white people classes

anonymous asked:

oh my gosh when I was in 9th grade we had a substitute teacher go on about how people of color are inherently inferior to white people; my class was literally like 95% Mexican Americans w the rest east & southeast Asian. we were all so in disbelief we didn't say anything back but the next day we told our teacher (some other classes did too I think) and she reported him to the principal and he was banned from subbing at our school, it was such a surreal experience though

holy shit that is… wild. 

they should have never be allowed to teach anywhere ever again, jesus.

Everyone can be an asshole

Straight people can be assholes

Gay people can be assholes

Bisexual people can be assholes

Asexual people can be assholes

Demisexual people can be assholes

Polyamorous people can be assholes

Pansexual people can be assholes

Trans people can be assholes

Cis people can be assholes

Non-binary people can be assholes

Genderfluid people can be assholes

White people can be assholes

Black people can be assholes

Asian people can be assholes

Mixed people can be assholes

Girls can be assholes

Boys can be assholes

Everything in between can be assholes

Rich people can be assholes

Poor people can be assholes

Smart people can be assholes

Doctors can be assholes

Teachers can be assholes

Fangirls can be assholes

Mothers can be assholes

Fathers can be assholes

Rens can be assholes

Everyone no matter where they’re from or who they are, can be an asshole

(We’d appreciate if you weren’t an asshole but that’s ur own fucking problem)

anonymous asked:

Your Snape hate (and everyone else's) always misses the point that Snape's story is allegoric for how neoliberal elitism pushes working class white people into the arms of fascists via classist nonsense.

Snape: *calls his friend a slur after hanging out completely voluntarily with the type of people that would later go on to literally murder people based on their blood status*

Lily: *stops interacting with him*

You: Classic neoliberal elitism. Clearly, were it not for this one event, Snape wouldn’t have become a death eater.


Saraç (Loriner)

(singing really fast)

If you feel guilty about how part of you fits a stereotype about your identity and you feel like you’re harming people with your identity that don’t fit the stereotype just by existing even though the guilt is completely unfounded and you’re just being yourself clap your hands

(clap clap)

If something doesn’t apply to you, then you have no right to speak on behalf of a whole group that is affected by it. When women, the LGBTQ+ community, the mentally/physically disabled, Muslims, immigrants, POCs, etc. say that they are offended or that they are hurt or being disrespected or being oppressed or that they are fearing for their lives, fucking LISTEN TO THEM. Believe me, they know a hell of a lot more about their oppressions than you do.

So stop telling minorities that there’s nothing to fear or that if we just do everything the “right” way we’ll be fine. Not everything is so black and white and to act like it is is just showing that you are coming from a position of privilege that, unfortunately, not everybody has.

Stop telling minorities how to feel about what is going on around them and what is happening to them. They shouldn’t have to feel these horrible things- nobody should- but they are. The least you can do is realize that their feelings are valid and try to help them.

Stop telling minorities, “Oh, well, I’m an [insert minority group here] and [blah blah blah] doesn’t hurt/offend/scare me.” Because yeah, it’s great that you are in a position of privilege/power where you aren’t being affected by these things, but use that position to help others and just acknowledge the fact that not everybody has the same luxuries that you do.

Just because you can’t see or understand the magnitude of what is going on, it doesn’t mean that it isn’t happening. It just means that it isn’t happening to you. (at least not to the same extent as other people are)

Instead of telling minorities how to feel, listen to us. Open up your eyes. Don’t stay ignorant. Try to understand the viewpoint of different minorities and realize that although you will never truly be able to, you will have at least a tiny bit more of an understanding- you will gain some sort of compassion by doing so. Then find a way (or ways) to join in the fight for justice and equality.

Fat-Shaming And Body-Shaming, A History: Author Talks Thigh Gaps, 'Dad Bods' And Why We Hate Fat
Amy Farrell, author of "Fat Shaming," explains why we mock overweight people.

This article is really good and informative. It talks about the history of fat hate and diet culture, as well as it’s origins in among middle-class white people. It explains how Fat was the evil antagonist, the sign of an uncivilized and “primitive” body and linked with “scientific” racism that [attempted] to prove that African people and indigenous people were inferior. I’m not surprised fat hate started with white people. They seem to be the root of all evil. 

-Mod Mariah 

  • Them: Why don’t you ever stand for the National Anthem/Pledge?
  • What I say: Oh, my knees are bothering me, ya know?
  • What I mean: I don’t believe in compulsory patriotism. A country must earn the respect of the people, not force it upon them by making us precede every gathering and ceremony with what amounts to lyrical brainwashing. And I, currently, am not particularly proud of our country or the people who lead it, so I’m not going to stand. Is that alright with you Stan???

anonymous asked:

Hey Navya! I'm a white wlw leftist, and in my limited experience I haven't seen anything that would push PoC to the right, but being white I KNOW that behavior won't be shown or directed at me. Are there any red flags I should watch out for that i can either avoid doing or stop people in my circle from doing to help make leftist circles more comfortable for people of color? If you don't feel up to it, pointing me in the direction of someone who has discussed this would be appreciated. Thank you!

Okay ordinarily I would’ve blocked you for asking me a question about race because you’re white (I made it a rule a few weeks ago that I’m going to block white people who send me messages about race on anon) but since you asked me nicely and you also want to try to make leftist circles more comfortable for people of color, here are things that I personally would love to see white leftists do (on an ideological level at least): 

  • Stop engaging in class reductionism 
  • Stop pretending that race doesn’t have as much of an impact on material reality as class
  • Stop pretending that race/ethnicity and class don’t heavily intersect and influence each other
  • Don’t talk down to people of color or pretend that you know more about them on issues of class or race or anything else 
  • Don’t talk to people of color as if they’re dumb, aggressive, scary, or idiotic 
  • Don’t condescend to people of color 
  • Don’t downplay the role of race in class struggle 
  • Don’t pretend to know more about a certain nonwhite group’s oppression than they do because trust me, you don’t
  • Don’t pretend that any knowledge of critical race theory or anti-racist/anti-colonial struggles makes you a “good” white person or absolves you of white privilege 
  • Actually acknowledge how colonialism, slavery, imperialism, and genocide have plunged people of color into global poverty and privation 
  • Actually acknowledge that poverty and class violence are inflicted primarily against people of color 
  • Actually acknowledge how most of the people in the world who are poor are NONWHITE and that this was directly caused and created by WHITE SUPREMACY 
  • Own up to the global consolidation of whiteness and how the white-working class have always been part of maintaining and replicating white supremacy, instead of making excuses for them or claiming that their class prevents them from being racist (example: Irishmen in the South before, during, and after the US Civil War were incredibly antiblack, and how European immigrants in the North blamed Asian immigrants and Black migrants for “stealing their jobs”) 
  • Focus on being in solidarity with nonwhite comrades, nonwhite liberation groups, nonwhite communities, and recruiting people from the nonwhite working-class 
  • If you’re really all about recruiting white-working class people, you better work on educating them about race just as much as you educate them on anti-capitalism and anti-fascism - that is, if you better not be like the Redneck Revolt leaders who think excusing or justifying the racism of their members is okay or acceptable 
  • Own up to how violently racist white leftists can actually be (and how this does play into the global consolidation of whiteness) 
  • Actually acknowledge how environmental racism impacts working-class people of color (i.e. Flint, Michigan, or the Dakota Access Pipeline) 
  • Actually acknowledge how post-colonial struggles for decolonization, anti-imperialism, and indigenous liberation are all imperative to abolishing class 
  • Stop conflating anti-imperialism with supporting authoritarian regimes within a specific country (i.e. idiot tankies who support Assad - you can support the Syrian people and be an anti-imperialist without supporting authoritarianism lmao) 
  • Actually acknowledge that class cannot be abolished without the abolishment of race 
  • Stop screaming “identity politics!!!!11!!” every time a person of color discusses racism (within the movement or outside of it) 
  • Actually acknowledge how toxic and dangerous WHITE identity politics are and how it’s WHITE people who weaponize identity politics in the most insidious and harmful ways 
  • Keep people of color physically safe within leftist spaces 
  • Stop treating liberals of color like they’re idiots and instead work with nonwhite comrades to recruit people of color 
  • Focus on recruiting people of color instead of coddling and sucking up to violently racist white people for a change 
  • Stop calling people of color who focus on their community and prioritize their people/solidarity between nonwhite people “reactionaries”  - of course some of them can be reactionary ethnic nationalists but by and large most of them just want to survive day to day and see their people live 
  • If a white comrade is doing something wrong, you need to step up and call them out, and engage in a dialogue with them - it gets tiring for people of color to have to repeat the same things over and over again, especially because white leftists don’t take us seriously 
  • Use your privilege to shield people of color from police and state violence and white nationalist violence
  • Don’t compromise people of color by deliberately instigating a fight with the police or other violent racists - a lot of white anarchists do this and then people of color take the fall for it (like seriously - mask up) 

I have never really understood exactly what a ‘liberal’ is, since I have heard ‘liberals’ express every conceivable opinion on every conceivable subject. As far as I can tell, you have the extreme right, who are fascist racist capitalist dogs like Ronald Reagan, who come right out and let you know where they’re coming from. And on the opposite end, you have the left, who are supposed to be committed to justice, equality, and human rights. And somewhere between those two points is the liberal.

As far as I’m concerned, ‘liberal’ is the most meaningless word in the dictionary. History has shown me that as long as some white middle-class people can live high on the hog, take vacations to Europe, send their children to private schools, and reap the benefits of their white skin privilege, then they are ‘liberal’. But when times get hard and money gets tight, they pull off that liberal mask and you think you’re talking to Adolf Hitler. They feel sorry for the so-called underprivileged just as long as they can maintain their own privileges.

—  Assata Shakur

all vegans are white middle class people who only eat quinoa in order to suppress poc. no other foods are grown or harvested by poc. if you see poc working in a field to grow food, that’s exclusively vegan food. carnist food is only grown and harvested by white people, that’s why they are exempt from the conversation about worker’s rights.

anonymous asked:

Hello! So I was scouring the Internet for advice today but I couldn't find any on this topic. My problem isn't that I don't have any ideas (I probably have too many) but the problem is that I don't LOVE any of my ideas. I like them. I think they're all fine ideas. But liking them isn't going to motivate me long enough to finish a novel. How can I give my ideas that extra uumph to make me love them? How can I figure out what's missing or why I don't feel this way about any of my ideas?

Hello, nonny!  What a challenging question…  This one’s been in my inbox a couple days, just because it’s such a big question.  But I’ve thought it over and I think I have some ideas for you :)

The Thrill Is Gone – How to Find It Again

So generally, there’s no one answer or cure-all to this problem.  I’ve had this issue multiple times, with different causes.  My first novel didn’t have enough meat to the plot; my second novel had been over-planned in my head to the point that it no longer excited me.  My third novel had way too much plot, so that by the time I got ¾ the way through, I’d written over 200K words and felt sick of the idea.  I started my fourth novel way too soon, and am now going back and planning it more!  So there are obviously many different reasons that a story doesn’t take off (or dries up eventually).

The first step is to figure out what’s missing, like you said.  There are a few aspects of your story to assess…

1. Plot

I’m discussing plot first because, to me, it’s the most important part of fiction.  Plot, conflict, and stakes are foremost to my stories.  You could have the most complex and sympathetic characters, but without plot, they’re static and become boring.  But for some reason, this is the part of story ideas that new authors neglect most!

So if your story has great characters and an immersive setting, but you can’t get into it, try asking a few questions about your plot:

  • What is the point of the plot?  What’s the message you’re conveying in the story?  Even if your story isn’t an allegory or a metaphor or the next Chronicles of Narnia, there should always be a conclusion to which all plots arrive – otherwise, the story can feel aimless.  The best way to find your message is to look at the conflicts involved (e.g. Man vs. Man, Man vs. Nature, etc.) and find the “winner”.  What worldview, belief, or concept “defeats” the other concepts?  It can be as simple as Good vs. Evil, or more complex, like Loving the Sincere Drug Addict vs. Settling for the Selfish Dentist (provokes the question “Is love worth danger in relationships?”).
  • Does the plot have ups and downs?  And really consider both ends of the spectrum here.  Stories become dull if they are made up of victory after victory – or if they’re made up of nothing but loss and tragedy.  No matter the genre, you have to strike some sort of balance, lest the story become predictable and emotionally non-engaging.  Find victories and failures, even in unassuming places, to keep readers invested and hopeful.
  • Do you have a satisfactory ending?  Or do you have the ending     planned yet?  I’ve found that I can’t really commit to an idea unless I see a resolution – otherwise I feel too nervous to start.  If you do have an ending planned, make sure it’s the right ending.  It can feel like there’s one possible conclusion, and once you’ve found it, you stick to it – but question it, brainstorm it.  It may not be a happy ending every time, but when you find the right one, you’ll know it.
  • Do you have the right plot at all?  Look at your story as a whole.  Does it start too early or too late, relative to the real meat,     the real action?  Is it told from the most impactful POV?  Does the plot cover too much ground for one book, or is it not enough to fill the pages?  Consider all the characters, backstories, and subplots you have, and ask yourself if any of them are more interesting than the main plot.  If so, shift your focus.  Use them instead.

2. Characters

Maybe it’s not your plot that’s going sideways.  Maybe you have it all worked out – the head, the tail, the whole damn thing – but it still doesn’t feel right.  It doesn’t feel like it’s coming to life, somehow.  It feels flat.

That can be a character problem.  It would be like sitting by the campfire and hearing the most fascinating, horrifying story, except it’s told by a man with The Most Boring Voice Who Talks So Incredibly Slowly and Takes All the Fun Out of Everything.  An example: The Hunger Games.  Those books bored the crap out of me.  Unless someone was being killed or Haymitch and Effie were interacting, I just didn’t care.  And those books had a great plot behind them!

So here’s what you need for a good cast of characters:

  • A solid protagonist.  Solid = three-dimensional, empathetic, and relatable; having a goal, an internal conflict, a self-image, and fears or shame.  They should have different facets of themselves – their head and their heart, their desires and doubts, and that little voice in their head that says, “Give up on that.  Be realistic.”  Give them strengths, weaknesses, and a couple of bad habits, for kicks.
  • A variety of supporting characters.  You don’t have to have thirty characters + six secret characters stuffed under your trench coat; but with however many characters you have, make them as different from each other as possible.  Give them some similarities, of course, so that they can relate to each other – but never make them so close together that you have to decide, “Who should say this line?  Character A or Character B?”  Make them unique enough that the words come out of their mouths, instead of you having to decide where to put the words, yourself.
  • Relationships, relationships, relationships.  And I’m not talking about romantic relationships.  I mean, sure, those too – but there are many different kinds of relationships to explore.  Friendships, enemy-ships (?), parent relationships, sibling-ships, silent alliances, “annoying friend-of-a-friend”-ships, “my-ex’s-little-sister”-ships, “you’re-the-ruler-of-the-galaxy-and-a-Sith-lord-but-also-my-dad-please-stop-being-evil”-ships…  You get the idea.  Make them unique, make them strong, and allow them to evolve over the course of the story.
  • Diverse morals, interests, and personalities.  My first short stories focused on white middle-class people who were culturally and politically identical.  They lived in one house, usually, and watched the same TV shows and made the same references.  They had the same sense of humor.  They rarely disagreed on anything that wasn’t clear-cut (e.g. “You drank the last Pepsi!”  “I was thirsty!”).  So do yourself a favor and don’t make my mistakes.  Give your characters unique ethics, cultures, backgrounds, personalities, goals, appearances, and conflicts.  You’ll be more invested by then, I’m sure.

3. Setting

Lastly, I’d like to add that while your characters and plot could be well-developed, there’s always a chance that they’re placed in the wrong setting.  This is why many story ideas can seem great, but won’t get off the ground – maybe they’re set in a pre-made universe like Middle Earth or Panem when they could be their own story.  Maybe your tragic romance is set in the middle of apocalyptic war, when instead, it should be drained down to a period piece.  Maybe your story is perfect, except you’re writing it too close to home – in the real world, in the present year.  There are a million factors to picking the right setting, including:

  • Applicable history and culture.  If you’re writing a story about someone who’s oppressed, or someone who’s a politician, or someone who’s a witch, you’re going to need to back that up with history.  Develop a history for the oppression or politics or witchcraft – where these things began, how they developed over time – and a culture for them now – how oppressed people survive and how witches in your world interact, etc.
  • Imaginative scenery, influenced by the characters.  Even if your story takes place in New York City in 2017, allow your characters’ living spaces and workplaces to have a unique touch – colors and quirks that your readers can see in their mind.  If even you can’t see what you’re writing, inspiration is going to be difficult to find.
  • A lifelike background.  Just because the plot focuses on your characters does not mean everything going on behind it should be quiet and dead.  Anyone who looks out a window in a city building can see other people living – people on the highway will see other cars taking other people other places.  Everyone who has a friend will hear a little something about their friend’s siblings, their friend’s friends, their friend’s neighbors.  Life and stories exist outside of your plot; make sure you’re not writing about a ship in a bottle.
  • An aesthetic.  That sounds gross and teen-tumblr-y, but let me tell you personally: I don’t feel truly ready to write (and love) my story until I can hear the music for the future movie adaptation – until I can see the kind of clothes the people wear, the games they play, the places they eat and shop.  I think of the colors and themes in my scenes (e.g. my first novel was set primarily at night in a grunge/city setting; my current novel is very green and outdoorsy and gives me that feeling of bonfires just after sunset).  Once you get that “feeling” from your story, you’ll know it.

Anyway, this reply took me like three days to write because I really wanted to get into it.  I hope some of this helps you to fall in love with one of your ideas, so you can get started :)  If you have any more questions, be sure to send them in!

(I have 26 questions in the inbox, though, so be patient with me…)

If you need advice on writing, fanfiction, or NaNoWriMo, you should maybe ask me!

Notice how white middle class people are SILENT about the grenfell tower but when it comes to the Manchester attacks they were steady hashtagging… just goes to show the class gap really does exist in our society

One of the worst things about the social justice movement is that there are a lot of white middle class people who have made it their hobby instead of developing a personality and have convinced themselves that they’re oppressed. And because (as another post I saw recently pointed out) everyone is convinced that oppression is virtue, it becomes a scramble for everyone to prove they’re the most oppressed and have suffered the most.

The biggest problem is that everyone is obsessed with saying the right terms and correcting everyone else, instead of actually addressing the real issues. I fell prey to this a few times, for instance trying to correct people on what terms were appropriate to use for First Nations people in Canada. I didn’t realize how stupid I sounded until the tables were turned and l had a middle class person ~helpfully explain~ class based oppression to me, and try to tell me that I was “essentializing”  my own people, my own culture, and my own experiences. I was like, LMAO, shut up binch! You have no idea what you’re talking about! That was when I began to examine how I interacted with social justice culture and how I chose my words, my actions, and most of all my authority. I still think about that, it was one of the most insulting conversations I’ve had in my whole life and I vowed I would never do that to someone just because I wanted to be Woke™. 

At some point, you have to realize that participation in “social justice” isn’t about being The Most Correct, it’s about changing the world for the better, being a kinder person, and just…. fucking listening to people. 

Just checking

Everyone knows that the Nazi folks in Charlottesville are middle to upper middle class white people, right? If there are poor working class people attending they are either local or funded by an organization. People who travel are people with economic means. That’s what makes these type of hate rallies so dangerous. It’s not the average American churning out hate speech. It’s highly educated people who excel at spinning facts and smoothly telling lies.