ivin

Nov. 12 2:13 pm
My favorite game to play with supernatural:

Spot the Season one Extra and instantly recognize them from later seasons as a different character. (because i always jump and shout I KNOW THAT ACTOR FROM SOMEWHERE and it always leads me back to Supernatural!) 

(Alexia Fast)Season 1: The Benders-Missy

Season 7: The Slice Girls-Emma (Deans Daughter) 


(Britt Ivin) Season 1: Teenage Girl

Season 9: Muriel

And i know there’s more! but these are the first two i remembered. Feel free to add more!

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Today (1/28) Is NASA’s Day of Remembrance  honoring the crews of the Columbia and the Challenger including Ms. Kalpana Chawla. 

Further Reading

1. Kalpana Chawla: Biography & Columbia Disaster 
2. Profile of Liu Yang, China’s first woman astronaut 
3. [Marsha Irvins] Reveals What Life In Space Is Really Like 
4. Stephanie Wilson: Becoming an Astronaut Kicking and Swimming  
5. NASA astronaut Janice Voss dies, flew on five space shuttle missions

*Note* 5 Women Who Wednesdays highlights five women in a particular field, there are many more and this is not supposed to be an inclusive list, only a sampling

An Astronaut Reveals What Life is Really Like in Space

“It turns out that once you’re actually in orbit, zero-g has some upsides. Without gravity, bodily fluids move toward your head. It’s a great face-lift. Your stomach gets flat. You feel long, because you grow an inch or two. (I thought, “Oh cool, I’ll be tall,” but of course everybody else was taller too.)”

Read the full interview with astronaut Marsha Ivins at wired.

The minimum wage for a tipped position in Arkansas — like the one I held as a bartender — is $2.63 an hour. The assumption is that tipped workers will earn their own minimum wages by making up the difference in tips. When this happens, a “tip credit” is given to employers, and they save money by paying less than the standard minimum wage.

It was the way I spoke that landed me the job. I had no experience, but the owner of the bar told a friend she hired me because, “she speaks well and has all her own teeth.” I guess she assumed I would learn to make drinks. I didn’t. I wasn’t very good at my job, but one thing I was good at was listening. And what I often heard was a growing dissatisfaction among poor whites who were struggling to make ends meet in the failing economy.

I understood their fear and frustration. I’ve spent a great deal of my life living in poverty. It’s scary being poor, worrying that one parking ticket would mean I couldn’t buy groceries, or deciding whether I should see a dentist about a toothache or pay my trailer park fee. It’s humiliating and terrifying, but sitting around and crying about it isn’t an option because we know that the only thing more pathetic than someone living in poverty is someone living in poverty and crying about it. How many times have we been told to get a job, or that if we just worked harder we could improve our situation? Work harder. Work harder. Work harder. American society has made it perfectly clear: if you are poor, it’s your own damn fault.

I understood what it was to go hungry. Many times I didn’t eat on my days off, but waited until I could get back to work and sneak something from the kitchen. Remember that tip credit? I did, too, every time I stole a biscuit with gravy or a basket of tater tots.

I understood their anger. Since crying isn’t an option, we swallow the sadness, and it sits and churns and gets spit back out as anger. I’ve felt this anger more times than I care to remember. I was angry that I couldn’t afford to paint my walls in shades of possibility. I was angry at my life choices that never felt like real choices. I was angry that wealth and prosperity were all around me while my hands remained clenched in empty pockets.

What I couldn’t understand was why my customers directed their anger at other poor people.

—  Joanna Ivin on the origins of white supremacy and its continued appeal to white people
http://www.theestablishment.co/2016/05/24/i-know-why-poor-whites-chant-trump-trump-trump/
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The Human Face of Migration 

via photoworks: According to a BBC article published 25 June 2015, more than 150,000 migrants have crossed into Europe this year and the number shows no sign of abating. The majority of imagery we see through media outlets in relation to the migrant crisis is reportage-based, photojournalistic, but some photographers are choosing to interpret the theme of migration in more creative ways.

Aida Silvestri: Even This Will Pass

Sam Ivin: Lingering Ghosts

Michael Radford: Our Rights

Aida Silvestri whose project Even This Will Pass explores the journeys and experiences of Eritrean refugees. Silvestri, who was born in Eritrea to an Italian father and Eritrean mother, photographed refugees from the East African country who have made the dangerous journey to London on foot, by car, bus, lorry, boat, train, aeroplane, and even by camel. To protect the peoples’ identities she unfocused her lens when taking each portrait, and mapped the routes they had taken across the surfaces of the images. What results is a powerful and moving collection of portraits through which the photographer intelligently and imaginatively interprets what is a huge and difficult to document issue.

Sam Ivin photographed asylum seekers from Iran, Pakistan, Syria, Eritrea, Egypt, Sudan and Iraq, among other places, who now live in Cardiff. Like Silvestri, Ivin was conscious of protecting his subject’s identities so he decided to scratch away the surfaces of his images until the people were no longer recognisable. The act of literally scratching away the person’s face also acts as metaphor for the loss of identity many asylum seekers suffer as they wait to learn whether or not they will be granted refugee status in the UK. These are people, says Ivin, who are in a state of limbo, unable to fully integrate into British society, and whose futures are uncertain

Michael RadfordOur Rights focuses on members of the migrant community in Château Rouge, northern Paris – one of the largest in France, according to Radford. Constructing a pop-up street studio using a sheet and a flashgun, Radford photographed passersby against a white background, removing all context. Viewers can see these digital collages here; clicking on part of the image takes the viewer through to the complete portrait.