hawthorn-and-ivy:

thebibliosphere:

titania-saturnine:

mushroomsandteeth:

spandexbutterfly4lyfe:

Okay I’m currently furious that migraines are often so blindly easy to treat and I had to find this out myself at the age of 26 when I’ve been to a neurologist since I was 11 lol so I’m about to teach you two neat and fast little tricks to deal with pain!

The first is the sternocleidomastoid muscle, or the SCM muscle.

This big red section is responsible for pain around the eye, cheekbone, and jaw, as well as some temple pain. Literally all you have to do is angle your head down a little, angle it away from the side that hurts, and then you can gently pinch and rub that muscle. I find it best to start at the bottom and travel upwards. The relief is so immediate! You can increase pressure as you feel comfortable doing so.

Here is a short and easy video showing this in action

The second is a fast and easy stretch that soothes your vagus nerve, which is the nerve responsible for calming you down. The vagus nerve, for those unfamiliar, is stimulated by deep breathing such as yawning, sighing, singing, or taking a deep breath to calm your anger in a tense situation.

You can stretch this out by sitting up as straight as possible (this does not have to be perfect to work) and interlacing your fingers. Put your hands on the back of your head with your thumbs going down the sides of your neck and, while keeping your face forward, look all the way to one side with just your eyes. Hold that until you feel the urge to breathe deeply or yawn, or until you can tell there’s a change. Then do the same thing on the other side. When you put your arms down, you should clearly be able to turn your head farther in both directions. If the first session doesn’t get rid of your migraine, rest and repeat as many times as necessary. I even get a little fancy with it and roll my eyes up and down along the outer edge sometimes to stretch as much as I can.

If you need a visual here’s a good video on it. I know some of the language they use seems questionable but this is real and simple science and should not be discarded because it’s been adopted by the trendy wellness crowd!

I seriously cannot believe I didn’t hear a word of this from any doctor in my life. Additionally, if you get frequent recurring migraines, you may want to see a dietician. Migraines can be caused by foods containing histamines, lectin, etc. and can also be caused by high blood pressure in specific situations such as exercise, stress, and even sex.

If any of this information helps you I’d love to hear it btw! It’s so so fast and easy to do. Good luck!

*currently suffering from a horrible migraine. Tries this*

Are you fucking shitting me it works!?

@thebibliosphere I don’t know if it’ll help, but it may be worth looking into.

This is something my magic physio man also taught me. It helps if your migraines are triggered by muscle tension. Not so much if you have other root causes like OP mentioned above.

My kid gets migraines because of weather changes, sleep deprivation, and very occasionally food causes. And when shit’s wrecked and he wakes up in the middle of the night with a migraine (any pain that wakes you up like that is 🚩 btw), it’s because his brain doesn’t all the way fit in his skull.

These stretches will not help with kiddo’s migraines. My mom gets cluster migraines and oxygen helps with those.

But! If you get headaches that are more back of your head, above your ears kind of headache, let me give you one more magic trick to teach a friend because it’s really hard to do to yourself:

It’s called a sub occipital release, and here’s a video of how to do that:

This is one of the top 5 things I can do in the office to fix a headache, and once you’re good at it or made a friend get good at it, everyone benefits from the skill!

(via skipppppy)

quasi-normalcy:

“President Andrew Johnson once said, ‘If I am to be shot at, I want Gnome Ann to be in the way of the bullet.’”

(via derinthescarletpescatarian)

dduane:

william-shakespeare-official:

Here’s THE masterpost of free and full adaptations, by which I mean that it’s a post made by the master.

Anthony and Cleopatra: here’s the BBC version, here’s a 2017 version.

As you like it: you’ll find here an outdoor stage adaptation and here the BBC version. Here’s Kenneth Brannagh’s 2006 one.

Coriolanus: Here’s a college play, here’s the 1984 telefilm, here’s the 2014 one with tom hiddleston. Here’s the Ralph Fiennes 2011 one.

Cymbelline: Here’s the 2014 one.

Hamlet: the 1948 Laurence Olivier one is here. The 1964 russian version is here and the 1964 american version is here. The 1964 Broadway production is here, the 1969 Williamson-Parfitt-Hopkins one is there, and the 1980 version is here. Here are part 1 and 2 of the 1990 BBC adaptation, the Kenneth Branagh 1996 Hamlet is here, the 2000 Ethan Hawke one is here. 2009 Tennant’s here. And have the 2018 Almeida version here. On a sidenote, here’s A Midwinter’s Tale, about a man trying to make Hamlet.

Henry IV: part 1 and part 2 of the BBC 1989 version. And here’s part 1 of a corwall school version.

Henry V: Laurence Olivier (who would have guessed) 1944 version. The 1989 Branagh version here. The BBC version is here.

Julius Caesar: here’s the 1979 BBC adaptation, here the 1970 John Gielgud one. A theater Live from the late 2010’s here.

King Lear: Laurence Olivier once again plays in here. And Gregory Kozintsev, who was I think in charge of the russian hamlet, has a king lear here. The 1975 BBC version is here. The Royal Shakespeare Compagny’s 2008 version is here. The 1974 version with James Earl Jones is here. The 1953 Orson Wells one is here.

Macbeth: Here’s the 1948 one, there the 1955 Joe McBeth. Here’s the 1961 one with Sean Connery, and the 1966 BBC version is here. The 1969 radio one with Ian McKellen and Judi Dench is here, here’s the 1971 by Roman Polanski, with spanish subtitles. The 1988 BBC one with portugese subtitles, and here the 2001 one). Here’s Scotland, PA, the 2001 modern retelling. The Royal Shakespeare Compagny’s 2008 version is here. Rave Macbeth for anyone interested is here. And 2017 brings you this.

Measure for Measure: BBC version here. Hugo Weaving here.

The Merchant of Venice: here’s a stage version, here’s the 1980 movie, here the 1973 Lawrence Olivier movie, here’s the 2004 movie with Al Pacino. The 2001 movie is here.

The Merry Wives of Windsor: the Royal Shakespeare Compagny gives you this movie.

A Midsummer Night’s Dream: have this sponsored by the City of Columbia, and here the BBC version. Have the 1986 Duncan-Jennings version here. 2019 Live Theater version? Have it here!

Much Ado About Nothing: Here is the kenneth branagh version and here the Tennant and Tate 2011 version. Here’s the 1984 version.

Othello: A Massachussets Performance here, the 2001 movie her is the Orson Wells movie with portuguese subtitles theree, and a fifteen minutes long lego adaptation here. THen if you want more good ole reliable you’ve got the BBC version here and there.

Richard II: here is the BBC version. If you want a more meta approach, here’s the commentary for the Tennant version. 1997 one here.

Richard III: here’s the 1955 one with Laurence Olivier. The 1995 one with Ian McKellen is no longer available at the previous link but I found it HERE.

Romeo and Juliet: here’s the 1988 BBC version. Here’s a stage production. 1954 brings you this. The french musical with english subtitles is here!

The Taming of the Shrew: the 1980 BBC version here and the 1988 one is here, sorry for the prior confusion. The 1929 version here, some Ontario stuff here, and here is the 1967 one with Richard Burton and Elizabeth Taylor. This one I’m not quite sure what it is or when it’s from, it’s a modern retelling.

The Tempest: the 1979 one is here, the 2010 is here. Here is the 1988 one. Theater Live did a show of it in the late 2010’s too.

Timon of Athens: here is the 1981 movie with Jonathan Pryce,

Troilus and Cressida can be found here

Titus Andronicus: the 1999 movie with Anthony Hopkins here

Twelfth night: here for the BBC, here for the 1970 version with Alec Guinness, Joan Plowright and Ralph Richardson.

Two Gentlemen of Verona: have the 2018 one here. The BBC version is here.

The Winter’s Tale: the BBC version is here

Please do contribute if you find more. This is far from exhaustive.

(also look up the original post from time to time for more plays)

(a routine reblog of this)

class-struggle-anarchism:

While all of Europe is responsible, I think it’s also important for people from the UK to acknowledge the particular and direct culpability of our government in what has happened in Israel and Palestine - mostly because it never is. Politicians don’t mention it, the media never mentions it, they tell you nothing about it in school, no one talks about it. I was just saying exactly the same thing about India, but if you ask an average British person if they think their country did a good job of ruling Palestine you’ll get a blank stare, maybe they’ll pull a massively uninformed opinion out of their arse, I doubt many could tell you exactly when it was. But the fact is that when Britain assumed control of the Holy land in 1918 both Zionism and Palestinian nationalism were relatively minor concerns, and when we left in 1948 there was a civil war raging between those two sides. All of the important seeds of the conflict were sown and took root while Britain was in charge. The first major Palestinian uprising of 1936-39 was an anti-colonial struggle against the British Empire. 

But today, watching the news, British people are like ‘wow guess we’ll never understand why Jews and Arabs just naturally hate each other’… just like those Hindus and Muslims in India and Pakistan, and those Catholics and Protestants in Northern Ireland’….. and all of those other places on earth where the legacy of British occupation and partition is division, violence and misery. The Empire is not a distant memory we can feel vaguely proud and nostalgic about (as most British people apparently do) it was a global crime of almost unimaginable proportions and it’s still (in some cases quite literally) blowing up in our faces. 

(via skipppppy)

asiraphale:

It has been hard for me to talk about how what is going on with Israel and Palestine is affecting me personally, but I grew up in Gaza and most of my family still lives there. My father did not survive the bombings last week and I have not been able to contact my younger sister in days. I am try to being understanding that most people do not have personal connections to what is happening and therefore are justifying their silence, but is heartbreaking to see this misinformation being spread. What’s happening there is a genocide, not a war. It is not antisemitic to support Palestine, it’s not even antiemetic to criticise Israel. There is no grey area or neutrality regarding this, and it is so easy to find resources that will educate you on the subject. It is my people and my home being destroyed so I will never be silent about this, but I please urge everyone to get informed and start speaking up and finding ways they can help.

decolonizepalestine has tons of information on Palestine’s history/propaganda that has been spread throughout the years

UK citizens can email their MP asking for a ceasefire

US citizens can call/email their local government officials asking for a ceasefire

Jewish Voice for Peace also has many resources for ways for US citizens to get involved, including protests

Donate to Palestine Children’s Relief Fund

Donate to Medical Aid for Palestine

Donate to help get food and hygiene kits to Gaza

(via derinthescarletpescatarian)

vaspider:

I fall asleep listening to…

one of a small set of books which I listen to over and over

new books all the time

a favorite TV show or shows

TV, but whatever is on

a white noise machine or app

a purpose-made sleep app

meditation stuff

uhh you know just … background noise at my house?

multiple or you forgot my thing which I’ll put in the tags

vanilla extract is still a thing

See Results

(via wittyusernamed)

renthony:

renthony:

renthony:

Your personal triggers and squicks do not get to determine what kind of art other people make.

People make shit. It’s what we do. We make shit to explore, to inspire, to explain, to understand, but also to cope, to process, to educate, to warn, to go, “hey, wouldn’t that be fucked up? Wild, right?”

Yes, sure, there are things that should be handled with care if they are used at all. But plenty more things are subjective. Some things are just not going to be to your tastes. So go find something that is to your tastes and stop worrying so much about what other people are doing and trying to dictate universal moral precepts about art based on your personal triggers and squicks.

I find possession stories super fucking triggering if I encounter them without warning, especially if they function as a sexual abuse metaphor. I’m not over here campaigning for every horror artist to stop writing possession stories because they make me feel shaky and dissociated. I just check Does The Dog Die before watching certain genres, and I have my husband or roommate preview anything I think might upset me so they can give me more detail. And if I genuinely don’t think I can’t handle it, I don’t watch it. It’s that simple.

#this excludes writing pedo or incest.

If you look at the tags on my original post, this post was originally about hospital horror, and how it’s allowed to exist even if an individual has medical trauma and doesn’t like the genre. But since someone wanted to go and put some shit on my post that I disagree with:

No, actually, it doesn’t exclude those things. Dark themes in fiction are allowed to exist whether you like them or not.

Vladimir Nabokov’s Lolita was not a real little girl who really got brutalized. She was a fictional character. No real child was harmed. People are not reading Lolita and going out thinking, “oh, this told me to abuse children, and clearly it’s morally okay now.” The existence of Lolita is not responsible for the existence of CSA.

Wes Craven’s New Nightmare was pretty meta, but Freddy Krueger was still never real and never hurt any real kids, either. He’s a story. None of those kids ever died, none of them ever got abused, and Fred Krueger never got burned to death, because they’re all fake and never existed. Murder and CSA in the real world aren’t Freddy Krueger’s fault.

Jaime and Cersei Lannister are not real people. They are fake. They are words on paper, and actors on a screen. Lena Headey and Nikolaj Coster-Waldau are not siblings, and did not ever have real sex in the show. It was fake, simulated, not real sex. No siblings actually fucked. Nobody is watching/reading Game of Thrones and thinking, “oh, I can totally go fuck my sibling with no repercussions now!” The existence of Game of Thrones is not responsible for real-world incest.

Guillermo del Toro’s film Crimson Peak didn’t kick off an epidemic of everyone deciding it’s okay to fuck their sister and kill their wife. William Faulkner’s “A Rose For Emily” isn’t making people kill men and sleep with their corpses, and Emily never really killed Homer because neither of them actually exist in the first place.

John Wick isn’t making people run out and become hitmen. The very cute doggy that infamously dies in the first movie was not actually a real dog death–the dogs in John Wick were treated very well, according to a ScreenRant article I found!

Ghostface was played by a combination of stuntmen and a very talented voice actor, and all his murder victims were actors who were filming a pretend story. It was all choreographed and nobody really died. The benind-the-scenes stuff for the Scream series is actually really cool if you’re into that sort of thing like I am.

Arcane didn’t put grenade launchers in people’s hands and turn them into vigilante fighters juiced up on Super Drugs–and you know what, neither did any of the things the Batman franchise has churned out. The Joker and Scarecrow and Poison Ivy and Harley Quinn aren’t out there terrorizing New York City, because they’re fantasy supervillains who aren’t real and can’t hurt you.

The endless waves of bandits in Skyrim are pixels on a screen, and I’m not killing real men when I cut them down. No real people got hurt when my Sims 4 house caught fire. Playing Super Smash Brothers hasn’t gotten me into underground fighting rings, and neither did watching Fight Club.

It’s all fiction.

None of it is real.

The characters are fake and do not exist.

Curate your own media experience and get your head out of your ass.

[ID: a comment left by tumblr user msexcelfractal, which reads “Cool post OP, now do Birth of a Nation. End ID.]

Content warning: antiblackness, antisemitism, sinophobia, general discussion of bigotry and oppression

You really want to try and go there as if that’s some kind of gotcha on the subject of dark fiction? Fine. Let’s go there. I’ve got sources and free time.

Birth of a Nation is a horrific hate crime of a film. It is flagrantly racist and was connected to a surge in KKK membership. Nobody should watch that film for enjoyment. It’s horrific. Nobody should be forced to watch it, either. You don’t have to watch the film, and I don’t recommend you do, unless you’re actively involved in studying it for whatever reason. It’s a bad, hateful movie.

I have not watched it in its entirety and I don’t really ever intend to. There are Black scholars who have already broken it down and discussed it at length, and I don’t feel I’m going to get anything out of the film that they haven’t already covered. If I need to study Birth of a Nation in more depth for whatever reason, I’m going to defer to Black scholarship on the subject.

But if you tried to ban the film altogether? If you tried to erase it from existence? I would ask what the fuck is wrong with you. Banning Birth of a Nation does absolutely nothing to combat the racism that created it. It wouldn’t stop racists from making racist art. It wouldn’t erase the damage done by the film. It wouldn’t go back in time and make it retroactively never made.

You know what banning it would do, though? It would strip film scholars of the ability to discuss it. It would prohibit people from talking about exactly why it was bad. It would inhibit honest conversations about what the film was and who it affected.

You know what you do with horrific bigoted art like Birth of a Nation? You have content warnings, like the one I put at the beginning of this reply. You don’t spring it on people who don’t want to discuss it. You don’t put it on for people to watch without warning. You don’t tell everyone you know to go and watch it and give it money.

You do things like what Warner Brothers did with their Tom and Jerry disclaimer:

“These animated shorts are products of their time. Some of them may depict some of the ethnic and racial prejudices that were commonplace in American society. These depictions were wrong then and are wrong today. While the following does not represent the Warner Bros. view of today’s society, these animated shorts are being presented as they were originally created, because to do otherwise would be the same as claiming these prejudices never existed.” 

You damn sure don’t erase it from history and pretend that ignoring it will solve bigotry. Censorship is not the answer, because censorship is always enforced harder on marginalized artists. You ban racism in film, you ban films by Black artists who are exploring the topic from their own perspective.

When the Hays Code banned "offense to other nations,” you know what happened? It didn’t stop racism in film, that’s for damn sure. It instead gave bigoted censors a perfectly legal and easy way to shut down art by marginalized people, which they did gladly.

The rise of the Nazi Party in Germany resulted in the Reichsfilmkammer demanding the removal of all Jewish workers from Hollywood’s European locations. American films began receiving heavy censorship and bans in Germany, and so American studios complied with the Reichsfilmkammer’s demands in order to avoid legal trouble in Germany.

Despite the Nazi party’s outright hostility toward Hollywood, the MPPDA office discouraged any negative depiction of Germany or the Nazi party. Germany had been such a huge market for American cinema that the Reichsfilmkammer’s censorship codes for German films began impacting American-made cinema. Jewish representation in cinema all but disappeared overnight. Joseph Breen, the head of the censor board, was an open antisemite, going on open tirades against Jewish people. His censorship policies were flagrantly bigoted and only served to reinforce that bigotry on a systemic level.

In 1933, Herman J. Mankiewicz and Sam Jaffe tried and failed to make an anti-Hitler film titled “The Mad Dog of Europe.” The Hays Code was used to deny the film’s production. On July 17, 1933, Will Hays himself ordered the filmmakers to cease and desist, all in the name of “not offending Germany.”

Said Joseph Breen, “It is to be remembered that there is strong pro-German and anti-Semitic feeling in this country, and, while those who are likely to approve of an anti-Hitler picture may think well of such an enterprise, they should keep in mind that millions of Americans might think otherwise.”

Variety said about the subject, “American attitude on the matter is that American companies cannot afford to lose the German market no matter what the inconvenience of personnel shifts.”

Anna May Wong, a Chinese-American actress, lost out on a leading role in the film “The Good Earth,” due to the Code’s explicit ban on interracial relationships. The leading man had already been cast with a white man wearing yellowface, meaning that Wong was unable to be cast as the leading lady and love interest, even though the characters were supposed to both be Chinese. The role instead went to a German-American actress wearing yellowface, who went on to win an Oscar for the role.

Censorship doesn’t help anyone. Censorship does not protect anyone. Censorship does not prevent bigotry, and in fact only serves to reinforce it.

Anyone who read this far and learned something: being an independent media censorship researcher doesn’t exactly pay the bills, so check out my Ko-Fi or Patreon if you learned something and feel generous.

My main sources for this post are:

• Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty
• The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons
• The Encyclopedia of Censorship, by Jonathon Green & Nicholas J. Karolides
• Morality and Entertainment: The Origins of the Motion Picture Production Code - Stephen Vaughn
• Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira
• Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira
• Hollywood’s Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty

And since you made me talk about Birth of a fucking Nation, here are some additional resources for people who are actually interested in Black media history:

• Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation, by Nicholas Sammond
• Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field
• Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz
• The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff
• Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild
• Darkest America: Black Minstrelsy from Slavery to Hip-Hop, by Yuval Taylor and Jake Austen
• Love & Theft: Blackface Minstrelsy and the American Working Class, by Eric Lott
• The Prettiest Girl on Stage is a Man: Race and Gender Benders in American Vaudeville, by Prof. Kathleen B. Casey
• Dancing Down the Barricades: Sammy Davis, Jr. And the Long Civil Rights Era, by Matthew Frye Jacobson
• Blackface, Whiteface, Insult and Imitation in American Popular Culture, by John Strausbaugh
• A Change in the Weather: Modernist Imagination, African American Imaginary, by Geoffrey Jacques
• Hollywood Black: The Stars, The Films, The Filmmakers by Donald Bogle
• The Blackface Minstrel Show in Mass Media: 20th Century Performances on Radio, Records, Film, and Television, by Tim Brooks
• Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser
• America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin
• White: Essays on Race and culture, by Richard Dyer
• Black American Cinema, edited by Manthia Diawara
• Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood
• Framing Blackness: The African American Image in Film, by Ed Guerrero
• Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle
• White Screens, Black Images: Hollywood From the Dark Side, by James Snead
• Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen
• The Hollywood Jim Crow: the Racial Politics of the Movie Industry, by Maryann Erigha

(via dduane)

dduane:

purple-ladys-stuff:

This.