mainstream life

anonymous asked:

YOUR FUTUREVERSE ABO AU IS AMAZING \o/ though smh yurio keeps looking like murasakibara from that extra game knb movie to me lol except more angry and blonde ofc and it makes me laugh harder ha ha

WOW so I’m answering this like two months late bc I meant to draw a response but I never got around to it…but HERE TIS

I also noticed several months into drawing older!Yurio that the way I draw his hair is pretty much the same as longer haired Mukkun, but admittedly they both have pretty similar hair styles to begin with and both tie their hair back so it wasn’t that much of a stretch of the imagination…

Height difference and personality aside, I like the thought of these two interacting bc they both have they’re both bratty but violently aggressive and also share the nickname “fairy.” <3

but like seriously tho Yurio’s way shorter than Kuroko, it’s super mindfuck to put charas of these two fandoms together, but that’s honestly mostly bc KnB peeps are all freakin’ giants…

and thanks for liking my silly AU! :’D

Random Twitter bios

{name of idol} is my aesthetic

I’m the drug in your veins, just fight through the pain

You’re ripped at every edge but you’re a masterpiece

Lol no I don’t do “love”

No one dies a virgin, {name of idol} fucks us all

But I’m lost in you

Everything is grey

Not all beautiful things are real

S/he wanted tea, I was coffee

Love doesn’t hurt, expectations do

Bring your love baby, I can bring my shame

Sometimes quiet is violent

Peace will and win fear will lose

Crying out to ears that never listen

A black glass heart filled with sorrow

A black year and a black heart

It fills with hatred and leaks with blood

Inhale the love exhale the fire

Those who are heartless, once cared too much.

I’m lost. Show me to your heart

I’m lost

Silence is better than bullshit

Are we awake

What if

Bring the drugs, I’ll bring my pain

No miracles here

More lost than the lost boy from never land

take my hand and I’ll throw you back into hell

You are my sunshine

Sing me to sleep

I cried tears you’ll never see

Love is perfectly destructive

It’s too mainstream to have a life

I could look into your eyes until the sun comes up

my mind chooses the worst moment to reminisce

and I am just a fallen star trying to put myself back in the sky

and if you fall, I’ll make sure that you fall hard

lol no

and your blood stains my heart

love is bs. Stick to food

like/reblog if use or credits to @httpmisfitx

In Praise of Charlotte & Female Legacy

Strap yourselves in, crew, because I Have Thoughts.

I’ll start this off by repeating (with some changes & additions) what I wrote in another reblog about the theme of female narratives on Black Sails.

Black Sails is incredible not just for its queer representation but also its women and, even more incredibly, its commitment to female relationships, women supporting each other, and female legacy.

Idelle always stood by Max, and when Max started her steep social climb, she never forgot about the friend by her side and pulled her up along with her, as she put to use the skills she herself had learnt from another woman: Eleanor.

Madi adored and was inspired by her father, but it’s her mother that has raised her and taught her the leadership that sets her apart from every other character on the show. I’d argue that none of the men, not Flint nor Silver nor Billy nor anyone else, is as accomplished a leader as Madi, and it’s no coincidence she learnt a great deal of that from her mother.

Even though we never get to fully delve into that aspect on the show, the profound impact of losing her mother has forever shaped Eleanor, who started her life-long quest of legitimizing Nassau in response to her mother’s statement that it was “no place for a little girl”. As Hannah New said, this made her determined to be „the girl that makes sure no more women die the way [her] mother died.“

Marion Guthrie is not just a woman in power, she’s a woman who wanted to pass on her legacy and skills to her granddaughter. When she learns of Eleanor’s death she recognizes a kindred spirit in Max, who finally gets to see modeled for her the kind of person she could be, that Eleanor could have been. Even if she turns down Marion’s first offer, this relationship is massively important to Max and must have widened her horizon immeasurably by showing her just what is possible. Marion immediately chooses to bestow her inheritance on Max in lieu of Eleanor, wanting her life’s work and power to remain in a woman’s hands.

Heck, add Mrs Hudson conspiring with Mrs Mapleton, or Eleanor and Miranda’s initiative that saved Abigail, or Mrs Mapleton’s continued work for Max, or Madi drumming up support by talking to Eme, or her nigh-prophetic talk with Ruth.

And all this isn’t even going into the romantic or not-supportive relationships between women!

However, within the universe of the show, as in real life, women’s achievements are often dismissed or forgotten by the larger narrative. Even if they leave visible fingerprints in history, the hand that made them is often forced to stay invisible.

Marion Guthrie is pulling the strings behind the scenes, Max can only run Nassau by using Featherstone as the face of her rule, and Eleanor’s efforts for Nassau on Rogers’ behalf were never going to be remembered by the history books. Civilized society allows them no other venue to visibly hold power. Eleanor, Max, Madi and the Maroon Queen could carve out spaces of open sovereignty only outside of civilization, in places that were created with the express purpose of existing outside of mainstream society. In real life, they would likely go on to leave no visible trace of their contributions and relentless struggle for influence.

So let’s get to the main course. 

Charlotte, who unwittingly and against all odds has the most visible and longest-lasting legacy of all female characters, possibly all characters, period.

To start off let’s appreciate Idelle confronting Anne about Charlotte’s murder in 408. (Which is an exceptionally good episode for the female cast, and was - surprise! - written and directed by women.) 

In any other show, Charlotte would never have been mentioned again. She was a minor character, and a prostitute to boot, and we all know how media likes to treat women like that. But Black Sails, even if it took 20+ episodes, reminded us that she wasn’t just cannon fodder, that her death was impactful and cruel, and that she left a legacy in the people she surrounded herself with, be that Idelle’s friendship and loyalty or Jack’s pirate flag - which leads us to my main point here.

Can we acknowledge that the symbol that goes on to represent pirates forever was designed by a woman

Yes, Rackham gives directions and gets to popularize it, but the show went and took this important piece of pirate mythology and entrusted it to the hands of a young woman of low circumstances

The show could easily have had Jack himself draw the motif, he is after all a creative man with a background in textile design, and his most defining character trait is his wish to design his own legacy. Instead, we get more than one scene of Charlotte struggling to fullfill a difficult client’s demands. (And isn’t that relatable to everyone who has ever created art on commission!) And two episodes before the final reveal, the narrative makes sure to remind us of this seemingly unremarkable woman and what happened to her. Her involvement was significant and the show doesn’t allow us to forget. If it had only ever been about setting up the punchline (”it’s fine”) for the final reveal, there would have been no need to draw so much focus to her untimely demise in 408, at a time when all plot threads were coming to their end, when everyone was scrambling for the finish line.

Rackham, by grumbling that it’s “fine”, relinquishes ownership to some degree: it’s the first time he sees it as it will henceforth be recognized as his insignia, and further down history, the ultimate symbol of piracy itself. He didn’t design it, Charlotte did, and her inheritance is the one that, within the world of Black Sails, will live on when Rogers has returned to Nassau and every pirate has been hanged, when all bones have crumbled to dust and all our heroes have been reduced to monsters by history. Any child alive today will easily recognize the skull and crossbones, but how many can recite the deeds of Calico Jack Rackham? Or that it as Woodes Rogers that brought Nassau to heel? So even if Jack went on to make it the icon it is, the symbol far outlived his own infamy.

And finally, when Jack has already turned away to deal with ship’s business, it is Anne that spends a moment longer looking at the flag, maybe even remembering its origins - the woman whose premature death she is responsible for. And it is Anne that has the final words of the show, ordering the crew to “Get us underway!”

Flint knows that as a deviant man, he will likely be remembered as a monster along with his fellow pirates. A woman’s legacy, on the other hand, is often glossed over and forgotten by history, like Max and Marion Guthrie’s power behind the scenes, like Charlotte’s contribution to history.

Black Sails reminds us of the stories that real life history distorts by diminishing those on the fringes.

And that’s why to me, Black Sails is an incredible statement on female legacy.

“It’s a choice”: the Off Colors

One thing I really like about the Off Colors is that they don’t make a distinction between who “really belongs” based on perceived choice.

On one hand, we have Padparadscha and the Rutile Twins, who were not useful to Homeworld because of how they were made. The Twins emerged with a conjoined body (which can happen to humans, too) and Padparadscha’s mental abilities don’t work the way the mental abilities of other Gems of her type do (which can also happen to humans). They’re Off Color, and they have no choice about being outcasts.

On the other hand, we have Rhodonite and Fluorite, who–as Fusions–are living their truth as the result of forbidden relationships. Rhodonite is a relationship between two Gem underlings who were “found out” and ejected, which is something that certainly can happen to humans if they have relationships or desires that aren’t accepted by those with control of their lives. And Fluorite is that same situation several times over, being the product of six Gems deciding to share one existence while leaving the door open for “the right Gem.” Fluorite could never be herself and live a fulfilled life in mainstream Gem society; her world thinks fusion is for fighting, not for contentment and closeness. 

Nobody in the episode implies that Rhodonite and Fluorite belong less than Padparadscha and the Rutile Twins do because of fusion being a choice. 

Nobody in the episode suggests the component Gems of Rhodonite and Fluorite could belong and be happy if they’d just unfuse and serve their intended purpose.

Padparadscha and the Rutile Twins don’t treat Rhodonite and Fluorite as if their relationships have led them to choose their own oppression. They all belong because they don’t belong, and no one suggests the Fusions’ choices are selfish or that they aren’t a true part of who they are at the core. 

The members of this group all support each other, and they recognize that their past pain led to a similar situation despite the differences in their origin. 

And though fusion is a choice, the person it makes them is not simply a thing they can decide to be or not be. Fusion itself is a choice, but it’s also far more than a choice. It’s an identity. It’s not something they can just put down or decide not to be anymore if they get sick of it. Humans in real life who aren’t straight or aren’t cisgender are sometimes told that they wouldn’t face danger if they’d just choose different relationships or refrain from choosing any. Or they’re told their nature should be hidden if it endangers them or upsets their loved ones. 

That is a poisonous narrative that advocates externally enforced closeting, and I’m so relieved and pleased to see that it is not present in this cartoon.

Let’s hear it for the Off Colors. :D

In the famous Egyptian myth of
Osiris, it is god Osiris that’s being killed by his brother Seth, a terrible act indeed, Egyptians avoided to speak of the murder’s details believing that they shouldn’t focus too much on darkness itself, that if one is too occupied with it he/she will summon more of it, that association is totally contrary to today’s media, tv shows and films practice that focuses on raw violence, its narration and re-narration, a constant emphasis aiming where?…we should all think.

Vera Bousiou

A woman from the Kalbelia “gypsy” caste in Kadel village in Pushkar.

Photo Series: Faces of India
Location: Pushkar, Rajasthan

To buy this Photo print mail me at

Join @siddharth-setia-photography to see more from my Travel Stories.   

About "being mainstream"

So today I realized something.

For some reason I was never really accepted in my class.
I always wondered why.
Why am I the one who’s always being criticized, made fun of and even admonished by teachers?
And why is my friend seen as the fun, talented one? Why does everyone instantly like her?

Well now I know why.
There’s a difference in how we look:
I’m a brown eyed girl with dark, curly, short cut hair.
She’s a blue eyed girl with blonde, straight, long hair.
We both live in Germany but I’m part Latina.

This is the problem.
This is the reason why people like her and think I’m weird.
I’d say my friend and I both aren’t “mainstream”. We do what we want, have our own opinions and don’t care about being like the others.
But my friend looks more mainstream than me.

It’s sad to see how superficial a lot of people are.

Especially those “weird” different things about you makes you unique. It let’s you stand out of the crowd. But people also want to be accepted so they change for it.

Don’t change who you are or what you look like. The things about yourself you might be ashamed of now might be an advantage for you in the future!

things my tiny excitable awesome roman art professor has said today:

  • “vergil was a very cool poet. cooler than me.”
  • “we love augustus. augustus is our very good buddy.”
  • “brickstamps! say what? brickstamps.”
  • “what’s that thing catholics do where they go and say everything they did wrong? huh. weird.”
  • “when i started doing my dissertation on eastern roman art in israel and judea, my advisor said to me, no joke, he said ‘haven’t you ever considered doing something more mainstream, like the ara pacis?’ i’ve never done anything mainstream in my life.”
  • “you go in(to the pantheon) thinking it’s going to be your regular roman temple but *gasps, exclaims in surprise* it’s a big round room with a huge dome that’s not falling on you. amazing.”
  • “wait a minute: honey, i shrunk the porch.”
  • “and how did they manage this architectural feat? cliffhanger! see you on wednesday!

anonymous asked:

I never said you said people can't enjoy KS. Never even hinted at it. What I find stupid, is the fact you actually believe fiction has a hold on people's minds. When Harry Potter came out no one thought they were wizard, no one attempted to do spells or find hogwarts. When The Hunger Games came out, nobody got in a ring to fight their friends to the death. Should I go on? Wanting 2 characters to have sex or be together doesn't mean you're making a fetish or a goal out of the relationship...

There’s a reason that during political regimes, certain books are banned and why books are sorted by age categories for the content within it. Repeated exposure to a subject can lead to desensitization towards its subject matter. Though studies have not found that kids who play violent video games significantly demonstrate violent behavior, studies have shown that kids who play violent video games are less affected by violence in media. 

Constant exposure to fetishization of a social group, be it ethnicity or a same-sex relationship, without critical thinking on the reader’s part reduces the reader’s ability to recognize fetishization as a problem in reality as well due to internalized normalization of the content. There’s a reason why fetishization of Asian women (’yellow fever’ is such an ugly term) and desexualization of Asian men is so prevalent in the current, real world, and it’s all to do with the works of fiction and basically fictional accounts of the Western world about the Orient. 

If you’re going to make it easy for me and bring in the big works like Harry Potter, I don’t even have to pull out my psych book - I can just link you the studies. First of all, no one may have thought they were a wizard or attempt to do spells, but the number of kids who waited for their Hogwarts letter is more than you might think, and that’s only approaching the issue in the way you have narrowly defined it.

Fiction has social, transformative capabilities. Here’s a piece in the New York Times about how the themes present in Harry Potter has been influential to an entire generation. Here’s an article in the Scientific American about how the series instills empathy in children. Here’s the NPR’s on a study that claims reading Harry Potter leads to more positive social attitudes in children. Johns Hopkins University wrote a whole book on the subject. The Conversation also touches on this, and further, links to other studies on how fiction influences audience thinking.

Those are just the big-name publications I could link on Tumblr. The number of scholarly sources I can access through my university’s database is astronomical. Everyone wants to write their thesis on Harry Potter, I suppose, aha.

The Hunger Games has not been around for as long as Harry Potter nor comparably internationally successful, so there aren’t as many studies completed, but there is still this article from the Huffington Post with quotes from students remarking on real-world connections to the story and this Daily Dot piece on the series’ cultural impact. Oh, would you look at that. No one got in a ring to fight to the death, but there’s been an uptick in archery lessons for girls.

And to address your last point, no, wanting two characters to have sex or be in a relationship does not mean you are fetishizing them. It depends on why you want the characters to have sex or be in a relationship and how you portray it, and with Killing Stalking, it’s all too easy to get it wrong. 

If the primary reason you want the characters to have sex is because ‘it would be hot’, it’s fetishistic, and not just in the case of LGBT relationships. However, it is more damaging to LGBT people because proportionally, there are fewer LGBT sex scenes in media, so proportionally, there are fewer LGBT sex scenes done without a fetishistic gaze. If the primary reason you want the characters to be in a relationship is because you find it titillating, then it’s fetishistic, and it’s more damaging to LGBT people for the same reason: There are fewer LGBT relationships in mainstream media. 

Real-life lesbians have to deal with men who think they can butt in with a threesome, an idea popularized by pornographic fiction. Real-life gay men have to deal with gay-ship fangirls who tactlessly ask, “Which of you tops?” without realizing that asking about someone’s sex life might be intensely intrusive, thanks to yaoi culture. Bisexual and people with low sex-drive in general all have to deal with people who think that they can be the ‘exception’ and change their mind once they have sex, thanks to a lot of damaging fiction and ‘no means yes’ fiction written in the past.

Fiction can very much exert cultural and social influence, and trying to claim otherwise is a discredit to many great storytellers of the past and an offense to many aspiring storytellers of the future.

i read an analysis i forgot whose that stated the infamous phrase “a land without a people for a people without a land” didn’t mean that zionists saw palestine as having literally no people but rather as not having a people who mattered. that take was right on the money because although the phrase was actually coined by christian restorationists one of its earlier incarnations “a country without a nation” makes it clear that the thinking was that palestine contained “people” but not “a people” with culture history and claims of their own and whatever did exist was inferior to the culture history and claims of the jewish people. witness the opening paragraphs of the peel report for example with phrases such as “palestine had virtually dropped out of history” and “palestine lay outside the mainstream of the world’s life”.


Playground (2009) 

Directed by Libby Spears, this documentary film exposes the failures of the United States legal system and the foster care systems implemented to protect children from the growing child sex trade in their own backyards. Spears scrutinizes these elements as well as family life and mainstream media that normalize violent sexual behaviors against children. Playground gives an up-close look into the raw reality of the sexual exploration of children in the Unites States for an unwary audience. 

Illustrations by Yoshitomo Nara in collaboration with animator Heather Bursch

Age Gap

I’m so sorry if this is terrible! I’ve been really stressed lately with my assignments and exams, I hope you are all doing well and I apologise for taking so long!! Anyway I hope this isn’t terrible or crap and I hope you enjoy it :)

 I was fifteen years old and working part time when I met Jerome. He was undoubtably attractive and had this aura about him that prevented me from turning away. I tried to made small talk with the young man as I made his coffee. To my surprise he made small talk back and ended up distracting me a little during my shift.
I giggled like a naive high school girl whilst falling in love with his unique smile and charm. I wrote my number on his cup before he left hoping that he was single. When he was almost out the door I saw him notice my number on his cup, he let out a small laugh before sending me a killer smile that was followed by a wink. After that we just hung out more and more in secret.
I never knew why it was in secret. After a few days of flirting he asked me to be his and I, of course, said yes, but I obviously didn’t read all the terms and conditions

 And that’s how I ended up in the predicament I was in now. With 7 SWAT team officers aiming their firearms at Jerome and myself, I unknowingly tightened my hold on his arm. For 2 weeks I had been reported missing and kidnaped, Jerome had taken me away from the mainstream of daily life and I lived for it. The rush of adrenaline I got just from being out with him was insane.
His killer smile turned more psychotic and deranged after each job such as this one.
Shouted one of the GCPD SWAT members as they all took a step forward. Jerome laugh maniacally before deciding to speak. “I think you’ll find that she is my girlfriend and that she safer with me then anywhere else!” in the blink of an eye, Jerome turned serious and handed me the bag of stolen money from the bank.
“I am the Leader of the Maniax and I have freed this poor beautiful soul from becoming a cog. Two more years in the prison you call school would of fully transformed her into a cog in the Giant absurd machine”
I let out a laugh as he shot the officer closest to me.
“Ah ah ah, no touching what’s mine” I knew they wouldn’t shoot us, the ‘explosives’ that hung on our bodies like Christmas ornaments was enough to scare the GCPD into calling in the extra help known as the Bomb Squad and SWAT team.
My thoughts were interrupted as Jerome’s warm soft lips pressed against my own. A little squeak of shock from me caused him to smile and break the kiss. “I may be three years older than her, but that’s three years of life experience that will help benefit us in the future” and with a startling loud bang, a hole in the wall was cut and Jerome grabbed my hand as we began making our grand escape.
“Don’t worry sweet cheeks, nothing bad will ever happen to you, I won’t allow this world to poison you”
The SWAT team began to chase us down the street before I saw Jerome pick off one of the explosives and throw it.
I screamed in fright whilst Jerome began to do his eerie but attractive laugh. “YOU SAID THEY WERE FAKE!!” I scarcely yelled at Jerome as we ducked into the ally way we used to hide the get away bus. With a reassuring squeeze of my hand he turned into the Sugar Lips I fell in love with.
Yours ARE fake, I’d never put you in that kind of danger. You are my world, I’d never let anything happen to you unless it was for a reason” He removed our vests and brought me into a tight embrace. “I love that I’m older then you. It means I can protect you better” Jerome said as the bus joined in the long stream of gotham 9AM traffic.

(…)The issue is not between innocence and knowledge (or between the
natural and the cultural) but between a total approach to art which attempts to relate it to every aspect of experience and the esoteric approach of a few specialized experts who are the clerks of the nostalgia of a ruling class in decline. (In decline, not before the proletariat, but before the new power of the corporation and the state.)
The real question is: to whom does the meaning of the art of the past properly belong? To those who can apply it to their own lives, or to a cultural hierarchy of relic specialists?
The visual arts have always existed within a certain preserve; originally this preserve was magical or sacred. But it was also physical : it was the place, the cave, the building, in which, or for which, the work was made. The experience of art, which at first was the experience of ritual, was set apart from the rest of life - precisely in order to be able to exercise power over it. Later the preserve of art became a social one. It entered the culture of the ruling class, whilst physically it was set apart and isolated in their palaces and houses. During all this history the authority of art was inseparable from the particular authority of the preserve.
What the modern means of reproduction have done is to destroy the authority of art and to remove it - or, rather, to remove its images which they reproduce - from any preserve. For the first time ever, images of art have become ephemeral, ubiquitous, insubstantial, available, valueless, free. They surround us in the same way as a language surrounds us. They have entered the mainstream of life over which they no longer, in themselves, have power.(…) 
The art of the past no longer exists as it once did. Its authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose. This touches upon questions of copyright for reproduction, the ownership of art presses and publishers, the total policy of public art galleries and museums. As usually presented, these are narrow professional matters. One of the aims of this essay has been to show that what is really at stake is much larger. A people or a class which is cut off from its own past is far less free to choose and to act as a people or class than one that has been able to situate itself in history. This is why - and this is the only reason why - the entire art of the past has now become a political issue.(…)

John Berger, “Ways of Seeing”, p. 32-33, Penguin