Trump Voter 2016: the constitution is indisputable and sacred, and any ban on guns is a violation of our constitutional rights! Trump Voter 2017: I don't see what the problem is with the "Muslim ban."
let's talk about Bridgerton tea, my ask is open
Monterey Bay Aquarium
RMH

roma★
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hello vonnie
Phantogram Three

bliss lane
I'd rather be in outer space 🛸

Game Changer & Make Some Noise

izzy's playlists!
Cosmic Funnies
taylor price

gracie abrams
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almost home
tumblr dot com
Fai_Ryy
cherry valley forever
todays bird
seen from Belarus

seen from Malaysia

seen from United States
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seen from Ecuador
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@friedyoda
Trump Voter 2016: the constitution is indisputable and sacred, and any ban on guns is a violation of our constitutional rights! Trump Voter 2017: I don't see what the problem is with the "Muslim ban."
Just spent over two months traveling around the world. Literally started in LA in August and flew back from Tokyo the other day. Didn't open Tumblr once since then. First thing I did after opening it up again was unfollow everyone except the small handful of accounts that Positively influence my growth as a human being.
Heart attacks symptoms are different for women. I recently learned this.
Everyone should know these things.
thanks to mainstream media and being unable to show breasts on TV, way too few people know about female signs of cardiac distress, and impending heart attacks. they only know about the “pain in the left arm” male symptom.
i had all these symptoms once and they sent me right to hospital
it was scary bc i didnt know these were the symptoms for female heart issues
Please, please, PLEASE, reblog this. i don’t know if I did save or called false alarm, with my boss’ life tonight. I felt I was being a bit paranoid, overreacting, but I told Mirage my thoughts and he, after reading over the article I showed him, immediately sprung into action and then shooed her off to the hospital. I don’t know if I did or not, but I knew she’d been super stressed. She’d off-handedly commented on her arm tingling and I asked her if she felt queasy on a hunch. I went to look at the symptoms and we went from there.
Holy shit, I didn’t even think the symptoms would be different between men and women. This is so hugely important and I don’t understand why we aren’t taught this.
One of the other symptoms that doesn’t get talked about , especially in women, is a “feeling of impending doom”. I am not even kidding, that is a legitimate diagnostic criteria. Please - if you are feeling any of these symptoms and a sudden onset of “Holy shit the world is ending” do not let anyone tell you it’s “just nerves” or “just heartburn” or something.
this is legit important to spread around but when you have a chronic illness this is like… any given day, and you just have to roll the dice that you’re still not actually dying when you have a particularly bad evening. can’t afford to go to the ER every week!
I agree with @hippyelfchick …I have most of those symptoms any given day so I feel like it’s still a roll of the dice, however it is best to know the symptoms in case they aren’t your norm or are increased.
Save a life. Be aware. Change a life. Reblog.
Not enough of my ladies in film know this. And everyone should watch for signs.
This is a jar full of major characters
Actually it is a jar full of chocolate covered raisins on top of a dirty TV tray. But pretend the raisins are interesting and well rounded fictional characters with significant roles in their stories.
We’re sharing these raisins at a party for Western Storytelling, so we get out two bowls.
Then we start filling the bowls. And at first we only fill the one on the left.
This doesn’t last forever though. Eventually we do start putting raisins in the bowl on the right. But for every raisin we put in the bowl on the right, we just keep adding to the bowl on the left.
And the thing about these bowls is, they don’t ever reset. We don’t get to empty them and start over. While we might lose some raisins to lost records or the stories becoming unpopular, but we never get to just restart. So even when we start putting raisins in the bowl on the right, we’re still way behind from the bowl on the left.
And time goes on and the bowl on the left gets raisins much faster than the bowl on the right.
Until these are the bowls.
Now you get to move and distribute more raisins. You can add raisins or take away raisins entirely, or you can move them from one bowl to the other.
This is the bowl on the left. I might have changed the number of raisins from one picture to the next. Can you tell me, did I add or remove raisins? How many? Did I leave the number the same?
You can’t tell for certain, can you? Adding or removing a raisin over here doesn’t seem to make much of a change to this bowl.
This is the bowl on the right. I might have changed the number of raisins from one picture to the next. Can you tell me, did I add or remove raisins? How many? Did I leave the number the same?
When there are so few raisins to start, any change made is really easy to spot, and makes a really significant difference.
This is why it is bad, even despicable, to take a character who was originally a character of color and make them white. But why it can be positive to take a character who was originally white and make them a character of color.
The white characters bowl is already so full that any change in number is almost meaningless (and is bound to be undone in mere minutes anyway, with the amount of new story creation going on), while the characters of color bowl changes hugely with each addition or subtraction, and any subtraction is a major loss.
This is also something to take in consideration when creating new characters. When you create a white character you have already, by the context of the larger culture, created a character with at least one feature that is not going to make a difference to the narratives at large. But every time you create a new character of color, you are changing something in our world.
I mean, imagine your party guests arrive
Oh my god they are adorable!
And they see their bowls
But before you hand them out you look right into the little black girls’s eyes and take two of her seven raisins and put them in the little white girl’s bowl.
I think she’d be totally justified in crying or leaving and yelling at you. Because how could you do that to a little girl? You were already giving the white girl so much more, and her so little, why would you do that? How could you justify yourself?
But on the other hand if you took two raisins from the white girl’s bowl and moved them over to the black girl’s bowl and the white girl looked at her bowl still full to the brim and decided your moving those raisins was unfair and she stomped and cried and yelled, well then she is a spoiled and entitled brat.
And if you are adding new raisins, it seems more important to add them to the bowl on the right. I mean, even if we added the both bowls at the same speed from now on (and we don’t) it would still take a long time before the numbers got big enough to make the difference we’ve already established insignificant.
And that’s the difference between whitewashing POC characters and making previously white characters POC. And that’s why every time a character’s race is ambiguous and we make them white, we’ve lost an opportunity.
*goes off to eat her chocolate covered raisins, which are no longer metaphors just snacks*
How One Filmmaker Infiltrated a Notorious Neo-Nazi Movement For Five Years
Still via Golden Dawn: A Personal Affair
‘Golden Dawn: A Personal Affair’ director Angélique Kourounis spent years tailing the Greek neo-Nazi political party that hates women and loves violence. She tells Broadly what she learned about Europe’s scariest far-right group.
Why has the neo-Nazi far-right party Golden Dawn been winning support in Greece since the start of the 2009 financial crisis? A total of 69 of its members, including MPs, are on trial for running a criminal organisation that intimidates and kills immigrants and its political opponents, but it still went on to win 18 seats in last year’s national elections. Opponents hoped that the tide might turn against them when one of its MPs was charged with assault for slapping a female politician during a TV debate, but they were disappointed. Its surge in popularity did not stop even when party leader Nikolaos Michaloliako said Golden Dawn was “politically responsible” for the murder of anti-fascist rapper Pavlos Fyssas.
Obsessed with finding out why so many Greeks support it, Angélique Kourounis spent five years filming Golden Dawners with her colleague Thomas Iacobi. I spoke to Angelique about the hundreds of hours she spent filming Golden Dawn: A Personal Affair and her determination to find out what makes the party tick.
Broadly: What did you achieve by devoting so much time to this project? You couldn’t do a film about Golden Dawn in a short space of time because they wouldn’t accept you. They would only show you what they wanted you to see. We filmed on food distribution runs and blood distribution runs, at press meetings, political meetings, meetings of local cells, where people meet twice weekly—some were in wealthy areas in Athens like Alimos and Glyfada—and while they were filming and working on radio and online…..
Read on:- https://broadly.vice.com/en_us/article/how-one-filmmaker-infiltrated-a-notorious-neo-nazi-movement-for-five-years
Me in the morning "Current Mood 😳😂"
I know I never (personally) post things like this but I saw this on the news and I really wanted to share it.
Guys the party happened yesterday - look how happy he is!
😢 so cute!!!!
yes yes yes! ☺️
Ayyyye this made me happy
😊👏👏👏👏😇❤️
brb crying for happiness
Keep on dancing.
Bob’s Burgers has much to teach about family life
I am not going to write a whole lot about how funny or entertaining the show is, because that fact really speaks for itself. What I am going to write a whole lot about is how sneakily progressive it is. I mean, when was the last time you saw a sitcom where the humor didn’t rely on a family bullying each other? Instead, what you get is a loving and realistic marriage where parents unconditionally support their children.
First, a quick run-down of the Belcher children: Tina, bless this poor girl’s soul, is the epitome of our early teenage years. She is awkward, insecure and even a little sexually confused. She has an intense attraction to butts and zombies. Gene, on the other hand is a gender and sexually ambiguous boy with an equally intense passion for farts and music. And then lastly, we have Louise, who probably is going to rule us all someday. Nobody is more conniving or fiercely loyal than Louise.
Each child comes with their own set of specific needs, and Bob and Linda do their best to support them. My favorite example of this unconditional support is when Tina becomes worried that the popular girls at her school will bully her for having hairy legs, and so Bob takes her to a waxing salon. Except, when they get there, Tina becomes too scared to do it by herself and asks her dad to do it with her. Bob, in an act of love, gets his legs waxed with her, which only makes Gene want to wax his legs, too.
Bob never once stopped to think that it was too feminine to wax his hair, nor did he hesitate to let Gene join him and Tina. Ultimately, they decided that they were proud of their hairiness and weren’t going to wax again.
In one fail swoop, Bob’s Burgers confronts the pressures of puberty, gender roles and beauty standards. Bob is progressive and caring consistently throughout the show. It is the same with Linda, and how hard she tries to connect with Louise or how she encourages Tina’s individuality (and also sometimes Tina’s erotic friend fiction). Never has a show demonstrated so much love and acceptance while also being original and hilarious. If that is not a good enough reason to watch the show, I do not know what is.
By SAMANTHA GROSSMAN
the “lolita” covers
here’s a question: if vladimir nabokov’s “lolita” is truly the psychological portrait of a messed up dude and not the girl — let alone a sexualized little girl, as all of the sexualization happens inside humbert humbert’s head — then why do all the covers focus on a girl, and usually a sexy aspect of a girl, usually quite young, and none of them feature a portrait of humbert humbert?
here are nabokov’s original instructions for the book cover:
I want pure colors, melting clouds, accurately drawn details, a sunburst above a receding road with the light reflected in furrows and ruts, after rain. And no girls. … Who would be capable of creating a romantic, delicately drawn, non-Freudian and non-juvenile, picture for LOLITA (a dissolving remoteness, a soft American landscape, a nostalgic highway—that sort of thing)? There is one subject which I am emphatically opposed to: any kind of representation of a little girl.
and yet, the representations of the sexy little girl abound.
i became driven by curiousity. why did this happen? why is this happening?
i am not alone — there’s a book about this, with several essays and artists’ conceptions about the politics and problems of representation surrounding the covers of “lolita.” this new yorker article gives a summary of the book and its ideas, and interviews one of the editors:
Many of the covers guilty of misrepresenting Lolita as a teen seductress feature images from Hollywood movie adaptations of the book— Kubrick’s 1962 version, starring Sue Lyon, and Adrian Lyne’s 1997 one. Are those films primarily to blame for the sexualization of Lolita? As is argued in several of the book’s essays, the promotional image of Sue Lyon in the heart-shaped sunglasses, taken by photographer Bert Stern, is easily the most significant culprit in this regard, much more so than the Kubrick film itself (significantly, neither the sunglasses nor the lollipop ever appears in the film), or the later film by Adrian Lyne. Once this image became associated with “Lolita”—and it’s important to remember that, in the film, Lolita is sixteen years old, not twelve—it really didn’t matter that it was a terribly inaccurate portrait. It became the image of Lolita, and it was ubiquitous. There are other factors that have contributed to the incorrect reading, from the book’s initial publication in Olympia Press’s Traveller’s Series (essentially, a collection of dirty books), to Kubrick’s startlingly unfaithful adaptation. At the heart of all of this seems to be the desire to make the sexual aspect of the novel more palatable.
here’s a couple of kubrick inspired covers:
which very well could have, after tremendous sales, have influenced the following covers:
…straying so far from the intention of nabokov that the phenomenon begins to look more like the symptom of something larger, something sicker.
after a lot of researching covers, it was here, in this sampling of concept covers for the book about the lolita covers, that i found an image that best represents the story to me:
[art by linn olofsdotter — and again, this is not an official cover]
but why aren’t all the covers like that? even the ones published by “legitimate” publishing companies, with full academic credentials, with no intended connection to the film; surely they must have read nabokov’s instructions for the cover. and yet, look at the top row of lolita covers: all legitimate publishing companies, not prone to smut. and yet.
my conclusion is that the lolita complex existed before “lolita” (and of course it did) — a patriarchal society is essentially operating with the same delusions of humbert humbert. nabokov did not produce the sexy girl covers of lolita, and kubrick had only the smallest hand in it. it was what people desired, requested and bought. the image of the sexy girl sells; intrigues; gets the hands on the books.
as elizabeth janeway said in her review in the new york review of books: “Humbert is every man who is driven by desire, wanting his Lolita so badly that it never occurs to him to consider her as a human being, or as anything but a dream-figment made flesh.”
isn’t that our media as a whole? our culture as a whole?
the whole lot of them/us — seeing the world through humbert-tinted glasses, seeing all others as Other and Object, as solipsistic dream-reality. as i scroll through the “lolita” covers i wonder: where’s the humanity in our humanity?
which arab countries have still slaves ????
Most (if not all) MENA states. (Algeria, Bahrain, Egypt, Iran, Iraq, Israel, Jordan, Kuwait, Lebanon, Libya, Morocco, Oman, Qatar, Saudi Arabia, Syria, Tunisia, United Arab Emirates and Yemen)
'The Middle East and North African (MENA) countries are some of the destinations of choice for men and women seeking work. Women look for domestic and child-care work, while employment in the construction industry is the goal of the tens thousands of men from Southeast Asia living in stifling poverty.
Migrant workers have become the majority workforce in many Arab Gulf states – wealthy countries with weak or non-existent domestic-worker rights, destructive gender attitudes that suppress and control women, and endemic racism. This poisonous cocktail, rooted in prejudice and ignorance, fuels and justifies exploitation, including forced labour, physical and sexual abuse, and extreme mistreatment by employers.
Deceived and trapped (their passports, ID’s etc get taken (stolen) away by “employers”) into debt and bonded labour from the start, prospective migrant workers are duped into leaving their homes for Beirut, Dubai, Kuwait City, Riyadh or Sana’a. Naïve and desperate young men and women are promised they will be handsomely paid, that the streets are paved with dollars, that every apartment has hot and cold running water, that designer clothes, smart phones and flat screen TVs are aplenty, and that you too will live the good life, easily repay your loan to the agent and, crucially, help drag your family out of grinding poverty. With hollow promises like these, as the ILO says, migrants are “lured into jobs that either didn’t exist or that were offered under conditions that were very different from what they were promised in the first place” by unscrupulous recruitment agents. The reality for many is one of modern day slavery, imprisonment and violence; mistreatment that in many cases leads some to take their own lives.
All MENA states, apart from Yemen, are signatories to the Palermo Protocol, which clearly defines the conditions of trafficking and whose articles are legally binding, which means and employees who contravene them are guilty of human trafficking. In what could prove to be a significant action, a recent high profile case involving Meshael Alayban a Saudi Arabian princess, has highlighted the fact that the treatment of many migrant domestic workers by their Arab employers qualifies as human trafficking.According to the BBC, the “Princess is accused of forcing a Kenyan woman to work 16 hours a day while paying her far less than what she was originally promised”. She also took away “the woman’s passport, precluding her escape”. The two-year contract guaranteed the women “1,600 US dollars a month, for eight-hour work, five days a week”, but as is often the case she was paid much less – “220 dollars a month and made to work twice as long”. The unnamed Kenyan escaped on a visit to America with the royal household, and has brought a case in California (where they were staying) against the regal Alayban for trafficking. She faces a maximum prison sentence of 12 years.The vulnerability of migrant domestic workers to human trafficking in MENA countries, beyond the underlying prejudicial causes, are due to two primary factors: the Dickensian kafala (Arabic for “bail”) employment system, allied to the lack of labour protection and legal redress, and the initial recruitment process, with agents extending loans to prospectve migrants for employment fees, forging passports and other documentation and travel costs. This creates debt bondage, trapping the unsuspecting into years of bonded labour.The kafala sponsorship system forms the legal basis for both residency and employment for migrant domestic workers in the Gulf Cooperation Council countries, and in Lebanon and Jordon. Under the scheme the employer, to all extent and purposes, “owns” the migrant worker, who cannot change employers, unless the sponsor decides to sell them on to someone – a lucrative add-on for employers and a form of trafficking that fuels resistance to the schemes abolition, vehemently called for by human rights groups and all right minded thinkers.
Labour laws for migrant domestic workers in MENA countries, where they exist at all, vary in structure but not in inadequacy or lack of enforcement. All domestic work occurs beyond the protection of national labour laws, and anti-trafficking laws designed to protect migrant workers from abuse are not enforced.Under Lebanese law for example, migrant domestic workers are not allowed to leave the house without the permission of their employers, making it possible, and in many cases likely, for employers to imprison workers, exploit them and force them to work beyond their contract, with the kafala preventing the innocent victim from reporting the abuse without risking losing residency status. It is a legal trap not confined to Lebanon, which contributes to human trafficking by creating conditions of compelled service and forced labour.Confinement, dependency, weak labour laws, plus migrant domestic workers’ inability to speak the local language or understand their rights under international law (what few exist), make them acutely vulnerable. A Filipina domestic worker who tried to escape abusive employers in Lebanon told the ILO, according to CNN, “my employer broke my elbow and then tied my hands behind my back. They left me one day long in my room and put a camera there. He threatened me: ‘I’ll accuse you of stealing money and ask for my money back, and they will throw you in jail’,” she said.Another Filipina domestic worker interviewed in a detention centre in Kuwait told the ILO that her employer had raped her. “I went to the doctors and filed a complaint at the police, and then returned to work the next day. He reported to the authorities that I had run away, and the police arrested me,” she said. “My employer tells me that if I drop the rape charges, he will make sure that I am not deported.’
Sources:
1. http://www.redressonline.com/2013/10/the-migrant-slave-workers-of-the-arab-world/
2. http://www.frontpagemag.com/2011/stephenbrown/the-dark-world-of-the-arab-child-slave-trade/
3. http://www.albawaba.com/news/middle-east-slavery-528324
4. http://www.theguardian.com/global-development/series/modern-day-slavery-in-focus+world/middleeast
"Be The Movement "is a PSA/short doc shot in Chicago, intended to raise awareness about certain social issues and the organizations that build community and fight for change.
Director: Haroula Rose
Producer: Timothy Farrell
Editor: Brad Comfort
Featuring: We Charge Genocide, Black Youth Project 100, Young Chicago Authors
Statistics In Video Can Be Found In The Following Articles:
Incarceration Gap Widens Between Whites and Blacks: http://pewrsr.ch/1Bei6PO via Pew Research Center
One Troubling Statistic Shows Just How Racist America’s Police Brutality Problem Is: http://bit.ly/1J3b1Ev via MIC
You Really Can Get Pulled Over for Driving While Black, Federal Statistics Show: http://wapo.st/1BuLvc0 via The Washington Post
The Top 10 Most Startling Facts About People of Color and Criminal Justice in the United States: http://ampr.gs/1COJ0lf via American Progress
Show I've been working on every day since September premieres January 7 on FOX after American Idol. Watch that shit so I can get a fat bonus.
Reminder again that I am not black. I do not suffer from the atrocities that all black people face on a daily basis. My community contributes to antiblack racism and violence. It is not my place to speak about Ferguson and I should be called on any misinformation or misrepresentation I spread.
Many representations of Iranian people in Western narratives have been racist, misaligned, or one-dimensional. These characters range from the evil husband ‘Moody’ Mahmoody in Not Without My Daughter, to the patriarchal and stubborn Massoud Behrani in House of Sand and Fog. And while they’re not always written as villains, terrorists, or flawed characters, more often than not Iranian characters come off as types or ciphers (like Sahar in Argo), and rarely are they the main character. With The Past, the protagonist Ahmad has not only been written by an Iranian (Farhadi), the character is played by an Iranian actor, Ali Mosaffa. Thus the film illustrates an Iranian experience rarely seen in productions catering to a Western audience—that of an authentically created Iranian protagonist in a European diegesis.
An Iranian in Paris by Tina Hassannia for Guernica Magazine (via catherineaddington)
Written on back of one of the views: “The Goblins will get you if you don’t watch out”.
Ummm….
Things That Go Bump In The Night: Vintage 1920s stereoview images of ghouls and goblins