marbles by photos_martha on Flickr.
[Photo: A row of marbles casting long shadows across a white surface.]
Watch your “meow mixer” scratch along with Daft Punk’s Random Access Memories with this delightful scratch pad!
I can’t. I am failing to can.
From beginning to end, from rise to fall to rise again, the noble Mohawk ironworkers have shepherded the sky-scraping towers of the World Trade Center in New York City into existence.
“I worked on the building for four years,” third-generation ironworker John McGowan, Kahnawà:ke, told Kahnawake411, the newspaper for the reserve just outside Montreal. He was recalling his role in building the new One World Trade Center, which stands on the site of the original Twin Towers that fell in the horrifying terrorist attack of September 11, 2001. “It was a great honor to bring back the height to New York.”
There’s a long tradition of Mohawk ironworkers in New York, and I’m glad to see them getting some press.
Across the US as a whole, the Asian-American community was already organising, fighting civil rights battles, getting involved, uniting across racial lines to address common issues. The Vincent Chin case became a crystallising moment for the movement, uniting people from a variety of backgrounds in the fight for justice for both Chin and his family. Furious at the fact that his murderers effectively got off, furious at the low value placed on a Chinese man’s life in the supposedly enlightened age of 1982, furious at civil rights violations like this, people took to the streets, and two Chinese women, Helen Zia and Liza Cheuk May Chan, rallied for federal charges, refusing to rest after the state’s verdict in the case.
Donkey by Victoria Reay on Flickr.
[Photo: A donkey laden with packs, facing the camera.]
The film captured the hearts of viewers earlier this year at Sundance, where it won the coveted Grand Jury Prize. For Coogler, who’s an Oakland native, that was an incredible turning point. “To speak on the national stage, which is Sundance, was really something,” he told USA Today. “And to (now) be on the international stage, that means everything to me.”
Isabel Pedro, a farmer from the village of Malabo, remembers being skeptical about resettlement from the start. Now in her late forties, Pedro has cracked feet and strong, lined hands. She has grown food her whole life—corn, bananas, pigeon peas, cassava—using little more than a machete and a broad hoe to work her machamba, or garden, on the banks of the Revuboe river. In Tete province, arid and hot, land by the river makes farming viable. Selling sacks of charcoal to supplement their farming, over the years, Pedro and her husband built a house so big it took twenty-two sheets of zinc roofing to keep the rain out. Pedro knew Cateme, where the largest resettlement was planned, and she didn’t want to live there. Cateme lies 25 miles down the road from Moatize, where there is no town and no river. Pedro and her husband refused to move. And then, as her neighbors packed up and left, accepting the terms the government had negotiated with Vale, it dawned on Pedro that the mine would be built whether she moved or not. Estado é estado, branco é branco, she told me later, squinting at the sun: “The state is the state, white people are white people.”
The mayor likes to imply that stop-and-frisk is a heroic anti-racist cause and that its critics, many of whom are longtime civil rights activists, just don’t care about the safety of people of color.
Last month, Bloomberg called out the New York Times, which has belatedly begun pointing out that a policy of mass interrogation of youth of color without probable cause just might be unconstitutional, for running more articles about stop-and-frisk than murder victims.
Velvety Nose on Flickr.
[Photo: A closeup of a very fuzzy donkey nose.]
Remember when we used to have weekends?
Are we going to have to have another talk about how it’s important to credit and attribute work, and how you shouldn’t engage in copyright infringement (reposting material from other sites in full, for those of you who are vague on the topic)? Because I would like to NOT have to have that talk with you again, since it feels like we just had it.
Oh, we are? Okay.
So here’s the thing: It’s important to maintain attributions on people’s work, and if a work isn’t attributed, to search out the identity of the creator. Because people deserve to be credited for their work, no matter who they are or what the work in question is. I’m sorry if an artist’s name destroys the look of your precious fanart blog, but it is not acceptable to repost creative works (art, photography, articles, videos, etc.) without crediting their creators, the people who worked hard on them, who put serious energy into them. Those people deserve credit on an intrinsic basis because they should be recognised for their work, and for many of them, because their work is also their means of financial survival.
And copyright infringement. Tumblr. I get that Tumblr culture encourages reprinting of someone else’s content in full, which is the whole point of the reblog button, and that’s something one considers when posting here. (I, for example, write this in full expectation and awareness that this post will be reblogged in full by people who are not me, displayed on sites that are not mine—this is part of Tumblr culture and it is part of the structure of how the site works, and I agree to that, as long as the attribution is maintained and people know where this came from and who wrote it.)
But when you’re talking about works published on other sites, you cannot actually wholesale fold them in to Tumblr. You can’t lift entire articles, blog posts, and other works and publish them here—unless, of course, they’re published with a Creative Commons license, you have the permission of the owner, or the work includes a clear indicator that the owner encourages distribution in full (usually with attribution and often for noncommercial use only). Doing that is copyright infringement, just so we can all make sure we understand what is happening here.
And while there are a lot of problems with copyright law in the United States and how it is administered, this is actually a pretty clear-cut issue. When you republish things written elsewhere here, you harm the original content creator (especially when you do so without attribution or you strip the attribution from a full-length piece someone else has published). Many people are directly compensated in terms of how many pageviews they bring into a site, while others are ‘valued’ in terms of pageviews and the kind of traffic their pieces get. If a writer’s traffic is all going somewhere else, that writer won’t be commissioned anymore. And surely if you’re reprinting a piece you like and want to support a writer, yes?
Even if it’s ‘just’ a blog or other nonpaid work, writers who aren’t working for money deserve respect as well. And many of those writers use their unpaid work as a form of resume or clips, and thus count on controlling where it appears and how it is used. When people search for something someone wrote, it’s important for them to land on that writer’s website, not somewhere else.
This is not just a funny little ‘quirk’ or ‘preference’ of mine—it’s pretty common for most bloggers to feel this way, given that they own the content they produce and have the law on their side on this one, which is why writers who do not indicate with a Creative Commons badge or other signifier that they encourage reprints of their work.