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Is here, and we have some stuff in store to celebrate and honor the achievements of the Black community past and present. There are Answer Times to celebrate Black voices in entertainment and modern civil rights, weekly themed round-up posts to showcase found everywhere, video interviews with celebrities and activists, a special updated daily with the best BHM posts from all of you, and custom stickers based on the top tags surrounding Black culture on Tumblr in 2016. Take a peek: Here’s a look at our scheduled Answer Times:. 2/6—The activists behind the movement. 2/7—Fashion designer. 2/8— , fashion journalist and LGBTQ rights activist.
2/16—The cast of VH1′s. 2/21— , transgender rights advocate.
2/22—Actress. 2/23—Comedian and actor Andrew Bachelor, better known as.
2/24— Washington Post editorial board member and MSNBC contributor. 2/27—Christian hip-hop artist. 2/28— Black-ish actor.
And the video interviews will launch on Action :. 2/1—, co-star of Hidden Figures. 2/6—The people behind. 2/13— from the Buzzfeed podcast, Another Round.
We’ll be rolling this stuff out all over the place on Tumblr, but the is live right now. It’s filled with stuff made by all of you, and it’s already pretty great on day one. Happy Black History Month, Tumblr. So this thing blew up way, way beyond anything i ever would have expected. And i became aware tonight that people in the publishing industry are sharing info and links from it on twitter, to the tune of thousands of RTs.
And in the event that this reaches a point where sony or andrew garfield or stan lee actually have to respond, i want to say a couple of things. First off, i fully stand by everything i said.
This is not a backpedal; it’s a clarification. There’s very little editorializing in my original post - for the most part, i’m just presenting quotes, with full context, to support the conclusion that andrew garfield and marc webb made some effort to give peter parker a male love interest, and that this ultimately was a factor in the dissolution of the franchise.
I made the post out of irritation after seeing marvel championing the diversity of spiderman: homecoming in promotional materials. It feels deeply wrong to me to see a major corporation patting themselves on the back for tolerance when a licensing agreement remains in place contractually obligating peter parker to be white and heterosexual, and when andrew garfield’s campaign for a bi spiderman and a black, male MJ were met with such total and unequivocal refusal. That said: the i linked in my post was published in june of 2015.
I initially mistook this to mean that the “legal licensing agreement between Sony Pictures Entertainment and Marvel Entertainment” the article refers to was the february 2015 agreement in which sony gave marvel the rights to use spiderman in the MCU. As i was writing the lengthy addition to the original post, i realized that the licensing agreement in question had been signed in september of 2011 and predated the andrew garfield movies, and i made a correction in that addition. The licensing agreement wasn’t a direct reaction to andrew garfield’s campaigning for a bi spiderman. It was in place prior to the release of the amazing spider-man, and it dictated important character decisions, and it was almost certainly deployed to discipline andrew garfield and marc webb when they began to publicly discuss the possibility of giving peter parker a boyfriend. Incidentally, it was also almost certainly instituted in response to the widespread 2010 campaign to cast donald glover as spiderman in the marc webb films, lending an additional layer of racist bigotry to this whole mess. Furthermore: i recognize that the 2015 marvel/sony deal was a complex one.
I recognize that there were many factors at play here, and that the companies ultimately felt it would be lucrative to reboot the series with a younger actor, as opposed to integrating andrew garfield into the MCU. I’m not suggesting that andrew garfield said “spiderman should have a boyfriend” and was fired the next day solely for making that comment. But i absolutely, positively believe that his advocacy for a bisexual spiderman played an integral role in the dissolution of the franchise. When andrew garfield talks about his disappointment surrounding the fate of the amazing spiderman films, he doesn’t talk about the films not making enough money or not being received well; he explicitly talks about the studio’s unwillingness to “deliver medicine” to “millions and millions of young people who are hungry for someone to say, ‘you’re seen.’” stan lee had no complaints about the quality or profitability of the amazing spiderman 2, but he had a lot to say about the notion that peter parker might date a boy. Ultimately, marvel and sony signed an agreement dictating that peter parker be depicted as heterosexual and white. Their lead actor and director publicly and vocally challenged this, and they were both subsequently dismissed. Marvel is now running a commitment to diversity as part of the promotional plank for spiderman: homecoming - while evidently holding fast to the contractual agreement to portray peter parker as straight and white.
That doesn’t sit right with me. Lgbt kids and kids of colour deserve better. Malcolm X photographed by John Launois, 1964. The Saturday Evening Post editorial accompanied a shortened version of Malcolm X’s then unpublished autobiography. The excerpt, titled “I’m Talking to You, White Man,” gave an account of losing a father to violence and a mother to insanity, drifting into crime and drugs, finding faith in prison through the Nation of Islam and its leader Elijah Muhammad, and taking his spiritual journey even farther.
After returning from a pilgrimage to Mecca, Malcolm X was asked what had most impressed him. He replied, “The brotherhood: The people of all races, colors, from all over the world coming together as one! It has proved to me the power of the One God.” As a result of what he had seen in the Holy Land, he wrote, “I have turned my direction away from anything that’s racist.” But, in consequence of renouncing racism, “some of the followers of Elijah Muhammad would still consider it a first-rank honor to kill me.”. Some time ago Laurie Goulding, Black Library author and editorial stalwart, posted a response to questions about the intricacies behind getting a book published - not the authorial work itself, but the lesser-known but truly vital efforts that take a long, typo-riddled Word document and transform it into a majestic, physical book. Unsurprisingly this process is very involved, and hopefully explains why it generally takes a year to get a book onto bookshelves in-store!
”So, the process might differ from publishing house to publishing house, but this is the general gist of it. (This is NOT exclusive to BL, or anything like that.
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It’s fairly standard across major publishers.) An author submits their first draft. An editor receives it, and reads it. They can’t skim it - they have to assess it critically, word by word, and make notes, check facts, confer with their peers.
In general, for a book between 50k and 100k words, this takes 1-2 weeks but can be more. (Depending on how many projects an editor has stacked up, they might not be able to START reading for up to 6 weeks. Editors aren’t waiting around for a specific book to show up, they have other stuff to do every day, and other books.) The editor then gives feedback to the author.
This is usually typed up and emailed, but sometimes you can do it face to face - if 1) the author is available, and 2) the feedback is quite light. The author is then given a new deadline for redrafts, depending on the amount of work involved. The longest you’d expect would be another month, because authors have lives outside of writing The author submits the revised draft, and the editor checks what has changed throughout. This can take a day or so, maybe a week at most. If the new draft is good to go, then the process moves on. Otherwise, it’s more feedback and repeat the previous step. Next, the book goes to a desk editor.
They tidy up the manuscript, format it and get it ready for copy-editing. It then goes to an external freelance editor who is familiar with the author and/or series, to make sure there is consistency from the ground up. The external copy-edit can take up to 6 weeks, as they read it line by line and make changes, plus they compile spelling lists and any queries that they can’t immediately answer (IP stuff, especially). Then the desk editor reviews those changes, to make sure it’s good quality and nothing has gone crazy or off the rails with the author’s original work. They might make some more tweaks as well.
This can take up to a week (but this was always the biggest bottleneck at BL as we only had ONE desk editor for a long time for ALL books) They then send the edited manuscript to be laid out as a rough version of the book, with Production. They might be able to do this within 30 minutes, or it can take a week. It depends on whether they are experimenting for a standalone book or new series, or following a template from a previous series. The rough layout then goes to AT LEAST 2 external proofreaders, who check for typos, comedy hyphenation across lines (a$$-orted and ar$e-nal are two of my favourites!) and any last issues that have slipped through. (For HH products, I used to also give it one last continuity check at this stage, for added consistency across the series.) This takes about 2 weeks, but can be longer if the book is longer or there is more to check in other books. Assuming the cover art and adverts are ready to go, the book can then be fully laid out, with graphics and internal art where needed. This takes a week, minimum.
Then the book goes into sign-off. It has to be peer-reviewed by people from EVERY team in the department who worked on it. Any issues have to be fixed now, or they are going to be in the final printing. This can take a day for super-urgent products that HAVE to go to print right now, but you inevitably get mistakes that are missed and the longest I’ve ever known was 2 weeks for a proper, thorough sign-off. The overall manager of the department also has to look at every single product, at least quickly, so they know everything that their name is indirectly attached to within the company - this can be another bottleneck if that person is out of the office, or on holiday. (At this stage, there is usually a reprographic check, to make sure that the colour values will work when printed. This can take as little as a couple of hours, but it depends on what else the guys there are doing at the time.
If there are errors, it has to roll back to sign-off again.) The files then get uploaded to the printers’ file servers. Most English BL books are now printed in China, because the quality is better and the cost is lower. (Sorry, UK printers! It’s just business.) This takes 30 minutes. The printers then print out a proof copy, and send it back to the publishers.
This has to physically arrive in-house to be checked over, which can take a few days even by air courier from China to the UK, and then it has to be looked at by at least 3 different people to check for any final-final issues. Generally, this is all good and nothing changes otherwise, repeat sign-off AGAIN, and all the subsequent steps. Once that big red button is pushed, the publishers have no further control over the printing process.
It takes MONTHS. They will receive early samples to check (Correct paper? Any issues at all?) but all being good the stock will arrive 4-5 months after final approval, ready to be shipped.
And shipments only go out once a month, because that’s how sea freight containers work. If a book misses the container, it’s waiting 28 days minimum - so you have to plan this stuff VERY carefully, allowing plenty of time. AAAAAAAND, bear in mind for all of this, people only work office hours. There are national holidays. There are unforeseen problems. Batman: Li’l Gotham #1 “There’s no telling who’s real and who’s not. For all I know, most of these costumed Jokers are the real deal.” So.
For people who might not have been around during this whole debacle, this may be one of the most controversial DC comic pages of all time. Why is it controversial? How can a page full of cameos be controversial?
Doesn’t DC love doing this stuff? Well, my dear readers, this was at a time where Cassandra Cain and Stephanie Brown were quoted as being “toxic” to DC Editors because their large fan bases were vocally protesting their treatment (or lack thereof) in the then-current administration. And Li’l Gotham – on a page which manages to have multiple Batfamily references from the Ventriloquist to Red Hood and outside-continuity references like Artemis of Young Justice and Jay Garrick the Pre- Crisis Flash – DARED to have Cassandra Cain and Stephanie Brown cameo in a little off center of the splashpage behind Donner movies Lex Luthor and classic Darkseid. In the original version, the Steph cosplayer had blonde hair, making her unique Batgirl costume homage all the more obvious, whereas Cass is dressed in an unofficial outfit that her fans would recognize as a style and colors she wears in Nguyen’s unofficial art for her.
This caused such an uproar with the angry editors at DC that they demanded that they change the hair of the Steph cameo so that it would be less of a cameo. If you poke around a bit you can find lots of editorials and posts chronicling the bizarreness that is the treatment of Cass and Steph between 2011 and 2014, but for Steph there’s a silver lining so far as Li’l Gotham’s concerned – by the last issue, she got a full-on cameo and mention, whereas Cass got one background cameo in another issue with Steph but did not get a mention in the Batfamily history spiel that was given in the last issue that included Steph. I will leave that rant for another time. There is an alternate universe where Hillary Clinton is president.
There is no threat of nuclear war with North Korea. There are no Nazi marches. There is no wide-ranging investigation at the highest levels of government into Russian interference in the presidential election. Basic fundamental rights and freedoms are not under attack. The healthcare conversation is about how to improve Obamacare, not strip millions of health insurance because fuck poor people.
America is respected and even admired for finally breaking its glass ceiling. President Clinton has reaffirmed the USA’s commitment to the Paris Accord and had a historic photo op with Theresa May and Angela Merkel.
Donald Trump is just a punchline on late night TV shows, and not someone with the ability to do such damage to the entire earth’s population. America is stable and altogether, doing pretty well.
It still has its long ingrained problems, but it’s not teetering on the edge of total deconstruction and downfall. “Boy,” say the fortunate citizens of this happy place. “Good thing he didn’t win, huh? I don’t even want to imagine it.” This is not a perfect alternate universe.
The House and Senate GOP are running the Find a Scandal Obstruction Machine nonstop. The media obsesses on tearing her down. All the talk is about who will run against her in 2020. The people who hated her before still hate her now.
The left wing writes angry editorials and blog posts about the ways in which she is not being progressive enough. She is constantly judged for not fulfilling her full slate of campaign promises in 8 months. But you know, elections don’t matter, and both sides are the same.
By DP OPINION openforum@denverpost.com August 5, 2017 at 5:01 pm John Leyba, Denver Post file Re: “Taylor Swift’s righteous fight against her alleged groper,” July 28 editorial. I read with great appreciation your editorial in support of Taylor Swift’s decision not to settle the lawsuit brought against her by a radio talk show host. One of the things that struck me most as the newly elected district attorney for Denver is the number of sexual assault cases that we file.
Swift did not report the incident to law enforcement, but her willingness to stand up to alleged sexual abuse is commendable and will hopefully encourage other women who have suffered unwanted sexual indignities to come forward. As your editorial pointed out, it is embarrassing and difficult for victims of this type of behavior to report and go through the complicated criminal justice system. Some may say, what’s the big deal — a hand up the skirt?
An unwanted hand up the skirt and a grab of the bottom is sexual assault and should be acknowledged as such whether you are an international superstar or any woman. I urge all women to make criminal reports in these situations. Without courageous women reporting, these crimes will continue. Kudos to Taylor Swift for saying she won’t put up with this behavior and to The Denver Post for recognizing it. Beth McCann, Denver The writer is district attorney of Denver.
Taylor Swift is so brave to confront her alleged assailant. It saddens me that anyone could sexually assault someone in the first place, but then have the complete audacity to compound the wrong they did to the victim by suing them. It also disgusts me that so many make crude jokes about Swift’s ordeal. It is precisely this kind of mean-spirited attitude that makes judges and juries dismissive of victims’ testimony.
It also discourages victims from even reporting the crime, knowing they could be blamed and ridiculed, rather than given the trust and support that they deserve. I am a 54-year-old man, so I am not the typical “Swiftie,” but I am a huge fan, not just because of her amazing talent, but because of the wonderful and inspirational person that she is. She has helped me cope with mental illness, including PTSD, due to being molested as a child. Brian Keith Hendrickson, Minneapolis The Post editorial praising Taylor Swift’s stand regarding her ownership of her body reminds me of basic training in the Army. While the drill instructors yelled and drove us without end, they also respected that part of us.
When inspecting our uniforms while we stood at rigid attention in formation they would ask “May I touch you?” before straightening or rearranging. It was unthinkable that we would decline, of course, but it sent a clear message of deference and boundaries. Regardless of the facts in the Swift case, the message to be learned is the same: respect.
Harry Puncec, Lakewood.
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