being set apart

anonymous asked:

I find it really interesting how Dean's reactions to Cas' death have progressed over the years as he's gotten to know him more and they've gotten closer. Whether it's the writing or the acting or both, I think it's really neat that they haven't just played it all on one note. Plus, it's another way of lampshading how Dean's relationship with Cas is different to Sam's. Sam is always upset about Cas dying but his grief is never highlighted in the same way as Dean's.

You mean…. the evolution of Destiel? :D I love tagging stuff for that, I totally agree.

I mean it’s gone from oh, I kinda liked him to shit he meant a lot to me to OMG CAS NEARLY DIED FUCK YOU MOM to falling to his knees on the floor in shock and pain while the devils baby god is lighting up the house behind him and he’s totally ignoring it cos he is just focused on having just lost Cas and he can’t cope.

I feel like the writers are kinda mocking us as we all go “CAAAAS!” but I love it ;)

Originally posted by klassyfeels

whatshernamemaria  asked:

Isn't Hermione an ISTJ

Nope. :)

1) She is Te, first and foremost. When the kids first meet her, she has organized a search for Neville’s missing toad. Hermione reads and memorizes half the books before she reaches Hogwarts and then quickly scales to the top of most of her classes. Hermione easily organizes herself, her friends, and her information, so that she misses no deadlines, meets all word counts, and hands in her papers on time. She is quick to take action. She does not mind being set apart from others and handling Prefect duties (where even Ron, as a higher feeler, shies away from “correcting” anyone). Rationality always takes president over sentiment, details, or emotions.

2) She has EXCELLENT tert-Ne usage. Her intuition is not inferior. She uses it A LOT. She reads between the lines A LOT. She figures out Lupin is a werewolf long before anyone else does (aided by TeSi). She correctly guesses that Harry’s broom was sent by Sirius Black, even though her speculation as to his motive is wrong. She abides by the rules up to a point, then innovates on them. And she’s terrific at keeping the big picture in focus all the time, even when her emotions are involved. Intuition before emotions.

3) Her emotions are unstable. Hermione sometimes has excellent emotional depth but much more often has immature emotional depth, as is often the case with an inferior function. Harry finds her championing of the House Elves as ridiculous, because he’s a higher Fi – he understands that if the house elves are content in their “enslavement,” there’s no reason to go against their wishes to free them. As an inferior feeler, Hermione’s sense of ethics are violated, she lacks the emotional maturity to sense that how she responds is wrong (trying to trick the elves into being freed, by leaving them things all over the Common Room) and tries to get her friends / total strangers on board (extrovert!) with S.P.E.W. Her quarrels with Ron almost all stem from emotional immaturity, and a lack of ability to deal with both her own and other people’s feelings.

4) She volunteers herself and others for leadership positions. She does not mind being the center of attention. She stands out happily from her peers. Hermione also believes that someone talented should DO SOMETHING, and she thinks nothing of pushing Harry into a leadership position for the D.A. No introvert is going to throw someone else into the limelight like that, but an true social extrovert would fail to understand why someone wouldn’t like to be in the middle of things.

5) It’s about function order. Remember that. Always. What does Hermione use with no effort? Te. What does not wear her out? Te. What does she respond with the instant something happens? Te. What else is noticeable? Her instincts. Her intuition. Ne. Ne turns up almost as often as Si. Thus, they are together, not at opposite ends of the stack. What is her biggest weakness? Her emotional intelligence. Inferior Fi. :)

Darn it, why did you bring up Hermione? Talking about her makes me want to watch all the movies… again. Oh, well. It’s not exactly torture. ;)

- ENFP Mod

Blood Sweat and Tears Japan version - Theories

All my own opinions - complete guesses!

Apologies if I’ve got something wrong from another video.

- I believe that at least some of this video occurs before/during the inu/run timeline.
- V has killed Jin? Would make sense as it looks like he stabbed him. This also ties in with Jin being set apart in Run; he’s dead.
- This could also be the reason why Jimin and Jungkook appear to be holding V back - he’s dangerous.
- Why was Jin punching V? Possibly revenge for betrayal. He kisses the statue in BST, which turns out to be V. He seems to regret it immediately - then hurts V for hurting him?
- RM is controlling Jungkook/forcing him to do things, represented by him forcing JK to drink from the cup that then makes him ill. The smoke that pours over JK in the vid and that RM breathes out in BST original, which further cements this - RM is toxic.
- The drink is almost certainly a metaphor - more and more it seems that everything in the BST original video is symbolism, representing the timeline, but not occurring in it.
- Suga and JK’s storyline has been developed. He is obviously concerned that JK is throwing up - by extension he could be concerned about RM’s influence over JK. This could explain a lot of their fighting.
- RM also seems to be a ringleader for the activities in Run - is Suga not happy with them?
- Suga and Jimin’s storyline has also been developed. The image of Suga covering Jimin’s eyes is repeated again - a metaphor for him keeping Jimin in the dark, controlling him. He is clearly hiding something from him.
- The image of Jimin biting the apple is presumably taken from Adam and Eve in the Bible - she was blamed for sinning because she bit the apple, even though Adam was just as sinful.
- Religious imagery continues with angels, wings, JK drinking from the cup.
- We see Jimin running from Suga, who stands next to a piano - a link to the First Love video.
- Presumably Jimin was who Suga was running to in the First Love video. - Jimin later sees himself with Suga covering his eyes and seems distressed, tumbling through colours - he’s confused.
- Both Jimin running away and him seeing himself and Suga suggest that he has seen how Suga controls him and realises he has to leave.

These are all just theories, so if you disagree - no worries!

Hide is near, I can feel it

or I could be utterly wrong, lol.

Some people seemed to get terribly exited when I mentioned I have HideKane hype after the newest chapter. No presure, haha.

Ok, first off, let me put a few things straight, so that you can maybe understand some of my reasoning better:

1) In my book, Hide is a bit of any asshole. Or actually, he IS an asshole. To everyone aside Kaneki (and a few carefully selected others). No wonder he kinda got along with Nishiki, lol. What we’ve seen in Root A, the cinnamon bun Hide, isn’t the manga’s Hide. The manga’s (and novels’) Hide didn’t get himself killed (well personally I think he survived the anime as well, there’s a good explanation video on youtube about it) and we already know he’s done some bad shit (especially in the novel).

2) My favourite idea about who Hide is would be if he stayed a simple human. However, most recently so many things seem to point to the direction of the original OEK, that it might very well be true. I also liked the Washuu theory, but it seems to be greatly debunked by now (at least in terms of the theory’s importance to the story).

3) I used to be a big Touka fan. Ok maybe not big, but a fan. Notice the „used to“. There were some hints in that direction already before, but after 124 her character took such a deep plunge, I’ve lost all sympathy to her. So don’t be surprised, if I don’t talk in a kind way about her at some point, if I happen to talk about her at all.

4) I think Tokyo Ghoul is going to be a trilogy, we’ll know soon enough if I’m wrong or not lol.

And here we go:

So the chapter wasn’t particularly interesting, the Q’s aside, but then I checked a few things and it got me much more interested (or maybe it’s because I found my lost Tokyo Ghoul hype after watching the movie).

Obviously the Hide panel was great and I think it was a major hint that Hide’s still alive! I’ve seen someone mention it’s because Kaneki still didn’t accept Hide’s death, and while it’s plausible, I think Ishida specifically put Hide with it’s back to us because he’s still alive. He was the only character shown in that way.

Ages ago I’ve read this beautiful theory (but I have no idea from who it was and if someone knows please link me to it!) about Hide and Kaneki being set apart by Ishida in a way that makes Kaneki’s loss (or their mutual yearning really) very obvious for the reader as well: once Hide was gone, he was gone from everywhere. When Touka was gone from the story, we’ve still gotten tons of art. Not with Hide. We did get some meaningful mentions here and there, just to make sure we wouldn’t forget about Hide (not possible for his fans, but I’m always surprised how many readers of Tokyo Ghoul missed his significance for the story), but there was no art of him. And when he does get shown, it’s insanely important, like in :RE chapter 75. Maybe there’s even something with Hide’s face that Kaneki doesn’t know about yet, though somehow I don’t think so (since Amon didn’t change all that much).

Next thing is, personally I don’t believe one word from Kaneki right now. He puts himself into a certain role way too easily. It’s more convenient to play a role than acting on his own and having to be made responsible for his choices. The majority of ghouls expects him to be a leader, so he is, even though we know he doesn’t particularly care about that. Touka expect him to be her lover, so he is and acts the part perfectly. But the moment someone more interesting would pop up, he wouldn’t think twice about ditching everyone. Afterall, it was just a role. And Kaneki has done that in the past. And Touka seems to be aware of that herself, even though she’s just joking about the matter. (Really, she spend highschool among humans, not even she can be that dense to not know forcing someone to fuck isn’t a good start for a relationship.) The „more interesting“ person doesn’t have to neccessarily be Hide at this point though, though he’s the most obvious of course.

And most importantly, there’s the dandelion at the beginning! What does the dandelion symbolize? There are different meanings for the yellow bloom and the whitish-grey tufft of seeds, but I’ll be concentrating on the blossom, since that’s what we were given from sensei.

The dandelion stands for healing (both emotional and physical), survival (since the plant is sturdy as all fuck) and intelligence.

Now, it’s probably fairly obvious that all these things refer to Kaneki. He’s emotionally suffering for years (a short time as Haise aside, maybe), his body is about to give way and he’s a clever fellow.

Since there were two dandelions in the picture, most likely it means Kaneki won’t do anything on his own, someone will help him along the way.

Could this someone be Touka? I guess so. There are people who ended up really falling in love with someone they married (especially in arranged marriages). My biggest problem with this possibility is Touka’s lack of actual support towards Kaneki at any point in the past though. Don’t even get me started on this, she’s never ever supported that guy emotionally. Never. Not once. The one time she literally could’ve made a difference for him, she ended up screwing him (and technically the other time in part one she beat him up).

So who else could it be?

The dandelion has another meaning: it’s a symbol of the sun. And like a CRAZY symbol of the sun. So much so, that I was considering saying it symbolizes the sun even more than the sunflower does.

Dandelions are also symbolic of positivity, progress and survival – all pretty evocative of Hide.

The dandelion has been also linked to Christ’s self-sacrifice on the cross. Kaneki has been heavily implied for a self-sacrificial role similar to Christ’s throughout the series.

So that’s it, folks, now you know why I’m hyped for Hide’s reappearance and some HideKane interaction to go down very soon!

carlotaaa2  asked:

Did you see Chris's instagram story?!?! He filmed the set being taken apart and said "this is going into storage... why storage? That's so weird..."

Have you seen Carrie’s post? 

there is a winky face under it.

They are probably going to get a longer run somewhere else? At first I thought Chris was the only one would go back because he seems to be the only one without a project and the boy truly loves Percy, like in this tweet 

At first I thought the lights said Chris but they say Percy and he refers it as his name, this boy truly loves Percy and it shows…anyway then after seeing Carrie’s post and Kristin’s snapchat story I think they are waiting for the cast to be free from other projects? Maybe for a second run or maybe for a digital recording of the show, I won’t complain either way I just hope is something along this lines.

The Twentieth Century has seen the United States enter two major wars and emerge less-than victorious. There are, in Washington DC, prominent memorials for both of these conflicts, the Korean and Vietnam War memorials.

The interesting thing about both of these monuments is that they both honour the veterans of those wars, not the war (nor the policies behind the wars) themselves. Across the Vietnam Veteran’s wall are etched the names of the fallen, and the Korean Veteran’s memorial depicts soldiers on patrol. The president who sent them to war and the generals who ordered them to fight are not given special precedence on these monuments. We honour the men and women who fought on behalf of their country, even when the fight was lost.

Step back yet another century, and we find another war that was lost by our countrymen. This war was fought on home soil, so there are churches, towns, cemeteries, even whole regions that are indelibly marked with the wounds of that war.

Should historical markers be removed from Civil War battlefields? I don’t think anyone is seriously suggesting such a thing as any but a straw man. Should Confederate Cemeteries be removed, renamed, or de-consecrated? Again, I think not. Obviously, if we were to de-consecrate the grave of any person in the past whose views were anathema to modern sensibility, no grave would be sacred as the arc of history bends toward progress.

Should the policies and politics of a lost cause be memorialized in the faces and figures of the President and Generals who enforced those policies? That, rather than any other, is the question we should be debating. Not whether this is our history- it is and we should acknowledge the shame of it- but whether it is a history that should be glorified.

Keep the cemeteries and may our ancestors rest in peace. But also keep the libraries and textbooks that explain, in detail, what our ancestors believed- the subjugation of human beings and the economic necessity thereof, the moral and genetic superiority of race, religion, and sex, and the selfish, foolish belief that the way things had always been done was the way that things could continue to be done for all time.

If we must honour the Confederacy, honour its soldiers, not its policies. Visit the cemeteries and museums, but remember that their fight was not righteous. Remove symbols that glorify a tarnished past- the depictions of leaders who led us wrong.

medium.com
True Light, False Light: Yaldabaoth, Racial Identity, and Gnostic Horror
Disclaimer and Prologue
By optimisticDuelist

Hey peeps. So watching the responses to @sam-keeper ‘s thread on how we treat fan creators (which, hearteningly, most people seem to agree with), I noticed Hussie and Homestuck being set apart from the others due to Hussie’s reputation.

I’m not super interested in discussing that. But among the details people cited, between the confused, misinformed history revisions and the outright made up stuff, there were people making pretty understandable and correct critique points.

One that stood out was the focus on Trickster Mode, and how Hussie seemingly mocked his progressive audience with the “Caucasian” joke, way back in the day.

And while I don’t think Hussie’s handling of race was perfect, I do think that joke was legitimately well-earned in the narrative, and that it wasn’t really understood. In my view. This isn’t a defense of Homestuck on racial terms in it’s entirety–I think mistakes were made at some points, for sure. But it is an alternate reading of the Caucasian joke that I think is actually pretty good and funny.

In the context of Homestuck, Trickster mode as a joke sides quite definitely with progressives, in fascinating ways that tie into Homestuck’s own consistent Gnostic logic.

I wanted to advance that reading and present a case for it here. Hopefully it’ll move you and you’ll find yourself enjoying the comic even more. Even if it doesn’t and you find you disagree, well…to spur on any conversation about the comic on this front at all would be just, dare I say it?

Peachy.

Curious to hear from you all. Gonna post stuff on Jane pretty soon too, and I am still working on that next video. For now,

Keep Rising.

Okay so, as someone who was quite against reading Killing Stalking in the beginning, I just want to state my opinion /after/ having decided to read it. (I’ll put the rest under a read-more line, since I seem to have written a small novel. Go ahead an read below for a pointless analysis)

Keep reading

Fix This--A Josh Dun Imagine

Hello Frens I wrote a Josh Dun imagine. I love writing so I thought I would give this a shot. Let me know what you guys think. I’m open to requests as well just let me know. Okay here it goes I’m planning a part two, so just hang with me.

Warnings: Strong language, angst

~~~~~~~~~~~~~~~~~~~~~~~~

You were so excited. Your boyfriend of two years was finally coming home after nearly a year on the road, but the best part was you would have nearly four months to catch up on all you had missed. You were absolutely ecstatic.

Josh and you had met two years ago in a little corner bakery where you were working. He had walked in all good looking and confident and immediately captured your attention. You couldn’t help the butterflies you got when he would walk in everyday for the next two weeks. Finally he had asked you out and you couldn’t say no. After all, who wouldn’t go on a date with a handsome drummer. The date had gone wonderfully and the rest they say was history. 

But now Josh was coming home, and you had spent all day cleaning your small one bedroom apartment. You were just finishing wiping down the kitchen counter when you heard the door slam closed. Josh was home. You rush out of the kitchen and into the living room where Josh is sat on the couch taking his shoes off. “Jish!” you scream as you throw yourself onto his lap. You smother his face with kisses, but something wasn’t right. Josh was just staring at the wall behind you. “Jish is something wrong?” Your eyes fill with concern. Josh was never this distant.

“Yeah I’m okay just tired.” He pushes you off his lap. “I’ll be fine in the morning just let me rest.”

“Um…Alright have a good nights sleep.” You always knew Josh was grumpy when tired, but it had never been this bad, so you hoped a good nights sleep would make it better.

It didn’t. It had been three weeks since Josh had come home, and he had barely spoken with you, barely looked at you. To him it was like you weren’t even there. It was really hurting you, so you did the only thing you thought you could do– you called Jenna.

“Hello?” Jenna asked.

“Hi Jen it’s me” you sighed.

“Yeah Y/N I know. What’s up?

“Um… Can I come over? I need your advice.” 

“Sure. What’s this about you sound really upset?”

“I’ll explain when I get there” you say as you grab your keys. “I’ll be there in around 10.”

“Alright.” You hung up.

Ten minutes later you arrive at Tyler and Jenna’s. You don’t even have to knock as Jenna was waiting for you to arrive. She leads you inside and sits you on the couch. You look down at the floor and immediately burst into tears. “Oh Y/N what happened?” She pulls you into her body while you calm yourself down, and when you finally calm your breathing you pick your head off her shoulder and turn to face her.

“I don’t even know Jenna. Ever since Josh got back he hasn’t been the same. He had barely talked to me, barely hung out with me, barely even spoke to me. It’s like I’m not even there.” You took a shuddering breath to keep from balling your eyes out, but the tears silently falling down your cheeks gave away how much this was affecting you. “I don’t know what I did, Jenna. I’ve tried talking to him about it, but he just ignores me. I don’t know what to do.”

“Y/N I don’t know what’s going on with him, but I do know that he loves you so much. I have never seen him this happy, Tyler has never seen him as happy as he is with you. Approach him one more time. Work things out you deserve each other.” She gives your hand a reassuring squeeze. 

“Thanks Jenna.” You give her a hug and you drive home. 

When you get home, Josh is sitting beer in hand on the couch, some random channel on the TV. You sit down next to him and lay your hand on his shoulder. He shrugs it off, and you stare at the floor trying to keep the tears at bay. “Josh, do you have a minute?” He turns to you and gives you the dirtiest glare you had ever seen someone give. 

“God Y/N what the fuck do you want?” Josh never swore something was definitely wrong. 

“You’ve been so distant lately I just wanted to make sure you were okay.” 

“I’m fine Y/N” he turns to leave, but you grab his arm.

“You’re not fine Josh” you state matter-of-factly. “You’re almost never at home and when you are you just stare at the TV. You don’t talk to me or look at me. I’ve been your girlfriend for two years why won’t you tell me what the problem is?”

“You’re the problem, Y/N” You dropped his arm and he turned to you finally looking at you like you had hoped he would, but this was not how you thought this would go.

“What?” is all you can say.

“You are the problem and you always have been.” His gaze is relentless and you wish he would go back to the way it was five minutes ago, but he was a wave dragging you under and you don’t think you can survive. “All you do is think about yourself. Always demanding my time and energy. You won’t shut up. You’re annoying and clingy and not worth my time anymore. And when I am home I’m always forced to deal with your problems. I have problems of my own you know? And right now you are the biggest one.”

You stand there shocked. Josh had never said anything like this before “But I love you we can work this out.” Your voice is timid, barely above a whisper, but Josh hears it, you can tell by the heartless chuckle he gives you. 

“I don’t love you anymore Y/N. I thought I made that clear. You bore me, and when you don’t bore me you annoy me. Besides, I slept with Debby. She came to a show we met up, one thing led to another and you get the jist.”

You couldn’t believe what you were hearing. Josh had cheated? You stared at him, dumbfounded, mouth agape like a fish. Your heart felt like it was being ripped apart and set on fire. You were hurt and you don’t think this hurt would go away. “You cheated? I can’t believe you. You told me you would marry me one day. You told me you would love me forever and ever. You told me you would grow old with me. We’ve been together for two years. Does any of that mean anything to you?” You were sobbing now. All the anger and sadness from the past weeks finally catching up to you. 

“Everything is fucked up now–everything is fucked up because of you. I thought you were good for me, but you’ve ruined my life.You are nothing to me Y/N and you never were.” 

“Is this really how you’re going to treat me? Am I really just some worthless fling that lasted a little too long?” He nodded. “That hurts Josh. That really hurts.” 

You turned around hoping that he would just leave you alone, but the words he spoke next broke what was left of your heart. “Perhaps you should leave then?”

“Excuse me?” 

“I pay for this apartment and I want you to leave.” 

“Josh I have no where to go.” You were frantic now all of what he just said finally catching up to you. “Please let me stay tonight and I’ll find somewhere tomorrow.”

“No. I want your things packed and gone in the next ten minutes.” He turned and walked away, so you grabbed your duffel bag, gathered your things, and stopped at the front door. You looked around the apartment one last time before your eyes landed on Josh. He was watching and some part of you hoped that he would take it all back and everything would go back to normal, but it wouldn’t and you knew that. 

“I love you, Josh, so much.” 

“Just go.” With those final words you left your apartment, leaving your apartment keys just outside the door. It was raining, ironically, so you ran to your car and hopped in. There you sat for God knows how long and cried. You screamed and cried until your voiced just died. It was fitting though as it seemed like the rest of you had died when you walked out of that apartment. When the tears had stopped you drove to Tyler’s where, scratched on a napkin, you left them a note explaining everything that had happened as your phone had died earlier.  You placed the note in between the screen and the front door so it wouldn’t get wet. After leaving the Joseph’s you drove for days before parking in some run down motel in God knows what state. It was there that you began your new life. The one without Josh Dun.


~~~~~~~~~~

(Tyler’s POV)

Something was wrong. I knew it. Y/N had stopped by earlier crying about something, but I didn’t know what. I had tried to convince Jenna all day to tell me, but she refused saying that it would work itself out, but she seemed worried. An hour late I had noticed Y/N’s car drive up, but she didn’t knock. She just stuck something in the screen and drove away. I watched her drive away, and after he car turned the corner I went to the door to see what she had left.  

“Jenna!” I screamed scanning over the note. Oh God this wasn’t good. 

“What Ty what is it?” 

I begin to read the note: “Dear Tyler and Jenna, I wanted you to know that Josh and I are no longer dating. It appears that I could no longer provide what he had needed, so he kicked me out, but that’s not important. What’s important is that I’m very thankful for everything you guys have done for me. I honestly don’t know where I would be without you. I’m sorry that I did not say goodbye in person, but I thought it would be best for you as I seem to come of as annoying. I’m so proud of both of you and I want to wish you well. I can’t begin to describe the pain I feel. You are my best friends, and you always will be. I love you both and wish you happiness in the rest of your life. Sincerely, Y/N.”

“I can’t believe it what happened? Josh loved her.” Jenna looked at me. “I thought you said he was planning on proposing?” 

“He was” I replied “I don’t know what happened. 

“I’ll stay here, try to get in contact with her. You go figure out what was wrong with Josh.” I nodded and headed out the door. 

Josh’s apartment was unlocked which was unusual in itself, but the inside was worse. To say his apartment was a mess would be an understatement. I doubt Y/N had been gone more than an hour and already there was paper everywhere. Tables were flipped. Chairs and lamps looked like they had been thrown around. It was a disaster. I heard footsteps coming down there stairs. “Y/N! Y/N! You came back! I’m so sor-” Josh stopped when he saw it wasn’t Y/N. 

“Oh Josh what did you do?” That’s when he broke down at the bottom of the stairs, and when I had calmed him down enough he told me everything that had happened. To be honest, when he was done I kinda wanted to just punch him in the face. 

“Ty, I love her man. What am I gonna do?” I had never seen Josh so sad before.

I walked to the door. “I don’t know Josh. We don’t even know where she is.” He nodded. “Look man, I love you, but I don’t see how you’re gonna fix this.” 

“I really messed up.” 

“Yes you did, but make something big. We’ll find her and you can win her back.” He nodded, and with that I gave him a hug and went home. God I hope we find her fast.

anonymous asked:

Do you mind typing Zange Natsume (Inu x Boku SS)? If you don't know him, it's ok too. (Hint: He could be Break's twin brother, minus being such a sweet tooth strength of demonic powers and acts).

(At first glance, Zange seems like a stereotypical ENTP but upon rereading the manga and all information on him, I’ve come to the conclusion of a depressed ENFP. Note: ENTP/ENFP are REALLY similar if observed at a shallow level.
Zange is basically Jaeha and Willy Wonka who are also ENFPs.
The average ENTP is a tad more grounded than Zange unless they’re an ENFP type 6. Undertaker and Xerxes Break might be odd from society, but they’re much more serious than a typical ENFP if you pay close attention. )

Inu x Boku SS - Zange Natsume [ENFP]

The Inspirer: ENFPs are warm, enthusiastic people, typically very bright and full of potential. They live in the world of possibilities, and can become very passionate and excited about things. Their enthusiasm lends them the ability to inspire and motivate others, more so than we see in other types. They can talk their way in or out of anything. They love life, seeing it as a special gift, and strive to make the most out of it.

Originally posted by yakumocchi

Ne (Extraverted Intuition):
-Creative and flexible
-Mind is erratic and chaotic full of possibilities
-Broad, diverse and adaptive 

Zange is a flirt and does not care to stick with only one person. He makes suggestive and lewd remarks to everyone not caring about the consequences. He likes acting odd and out of the norm. TV Tropes call him the bunny ears’ lawyer and the manic pixie dream guy (the title of an ENFP.) 
Hell is happening around him and he often gets cynical (inf Si) because of his past, the truth about the future of the main characters that haunts him but he still chooses to enjoy life and remain optimistic.

His powers are just as strange as he is. His minds can think up of different sides to each character in the show and likes to pinpoint them out abruptly or during inappropriate times to the chagrin of said characters. 

In the end, Zange never gets set up with a love interest and by the time the manga ends, he said that he still has much of the world he wants to explore and cannot stay in one place.

Fi (Introverted Feeling):
-Individualistic 
-Have their own rules and identity on how they live their life
-Feel things deeply underneath the surface

Beneath the comic relief exterior, Zange is pretty emotional and does a good job of hiding it. He still mourns and cries over Kagerou’s death even though he knew it was fake.
He is more sensitive than he wants to admit.
He never reveals his deep feelings to anyone aside from a selected few he really trusts. It doesn’t make him comfortable. 
He is jaded and cynical about the world and would sometimes voice his discontent, but he still tries to be optimistic so that his authentic life won’t go to waste.

He likes being set apart from the cast with the way he dresses, his bunny ears and his flamboyant and otherworldly personality. 

Originally posted by yakumocchi

Te (Extraverted Thinking):
-Likes having control of external environment
-Efficient but can be vague due to tertiary function
-Executes plans thoroughly

Although he doesn’t see the need to use his tertiary Te much,
Zange can get pretty creatively scheming and exploit those around him as a means to an end, but they are mostly harmless and is usually in favor of the person being exploited. 

He enjoys being in ‘control’ of Ririchiyo and others through slight intimidation although it is not anything malicious. 

When he was injured and coughed out blood, he immediately covered it up calling it ‘tomato sauce’ not wanting to worry Watanuki and disrupt anything else. He gets embarrassed when his good intentions are discovered by others. 

He soon travels with Kagerou to make sense of the world and environment around him. 

Si (Introverted Sensing): 
-Collects data from past experiences
-Values nostalgia 
-Inferior function can hinder or tarnish use of Ne/Fi

Zange likes to keep the information he gathers a secret.
He is comfortable with using certain data he collects to use people to achieve what he wants. 

The past of his loved one’s death still repeatedly haunts him giving him episodes of brooding and moodswings. 
It also makes his Ne darker and his Fi erratic. 

To appease his comfort, joy of life and sense of freedom, he sets out to travel with Kagerou. 

~Miss ENFP

The Most Important Wuthering Heights Realization

Despite their respective novels being set over a century apart, Wuthering Heights’ Joseph is alive at the same time as Dracula’s Mr. Swales. Everything is good to go for an elderly Joseph to yell bleak, scriptural admonitions at a tiny baby Swales in someone’s angry, incomprehensible Yorkshireman crossover fic. 

On Russia, artistry and being “heirs” to the Soviet legacy

This is an essay I’ve been sitting on for at least a year, and while slivers of my opinion have leaked out into posts I’ve made in that period, I haven’t ever sat down and laid it all down in one coherent piece. So here goes.

I’ve seen a lot of Russian fans, officials, coaches and even athletes express the opinion that the D+E code format is inherently biased against what they call “classical gymnastics” - the artistic performance style of the Soviets, favoring instead the “American style” of power with little attention to detail. They insist that the modern Russian team has carried forth this legacy into the present day, and by extension the current code is also biased against their athletes. This opinion even made it into Dvora Meyer’s book, The End of the Perfect Ten, and while it was called into question, it didn’t get the resounding rebuttal it deserves. My intent with this essay is to provide that rebuttal, by examining how the Russian claims hold up against reality.

Let’s begin with the assumption that it was the Soviets’ artistry alone that set them apart from their contemporaries. While it is true that the Soviet gymnastics system was renowned for their choreography and musicality on floor, this was far from the only strength the Soviets had. There are four women’s gymnastics events, two of which provide essentially no opportunity to demonstrate artistry, and the Soviets regularly produced World and Olympic medalists on all of them, as well as in the all around. So if the Soviets were not being set apart solely by their artistry, what were the other contributing factors?

  • Difficulty. Soviet routines pushed the envelope with difficulty, especially in the post-Nadia era. Many Soviet routines from the 80s and early 90s contain skills and combinations that even today are the domain of only the world’s top elite gymnasts, and would score well in the modern Code with only some slight tinkering to meet the current requirements.
  • Execution. Romania may have received the first Olympic 10, but the Soviets did not lag far behind. Nelli Kim received two 10s of her own in Montreal, and from this point Soviet 10s were a common sight in international competition. Even when they weren’t earning perfect 10s, Soviet scores were often above a 9.9, setting them well ahead of the competition. At their last Olympics as a true Soviet team (in 1988), the team received the highest total score on every event.
  • Consistency. Difficulty and execution are fine and dandy, but won’t help you much if you can’t be relied upon to hit when it counts - particularly in the era prior to the New Life rule. The Soviets rarely had major errors in competition, and when they did, the rest of the team had the mental toughness to overcome it and pick up the slack, rather than going into a headcasing tailspin.
  • Innovation. Choreography was not the only area in which the Soviet team sought outside influence. They also worked with specialists in biomechanics to improve their performance and help develop new skills and techniques - such as the Tkatchev release and the Yurchenko vault. Even today, a huge portion of the named elements in the Code of Points honor a Soviet gymnast’s innovation.
  • Training. It is well known that the Soviets pioneered the concepts of the centralized training system and internal development program, allowing for a constant, steady pipeline of well-trained, world-class gymnasts. The work with biomechanics specialists also allowed them to implement a number of pioneering training and conditioning methods that are only now becoming commonplace in gymnastics worldwide. (I must address that it has since come to light that some of the methods employed were abusive; however, it has also been proven that success is possible without the abusive methods, so there is no reason not to employ training practices that are rigorous and groundbreaking yet humane.)

Now tell me, if a team competing in the modern day had all of these features AND a touch of artistry that made their performances special to watch, would there be any competition that was not theirs to lose? In fact, do these five features perhaps remind you of a team that is competing today…?

They certainly don’t remind me of modern-day Russia:

  • The current national team, as a team, brings the world’s best difficulty only on the uneven bars.
  • Their execution is often suspect or even just nasty, especially vault technique and tumbling form.
  • One need only look at the record of falls in competition across the recent major championships to get an idea of their consistency.
  • While they do continue to innovate, primarily on the uneven bars, it is not nearly as prolific as it was during the Soviet era.
  • Though the talent pipeline has not completely degraded as it has in Romania, it is still sorely depleted from that of 30 years prior, and the national team does a poor job of managing and developing the talent they do receive. As a result, the national team is stuck working with a very short depth chart, leaving them in a pinch when injuries occur.
  • It has also been widely reported that since Alexandrov’s departure, the conditioning program at Round Lake has completely fallen apart, and this is borne out by the lack of endurance and tendency towards injury the gymnasts often display.
  • It’s even arguable that they no longer preserve Soviet artistry - the quality of choreography has decreased sharply in recent years, possibly because the gymnasts are not conditioned well enough to get through a traditional Russian floor routine.

Occasionally, Russia manages to produce a gymnast that has most of the Soviet attributes, and they meet with success. Mustafina has everything except, in some cases, difficulty, and in others, execution, and she’s hardly come across a meet at which she couldn’t medal. Komova has everything except consistency, won bars gold twice at Worlds, and narrowly missed two major all-around titles due to issues with her consistency. The list goes on through many current and recent talents, but the deficient qualities make it difficult to pull them together as a team that can reliably produce twelve world class performances in finals.

So we have addressed the fact that the classical Soviet style did not begin and end with artistry, but instead encompassed a holistic mastery of all major qualities necessary for exquisite gymnastics. We have also disproven the idea that the modern Russian team is really anything like Soviets Mk. II, instead suffering from considerable deficiencies in most areas that the Soviets excelled in. Now, it’s time to look at the supposed bias of the Code towards the “American style” of gymnastics, and evaluate whether this really exists.

Frankly, I’m not sure it’s even possible to select a single set of attributes that can be deemed “THE” modern American style of gymnastics. There are gyms spread far and wide across the country, headed by coaches hailing not just from the US, but from China, from Romania, from former Soviet nations, and sometimes even beyond. The style of athlete being produced is as diverse as the style of coach producing them - which is how we wind up with a national team that includes both Ashton Locklear and MyKayla Skinner, and an Olympic team with both Simone Biles and Madison Kocian.

Assuming that the “American style” of gymnastics is what helps the US to be so dominant is really placing the focus on the wrong area. It is the lack of one single style that allows the US to quickly adapt to the way the Code changes. If harder vaults and tumbling will help the US get the advantage they need, they can select more gymnasts from the coaches who teach these skills well. If better uneven bars are needed to bring in a big score, then the national staff simply turns to the gymnasts from the bars coaches. The US is successful not because the code has been adapted to suit them, but because they have learned to adapt to suit the Code- and very quickly. While other countries get a bit of whiplash trying to keep up with new rules, the US just picks out the gymnasts who work best within them.

And, while I won’t try to argue that the US is the “true heir” of the Soviet legacy or anything ridiculous like that, they do share a lot of the same strengths:

  • The US’ program of routines is the most difficult in the world, and they keep upgrading.
  • Of teams currently competing at a World finals level, they also have among the best overall execution scores.
  • They almost never make major mistakes in TF, and have not had a fall in TF at a Worlds or Olympics since 2010 (incidentally, the last time they lost TF)
  • New skills and combinations are not prioritized at the same level as solid, reliable work in the US, but the program has nonetheless produced some recent innovations (Aly’s opening pass, the Biles, Skinner’s DDLO, being the first team in history to put up a full rotation of Amanars in QF and TF, Anna Li’s Rybalko, etc.).
  • The semi-centralized adaptation of the communist model works well with the US program, and in partnership with the athletes’ and coaches’ development programs, it allows for the strength of every gym in the country to be fully utilized. The result is a massive depth chart, where gymnasts who don’t even qualify to national championships in the US (cough Kylie Dickson cough) could easily become Olympians if allowed to compete for other countries.
  • The TOPs program and national team fitness testing allows the national staff to begin developing elite level conditioning in athletes who haven’t even turned ten yet, and maintain it throughout their career. Specialty programs such as Mihai Brestyan’s leg plyo circuit help fine-tune athletes for the demands of intense, difficult routines.

I would also argue that many of the US’ gymnasts are artistic, but it’s a recognizably different style from Soviet artistry and not a discussion I want to get into, so we’ll leave it be and call them artistry neutral.

If Russia were still producing a full national team of gymnasts who truly fit in all these categories AND showed the level of artistry characteristic of the Soviets… well, they might not be as dominant as the Soviets due to competition from the US, but they would have no problem regularly challenging them for the team gold.

I won’t argue that the prevalent style of elite gymnastics has changed in the last 20 to 25 years, but that’s not the fault of either the US program or the Code of Points - again, a late Soviet routine like Chusovitina’s or Lyssenko’s has tumbling that is comparable with current elite routines (Chuso’s is harder than the sets Russia brought to the 2016 Olympics, actually) and would require only some updated dance elements to be relevant in a modern context. On modern equipment, with modern conditioning methods, these athletes probably could have produced routines with difficulty comparable to the best Americans, and still supplemented it with artistry and execution typical of the Soviet style. So the disappearance of the Soviet style isn’t because it wouldn’t be rewarded under the D+E Code; it’s because, for a variety of reasons, Russia is no longer producing gymnasts that embody that style. Not to be overtly blunt, but Russian fans, coaches, officials, athletes and so on need to remember this before they whine about how ~~mistreated~~ Russia is by the FIG and try to use “bias in the Code” as an excuse for underperforming.

PS. Don’t respond to this with any variation of “conditioning these athletes to be able to perform high difficulty would keep them from being artistic/balletic bc their body type would change and they wouldn’t be flexible” because 1. BODY SHAMING IS GROSS and in this context often just thinly veiled racism; 2. balletic style comes from training, not body type, so as long as Russia continued to teach its gymnasts ballet, they would remain balletic; 3. muscle is not inherently bulky or inflexible, you just have to stretch it as you build it to maintain the range of motion; and 4. have you ever actually seen a professional ballerina in person, at a close enough range to really see their body type? because they are INCREDIBLY muscular, everywhere. honestly, their body types often look more like Hernandez or Douglas or Kocian than Melnikova or Spiridonova or Mustafina. It takes a lot of strength to make hard work look easy, no matter what that hard work is.

Day 212: Healing with Stumpwater

Stumpwater, that is water that has collected in the hollow bowl of a tree stump, is an interesting part of folk materia medica. Its use can be found throughout the Ozarks and the Appalachians, and I wouldn’t be surprised if other cultures were to use the mystical substance as well. Stumpwater is mostly connected to the healing of certain dermatological issues like warts, rashes, and sometimes even freckles. But the water has also been used in the making of herbal infusions. The idea being that the stumpwater has more power than regular water because it is elevated above the rest of the land.

Vance Randolph mentions stumpwater several times in his “Ozark Magic and Folklore,” here are a few quotes:

“The skin disease called tetter is treated with spunk water or stump water simply rain water which happens to be retained in a hollow stump.”

“When a hillman tries to remove warts by applying stump water he repeats this formula: Stump water, stump water, Kill these — warts! The dash represents the number of warts that the patient has, and it is essential to state this number correctly. If a man says six when he has only five warts, the warts will not be cured, and another one will appear in a few days.”

“Most of the old-timers believe that a woman should never be bathed ‘all over,’ or her bedding completely changed, for nine days after the child is born. Some say that the palms of a child’s hands should not be washed until the child is three days old to do so washes away the infant’s luck, particularly in financial matters. It is always best to bathe a new baby’s head with stump water; if ordinary water is used, the child is likely to be prematurely bald when it grows up.”

One can say that most of the lore behind stumpwater likely came into the Ozarks from the Appalachian people. A similar wart-cure can be found in the book “A Tennessee Folklore Sampler” by Ted Olson and Anthony P. Cavender:

“To remove a wart go to an old hollow stump that contains water and wash the hands or warts in the stump water. After doing this, walk home without looking back and the wart will go away.”

A few more Appalachian uses of stumpwater come from the wonderful book “Folk Medicine in Southern Appalachia” by Anthony Cavender:

“To treat and prevent pimples and blackheads, the face was washed with buttermilk, a solution of Epsom salts or soda, human urine, stumpwater (water collected in a tree cavity or stump, also called ‘spunkwater’), a decoction made from witch hazel or ratsbane leaves, or dew of the first day in May.”

“Stumpwater, buttermilk, dew of the first fay in May, and a cow manure facial also were used to remove freckles.”

“Southern Appalachian folk medicine is abundant with beliefs about contracting and removing warts. Some of the more frequently mentioned naturalistic remedies were rubbing warts with castor oil, a chicken gizzard, a slice of Irish potato, bean leaves, or stumpwater and inserting a hot needle into the warts.”

In my last post on the interactions between white and Native medicines I mentioned the use of stumpwater as a practice shared by both the white and Cherokee communities. Who gave the practice to whom is still debatable, but the fact remains that both communities considered stumpwater as an important part of the materia medica. Frans M. Olbrechts, in “The Swimmer Manuscript” mentions a Cherokee medicine man who only used water in healing:

“Spencer Bird, an old medicine man, now dead, used to rely on the sole purifying power of water. The informant who told me this vaguely hinted at the probability of the water being some ‘special water,’ such as that scooped out of a stump (‘stump water’) or even out of the stump of a lightning-struck tree.”

The use of stumpwater bears some semblance to other folk medicines such as the use of certain “flying” plants, meaning plants that are growing out of trees, or rock faces, that have never touched the ground. The power here is that the “flying” plant has some mystical connection to the sky, and is therefore given an added potency as a medicine or magical item. A common example of this idea is the mistletoe plant, which has been considered a mystical or magical plat partially because it hangs in the air without touching the ground. There’s a tradition throughout the Ozarks and Appalachians (and one can see the original belief throughout Europe) that the mistletoe will only be effective in protecting the home when it is cut and never allowed to touch the ground. We can see the same concept with the stumpwater, the idea here being that the water fell from the sky and hangs in the air, not touching the ground. The power of the stumpwater then isn’t in the chemical makeup of the water itself, but in the fact that it has been given a magical quality by being set apart from other puddles, creeks, and water sources.

anonymous asked:

Hi! I have a question about the Stark direwolves: the books mention how Ghost is different from the others because he's white with red eyes while the others are grey with golden eyes, it's used to symbolize that Ghost was meant for Jon, who is a Snow and not a Stark, but Ghost is not the only direwolf different from the rest, Shaggydog is black instead of grey, and has green eyes instead of yellow (kind of an opposite to Ghost). Do you think that means something?

Hi there! IIRC, none of the direwolves are completely identical in color, but I agree that Shaggy is at the opposite end of the continuum from Ghost. As to what this could mean…well, this is my favorite direwolf moment:

I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. Val would want to keep her sister’s son, but we could foster him at Winterfell, and Gilly’s boy as well. Sam would never need to tell his lie. We’d find a place for Gilly too, and Sam could come visit her once a year or so. Mance’s son and Craster’s would grow up brothers, as I once did with Robb.

He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. It was a hunger inside him, sharp as a dragonglass blade. A hunger… he could feel it. It was food he needed, prey, a red deer that stank of fear or a great elk proud and defiant. He needed to kill and fill his belly with fresh meat and hot dark blood. His mouth began to water with the thought.

It was a long moment before he understood what was happening. When he did, he bolted to his feet. “Ghost?” He turned toward the wood, and there he came, padding silently out of the green dusk, the breath coming warm and white from his open jaws. “Ghost!” he shouted, and the direwolf broke into a run. He was leaner than he had been, but bigger as well, and the only sound he made was the soft crunch of dead leaves beneath his paws. When he reached Jon he leapt, and they wrestled amidst brown grass and long shadows as the stars came out above them. “Gods, wolf, where have you been?” Jon said when Ghost stopped worrying at his forearm. “I thought you’d died on me, like Robb and Ygritte and all the rest. I’ve had no sense of you, not since I climbed the Wall, not even in dreams.” The direwolf had no answer, but he licked Jon’s face with a tongue like a wet rasp, and his eyes caught the last light and shone like two great red suns.

Red eyes, Jon realized, but not like Melisandre’s. He had a weirwood’s eyes. Red eyes, red mouth, white fur. Blood and bone, like a heart tree. He belongs to the old gods, this one. And he alone of all the direwolves was white. Six pups they’d found in the late summer snows, him and Robb; five that were grey and black and brown, for the five Starks, and one white, as white as Snow.

He had his answer then.

For me, this scene is as close we’re going to get to a definition of what the wolves mean and how they have influenced the Starks under their care. 

Stannis, appearing out of nowhere at the Wall like a divine emissary, has just offered Jon legitimacy and the lordship of Winterfell, twin desires that have haunted Jon his entire life. Yet he has always repressed this obsession, because of what would have to happen to his beloved trueborn siblings for his ascendance to be even remotely possible. Can you imagine what it felt like for Jon to hear of Robb’s horrific death, knowing as he had his entire life that such a nightmare scenario would be necessary for Jon’s dream to ever come true? Can you feel the guilt, the vengeful rage shot through with self-loathing? 

And then Jon’s new king (a man who is himself similar to Ned in many respects) offers to make it all right with the stroke of a pen. And then the hunger for Winterfell starts gnawing away at Jon, closer to the surface than it’s ever been before…

…and then Ghost hacks his hunger.

When Jon looks into his other half’s eyes, he is reminded that being always set apart from his family does not have to be a barrier to his love of and loyalty to them; it is, in fact, part of that love. Although Jon never quite allows himself to think about in these terms, his relationship with Robb is all the more precious to him because they weren’t full brothers. They called each other “Stark” and “Snow,” not with resentment, but affection; in doing so, Robb protected Jon the same way Willas Tyrell protected his little brother Garlan:

“I see why they name you Garlan the Gallant, ser,” she said, as she took his hand.

“My lady is gracious to say so. My brother Willas gave me that name, as it happens. To protect me.”

“To protect you?” She gave him a puzzled look.

Ser Garlan laughed. “I was a plump little boy, I fear, and we do have an uncle called Garth the Gross. So Willas struck first, though not before threatening me with Garlan the Greensick, Garlan the Galling, and Garlan the Gargoyle.”

Show!Robert put a name to it, that which he found in Ned and never Stannis: “You were the brother I chose.” (The same dynamic, of course, dominates Theon’s feelings about Robb; Theon thinks infrequently and unfondly of his blood brothers, dead in his father’s last “stupid rebellion.”)

What Ghost reminds Jon at their reunion is that he joined the Night’s Watch to prove that he would never steal Winterfell, much as he wanted it; he would never burn the godswood to please a southern king, even the best of the southern kings. (Of course, there is another emissary of the Old Gods who really, really doesn’t want to see that particular weirwood destroyed; Ghost’s providential arrival, for me, supports the theory that Bloodraven sent the direwolves’ mother south in the first place.)

How does all this relate to Rickon? His relationship to Shaggy is generally talked about in terms of the feral lifestyle and unpredictable violence the two seem to inspire in each other. But if the direwolves act as lodestars of their Starks’ true identity (see especially Nymeria running with Arya Stark in Cat of the Canals’ dreams), then Shaggy’s job is to tether Rickon to Winterfell. (Thus, their retreat into the crypts after they sensed Ned’s death, an early echo of their escape from Theon’s clutches.) I don’t think the youngest Stark has a metaphysical destiny like Jon or Bran; Rickon’s deepest need isn’t to be prepared or educated, it’s to hold on to his memories of family and home while he toughs it out on Unicorn Cannibal Island.

As such, I think that for all Shaggy’s aggressive impulses, he’ll like Davos on first sight (shades of Dany’s dragons and Brown Ben Plumm?) sensing the King’s Hand has come to restore Rickon to Winterfell. The wolf’s stamp of approval could prove a major influence on both Rickon and Osha when they decide whether to trust Davos. So maybe that’s why Shaggy and Ghost are on the opposite ends of the direwolf color spectrum: Ghost reminds Jon of why he left home, and Shaggy reminds Rickon that he will, one day, go back.

thoughts on appropriation v appreciation: homeland/diaspora

I saw that thing about the MFA’s “Kimono Wednesdays” with the protesters and the counter protesters and it got me thinking

We like to separate “cultural appropriation” from “cultural appreciation” by way of invitation; if you’re invited by members of a culture to take part, you’re good to go. But we forget that there’s different forms of gatekeepers within a culture, and there’s a lot of disagreements between members of the Homeland vs the Diaspora.

For this discussion:
“Homeland” = population of people whose cultural experience has mainly been within the confines of the country of cultural origin. (e.g. Japanese people who have lived most or all of their lives in Japan)
“Diaspora” = American minorities, whose cultural experience has mainly been with the confines of the USA (e.g. children of Japanese immigrants, Japanese Americans)

The Diaspora’s experience is inherently different than the Homeland’s, and that’s where the split happens. If you’ve lived in the Homeland your whole life it’s not likely that you’ve been “othered” in the same way that members of the Diaspora have. 

The Diaspora’s experience with their culture can often be much more painful–being set apart and ridiculed for how you look, how you dress, what you eat, being surrounded by people that are not like you. And those painful experiences are ESPECIALLY prevalent during childhood and formative years* because children are trash. So a large part of the Diaspora experience is having to suffer for your culture, and having to make a definitive choice MANY TIMES about how to represent yourself, whether to identify as assimilated or with the culture of the Homeland.

(*Note: It’s important to consider that these experiences happen during formative years, because it means the Diaspora’s experience with the symbols becomes a strong identifier. There’s a difference in a minority child being surrounded by racism for many years in their own home as they’re growing up and an adult immigrant or tourist being subject to racism after they’ve already formed their identity in an environment where they are part of the majority.)

If they do identify with the culture of the Homeland, I think it’s pretty common to associate symbols of that culture with the struggle of accepting it and themselves. So when they see someone who is NOT of that culture using those symbols it feels incrediblly unfair that a non-member gets to cherry pick the best parts of that culture without having to go through the whole experience of suffering and struggling for it, having an identity crisis over it. 

The Diaspora has had to earn their cultural identity, whereas the Homeland is born into it, surrounded by it, and has never seen it challenged in the same way that the Diaspora has.

Which is why you’ll often see gatekeepers from the Homeland giving a free pass to non-members using their culture. Because it IS awesome to see stuff from your culture become popular halfway across the world! Having your culture exhibited is an honor! It’s appreciation! You want people to learn more about you. And that’s a real, valid point of view.

So it’s like this:

Diaspora:  “Its unfair for you to take the best parts while the rest of us had no choice but to have the worst parts with it. You didn’t have to struggle for that, you didn’t earn it. You can’t have it just because you want it.”
versus
Homeland: “I’m glad that good parts of my experience are becoming more visible. You can use it if you want to, because I’m happy that you want to!”

[Personal Example: I am Korean American (half Korean on my mom’s side, half white on my dad’s). I grew up in Minnesota. I constantly was surrounded by white people, I was mocked for stuff I ate, my mom’s accent, etc. If I saw a white girl wearing a hanbok, yes I’m probably gonna have an attitude about it. BUT my mom, who moved to the US when she was in her mid 20s, would 100% love that shit, because her experience with her being Korean is largely one of love and appreciation, not mockery and struggle.]

Which brings us to the question of ownership. Who do these cultural symbols “belong” to? Who counts as the “real” gatekeepers? Whose permission do you need? 

Idk guys. Probably both. Maybe trying on the kimono in the MFA counts as appropriation and appreciation.

BUT. Members of the Homeland are often dismissive of the experiences of the Diaspora, and don’t consider them true members of the culture. And because the Diaspora experience is so different, it does become its own, different culture in a way. So you have two vastly different experiences that identify with the same symbols.

Most of the time people use the Homeland as The Master Authority on cultural appreciation vs appropriation. This is because
a) People often give the Origin of Something more weight than its follow-up versions
b) The Homeland is more likely to condone participation for reasons I just discussed

Stop that. Members of the Homeland don’t have the right to speak for the Diaspora and vice versa. Non-members don’t have the right to cherry-pick perspectives that suit their wants.

TLDR: Appreciation vs appropriation is different to members of cultural homeland vs cultural diaspora. Stop ignoring the diaspora.