socio economic class

Stop giving religious people a free pass

Religious people are not “enlightened” for saying something that would otherwise constitute basic human decency. 

Religious people are not extra kind and good because they choose not to discriminate against people of other religions, races, gender identities/expressions, sexual orientations, socio-economic class, nationality, or anything else.  

Religious people do not deserve to be praised for paying lip service to progressive values. Especially when they turn around and give money to organizations who work to destroy the rights and freedoms and lives of others. 

Religious people are not immune from criticism of their views just because they believe their views to be sacred. A teaching that entitles it’s practitioners to hurt others is an evil teaching. End of discussion. 

Stop giving religious people a free pass. A smiling face hides a lie better than an angry one. 

GOOD PEOPLE ARE GOOD BECAUSE THEY CHOOSE TO BE GOOD TO OTHERS, not because their “god” tells them to be. 

Mission Bad Boy - 1

Plot: What if you could win 100,000 Won by giving someone a makeover? But here’s the catch – you have 6 months to turn a nerdy, anti-social male into the school’s biggest heartthrob.

Pairing: Kim Namjoon x Reader

Genre: Angst, Highschool au!

Notes: I do not think nerds are ugly, I definitely do not think Kim Namjoon is ugly. Literally everything is taken by Korea’s strict-ass beauty standards. 

I really hope you enjoy it! I’d love to hear what to think. Is it too out there?? Usually shit like this is the other way around, lololol. 4k Words

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Originally posted by jitonic

Ugh, School.

Ugh, Math class.

You really couldn’t wait until you graduated. Just one and a half more years, and you would be out of this hell-hole for good. 

The autumn term of year 11 had begun only a few days ago, and your math teacher had blasted through at least three new concepts. You hoped that someone would be there to help you, but even your friend, Kim Jisoo, seemed to be struggling as much as you were.

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When you have to insult someone’s appearance, nationality, location, race, ethnicity, socio-economic class, etc. in order to “prove” your point by demeaning someone… you have already lost your credibility, any validity to your argument, and overall human decency. You are not an activist, you are an ass.

Karma leaves no stone unturned.

It doesn’t matter what race or gender you are. It doesn’t matter what socio-economic class you belong to. Everyone has to “pay up” when the time comes.

Often times we get wrapped up in our own oppression to the point where we don’t even see how we oppress others, and then when confronted with the facts, instead of taking responsibility, we blame the person on the receiving end for our actions. All of that will be coming to an end.

What people do to you determines their karma. What you do to them and how you react, determines yours!

Diversity is actually very important to me, and while I have honestly been working hard to include as much of it as I can, I do also realize that it’s something I can always improve upon. But it does get a little tricky when it comes to “culture.” I’m not writing about human characters. In fact, I’m writing about characters who find humans… kind of unworthy. So elements of “human” culture don’t fit in the world. (If you’ll notice, the elves don’t follow any human traditions or holidays. They eat different foods. Have their own clothes and style of architecture. Even their own language).

As I said, I have been working harder to be clearer with my descriptions of the characters to make sure readers understand the cast is definitely not all white–and never has been. But I won’t be including any elements of human cultures in the elvin world because it simply isn’t consistent with the world of the story (with the exception of the culture Sophie experienced while she lived with humans, and even then, only in brief mentions. Or perhaps if they visit a human “forbidden city”, there would be mentions of the setting and their reactions to it and observations).

I would also recommend checking out http://weneeddiversebooks.tumblr.com. The team there does an AMAZING job of helping readers discover new books they might not have realized existed.

Again, diversity is something I am always striving to be better about. But again, I do also want to remind you guys that I am VERY intentionally avoiding attaching my elves to any human “culture.” There is no such thing as an American elf, or an European elf, or a Chinese elf or an Indian elf or Vietnamese or Korean or any of those things. Those are human cultural terms that do not apply to the world of the Lost Cities, and things like names and last names are chosen–NOT to connect the elves to any particular culture–but because the meaning or feel fits the character. The name Sencen is not meant to attach Keefe to any form of white culture. It’s a name I invented because it felt appropriate for a family with a heritage of Empaths (given that it has the word “sense” in it). I chose the name Song for the same reason. It has a connection to their family. Additionally, I picked it because–in my research (which admittedly was limited to the internet) it was a name that was attached to several Asian cultures, including Korean, Chinese, and actually Vietnamese. And I chose it to make it clear that Tam and Linh do not belong to any particular human culture. They are simply *elves*.

I’m not explaining that to try to argue I’ve handled diversity perfectly. Obviously I’m a work in progress on the issue (it’s also an issue where it’s impossible to make everyone happy). That being said, I really really hope that my readers understand that my characters are NOT human, and are intentionally separate from human categories of culture and race. They have ONE race. Elf. And they all have blue eyes (except Sophie). But that does not mean they all look like caucasians.

And that’s intentional because one of the themes I wanted to explore in the books is the idea that it’s never right to separate people. The elves only have one race: elf. So skin color or appearance does not make a difference to them. They also only have one culture and one socio-economic class. They all start with the same amount of money. But they DO still discriminate. They discriminate based on talent–something they feel is fair, because someone with more abilities (in their opinion) should naturally have more power and responsibility. But it’s still unjust. And their world is slowly crumbling because of it.

So again, while I definitely consider myself a work in progress when it comes to diversity and always appreciate feedback and guidance to help me do better, please please please also understand that there are no human cultures being represented in these books very specifically because I am not writing about human characters.

Oh, also, as I said–my research on the last names came from Google, so I do realize it’s possible some of it was inaccurate. I do strive to find at least five websites verifying something before I decide to trust it, but still, I *am* aware that the internet can be wrong. But I also was specifically trying NOT to pick a name that was limited to only one culture, so all I was truly Googling was surnames attached to multiple asian cultures so that no one could claim Tam and Linh belonged to any particular one (just as I strive to never have elvin last names belong to any specific European cultures or American cultures).
I also love when I can find a name where all or part of it is a word that means something to the characters. I haven’t told you much about Tam and Linh’s family yet, but we will learn more as the story goes and perhaps then you might see why the name especially appealed to me.

Just wanted to shed some further insights on the naming process. Honestly, I spent an entire WEEK reading websites and baby name books and trying to find names for Tam and Linh that fit with both the elvin world and their characters. For instance, I chose the name “Tam” because it has multiple meanings. According to the websites I found, In Hebrew and Scottish, it means “Twin.” In Vietnamese, it means “heart”. So it had meanings that matched his character in multiple cultures and therefore felt properly disconnected from all of them, matched the pattern of the elvin names I use, and fit his personality.

—  Shannon Messenger, about diversity in the Keeper of the Lost Cities series, November 8, 2016

White privilege is bullshit, and the term is invented for those who can’t win an argument to shut people up. The same reason why morons like to call someone racist, sexist, and homophobic to shut people up. This gay man from facebook wrote his displeasure of the stupid new colors added to the pride flag and explained beautifully on how bullshit the term ‘white privilege’ is, and how stupid people sound whenever they use that term in a debate and to justify their bullshit.

LDS stands for Latter Day Saints.

“The problem is perspective. The word privileged implies getting more than you deserve, when for the vast majority of white people, that simply isn’t true. I know it sucks to flip the term to describe POC as underprivileged and only use privileged to describe the 1%, but that’s about the only way you’re going to level with a person who you know nothing about.


As an example, I live in LDS country, and am non-LDS. That alone shut most doors for me. As a gay man, more doors were shut, and the rest started building moats with sharks, figuratively speaking. I grew up with a single mom, well below federal poverty level. We’ve been through so many horrific tragedies in my family that I can’t even respond to anything with emotion anymore…I just take the hits with as much grace as I can muster and move on. Just between my siblings and I, we were relentlessly bullied by children and adults alike every day, sexually assaulted, beaten brutally through most our childhood, abandoned, and worse. After all I have been through in my life and how strongly I have persevered, I am not now and never will be prepared to let someone treat me with some one-size-fits-all “my adversity is worse than yours” bullshit. I can easily disprove that with the vast majority of those who imply it. Easily.

On the flip side, if my grandfather -a nuclear engineer in the army corps of engineers- had not died from radiation exposure, I’m certain that the course of history would have been vastly different for my family. If I had been born in this alternate reality, I would’ve been raised devout LDS, suppressed my sexuality, been afforded extra privilege because I’d have come from a very high socio-economic class (remember, nuclear engineer grandfather), and enjoyed all the benefits of doors flung open as I approach.

The problem is though, that’s not my reality. When you or anyone else just create a caricature in your mind of who you’re talking to, you’re not going to be received well. Everyone is entitled to their own human experience, and are entitled to others being respectful of that experience. If you can’t muster the decency to learn more about the person you’re talking to without reducing them to assumptions based on the color of their skin, who are you to be talking about racism?”

anonymous asked:

Hey there! I'm building a world with two major classes -- witches (with actual magic) who run the place, and non-witches (ie no magic) who wind up doing most of the labor. How can I showcase the class tension between the two? Are there any ways to showcase the tension without making my ruling class look like bad guys? Thanksees!!

Anywhere you have differences, you will find tensions. Race, gender, religion, sexuality -all of these cause tensions from arguments and insults to wars and massacres. Class is no different.

Permit me, for a moment, to drag out some Marxist theory. The fundamental idea here is that the working class -the ‘proletariat’- are oppressed by the upper classes -the ‘bourgeoisie’- who own the means of production (factories, banks etc.). Marxists believe that the working class need to realise this and rise up in revolution to overthrow the bourgeoisie and take over the means of production for the benefit of all. All this stems from the idea that the upper classes are oppressing the working class for their own gain. So, some theorists, particularly Marxists, would suggest that you can’t have a ruling class without them being bad guys, because they are inherently oppressing other people.

It could also be seen as irresponsible to represent the ruling class as not being ‘bad guys’ in this sense. Imagine, for example, someone was asking how to make a white ruling class not look like bad guys for oppressing PoC, or a straight ruling class oppressing LGBTQIA people still appear like good people. It isn’t the role of this blog to educate on these matters, and there are a lot of great resources here on tumblr if you wish to explore those particular issues. I just want to make it explicitly clear that in many countries class is a social issue comparable to race and sexuality in the fervour and seriousness of the feelings in the debate. If witches vs non-witches is an allegory for current socio-economic class relations, Mod Galbraith would like to suggest that you tread carefully.

Now I’ve gotten that downer out of the way, let’s see if I can actually help out with what you came here for. Class tension can be exhibited in lots of ways, and -fairly or not- can be seen as going both ways (though note that the oppression only goes one way). Examples of tension include:

  • Name-calling: chavs, hood rats, ghetto, yobbos, white trash etc. are all slang used to denigrate and separate out people of typically lower socio-economic backgrounds. Likewise, snob, posh twat, prig and many other unprintable variations are used to mock and insult the upper classes. Magical/non-magic names can be a great way to showcase this, even if the names are less offensive than real world ones to keep your class divide a bit more civil
  • Accent: accents are a great way to separate out people from different backgrounds just by listening to them. As well as slang, someone’s accent can quickly be used to place their background and make judgements -whether accurate or not- about their personality. Even if your characters are from the same region, such as London, there’s a world of difference between a Cockney and an RP (received pronunciation -think Queen’s English) accent.
  • Segregation of living areas, jobs etc: anything from past segregation leading to the separation of races into different areas in US cities to house prices forcing poorer, lower class families out of an area can lead to class divisions by living area. Likewise with jobs, a non-magical person isn’t going to be able to take up a magic-reliant job, and may even be barred from government or police jobs by prejudice about their abilities/background.
  • Different social circles: witches and non-witches not typically associating each other can be quickly showcased the first time two characters from the two different groups interact. How are they supposed to say hello? Shake hands or kiss cheeks? Will they find that joke funny? Should I wear my amulets or take them off? Insecurity on the part of one or both characters can be very revealing of the differences between them without the need for aggression or anger. Then there’s friendship groups: does your witch have any non-magical friends?
  • Different political parties representing each group: this can be seen in the real world in the UK and many other countries. The UK has the Labour party which was set up to be the working man’s party, and the Conservatives who are traditionally seen as the party of the upper classes (please no-one come and argue about who these parties represent etc. etc., I know there’s a lot of dispute about this but I’m speaking historically on purpose here :). Witches and non-witches may end up with two different parties representing them in government, with each group broadly voting for ‘their’ party
  • Protests: if you don’t want your witches to look like the bad guys, I’d stay away from protests. Nevertheless, class tensions often lead to protest, and on occasion to a full revolution (which probably makes Marx happy). This depends on to what extent your witches are ‘running the place’ and how happy your non-witches are to accept this status quo. 

Playing with point of view may help you to dissipate a potential ‘bad guy’ image. There’s a saying along the lines of “the villain doesn’t see himself as the bad guy,” and that rationality can be extended to groups of people as well. If your story is told from the PoV of one witch and one non-witch, their perceptions of their own class and reality may balance out the ‘bad guy/good guy’ dynamic while still illustrating tensions.

Another way to show tensions is through communication culture clashes. What one class may find normal and polite, the other class may find rude or awkward which may lead to further tensions between individuals and classes. For example, in some cultures, it is common to kiss as a greeting, even if it is with someone they first met. For someone coming from a culture where this is not common, it may create a moment of discomfort and confusion, especially if they did not have prior knowledge of this cultural aspect. In this way, neither party is necessarily good or bad, they are just different in ways that have the potential to cause friction. So for your witches, maybe they have a magical signature that they automatically exchange upon greeting someone, which would exclude the non-witches and create a moment of ‘oh no what do I do now?’ moment for both parties when they first meet.

Tl;dr be careful when playing with class divisions. Too little and it could be insensitive, too much and it could take over your story. There’s hopefully a lot here for you to work with and adapt to your needs, so good luck with all your writing!

Okay so I’m researching for my dissertation and I’ve come across a historical event that (probably shouldn’t be, but is) absolutely hilarious to me. 

So in America in 1849 there was a lot of socio-economic tension between the classes, and this included a tension in the kind of theatre that audiences wanted to consume. As settlers had come over from England, a lot of theatre at the time was being sent over from England, rather than being produced in America, so you had a lot of British touring companies doing their Shakespeare thing around the country. 

The Americans didn’t like this. 

Tension built up between the Anglophile middle classes in America and the working classes who wanted to break away from their British past, and this all came to a (unbelievably bloody) head when a British actor called William Charles Macready and a working class American actor called Edwin Forrest got into a huge, nineteenth century flame war over whether British or American actors were better. Obviously the upper and middle class Americans sided with Macready, and the working class Yanks sided with Forrest. 

This was the original fandom war, guys. 

The nineteenth century folks went really hard when it came to loyalty to their fave actors (there weren’t a lot of acting “stars” back then because beforehand it had been seen as basically a form of prostitution and was only just starting to break away from that stereotype). You wanna know what these super fans did? They started a riot. Forrest’s supporters bought a bunch of tickets to a performance of Macbeth that Macready was acting in at the Astor Palace Theatre in New York, and they egged him while he was on stage. Apparently up to 10,000 people were waiting in the streets outside, and the police and army had to be called in because they were all beating the shit out of each other with their top hats and show bills or whatever. 

TWENTY FIVE PEOPLE DIED (INCLUDING A CHILD) AND HUNDREDS WERE INJURED BECAUSE THEY WERE ARGUING OVER WHO CAN PERFORM SHAKESPEARE BETTER I AM DONE. 

One of the many many many things I love about karlena is that there’s no power imbalance? Like ok yeah lena is in a higher socio-economic class than Kara and Kara is like physically stronger but like what I mean is they both give and take from the relationship pretty equally on an emotional level like the need and love and respect each other the same but like with Mon-el he just takes and takes and takes from Kara she has like…. no fulfillment out of that but with Lena they compliment each other while still being their own person and not conforming to the others point of view but still respecting it.

Just

Everything about their interactions is so healthy and good????? Despite the world being against them saying they shouldn’t get along should be friends shouldn’t help each other but like they are so good for each other

In conclusion Kara Zor-El “the best bi” Danvers and Lena “lesbian” Luthor are soulmates thank you and goodnight

okay but guys, narnian fashion. as someone who’s studying history (alongside civil engineering) and adores fashion, i love narnian fashion but i wonder as to how the fashion in narnia began.

like, guys, think about it. when narnia was created, the first human inhabitants were a middle-class couple from the late 1800’s. it’s only natural that helen and frank would have tried to adapt the fabrics they would have been able to conjure over in narnia into the english fashion of their time. imagine seeing dwarfs and centaurs and fauns in bustles and corsets and waist coats with chain-watches. the narnians would most definitely have accomodated to the king and queen’s fashion with their own narnian twists to them, of course, but still not too far from what would have been seen in late-19th century england.

the narnian films depict a mix of different fashions from different time periods but the costume designers remained in the 9th to 15th centuries taking clothing styles from all socio-economic classes and i understand it’s just for the sake of the films, but the illustrations in the books also hold a similar fashion for the characters with the exception of the boys actually wearing hose instead of breeches like they do in the films.

my thoughts are that helen and frank originally began with the clothing of their time period, even going so far as to try to emmulate the fashion of the english aristocracy now that they were monarchs. but narnia didn’t have the technology to create sewing machines, weaving looms were as technologically advanced as they could get. so, realizing how difficult it was for seamstresses and weavers to create all those fabrics and detailed patterns that had to be hand-stitched, helen and frank began to simplify their clothing. helen would use less and less lace, frills, ruching, and flouncing on her gown and quickly made away with the bustle as it required too much fabric. frank stopped using suit jackets and waistcoats, utilized collar-less shirts that were less body-adhering and pants that he would have been able to move easily in. and by doing so they had unknowingly gone backwards with their fashion.

i don’t know, guys. it’s definitely not something i’m complaining about lewis not explaining but something that’s interested me and it’s strange if you think about it. any thoughts? this is definitely something up for discussion.

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GUEST POST: KJ Gormley on “21st Century Breakdown”

Dear Jacqui,

I asked to write about Green Day because I wasn’t supposed to listen to them but did anyway. Teens like me didn’t like “noisey music” or aimless hanging out with friends or marijuana or have legitimate desires to start a terrible high school garage band. You know, fun things. I was supposed to like going to the orchestra and tennis classes, calmly climbing a manicured pathway to success. If I did everything right, the plan would work and I would be better off than my parents.
You see, my mother was trying her damnedest to get me to hop socio-economic classes. Having clawed her own way out of a tenement in the Bronx into the intellectual working class, she was eager to see me skip the middle-middle class part and jump straight to parties with cheese platters and wines I can’t pronounce, even if I had to attend them on a scholarship ticket.

I still listened to Green Day (#thankslimewire) whenever I caved under the geologic pressures to achieve my carefully laid-out life. The car trip to drama competitions. Warm up music before matches. AP Exam studying music. I took them to my fancy New England liberal arts school, where I did more achieving and learned to pretend to my rich classmates that my student job was how I was paying for fripperies, not textbooks.

Then halfway through college (2008), the bottom fell out of the economy and it became clear that no one was going to care about my pile of trophies, but I would care about money. (Upper middle class people don’t talk about caring about money, but mostly because they have it: this was my first rebellion.) So I skipped a year of college to save on student loans and signed up to work the alumni reunion, which involved mornings of cleaning/making beds and afternoons of driving rich alums around campus, being audibly grateful for my scholarship money so they felt better.

21st Century Breakdown came out just as this period of work began and I have memories of accidentally shooting myself in the eye with glass cleaner fluid to We are the desperate in the decline / Raised by the bastards of 1969. Cue eye rinsing and melodramatically staring at myself in a mirror. I knew intellectually my degree would prevent me having to be a working class hero, but I sure as shit was angry about a decade of effort the economy just screwed me out of. This album wasn’t a balm but rather a headphone-based and otherwise silent “fuck you” to all the things I didn’t do when I was busy achieving something, anything.

I don’t wanna live in the modern world/ I don’t wanna live in the modern world, the chorus spun. Me too, buddy, I thought as I viciously folded another hospital corner or chased down a tumbleweed of dust. That album took all my well buried anger and resurfaced it against a background of my college boasting astronomical alumni donations and paying me minimum wage. I felt, rightly, like this was all very unfair. I did what I was supposed to and still got screwed. Physical labor and loud guitars and a thump of angry recognition of myself in the lyrics helped to focus my formless class ire in the right direction. (To say I was primed for Occupy Wall St a few years later is to understate the matter.)

I asked to write about Green Day because I haven’t ever talked about them, or what they did for me: vocalizing my swallowed anger and allowing me chords and time to process and mourn a decade of life where I achieved things instead of having fun and being a teenager. I still don’t talk about how much I love them because I can’t share in memories about being a fan, doing fan things with friends as a teen. Green Day was my secret then, and I guess it still is. I don’t know if I’ll send this post to my parents, but I definitely tagged them in a photo the last time I went to the New York Philharmonic. Class jumping? Sure.


KJ Gormley is a librarian living near the water, currently in Brooklyn and recently Eastern Europe. Featured writing in Brooklyn Magazine, Millennial Gospel, & a few plays produced in Manhattan. They are the worst and best person to take into a bookstore. More writing here.

My Pitch for how to rewrite Arrow.

So, a while back, after me and my brother had a chin-wagging session on why Arrow was a legitimately terrible show after Season 2, I decided to do a little think piece: say I was tasked with rebooting Arrow a couple of years down the line. How would I do it? What would I change (a lot)? What would I keep the same (not a lot)? I decided to sit down and write out a basic outline for a rewritten Arrow Season 1.

…two weeks, 2000+ words and another basic outline for Season 2 later, I am pleased to present my pitch for Arrow Season 1 under the cut to anyone who might give a shit.

WARNINGS for: discussion of violence, mental health and swearing.

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Anonymous said:

I’m trying to flesh out some aristocrats / extremely wealthy socialites in a high fantasy novel and I am not too sure how to portray their lifestyle as distinct from the lower socioeconomic classes, other than with simply the quality / rarity of things they can afford. Do you have any world building insight pertaining to subcultures that could arise in a class society? Thanks♡

I’m going to assume your world is pre-industrial since it’s high fantasy, so this post will be geared toward those types of worlds.

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anonymous asked:

Just realized that Dick grew up in my socio-economic class (straddling the poverty line; you have all the stuff you need, but nearly everything 2nd hand). And now I really want to know: what are the head cannons you have related to the Grayson's social class?

Heey hey. Dick Grayson socio-economic HCs!

  • Dick is uncomfortable around expensive upper class things. He’s gotten used to living in a mansion / penthouse through Bruce, but the idea of drinking thousand dollar wines or eating tiny proportional meals from 5-star restaurants rubs him the wrong way and feels wasteful. He sees it as ‘drinking someone else’s paycheck in three sips.’
  • I HC that Dick wears a Rolex that Bruce gave him, but he wears it for the sentimental value and doesn’t care that it’s a status symbol. Pretty much everything else he wears isn’t brand name. Dick cares about his appearance and dresses tastefully, but he doesn’t spend an exorbitant amount of money on clothes and doesn’t care at all about whether he blends into upper class. Half of it is probably thrift clothes, while the other half is stuff that either Kory or Alfred have gotten him over time
  • Dick is cognizant about not being wasteful with electricity / water, so he’ll frequently turn off lights in rooms that aren’t being used. He’ll also do it when it’s not his own house out of habit
  • Now that Dick is well-off financially, he’s always looking for opportunities to help others. He doesn’t like to just hand out money but will instead provide people opportunities to get back on their feet, offering them job opportunities through Wayne Enterprises
  • When Dick was a Bludhaven cop, he liked to spend his time chatting with some of the poverty stricken kids on coffee breaks or while things were slow. At first, most of the kids didn’t like him and thought he was a ‘typical cop,’ but over time, his genial and non-condescending nature won them over. Dick offered them acrobatic lessons at the local gym on Saturdays and was an occasional mentoring figure. If he ever saw them ditching school, he’d make an effort to get them to go back. Over time, this got him some street tips that he was able to use as Nightwing
  • Although Dick’s family grew up on a tight budget, one thing they didn’t skimp on was food due to them being world-class athletes. Dick will still spend more money on quality, fresh and even organic food, most of which he’ll prepare for meals himself. Sometimes cooking is a relaxing habit for him; sometimes he has too much going on and goes for the quickest thing to eat.
  • Dick isn’t materialistic at all. He keeps some things out of sentimentality, but isn’t preoccupied with owning a lot of luxuries and doesn’t mind a messy or sparsely furnished living space. From growing up in a trailer, he’s good at making do with whatever’s around
  • When Dick eats out, he has a tendency to over-tip around 25%. He also has a habit of cleaning up his space and stacking dishes for the waiter to make their job easier

ashdo  asked:

Hi! I have a CTM-related question and I thought maybe you could enlighten me! English isn't my 1st language, and I can tell not all characters have the same accent (like, Welsh for Delia and Scottish(?) for Shelagh) but I was wondering if other characters also had a specific accent, either from somewhere or related to their socio-economic background. I assume Patsy and Chummy speak posh? but I can't really tell! What are the connotations associated with the way they all speak? thanks :) xxx

 Oh my god, this is literally such an interesting question for you to ask me to dig my teeth into. Ahhh, I’m excited.

Non-English Accents

So yes, Delia and Shelagh have Welsh and Scottish accents respectively. Delia’s accent is specifically a Pembrokeshire one, which comes across very well because I believe Kate Lamb is from Tenby. Laura Main is from Aberdeen, and I believe she uses her own accent from what I can tell. There are however many varieties of Welsh and Scottish accents specific to different regions, and differing in thickness and intonation. Shelagh in my opinion (I’m half Scottish) has a fairly soft accent compared to say a Glaswegian one, and Delia (I spend about a month a year visiting family in Wales) has a middling one - not too Anglicized but not Swansea thick. Though its very probable that living in London has tempered both of their accents, especially when you compare Delia’s to her mother’s. It’s something you do subconsciously so that people can understand you - I know I do it.

I would say that the immediate assumption with someone who has a non-English accent in England is that they are of lower socio-economic class, particularly in regards to London. I say this because, as we have seen with Irish characters in some of the episodes, it would be inferred that they had moved to London for work, due to poor prospects wherever home may be. However, with both Shelagh and Delia, they’re slight exceptions to this rule. Shelagh is a nun, and Delia has a trained profession. I don’t doubt though that Delia was subject to pre-judgements and perhaps the odd snide comment, especially considering that nursing at the time was generally a middle-class and upper-middle-class girl’s game.

Upper RP

And indeed, Patsy and Chummy are very posh. A ‘standard’ English accent is referred to as RP (received pronunciation). Chummy definitely speaks in what is referred to as Upper RP, and Patsy isn’t far behind her in that. The key difference is the vowel system, though turns of phrase give it away as well. Saying things like ‘what-ho’, ‘bally’‘I say’ and ‘old thing’. I would say that Sister Monica Joan falls into this accent category as well.

It has an association with the upper classes, but this is a complex term because it can both mean ‘the richest and the most powerful’, but has meant in the past purely the ‘aristocracy’. However, by this point in time (as seen with Chummy’s mother, who died rather poor) the two things don’t always necessarily intersect, and if they do not it by no means someone isn’t a member of the upper classes. We don’t know if Patsy has any aristocratic ties, but we do know that her father was an extremely wealthy businessman and that she was sent to boarding school, for example.

RP

This is very much a middle-class accent, and applies to characters like Dr Turner, Trixie, Jenny Lee, Sister Mary Cynthia, Sister Winifred, Tom and Timothy. More on the edge would be Sister Julienne (who I would place halfway between RP and Upper RP) and Barbara (who is from a very middle class background, but grew up in a rough area of Liverpool, and Charlotte Ritchie is very good at throwing in a little variant on her pronunciation sometimes that reveals this too us).  

The connotations of this are very wide, because the term middle-class is very wide! Not quite so much as it is today in the UK, but it can mean anything from Doctor (as Patrick is) to pretty damn wealthy. There’s a subset of the middle-classes that is referred to as upper-middle class. In purely technical (by that I mean titled) terms, Patsy (unless its revealed she is related to aristocracy) is upper-middle class, but in terms of familial wealth and breeding, not least to mention her cultural upbringing, one could place her in the upper classes as well. So yeah, the distinction between middle and upper-middle I think is not only a wealth thing, but a cultural thing too. The distinction between upper-middle and upper is on the basis of (for some) being aristocratic, or being extremely wealthy and being raised in those circles as a result of that (ie someone like Patsy).

Estuary/Cockney

Ah, the cockney accent. The very reason I started watching CtM was because of its setting, as I’m a proud little cockney. This is the accent that Fred, Violet, Peter, Sister Evangelina (to a slightly lesser extent, hers isn’t ridiculously thick, but still there) and the vast majority of the guest actors on the show have. It’s specific to East London, and associated with the working classes that have made their home there since the industrial revolution. I mentioned the Estuary accent, as this is what is used to refer to the general accent of the South East of England, and it has slight cockney tones but is generally more well-spoken. I could talk about the history of the cockney accent, how to do it, and specifically the slang (I can speak cockney rhyming slang with fluency, and its hilarious for people who don’t understand it to listen to a conversation going on with it being used when I’m with my family). As well as not least to mention my issues with how it is often poorly done in CtM, haha. The connotations of the cockney accent are firmly working class, but furthermore it has a long association with deviancy, criminality and bad morals.

English Regional Accents

One doesn’t have to leave England and go to Scotland, Ireland or Wales to find accents that differ vastly from RP. A prime example of this in CtM is Phyllis Crane, who has a Leeds accent. And as I mentioned before, Barbara has hints of Liverpool (though I implore you to google a Scouse accent and confirm that they are indeed just tiny hints). Similar to non-English accents, the implication is that you are of lower social class.

If I didn’t answer your question properly, forgive me! And honestly, feel free to ask me about anything that was unclear. I feel like my explanation of class was a little messy, because its by no means clear cut.

So, I've had an idea

I’ve known about solarpunk for awhile now, but I’ve just got around to reading and researching more about it, and as I’ve seen other people throw around their own ideas I thought I could, too.

OK, so:

My headcanon is basically that at the beginning of the movement there are still socio-economic divides.

The upper classes are, of course, environmentally friendly, but in a detached sort of way. The architecture/fashion is a minimalistic version of art nouveau, very stylised and “clean”. Everything is made from bio-plastics, enhanced natural material and environmentally friendly man-made fabrics. All of this is intertwined with nano-tech, solar power, bio-luminescent lighting. I suppose they would have a strict vegan diet, or something even more radical, like only consuming bio-engineered liquids and solids which contain all the necessary nutrients. An intellectual and individualistic lifestyle prevails. Some could revere nature in a very post-religious/spiritual, almost philosophical way (understanding the earth is a living eco-system and that we are just a small part of it, how mother nature is more powerful than man). Cultures, languages and customs are amalgamated into a huge central globalised unified culture They are eco-friendly without actually getting “down and dirty”.

Whilst the lower classes take a more direct and traditional approach to sustainable living, which is also cheaper. So, natural materials and traditional methods of building and cloth-making. Earth ships and cob houses, linen, metals, wood, cotton, wool, etc. They embrace both the grace and savagery inherent to nature, and that reflects in their architecture and fashion (incorporating living things into the aforementioned, having trees as support columns, undergrounds living, moss carpets, clothes made from bacteria, cells, weaving a living plant into a dress, etc). They are much more in tune with nature and animals and live in small communities where everything is shared. They are omnivores, mostly gatherers and only rarely hunters. They take only what they need from nature, and always give back. Each person is encouraged to hold on to their cultural identity and most revere nature in a more pagan* way (fairies, earth spirits, believing everything has a soul, worshipping the deities of different old religions across the world. They are one with nature.

I get the feeling the upper-classes would look down on the lower ones (nothing new there) for being barbarians, unsophisticated and stupid for believing in gods. Generally, they think they’re better and smarter, whereas the lower classes believe themselves to be more “properly sustainable” and think the upperclass to be posers.


Food and Color Symbolism in Blue is the Warmest Color

(Note: May contain spoilers)

EDIT: thanks to those of you who pointed out the Lykke Li song wasn’t in the parade but the party. My mistake!

I finally got around to seeing this film, though I had been meaning to since it made a buzz at Cannes last year (thank you, Netflix!).

The two things that struck me immediately were color and food. In fact, for a movie that’s been hyped for its graphic lesbian sex scenes, there was very little sex compared to the amount of shots of Adele’s awkward mastication, and here tendency to eat everything in sight (literally, ha).

At first I was very off-put by the copious food porn (that’s not the kind I wanted!), and in particular Adele’s chewing. Not only did I find the way she ate noisome, I couldn’t fathom why the director chose to spend so much time on her boorish chomping. Was it foreshadowing for something more grave, like a food disorder? Or what?

As the film (and number of meals) went on, things began to click in a very interesting way. Prior to her interactions with Emma, Adele is shown to be a lover of cheap, fast, rich food. She loves her father’s Italian bolognese as much as she loves street food and desserts. The settings and food are all indicative of a blue-collar life; Adele is among the lower classes of French society, but she’s happy to be there. It’s her world, and she has a super healthy appetite, except she always seems to hungry for something more. Something she never knew she had the appetite for, but once she gets a taste of it, there’s no turning back…

I’m talking about oysters, of course ;) but Abdellatif Kechiche clearly has his tongue-in-cheek here. Not only does Emma open up a new dimension of sexual expression within Adele, she introduces her to a way of life. Adele immediately reacts to new, bourgeois things with a “No”, like seafood, but uncomfortably accepts and tries the things Emma throws her way.

Here, it’s important to bring up another symbolic dimension of the film: color. Of course, blue is a motif throughout the film, presented in fun, vibrant ways such that it can only be seen as warm. But, like the world of Emma, it harrowingly mutes out other colors surrounding Adele, like browns, or black. Perhaps Adele begins her coming of age tale just being naive about the racism and classism of the bourgeois around her. She grew up among diversity; the girl who first kisses her appears to have some kind of Arab or Middle Eastern backround. She joyously marches in protest with her fellow socio-economic class folk to the tune of Algerian-born Kaddour Haddadi’s “On lâche Rien”. But later in the film, she is much more half-hearted about marching in the Pride parade with, where she is surrounded by white, upper-class lesbians all dancing. It’s no protest, it seems more like a party. And Adele is as uncomfortable with it as she is with Emma’s artsy friends, including the pregnant bohemian Lise whom Adele notices Emma being a little too friendly with. The only one of the circle she seems to truly befriend is Samir, who is the only one to try and help her when she’s running around serving Emma and her friends. Emma complains that Adele could be artsier and more cultured, but doesn’t really seem to encourage or help her. She lets Adele be used, and uses Adele. Only Samir seems to actually see Adele.

I think Adele initially just doesn’t see race; she sees people. She hooks up with men of different races. There is a scene where she takes her students for a field trip at the beach, and stops the students from burying a fellow student in the sand. The buriers are white and male. The buried is black and female. Slowly, as she spends more time with Emma, I think she begins to see socio-economic and racial disenfranchisement of herself and people around her at the hands of the bourgeois who do nothing but take from the lower classes. And how odd the two classes are: the lower class embraces diversity but shuns LGBT, while the upper classes embrace LGBT but mercilessly scorn the lower classes. And Adele is caught in the middle.

But the people of Emma’s world represent something oppressive, sad, and uncaring. So the blue motifs in the film darken, like Adele’s dress at the end. Emma’s hair by this point is blonde and conservative again; only Adele is blue. She comes of age through heartbreak; not just because her first love is gone, but because she begins to truly understand the world around her for the first time.