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Im Here, Im Queer, I Want To Disappear

@booksandpasta

Asexual, panromantic, probably genderqueer, and definitely anxious. The most random of blogs. I’m here for bugs, books, gay shit, and memes that are too real. I really fucking love bees and also simple, meaningful art. She/they

one of the hardest things to learn as a depressed former Gifted Kid™ is that half-assed is better than nothing. take the 50%, 40%, even 20% job. scrubbing your face is better than not taking a shower at all. picking up your clothes is better than never cleaning. nibbling on some bread is better than starving.

DO THINGS HALFWAY. NOW YOU’RE 100% BETTER OFF THAN YOU WERE BEFORE.

One of my college professors used to say “anything worth doing is worth doing poorly.”  I didn’t understand that for years because I didn’t do anything poorly, I couldn’t do anything poorly, I had to Do Everything Perfectly.

But brushing your teeth for 30 seconds is better than not brushing them at all when that 2 minutes seems exhausting.  Doing ten minutes of yoga is better than 10 minutes of sitting when 30 minutes of cardio sounds impossible.  Changing my clothes is good when a whole shower is impossible.  Standing on the porch for a few minutes is worth it after being in the house for three straight days because I don’t have the energy to go anywhere.

Anything worth doing is worth doing poorly… because doing it poorly is better than not doing it.

do you think if robots came out in 2015 instead of 2005 that this guy would have been one of the inescapable tumblr sexymen like the onceler or humanized bill cipher

listen the message of robots (2005) is that if we all work together we can destroy our capitalist oppressors through direct action not that if we all work together we can sexualize a robot

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one time at the yearly convention for my cult, one of the workers took it upon himself to address this in his sermon, and explained that no one who was getting into heaven would ever want to leave. everyone who was in heaven would be incapable of wanting to leave.

I wasn’t comforted by this answer

i just woke up from a dream where i was being interrogated by a bunch of people asking me if “furbies are kosher” firstly…. im not jewish. secondly……..what the fuck

please stop sending me asks pertaining to the kosher status of furbies. i really do not know. this was just a manifestation of my subconscious. im assuming that they are not kosher because furbies aren’t even food. but who knows! ask a rabbi, if you must. 

Jew here! Furbies are actually worse than unkosher–they are not permissible as food, even for gentiles. This is because the Torah teaches that it is forbidden for any human to eat the meat of an animal that is still alive, and the Furby cannot die.

hi this is the most ominous description of a furby i have ever heard

shakespeare characters having weird reactions to deaths: macbeth / hamlet / julius caesar

sorry to be pedantic outside of the tags but i love these as exhibits a b and c of why the “shakespeare is meant to be performed” cliche is real; on the page they look wild but actors know how to read the embedded stage directions

two of these examples can’t be shared lines of iambic pentameter (both gertrude’s line and brutus’ are already rushed and irregular at eleven syllables, so laertes and cassius both get their full ten beats for two or three words) and one of them doesn’t have to be (macduff and malcolm’s lines add up to ten beats indicating that it’s shared but no one will call the scansion cops on you if you split it into two and divvy up the extra ten syllables between them, which imo is the more playable option)

remember that verse is symphonic and that those extra syllables are notes in the orchestration of the scene— they have to go somewhere, either into beats of rest or sound. there’s a lot of ways to score any of these moments but one possibile notation for the first is

MACD: your royal father’s murdered.

(rest/ rest/ rest/ rest/ rest/)

MAL: oh.

(rest / rest / rest/ rest/ rest/) ...

by whom?

all that silence affords the director a moment to let a lightning-fast scene (the entire cast pouring onstage in ones and twos, yelling over each other at varying levels of authenticity) come to a screeching halt, and the severity of the situation set in. for the actor it’s playable as all hell, and ultimately very human: the kind of raw shock that makes you ask stupid questions. you get the same thing with laertes. tbh i’ve always found “drowned? (rest / rest /) oh. (rest / rest / rest / rest/ rest /) .....where?” to be utterly goddamn devastating in how realistic it is, bc what else can you say to that? if someone told you with no warning that your sister drowned, what else would come out of your mouth in the moment but something stupid and mundane? oh. ..........where did it happen?

the other notable similarity in these three moments is the use of un-words: two ‘o’s and a ‘ha’ (they aren’t meant to be pronounced exactly like “Oh” or “Ha”; traditionally shakespearean un-words are performed as unarticulated sounds, sighs, groans, exhalations etc). un-words leap out to the actor because it is a character rendered speechless. i made a post a few weeks ago about how big of a deal it is when people written by william shakespeare dont have words for what they’re experiencing/when the pain is so big that even in a metanarrative universe where you are only the words you speak you are forced to admit that something is unspeakable, and every “o” or “ha” or “ah” etc is a moment of this horror, this defeat at the hands of your own medium

it’s a rich moment for actors because in classical text it’s frowned upon to act “outside” of the line (to waste vocal qualities on things that aren’t words, ie to take a pause from speaking your richly layered monologue to let out a pained exhale. “act on the line” says your director, smacking you on the knuckles with a copy of freeing shakespeare’s voice), it’s diva-y and amateurish to take more syllables than you’re given. but when you’re given the space of ten beats for “ha portia”, who will dare call you a scene hog for stretching that “ha” into five notes of agonized, wordless noise?

in the same way that lear’s “howl howl howl” is very much not just the word ‘howl’ said three times these moments demand full, shattering vulnerability from the actor, a dive into the place in the body where pain lives. maybe laertes and malcolm really do say “oh.”, quiet and childlike, or maybe that ‘o’ is a stand-in for the all-air sound that shakes out of you when you get punched in the lungs and try to talk through it, or for that deep animal groan you heard that made you think what was that before you realized it was coming out of your own throat

anyway you get what i mean. you wouldn’t look at a blueprint and say you saw the house, you wouldn’t read the sheet music and say you heard the symphony, etc

We need to dismantle the systems in place that allow white people to get away with offering black people sub-par services based on the excuse that our bodies are more difficult to work with. Black hair is not more difficult than white hair, it simply requires a different skill set. Tattooing vibrant tattoos on black skin isn’t more difficult than tattooing white skin, it simply requires a different skill set. Photographing black people isn’t more difficult than photographing white people, it simply requires an understanding of photography. Doing makeup on black skin isn’t more difficult than doing makeup on white skin, it simply requires different products. Working with black people is not more difficult than working with white people you’ve all just been taught that it’s not valuable and therefore not worth learning how.

This is extremely similar to the dilemma faced by disabled people. It is no more expensive to design a building with ramps instead of stairs, it’s only when you create the building first and have to tear down the stairs and replace them that you incur costs. If we teach the skills of inclusion from the beginning, there should be no additional costs for services and accessiblity for anybody.

Initially I wasn’t sure I wanted to diverge from the axis of race over to disability, but I actually think that the analogy of that building and how it’s only after we’ve institutionalized inequality that costs are incurred trying to fix it, is a valuable one so thanks for the contribution.

this week in I Am Very Smart: having enough money to go to the opera, museums and concerts correlates with having enough money for food, shelter and basic health needs

They controlled for socioeconomic factors though! The people who conducted this study knew that people with lots of money to attend the opera were also more likely to be able to afford basic necessities, so they controlled for it in their analysis. The fun thing about statistics is that you can control for different confounding factors so you can look at the effects of one independent variable (opera or whatever) on the dependent variable (mortality). Part of being critical of potential biases is actually reading the article and knowing what to look for.

In addition to that very good point about controlling for socioeconomic factors, the article says a single museum or concert per year makes a difference. Most cities have free community concerts (some even have free opera performances!) and museums that are either free, pay-what-you-want, or at least have specific days/times during which they are free or at a significantly reduced cost. Many libraries (which are free) provide free museum passes to card holders. In fact, the article quotes a museum worker who works at a free art museum in Baltimore.

If you actually read the article you would also read that educators are excited about this study because it provides evidence that the arts should be made more accessible financially - by restoring arts programs in the public schools, for example.

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Also, “Advocates said the study was also a reminder of how critical it is for the arts to be more accessible to Americans of all incomes.” Linking to the article so it’s easier for people to get to cos it’s a good read.