generational shift

anonymous asked:

Do you guys ever feel the "am I getting too old for cosplay" kind of thing? Being in the mid 20's range, more and more I see people my age dropping the hobby and just going to cons in casual clothes and sometimes I feel too old for everything that happens at cons. I'm not a frequent cosplayer either and only attend 2-3 cons at most a year (AN and whatever I can plan for, Canadian here) but any tips or advice for that stage in the hobby?

The average age of the Dangerous Ladies is 29.5 so… we feel you.

Here’s the thing:

By your mid-twenties, odds are you are settling into a career or have a better idea of what you’re doing with your life. You don’t have the free time of being in school (in the sense that a lot of people in school are spending as much time doing fandom stuff as they are studying) and while you may have a lot more disposable incoming virtue working full-time, you probably also have a lot more responsibilities and bills to pay. Your career may not allow an obvious public profile, especially not with some of the more salacious costume designs.

And you’re getting older physically, too. Suddenly characters that seemed worldly and mature to you as a teenager are now years younger than you. Every other anime has a cast of fourteen year olds, and the older characters are almost all grizzled old men. (Thank fuck for Overwatch, LawBreakers and other games with older ensemble casts!) Like many others, your body is probably changing; personally, I’ve never been happier with my body, but I also find myself pickier in what I adorn it with. 

And oh my god, keeping up with the teenagers and early-twenties at this age? I can’t change costume three times in one day, or have multiple new costumes for every convention, or impulse buy pre-made costumes. (When on earth would I even wear them, I wonder?) I just got off a multi-week crunch that culminated in a 82 hour work week, I don’t have the energy for a quick change.

And OH, god, the EXPERIENCE. If you’re thinking you’re getting old, you’ve probably been around for enough years to have developed some skills. You know what you’re capable of and how far you’ve come and want to go farther –– whipping out a shoddy costume sometimes isn’t enough anymore, you want to make something to the best of your ability. You know your stuff so your standards are higher, which slows you down even MORE.

Lots of people seem to see this change in lifestyle as an incompatibility with cosplay and drop out. Others struggle with having to cosplay differently –– maybe they don’t WANT to slow down even if the rest of their life (and potentially their body) is telling them it’s time. This is an age when you generally have to shift priorities around to make it work, and if you don’t want to change, dropping out seems better at times.

I feel we already let go of the madhouse, rapid-fire costume sprees years ago, but that doesn’t mean there hasn’t been growing pains. It’s been harder to get projects done as our responsibilities stack up in our personal lives. We’ve all felt read thin in some ways over the past few years, but we adapt!

So here are some tips:

  1. Use your years of experience to do fewer but more detailed pieces.
  2. See conventions as a time to spend with friends, not a time to be on the floor in something incredible at all times. I love balancing casual time with big costume time because it means I can spend quality time with friends in something comfortable and easy.
  3. Explore what cosplay actually means to you, and focus on that part.
  4. Assess what it means that people still want to spend time together. If people are going to conventions in regular outfits without cosplay just to hang out and see each other, then it means people in this community are forming friendships as people, not just because of a shared hobby. That matters! 
  5. Revitalize conventions for yourself by not going to crappy cons anymore. In Anime North’s case, I think lots of people drop out because Anime North is fucking stagnant. It’s easy to feel old when you’ve been going to a convention for ten years and nothing has changed and it’s not enjoyable anymore but you only go out of habit. Switch it up. Travel. Go to other conventions that do things a little differently; going to another place makes it feel fresh. 
  6. Be friendly with the younger folk. It makes me feel like a grandma sometimes, but spending time with people who are young and enthusiastic and still going hard can be kind of refreshing. They’re 
  7. When you hear someone aged 20 or 21 complaining about feeling too old for cosplay, have a good belly laugh and keep on doing your thing.
  8. Relearn tailoring for your own body. It’ll keep you on your toes and it’s good practice 👍

- Jenn

Jace/Maia/Simon Headcanons

  • Maia and Jace are always there, front row at one of Simon’s gigs when they’re not working. When they are working though, they’ll do their best to make it to at least one song
  • Sometimes coming home from a late night shift, Maia would find her boys fast asleep on the couch, the tv going. She would just smile and carry them to the bed before climbing in herself.
  • Maia isn’t afraid to let Jace know when he’s overstepping when it comes to Downworlder business.  
  • Jace actually listens to Simon and Maia’s views and does his best to learn from it.
  • They all know that each other isn’t perfect, and that everything will take time and are all willing to wait.
  • People expected the banter that Jace and Simon, and Jace and Maia had to cease but it didn’t because they thought that without the banter, it wasn’t them. Not them fully.
  • Because Maia and Simon grew up in the mundane world, they make pop culture references around each other and love the confusion that crosses Jace’s face. It makes them laugh. And then maybe a month or two later, they’d watch the show or movie and watch as Jace get’s the reference.
  • You can often find them sitting together, reading a book each.  Maia and Jace sitting on the couch with Simon lounge upon them.
  • Having run on Shadowhunter clock most of his life, Jace is generally the first one awake between the three. Maia, having had late night shifts is generally the last to wake.
  • If he hasn’t been called in, Jace just stays in bed with his lovers because it’s nice and calm for him.
  • They had a little trouble explaining things to everyone, and getting people to believe them that they were all okay with dating each other. Their friends and family were able to accept it and that was all that mattered to them.
  • Jace totally had the ‘you hurt them, I’m coming after you’ talk from Luke. And Alec did the talk to Simon and Maia.

Who’s fired up for the Eclipse today???! Solar Energy is Masculine based - we may feel called to take ACTION or consider life abrupt changes for our near future. Eclipse energy is an extra potent energy of transformation and deep change. The Eclipse window has been pushing us out of our comfort zone. It’s also an amazing energy to set intentions as we’re being saturated in the Subconscious right now with these 5 retrogrades. This energy is extra magical for manifestation and deep profound transformation. I recommend releasing rituals and setting firm intentions for the next few months ahead. You may feel knowledge bombs, abrupt life changes, uprooted shifts and generally getting your reality shook up. Make sure you get out there and watch it, The last total solar eclipse was in 1979 in the usa but it hasn’t been seen from the entire coast to coast since 1918! Ask yourself What is being eclipsed out of my life? #totalsolareclipse #solareclipse #eclipseseason #astrology #intentionsetting #releasingrituals #action #masculineenergy #solarfire #solarenergy #kundalini #chakras #energyshift #retrogrades #spiritualawakening https://www.instagram.com/p/BYDr3zHBzAv/

slate.com
Hey, Young Queer Women, Baby Boomer Lesbians Are Not the Enemy

Dyke Culture and the Disappearing L

By Bonnie J. Morris

My generation of lesbian activists, who honed our identity politics and confronted racism and classism in the spaces of women’s music events and women’s bookstores, are approaching a cultural expiration date. Having achieved many of the radical goals we pursued through the late 20th century—same-sex marriage, antidiscrimination laws, openly lesbian celebrities and politicians—we are indeed celebrating new opportunities to be out and proud. Yet having been permitted to be “out,” many of us are now spending the energy of our menopausal years pushing back against encroaching disappearance; our own invisibility. Dyke identity, that specific nomenclature of the fierce woman-identified woman, has been replaced by the more inclusive queer, as a new era of thoughtful LGBT activists proclaim their disidentification with the categories woman and lesbian.

The recent, ongoing interrogation of those categories in academic theory and cyberactivism clashes with concurrent efforts to preserve, as historically meaningful and valuable, the past 40 years of lesbian cultural spaces. Yet making peace with the radical separatist past is an important historical step for those charting the progression of LGBT visibility, rights, and power. The present impasse, in the LGBT movement, is over how to frame lesbians’ successful construction of an autonomous subculture that was not G, that was not T, but L.

My concern is that as we advance further into the 21st century, we are witnessing the almost flippant dismissal of recent, late 20th-century lesbian culture, particularly the loss of physical sites such as women’s bookstores and women’s music festivals and their material legacies (books, journals, albums, tapes, magazine interviews with artists). This was a specific performance culture: a movement through which fresh ideas about woman-loving were transmitted via song, speech, and the written word and marketed to a like-minded audience at quasi-public but distinctively lesbian-feminist spaces. At its peak, lesbian performance culture in the 1970s, ’80s and ’90s was every bit as unique as gay male drag, punk rock, Seattle grunge, and other genres, particularly because it put a new face on the tradition of grassroots American folk. However, because most women’s music recording artists earned very little money, and not only neglected but rejected commercial male approval and participation, their contributions are difficult to place on the Rock and Roll Hall of Fame timeline.

Despite so many gains in LGBT rights, sexism and sex discrimination have not been vanquished, and scholarly support for examining women’s lives and communities remains contested. The traditional academic canon, with its focus on male achievement and leadership, embeds many contributions by gay men through the ages, whereas lesbians have had barely a generation and a half of scholarly scrutiny (corresponding to how recently women were allowed to attend college at all). Although women’s studies programs have always been charged with pushing a lesbian agenda, or just being controlled by man-hating lesbians, this was never true and is even less true now. In fact, as women’s studies programs expand to attract male and trans-identifying faculty and students, many administrators are backing away from the word women altogether, striving for inclusion by renaming departments gender studies.

Although various woman-identified, lesbian separatist platforms and events that characterized a self-proclaimed dyke subculture throughout the 1970s–’90s still exist, they aren’t yet popular subjects of historical inquiry. Instead, these remaining activists and institutions have become popular subjects of criticism and contempt. Despite a wealth of feminist scholarship on aging, elder abuse, and the intersectionality of ageism and sexism in older women’s economic vulnerability, far less work has been produced on the aging lesbian, who (whether activist veteran or not) offers a wealth of generational tales and insights.

The disappearance of lesbian spaces is also one aspect of the aging baby-boomer generation. Many, though not all, of the most creative, visionary, and accomplished lesbian activists from the 1970s and ’80s were born in the late 1940s and early ’50s, their politics informed by childhoods spent crouched in Cold War air raid drills, McCarthy hearings on new television sets, and the civil rights movement.  It’s not coincidental that the lesbian-feminist movement included intense scrutiny of militarism and racism and turned politics into a musical stance. Although younger women (and men) may feel that Americans born between 1945 and 1961 have been studied enough, have indeed monopolized cultural attention for decades, are a tiresomely overcredited American demographic, with lesbians it’s a different story. Despite our national fascination with the 1970s, most historians still fail to inscribe the accomplishments of that decade’s lesbian pioneers in our national textbooks. Right now, it’s imperative that we find better ways for the vanishing ideas, sites, and inherited stuff of late 20th-century lesbian culture to be valued, preserved, and known by future generations. Later, we’ll wish we had these feisty dykes in front of us to explain what they did—and what it meant—and how they did it with no internet.

Who’s still willing to bat for Team L? Once an empowered statement of out and proud, it’s now an identity buried within the topical hierarchy of queer studies, gay marriage, gender identity. The disappearance of the L may be due in part to mainstreaming LGBTQ civil rights issues into one catch phrase, but it’s also an intentional disruption of what the aging “flannel shirt lesbian” stereotype signifies: a person who symbolizes folk guitar at festivals in the woods; politically correct potlucks attended by crystal-wearing numerologists in Birkenstocks and bi-level haircuts. These images are all white, as well as derisive. If the L-defined woman and her separatist cultural spaces are troubling remnants of an exclusive, retroactive essentialism, why would anyone want to interview her now? Lost in the stereotype is the backstory of unlearning racism workshops, disability activism, drum circles, and poverty activism, which characterized events of the 1980s and ’90s.

Generational change is inevitable, healthy, and necessary to progress. What I am living through right now is a painful transitional moment in which some of those older lesbian institutions are still going strong, and seeking participation and funding, while a current generation of activists are distancing themselves from such events, or even demonstrating against them. Younger, queer activists were vocal in opposing the Michigan Womyn’s Music Festival; right-wing religious groups once eager to shut the festival down had moved on to bigger targets. This dynamic—a next generation of feminists attacking earlier lesbian institutions and disparaging their participants as less evolved—is not unique to the 21st century or the United States; it is embedded in Jill Gardiner’s powerful book From the Closet to the Screen, which describes a 1970–71 Gay Liberation Front “zap” against London’s Gateways Club bar. As this generational shift grinds on, how should the most recent decades of cultural production be interpreted, understood, and preserved? How will we use the tools of history to examine something we know existed as an investigable community?

For veterans of a certain kind of lesbian activism, who poured time, energy, and resources into sustaining alternative spaces when other doors were closed to us, the triumph of civil rights is a bittersweet victory if our tremendous efforts and contributions are to be written out of the record. The fearless Amazon generation that built an entire network of lesbian music festivals, albums, bookstores, bars, presses, production companies, publications, and softball teams is teetering on the brink of oblivion, just gray-haired enough to be brushed aside with an impatient “good riddance” by younger activists, yet too recent a movement to enjoy critical historical acclaim.

The mainstreaming of gay rights and gay marriage, the end of Don’t Ask, Don’t Tell, the elevation of Ellen DeGeneres to talk show mogul and cosmetics cover girl on billboards in every mall, and the gradual inclusion of same-sex couples by institutions of faith was inconceivable when I first came out as a lesbian teenager—on the eve of Ronald Reagan’s election, in 1980. There were few youth support services, no anti-bullying programs in schools, no LGBT studies conferences in academia. In fact, at age 19 I attended my first lesbian concert less than half a mile from the gates of Georgetown University, then in the midst of its costly legal battle against its own gay students, who simply wanted to form a campus group. Thirty years later, this same Jesuit campus now hosts an annual Lavender Graduation, as well as funding a well-staffed LGBT Center and paying me a handsome part-time salary to lecture on lesbian history. Today we see far greater representation of LGBT families and couples on prime time television and in commercially successful films. Thankfully, across global entertainment networks there are also more and more heterosexual artists willing to speak out for equality (and/or to play LGBT roles). This gradually LGBT-friendly media is redefining who “lesbian stars” are.

But while it is a victory to see lesbians gaining acceptance into the mainstream of American culture—due to stronger civil rights protections, informed political allies, and other successful advocacy—recent media validation has been limited to those lesbian couples with “successful” roles or individual women who are beautiful, able-bodied, affluent, and white. Less often depicted is working-class lesbian culture, which thrives in small towns and urban bars; in house parties and social events where women still meet as they always have. And the politically engaged lesbian activist is portrayed as dressed for Congress. For better or for worse, the stereotype of the angry radical lesbian marching with fist raised against the patriarchy has been replaced by the embossed wedding invitation to Megan and Carmen’s nuptials.

This shift in media representation idealizes lesbians’ participation in the American dream: settling down with a partner, marrying a beautiful wife, raising children, being active in the local school PTA and church community. It’s a wholesome, nonthreatening participation in middle-class values by women who just happen to be gay. This is the image mainstream LGBT groups have promoted since the late 1990s: lesbians as soccer moms, as consumers, as participants in faith, nuclear family, and military service. Vanishing from this landscape are the many large-scale gatherings once typifying dyke subculture, where talking points included some very tough critiques of church, state, family dynamics, and military imperialism.

We’re still here. But there we were. And we remember.

Adapted from The Disappearing L: Erasure of Lesbian Spaces and Culture, by Bonnie J. Morris. Reprinted with permission from SUNY Press.

anonymous asked:

So are there any male werewolves?

Depends on what you Specifically mean by that

If u mean Male as in Male: the Reproductive Organs then No
If u mean Male as in Man: the Gender then yes! Alma is a mandudeguy and he gets to suffer thru the same bone snapping transformations as his sister

A generational werewolf’s shifting cycle is entirely connected to the menstrual cycle/ovaries/estrogen I guess?, so, if that doesn’t work or never existed in an individual to begin with, it’s..not gonna happe

HOWEVER! Anyone (thats good at magic) can be a ~blood magic shape shifter~ werewolf. Those are people who can change form at will
The risk of getting stuck as a feral half beast that’s a danger to everyone around them is exponentially higher though

npr.org
In 'Beyond Respectability,' A History of Black Women As Public Intellectuals

But it’s clear early on that Beyond Respectability is a work of crucial cultural study. It introduces concepts of the black woman as a public citizen in post-Restoration America, and explores women whose work pushed against the dominant narrative — Fannie Barrier Williams speaking of black women as a political body, Mary Church Terrell documenting resistance over the course of decades, Pauli Murray’s discussions of queerness, Toni Cade Bambara’s 1970s anthologies of black women’s writing — and draws us through that history to the present.

That’s no small task; the book lays out the complicated history of black woman as intellectual force, making clear how much work she has done simply to bring that category into existence. By the turn of the 20th century, educator and activist Williams was already adamant about the necessity of seeing black women as public citizens. In “The Club Movement Among Colored Women of America,” she wrote of the “organized anxiety of women who have become intelligent enough to recognize their own low social condition and strong enough to initiate the forces of reform,” urging black women to organize and agitate for power — and credit — within the wider body politic.

And Cooper deftly addresses the complex forces at work as the movement developed. The idea of “respectability” itself is one of the book’s major concerns; some of the writers she profiles held to the idea that being seen as respectable enhanced their political message; later writers and activists would argue that respectability too often equaled a demure and ineffective silence. Cooper chronicles generational shifts in the methods of dissent, divisive issues of queerness, and debates about activism as intellectualism when the first is necessary in order to make space for the second.

❝Of Alphas And Dens.❞

Ship: Alpha!Steve Rogers/Omega!Reader

Word Count:
 1,377

Warnings:
 None! Excessive fluff.

Personal Prompt
: “ Guys imagine an ABO verse where Steve insists on making a den when you’re pregnant because ‘that’s what good alphas do’ and instead of just using blankets and cushions, he swaddled up his shield so that it can be a cradle for the pups kfjshska ”


Snippet:
But still, it would’ve been nice to see Steve for more than a minute at a time. Your arms lightly wrapped around the soft bulge in your stomach as your eyes remained transfixed on the bathroom where a soft white blur kept appearing now and then. Even though it wasn’t traditional anymore, you didn’t have the heart to tell Steve that. He had been talking about making a den for so long now, his eyes lighting up constantly, that it would break your heart to see him come to terms with it.

Keep reading

anonymous asked:

Soldier 76 possessive as shit and protective, reader is flattered by the attention and soldier takes it as a sign to take it further. At first reader says its not right and he is like ' screw what's right your mine' and reader gives into her lust for him. idk but daddy i love you so, what you write lights a spark in me( prev writing mentions oooo boi) your blog is FIRE

He’d visit you at work everyday, buy literally anything and always tip generously, when your shift was over he’d walk you home or to your car, he’d tell you not to touch any other men, that they’d make you impure and soil you and if anyone were to violate you he’d be honored to do it the right way. That always made you blush, the way he’d press you against your car and lean in, his intimidation making you quiver and shake, all the while you could feel a heat stirring inside you.

“Goodnight, Jack.” Was all you’d say as you got in the car, sighing in either relief or disappointment, unsure of how you felt turning down the brooding man. Whenever you’d thank him or hug him, he’d take it as a sign to do more, taking it further, taking you further and you always found yourself tangled in him, legs wrapped around as he kissed and licked your neck in dark alleyways, your breath hitching when he’d grind against you. Fuck this was so wrong…the age difference, the publicity, you weren’t even dating, you barely knew who he way.  ..

So wrong…

He’d slip his fingers up your shirt, pawing at you and squeezing your breasts and pinched your nipples, you could feel his erection firm against you.

“Jack…Oh Jack~!” You’d moan, your face burning as he glared up, removing his hand to cover your mouth as he went back to work on your neck, leaving rough bites that made you feel weak against him, you could melt right there the way he ground his heat to yours. “Jack..this is wrong…if you keep going I’ll..”

“I don’t care what’s wrong, I’m always wrong.” He smirked as he lead you back to your car, snatching your keys from your hand and forcing you into the back seat, “Screw what’s right..You’re mine..” He said hoarsely, his jacket tossed to the front seat as he stripped. For his age…he was so well built. Fuck it… You didn’t play along, you didn’t resist, you gave in, your lust just couldn’t take any more of his fucking teasing. You were already soaked when he slipped off your panties, he smirked as if he were teasing you, scolding you for being so easy to him.

He leaned down, tasting you, making you weak as your soft breathy pants turned to shaky gasps until you were whimpering and moaning, begging for him to just get it over with.

“If you insist…” He smirked, unzipping and revealing his incredible length, he was dripping at tip with precum as he slipped it inside you, “Now just..relax..” He growled as he gripped your thighs tightly, pressing in as deep as he could before backing out to slam in again.

“Jack~!” you’d moan as he slammed in, gripping your knees roughly as he thrust in and out, he wanted more, he did whatever he could to get you to scream.

“C..call me daddy…” He panted as he felt himself nearing his finish.

“D..Daddy…” You blushed…what a pervert.. Why was it so hot? You could feel yourself unable to take much more as you dragged your nails down his back roughly. “Oh my god..daddy I’m gonna…Fuck~!” you’d scream as the car bounced below you two, tightening around his throbbing length as his jaw tightened with a low growl, finishing deep inside you.

“Mine…” is all he mumbled as he pulled out to gaze at you panting below him in an ecstatic daze. “All mine…”

More of the Sheith soulmates AU

Here’s the next part of the story that I posted here. Still trying to figure out a title and concrit/feedback is welcome.

Voltron fandom, Sheith story that acknowledges their age difference and will probably stay T-rated or below.

<><><><><><><><><><><><><><><><><><><><>

Keith was in the middle of writing his study guide for the upcoming Interstellar Navigations exam when it hit him. The sudden clash of excitement-nerves-joy-fear-hesitation-disbelief made him drop his tablet.

Shiro. It had to be the Kerberos mission. Shiro must have gotten the pilot’s position.

He took a deep breath. He could handle this. They had talked about this.

Keep reading

anonymous asked:

My boss knew I was gonna be at a gig and said it was cool for me to have the day off yet he scheduled me in for that day (opening but I finish after the gig starts) and the opening shift the day after. His excuse? Nobody else can cover. I'm not a keyholder so one of the keyholders/managers will be in too. I'm NOT needed - any staff member could do this early shift! I'm also part time and generally work later shifts and weekends.

anonymous asked:

I'm a Murse as well! I just finished my first year of nursing school and I can't decide between the ICU and the ER. I've seen a few of your posts about it that you've said but what are more in depth thoughts one vs the other? What you do, or learn compared to one another? Or why you enjoy the ED vs why you enjoy the ICU? If you've already posted this just tag your previous post! Or copy/paste!

Dear Anon,

There are pros and cons of working in both units. Again, I could write a whole chapter in my book about working in both the ICU and ED, but I’ll keep my answer to your question relatively short. (lol, yeah right)

Originally posted by haidaspicciare

Patients

ICU - Generally speaking, you keep the same 1-3 patients for an entire shift, which can be good or bad depending on how sick they are and how well-behaved they are (or aren’t). And if you work several shifts in a row, you could have the same patients for multiple days, which, again, could be good or bad depending.

ED - You constantly have new patients. Depending on how busy your ED is, you could easily have double digits by then end of a 12-hour shift. Again, if you have bad patients, it’s good to get them out quickly, but it just means that you’ll get another unknown coming in. Unlike the ICU, you’ll have new patients every shift… well, generally speaking. You’ll also get those frequent ED fliers who come in for the same shit every time and you’ll roll your eyes and be like…

Originally posted by datgifarchive

Critical Thinking

OK, so, when I told my mentor that I was leaving the ICU to go work in the ED, she was genuinely disappointed. She told me that I would be wasting my critical thinking skills and my talents. I tend to disagree, but I do see some validity in her argument. Allow me to expound…

ICU - In the ICU you are hanging multiple critical drips and are constantly titrating those drips to keep patients alive. Some nights you’re riding the pumps and constantly re-assessing the patient; listening to their lungs for signs of fluid overload, or doing repeat EKGs looking for signs of an MI. You’re starting IVs on seriously ill patients, suctioning vents, and countless other focused assessments that require non-stop critical thinking.

ED - Contrary to what my mentor believes, nurses most certainly use critical thinking in the ED. A nurse triages the patients and a nurse is the first to see a patient, so we have to be thorough in our assessments to look for the subtle signs of something more severe. The doctors and nurse practitioners rely on the nurses to guide them in the right direction. ED nurses are looking for different things than ICU nurses. ICU nurses know what the patient’s diagnosis is because and ED nurse and the team they work with helped to find the diagnosis.

Skills

I think the main difference between skills in the ICU and ED is that ED nurses start a shit-ton more IVs and drop a shit-ton more NG tubes. ED nurses don’t usually have to deal with patient’s on multiple drips, but it doesn’t mean they’re not capable. And while ICU nurses are certainly adept at starting IVs, most ED nurses could probably find a vein in their sleep.

Conclusion

If you like something new every day and a fast-paced, always changing environment, then the ED sounds like a good fit. If you’re more meticulous and like your IV lines neat and organized, then you’d fit right in with the ICU crew. The ED can be stressful because of the trauma you see and for the sheer volume of pain and suffering that comes through the door. The ICU can be stressful, too, but for other reasons. 

There is not a cut-and-dry answer to your question. I like my lines and cords neat and tidy and I’m very thorough in my assessments, but as a former firefighter and EMT, I’m used to the chaos and fit right in with that group as well.

There’s nothing stopping you from trying both! Work in one for a year or so and then try the other.

I hope this “short” answer helps. Thanks for taking the time to ask a question! As always, I open the floor to other nurblrs to share their thoughts!

Sincerely,
Mursenary Gary

anonymous asked:

Do you find that the film adaptations of P&P give Mr. Bennet a lot more credit than he deserves? As someone who grew up watching Austen films before I was old enough to read the books, I was pretty shocked when I read it for myself and saw how harshly Mr. Bennet treated his younger daughters. In the movies, his behavior comes across as more playful and goading than anything else (especially in the 2005 version), but he's actually pretty cruel.

In film we’re given visual and auditory cues that are absent from written works. Where the novels can offer a more semi-omniscient view as well as meta-commentary from whatever narrative voice is being used, we get a more rounded and complex view of the characters and their circumstances.

In a straightforward narrative on film, often the points of view we’re given tie in heavily to our protagonist (in this case, Elizabeth Bennet). Of course she’s the heroine of her own story in the novel, but the voice of the text is much more balanced, looking down on these people and offering thoughts and opinions on what they are saying and doing, versus what might actually be going on within their own heads, consciously or subconsciously.

Without voice-over (*shakes fist*) this is not easily explicitly accomplished in film, and so things will generally make a subtle shift to keep things more straightforward with the point-of-view character’s experiences and thoughts influencing what we see and hear. (Of course this isn’t always first-person only–the camera lingers from time to time where things occur beyond the knowledge of Elizabeth, in particular where Darcy is caught observing her in the earlier stages of the story.) But that’s the big “oooh he likes her!” part of the story, which is kind of integral, and there’s much less time devoted to the development of side-characters such as Mr. Bennet.

So we get a view of Mr. Bennet how Elizabeth sees him, which is generally long-suffering and witty (though admittedly at the expense of his wife and younger daughters.) As Elizabeth largely agrees that Mrs. Bennet is ridiculous and her younger sisters are, too, and moreover she is so used to all this bullshit that she doesn’t even think of challenging any of the status-quo in Longbourn until much later, after Darcy’s observations have awakened her awareness of how it all might be wrong, even if to her it has always felt right–or at least normal. She urges her father to try harder to amend Lydia’s behaviour, but Mr. Bennet sees no reason to change himself as a husband and, in particular, as a father until the more dire consequences have broken upon them all, much too late.

In film there’s less time to develop the side-characters and their dynamics with the protagonist(s); and it’s very easy to filter everything through Lizzy’s perception–which also makes for a more dramatic shock when we hit the first bump of Darcy pointing out that the Bennet family actually looks Not Great to an outside observer (which, like, Elizabeth knew, but perhaps didn’t guess at the full ripple-effect that that homegrown stupidity could have on more important events;) and then the PANIC STATIONS ka-boom of Lydia’s running away with Wickham. In the text, Mr. Bennet’s behaviour speaks for itself much more clearly, and he cannot hide so easily in Elizabeth’s affection for him and her own blindness to the impropriety of his harsh teasing and neglect.

washingtonpost.com
Washington Spirit was almost NWSL champ last year. So why was it gutted?
Player discontent played a role in departure of almost all of the team's star power.
By https://www.facebook.com/SoccerInsider

Asked to explain the turnover, Gabarra said: “We had some players we chose to move and some we would’ve chose to keep. I couldn’t be happier with the players we traded for and brought in. They have completely bought into our style of play.”

Addressing the absence of U.S. national team players, he said: “If you look at the national team, there’s a generational shift going on. It’s my job to look ahead and say, ‘How does it affect the club and how can we best position the club to make sure that transition is not something that hurts us?’

“And actually, it’s the opposite: Can we find a way to get ahead of it and get more of the top players coming in and at a younger age?”

anonymous asked:

I really like your shape shifter OC😍. Can he change his form however he likes, or he is limited to certain features? ( such as a specific hight, hair color, certain age, or maybe body size). Can he change into a female? Do shape shifters have a specific gender?

omg!! thank you so much!!! &thx for the question!! ;0; i’m so glad! i like them a lot too!! i’ve been toying around w them a lot in my head. here are some of the parameters i have rn (might change):
(sorry it got long ;;;)

for shape-shifting generally:
a) they can imitate a complete form or make up their own, but they look a bit “off”/unnatural, esp for ppl that know what to look for, and there is some kind of a time limit where they will start to “glitch” before falling apart/revealing themselves as not human (basically it’s like trying to hold a flex position for a long time) generally this isn’t worth the effort/risk that goes into it, unless they have a very quick goal they’re trying to complete. it is easier for them to do the following>
b) after they’ve “eaten” someone (and that person can be any gender/sex or look any way), that form is “catalogued” permanently into their core and can be used any time for as long as they want without worrying about it falling apart. this is the most desirable shape-shifting, since it’s safest. when disguised, these forms are generally rigid, bc they’re following a blue print. only when revealed will they become fluid again. they can “play” with these forms. Like toy with features, or make the form older or younger. Easier, safer and more natural than just imitation, since they’re essentially working from a base.
i think they also acquire the memories of the person, if the form is still alive while being eaten, so they can slip right into ppls lives if they want.
c) their body (when fluid) is kindaaa like a mass of clay they can shape. they can call upon other forms they’ve eaten an also make their own, and it’s easier since in this time they wouldn’t be worrying about looking natural (since if they’re revealed, they’re trying to survive, or about to eat someone).
like, they could make many extra eyes on the skin, mouths, extend their limbs, make sharp limbs ect. typical monster stuff ;’D

Society/species things:
rn i think they are a species, and i think their species does not have a concept of gender, tho they “understand” what these things are to humans and can play along. the forms they take are like clothes to them, they are ultimately trying to feed themselves, blend in, protect their core, and advance their goals (which…i think…for a majority of the species, would be like getting in a position of power where they can remain undetected and be safe/well off)
i think their ideas of social grouping within their species is around this idea of how valuable their form is/or how strong they are–
ex:
ceo form: valuable. being able to shape-shift better/having many cores or a big core: valuable.
minimum wage worker form: not valuable. not being able to shape-shift well/having a unimpressive core/s: not valuable.

As for the shape-shifter character specifically, they’ve amassed a decent amount of forms, some of them were female! they themselves are not female, and they have no specific preference for those things. (tho i do think they might have a preferred kind of ‘target’ to eat.. :”D not necessarily 2 wear tho)
i think they’re more interested if the form is attractive/fun/humans reactions to said form (they might be a little bit vain (or maybe self conscious? or both?) lol)
here are a few concepts of other forms i doodled a couple days ago (the very first two are to manipulations of their “base” form, i think they’d make themselves look a bit older sometimes)

So I just started my fist Job a month ago (on the 14th of March precisely) at the place where a Smile meets a Giggle.

It’s good I enjoy it but I feel awful for my manager, the AM has been calling in sick, dropping shifts and generally being a bitch leaving the manager to scramble to pic up shifts.
My scheduled hours are 4 per week, but on my first 4 days I worked two hours to cover he AM’S lazy ass and my Boss has come to depend on me, the month old new girl to help.
Such as tomorrow she’s asked me in at 8 instead of 9 to help open and sort out the ginormous list of things that need to be done.

'Orange Is the New Black': Taylor Schilling and Laura Prepon on Piper and Alex’s Surprise Season 5 Ending

[Warning: This story contains spoilers from the entire fifth season of Orange Is the New Black.]

At the start of last season, Laura Prepon had this to say about her Alex Vause and Piper Chapman (Taylor Schilling): “Anybody would look at that relationship and think: ‘Alex needs to get as far away from Piper as possible, and maybe vice versa.’”

How things have changed.

Amid its ever-expanding ensemble of characters, the fifth season of Orange Is the New Black (currently streaming on Netflix) found its way back to the relationship that has been at the heart of Jenji Kohan’s prison dramedy since season one. In the penultimate episode of the new season, Piper proposed - and Alex said, “Yes.”

The episode, titled “Tattoo You,” delivered two parallel flashbacks for the pair, providing insight into why Alex ended up sending Piper to jail in the first place. Rewinding to when Piper was still following Alex all over the world, viewers see her ink herself with a fish tattoo signifying beauty for Alex. Years later, Alex tells a stranger that her “Love is pain” inking was in response to Piper’s beauty fish: Love is pain, not beauty.

Now her ex-girlfriend, Alex admits that Piper broke her heart. The prior seasons have already clued viewers into what happened in between these two memories, but seeing Alex express a mix of anger, love and regret over “ruining Piper’s life” by sending her to Litchfield was a new shade of black on the drug-smuggling nomad.

And Alex wasn’t the only one to have regrets.

Enter a cameo from Jason Biggs, who returned to play Piper’s boyfriend Larry Bloom. When Larry gets his own tattoo, of the Kool-Aid Man, Piper is reminded of Alex and drunk dials her ex later that night. “How are you still in my brain? Do you miss me? Probably not. I miss you,” she says in the rambling voicemail, which upon listening causes Alex to kick out her girlfriend.

Netflix

“It always feels so good and so gratifying to be able to fill in parts of Piper and Alex’s timeline,” Schilling tells The Hollywood Reporter. “That’s what was so exciting about the show from the very beginning. To have such a specific thing that you want and that you’re going after, as an actor, is just candy. It’s really fun. So when that stuff comes back into play, for me, it focuses the show on its center and it makes it easy to do my job.”

Prepon agreed that it was nice to get clarity on the aftermath of Alex’s decision. “Whenever you can get a little sliver about why they are the way they are is exciting,” she tells THR.

Back at Litchfield, Piper has a phone conversation with her mother, where she says coming close to dying made her realize she doesn’t want to miss out on being with Alex in this lifetime. “I want to stick around because of her,” she admits.

Read more: 'Orange Is the New Black’s’ Laura Prepon on Alex’s Harrowing Season 4 Experience: “She Really Needs Piper”

Only hours earlier in Litchfield time, both Piper and Alex, bound and gagged in the shower curtains they were kidnapped in, survived a near-death experience when Piscatella (Brad William Henke) tortured Red (Kate Mulgrew) and threatened their collective existence from inside a janitor’s closet. They survived - Alex with a broken arm and Piper, a newfound outlook.

“When you look at what they just went through with Piscatella, it puts things into perspective,” says Prepon, who also directed the torture episode. “They just went through this insane thing where they almost died. They saw what happened to Red and Alex’s arm is broken and all these things, and they realize: Life is short, I love this person, let’s just do this.”

Prepon says the Piscatella incident - which ultimately ended with the guard being shot and killed by one of his own riot men - shifted things for the tumultuous twosome. “When something like that happens, it makes people really reevaluate,” she says. “You realize what’s important.”

Schilling was directed by a half-naked Prepon for the pivotal torture scenes. Prepon jumped behind the camera around her own takes and Schilling praised her scene partner for surpassing many directors she’s worked with even “with her arms tied behind her back and wearing a shower curtain.” The actresses were wrapped up so they couldn’t use their limbs and required help from the crew. “We would have to go limp and get lowered into place and then get picked back up,” says Schilling. “I’m now a pro at knowing how much powder you need on duct tape so it doesn’t hurt when it gets ripped off.”

Courtesy of Netflix

In front of the camera, however, Piper said she “wanted to die” sitting there and not being able to help Alex when she was hurt. Despite Alex’s insistence that Piper leave her alone, Piper returned to the bunker where the inmates were hiding, Alex’s missing glasses in hand. “You have taught me that love hurts,” began Piper in tears. “You’ve taught me that life, it hurts. And I want to be there for you, I want us to be there for each other so that maybe it hurts a little less.” Getting down on one knee, Piper popped the question, asking Alex to be her partner through love, pain and beauty fish. “I figured that’s what you were doing,” snarked Alex before accepting. Then asking, “You had to do this now?”

The mid-riot romantic gesture was, as Schilling says, so Piper. 

“It was interesting that that’s where the rubber met the road for them,” says Schilling. “In the midst of crisis - let’s get married!”

Schilling says when she read the script, she had never given much thought to whether Piper would be the one to ask, focusing instead on how sweet of a way the moment is to “propel their relationship forward” after a high-stakes situation. Prepon, on the other hand, said she was very surprised when she read it: “Not even that it was Piper who proposed, but just that it was happening in general.”

Read more: 'Orange Is the New Black’s’ Lauren Morelli on “Committing to the Consequences” of the Riot

Though their celebratory period was short-lived, Schilling froze the moment in time to imagine how they would be as an engaged couple. 

“I can’t imagine it being very much different than what their relationship is like now, which is so heightened and so dysfunctional in many ways,” she says. “Marriage doesn’t generally shift course very much and it’s not really a thing that fixes a relationship. I’m curious to see how they react to that.”

When it came to filming the scene, Prepon laughed about the moment occurring in the very unromantic pool room setting. “I love working with Taylor,” she says. “Whenever we have a scene we just jump into it. We do the damn thing and it’s great and fantastic. She’s a baller and we have a lot of fun together.”

After a quick round of “Mazels,” however, the finale sees Piper and Alex joining hands with eight other inmates as the 10 key characters prepare to face the consequences of their actions. Assuming the missing inmates are hunkered down with weapons, the riot brigade is sent in to remove them from the prison, the finale ending on a defiant cliffhanger. Piper, Alex, Red, Taystee (Danielle Brooks), Black Cindy (Adrienne C. Moore), Crazy Eyes (Uzo Aduba), Nicky (Natasha Lyonne), Gloria (Selenis Leyva), Frieda (Dale Soules) and Blanca (Laura Gomez) are last shown clutching hands and rocked by the explosion, unaware of what will be greeting them through the other side of the door.

Read more: 'Orange Is the New Black’ Star Laura Prepon Goes Inside “Brutal” Torture Scenes

Schilling and Prepon, at this point, don’t know what the future holds for their characters, or any others, when the cast returns to film season six in late July. Prepon, who is nearing her due date, credits savvy scheduling to her maternity leave not impacting filming - “Alex is not coming back pregnant!” she assures.

As history shows, riots don’t end well for inmates, who often end up with time added to their sentence. The final moments of the season showed the inmates being carted away into two buses, heading most likely to new prisons.

Could Alex and Piper survive being separated?

“I don’t know!” says Prepon. “It’s such a tumultuous, awesome, complicated relationship. Even if they both got out the same day, would they make it in the world? Who knows. But that’s what’s so great about the relationship, is that they bring out the best and the worst in each other.”

Schilling admits that the future - Orange has already been picked up through season seven - isn’t looking so bright, but she still remains more optimistic. 

“The idea of a relationship is so different than the day-to-day experience with another human being, so maybe that could help them a little bit,” she says.

Were you surprised by the Alex and Piper engagement? Tell THR in the comments below and keep up with Live Feed for cast interviews and full Orange Is the New Black coverage throughout the week.

smarmyanarchist  asked:

Er, alright. What are the general things I should know about Heathenry and the Aesir? I also don't really understand the differences between Aesir, jotun, vanir, etc so if you could tell me about that it'd be really helpful!!

Alright, so the classification of Aesir is pretty loosey-goosey to an extent. For one, who counts as a member of the Aesir changes over mythic time. For instance, Njord and other members of the Vanir can be considered to be Aesir as well as Vanir. In addition, one can have jotun parentage and still be a member of the Aesir. (See Thor, Heimdallr, Tyr, and Loki) So “Aesir” in particular doesn’t denote anything inherent to an entity. I tend to see it more as a descriptive term or as a professional identification to be quite honest. They’re described as or possess the profession of being Aesir, or gods, but it doesn’t speak of anything inherently unique about them other than this. So the Aesir are who were typically worshiped or had cults and were prayed to - they were the beings who had the jobs of being gods. This doesn’t mean only they had godlike magical powers but they were the ones officially with the job of receiving cultish worship. (Note: That we have evidence of. There’s slim evidence of jotun worship aside form Loki and Skadi but it’s very very slim.) 

Now, in Icelandic aka Eddic lore, the Aesir are generally described as a family and all the gods are related somehow. However, their relationships to each other are not necessarily clear. For instance, Heimdall’s father is unknown. So he has no known direct familial relation to the rest of the Aesir. Many of the non-Vanir Aesir however are descended from Odin: Thor, Tyr, and Baldr are his sons. Freyja is his wife and although nothing is known of her parentage, she’s still married to Odin and therefore part of the family. With this said, “Aesir” could also be envisioned as denoting a family group. But this only applies to Icelandic lore as far as we know; other countries had differing conceptions of the gods and Odin wasn’t the Allfather in them all. Not to mention, the Vanir are technically hostages so not exactly part of the family yet still referred to as members of the Aesir. So again, I stick more to envisioning it as a “professional” title. Profession: god. 

The Aesir as a group tend to embody humanity and civilization. As such, they tend to rule over things that are of importance to humanity and civilizations such as poetry, war, farming, justice, laws, and naval travel. Even the bits of nature that the Aesir-identified entities rule over are pretty civilization based: fertility, farming, sunshine, and rain. Thor is an outlier having his affiliation with thunderstorms as they’re a powerful and deadly natural phenomena. These things are normally reserved for the jotnar. See for instance, Njord is associated with the side of the ocean that benefits society (fishing, whaling, naval travel) whereas the jotnar Aegir and Ran rule over the ocean itself. Thor does have jotun parentage through his mother Jord (and technically also through Odin) but having jotun parentage doesn’t automatically pass on jotun traits really. For instance, Thor can’t shapeshift like the jotnar can. Tyr possess no nature powers and neither does Heimdallr as far as is known. He has heightened senses but those aren’t necessarily a jotun thing. So there’s some further distinction from between Aesir and jotnar: both possess mighty powers but only the Aesir are considered gods and worshiped. In addition, the Aesir tend to lack certain gifts that are common in the jotnar despite being direct descendants from them. 

The Vanir is a category much like the Aesir in that it’s somewhat of a familial denotation but it also has more of a “professional identity” side too. The Vanir we know about are all family members but considering there was an Aesir-Vanir war and there’s allusions to the land of Vanaheim, there are likely more Vanir than are known about so they aren’t necessarily all family. Like the Aesir, the Vanir are gods insofar as the possess powers and received cultic worship. Their rule tends to be over wealth and fertility especially over wealth gained from nature i.e. farming and whaling. They’re kind of like an intermediate between the total civilizational aspect of the Aesir and the total nature aspect of the jotnar. In practice and in god politics, they tend to serve this role of intermediate as well in my experience. Like the Aesir, they lack most of the powers of the jotnar. Freyja however can shapeshift but only into a falcon and only through the use of a feather-cloak unlike jotnar who generally can shift without use of tools.

The jotnar are the first beings and at least the Aesir all descend from them in some way. The jotnar represent nature and nature’s seemingly chaotic forces. They are wild forests teeming with beasts and they are natural disasters and they are nature’s reclamation of civilized areas. In addition, the trollish ones represent the fears and threats of society like outlaws and ethnic others. The jotnar in short then, represent all the forces acting against the current organized society which is the Aesir. Their ability to control natural forces, rule over natural habitats, rule over foreign lands, and ability to shapeshift with ease all reflect this. The jotnar were not gods; the had godly powers but they weren’t beings people wanted to worship and ask for help from. They likely received occasional appeasement offerings but formal worship? The evidence for that is still very slim. Because of their destructive nature, the jotnar were framed as adversaries of the gods and society. However, how great the enmity between the two sides was is hard to say due to Christian tampering. However, the lore constantly has tales of jotnar and other supernatural creatures being exploited by the Aesir in various ways. So the dichotomy to me reads of oppression and exploitation by society of nature and those deemed “lesser” leading to righteous indignation on the behalf of the jotnar being exploited which finally culminates in Ragnarok. I’ve written more extensively on this here.

Um, this is getting really long and I’m not sure what specifically might be useful to you in regards to the other question so I’m just gonna leave this like so and hope this rambling makes sense.

Some places to read on this:

  • Meeting the Other in Norse Myth and Legend by John McKinnell
  • “Wilderness, Liminality, and the Other in Old Norse Myth and Cosmology” Jens Peter Schjødt
  • “Supernatural Others and Ethnic Others: A Millenium of World View” by John Lindow
  • “The Giant Who Wanted to Be a Dwarf: The Transgression of Mythic Norms in Þorr’s Fight With Geirrödr” by Kevin J. Wanner
  • Giants in Folklore and Mythology: A New Approach by Lotte Motz