#wordpress site protection

[bkthemes]

Best WordPress Security Plugins for 2025

Introduction WordPress is the world’s most popular content management system (CMS), powering over 40% of all websites. While its flexibility and ease of use make it a preferred choice for bloggers, businesses, and developers, its popularity also makes it a prime target for hackers, malware, brute force attacks, and security vulnerabilities. One of the best ways to protect your WordPress site is…

[ganesh85465]

WP Engine is a well-known managed WordPress hosting provider.

It offers a range of features and services tailored specifically for WordPress websites, making it a popular choice among businesses, bloggers, and developers who seek reliable, high-performance hosting solutions.

[techcofinds]

[screentones-webcomicresources]

There are many web hosting companies to choose from if you're taking the plunge into making your own website with a comic content management system (CMS) like ComicControl or Grawlix, a Wordpress comic theme like Toocheke or ComicPress, or a HTML template to cut/paste code like Rarebit. While these solutions are generally free, finding a home for them is... generally not. It can be hard to choose what's best for your webcomic AND your budget!

We took a look at a few of the top hosting services used by webcomics creators using webcomic CMSes, and we put out a poll to ask your feedback about your hosts!

This post may be updated as time goes on as new services enter the hosting arena, or other important updates come to light.

Questions:

💻 I can get a free account with Wix/Squarespace/Carrd, could I just use those for my comic? - Web hosts like this may have gallery functions that could be adapted to display a series of pages, but they are very basic and not intended for webcomics.

📚 Wait, I host on Webtoon, Tapas, Comic Fury, or some other comic website, why are they not here? - Those are comic platforms! We'll get into those in a future post!

🕵️‍♀️Why does it say "shared hosting"? Who am I sharing with? - "Shared hosting" refers to sharing the server space with other customers. They will not have access to your files or anything, so it is perfectly fine to use for most comic CMSes. You may experience slowing if there is too much activity on a server, so if you're planning to host large files or more than 10 comics, you may want to upgrade to a more robust plan in the future.

Web Host List

Neocities

Basic plan pricing: Free or $5/month. Free plan has more restrictions (1 GB space, no custom domain, and slower bandwidth, among other things)

Notes: Neocities does not have database support for paid or free accounts, and most comic CMS solutions require this (ComicCtrl, Grawlix, Wordpress). You will need to work with HTML/CSS files directly to make a website and post each page.

Hostinger

Basic plan pricing: $11.99/month or $7.99/month with four year commitment (monthly, 1, 2, and 4 year plans available).

Notes: Free domain for the 1st year. Free SSL Certifications. Weekly backups.

KnownHost

Basic plan pricing: $8.95/month or $7.99/month with four year commitment (monthly, 1, 2, and 4 year plans available).

Notes: Free DDOS protection. Free SSL Certifications.

InMotion Hosting

Basic plan pricing: $12.99/month or $9.99/month with three year commitment (monthly, 1, and 3 year plans available).

Notes:  Free SSL Certifications, free domain names for 1 and 3 year plans. 24/7 live customer service and 90-day money-back guarantee. Inmotion also advertises eco-friendly policies: We are the first-ever Green Data Center in Los Angeles. We cut cooling costs by nearly 70 percent and reduce our carbon output by more than 2,000 tons per year.

Reviews:

👍“I can't remember it ever going down.”

👍“InMotion has a pretty extensive library full of various guides on setting up and managing websites, servers, domains, etc. Customer service is also fairly quick on responding to inquiries.” 👎“I wish it was a bit faster with loading pages.”

Ionos Hosting

Basic plan pricing: $8/month or $6/month with three year commitment (monthly, 1, 2 and 3 year plans available).

Notes: Free domain for the first year, free SSL Certification, Daily backup and recovery is included. Site Scan and Repair is free for the first 30 days and then is $6/month.

Reviews:

👍“Very fast and simple” 👎“Customer service is mediocre and I can't upload large files”

Bluehost

Basic plan pricing: $15.99/month or $4.95/month with three year commitment (monthly, 1, 3 year plans available).

Notes: Free domain and SSL certificates (for first year only). 24/7 Customer Service. Built to handle higher traffic websites. Although they specialize in Wordpress websites and provide updates automatically, that's almost a bad thing for webcomic plugins because they will often break your site. Their cloud hosting services are currently in early access with not much additional information available.

Reviews:

👎"The fees keep going up. Like I could drop $100 to cover a whole year, but now I'm paying nearly $100 for just three months. It's really upsetting."

👎"I have previously used Bluehost’s Wordpress hosting service and have had negative experiences with the service, so please consider with a grain of salt. I can confirm at least that their 24/7 customer service was great, although needed FAR too often."

Dreamhost

Basic plan pricing: $7.99/month or $5.99/month with three year commitment (monthly, 1, 3 year plans available).

Notes: Free SSL Certificates, 24/7 support with all plans, 97-day moneyback guarantee. Not recommended for ComicCtrl CMS

Reviews:

👍“They've automatically patched 2 security holes I created/allowed by mistake.” 👍“Prices are very reasonable” 👎 “back end kind of annoying to use” 👎 “wordpress has some issues” 👎 “it's not as customizable as some might want“

GoDaddy

Basic plan pricing: $11.99/month or $9.99/month with three year commitment (monthly, 1, 2, and 3 year plans available).

Notes: Free 24/7 Customer service with all plans, Free SSL Certificates for 1 year, free domain and site migration.

Reviews:

👍Reasonable intro prices for their Economy hosting, which has 25GB of storage 👍Migrated email hosting service from cPanel to Microsoft Office, which has greater support but may not be useful for most webcomic creators. 👎 Many site issues and then being upsold during customer service attempts. 👎 Server quality found lacking in reviews 👎 Marketing scandals in the past with a reputation for making ads in poor taste. Have been attempting to clean up that image in recent years. 👎 “GoDaddy is the McDonald's of web hosting. Maybe the Wal-Mart of hosting would be better. If your website was an object you would need a shelf to put it on. You go to Wal-Mart and buy a shelf. It's not great. It's not fancy. It can only hold that one thing. And if we're being honest - if the shelf broke and your website died it wouldn't be the end of the world.The issue comes when you don't realize GoDaddy is the Wal-Mart of hosting. You go and try to do things you could do with a quality shelf. Like, move it. Or add more things to it.” MyWorkAccountThisIs on Reddit*

Things to consider for any host:

💸 Introductory/promotional pricing - Many hosting companies offer free or inexpensive deals to get you in the door, and then raise the cost for these features after the first year or when you renew. The prices in this post are the base prices that you can expect to pay after the promotional prices end, but may get outdated, so you are encouraged to do your own research as well.

💻 Wordpress hosting - Many of the companies below will have a separate offering for Wordpress-optimized hosting that will keep you updated with the latest Wordpress releases. This is usually not necessary for webcomic creators, and can be the source of many site-breaking headaches when comic plugins have not caught up to the latest Wordpress releases.

Any basic hosting plan on this list will be fine with Wordpress, but expect to stop or revert Wordpress versions if you go with this as your CMS.

🤝 You don't have to go it alone - While free hosts may be more limited, paid hosting on a web server will generally allow you to create different subdomains, or attach additional purchased domains to any folders you make. If you have other comic-making friends you know and trust, you can share your server space and split the cost!

Want to share your experience?

Feel free to contribute your hosting pros, cons, and quirks on our survey! We will be updating our list periodically with your feedback!

[smellslikebot]

"how do I keep my art from being scraped for AI from now on?"

if you post images online, there's no 100% guaranteed way to prevent this, and you can probably assume that there's no need to remove/edit existing content. you might contest this as a matter of data privacy and workers' rights, but you might also be looking for smaller, more immediate actions to take.

...so I made this list! I can't vouch for the effectiveness of all of these, but I wanted to compile as many options as possible so you can decide what's best for you.

Discouraging data scraping and "opting out"

robots.txt - This is a file placed in a website's home directory to "ask" web crawlers not to access certain parts of a site. If you have your own website, you can edit this yourself, or you can check which crawlers a site disallows by adding /robots.txt at the end of the URL. This article has instructions for blocking some bots that scrape data for AI.

HTML metadata - DeviantArt (i know) has proposed the "noai" and "noimageai" meta tags for opting images out of machine learning datasets, while Mojeek proposed "noml". To use all three, you'd put the following in your webpages' headers:

<meta name="robots" content="noai, noimageai, noml">

Have I Been Trained? - A tool by Spawning to search for images in the LAION-5B and LAION-400M datasets and opt your images and web domain out of future model training. Spawning claims that Stability AI and Hugging Face have agreed to respect these opt-outs. Try searching for usernames!

Kudurru - A tool by Spawning (currently a Wordpress plugin) in closed beta that purportedly blocks/redirects AI scrapers from your website. I don't know much about how this one works.

ai.txt - Similar to robots.txt. A new type of permissions file for AI training proposed by Spawning.

ArtShield Watermarker - Web-based tool to add Stable Diffusion's "invisible watermark" to images, which may cause an image to be recognized as AI-generated and excluded from data scraping and/or model training. Source available on GitHub. Doesn't seem to have updated/posted on social media since last year.

Image processing... things

these are popular now, but there seems to be some confusion regarding the goal of these tools; these aren't meant to "kill" AI art, and they won't affect existing models. they won't magically guarantee full protection, so you probably shouldn't loudly announce that you're using them to try to bait AI users into responding

Glaze - UChicago's tool to add "adversarial noise" to art to disrupt style mimicry. Devs recommend glazing pictures last. Runs on Windows and Mac (Nvidia GPU required)

WebGlaze - Free browser-based Glaze service for those who can't run Glaze locally. Request an invite by following their instructions.

Mist - Another adversarial noise tool, by Psyker Group. Runs on Windows and Linux (Nvidia GPU required) or on web with a Google Colab Notebook.

Nightshade - UChicago's tool to distort AI's recognition of features and "poison" datasets, with the goal of making it inconvenient to use images scraped without consent. The guide recommends that you do not disclose whether your art is nightshaded. Nightshade chooses a tag that's relevant to your image. You should use this word in the image's caption/alt text when you post the image online. This means the alt text will accurately describe what's in the image-- there is no reason to ever write false/mismatched alt text!!! Runs on Windows and Mac (Nvidia GPU required)

Sanative AI - Web-based "anti-AI watermark"-- maybe comparable to Glaze and Mist. I can't find much about this one except that they won a "Responsible AI Challenge" hosted by Mozilla last year.

Just Add A Regular Watermark - It doesn't take a lot of processing power to add a watermark, so why not? Try adding complexities like warping, changes in color/opacity, and blurring to make it more annoying for an AI (or human) to remove. You could even try testing your watermark against an AI watermark remover. (the privacy policy claims that they don't keep or otherwise use your images, but use your own judgment)

given that energy consumption was the focus of some AI art criticism, I'm not sure if the benefits of these GPU-intensive tools outweigh the cost, and I'd like to know more about that. in any case, I thought that people writing alt text/image descriptions more often would've been a neat side effect of Nightshade being used, so I hope to see more of that in the future, at least!

[stjohnstarling]

Full text of article as follows:

Tumblr and Wordpress are preparing to sell user data to Midjourney and OpenAI, according to a source with internal knowledge about the deals and internal documentation referring to the deals. 

The exact types of data from each platform going to each company are not spelled out in documentation we’ve reviewed, but internal communications reviewed by 404 Media make clear that deals between Automattic, the platforms’ parent company, and OpenAI and Midjourney are imminent.

The internal documentation details a messy and controversial process within Tumblr itself. One internal post made by Cyle Gage, a product manager at Tumblr, states that a query made to prepare data for OpenAI and Midjourney compiled a huge number of user posts that it wasn’t supposed to. It is not clear from Gage’s post whether this data has already been sent to OpenAI and Midjourney, or whether Gage was detailing a process for scrubbing the data before it was to be sent. 

Gage wrote: 

“the way the data was queried for the initial data dump to Midjourney/OpenAI means we compiled a list of all tumblr’s public post content between 2014 and 2023, but also unfortunately it included, and should not have included:

private posts on public blogs

posts on deleted or suspended blogs

unanswered asks (normally these are not public until they’re answered)

private answers (these only show up to the receiver and are not public)

posts that are marked ‘explicit’ / NSFW / ‘mature’ by our more modern standards (this may not be a big deal, I don’t know)

content from premium partner blogs (special brand blogs like Apple’s former music blog, for example, who spent money with us on an ad campaign) that may have creative that doesn’t belong to us, and we don’t have the rights to share with this-parties; this one is kinda unknown to me, what deals are in place historically and what they should prevent us from doing.”

Gage’s post makes clear that engineers are working on compiling a list of post IDs that should not have been included, and that password-protected posts, DMs, and media flagged as CSAM and other community guidelines violations were not included.

Automattic plans to launch a new setting on Wednesday that will allow users to opt-out of data sharing with third parties, including AI companies, according to the source, who spoke on the condition of anonymity, and internal documents. A new FAQ section we reviewed is titled “What happens when you opt out?” states that “If you opt out from the start, we will block crawlers from accessing your content by adding your site on a disallowed list. If you change your mind later, we also plan to update any partners about people who newly opt-out and ask that their content be removed from past sources and future training.” 

404 Media has asked Automattic how it accidentally compiled data that it shouldn’t share, and whether any of that content was shared with OpenAI. 404 Media asked Automattic about an imminent deal with Midjourney last week but did not hear back then, either. Instead of answering direct questions about these deals and the compiling of user data, Automattic sent a statement, which it posted publicly after this story was published, titled "Protecting User Choice." In it, Automattic promises that it's blocked AI crawlers from scraping its sites. The statement says, "We are also working directly with select AI companies as long as their plans align with what our community cares about: attribution, opt-outs, and control. Our partnerships will respect all opt-out settings. We also plan to take that a step further and regularly update any partners about people who newly opt out and ask that their content be removed from past sources and future training."

Another internal document shows that, on February 23, an employee asked in a staff-only thread, “Do we have assurances that if a user opts out of their data being shared with third parties that our existing data partners will be notified of such a change and remove their data?”

Andrew Spittle, Automattic’s head of AI replied: “We will notify existing partners on a regular basis about anyone who's opted out since the last time we provided a list. I want this to be an ongoing process where we regularly advocate for past content to be excluded based on current preferences. We will ask that content be deleted and removed from any future training runs. I believepartners will honor this based on our conversations with them to this point. I don't think they gain much overall by retaining it.” Automattic did not respond to a question from 404 Media about whether it could guarantee that people who opt out will have their data deleted retroactively.

News about a deal between Tumblr and Midjourney has been rumored and speculated about on Tumblr for the last week. Someone claiming to be a former Tumblr employee announced in a Tumblr blog post that the platform was working on a deal with Midjourney, and the rumor made it onto Blind, an app for verified employees of companies to anonymously discuss their jobs. 404 Media has seen the Blind posts, in which what seems like an Automattic employee says, “I'm not sure why some of you are getting worked up or worried about this. It's totally legal, and sharing it publicly is perfectly fine since it's right there in the terms & conditions. So, go ahead and spread the word as much as you can with your friends and tech journalists, it's totally fine.”

Separately, 404 Media viewed a public, now-deleted post by Gage, the product manager, where he said that he was deleting all of his images off of Tumblr, and would be putting them on his personal website. A still-live postsays, “i've deleted my photography from tumblr and will be moving it slowly but surely over to cylegage.com, which i'm building into a photography portfolio that i can control end-to-end.” At one point last week, his personal website had a specific note stating that he did not consent to AI scraping of his images. Gage’s original post has been deleted, and his website is now a blank page that just reads “Cyle.” Gage did not respond to a request for comment from 404 Media. 

Several online platforms have made similar deals with AI companies recently, including Reddit, which entered into an AI content licensing deal with Google and said in its SEC filing last week that it’s “in the early stages of monetizing [its] user base” by training AI on users’ posts. Last year, Shutterstock signed a six year deal with OpenAI to provide training data.

OpenAI and Midjourney did not respond to requests for comment. 

Updated 4:05 p.m. EST with a statement from Automattic.

[canmom]

Hypothetical Decentralised Social Media Protocol Stack

if we were to dream up the Next Social Media from first principles we face three problems. one is scaling hosting, the second is discovery/aggregation, the third is moderation.

hosting

hosting for millions of users is very very expensive. you have to have a network of datacentres around the world and mechanisms to sync the data between them. you probably use something like AWS, and they will charge you an eye-watering amount of money for it. since it's so expensive, there's no way to break even except by either charging users to access your service (which people generally hate to do) or selling ads, the ability to intrude on their attention to the highest bidder (which people also hate, and go out of their way to filter out). unless you have a lot of money to burn, this is a major barrier.

the traditional internet hosts everything on different servers, and you use addresses that point you to that server. the problem with this is that it responds poorly to sudden spikes in attention. if you self-host your blog, you can get DDOSed entirely by accident. you can use a service like cloudflare to protect you but that's $$$. you can host a blog on a service like wordpress, or a static site on a service like Github Pages or Neocities, often for free, but that broadly limits interaction to people leaving comments on your blog and doesn't have the off-the-cuff passing-thought sort of interaction that social media does.

the middle ground is forums, which used to be the primary form of social interaction before social media eclipsed them, typically running on one or a few servers with a database + frontend. these are viable enough, often they can be run with fairly minimal ads or by user subscriptions (the SomethingAwful model), but they can't scale indefinitely, and each one is a separate bubble. mastodon is a semi-return to this model, with the addition of a means to use your account on one bubble to interact with another ('federation').

the issue with everything so far is that it's an all-eggs-in-one-basket approach. you depend on the forum, instance, or service paying its bills to stay up. if it goes down, it's just gone. and database-backend models often interact poorly with the internet archive's scraping, so huge chunks won't be preserved.

scaling hosting could theoretically be solved by a model like torrents or IPFS, in which every user becomes a 'server' for all the posts they download, and you look up files using hashes of the content. if a post gets popular, it also gets better seeded! an issue with that design is archival: there is no guarantee that stuff will stay on the network, so if nobody is downloading a post, it is likely to get flushed out by newer stuff. it's like link rot, but it happens automatically.

IPFS solves this by 'pinning': you order an IPFS node (e.g. your server) not to flush a certain file so it will always be available from at least one source. they've sadly mixed this up in cryptocurrency, with 'pinning services' which will take payment in crypto to pin your data. my distaste for a technology designed around red queen races aside, I don't know how pinning costs compare to regular hosting costs.

theoretically you could build a social network on a backbone of content-based addressing. it would come with some drawbacks (posts would be immutable, unless you use some indirection to a traditional address-based hosting) but i think you could make it work (a mix of location-based addressing for low-bandwidth stuff like text, and content-based addressing for inline media). in fact, IPFS has the ability to mix in a bit of address-based lookup into its content-based approach, used for hosting blogs and the like.

as for videos - well, BitTorrent is great for distributing video files. though I don't know how well that scales to something like Youtube. you'd need a lot of hard drive space to handle the amount of Youtube that people typically watch and continue seeding it.

aggregation/discovery

the next problem is aggregation/discovery. social media sites approach this problem in various ways. early social media sites like LiveJournal had a somewhat newsgroup-like approach, you'd join a 'community' and people would post stuff to that community. this got replaced by the subscription model of sites like Twitter and Tumblr, where every user is simultaneously an author and a curator, and you subscribe to someone to see what posts they want to share.

this in turn got replaced by neural network-driven algorithms which attempt to guess what you'll want to see and show you stuff that's popular with whatever it thinks your demographic is. that's gotta go, or at least not be an intrinsic part of the social network anymore.

it would be easy enough to replicate the 'subscribe to see someone's recommended stuff' model, you just need a protocol for pointing people at stuff. (getting analytics such as like/reblog counts would be more difficult!) it would probably look similar to RSS feeds: you upload a list of suitably formatted data, and programs which speak that protocol can download it.

the problem of discovery - ways to find strangers who are interested in the same stuff you are - is more tricky. if we're trying to design this as a fully decentralised, censorship-resistant network, we face the spam problem. any means you use to broadcast 'hi, i exist and i like to talk about this thing, come interact with me' can be subverted by spammers. either you restrict yourself entirely to spreading across a network of curated recommendations, or you have to have moderation.

moderation

moderation is one of the hardest problems of social networks as they currently exist. it's both a problem of spam (the posts that users want to see getting swamped by porn bots or whatever) and legality (they're obliged to remove child porn, beheading videos and the like). the usual solution is a combination of AI shit - does the robot think this looks like a naked person - and outsourcing it to poorly paid workers in (typically) African countries, whose job is to look at reports of the most traumatic shit humans can come up with all day and confirm whether it's bad or not.

for our purposes, the hypothetical decentralised network is a protocol to help computers find stuff, not a platform. we can't control how people use it, and if we're not hosting any of the bad shit, it's not on us. but spam moderation is a problem any time that people can insert content you did not request into your feed.

possibly this is where you could have something like Mastodon instances, with their own moderation rules, but crucially, which don't host the content they aggregate. so instead of having 'an account on an instance', you have a stable address on the network, and you submit it to various directories so people can find you. by keeping each one limited in scale, it makes moderation more feasible. this is basically Reddit's model: you have topic-based hubs which people can subscribe to, and submit stuff to.

the other moderation issue is that there is no mechanism in this design to protect from mass harassment. if someone put you on the K*w*f*rms List of Degenerate Trannies To Suicidebait, there'd be fuck all you can do except refuse to receive contact from strangers. though... that's kind of already true of the internet as it stands. nobody has solved this problem.

to sum up

primarily static sites 'hosted' partly or fully on IPFS and BitTorrent

a protocol for sharing content you want to promote, similar to RSS, that you can aggregate into a 'feed'

directories you can submit posts to which handle their own moderation

no ads, nobody makes money off this

honestly, the biggest problem with all this is mostly just... getting it going in the first place. because let's be real, who but tech nerds is going to use a system that requires you to understand fuckin IPFS? until it's already up and running, this idea's got about as much hope as getting people to sign each others' GPG keys. it would have to have the sharp edges sanded down, so it's as easy to get on the Hypothetical Decentralised Social Network Protocol Stack as it is to register an account on tumblr.

but running over it like this... I don't think it's actually impossible in principle. a lot of the technical hurdles have already been solved. and that's what I want the Next Place to look like.

[pathfinderslog]

🔥 𝑭𝒍𝒂𝒎𝒆 𝑴𝒆𝒓𝒄𝒂𝒓

- Hᴜᴍᴀɴ

- Sʜᴀᴅᴏᴡ Dʀᴀɢᴏɴs

- Mᴀɢᴇ

Her real name is Favilla Arteius, only daughter of an important noble family of Minrathous.

Since she was a child, she has always cared deeply about the fate of the slaves. She was the only one in her palace who treated them like human beings, and many times she tried to help them secretly, drawing the ire of her parents upon herself.

One day her mother tried to kill her nanny in front of her eyes, as punishment because she dared to give her, a slave, a piece of strawberry cake. She reacted instinctively to protect her beloved friend and her powers exploded, setting fire to her home and any family ties she may have had to it.

The slaves managed to escape, not all of them, but the few survivors brought her to safety, giving her a new life, under a new name. The Mercar family welcomed her under their roof, raised her like a daughter and helped her to control her powers.

The intense shock of that moment and the fact of being only a child, contributed to erasing those memories from her mind, which every now and then reappear, like bad nightmares from which it's difficult to wake up.

This didn't stop her from continuing to fight for what she believed in. Freeing slaves from the yoke of the Empire became her reason for living and this did not go unnoticed. The Shadow Dragons had long had their eyes on her and when she grew up they recruited her into their ranks.

About the rest of the story... I'll leave the task to Varric. He's much better than me in this things.

Echoes from the past

Lucid Nightmare - part one

Lucid Nightmare - part two

The story continues on my WordPress site.

[derinthescarletpescatarian]

any particular reason youre not using GDocs? I didnt use to, but since getting my shit stolen ive chosen the lesser evils of CLOUD

I just generally try to use google as little as possible. (Which reminds me, I need to find a new email provider). I generally avoid cloud services just for grumpy old person reasons; they're fiddly and keep changing the rules and I'm not a fan of the sorts of "conveniences" such things tend to offer.

I'm not sure how the cloud makes it harder to have your work stolen. I don't think there's any particular danger to storing stories on the cloud unless you're particularly overzealous about protecting your work from the potential of future AI scraping (google absolutely are capable of using cloud-stored documents for this if they choose to do so, they already scan your emails for keywords to know what to sell you, any 'privacy' they offer applies to outsiders getting your data, not them using or selling it themselves), but just technically speaking it's far easier to get your work stolen if you store your drafts on the internet. I mean, that's where people are stealing it from. If they're stealing your devices to steal your work, the cloud doesn't help because pretty much everyone has their devices set to auto-login for things they use every day (like accessing your drafts). I just can't see a situation in which using the cloud makes your data safer than storing it at home.

I don't use gdocs because I don't like google, have a personal dislike of cloud services (just for Old Man Yells At Cloud stupid reasons), and it just... doesn't offer me anything I'd need. I can't see any advantage to using gdocs, I already have libreoffice. Why would I put myself in a situation where I need internet access to write? It doesn't offer me anything useful that my own computer doesn't already have.

I work between two computers (my desktop and my laptop, depending on if I'm writing in bed or not) and transfer files between them on a flash drive, so I have three reasonably up-to-date copies of my draft at all times. I also queue updates onto my site frequently so if there's a housefire or something almost all my work is uploaded to both Wordpress and Patreon, waiting to be released to the public, and easily retrievable. So losing my work isn't a concern.

[fibula-rasa]

Cosplay the Classics: Nazimova in Salomé (1922)—Part 1

My cosplay of Nazimova as Salomé

The Importance of Being Peter: Nazimova’s Take on Wilde

With over two decades of professional acting experience behind her (six on the “shadow stage” of silent cinema), Alla Nazimova went independent. She was one of the highest paid stars in Hollywood at the start of 1922 when her contract with Metro ended. Almost exclusively using her own savings, Nazimova founded a new production company and immediately got to work on two films that reflected both a deep understanding of her own fan base and a faith in the American filmgoer’s appreciation for art.

Discourse around these films and their productions that have emerged in the century since their release are often peppered with over-simplifications or a lack of perspective. Focus is understandably placed on Salomé, as her first project, A Doll’s House (1922), has not survived. In part one of this series, I plan to contextualize Nazimova’s decision to commit Wilde’s drama to celluloid and examine the details of the adaptation. Then, in part two, I will cover how Salomé (and A Doll’s House) fits into the industry trends and the emergent studio system in the early 1920s.

While the full essay and more photos are available below the jump, you may find it easier to read (formatting-wise) on the wordpress site. Either way, I hope you enjoy the read!

Wilde’s Salomé: The Basics

Salomé was a one-act drama written by Oscar Wilde. In a creative challenge to himself, Salomé was one of Wilde’s first plays and he chose to write in French, which he did not have as complete a mastery of as of English. Wilde was directly inspired by the Flaubert story “Herodias,” which was, in turn, inspired by the short story which appears twice in the New Testament. The play was later translated into English and published with illustrations by artist Aubrey Beardsley. Wilde’s play was the basis of the opera of the same name by Richard Strauss. While both the opera and the play had been staged numerous times across Europe and in New York before Nazimova’s adaptation, Strauss’ opera was the main reference point for the story in the popular imagination of the time. The success of Strauss’ opera led to the popularization of the Dance of the Seven Veils and the accepted interpretation of the character as a classic femme fatale.

My cosplay of Nazimova as Salomé

Nazimova’s Salomé: The Basics

When Nazimova announced her production of Salomé, she did so assured that she and Natacha Rambova, her art director, had a unique and creatively compelling interpretation of the story to warrant adaptation. Nazimova was not only the star and producer of Salomé, she adapted it from its source herself under her pen name Peter M. Winters. (Cheekily, contemporary interviews and profiles joke that “Peter” is one of her common nicknames.) Charles Bryant, credited as director, was as much the director of the film as he was Nazimova’s husband, which is to say, he is not known to have contributed much at all. It’s now accepted fact that Bryant acted as a professional beard (Bryant and Nazimova were also never legally married). The choice to credit Bryant was to offset the heat Nazimova was getting in the press at the time for “taking on too much.” Having Bryant’s name in the credits was a protective measure. Charles Van Enger was a talented, up-and-coming cinematographer who had been recommended to Nazimova following the inadequate cinematography of her Metro films.

Rambova was in charge of the art direction, set designs, costumes, and makeup. Nazimova and Rambova had become close artistic collaborators after Nazimova hired Rambova to design the fantasy sequence for her film Billions (1920, presumed lost). [You can learn more about Rambova’s career here.] Both women valued their work above all else. Both were convinced that film could be art. Both had the gumption to believe that they could make a lasting mark on cinema’s recognition as a legitimate medium of artistic expression.* (Spoiler: even though Salomé was not an unqualified box-office success, they were right.)

Photo of the Salomé crew from Exhibitors Herald, 29 April 1922. Original caption: Nazimova ordered this picture taken that she might be reminded of the real pleasure encountered in every stage of the production of “Salome.” Top, left to right: Monroe Bennett, laboratory; Charles Bryant, director; Mildred Early, secretary; John DePalma, assistant director. Second row: Sam Zimbalist, cutter; Natacha Rambova, art director; Charles J. Van Enger, cameraman; the star; R. W. McFarland, manager. Front row: Neal Jack, electrician; Paul Ivano, cameraman; Lewis Wilson, cameraman.

Nazimova’s independence was at least partly spurred on by feeling creatively bereft from her work at Metro. In a 1926 interview with Adela Rogers St. Johns, Nazimova said:

“You asked me why I made ‘Salome.’ Well—’Salome’ was a purgative. […] It seems impossible now that I should ever have been asked to play such parts as ‘The Heart of a Child’ and ‘Billions.’ But I was. And instead of saying, ‘No. I will not play such trash. I will not play roles so wholely [sic] unsuited to me in every way,’ I went on and played them because of my contract, and they ruined me. “WORSE than that, they [made] me sick with myself. So I did ‘Salome’ as a purgative. I wanted something so different, so fanciful, so artistic, that it would take the taste out of my mouth. ‘Salome’ was my protest against cheap realism. Maybe it was a mistake. But—I had to do it. It was not a mistake for me, myself.”

Given that Nazimova now had full creative freedom, outside of the confines of the Hollywood film factory, why were A Doll’s House and Salomé the first works she gravitated towards?

Initially, Nazimova had conceived of a “repertoire” concept for her productions: one shorter production (A Doll’s House) and one feature-length production (Salomé), which could be distributed and exhibited together. Once production was underway for ADH, Nazimova instead chose to make it a feature. The reasons for this decision that I found in contemporary sources are purely creative, but I don’t think it’s too much of a presumption that this may have been a financial choice, as profits from ADH (which unfortunately wouldn’t materialize—more on that in part two!) could have been cycled into Salomé’s production.

Ibsen was not popular source material for the silent screen, but Nazimova’s name and career was forever tied to the playwright as she is considered the actress who brought Ibsen to the US. (Minnie Maddern Fiske starred in a production of Hedda Gabbler in the US before Nazimova, however it failed to raise the profile of the writer.) Nazimova’s stage productions of Ibsen’s work proved that there was an audience for it in the US—both in New York and on tour. Superficially, ADH might seem like a risky proposition, but Nazimova had good reason to believe it had both artistic and box office potential. (Again, I’ll delve into why it might not have found its audience in part two.)

Nazimova as Nora in A Doll’s House

Though ADH is now lost, we know from surviving materials that Nazimova understood that by 1922 The New Woman archetype was already becoming passé to the post-war/post-pandemic generation of young women. Nazimova endeavored to translate the play in a way that would resonate with 1920s American womanhood. (How well she succeeded is lost to time unless we are lucky enough to recover a copy of the film.) Likewise, Nazimova approached her adaptation of Salomé with a keen eye for the concerns of modern independent women.

——— ——— ———

*Incidentally, both women also had a personal connection to Wilde. Nazimova was a close friend and colleague of Elizabeth Marbury, who worked as Wilde’s agent. Rambova spent summers at her aunt’s (Elsie de Wolfe) villa in France where she lived with her longtime partner, Marbury.

My cosplay of Nazimova as Salomé

The Adolescence of Salome

In the decade following the end of the First World War, there was a great cultural shift for women in America, who experienced and pursued greater independence in society—particularly young and/or unmarried women. This quality was emblematized in the Flappers and the Jazz Babies, but even women who didn’t participate in these subcultures lived lifestyles removed from “home and family” ideals of the past. The lifestyle change was mirrored aesthetically. As Frederick Lewis Allen describes in Only Yesterday: An Informal History of the 1920s:

“These changes in fashion—the short skirt, the boyish form, the straight, long-waisted dresses, the frank use of paint—were signs of a real change in the American feminine ideal (as well, perhaps, as in men’s idea of what was the feminine ideal). […] the quest of slenderness, the flattening of the breasts, the vogue of short skirts (even when short skirts still suggested the appearance of a little girl), the juvenile effect of the long waist,—all were signs that, consciously or unconsciously, the women of this decade worshiped not merely youth, but unripened youth […] Youth was their pattern, but not youthful innocence: the adolescent whom they imitated was a hard-boiled adolescent, who thought not in terms of romantic love, but in terms of sex, and who made herself desirable not by that sly art that conceals art, but frankly and openly.”*

Allen’s summary of youthful womanhood in the 1920s resounds so clearly in the character design and performance of Nazimova’s Salomé, it’s apparent that she and Rambova were thoroughly informed by contemporary trends around young/independent women. Belén Ruiz Garrido puts it succinctly in her great essay on the film “Besare tu boca, Iokanaan. Arte y experiencia cinematografica en Salomé de Alla Nazimova:”

“Las concomitancias con la flapper o la it girl de los felices años veinte son evidentes. Se muestra mimosa, pero su seducción es como un juego de niña. / The similarities with the flapper or the it girl of the roaring twenties are obvious. She performs affection, but her seduction is like child’s play.” (translation mine)

Nazimova was also fully conscious that her fanbase was predominantly female and that she held significant appeal for younger women. From the moment she signed her first American theatrical contract with Lee Shubert, Nazimova’s status as a queer idol was already being established.

“The women… were enthusiastic about [Nazimova]… [At the hotel, the] ladies’ entrance was always crowded with women waiting for her to return from the theatre. It is much better that she should be exclusive and meet no one if possible. They regard her as a mystery. And there are other damned good reasons besides this one.”  – citation: A. H. Canby to Lee Shubert, December 29, 1908**

While women, particularly middle-class women, were emerging as a prominent consumer group in the US, Nazimova’s popularity peaked on stage and on screen. Arriving in Hollywood, Nazimova also continued her trend of surrounding herself socially and professionally with other queer women. Profiles and interviews of Nazimova in the Hollywood press often contained coded language about her queerness as a wink and nudge, usually but not always accompanied by mention of her “husband” Charles Bryant.

This well-developed understanding of her primary fanbase led her to break from popular presentations of the character as an embodiment of monstrous feminine sensuality. Instead, Nazimova chose to present the character as an adolescent. While Nazimova was the first to put this read on the character on film, Marcella Craft chose an adolescent interpretation in a production Strauss’ opera in Munich and Hedwig Reicher was a teenager when she assayed the role and played it accordingly (also in Germany). (Maybe not insignificantly, Reicher was also working in Hollywood at the time of Salomé’s production.)***

This is the American pop culture landscape we’re talking about here, so of course women’s independence was rapidly codified for capitalization. Young women were moralized at for not conforming to traditional gender roles while simultaneously being framed as sexually desirable in order to sell consumer goods (including motion pictures!). The American way. It’s hard to not see social commentary in Nazimova’s reworking of this icon of wanton femininity for a new generation.

This isn’t to suggest that Nazimova’s Salomé glorifies the character, but rather that making Salomé a teen adds layers of complexity to the production. Considering it in conversation with her predecessors, Salomé isn’t even named in the New Testament stories. Flaubert built out the character with 19th century concerns in mind (though his story is more about Herod & Herodias) and Wilde shifted even more focus to Salomé. Nazimova continued that trend with her version of Salomé—an impetuous child too young and ill-equipped to constructively deal with the horrible environment she was brought up in. (Might that resonate with a generation of young people disillusioned by a World War and a pandemic?)

As Nazimova/Peter wrote in the opening intertitles to the film:

“It is at this point that the drama opens, revealing Salome who yet remains an uncontaminated blossom in a wilderness of evil.

“Though still innocent, Salome is a true daughter of her day, heiress to its passions and its cruelties. She kills the thing she loves; she loves the thing she kills, yet in her soul there shines the glimmer of the Light and she sets forth gladly into the Unknown to solve the puzzle of her own words——”

My cosplay of Nazimova as Salomé

As Salomé was an experiment in pantomime for screen acting, it’s worthwhile to look at how Nazimova embodies this image of youth in her performance. In the first scenes, Salomé’s facial expressions are pouty and her movements like a bored child’s. Her wig emphasizes every movement she makes with a flurry of pearls and creates a neotenous silhouette for the character. When denied access to Jokanaan, her facial expressions are imperious, but the imperiousness of a spoiled child. She swings on the bars imprisoning Jokanaan as if they are a jungle gym. As she “charms” Narraboth, her expressions and body language shift toward a scheming energy with barely concealed artifice, displaying a distinct lack of sophistication—like she’s trying to angle a second serving of ice cream not exacting a favor of a servant that could cost his life.

Perhaps most crucially, Salomé’s adolescence emphasizes the inappropriateness of men’s gaze upon her. Wilde’s drama is built around rhythmic repetition in the dialogue—a key repetition being the act of looking. Though the play is only one act, some form of “regarder” in relation to Salomé is repeated nineteen times—most often in some form of “don’t look at her” or “you shouldn’t look at her that way.” As Salomé is a silent film, to repeat this in intertitles nineteen times in intertitles would be absurd. Throughout the film, frequent close ups are strategically employed to visually recreate the rhythmic emphasis on gazing. (The purpose of this device seems to have been lost on one reviewer for Exhibitors Herald who said in his review: ”too many close ups.”) Additionally, the motif is foregrounded by front-loading the mentions of looking. As soon as the opening narration ends, we’re introduced to Herod behaving lecherously toward Salomé and Herodias telling him not to look at her. The perversity of Herod is amplified here because Salomé is not only his niece and his step-daughter, but also a child. This scene is followed by Narraboth and the page having a similar interaction, albeit with a different tone.

As Nazimova put it herself in a profile in Close-Up magazine:

“The men about her are obnoxious; they cannot even look upon her decently. She loathes them all. Even the Syrian [Narraboth] whose approach is of all the most respectful and decorous, is of his times and his love is tempered with the alloy of lust.”

In the film, Salomé’s rage against Herod is justified, and her rage against Jokanaan is a raw confusion of emotions—she doesn’t have the capacity to act constructively. When the first unfortunate man commits suicide over her, she barely takes notice, establishing Salome’s blasé attitude toward death. When the second man takes his life this time directly in front of her, Salomé only notices after almost tripping on his body. Her response is giving the body an annoyed kick for tripping her! The key phrase of the drama is “The mystery of love is greater than the mystery of death.” Salomé is surrounded by death, enveloped by it, but love (of any kind) is unknown to her until Jokanaan. So, when her love of Jokanaan is rebuked, she reverts to the only response that has been nurtured into her: death.

Nazimova’s Salomé is a perfect surviving example of a quality of her acting described in an uncredited review of Nazimova’s theatrical work:

“If the actress you’re seeing knows what she’s saying but you don’t, it’s Mrs. [Minnie Maddern] Fiske. But if the actress doesn’t know what she is saying and you do, it’s Alla Nazimova.”****

We as viewers understand what Salomé is going through, but she is being psychologically buffeted by fate and circumstance without ever comprehending the nature of it. The tumultuous feelings brought on by Salomé’s first brush with the spiritual (rather than the sexual), launches her into an accelerated ripening of her cruelty. This is masterfully communicated by Nazimova through facial expression and body language and accentuated by Rambova’s costuming.

As Herman Weinberg put it in his essay “The Function of the Actor:”

“The true film crystalizes action for us. ‘To see eternity in a grain of sand,’ the poet said. ‘To see a life cycle in an hour and a half’ is the modern screen parallel.”

Because of the emotional scale of Nazimova’s performance in Salomé, it has been variously described as “bizarre” or “grotesque”—though not always said derogatorily. That’s on point, as Nazimova’s performance is only one expression of her protest against realism in the film.

——— ——— ———

*If you’re interested in the 1920s at all, I highly recommend Allen’s book. The section this quote is from has a detailed survey of changes in American women’s lifestyles throughout the 1920s.

**as quoted in “Alla Nazimova: ‘The Witch of Makeup’” by Robert A. Schanke

***Gavin Lambert’s biography of Nazimova intimates that she referenced the 1917 Tairov production of Wilde’s Salomé, which she reportedly had a detailed description of. Reading about the production for myself in Mark Slonim’s Russian Theatre: from the Empire to the Soviets, I’m not sure what precisely she would have drawn from this production. It doesn’t seem to have much in common with the ‘22 film at all. That said, in a 1923 interview with Malcolm H. Oettinger in Picture-Play Magazine, Nazimova admits that in preparing for the film, she compiled a large scrapbook of previous productions and artistic interpretations of the story and character. Unfortunately, though Lambert clearly did voluminous research for his biography, his presentation and interpretation leaves a lot to be desired. Most of the things I tried to verify or try to find more information on from the book proved to be misrepresentations or were factually incorrect. So, I’m avoiding quoting Lambert without verification, unless what I’m citing is directly taken from a primary source; like a quote from Nazimova’s correspondence.

****quotation is from an uncredited clipping held by the Nazimova archive in Columbus, Georgia as quoted in Gavin Lambert’s biography

Illustration of Nazimova as Salomé by F. Corral from The Story World, March 1923

Nazimova and Rambova’s Modernist Phantasy

The assurance that Rambova and Nazimova felt that they had something new to bring to Salomé was obviously not solely founded in a character interpretation updated for the screen and for the decade. The two crafted a singular work born of pastiche in a manner that genuinely had not been done before in the American film industry. It’s often repeated that Salomé is America’s first art film. This may have its origin in promotional materials* made for the initial release of the film. Before the film’s official release, Bryant, Nazimova, and Paul Ivano (assistant camera & Nazimova’s on-again-off-again lover) arranged preview screenings and a few reviews from those screenings mention in some form that Salomé was a direct retort to the notion that art cannot be made with a camera.

What constituted the Nazimova/Rambova strategy to elevate film to the status of art? Both women had around six years of experience working in film (twelve collectively), but both came from a live performance background—theatrical acting and ballet respectively. Salomé is a film based on a stage play (though not strictly based on any one production of that play). Salomé inherits its symbology (first and foremost the moon) from its source material, but the filmmakers found creative ways of communicating and remixing symbols for the camera. The art design is inspired by Aubrey Beardsley’s illustrations for a printed edition of the play, though Rambova pulled more broadly from art-nouveau to devise designs that are in no way unoriginal.

As for the much discussed Dance of the Seven Veils, in my opinion, Nazimova’s execution is inspired by the dance described in Flaubert’s “Herodias” rather than a previous live performance.

“Again the dancer paused; then, like a flash, she threw herself upon the palms of her hands, while her feet rose straight up into the air. In this bizarre pose she moved about upon the floor like a gigantic beetle; then stood motionless.

“The nape of her neck formed a right angle with her vertebrae. The full silken skirts of pale hues that enveloped her limbs when she stood erect, now fell to her shoulders and surrounded her face like a rainbow. Her lips were tinted a deep crimson, her arched eyebrows were black as jet, her glowing eyes had an almost terrible radiance; and the tiny drops of perspiration on her forehead looked like dew upon white marble.”

Clearly, I’m not implying that what’s described above is exactly what we see on screen. My thought instead is that Nazimova may have drawn inspiration for the dance to be provocative in an uncanny way instead of provocative in a conventionally sensuous way. What we do see on screen is a distinct lack of practiced sensuality and an element of menace. The former comes both from Salomé’s youthfulness and from the logic that, as Salomé has already gotten Herod to give her his word in front of dignitaries, there’s no need for seduction. The latter is brought on by the expression of Salomé’s fractured emotional state and feelings about Herod. In execution, the use of close-ups again serves a major purpose. Intercutting close-up reactions from those gathered at the court provides a crescendo to the motif of looking, which is then pivotally reversed in the kiss scene. Cutting to close-ups of Salomé’s face accents the ecstatic and maniacal quality of the dance. Together this variation of shots creates an effect that could only work on film.

Salomé has a significant appreciation for its non-cinematic antecedents, but filtered through the prism of Nazimova’s and Rambova’s own creative strengths and sensibilities—a melding of theater and graphic art into something not only fresh but also totally cinematic.

It speaks to their filmmaking skill that all of these ideas and influences do in fact come together as a cohesive yet wholly unconventional film. Some critics of Salomé (both contemporary and modern) will cite vague notions of theatricality, or state that the film is only a series of tableaux, or that the limited sets don’t depart enough from a stage presentation. Art is in the eye of the beholder, but I think whether those specific elements preclude Salomé from being cinematic is a matter of perspective.

The oversized, stylized nature of Salomé’ssets might at first register as theatrical, but those same sets also serve to amp up the anti-real nature of the film. It’s uncharitable to Rambova to suggest that this artificiality was not a conscious artistic decision. If you have seen the sequences she designed with Mitchell Leisen for De Mille’s Forbidden Fruit (1921) then you have seen her demonstrated understanding of how designs register on camera. The gorgeously executed lighting effects in Salomé that are employed to to sublimate tone shifts could feasibly be recreated in a theatrical setting, here, filtered through the camera of Van Enger, register as thoroughly cinematic.

To once again quote “The Function of the Actor” by Weinberg:

“In nine movies out of ten (most particularly those emanating from the film factories of Hollywood), the actors stand around and talk to each other, relieved only by periodic bursts of someone going in or out of a doorway. (Sixty percent of the action in the average Hollywood movie consists of people going in and out of doors.) […] 

“The actor going through a doorway may be a necessary device on the stage, to get him on and off. But Pudovkin has made a neat distinction between the realities of stage and screen: ‘The film assembles the elements of reality to build from them a new reality proper to itself; and the laws of time and space that, in sets and footage of the stage are fixed and fast, are in the film entirely altered.’ On the stage, that is, an event seems to occur in the same length of time it would occupy in life. On the screen, however, the camera records only the significant parts of the event, and so the filmic time is shorter than the real time of the event.”

Weinberg cites Pudovkin in an amusing but illustrative way here. People may throw “overly theatrical” or “stagey” casually, but more often than not the distinction between theatrical/cinematic comes down to how space and time is traversed. Even if the base material, a narrative drama for example, is shared between stage and screen, there should be a thoughtful construction of geography and chronology. Could Salomé have played more creatively with space? Perhaps. But, for a film made in early 1922, its creative geography isn’t all that uninventive. The majority of the action in Salomé takes place exclusively on one set, so it does rely a lot on the types of comings and goings that Weinberg identifies with theatre. That said, there are some comings and goings that forcefully pull the audience away from the feeling of stagey-ness. The most consequential occurs in the scene with the first suicide, which I previously mentioned in the context of developing Salomé‘s character and environment. The man runs to the ledge of the courtyard, beholds the moon, and leaps. Cut to a wide, back-lit shot of the figure plunging to nowhere, establishing that the city above the clouds depicted in the art titles and opening credits is the actual physical location that film is taking place in. It’s a genuinely startling moment in the film and Salomé’s most evocative use of creative geography.

The majority of legitimate critical appraisal at the time of Salomé’s release recognize it as an achievement in film art, even highlighting artsiness as a potential selling point. As art cinemas started popping up in the US, Salomé stayed in circulation. Appreciation grew. Legends emerged around its production. And, now one hundred years later, it’s safe to say that Salomé has earned and kept its place as a fixture of the history of film art. As we are lucky enough to have the complete film to watch, assess, reassess, and debate its qualities as a work of cinematic art, I’m positive that conversation on Salomé will continue. 

So, if Salomé was appreciated in its time, why did it ruin and bankrupt Nazimova? What was going on in the American film industry at the time? Find out in part two!

“If we have made something fine, something lasting, it is enough. The commercial end of it does not interest me at all. I hate it. This I do know: we must live, and I must live well. I have suffered—enough. Never again shall I suffer. But most of all am I concerned in creating something that will lift us all above this petty level of earthly things. My work is my god. I want to build what I know is fine, what I feel calling for expression. I must be true to my ideals—” — Nazimova on Salomé quoted in “The Complete Artiste” by Malcolm Oettinger

——— ——— ———

*As of the time of writing, I haven’t been able to track down a complete copy for the campaign book for the film, so I’m relying on fragments, quotes, and second-hand references to its content.

——— ——— ———

Read Part Two Here

——— ——— ———

☕Appreciate my work? Buy me a coffee! ☕

——— ——— ———

Bibliography/Further Reading

(This isn’t an exhaustive list, but covers what’s most relevant to the essay above!)

Salomé by Oscar Wilde [French/English]

“Herodias” by Gustave Flaubert [English]

Cosplay the Classics: Natacha Rambova

Lost, but Not Forgotten: A Doll’s House (1922)

“Temperament? Certainly, says Nazimova” by Adela Rogers St. Johns in Photoplay, October 1926

“Newspaper Opinions” in The Film Daily, 3 January 1923

“Splendid Production Values But No Kick in Nazimova’s “Salome” in The Film Daily, 7 January 1923

“SALOME” in The Story World, March 1923

“SALOME’ —Class AA” from Screen Opinions, 15 February 1923

“The Complete Artiste” by Malcolm H. Oettinger in Picture-Play Magazine, April 1923

“Famous Salomes” by Willard H. Wright in Motion Picture Classic, October 1922

“Nazimova’s ‘Salome’” by Walter Anthony in Closeup, 5 January 1923

“Alla Nazimova: ‘The Witch of Makeup’” by Robert A. Schanke in Passing Performances: Queer Readings of Leading Players in American Theater History

“Besare tu boca, Iokanaan. Arte y experiencia cinematografica en Salome de Alla Nazimova” by Belén Ruiz Garrido (Wish I had read this at the beginning of my research and writing instead of near the end as it touches upon a few of the same points as my essay! Highly recommended!)

“The Function of the Actor” by Herman Weinberg

“‘Out Salomeing Salome’: Dance, The New Woman, and Fan Magazine Orientalism” by Gaylyn Studlar in Visions of the East: Orientalism in Film

Nazimova: A Biography by Gavin Lambert (Note: I do not recommend this without caveat even though it’s the only monograph biography of Nazimova. Lambert did a commendable amount of research but his presentation of that research is ruined by misrepresentations, factual errors, and a general tendency to make unfounded assumptions about Nazimova’s motivations and personal feelings.)

Only Yesterday: An Informal History of the 1920s by Frederick Lewis Allen

Russian Theatre: from the Empire to the Soviets by Mark Slonim

[bkthemes]

WordPress File Permissions: Best Practices to Secure Your Website

Before I begin I want to apologize for yesterday. I posted a post without the title. I had the flu yesterday, and wasn’t feeling right. Introduction Setting proper file permissions is a crucial step in securing your WordPress website. Incorrect file permissions can expose your site to hacking attempts, malware infections, and unauthorized access. Hackers often exploit improperly configured…

[proto-actual]

Hey tronblr. It's sysop. Let's talk about the Midjourney thing.

(There's also a web-based version of this over on reindeer flotilla dot net).

Hey tronblr. It's sysop. Let's talk about the AI thing for a minute.

Automattic, who owns Tumblr and WordPress dot com, is selling user data to Midjourney. This is, obviously, Bad. I've seen a decent amount of misinformation and fearmongering going around the last two days around this, and a lot of people I know are concerned about where to go from here. I don't have solutions, or even advice -- just thoughts about what's happening and the possibilities.

In particular... let's talk about this post, Go read it if you haven't. To summarize, it takes aim at Glaze (the anti-AI tool that a lot of artists have started using). The post makes three assertions, which I'm going to paraphrase:

It's built on stolen code.

It doesn't matter whether you use it anyway.

So just accept that it's gonna happen.

I'd like to offer every single bit of this a heartfelt "fuck off, all the way to the sun".

Let's start with the "stolen code" assertion. I won't get into the weeds on this, but in essence, the Glaze/Nightshade team pulled some open-source code from DiffusionBee in their release last March, didn't attribute it correctly, and didn't release the full source code (which that particular license requires). The team definitely should have done their due diligence -- but (according to the team, anyway) they fixed the issue within a few days. We'll have to take their word on that for now, of course -- the code isn't open source. That's not great, but that doesn't mean they're grifters. It means they're trying to keep people who work on LLMs from picking apart their tactics out in the open. It sucks ass, actually, but... yeah. Sometimes that's how software development works, from experience.

Actually, given the other two assertions... y'know what? No. Fuck off into the sun, twice. Because I have no patience for this shit, and you shouldn't either.

Yes, you should watermark your art. Yes, it's true that you never know whether your art is being scraped. And yes, a whole lot of social media sites are jumping on the "generative AI" hype train.

That doesn't mean that you should just accept that your art is gonna be scraped, and that there's nothing you can do about it. It doesn't mean that Glaze and Nightshade don't work, or aren't worth the effort (although right now, their CPU requirements are a bit prohibitive). Every little bit counts.

Fuck nihilism! We do hope and pushing forward here, remember?

As far as what we do now, though? I don't know. Between the Midjourney shit, KOSA, and people just generally starting to leave... I get that it feels like the end of something. But it's not -- or it doesn't have to be. Instead of jumping over to other platforms (which are just as likely to have similar issues in several years), we should be building other spaces that aren't on centralized platforms, where big companies don't get to make decisions about our community for us. It's hard. It's really hard. But it is possible.

All I know is that if we want a space that's ours, where we retain control over our work and protect our people, we've gotta make it ourselves. Nobody's gonna do it for us, y'know?

[thoughtportal]

Tumblr and Wordpress are preparing to sell user data to Midjourney and OpenAI, according to a source with internal knowledge about the deals and internal documentation referring to the deals. 

The exact types of data from each platform going to each company are not spelled out in documentation we’ve reviewed, but internal communications reviewed by 404 Media make clear that deals between Automattic, the platforms’ parent company, and OpenAI and Midjourney are imminent.

The internal documentation details a messy and controversial process within Tumblr itself. One internal post made by Cyle Gage, a product manager at Tumblr, states that a query made to prepare data for OpenAI and Midjourney compiled a huge number of user posts that it wasn’t supposed to. It is not clear from Gage’s post whether this data has already been sent to OpenAI and Midjourney, or whether Gage was detailing a process for scrubbing the data before it was to be sent. 

Gage wrote:

“the way the data was queried for the initial data dump to Midjourney/OpenAI means we compiled a list of all tumblr’s public post content between 2014 and 2023, but also unfortunately it included, and should not have included:

private posts on public blogs

posts on deleted or suspended blogs

unanswered asks (normally these are not public until they’re answered)

private answers (these only show up to the receiver and are not public)

posts that are marked ‘explicit’ / NSFW / ‘mature’ by our more modern standards (this may not be a big deal, I don’t know)

content from premium partner blogs (special brand blogs like Apple’s former music blog, for example, who spent money with us on an ad campaign) that may have creative that doesn’t belong to us, and we don’t have the rights to share with this-parties; this one is kinda unknown to me, what deals are in place historically and what they should prevent us from doing.”

Gage’s post makes clear that engineers are working on compiling a list of post IDs that should not have been included, and that password-protected posts, DMs, and media flagged as CSAM and other community guidelines violations were not included.

Automattic plans to launch a new setting on Wednesday that will allow users to opt-out of data sharing with third parties, including AI companies, according to the source, who spoke on the condition of anonymity, and internal documents. A new FAQ section we reviewed is titled “What happens when you opt out?” states that “If you opt out from the start, we will block crawlers from accessing your content by adding your site on a disallowed list. If you change your mind later, we also plan to update any partners about people who newly opt-out and ask that their content be removed from past sources and future training.” 

404 Media has asked Automattic how it accidentally compiled data that it shouldn’t share, and whether any of that content was shared with OpenAI, but did not immediately hear back from the company. 404 Media asked Automattic about an imminent deal with Midjourney last week but did not hear back then, either.

Another internal document shows that, on February 23, an employee asked in a staff-only thread, “Do we have assurances that if a user opts out of their data being shared with third parties that our existing data partners will be notified of such a change and remove their data?”

Andrew Spittle, Automattic’s head of AI replied: “We will notify existing partners on a regular basis about anyone who's opted out since the last time we provided a list. I want this to be an ongoing process where we regularly advocate for past content to be excluded based on current preferences. We will ask that content be deleted and removed from any future training runs. I believe partners will honor this based on our conversations with them to this point. I don't think they gain much overall by retaining it.” Automattic did not respond to a question from 404 Media about whether it could guarantee that people who opt out will have their data deleted retroactively.

News about a deal between Tumblr and Midjourney has been rumored and speculated about on Tumblr for the last week. Someone claiming to be a former Tumblr employee announced in a Tumblr blog post that the platform was working on a deal with Midjourney, and the rumor made it onto Blind, an app for verified employees of companies to anonymously discuss their jobs. 404 Media has seen the Blind posts, in which what seems like an Automattic employee says, “I'm not sure why some of you are getting worked up or worried about this. It's totally legal, and sharing it publicly is perfectly fine since it's right there in the terms & conditions. So, go ahead and spread the word as much as you can with your friends and tech journalists, it's totally fine.”

Separately, 404 Media viewed a public, now-deleted post by Gage, the product manager, where he said that he was deleting all of his images off of Tumblr, and would be putting them on his personal website. A still-live post says, “i've deleted my photography from tumblr and will be moving it slowly but surely over to cylegage.com, which i'm building into a photography portfolio that i can control end-to-end.” At one point last week, his personal website had a specific note stating that he did not consent to AI scraping of his images. Gage’s original post has been deleted, and his website is now a blank page that just reads “Cyle.” Gage did not respond to a request for comment from 404 Media. 

Several online platforms have made similar deals with AI companies recently, including Reddit, which entered into an AI content licensing deal with Google and said in its SEC filing last week that it’s “in the early stages of monetizing [its] user base” by training AI on users’ posts. Last year, Shutterstock signed a six year deal with OpenAI to provide training data.

OpenAI and Midjourney did not respond to requests for comment. 

[wordpresswebsitedesigningserv]

WordPress Website Designing Services In Delhi

Introduction

In today's digital world, having a strong online presence is essential for businesses of all sizes. Whether you're a startup, a small business, or a large enterprise, a well-designed website is crucial to attract customers and establish credibility. When it comes to website development, WordPress is one of the most popular and user-friendly platforms available. If you're looking for professional WordPress Website Designing Services In Delhi, you're in the right place!

Delhi is a hub of technology and innovation, with countless businesses striving to make their mark online. To stand out from the competition, your website needs to be visually appealing, functional, and optimized for search engines. In this article, we will explore the benefits of using WordPress for website design, why you should choose a professional service in Delhi, and what features to look for in a WordPress website designing company.

Why Choose WordPress for Your Website?

WordPress is the most widely used content management system (CMS) globally, powering over 40% of websites on the internet. But what makes it so popular? Let’s take a look at some of the key benefits:

1. User-Friendly Interface

WordPress is made to be user-friendly, even for novices. Managing your website doesn't require a lot of technical expertise. You can easily add material, upload images, and design your website with a straightforward interface.

2. SEO-Friendly

Search engine optimization (SEO) is critical for ranking on Google and other search engines. WordPress comes with built-in SEO features and supports various plugins like Yoast SEO, helping your site rank higher in search results.

3. Customization and Flexibility

With thousands of themes and plugins available, WordPress allows you to customize your website according to your needs. Whether you need an e-commerce store, a portfolio, or a corporate website, WordPress offers endless possibilities.

4. Mobile Responsiveness

In the mobile-first world of today, a responsive website is essential. The seamless user experience on all platforms is guaranteed by the mobile-friendly design of WordPress themes.

5. Cost-Effective Solution

Unlike custom-coded websites, WordPress offers a cost-effective solution for businesses. Many themes and plugins are available for free, while premium options are affordable and provide additional functionality.

Why Hire a Professional WordPress Website Designing Service in Delhi?

While WordPress is user-friendly, designing a website that stands out requires expertise. A professional WordPress Website Designing Services In Delhi can help you create a website that is visually appealing, fully functional, and optimized for performance. Here’s why hiring experts is a great investment:

1. Custom Design and Development

A professional provider will ensure that your website matches your brand identity by customizing the design to your business demands.

2. SEO Optimization

Expert designers integrate SEO best practices into your site structure, increasing visibility and driving organic traffic.

3. Speed and Performance Optimization

Websites that load slowly may turn off visitors. Expert developers improve user experience by optimizing your website for speed and performance.

4. Security Enhancements

Cybersecurity is a major concern for websites. Professionals ensure your site is secure, protecting it from potential threats and attacks.

5. Ongoing Support and Maintenance

A website must need regular upgrades and maintenance in order to function properly. A professional service guarantees that your website stays current and error-free by offering ongoing support.

Key Features to Look for in a WordPress Website Designing Service

When choosing a WordPress website designing company in Delhi, consider the following essential features:

1. Custom WordPress Theme Development

Instead of utilizing pre-made templates, make sure the provider offers distinctive and personalized themes. Your website stands out when it has a unique design.

2. E-commerce Integration

If you plan to sell products online, look for services that offer WooCommerce integration for seamless e-commerce functionality.

3. Responsive and Mobile-Friendly Design

Being mobile-friendly is essential. Verify if responsive design is a top priority for the business to ensure top performance across all platforms.

4. Content Management and SEO Services

Content is king! Choose a service that provides content management and SEO strategies to improve your search engine rankings.

5. User Experience (UX) and UI Design

A great website is not just about aesthetics but also about usability. A service that focuses on user experience (UX) ensures better engagement and conversions.

6. Technical Support and Maintenance

Post-launch support is crucial. Ensure the company provides regular updates, security patches, and troubleshooting assistance.

Top Industries Benefiting from WordPress Website Design in Delhi

WordPress is versatile and serves a wide range of industries. Here are some sectors that benefit the most from professional WordPress Website Designing Services In Delhi:

E-commerce: Online stores and marketplaces

Healthcare: Clinics, hospitals, and doctors’ websites

Education: Schools, colleges, and online courses

Real Estate: Property listings and real estate agencies

Corporate Websites: Business portfolios and company profiles

Blogging and News Portals: Content-focused websites

Event Management: Wedding planners, conferences, and ticket booking sites

Regardless of your industry, WordPress can be customized to meet your specific requirements and business goals.

[webhostingindia]

Why Choose an Affordable Web Hosting Service

Affordable web hosting services are ideal for anyone looking to create a website without spending too much. Whether you’re a small business owner, a blogger, or starting an online store, choosing an affordable web hosting plan ensures you get the features you need without breaking the bank.

Cost-Effective

Affordable web hosting plans are budget-friendly, making them perfect for beginners or small businesses. They allow you to launch your website without a huge investment, giving you more financial flexibility to focus on other areas like design, marketing, or content creation.

Reliable Performance

Even affordable web hosting provider offers reliable performance. Many include features like fast loading speeds, SSD storage, and high uptime guarantees to keep your website running smoothly. This ensures your visitors have a positive experience whenever they visit your site.

Easy to Use

Most affordable web hosting plans come with simple tools like user-friendly control panels and one-click installers for platforms like WordPress. These features make it easy to set up and manage your website, even if you’re not tech-savvy.

Security Included

Basic security features like SSL certificates, malware protection, and regular backups are often included in affordable web hosting packages. This ensures your website and customer data remain safe without extra costs.

Room to Grow

Affordable web hosting service is scalable, allowing you to start with a basic plan and upgrade as your website grows. This flexibility is ideal for websites expecting increased traffic in the future.

Conclusion

Choosing an affordable web hosting service is a smart way to get your website online while staying within your budget. It provides the essential features, performance, and security you need, making it a great option for individuals and small businesses. Start building your online presence today!