I do not wish to be loved like a god: untouchable, treasured by what I can provide and feared otherwise. I wish to be loved like something tangible, real, alive.
I wish to be loved like a plant: if you provide me a place for me to thrive, I will work hard to become the air you breathe.
even if you care deeply about some specific kind of suffering you do not have to fill your life with as many upsetting stories of that type of suffering as possible. that is just signing up to have a bad time.
does you absorbing this information help you benefit a cause? and even if you are benefitting a cause, are you doing something productive with more of these stories or are they just making you feel bad? are you taking more effective action or just getting overwhelmed with sadness? is surrounding yourself with stuff that upsets you helping you more than it hurts you?
hello Alan Becker tumblr, may I offer you some stick figures in these trying times
how bad can I be gets worse every time I hear it
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how bad could it possibly be?
🕴🏻bubblegum-gf
I will punch you so hard the trees won’t be the only things dying
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idk if anyone else has talked about this but a trans man wheelchair user, andrew blake-newton was shot with a pellet gun in a drive-by hate crime & called a "tranny faggot." the injuries worsened his disability. i don't know if there's any ways to donate to him to help but i wanna make sure people hear about this.
human au thingy :3 i love them *twirls hair*
Hay victim fvck you b!tch
Vic: Hey, erm, Canon? I think it's for you.
Vic: Hm? Oh, it's just junk mail. Throw it away, Copy.
Vic: - -...
(having 2 vics can be confusing at times > >')
If you use phrases like "narcissist", "psychopath", "sociopath", "narcissistic abuse", "crazy", "insane" or any similar language to describe asshole behavior, manipulative behavior, or otherwise undesirable behavior.
I'm kicking you out if disability pride month.
We don't support lateral abelism during disability pride month. We're not demonizing real disabled people with real mental health conditions to support your narrative.
It's really easy to say "The dude is an asshole that doesn't give a shit about anyone but himself" without forcing abelist language that hurts real disabled people onto him.
(Especially because the disorders that these conditions attack are often cluster b personality disorders which are often caused by trauma)
-fae
Someone responded to this essentially saying "You're taking language away from abuse victims to describe what they went through."
And since they deleted it before I got to respond. I'm going to assume they later realized that was abelist.
But contrary to what they said. Terms like "narcissistic abuse" takes language away from abuse victims to describe what they're going through.
A lot of victims of verbal and emotional abuse are gaslit because terms like "verbal abuse" and "emotional abuse" aren't normalized enough. Shit, I gaslit myself for a long time because "it wasn't physical".
You'd do much better for the entire abuse victim community if you normalized language of actual abuse rather than demonize Cluster B Personality Disorders whom are often also the victims of abuse. Having Borderline or Narcissistic Personality Disorder doesn't inherently make someone an abuser. Being an abusive asshole makes them abusive.
-fae
I would like to add that they take away my safety. If someone would target these people, how long before they target me? And even if they do not target me specifically, how long before they yell at me? There have been many times when I say, "please to not diagnose my abusers," and they get angry at me.
rb to give the previous person a fucking break because life aint life-ing the way its supposed to life and it fucking sucks.
there should be a social media site exclusively for dragonposting
you're right. fellow dragonposters, we need to band together and dragonpost harder. turn tumblr into dragonposting paradise
every part of me is borrowed. My father’s rage, my mother’s empathy, my first girlfriend’s sense of adventure and wonder. My grandmother’s hope for the world. My little sister’s bravery. My boyfriend’s sharp wit, the little girl from my preschool class’s love of all living things. I’m not sure if anything is uniquely mine. When i was a kid i would sit and wonder if anyone was thinking the same thing as me at the same time, now I know that someone out there is. Maybe some find it sad to not be one of a kind, but i think it’s beautiful. We all lean on each other, strangers or friends. The impact people leave on each other is beautiful. Strangers in the grocery store with pretty smiles, old ladies in the park feeding the birds and squirrels, a father seeing his baby for the first time. The world seems so ugly until you squint and pay closer attention.
The grapes because I can't stop thinking about them <3
by Mary McNamara
"If you want to start a revolution, tell your workers you’d rather see them lose their homes than offer them fair wages. Then lecture them about how their “unrealistic” demands are “disruptive” to the industry, not to mention disturbing your revels at Versailles, er, Sun Valley.
Honestly, watching the studios turn one strike into two makes you wonder whether any of their executives have ever seen a movie or watched a television show. Scenes of rich overlords sipping Champagne and acting irritated while the crowd howls for bread rarely end well for the Champagne sippers.
This spring, it sometimes seemed like the Hollywood studios represented by the Alliance of Motion Picture and Television Producers were actively itching for a writers’ strike. Speculations about why, exactly, ran the gamut: Perhaps it would save a little money in the short run and show the Writers Guild of America (perceived as cocky after its recent ability to force agents out of the packaging business) who’s boss.
More obviously, it might secure the least costly compromise on issues like residuals payments and transparency about viewership.
But the 20,000 members of the WGA are not the only people who, having had their lives and livelihoods upended by the streaming model, want fair pay and assurances about the use of artificial intelligence, among other sticking points. The 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists share many of the writers’ concerns. And recent unforced errors by studio executives, named and anonymous, have suddenly transformed a fight the studios were spoiling for into a public relations war they cannot win.
Even as SAG-AFTRA representatives were seeing a majority of their demands rejected despite a nearly unanimous strike vote, a Deadline story quoted unnamed executives detailing a strategy to bleed striking writers until they come crawling back.
Days later, when an actors’ strike seemed imminent, Disney Chief Executive Bob Iger took time away from the Sun Valley Conference in Idaho not to offer compromise but to lecture. He told CNBC’s David Faber that the unions’ refusal to help out the studios by taking a lesser deal is “very disturbing to me.”
“There’s a level of expectation that they have that is just not realistic,” Iger said. “And they are adding to the set of the challenges that this business is already facing that is, quite frankly, very disruptive.”
If Iger thought his attempt to exec-splain the situation would make actors think twice about walking out, he was very much mistaken. Instead, he handed SAG-AFTRA President Fran Drescher the perfect opportunity for the kind of speech usually shouted atop the barricades.
“We are the victims here,” she said Thursday, marking the start of the actors’ strike. “We are being victimized by a very greedy entity. I am shocked by the way the people that we have been in business with are treating us. I cannot believe it, quite frankly: How far apart we are on so many things. How they plead poverty, that they’re losing money left and right, when giving hundreds of millions of dollars to their CEOs. It is disgusting. Shame on them. They stand on the wrong side of history at this very moment.”
Cue the cascading strings of “Les Mis,” bolstered by images of the most famous people on the planet walking out in solidarity: the cast of “Oppenheimer” leaving the film’s London premiere; the writers and cast of “The X-Files” reuniting on the picket line.
A few days later, Barry Diller, chairman and senior executive of IAC and Expedia Group and a former Hollywood studio chief, suggested that studio executives and top-earning actors take a 25% pay cut to bring a quick end to the strikes and help prevent “the collapse of the entire industry.”
When Diller is telling executives to take a pay cut to avoid destroying their industry, it is no longer a strike, or even two strikes. It is a last-ditch attempt to prevent le déluge.
Yes, during the 2007-08 writers’ strike, picketers yelled noncomplimentary things at executives as they entered their respective lots. (“What you earnin’, Chernin?” was popular at Fox, where Peter Chernin was chairman and chief executive.) But that was before social media made everything more immediate, incendiary and personal. (Even if they have never seen a movie or TV show, one would think that people heading up media companies would understand how media actually work.)
Even at the most heated moments of the last writers’ strike, executives like Chernin and Iger were seen as people who could be reasoned with — in part because most of the executives were running studios, not conglomerations, but mostly because the pay gap between executives and workers, in Hollywood and across the country, had not yet widened to the reprehensible chasm it has since.
Now, the massive eight- and nine-figure salaries of studio heads alongside photos of pitiably small residual checks are paraded across legacy and social media like historical illustrations of monarchs growing fat as their people starve. Proof that, no matter how loudly the studios claim otherwise, there is plenty of money to go around.
Topping that list is Warner Bros. Discovery Chief Executive Davd Zaslav. Having re-named HBO Max just Max and made cuts to the beloved Turner Classic Movies, among other unpopular moves, Zaslav has become a symbol of the cold-hearted, highly compensated executive that the writers and actors are railing against.
The ferocious criticism of individual executives’ salaries has placed Hollywood’s labor conflict at the center of the conversation about growing wealth disparities in the U.S., which stokes, if not causes, much of this country’s political divisions. It also strengthens the solidarity among the WGA and SAG-AFTRA and with other groups, from hotel workers to UPS employees, in the midst of disputes during what’s been called a “hot labor summer.”
Unfortunately, the heightened antagonism between studio executives and union members also appears to leave little room for the kind of one-on-one negotiation that helped end the 2007-08 writers’ strike. Iger’s provocative statement, and the backlash it provoked, would seem to eliminate him as a potential elder statesman who could work with both sides to help broker a deal.
Absent Diller and his “cut your damn salaries” plan, there are few Hollywood figures with the kind of experience, reputation and relationships to fill the vacuum.
At this point, the only real solution has been offered by actor Mark Ruffalo, who recently suggested that workers seize the means of production by getting back into the indie business, which is difficult to imagine and not much help for those working in television.
It’s the AMPTP that needs to heed Iger’s admonishment. At a time when the entertainment industry is going through so much disruption, two strikes is the last thing anyone needs, especially when the solution is so simple. If the studios don’t want a full-blown revolution on their hands, they’d be smart to give members of the WGA and SAG-AFTRA contracts they can live with."
the general population’s education of indigenous american cultures is literally painful like people walk around not knowing that native americans domesticated dogs and turkeys, that many communities had farms that stretched for hundreds of miles, that many communities had completely terraformed their territories, that there were native trade systems stretching across the continent, that there were native metalsmiths before european arrival, that most native people were multilingual etc
also fed up with peoples assumption that sedentary cultures were “more advanced”. like sure, they had technology that hunter gatherer cultures didn’t, but that’s because the hunter gatherer cultures didn’t need those technologies. hunter gatherer cultures have their own ways of doing things, and they do it that way because it works for them. like what if i called you less advanced because you don’t know how to make a serrated arrowhead, and you don’t know how to work a bow drill or an atlatl or a long bow.
Hey, if you’re non-Native/not indigenous like me, I found this book to be helpful. It comes both as the original text for adult audiences and a version for young people that felt kinda like the history textbook I should have had in fourth-sixth grade.
I believe we currently have no evidence for a separate dog domestication event in the Americas, they likely traveled with humans onto the continent BUT what’s arguably even cooler is that Indigenous peoples of Tierra Del Fuego likely domesticated a completely DIFFERENT canid species, the culpeo! They’re called Fuegian dogs and were sadly eradicated by the europeans..
The llama, alpaca, turkey, fuegian dog, guinea pig, and muscovy duck were all domesticated by indigenous americans. In coastal British Columbia shellfish were farmed and harvested in sea gardens made from rocks and are thousands of years old.
There were also pre-columbian chickens in south america that arrived via trade with polynesians, if you like the blue eggs of the araucana breed you should thank the Mapuche people of Chile!
And that’s not even including the domesticated plants that have become staple ingredients in cuisines across the globe. Potatoes, tomatoes, corn, and chili peppers are all the work of indigenous american agriculture.
Me looking at that 1% battery: you and me both my friend.
because anon hate is lame and for cowards
[Image Description: Young Japanese poet Akiko Yosano posing by an open window. ]
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The fear of stagnation and the threat of unlived potential runs rampant in the themes of the songs written by the Crane Wives. In this essay, I will--
