what kind of black are you

If you need to name one thing that always let bad people to get away with almost any kind of weird and disgusting actions and at the same time this thing was making all the good and nice actions look bad, I will tell you what is this.
This thing is called racially motivated attitude. The double standard that make innocent black kids killed by police look bad while white domestic terrorists are portrayed as angels.

anonymous asked:

okay wait i'm v confused, but are you saying that bc dnp are at marzia's birthday and since it's associated with f*elix it makes them bad people?

you know what i’m saying? i’m saying that this is a stark reminder that surprise! this fandom is also not welcoming for black people, these people also don’t particularly give a shit about black people, a large majority of the people that follow me don’t give enough of a shit about black people to even see why this might be even a little bit hurtful because they’re too busy worrying about the precious feelings they will never ever know.

because that’s what people, what *you* are saying when you ask me really leading questions about whether or not Dan and Phil are “bad people” or not. You’re saying that I don’t even get the space to maybe feel some kind of way about people being friends with out and out racists.

anonymous asked:

I feel like once they get caught or if they comfirm it, this is going to be the hottest yacht. Like tom and zendaya together is such a concept. Sm people (especially twitter) will jump on them so quick. People who aren't quaksons or z fans will be all over them. The adorable height difference and being an interracial couple is going to get them a lot of attention with social media users who'll see them via text posts on Instagram or something.

Yep, and also lets not forget some racists will show their true colors. I just saw a post recently how Z can not be with a white guy since she is so woke about black activism and should only date black guys. Do these people realize Z is the child of an INTERRACIAL couple? And what kind of a nonsensical and stupid logic is that to assume you can’t be with a white guy because you are proud  of your black roots and vocal about civil/social rights? Idiot people will come out from both Z’s fandom and Tom’s fandom. But hopefully, they will be in the minority, and most people will LOVE them as a couple.

I spent the weekend with family upstate. They’re the only family I have nearby; the next closest is over a thousand miles away. So it’s nice to be able to visit and be reminded of that bond of love and kindness, even if most of this household is neurotic.

Friday it was just me and my aunt. We ordered Chinese and I introduced her to Black Mirror, which she thoroughly enjoyed. If you haven’t seen it yet, I highly recommend it.

Saturday and Sunday consisted of grilling, beer, and football with my cousin, my uncle, and some of his friends. It was just what I needed! I’m a social guy at heart and it’s unfortunate that I don’t have a social circle at home yet, so it can get lonely. I miss mingling, hosting, and entertaining.

This weekend reminded me that I need to take more road trips. It also reminded me that most couches are not long enough for me to sleep on, and my back is paying for it.

Totally fucking worth it.

Alya Cesaire in Miraculous Lady Bug

Okay, so according to the Lady Bug Wiki, Alya and her family are pretty much all named after Jazz and RnB musicians and singers. Which is really cool. 

But I kind of have a theory that their last name may be a reference to Aime Cesaire.

Who is this you may ask, well…

Aime Cesaire was one of the founders of the Negritude Movement in France. He, along with Leopold Sedar Senghor, and Leon Damas created a movement (which was also inspired by the Harlem Renaissance) to create an Afrocentric body of work and literature to explore what it meant to be a Black person living in a White world. They used the French language (a language that many colonized African countries had to used) to take hold onto and explore their African identities. 

There was even an essay entitled “Black Orpheus” which explained the movement (of course, it was Eurocentric and said that it did a disservice to unity because race was “over” and people should be focused more on inequalities of class.)

I love that Alya and her family make references to Black musicians, but I also love (if my theory is true, of course) that their surname pays homage to a great literary figure, one that a lot of non-French people may not be aware of. 

autisticdoctoreid  asked:

you know those bracelets you put in all the orders? what do they say? i have a red one that says flappy hands are happy hands and i had a black one too but i can’t find it and i can’t remember what it said

For a while the black ones said “I Stim Therefore I Am” but now they say “Respect the Stim”. Not sure what else they may have said in the past as I kind of randomly change it up with each order. 

Pretty much anyone who knew the four of them would assume that Oikawa was the scaredy-cat of the group.

And they would be exactly right.

“Hey Oikawa, I dare you to go down there.”

Matsukawa and Hanamaki also don’t hesitate to use this fact to their advantage.

Their captain looks to where his pink-haired boyfriend is gesturing, down a slight hill with a chained linked fence around it, a gaping hole having perfectly appeared in one of the sections that would lead down to an eerie looking forest, darkened even further by the falling sunset in the sky.

From up here it looks almost pitch black and any reasonable person would refuse.

“You couldn’t pay me to go down there.” Oikawa tells him, giving him a hard look for even asking him to do so in the first place.

Hanamaki simply grins at him, “What are you chicken or something?”

Oikawa tilts his head away, chin held high, “That kind of degradation isn’t going to trick me into going down there, so you can just stop right there.”

Matsukawa leans up to throw and arm around Hanamaki’s shoulders, throwing Oikawa a grin. “He’s definitely scared, Hiro. You shouldn’t make scaredy-cats try and act brave.”

They both get a tiny glare for that, but Oikawa remains resolute.

“You aren’t going to get me to go down there.” He tells them firmly.

“Not even if we buy you milk bread for the rest of the year?”

Oikawa’s attention perks at that, from behind him there is a heavy sigh, Iwaizumi giving them disapproving looks. “You’re bribing him now? You know he’s not going to say no to that.”

“I totally could!” Oikawa shoots back at him.

He looks a little sheepish when he looks back and asks, “You swear for the whole rest of the year?”

The duo are wearing matching smiles as they nod. They all turn to the hole in the fence, Oikawa shedding his gym bag and handing it to Iwaizumi who takes it with a grumble.

“This is really stupid.” He tells them, but the other three aren’t listening.  

Hanamaki and Matsukawa simply watch as Oikawa sucks in a steadying breath, a small ounce of fear in his expression as he asks, “How long do I have to stay down there?”

“Five minutes?” The pinkette chirps, looking up at his taller counterpart for confirmation.

“Let’s make it ten.” He decides and they try not to smile at Oikawa’s tiny whimper.

“Set an alarm on your phone and we’ll set one on one of ours. Go in there until we can’t see you and just stay there until the times up, simple right?”

Oikawa gives a glance down to the pit of darkness below, even darker now that a little more time has passed for the sun to go down, and  he swallows once, trying to not make it obvious how scared he was even though they all could tell.

“You know you don’t have to do this. This is a really dumb idea.” Iwaizumi tells him knowingly, not exactly pleased with this turn of events.

“Tell that to them, they are about to be wasting their money for a whole year.”

Those are the words Oikawa parts with, smartphone in hand as he carefully shimmies his way down the hill, bending down to enter the hole in the fence and giving all of them one last lingering look before walking his way into the forest and disappearing into the blackness.

Iwaizumi’s the first to speak, “He was already shaking you know.”

Hanamaki’s smile falters a little, “I saw. I actually wasn’t really expecting him to do it. It’s not like we all don’t buy him that crap all the time anyways.”

Matsukawa shifts so that his arm was no around Hanamaki’s waist, “He’ll probably just come running back out in a second, we’ll treat him to some ice cream when he does.”  

The other two hum in agreement.

But Oikawa doesn’t come back out like they expected.

Three minutes past, then five, and suddenly they are at the seven mark, still staring back and forth between the woods and Hanamaki’s phone, with no Oikawa in sight.

“Damn, I think he’s actually going to pull this off.” Matsukawa exclaims when it hits the eight minute mark.

At ten minutes the phone timer starts beeping and all of them share impressed looks before they look back and wait for their boyfriend to come back out.

Another minutes passes and no curly, brown head to be seen.

“Maybe he went in a little farther, we’re at a vantage point so he might have seen as a lot longer than we saw him.” Hanamaki’s words try to be encouraging, but all three of them are starting to feel mixed feelings of dread.

Two more minutes pass.

“Let’s just call his phone, maybe his timer isn’t working.” Hanamaki quickly clicks the contact saved to speed dial.

They all share matching alarmed expressions when it goes straight to voicemail.

“Shit—his phone died—”

“Oh god, he probably got lost—”

“We have to go in after him!”

They all start talking at once, but the end goal is clear; they leave their bags up by the road and hustle down the incline of the hill, all of them going in one by one and getting close together as the entered the woods, moving pass the line of trees together. Three phone flashlights turn on, all of them shinning them in different directions to looks around.

“Oikawa?” Iwaizumi hollers, voice echoing through the trees, disappearing among all of the branches, curled and looming all around them.

“Tooru?” Hanamaki tries, call even louder but disappearing into the silence just like Iwaizumi’s had.

This is when real terror starts to set in.

“You don’t think something got him, do you?” Hanamaki waves his flashlight around, spinning in all direction to try and catch a glimpse of that white, familiar uniform.

“I don’t know—I don’t even know what kind of wild life lives out here.” Matsukawa answers, waving his flashlight around just as frantically to look.

“Oh god, don’t we have bears out here or something?!”

“Shut up and look harder,” Iwaizumi cuts Hanamaki off, “you’re only wasting your time by imaging the worse.”

They take Iwaizumi’s advice and start looking, walking deeper and deeper into the woods until they can’t even see their bags—Matsukawa was right, Oikawa did have to walk pretty far for him not to be able to see them.

It’s been twenty minutes in total and still no Oikawa.

“This was a horrible idea.” Matsukawa laments after several long minutes of silence, all of them looking and not seeing the brunet anywhere.

“What are we going to do if we can’t find him?!” Hanamaki asks, slightly hysterical.

He shouts when Iwaizumi punches him in the arm. “Stop thinking like that and focus on looking! He couldn’t have gone too much farther…”

But even he was starting to sound doubtful.

An owl screeches in the distance, startling the three of them, and there is a symphony of creaking and creepy noises that comes after it, making the three close in closer together.

The sound of sticks breaking put them on high alert.  

“What the fuck is that?!” Matsukawa whispers, gripping to the closest person to him which happens to be Iwaizumi.

“A bear?!” Hanamaki answers after him, also grabbing onto Iwaizumi who somehow got squished into the middle.

Iwaizumi remains stoned face, slowly lifting his flashlight as the sound of breaking branches gets even closer.

They all scream when something furry pops out of the bushes at them, making them fall back onto the ground in an awkward pile. There are quick footsteps after that, a flash of white coming out after and a shaky flashlight is held to reveal a panting Oikawa who squints at the light when it shines in his eyes.

Something steps on Hanamaki and he screams again; the flashlight shines down to show what looked like a regular house cat now sitting in his lap.

Oikawa’s laughter is the first thing that rings out. “Who’s the scaredy-cat now?” He teases as he reaches down to pick up the cat.

The calico breed instantly starts to nuzzle against his chin, purring away happily in Oikawa’s arms.

The three of them blink at him before there’s a collective, “Where have you been?”—an extra fuck added in there in Iwaizumi’s case.

Oikawa smile grows as he holds up the little ball of fur in his arms. “I was chasing after this little guy.”

He pets the kitty happily, “He came up to me when I came to sit down in here and I realized he had a collar on when I checked it my flashlight. I probably shouldn’t have turned it on though, it ended up killing my battery and startling this poor guy away. I’ve been trying to chase him down since then.”

Matsukawa gaps at him, “You do realize it’s been over ten minutes since you came in here right?”

Oikawa blinks, “Has it? I mean, I didn’t really have a way to check, but I was going to come back out after I caught him. I couldn’t really leave him out in the dark like this…”

“Dumbass! We were worried!” Iwaizumi bites out at him suddenly, making Oikawa startle.

“Oh, um…I’m really sorry…!”

He cuts off when Hanamaki suddenly wraps him in his arms. There’s a quiet sniffle.

“Oh my god—are you crying?!” There’s disbelief as Oikawa asks this, trying to tilt his head up to see if he could see.

“I’m just glad you’re okay.” Hanamaki whispers against his head, giving him a quick peck on the forehead.

Oikawa shifts around, trying to adjust the cat so he could carefully hug back around his boyfriend with one arm. “I’m sorry for making you all so worried…”

Matsukawa shakes his head, “It was our fault for sending you in here in the first place. This was a dumb idea from the start.”

He reaches to rub up Oikawa’s arm.

There’s another heavy sight which is unmistakably Iwaizumi who comes up to pinch Oikawa’s cheek before pressing a kiss right where he pulled. “I told you all this was a bad idea and we’re just lucky something didn’t happened. You better say no next time or I’m kicking your ass.”

“But Iwa-chan,” he whines, “I wouldn’t have found kitty-chan if I hadn’t come in here. He would have been all lost and scared by himself!”

Iwaizumi puffs out a fond breath, “Well, he’s lucky he found himself another scaredy-cat to pair up with.”

“Hey! I’m not a scaredy-cat!”

They all laugh at him.

It takes a few minutes of walking around, but they end up making it back out of the woods and in the general direction of their bags so they can walk back up and get their stuff. Iwaizumi keeps Oikawa’s bag on his other shoulder while his boyfriend cuddles the cat in his arms and it just so perfectly happens that as their walking in the direction of their destination, a little girl comes running up to them with her father in tow.

“You found my kitty!” She tells Oikawa happily, who smiles and carefully passes the cat back over to his proper owner, smiling even more when the cat starts purring away.

“Make sure to keep a good eye on him,” he tells her, “this little guy is adventurous, and while he’s a little bit of a fraidy-cat, he was brave enough to go in those scary woods down there all by himself.”

The girl looks up at him with wide eyes, “Mittens went in there all alone?”

Oikawa nods, “He was very brave though and tried really hard to find his way home. He missed you very much.”

The girl hugs tighter to the cat in her arms, “I missed him too…thank you for bring him home nice man-san.”

Oikawa pats her head.

After parting ways with the father, daughter, and cat—with Oikawa have to insist he didn’t need to be paid for finding the house pet and a promise to come visit Mittens the next time he came by—the four of them find themselves finally on their way to Matsukawa’s house once again.

“She seemed really happy you brought her cat back.” Hanamaki tells him which makes Oikawa smile.

“Hana-chan is very sweet, I’m glad we could bring Mittens back to his owner.”

Iwaizumi pats his shoulder.

Just before they turn on the road towards Matsukawa’s home, Oikawa just happens to glance to the still open convenience store across the road. He stops and quickly grabs two of his boyfriend hands.

“I think I’m owed a prize for all the hard work I’ve done today.”

He gets smiles from all three of them, Matsukawa being the one to pull him forward and say,

“Sure thing, scaredy-cat.”

Halloween Asks!

🎃Pumpkin: What is your favorite season?

👻Ghost: Do you get scared easily?

🎃Candy Corn: What is your favorite kind of candy?

👻Vampire: What is your favorite supernatural creature?

🎃Witch: If you could have any superpower, what would it be?

👻Trick or Treat: What was your favorite Halloween costume?

🎃Black Cat: Are you superstitious?

👻Ouija Board: If you could change your name, what would you change it to?

🎃Graveyard: Do you know any good scary stories?

👻Skeleton: Have you ever broken a bone?

🎃Werewolf: What is your favorite urban legend?

👻Horror Flick: Do you like scary movies? If so, which one is your favorite?

🎃Haunted House: Would you prefer to live in the city or the country?

👻Zombie: Do you think that you could survive a zombie apocalypse?

🎃Mummy: What is your biggest fear?

👻Bat: Do you have any pets?

🎃Cauldron: What kind of potion would you make if you had the opportunity?

👻Full Moon: Do you prefer nighttime or daytime?

🎃Corn Maze: What is your favorite autumn activity?

👻Broomstick: What exciting places have you traveled to?

1930s Animation: How it came about, What happened to it, What it influenced.

Hey guys! So recently as I’m sure a lot of you know, the 1930s style of animation has made a resurgence in the forms of Bendy and the Ink Machine and Cuphead! So I’m just making this to show where it comes from c:

Before you start though, I’ll be mentioning Max Fleischer in this post, and you can find out more about his life in the book Out of the Inkwell. I don’t have it myself as I’m pretty poor, but I’d love to read it soon <3

Was It Walt Disney?

It depends on what kind of style you’re thinking! Walt Disney’s work began with an animation known as Alice’s Wonderland (1923).

which, looking onto his future works, is a lot more different. The cartoon look is there; however, those famed Pac-Man eyes aren’t, neither are the rubberhose limbs and thick black characters. Those came into his work later on with his Mickey Mouse shorts such as Plane Crazy (1928) and the first animation to feature synchronized sound, Steamboat Willie (1928). The bouncy animation is there, squashing and stretching all the characters and objects!

Though, Steamboat Willie was actually not the first animation to feature Synchronized sound! That would be credited to  “Oh, Mabel, Mother, Pin a Rose on Me” (1924) (Which I actually can’t find…Here’s the song though!) and later on, My Ole Kentucky Home (1926).

There is a lot of…Drama….surrounding the relationship between the studios of Disney and Fleischer, but this isn’t going to be about that (though I may touch on it), I would definitely recommend looking it up though, it’s very fascinating.

Around this time, the scary looking Lip-Sync animation started to come along and the styles were fairly similar, though the Fleischer Car-Tunes were a lot more, in my opinion, clean, however didn’t fully stretch their characters as much as Disney had been doing later on.

Who are Fleischer Studios?

Fleischer Studios first opened around the 1920s as Inkwell Studios. It was created by brothers Max and Dave Fleischer, whom were Born and Raised in Poland. In 1914, Max Fleischer created the Rotoscope, a device that could allow the animator to create smoother productions as they had been drawn over Filmed reference.

Using this Process, they created the Out of the Inkwell (1918 - 1929) series, starring Koko the Clown!

Max included a lot more Live Action in his animations than Walt Disney and even revolutionised the way it worked due to his own inventions, including The Stereoptical Process (which I’ll show more on later), that gave him a good edge forwards during their prime. However, due to A Series of Not Quite Fortunate Events, he never quite overcame Disney and, unfortunately, his studio met a sad end. 

What other Cartoons did they make?

Fleischer Studios made a surprising turn with bringing in Less Live action footage over time and creating more Lovable characters such as Bimbo The Dog and Betty Boop (1931). (Betty Boop being another can of worms entirely with the problems her design created and the blow it dealt the studio)

It was around this time that people could start to notice the style’s true beginnings. The famed Eyes had begun to appear, the Clearly Animated Flat props and characters over the detailed painted environments, and the rubberhose stretchiness of their movements.

Bringing in Cuphead as reference, both Hilda Berg and Cala Maria were heavily inspired by Betty boop’s design as mentioned by Studio MDHR’s Jake Clark in their GDC (Game Developer Conference) talk, which I’d definitely recommend watching.

Besides these characters, perhaps one of their other most Well known characters was Popeye the sailor man! featuring Sinbad, a character I’m fairly sure inspired the design of Cuphead’s Captain Brinybeard.

In this animation you can see every part of the style’s inspiration. The watercolour backgrounds, the flat Cel characters and their stretchy, rubbery movements, and, shown in the image above, the Two-Tone Technicolor process (A secret in Cuphead for those who don’t know). This was another issue between Disney and Fleischer, as well as their own Financial problems with Paramount Pictures, so they had to resort to using cheaper methods, resulting in the above image being created by layering a negative-spaced film reel through red and green filters (basically, it was complicated back in the day, no easy layers then).

I’d definitely recommend looking up more Fleischer cartoons too if you’d like inspirations for your own works or for the animation practise, such as Swing you Sinners (1930) which I honestly think is one of the biggest influences in terms of the recent style too!

Why does Disney have this style in their animations now?

Honestly I couldn’t tell you that myself, as personally I myself am not really a huge Disney fan. Considering his past with the studios he worked in or rivalled, I never really had a soft spot for him. However, I like to hope that he took inspiration from Max Fleischer. Max was unfortunately met with the worst circumstances with working under Paramount Pictures, The Great Depression hugely hitting his work, and his relationship with his brother Dave deteriorating. (honestly I wish this studio was still here and Paramount not).

You could say the style was stolen, or developed, or inspired, being shown in Mickey Mouse’s more updated designs as well as just a general staple of “Old Animation” with the eyes and Thick Black characters. Either way, it’s the fact Fleischer inspired generations with the little miracles he created that is the important thing. I wish people would stop attributing these qualities initially refined by Fleischer to Walt Disney and giving him more credit than he deserves, but that’s just my own opinion. 

Should we keep making animation in this style, or move on?

Please keep making things in the old rubberhose animation styles. Yes it’s an old aesthetic and yes it’s not…the best out there, but it’s an incredibly endearing look that I think is a love letter to the old days of animation. 

You will get those who pick at the details of how it doesn’t fit quite with the style (With Bendy being a victim, his proportions and shapes being very inaccurate if put into the Fleischer/Old Disney style), however, it’s how you bring that style and adapt it to the modern world, how you make it so that you’re not merely just going by the original rules of how you create these characters and worlds. Yes, Cuphead strictly stuck to these details as beautifully as possible, but Bendy was, though I’m not a fan of his design myself, a great addition and evolution of the style into the modern day.

As nice as it is to remember these styles for when they came from and what they were inspired by, it’s always nice to know it’s just that, a style. You can continue to create in that style as much as you want!

However, if you ever want to say/credit where the style came from, though Disney did create a style similar to this and adapted some of its individual aspects into their work later on after, the Vast majority of it comes from Fleischer Studios. It’s a common misconception, but an understandable one considering the studio no longer exists and how popular Disney is.

If you ever have more questions about it, go ahead and ask! I’d love to research more about animation and give you information on any specifics within the studio, the troubles they faced within themselves/with eachother or other studios that were present back then :D <3

Heh ya know

I have seen a few fics about either Lance or Keith having a diary and it always makes me giggle because ‘psh as if the other one is finding that shit, there’s is only one person in the entire team who is able to find that kind of stuff.’

Hunk.

Just, picture it, because I think it’s adorable. Let’s pretend both Lance and Keith have diaries (jorunals thx v much) and they gush about the other there, because it helps.

Can you imagine the conversations tho? 

Keith: ugh, Lance is dumb to think anyone would fall for that pick up line.

Hunk: That’s not what you said in –

Keith: huNK!!

or

Lance: ugh, Keith is so insufferable, when is that mullet going to dissapear anyways –? 

Hunk: July 21th at 23:45 pm, you wrote about it being, and I quote ‘a black mane with stars stuck on it.’

Lance: I hate you, how dare you, I put a password on it

Hunk: bondingmoment is not a strong password

Pidge: told you

Keith poping his head from the door: I heard bonding moment. 

or

Lance: Hunk, buddy, you gotta stop reading pivate stuff, man, it’s not ethic and fair and –

Hunk: Keith wrote that your eyes are pretty

Lance: carry on

or

*Keith and Hunk meeting in a dark corner of the castle*

Keith: do you got the stuff?

Hunk: he wrote that his dream date is next to the beach

Keith: your service is appreciated

or

Lance: Is it too much to ask to just have that one person who is smitten with you and so in love and that would do anything just to make you smile? I just want someone to loooooOOOOOOOooooooove me, ugh.

Hunk: OH! I KNOW SOME –

Keith: *tackles hunk*

or

Shiro: Hunk, you need to stop readin your team’s diaries –

Hunk: Keith stole your eyeliner to write Lance a poem in the training room’s wall

Shiro: keITH! 

Thesis: People hate social media and the concept of internet friends because it breaks through societal control of social interactions. White kids who live in towns that are 98% white aren’t supposed to have black or brown friends. Teenagers aren’t supposed to know 15 other kids their age who are LGBT, lest they question their own gender and/or sexuality. There are people who hate that kids and young adults are making friends in places other than school, work, place of worship, places within the local community, and family connections, because those are the places where you meet people who are “your kind”, and now it doesn’t matter what worldview adults try to instill in their children. They can be exposed to several other world views, some of which may conflict with the one they were brought up with, by talking to people online from 5 different countries.