I’m so glad this sub exists because I’ve been annoying everyone in my life with my theories about these two … I figured this would be the right place to post my speculation/lyric breakdowns of songs that they may have written about each other, split into different posts for albums for ease of reading.
Starting with Reputation (2017) – I imagine the failed relationship with Matty was still fresh for Taylor during the writing/recording of this album. Her reference to her “longings locked in lowercase inside a vault” definitely made me look back at Rep in a way I hadn’t before (and I do think we’ll see some Matty-coded vault tracks on TV”. That said I don’t want to erase her other relationships, especially with Joe, so I’ll make notes of where I think I’m either stretching for a Matty connection or I think there are multiple muses.
Special mention to “Getaway Car” which feels like another (fictionalized?) response to Robbers but the story she tells is very similar to her fling with Tom, especially given the third man in the song. I usually claim it for the maylors anyway bc who cares about Tom. Let me know what you think.
“...Ready For It?”
Knew he was a killer first time that I saw him / Wonder how many girls he had loved and left haunted / But if he's a ghost, then I can be a phantom
I can't ignore the connections here to two other songs thought to be written about M - Ghost (2014) and Haunted (2015) by Halsey (I won't bother going into the HalseyMatty lore here but I could in another post...)
"You're a Rolling Stone boy, never-sleep-alone boy / Got a million numbers and they're filling up your phone, boy" (Ghost) "I'm begging you to keep on haunting me" (Haunted) "My ghost / Where'd you go? / I can't find you in the body sleeping next to me" (Ghost)
I can be a phantom holdin' him for ransom / Knew I was a robber first time that he saw me / Stealing hearts and running off and never saying sorry / But if I'm a thief, then he can join the heist / And he can be my jailer
Robbers is one of The 1975’s most famous songs. In the music video two lovers stick up a convenience store - definitely worth a watch if you haven't seen it. In 2014 M dedicated the song to T in Dallas in November 2017 (a week after she attended the concert in LA) here and here
Burton to this Taylor
One of my favorite references that I think reveals a lot about the messy but irresistible relationship M and T seem to have. Here's a link to a great article about the wild love affair between Elizabeth Taylor and Richard Burton.
Every love I've known in comparison is a failure / I forget their names now, I'm so very tame now / Never be the same now
This sentiment is repeated throughout many of the songs I believe are about M. The idea of a life altering love is obviously prevalent across TTPD but also in folklore, evermore, and Midnights. ex. "I'm never gonna love again" (cowboy like me), "I don't remember who I was before you painted all my nights a color I have searched for since" (Question...?), "I felt aglow like this / Never before and never since" (loml)
Also want to mention This Must Be My Dream from 2016, which M has said is about an older gf but may fit: "Let me tell you 'bout this girl / I thought she'd rearrange my world"
No one has to know / In the middle of the night, in my dreams / You should see the things we do, baby
See Guilty as Sin? lol
Baby, let the games begin
Taylor in an interview with Glamour in February 2014:
TS: [Nods. Pauses.] I think everyone should approach relationships from the perspective of playing it straight and giving someone the benefit of the doubt. Until he establishes that this is a game. And if it's a game, you need to win. The best thing to do is just walk away from the table.
CL: Is that winning?
TS: It is when they come back. [Laughs.] And if they don't, then they didn't care enough to begin with.
conclusion: I believe ...Ready For It? is a response to Robbers and reveals M and T's similar romanticism (sometimes toxic but so addicting). The mirrored stylization of ...Ready For It? and Question...? makes me think the latter is a continuation of the former. The mentions of “island breeze” and “we’ll move to an island” have made people believe this song is about Tom Hiddleston but other lyrics, namely “younger than my exes” pretty clearly contradicts that.
"End Game"
I wanna be your end game / I wanna be your first string /I wanna be your A-Team
Funny reading this after The Alchemy and So High School.
Big reputation, big reputation / Ooh, you and me, we got big reputations / And you heard about me / Ooh, you and me would be a big conversation
And they were! Especially because T hadn't been really linked to anyone after Harry, the speculation about her and M came hard and fast. M especially was inundated with questions in the months after the LA and NYC shows.
And I heard about you / You like the bad ones, too
Another possible reference to a Halsey song, this time Hurricane from 2014: "He says, "Oh, baby, beggin' you to save me / Well, lately I like 'em crazy/ Oh, maybe, you could devastate me"
I don't wanna touch you, I don't wanna be / Just another ex-love you don't wanna see / I don't wanna miss you / Like the other girls do
Very reminiscent of The 1975's song Somebody Else, released in 2016, speculated to be about T: "I don't want your body / But I hate to think about you with somebody else"
I hit you like bang, we tried to forget it, but we just couldn't
"Flashbacks waking me up / I get drunk, but it's not enough" (Death By A Thousand Cuts)
And I bury hatchets, but I keep maps of where I put 'em
"I circled you on a map / I haven't come around in so long" (The Alchemy)
Reputation precedes me, they told you I'm crazy
"And they tried to warn you about me" (The Albatross)
And I can't let you go, your hand prints on my soul
"Marked me like a bloodstain" (Cardigan)
It's like your eyes are liquor, it's like your body is gold
So many of the songs speculated to be about M reference his eyes but the most relevant (not the starry eyed motif which we'll get to in the future) are: "Eyes like sinking ships on waters / So inviting I almost jump in" (gold rush) and "But your eyes are flying saucers from another planet / Now I'm all for you like Janet" (Snow On The Beach)
"Deep blue, but you painted me golden" (Dancing With Our Hands Tied)
You've been calling my bluff on all my usual tricks / So here's the truth from my red lips
From the same Glamour article, Taylor talking about her 'trick' when dating:
CL: What's the freeze-out?
TS: You don't respond to any of his texts or calls until he does something desperate [like] shows up. Or he calls and leaves a voice mail. Something that makes it very clear to you that he's interested.
disclaimer: I am someone who thinks the Tom relationship was not that serious for T, so this song imo fits what she may have told us about her relationship with M more, though the beach reference does point to Tom in a way.
"Don't Blame Me"
I've been breaking hearts a long time / And toying with them older guys / Just playthings for me to use
See the quotes from the Glamour article above. "Younger than my exes, but he act like such a man, so" (...Ready For It?)
Something happened for the first time / In the darkest little paradise
May refer to the dark concert venue where they met for the first time (see So It Goes... for more)
For you / I would cross the line / I would waste my time / I would lose my mind / They say, "She's gone too far this time."
Sentiment that is repeated throughout TTPD, but most clearly in But Daddy I Love Him
My name is whatever you decide / And I'm just gonna call you mine
Though this could be a stretch, in the spotify storyline for The 1975's Oh Caroline (2022), speculated to be about T, M said "It's an invented character, where the cadence really mattered. It couldn't be "Oh Linda" or "Oh Jane" [or "Oh Taylor"] - you had to have a 3 syllable that really works. I knew what the song was about, I had felt that about someone before and I got to write an episodic, mini movie about the subject"
disclaimer: If about M, this song is very on the nose with the drug references. Generally it's a very vague song and could easily be about Joe or another ex.
"So It Goes..."
See you in the dark / All eyes on you, my magician / All eyes on us / You make everyone disappear
Likely refers to the first time T saw M in person, when she was front row at The 1975's LA show. All eyes were on M then (including T's)
"Once upon a time, the planets and the fates / And all the stars aligned / You and I ended up in the same room / At the same time" (Mastermind)
Tripping, tripping when you're gone
May relate to Don't Blame Me: "Trip of my life / every time you're touching me"
'Cause we breakdown a little / But when you get me alone, it's so simple
Maybe a stretch but M famously had a breakdown on stage in Boston on December 6, 2014. In an interview with the Guardian he said: “There was girl stuff. There was family stuff. There was financial stuff. There was drug stuff. I remember hearing the crowd and having an identity crisis. I thought: ‘If you want to see a show, I’ll give you a fucking show. If you’ve come to see the jester drink himself into a slumber, I’ll give it to you.’ I felt like I’d become an idea as opposed to being a person.”
“And I was 25 and afraid to go outside” (Give Yourself a Try)
And all the pieces fall / Right into place
"I laid the groundwork and then, just like clockwork / The dominoes cascaded in a line" (Mastermind)
Getting caught up in a moment / Lipstick on your face
"I said, "Don't fall in love with the moment" / She said I've got a lot to learn / Don't fall in love with the moment /And think you're in love with the girl" (She's American)
Come here, dressed in black now
"Yeah, we're dressed in black from head to toe" (Chocolate). Taylor was also wearing all black the night of the LA show.
conclusion: You did a number on me / But, honestly, baby, who's counting? / I did a number on you / But, honestly, baby, who's counting? ( "King of My Heart"
We met a few weeks ago / Now you try on callin' me "baby" like tryin' on clothes
The reason why I don't necessarily think Joe fits. They met at the Met Gala in 2017 and she very quickly started seeing Tom, obviously it could still be him but I wanted to note this.
"Don't call me 'kid,' don't call me 'baby' / Look at this idiotic fool that you made me" (illicit affairs)
And you move to me like I'm a Motown beat
M loves Motown, even sampling a track by The Temptations on Tonight (I Wish I Was Your Boy). He's also always loved dancing, which you can see in the videos for A Change of Heart and Oh Caroline.
Salute to me I'm your American Queen / Say you fancy me, not fancy stuff
He's English, obviously.
And we rule the kingdom inside my room / With all these nights we're spending / Up on the roof with a school girl crush
Totally speculation but M and T hiding out in her NYC home makes a lot of sense from other pieces she has shared about the relationship “My kingdom come undone” (Hoax)
Late in the night, the city's asleep / Your love is a secret I'm hoping, dreaming, dying to keep
Speculation again but fits with the story of M and T as mostly loving each other in secret (see Dancing With Our Hands Tied and Dress)
Is this the end of all the endings? / My broken bones are mending
As mentioned above, T had seemingly taken a break from dating after the breakup with Harry.
disclaimer: Definitely not 100% sure on this one as there is convincing evidence that it is about J
"Dancing With Our Hands Tied"
I, I loved you in secret / First sight, yeah, we love without reason / Oh, 25 years old
M and T were both born in 1989, M was 25 when they first met and dated and T was turning 25.
My, my love had been frozen / People started talking, putting us through our paces / I knew there was no one in the world who could take it / I loved you in spite of / Deep fears that the world would divide us
“A red rose grew up out of ice frozen ground / With no one around to tweet it” (The Lakes)
In an interview with the Guardian Matty said: “The day after she’d been to a show of ours, someone sent me a screenshot of E! News with the headline ‘Who is Matt Healy?’ That freaked me out. I’m not ready to indulge in that world and I’m not ready to be judged by that world.” So sad to read knowing that they dealt with a similar situation nearly a decade later.
Picture of your face in an invisible locket
“Wear you like a necklace” (So It Goes…)
And darling, you had turned my bed into a sacred oasis
“Now you hang from my lips / Like the Gardens of Babylon / With your boots beneath my bed” (cowboy like me)
I'd kiss you as the lights went out / Swaying as the room burned down / I'd hold you as the water rushes in / If I could dance with you again
Reminds me so much of the music video for cardigan, where T slips into a rough ocean and hangs on to a piano. Also from cardigan: “Leaving like a father / Running like water”
“Dress”
Our secret moments in a crowded room / They got no idea about me and you
"Did you ever have someone kiss you in a crowded room / And every single one of your friends was / Making fun of you" (Question...?)
There is an indentation in the shape of you / Made your mark on me, a golden tattoo
M seemingly makes a lasting impression: “Deep blue, but you painted me golden” (Dancing With Our Hands Tied) “The mark they saw on my collarbone” (Maroon) “Marked me like a bloodstain” (cardigan)
'Cause I don't want you like a best friend
T often seems to refer to a friendship with M, perhaps they tried it a few times: “We were supposed to be just friends” (Glitch) “Like you were my closest friend” (Maroon) “Just say when, I'd play again / He was my best friend / Down at the sandlot” (My Boy Only Breaks His Favorite Toys)
And if I get burned, at least we were electrified
“I'd kiss you as the lights went out / Swaying as the room burned down” (Dancing With Our Hands Tied)
I'm spilling wine in the bathtub / You kiss my face and we're both drunk
Many of the possible M songs refer to M and T’s love of wine. “And I can see us twisted in bedsheets / August slipped away like a bottle of wine” (august) “The burgundy on my T-shirt when you splashed your wine into me / And how the blood rushed into my cheeks, so scarlet, it was (maroon)” (Maroon)
disclaimer - Obviously most likely about Joe given the reference to the 2017 Met Gala but I think it was worth a mention!
“Call It What You Want”
My baby's fly like a jet stream / High above the whole scene
Probably a double-entendre. M considers himself slightly on the outside of the ‘scene’ but this can come across as self assurance. This also could refer to literally being high on drugs
Loves me like I'm brand new
After T’s clever use of The Starting Line in TTPD I’m convinced she’s referring to the band Brand New. M posted a Brand New album on his ig story in 2020.
All my flowers grew back as thorns
An interesting contrast to “I once was poison ivy, but now I'm your daisy” from Don’t Blame Me
Windows boarded up after the storm
“I look through the windows of this love / Even though we boarded them up” (Death By A Thousand Cuts)
I'm laughing with my lover
“Laughing with my feet in your lap” (Maroon) “Please don't ever become a stranger / Whose laugh I could recognize anywhere” (New Year’s Day)
Making forts under covers
Matty famously built a fort in ATPOAIM 3. “I'll build you a fort on some planet / Where they can all understand it” (Down Bad)
Trust him like a brother
“Like I lost my twin” (Down Bad)
Starry eyes sparking up my darkest night
So many starry eyed references which is terribly romantic and terribly sad. “Do I really have to chart the constellations in his eyes?” (High Infidelity), “Your opal eyes are all I wish to see” (ivy), “Eyes full of stars” (cowboy like me), and “Gazing at me starry-eyed” (The Smallest Man Who Ever Lived)
I want to wear his initial on a chain 'round my neck
“Picture of your face in an invisible locket” (Dancing With Our Hands Tied) “Wear you like a necklace” (So It Goes…)
I recall late November, holding my breath
Late November fits perfectly into the timeline of M and T’s 2014 relationship. Late October to Late DecembeEarly January makes the most sense.
Slowly I said, "You don't need to save me / But would you run away with me?"
“You're mad thinking you could ever save me. Not looking like that.” (A Change of Heart)
disclaimer: Again lots of Joe references in this as well so take this with a grain of salt.
“New Year’s Day”
You and me from the night before, but / Don't read the last page
From Me and You Together Song (2020): “I think the story needs more pages, yes.” The reference to “the last page” also makes this song feel like more of a reminiscence than a song about a current lover.
I want your midnights / But I'll be cleaning up bottles with you on New Year's Day
Impossible not to reread these lyrics after Midnights was released as a nod to M: “When the morning came we / Were cleaning incense off your / Vinyl shelf ‘cause we lost track of time again” (Maroon)
You squeeze my hand three times in the back of the taxi / I can tell that it's gonna be a long road / I'll be there if you're the toast of the town, babe / Or if you strike out and you're crawling home
Especially after the release of TTPD it seems that both T and M made many promises to each other that they couldn’t keep
Hold on to the memories, they will hold on to you / Hold on to the memories, they will hold on to you / Hold on to the memories, they will hold on to you / And I will hold on to you
The reference to memories here creates a bit of a confusing feeling about the muse for this song. Although T seems to be talking in the present tense I do think these are memories and dreams for a past relationship.
“Hold on and hope that we'll find our way back in the end / Do you think I have forgotten? / Do you think I have forgotten? / Do you think I have forgotten / About you?” (About You)
Please don't ever become a stranger / Whose laugh I could recognize anywhere / Please don't ever become a stranger / Whose laugh I could recognize anywhere
Not much to say about this but ow!
You and me forevermore
Again reminds me of Me and You Together Song (which I do buy as a song at least partially about T). And of course links to Evermore.
disclaimer: This could absolutely be about Joe but it does feel almost like a goodbye to M, closing the album. It’s as if she is reading “the last page”
Congrats if you read this lol. I clearly have too much time on my hands

#linux #hydra #hydralauncher #archlinux #steamdeck #steam #howtowork
Hydra Launcher is a launcher designed to simplify the management and sharing of your favorite games. Available on various platforms, including Steam Deck, Hydra Launcher offers a wide range of features to enhance your gaming experience.

• Game Management: Hydra Launcher allows you to collect and organize your games in one platform.
• Detailed Information: Thanks to integration with various sources of game information, Hydra Launcher provides essential details such as average completion time, images, descriptions, video previews, and game size. This helps you make informed decisions about your next gaming adventures.
• Compatibility with DRM-Free Copies: If you own DRM-Free copies of your favorite games, Hydra Launcher allows you to include them in your library and access them directly through the launcher.

This guide aims to help Steam Deck owners install Hydra Launcher in the simplest way possible, with the possibility of changes due to updates.
But let's move on to the installation steps.

WARNING PLEASE - Disclaimer on Usage and Responsibilities

It is hereby stated that neither the project, nor the website, nor the author of the article assume any responsibility for the use of the program and the results obtained. Furthermore, no responsibility is assumed for any errors that may cause the console to be blocked or malfunction. It is strongly advised to perform each step with awareness and competence, and it is strongly discouraged for those who are not familiar with such procedures to proceed. The user is required to fully understand the actions they are taking and to act with caution.

Installation Steps on Steam Deck:

1. Download the latest version zip of Hydra Launcher.
2. Extract the zip file to a folder of your choice.
3. If you haven't already, unlock the read-only mode to install programs. Note that the database is in read-only mode, hence you'll receive an error with the same phrase.

sudo steamos-readonly disable sudo sh -c 'echo "keyserver hkps://keyserver.ubuntu.com" >> /etc/pacman.d/gnupg/gpg.conf' sudo pacman-key --init sudo pacman-key --populate archlinux sudo pacman-key --populate holo
3.1. Save the following text into a file named setup.sh in the same folder where you extracted the program. This script will install the necessary dependencies to proceed with the program's build. The file will install Node.js, Yarn, and Python 3.9

#!/bin/bash
# Install Node.js, Yarn, Python 3.9, and project dependencies
sudo pacman -S --needed nodejs npm yarn python
# Install Node dependencies
yarn install
# Install Python dependencies
pip install -r requirements.txt
# Configure environment variables
cp .env.example .env
# Add instructions here to insert any necessary credentials into the .env file
# STEAMGRIDDB_API_KEY=
# ONLINEFIX_USERNAME=
# ONLINEFIX_PASSWORD=
# Build Electron
yarn build:electron
# Run Hydra Launcher
yarn dev

To grant execution permissions, you can use the following command:

chmod +x setup.sh

Then, to execute the script, use:

./setup.sh

This will run the setup script and install the necessary dependencies for Hydra Launcher.
To restore the read-only mode, you can use the following command:
sudo steamos-readonly enable
This will re-enable the read-only mode on your system.

To start the launcher

Navigate to the folder where Hydra Launcher is installed, and then run the following command:yarn dev
This command will launch Hydra Launcher and allow you to start using it on your system.
Exactly like the setup, you can create a file called, for example, 'Hydra Launcher.sh' and add it to Steam to run it directly from there.
Here's a sample script that you can use:

#!/bin/bash
# Navigate to the directory where Hydra Launcher is installed
cd /path/to/hydra_launcher_directory
# Run the launcher
yarn dev

Replace "/path/to/hydra_launcher_directory" with the actual path to the directory where Hydra Launcher is installed. After creating the script, make sure to grant execution permissions to it using the command chmod +x Hydra\ Launcher.sh
Then, you can add this script to Steam as a non-Steam game, allowing you to launch Hydra Launcher directly from your Steam library.

Reference:

• https://github.com/hydralaunchehydra
• https://online-fix.me/guides/16258-site-usage-faq.html

Links: ⚪ View in the website ⚫ View Steam Deck
https://decknewsunofficial.online/images/utils/2/4a3bcce1b71e06b8a91e87dfd3230ed86c3fe3a6\_hydra-launcher-header.webp

Bit of a longer post, sorry bout that, but I felt it was time, perhaps once again, to point out the flaws and limitations in the CDC’s stats on sexual violence, specifically as they relate to the National Intimate Partner Sexual Violence Survey (NISVS), which is the source of all the fun stats on sexual violence that get thrown around by the 451 percenters. Who are the 451 percenters? Those the folks who believe and spread the lies bout sexual violence being endemic to society. Everyone’s a sexual predator! All 451 percent of women are violated, and all 451 percent of men are violators.
TL;DR: An analysis and rebuttal to the CDC and NISVS’s statistics on sexual violence. The CDC uses NISVS to generate the stats on punny sexual violence that make wild claims, like one third of all women, etc… the 451 percenters’ claims bout punny sexual violence. They use a ‘yes means yes’ method of determining what counts as punny sexual violence, which is aesthetics based. Elevating aesthetical concerns to ethically obligatory concerns is fascistic, and a grave moral fallacy. ‘Yes means yes’ is also puritanical, meaning it overly moralizes sexuality. Putting puritanical fascists in charge of determining how many punny sexual offenses are happening is like putting the KKK in charge of determining how many jews are sexual predators. “All 451 percent of them, obviously!”
Body Of The Post
‘Yes means yes’ is an aesthetical ethical concern, ‘Do I want it or not’. This is what the National Intimate Partner Violence Survey (NISVS) and the CDC use and reflect in their stats on sexual violence. Vibes. They are the ‘emmitt till got what he deserved’ crowd. Whistling at a lady is a criminalizable offense to these folks, a ‘punny sexual violence’.
‘No means no’ is an ethically obligatory concern, ‘Did I refuse it or not’. This is what the criminal stats on sexual violence use and reflect in their stats on sexual violence. Hard data. They are the ‘emmit till did nothing wrong’ crowd. Whistling at a lady is at most tasteless, emmitt till could do far better.
‘Wanting’ or ‘Not Wanting’ something does not consent make. I can want to fuck someone, but not consent to do so. I could not want to fuck someone, but nonetheless consent to do so. The former perhaps because I think it is a bad idea to fuck ‘em even tho I want to. The latter, perhaps because I think it is a good idea to fuck ‘em even tho I don’t want to.
The ‘yes means yes’ folks, the CDC & NISVS stats on sexual violence all mistake ‘wanting’ and ‘not wanting’ for ‘consenting’ and ‘not consenting’; these are not the same things. This is deliberate on their part too. They believe that ‘yes means yes’ is what ought to constitute a determination of sexual violence. Regardless of how y’all view that, it is a deeply controversial notion, and not necessarily reflective of what most people think of when they think of sexual violence.
‘Unwanted’ essentially means ‘I don’t like it’. It is a complaint bout the aesthetical qualities of the sexual encounter, not its consensualism. If this is at all unclear, the simplest method to understand why this is so is to note two unrelated aspects.
One is racism. People regularly ‘feel fearful’ of men for no reason at all, but they also feel fearful of men because of racism all the time. That fear factor ™ is what makes the encounter ‘coercion’ or ‘unwanted’. The person literally does nothing wrong, *just exists* and the other person freaks out.
Note in the quoted sections at the end of this post how much of the stats rely on fear and feelings to generate their numbers.
Two is the person came on too strong or in an undesirable way. The person flirts in a normal and perfectly fine way, but the other person freaks out. Think bout it people, for the love of god think bout it. ‘Coming on too strong’ and ‘an undesirable flirtation’ are being counted as ‘punny sexual violence’ in these stats.
It’s entirely puritanical, and entirely a concern bout aesthetics.
There are other sorts of coercive methods, but the point here is that the terms ‘unwanted’ and ‘coercion’ only really cash out as ‘I don’t like it for some reason or another’ in the CDC’s and NISVS’s stats.
When you see that lady spouting off bout her fears of mexican rapists, she’s reflected in these stats folks. They’re just surveys. People who lock their car doors in ‘bad neighborhoods’ are reflected in those stats.
These all translate to ‘I felt threatened’ (big black boy vibes) or ‘felt pressured’ (scary white guy vibes), or ‘felt in danger’ (native american coming to get you vibes), or ‘felt uncertain if you wanted it’ (arab terrorist vibes) or 'felt like I was being manipulated' (angry asian martial artists vibes) . Doesn’t have to be racism at play here either, women can be irrationally fearful of any man. Vibes.
The actions themselves are not criminalizable.
Non p-hacked stats try to avoid these kinds of obvious ambiguities in the language used to generate the 451 percenters’ stats. These folks however lean into the lies and deceptions, and deliberately use language designed to deceive people reading the stats into thinking that people have been harmed. They take language that means literally ‘I like or don’t like it’ and translate that to mean ‘I was sexually harassed, sexually assaulted, or even raped’.
This is how they inflate the numbers, so we get to the 451 percenters’ wacky ass beliefs; ‘451 percent of women will suffer egregious sexual violence to them at least fifty times in their lives’. All this means is vibes. 451 percent of women get some bad vibes bout some dudes.
You can hear it echoed in the bear or man discourse. Why do women choose the bear? Vibes and irrational fears. ‘We choose the bear because we don’t feel safe!’ translates directly to ‘Emmitt till whistled at me, and he’s a big black boy, that’s scary’ and ‘the mexican rapists are swarming over the border to get me’.
These are the stats that people point to when they try to justify their misandristic hot ass takes. They are self-referential to that same fear based aesthetic the stats are. The stats are reflective of peoples’ irrational fears, and people use those stats to justify their irrational fears, and people spread those fear based stats thereby spreading their unjustified fears. It’s a circle rub.
To criminalize these kinds of things is to be fascistic (treating aesthetics as if they were of obligatory concern), to believe that they are morally reprehensible is to be a puritan (overly moralizing sexuality).
The folks deriving these stats translate ‘unwanted’ (aesthetical ethics) to ‘sexual assault’, ‘sexual harassment’, or ‘rape’ (obligatory ethics), then lump everything together as ‘punny sexual violence’ to get the big numbers used to scare people and terrorize men. That’s called fascism.
“[T]here remains a likelihood of underreporting due to the sensitive nature of SV”.
This justification means that they do not trust people to report SV, ‘don’t believe women when they say they haven’t suffered any SV, manipulate the questions so they say yes to something they don’t think is SV, or which simply isn’t SV, and we’ll just call it SV of this or that sort. Later we’ll propagandize people so they too come to believe our puritanical misandristic hot ass takes.’
There is no lie nor hyperbole in what I am saying here. That is the rationale and the method. If you bone up on your academic lit in the topic, this is, well not verbatim what they say, I am lambasting them here, but this is the crux of what their argument and justifications are, and they explicitly hold that they ought be propagandizing people to their puritanical beliefs.
They push the fascistic (aesthetical ethical) and puritanical (overly moralized sexual ethics) discourse into the public by presenting stats that merely reflect fears and pretend that they are reflective of sexual violence. People then come to believe that those kinds of fear based concerns are actually sexual violence. An ‘unwanted flirtation’ becomes in their minds and only in their minds a sexual violence.
Emmitt till got lynched for whistling at a lady. They only disagree bout the racism, but he definitely deserved to be punished in some way like all men do for whistling at someone they think is hot af. Puritanism.
All just vibes, all but aesthetics, and all fascistically raised to a level of ethically obligatory concern.
“Just as SV is not limited to physically forced penetration, its perpetrators are not limited to strangers. Indeed, perpetrators of SV are more likely to be someone known to the victim. Sexual violence is a problem embedded in our society and includes unwanted acts perpetrated by persons very well known (e.g., family members, intimate partners, and friends), generally known (e.g., acquaintances), not known well or just known by sight (e.g., someone in your neighborhood, person just met) and unknown to the victim (e.g., strangers). “
Be afraid of everyone, any man out there could be your next rapist! That’s right ladies and gents, you’ve been raped several times already, you just didn’t know it. But don’t worry, the statisticians know better. They asked you an unrelated question you said yes to since you were too dumb to know that you were raped, and counted it as rape. Then they informed you that you ought be afraid of everyone in your community, lest they also rape you, unbeknownst to you of course. But again, don’t worry, the statistician will count those too.
As a measure of fear the 451 percenters capture, well or worse who knows, all the racism, sexism, bigotry, and various phobias in the society, and how those fears are transferred onto masculine bodies as imaginary perpetrators of punny sexual offenses. None of it is real, there are not 451 percent of sexual violences happening, 451 percent of men are not sexual predators, and 451 percent of women are not victims of sexual violence.
‘Safety culture’ mostly reflects irrational fears.
Ask the kkk how many black people are rapists, you’re gonna get a high number. Ask puritans how many people are punny sexual offenders, you’re going to get a very high number. Such is the most tame interpretation of what is going on. The 451 percenters are puritans, they’ve overly moralized sexuality, counting offenses to their sensibility rather than criminal actions.
Puritans informing you how ‘vile and wicked’ your sexual ways are; advocating to make their puritanical beliefs bout punny sexual offenses into legally enforceable laws. These are the same kinds of concerns bout a someone dressing too provocatively, such is a ‘punny sexual violation’ to the sensibilities of others.
The less tame version of this is that it is exactly what fascists do. Lie to people especially bout punny sexual offenses in order to ratchet up the fear levels in the population, so they run to them to solve the ‘problem’.
Could be both tho.
Either way, their misandry murders little boys. They celebrate terrorizing men, and rejoice in lynching folks. They’re despicable people.
Solutions?
Ruthlessly love them. Write them love poems, show them kindness and generosity of spirit, but give them not a dime in money, nor ever relent to their irrational fears. Extol their beauty and virtues, make love with them, utterly ruthlessly. Be overtly sexual bout it, in this give them no quarter, bring to an end their puritanism by giving them no plausible cause to be thus. No one under the duress of loves’ enticements and sexual pleasures be puritans. Be relentless, show them masculine sexuality; give them nothing to complain bout, but give them masculine sexuality. Don’t fall for their puritanism, be the boys of summer.
Respect a ‘no means no’ ethic as a code of obligatory actions. Use aesthetical ethics towards good sex with mutual respect given; don’t ever take that as a one way thing. Do not conflate the aesthetics of good sex, 'enthusiastic yeses’ with those of the ethics of obligation ‘no means no’. Don’t be puritans, don’t be fascists, be sex positivists.
Call out the stats when folks bring them up, refer people to these points, feel free to refer people to this post and/or the attached video. ‘But the CDC said’ is not a valid argument; they have put puritans in charge of determining punny sexual offenses. They find punny sexual offenses everywhere they look.
If you’re super coolio, start advocating against the CDC’s use of NISVS to determine what constitutes sexual violence. It doesn’t match with criminal data’s methods, it doesn’t utilize the metrics of ‘no means no’ which are the proper metrics to use, instead it utilizes what amounts to peculiar beliefs bout the aesthetics of sex as a means of measure for punny sexual offenses.
They are spreading a puritanical belief system bout punny sexual offenses, nothing more, and they are causing public health problems by spreading their lies. They are not counting sexual offenses, they are not a criminal justice system, they aren’t technically even in the business of understanding sexual violence. They are the Center For Disease Control, not the ‘center for social engineering sexual practices control’.
Original video on the topic, with some additional resources for understanding these issues in the description.
The Rest Of This Post Is References To The CDC, NISVS, And Crime Data Reports, Along With Some Quotes Thereof With Short Specific Retorts Highlighting The Relevant Info In The Quotes As It Pertains To The Post. This Is But A Small Sample Of How They Use Language Of Aesthetics To Make Their Ethical Claims, And How Their Language Is Misandristic.
sv_surveillance_definitionsl-2009-a.pdf (cdc.gov)
Fast Facts: Preventing Sexual Violence Violence Prevention Injury Center CDC
Key Terms & FAQs National Intimate Partner and Sexual Violence Survey (NISVS)Funded
Programs Violence Prevention Injury Center CDC
Some key quotes from this, Bolded text hereafter are coded for ‘yes means yes’ methods of understanding sexual violence, and sometimes misandristic language. Italicized text are quotes from the sources:
“Rape is defined as any completed or attempted unwanted [unwanted is an aesthetic criteria, not a consent criteria which is ‘a no was stated’ attempted while a real thing allows for further insertion of scary vibes to pad the stats, e.g. the blackness of the lover] ...includes times when the victim was drunk, high*, drugged, or passed out and unable to consent.* [puritanical belief bout drinking and drugs, e.g. one cannot consent if drunk or high. Note that it is separate from being drugged or passed out and unable to consent, and that criminally speaking being drunk or high is not indicative of a lack of capacity to consent, also note this is de facto applied to women only].
“Sexual coercion is defined as unwanted sexual penetration that occurs after a person is pressured in a nonphysical way. In NISVS, sexual coercion refers to unwanted vaginal, oral, or anal sex after being pressured in ways that include being worn down by someone who repeatedly asked for sex or showed they were unhappy; feeling pressured by being lied to, being told promises that were untrue, having someone threaten to end a relationship or spread rumors; and sexual pressure due to someone using their influence or authority.”
Unwanted is an aesthetic category, not a consent category. ‘Sexual coercion’ is not a criminal offense either. It is a puritanical belief bout sexuality that is based on a sex negative view, e.g. that sex is a bad unless and until magical words are said to make it into a good. Calling it ‘sexual violence’ is just lying. Coercion is defined misandristically to only be bout penetration, which precludes all the ways that women use sex and sexuality to manipulate, use, abuse, and harm people; note that there are essentially zero surveys done that include some ‘feminine coded coercive behavior’ into these stats. That is by design. Including not incidentally the way that women have historically and currently used irrational fears over their sexuality to terrorize men and get people murdered.
“Unwanted sexual contact is defined as unwanted sexual experiences involving touch but not sexual penetration, such as being kissed in a sexual way, or having sexual body parts fondled, groped, or grabbed.”
Unwanted is aesthetics, not consent. Also this literally describes flirting. I know they want to try and capture some other sort of notion, grossy mcgrosser pinning someone down and groping them, but all this describes here, and all the stats can possibly reflect, is flirting.
“Non-contact unwanted sexual experiences is defined as those unwanted experiences that do not involve any touching or penetration, including someone exposing their sexual body parts, flashing, or masturbating in front of the victim, someone making a victim show his or her body parts, someone making a victim look at or participate in sexual photos or movies*, or* someone harassing the victim in a public place in a way that made the victim feel unsafe.”
This category is quite broad and puritanical in its disposition, as it assumes there is something wrong with seeing naked images unless and until expressed verbal consent is given, and undoubtedly ignores the en masse flood of naked images of women online to which basically every guy is exposed to. Compare again to people who claim that women ought not be allowed to show their ankles as it causes a ‘harm’ to those who are ‘forced’ to see it. Exact same shite. Aesthetical concerns of wanted or unwantedness, and also notice the expressly stated vibes check ‘victim feel unsafe’. Look out for the black boys, they make them feel unsafe!
Crime/Law Enforcement Stats (UCR Program) — FBI
Quick Facts on Sexual Abuse Offenses (ussc.gov)
It’s worth mentioning that statistically speaking, if one uses the stats derived from crime data as opposed to statisticians making numbers up, the percentages of men who do sexual violence, depending a bit on how you count it, are: 0.0516% or .478% or .0957%. Although the video goes over this all in pretty good depth, just do a little sniff test here; are .478% of the male population sexually violating a third of all women, 55.5 million women?

I've released a set of ~280 voice callouts for use in dungeon and raid encounter addons. Everything is manually recorded and mastered by a real human, no AI text-to-speech.
If you use voice calls like "stack," "spread," "line of sight," etc., please consider using my voice lines in your project.
Listen to a sample of lines on Youtube.
LibSharedmedia package - SharedMedia BattleBrisket VO
A subset configured as a voicepack for DBM - DBM Voicepack BattleBrisket
Feedback and requests welcome!

I've read Homer and am now learning Attic by reading Xenophon's Anabasis. With both authors, I found that narrative was easy to understand, but speeches and rhetorical material were much harder. Right now I'm slogging my way through Xenophon's eulogy to Cyrus, and I'm finding the style difficult to understand. It's flowery and elaborate, just like you'd expect for a eulogy today. For this kind of hard material, I usually take 10 minutes on a single long sentence, and all I can really figure out to do is to take a pencil and try to write out a translation in the margin of the book. My first attempt is just word salad, so then I start trying to figure out what could be wrong, erasing and revising.
Sometimes the issue is just not knowing enough about the details of usage. E.g., I was working on a sentence with δεινὸν in it, and all I knew was the primary meaning, "terrible." It turns out that in Attic it can also mean "skillful," which made more sense.
Other times my issue is with grammar or idioms. I think Homer is more direct, like Robert Frost, while Xenophon is more like one of those awful wordy 19th century authors like Melville. I'd imagined that prose would have to be easier than poetry, but that doesn't seem to be the case.
Can anyone offer any advice on how to build proficiency with complex sentences?
One possibility that's occurred to me is to temporarily abandon Xenophon and switch to reading the New Testament. Although I'm an atheist, I know the synoptic gospels fairly well, so it seems like I'd have a big advantage because I already knew the contents of what I was reading. I've read Mark previously.
Are there textbooks I could look at that could help me get over this hump?
There is an 1889 student edition of Xenophon by Kelsey and Zenos that is quite nice. Here's a sample of their notes for the eulogy of Cyrus: https://archive.org/details/bub_gb_EzABAAAAYAAJ/page/256/mode/2up They seem to be aimed at a student whose level in Greek is very close to mine. Has anyone else used this type of text to gain proficiency? The book has a complicated structure and has a cryptic system of cross-references, which I would have to learn.

Current state of technology enables creating small and simple communication devices offering high level of privacy and security. A good example may be Meshtastic devices. However, a necessity to use smartphone (possibly infected with a spyware) may break both privacy and security. It would be much better if the text message could be entered on the Meshtastic device itself, and then have it encrypted internally before transmission. Unfortunately, most Meshtastic device do not offer a full keyboard. An option could be entering the text as a Morse code, using the key of capacitive pad. The Morse code however covers only a limited set of characters, and its knowledge in society is limited. Therefore, I'd like to propose another method for entering text. It is based on two digital inputs. They may be two capacitive pads, or a double paddle Morse key. Please note that I have developed the below described procedure from scratch. I have not investigated if similar procedures are implemented (or may be even patented?) by anybody. So if you would like to use it in a commercial product, please make the necessary investigations yourself.

What we may generate with two inputs?

Below I put the ASCII diagrams of possible events that we can send with two inputs. I mark low level (_) as "inactive" and high level (‾) as active. The inputs are marked as In1 and In2.

Event Wavevorfm E1 In1: __/‾‾\__ In2: ________ E2 In1: ________ In2: __/‾‾\__ E1i2 In1: ___/‾‾\___ In2: _/‾‾‾‾‾‾\_ E2i1 In1: _/‾‾‾‾‾‾\_ In2: ___/‾‾\___ E1f2 In1: _/‾‾‾‾\_____ In2: ____/‾‾‾‾\__ E2f1 In1: ____/‾‾‾‾\__ In2: _/‾‾‾‾\_____ 

So we have 6 elementary events: Event 1, Event 2, Event 1 in event 2, Event 2 in event 1, Event 1 followed by event 2, Event 2 followed by event 1. Each of them may be easily generated with two independent switches, two capacitive pads or double Morse paddle.
We may also generate more complex sequences, like:

Multiple E1i2: E1i2 In1: ___/‾‾\__/‾‾\__/‾‾\__/‾‾\__/‾‾\____ In2: _/‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾\__ Multiple E1i2 finished by E2f1: E1i2 In1: ___/‾‾\__/‾‾\__/‾‾\__/‾‾\__/‾‾‾‾\__ In2: _/‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾\____ Multiple E2i1 E1i2 In1: _/‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾\__ In2: ___/‾‾\__/‾‾\__/‾‾\__/‾‾\__/‾‾‾‾\__ Multiple E2i1 finished by E1f2: E1i2 In1: _/‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾‾\____ In2: ___/‾‾\__/‾‾\__/‾‾\__/‾‾\__/‾‾‾‾\__ 

Using of possible events for entering text.

First, with E1i2 and multiple E1i2 we may select an appropriate group of characters (for example we may have four groups: "upper case letters", "lower case letters", "digits", "special chracters").
Then, the selected group is split into two equal subgroups, and the first and last character of each subgroup is shown. Then the selected group is handled in the same way, until only one character is left. This character is then selected and added to the created message.
Below is the sample code showing the proposed procedure:

#!/usbin/python # The demonstration code for two-key character selection. # Written by Wojciech M. Zabołotny (wzab01@gmail.com) # This is a public domain code (under CC0 1.0 license) c=[] for i in range(ord('A'),ord('Z')+1): c.append(chr(i)) # We have three indices: # start, end, split start = 0 end = len(c) while True: split = (start + end) // 2 if start == split: # The character is already selected, print it print("Chosen:"+c[start]) break if split > start + 1: line = "["+c[start]+" "+c[split-1]+"]" else: line = "["+c[start]+"]" if split < end - 1: line += "["+c[split]+" "+c[end-1]+"]" else: line += "["+c[split]+"]" #print(start,split,end) print(line) sel = input("sel:") if sel == "1": end = split else: start = split 

Below is the process of selection of the K character.

$ python [A M][N Z] sel:1 [A F][G M] sel:2 [G I][J M] sel:2 [J K][L M] sel:1 [J][K] sel:2 Chosen:K 

Of course the user should be able to correct the character entered. That can bee achieved with E2i1 event. Double E2i1 event may be used to clear the whole text.
When the whole message is assembled, it may be sent with E1f2 event.
The above procedure does not use E2f1 event, which may be used to leave the whole procedure.

Example implementation

I don't have an implementation for microcontroller yet. A simple demo function with Python running on a PC and using numbers instead of the above events is shown below:

#!/usbin/python # The demonstration code for two-key character selection. # Written by Wojciech M. Zabołotny (wzab01@gmail.com) # This is a public domain code (under CC0 1.0 license) # Create groups of characters uc_letters=[] for i in range(ord('A'),ord('Z')+1): uc_letters.append(chr(i)) lc_letters=[] for i in range(ord('a'),ord('z')+1): lc_letters.append(chr(i)) digits=[] for i in range(ord('0'),ord('9')+1): digits.append(chr(i)) specs=list("\"\'{}[]!?@#$%^&*()-+=/\\,.<>") groups=[uc_letters, lc_letters, digits, specs] # Main loop # We have three indices: # start, end, split grnr=0 c=groups[grnr] start = 0 end = len(c) txt = "" while True: split = (start + end) // 2 if start == split: # The character is already selected, print it txt += c[start] start = 0 end = len(c) continue if split > start + 1: line = "["+c[start]+" "+c[split-1]+"]" else: line = "["+c[start]+"]" if split < end - 1: line += "["+c[split]+" "+c[end-1]+"]" else: line += "["+c[split]+"]" #print(start,split,end) print(txt) print(line) sel = input("1-1st half, 2-2nd half, 3-del char, 4-clear text, 5-send text, 6-next group:") if sel == "1": end = split elif sel == "2": start = split elif sel == "3": txt = txt[:-1] elif sel == "4": txt = txt[:-1] elif sel == "5": print("Transmitted msg:"+txt) txt = "" start = 0 end = len(c) elif sel == "6": grnr = (grnr + 1) % len(groups) c = groups[grnr] start = 0 end = len(c) else: print("Unknown key") 

I'll send a link to the microcontroller implementation as soon as it is ready.

I've been building a lot of fine-tuned models this year, both with OpenAI and locally deployed LLMs, and found them to be exceptional in situations where you have a desired output format and sufficient training data.
To help with the ongoing process of model production, I've built several independent scripts/tools and am now looking to refactor them into an open source platform/UI.
The core idea is that this platform would effectively automate the process of extracting data from source files, then assist you with training and evaluating those fine-tuned models.
I've listed the key features below I have already developed. If anyone has any ideas of their I can incorporate, or any feedback on the existing feature set, I'd really appreciate it!

Current features

• Develop fine-tuned models capable of producing reports with multiple "sections" of different types. For example, if your output report contains a table, you might define that as a "report section" and develop a model that just produces structured data you can then convert into a table.
• Parse DOCX files into structured data and support transformation rules (such as deleting sections, modifying sections etc) before adding to your training/testing datasets.
• Use "smart transcribe" features to parse raw text files (including machine readable PDFs) into structured data (basically asking the LLM to convert raw text into markdown with headings, and then mapping that to a dictionary). This has been really useful as it "unlocks" training data where DOCX files don't exist.
• A custom engine I've developed for evaluating the effectiveness of your fine-tuned model against your human-authored testing samples. For each section, we compute three metrics (accuracy, coherency, and linguistic style) and average these over 10 generations for each testing sample. This allows you to train a new model and immediately understand where and how it has performed compared with your previous model.

I was reading this article on Wikipedia when I came across this claim:

Moreover, as the number of the real roots is, on the average, the logarithm of the degree, it is a waste...

Some experiments on Sage with an Excel regression line confirm this. Experimentally, for every ϵ>0, the expected number of real roots when sampling a random polynomial with degree n and coefficients in [−ϵ,ϵ] is approximately 0.82 + 0.557 log(n), and surprising there is no noise: the expected value increases monotonically and appears to closely fit the regression.
I could not find a proof of this fact in the article or in a brief Google search. What is the reason behind this phenomenon?
(repost from math.se because I couldn't get a response there)

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Vowels:
/i iː ɯ ɯː u uː/
/e eː ɤ ɤː o oː/
/ɛ ɛː a aː ɔ ɔː/
Consonants:
/m n ŋ b d/
/p t tɕ k ʔ/

/pʰ tʰ tɕʰ kʰ/
/f s h/
/w l j <ł l j r>
Tones:
<í> [ě] <ì> [ê] [é] <'i> [è]
<-> denotes syllable break
Sample text:
< krwg þíip pin mưag-lẁag xóog pr'a-þìt-þaj. >
/kruŋ tʰěep pen mɯaŋ.lûaŋ kʰɔ̌ɔŋ prà.tʰêt.tʰai/
"Bangkok is the capital of Thailand."