The term and concept of "rent lowering gunshots" has seeped into my mental vocabulary, and I've welcomed it there. Something I'm up to is gross and weird? Good, keeps the rent low. Keeps judgy people out. Post weird shit on your blog, do weird shit to your hair, be as fucky as your heart ever wants to be. If you're not the one making the profit, make yourself unprofitable. The aposematism of brightly coloured creatures is there to warn predators, not friends.
You have no moral obligation to make yourself palatable for those who would consume you.
You have no moral obligation to make yourself palatable for those who would consume you.
Now this is what I mean (metaphorically) by "enrichment in my enclosure"
“Tiny round rain frog wakes up, yawns, rubs his eyes, then squeezes himself into his tiny hole”
(via)
Anticapitalist dick sucking
I want to know the argument now, for totally safe for work reasons
The argument basically goes "if you and another guy were trapped on an island, with Coconuts being the only source of food. and the other guy immediately gathers up, and hoards all of the coconuts, and says that if you want some (so you don't die) you have to suck his dick.
Is that fair?"
With the obvious answer being no, and that you would just take the coconuts you need to survive, and if the guy insists that you suck his dick for them, you just beat the shit out of him/kill him until he complies.
It's an allegory for capitalism as an economic system, with the island being the country/the world, the coconuts being money/products that cost money, the dick sucking being dick sucking and/or work/labour, and the guy hoarding coconuts being billionaires and shit.
And showing that, if you apply the same answer you would have to the coconut dick sucking analogy (of fuck you I'll take what I need to survive, and beat the shit out of you if you insist I need to suck your dick) to the real world, you wouldn't support capitalism, and would support a revolution and all that.
That's how I understand it anyway
"bears repeating" and "time flies" are two kinds of creatures that fill similar ecological niches
gabrielleburnham
ladygaghga
say no more
victorian-sexstache
may i make a contribution because
thehappyspartan
Thank u star trek for this gift
Men need to normalize having friendships with women without a sexual or romantic foundation. Some women are just really cool people to know, regardless of your attraction to them.
Sara Jacobsen, 19, grew up eating family dinners beneath a stunning Native American robe.
Not that she gave it much thought. Until, that is, her senior year of high school, when she saw a picture of a strikingly similar robe in an art history class.
The teacher told the class about how the robe was used in spiritual ceremonies, Sara Jacobsen said. “I started to wonder why we have it in our house when we’re not Native American.”
She said she asked her dad a few questions about this robe. Her dad, Bruce Jacobsen, called that an understatement.
“I felt like I was on the wrong side of a protest rally, with terms like ‘cultural appropriation’ and ‘sacred ceremonial robes’ and ‘completely inappropriate,’ and terms like that,” he said.
“I got defensive at first, of course,” he said. “I was like, ‘C’mon, Sara! This is more of the political stuff you all say these days.’”
But Sara didn’t back down. “I feel like in our country there are so many things that white people have taken that are not theirs, and I didn’t want to continue that pattern in our family,” she said.
The robe had been a centerpiece in the Jacobsen home. Bruce Jacobsen bought it from a gallery in Pioneer Square in 1986, when he first moved to Seattle. He had wanted to find a piece of Native art to express his appreciation of the region.
The Chilkat robe that hung over the Jacobsen dining room table for years. Credit Courtesy of the Jacobsens
“I just thought it was so beautiful, and it was like nothing I had seen before,” Jacobsen said.
The robe was a Chilkat robe, or blanket, as it’s also known. They are woven by the Tlingit, Haida and Tsimshian peoples of Alaska and British Columbia and are traditionally made from mountain goat wool. The tribal or clan origin of this particular 6-foot-long piece was unclear, but it dated back to around 1900 and was beautifully preserved down to its long fringe.
“It’s a completely symmetric pattern of geometric shapes, and also shapes that come from the culture,” like birds, Jacobsen said. “And then it’s just perfectly made — you can see no seams in it at all.”
Jacobsen hung the robe on his dining room wall.
After more needling from Sara, Jacobsen decided to investigate her claims. He emailed experts at the Burke Museum, which has a huge collection of Native American art and artifacts.
“I got this eloquent email back that said, ‘We’re not gonna tell you what to go do,’ but then they confirmed what Sara said: It was an important ceremonial piece, that it was usually owned by an entire clan, that it would be passed down generation to generation, and that it had a ton of cultural significance to them.“
Jacobsen says he was a bit disappointed to learn that his daughter was right about his beloved Chilkat robe. But he and his wife Gretchen now no longer thought of the robe as theirs. Bruce Jacobsen asked the curators at the Burke Museum for suggestions of institutions that would do the Chilkat robe justice. They told him about the Sealaska Heritage Institute in Juneau.
When Jacobsen emailed, SHI Executive Director Rosita Worl couldn’t believe the offer. “I was stunned. I was shocked. I was in awe. And I was so grateful to the Jacobsen family.”
Worl said the robe has a huge monetary value. But that’s not why it’s precious to local tribes.
“It’s what we call ‘atoow’: a sacred clan object,” she said. “Our beliefs are that it is imbued with the spirit of not only the craft itself, but also of our ancestors. We use [Chilkat robes] in our ceremonies when we are paying respect to our elders. And also it unites us as a people.”
Since the Jacobsens returned the robe to the institute, Worl said, master weavers have been examining it and marveling at the handiwork. Chilkat robes can take a year to make – and hardly anyone still weaves them.
“Our master artist, Delores Churchill, said it was absolutely a spectacular robe. The circles were absolutely perfect. So it does have that importance to us that it could also be used by our younger weavers to study the art form itself.”
Worl said private collectors hardly ever return anything to her organization. The federal Native American Graves Protection and Repatriation Act requires museums and other institutions that receive federal funding to repatriate significant cultural relics to Native tribes. But no such law exists for private collectors.
Bruce and Gretchen Jacobsen hold the Chilkat robe they donated to the Sealaska Heritage Institute as Joe Zuboff, Deisheetaan, sings and drums and Brian Katzeek (behind robe) dances during the robe’s homecoming ceremony Saturday, August 26, 2017. Credit NOBU KOCH / SEALASKA HERITAGE INSTITUTE
Worl says the institute is lobbying Congress to improve the chances of getting more artifacts repatriated. “We are working on a better tax credit system that would benefit collectors so that they could be compensated,” she said.
Worl hopes stories like this will encourage people to look differently at the Native art and artifacts they possess.
The Sealaska Heritage Institute welcomed home the Chilkat robe in a two-hour ceremony over the weekend. Bruce and Gretchen Jacobsen traveled to Juneau to celebrate the robe’s homecoming.
theinfalliblefrogboy
Really glad that this is treated as hard hitting news, no really, I am
This is why spaces like Tumblr are so vital in changing the narrative. We cannot back down from the truth.