its not habit forming!!

highfiveyearolds  asked:

Oh the pearl past forms are awesome! Any chance you could post the other gems/ a link to their past reforms? Thanks!!!!

Sure! Do you mean the past reforms they cycle through when regenerating, because the only Gem besides Pearl to do that is Amethyst


Zircon is an important gemstone of many colors, and is an historical gemstone used for thousands of years. Its color diversity is caused by traces of certain impurities, some of which are radioactive. These radioactive forms of Zircon must be heated to stabilize them for use as gems. In fact, many of the gem forms of zircon are heat treated to enhance color and increase transparency. 


Rutile is the most common natural form of TiO2. Rutile is well known for its habit of forming needle-like inclusions within other minerals, especially quartz, in the form of long and slender straw-like crystals; hence the term “rutilated quartz”. Rutile inclusions are also responsible for the chatoyancy effects on some gemstones, such as Star Sapphire. 
Twinning is very common, with various forms including sixlings, eightlings, knee-shaped twins, and v-shaped twins.
(conjoined twins?)


Rhodonite is well known among collectors for its beautiful pink and red color. Rhodonite often has black manganese oxide veins running through a specimen, giving it the distinct appearance of pink with black crisscrossing lines and flower-like formations throughout. These are the forms most commonly used as gemstones, especially in beads and ornamental objects.
(Also, guessing the gems she fused from are Pearl (round top gem); based on the ruffle top and thin arms, and Ruby (the lower red gem); based on her thicker arms and legs, red color, and hair texture.)


Padparadscha sapphires may be little known to the general public, but they are treasured by gemstone connoisseurs. Points of contention include how pink or how orange these sapphires can be, and whether certain tones are too dark to qualify.  Some padparadscha sapphires are not evenly salmon colored, but rather color zoned with pink and yellow.
–Ironic that she is undervalued on Homeworld but the gem is actually more valuable than normal sapphires.


Fluorite makes a beautiful gemstone that comes in all colors, and can often be multicolored with two or more contrasting color within the same gemstone. Multicolored Fluorite gemstones often show banding patterns. Most Fluorite gemstones are from deeply colored stones, but they can also be cut from the less intense color forms. The most popular color for Fluorite is purple, and deep purple Fluorite can closely resemble Amethyst.

Planet Profiles


General meaning:
The Sun composes the basics of one’s identity; it is the foundation of one’s personality, the ego, the sense of self, the backdrop to the rest of one’s natal chart. Its positions describe the base assets of a person.

Domicile: Leo
Detriment: Aquarius
Exaltation: Aries
Fall: Libra
House: Fifth
Energy: Masculine
Type: Luminary


General meaning:
The Moon embodies one’s emotional realm. It constitutes one’s instincts, habits and behaviors formed from childhood, immediate reactions – its positions illustrate our needs and core tendencies.

Domicile: Cancer
Detriment: Capricorn
Exaltation: Taurus
Fall: Scorpio
House: Fourth
Energy: Feminine
Type: Luminary


General meaning:
Mercury is all about thought and communication. One will find that they operate much like their Mercury sign – mental processes and lingual expression have everything to do with this planet.

Domicile: Gemini & Virgo
Detriment: Sagittarius & Pisces
Exaltation: Scorpio
Fall: Taurus
House: Third & Sixth
Energy: Masculine
Type: Personal Planet


General meaning:
Venus is the planet of love & beauty. One’s view of art and romance may be attributed to this planet, as can their needs and desires in a relationship. The love language of a person has to do with their Venus positions.

Domicile: Libra & Taurus
Detriment: Aries & Scorpio
Exaltation: Pisces
Fall: Virgo
House: Second & Seventh
Energy: Feminine
Type: Personal Planet


General meaning:
Mars constitutes the drive of a person, be it sexual or ambitious. It has to do with strong emotions, passion, aspiration, intention, determination, sex, primal urges, and self-control.

Domicile: Aries
Detriment: Libra
Exaltation: Capricorn
Fall: Cancer
House: First
Energy: Masculine
Type: Personal Planet


General meaning:
Jupiter’s positions in a chart indicate the way one treats other people and one’s attitude toward knowledge. Generosity, education, journeys, mentors, and travel are all associated with this planet.

Domicile: Sagittarius
Detriment: Gemini
Exaltation: Cancer
Fall: Capricorn
House: Ninth
Energy: Masculine
Type: Social Planet


General meaning:
Saturn influences the roles one feels obligated to adhere to. It causes trouble and strife, but spurs on growth and the learning of lessons. Inhibitions, fears, self-control, work ethic, maturity, and responsibility are associated with Saturn.

Domicile: Capricorn
Detriment: Cancer
Exaltation: Libra
Fall: Aries
House: Tenth
Energy: Masculine
Type: Social Planet


General meaning:
Uranus has everything to do with the way a generation views progression, technology, and revolution. It influences the trends, developments, and changes a particular era makes (or fails to make).

Domicile: Aquarius
Detriment: Leo
Exaltation: Scorpio
Fall: Taurus
House: Eleventh
Energy: Masculine
Type: Generational Planet


General meaning:
Neptune is about fantasy and reality, truth and deception, confusion and clarity. It influences a generation’s worldview and sense of actuality. Dreams, uncertainty, ignorance, mysteries, and perplexity are associated with Neptune.

Domicile: Pisces
Detriment: Virgo
Exaltation: Cancer
Fall: Capricorn
House: Twelfth
Energy: Feminine
Type: Generational Planet


General meaning:
Pluto is about power, transformation, and discovery. It influences the destruction an era will face and the rebirth that will come from it. The way a generation uses or reacts to dominion is heavily colored by Pluto.

Domicile: Scorpio
Detriment: Taurus
Exaltation: Pisces
Fall: Virgo
House: Eighth
Energy: Masculine
Type: Generational Planet

drabble series; big bird

part twelve; pg; early msr, maybe season 2? post abduction; Our duo are on a journey to see a huge fucking bird.

part one, part two, part three, part four, part five, part six, part seven, part eight, part nine, part ten, part eleven


Everyone takes turns or they go out all at once, bringing their knitting or their Bud Light or their nerf balls, and they play around Mulder and Scully, speak around Mulder and Scully, generally treat Mulder and Scully as if they weren’t there.

There is nothing more close-knit than a trailer park in the middle of a dry summer, in the midst of unspeakable horror. Hurricanes and mass layoffs and the death of a beloved Harley. The last cigarette for a month, the end of football season. Your father’s pill addiction and pawning this and pawning that until there’s nothing left to pawn and then pawning whatever comes next. There are trailer parks you’ll spend your whole life in and trailer parks you’ll only move into when hard times hit, and none of that matters. The trailer park in this story could be any trailer park, and Sandwood residents could be any residents. Only the big bird could not be any other big bird. It is only this big bird.

“This isn’t going to do shit,” says Luther, who’s been clawing at the bugs under his skin for a good thirty minutes. “Just waiting and looking. We need to go find it.”

“The bird always comes back here, Luther, you’re just on meth again,” remarks the old woman, rolling her eyes.

“I agree with him,” Mulder says, although no one seems to care what Mulder says. “We should be taking action. We need to assess its habits and form a search.”

(“I am having difficulty articulating what a colossal waste of time this is,” Scully will later admit at the motel, hands folded in her lap as a testament to her graveness. “I’m past the point of arguing the validity of… a single word we’ve had spoken to us in the last twenty-four hours.”

Mulder, who’s been wearing sunglasses indoors for the past hour and a half as a defense mechanism, and also as protection from all the orange, tells her: “Isn’t that what makes it fascinating? Isn’t that the point? We make claims and tell lies and even hallucinate the hypotheses, and then we wait for the kernel of truth to pop out. This is the scientific method going live, Scully.” He pats her on the shoulder, thinks about pulling her close. He feels happy for some reason. “This is what we do.”

Scully reluctantly agrees. With the sentiment, and to continue their search for the big bird.)

sinquis  asked:

Hey Sheila! I recently started cosplaying so I'm still trying to get used to getting my picture taken. I have never modeled before and being in front of the camera feels... awkward and unnatural? I only look good from very certain angles and it's hard to adjust myself into the right angle when the camera is always in a different position. Do you have any suggestions for feeling more comfortable and coming up with poses? Also, general tips on facial expressions?

Pracctticeeeeee!!!! Practice. 

Everything just takes practice. Seeing yourself on camera is gonna feel and look really STUPID for the first few times. Then you start looking at it more clinically. “That angle should have been higher, etc etc”

My major advice first:
Spend an hour in front of the mirror, or take a fuck ton of selfies. Experiment. YOU WILL NEVER LOOK GOOD FROM EVERY ANGLE. At least not to you. Even Beyonce probably has a specific angle of her face she prefers. Learn which ones you like and dont— so that way you can position yourself correctly when someone asks for a pictures. It’s your job to know your face better than anyone, so spend some qaulity time in front of the mirror smiling, laughing, looking angry, looking sad, and turn your face in those expressions in every directions. Do you like your profile? Is you nose too big when you tilt your head up? Forehead too big to look downward? 

Talk to your photographer. 
Just because they raise the camera doesn’t mean they know best. If they are shooting you from a bad light or angle, let them know. “I’m gonna turn this way so it looks better.” They will follow your lead 99% of the time. They just want a good photo.

Lightlightlightlight. When the camera goes up, you are now a FLOWER. Direct your face to the strongest light source. Hotel overhead lights, the sun— angle your face at that sucker. It always improves the casted shadows of your face and makes you look more prominent. This also helps you elongate your neck which is very important. It helps you avoid looking short, squatty, or double chinned.  

Photography isn’t just about taking a picture — it’s like a stage. You need to ACT as much as you need to pose. Over exaggerating is your friend. Especially since photos are flat and not dimensional. 

Pose ideas:
Collect 3-4 poses from your character. Literally copy their promotional images, their standing idles, their cutscene movements. Practice it like choreography. Anything you see your character do is fodder for poses. 

Relax your face: 
In between photos, puff out your cheeks, snarl your face, scretch your mouth wide liek a dog — basically, loosen your muscles. We are so used to stiffening up and smiling for a camera that its hard to break that habit.  A trick is: Inhale or exhale sharply, forming the word: “YOU”.  Yes, I know it sounds stupid, but: “YOU”  Your facial structure will come alive, your cheekbones and mouth will look more prominent, and the look will be overall more engaging. Wether your smiling or not, this will help you look waayyy natural on camera. 

More tips here!

Thorough posing tips here!

anonymous asked:

For breeding season or winter fasting, what would you say is "normal" for how long they go off feed. How long should you wait before it's time been "too long"? Some ppl keep saying after 6 months is time to panic?

Honestly for a male, 3 months is the longest I would deem ‘normal’ for breeding season. Any longer and its likely a husbandry issue, or formed habit of refusing.

The Bunyip - Australian Cryptid (wikipedia)

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The bunyip, or kianpraty, is a large mythical creature from Aboriginal mythology, said to lurk in swamps, billabongs, creeks, riverbeds, and waterholes. The origin of the word bunyip has been traced to the Wemba-Wemba or Wergaia language of Aboriginal people of South-Eastern Australia. However, the bunyip appears to have formed part of traditional Aboriginal beliefs and stories throughout Australia, although its name varied according to tribal nomenclature. In his 2001 book, writer Robert Holden identified at least nine regional variations for the creature known as the bunyip across Aboriginal Australia.  Various written accounts of bunyips were made by Europeans in the early and mid-19th century, as settlement spread across the country.


The word bunyip is usually translated by Aboriginal Australians today as “devil” or “evil spirit”. However, this translation may not accurately represent the role of the bunyip in Aboriginal mythology or its possible origins before written accounts were made. Some modern sources allude to a linguistic connection between the bunyip and Bunjil, “a mythic ‘Great Man’ who made the mountains and rivers and man and all the animals.” The word bunyip may not have appeared in print in English until the mid-1840s.

By the 1850s, bunyip had also become a “synonym for impostor, pretender, humbug and the like” in the broader Australian community. The term bunyip aristocracy was first coined in 1853 to describe Australians aspiring to be aristocrats. In the early 1990s, it was famously used by Prime Minister Paul Keating to describe members of the conservative Liberal Party of Australia opposition.

The word bunyip can still be found in a number of Australian contexts, including place names such as the Bunyip River (which flows into Westernport Bay in southern Victoria) and the town of Bunyip, Victoria.


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Bunyip (1935), artist unknown, from the National Library of Australia digital collections, demonstrates the variety in descriptions of the legendary creature.

Descriptions of bunyips vary widely. George French Angus may have collected a description of a bunyip in his account of a “water spirit” from the Moorundi people of the Murray River before 1847, stating it is “much dreaded by them… It inhabits the Murray; but…they have some difficulty describing it. Its most usual form…is said to be that of an enormous starfish.” Robert Brough Smyth’s Aborigines of Victoria of 1878 devoted ten pages to the bunyip, but concluded “in truth little is known among the blacks respecting its form, covering or habits; they appear to have been in such dread of it as to have been unable to take note of its characteristics.”[13] However, common features in many 19th-century newspaper accounts include a dog-like face, dark fur, a horse-like tail, flippers, and walrus-like tusks or horns or a duck-like bill.

The Challicum bunyip, an outline image of a bunyip carved by Aborigines into the bank of Fiery Creek, near Ararat, Victoria, was first recorded by The Australasian newspaper in 1851. According to the report, the bunyip had been speared after killing an Aboriginal man. Antiquarian Reynell Johns claimed that until the mid-1850s, Aboriginal people made a “habit of visiting the place annually and retracing the outlines of the figure [of the bunyip] which is about 11 paces long and 4 paces in extreme breadth.” The outline image no longer exists.

Debate over origins of the bunyip

Non-Aboriginal Australians have made various attempts to understand and explain the origins of the bunyip as a physical entity over the past 150 years.

Writing in 1933, Charles Fenner suggested that it was likely that the “actual origin of the bunyip myth lies in the fact that from time to time seals have made their way up the … Murray and Darling (Rivers)”. He provided examples of seals found as far inland as Overland Corner, Loxton, and Conargo and reminded readers that “the smooth fur, prominent 'apricot’ eyes and the bellowing cry are characteristic of the seal.”

Another suggestion is that the bunyip may be a cultural memory of extinct Australian marsupials such as the Diprotodon, Zygomaturus, Nototherium or Palorchestes. This connection was first formally made by Dr George Bennett of the Australian Museum in 1871, but in the early 1990s, palaeontologist Pat Vickers-Rich and geologist Neil Archbold also cautiously suggested that Aboriginal legends “perhaps had stemmed from an acquaintance with prehistoric bones or even living prehistoric animals themselves … When confronted with the remains of some of the now extinct Australian marsupials, Aborigines would often identify them as the bunyip.” They also note that “legends about the mihirung paringmal of western Victorian Aborigines …may allude to the …extinct giant birds the Dromornithidae.”

Another connection to the bunyip is the shy Australasian bittern (Botaurus poiciloptilus). During the breeding season, the male call of this marsh-dwelling bird is a “low pitched boom”; hence, it is occasionally called the “bunyip bird”.

Early accounts of settlers

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An 1882 illustration of an Aboriginal man telling the story of the bunyip to two white children

During the early settlement of Australia by Europeans, the notion that the bunyip was an actual unknown animal that awaited discovery became common. Early European settlers, unfamiliar with the sights and sounds of the island continent’s peculiar fauna, regarded the bunyip as one more strange Australian animal and sometimes attributed unfamiliar animal calls or cries to it. It has also been suggested that 19th-century bunyip lore was reinforced by imported European memories, such as that of the Irish Púca.

A large number of bunyip sightings occurred during the 1840s and 1850s, particularly in the southeastern colonies of Victoria, New South Wales and South Australia, as European settlers extended their reach. The following is not an exhaustive list of accounts:

Hume find of 1818

One of the earliest accounts relating to a large unknown freshwater animal was in 1818, when Hamilton Hume and James Meehan found some large bones at Lake Bathurst in New South Wales. They did not call the animal a bunyip, but described the remains indicating the creature as very much like a hippopotamus or manatee. The Philosophical Society of Australasia later offered to reimburse Hume for any costs incurred in recovering a specimen of the unknown animal, but for various reasons, Hume did not return to the lake. It might be noted that Diprotodon skeletons have sometimes been compared to the hippopotamus; they are a land animal, but have sometimes been found in a lake or water course.

Wellington Caves fossils, 1830

More significant was the discovery of fossilised bones of “some quadruped much larger than the ox or buffalo” in the Wellington Caves in mid-1830 by bushman George Rankin and later by Thomas Mitchell. Sydney’s Reverend John Dunmore Lang announced the find as “convincing proof of the deluge”. However, it was British anatomist Sir Richard Owen who identified the fossils as the gigantic marsupials Nototherium and Diprotodon. At the same time, some settlers observed “all natives throughout these… districts have a tradition (of) a very large animal having at one time existed in the large creeks and rivers and by many it is said that such animals now exist.”

First written use of the word bunyip, 1845

In July 1845, The Geelong Advertiser announced the discovery of fossils found near Geelong, under the headline “Wonderful Discovery of a new Animal”. This was a continuation of a story on 'fossil remains’ from the previous issue. The newspaper continued, “On the bone being shown to an intelligent black (sic), he at once recognised it as belonging to the bunyip, which he declared he had seen. On being requested to make a drawing of it, he did so without hesitation.” The account noted a story of an Aboriginal woman being killed by a bunyip and the “most direct evidence of all” – that of a man named Mumbowran “who showed several deep wounds on his breast made by the claws of the animal”. The account provided this description of the creature:

“The Bunyip, then, is represented as uniting the characteristics of a bird and of an alligator. It has a head resembling an emu, with a long bill, at the extremity of which is a transverse projection on each side, with serrated edges like the bone of the stingray. Its body and legs partake of the nature of the alligator. The hind legs are remarkably thick and strong, and the fore legs are much longer, but still of great strength. The extremities are furnished with long claws, but the blacks say its usual method of killing its prey is by hugging it to death. When in the water it swims like a frog, and when on shore it walks on its hind legs with its head erect, in which position it measures twelve or thirteen feet in height.”

Shortly after this account appeared, it was repeated in other Australian newspapers. However, it appears to be the first use of the word bunyip in a written publication.

The Australian Museum’s bunyip of 1847

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The so-called bunyip skull

In January 1846, a peculiar skull was taken from the banks of Murrumbidgee River near Balranald, New South Wales. Initial reports suggested that it was the skull of something unknown to science. The squatter who found it remarked, “all the natives to whom it was shown called [it] a bunyip”. By July 1847, several experts, including W.S. Macleay and Professor Owen, had identified the skull as the deformed foetal skull of a foal or calf. At the same time, however, the so-called bunyip skull was put on display in the Australian Museum (Sydney) for two days. Visitors flocked to see it, and The Sydney Morning Herald said that it prompted many people to speak out about their “bunyip sightings”. Reports of this discovery used the phrase 'Kine Pratie’ as well as Bunyip and explorer William Hovell, who examined the skull, also called it a 'katen-pai’.

In March of that year 'a bunyip or an immense Platibus’ (Platypus) was sighted 'sunning himself on the placid bosom of the Yarra, just opposite the Custom House’ in Melbourne. 'Immeadiately a crowd gathered’ and three men set off by boat 'to secure the stranger’ who 'disappeared’ when they were 'about a yard from him’.

William Buckley’s account of bunyips, 1852

Another early written account is attributed to escaped convict William Buckley in his 1852 biography of thirty years living with the Wathaurong people. His 1852 account records “in… Lake Moodewarri [now Lake Modewarre] as well as in most of the others inland…is a…very extraordinary amphibious animal, which the natives call Bunyip.” Buckley’s account suggests he saw such a creature on several occasions. He adds, “I could never see any part, except the back, which appeared to be covered with feathers of a dusky grey colour. It seemed to be about the size of a full grown calf… I could never learn from any of the natives that they had seen either the head or tail.” Buckley also claimed the creature was common in the Barwon River and cites an example he heard of an Aboriginal woman being killed by one. He emphasized the bunyip was believed to have supernatural powers.


Oh the Bunyip’s very bad
And the Bunyip’s very bold
And they tell you that the Bunyip’s
Now a thousand years old.

So you better come home quickly
And you better hide very soon
Or the Bunyip’s going to get you
In the Bunyip moon

The Bunyip’s not the animal
The Bunyip’s far too bird
The Bunyip makes the strangest sounds
That you’ve never even heard

So you better come home quickly
And you better hide very soon
Or the Bunyip’s going to get you
In the Bunyip moon  

The Bunyip’s always nasty
And the Bunyip’s very mean
It’s the most unpleasant monster
That you’ve never even seen

So you better come home quickly
And you better hide very soon
Or the Bunyip’s going to get you
In the Bunyip moon

In the moon
In the moon
In the moon

-The bunyip lyrics from Dot and the Kangaroo

anonymous asked:

About addictive magic? How can I work it? How can I make my characters to seem addicted in magic, specifically, dark magic?

Addiction: the state of being enslaved to a habit or practice or to something that is psychologically or physically habit-forming to such an extent that its cessation causes severe trauma. (x)

Writing addictive magic is similar to writing addictive substances such as drugs, or habits such as gambling. Write it and plan for it in a similar way.


Your first thing to consider is why your character does it. What are the effects of the magic that make it desirable? What’s the draw? If there’s already a knowledge of what happens when someone uses magic on a regular basis, or over-uses it to the point of not being able to stop, what makes your character do it anyway? No matter how they got started, you need to know what they get out of it. It may be advanced powers, a feel-good power-rush, an altered outlook on the world (for better or worse), or any number of other benefits from the magic. The why is dreadfully important to it making sense in your story. If there’s no good reason why, there’s no good reason to have it happen. Think about how your magic system is structured already; it may be that the addictiveness of it is already written into the system (ex.: holding a spell longer than 10 seconds taps a user into a ‘call of magic/siren effect’ that causes them to want to use and use and use) or it’s not (ex.: a user has always had favorable outcomes in the past despite that success is only a 50% chance; they have now used so many times in all circumstances that they don’t believe they have the know-how or capability to achieve goals without using). Whatever the reason why, know what makes it addictive.

Side Effects:

What are the consequences of using the magic? Substances in the long-run often don’t turn out well, so unless your magic is dependent on over-drawing power, which would be strange, consider what makes it dangerous. Honestly, if it’s not dangerous, why worry about the addiction at all, and why isn’t everyone addicted to it? Make sure you outline the effects at each stage of the addiction, including how your characters feel and what they think about the situation.


Include thoughts on the symptoms of withdrawal whether with the intention to quit or the inability to use in a timely manner. Are withdrawal symptoms purely physical, purely mental/emotional, or a combination of both? Can someone quit the use of magic? Does it just mean that your characters interact with magic warily and are as strictly careful about it as possible? Do they time themselves or limit themselves in some way?

Writing Addiction:

Always know where in the stages of addiction your characters are at every moment you are writing with them. Constantly reassess how “under the sway” of this thing they are. Small things can cause drastic changes, very quickly, so always be aware. Know the rules of your magic. Know when it’s a danger, and know when and how to properly use it. Don’t shy away from showing the effects within your narration! Try not to rely too heavily on thoughts or on other characters to illustrate how that character is losing their will to the use of this magic. The more you can put your addicted character front-and-center and actually show the tendencies of the addiction, the better.

Whether the magic is “black magic” or another kind makes no difference. The magic does specific things, operates in specific ways, and then you apply the addiction of it to your character. You could have a character addicted to earth magic, growing a flower with every step or consumed by it to become a tree, just as easily as you could have a character addicted to “black magic” bringing people back from the dead in droves or inflicting pain on others. Have a reason why they do it, show how it changes them and affects them, and think about what happens when they don’t. I’ve included some resources for addiction including substance for ideas on effects and for progression of addiction.

a chart of the effects of drugs
how to write a drug addict // information on drug addiction
physical and psychological addictions
addictive magic on tvtropes for reading & research recommendations

all the king’s horses and all the king’s men

Summary: “It’s like that nursery rhyme or whatever,” says Gina, lounging in her chair and blowing on the sparkly coat of polish she’s just applied to her pinky. “All the king’s horses and all the king’s men, couldn’t arrest Doug Judy again!”

“Not helping, Gina,” says Jake in a muffled voice, his face smushed uncomfortably against his desk with no intention of being lifted in the near future.

“Don’t worry,” says Amy consolingly, chewing on a cherry tomato from her salad and patting his hand. “I’m sure you’ll catch him someday.”

OKAY SO LIKE. this fic is completely dedicated to @elsaclack, who pretty much collaborated with me to write it. Half the best ideas are hers, okay, she should be lauded for loving Doug Judy as much as she does. This fic was basically as a result of that – me and Em’s deep and abiding love for Douglas Judy, the best arch nemesis to ever exist on TV. And … this fic was born. I swear, it wasn’t supposed to be this long when I started it two months ago. :))))). Anyways, thanks to @weaslayyy for proofreading!! xoxo

When he’s eight, Jake’s Nana tells him that bad habits are never things that happen on their own, but something that you – however unconsciously – cultivate yourself. You need to nip them at the bud, Nana says, nodding wisely, so that you don’t end up being that fool who picks his nose in a job interview or can’t stand in line for pizza without wiggling his behind to the invisible tune of If I Were A Rich Man without even noticing you’re doing it.

Of course, Jake is, in fact, eight years old, and doesn’t quite know what cultivate mean. But he does think that it would be pretty cool if he could wiggle out all of If I Were A Rich Man with his butt, which is something that he then proceeds to do.

Nana laughs for a whole ten minutes and then tells him to sit down and do his math homework or she’ll cancel cable television. An empty threat, to be sure, but at the time Jake is very offended.

(In retrospect, Jake might say that the fact that he got a B-minus on his math quiz the next day was not because he was concentrating on the movements of his afore-mentioned behind in his seat instead of adding two-digit numbers – but because somehow, somewhere, Doug Judy was plotting his demise.

“Unbelievable,” says Rosa when he tells her this, which Jake translates as That’s a pretty good theory, Jake, so he grins at her and goes back to trying to throw paperclips across the room and into Scully’s wide-open snoring mouth.)


Keep reading

  • Me: Well actually some women wear their headscarf even when they no longer see it as a religious requirement. I have family members from Muslim countries who continue to wear the hijab but no longer identify as Muslim. You've spent years wearing it, your family and friends still do, and it's like a part of your cultural identity, you know?
  • Peer responding: I find it interesting that some women simply wear the hijab because their friends wear them and it's a part of their culture. I guess it's like when kids do drugs or form bad habits because they friends make them.
DAY 3019

Jalsa, Mumbai                July  6/7,  2016                 Wed/Thu  3:26 am

Early mornings begin with a gentle giant and a little kid .. the BFG of Stephen Spielberg, being dubbed in Hindi, and they chose me as the giant’s voice is quite remarkable to see the advancement of technology in film .. and of course in the digital virtual world ..

Soon after Kailash Kher with that wondrous voice needs my voice in a bhajan he has structured for the Kedarnath Temple and I sing a few lines .. “jai jai kedara” ..

Divinity was ever personal with us .. our faith and our prayers and our temples were and are within the house .. there is no need to make them public .. or to bring it to the masses .. it is a belief, and beliefs are within and personal ..

Divinity .. our faith .. and our support system .. in all circumstances .. the power of belief moving mountains and monuments .. how ever did they structure those temples at such remote locations and heights .. and how did they survive .. and continue to do so even after thousands of years .. 

As I drive by in the early hours of rain drenched surroundings, overcast skies and the shine and glitter of washed streets and plants, one does observe a certain effort towards cleanliness and efforts being made to keep it that way .. 

It is a matter of discipline .. discipline teaches many other aspects in our society, takes care of and reflects attitude and compassion towards many other aspects of our living ..

So .. we appreciate and applaud the drives in other countries, but do not in ours .. its habit forming .. its education .. its discipline .. when they get together, achievement is not too far away ..

The effects of discipline reflect at the time of our singing the National Anthem .. watching the UEFA EURO cup 2016 each night has the maximum attraction for me at the time of the singing of the anthems of the two teams playing .. to me it is the most dynamic moment in the game .. that moment describes a world, which no other can understand .. it is a link a binding to a community which we know and believe is ours .. mine !!

Ours and mine are those that bear the stamp of possession .. of having my stamp of authority on it .. it belongs to me and I shall protect it ever .. and moments of national pride are expressed in the deepest of emotions on our faces, when we are in the environment of that moment .. it is the stillness .. it is the respect and face of its national .. its more than any other communal singing or concert ..

There is something about it .. which endears us all to its bearing ..

May each anthem from all the countries be their guidance in hours of extraneous presence .. may the chorus of such, become the impregnable wall that builds itself in the protection from all other evil and destruction .. may the peace of one be reflected in the peace of the other .. and the other and the other .. ever ..

I am tired of the wars and the fighting and the violence .. the destruction and the futility of it ..

Stop … stop the car .. I wish to get off .. !!

Amitabh Bachchan