A Hero Can Go Anywhere, Do Anything, As Long As He/she Has The Nerve!

Imagine the best, funniest, most successful version of yourself. Then live in it to the fullest.

I can understand not wanting to get pregnant or have kids but y'all do not need to take that out on pregnant people themselves

if you're black, reblog this

if you're black, reblog this

if you’re black, reblog this

if you’re black, reblog this

if you’re black, reblog this

if you’re black, reblog this

if you’re black, reblog this

A characterization of Mary Shelley's ''Frankenstein''

The Federal Reserve

NO. 1

Today, we’re going to asking some questions all focused on the Federal Reserve. Who created the Federal Reserve? What is its purpose? And how does it continue to control us, poor and middle-class folks, today? The Federal Reserve Act was signed by President Woodrow Wilson on December 23, 1913. Generally speaking, it has five general functions, ‘‘like conducts the nation's monetary policy to promote maximum employment, stable prices, and moderate long-term interest rates in the U.S. economy; promotes the stability of the financial system; promotes the safety and soundness of individual financial institutions; fosters payment and settlement system safety and efficiency and promoting consumer protection and community development.

NO. 2

The first myth about the Federal Reserve, is that it is controlled by the federal government, hence the name. But in actuality, it is a private institution whose shareholders are commercial banks, hence the term, ‘bankers bank’. The word ‘federal’ is designed deliberately to create the impression that it is a public entity. Indeed, misrepresentation of its ownership is not merely by implication or impression created by its name. More importantly, it is also officially and explicitly stated on its website: ‘The Federal Reserve System fulfills its public mission as an independent entity within government. It is not owned by anyone and is not a private, profit-making institution” [1]. To unmask this blatant misrepresentation, the late Congressman Louis McFadden, Chairman of the House Banking and Currency Committee in the 1930s, described the Fed in the following words: ‘Some people think that the Federal Reserve Banks are United States Government institutions. They are private monopolies which prey upon the people of these United States for the benefit of themselves and their foreign customers; foreign and domestic speculators and swindlers; and rich and predatory money lenders.”

NO. 3

Henry Ford quoted, ‘It is well enough that people of the nation do not understand our banking and monetary system, for if they did, I believe there would be a revolution before tomorrow morning.” In simplistic terms, the Federal Reserve basically controls the money supply, and average citizens, like you and me, work for any valuable company, and in order to receive those paychecks, you used where only a fraction of bank deposits are backed by actual cash on hand and available for withdrawal. This is called fractional reserve banking, and it is done to theoretically expand the economy by freeing capital for lending. Every single person on this planet is working under the Federal Reserve.

For more information, please watch the documentary ‘Capital in the Twenty-First Century’, based on Thomas Piketty's best-selling book, on Netflix. They give a widespread selling of how far back the plans to implement the Federal Reserve goes.

Who created the manuscript?

 NO. 1

  Ever since the rise of modernism, it feels like people have only looked to see such medieval manuscripts in museums or hear about them in lecturers. The beginning of medieval, or illuminated manuscripts were beautiful but so very old and have to be handled with great care. Archaeologists and anthropologists have discovered and studied such manuscripts as a testament to keeping record of humanity’s past forms of writing. But would we ever get to such technological advancements, in forgetting our past, without it? This report explains the creation of how medieval manuscripts came to pass.

NO. 2

From the met museum, ‘Unlike the mass-produced books of our time, an illuminated manuscript is unique, handmade object. In its structure, layout, script, and decoration, every manuscript bears the signs of the unique set of processes and circumstances involved in its production, as it moved successively through the hands of the parchment maker, the scribe, and one or more decorators or illuminators.’’ Illuminated manuscripts began in Ireland after the fall of the western Roman empire. Christianity came to Ireland around 431 A.D, introduced by Palladius and reinforced by the ministry of a Roman Briton named Patricius, or St. Patrick as he’s called today. He was kidnapped at the age of sixteen, and spent six years in captivity before escaping back to Britain. Upon returning, he was met with ‘distrustful druids’, and ‘murderous bandits’, and by bribing tribal kings did he made it out alive.

 NO. 3

   Eventually, he came back to Ireland in the 5th century. The island became lidded with monasteries in the 6th, and in the 7th the scribes of these centers of religious life were experimenting with new forms of decoration and bookmaking, the better to reflect God’s glory in the written word.

          The first illustrated book to be found by archaeologists was the Egyptian ‘Book of the Dead’, a guidebook for the afterlife in which those in question would come to face-to-face with the jackal headed god Anubis, where he would balance their heart against a feather to determine what would become of them. A fortunate soul would either be in the Elysian paradise, the ‘Field of Peace’, or travel the night sky with Ra in his sun-boat, or rule the underworld with Osiris; those less fortunate would be eaten by the chimera looking god Ammit the soul-eater, for her body was part crocodile, lion and hippo. From Keith Houston’s, The Book, ‘’One of the main reasons the Book of the Dead is so well studied is because so many copies have survived, their colorful illustrations intact for Egyptologists to pore over endlessly. And though their subject matter may have been a little monotonous, it is clear that the ancient Egyptians were past masters at the art of illustrating books.’’

NO. 4

Under Charlemagne’s the Great Holy Roman Empire, politics, religion and art flourished. Monks filled their libraries with tens to thousands of volumes, where they borrowed and copied books to expand their holdings and occasionally to sell to laypeople, and those who wrote and collected realized the importance of illustration was towards a society of illiterate people. The monks who were in charge of the survival of Europe’s history were very vocal about physical maladies and working conditions. The dismal chambers were called ‘scriptoria’ or the writing rooms, which was the most important features of a medieval monastery, other than the Church itself. But society within the empire was transformed. Skilled peasants were leaving their rural homes for towns and cities, while the cities themselves, such as Johannes Gutenberg’s hometown of Mainz fought to eke out some measure of independence from the old feudal aristocracy.  Money was assuming a progressively larger role, and it spoke louder than an inherited title. Always a reflection of the societies that had made them, books were changing in response. Gutenberg’s printing press, which churned out books too rapidly for them to be illustrated by hand, is often blamed for killing off the illuminated manuscript.

The racial aspects of Sci Fi, Fantasy and other forms media

NO. 1

One of the blog posts I have written before was titled ‘Mean World Syndrome’, which talked about how race and media affects everyone on a global scale. Racial aspects of sci-fi, fantasy, and other forms of media have long been a source of controversy. From the stereotypes of aliens in Star Trek to the whitewashing of characters in movies like Avatar, Prince of Persia, etc. these issues have been a major source of discussion in the media landscape. In many cases, racial stereotypes have been used to create a sense of ‘otherness’ for the characters of color in order to reinforce a sense of white superiority. This has led to criticism from fans, activists, and academics who have called for more representation of people of color in sci-fi, fantasy, and other forms of media.

NO. 2

In the entertainment business, inclusivity is hard to come by, and in some cases, the representation of characters of color in these genres is inadequate and often offensive. Characters of color are often relegated to the sidelines and made to serve as the backdrop to white characters’ stories, or they are depicted as tokens and stereotypes. This lack of meaningful representation has led to a push for more diverse casts in sci-fi, fantasy, and other forms of media. ‘‘Like many social sciences, international/intercultural/interethnic communication and media studies are primarily an Anglo-American media images have always been critically dissected, often by scholars with some kind of privileged tie to other cultures—Most makers of these blockbusters are mostly white males with English as their mother tongue, mutli-millionaires or aspiring to become one as soon as possible. They usually internalize a mid-Atlantic view of global history and geography, its central myths and legends. So many blockbusters remain ethnocentric, even today—they tend to make non-Westerners look at the world through Western eyes.’’

NO.3

In addition to representation in the stories themselves, the casting of actors to bring these characters to life has been another source of debate. Many actors of color have argued that they are often typecast into roles that are stereotypical or that do not reflect the true diversity of the world. Films or TV shows with fantasy/sci-fi themes on Netflix, like Chambers or Raising Dion are not being properly advertised because, like Inclusive Advertising: What’s Holding the Industry Back? claims, ‘‘The industry itself is not diverse: The advertising industry — across the ecosystem and at all levels — is not representative, which is itself a barrier to creating representative and inclusive content. Only 19% of in-house and 23% of agency survey respondents reported that their leader almost always considers the demographic diversity of their team when developing content. That, and individuals (in these marketing companies) lack awareness of and access to the knowledge, skills, resources, and tools to create representative and inclusive content. Individuals are confident in their ability to create representative and inclusive content, but only if provided with adequate tools and resources.’’

NO. 4

Of course, there will always be people who dislike seeing a more diverse setting, especially against the established order of Western ‘‘whiteness’’ ideologies. Ultimately, the best way to ensure diversity in these genres is to continue to create stories that feature diverse characters and cultures. If authors, producers, and casting directors make a conscious effort to create more imaginative stories that are inclusive and reflective of the real world, then audiences will be able to experience a more authentic and meaningful experience.

Krampus, the legend!

During the Christmas season, every young boy and girl awaits their presents and gifts with eagerness, hoping for Santa to make their way to their homes. The saying, you better watch out, you better not cry, you better not pout is the official song for Santa Claus as he is checking his list for all the good boys and girls. But for those who are naughty children, the invention of the famed horned goat Krampus who works together with St. Nick.

NO. 2

Created in Eastern European folklore, Krampus, meaning ‘claw’, is depicted as a horned, half-demon like monster who terrorizes naughty children, hitting them and beating them with whips, other versions having him with chains, sometimes shaking them to scare the children, equipped with a sack or a basket strapped to his back, to cart off the children chosen to be either eaten or dragged to Hell. He even has a holiday dedicated just to him, celebrated in Germany and now, because of the film, in America as well, called Krampusnacht, or Krampus Night, on December 6. In this long and very funny tradition, spectators dressed up as Krampus appears in the streets, visiting homes and business, along with his devilish accomplices, evil elves and imps, the total anthesis of Santa Claus, who help Krampus scare people and onlookers in the streets.

NO. 3

Because of the resurgence of the celebration of Krampus in the late 19th century, including popular greeting cards with his image and funny rhymes and poems, not to mention the many horror movies or TV shows in North America, gaining traction and popularity every time Christmas comes around. Or maybe it’s because of the intense, heavy commercialization around Christmas time, meant for family and friends. So, here’s the question, do you celebrate Krampus, or Christmas as a whole, or do you think he’s just a myth better left to the children?

Mean World Syndrome

NO. 1

Mean World Syndrome is a theory the sociologist George Gerbner, creator of the Cultural Indicator’s Project, where three quarters of Americans believe in high level of crime, even though statistics show it is low. In the media, there is too much sex and violence, more so than the average person will ever see a day in their lives, and it has become repetitive, too routine, as the storytelling of violence seem ‘normal’. Since 1995, the demand for guns to ‘protect themselves’ has been at an all time high, and so is the fear, fear that everyone in the world is a suspect. But most importantly, is the image of the bad guys coming to get them. 2/3 of Americans get their information from the media, mostly the news, which creates negative stereotypes of minorities, who are seen as violent and aggressive.

NO. 2 Take for instance, Latina’s, who make up 15% in population in America, are portrayed by the media as aggressors, seen as ‘rapists and gangbangers’ or ‘murderers’. They are also the subject of illegal immigration, which all together creates dehumanizing effects. Then, there’s the vilification of Arabs and Muslims, as bloodthirsty terrorists, that are linked to violence and terror, and the subject of torture/ing of these people is ‘okay as long as it’s a good guy doing it’’. 39% of Americans actually believes that American-born Muslims are not loyal to the country’s ideals, and so not loyal to them. And finally, African-Americans are twice as likely to be seen as perpetrators. In the media, it is harmful showing black people as great middle/class, successful people, then as violent and aggressive in the next slide, as if to say some people choose that type of lifestyle, that they are simply a product of their environment. White people are five times more than likely to be criminalized by whites than black people, yet it’s not white people being shown almost everyday on the news for braking crimes.

The result of all this is the active fear in everyday Americans that makes us less likely to be compassionate, and more hardened to anyone and everyone. It also increases a high demand for national security, and believing that we have to lock these ‘criminals in cages where they belong.’

Cultivation Theory is the examination of the long term effects of television. Media cultivates a set of values, meanings, expectations, understanding, etc. which is the culture now in the modern century. Mass media replacement of community-based storytellers, it advances corporate interests (increasing profits and sales) since Americans spend a lot of time with the media. The effects are becoming more systemic and all encompassing. We need to start asking questions, like who is being represented in the media, who is the victim, and who is in the cast, and what are their fates. Who is generally casted as the good guy, and who is casted as the bad guy. We can look to the Media Database (IMDb) to see who is making the cultural object, and what is the main subject. Mean World Syndrome relates to this theory, through intersections of race, gender, ethnicity, criminal justice and the international border. We need to understand who is creating these TV shows/films, since America has such a global reach, it attracts the largest audience. Sociologists are not condemning media, but the constant repetition of ‘happy violence’—where in the film, show, or media, the good guy faces has a challenge, fights and action and explosions reoccurs, he stops the evil doer, saves the damsel, and the day is saved! It’s boring, cliché and the same story over and over again— and the various franchises and storylines springing from these corporations because it slows down progress and keeps negative stereotypes alive, some of them extremely damaging.