Day 5 - Secret
Jules of Nature
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Interview Vampire Daily
The Stonewall Inn
Claire Keane

@theartofmadeline

Game Changer & Make Some Noise

Jar Jar Binks Fan Club

titsay
No title available
Noah Kahan
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untitled
PUT YOUR BEARD IN MY MOUTH

shark vs the universe
Not today Justin
Monterey Bay Aquarium
đ©” avery cochrane đ©”
official daine visual archive
macklin celebrini has autism

seen from Malaysia

seen from United States

seen from Portugal

seen from United States

seen from Malaysia

seen from Russia

seen from Bangladesh

seen from United States
seen from Colombia
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seen from TĂŒrkiye

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@sorena-the-nefarious
Day 5 - Secret
Mac and Cheese
the tired gay youth energies radiating off of this image is immeasurably powerful
i really donât like the whole âtell your parents off and call them out when theyâre being racist/homophobic/etc even if it gets you in trouble with themâ argument especially when it pertains to minors and people who still rely on their parents financially. you canât morally advocate for a minor to tell off their parents when it involves them risking their own safety and well-being. and youâd be surprised how many people iâve seen on this godforsaken website doing just that.
Youâve gone too far this time.
Imagine explaining thisâŠthe, the, the layers of MEME
them: why wear cute pajamas whatâs the point
my ridiculous ass, who as a For Real Adult still lives on the hope of waking up and falling through a portal into a fantasy adventure plot but who also fears not looking hot when I get there: Uh,
By that logic, you ought to wear a durable fighting suit every night.
I actually usually sleep naked so Iâll accept whatever that means for me and take it as it comes
you have not experienced true fear until a poster falls down in the middle of the night
One time I thought a poster had fallen down in the middle of the night, but when I turned on my light, it actually was an opossum that fell through my ceiling into my room. So, thatâs actually true fear.
oh.
She likes to be asleep next to my laptop
Artist: http://www.marladraw.com/
I cant go to my local libary anymore because last year when I stopped by a librarian was reading a book I wrote under a pen name years ago. This book sold under 10k copies and I've literally only heard people talk about this book online *if* I went looking for it so I went up to them and tried to start a conversation like "oh hey I've heard of that book is it good?" Like hoping for some real feedback and she goes "yeah I love reading things by queer writers" and in a moment of terror I was like "oh but- hold on, I thought the author was some old hetero white guy?!" A thing I thought because I used my own dead grandpa's picture for the author pic because grandpa never had internet. I fake looked it up and was like "yeah if he was queer its not public?" And without looking up this absolute unit goes "oh the author bio is obviously fake. I'd bet my left leg the author is a west coast millennial non-binary queer who has never lived on the east coast." And then proceeded to rattle off a dozen linguistic flourishes that are specfic to the pacific northwest that are in the book and several that are nearly ubiquitous in the state where I said my pen name lives that are somehow completely absent from the book.
So you know. Got read for fifth and didn't even find out if she liked it.
Truncated text of tweet from MrPitBull, Mar 11, 2026:
She kept finding women in laboratory photographs from the 1800s. Then she read the published papersâand every single woman had vanished. Someone had erased them from history.
Yale University, 1969.
Margaret Rossiter was a graduate student studying the history of science. She was one of very few women in her program.
Every Friday afternoon, students and faculty gathered for beers and informal conversation. One week, Margaret asked a simple question: "Were there ever any women scientists?"
The faculty answered firmly: No.
Someone mentioned Marie Curie. The group dismissed itâher husband Pierre really deserved the credit.
Margaret didn't argue. But she also didn't believe them.
So she started looking.
She found a reference book called "American Men of Science"âessentially a Who's Who of scientific achievement. Despite the title, she was shocked to discover it contained entries about women. Botanists trained at Wellesley. Geologists from Vermont.
There were names. There were credentials. There were careers.
The professors had been wrong.
But Margaret's discovery was just the beginning. Because as she dug deeper into archives across the country, she found something far more disturbing.
Photograph after photograph showed women standing at laboratory benches, working with equipment, listed on research teams.
But when she read the published papers, the award citations, the official historiesâthose same women had disappeared. Their names were missing. Their contributions erased.
It wasn't random. It was systematic.
Women who designed experiments watched male colleagues publish results without giving them credit. Women whose discoveries were assigned to supervisors. Women listed in acknowledgments instead of as authors. Women passed over for awards that went to male collaborators who contributed far less.
Margaret realized she was witnessing a pattern that stretched across centuries.
Women had always been present in science. The record had simply pushed them aside.
She needed a name for what she was documenting.
In the early 1990s, she found it in the work of Matilda Joslyn Gageâa 19th-century suffragist who had written about this exact phenomenon in 1870.
In 1993, Margaret published a paper formally naming it: The Matilda Effect.
The term captured something that had been hidden in plain sight for generations. Once you knew the term, you saw it everywhere.
Her dissertation became a lifelong mission.
For more than 30 years, Margaret researched and wrote her landmark three-volume series: Women Scientists in America. She examined letters, institutional policies, individual careers. She gathered undeniable evidence that women in science had been consistently under-credited and structurally excluded.
Her work faced resistance. Many dismissed women's history as political rather than academic. Others insisted she was exaggerating.
Margaret didn't argue emotionally. She presented data. Documented cases. Patterns repeated across decades and institutions.
Eventually, the evidence became undeniable.
Her research helped restore recognition to scientists who had been erased:
Rosalind Franklin, whose X-ray work revealed DNA's structureâcredit went to Watson and Crick.
Lise Meitner, who explained nuclear fissionâomitted from the Nobel Prize.
Nettie Stevens, who discovered sex chromosomesâreceived little credit.
Cecilia Payne-Gaposchkin, who discovered stars are made of hydrogenâinitially dismissed.
And countless others whose names had nearly vanished.
Margaret changed the narrative. Science was no longer just the story of solitary male geniuses. It became a story of collaboration that included women who had been written out.
The Matilda Effect became standard terminology. Scholars used it to examine how credit is assigned, how authors are listed, who receives awards, who gets left out.
To be fair to Sir Arthur Conan Doyle, if I wrote some pulp short stories for a quick buck and an obsessive fandom sprung up around it at a time when fandom culture as we now know it didn't really exist yet, and I had to witness people being insane about my characters while having very little precedent for what the fuck was going on, I would also be confused and frightened and desperately trying to escape from the situation I'd ended up in.
You know how some people have a âRoman Empireââlike, the thing they think about at least once a week even when no one brings it up? Mine is Delia Derbyshire.
This woman joined the BBC in 1960 and was so good at sound editing for classical music that she could literally see where the trombones were on a vinyl record. Like sheâd just look at the grooves and be like, âThere they are.â People thought she was doing actual magic. She basically said, âYeah, I am,â and walked into the BBC Radiophonic Workshop like it was her birthright.
She didnât wait to be assigned to the Workshop like everyone else. She just said, âI want this,â and got it. By 1962 she was creating entire soundscapes and electronic music for hundreds of BBC radio and television productions.
Then in 1963 she casually created the Doctor Who themeâone of the first pieces of music ever made entirely with electronics. It completely changed the landscape of TV sound design. She took Ron Grainerâs notes and turned them into something nobody had ever heard before using tape loops and pure experimentalism. When he listened to it, he literally said, âDid I write this?â And she, ICONICALLY, replied, âMost of it.â
He wanted to credit her. The BBC said no.
She was a woman in a deeply male-dominated space. And not just âwow, there arenât many women here,â but like explicitlyâofficiallyââwomen donât get creative credit here.â Engineering was seen as menâs work. Sound design was menâs work. Women were allowed to assist, to type memos, to splice tape if a man told them where. But they werenât allowed to author. They werenât allowed to be the genius in the room.
So they handed all the glory to Ron Grainer.
She wasnât paid royalties. She didnât get a credit. She didnât even get her name on-screen. Not for fifty. actual. years.
Delia also composed music for other BBC programmes, including the Blue Veils and Golden Sands, The Doctor Who story Inferno even reused some of her music that had originally been made for other productionsâbecause thatâs how good her work was. It got recycled because nothing else came close.
She hated the remixes of the theme they did after 1980 because they kept sanding down the weirdness, the dissonance, the edgeâeverything she had fought to put into it.Â
So yeah. Delia Derbyshire is my Roman Empire. Every time I hear the Doctor Who theme, I think about her physically slicing tape by hand and looping it to build something no one had ever heard beforeâand I just sit there like: đ«Ąđ«Ąđ«Ąđ«Ąđ«Ą
(When I have enough time I'll make a post about the BBC Radiophonic Workshop as a whole because it is so fucking cool.)