes. Jansson, qui était de langue maternelle suédoise, a insisté dans son travail sur des valeurs comme l'inclusion, l'acceptation d'autrui et l'intégration à la communauté, autant de piliers importants des sociétés nordiques contemporaines. »

La maison des Moumines dans le parc à thème Muumimaailma à Naantali en Finlande

« Le premier livre de Moumines, Moumine et la grande inondation, a été écrit en 1945. Bien que les personnages principaux soient Maman Moumine et Moumine le Troll, la plupart des personnages principaux des histoires postérieures n'ont été introduits que dans le livre suivant, de sorte que Moumine et la grande inondation est souvent considéré comme un précurseur de la série principale. Le livre n' a pas été un succès (et fut le dernier livre de Moumines à être traduit en anglais), mais les deux épisodes suivants, Une comète au pays de Moumine (1946) et Moumine le troll (1948), apportent une certaine renommée à Tove Jansson. Le titre original de la famille Moumine le troll, Trollkarlens Hatt, est traduit par Le chapeau du sorcier.

Le style des livres de Moumines change avec le temps. Les premiers livres, jusqu'à Un hiver dans la vallée de Moumine (1957), sont des histoires d'aventures qui incluent des inondations, des comètes et des événements surnaturels. Moumine et la grande inondation traite de la fuite de Maman Moumine et Moumine le Troll à travers une forêt sombre et effrayante, où ils rencontrent divers dangers. Dans Une comète au pays de Moumine, une comète a failli détruire la vallée de Moumine (certains critiques y ont vu une allégorie d'armes nucléaires). »

« Ce serait une chose terrible si une comète frappait la terre… Tout exploserait », dit Moumine, l’air sombre. Il y eut un long silence. Puis le Renaclerican prononça lentement : « Ce serait affreux si le monde explosait. Il est si beau. »

« En dehors de la Scandinavie, les Moumines sont particulièrement populaires au Japon. Là-bas, les Moumines ont gagné en popularité dans les années 1990 sous le nom japonais de « Tanoshii Moomin Ikka ». Dès les années 60 et 70, des livres ont été publiés et une série d’animation inspirée par les Moumines a suivi, mais Jansson ne l’a pas approuvée car elle contenait de l’alcool et de la violence. Dans les années 1970, elle a visité le Japon pour la première fois et a aidé à donner une conférence à Tokyo. Elle était une grande fan de l’esthétique japonaise et a appris le japonais à l’avance pour pouvoir le faire dans la langue du pays. Aujourd’hui, en plus de nombreux cafés et boutiques sur le thème des Moumines, il y a même un parc Moomin Valley dans la ville de Hanno à Saitama. Mais en Corée aussi, on ne peut pas éviter les Moomin. Là-bas, le Moomin Land Jeju a récemment ouvert ses portes sur la plus grande île de Corée du Sud. Une exposition de moines a eu lieu à Séoul de 2020 à 2021 pour célébrer le 75ème anniversaire. »

La maison des Moumines dans le parc à thème Moomin Valley à Saitama au Japon

Sources : Wikipedia, visitfinland, scandi.fr, Libération

[pinkconkonut]

thinking about (and crying over) how when garmadon literally had EVIL flowing through his veins, he still loved and cared for his son very much

[insanepoptart77]

Alright games journalism, I guess the most important game of all time being remade doesn’t count as a big release? 

[afandomroom]

hi :) if you're still doing them, maybe 📂📂📂 for wu,,,,?

Send “📂“ for a random yet completely useless headcanon I have

Sure :D

1. When he was younger, Wu would go out to the nearby forests and collect ingredients for tea himself.

Garm gave him a field journal of teas for his birthday, and he brought it with him on every trip. :)

2. He believes in lucky tokens and omens. Always has some object he's deemed as lucky with him.

3. He kept a photo album. It has group photos of the elemental alliance, individual pictures with his friends from the alliance, family photos/old time equivalent to such, etc etc.

Luckily it was barely singed by the fire in season 1.

[thepeanutbutterwizard]

Ninjago/Avatar au Pt6

The second half of Book 2 (hopefully)

(Part 1, Part 2, Part 3, Part 4, Part 5)

So Garm finally reads the letter from Wu. It starts off as a normal pseudo-journal entry, but after it mentions finding the Garms old armor, but no body, it turns into more of a normal letter. Wu says that he’s missed his brother since he was banished, and that he hopes that they’ll be able to see eachother again soon if Garm is alive, and ends with Wu saying that he normally burns the letters he writes to Garm, so that no-one else finds them, but that he feels hopeful that this one could actually get to him. It’s touching stuff.

Lloyd picks up earthbending almost immediately, unlike Aang. The element Lloyd is going to struggle to learn is fire (if you don’t count his airbending being self-taught. He picked up airbending really, really fast, but bc he’s been making stuff up and trying to do what Maya did with her waterbending [Maya’s had decades to hone her style tho, not just three-ish years, but he’s like someone learning ballet only from YouTube, for only a couple of months] since there are no more airbenders [or so they think, bc none of them saw Morro airbend at the North Pole]), and I’ll get into why that is when it comes up. They haven’t had Garm start to teach Lloyd any firebending bc they’re trying to go in the order as much as they can, but Garm has finally convinced Kai to learn more than just the basics, and he picks it up really quickly.

Meanwhile, Morro is taking care of an injured Wu (and accidentally making him suffer through poorly-made tea). Now, Morro is onboard with Wu wanting to leave the Fire Nation behind; unlike Zuko, Morro isn’t trying to win back the favor of some distant parent, the only family he’s ever known is Wu, and he’s not about to abandon Wu for a bunch of people who would probably kill him as soon as they could no matter what he did for them, and Harumi made it clear that no-one in the Fire Nation is going to be extending them any mercy.

Once Wu wakes up, Morro does yell at him for doing something as stupid as taking a hit from a well-trained firebender to protect a stranger (Wu hadn’t gotten around to telling Morro ‘hey, you know that guy with the big burn scar who’s traveling with the Avatar? That’s my dead-but-not-really-dead older brother. Pls stop trying to stab him’, and Morro wasn’t there when Garm revealed his identity in the North Pole), until Wu tells him that Garm is his brother. This leads to Morro yelling out ‘You mean to tell me that the Avatar is my cousin?!?!’ And that how Wu learns that Lloyd is Garms son (’wait, what?’ ‘Have you really gone this long without noticing that the Avatar calls your brother his dad?’ ‘I’ve had a lot on my mind, give me a break!’), and now he thinks that Garm and Maya are married with three kids, one of whom is the Avatar.

They make their way to Ba Sing Se, with the help of the White Lotus. Wu isn’t the leader of them (he isn’t super old in this au, imagine what he looked like in S9, with the mustache), but he is a fairly respected member. I still haven’t come up with a Jet character who would work, and I am open to suggestions. If I do find a good character, they will definitely throw hands with Morro (mb Shade? Just cut out the romance subplot in S1 and pick a couple of EM’s to be the other freedom fighters?). And yes, Wu does get his tea shop in the upper ring (Steep Wisdom), and Morro tries to be happy and supportive, but even though he is fine leaving the Fire Nation with Wu, it does still feel like he wasted years of his life, both in chasing the Avatar and just trying to prove himself to everyone back in the Palace, so he’s pretty grumpy.

Now back to Team Avatar: at Maya and Garms insistence the kids have been picking out their little mini-vacations. They know that they only have a limited amount of time before the comet arrives, but Garm and Maya want these kids to be able to be, y’know, kids, at least a little bit, in spite of the fact that they’re growing up in a war-torn world. Kai want’s to check out that glacier-spring place by the desert, it’s kinda underwhelming, but they get fruity drinks out of it. This whole time Kai and Cole have been getting closer to each other. Kai feels a little guilty, like he’s betraying Zane’s memory, but talking to Maya and Garm about it does help him start to feel better, and it helps his over-protectiveness start to abate a little.

Jay wants to pick a really cool mini-vacation to impress Nya, and he asks the people who are in the glacier place if there’s any place around those parts, and ends up learning that about a year ago some lady showed up saying something about a huge spirit library in the desert that she was looking for. They never saw her again after that, and figure that she must have died out in the desert. When pressed (and payed) one of the artistically inclined staff members roughly recreated the sketch of the library, and vaguely remembered the area on the map she said she was going to search, and with that Jay has his mini-vacation picked out.

They set off and find the library. Cole chooses to stay outside with Ultra (who can’t fit inside) bc he thinks they’ll be safer if the only earthbender stays outside incase something goes wrong, and if they need to get out of there fast he’d only slow them down with his legs. Everybody else heads into the library and meet Wan Chi Tong (did I spell that right? I’m too lazy to check), who agrees to let them use the library if they 1) don’t intend to use the contents of the library against anyone else and 2) contribute something to his library.

Lloyd and Nya both use their wanted posters (they both thought they were awesome [Lloyd bc he’s 13 and Nya bc you can’t convince me that Nya wouldn’t be thrilled to have a wanted poster bc she’s been fucking with a tyrannical regime] and incredibly accurate considering the art had to have been done by someone using other people’s descriptions, and they totally intend on framing and hanging at least a few of their posters up in their rooms when all this is over), Kai has a copy of a poem that Zane wrote for him, Garm has his brothers letter (he doesn’t want to give it up, but he has nothing else), Jay has a blueprint from one of his inventions, and Maya has a copy of a story in a series that Koko had brought back to the South Pole over the years. Wan Chi Tong comments that about a year ago a researcher had arrived and had offered him another part of the the same series. He mentions that they should be careful, as she never left, and has been primarily researching the Avatar.

Everyone has an idea of who this mysterious researcher could be (except Jay), but they decide to be cautious all the same, just incase she isn’t who they think she is. They all start discreetly searching for anything that could be used to help them fight the Fire Nation, and they end up finding and empty placard saying something about ‘the Darkest Day in Fire Nation History’, but when they go to check part of the section on Fire Nation (that library was enormous, y’all cannot tell me that Zhao was able to destroy absolutely everything that the library had on the Fire Nation. It could only have been the last few decades/mb centuries of Fire Nation history), as well as a campsite that was full of scrolls having to do with the Avatar and different bending techniques (and a few misc scrolls about random things like cooking, engineering, etc). As they’re poking around the campsite, who else comes around the corner but Koko!

She has her nose buried in a scroll as she’s walking, so she doesn’t notice them all until Lloyd happily calls out ‘Mom!’, and goes in for a hug. Koko drops the scroll and has a happy reunion with her son and husband, as well as with Maya, Kai, and Nya, and she and Jay are introduced to each other. Koko explains that she’s been able to stay in the library so long was bc she managed to get the fox assistants to like her enough to start bringing her food and water. She also explains that she’s been doing nonstop research into the Avatar State, the Air Nomads and airbending, and the Fire Nation (though she’s really quiet about that part so they don’t catch Wan Chi Tongs attention and ire) and shows them that planetarium thing and that she discovered the eclipse. (How did she make it out to the library without a flying companion or something? SHe’s just that much of a badass.)

Koko had been saving up supplies and charting a course out of the desert, and planning to leave the library as soon as she could, but now that they’ve showed up with Ultra she can just grab her things and go. Someone, probably Jay, gets a little too vocal about how they have a chance to beat the Fire Nation, and cue Wan Chi Tong sinking the library and trying to add them to his ‘collection of specimen’. Garm and Koko are a dynamic duo, with Garm distraction the angry spirit while Koko gathers all of her scrolls and supplies together while Maya gets the kids to the exit.

Meanwhile, Cole is holding up the library, and trying to help Ultra fend off the sandbenders that showed up to capture and sell the dragon. Cole is able to put up a bit more of a fight than Toph was (meaning that he was able to get one or two good hits in) bc being in the desert doesn’t impair his vision (the sand does tank his mobility just as much as it would anyone with prosthetic legs tho), but he isn’t able to stop them or even hold them off long enough for everyone else to get out. Cole, despite being initially afraid of the large dragon, had quickly grown to be one of Ultras favorite people in their group (like, third favorite. Kai will never admit that he’s jealous), and is pretty upset that he wasn’t able to save him. More on Ultra later.

So Lloyd is really upset about losing his companion, just as much as Aang was. He doesn’t act out (for lack of a better word) as intensely as Aang, since Ultra wasn’t the last thing he had left of his people like Appa was for Aang, but Lloyd is still rightfully pissed off. He takes off shakily on his glider, leaving everyone behind before trying to search for Ultra and the sandbenders, ignoring his families protests. Koko starts working on getting them out of the desert using the route she had plotted out (using the sun and shadows to orient them and get started in the right direction), and starts planing out how long her food and water (she had the good sense to bring those from the library) will last between all of them. The answer is: not long enough.

Kai (and mb Jay too) is the one who has the bright idea to drink the cactus juice, bc while Kai, like Sokka, (and Jay tbh) is smart enough to know that drinking a strange liquid out of an unfamiliar plant is a bad idea,but the fact that it is a stupid idea doesn’t stop him. Wait, y’know what? Jay definitely tries the cactus juice, but instead of acting as out-of-it and inebriated as Kai does, he acts like he does in S9, weirdly chill and disconnected from reality. He’s still tripping balls, but he’s reacting to it differently from Kai. Cole just ends up carrying Kai piggy-back, even though the sand makes it harder for him to move (he’s crushing, and he’s the only one [adults included] whose physically strong enough to carry him for long periods of time) (also Kai awkwardly and drunkenly flirts with him. Everyone pretends not to notice for Coles sake) and everyone else takes turns holding onto Jays wrist and leading him through the desert or else he would have wandered off and died.

Lloyd gets back to them, landing hard in the sand, holding back tears bc even though he’s upset and could use a good cry he knows that they need to conserve as much water as they can. He’s got his family there to comfort him (even if Kai and Jay are kinda incapacitated atm), which does help him a bit, but he’s still rightfully upset. They find the abandoned sandbender skipper thing, find the vulturewasp hive, and come across the sandbenders. Cole is able to pinpoint the sandbender (no idea who this guy would be, Ninjago character wise) who lead the others to take Ultra via his voice bc Cole a) was trained in a myriad of performing arts thanks to his father, primarily singing b) has perfect pitch and c) never forgets a voice bc of that.

Lloyd goes full Avatar State, but is comforted and calmed down by his parents while everyone else books it. The sandbenders tell them that they sold Ultra to some guys who were going to take him to Ba Sing Se, and then they take them out of the desert (with the sandbenders getting the Death Glare from all of Team Avatar the whole way. Koko totally punches the sandbender who lead the others to steal Ultra once they’re out of the desert.)

They make their way to Ba Sing Se on foot, with Lloyd trying to get a handle on his emotions (and worrying everyone in the process), and they run into a family with an expecting mother/wife (I am also taking suggestions for who these characters could be. I’m pretty tired while typing this so I can’t think of anyone) and try and get on a ferry to Ba Sing Se. Cole, whose father is well known and wealthy, uses that fact, his double amputee status (he ‘accidentally’ slips out of one of his prosthetics. Kai catches him before he hits the ground), and his acting skills to get them tickets without passports.

And we get best girl Pixal back! She helps Team Avatar help the pregnant family go through the Serpents Pass, and it goes pretty similar to cannon, except instead of a situation where Sokka is overprotective of Suki, Jay picks up on how much Pixal likes Nya, and sees that Nya, his crush, reciprocates those feelings, and gets a bit passive-aggressive w/everyone, but Pixal especially. It doesn’t last long, bc Jay is a hormonal teenager who realizes he’s being a dick fairly quickly, but it does help fizzle his crush on Nya a bit (sorry again to any hardcore Jaya shippers who were hoping for that in this au, but it’s really not my cup of tea).

They also help deliver the couples baby, but Maya and Koko are the ones helping take care of that. Team Avatar get to the outer wall, just to see a huge Fire Nation drill heading closer and closer to the wall, ready to start tearing through it...

[brax-was-here]

GW2 Living World Season Three...

So...according to the story journal...LW3 starts 2 years after the end of Heart of Thorns...

So..two years passed before there was a memorial for Eir? Garm wandered around the jungle for two years until Rox found him? 

That just doesn’t make sense to me. 

[aremynoodlesdone]

My noodles are probably done (for now)

​I have something to admit. It’s a secret that’s been weighing heavy on my soul for a while now, fostering an identity crisis far larger than any extensive gender or sexuality calamities that have come before it. I haven’t eaten instant noodles in months. I feel I have let myself down. I found a good thing and then, like someone who never developed healthy self-preservation techniques, proceeded to stoutly ignore it. Every so often someone will ask ‘but when are you going to review noodles again?’. The idea that amidst a timeline full of bristruths, cute dog videos and old school friends sharing rampantly transphobic memes, people missed my 500 words of noodle-based ridiculousness enough to ask me in real-life where their three minutes of distraction had gotten to was touching. However, VICE shares the same piece every week about that guy who takes ketamine and has sex with unicorns, and the epitome of the TAB’s journalism is the article about the person who got banned from eduroam for downloading chicken run - so maybe I shouldn’t flatter myself on people’s yearning for fresh content. Truthfully, stopping writing was a mixture of a couple of things. A heavy work load from a Biology course that I wasn’t enjoying as much as I had initially anticipated crushed my creative spark with all the force of the jaws of a Nile Crocodile (Please take a second to picture David Attenborough narrating this: ‘Here we see the struggling Bristol student, trying to escape from being just-really-super-down-in-the-dumps, and the creeping feeling that they might be turning into the family failure. Identified by their wavy garms and their aversion to having to walk up ridiculous hills to get to uni, the chance that they will convert to nocturnality in a dismal attempt to Get Shit Done increases with the passing days.’). The second was that I was attempting to eat healthily and noodles - once a vital part of my diet - took a forlorn departure from my life. But I’m not going to continue to sit here and psychoanalyse myself based on absent noodles. Exam season is approaching and I’ve achieved (what I believe to be) the record-breaking feat of reading 58 academic papers in 3 days. You know how in first year you end up drinking a little too much and going out a little too often and at some point, you realise that you need to use that £3.99 you’re spending on 2 litre bottles of frosty jacks to buy a couple of stalks of broccoli and perhaps a bag of carrots and actually nourish your body? The balance between academia and creativity is the same – after 72 hours of summarising pros, cons and key themes into an extensive excel spreadsheet, you eventually look up, bleary eyed, and realise that supplementing your scholastic exhaustion with something a little more imaginative would do you the world of good. That being said – I’m giving eating healthily a crack again. Excluding what was a very enjoyable cheese party until deplorable gorging resulted in half the attendees experiencing gastro-intestinal distress and me gaining 3kg, it’s going well. But it means that I am noodle averse. Carb-phobic. That person in the grocery store that shields their eyes when they round certain corners. I know noodle reviews were my niche, my one glorious original character trait (the rest just being an amalgamation of ones I’ve liked and stolen from other people), but, as the antithesis of Shia LaBeouf: I just can’t do it. All this boils down to one question – do I branch out? Does ‘Grey reviews instant noodles’ instead become ‘Grey writes about culinary adventures and mishaps’? (Current post ideas: why you can’t make chicken nuggets in a £10 Wilko’s blender, and the things that happen to the human body if you eat nothing but eggs for four days). Or will that result in a plummet in readership, driving me to migrate to Paris á la Christian in Moulin Rouge! in search of life experiences that will fuel writing with some real substance? Please let me know. Drop a comment on my facebook post. Give it a like, the number of which I’ll use to judge my self-worth. Or honestly, just interrupt my diligent studying in the SU Living Room by yelling ‘I enjoy your content’ at me.

[theathenszinebibliotheque]

AZB @ SIKINOS VOL.3 — Join us this year as we return to Sikinos island for the third time (check 2018 & 2019 past events). During the weekend of the 17th and the 18th of July 2021 (from 19:00 to 22:00), AZB will present at the yard of the old school of Kastro village all the zines that were added to the library since summer of 2019. Also, on Saturday the 17th of July we will hold an open zine workshop (at 19:00) on how to make an one-page zine.

Free entrance. — The event is sponsored by the Municipality of Sikinos and is supported by the SNFPHI (The Stavros Niarchos Foundation Public Humanities Initiative at Columbia University). — List of zines (in alphabetical order) participating at the exhibition "AZB @ Sikinos VOL.3":

• _Brut — Álvaro Fernández • 15. August 2020. A day in the life — Various • 1998-2018: 20 years making zines!/20 anos zinando! — Julie Albuquerque • Abnormal — George Tourlas • Abrasion — Kati Akraio • Airlines on paper — Tefra90 • An illustrated guide to insta-emotions — Kati Akraio • Anartchy — Jens Besser & Shlomo Faber • Another day in the office — Sophia Tolika • Armarolla, issues #1-4 — Stelios Hadjithomas • Around Labor, Art, and the Auratic Condition (This is Not a Love Song) — Various • ArtSexDrugsRevolution.gr — Θείο Τραγί • Atomphysik — Philip Joa • Autobioskat — Georgios Plastok • Berliner Mortis Zine — Livor Mortis Zine & Berliner Mauern • Bernd — Daria Rubisch • Blurry territory, notes for a topography of curiosity — Georgios Plastok & Alfred Fabricius • body / struck, issue 1 — Ifigeneia Ilia-Georgiadou & Angelos Kalogerias • Boys! Männer! — Michalis Pichler • Camila — Julie Albuquerque • Carousel #4 — Various • CcBnC issue[1]: prall — Prall • Cheesyphus — Dennis Muñoz Espadiña • Choose your fighter — Jovana Ćubović & Nataša Mihailović • Claustrophobic Tendencies — Never Brush My Teeth • Cockroach Milk — Never Brush My Teeth • Confused Jack — Inés Ballesteros • Crucial Zine, 2019/20 Winter Holiday Special — Various • Crucial Zine, issues #8-11 — Various • Crucial Zine,The CB1 years/MMVIII-MMXI — Various • Dadatek: a manifesto against techno — filtig • DCIM — Κυκλοθυμία & το σφάλμα • Deadiario — Julie Albuquerque • Desired landscapes, issue #3 — Various • Divine Furies Trilogy: The Oracle, The Rescue & The Wedding Night — Nikos Kachrimanis • Do polaroids dream of instant cameras? — Nikos K. Kantarakias • Doors of Athens — Death Vallée & Tarta Ross • Doors of Kypseli — Eleanor Lines • Dotter — Aimilia Balaska • Enterprise Projects Journal, issues #1-4 — Kostas Stasinopoulos, Evita Tsokanta, Myrto Katsimicha, Panos Giannikopoulos • Faces n' Chases, vol.01 — RTMONE & Nadia Stasinou • Finding New Problems — Andromache Kokkinou • Footnotes, issue C — Various • For the love of God — Sinde Butler • Garm zine — Ιωάννης Καρμανιώλος • Giant-size Holy Shit Comix! — Tasmar • Goodbye Horses — Mass Control Superviolence • Graffiti from an American Refugee — Pockets • Greatest hits — Michalis Pichler • GRIP — Aidan Frere-Smith • Gutzine — Various • Hallow Zine — AUB Zine Society (various) • Haras 2nd class — Sarah Maria Schmidt/Haras (Ananas) • Have some change — Mass Control Superviolence • Help — Andromache Kokkinou • Herbal healing: Making Fire Cider — J Henry Hansen • Hibernation — Fred Afraid • Holy shit comix!, issue #3 — Tasmar • Home Is Where The Heart Is — Aidan Frere-Smith • Hotfoot Terrors — Never Brush My Teeth • How to exist at the beach as a non-conforming body — Asparagus Plumosa • How to make your own one-page zine / Πως να φτιάξεις το δικό σου μονοσέλιδο ζιν — The Athens Zine Bibliotheque • I wonder if they could hear me jerking off and other closet fag tips — Unknown • Imaginary Memories, coloring book — RTMONE • Indie music: From fans to professionals — Athanasia Daskalopoulou, Alexandros Skandalis, Maria Dianellou, Fay Daskalopoulou • İşkembe çorbası - Χαϊκού για γερό στομάχι — Χάρης Αλεξίου • Kavourakia Ta — Queer Ink • Kiefer on dirtbike — Tefra90 • Let's talk about feelings — Unknown • Lethargic Punch — Never Brush My Teeth • Light your future bright, 2nd edition — Barba Dee • Livor Mortis Zine #1 Hype in the Hypogeum — SBF Ruttley • Livor Mortis Zine #13 Mo Honey Mo Problems — SBF Ruttley • Livor Mortis Zine #2 Party Hits Vol.2 — SBF Ruttley • Livor Mortis Zine #6(66) The Number of the Beast — SBF Ruttley • Lord — DED2: APESK, ΗΓΗ • Lost in the city — Inés Ballesteros • Lung-Independent music fanzine, issue #6 — Various • Manual — Leifur Ýmir Eyjólfsson • Map of Santorini, Greece — Lila Ruby King & One Quarter Greek • Mercury Retrograde — Asparagus Plumosa • Moan, issue one — Various • Modern savior — Marianna Papageorgiou • Monsanto Company Earnings Call Transcript — Michalis Pichler • Moth. — Asparagus Plumosa • My first bike touring adventure — J Henry Hansen • My pen won't break, but borders will. — Parwana Amiri • Neo Mythological — The Krah • Neptune Square Neptune or my midlife crisis — J Henry Hansen • Networking with an attitude! — Julia Evans • NEW YORK POST flag profile — Michalis Pichler • Newspaper from the American West — Antonis Theodoridis • Not Dead Yet, vol.1 — Various • Nothingness — Manuel Hernández Ruiz • Official Portrait — Lewis Bush • Parental Leave — Anne-Laure Franchette • Peach + Eggplant — AUB Zine Society (various) • Perzine Prompts, Power to your voice — Andromache Kokkinou • Peza vs. Noir (NAC 1st Year Zine) — Neo-Apollonia Crew • Poor Appetite — Folded City • Pour Une Nouvelle Nouvelle Sculpture Grecque — Stamatis Schizakis • Pro-typos, fiction newspaper, Design Walk 2012 — pi6 • Psychedelic Art — AUB Zine Society (various) • Quasar — Ctin • Queer Ink DIY zine — Queer Ink • Queer βίωμα τραύμα και μνήμη — Mochi & Smar • Quotidien — Georgios Plastok • Room around a page — Chloë van Diepen • Self important — Kati Akraio • Soft cake — Sarah Maria Schmidt/Haras (Ananas) • Solo : A broad, issues: #2 & #3 — J Henry Hansen • Solo Diver — Solo Diver • Some call them balkans, 6 acts/books — The Ground Tour Project • Some fallen umbrellas and something else — Michalis Pichler • Sonic Urbanism — &beyond • Street Crawler, issues #1-2 — Aidan Frere-Smith • Summer Time!!! … And how to survive it! — Asparagus Plumosa • Sunny Days, the A-dash issue — A-dash (various) • Swimming outside the stream (vol.I-IV) — Karan Reshad • Talk to me — Born, Think & Yiakou • The adventures of Betty X — Krista Raisa • The Architect is absent — kyklàda.press • The Athens Zine Bibliotheque People — Nadia Stasinou • The bugbook! — Stefania Patrikiou • The cemetery is a forest — Olga Vereli & Katerina Markoulaki • The dreams of Charlotte — Charlotte & Inés Ballesteros • The Feminine Sublime — Rakel McMahon, Katrín Inga Jónsdóttir Hjördísardóttir & Eva Isleifs • The Gum Issue Magazine, issues #1-3 — Various • The international pop no.1, La Sabotage — Dominik Leitner • The Krah illustra zine (1997-2020) — The Krah • The Krah sketchbook, issue #1 — The Krah • The lioness only swims when she has to — Margarita Athanasiou • The Olive tree and the old woman — Parwana Amiri • The search for what doesn't exist begins — Leifur Ýmir Eyjólfsson • The space in between — Chloë van Diepen • The Ultimate Book Coat, User's Guide—Dah Yee Noh • The urban encounters zine — Various • The Urge — Tairis Dimitris • The worst street journal, issue #4 — Dimitris Mitropoulos • Things we don’t talk about — J Henry Hansen • This is my b. world — b. • Tinted window, issue #1: Hervé Guibert — Various • To make radical poetry from home: zine & catalogue — Various • Tomorrow Land — Jana Jarosova • Torso: The Athens Zine Bibliotheque issue — Andrew Nicholas • Torso: IZM July 2019 issue — Andrew Nicholas • Torso: Wild (16 issues) — Andrew Nicholas • TRAINS (FTBTP) — Livor Mortis Zine • Tunnel Up/Tunnel Down, a zine about virtual private networks — Mara Karagianni • Unlimited Card Zine — Noam Assayag & Nick Splendorr • Until the darkness was gone… — J Henry Hansen • Untitled — Stefania Patrikiou • Untitled — Kunstlerexemplar • Untitled — Michael Oskar Wlaschitz • Untitled, vol.1 — Aidan Frere-Smith • Untouchable!! Unreachable!! — Cara Farman & Cameron Lynch • Versifier — William Lee a.k.a. Shannon Flegel • Vielleicht Schwammerl — Kati Akraio • Von Eisen Und Wind — Klára Zahrádková • We are Stefan Werc — Tiny Hand Collective • What I wore yesterday — Asparagus Plumosa • Why do bunnies need to go to therapy? — Queer Ink • Writing new titles for an unfinished novel — Esther Kempf • You stay at home all day and daydream about shoulder dislocations — Never Brush My Teeth • You were born naked and the rest is drag — Amor de Primas • Zine 02 — Various • Zine of zines: "Pause" — Emily Randall • Zine-Ception! A zine about zines — Asparagus Plumosa • 7 αγαπημένα μέρη στη Σίκινο — These Are A Few Of Our Favorite Things • 7 θρεπτικές ουσίες που πρέπει να προσέξεις σε περίπτωση αιφνίδιας χορτοφαγίας — Margarita Athanasiou • 90 ίχνη — Αλέκος Κοάν & Φώντας • Άτιτλο — Liz Papadaki • Εδραιωτικό τετράδιο φιλίας ε#1 — Maria Paneta • Εμβοές, Πεταλούδες της λήθης — Νικόλας Μαλεβίτσης • ένα προς δύο (1:2) — Nikos Staikoglou • Εξομολογήσεις — Various • Η πρώτη τελευταία και παντοτινή Μπιενάλε του Ψηλορείτη, Παναγιώτης Λουκάς & Μαλβίνα Παναγιωτίδη — Stamatis Schizakis • Η πρώτη τελευταία και παντοτινή Μπιενάλε του Ψηλορείτη, Ρένα Παπασπύρου — Stamatis Schizakis • Η πρώτη τελευταία και παντοτινή Μπιενάλε του Ψηλορείτη, Φοίβη Γιαννίση — Stamatis Schizakis • Θα βγαίνω θα πίνω — Asparagus Plumosa • Θέρως — μ² • Καλοκαίρι από απόσταση — Νίκος Καπετάνιος • Λένα Λεπιδόπτερα — Eloish Leigh • Λίπος Άλμπατρος #6 — Joanne Alexopoulou • Μια εποχή στον χαρτοπόλεμο — Αντώνιος Βάθης • Νεωτερισμοί — Χάρης Αλεξίου • Ντελίριο — Μαρία Κωνσταντοπούλου • Οι παγωμάρες μέρες του Πηλίου — Αναστασία Δαφερέρα • Πευκόραμα — Christina Karavida & Louis Bitsikokos • Ποιήματα για Πόκεμον — #TextMe_Lab • Πολιτικά χοντρέλες — Σοφία Αποστολίδου, Hodan Warsame, Φωτεινή Κάκκαρη & Βασιλική Λαζαρίδου • Πώς να φτιάξεις χαρτί στο σπιτάκι σου και να τυπώσεις διάφορα πράγματα ανάλογα με την όρεξή σου και το budget σου, εγχειρίδιο part 1 — Νέλλη & Χριστίνα • Σαντορίνη: μια σύντομη εισαγωγή — Θάνος Ν. Στασινόπουλος • Σαράντα δύο — Silent • Σεμπρία, τεύχη #1-3 — Κύριος Φλανέριος • Σου 'χω πει ποτέ — Tango with lions • Τα θερινά — Χάρης Αλεξίου • Τι τρώνε οι κότες; — Νικόλας Φαράκλας • Τρυφερά υφαίστεια ως το μεδούδι χωρίς επιστροφή — Αντώνιος Βάθης • Φούιτ, τεύχη ΙΙΙ, ΙV & V — Various • Χαίρομαι που είσαι φίλη μου — Asparagus Plumosa • Χαμένο σαν σταφίδα σε μωσαϊκό — Never Brush My Teeth • Ψηφίδες / Pixels (12 books) — miss dialectic • Ψωμί — Paky Vlassopoulou

List of zines that we forgot in Athens (will be presented in 2022 at "AZB @ Sikinos VOL.4"): • 38°32’S 143°58’E — Mirella & Arur Kokk • Berlin Love Me — Αντώνιος Βάθης • Do I have self esteem? — Alex Schauwecker • freedom machine — Mirella & Arur Kokk • Kerozine, issue #1 — The Shop Lifters Collective • Tabloid, issue #1 — Various • διαχωρισμός — Mirella & Arur Kokk • Η πρώτη μου βαβέλ — Tasmar

[perfectirishgifts]

Why The Job Of Brand Safety Keeps Getting Tougher

New Post has been published on https://perfectirishgifts.com/why-the-job-of-brand-safety-keeps-getting-tougher/

Why The Job Of Brand Safety Keeps Getting Tougher

As threats to brand safety mushroom, brand management teams increasingly find themselves stuck in whack-a-mole mode.

At GroupM, a leading global media investment firm, EVP of Brand Safety John Montgomery leads the charge to cultivate effective brand safety best practices. I recently asked him to shed light on his priorities.

Paul Talbot: When you consider the challenges of nurturing and safeguarding brand safety, what tops the list?

John Montgomery: If you had asked this question a few years ago, the major client concern would be how to keep brands from appearing adjacent to inappropriate content.

Now, clients are concerned about the broader issue of keeping harmful content off the web and how to help make social platforms, in particular, safer for users.  A good example of this is when LoopMe issued its ‘Hate-Free Promise’ to advertisers to ensure their ads would not appear adjacent to harmful content.

Talbot: What happens when the objectives of brand safety move beyond tech?  If the objective is to protect brand equity and cement consumer trust, what else besides tech considerations needs to be happening to achieve these goals?

Montgomery: Brand safety has been focused on digital because the advent of behavioral targeting and automation has made it the most vulnerable.  And brand safety isn’t just about adjacency, it extends to any risk a brand may face in the digital supply chain such as invalid traffic, viewability, privacy and data integrity.

Risks have always existed beyond digital. For example, when Bill O’Reilly becomes a toxic property, when an influencer jokes about suicide and when a brand gets tangled up in disinformation on a platform like Fox or NewsMax.

Talbot: Your brands are in the homes of a nation that is not only polarized politically, but often dismissive of fact and truth. How do you suggest brand management teams navigate these difficult waters?

Montgomery:  GroupM has a process called a risk analysis that it takes its clients through to help them understand the risks, rewards and implications of advertising on various channels.

Brands can limit their risks to virtually zero, but that comes with significant implications to cost efficiency and reach. But I don’t think that we have seen the worst of the risk that brands face by exposure to disinformation, both potentially about the brands themselves or about brands having to choose sides that could alienate a portion of their target market.

We began the process of brand risk assessment in 2017 to help our agency teams consult with clients on how they should interpret their brand values into digital strategies and implementation tactics.

§ Beyond brand safety, how can we apply a brand suitability model to align messaging with the most appropriate, brand safe environments?

Is the brand only concerned with audience delivery? 

Is performance our primary objective, or should we compromise some of that potential performance to protect brand equity and support a safer ecosystem that denies revenue to fraudsters, pirates, and misinformation purveyors?

Is avoiding direct adjacency to distasteful or negative news enough to satisfy my communication needs while preserving our brand values?

Do I want to use my media schedule to send a signal to potential partners that protecting brands is not enough, that consumer safety is paramount, that bias against protected groups, digital privacy, and the aggressive elimination of child endangerment, hate speech, graphically obscene content and irresponsible treatment of debated social issues must be elevated to the status of priority above and beyond revenue generation?

The GroupM brand safety risk assessment is designed to help our agencies and clients determine a balance of tolerance vs. tactics, to guide media planning and buying decisions across the digital ecosystem.

New targeting and verification capabilities and publisher and platform responsiveness have improved our ability to navigate in programmatic, paid social, paid search, emerging platforms and influencer environments while minimizing risk.

Talbot: Historically, leading brands have at times strived to serve as unifiers. We’ve seen this with products ranging from Coca-Cola to Chevrolet. Where do creative campaigns with unifying as a theme fit into the mood of the times? Do they pose a risk to brand safety through unintended but possible polarization?

Montgomery: Brands can play an exciting creative role with social issues – just look at the great work P&G has done with gender and race.  But brands are also doing a fantastic job in media by addressing harmful content on the web through the GARM (Global Alliance for Responsible Media), which has unified the industry – marketers, agencies, associations and media behind a single approach to address harmful content.

Talbot: Any other insights on brand safety you’d like to share?

Montgomery: Of course 🙂 One way of helping to address disinformation and polarization is to get more journalists with feet on the ground in local communities reporting on real facts.

Local news has been pulverized by the shift to digital and most recently the pandemic. The marketing industry should support news, not just to save journalism but because it’s an effective medium, engendering trust in the local communities where consumers shop for marketers brands and by delivering a better quality digital impression.

From CMO Network in Perfectirishgifts

[pmsocialmedia]

Unilever and Verizon are the latest companies to pull their advertising from Facebook

Advertiser momentum against Facebook’s content and monetization policies continues to grow.

Last night, Verizon (which owns TechCrunch) said it will be pausing advertising on Facebook and Instagram “until Facebook can create an acceptable solution that makes us comfortable and is consistent with what we’ve done with YouTube and other partners.”

Then today, it was joined by consumer goods giant Unilever, which said it will halt all U.S. advertising on Facebook, Instagram (owned by Facebook) and even Twitter, at least until the end of the year.

“Based on the current polarization and the election that we are having in the U.S., there needs to be much more enforcement in the area of hate speech,” Unilever’s executive vice president of global media Luis Di Como told The Wall Street Journal.

The effort to bring advertiser pressure to bear on Facebook began with a campaign called #StopHateforProfit, which is coordinated by the Anti-Defamation League, the NAACP, Color of Change, Free Press and Sleeping Giants. The campaign is calling for changes that are supposed to improve support for victims of racism, anti-Semitism and hate, and to end ad monetization on misinformation and hateful content.

The list of companies who have agreed to pull their advertising from Facebook also includes outdoor brands like REI, The North Face and Patagonia. (An important caveat: Gizmodo noted that it’s not clear whether these advertisers are also pulling their money from the Facebook Audience Network.)

We have taken the decision to stop advertising on @Facebook, @Instagram & @Twitter in the US.

The polarized atmosphere places an increased responsibility on brands to build a trusted & safe digital ecosystem. Our action starts now until the end of 2020.https://t.co/flHhKid6jD pic.twitter.com/QdzbH2k3wx

— Unilever #StaySafe (@Unilever) June 26, 2020

Facebook provided the following statement in response to Unilever’s announcement:

We invest billions of dollars each year to keep our community safe and continuously work with outside experts to review and update our policies. We’ve opened ourselves up to a civil rights audit, and we have banned 250 white supremacist organizations from Facebook and Instagram. The investments we have made in AI mean that we find nearly 90% of Hate Speech [and take] action before users report it to us, while a recent EU report found Facebook assessed more hate speech reports in 24 hours than Twitter and YouTube. We know we have more work to do, and we’ll continue to work with civil rights groups, GARM, and other experts to develop even more tools, technology and policies to continue this fight.

And Twitter provided a statement from Sarah Personette, vice president of global client solutions:

Our mission is to serve the public conversation and ensure Twitter is a place where people can make human connections, seek and receive authentic and credible information, and express themselves freely and safely. We have developed policies and platform capabilities designed to protect and serve the public conversation, and as always, are committed to amplifying voices from underrepresented communities and marginalized groups. We are respectful of our partners’ decisions and will continue to work and communicate closely with them during this time.

As of 1:57 p.m. EDT, Facebook stock was down more than 7% from the start of trading. CEO Mark Zuckerberg said he will also be addressing these issues at a town hall starting at 2 p,m. EDT today.

Big outdoor brands join #StopHateForProfit campaign, boycott Facebook and Instagram ads

  via Social – TechCrunch https://ift.tt/3exANbg

[localbizlift]

Unilever and Verizon are the latest companies to pull their advertising from Facebook

Advertiser momentum against Facebook’s content and moentization policies continues to grow.

Last night, Verizon (which owns TechCrunch) said it will be pausing advertising on Facebook and Instagram “until Facebook can create an acceptable solution that makes us comfortable and is consistent with what we’ve done with YouTube and other partners.”

Then today, it was joined by consumer goods giant Unilever, which said it will halt all U.S. advertising on Facebook, Instagram (owned by Facebook) and even Twitter, at least until the end of the year.

“Based on the current polarization and the election that we are having in the U.S., there needs to be much more enforcement in the area of hate speech,” Unilever’s executive vice president of global media Luis Di Como told the Wall Street Journal.

The effort to bring advertiser pressure to bear on Facebook began with a campaign called #StopHateforProfit, which is coordinated by the Anti-Defamation League, the NAACP, Color of Change, Free Press and Sleeping Giants. The campaign is calling for changes that are supposed to improve support for victims of racism, antisemitism and hate, and to end ad monetization on misinformation and hateful content.

The list of companies who have agreed to pull their advertising from Facebook also includes outdoor brands like REI, The North Face and Patagonia.

We have taken the decision to stop advertising on @Facebook, @Instagram & @Twitter in the US.

The polarized atmosphere places an increased responsibility on brands to build a trusted & safe digital ecosystem. Our action starts now until the end of 2020.https://t.co/flHhKid6jD pic.twitter.com/QdzbH2k3wx

— Unilever #StaySafe (@Unilever) June 26, 2020

Facebook provided the following statement in response to Unilever’s announcement:

We invest billions of dollars each year to keep our community safe and continuously work with outside experts to review and update our policies. We’ve opened ourselves up to a civil rights audit, and we have banned 250 white supremacist organizations from Facebook and Instagram. The investments we have made in AI mean that we find nearly 90% of Hate Speech we action before users report it to us, while a recent EU report found Facebook assessed more hate speech reports in 24 hours than Twitter and YouTube. We know we have more work to do, and we’ll continue to work with civil rights groups, GARM, and other experts to develop even more tools, technology and policies to continue this fight.

And Twitter provided a statement from Sarah Personette, vice president of global client solutions:

Our mission is to serve the public conversation and ensure Twitter is a place where people can make human connections, seek and receive authentic and credible information, and express themselves freely and safely. We have developed policies and platform capabilities designed to protect and serve the public conversation, and as always, are committed to amplifying voices from underrepresented communities and marginalized groups. We are respectful of our partners’ decisions and will continue to work and communicate closely with them during this time.

As of 1:57pm Eastern, Facebook stock was down more than 7% from the start of trading. CEO Mark Zuckerberg said he will also be addressing these issues at a town hall starting at 2pm Eastern today. (So … now.)

Big outdoor brands join #StopHateForProfit campaign, boycott Facebook and Instagram ads

[workfromhom]

Unilever and Verizon are the latest companies to pull their advertising from Facebook

Advertiser momentum against Facebook’s content and moentization policies continues to grow.

Last night, Verizon (which owns TechCrunch) said it will be pausing advertising on Facebook and Instagram “until Facebook can create an acceptable solution that makes us comfortable and is consistent with what we’ve done with YouTube and other partners.”

Then today, it was joined by consumer goods giant Unilever, which said it will halt all U.S. advertising on Facebook, Instagram (owned by Facebook) and even Twitter, at least until the end of the year.

“Based on the current polarization and the election that we are having in the U.S., there needs to be much more enforcement in the area of hate speech,” Unilever’s executive vice president of global media Luis Di Como told the Wall Street Journal.

The effort to bring advertiser pressure to bear on Facebook began with a campaign called #StopHateforProfit, which is coordinated by the Anti-Defamation League, the NAACP, Color of Change, Free Press and Sleeping Giants. The campaign is calling for changes that are supposed to improve support for victims of racism, antisemitism and hate, and to end ad monetization on misinformation and hateful content.

The list of companies who have agreed to pull their advertising from Facebook also includes outdoor brands like REI, The North Face and Patagonia.

We have taken the decision to stop advertising on @Facebook, @Instagram & @Twitter in the US.

The polarized atmosphere places an increased responsibility on brands to build a trusted & safe digital ecosystem. Our action starts now until the end of 2020.https://t.co/flHhKid6jD pic.twitter.com/QdzbH2k3wx

— Unilever #StaySafe (@Unilever) June 26, 2020

Facebook provided the following statement in response to Unilever’s announcement:

We invest billions of dollars each year to keep our community safe and continuously work with outside experts to review and update our policies. We’ve opened ourselves up to a civil rights audit, and we have banned 250 white supremacist organizations from Facebook and Instagram. The investments we have made in AI mean that we find nearly 90% of Hate Speech we action before users report it to us, while a recent EU report found Facebook assessed more hate speech reports in 24 hours than Twitter and YouTube. We know we have more work to do, and we’ll continue to work with civil rights groups, GARM, and other experts to develop even more tools, technology and policies to continue this fight.

And Twitter provided a statement from Sarah Personette, vice president of global client solutions:

Our mission is to serve the public conversation and ensure Twitter is a place where people can make human connections, seek and receive authentic and credible information, and express themselves freely and safely. We have developed policies and platform capabilities designed to protect and serve the public conversation, and as always, are committed to amplifying voices from underrepresented communities and marginalized groups. We are respectful of our partners’ decisions and will continue to work and communicate closely with them during this time.

As of 1:57pm Eastern, Facebook stock was down more than 7% from the start of trading. CEO Mark Zuckerberg said he will also be addressing these issues at a town hall starting at 2pm Eastern today. (So … now.)

Big outdoor brands join #StopHateForProfit campaign, boycott Facebook and Instagram ads

  from Facebook – TechCrunch https://ift.tt/3exANbg via IFTTT

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Unilever and Verizon are the latest companies to pull their advertising from Facebook

Advertiser momentum against Facebook’s content and moentization policies continues to grow.

Last night, Verizon (which owns TechCrunch) said it will be pausing advertising on Facebook and Instagram “until Facebook can create an acceptable solution that makes us comfortable and is consistent with what we’ve done with YouTube and other partners.”

Then today, it was joined by consumer goods giant Unilever, which said it will halt all U.S. advertising on Facebook, Instagram (owned by Facebook) and even Twitter, at least until the end of the year.

“Based on the current polarization and the election that we are having in the U.S., there needs to be much more enforcement in the area of hate speech,” Unilever’s executive vice president of global media Luis Di Como told the Wall Street Journal.

The effort to bring advertiser pressure to bear on Facebook began with a campaign called #StopHateforProfit, which is coordinated by the Anti-Defamation League, the NAACP, Color of Change, Free Press and Sleeping Giants. The campaign is calling for changes that are supposed to improve support for victims of racism, antisemitism and hate, and to end ad monetization on misinformation and hateful content.

The list of companies who have agreed to pull their advertising from Facebook also includes outdoor brands like REI, The North Face and Patagonia.

We have taken the decision to stop advertising on @Facebook, @Instagram & @Twitter in the US.

The polarized atmosphere places an increased responsibility on brands to build a trusted & safe digital ecosystem. Our action starts now until the end of 2020.https://t.co/flHhKid6jD pic.twitter.com/QdzbH2k3wx

— Unilever #StaySafe (@Unilever) June 26, 2020

Facebook provided the following statement in response to Unilever’s announcement:

We invest billions of dollars each year to keep our community safe and continuously work with outside experts to review and update our policies. We’ve opened ourselves up to a civil rights audit, and we have banned 250 white supremacist organizations from Facebook and Instagram. The investments we have made in AI mean that we find nearly 90% of Hate Speech we action before users report it to us, while a recent EU report found Facebook assessed more hate speech reports in 24 hours than Twitter and YouTube. We know we have more work to do, and we’ll continue to work with civil rights groups, GARM, and other experts to develop even more tools, technology and policies to continue this fight.

And Twitter provided a statement from Sarah Personette, vice president of global client solutions:

Our mission is to serve the public conversation and ensure Twitter is a place where people can make human connections, seek and receive authentic and credible information, and express themselves freely and safely. We have developed policies and platform capabilities designed to protect and serve the public conversation, and as always, are committed to amplifying voices from underrepresented communities and marginalized groups. We are respectful of our partners’ decisions and will continue to work and communicate closely with them during this time.

As of 1:57pm Eastern, Facebook stock was down more than 7% from the start of trading. CEO Mark Zuckerberg said he will also be addressing these issues at a town hall starting at 2pm Eastern today. (So … now.)

Big outdoor brands join #StopHateForProfit campaign, boycott Facebook and Instagram ads