If my mom sees a significant amount of blood she gets lightheaded, and has fainted on some occasions. Once it happened when we were kids, I wasn't there to witness it but I heard the story from my dad. Basically my brothers, around 7 or 8 at the time, were playing outside while my mom was making their lunch, and she accidentally cut her finger. It wasn't anything serious, but it drew a fair bit of blood and she passed out. My dad saw this and rushed over, but he didn't really know what to do so he just sort of started slapping her to wake her up (not recommended, but he had no idea and panicked)
At that exact moment my brothers both came in from playing, and all they saw was our mom unconscious on the floor and our dad slapping her. So, like, without even saying a word to each other they both just INSTANTLY start whaling on him, like, full blown attack mode to defend our mom. Which obviously didn't help the situation, but she did wake up and everything was fine.
Now our dad says that he's actually really glad they attacked him over what they thought was going on, because it means he raised good boys. And I still think that's true, they're very good boys.
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when i was a kid i wanted to be a famous youtuber like dan and phil so that people would gay ship me with my irl best friend and we would be sooo weirded out by it and laugh and make videos joking about it but secretly it would make her realize her repressed gay crush on me and i'd help her through her gay crisis and then we would have a sickeningly sweet sappy romance and read fanfiction about ourselves together... anyways just found out she's married to a guy in the mafia now so i probably don't have a chance
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A lot of you on here feel waaay too comfortable admitting that you don't and refuse to listen to rap music, and I'm not loving the incredibly reductive takes on rap because the kendrick/drake beef has it on some of yall's radar for the first time in your life.
I'm not going to sugar coat it-- for americans especially, if you consider music a significant interest of yours but still feel the need to search for acceptable reasons to keep yourself ignorant of black music, or think of rap as a monolith of hate and violence and not equally as diverse as any other genre, or can only name nonblack rappers… you should be embarrassed of that. And your embarrassment should not keep you from being active about exposing yourself to unfamiliar art and broadening what you listen to.
'I don't understand what they're saying/they rap too quickly' I'm surprised by how much I keep seeing this-- speed is not a stylistic trademark of most rap music, & clearer diction as a performer is much more necessary in rap than other genres?? Statistically rap has a lower bpm (here's an example of one person's study) average than other genres. (of course these aren't all-encompassing, but you can look into this yourself using sites like bpmdatabase.com.) Do you really feel overwhelmed by speed listening to Kendrick or Biggie or Nas or 2Pac, or have you never actually listened to their songs?
'I have to look up the lyrics'-- so what? is it a bad thing to take an extra few seconds to engage with an artist's work? If you listen to lyrical music, do you care when it's the artists you listen to? Why does the thoughtful art consumption everyone talks about not also apply to black art?
'there is too much violence and misogyny and commercialism' this is not unique to rap, or true of all rap music. Artists exist that talk about other things, the way they exist in all genres. There is an entire wikipedia page listing alternative hip hop musicians and rappers if you consider seeking it out too much labor. Click one!
'i find it unrelatable'-- who cares? Being unable to engage with art you don't find wholly relatable is a deeply childish and self centered way to exist. You get on here reblogging feel good navel-gazey posts about the shared human experience and caring for one another, but a rapper talking about living with violence or poverty is stretching the limits of what you can imagine or empathize with too much for you to care about it? You don't find that embarrassing to admit to?
You don't have to love rap, you don't have to incorporate it into what you listen to every day, but a lot of you need to be aware you're parroting reagan era anti-rap (& antiblack) pearl-clutching talking points, and it's a very ugly look. It isn't racist if your favorite genre isn't rap, but you need to do some serious self reflection if you consider it inherently less artistic, intelligent or positive than 'whiter' genres when you don't actually listen to it. I am looking at you, people into other counterculture genres-- it's crazy how much I see this from self-professed punks and metalheads especially lmfao. If expression, counterculture art, anti-censorship in music and the right for raw and unfiltered music to exist matters to you as much as you say you do, you should care about rap's relationship to censorship & fight for its legitimacy just as much as what you listen to.
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J. K. Rowling and Neil Gaiman are such a funny contrast to me, like
Rowling: Oh, and by the way, I put gay characters in my books.
People: Is there anything... showing that?
Rowling: No. Also trans women don't deserve respect
People: wtf
Gaiman: Here are some immortals that transcend all human concepts of gender and attraction who use a variety of pronouns, and also some clearly canon human queers.
People: Are the immortals queer?
Gaiman: That is an entirely valid way to view them.
Other people: Ugh, pushing a modern woke agenda. It used to be-
Gaiman: Fuck you
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I was meeting a client at a famous museum’s lounge for lunch (fancy, I know) and had an hour to kill afterwards so I joined the first random docent tour I could find. The woman who took us around was a great-grandmother from the Bronx “back when that was nothing to brag about” and she was doing a talk on alternative mediums within art.
What I thought that meant: telling us about unique sculpture materials and paint mixtures.
What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.
What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.
The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.
And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.
But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.
I don’t think there’s any dramatic conclusions to be drawn from these thoughts - they’ve been echoed by thousands of other people across the centuries. However, if you ever feel bad for spending all of your time sewing, knitting, drawing, building lego sets, or whatever else - especially if you feel like you have to somehow monetize or show off your work online to justify your labor - please know that there’s an 84yo museum docent in the Bronx who would cry simply at the thought of you spending so much effort to quietly create something that’s beautiful to you.
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"Protect bad drag" is like every other "protect bad art" to me. Because if you only ever see the most polished and editorial final product, you'll never think that you can begin making that same art. You'll think you've been priced out of expressing yourself. You'll think beauty is behind a paywall. And that is poison, 100% of the time.
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