Sonia Saraiya
what kind of magpie keeps this blog?

writer on the internet and at @soniasaraiya

tomorrowsofyesterday:

So @TheCapitolPN tweeted this
image

which was promptly deleted. (G-Bb-A-D are the notes to Rue’s whistle.)

But if you had clicked inspect element before it was deleted

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"You silence our voices, but we are still heard."

HOW COOL IS THIS MARKETING?!?! Like the rebels are hacking into the capitol’s twitter!!!!

(Thanks toastbabeis and mockingjaysource for noticing it and jenliamjosh for reblogging)

Posted at 3:53 am on Friday, August 1, 2014 with 106,787 notes
museumofmodernerotica asked: Maybe this is a crazy question, but how did Europeans know what Africans looked like? I know that some of the paintings here are of North Africans/Middle Easterners, but others clearly depict people born south of the Sahara. I've heard of Prester John but I never imagined that medieval Europeans were aware that Prester John would have had brown skin. Am I missing something?

medievalpoc:

Like. There are a lot of things I could say here. But I’m just going to do my best to answer your question, and the answer is either very simple or very complicated, depending on your current point of view.

1. “They” knew what people with brown skin looked like because people with brown skin had been there literally THE ENTIRE TIME. Some (and father back, ALL) of “them” had brown skin themselves.

2. “People with Brown Skin” and “Europeans” are not separate and mutually exclusive groups.

3. No matter how far back you go, the mythical time that you’re looking for, when all-white, racially and culturally isolated Europe was “real”, will continue to recede from your grasp until it winkles out the like imaginary place it is.

We can just keep going back. In every area, from all walks of life, rich and poor, kings and peasants, artists and iconoclasts, before there were countries and continents, before there were white people.

Russia, 1899:

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Switzerland, c. 1800:  [fixed link here]

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Netherlands, 1658:

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Poland, 1539:

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Germany, 1480s:

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Spain, 1420s:

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France, 1332:

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Scotland, England, France, 1280s:

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France, 1220s:

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England, 1178:

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Belgium, 1084:

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Greece, c. 1000:

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Spain, 850s:

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Throughout Europe, 800s-500s:

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England, c. 300 AD:

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Scotland, c. 100 AD:

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Italy, 79 AD:

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Greece, 170 B.C.:

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Greece, 300 B. C.:

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Greece, 400s B.C.

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Greece, 500s B.C.:

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Egypt, 1200s B.C.:

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Crete (Minoan), 1600 B.C.:

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Crete (Minoan), early 2000s B.C.:

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Romania, 34,000 B.C.:

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The time when “EVERYONE” in Europe was White does not exist. They knew what people with brown skin looked like because they were there. They knew what “Africans” looked like because they were there, and they weren’t “they”, they were us, or you. I think what you’re missing is something that never existed.

this is awful useful

Posted at 7:08 pm on Thursday, July 31, 2014 with 34,959 notes
Posted at 7:03 pm on Thursday, July 31, 2014 with 38,691 notes
eudaemaniacal:

ALL HAIL MACBETH HAIL TO THEE THANE OF GLAMIS
ALL HAIL MACBETH HAIL TO THEE THANE OF CAWDOR
ALL HAIL MACBETH THOU SHALT BE KING HEREAFTER

eudaemaniacal:

ALL HAIL MACBETH HAIL TO THEE THANE OF GLAMIS

ALL HAIL MACBETH HAIL TO THEE THANE OF CAWDOR

ALL HAIL MACBETH THOU SHALT BE KING HEREAFTER

Posted at 11:08 pm on Sunday, July 27, 2014 with 2,150 notes

stand-up-comic-gifs:

Hannibal Buress considers his menu options. (x)

Posted at 12:13 am on Friday, July 25, 2014 with 1,359 notes
medievalpoc:

Jan Mijtens
Portrait of Margaretha van Raephorst with Servant (detail)
Holland (c. 1650)
Oil on Canvas, 135 × 105cm.
Rijksmuseum Collection

medievalpoc:

Jan Mijtens

Portrait of Margaretha van Raephorst with Servant (detail)

Holland (c. 1650)

Oil on Canvas, 135 × 105cm.

Rijksmuseum Collection

Posted at 12:10 am on Friday, July 25, 2014 with 525 notes
jennydeluxe:

too real man too real

jennydeluxe:

too real man too real

Posted at 12:10 am on Friday, July 25, 2014 with 2,891 notes
Posted at 11:54 pm on Thursday, July 24, 2014 with 36,417 notes
sexpansion:

Unknown Artist - Ikea Monkey (2012) X Arctic Monkeys - R U Mine (2012)

sexpansion:

Unknown Artist - Ikea Monkey (2012) X Arctic Monkeys - R U Mine (2012)

Posted at 11:33 pm on Thursday, July 24, 2014 with 11,642 notes

surprisebitch:

this show seriously tackles all issues

Posted at 11:32 pm on Thursday, July 24, 2014 with 276,476 notes

webbys:

We wholeheartedly back The Daily Show’s fake Kickstarter to buy CNN

CACKLING

Posted at 11:27 pm on Thursday, July 24, 2014 with 162 notes

Joan of Arc by Albert Lynch (1851-1912)
engraving from Figaro Illustre magazine, 1903

Joan of Arc by Albert Lynch (1851-1912)

engraving from Figaro Illustre magazine, 1903

Posted at 11:25 pm on Thursday, July 24, 2014 with 14,320 notes
new-aesthetic:

Son Finds His Late Dad’s ‘Ghost’ In A Racing Video Game
This is lovely, strange, and wrenching all at the same time. A teenager whose father passed away when he was just six had pulled out an old Xbox game that he and his dad used to play together, only to discover a part of his father lived on in the game, as a ghost car. This is less supernatural than that sentence sounds. In racing video games, a ghost car is a representation of a previous player’s inputs and actions as they drove the track previously. Usually, the fastest laps are stored as ghost cars and then used by players to help them find the best line around a track, or have a way to compete with another player in a time-shifted way.
Via Jake H.

new-aesthetic:

Son Finds His Late Dad’s ‘Ghost’ In A Racing Video Game

This is lovely, strange, and wrenching all at the same time. A teenager whose father passed away when he was just six had pulled out an old Xbox game that he and his dad used to play together, only to discover a part of his father lived on in the game, as a ghost car.

This is less supernatural than that sentence sounds. In racing video games, a ghost car is a representation of a previous player’s inputs and actions as they drove the track previously. Usually, the fastest laps are stored as ghost cars and then used by players to help them find the best line around a track, or have a way to compete with another player in a time-shifted way.

Via Jake H.

Posted at 11:22 pm on Thursday, July 24, 2014 with 231 notes
britticisms:

Reminder! Deadline is tomorrow. NOTE: This is for the first print edition. We are still accepting submissions for the online component. 

Hello! 
The deadline for submissions for the first issue of Inland, my new publication on contemporary Midwest culture, is THIS Friday, July 25. Please send all submissions to inlandmag@gmail.com. If you have any questions or concerns, you can send them to that email as well. 
For more on our submissions guidelines, please check out our website. 


Hey writers! Contribute to Britt’s thing!

britticisms:

Reminder! Deadline is tomorrow. NOTE: This is for the first print edition. We are still accepting submissions for the online component. 

Hello! 

The deadline for submissions for the first issue of Inland, my new publication on contemporary Midwest culture, is THIS Friday, July 25. Please send all submissions to inlandmag@gmail.com. If you have any questions or concerns, you can send them to that email as well. 

For more on our submissions guidelines, please check out our website

Hey writers! Contribute to Britt’s thing!

Posted at 11:20 pm on Thursday, July 24, 2014 with 43 notes
"One of the most durable paradoxes of white supremacy - the idea that those who are closest to an experience of oppression are its least credible witnesses."

Walter Johnson, Soul by soul: life inside the antebellum slave market
(via drapetomaniakkk)

This is the type of violence—from microaggressions to epistemic violence to emotional/physical violence to enslavement/genocide—that gets justified by asserting that the oppressor is “objective” and “logical” and thereby “credible.” As if there is objectivity in choosing to oppress. As if the emotions of entitlement, indifference, greed or hatred aren’t involved. 

(via gradientlair)

Posted at 11:18 pm on Thursday, July 24, 2014 with 7,406 notes