mightilyconfused:

edgebug:

sincerely, a person who has been on prozac for 9 years

this is in response to some shitty stuff i’ve seen on my dash recently. it’s super simplified, so if you’d like to know some more indepth stuff on how exactly it works, google it—OR BETTER YET actually talk to a mental health doctor psychiatrist person wow

I really learned a lot from this. Wow.

archiemcphee:

As part of a tour put on by an organization called The Mystical Arts of Tibet, a group of Tibetan Buddhist monks from the Drepung Loseling Monastery in India recently visited the Crow Collection of Asian Art in Dallas, Texas. They were there for a weeklong residency during which they constructed this magnificent Tantric Buddhist mandala sandpainting.

The monks will spend up to eight hours a day working together on one of their sandpaintings. The process starts with an opening ceremony and the consecration of work site.

Each work begins as a drawing, the outline of the mandala. Then, colored sand is poured from traditional metal funnels called chak-purs. Each monk holds a chak-pur in one hand, while running a metal rod on its grated surface; the vibration causes the sands to flow like liquid.

Once the sandpainting has been completed it is ceremoniously destroyed using a ritual vajra.

"The sands are swept up and placed in an urn; to fulfill the function of healing, half is distributed to the audience at the closing ceremony, while the remainder is carried to a nearby body of water, where it is deposited. The waters then carry the healing blessing to the ocean, and from there it spreads throughout the world for planetary healing."

Click here to learn more about The Mystical Arts of Tibet

[via My Modern Metropolis]

Seeing this at the Cantor when I was in elementary school was one of the formative experiences of my chilhood

Free Essay from Issue #3: His Girl Friday (1940)

brightwalldarkroom:

image

YOU ARE WHAT YOU DO.

by Sheila O’Malley

"When I first started in pictures, an actor didn’t have the freedom to interrupt the dialogue. But in His Girl Friday, Rosalind Russell and I were constantly interrupting each other. The sound men would say, ‘We can’t hear you.’ And we’d say, ‘Well, you’re not supposed to hear us. People do interrupt each other, you know.’"

—Cary Grant

His Girl Friday is known for its faster-than-fast overlapping dialogue, every line rat-a-tat-tatting like automatic weapon fire. There are times—in the crowded press room, for example—when no less than five or six people are all talking at the same time, and yet clarity is never sacrificed. The overlapping required specific timing on the part of the ensemble. Director Howard Hawks said in an interview with critic Richard Schickel, decades later, “Naturally, we used [overlapping dialogue] because that’s the way we all talk… Our little trick of adding a few words in front and adding a few at the end of a line makes it come out as clear as it can be. To me it sounds more like reality.” Reality hyped up on caffeine and cigarettes and sleep deprivation.  The end result is something almost symphonic or orchestral, and is still the high watermark for fast-talking ensemble pictures. 

But the thing about the fast dialogue that is so extraordinary here—and why imitators often fall short—is that the dialogue is not an empty gimmick. Every line is supported by characterization, motivation, action and re-action. Hawks immerses us in the cynical, hard-bitten world of crime reporters and the newspaper business, where everyone races to get the scoop regardless of who may be trampled along the way. One just assumes (because it is set up so powerfully) that this is how they all talk, this is the world they inhabit. Cary Grant and Rosalind Russell, heading up the cast, speak as quickly as the rest of them, lobbing linguistic explosives at one another like grenades, laughing when they detonate. 

image

Hawks (and cinematographer Joseph Walker) filmed the action with an unfussy straightforwardness that not only eradicates distraction from the fastest dialogue ever captured onscreen but highlights the irresistible chemistry between Grant and Russell. Except for one or two scenes, the entire action takes place in the cramped unglamorous press room at City Hall. A lot of His Girl Friday is filmed in medium shot, with all of the actors crowded into one frame. What we are seeing plays out in real time. Hawks doesn’t “zoom in” for you; you have to decide where to put your focus in any given scene. *His Girl Friday* is one of those rare films that gets more dazzling with repeat viewings.

A remake of the wildly popular 1928 stage play and 1931 filmThe Front Page (considered by Pauline Kael to be “the greatest newspaper comedy of them all”), written by former reporters Ben Hecht and Charles MacArthur, His Girl Friday is so cynical that at times you wonder if eventually it will lose its nerve. *His Girl Friday* does not lose its nerve. As Walter (Grant) and Hildy (Russell) hurry out of the press room in the final frame—reconciled as man and wife and racing on to the next big scoop—she struggles, carrying a purse, her coat, and a suitcase. Instead of helping her out with any of it, he gives her an impatient look and says, “Don’t you want to carry that with your other hand?” In an earlier scene, he doesn’t hold the door open for her, and charges across a room without waiting for her, something she gibes him for. And so nothing has changed. Roll credits. The world portrayed in His Girl Friday is insular, brutal, and heartless. Comedy, and the enormous appeal of Grant and Russell, helps you swallow the pill. But it is still a pill. 

image

Howard Hawks had the bright idea to re-make the film but to change the star reporter “Hildy” (originally a man) into a woman. Hawks was interested in the world of men—the world of work and shared endeavor that bonded men together—but he was also interested in feisty, insolent women who could go toe to toe with men (without sacrificing their femininity). You rarely see portrayals of marriage or domestic life in Hawks’ films. He was interested in the interplay of wit and bravado between a man and a woman who, more often than not, cannot admit to each other (or to themselves) their true feelings. Howard Hawks’ people have a lot of pride. Part of the fun of his films (and they are tremendous fun) lies in watching prideful people ignore their own softness, their own needs and wants, in order to maintain the façade that they are individuals.

While there are conflicts between men and women in a Hawks picture, he often makes the conflicts look like the best fun in the world. David Huxley (Cary Grant), the workaholic paleontologist in Bringing Up Baby, has a moment at the end of the film when he stands on his brontosaurus-scaffold, looking down at the dizzy dame (Katharine Hepburn) who has upended his entire life in a matter of 24 hours, and shouts at her, “I’ve never had a better time!” Huxley’s emotional outburst in that final moment is key to understanding Hawks’ unique take on the battle of the sexes. Yes, in Hawks’ male characters’ view, women can be annoying and too emotional, and muck up the serious work of men … but in the end, hanging out with them provides you “a better time” than you’ve ever had in your life.

It was well known about town that Rosalind Russell was not Howard Hawks’ first choice (or the studio’s first choice) for the female lead in His Girl Friday. She wasn’t even the second or third choice. Many years later, Russell titled the His Girl Friday chapter in her memoir “Back Door to The Front Page, or How I Was Everybody’s Fifteenth Choice.” She was so pissed off about it that she showed up to her initial meeting with Howard Hawks with wet hair, having just come out of the pool. It is not difficult to picture Hawks’ reaction to this ostentatious display of indifference: she had spirit, she was feisty, she was not intimidated or eager to please. In other words, the perfect “Howard Hawks Woman,” a trope all his own, fine-tuned through picture after picture, showing up in different guises from the beginning until the end of his long and illustrious career. Howard Hawks’ world was a macho one; he made films about pilots and gangsters and cowboys, stereotypically male pursuits. Women in such films normally inhabited a very clear female space, narrow and limited (although no less important as love interests or damsels in distress). Howard Hawks had no interest in those clichés. He presents us with sassy dames who barrel right into the center of the action, disturbing the all-male equilibrium to often sexy results. Lauren Bacall, making her film debut in To Have and Have Not, with Humphrey Bogart, was perhaps the pinnacle of this type of female character. In his direction to her, Hawks kept stressing that he wanted her to be as “insolent” as Bogart. No tears or feminine wiles were allowed—she was a tough gal in a tough world, and, in Hawks’ fantasy, only that type of woman could make a certain type of man happy. In Only Angels Have Wings, poor Jean Arthur is driven out of her mind trying to get close to Cary Grant’s tough-guy pilot.

image

Howard Hawks had a dream of equality between the sexes, where women were as cool and self-possessed as men, where they didn’t muck up the business of men with dreams of domestication and safety. But he was not interested in women who tried to be like men. He liked women in his films to maintain their femininity, their sex appeal—minus the stereotypical tears and sentimentality. His women are emotional daredevils. Watching Angie Dickinson banter with John Wayne in Rio Bravo is an object lesson of the perfect “Howard Hawks woman,” as is Rosalind Russell in His Girl Friday.

After chatting with Russell for a bit, Hawks sent her straight to wardrobe to get fitted for some pinstripe suits. And that, as they say, was that. Rosalind Russell was Hildy from that day forth. Cary Grant, fresh off Only Angels Have Wings, was already signed on as Walter Burns, the unscrupulous editor and Hildy’s ex-husband.

The first scene in His Girl Friday is rightly famous, and should be studied by young directors who want to know how to present necessary information efficiently and naturally. Hildy, decked out in geometric pinstripes (coat and jauntily cocked hat) that make her look like some sort of manic playing card, swoops through the busy newsroom on her way to inform her boss/ex-husband that she is about to be married to a sweet, conventional guy named Bruce (played by Ralph Bellamy). As she makes her way across the room she is greeted affectionately and happily by everyone who sees her. You understand immediately that Hildy is not in any way, shape, or form a “his girl Friday”—rather, she is a star reporter at the newspaper, the best writer they’ve got. But like most Howard Hawks women, she wants to be a “woman,” too; she wants to have a normal life where her husband won’t cancel the honeymoon because of a coal mine disaster or a union strike. 

Hildy bursts into Walter’s office, Walter rises to greet her, and so begins one of the best scenes in American cinema. Critic Molly Haskell remarks in an interview included in the special features of the DVD, that it’s like watching a boxing match between two fighters “in the same weight class.”

What you understand immediately is that the two are perfect for one another not just because nobody else on earth could keep up with them, but also because nobody else would put up with either of them. It’s a match made in screwball heaven. Pauline Kael, in her famous essay on Cary Grant, "The Man From Dream City", observed that the 1930s screwball comedies “turned love and marriage into vaudeville acts and changed the movie heroine from sweet clinging vine into vaudeville partner.” Direct descendants of the dazzlingly witty Beatrice and Benedick in Shakespeare’s Much Ado About Nothing, Walter and Hildy are obsessed with one another, competitive with one another, and, finally, helpless in the face of the blatant chemistry binding them together. As Barbra Streisand’s Judy says in Peter Bogdanovich’s What’s Up, Doc? (a 1972 homage to 1930s screwballs), “Listen, kiddo, ya can’t fight a tidal wave.” 

The strength of His Girl Friday lies in the fact that we can see all of that from the get-go. When Cary Grant’s Walter Burns behaves in often-reprehensible ways, repeatedly jailing poor Bruce throughout the film on trumped-up charges, you understand that it’s only because he can’t bear to lose Hildy. Of course, the question remains: is it just her writing he will miss, or is it her? The beauty of His Girl Friday is that it does not distinguish between the two. 

image

Hildy, throughout the course of the film, begins to re-discover who she really is: a “newspaperman.” All you need to do is watch Hildy dash like a lunatic between two different telephones in the press room, barking out instructions into both mouthpieces, speaking so quickly it is unbelievable that you still understand every word, to know that this woman is doing exactly what she needs to be doing during her short time on this planet. Her desire to have a quiet life with a nice husband is sincere, but there are more primal drives on this earth, and those who define themselves by what they do will understand. 

Hawks is radical in that he makes the woman central to this ultimate journey, when so often the woman is forced to compromise in other films of that era (and ours). You must choose, if you are a woman: domestic bliss or a career. Here, Hildy gets both, although “bliss” is probably a wild misrepresentation. She and Walter Burns will live together, work together, and fight like cats and dogs until the end of their days. Life will be fun, messy, exciting, infuriating, busy, and focused. To Hawks, that’s what “having it all” looks like. And Walter Burns, ruthless as he is, understands that. He finds Hildy hilarious. He “gets” her. She will be safer with him, ironically, than with the more staid Bruce Baldwin.

Pauline Kael, in that same essay, observed, “Clark Gable is an intensely realistic sexual presence; you don’t fool around with Gable. But with Grant there are no pressures, no demands; he’s the sky that women aspire to. When he and a woman are together, they can laugh at each other and at themselves. He’s a slapstick Prince Charming.” When poor tragic Molly Malloy (played beautifully by Helen Mack) leaps out the window of the press room to hit the sidewalk a couple stories below, Walter is not only unmoved, but clearly conniving how he can work it to his advantage. In any other actor, such a reaction would be unforgivable. But in Grant’s hands, it’s deeply funny, and further evidence that Walter and Hildy are cut from the same cloth. 

Stella Adler—The great American acting teacher and founding member of the Group Theatre—once said, “It is not that important to know who you are. It is important to know what you DO, and then do it like Hercules.” Her words could represent the Howard Hawks mantra, explored and examined in film after film after film, but His Girl Friday is the zany zenith. Despite all of the hilarity and slapstick, His Girl Friday has a serious, dark heart, and those who persist in believing that the ultimate in life is discovering “who you are” will wonder what all of those people are doing, racing around shouting into telephones at one o’clock in the morning. But Hildy and Walter know the real secret to life: What they DO is who they ARE.

And so they proceed to do it like Hercules. 

image

Sheila O’Malley writes film reviews and essays for RogerEbert.com, Capital New York, Fandor, Press Play, Noir of the Week, and the House Next Door. Her first play, July and Half of August, recently had public readings at Theatre Wit in Chicago, and The Vineyard Theatre in New York. She is currently working on her second play, as well as a book about Elvis Presley in Hollywood. 

—-

This essay appears in Issue #3 of Bright Wall/Dark Room magazine.To read Issue #3 in its entirety, and receive access to all previous back issues and content, subscribe to Bright Wall/Dark Room magazine today, directly from your iPhone or iPad, for $1.99 per month. 

Perfect, perfect role models.

I love His Girl Friday but you DEFINITELY have to be awake to follow the dialogue….

itsgayerinenochian:

satans-ghost:

Do you ever get like super vulnerable late at night that you just want to spill your heart out and say how you feel because you’ve been holding it in for so long and you just need some ventilation and there’s just something about two in the morning that makes me lose my filter and say the things I would never have the guts to say when the sun is up.

the nights were mainly made for saying things that you can’t say tomorrow day

Crawling back to you……

(Source: mingdliu)

oldatheart:

fweeble:

gryphynshadow:

littlemissbatterwitch:

clothoboorocracy:

stormybabe:

I have to say this is completely legit - someone tried to steal her handbag and she simply went “Fuck this- *suplex*”

My hero

someone teach me this pweeze-ooc

Ok Ladies, here’s the info on this move.
We are blessed with a low center of gravity. This means that when we get ahold of someone and tip over backward like that, it’s easy peasy for us to do. Especially on a guy. Think of it like a fulcum and lever: they’re the lever, we’re the fulcrum, and because their center of gravity is up in their chest, instead of in their pelvis, when we get down low and lean back, whupsy there they tip right over.
Now, here’s the real deal on that particular move. Check out how this gif end, with the guy’s head on the floor like that? How his torso seems straight up and down, his head and neck on the floor, all his body weight and the momentum of having been tossed over her shoulder?
Yeah, he’s pretty messed up from that. In the really real world, if you do that move correctly, toss your whole body into it, seriously oomph it up and give that mugger a throw, you can snap his neck.
All that said, here’s how you do it!
This is something you do fast, ladies. Move quickly and with assurance, and don’t worry about whether you’re strong enough to do it or not: you are. This is about physics, not muscle.
Get low, bend your knees and hips. Our strength is largly concentrated in our lower bodies, and when we put our knees and thighs into a move, we bring some of the largest muscles in the human body to bear. You’d be surprised what you can move with your legs.
When she got low on him, her right arm was around his waist, her shoulder roughly at or under his ass, her left arm wrapped around his left leg. Feet shoulder width apart for a nice stable base, big deep breath in, and lift just a bit while falling backwards. It doesn’t take much strength but it will really mess with the dude’s day. Landing on your head will at the very very least knock you silly for a minute.
Interestingly, we can use these same basic principles to ruin a guy’s day if he’s the one to grab us! Imagine, if you will, mugger dude runs up behind you and bear hugs you in preparation for dragging you into the alley. Scary, right? Yep.
If he lifts you too fast, and you find your feet off the ground, kick him in the shins, scrape your shoes down his legs, aim for the knees and his feet. Toss your head back and head butt him. Bite him. Squirm. Do what it takes to get your feet back on the ground.
Feet on the ground, grab his arms and hold on to them. Don’t let him get away, because this move, ladies, will put him down and out, and if he moves away he may go for a distance weapon, or start using his fists. Hold onto his arms and keep him in close.
Again, feet shoulder width apart. Use your booty and hips now, like you’re trying to hit his not-so-manly bits with your ass, get your hips back, bend your knees and flex your hips. If he’s shortish, you should at this point have picked him up and be balancing him on your back. If he’s tall, you’re now in position to put a crimp in his style in a big way.
Tuck your head to your chest and roll forward, just like you did when you were a kid. Flip yourself forward and let gravity do the rest. You will have your head tucked down, aiming to land on the upper back of one shoulder; he won’t. This means he’ll land on his face, with the full force of his own body weight behind it as well as any momentum you’ve built up. You may very well land on top of him too.
From here, get up, run like hell towards a light source while yelling “help, fire, call 911 (or whatever emergency services number exists in your country)”
Remember, ladies, with just a little understanding of comparative anatomy and physics, you too can put a man on the ground and seriously mess up his day. But then, that’s what he was planning to do to you, so fair’s fair.

Reblogging again because of Gryphyn’s awesome comment. C:

THIS IS AWESOME.

oldatheart:

fweeble:

gryphynshadow:

littlemissbatterwitch:

clothoboorocracy:

stormybabe:

I have to say this is completely legit - someone tried to steal her handbag and she simply went “Fuck this- *suplex*”

My hero

someone teach me this pweeze-ooc

Ok Ladies, here’s the info on this move.

We are blessed with a low center of gravity. This means that when we get ahold of someone and tip over backward like that, it’s easy peasy for us to do. Especially on a guy. Think of it like a fulcum and lever: they’re the lever, we’re the fulcrum, and because their center of gravity is up in their chest, instead of in their pelvis, when we get down low and lean back, whupsy there they tip right over.

Now, here’s the real deal on that particular move. Check out how this gif end, with the guy’s head on the floor like that? How his torso seems straight up and down, his head and neck on the floor, all his body weight and the momentum of having been tossed over her shoulder?

Yeah, he’s pretty messed up from that. In the really real world, if you do that move correctly, toss your whole body into it, seriously oomph it up and give that mugger a throw, you can snap his neck.

All that said, here’s how you do it!

This is something you do fast, ladies. Move quickly and with assurance, and don’t worry about whether you’re strong enough to do it or not: you are. This is about physics, not muscle.

Get low, bend your knees and hips. Our strength is largly concentrated in our lower bodies, and when we put our knees and thighs into a move, we bring some of the largest muscles in the human body to bear. You’d be surprised what you can move with your legs.

When she got low on him, her right arm was around his waist, her shoulder roughly at or under his ass, her left arm wrapped around his left leg. Feet shoulder width apart for a nice stable base, big deep breath in, and lift just a bit while falling backwards. It doesn’t take much strength but it will really mess with the dude’s day. Landing on your head will at the very very least knock you silly for a minute.

Interestingly, we can use these same basic principles to ruin a guy’s day if he’s the one to grab us! Imagine, if you will, mugger dude runs up behind you and bear hugs you in preparation for dragging you into the alley. Scary, right? Yep.

If he lifts you too fast, and you find your feet off the ground, kick him in the shins, scrape your shoes down his legs, aim for the knees and his feet. Toss your head back and head butt him. Bite him. Squirm. Do what it takes to get your feet back on the ground.

Feet on the ground, grab his arms and hold on to them. Don’t let him get away, because this move, ladies, will put him down and out, and if he moves away he may go for a distance weapon, or start using his fists. Hold onto his arms and keep him in close.

Again, feet shoulder width apart. Use your booty and hips now, like you’re trying to hit his not-so-manly bits with your ass, get your hips back, bend your knees and flex your hips. If he’s shortish, you should at this point have picked him up and be balancing him on your back. If he’s tall, you’re now in position to put a crimp in his style in a big way.

Tuck your head to your chest and roll forward, just like you did when you were a kid. Flip yourself forward and let gravity do the rest. You will have your head tucked down, aiming to land on the upper back of one shoulder; he won’t. This means he’ll land on his face, with the full force of his own body weight behind it as well as any momentum you’ve built up. You may very well land on top of him too.

From here, get up, run like hell towards a light source while yelling “help, fire, call 911 (or whatever emergency services number exists in your country)”

Remember, ladies, with just a little understanding of comparative anatomy and physics, you too can put a man on the ground and seriously mess up his day. But then, that’s what he was planning to do to you, so fair’s fair.

Reblogging again because of Gryphyn’s awesome comment. C:

THIS IS AWESOME.

(Source: odd-marissa)

art-of-swords:

Handmade Swords - Earil

  • By Peter Lyon of Weta Workshop
  • Edition Size: 1
  • Measurements: Blade length: 915mm (36”). Overall length: 1217mm (48”). Weight: 1.94Kg (4 pounds 4 ounces). Balance point: 71mm (2.8”) along blade, measured from the shoulder of the blade

The sword has been made especially for the Weta Cave and Weta’s Online Shop to sell to the public. It is similar to late medieval European longswords, but with design flourishes transform it into a piece of art as well. A longsword is light enough and balanced to be used with one hand, but it can also be used two handed for powerful cutting blows. The blade is broad for much of its length, making for strong cuts, but comes to an acute point for effective thrusts, making this a true cut-and-thrust sword.

The individual parts have shapes and detail lines that blend into each other and continue into the next component, so that shapes continue even as the materials change, and the shapes of all the hilt parts draw the eye towards the diamond shaped bosses in the centre of the grip, filled with polished Paua (New Zealand abalone) shell each side. At the same time there is a strong central line through the hilt and along the blade, emphasising the straight and symmetrical shapes of the sword.

This sword has many nautical features which led me to the name, “Aearil”, which in Elvish means “Gleaming Ocean”. 

The straight blade is ground from spring steel bar, and has been heat treated to give the best possible combination of toughness and edge hardness. Historically blades were forged into shape and to remove flaws in the steel, but the consistency and high specifications of modern steels mean this is no longer necessary.

The bevelled edge is blunted for safety and display, but could just as easily be sharpened for cutting tests. The tang of the blade is strong and wide, and passes through the cross guard, grip and pommel, and is peened over the end of the pommel for maximum strength.

The cross guard is cut from a block of mild steel. From the centre block it projects along the blade and towards the ends, which are split into a fork. This is an unusual feature which I don’t recall being used on a sword before. The cross is set onto the shoulders of the blade for extra strength and stability, as was done on medieval European swords to prevent the cross becoming loose and rattling through use.

The grip is made of beech wood, covered with leather. Thin cords under the leather create the designs, and the leather has been carefully tooled to fit into all the shapes created by the cords. The grip was mostly drilled out then fitted by heating the tang and burning out the remaining wood for a tight fit, and finally glued in place. It is a two handed grip; the foregrip is straight to give a strong gripping surface, while the waisted shape of the upper grip encourages the second hand to nestle into the inside curves of the pommel.

The mild steel pommel is also a counterweight for the blade. It is shaped somewhat like a fish tail, with curved and recessed faces to add interesting shapes, and also to remove weight and get the best possible balance for the sword overall. The pommel was set tight onto the tapering tang before the end was peened over.

Source: Copyright © 2014 Weta Ltd.

THIS IS TOTALLY ULMO’S SWORD NO ONE CAN CONVINCE ME OTHERWISE

Hello, Tumblr!

I need your opinion on something.

So this is me:

More importantly, that is my hair.  On one of the two occasions in the last 6 months when I’ve worn it down.

It’s very long, very curly, and very very nuts.  75% of the time it’s in a bun and the other 25% of the time it’s in a braid.

Summer’s coming and I know I’ll get sick of having it twisted up super tight on the back of my head.  There’s something about sun that makes even me want to have loose hair.  But I can’t, because it snarls and tangles and breaks and goes EVERYWHERE and attaches me to other people’s velcro.

So what I want to know is— would it be offensive for me to get micro braids?  Given that I am, as you can see, very white.  I know it could be considered cultural appropriation, and in NO WAY is that the spirit in which it is intended.  I just want to be able to have my hair “down” without 15 tons of gel and sitting funny while it dries and spending 2 hours the next day with a wide-toothed comb and a lot of Palmer’s coconut hair treatment getting the snarls out.

If anyone gets back to me saying that they believe it would be offensive, I’ll just stick with the bun.  It’s not a matter of life or death, after all.

Modern life is so thin and shallow and fake. I look forward to when developers go bankrupt, Japan gets poorer and wild grasses take over.

Hayao Miyazaki (via awelltraveledwoman)

(Source: morigrrl)

Why are Morgans only available in the UK they’re so PRETTTYYYYYY

(Ok they look like they’re from 1937 but whatever.  I’m actually an ancient old spinster, that’s established, only I have cars instead of cats)

List Of Ridiculous Things To Tell Sam Neff I Am Doing With My Life Should He Ever Ask

Friends, should he ever inquire, I humbly request than you select something from this list, or invent something that is just as ridiculous but just barely sounds like something I would do.

For example, I am:

  • Working as a production weaver for Rodarte
  • Turning replacement bannisters for Painted Ladies in SF
  • A member of the Soto Buddhist Monastery in Tassajara
  • Designing new plastics for Lamborghini
  • A professional calligrapher
  • A yoga instructor in Portland
  • the owner of an indie bakery in Seattle
  • A surveyor for the National Parks Service
  • A pole/exotic dancer (depressingly, this has actually been suggested as a back-up career…..)
  • A fetish model for corsettieres
  •  A machine shop technician
  • A darkroom assistant at the local art college
  • The main caretaker of the GSBF bonsai garden in Lake Merrit
  • On a vision quest in the Sonoran Desert
  • Studying indigo dying in Laos

    DAMN now I want to actually do these things with my life…..Oh, well.

Trans Girl in need of job

nothingonlyme:

I know that it’s kind of quick, but does anyone in the pittsburgh area (specifically in the north hills or oakland) know of/have a job opening that might be safe for a trans girl?

Background:

Since my parents have been entirely unsupportive and deaf to my struggles as a trans girl, I’m currently going to fail this semester (most of my classes at least) and be placed on academic suspension. I can get into the details in another post, but yeah. So thankfully for me my parents won’t kick me out of the house, but they have called into question what would happen to the apartment that I have leased for next year (whether or not they would pay it / if they would terminate the lease). For that reason, I need a job badly so that I can provide for myself for at least the next 6 months. Since I am single and do not need much, I estimate that I’ll need to make around $1.3 - 1.7K a month, $700 of which will go to rent and utilities, and the rest to cover living expenses. I have applied for summer jobs, but have not received any responses. I have skills in chemistry and can tutor, which would be preferred. (Seriously if anyone needs a tutor and lives within the area of the port authority buses I can make that happen for cheap).

If you have an opening or know of one, please drop me an ask. Either way, please signal boost!

Thanks so much for your time!

-Chelsea

I know most people who follow me aren’t in the right area for this, but if you are, please help.

the-library-and-step-on-it:

See, the problem with really enoying my first Discworld novel so far is knowing that I will have to buy and read the other four billion.

That’s extremely inconvenient.

NOT A PROBLEM

ACCEPTABLE

YES

YOU ARE DOING THIS RIGHT