3. Nature of violation
- Directors/Officers/Persons are using income/assets for personal gain
- Organization is engaged in commercial, for-profit business activities
- Income/Assets are being used to support illegal or terrorist activities
- Organization is involved in a political campaign
- Organization is engaged in excessive lobbying activities
- Organization refused to disclose or provide a copy of Form 990
- Organization failed to report employment, income or excise tax liability properly
- Organization failed to file required federal tax returns and forms
- Organization engaged in deceptive or improper fundraising practices
- Other (describe)
to simplify: churches are forbidden to promote specific political parties or candidates, in order to maintain tax-exempt status. no religious institution is allowed to make explicit political statements, including “this party is bad,” “this party is good,” “you should vote for x,” “you should not vote for x,” or “let’s raise money for x political party or campaign.” all of those things are super illegal! if they’re going to act as a political entity, they need to pay taxes like any other political entity! report their asses!!!!
MAKE THIS GO VIRAL - REBLOG IT ….. REPEATEDLY
My American followers, please do your part
Ooooh I know so many pastors that violate this rule
Fics that you should read before Arthur comes back: clown edition
Now I know we might all be clowns, and that they're probably playing with us as usual, but honest to God I don't care. I am going to get my hopes up because I have been doing exactly that for the past lord knows how long. So better stay consistent, ok? Better remain true to the cause.
Now here are some post-canon fics that the writers should put into consideration if they know what's good for them.
1. These Ghosts Might Be Mine by @peaceheather. 68K, G.
The only thing I wrote in my bookmarks over this was that it's "the ending we deserved". Pretty sure that sums up exactly what I want to say. It's not just your ordinary time travel fix-it fic, but one that is done with such brilliance that it leaves you marvelling in awe at times. You must do yourself a favour and read for this author if you actually want to get a good understanding of the characters past canon.
2. Seo Gaestlufe/The Soul's Love series by flowerofnettles. 180K, T/E.
I know how hesitant some are when it comes to series, but listen. This one is simply not long enough from how GOOD it is! I rarely read wip fics, (it's now complete) but I genuinely loved living a journey with the author while it was being written, and I felt the amount of love and passion the author spent on it. What a creation, honestly. It's one of the very best out there.
3. I will turn your fear into a handful of dust by @regulusrules. 1K, G.
I am biased, ok? I want my own happy ending for them. I want to see them grow old and weary together. I want them alive. And if what it takes is a 1k drabble of them lying together by the sea, then I'll take it. I'll take it every single time you guys.
4. Albion's last bulwark by Saturne. 92K, E.
You know when there's a halo around a fic that you intensely remember a scene from but never the whole? And the scene alone is more than enough to remind you how good of a fic it is? Yeah. Yeah it's definitely the case here. I vividly feel its effect still. Absolutely planning on rereading soon because of how brilliant it was.
5. And like the cycle of the year, we begin again by @katherynefromphilly. 207K, M.
And lastly, the fandom requirement. The one that we will throw fists for if we don't see a scene or two from. As much as I am always more into canon deviations than accepting the idea of immortality and Arthur rising after millennia, this fic was definitely a pro in trying to make me less in denial. It certainly set the expectations high for any adaptation they might make now, and for good reason.
ARTHUR WILL RISE AGAIN.
If there was a way to run SUPER MEGA AD BLOCKER on this website I fucking would
“Please oh please open up your computer to a porn virus! If you don’t you’re evil!”
Freeloader Comin’ through!
We didn’t start this war internet users have with ads - We might have moaned about banner ads, but it was only when they started making noises when we might be listening to music or a podcast or whatever, causing two sound sorces at once, that we started trying to block ads universally rather than just a specific type of ad (pop ups).
And since then ads have gotten worse - Actual malware rather than merely breaking one of the fundamental sins of web design - though shalt not autoplay anything with sound. And the more aggressive a website is with ‘please turn off adblock’ the less I trust it to bother to vet ads and advertisers to make sure they’re not installing malware.
Not to mention that the idea that avoiding ads is “freeloading” is hilariously backward. Advertisement is a transaction between the platform and the advertiser, the user has no obligation to provide the views/clicks the platform has promised. Using an adblocker isn’t freeloading in the same way that leaving the room to get a snack during a commercial break isn’t cheating the tv network.
Ok y’all, I work as a web developer and I’m here to tell you that you are 100% right and that it’s shit. SO I’m going to tell you how to get around websites that block you from using their website if you’re using an adblocker.
Every website uses a language called JavaScript; long story short it’s a website language that allows developers to do the crazy shit you see on websites. Now the easiest thing to do is to disable JavaScript to stop them from knowing you have an adblocker:
Oh no! I’m blocked from viewing the website. It would be a terrible shame if I were able to right click and select the “inspect” feature
Click the three dots in the top right and open the “Settings” Menu
And then scrolled down to “Debugger” and checked the “Disable Javascript Option”
And then just refreshed the page
Reblogging to save my life
saving a life
Saving lives with this reblog
I'm sorry Neil, although I love your writing and agree with your opinions on most subjects I have to disagree with you on the writers' strike. No-one should have a more privileged life as a result of being clever and creative. I worked from the age of 15 to the age of 65 in low-paid jobs, taking 1 year off to go to drama school and 3 years off to get a fine art degree. I worked in terrible but necessary jobs, labouring, stacking boxes, unloading trucks, running errands, filing, going to work on a bicycle at all hours of the day and night on shift work in all kinds of weather. Even when I was a student I was still working in part-time cleani8ng jobs and even during periods of unemployment I worked in volunteer jobs for charities and social services.
According to Mensa I have an IQ of 160 and according to Plymouth University I have a BA hons in Fine Art but I cannot accept the idea that writers and other creative people should avoid normal jobs like driving an "Uber" or working in an office/shop/factory/construction site. To accept that idea would be to create a new aristocratic class when we should abolishing the old princes and aristocrats.
What we need, I feel sure, is a redistribution of labour so that everybody who can do so would spend some time each year in blue collar work and everybody who can would get higher education and a chance to make art of one sort or another.
The idea of doing other jobs to supplement writing or drawing shouldn't be seen as a terrible thing, a punishment or a suffering. Sharing the jobs around should be seen as normal.
I mean, I've done my half century of sweat labour and it didn't hurt me too much. I'm retired now and still making art of various kinds and I've never asked anyone to pay me for any art piece I've made. making art, writing, drawing etc. is the fun stuff which we get to do in exchange for the blue collar stuff which puts food on the table.
The worst pop song ever written was Sting/Dire Straits song "Money for Nothing" which ridicules the working class from a position of educational privilege.
So what's my question? My question is: What's wrong with a writer doing other jobs to make ends meet? Sounds perfectly fine to me.
Nothing's wrong with a writer doing other jobs to make ends meet. Writers and artists have been doing that since the dawn of time. Actors too.
But by the same token, there's nothing right about assuming that writing isn't a blue-collar job, or that writers and other people who make art can only make it for love and that thus they need other jobs to subsidise their craft.
I like living in a world in which the people who make the things that make the world worth living in get paid for their work. For me, that includes the people who make films and TV, books, art and music and comics.
Having spent a lot of time on film and TV sets, it's a blue-collar world on set, and everyone is working long and hard to make the shows you love. I'm never going to suggest that the riggers or the gaffers or the make-up team or the focus-pullers should drive ubers in order to have the privilege of being on the set and working there.
Or to put it another way, from the most blue-collar writer I ever knew...
The issue about the strike isn't about having a more privileged life than blue-collar people. It's about having sort of, please gods, as privileged a life as blue-collar people... while doing both that work (to support ourselves) and another kind of work from which those who do it never get a day off, from the moment we start it until the day we die.
Not one.
Because Story will wake you up for attention on your days off, on your weekends, on your holidays (as if 95% of writers ever have any!). And as for the waking hours, they're already toast. Story will interrupt you over your coffee while you're hardly even conscious, in the middle of your normal day's paperwork, at lunch (if you can afford or are allowed time for any), in the throes of orgasm with your spouse. It will haunt you while you're changing out people's catheter bags, and come up to surprise you in the middle of an average workday (per a discussion about the Battle of Salamis that I had with a specialist while resecting someone's colon). It will leave you in tears, once again, while wrapping yet another patient's dead body.
Plainly the side of the arts in which you've been working isn't Story. Otherwise we wouldn't be having this conversation.
If you haven't been paying attention to the increasing levels of crap that US-based writers (and, also, others elsewhere) have been dealing with... you need to seek out some education at best speed.
Most of us are lower-paid and (to judge by our income) lower- or middle-class. For the last half-century or so, thousands of writers whose labors you've enjoyed have worked in a storytelling ecology that's supported the vast majority of independent/freelance screen storytellers in making a modest or supplemental living. (For example: my only Star Trek: The Next Generation script earned me about $14,000 [my split of $28K with my co-writer]. After that, low-and-dwindling yearly residuals in the low 4 figures continued for some years after. That's long done, now... but it bought a lot of groceries and cat food while it lasted, while I was also working other jobs.)
That ecology, though, has steadily had the blood sucked out of it with the shift to streaming—when the streamers told us, at the last Guild negotiations, "Nobody knows if this'll work. We'll make it up to you later if it does...!").
...Guess what? It worked. And now they don't want to make it up to us. (And somehow it's hard to be surprised.)
The old writer-payment ecology, as a result, is gone. It's not as if our stories are worth less than they were. (Indeed, evidence suggests far otherwise.) It's not as if the Earth's orbit's changed, or something's occurred that's had nothing to do with human actions. It's because rich people at the top of rich studios and streaming companies have decided they've got better use for the companies' billions of [insert favorite currency, it doesn't matter which one] than fairly paying their writers.
Some of us actually remember how things were before a workable system was broken, and can compare them to how they are now... bearing in mind what we were promised. As a result, better-known storytellers like Neil (and others: it's too late in the evening for me to do your homework for you...) are on strike now to assist those of us who're not so well known. People like me, for whom $14,000, spread over a whole year (or two, or three, or five...) made a big difference in our lives... not like the few hundred dollars now being offered to writers who've done a whole lot more work over a far shorter term.
In the larger sense: it'd be just lovely if the world were so arranged that all of us who prefer to mostly do creative work—because it's what we know best, and do best—were easily able to share (perceived) middle-class labor time around with those who don't do it (like something out of Le Guin's The Dispossessed). …Though most of us have also been doing second or third jobs as well. I don't know any writer who's grudged that if it meant also being able to do the work we love best.
It'd also be lovely if those whose privilege (as per your description) allows them access to higher education could understand the challenges of those whose situation didn't allow them anything of the kind. For example: I was lucky enough to pull down a Science and Nursing scholarship at the end of high school... otherwise my lower-middle-class family's finances couldn't have afforded me any other higher education at all. I happily worked to support myself all during my nursing training, and special-duty nursing kept me alive until my first few novels sold and made enough to kept me afloat.
That was just fine...for me. But I don't see why writers more talented than I (and who can tell who they are?), who've got more than I have to give to the world, should have to work two or three jobs to support their writing.
And I don't see why, having lived through the multiple-job bullshit, your vision should supersede other, less onerous ones. I mean, I’m sorry for the stuff you went through… but don’t see any reason why others should need to go through the same. (“I suffered for my art. Now it’s your turn…” is so 1970s.)
Anyway. For the time being, everyday working writers are fighting that corner right now, the only way we can: by withdrawing our middle-class [by definition of middle-or-low-five-figure-USD$] labor from the people making themselves rich off it. And isn't it funny that the people from whom we've withdrawn it are so desperately trying—via AI, etc.—to find a way to do without our labor entirely? (As if what would pass for daily donut money for most series is somehow too expensive...?) It kinda indicates that (color-of-collar) class isn't at all the issue here.
Understandable, then, that you might be glad you're retired... and not down in the trenches with the rest of us. Those of us still working hard to survive (including me, still writing at 71 despite theoretical "retirement ages"—impossible for us to consider in this "new world" economy…) hope to survive long enough, if we're as lucky as you, to eventually, have something similar.
Meanwhile, those of us who weave stories for the entertainment of those around us would just like to make enough from this work to buy groceries and pay our electric bills and feed our spouses (for those of us who have spouses), or kids (those of us who have kids). ...Or cats. (etc) You know: the kind of things that ordinary blue-collar people have.
And for their sake: just as the writers before us (in the 1960s) fought for the right to the then-revolutionary concept of residuals, we fight. Not just for ourselves, but for the writers to come after us, who also have spouses and kids*... and tales worth telling.
*And cats.
Hey Neil! Quick question..
Do you think we'll see custom playlist for Gabriel and/or Beelzebub?
Thank you so much if you answer, bye Neil!
I don't know. They are being made by Amazon Prime Video's marketing department.
Damn I thought you made them yourself
No, I can't. I'm on strike.
Gazillionaires on strike while homeless people line the streets is cringe AF to me. Don't mind me, just passing through.
I'm a bestselling author on strike as a film and TV writer because people who are writing shows you love get to work for a few weeks a year under the current systems and are doing door dash or driving Ubers to survive.
I'm a bestselling author on strike as a SAG-AFTRA performer because 13% of working actors are hitting the $26,000 level they need to get healthy insurance.
I'm on strike to help because it means something if I'm on strike, it gets the word out and it matters. I'm on strike because it helps raise everyone else up.
It's not blase. It's frustrating and upsetting as hell to have stuff I made stop being made, for stuff I care about be out there and me unable to help it.
I'm not sure if you are arguing for the successful writers and actors to strikebreak, or if you just think that the people who make the things that entertain you and sometimes make life worth living do not deserve homes and food and families and the respect that comes from a day's work for a day's pay. Either way, I'm proud to be on strike.
Things in the Miraculous movie that were way better than the show
- Everything
Ok but actually, adjustments made in the movie that vastly improved the show’s canon:
- Marinette’s awkwardness being equally applied to everyone she interacts with. Having her reputation be that she is a walking disaster makes Adrien’s (and Alya’s) kindness to her more impactful. Also makes Chloe’s bullying more believable. IN GENERAL makes Marinette’s character more believable.
- In the same realm, the entire school and world not revolving around how perfect and cool Adrien is fixes SO. MANY. THINGS. The only person at school who seems to care about his status is Chloe, which not only makes his overall character less annoying, but also adds to Chloe’s characterization.
- Speaking of Chloe, making her an actual character and not a bitch who torments her classmates relentlessly for no reason? Like yeah she’s still a bitch and a bully but she has sense of decorum and won’t take it too far if her reputation is on the line.
- Sabrina having agency? Hello??
- The subtilization of Marinette’s crush on Adrien. Like, hello, she has a lot of shit going on! She doesn’t have time to be swooning over her classmate all day! Yet another thing that makes her more believable.
- TIKKI AND PLAGG CHOOSING THEIR OWN HOLDERS. Fuck Fu. Kwamis are literal eldritch gods, why wouldn’t they have a bit of agency?
- The entire sequence of Marinette saving Fu. A clever way to have Fu meet the holder while still having Tikki be the one who chooses. Also way better storytelling for him to not intentionally put himself in danger to find a holder, makes the whole thing more organic.
- The addition of the rule that the Tikki and Plagg only awaken when there’s a miraculous-level threat. Gives actual purpose to the role of the Guardian, imo.
- Unpopular opinion but Tikki’s personality change was great. Once again, literal eldritch God!
- Not to harp on this, but once again, the kwamis still having some level of control and AGENCY even when their holders are transformed. Tikki being in Ladybug’s yo-yo and actually guiding her was cool af and WHY WOULDN’T SHE BE ABLE TO DO THAT???
- Ladybug and Chat having more general abilities BUT not having their special abilities right away. The sequence where Chat caught the invisible bullet? Cool af. And Ladybug NOT having the reset button right away really raised the stakes and honestly just felt right. It was really rewarding and triumphant when she used it towards the end.
- The earrings/ring glowing as a way to communicate when one of them is not transformed. Such a good and cool idea.
- Adrien and Marinette frequently hanging out together in a group with Alya and Nino without it being weird!!! Jesus!! Let the kids be kids!!!!!
- Gabriel Agreste being less of a piece of shit.
- Chat Noir’s “You’re my sidekick!” To, “I’m your sidekick!” progression. Followed by Ladybug’s, “we’re partners!” Immaculate.
- Marinette gaining confidence as Marinette from being Ladybug AND ALSO SPECIFICALLY from her partnership with Chat Noir. LET THE SUPERHERO CHILDREN HAVE A MEANINGFUL AND UPLIFTING PARTNERSHIP FFS
- Speaking of, LADYNOIR HANGING OUT
- LADYNOIR PLAYFIGHTING
- Ladybug liking Chat romantically maybe before the 5th fucking season? Making Chat’s first confession less cringey bc she actually really likes him back and totally wants to kiss him? Being internally conflicted ab it?
- Marinette confessing right after she gently lets Chat down for the first time, literally perfect angst set up
- Adrien BEING ABLE TO STAND UP TO HIS FATHER. Fuck Sentiadrien.
- Gabriel being capable of feeling human emotions
- Identity reveal
i keep seeing jokes about Imagine Dragons showing their support by performing for WGA strikers, like about how bad their music/singing is and jokes about how it’ll hurt the movement and normally i’m neutral to the hatred of popular/used to be popular things, but GOD. as a queer ex-mormon i so badly wish more people knew what this group and what specifically Dan Reynolds has done to support queer kids
also while im here Enemy (the arcane song) is also about queer mormon kids <3
I absolutely hate how people took a kind, progressive, good band and decided to give it the nickelback treatment.
(Frankly I don’t even necessarily think they’re bad, sound wise, either. But I guess music is subjective so if you disagree that’s your right, just don’t treat it as some kind of unilateral truth)
My cousin (who is a christian fundamentalist and a massive homophobe) once mocked me for liking the band as an atheist because they’re religious, and I just went silent because I didn’t feel like getting into an argument, but
Like
Dan Reynolds has been an outspoken ally for a while.
Gee, it’s sure a funny coincidence he and ID got branded as cringe. I wonder what motive someone could possibly have to do so.
I got the honour of seeing Imagine Dragons live, and, a. they’re fucking GOOD what the FUCK especially live, like their music style has changed over time and it’s fine to not like that but the live performance was just so passionate and wonderful, and b, I can’t coiuldn’t take any pictures of it but one of the guitarists has a trans flag guitar with a trans flag strap and it’s so fucking beautiful and I nearly cried when I saw that clear and open support in such a subtle way. I’m glad someone else put into words how fucking annoying that attitude has been towards them with the strike.
I love how Aloy just knows everyone, like we know from the armor she wears at the beginning of HFW that she is a completionist and did all the side quest so everyone just knows her. In a "yeah she actually rescued me from longlegs one time" or even "we delved together in banuk lands" but she's also super well connected like , she knows the sun king personally and he owes her tons of favors, every single Nora knows her , she was and technically still is chieftain of a banuk werak, and not a little one, the utaru chorus think she's a pain in the ass but she can just come up and talk to them, of the three tenakth clans , two commanders owe her, one came to power DIRECTLY because of her, and she blew up the house of the last one, the central governing authority of the tenakth is litteraly giving her his best man (best friend? Maybe) and most of the Oseram have either met her at one point or know of her because she trampled Derval and saved meridian.
All the chiefs of state are either alive or in power thanks to her.
And random old ladies in the tenakth wild can say "yeah she picked flowers for my dead boyfriend once"
WALT DISNEY PRODUCTION WORKERS NEED YOUR HELP!
Hey fam! The Mouse is refusing to recognize the unionization efforts of its production workers. If you're not familiar with what PAs or PMs do, I'll outline it briefly. The tl;dr is that NO ANIMATION WOULD GET DONE WITHOUT PRODUCTION WORKERS. They are the glue holding together every single production of your very favorite cartoons!
- They take notes in all the meetings with the artists.
- They make sure the artists are meeting their deadlines (and showing up to the meetings in the first place).
- They help us navigate studio servers to find the files we're looking for.
- They send us our time cards, and make sure we get paid!
Production workers do all this and more, often for minimum wage. The hardships that they suffer as a result--the long hours, the unpaid overtime, the abuses of power--are horrific.
You'd really think that they'd be compensated fairly for these jobs! Can you imagine trying to live in Los Angeles or New York on minimum wage with a job that definitely won't allow you time to pick up a second or third one??
This has to stop, and you can help.
All that Walt Disney Animation Studio's production workers ask is that you add your name to this petition! That's it.
This isn't some Change.org petition. It's not going to sell your email to spam companies. This is through IATSE (our union)'s website.
TELL DISNEY YOU STAND WITH PRODUCTION WORKERS!!!
if you're not in this job, you would never know how intense, involved, and straight up complex animation production is, but because it's mainly administrative, behind the scenes, and most skills are taught, production staff are often viewed as highly replaceable and unimportant. not everyone is nice to us, and more and more studios are stripping production personnel of our "corporate" status, meaning if the show ends or gets cancelled, studios aren't required to relocate us to another one. when this happens to artists, the guild protects them, but production will lose all benefits and will need to file for unemployment until they can find a new job (which isn't easy in the animation industry these days!). remember, a season of a show takes only about a year and a half to make. losing all benefits and having to file for unemployment every year and a half is NOT a way to build a career nor is it a stable and sustainable way to live!
to follow up on OP's points, here's some more stuff production staff does:
STORYBOARD AND ANIMATIC
- managing the master project file, which sometimes means scanning, cropping, camera adjusting, and typing hundreds or even thousands of panels, dialogue, and action notes by hand into storyboard pro if the artist drew them in photoshop or traditionally
- pinning up and taking down boards for pitches and reviews (yes, manually, with push pins on walls). every note drawn on those pieces of paper needs to be scanned and sent to the artists.
- inputting new and revised panels into the board project file and then exporting them to the animatic editor, which necessitates memorizing the board front to back because artists don't always track their panels or tell you which ones have been updated and you have to know instinctively.
- conforming, which means going panel by panel and comparing it to every frame of the animatic to make sure they're a complete match, which happens multiple times and usually requires quick turnarounds.
RECORD
- reaching out to recording studios, voice directors, and talent agencies to coordinate record times and availabilities.
- creating the schedules, typing up scripts, adding line numbers, updating line counts, exporting boards, collecting audition tapes, arranging catering, watermarking literally everything, and making sure everyone involved gets the right stuff and the most updated versions of that stuff ahead of time.
- circle takes.
- sending the raw selects to the dialogue editor, arranging radio plays, and sending the clean selects to the animatic or post editors.
DESIGN AND SHIPPING
- creating all the templates artists need to design a show's assets (hundreds of them!), which includes pulling board references so they know exactly what to draw, compiling brush libraries, mood boards, and vis dev pieces.
- tracking the progress of hundreds of designs across multiple episodes in every stage they're in (and as OP said, making sure the artists turn them in on time).
- creating a reference list (a GIANT spreadsheet breaking down every single use of every single design in every single scene of the episode--takes DAYS to create for just one episode!)
- preparing shipments of everything the animation production facility (usually international) needs to make the cartoon, which involves a lot of exporting, layer adjustments, cropping, re-exporting, and cataloguing.
POST
- acting as the main point of contact for those overseas animation facilities, which often means trying to field questions from a non-native english speaker every day.
- making sure the showrunner and exec producer review weeklies/dailies quickly and thoroughly and the notes get to the overseas studio on time.
- configuring the retake list so the production can stay under budget (determining retake categories and footage count, which are connected to prices--involves a surprising amount of math!)
- assembling retake materials, including creating lists of tasks for artists to do, getting them the shots or designs they need to fix, and making sure all fixes are completed in time.
CONTRACTS
- negotiating rates with every non-corporate player involved in the making of a cartoon and making sure all NDAs and legal contracts are signed and correct.
LEGAL, TRACK READ, TIMING, CHECKING, EXECS, ACCOUNTING
- sending boards, designs, animatics, (and as OP said, time cards) to dozens of people with highly specified jobs who require very specific items to do those jobs, making sure they get them at the right times, and making sure whatever they send back (be it notes, sheets, or lists) makes it to the appropriate party so the right action is taken.
and this is all in addition to very stereotypical secretarial work like taking notes at meetings like OP said, managing the showrunner and producer's calendars, and maintaining a pleasant atmosphere for the crew (coordinating game nights, decorating the office, organizing parties or lunches, etc.). production is expected to know everything, what's going on at all times, and how to fix it, which is a lot of work and often, a lot of pressure!
tl;dr:
SUPPORT PRODUCTION UNIONIZATION EFFORTS!
Helping the link stand out:
This.
...This is what calculators are for.
What even the fuck are all those methods? In school we were taught to add the ones column first (7+8=15), which gives you a 5 in the ones column of your answer. You carry the one and add it to the existing 4 in the tens column for a total of 5. Put your new tens column next to the new ones column and you have 55.
I guess technically that would look like 7+8 = 15, 15+40 = 55.
I guess this is about how you do it mentally? For me all of the methods the sound super alien. I'm like:
48 + 2 = 50
7 - 2 = 5
50+5 => 55
I go 8+7 is 15, and 40 + 15 is 55. But I learned mental math by playing cribbage, so fifteens are very important and special in their relationship to other numbers…
this is adhd math love to see it
so can we start hunting down white liberals now or what
The full picture is even more heart breaking after you open the uncropped version. Just a heads-up, it's rough
Nah let’s post it. Let’s feel it. Don’t look away.
I notice alot of my followers on here skipping these posts just to mess with my lgbt ones, suspiciously the white popular ones.
Heres a not so friendly reminder, as an lgbt metis person, i dont give a single fuck what your blog is themed or if this is too painful for you to look at. Reblog this post. Reblog this post with the sources of the 751 children who were found.
Your compliance and silence as well as the compliance and silence of your ancestors is what allowed these schools to open and kill first nations children. The children of MY people.
Dont follow me if you cant reblog this post or the one with sources to your political blog or your most popular blog. Add trigger warnings if you must but if your political blog is only focused on the harms you personally face like being lgbt then you need to see some bigger pictures and stop being afraid of angering your racist mutural or actually saying some shit about racism. If you can reblog some antifa graphics or add blm to your bio to be a surface level ally, you can reblog some sources on the genocide first nations people faced and still face today.
They were CHILDREN.
They were murdered in cold blood.
I’d like to add this photo I took last night in Victoria of the statue of Captain Cook. Though I myself am not indigenous, I 100% agree that these murderers, kidnappers and rapists shouldn’t have huge statues and plaques that decorate them and say how “great” they were.
Here’s another photo of the legislative assembly from yesterday. Later on there were more items, candles and signs at the memorial, as well as a big poster with 1505 painted on it but I didn’t get a picture
People need to see this. Not just quickly glance at the photos and keep on scrolling. They need to see this.
Reblog this or just stop following me
I had seen the first picture of the church, but not the second.
I went to a “Cancel Canada Day” event and burst into tears - not because I was surprised to learn of the unmarked graves (survivors told us they were there. Our government pushed it aside, and we let them), but because seeing all the people gathered in mourning drove it home: They. Were. Children.
This is my country’s legacy - and it’s not history. The last schools closed during my lifetime. My Father went to school with students who lived at the local residential school, after it was changed to a boarding house (read: holding centre) for indigenous youth who went to local schools.
They were all children, injured, abused, and killed in my country’s attempt to erase them. I want the world to see this and hold the state accountable to *active* reconciliation> I mean we could at least truly adopt UNDRIP in action instead of words for god’s sake.
here you can read an article about a survivor of the church and some of the things he experienced to help put into perspective how awful and just how recent it was
this is the memorial at the vancouver art gallery. 215+ pairs of children’s shoes (as well as stuffed toys and flowers) cover the steps…
Why are we making Gregory’s victory as Educator of the Year about Melissa? I’m begging y’all to touch grass. For all we know she’s probably won it before, along with Barbara (seeing as how they’ve been teaching longer).
Im so mad at myself for not remembering this tiktok creator’s name, but he’s a teacher and reacts to Abbott once in a while. He talked about how he sees Barbara and a little bit of Melissa actively mentoring Gregory into being a great teacher so he can later become the principal that Abbott deserves. He would understand how a school realistically functions and how to get around the many roadblocks they face. He would know how to better take care of the students after years of actually working with them every day.
Remember, these two ladies have seen it ALL. They understand how Abbott works and are ready for a principal that will love Abbott as much as they do. He does. Or at the very least, he’s starting to. So of course both Melissa and Barbara want him to win. They want him to be encouraged to become more compassionate, more confident, and more himself. He has worked so hard on himself as an educator and as a person. What a beautiful way to encourage this growth that both he and Abbott needs.
