In 1944 a kitten named George (short for General Electric) was saved from drowning by a U.S. Navy crew member. George was then photographed and given a liberty card and detailed health record. Source.
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In 1944 a kitten named George (short for General Electric) was saved from drowning by a U.S. Navy crew member. George was then photographed and given a liberty card and detailed health record. Source.
Nationality: pussy
Original embroidery - KolomanKnitShop
instagram - fox_and_blueberry
its been about 10 years since she showed me this but i am STILL thinking about how my (then) 4 year old cousin drew birds
OBSESSED with this creature; she draws the body from above/below and the head from the side, with a giant eyeball that takes up the entire head and never looks in a specific direction. in a very old-fashioned sense: iconic
Yeah I would have guessed this was on some ancient pottery or something
Every once in a while a new music genre gets invented and people from all different countries are like this slaps we got to start doing that and combine it with our own music styles and that's beautiful
There was a time when China got really into jazz and so did Ethiopia. Cambodia got really into Psychedelic Rock to the point that there's now an contemporary American band specialised in this style of music. There's a band from my hometown in Germany singing in Spanish and I know several early 20th century Japanese and Chinese artists were doing the same. Zambia had it's own Rock movement. Ska is from Jamaica but I know Japanese, Basque and Spanish ska bands. You can probably find hip hop and rap in all languages of the world by now. I watched an entire documentary on the history of South American rock and roll. There is a Cuban orchestra mixing Mozart and guajira. Finnish tango. German covers of Irish folk music. Blues from the Sahara.
was thinking about infighting and like. they all see us the same. from the wildest queerest fagdyke to a cis gay guy. we are the same to them. the weird queers are not like. ruining your precious community. we're a part of it
@ exclusionists:
We are all Faggots in the eyes of the Fash. Stand United or Die Separately.
truly few things are more sneer-worthy to me than a gay deeply invested in respectability and assimilation
The battles that rose out of the AIDs epidemic were access to marriage and military service. When once the Queer community was focused on creating the best art and living lives worth telling stories about, the 1990's brought on a new goal: How to best fit in. As the brilliant Fran Bebowitz has said many times, the first people who died of AIDS were the interesting ones. The artists. There's a reason that arts became Ghostbusters and Cats in the 1990s. Because all of the really talented artists were dying. The rule-breakers. The ones who weren't afraid to shake things up. And the audience died with them. "Now we don't have any kind of discerning audience. When that audience died- and that audience died in five minutes. Literally people didn't die faster in war. And it allowed of course, like the second, third, fourth tier to rise up to the front. Because of course, the first people who died of AIDS were the people who… I don't know how top put this… got laid a lot. OK. Now imagine who didn't get AIDS. That's who was then lauded as like - the great artists." - Fran Lebowitz So many of the gays left alive once the Clinton Administration came into being were, to be frank, the boring ones. Gays who knew nobody and who nobody knew, and they rose to the top of the community and therefore their priorities rose to the top of the community as well. And what did they want? Apparently, they wanted to join the army and have big gay weddings. General employment non-discrimination wasn't all that important to them. Making sexuality and gender identity a protected class, along with sex, race, and religion, wasn't that important to them. They wanted marriage and military. Because they were the good gays. Not the naughty gays who were sleeping around and dying of AIDS. Not the poor gays who couldn't make political contributions.
They were the gays with families and commitment ceremonies and office jobs and houses. They were the good ones. The ones who would look fantastic and incredibily marketable when they were interviewed by CNN. They were the gays who straight people would look at and say to themselves: "Maybe they're not so bad after all. I still don't want my kid to be gay. But maybe it's okay if Bob and Henry got married." The gay rights movement shifted from 'Accept us for who we are' to 'We'll be whatever you want us to be if you accept us.' And it's kind of remained that way over the last thirty years. We've been trained to be offended by queers who step too far out of the mainstream. Plenty, and I mean plenty, of gays online were on edge when Billy Porter started showing up to awards shows in dresses. Lots, and I mean lots, of gays were unnerved and worried when trans people started coming out of their own closets. Some going so far as to disavow the T from LGBT because they were worried people who don't like trans people would lop in the gay men and women in with them. Who needs community when you've already got your house in the suburbs, right?
James Somerton, Why Bad Gays are Good
So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.
I'm going to try it.
I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how? How does he know it?” Interrogate your witnesses. Cross-examine them. Make them explain their reasoning. It pays dividends.
All of this, but also feels/felt. My editor has forbidden me from using those and it’s forced me to stretch my skills.
[Link to the article for screen-readers]
[ID: The full text of an article. It reads:
"Writing Advice": by Charles Palahniuk- In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward – at least for the next half year – you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those, later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Instead, you’ll have to Un-pack that to something like: “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.”
You’ll have to say: “Between classes, Gwen was always leaned on his locker when he’d go to open it. She’d roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her ass. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later) In a way, they state the intention of the paragraph. And what follows, illustrates them.
For example:
“Brenda knew she’d never make the deadline. Traffic was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail. Present each piece of evidence. For example:
“During role call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout: ‘Butt Wipe,” just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take..”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remember how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast. Get them together and get the action started. Let their actions and words show their thoughts. You -- stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
One of the most-common mistakes that beginning writers make is leaving their characters alone.
For example:
“Ann’s eyes are blue.”
“Ann has blue eyes.”
Versus:
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use “thought” verbs. After Christmas, go crazy, but I’d bet money you won’t. End ID]
babe are u okay ur crying about closeness lines over time by olivia de recat again
So fans of Anne Rice have probably heard of the new series being made on Interview with a Vampire. I did not have high hopes for this from the start for many reasons. I'd seen so many adaptations and remakes absolutely screwed that at this point it never excites me to hear one is being made. The more I heard about the changes that were being made the more disappointed I was.
I saw nothing wrong with changing Louis's race as it seemed to fit the time period and story. Then I heard about the changes made to Claudia's character and I was pissed. The whole point of Claudia is that she is forever trapped in a child's body while her mind ages. Changing her age to late teens completely erases everything about the character and that entire storyline. It's a pointless change and it takes away the originality of the story.
This last change just made me sad. It recently came out that this series confirms Louis and Lestat's relationship and will heavily rely on sex between them. Now I was actually very happy to hear about the relationship confirmation (I've always shipped them so this was awesome news) but what disappoints me is the sex part. In Anne Rice's series the vampires cannot have sex. Now maybe they changed this because they thought it would draw more people in or maybe it was for representation. Either way it upsets me because this was the perfect opportunity for some asexual representation. It was right there! They wouldn't have had to change anything! To have an asexual relationship represented in something so well known would have been huge! Instead they actively chose to change that part of the lore and its sad. Asexuality is already barely represented and when it is its often poorly represented so to see this choice made when we were so close to something awesome is just...disheartening.
remember when Picard was “playing the flute” but definitely using someone else’s hands?
here are some other versions of that scene:
(id in alt text)
love wins happy pride
the intimacy of sliding your fingers along the underside of a device's surface as you search for its ports
logical sex with my vulcan wife
honourable sex with my klingon wife
profitable sex with my ferengi wife
allegorical sex with your tamarian wife?
dutiful sex with my Cardassian husband
((● )
PLEASE have SEX with my HUSBAND!!!
original tweet by @milesobriensrolledupsleeves <3
"Nerys, go on a romantic holiday with my husband!"
"Julian, take my husband to the holosuite!"
I bet she called that Cardassian scientist up and invited her back. Invited her to dinner to discuss plants, then magically got called away so it was just her and Miles.