Tags:not a reblog, fandom history, DWCrosspost, star trek history, fanzines, fan art
Tumblr post (this is likely a reblog, and may have more pictures over there)
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Posted in full at: http://ift.tt/2hYX2fC at January 05, 2017 at 10:04PM
I have been rereading the MsScribe saga today, which I now believe was so much more than an account of fandom because to have been able to write it is to understand fandom as it operated. This is important because we spend a lot of time on this website talking about how fandom should be, not about how it currently exists, as actual fact. Charlotte Lennox’s analyses of fandom, particularly, of how MsScribe was able to manipulate fandom, were very sharp, and talked about things that fannish people were not necessarily willing to talk about.
A few things struck me as particularly prophetic about this current state of fandom.
- The fandom community is completely defenseless against bad faith actors who know how fandom works.
- Consider MsScribe’s meteoric rise. Consider how knowing the right words is the one and only condition to being considered Good.
- Fandom operates on a couple of perverse incentives:
- Trauma will earn you not only sympathy, which it should, but also earn you authority to speak to a number of topics.
- Trauma had become the only way that you earn authority to speak to those topics.
- In the times of MsScribe, this manifested in her story about her accident and her stay at the hospital, but it was very interesting how she trotted out the story in irrelevant contexts.
- MsScribe has also claimed to have experienced sexual assault.
- Now, this is combined with fandom’s de facto policy of Always Believe. This set of rules on which fandom operates does not mean that Always Believe should be done away with, but that we have to understand that it should come as no surprise that bad faith actors will exploit this rule.
- Accusations of racism and bigotry elevate fandom to a higher level of importance than it actually is.
- I have a post or two about how fandom is not actually important in the grand scheme of things, so I will not belabor the point here.
- Fandom still plays a huge part in the lives of fans, however, so it must be important, right? How do we make it seem more important?
- I believe MsScribe’s stunt with the racist and homophobic sockpuppets presages fandom’s abuse of social justice language. This is not a new point, but by elevating shipping wars to the levels of racism and homophobia, people can claim righteousness and justify their overzealous reactions.
- The thing is that nowadays, fandom no longer even requires sockpuppets to be made. Offences in order to generate appropriate outrages do not need to be odious neo-fascist statements; they are everywhere, manifest. You need to keep up with the latest non-ablest language, or you’re out. This is why fandom will never be able to surpass MsScribe’s sophisticated level of wankatry–there is simply no need for it.
- Separately, it amuses me to no end that fandom remembers Dan Savage as the guy who said some unwise things about asexual folks, and not one of the media dipshits who championed the Iraq war.
So a lot of the dynamics that we’re talking about right now have already been in existence in fandom, literally as early as the first true fandom history was written. Scary, no? But this is also why I completely reject analyses like Devin Faraci’s that paint this generation of fans as particularly “entitled,” as though “entitled” is not the right wing’s favorite bludgeon with which to hit Millennials. I also reject Aja Romano’s lol-tastic version of how fabulous and important fandom is in her numerous, brazenly ahistorical posts for Vox.com. I invite the likes of Charlotte Lennox, who has a real understanding of fandom and its history, as well as a willingness to talk about oft avoided things, to contribute to the discourse instead.
****Coming to you soon, maybe: A long ass post about everything wrong with Faraci’s and Romano’s takes on fandom.
Multiple cat food companies have voluntarily recalled dozens of their products over concerns the pets could get sick from eating them. Certain cans of cat fold from 9Lives, EverPet and Special Kitty did not have the proper amount of thiamine, which is also known as Vitamin B1, according to the U.S. Food and Drug Administration, which announced the recall Tuesday.
The products affected were all distributed for retail between Dec. 20 and Tuesday. A full list of the canned cat food recalled follows below:
Meaty Pate Chicken and Tuna 13 oz.
Meaty Pate Seafood Platter 5.5 oz.
Meaty Pate Seafood Platter, 4 pack of 5.5 oz. cans
Meaty Pate Super Supper 5.5 oz.
Meaty Pate Super Supper, 4 pack of 5.5 oz. cans
Meaty Pate Super Supper 13 oz.
Meaty Pate with Chicken and Seafood, 4 pack of 5.5 oz. cans
Meaty Pate with Chicken and Tuna 5.5 oz.
Meaty Pate with Chicken Dinner 5.5 oz.
Meaty Pate with Liver and Chicken, 4 pack of 5.5 oz. cans
Meaty Pate with Ocean Whitefish 5.5 oz.
Seafood Poultry Variety Pack 5.5 oz.
Meaty Pate with Chicken & Tuna, 4 pack of 5.5 oz. cans
Mixed Grill Dinner 13 oz.
Beef and Liver Dinner 13 oz.
Classic Tuna Dinner 13 oz.
Mixed Grill Dinner with printed wrap, 12 pack of 13 oz. cans
Mixed Grill Dinner without printed wrap 13 oz.
Super Supper 13 oz.
As of Wednesday morning, there was no information about parent company J.M. Smucker offering any refunds for the potentially affected cat food. Instead, the company instructed customers who purchased any of the above products to stop feeding their cats the food and to call 1-800-828-9980 or email consumer.relations@jmsmucker.
Low levels of thiamine could result in a cat having symptoms ranging from a lack of an appetite to seizures. While thiamine deficiency can be serious for cats, it can be treated if detected early.
A separate recall of cat food was issued in June when products from the Rad Cat Raw Diet may have been contaminated with either Salmonella or Listeria, or both, the FDA announced at the time.
So, I had a shared blog on tumblr called learningtocomic, where me and a couple of friends would occasionally post things about our comicking shenanigans, and oftentimes use it as a platform for thinking through various aspects of the comicking process. It had a respectable 200+ followers.
And then it got deleted due to tumblr stupidity.
That’s…. that’s a lot of content that has now disappeared into thin air. I’m still waiting for a response from tumblr support before I go around salvaging what I can, but in the meantime, I’m thinking a lot about the content that we create here, for free, and put up on this here website.
Server space isn’t free. Designing and maintaining a web platform isn’t free. Any web platform needs developers to make it usable, support personnel to keep it a safe and sane space, and good management who actually considers our needs. When a service is “free”, it means that at least one of those things is missing. Tumblr doesn’t consider our needs. LJ is poorly managed. DW could probably use some more personnel, and has very little server space.
Right now, what with the LJ servers moving to Russia, and some predictions that the Russian company wants to gradually phase out the American (money-losing) side of LJ, I hear that many LJ people are decamping to DW. With Yahoo basically in freefall, I think tumblr will die in a few years. Already, various fandoms are going in different directions: imzy, discourse, etc.
Further fracturing of fandom aside, that doesn’t solve the problem that we keep expecting hosting and web platforms to be free. Fandom, which generates a lot of free content (and accompanying wank), requires hosting and web platforms that aren’t free. Because free actually means “our sales and marketing team is bigger than our development team”. Free means “we are selling your information to the advertisers”. Free means “oops we deleted all of your content but we don’t give a fuck because you’re not actually our customer.”
So we are faced with two options:
(1) migrate from site to site like digital vagrants, losing content and communities along the way, or
I’m not saying that *everyone* has to pay. Half of fandom are still in school, and another quarter are working 2 jobs and barely making ends meet. But my experiences in fandom has also really shown me its generosity. I recently was putting together a fan anthology, and had a payment process that was “pay what you can if you have financial trouble” coupled with “chip in $5 or $10 if you can help”, and the donations not only covered the people who couldn’t afford full price, but also covered incidental printing and shipping costs.
Which is to say – it’s doable, if we don’t take web platforms for granted. If, when we migrate to the next place, we say “let us pay what we can” instead of diving straight into creating beautiful works of art (and then scrolling past the flame wars.)
For me, the next space is Dreamwidth – it is already fan friendly and has half of the features that I want. And for the other half – well, if I want something, pay for it, right? So, here is my plan of action:
1) buy a DW paid account, even though I don’t have any use for its current paid features. Because its developers need money if I want them to improve the site. (And heck, I pay much more for Netflix.)
2) make some suggestions to DW for features that would make the site better. (Top on my list: option to buy image hosting, ease of posting to different accounts, ability to reblog)
3) start consolidating my creative content on DW, and crossposting there. (Maybe other people might slowly move there, as well, especially if the site is given the financial strength to improve.)
4) pay for fanart, fanfics, original writing, original art, etc. Because the work we create is also worth something.
Tags:some of these may be borrowed tags, dreamwidth, alas, just after I'd moved back to LJ, good thing DW allows crossposting, jsyk -- if you report someone's blog, a careless tumblr support person might delete all of that person's blogs, even the completely unreleated blogs that they're a member of, fandom meta, potofsoup, fandom history, DWCrosspost
Tumblr post (this is likely a reblog, and may have more pictures over there)
One of the most notorious cases of copyright omission happened in connection with a little show called Star Trek— another NBC series, but this one a production of Desilu Studios. When originally telecast during the 1966-67 TV season, the entire first season’s voyages of the starship Enterprise aired without a single indication of copyright anywhere in the program.
It wasn’t until years later — and after Star Trek had metamorphosed from a short-lived cult TV show into a cultural phenomenon and highly prized commodity — that the copyright lapse even drew any attention. It was at the time of the advent of home video, when a number of small mom-and-pop outfits, believing that first year of Star Trekto be in the public domain, began selling copies of the episodes on videocassette.
Paramount, which had inherited the Star Trek franchise and produced the remaining two years of the series and all of its spin-offs after parent company Gulf + Western purchased Desilu in 1967, sought to regain exclusive rights to the first season by mounting a legal challenge to the little nickel-and-dime distributors that were circulating those first 26 episodes.
The upshot? Based on its existing copyrights on all subsequent Star Trek properties, Paramount won the right to retroactively copyright the entire first season of Star Trek, in the process, successfully suing all of those little companies — the ones that thought they were in the clear selling public domain shows — right out of business."