context aware
No, Lou Reed's 'Walk on the Wild Side' is not transphobic – brush up on your history
“Holly came from Miama FL.A. Hitch-hiked her way across the U.S.A Plucked her eyebrows on the way Shaved her legs and then he was a she She said, hey babe, take a walk on the wild side. Said, hey honey, take a walk on the wild side Holly Woodlawn, the trans actress behind those lyrics, was thrilled with “Take a Walk on the Wild Side”. “Lou Reed made me immortal,” she said delightedly.

“We are living in an era of “pick and choose” outrage, where people pick topics to get riled up about when it suits them, at random and always without going to the effort of checking context.

We’ve reached a point where people are trying to censor art without knowing why they are offended by it.“

I think people think they’re supposed to be offended by somethings, and they respond accordingly, with no context or awareness of what they’re reacting to.

  • what she says: "g*psy"* by fleetwood mac is a really good song
  • what she means: "g*psy" by fleetwood mac is perhaps one of the most beautiful songs ever written. we, as a planet, do not deserve it. before stevie nicks even sings a note, it is already the most goddamn gorgeous song. the first fifteen seconds alone. everyone will always cite works like "silver springs" and "the chain" for insight to stevie's relationship with lindsey and while those are valid, her clear nostalgia and near-longing for a simpler but meaningful time with him makes the love they genuinely had very evident. they shared a single mattress in a shitty apartment, in a room she would decorate with small trinkets to cheer it up, and this is the place the now-famous musician thinks of. that place, and that time. what must she feel every time she sings it? what must lindsey feel? the "lightning strikes, maybe once, maybe twice" line to describe love alone, jfc. this isn't even touching on the loss of her friend robin anderson, the other inspiration behind the song, who passed away and was "dancing away from you now" as stevie was writing it. it's heartbreaking, it's evocative, and furthermore--

A key piece from 3x17 that I think we have all overlooked. Somewhat brought up in blog post. I’m VERY EXCITED about this development:

Nursey is a good copy editor!

Being a good writer or interested in literature does not automatically make you a good copy editor. Even having an eye for typos does not automatically make you a good copy editor. Being a good copy editor involves adherence to strict and sometimes arbitrary rules, a grasp of the fine line between accuracy and pedantry, and a devotion to efficiencies and standards of communication. And it reveals SO MUCH about Nursey’s character.

I’ve often wondered what Nursey really cares about, what gets his goat and what gets him excited. This is the first insight I’ve really had into that. Nursey cares not just about the art of language but also its mechanics. He cares about precision and accuracy. He’s the sort of guy who notices if you hyphenated “free-standing” on page 2 but left it “freestanding”on page 7. Nursey’s an observant guy. He notices things, and he remembers.

The blog post gave us even more. Nursey will help you make decisions abut which stylebook to use in which context. He’s aware of the different registers and modes of written language. He has feelings about tone. Politeness. Social mores. Nursey is a guy who’s deliberate, and thoughtful, and can choose in which way he wants to present himself.

If he writes poetry, he recognizes when and how to use the conventions of it – if he’s writing free verse, he knows exactly what he’s freeing it from. Nursey’s the kind of guy who uses an anapest on purpose, and knows its name. He doesn’t let the words flow - he crafts them, carefully, with an eye toward matching form and function. If he has tendencies toward excess, he tries to tame them, as best he can. He’s aware that he, as a writer, needs an editor.

He cares about things being effective. Efficiency is a value to him. Saying or doing things with the minimum amount of fuss, being able to deliver on a promise made (in a thesis or with a handshake) - these are things that matter. Having the practical tools to get the job done matters to him.

Now think about Dex. And what kind of a person Dex is by nature.

How can Nursey not be attracted to that?

Harry Potter things I found out were real after I moved to the UK:
- boarding schools*
- students walking from class to class
- school houses
- prefects

nervouscrumb  asked:

What does it mean to be fluent in a language to you / what is your definition of fluency? The word is thrown around a lot so I was wondering!

I believe it’s impossible for a human being to always use correct grammar, spelling, pronunciation, etc. when speaking or writing. I myself stutter, stumble over words, forget the names for things, mispronounce and misspell things, misuse grammatical constructions and say “uh…” in the middle of sentences all the time in my own native language. I cannot tell you the number of times I had to look up the definitions of words and check my spelling, grammar and punctuation while writing this response. With this in mind, I think it is quite unfair that the general consensus, at least in the English speaking world, especially among those who don’t have much experience with foreign languages, and who don’t consider them to be a vehicle for communication, rather than just a subject at school, is that being “fluent” involves knowing every word in the dictionary and being able to speak with a perfect accent and using eloquent grammar without ever making a “mistake”, stammering, or misunderstanding. The incredible uncertainty surrounding this commonly accepted definition of the word “fluent” is the reason I avoid using it. “Fluency” is not the same as “accuracy” and it is also not necessarily a reflection of an individual’s actual level in any given language. Successful “fluent” communication includes not only understanding the meanings of individual words, but also cultural awareness, context, humour, and nuance. Someone can be “fluent” at a B1 level if they are able to well make use of the skills they do possess to draw attention away from the gaps in their knowledge and keep a conversation running smoothly. Likewise it is possible for someone to have an incredibly expansive vocabulary and understanding of grammar, yet struggle to put their theoretical proficiency to use due to lack of confidence and or experience with the language in real world contexts.

My personal goal when it comes to language learning is to be able to mimic the speech of an educated native speaker to the absolute best of my ability and to push myself outside my mental and social comfort zone in order to enrich my human experience by interacting with people from different cultural and linguistic backgrounds. I need to be aware of my surroundings in order to figure out how can best match my behaviour and language usage to that of the subject matter in order to feel comfortable in any given situation, just as I would in my native language. I see the challenge not as “How many words can I rote memorise?” or “How well can I do on a standardised exam?”, but “How well can I convince these people that I am extremely interested in understanding them and their culture on an extremely intimate emotional level, so much so that they have great difficulty distinguishing me from any other native?” Fluency for me doesn’t have so much to do with the size of my vocabulary or my ability to use correct grammar all the time, but rather being able to speak in a way that feels comfortable and comes naturally to me, and successfully conveying and processing information with as little ambiguity or misunderstanding on the part of either party as possible. It is a combination of confidence, and learning to work around situations where I have trouble expressing myself due to holes in my vocabulary by utilising the skills that I do have to communicate the concepts for which I don’t yet know the words in the language. It’s basically about convincing everyone that I have my shit together and that I know what I’m doing, even if I don’t.

JK Rowling really needs to stop appropriating from Native American culture when she’s not giving them meaningful roles within the backstory of American wizarding history.

All of the Houses of Ilvermorny are associated with Native American mythology or folklore. And yet Ilvermorny was founded by two (presumably white) European settlers? Okay. Seems legit 😒

This is really troubling, especially when you consider how Natives are used as mascots for schools and sports teams to this very day in America. It’s dehumanizing. Their culture can be appropriated and misrepresented and used as symbols by white people like JK Rowling but they themselves can’t be represented positively in media at all??

Why aren’t there any Native American wizards involved in JK Rowling’s backstory on American wizarding history? Yes, she includes a section on Native American wizards (that misrepresents and reinforces negative stereotypes of Native Americans I might add), but why aren’t there any named Native American wizards? She can create Isolt Sayre and James Steward and Chadwick and Webster Boot, but there are no Native American figures who play a prominent role in American wizarding history?

Frankly, it’s disappointing and disgusting.


The reason why I love Achilles is that he has so much balance to him. This is a man who is poised on the knife’s edge, volatile and proud, but also dedicated and honorable, loving and kind, and so desperate that it tastes like bloody iron in your mouth. He came from a mother who only cared about his accomplishments, a distant father constantly wary of his son. A young boy of 16 thrown into a war he didn’t understand or care about. A boy who grew into a man surrounded by blood, who lost his innocence the first night on Trojan ground, who was in charge of 2500 men and bucked under the tight grip of his obstinate commander, who stood up for what he believed was right, who championed single combat and valued xénia above almost all else.

A boy who staked his entire life, all the years he had to live, all the children and family and long decades with Patroclus, on this one war, this one soap-bubble fragile chance to shine like a god. This boy who, to the end, was unsure about his choice, who was ready to return home with Patroclus and his men, to live in obscurity and fade away rather than live another day of blood. This boy who had decades to come to terms with the fact that he would die, that Patroclus would live on without him, that he would never see the other side of thirty, only to have it ripped away from him as Agamemnon stole the physical embodiment of his achievement, of his honor, of all the work he had put in, everything he had given up. To have it ripped away from him again as Patroclus died first, blindsiding him completely.
This man who grieved and loved so strongly that his rage decimated the Trojan ranks, that he choked rivers with blood because the world had to hurt as much as he did, who fought gods and won, who had to be killed by the Gods because his hurt was so strong it could rip apart Fate itself. This man who wasn’t afraid of kings or gods, who spoke out the will of the people, who cared for his prizes and matched wits with Odysseus. This shining golden mortal who teetered over the edge of more than one precipice and forcibly pulled himself back from it. This man who took his revenge on his enemy and it wasn’t enough, was never enough, because Hector could only die once and that was nothing compared to the hollowed out ripping Achilles felt inside him at Patroclus’ death, at the fear Patroclus must have felt, trapped in Achilles’ armor, at the pain and the blood and the terror, and he dragged Hector around and around and around and it still wasn’t enough. This hollowed out man filled with pain who still listened to a father when Agamemnon would not. This man who went out and fought Amazons after, but hoped to die. Who fought warlords after, but hoped to die. This mechanical broken god’s puppet who had to be killed by Apollo because, even shattered, he was invincible. This man whose last wish was that his bones be mixed with those of the man he avenged, the man he loved more than life itself, more than his godhood or his immortality, Patroclus, who removed all rational thought from his head.
This man who made a bargain with Fate and shocked the very skies themselves with how he upheld it. This man who traded his years for immortality and who has still lived through stories to this day.

autistic-harry-hotspur  asked:

Broadcast AU: Hal dedicated "Atoms for Peace" by Thom Yorke to Catherine. He didn't say WHO it was for, he just said "and for a certain literal princess..."

Yes! And he totally tries to find Francophone artists for her like BB Brunes who have that chill, cute vibe?

…. and then Catherine shows him her iPod one day and it’s literally nothing but Stromae on endless loops. 


“I promise you, nothing will come between us.”


I don’t really know how relationships work. Jace is the only boyfriend I’ve ever had, and I’m told our relationship has not gone along traditional lines. But I guess that’s what a relationship seems like to me: that no matter what else is going on, you’re happiest when you’re together.

                 The Voicemail of Magnus Bane - The Bane Chronicles

food allergies are a social justice issue.

food allergies are a social justice issue because access to care, knowledge, and safe food is related to class.

food allergies are a social justice issue because when women assert our dietary needs, we are dismissed as diet-obsessed.

food allergies are a social justice issue because girls trained to be timid may not speak up about their needs in life-endangering contexts.

food allergies are a social justice issue because many cultures and religions have food-centered rituals, and to place food at the center of community is to exclude those with food restrictions from the community.

food allergies are a social justice issue because a lack of sexual consent and discussion can lead to life-threatening reactions. a kiss from a person who has eaten an allergen can put an allergic individual in the hospital.

food allergies are a social justice issue because the word “allergic” is casually used in social justice contexts with no awareness of the way that trivializes allergies’ seriousness.

food allergies are a social justice issue.


Mcgenji comic why not!

So a little context because I’m aware it’s very subtle: Mccree is still in the process to accept he lost his good arm, it takes place while he was recovered enought to leave the infirmary but his protestic arm wasn’t ready. The issue is, once that he left, he knew all curious eyes would be turning at him and his injury, that for sure wouldn´t help his mental recovery. Genji helped him by simply walking around for the first time without his visor. Nobody mentioned or made questions about Mccree, they were busy looking the real disfigured face of the assassin cyborg. In short, Genji made this small sacrifice to help Mccree to have his first day outside the infirmary a bit less uncomfortable.

This was suppose to be only one illustration but I got excited! It was made for the winner of the kind-of-challenge i’ve made two days ago, @lesbiananders! Actually they asked for “Mccree apprecianting Genji without his visor” I’ve took the freedom to change a bit, to give some balance in the paring dynamic once that it mostly represents Mccree supporting Genji, it’s good to show the other way around sometimes.


                                                             I  k n o w  who I am. 

While trauma keeps us dumbfounded, the path out of it is paved with words, carefully assembled, piece by piece, until the whole story can be revealed.

Activists in the early campaign for AIDS awareness created a powerful slogan: “Silence=Death.” Silence about trauma also leads to death–the death of the soul. Silence reinforces the godforsaken isolation of trauma. Being able to say aloud to another human being, “I was raped” or “I was battered by my husband” or “My parents called it discipline, but it was abuse” or “I’m not making it since I got back from Iraq,” is a sign that healing can begin.

We may think we can control our grief, our terror, or our shame by remaining silent, but naming offers the possibility of a different kind of control.


If you’ve been hurt, you need to acknowledge and name what happened to you. I know that from personal experience as long as I had no place where I could let myself know what it was like when my father locked me in the cellar of our house for various three-year-old offenses, I was chronically preoccupied with being exiled and abandoned. Only when I could talk about how that little boy felt, only when I could forgive him for having been as scared and submissive as he was, did I start to enjoy the pleasure of my own company. Feeling listened to and understood changes something in our physiology; being able to articulate a complex feeling, and having our feelings recognised lights up our limbic brain and creates an “aha moment.” In contrast, being met by silence and incomprehension kills the spirit. Or, as John Bowlby so memorably put it:“What can not be spoken to the [m]other cannot be told to the self.”

If you hide from yourself the fact that an uncle molested you when you were young, you are vulnerable to react to triggers like an animal in a thunderstorm: with a full-body response to the hormones that signal “danger” without language and context, your awareness may be limited to: “I’m scared.” Yet, determined to stay in control, you are likely to avoid anybody or anything that reminds you even vaguely of your trauma. You may also alternate between being inhibited and being uptight or reactive and explosive–all without knowing why.

As long as you keep secrets and suppress information, you are fundamentally at war with yourself. Hiding your core feelings takes an enormous amount of energy, it saps your motivation to pursue worthwhile goals, and it leaves you feeling bored and shut down. Meanwhile, stress hormones keep flooding your body, leading to headaches, muscle aches, problems with your bowels or sexual functions–and irrational behaviors that may embarrass you and hurt the people around you. Only after you identify the source of these responses can you start using your feelings as signals of problems that require your urgent attention.

Ignoring inner reality also eats away at your sense of self, identity, and purpose. Clinical psychologist Edna Foa and her colleagues developed the postraumatic cognitions inventory to assess how patients think about themselves. Symptoms of ptsd often include statements like “I feel dead inside,”“I will never be able to feel normal emotions again,” “I have permanently changed for the worse,” “I feel like an object, not like a person,”“I have no future,” and “I feel like I don’t know myself anymore.”

The critical issue is allowing yourself to know what you know. That takes an enormous amount of courage.


Recovery required learning to tell the truth, even if that truth was brutally painful.

—  Bessel van der Kolk, The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma

stickeen  asked:

what do u mean by "context of desire" ?

being aware of the context behind your desire/behind why you want something. what has informed your want? is your desire understandable or irrational? is there a way 2 change your desire or circumvent it and still achieve happiness? this applies to literally anything you want, whether it’s a person or an item or a lifestyle.