#Internal-Reflections

[beyondthevisible]

Unlearning the Urge to React

I’ve often heard the phrase “Think before you speak.” And I’m sure we all have—usually after saying something unnecessary. But every time someone said it to me, it pissed me off. It felt like they were questioning my intelligence. I never stopped to wonder why they were saying it—I just reacted. And I still do sometimes. I think we get clouded by emotions so easily that we forget to think…

[chronicsymptomsyndrome]

sometimes when chronically ill/disabled/neurodivergent people say “I can’t do this thing” they really mean “I can technically do this thing I guess, but not without pretty significant repercussions” and I really need more fully-abled people to understand the validity of that

[luvinaeverdene]

Persepolis (2007) Directed by Marjane Satrapi & Vincent Paronnaud

[lil-vibes]

Day 24: Other side

Previous/Next

(prompt list here!)

[theofficialastronomy101]

Such a beautiful universe! So much more waiting to be found

[findmeinthefallair]

Mindscape, based on this post I made weeks ago

The yellow light is Flapjack's life force 😭😭😭😭

[the-8-of-spades]

up until this point the subtitles always reffered to her as Kara but once she chooses to fight for Earth not for praise or station but because it's the right thing to do the subtitles started calling her Supergirl I'm not crying you're crying

[chillikm]

Here I am fashionably late lmao

Melbourne/BoonWurrung (also known as Bunurong) Miku!

The BoonWurrung people of the Kulin nation are the traditional owners of the areas currently known as port Phillip bay and Melbourne (where I’m from! However I don’t think I’m from this mob ,:3). They’ve been around for about 40 000 years!

Also Kmart, Bunnings, thongs, puffer jackets, sunnies and what we locals call “Melbourne’s bipolar weather” are all staples of Melbournian culture lmao

[waitineedaname]

putting aside being sad about binghe for now, I was looking for the first time sqq directly compares binghe to a maiden, and as far as I can tell, the first time he calls him a maiden is this part:

To push him away during this moment would be like giving a young maiden -- one who'd finally worked up the courage to call and brokenheartedly weep to an older sister for comfort and encouragement -- a face-turning slap. It was really a bit cruel. (Chapter 11 in vol. 2 of the English translation)

this stands out to me because this is shortly after he finally realized binghe is attracted to him, while he's still grappling with the fact that he's "turned binghe gay." it's yet another example of sqq equating being gay with femininity -- he knows binghe is into men now, and thus begins him repeatedly referring to binghe's behavior as that of a maiden's

but the other thing that stands out to me about this quote is that sqq is also making himself a girl in this metaphor. I know the translation is probably lacking here and he's probably using jiejie to mean generic older female friend as opposed to jiejie meaning older sister, but still. shen qingqiu, why are both of you girls in this mental metaphor. hello. shen qingqiu are you aware that making both of you girls does not make it any less gay. shen qingqiu are you listening to me. shen qingqiu yes it's still gay when you're both girls

[kagiura-akira]

Sometimes I feel like the average onlooker could skim Hirano to Kagiura and probably think reasonably that their only communication issue is that time Kagi accidentally confessed out of the blue in broad daylight and Hirano didn't understand what he meant... And then I think about how on a deeper level it's so much worse than that. And even casual readers could probably look at it and think the extra layer is only Hirano's aspec tendencies interfering with his ability to understand Kagi's romantic love and situations like Kagi being petty with sasahira and not being forthcoming about how much it bothers him.

Need the people to spread far and wide about Kagi's inability to be honest about the depths of his attraction to Hirano and how it partially hinders Hirano's genuine attempts to understand him.

[unbidden-yidden-deactivated20240]

Resisting the urge to make even more bitter posts about people I expected to be better

[waystarresourceco]

Kieran Culkin on Roman's playboy image and the way the actors/writers understanding of backstory fits together. (x)

[multicolour-ink]

Thinking about how Sonic didn't believe for a second that he was big brother material, then meeting Tails and being like "You're my sibling now". T-T

[lochallthedoors]

Noel Versus the Council Skies Tracklist

Context: If you pick just one interview of Noel's to read/listen to from the Council Skies promo run, chances are that interview will feature Noel complaining that he fucked up the tracklist--that he now believes "Think of a Number" should have been first and "I'm Not Giving Up Tonight" should have gone last.

I find his obsession with the album's messaging kind of fascinating in the context of whatever led up to the Oasis reunion, so I thought I'd put together a masterlist of interview excerpts where he explains why he made the choice he did and why he wishes he could go back and get a do-over.

I have thoughts but they're very rambly so they're going in the tags. The focus should be on the transcripts here anyway.

NME Interview Posted 3 June 2023

Noel: "Think of a Number," yeah, it's got a Bowie feel to it. If I had my chance--if I had my time again, I would have had that as the opening track on the album. I've kind of--yeah, that's--that's--I mean, every album that I make, anyway, tends to be flawed in some way, and this is almost perfect, but that's the biggest flaw, is that the opening track, "I'm Not Giving Up Tonight," should be the closing track, and "Think of a Number" should be the opening track. But I didn't think "Think of a Number" was strong enough until it was too late. You know, and, uh, yeah--what a dick. But there you go--I'm allowed to be a dick when it's my own music, so. later in the interview Interviewer: I mean, you talked about how, uh, Council Skies was about you asking "how did we get here, and how did I get here?"--as in you, not me. I know how I got here. Um, did you find any answers? Noel: (pause) No, I think--I think the last line of, um, "Think of a Number," although--although it should be the first track on the album, I think the last line of it is perfect for an ending of an album, which is--is--it's like, "let's drink to the future / I hope it comes round again." Did I find any answers? No, but I will--no, I will find them, though.

Radio X Interview Posted 8 June 2023

On "I'm Not Giving Up Tonight" Noel: The biggest or the most interesting thing, or what I find interesting is I--this should be the closing track on the album because it ends with a lot of hope, you know I mean? "I'm not giving up tonight" and all that. And I, for some reason--the track that closes the album, we'll get to that obviously at the end, but, um, I didn't feel the track that closes the album was strong enough to open a record with. It's a big, epic kind of affair, and I thought that would be a bit obvious. And, uh, I thought "I'm Not Giving Up Tonight" would be a great way to ease into a new record. If I could go back now, I'd--I'd have it closing--closing the record, but it was too late to change my mind. But, um, I do like that song. It's, uh--it's, uh--yeah, it's got a great vibe that's slightly reminiscent of Buffalo Springfield, and, uh, Gem plays a great guitar part on it. And, uh, yeah, I mean, it's--I don't know. Kennedy: Yeah, yeah, no, it's interesting. I mean, it's got the strings on it, it's got the horns on it, and there's a little bit of the gospel choir, and-- Noel: Yeah-- Kennedy: Those are all elements that are through the record. Noel: But I guess the sentiment of it is a song of defiance, you know? "I'm not giving up tonight," and that, you know, obviously writing these things in--in lockdown there was a bit--there was a bit of that in--in a lot of the songs. But, yeah, it's a grand--it kind of sets it up perfectly because it's a--it's a grand kind of opening, but it's a bit laidback as well. On "Think of a Number" Noel: I love the song. Now--and it's me playing the guitar, so it's really epic, and, so, as mad as this sounds, I didn't think that song was strong enough to open a record with. I liked it, right? And I did, and--and something inside of me hung in there with it, and--I don't like closing records on a negative kind of, uh, almost, um, what's the word I'm looking for--uh, pessimistic kind of, um, feel to it. The last line is, you know, "let's drink to the future, I hope it comes around again"--that really should have been the opening track on the album and finished with "I'm Not Giving Up Tonight," you know? That would have been the journey through the lockdown and isolation and all that. But as that song went on, I was like, you know, just didn't feel it was strong enough. I thought it was just a bit standard High Flying Birds rock kind of tune. Obviously, when we finished--when I finished it and mastered it, the penny dropped one night at home, and I was like "Oh, God," you know. And then you do the frantic "Can we change it?" and it was like, "No, we pressed up now. What are you doing?" Um, so it really should have been the opening track, but I love the lyrics on it, and they paint a really pessimistic picture of the future, which is what I was feeling at the time. And, yeah, there's some great--the lyrics are really visual, and, um, yeah, it's--I mean, it's an epic rock tune, and it's--it's got the full production and, yeah, really great.

XS Manchester Drive Posted 9 June 2023

Note: For the clip of Clint calling out Noel's pause, see definitely-rubbish's post here

Noel: Let's do a track called "Think of a Number." Clint: "Think of a Number"--now, this is the--it's the actual last track on the album, innit? Not including the bonus track? Noel: Mm-hmm. Yeah. Clint: When I heard this--and I made some notes--some of the--"Let's drink to the future / I hope it all comes 'round again." It sounds like you reaching out to somebody. Noel: Well, uh-- [Long pause] Clint: That was a brilliant pause! Noel: I could never-- Clint: That pause was amazing. It's gonna sound great on the radio, that! Noel: I could never decide if that track should have been the opening track or the closing track. And if I had my time again, I'd have it as the opening track, because the track that is the opening track, "I'm Not Giving Up Tonight," would end the album on a real--"I'm not giving up tonight"--a kind of sense of hope. But with this song, right up until the death--I never thought it was strong enough to open a record. I thought people would go, "You know, okay, well, I was expecting that from him." And--yeah, I kind of bottled it a little bit and put it as the closing track, which ends on a really bleak note, you know? Uh, but there you go. You know, you live and learn.

SoCal Sound Interview Recorded June 9, 2023

Harcourt: The opening track is "I'm Not Giving Up Tonight," and, I mean, that's full-on. Noel: Mm-hmm. Harcourt: There's bells, there's whistles-- Noel: Oh, yeah. Harcourt: It's--it's the whole thing. Noel: Yeah. Harcourt: Uh, is that at the beginning of the album for a reason? I mean, it sort of seems to set an intention. Noel: Yeah, I should have actually had it as the closing track. I think--I think there would have been a--well, so, the--the closing track is a track called "Think of a Number," and, actually, the entire track listing was set in stone very, very early, apart from these two tracks, and I kept flipping them, just to listen to at home, and I kept flipping them, and I--ludicrously, I actually thought "Think of a Number" wasn't strong enough to open a record, and I thought people would be expecting a big, kind of--and, actually, in hindsight, I should have had that as the opening track, because it would have meant the album would end on a more positive note, whereas it ends on a bit of a bleak note. Harcourt: Mm. Noel: But that's the one change I would make. Um, but, no, it's ["I'm Not Giving Up Tonight"] not there for any specific reason other than I felt like, for this--you know, my albums always open up with something huge, and I thought for this one, maybe something a bit more understated, um. But it's a fucking great song. Harcourt: It is a great song. Noel: Yeah, it's a great song. Harcourt: Yeah. Noel: The way that it--the way that it came out sounding is amazing. Yeah.

[eriyu]

the Yda -> Lyse transition would feel so much smoother to me if not for the voice actor change... like i guess the timing was just unfortunate considering she was gone for all of 3.0, but with her name, look, and demeanor all changing at once, it would be so nice to at least have her voice to ground her as the same person underneath.

[exercise-of-trust]

seemingly cool fiber arts person i followed a little bit ago just put radfem shit on the dash, anyway the blanket statement that the only contributions of men to textile production are capitalist/exploitative and the only contributions of women are household-centric/victimized is patently untrue. while less of a documented presence, women in medieval europe [1] absolutely participated in weaver's guilds and commercial cloth production [2], and men have been participating in household knitting in all parts of europe for as long as knitting has been a thing there [3]. like i'm not trying to say women haven't been deeply excluded from economic opportunities in the textile trade for centuries but you cannot be making sweeping statements like that about everyone in every part of the world through all of history and expect them to be true. do, like, a basic level of research and have a basic understanding of nuance, i beg of you [4]

footnotes/sources/etc under the cut, sources are a bit basic because i just grabbed whatever was nearest to hand but they should suffice to prove my point:

[1] i'm only referring to western europe here because that's the only region i feel comfortable talking about in any detail without embarrassing myself. systems of medieval cloth production in european guilds are not gonna look anything like the systems of hundreds of servants employed to do textile production for a household in china. don't make categorical statements about everyone everywhere all at once, you will end up with egg on your face.

[2] quotes from "when did weaving become a male profession," ingvild øye, danish journal of archaeology, p.45 in particular.

england: "in norwich, a certain elizabeth baret was enrolled as freeman of the city in 1445/6 because she was a worsted weaver, and in 1511, a riot occurred when the weavers here complained that women were taking over their work" + "another ordinance from bristol [in 1461] forbade master weavers to engage wives, daughters, and maids who wove on their own looms as weavers but made an exception for wives already active before this act" germany: "in bremen, several professional male weavers are recorded in the early fourteenth century, but evidently alongside female weavers, who are documented even later, in 1440" -> the whole "even later" thing is because the original article is disputing the idea that men as weavers/clothiers in medieval europe entirely replaced women over time. also: "in 1432-36, a female weaver, mette weuersk, is referred to as a member of the gertrud's guild in flensburg, presently germany" scandanavia: "the guild of weavers that was established in copenhagen in 1500 also accepted female weavers as independent members and the rules were recorded in the guild's statutes"

[3] quotes from folk socks: the history and techniques of handknitted footwear by nancy bush, interweave press, 2011, don't roast me it was literally within arm's reach and i didn't feel like looking up more stuff

uk/yorkshire dales: "...handknitting had been a daily employment for three centuries [leading up to 1900]. practiced by women, children, and men, the craft added much to the economy of the dales people." (p.21) uk/wales: re the knitting night (noson weu/noswaith weu) as a social custom practiced in the 18th/19th c.: "all the ladies would work on their knitting; some of the men would knit garters" (p.22) uk/channel islands: "by the early seventeenth century, so many of the islands' men, women, and children had taken up the trade of knitting that laws were necessary to keep them from knitting during harvest" (p.24) -> this one is deeply funny to me, in addition to proving my point uk/aberdeen: "the knitters, known as shankers, were usually women, but sometimes included old men and boys" (p.26) denmark: "with iron and brass needles, they made stockings called stunthoser, stomper, or stockings without feet, as well as stockings with feet. the men knit the legs and the women and girls made the heels" (p.32) iceland & faroe islands: "people of all ages and both sexes knit at home not only for their own use but for exportation of their goods as well" (p.35)

[4] actually? no. i'm not begging for shit from radfems. fuck all'a'y'all.