- Guy on train: I'd fuck you if you didn't have so many tattoos.
- Me: *turns up music*
- Guy: I said I'd fuck you if you didn't have so many tattoos!
- Me: *takes off headphones* Leave. Me. Alone.
- Guy: Why the fuck do you have so many tattoos?
- Guy: Are you fucking deaf as well as a piece of trash?
- Lady by door: Hey. Leave her alone.
- Guy: Are you her trash girlfriend? Fucking dykes, all tattooed like fucking men. Disgusting waste of pussy.
- Lady: *moves forward, carefully moves jacket so only I can see the badge on her belt* Are you okay?
- Me: Fine. Just wish he'd go away.
- Lady cop: I can make that happen.
- Guy: Oh, yeah, bitch? Who the fuck are you? I'll kill you!
- Lady cop: And that's what I was waiting for. *grabs guy, holds him against the door* Harassing women on the train was enough, but you just threatened a cop. You're battin' a thousand tonight.
- Entire train: *applauds*
sad-asians said: A lot of people who appropriate the Bindi like to use the whole "Why are Bindis accessible to us" excuse. What's your opinion on this?
I’m not going to speak on the Bindi specifically, because there’s a lot of Desi folks you could ask about this in depth.
(“You” here is not you specifically, instead aimed at appropriators etc.)
I’ll talk about accessible and pull from a simple example. A few years back I went to a parade in Japantown. It was specifically based in a Japanese folk tradition, with part of it including folks having to carry a platform, playing music, etc.
At the very end of the parade, clearly uninvited, showed up all these white people in fake geisha gear, on stilts, who… looked like horrible caricatures who decided on their own they were going to “join in the parade”.
"Why was the parade accessible to us if they didn’t want us to join in?"
Now, there’s different levels of ownership and participation and meaning to all things. One of the most disingenuous things people do is try to pretend all cultural practices and actions are equally loaded. ”Oh, well, are you saying I can’t eat Indian food, huh, huh?”
The real problem is one of invading space and the power of definition.
When you eat food, you’re not invading anyone’s space. You’re cooking at home, you’re eating at a restaurant - these are expected things. This is very different than showing up at someone’s cultural practice and forcibly pushing your way in. It’s different than deciding you’re going to wear someone else’s history as a toy, as a costume, in public, because it’s fun for you.
It’s also different than taking pictures, or perhaps making books or artbooks of yourself dressed as them, or making their food, or selling DVDs on how to make their music, for your profit because you know you can sell it better because you’re white.
And this stuff always clearly shows because people who participate are working WITHIN the original cultural communities, whereas appropriators never do. They’re not interested in the people, they’re interested in taking something “accessible” and then getting rid of the people, the context, and the origins that it came from.
It says everything that “cultural appreciation” strangely requires removing the people who created it, removing the names and lineages, and the actual history of it and putting yourself in it’s place.
Lots of things are accessible. That doesn’t mean you get to go take them and then claim ownership.
please do not let ferguson die out like everything else big does. do not let this die out. do not let this continue on for three days and then everyone forget about it. do not let this happen.
queue this post up 3 days from now, a week from now, a month from now, a month from then. make sure even if you forget your blog will remember.
the fact i’m seeing reblogs slow down despite the fact there is still news breaking is concerning
avengethewindflower said: hey, I'm a massive fan and I have been for a while now and I was wondering if you could maybe give me some advice on writing dialogue between characters for comedy because I'm really kinda struggling, thanks and sorry about wasting your time.
Reeeeead a lot. I may have mentioned this before, but I was lucky because, in high school, our theater department had a really robust library of plays. Starting sometime in my Junior year I committed myself to reading a new one every single week for no reason other than I liked reading plays more than paying attention in certain classes. Plays are a great writer’s resource, especially if you’re struggling with dialogue.
I would also suggest trying some exercises where you write with a particular person in mind. If you’re writing a scene between two buddy cop characters, Jim and Megatron, for example and you can’t seem to wrap your head around making them sound real or fleshed out, just cast them (when I was writing Dan in Agents of Cracked, I was alternately writing for Jason Bateman or Tobias Funke).
Pretend Jim is going to be played by Michael Cera (who I’ve chosen because he’s got such a specific way of speaking). When Megatron asks Jim if he likes to party, nonexistent Jim might say “Sure” or “I like to party,” but Jim-as-Michael-Cera would say “Party? Oh, I mean, yeah, if you- I’m not exactly, I wouldn’t call myself a party…partysaurous, but, yeah, no yes. Yes. I’m party. I have partied. Yes.” It doesn’t matter that you probably won’t get Michael Cera to play this part (and it doesn’t matter if you’re writing a book where the “parts” aren’t played by ANYONE); what matters is now you have a character with a distinct voice.
Then just pick someone else for your voice inspiration for Megatron (could be a famous person or someone in your life whose cadence and mannerisms you know really well), and see what organically happens when two people with established voices do when stuck together in a specific situation. Michael Cera and Omar from The Wire are in a police car together, on a stakeout. What would they say to each other?