Dec 22 - Aleppo is officially evacuated, its people displaced, and the mass demographic change has already begun
although the people of Aleppo were more or less evacuated willingly, this was essentially a forced displacement - they were always the intended victims of the violent attacks/massacre, and this was purposely the outcome all along
please please keep them in your thoughts, talk about it still, this doesn’t mark an end to the regime’s oppression & ultimate genocide
I kind of like the implication that Aang went through this brief period of “Fuck the Fire Nation,” after finding out that his people had been massacred.
The show doesn’t focus too much on Aang’s grief in Book 1, but I feel like this meshes well with my headcanon about Aang being reminded of Kuzon while talking to Katara in “The Storm,” which ultimately leads to him reminiscing about him in “The Blue Spirit.”
A man with a name derived from the Hebrew phrase “gift of God”, whose mother was Jewish, who is the grandson of Jewish Polish immigrants, and who received a bar mitzvah, holds an art installation that broadcasts online through a public camera. The piece involves reciting the same sentence as many times as one likes, and is intended as a protest against an oppressive regime supported by and promoting fascism.
A member of the public walks up to said public camera, wearing a Hitler Youth hat, and begins deviating from the script of the art piece by quoting speeches promoting Nazism.
The artist responsible for the installation responds by shouting over the member of the public, not with insults or threats of violence, but with the script of the art piece.
The artist is arrested.
Now, tell me how Shia is the one that did wrong here?
This book will mess you up. Mia has to put the pieces of her life back together again after a horrible accident, and decide if living is even worth it. Full of love, romance, and grief, you’ll want to keep the tissues at hand.
Okay, but maybe you’re looking for a Fantasy adventure that will not only have you burning the midnight oil but also leave you totally emotionally wrecked? Then you’re looking for the An Ember in the Ashes series by Sabaa Tahir.
Elias and Lia come from different worlds, but together they just might be able to overcome the oppressive regime of the Empire. Will their love be enough to overcome the divide between them? You’ll have to read to find out.
But then maybe you just want to have a gentle cry, the kind where you’re innocently reading a book under your desk in math class and then SUDDENLY TEARS. Then you’re looking for Nina LaCour’s We Are Okay.
Marin has cut off contact with everyone from her past, even her best friend Mabel. But now Mabel is going to visit Marin, in the hopes of reconnecting and helping Marin deal with the tragedy that left her heartbroken. Full of beautiful moments between friends, there’s a lot of love and a lot of tears wrapped up in this package.
Lorna lives on the shortest street in Brooklyn, which is said to be cursed. Any man a woman on the street falls in love with will die, but Lorna and her friends don’t believe…until they do. The feels are strong with this one, as you travel the map of love and grief, and forbidden romance.
Riz Ahmed, who plays the Rebel pilot Bodhi, confirmed that he also is a former Imperial serviceman. He said the character comes from an occupied planet, where he was pressed into service but turns traitor when he becomes too horrified by the actions he is forced to carry out.
RIZ AHMED’S BODHI ROOK JOINING BOYEGA’S FINN AS ANOTHER MAN OF COLOR BREAKING FREE OF OPPRESSIVE REGIMES HELMED BY WHITE MEN
block anyone who calls chelsea manning a he. they have nothing important or correct to say about her. and theyre usually fascists defending our oppressive regime who hate people who call attention to our country’s war crimes so like… how much do you really want to listen to a transmisogynistic fascist?
Hey just found this blog its Amazing! Thanks for existing! Can i ask you for some pointers? I have a character born without an arm and im trying to figure out his fighting style. He's physically fit and heavily trained. Any advice?
As a writer, you need to know how something works before you start trying to break it. It doesn’t matter whether it’s guerrilla warfare against an oppressive regime or a hand to hand duel. You need to know what the pieces are, and what they’re used for. This is doubly important when writing about or crafting characters with disabilities because the status quo has a direct effect on them and their existence. Most of the time, they must come up with alternate solutions.
You can’t develop alternate approaches for a character with one arm when you don’t know why both arms (and hands) are important in martial combat. Think of your character as an ingenious problem solver. He looks at the status quo rules with a new set of eyes, determined to find ways in which they can be beaten, adapted, and overcome.
You can’t write a rebel if you don’t know the rules. You can’t think outside the box if you don’t know what’s in it. Start with the status quo, establish what it is, then expand outward.
I have two rules whenever setting out to write a character with any disability (mental or physical).
First: Have a firm grasp of your setting and the types of combat, including culture and standard requirements such as with a military that you wish for your disabled character to be taking part in. Essentially, the world as it is for someone who is considered defacto “normal” by the mass majority of its citizenry i.e. nurotypical or able-bodied.
This is the world your character will inhabit. If you want to understand a character who is outside of what the vast majority consider normal, you need to start by determining what that normal is.
You can’t answer the question of “what is combat like for a character with one arm?” if you don’t understand on a basic level the function of arms in combat.
You can’t answer question about their experiences if you don’t know what the attitudes are toward able-bodied combatants even before we get to a disability. If you want to write a character who is a soldier but only has one arm then you’ll run up against questions like, “how do his buddies feel about going into battle and entrusting their lives with a one armed guy?”
Those questions are based in societal perceptions about disability. Now, there are plenty of real live human beings throughout history who have adapted their disabilities to suit their needs, survived, and thrived.
Yet, you will still find plenty of “able-bodied” people in the world who see disability as an insurmountable obstacle. Just like any number of men will say that women can’t fight, even though there are women everywhere from professional fighting to sports to law enforcement to military. Perception and reality are different, but often perception informs how we view and see ourselves, and what we believe to be possible.
The beast of fiction relies on established rules and all outsider characters in fiction rely on the author having a firm grasp on social conventions to communicate what exactly it is that they are defying.
You can’t craft solutions if you don’t know what the problem you’re trying to adapt to is. As a writer, you need to figure out how a character fights with two arms, two hands, two legs, two feet and why all the appendages are important before you move on to how they fight while missing one.
Second: Understand the limitations of the disability. What can the person do? What can they not do? How does this conflict with the expectations created for the “normal” or able-bodied who also participate? How it affects the character’s life. The perception of them by the others versus their perception of themselves.
You can’t skip the portion of “learning about combat” and go straight to “how disabled person fights” because, well, it doesn’t work like that. In addition, you won’t gain any appreciation for the level of work involved, the ingenuity, creativity, out of the box thinking, and general guts it takes to blatantly challenge social convention.
You’ve got a character who has to learn how things are “supposed to be” then adapt everything out and come up with strategies to beat what is considered to be, by most people, an insurmountable disadvantage.
They’ve got to find other characters in their desired field who are willing to teach them, work with them, and devise new ways of approaching combat/their martial art.
This is not an automatic assumption. Those people, just like the people who do in real life, will take on the social stigma and more than likely the accusation that they are just sending the protagonist out to die.
The infantilization of the disabled is very real and such a character requires a support network of those willing to assist them. Training in martial combat requires a team of people. A master and those willing to submit themselves to be practice dummies while the student learns.
It’s going to take a lot of trial and error on their part because this sort of training doesn’t come prepackaged.
And you, yes, you are going to have to most of that research and lay the groundwork yourself.
The fighting style doesn’t matter, except when it comes to the setting, timeframe, availability of the training, and the requirements of the job.
Plenty of people of all shapes and sizes get into martial arts, martial combat, professional fighting, etc. These people do so out of interest, not based on what is statistically relevant. If you’re looking at training in martial arts based off of “what’s best for my size and shape” then you’re going about it wrong.
When writing a character with a disability, you’re going to be doing the vast majority of the work by yourself. There are real life examples to draw from, which I will get to below, but you and you alone are going to be responsible for your research. There is no handy, easy chart or common martial art specifically developed to be suitable for a character with only one arm.
The character trains in and adapts their chosen martial style to suit them, developing strategies to deal with their opponents. In this way, they are just like every single other person on the planet. It’s just more obvious and therefore, more difficult. Especially when you, the writer do not share in that disability and must teach yourself an entirely new way of thinking/looking at the world while also convincing yourself (for the purposes of writing this character) that that other way is your new normal. Instead of wondering what it’s like to be without an arm, you’ve got to forget that you’ve ever had one.
You are going to be doing what you should be doing for any character you write. In this case, the differences are just more pronounced.
If your character cared about “the best way for someone like me”, he wouldn’t be doing this at all. Conventional wisdom would kill his fighting dreams right out of the gate.
You’ve got a character who when the world said “there’s no room prepared here for you.”
He said, “That’s okay, I’ll do it anyway.”
He went out, found someone to teach him, and pursued his dreams in the face of social convention. Those deep desires should be the foundation for how you pick his martial style. Base it off of what he wants, what he wants to be, and what he thought would be the best way to get there.
Don’t think about that missing arm.
In this decision making process, it’s irrelevant. He chose to pursue what he wanted regardless of what conventional wisdom said. His disability is not going to factor in until the time to learn comes.
For example, I have ADD. Born with it, diagnosed in the second grade. Was always considered to be “strange” even before my diagnosis. When I was in kindergarten, KWJN Gary Nakahama and his Palo Alto West Coast Demo team came to my elementary school and put on a presentation.
I was five years old and enthralled. I grabbed one of the flyers they were handing out, carefully stashed it in my backpack, held it in my head until my parents picked me up from afterschool daycare, and begged them to sign me up for classes.
Now, I have three black belts in Taekwondo.
This is the story of thousands of kids all around the world and I didn’t even need to add my mental disability as a qualifier, but I did because we’re talking about disabilities and how, at this stage, they really don’t matter.
The desires this character is going to have and the drive to pursue what they’re going to do come from events in their own life, like anyone else. The specific martial art can be a choice made by chance or research.
Here’s a few more examples.
Nick Newell, born with a congenital amputation of his left arm, wanted to be a UFC fighter and found a gym willing to train him. He was a walk-in. Now, he’s a UFC Champion.
Johnny Tai, a blind man, who already possessed a brown belt in Taekwondo but began training in Krav Maga because his blindness restricted him from participating in competitions.
There are multiple other examples of other martial artists with disabilities who sought out training, either because they wanted to defend themselves, because they were interested, because they wanted to do competition, because they wanted to be on TV, the list goes on. The story behind why they began learning is ultimately going to be more relevant due to their desires than their disability. Training for martial combat is a long, difficult process on its own. Your character is going to be better off doing it because they love it rather than for some mythical, statistical “better”.
Most people who go in for “better” or “best” often end up miserable and quit.
Research different martial arts. Pick one. Learn everything you can about it. Then figure out how it applies to your character and how your character applies it. As needed check for stories about those with disabilities and martial arts programs which cater to them. Learn about them, and use them to help further your character within their setting.
More on Nick Newell:
Check out Nick Newell for inspiration. He’s a UFC fighter born with a congenital amputation of his left arm. He’s made a pretty good career for himself on the professional fighting circuit.
Now, before you get too excited, remember that combat on the street or on a battlefield has different priorities than combat in the arena. You can’t just take one and slap it onto the other. It’ll work out about as well as Gina Carano in Haywire where they decided to use straight UFC combat for their action sequences with Federal Agents. The problem with UFC combat is primarily it’s perennial focus on grappling. It isn’t about ending fights quickly, like most forms of entertainment, it’s about extending them.
Boxing and other forms of bloodsport are where the misnomer about the amount of time combat takes come from. Street fights are usually under a minute, usually withing the 30 second range. It’s fast and it’s over.
UFC makes its money on butts in the seats. If the fight’s over in a few seconds then the crowd leaves disappointed. One of the major complaints levered against Ronda Rousey, for example, was that she’d end a fight in the first few minutes rather than being a showman.
So, instead of looking at Newell’s fighting as a source of inspiration, my suggestion is to look at Newell himself. Look at his determination to overcome a handicap most people thought to be impossible, even on an amateur level. Look at the way he and his trainers adapted the techniques he used in order to make that handicap (missing half his arm) his strength. Look at how he made his lack of a lower arm part of his fighting style and transformed what most saw as a disadvantage into a championship winning strategy.
However, also look at the resistance to him from other members of the UFC community. His difficulty at getting fights. The way he was occasionally pidgeonholed as a sideshow act, and how many fighters turned down bouts with him because they saw it as a lose/lose situation for them.
Don’t copy Newell.
Instead, research the core of personal dedication which brought Newell success, his strategies, the training devised for him, his approach, and the discrimination he faced. Try to get at the underlying principles of how someone with a disability adapts their techniques to their advantage, rather than trying to force fit them into a preconcieved notion of what a fighter is.
To do that, you need to understand the type of combat that you plan on writing in your novel and what the general rules associated with it are. This is both from a technical/technique standpoint and a cultural one.
Writing disability in fiction requires a lot of research on the simple basis that someone who is disabled is actively influenced by the culture that surrounds them and how it perceives them. A disability is not the total sum of a disabled person’s being, and it’s wrong to present it that way. For them it’s a fact of life, a part of themselves they negotiate around and adapt strategies for. It’s the rest of society at large who try to define a disabled person by their disability.
bangtan be out there promoting, doing amazing comebacks, talking about problems, bringing everyone’s attention to important things, mental health issues, oppressive school regime, beauty of youth, composing, learning new choreographies, selling out tickets in 2 minutes, touring (almost) all over the world, and there’s still people that have the courage to not recognize their talents and talk shit abt them
The code of ethics is clear. These times are those for which our profession was designed. We have an ethical obligation to act and to do so in political and social arenas. It is not enough to work with those who are oppressed by regimes like Trump’s. We are expected to engage in social action aimed at changing the political structure.
I have felt really beaten down lately. I will admit, I have wallowed. This piece gave me much needed energy and hope. The authors are right. As social workers, we are called to fight. We have a professional and ethical obligation to ourselves, to our communities, to our clients. I’m ready.
I’ve been trying to find a way to use “menorah club” as a tag, since I’m rather attached to my personal religion tag already, and “jumblr” is the most effective way to reach, well, jumblr
When I think of a menorah, I think of an obvious, deliberate symbol of Judaism and Jewish identification during a long history of times when that identification was not always safe or easy. I think of the hanukkiah and the defiance against oppressive regimes that wanted to take away people’s rights to be distinct.
So I’m using it as a resistance tag and a solidarity tag. Feel free to take it.
Smuggle birth control and hormones to those who need it.
Ride your car all night to take someone to an abortion.
Share your last books with the kids that have no library anymore.
Donate to free journalism. Share their stories if you can’t donate.
Block and stop engaging with fake news sites.
Get involved in local politics to bring change to your community.
Get involved in help organisations. Let their existing structure guide you towards causes that need your time and effort.
Protect your fellow people when you see they are discriminated against in public spaces. Become a shield for trans women in bathrooms. Take the hand of a muslim women getting called names and get her out of there.
Contact your representatives. Let them know what you think.
AND VERY IMPORTANT - take care of yourself. Living through oppression when it fights you is resistance. Do what you can for others with the spoons you can spare - but also always always take care of yourself. You are important.
Charlie is the white male protagonist–the alien prince without a people. This is meant to be his tragic backstory. She’s just the terrorist who attacked his people. And yet…? This becomes her story. She is a freedom fighter against an oppressive regime. The ‘tragic prince’ is the heir to a morally questionable monarchy. He is not the hero (nor is she the villain) one would expect.
1. Showed from his early days that he would be a man who would stand for Hindus and Muslims alike.
2. Rejected the glimmer of capitalism as a young boy, centuries before it was considered a cool thing to do, by taking gold bracelets gifted to him and throwing them into the river.
3. At the age of nine, he advised his father, Guru Tegh Bahadur, to stand up against the oppressive Mughal regime who were persecuting Hindu Brahmins, people who were not even a part of his faith- Guru Tegh Bahadur ended up sacrificing his life for the lives of the Brahmins.
4. Became Guru at the age of nine.
5. Lead his first battle against corrupted Kings at the age of 19, and won the battle.
6. Established the nationhood of the Khalsa on Vaisakhi 1699.
7. Elevated the status of women by deeming them Kaurs- derived from the Rajput term “Kauwar,” denoting the heir to the throne; a title higher than “Singh,” which was given to nobility.
8. Showed compassion even while battling soldiers of the oppressive Mughal regime; Guru Sahib would coat his arrowheads in gold so the wounded soldier could use the monetary value of the spearhead to pay for his medical treatment, or if the soldier died, the arrowhead would provide monetary support to the soldier’s family. Compassion and love came first and foremost.
9. Knew a plethora of languages and was able to write using a combination of Arabic, Farsi, Sanskrit, Brijbhasha, and other languages, as he kept the grammatical and linguistic integrity of all these languages within a single passage, all while making them flow together seamlessly.
10. Despite being left with nothing but a bed of thorns and a rock for a pillow in the jungle, Guru Gobind Singh wrote to the emperor a Zafarnamah, Epistle of Victory, outlining that even though Aurangzeb had performed all the acts he had planned, Guru Sahib was still the true victor, as he had his ethics and his humanity intact, while Aurangzeb’s army took an oath on the Qur’an, that they would not attack the Khalsa army, but broke the oath and did so anyway. He also reached out to discuss ethics and religion with the emperor, and even to forgive Aurangzeb, despite him killing Guru Sahib’s father, his four sons, and his mother, and causing his family to break apart and crumble.
Guru Sahib taught us that the true wealth in this world is that of ethics, and Truth. Everything else is but a mere illusion. May we all be able to follow Guru Gobind Singh Ji’s example of love, integrity, and justice.
A soulmate AU where your soulmate tattoo/mark/whatever only appears after you make a choice or do something that is defining to your character. I love soulmate AUs, but what if instead of all that predestination your soulmate was directly related to the person you choose to be. Like instead of people being born with a soulmate, soulmates are matched by the universe once each person has taken a defining step in becoming their truest self. For example: words on your wrist appear right after you make the decision to revolt against your world’s oppressive regime. Or when you quit your unfulfilling day job to follow your passion as a painter. Just soulmate AUs where the universe decides who your soulmate is after seeing the person you choose to become.
In recent years much has been written about non-white women and men’s participation in the various revolutions. Even if this literature were to be doubled or tripled, however, without renewed thinking about the concept of revolution, a reconstruction of lost pieces of the puzzle will not shake the idea of regime that has been stabilized out of the existing concept of revolution. Construction of a new regime means demarcating the sphere of sovereignty, declaring the end of revolution and establishing who is entitled to citizenship and who is not. A new conceptualization of revolution must then account for these three factors: space, time and body politic, and for the great power of those oppressive regimes that were constructed out of the eighteenth-century revolutions to render self-evident the identification of revolution with self-determination and liberty. Regime change is actually limited to the plane of ruling power and its institutions. The differential body politic of the governed people became irrelevant to a conceptualization of regime and revolution. The time has come, then, to think the concept of revolution out of the ongoing distress of flawed civil existence under those democratic regimes that were produced by the great revolutions of the eighteenth century and out of the regime-made disasters they have never ceased to produce while disseminating their mission throughout the world to overcome dark regimes.
sappy stuff that will make me fall for you at valentines
-cliche pick-up lines
-burning love (for France)
-unrequited passion (for revolution)
-the blood of the French monarchy dripping through bruised hands after the defeat of the oppressive regime ruling a country’s blackened past