#importance-of-clipping-path-service

[cindersnows]

the problem with mitsi (or as i like to call it. mitsogyny)

(context: this was written under a youtube video, which i'm sure most of us have at least seen pop up in our recommendeds, in response to many people taking criticism against the new episode. it has been edited a little to be more cohesive as a somewhat-essay)

ok, i wanted to write out a rant/essay/ramble/whatever sort of summarising the criticism against mitsi's plotline because a lot of the people here seem to be misunderstanding the fundamental issue that people have with it, including some of those people themselves.

first off, an analysis that i think tell both sides of the argument very well which i feel should be read before reading the essay: Mitsi: What Makes A Fridged Character (and why y'all are wrong about it) | an AvA essay by InksandPensblog. i will note: i don't care to discuss whether mitsi was fridged or not and that won't be of much importance in this post. the above link gives some insight into some of the fandom's criticism of mitsi and how she was "fridged", defining common tropes for examples. that's what's relevant to this post.

the main issue with mitsi, in my opinion, is less with the fact that mitsi's a girl and moreso the fact that she's one of the only female-coded character in the series, and that her character's main purpose was to further victim's own development. the other arguably female-coded character in the series is pink, who (like navy) only really exists to explain purple's motivations. i don't have much of an issue with that since they're not meant to be important or sympathised with at all. that's not their job in the story.

with mitsi, i've seen people point out that she has more character to her than just victim's love interest and supporter: she invents rocketcorp, she's smart, she's kind, innocent and helpful. narratively speaking, she shows other creations' relationships with their animators, parallels her innocence with victim's trauma, and introduces victim to the outernet (as most fans call the stick realm).

but most of this things imo are either stretches or invalid arguments. she's not really a 2/3-dimensional character in any way; her main character traits boil down to the fact that she likes to be in service of others with no nuance behind why she likes helping people. she hypes up victim for the villagers, she starts a company with him to share his talents with the world, and she helps him overcome his trauma from alan's torture. all of her main plot beats center around victim: and while technically the sticks are genderless and free to be interpreted however the viewer wants, alan and most of his team see all the main characters as male, and that subconciously affects how they're written. mitsi, the first major female-coded character, spends most of her storyline in service of victim, a character not written as female.

there's also the issue of her being victim's canonical love interest. i feel like this statement from alan is important to keep in mind (don't mind the sound effects and edits, this is the only isolated clip i can find at the moment). in particular:

"i just assume that [the ava/m characters] are just a bunch of bros]. i haven't thought of adding any female stick figures but i think it'd be good. i don't want to introduce any romance though, i don't want that to be a theme."

he seems to have changed his mind on that last part, which is fine, but the notable part for me is that he seems to associate female characters with romance from the getgo. before anyone misinterprets this, i'm not trying to call alan sexist or anything. but there's a common issue with women in stories being reduced to just a romantic partner for the male lead, and mitsi falls under this, with her entire character existing to serve victim. (not to mention people will make things about romance whether you like it or not. that's just basic fandom. search up grapeduo or chodark.) even her death is to put victim on the path of vengeance--- it doesn't need to happen to show the extent of tco and tdl's destruction, because that's already made pretty clear in ava s2 the flashback and the earlier scenes showing various characters escaping burning buildings. when you write a female-coded character whose only purpose is to serve a male character, you're contributing to sexist narratives.

a counter i see many people point out with the idea that she has no character is that she does have character traits, it's just that they're generic ones like "kind" and "innocent". the issue is that she has no flaws to counterpoint this; it's not that she didn't have enough screentime. in ava4 for example, we see tsc's flaws pretty clearly; they can be very mean when they want to, they're petty (albeit for a fair reason), they're a little impulsive. this is shown in 11 minutes (from the moment they come alive to the end of the video).

with mitsi meanwhile… she doesn't seem to have any flaws? she helps victim whenever she can. she's nice to all the villagers. her customers all like her and she's a great leader at rocket corp (to note, specifically as part of a pair with victim. they're a power couple, she's barely given credit for her work alone). she has 13 minutes of screentime, or 10 if you count from her waking up in the outernet. there's plenty of opportunities to show her having flaws; maybe she acts a little selfish during tdl and tco's attack, only wanting to help herself and agent smith, or maybe she overworks herself, or feels awkward at having too much attention (and that could also be why she redirects so much attention to victim, she's shy). you could argue that the episode needs to develop victim and agent smith too, but ava4 shows that's easy to do too: just a few seconds dedicated to showing rgyb fighting over who leaves first shows that they can be selfish and childish. it's very easy to insert a moment like that for mitsi.

it's a little disappointing when the first major female-coded character in ava is completely flawless, with no personality outside of being nice and helpful for others.

also, slightly unrelated, check out this quote from mitsi's plushie website: "her white featureless face seems to ooze mystery and feminine power all at the same time." her main character trait, as a woman, is being feminine. it's irritating as someone who's been raised a woman to see her reduced to just her gender. she feels more plastic than a person, like the concept of what a woman should be (perfect, kind, useful) and not an actual character/person.

i would expect more from the writing in the series seeing as it's not just an independent passion project anymore, and has multiple writers that all could've worked to flesh out mitsi, or at least get a sensitivity reader of sorts to point these issues out. it's extremely disappointing and i can understand why people were upset.

tldr: the problem isn't just that mitsi's a girl, or that she's nice or dating victim, it's that she's written in a misogynistic way.

[rahuratna]

HI!! I love your reasons on why Nanami speaks to you on a personal level sm!! It’s so interesting because you pointed out a different perspective I’ve never thought about before. The reason why I started liking Nanami was because of his journey of finding a sense of purpose. If I were to drop myself into the JJK verse and had the option to convince Nanami to stay as a sorcerer instead of a salaryman, I wouldn’t. Because then he wouldn’t have known if being a salaryman and, like you mentioned in some of your fics, having a simple and more ordinary lifestyle made him more fulfilled.

Then your insights on identity comes to play: no matter what you choose to do with life, it doesn’t completely define you because we also have to consider the emotions and experiences that make us human. What we never got to see was what Nanami did in his free time and, excluding the value/service he provided for others and the short clips from “Where our blue is”, what memories and experiences that made him happy and loved. That’s also why reading your works is so good and comforting 😭 😭

You also talked about lack of self-preservation which I think makes a lot of sense given the pressures Jujutsu society. For Nanami, I think he feels like there’s barely a choice in what he can do. Both being a salaryman and a jujutsu sorcerer means being “exploited” by the higher ups. As a salaryman, he was “making the rich richer,” and as a sorcerer, he and his peers were being sent out to risk their lives to kill curses instead of the powerful elders doing it themselves (particularly with his best friend’s death). The higher ups in society do not care or value his life because there will always be more sorcerers and salarymen to replace him in terms of the job. THATS WHY I LOVED WHEN YOU POINTED OUT THAT YOUR JOB DOESNT DEFINE YOUR IDENTITY AIDHNSJDNBDKS. I think that’s what might have influenced Nanami to have a lack of self-preservation like you said. Yes because being a sorcerer requires it, but also because the only semblance of meaning that society could provide him was providing value to the innocent and weak which ultimately costed his life.

IT MAKES ME SO SAD BECAUSE HE DESERVES THE MOST AND HES SO MUCH MORE THAN THAT *sob sob*… tysm for all the character analysis you do, it makes me so happy talking about it :) Please add on if you have any more thoughts 🫶 🫶

Firstly, this is what I love about writing fanfic. These conversations with fellow fans who appreciate the same things about the series and characters is just golden to me 💛💛. I'm so, so flattered and glad that my interpretation of Nanami provides these different perspectives and I love hearing your ideas on it too!

So, I really liked Nanami's character to begin with, but there was one particular scene, where he wipes away the tear of the transfigured human, that really made me sit up and take note.

When the show got into his background, I immediately picked up on how much he values others over himself. It ties in with what you said about how there could possibly have been a happier reality for him if he'd simply chosen the path of a 'normal' life. Maybe he could have eventually retired and lived that peaceful existence.

And this is where he truly becomes a tragic figure for me. I feel like the world he lived in would never have allowed that peace. His compassion, desire to protect and serve others and his strong beliefs always shine through. Jujutsu society favours the ruthless, the predators, the ones who can detach and operate without thinking too hard about the cost, like Mei Mei, for example.

Nanami is not an apex predator. He's very strong, but a foot soldier, and one who fully acknowledges his own weaknesses. While his compassion and heart make him a sterling human being, they don't grant him safety, or survival.

To reiterate what I said in my previous post, he does define himself by how well he can serve others. Which is his job.

You also pointed out something really important, which was that Nanami's search for purpose makes him so interesting. I think that the trauma he suffered from the death of his friend, along with possibly the survivor's guilt, is what actually led to him under-valuing himself like this, and also prioritizing the younger sorcerers. He thought so hard about his own purpose, but was also so blind to his own value as a human being, with qualities that made him so much more than JUST a salaryman, or JUST a sorcerer.

Yaga said something to Yuuji which always stuck with me; that in their world, being a sorcerer requires a certain level of insanity, an ability to detach yourself so that you can face the horror of the curses with reckless bravery.

Nanami had his own brand of insanity, one that allowed him to actually remain attached to the value of peoples' lives, to express kindness and compassion, and STILL go out there and face the dangers of his job with a straight back and steady heart. It wore him down terribly, but his powerful belief in his own principles allowed him to do his job, day after day.

That unique madness was what tore away any sense of self-preservation and self-value he had, but also served as one of the strongest inspirations to those who he left behind. Their value of him, their grief and their loss, speaks volumes about the man he was.

I love writing those same aspects you mentioned, the little things that give him happiness and pleasure, the healing and understanding of his own importance, the simplicity of his needs being met.

Cheers to plenty more fanfic! And always feel free to drop me your thoughts, even if you had a random 1 am musing! I love hearing them!

[blackjackkent]

All right - resuming Rakha's playthrough, but kicking it off with a non-Rakha drabble this time. Because I've realized that there's one distinct benefit of the fact that Rakha is allying with the Emperor - it allows me to give a very specific and legitimate reason why Lae'zel might let her guard down enough to be captured by Orin. >:)

-----

Lae'zel growls, pressing the edge of her blade fiercely into the surface of the whetstone. Restless agitation fills her, frustration and - yes, anger too, much as she hates to admit it. The party's encounter with Raphael in Sharess's Caress plays over and over in her mind. 

The devil offered them a way forward, a path to rescuing Prince Orpheus - the Orphic Hammer. In trade, he asks for the Crown of Karsus, the device that keeps the ghaik elder brain in check. A reasonable trade, Lae'zel thinks… but Rakha rejected it.

The anger flares in her abruptly. How dare she? Rakha knows how important Orpheus is to her - to all of the githyanki people! And yet she rejected this path forward, turned away from Raphael and all that he offered. 

After all I have done for her! Lae'zel seethes, her young mind afire with the unfairness of it. Has she not stood watch at Rakha's bedside in the darkest hours of the night? Bared her sword on Rakha's behalf against a thousand enemies? Loved Rakha without reward or recompense in spite of the beast that lives in her? 

And in return, she is tossed aside while Rakha's affections stay with Wyll, and Minthara, and the cursed ghaik that lives within the Astral Prism.

It isn't fair. And it is not right. And there is no other choice - she will do what must be done herself, if Rakha will not.

No one else in camp is watching. Most are already asleep for the night. Rakha is, as always, consumed with her own torments. There will not be a better time, and the decision is made; she cannot allow herself to waste time agonizing over it.

She clips the sword to her back, hefts her pack over one shoulder, slips out the edge of the camp through the rotted buildings beyond. She does not know where she will go, how she will begin to find the House of Hope on her own - but honor demands that she must try, no matter how much it rips out her heart to leave Rakha's company.

A voice greets her out of the dark.

"Lae'zel of K'liir. T'lak'ma Ghir - my sister."

Lae'zel's eyes widen. "Jhe'stil Kithrak," she says respectfully. "I did not know you had come--"

"Quickly, child," he says, ignoring her words completely. "There is no time. We must find the House, we must seek the Hammer, for certainly your companion will not."

"Yes. Yes!" Relief floods Lae'zel, that she will not face this task alone after all. "I am at your service. Say where my blade will strike."

"Come--" he repeats urgently. With a gesture he draws her forward, into the shadows, out of view of the camp. "Come away... and the wheels shall be put into motion."

Something in his voice shifts as he speaks the final words. As she turns to move past him, to fall into step, his hand closes on her shoulder, and his grip is like sudden iron. She grunts involuntarily with pain. "What--"

"Good. Good. Such easy prey in the end," he murmurs - and as he speaks now, his voice shifts upward in pitch, twisting, turning, and she can feel the way his fingers lengthen against her back.

She realizes what is happening only a half-second too late; she starts to turn and then a blow catches her at the base of her neck and her whole body goes numb. Slowly, majestically, like a great tree felled from its base, she pitches over and lands facedown in the dew-damp grass.

She hears Orin's maniacal giggle from somewhere above her, and the trotting footsteps of two or three others circling around her. More long-fingered hands grasp at her shoulders and begin to drag her through the mud like a sack of meat.

"Such a tender morsel," Orin purrs from behind her. "Its broken heart blinded it... but now it shall see, and see, and scream, and SCREAM... yes, we shall play an excellent game, little flesh-bit, but all in good time. First, I have need of your face..."

Lae'zel tries to scream, to cry out, to warn the others before she is dragged out of range-- but her tongue is frozen in her mouth. The bitter realization runs like ice through her. I am a fool, she thinks, rage flooding her immobilized body. Duped like a child, all my faith and duty used against me.

And Rakha will pay for it. She believed what she was doing was right, but the fact remains - blinded with anger, she turned away from her companions with disloyalty in her heart, and now Rakha will pay the price. Perhaps, indeed, Rakha will die and believe that it was Lae'zel who struck the blow.

No. No. NO NO NO NO NO NO--

She is almost grateful when one of the doppelgangers strikes another blow and unconsciousness swallows her.

[f1archives]

Today in F1 (21/09/24)

Hello party people!

Idk if this is of interest to anyone, but so much happens in a day in this sport that I thought it might be a good idea to create a regularish report of everything that's going on.

I've made a list of everything of importance that happened today, and if this gets any interest at all I could do this semi-regularly/weekly maybe. Lmk if this of interest/worth doing.

List in the tldr.

McLaren's Wings Clipped - other teams including Ferrari and Red Bull have been complaining about McLaren's moving rear wing for a while now, and although the FIA found the wing to be compliant with the rules, McLaren have offered to change it to prevent further discussion. Drivers also made comments about the legality of the wing when being interviewed today, including Sergio Perez and Lewis Hamilton. Andrea Stella stated that the wing in question made no difference to the team's overall performance.

Godzilla's Kid - practice was disturbed this morning by a lizard on the track, which crossed paths with Fernando Alonso. The stewards chased the lizard away and practice resumed.

Goodbye Daniel? - further rumours about this being Daniel's last race, and discussion about him being replaced by Liam Lawson after the break to the next race. Daniel stated we will know more after the weekend, while his teammate Yuki Tsunoda made it clear he is completely uncertain about the situation with the seats at Red Bull, and that he is focussed on things he can control such as his own performance. After a disappointing qualifying, Daniel was clearly frustrated with the way things are going.

A Future for Franco - further conversation within the paddock about a seat for Franco Colapinto next year after promising performances over his time with Williams so far. The seat available to him is the second seat at Audi, which would pair him with Nico Hulkenberg.

George vs Pirelli - George spent a majority of qualifying ranting about the state of the tyres, expressing frustration with Pirelli for the inconsistency of their performance. Alex Albon also raised complaints about this.

Carlos Spins - Carlos Sainz hits the wall causing a red flag during Q3, disrupting flying laps from Lando Norris and other drivers. Carlos was okay, but was investigated by the stewards for crossing the track without permission when returning to the garage and has been fined 25,000 euros.

Charles' Lap Deletion - after initially qualifying P3, Charles' lap was deleted after he was found to have crossed the white lines on the track, pushing Lewis Hamilton up into P3, and moving Charles down to P9 just ahead of Carlos Sainz. Charles was clearly unhappy with this result.

Lando Takes Pole - for the sixth time this season, Lando Norris has qualified in P1. Every time he has started a race in P1 so far, he has lost that position within the first lap. He'll have to fight hard tomorrow to break that record.

Haas in Arlington Texas - after a flyer of a lap, Nico Hulkenberg managed to qualify in P6. With Singapore being a difficult track to overtake, it's looking like points for Haas tomorrow.

Max vs the FIA - after receiving community service for swearing in a press conference, Max Verstappen staged a protest against the FIA by refusing to properly answer questions in the conference after qualifying, asking the journalists to meet him outside afterwards where he proceeded to hold his own conference. Christian Horner was seen speaking to FIA officials after qualifying.

[maditalksmusic]

"WE'RE BIKINI KILL AND WE WANT REVOLUTION!"

is the opening statement of feminist punk band Bikini Kill’s song “Double Dare Ya”, one of their most famous songs challenging girls to always be unabashedly themselves. It’s a line that resonates through every song they’ve ever put out and every show they’ve performed.

Last Sunday, after finishing a horrible calculus assignment, I needed to find something to do with myself before I lashed out at anyone who crossed my path, some sort of way to diffuse my anger at the stupidity of simplifying 42 useless radical inequalities and difference quotients. I saw an Instagram ad for a Bikini Kill show at the Brooklyn Paramount in three hours. I texted every one of my new, cool college Instagram mutuals who I’d maybe met once who I thought may be a fellow Riot Grrrl fan, but nobody could go. I knew going alone was risky, but the ticket was $30. It was too good of a deal to pass up. I went back to my apartment, changed into my plaid skirt and Docs, threw my hair into the coolest claw clip style I could pull off in 5 minutes, and got on the next train to New York City. 

An hour and a half, one face-plant in Penn Station, an out of service Subway line, and a sprint through Manhattan in platforms to the next stop of the D train later, I made it to the venue. It was only 30 minutes before the opener, Sweeping Promises, came on, and I assumed there would be a line out the door. When I just walked right through security without waiting for a single second, I was shocked. I figured I would be squeezing into the middle of that standing-room-only space like a canned sardine, but I waltzed right up to the barricade. Watching people fill in behind me was fascinating. I was under the impression I’d be one of the youngest people there, until I started seeing waves of 13-16 year old girls coming in buzzing with excitement, followed closely by their fathers in vintage punk merch who probably played basement shows every weekend in their late teens and early twenties. 

Kathi Wilcox on bass guitar during "Alien She", shot by me

I started listening to Bikini Kill when I was 13. They were one of the first bands that played “real music” (essentially anything that isn’t top 40 radio pop) that I started listening to. Hearing Kathleen Hanna singing, or more accurately melodically screaming, these songs about everything from feminism to political activism to standing up to sexual harassment over a gorgeously aggressive drum beat from Tobi Vail while Kathi Wilcox shreds on bass, made something in my brain click into place. Suddenly I realized that even at my age, I could be aware of what was going on in the world, and I could start to challenge these issues, even if it was only on a personal scale. Hearing “Double Dare Ya” live, standing five feet from the stage, hearing every girl in the room singing along, feeling the physical energy radiating from all of those people who felt the same, while making eye contact with Kathleen Hanna was possibly the most impactful moment of my life thus far. It’s easy to forget how important it is to let your frustrations out not only by yourself, but in a public space sometimes. In May, Hanna spoke with NPR on the subject. It’s healthy to cope with emotions on your own, but the experience of letting it all out with other people who are right there with you is unparalleled. This public release of anger is one of the things Bikini Kill prioritizes, and it’s highly evident in the electric energy of their shows. 

Throughout the show, the band took moments to reflect on their history, and to appreciate each other, their friends, their inspirations, the people who have supported them, and their fan base. Hanna told stories that have inspired songs and albums, from her experience trying to join church choir as a young girl to the realities of experiencing assault and harassment on the basis of sex to the ways that losing friends too soon has affected her. A moment that particularly stood out was when she spoke on her late friend Mikey, who both she and Tobi Vail had known since they were teenagers. They fondly reminisced on the times they had together, and the shenanigans Mikey often enjoyed causing. Hanna then produced a neon pink fanny pack, and revealed that when Mikey passed five years ago, his mother gave her some of his ashes. This fanny pack goes to every show that Bikini Kill plays and as it turns out, is the vessel for Mikey’s remains. At first, this seemed rather morbid, and was clearly disturbing to some people in the crowd. There were gasps and nervous, shocked laughs around the room. But as Hanna explained why it was that fanny pack, it turned into a heartwarming moment, realizing that this way of honoring Mikey’s legacy, bringing his ashes on tour and keeping him with them not only in spirit but physically, is exactly what would have brought him happiness. This is highly reflective of Bikini Kill’s philosophy as a band and serves as a reminder for why they continue to do what they do. 

Over 30 years since their inception, Bikini Kill has stayed entirely true to their origins. Their sound and the messages they seek to convey haven’t changed since the 90s. Some might claim this is a sort of resistance to change, or a marker of being “behind the times”, but judging by the number of people under the age of 20 at that show, it couldn’t be further from the truth. This July, they made their television debut with a performance of “Rebel Girl”, one of their first songs, on The Late Show with Stephen Colbert. 

Authenticity is the defining characteristic of Bikini Kill. It’s their unbridled authenticity that makes it so powerful for them to play a song written in 1993 as their first televised performance 31 years later, because their style and their messages still ring true. It’s that authenticity that makes the environment of their shows so incredible. As an eighteen year old girl who was alone in New York, I had never felt safer than I did in that ~2500 person crowd. Bikini Kill continues to use their music to create spaces where women, queer people, or anyone else who goes against the status quo can come and be themself with utmost support. This is a band that has always catered to the youth with their punk-rock anthems of rebellion and empowerment, and in today’s political climate with reproductive rights and LGBTQ+ issues being at the top of the ballot, that’s more important than ever. They embody the true punk spirit, entirely unafraid to stand up for themselves and what they believe in, without regard to whether or not it’s deemed “socially acceptable”. Concerts like this are the reminders that all of us need to be the “rebel girl” in our community that refuses to be a bystander to social ills, remains honest to a fault, and is uncompromising in her values. These cathartic spaces are a necessity for everyone, and Bikini Kill’s commitment to ensuring their continued existence and the importance of expressing your anger is what fuels their ongoing success and solidifies their place in music history.

[beardedmrbean]

The gunman who tried to assassinate former President Donald Trump appears to have used the controversial alt-right favored social media platform Gab to spread messages “in support of President Biden,” according to the platform’s founder.

Gab CEO Andrew Torba said he learned Wednesday that Thomas Matthew Crooks “may have had an account on our platform” after getting “an emergency disclosure request from a law enforcement agency.”

The account @epicmicrowave — which the CEO stressed he has been “unable to confirm” was definitely Crooks’ — “posted on the site nine (9) times total,” Torba tweeted just 30 minutes after getting the law enforcement request

“While the account made very few posts on the site, the majority of them were in support of President Biden,” said the CEO of the platform launched in 2016 as a completely free-speech alternative to Twitter.

“A number of posts in particular expressed support for President Biden’s COVID lockdowns, border policies and executive orders.”

Torba shared images of pro-Biden comments made by the account, with its handle blacked out.

In one, the poster mocked someone sharing an election projection, writing in February 2021: “Didn’t you also think Biden would lose in a landslide yeah I would not be very confident in your election predictions.”

In another thread, the user defended Biden’s border policies with a study that compared crime statistics for undocumented immigrants, legal immigrants and American citizens in Texas.

“Biden executive orders don’t incentivize human trafficking as human traffickers aren’t interested in citizenships, likewise the majority of illegal immigrants are not criminals and in fact some studies (such as the one linked below) show lower rates of crime committed by these individuals,” the poster wrote.

“It is also unclear if the extensive path to citizenship is in fact effective at routing out potential bad actors hence why there is a review of that system,” the user added.

Torba said he was “disclosing this information at significant personal and business risk.

“If the past is any guide, defying the D.C. consensus by publishing the first definitive evidence that the shooter was a Biden supporter — something Democrats and their media allies have tried to cover up and deny at every turn — has a high probability of resulting in significant political and media backlash,” he wrote.

“We have saved the account data pending receipt of a search warrant,” he stated.

Crooks, 20, opened fire with an AR-15 rifle during Trump’s campaign rally in Butler, Pa., on July 13, clipping the former president in the ear and killing a rally attendee before he was shot dead by a Secret Service sniper.

Authorities have yet to elaborate on a motive for the attack, which has sparked fierce bipartisan outrage at Secret Service failings in protecting the presidential candidate.

Formed in 2016, Gab became a favorite of many fringe voices, especially those on the alt-right who were censored on other messaging platforms like Twitter.

It was briefly forced offline in 2018 after it emerged it had been used by mass shooter Robert Bowers to spread antisemitic hate before he gunned down 11 people at the Tree of Life synagogue in Pittsburgh.

Even then, Torba had pressed the importance of his site’s free-speech message.

“The answer to bad speech or hate speech — however you want to define that — is always more speech, and it always will be,” Torba said at the time.

It has faced many more controversies since then, including its use by many who stormed the Capitol on Jan. 6, the CEO noted in his Wednesday post about Crooks.

“In the past, we have been the target of politically motivated inquiries from both the House Oversight Committee and the Joint Committee on the January 6th Attacks, both of which sought to interfere with our mission of protecting free speech online,” Torba wrote.

[coricatchthorne]

Cori Reads: Countess

Suzan Palumbo’s (@gothicsyntax) Countess is a brutal yet brilliant tale of a woman turning against the Empire that discarded her. It’s a queer, Caribbean, sci-fi take on the Count of Monte Cristo; more importantly, it’s a story wholly its own, with much to say about oppression, resilience, and resistance. Some spoilers to discuss what I admired and enjoyed in this work.

Set in a future haunted by the injustices of the past, we meet our protagonist Virika Sameroo just as years of hard work and sacrifice appear to be paying off with a promotion to captaincy. But despite prioritizing her service over her artistic dreams and the wishes and worries of her widowed mother, Virika’s integrity is called into question under the thinnest of pretences, illustrating how little she is trusted or valued. 

The narrative moves at a brisk clip, propelling us through Virika’s brief moment of triumph, meteoric fall, and her path forward from the ashes. Despite the book’s brevity, it covers a lot of narrative and thematic ground (far more than I’m covering here). Focus is reserved for the moments that matter: a parade of microaggressions that foreshadow the fragility of Virika’s position; a tale of tiny creatures who must flee the birthplace they barely know and will always remember in order to survive; a harrowing visit to a cursed planet ringed by funerary bones and haunted by regret. This works because words are chosen deftly and honed to a fine edge: “spit out like rotten mango”, “lumbering tectonic plate of a warship”, “fear is bravery’s mother”.

Through Virika’s difficult journey, we see what sustains her, and may help sustain us, even in the worst of times. Anger and spite are her fuel of last resort, keeping her upright when all else fails. But more than anger is necessary to nourish us and keep us in the world. Familiar (and deliciously described) food ties Virika to her family, heritage, and the simple pleasures of the body, expressing love and building fellowship and solidarity. Art, etched on even the bleakest of canvases, allows her to process her experiences, articulate what words cannot, and connect with others. And above all, care and community enable her anger to be channeled into a force for positive change that extends far beyond just herself. Virika’s greatest moments depend on her ties to others, from her complex relationship with a sympathetic prison guard to her alliance with a crew of familiar privateers to her romance with a revolutionary’s daughter (also an excellent cook, and an articulate advocate with an ability to connect in a way that Virika’s trauma has made difficult.)

An intimate betrayal late in the story has been lodged in my brain since I finished it, hinging around the devastating assertion that “love isn’t enough”. There’s a lot to think about in this moment and what leads up to it, but my biggest takeaway so far is our obligation to consider the ways in which we’re entangled with systems of oppression, and how those entanglements may be leveraged to control us and make us weapons against even the people we love and the principles we hold dear. 

Countess is a brief, bright blade of a book, and my heart is still bloody from the read. But I’m so glad it exists; even at its bleakest, it believes in the importance of human emotion, connection, and indomitable hope in difficult times, a refrain I believe we’ll need in the days ahead. Find links to buy it here: https://suzanpalumbo.carrd.co/#countess

[oscarealejandro]

I just learned about this villain, Jennifer Bonjean, a defense lawyer who has represented R. Kelly, Bill Cosby, Harvey Weinstein, and potentially P. Diddy.

Earlier this year she filed a petition in case of her client R. Kelly for a writ of certiorari, a request that the Supreme Court order a lower court to send up the record of the case to review.

"The argument set forth by Kelly’s attorneys centers on the the 2003 PROTECT Act, which extended the federal statute of limitations for such cases. The petition for writ of certiorari states that the conduct for which the singer is convicted — specifically creating child pornography and enticing minors into illegal sexual activity — occurred prior to the law being passed. Because the acts date back to the Nineties, lawyers argue, the statute of limitations would have expired."

R. Kelly was sentenced to 20 years in prison for his sexual crimes against children (In a victory for the defense, the judge ruled that all but one year of the prison sentence would be served at the same time as a previous 30-year sentence that Mr. Kelly received after a jury in Brooklyn convicted him of racketeering and sex trafficking charges) and if those charges are overturned it would not only negate every victim who has had their lives severely traumatized, but also potentially allow R. Kelly to see the light of day much sooner than expected assuming he is granted parole. The basis for Bonjean filing this petition is that Kelly's actions exceed the statute of limitations and whether or not that is true would normally be important because it's the due diligence of the justice system to abide by the regulations they swore to enforce, but in this specific case we're arguing semantics. The man paraded around for decades and was praised as a cultural icon for a majority of my lifetime before he was punished for acts that everybody knew he was committing.

This clip from the renowned satirical series, The Boondocks, does a great job of touching on the cultural phenomenon that is R. Kelly and how we as a society played a role in him avoiding justice. I was in elementary school when I learned about R. Kelly's marriage to Aliyah and the video recording of him urinating on a 14-year old girl and even at ~8 years old I was curious as to why everyone was just okay with it.

This New York Times article discusses his accusations in further detail and why so many ignored the signs.

This is the man Bonjean is aggressively advocating to be released into society. I would advise that you save your breath before you gasp out of shock because this is far from unusual behavior for someone like her. As mentioned earlier, she represented Bill Cosby in his infamous case involving sexual misconduct, and also worked to overturn his conviction of 3-10 years in prison stemming from more than 50 women accusing Cosby of a range of sexual assault and misconduct, including rape.

Bonjean is a despicable, vile excuse of a person who lacks shame and is equally evil as the perverts she elects to represent. Another New York Times article writes that she "Called one woman who accused R. Kelly of sexual abuse 'a pathological liar.' She accused another of extortion. She tried to pick their accounts apart, and attacked prosecutors for stripping her client, the former R&B star, of 'every single bit of humanity that he has.'"

Bonjean's biography on her firm's website details what motivated her to attend law school:

Bonjean’s life took an unexpected turn when she began volunteering for the women’s services division of the YWCA of Metropolitan Chicago. At the YWCA, Bonjean was a rape crisis counselor and victim’s rights advocate for under-served and marginalized women who were victims of sexual assault and domestic violence.

One would think that the exposure to the suffering and traumatizing impact left on these victims would influence her to pursue a path where she could provide a sense of support, but not Bonjean..

While in law school, Bonjean quickly began to identify with the underdog, which in the criminal justice system is the accused.

I'll end this with a case that was lesser known to me. In June 2019, Keith Raniere, the founder and leader of Nxivm (a human trafficking cult disguised as a self help group), was tried and convicted of all seven counts of a superseding indictment charging him with racketeering and racketeering conspiracy (including predicate acts of extortion, identity theft, and production and possession of child pornography); sex trafficking, attempted sex trafficking and sex trafficking conspiracy; forced labor conspiracy and wire fraud conspiracy. On October 27, 2020 he was sentenced to 120 years in prison after 15 victims testified against Raniere in a Brooklyn federal courtroom. Less than 3 months after this sentencing, Bonjean joined Raniere's legal team to assist with the appeal. An appeal that was supported by the clam that by definition, the actions should not be considered a commercial sex act.

Raniere's arguments turn on the meaning of "commercial sex act," which the statute defines as "any sex act, on account of which anything of value is given to or received by any person." 18 U.S.C. § 1591(e)(3). He principally argues that to qualify as a "commercial sex act," there must be a monetary or financial component to the "[ ]thing of value" that is given or received, and the sexual exploitation must be for profit.

Bonjean did what she does best. She did not argue that her client was innocent, but rather that the justice system failed him. I believe the justice system is not perfect and there are shades of corruption but to use it as a primary source of defense multiple times when there's clear proof against you is asinine. This woman is a diabolical spawn of Satan and a walking ironic figure. To cry corruption as a way of freeing your client is proof of failure in so many areas, including the justice system itself.

Yes, the government conspires to put a lot of innocent black men in jail on fallacious charges but R. Kelly is not one of them... You want to help R. Kelly? Get some help for R. Kelly

[m--rtyr]

SO as an FWI I come from a very pro gun and pro gun safety household. You can have guns but you gotta be safe and mentally well to use them. Part of being from a military family. I have also been in situations where guns have been on my school campus and have deep knowledge on what happens during an active shooter. So while I am not the most credible source I do have credits to my name.

For the conspiracy theory: I fully believe that it was staged, or at the very least it as something a long those lines because it SCREAMS publicity stunt. This is not to discredit actual shootings or victims, this is a "I have had friends die in these situations, I have family members who have been shot, THIS IS NOT ADDING UP!" and I feel nothing but sadness for the people who were injured and the family of the person who passed. That is to say, sacrificing the lives of followers for political gain is NOTHING NEW!

First off an important thing to know is that the shot that the gunman was making was allegedly with a rifle from a distance of 130 yards or 118.872 meters. That is not an easy shot to miss with an AR-15 semi automatic at that distance cause that gun has a range of 600 yards and he honestly could have gotten closer if neceassary. PEOPLE BRING THEIR GUNS TO GET SIGNED! The shot to the ear is a lot more difficult of a target to hit than the head, and it barely grazed it.

Second off no one followed the natural live shooter instinct. People flee, run and panic. No one did that. They crouched down, not enough for protection but just enough to make sure that the ONE CAMERA that filmed it got full view. Those rallies are filmed and posted just as much as a Taylor Swift concert, but this was absent. It is giving cinematography and directors cut.

Third, after moldy cheeto puff was shown to be okay people clapped and errupted into applause before he was escorted away. It took way too long for secret service to get to him. It had not even been declared that the shooter was apprehended or dead yet, there was applause and cheering. The threat was still active yet nobody was afraid.

Last for right now, the shooter was killed on sight and found to be a 20 year old white man and a registered REPUBLICAN. Only graduated high school in 2022 and is a Pennsylvania native (where the shooting took place). That age group of republican white man, especially ones that are on the incel path like the shooter seemed to be, are incredibly easy to manipulate. If the person you view as god who literally has songs talking about how he is jesus christ asks you to shoot him, you will do it.

This screams being staged.

I was thinking similar tbh. I saw the clip when I was severely tired and out of it, but it seemed… bizarre. Glad to see I’m not the only person who got that idea from it.

Police apparently also got reported that the shooter was there before the shots were even made?? Some guy claimed they saw him there about five minutes into the rally and reported it to the police, and seems to imply multiple people reported it and tried to call this out, which seems like a situation where they’d then get the president… out of there??

[janspar]

Abheski Cultural Primer

In entering the service of the Company, any Abheski possessed of the virtues we exalt above others – these being leadership, initiative, clarity of thought, and financial acumen – may become successful and the very envy of their fellows. Further, with proper training and discipline these virtues may be cultivated and promoted; so that in the training of cadets, the Companies do their utmost for the benefit of these young officers, and thereby the benefit of the Abheski nation.

To truly benefit the nation, we must first understand who we Abheski are; a nation of diverse parts, no doubt, but possessed of a common history.

We came to these lands from abroad – it is not known where exactly from. Some believe that one of the distant lands of Ycairn is the place of our origin, but most agree that we came from another world. Traditional belief across much of the continent holds that we came from the Sun itself, but others believe our origin is from Fasaath, or Kombyeny, or another point within the night sky.

We Abheski are an industrious, creative, and innovative people. Having tamed patches of the wild expanse of the lands, building towns and farms and trading posts, the most successful and prosperous of our ancestors founded the five great cities – Zhikav, Vilv, Otvev, Mirsvr, and Lansk.

Though we live alongside other peoples, we hold ourselves apart. The Abheski have distinguished ourselves twice by mastery over the skies – first, in building the mighty towers that soar over our cities. Some of these towers are centuries old, and stand strong to this day, the least of them stretching higher than fifty people. In the last few generations, our supremacy over the air was proven again in being the first nation to recreate the science of powered flight; our ships, lifted by mighty dvint, broke us free from the shackles of the land.

Trade is the blood of the Abheski culture. Spread across this harsh and hostile continent, ever taming the ancient forests and defending against the great beasts, our trade is what makes the Abheski prosper above all other people; and the Companies are the pinnacle of Abheski trade. Not restricted to one province, we can deal in goods from across the known world. Not bound to the paths of the rivers and coastlines, we can go anywhere our airships can carry us. Abheski goods are prized from the tents of the Anshessi to the outposts of Hoitan, and if an Ebwari baron wants to exchange letters or goods with a Nalmyan chief, it is most probable that an Abheski vessel will carry their intercourse.

There are other practices that mark us as a peculiar peoples among our neighbours. All nations have their own calendar of celebrations and holidays, and the most important of ours is The Yearsrise festival. Though we differ on which precise day this takes places, Abheski always celebrate the end and beginning of the year around the time of winter solstice. Other peoples reckon the year differently: the Erthani begin at the spring equinox, and the Ebwari count from the height of summer. Other nations practice more curious calendars yet.

Our other important festivals are the First Feast, which in ancestral times celebrated the first hunt after each winter; and the late summer Meetday, where the harvest traditionally begins and the year's differences and disagreements are put aside.

Each city and town observe their Founding Dates. These may variously remember the day the first settlers began to build their new homes, or the day the first Spire was finally completed, but always are celebrated with great revels and public entertainments.

Though we are all Abheski, we may have slight differences in our speech. The rapid speech of a city-dweller may sound different to the calmer pace of a settler from the deep forest; the clipped vowels of Otvev are readily distinguished from the rounder syllables of Zhikav; the plain words of the groundsfolk contrast with the florid oratory of the wealthy classes. All these however are still Abheski, and can readily talk to one another; just try to understand the harsh Hoitani or the singing cadences of the Ebwari to hear how truly different language can sound.

Extract from A Child's Primer and History of the Abheski, published by the Temar Company Press

[thatsastepladder]

I had an idea (well, 12% of an idea) for a Leverage x Librarians crossover come to me in a dream, and I need to put it here so I don't lose it.

And by 12% of an idea, I mean plotbunnies.

My half-asleep 5AM self called this "The Galileo Job/...and the Telescope of Galileo" but I'm not really sure that works, exactly. It would work fine on the Leverage side, but I'm not sure about the Librarians side, I'd need to make up some magical trait for it to have.

I don't really have a plot in mind, all I came up with at the time were character dynamics.

Anyway, important thing that files in the face of 99% of crossover fics between these shows: Eliot and Jake aren't related in this, they just happen to look alike. Nobody comments on this fact because it's funnier that way.

(However, if Maggie's in the episode, she 100% mistakes Jake for Eliot's Wes Abernathy disguise.)

Jones and Parker know each other, but only by reputation - a good thief doesn't get caught, obviously. Jones is stoked to be working with the Parker, Parker's not so keen on working with Jones.

Similarly, Baird and Eliot have history from when he was in the service. Not romantic history, mind you, but they've crossed paths a few times.

Jenkins knows Sophie from a previous noodle incident. It's not elaborated upon.

If Flynn is in this, none of the Leverage crew can stand him at all. Especially Nate.

On the other hand, Nate and Cassandra get along quite well - Cassandra having sympathy for what Nate went through with Sam due to her own struggles with the medical system.

Cassandra also gets along well with Hardison - much to Parker's chagrin, as she starts to get a bit jealous. And then Cassandra has the gall to steal her cereal...

Jake and Hardison also become fast friends, but of the 'arguing all the time' variety, mostly about art history.

As for an actual plot, I'm thinking if it were a real episode, it would be a pretty standard Leverage episode from the start - a client comes to Nate seeking justice against a group that's claimed the family heirloom MacGuffin or whatever. Nate says "let's go steal a MacGuffin", and their initial plan goes horribly wrong.

Cut to the Library, the Clipping Book opens and the LITs are off to the same place Leverage is... because whatever's messing up Leverage's plan, it's magic.

[outsourcingproductphotoediting]

Clipping Path: An Essential Tool for E-Commerce Photo Editing Services

Images play a crucial role in today's digital world, especially in industries such as E-commerce Image Editing Services, advertising, and graphic design. In the world of visual content, the quality and presentation of images can make or break a business's online presence. That's where image editing techniques come into play, and one of the fundamental tools used by proficient content writers and graphic designers is the clipping path.

A clipping path, in simple terms, is a technique used to remove the background of an image or isolate a specific object from its surroundings. It involves creating a vector path around the object's edges using specialized software like Adobe Photoshop. This path then acts as a mask, allowing the designated object to be placed on any background or integrated seamlessly into various designs.

Importance in Image Editing

Clipping path is a crucial aspect of image editing as it provides precision and flexibility in handling images. It enables content writers and designers to manipulate images, remove unwanted elements, and enhance the overall visual appeal, making it an indispensable tool for creating compelling content.

Types of Clipping Paths

Basic Clipping Path

The basic clipping path service is the foundation of all clipping paths. It involves creating a simple outline around an object with straight edges, making it ideal for objects with simple shapes like books, smartphones, or boxes.

Compound Clipping Path

The compound clipping path comes into play when an object has multiple holes or embedded transparency. This type of path requires more intricate techniques to ensure a seamless background removal services, commonly used for jewelry or complex product images.

Complex Clipping Path

The complex clipping path is the most intricate form and is used for objects with intricate shapes or multiple edges. Examples include furry animals, intricate clothing, or detailed machinery.

How Clipping Path Works

Tools and Software

To execute a clipping path, you need software equipped with suitable tools, and Adobe Photoshop stands out as the industry standard. The Pen Tool, in particular, plays a vital role in creating precise paths.

Step-by-Step Process

1.       Open the image in Adobe Photoshop.

2.       Select the Pen Tool and carefully trace the object's outline.

3.       Create a path around the object, ensuring smooth curves and accurate edges.

4.       Once the path is complete, apply the clipping path to isolate the object.

Advantages of Clipping Path Services

Photo Retouching

Clipping path services allow for easy photo retouching, enabling writers and designers to enhance the appearance of products or models by removing imperfections.

Background Removal

By removing the background using clipping paths, content writers can place objects on various backgrounds, creating a consistent and visually appealing look.

Creating Unique Image Effects

Clipping path services enable designers to apply various effects and filters to isolated objects, enhancing their visual impact.

Industries Using Clipping Path

Ecommerce Photo Editing Services

E-commerce Photo Editing Services websites heavily rely on clipping path services to present their products with clean and professional images.

Advertising and Marketing

In the advertising and marketing industry, Best Clipping Path Services are employed to create eye-catching visuals for promotional materials.

Graphic Design

Graphic designers use clipping paths to compose stunning layouts and designs, combining different elements seamlessly.

Photography

Photographers utilize clipping path techniques to improve their images and create unique effects during post-processing.

Choosing the Right Clipping Path Service Provider

Experience and Expertise

Look for service providers with a proven track record and expertise in handling various types of clipping paths.

Turnaround Time

Consider the turnaround time offered by the service provider to meet your project deadlines.

Pricing

Compare prices from different providers to find the right balance between quality and affordability.

Customer Reviews

Read customer reviews and testimonials to gauge the service provider's reliability and customer satisfaction.

Tips for DIY Clipping Path

Using Adobe Photoshop

Familiarize yourself with Adobe Photoshop and its Pen Tool to master the art of creating clipping paths.

Pen Tool Mastery

Practice using the Pen Tool to achieve smooth curves and accurate paths.

Refining Edges

Pay attention to refining edges to ensure the isolated object blends naturally with its new background.

Avoiding Common Mistakes in Clipping Path

Rushing the Process

Take your time to create precise paths and ensure high-quality results.

Ignoring Fine Details

Pay attention to small details, as they can make a significant difference in the final output.

Overdoing or Underdoing the Path

Maintain a balance between removing unnecessary elements and preserving essential details.

Future Trends in Clipping Path

AI and Machine Learning in Image Editing

The integration of AI and machine learning algorithms will revolutionize the image editing process, making clipping paths even more efficient and accurate.

Interactive Image Backgrounds

In the future, interactive image backgrounds may become a trend, enabling users to customize the visual environment of products.

Conclusion

Clipping path is an indispensable tool for content writers, designers, and photographers alike. Its ability to isolate objects, remove backgrounds, and create stunning visuals makes it a must-have in the world of image editing. Whether you opt for How to outsource clipping path service or decide to master the technique yourself, the impact of this tool on visual content creation cannot be overstated.

[cheshireace]

I got you, transcription under the cut.

BBC World Service and now Witness History with me, Stephanie Wolf. I'm taking you back to March 12, 1990, a day when disability rights activists gathered at the United States Capitol Building in Washington D.C. to fight for the Americans with Disabilities Act, the ADA. (Audio clip of protestors chanting a call and response of: "What do we want?" "Access!")

Cameron: "I remember we were lining up, those of us who were gonna do the crawl. March 12, 1990, it was hot." Wolf: About a thousand activists, including Anita Cameron, were there. Cameron: "We were so busy chanting, like, 'ADA now! Access is a civil right! Access now!'" (Audio clip of protestors chanting "Access is a civil right! Access is a civil right!") Wolf: What you're hearing is actual footage captured by a documentary film producer from a protest that came to be known as the Capital Crawl. The chant is a demand that the U.S. Congress pass the ADA, after lawmakers had sat on a version of the bill for almost two years. (Audio clip of protesters chanting "Vote now! Vote now!") Cameron: "This is landmark legislation. It has to pass. Y'know, it was meant to highlight the struggles we had to go through being second class citizens. We were getting, for lack of a better word, desperate." Wolf: Activists were frustrated by the inaction. And on this day, in a dramatic, symbolic protest, hundreds pulled themselves from their wheelchairs and began to crawl up the stairs. (Audio clip of protesters chanting "Access now! Access now!") Wolf: The legislation aimed to extend civil rights protections to people with disabilities in the U.S., a portion of the population who was largely left behind at that point. It was all about access, access to everyday life and opportunities, explicitly prohibiting discrimination against disabled people in many areas of public life, including the workplace, transit, and businesses, and mandating the removal of barriers to these spaces, from wheelchair ramps to accommodations for people with hearing or visual impairments. Wolf: Anita was born with multiple disabilities, and remembers what life was like before the ADA. She had friends in wheelchairs who couldn't get down from curbs, or even through the door of a business. For Anita, no ADA kept her from finishing medical school. Cameron: "I'm ashamed to say, but I got kicked out, and that was because there was no ADA. There are all kinds of disabled doctors because of the ADA, but back then, it was like, 'okay find another career path.'" They did find another career path, and that would be advocating for people with disabilities. In 1986, Anita joined ADAPT, what would become one of the preeminent disability rights groups in the nation. At the time, ADAPT was only a few years old, and Anita was drawn to the group because they did things in the spirit of Dr. Martin Luther King Jr.

Cameron: "I was born in 1965, too late to participate in the civil rights movement for Black folks here in America, and I read about the Civil Rights Movement, that there were children involved fighting for rights, and I wanted to do that and felt guilty that I was born too late. So at the age of 9 I made a vow that I would work to make the world a better place for all." Wolf: ADAPT made a name for themselves quickly, through a specific style of protesting that some criticized as overly aggressive and disruptive. Anita loved it. Cameron: "We were seen as militant and radicals. We were often compared to the Black Panthers, which to me was a badge of honor. Ooh, yeah, tell me I'm like the Black Panthers, yeah! And, you know, ADAPT, we were fiercely, fiercely nonviolent. We were in your face, and people didn't like that." Wolf: The day of the crawl was a Monday, and it started with a rally near the U.S. Capitol Building, where Congress convenes. Cameron: "There was lots of 'speechifying,' as we call it, talking about the importance of the Americans with Disabilities Act, and how we would finally be able to 'boldly go where everyone else has gone before.'" (Audio clip of a person saying "We will not permit these steps to continue to be a barrier to our rights and equality!") Wolf: After the rally, they moved closer to the building. Cameron: "People then got out of the chairs and started climbing." (Audio clip of protesters chanting "Vote! Vote! Vote! Vote!") Wolf: Anita was surprised her ADAPT colleagues let her participate. Cameron: "I wasn't in a wheelchair, I mean, I was disabled - I had my tactile cane, my blind cane, my white cane. I started out carrying my friend Frank's wheelchair, and that wheelchair was heavy, and I found an attendant, 'Hey, can you take Frank's wheelchair,' and I just sat down and I just started going up backwards on my butt. Like, a lot of people you saw, they were like actually crawling up hands and knees, I back-butted because I didn't wanna, like, put my hands on that hot ground and whatnot. I was exhausted by the time I got up there, and I remember I was a little nervous, but then, I was excited, I was very aware of what we were doing. I felt like we were crawling into the history books. And as much as people talk about the Capital Crawl, cause that was so visual, I think it was the Rotunda Takeover that was truly responsible." Wolf: The day after the crawl, protestors returned to the Capitol. They chained themselves together inside the Rotunda, a domed, circular room in the center of the Capitol Building. They forced legislators to confront the activists' demands face-to-face. Anita was there. Cameron: "The chanting and everything was so loud, it reverberated throughout the building."

(Audio of protestors chanting "ADA now! ADA now!") Cameron: "And we had politicians telling us 'oh, you gotta be patient,' and we didn't let them speak. There were 104 of us arrested, I was number 81, and that's usually what happened; I've been arrested 140 times in ADAPT in 38 years." Wolf: All of this action wasn't for nothing. When President George H. W. Bush signed the Americans with Disabilities Act into law on July 26, 1990, a few months after the protest, he credited the millions of Americans with disabilities. (Audio clip of President H. W. Bush saying "You have made this happen, all of you have made this happen." as the audience applauds.) Wolf: The ADA remains the most comprehensive disability rights legislation in the U.S. Wolf: "Do you think the ADA would have gotten past had it not been for that direct action by you and other members of ADAPT?" Cameron: "No. No, it would not have. Not at all. If we'd have done nothing, we'd probably still be trying to get the ADA passed now. I am grateful for it; we wouldn't have as many disabled students graduating, disabled physicians, disabled people out there living life and having fun, not just going to doctor's appointments. We still have a ways to go." Wolf: All these years later, Anita is making sure this history isn't forgotten, and that the stories of the Black activists are told as well. Cameron: "Uplifting the participating of Black disabled people- people like us existed. We were out there in those streets, we were out there getting arrested, so that's why I wanna- I wanna contribute to history." Wolf: Anita Cameron was speaking to me, Stephanie Wolf, for Witness History. It was a Written In Air production. Rebekah Romberg co-produced it. Archival audio courtesy of documentary film producer and director Linda Litowsky.

On 12 March 1990, dozens of disabled people descended on the US Capitol and carried out a protest which became known as the Capitol Crawl. Participants were protesting against the stalling of a proposed law, the Americans with Disabilities Act (ADA), which would prohibit discrimination against disabled people. Around 1000 other protesters watched and cheered while dozens of members of ADAPT, a group campaigning for public transit access for disabled people, abandoned their wheelchairs and mobility aids and began crawling up the steps of the building housing Congress. It was a powerful illustration of the difficulties faced by many disabled people faced with a hostile environment which had been constructed without their needs in mind. Michael Winter, one of the participants later reflected: “Some people may have thought it was undignified for people in wheelchairs to crawl in that manner, but I felt that it was necessary to show the country what kinds of things people with disabilities have to face on a day-to-day basis. We had to be willing to fight for what we believed in.” In the wake of the protest, Congress passed the bill and it was signed into law in July 1990. https://www.facebook.com/workingclasshistory/photos/a.1819457841572691/2229212140597257/?type=3

[joearden]

New Voice Actor Pitfalls and How to Overcome Them

Getting started in voice acting can be thrilling, yet it also comes with a steep learning curve. Many new voice actors stumble over common obstacles that can delay their success. By understanding these pitfalls and applying practical solutions, you can fast-track your development and stand out in a competitive market.

Skipping Vocal Warm-Ups

Many beginners dive into sessions without preparing their instrument—their voice. Skipping vocal warm-ups can lead to strained cords, inconsistent delivery, and reduced vocal range. To avoid these issues, start every session with simple exercises. For instance, lip trills and gentle humming loosen your tissue and improve breath control. Next, practice scales on vowel sounds to ensure even resonance. By dedicating just five minutes to warming up, you’ll protect your voice and deliver more reliable performances.

Furthermore, warming up increases confidence. When you feel vocally ready, you approach each line with greater energy. Moreover, consistent warm-ups can prevent fatigue during long recording sessions. Consequently, you maintain a clear and expressive tone throughout your day.

Ignoring Microphone Technique

Even the strongest voice can falter if you misuse your microphone. Common mistakes include standing too close, which causes distortion, or too far, which results in a thin sound. To master mic technique, first learn your equipment. Read the manufacturer’s guidelines to find the optimal distance—usually six to twelve inches. Next, position yourself slightly off-axis, aiming your voice just to the side of the microphone diaphragm. This reduces plosives and sibilance without sacrificing clarity.

Equally important is controlling volume. Rather than shouting, use microphone preamp gain to boost quieter passages. This approach keeps your performance dynamic and natural. By monitoring levels in real time, you’ll catch issues before they ruin a take. Ultimately, a solid grasp of mic technique elevates your recordings from amateur to professional.

Overacting vs. Authenticity

Inexperienced performers often equate volume with emotion and exaggerate every line. However, overacting can sound forced and inauthentic. Instead, focus on genuine connection. Start by understanding the script’s context and your character’s motivation. Then, record a few takes using a conversational tone. Listen back and note any moments that feel unnatural or overly dramatic.

To refine authenticity, experiment with subtle inflections and pauses. A slight hesitation can convey vulnerability, while a softened tone can suggest intimacy. Moreover, authenticity resonates more deeply with listeners, making your performance memorable. As you practice, solicit feedback from peers or coaches who can point out moments of excess. Over time, you’ll learn to balance emotion with realism.

Neglecting Business Essentials

While honing your craft is vital, successful voice actors also need business savvy. A common oversight is failing to market oneself effectively. To avoid stagnation, build a simple website showcasing your demo reel, specialties, and contact information. Additionally, maintain an active presence on industry platforms and social media. Posting short samples and behind-the-scenes clips can attract casting directors and clients.

Another mistake is underpricing services. Newcomers often accept low rates to gain experience. However, this can devalue your work and set unsustainable expectations. Research standard rates in your region and niche, then set your fees accordingly. Over time, as your skills grow, raise your rates to reflect your expertise. Finally, track invoices and contracts diligently. A reliable accounting system prevents missed payments and ensures long-term stability.

Overlooking these business fundamentals can stall your career. By treating voice acting as both art and enterprise, you’ll create a sustainable path filled with opportunities.

Avoiding these common mistakes can dramatically improve your trajectory as a new voice actor. Incorporate vocal warm-ups to protect your instrument, master microphone technique for clear recordings, prioritize authenticity over overacting, and manage your business affairs professionally. By addressing these areas, you’ll build a solid foundation that supports both creative growth and career success.

[emendstudiosmathesh]

eCommerce Clipping Path Service USA: A Complete Guide for Online Sellers

In the highly competitive world of eCommerce, product images are everything. Clear, crisp, and professionally edited visuals make the difference between a customer scrolling past or clicking “Buy Now.” For U.S.-based online retailers, a reliable eCommerce clipping path service is essential to create marketplace-ready product photos that convert.

This guide explores how clipping path services enhance eCommerce product images, why they’re vital for U.S. businesses, and what to look for in a professional editing provider.

What Is Clipping Path in eCommerce?

A clipping path is a manually drawn outline around a product image, used to separate the item from its background. This technique enables clean cut-outs, white background replacements, and seamless integration with branding templates.

For eCommerce, it’s especially important to meet the image guidelines of platforms like Amazon, Walmart, Shopify, and eBay—most of which require pure white or transparent backgrounds.

Why eCommerce Businesses in the USA Need Clipping Path Services

✅ Marketplace Compliance

Amazon, Google Shopping, Etsy, and other platforms have strict requirements regarding image backgrounds, size, and clarity. Clipping path services help meet these rules effortlessly.

✅ Increase Conversion Rates

Clean product photos grab attention, build trust, and improve the overall user experience—leading to more sales.

✅ Save Time for Sellers

Instead of spending hours editing photos manually, outsourcing allows businesses to focus on sales, marketing, and fulfillment.

✅ Supports Branding Consistency

Uniform backgrounds and clean product isolation help maintain a cohesive look across your store, website, and ads.

Common Use Cases in eCommerce Clipping Path

IndustryApplicationFashion/ApparelRemove mannequin, ghost model effect, isolate clothingJewelryClean background, highlight shine and textureElectronicsSharp edges, clean reflections, detail enhancementFurnitureRemove background clutter, adjust perspectiveBeauty ProductsFocus on packaging, add shadows or reflectionsAutomotive PartsRemove industrial settings, emphasize detail

Key Services Included

Basic Clipping Path – For simple shapes and backgrounds.

Complex Clipping Path – For items with curves, holes, or intricate edges.

Multi-Clipping Path – Used for color correction and variant editing.

Drop Shadow & Natural Shadow – To create a realistic, grounded effect.

Background Replacement – Add white, transparent, or branded backgrounds.

Bulk Image Editing – Process large product batches quickly.

Benefits of Choosing a U.S.-Focused Clipping Path Provider

🇺🇸 Faster Turnaround for USA Sellers

Time zones and communication delays are minimized when you work with a U.S.-based or U.S.-centric team.

🇺🇸 Familiarity with U.S. eCommerce Standards

Providers understand marketplace guidelines (Amazon, Etsy, Shopify) specific to the U.S. market.

🇺🇸 Data Security and NDA Agreements

Work with editors that prioritize privacy, secure file handling, and offer legal protection.

How to Choose the Right Clipping Path Partner

Request Samples: Evaluate their attention to detail and precision.

Check Turnaround Time: Ideal providers offer 12–48 hour delivery for batches.

Look for Bulk Discounts: Especially if you have hundreds of product photos monthly.

Read Client Testimonials: Focus on clients in fashion, jewelry, or consumer goods sectors.

Ask About Revisions: Professional teams offer 1–2 free revisions per batch.

Top Features to Expect

FeatureWhy It MattersManual Editing (Not AI)Ensures accuracy and sharp product edgesAffordable Pricing PlansFlat-rate or per-image pricing for transparencyHigh-Resolution OutputSuitable for zooming and printing needsDedicated SupportCommunicate easily for changes or re-editsCloud File DeliveryQuick access via Dropbox, Drive, or FTP

Conclusion

If you sell online in the U.S., high-quality product photos are your biggest sales asset. A professional eCommerce clipping path service USA can help you meet platform standards, reduce editing time, and improve buyer trust—all while staying cost-effective.

[plexailperfect]

How Clipping Path Services Improve Advertising Campaigns

In the competitive world of advertising, creating visually appealing and attention-grabbing images is crucial. Clipping path services play a vital role in enhancing the quality of advertising visuals, ensuring that campaigns are effective and professional. Here’s how clipping path services can significantly improve your advertising campaigns.

Enhanced Visual Appeal

Clipping path services involve isolating objects from their backgrounds, allowing for cleaner, more focused images. This technique ensures that the product or subject stands out, free from distracting backgrounds or unwanted elements. By presenting a clear, high-quality image, you can capture and maintain the audience's attention more effectively.

Consistent Image Quality

Consistency is key in advertising, and clipping path services help maintain a uniform look across all campaign materials. Whether it’s for digital ads, print media, or social media posts, ensuring that all images have a consistent background and quality can strengthen brand identity and recognition. This uniformity is essential for creating a cohesive and professional appearance.

Flexibility in Design

With clipping paths, designers have the flexibility to place the isolated images onto any background, creating endless possibilities for creative design. This versatility allows for the seamless integration of images into various advertising formats, such as banners, brochures, and billboards. It also makes it easier to adapt visuals to different themes and seasonal campaigns without the need for new photoshoots.

Improved Focus on Key Elements

By removing unnecessary background elements, clipping paths help highlight the key features of the product or subject. This focused presentation ensures that the audience's attention is directed towards the most important aspects of the ad, enhancing the overall effectiveness of the campaign. It also allows for the addition of text or other graphical elements without cluttering the image.

Cost and Time Efficiency

Outsourcing clipping path services can save significant time and resources. Professional clipping path providers use advanced tools and techniques to deliver high-quality results quickly. This efficiency allows marketing teams to focus on other critical aspects of the campaign, such as strategy and content creation, leading to a more streamlined and productive workflow.

Incorporating clipping path services into your advertising campaigns can elevate the visual quality and effectiveness of your ads. By enhancing visual appeal, maintaining consistent image quality, providing design flexibility, improving focus on key elements, and saving time and costs, clipping path services are an invaluable asset in creating compelling and successful advertising campaigns. Invest in professional clipping path services to ensure your advertising visuals stand out and leave a lasting impression on your audience. Book Plexail's professional service today!