If you use prayer/scripture to get out of genuinely being there for a person, you’re doing it wrong. 

dear christian tumblr:


plz help me find something edifying I can say about this passage of scripture

bc holy damn I am struggling here

For me I think it’s helpful to remember that WE ARE OFTEN THIS TERRIBLE DEBTOR/SLAVE. Like, we owe God a ridiculous debt, that he cancels because he’s merciful, and then we treat one another in the EXACT OPPOSITE WAY - we aren’t merciful, we don’t forgive people their debts and sins against us (i.e. we hold grudges; forgiveness doesn’t mean full reconciliation), and we concern ourselves with ourselves and refuse to engage the Other when we have power and they do not. 

This is a lesson in the undoing of the cycle of violence and oppression that Rowan Williams talks about so much.

*goes to re-read _Resurrection_ and get overly excited about his new academic book coming out next mooooooonth*

“Mary is blessed most of all because she heard the word of God and carried it out. She preserved the Truth in her mind even more than she preserved the Flesh in her womb.”
— St. Augustine (via questformary)


foods dangerous to dogs:

  1. avocadoes
  2. alcohol
  3. raw bread dough
  4. caffeine
  5. chocolate
  6. grapes and raisins
  7. onions and garlic
  8. macadamia nuts
  9. raw salmon
  10. xylitol (artificial sweeteners)

if you have a dog please reblog this

Not sure why riverplants decided to quote directly from an ASPCA list without linking it, but here you go:

Please please PLEASE, tumblr, link to things. There’s so much fluff and nonsense and misinformation flying about, that with important things we really ought to have some sort of verification. 

I mean, just do this at the bottom of your posts if you don’t want it to be a big ugly link:


Thank youuuuuuuuuu

(via anachronizomai)

“Verbum caro, panem verum
Verbo carnem efficit
Fitque sanguis Christi merum
Et si sensus deficit
Ad firmandum cor sincerum
Sola fides sufficit”

Thomas Aquinas (via anachronizomai)

Tantum ergo Sacramentum…



GMOs are no bad.


"What are people so worried about, then? Some have argued that new allergies could be induced by the creation of new proteins—Novella calls this a "legitimate concern" but says that GM foods undergo testing to prevent this from happening. Some fear that when GM foods are used as feed for livestock, there will be unintended consequences for humans who eat them. But again, there’s no evidence that animals that eat GM foods pose any health risks to us. "To date," says Novella, "the reviews conclude pretty universally that there’s just no health risk.""



do you ever just discover a new band

and you listen to their song

and you can tell straight away

 and you just sit there in complete silence as your entire soul shifts and your entire being begins to beat intune to the sudden new music and your entire world opens up to all the new emotions that you’re going to discover jjust by listning to another humans voice


(via manningschild)



This is important

And sad.


This is important

And sad.


This is important

And sad.


This is important

And sad.


Pray for my dad, friends. He’s experiencing minor stroke symptoms and is at the emergency room.

Also pray for my mother and my sister and me, please.

He’s being admitted to the hospital after some minor stroke-like symptoms. Tests came back and showed no sign of any damage, but they admitted him in order to make sure it wasn’t a minor stroke or TIA (both of which tend to repeat soon after the initial event). They’re not entirely sure what happened, but things seem to be okay.

My family is very grateful for your prayers and thoughts. Thank you!

Pray for my dad, friends. He’s experiencing minor stroke symptoms and is at the emergency room.

Also pray for my mother and my sister and me, please.


Max von Sydow as Antonius Block  Det sjunde inseglet  Dir. Ingmar Bergman Sverige, 1957

Max von Sydow as Antonius Block  Det sjunde inseglet  Dir. Ingmar Bergman Sverige, 1957


Max von Sydow as Antonius Block 
Det sjunde inseglet 
Dir. Ingmar Bergman
Sverige, 1957

(via verilyisayuntothee)

The point of the ALS Ice Bucket Challenge


the point of pouring a shit ton of ice water over yourself is because when one suffers from amyotrophic lateral sclerosis (ALS) one of the affects the disease has is a numbness throughout the body, as well as struggling to breathe, and both these are meant to temporarily happen when doused in freezing water. It’s to raise awareness of what ALS feels like and encourage donations towards research and cures.

That’s a nice story but it’s not accurate.

More of an etiology than anything else.

Here you go:

(via cantgeddynuffofthatbass)



Taylor Swift’s Racism & “Shake It Off” Video

We clearly need to start a hashtag campaign at this point to #stopracistwhitegirls. Between Miley Cyrus, Katy Perry, Lily Allen and more, the mainstream pop bench is absolutely stacked with racist white girls galore at the moment. But in our 2014 “post racial” America where black people are getting killed every 28 hours by vigilante justice, where Mike Brown’s killer, Darren Wilson, is on paid leave for brutally executing an unarmed black teenager as we speak, and where police brutality against black bodies in Ferguson and across the country is the norm, it’s still so fun and uber cool for white girls to make blackness a costume! You know, since it clearly doesn’t get us killed or anything.

Enter Taylor Swift stage left.

[image description: Taylor Swift in a leopard print jacket with large gold hoop earrings, and cut of jean shorts with a gold chain posturing in front of twerking dancers]

So I’ll admit that I do have a bit of a penchant for bland pop music, and so I have followed Taylor Swift in varying capacities for many years. I understand that her entire image is carefully cultivated to exude innocent, bright eyed and bushy tailed white girl who is always “shocked” when she wins an award. I understand that the reason her image sells is because of the white supremacist patriarchal notion of the “cult of true womanhood,” where moneyed white woman had their femininity defined by 4 traits: piety, purity, domesticity, and submissiveness. It is in this mold that Taylor Swift has built such a massive following and sold so many millions of albums. Ascribing herself to these narrow values by which white womanhood is exalted and elevated in a way that is only accessible to white female bodies and not to WOC has been Swift’s “in” in the music industry more than anything else over the years.

But in the pop industry there is a constant need for reinvention and to push the boundaries ever further with each succeeding musical effort. Even as Swift has cultivated and carefully molded her image to fit this fairly rigid white supremacist patriarchal construct of white femininity and has made millions doing so, the constant churn of capitalism has made the appeal of her wonder bread white girl image fade with time. She needs some way to “spice up” her act and draw attention to herself along with it. As bell hooks so brilliantly says in her cultural criticism & transformation:

There’s a way in which white culture is perceived as too “wonder bread” right now—not edgy enough, not dangerous enough—let’s get some of those endangered species people to be exotic for us. It’s really simply a more up-scale version of primitivism resurging. When blackness is the sign of transgression that is most desired, it allows whiteness to remain static, to remain conservative, and it’s conservative thrust to go unnoticed.

And so, with this in mind, Swift like so many white girls and boys before her, turns to blackness to find that “exotic” flavor to give her bland image the kick it needs. 

What strikes me about the “Shake It Off” video is just how true to form it is with all of the other racist music videos we’ve seen from white women in the past year alone. “Hard Out Here,” “We Can’t Stop,” “23” and more, white girls have been on a roll with their racism and racialized misogyny and Taylor Swift couldn’t wait to join the party.

[image description: Taylor Swift in a red hooded jacket, holding a boom box and wearing a fitted cap in front of black and Latino break dancers]

In one scene from the video we have Taylor Swift dressed as a b-boy with a fitted cap and all, in a brazen and blatant act of cultural appropriation. We all know that the b-boy tradition comes from black and Latin@ youth who get demonized and criminalized daily and who are not able to breakdance without facing harassment from the police. But Swift, drenched in her white privilege and concomitant myopia has no sense of how insulting it is to slip this on as a fun “costume” for a few seconds in her video, as she can always retreat back into her whiteness unassailed while the black and Latin@ breakdancers in her video cannot.

The most disgusting part of the video, though, came, as usual with the twerking scene. White girls just seem to love to throw in a twerking scene into their videos these days.

[image description: Taylor Swift in a leopard print jacket and gold earrings and chains crawling in between the legs of several twerking dancers and staring up at the butt of a twerking black woman]

This is different from the “Anaconda” video, where black women have agency and control of their sexuality and bodies. Instead, just like her racist white counterparts (namely Miley Cyrus and Lilly Allen), Taylor Swift makes twerking and black female bodies a spectacle before the white gaze. Particularly as she walks between the legs of her twerking dancers and pauses at the black woman in the group and gapes astoundingly at her ass, the white gaze is centralized. In this scene black femininity is clearly exotified and demonized in an animalistic contrast to her conservative white femininity that can gape “shocked” at what she’s witnessing (which black women have literally been doing for centuries). This is white feminism at work, which perpetually ignores crucial intersections of race and gender, and to add insult to injury the scene ends with Swift giggling and looking bashfully at the ground, reifying her innocence and white privilege in the spirit of the cult of true womanhood. These are constructs which black women and other WOC do not have access to due to their race, and which Swift gleefully reinforces with this imagery.

This entire scene is a blatant example of primitivism and misogynoir (racialized antiblack misogyny) in the spirit of the spectacle that people made out of the body of  Saartjie Baartman.

[image description: Caricature cartoon image of Saartjie “Sarah” Baartman, the “Hottentot Venus.” She is scantily clad with a spear, very large buttocks and her large breasts exposed as well with a white Cherubim alighting on her buttocks]

In case you are not aware, Baartman was a Khoikhoi South African woman, who was brought to Europe in 1810 where she was subsequently paraded around  as a freak show with the “exotic” features of her black female body—her butt, breasts and elongated labia— as the main event. Racist caricatures of her body were made, including the famous cartoon above. After her death, her skeleton, preserved genitals and brain were placed on display in Paris’ Musée de l’Homme until 1974. Her remains were not returned to South Africa until 2002 when she was finally reburied near her home town over 200 years after her birth.

In this video, Swift, like her racist white pop counterparts, taps into the racist traditions that we see in the dehumanization of Baartman. This is absolutely unacceptable. Black female bodies are not foreign, exotic, alien lands for your debasement in a cheap pop video for mass consumption. Black women have agency and deserve humanity and respect. Nobody cares if the dancer was “okay” with being in the scene or not, what we care about is the imagery being produced which enshrines white femininity as the standard and strips black women of agency rather than giving homage and due respect to them (as we see in Rihanna’s “Pour It Up” video, Nicki Minaj’s “Anaconda” video and more which centralize the black female gaze).

 But, if we didn’t know before, we’ve learned in the past year that Swift and all of these other white pop stars are simply shameless. They don’t care. We critique and point out their racism and racialized misogyny and they throw out obtuse comments about how they actually “really love black people” and “have black friends,” you name it, rather than accepting the problematic nature of their work and just apologizing. This is white supremacist thinking in action, as the only emotional universe which matters is that of the white individual in question and not that of the black people who object to the debasement of our bodies and commodification of aspects of our cultures in videos like this. And we see the impact of all of this in the thinking of their fans who myopically follow their stars and don’t realize that they can be fan while still being critical of the actions of their favorite pop stars. It is unacceptable that Swift can shamelessly appropriate from b-boy black and Latin@ culture, parade herself around as a faux-black woman and then exotify and degrade black female bodies for mass consumption in her videos. And it’s so important that we call videos like this out, and demand accountability from artists who put out degrading videos like Taylor Swift just did with “Shake It Off.”  #stopracistwhitegirls2k14

Related Posts:

+ Lily Allen’s Racist “Hard Out Here” video

+ Ke$ha’s Racist “Crazy Kids” video


(via madmulattazine)

“Everything sucks and I can prove it
Everybody dies, shuffle on, remove it
Individuals, indispensable
I’m the paradox deity vessel
…the other side holds no secret
But this side is done, I don’t need it
Before you go, you should know you’re breaking down
You’ll be rotten by the time you’re underground”
— Slipknot, “I Am Hated”