cotton and wool

Another often underused aspect in post-apocalyptic fiction: clothes

In olden days, before industrial clothing manufacturing was a thing, people used to own a single set of clothes. Medieval wanted posters and missing posters often described people by what clothes they wore, because the idea of them switching clothes as unlikely. Giving somebody new clothes was a big thing, and giving them your clothes as collateral meant you put a lot of trust in them.

In a post-apocalyptic setting, where the industrial and agriculture industries that are responsible for our abundance of clothes (cotton, wool, mechanical weaving, etc) don’t exist anymore, things are ought to be similar. People would own a single set of clothes, maybe a few if they collected some old world dresses that haven’t burned up or got eaten by mutant moth.

Witch Tip #4

Need to bury something but don’t want to use a jar? Coffee filters, 100% cotton, silk, tissue paper, newspaper, wool, and cashmere are all biodegradable!☼

Depersonalisation and Derealisation Information

We get a lot of questions on DPDR, so I thought I’d pull a little information together on the topic. 

Hope this helps someone and everyone is OK.

Depersonalisation and derealisation are often difficult for people who experience these states to describe.

In general people experience a sense of detachment from reality and a detachment form their sense of self. In most cases these two symptoms co-occur.

Symptoms are often triggered by stressors in life, severe anxiety and commonly also drug use. Symptoms can be transient and last only a few weeks, if this is the case generally no treatment is required. If symptoms are persistent or have a large impact on functioning, then it is the best course of action to seek some professional guidance from a psychiatrist or psychologist who has experience with dissociative disorders.

Depersonalisation is not just detachment from the body “That isn’t my leg” but it can further into thoughts as well such as “That thought isn’t my own” or “My head is filled with cotton wool” etc. Also a person may detach form their basic needs such as hunger, thirst etc.

Derealisation means a person may feel like they are in a bubble, or a dream or like they are detached from what is going on around them in some way. Some people may experience viewing things in 2D or they may lose colour or seem flatter than they otherwise would be.


Dany found herself looking at the knight curiously. He was an older man, past forty and balding, but still strong and fit. Instead of silks and cottons, he wore wool and leather. His tunic was a dark green, embroidered with the likeness of a black bear standing on two legs.

– Daenerys I, A Game of Thrones


Extremely Rare Viking Gilt Knotwork Nobleman’s Diadem, 9th-12th Century AD

This band probably held a cloth head scarf or covering in place and, according to the material, would have denoted social and marriage status. Head coverings were typically worn by women, though headbands were also worn by men of high social status. The majority for women were perhaps as simple as a knotted kerchief over the head, which was suggested by finds at the Oseberg ship burial.

The Rígsþula (verse 2) says that even women of the lowest class wore a headdress. A number of different kinds of head-coverings for women are mentioned in the sagas, some of which are elaborate headdresses, which may have been worn like jewelry on special occasions. The Laxdæla saga (chapter 45) tells of a headdress given by Kjartan to his bride Hrefna as a wedding gift which had eight ounces of gold woven into the fabric. It has been suggested that the type of headdress worn served to distinguish married from unmarried women. Caps of cotton and wool have been found in archaeological contexts in Dublin, and a fine tasseled hood was found in the Orkney isles. Other materials were used, such as silk for the wealthy, of which examples have been found at York and Lincoln.

What Happens When You Die? A Look At Embalming

Though once only reserved for the very rich and powerful, embalming is a standard funeral service in modern times and modern embalming techniques can produce incredibly lifelike results. Embalming is performed in two stages - surgical and cosmetic - and while methods and materials can vary, the basic procedure remains the same; draining bodily fluids and replacing them with formaldehyde-based solutions.

1. Setting the face

Before the invasive procedure begins the deceased is washed down with disinfectant, and occasionally the limbs are massaged to reduce the effects of rigor mortis. The mouth is usually sewn or wired shut, and the mouth is stuffed with cotton wool to achieve the look of fuller cheeks. The eyes are stuck shut using special mortuary glue, or the mortician may stick a flesh-coloured cap behind the eyelid and glue it into place.

2. Surgical Embalming

The two main methods of surgical embalming are ‘arterial’ and ‘cavity’ embalming.

i) in arterial embalming, a special pump drains the blood from the body of the deceased while another pump circulates a chemical mixture through the emptied veins. The mixture usually contains a combination of formaldehyde, ethanol, water, and alcohol.

ii) in cavity embalming a small incision is made in the stomach of the deceased, and a thin instrument known as a trocar is inserted into the abdominal cavity. The trocar has a small claw attached to a suction pump, and the mortician uses the claw to puncture the organs and jellify them. The liquid is then suctioned out of the body and the cavity is filled with embalming chemicals.

3. Presentation

After the embalming procedure is completed the mortician may circulate a coloured dye through the bloodstream to fix discolouration and mottling. Since fluid has a tendency to leak all bodily orifices will be plugged discreetly with cotton wool. All visible injuries or blemishes will be patted over with coloured dye and covered up with cosmetics. A light-reflecting powder is applied on the face to give it lifelike fullness and a rosy blush gets rid of pallor or dark patches on the skin. After being washed again, the body will be dressed in his/her funeral suit and styled in accordance with the family’s wishes.

So I’m sick in bed and binging on old SW fic and I had an amusing thought:

Various plot shenanigans land TPM era Qui-Gon  somewhere in the middle of TCW. He goes into a bar to get information abiut where he’s ended up and discovers; 

1) the date is very much off where it should be and oh dear no wonder the force feels wonky

2) the sheer amount of Kenobi themed alcholic beverages. “Stupid Sexy Kenobi?” “Ginger Wolfman?” (There’s a picture) “The Negotiator?” Obi-Wan, what have you been doing?! Also “Hit me Harder General Kenobi”? Padawan you have some explaining to do​!!! 😤

Of course there’s a reunion and then Qui-Gon is constantly getting an eyebrow twitch from the general insanity everyone else has learned to ignore. At one point he’s almost happy to be kidnapped because; “My Padawan is an intergalactic sex symbol. Little Ani turned into a knight insane enough to actually eat his cooking, and while my great-grand padawan seems nice enough she’s definitely inherited their recklessness and propensity for explosions. The Order is leading an army of Not-Mandalorians in a full fledged galactic war and no one seems to be batting an eye. By all means, little sister, show me how my Master has managed to become everything he ever hated." 

Ventress shouldn’t be laughing so hard, but watching Qui-Gon give Dooku the stink-eye and then just sigh so deeply when Kenobi and Skywalker  mount a rescue and complain that he has no idea where they get all that drama from? Priceless!

Tagging my usual co-conspirators @albaparthenicevelut  @aifsaath @resistancepilots  @forcearama and everyone else I’ve forgotten because my head is full of cotton wool 😷

Behind the cotton wool is hidden a pattern; that we—I mean all human beings—are connected with this; that the whole world is a work of art; that we are parts of the work of art […] But there is no Shakespeare, there is no Beethoven; certainly and emphatically there is no God; we are the words; we are the music; we are the thing itself.
—  Virginia Woolf, Moments of Being

yesimweirdgetusedtoit  asked:

"let me tell you what I know about the feminist history of petticoats and crinolines some time" - Please do! All I've ever seen in media is the "girl-ditches-hindering-petticoats-for-pants" or other variations

Ok! I only just learned about this through my historical dress class, which is why you haven’t heard me shouting about it before, but apparently—ok. Wait. Back up. You know the 1830s/1840s/1850s, right? That was The Time When People Dressed in a Very Silly Manner.

I mean, it’s kinda pretty? if you ignore the weird proportions and hats and bows? but it’s also just so FLOOFY. And that floofy look was achieved by layering many, many petticoats on top of each other, which made getting through doors hard and made life very heavy and hard-to-move-in, carting around so many pounds of so many different skirts every day.

^1830s ladies, all day every day.

But then, thanks to the whaling industry, some clever soul realized that you could achieve the same floofy shape, without the floofs, by approximating it in steel or whalebone or canvas. resulting in this sexy, minimalistic, easy shape:

As you can see, the wire bits hang naturally from the waist, and allow for a lot of legroom beneath the dress. And because the wires are in nice clean circles that can crunch up into each other like an accordion, it’s easy to sit down, kneel, readust, or rebend your skirts to fit the occasion. And because you can control the shape of the structure, you can control the shape of the skirt placed on top of it, allowing for the design of more streamlined skirt shapes that, while still very full and floofy, can push the floofs to the back and allow one to get through doorways.

This was a revelation to the ladies of the 1850s. Look at that top image again, and imagine, like, 5-10 huge cotton or linen or wool petticoats straining to hold it up, all the weight of which is hanging from your waist and catching up against your legs all the time. Ever held a pile of cotton? It’s heavy. Wool is worse. But then you get this circular frame on instead, and you’re only holding up ONE or TWO sheets of fabric—like, your actual skirt and then just one extra petticoat for decency—and the frame lets you SPIN and SIT and SQUEEZE AROUND THINGS and oh my god!! you can move!!!!!! The ladies could get out and do things. And you know what happens when women are able to get out of their houses—they go demanding the right to own property, and the right to vote, and the right to do cool things while wearing their crinolines.

So, the crinoline (and then, later, the hoop skirt): while today maybe we don’t want them, yesterday they were the latest thing to help women get up and out from under the patriarchy, by giving them an option that preserved their femininity but let them move in freer ways. Crinolines were a stepping stone. And when it comes down to it, that’s what feminism is, in all its imperfect striding towards perfection—one stepping stone after another, with the triumph of one year seeming like the peak of sexism the next. We shouldn’t always beat up the past for trying its best—cuz how will our descendants view our push-up bras and 6-inch heels, when all is said and done?

smh we’re back to the good old days of s3 again, aren’t we?

people have started to already dehumanize even and make him a villain and become islamophobic and racist because clearly he has a past that involves muslim poc boys from the balloon squad, coupled with the fact that their biphobia is so transparent because even is bi/pan, that their insecure lil ass feels the need to label him as a serial cheater because they think even will cheat on isak causing evak to breakup, and the fetishizers can’t have that happen now, can they? otherwise what else will they wank and jerk off to and fantasize about?

i wanna know why some people feel the need to think in such a narrow minded way that “isak must be protected at all costs from all harm” and wrap him in cotton wool, but “it doesn’t matter if any other character gets hurts idgaf about them”. my buddy, then why are you even watching skam in the first place?

newsflash: skam isn’t all about isak. skam is an ensemble cast show. y'all treat even with such disrespect and disregard him, and have become downright ableist in doing so too, by not giving a single fuck that he has bipolar disorder.

it pisses me off when i read stupid shit like “as long as my isak doesn’t get hurt by even or the balloon squad!”, “as long as even doesn’t get hurt by sana and the balloon squad (notice how they LEAVE OUT isak here … so isak can get hurt by even, but even can’t get hurt by isak? mhmm sure jan!)”, “i will riot if evak break up they need to be together 5eva!!!”.

because? i hate to break it to you son, but, they are gonna get hurt. a lot of people in this are gonna get hurt. it’s disgusting how dimissive people are to anyone else getting hurt though, as long as their white gay ship is all smiles and happy go lucky. y'all can’t stand the other characters, especially when those characters are poc muslims connected to even with a backstory to tell about him and his past (which, around dec 2016/jan 2017 all y'all were THIRSTING over), and how those poc muslim boys, especially mikael and yousef, were hurt and upset just like how even was, by whatever went down.

as long as y'alls agenda of seeing evak pda-ing, seeing them be horny teens, seeing them make out against windowsills, seeing them kissing here and kissing there, is met, y'all are fine. lol, as soon as that agenda isn’t met, and we finally get to see them as individual characters, which they are first and foremost, with a rich history and connections with other people, hmmm, suddenly y'all are feeling “a little bit 👀 uncomfortable 👀”?

lol. this season has bought out all the ugliness these people harbour. you know what y'all are? let me tell you what y'all are:


and all y'all can literally gtfo of this fandom tbh. we don’t need y'alls “thirst” and ugliness lurking, anyway.

Serial killer Albert Fish was a confessed sexual predator and cannibal, but the activity he enjoyed indulging in the most was sexual masochism: Fish would hurt himself in a variety of ways to become aroused, and often could only reach orgasm while suffering extreme pain.

Fish explained to police after he was arrested for the murder of Grace Budd that he became fixated on pain as a young boy; he grew up in a harsh orphanage where the caregivers would hit naughty children with paddles while the others sat in a circle and watched. Fish would become aroused at the sight and sound of the beatings, and noted how the nurses seemed to enjoy administering this pubishment.

As an adult Fish fathered six children (whom he never abused), but continued to hurt himself in his restless search for pleasure. He would stick the stem of a rose up the shaft of his penis and masturbate to the image in the mirror. He would beat himself with paddles stuck with nails. He shoved cotton wool into his urethra and set it alight with lighter fluid.

Most disturbingly, Fish would take long carpet needles, shove them into the flesh behind his scrotum, and acheive orgasm whenever he felt the needles move inside his pelvis. Perhaps unsurprisingly, sticking needles into his genitals caused him a number of health problems, and an x-ray of Fish’s pelvis while he was on Death Row revealed over thirty needles nestled in his scrotum. The presence of so much metal in his body apparentely caused the electric chair to short-circuit when Fish was being put to death.

i love starkquill when they’re all giggly and silly and having fun

but i also think that peter would actually be super soft and protective of his tiny tony?

i think he’d sometimes just be overcome by how much of a little cuddly bean tony really is. he’d watch tony being all stumbly and disoriented in the mornings, trying to find some coffee in the ship, all curly and pink-cheeked and messy and tangled eyelashes, and peter would just get this impossibly warm fond feeling inside.

he would go and pick tony up and put him somewhere comfortable, and bring him coffee and breakfast and just generally wrap him up in cotton wool and look after him.

and tony would snuggle into him and nuzzle sleepily and adoringly at peter’s neck while peter laughs and pets his hair and rubs his back and massages his feet and p a m p e r s him like you wouldn’t believe.

and when they slept together it would be so gentle. tony’s expecting it to be all laughter and having fun together, and it IS, but it’s also sometimes slow and tender, peter touching his body with gentle hands, softly stroking and kissing and telling tony he’s beautiful, he’s darling and perfect and sweet and he loves him.

and tony would cry, just a little bit, softly, and hide his face against peter’s shoulder while peter soothed him with petting and little loving nonsense whispers.

and afterwards they would curl up to together and watch the stars through the glass ceiling, and tony would manage to whisper ‘i - i love you too.’

13 Reasons Why Masterlist

General Masterlist

Actor Imagine
Headcanon ✖︎
Song Imagine

Jeff Atkins

             ✖︎ Being Jeff’s Girlfriend ✖︎ 

             ★ A Grinding Halt ★
             ★ Beaming with Pride ★
             ★ Eating for Two ★ 
             ★ Hot Off the Press ★ 
             ★ Making it Up to Him ★ 
             ★ Spoiled Rotten ★ 
             ★ Winding Down ★ 
I do not write for Brandon Larracuente anymore 

Hannah Baker

            ★ Caught Off Guard ★
            ★ Mum’s the Word ★

Marcus Cooley

Montgomery de la Cruz

Zach Dempsey

              ★ An Early Bird ★ 
              ★ Freezing You Out ★
              ★ Grinning Ear to Ear ★
              ★ On the Rocks ★
              ★ Wrapped in Cotton Wool ★

              ▲ Ex ▲
              ▲ Perfect ▲ 

Tyler Down

              ★ Barrel of Fun ★ 
              ★ Fixing You Up ★
              ★ Letting Your Hair Down ★ 
              ★ Right Around the Corner ★ 
              ★ Settling Down ★
              ★ Thick as Thieves ★ 
              ★ Getting on the Same Wavelength ★

Justin Foley

Clay Jensen

Above all, we must remember the black worker was the ultimate exploited; that he formed that mass of labor which had neither wish nor power to escape from the labor status, in order to directly exploit other laborers, or indirectly, by alliance with capital, to share in their exploitation. To be sure, the black mass, developed again and again, here and there, capitalistic groups in New Orleans, in Charleston and in Philadelphia; groups willing to join white capital in exploiting labor; but they were driven back into the mass by racial prejudice before they had reached a permanent foothold; and thus became all the more bitter against all organization which by means of race prejudice, or the monopoly of wealth, sought to exclude men from making a living.

It was thus the black worker, as founding stone of a new economic system in the nineteenth century and for the modern world, who brought civil war in America. He was its underlying cause, in spite of every effort to base the strife upon union and national power.

That dark and vast sea of human labor in China and India, the South Seas and all Africa; in the West Indies and Central America and in the United States — that great majority of mankind, on whose bent and broken backs rest today the founding stones of modern industry — shares a common destiny; it is despised and rejected by race and color; paid a wage below the level of decent living; driven, beaten, prisoned and enslaved in all but name; spawning the world’s raw material and luxury — cotton, wool, coffee, tea, cocoa, palm oil, fibers, spices, rubber, silks, lumber, copper, gold, diamonds, leather — how shall we end the list and where? All these are gathered up at prices lowest of the low, manufactured, transformed and transported at fabulous gain; and the resultant wealth is distributed and displayed and made the basis of world power and universal dominion and armed arrogance in London and Paris, Berlin and Rome, New York and Rio de Janeiro.

Here is the real modern labor problem. Here is the kernel of the problem of Religion and Democracy, of Humanity. Words and futile gestures avail nothing. Out of the exploitation of the dark proletariat comes the Surplus Value filched from human beasts which, in cultured lands, the Machine and harnessed Power veil and conceal. The emancipation of man is the emancipation of labor and the emancipation of labor is the freeing of that basic majority of workers who are yellow, brown and black.

—  W. E. Burghardt Du Bois, Black Reconstruction in America, 1935, p.15-16