עזרא

Over 500 years spent trying to cut down a whole trunk of human culture.

A little bit for Monica, she's my wife

A little bit for Erica, for her strife

My books all go to Rita, cause she reads

My greenhouse goes to Tina, she plants trees

The furniture is Sandra's, on my lawn

Jewelry for Mary, she can pawn

Ashes go to Jessica, that's my plan

"This is Ankh-Morpork, you know. We've got extra pronouns here."

"Female? He told you he was female?" "She," Angua corrected. "This is Ankh-Morpork, you know. We've got extra pronouns here." She could smell his bewilderment... "Well, I would have though she'd have the decency to keep it to herself," Carrot said finally. "I don't think it's very clever, you know, to go around drawing attention to the fact." "Carrot, I think you might have something wrong with your head," said Angua. "What?" "I think you might have it stuck up your bum."

Sir Terry Pratchett - "Feet of Clay"

This is CARROT being the asshole. Carrot who has, throughout all the prior books, been depicted as basically the best of all possible people. He is noble, brave, considerate, kind. He is the good guy in the entire City...

... and yet, he grew up dwarf, and has picked up their more conservative views on gender identity.

Discworld dwarves start out in the books as basically a people without visible gender differences (thanks to the woman growing beards just like the men) and using "he/him" pronouns as their default. Anything else is seen as breaking the most basic of social conventions. (Dwarf dating is described early on as being two dwarves who like each other spending an inordinately long time trying to find out, as tactfully as possible, what gender the other dwarf is)

Carrot does immediately adopt the "she" pronoun for Cheery, which is but wishes she didn't make such a fuss about it. He's prepared to tolerate her choices, but he doesn't APPROVE of them, and thinks that that is enough.

Carrot, because he IS Carrot, does learn to open his mind on this subject, perhaps his final frontier of bias, but I do love that it's addressed as something he has to work on, and succeed.

1) I don't have the book to hand, but when Cheery comes out she changes her name to Cheri, because "sometimes, when you shout who you are to the whole world, you need to do it quietly." It's such a beautiful expression of coming out being a process, and one that needn't be undertaken all at once.

Gullah & Early AAVE

Gumbo – From Bantu kingombo (okra), brought by enslaved Africans and became the name of the Creole stew thickened with okra.

Goober – From Kikongo nguba, the Bantu word for peanut that entered American English via enslaved Africans.

Yam – From West African languages (e.g., Wolof nyami, "to eat"), brought over during the slave trade and adopted into Southern cuisine.

Banjo – From a Bantu root (mbanza), the instrument was crafted by enslaved Africans based on West African string instruments.

Bogus – Likely from Hausa boko-boko (deceitful, fraudulent), entering American English through African American speech in the 19th century.

Juke (box/joint) – From Gullah juke (rowdy, disorderly), derived from Wolof dzug (to live wickedly), later attached to roadside bars.

Tote (to carry) – From West African languages (e.g., Kikongo tota, "to pick up"), recorded in Gullah before spreading to mainstream English.

Dig (to understand) – From Wolof degg (to understand), popularized by jazz musicians in the 1930s after entering English through AAVE.

Jazz – Possibly from West African or Creole slang for energy/sex, first documented in AAVE in Chicago around 1912.

Okay (OK) – Though its origin is debated, strong evidence traces it to West African languages (e.g., Wolof waw kay) via enslaved Gullah speakers.

Hip/Hep – From Wolof hipi (to open one's eyes, to be aware), entering jazz slang in the early 1900s before going mainstream.

Hepcat – A compound of "hep" + "cat" (jazz slang for a person), literally meaning "one who has his eyes open" in West African-influenced jazz culture.

Jazz, Blues & 1940s–60s Era

Cool (as in fashionable/calm) – Originated in jazz circles, likely from saxophonist Lester Young, and entered mainstream via West African aesthetic concepts of composure.

Cat – A jazz-era term for a skilled musician or cool person, derived from West African-influenced jive talk.

Crib – Jazz slang for a house or apartment, popularized in the 1940s before becoming mainstream in the 1990s.

Hokum – AAVE slang for nonsense or BS, used in blues and jazz before being adopted more widely.

Diss – Short for "disrespect," coined in AAVE and popularized through hip-hop in the 1980s and 1990s.

Bad (meaning good) – From AAVE, where inversion of meaning creates emphasis (something so "bad" it's actually good), used since early jazz era.

Jive – AAVE slang for deceptive talk or a style of jazz dancing, used by Cab Calloway in his 1930s Hepster Dictionary.

1970s–90s (Hip-Hop & Pre-Internet Era)

Homeboy/Homegirl – AAVE for a close friend from one's neighborhood, popularized in hip-hop and later shortened to "homes" in casual speech.

Dope (meaning great) – Shifted from "stupid" in standard English to "excellent" in AAVE during the 1980s hip-hop era.

Props – Short for "proper respects" in AAVE, used in hip-hop to acknowledge skill or achievement before entering mainstream slang.

Word (as in "I agree") – AAVE interjection ("Word!" or "Word is bond") meaning "I'm telling the truth," derived from Nation of Islam teachings.

Phat (meaning cool/great) – AAVE acronym believed to stand for "Pretty Hot And Tempting," though likely an invented backronym; popularized in 90s hip-hop.

The Bomb – AAVE phrase for something excellent or top-quality, widely used in hip-hop lyrics before mainstream adoption.

Def – AAVE slang for "excellent," popularized by Run-DMC's "King of Rock" and 80s hip-hop culture.

Fresh – AAVE for stylish or excellent, used in early hip-hop and 80s pop culture before spreading globally.

Wack – AAVE for "bad, inferior, uncool," popularized in hip-hop and later mainstream youth speech as the opposite of "cool."

Hella – AAVE intensifier meaning "very" or "a lot of," originating in Oakland/Bay Area AAVE in the 1970s-80s.

Cap / No Cap – AAVE meaning "lie" and "no lie," popularized by Bay Area rap in the 2010s, derived from "capping" (exaggerating).

1990s–2000s (Internet Adoption & Ballroom Culture)

Slay – From AAVE and Black ballroom culture (Paris is Burning, 1990), meaning to do something extremely well, now mainstream via social media.

Spill the Tea – From AAVE (originally "spill the T," with "T" meaning truth), popularized by drag culture and Black queer communities.

Shade (as in insult) – From Black ballroom culture (documented in Paris is Burning), meaning a subtle insult, now used broadly in pop culture.

Reading (as in insulting) – From ballroom culture ("reading" someone), meaning to publicly insult with wit, immortalized in Paris is Burning.

Kiki – AAVE from ballroom culture meaning a casual gathering for gossip or chatting, later mainstreamed through pop music (e.g., Kesha).

Fierce – AAVE and ballroom term meaning exceptionally good or intense, applied to fashion, performance, or attitude.

Woke – From AAVE meaning socially and politically aware, first used in 1940s Black activism before resurging with Black Lives Matter.

Shook – AAVE meaning startled or upset, used in 1990s New York hip-hop (e.g., Mobb Deep) before mainstream adoption in the 2010s.

On Fleek – AAVE phrase meaning perfectly executed, coined in a 2014 Vine by Peaches Monroee, one of the last pre-AI viral AAVE innovations.

Finna – From AAVE contraction of "fixing to" (preparing to), documented in Southern AAVE for decades before wider use and dictionary recognition.

Chile – A phonetic spelling of "child" in Southern AAVE, used as a term of endearment or exclamation since at least the 1970s (The Wiz, 1978).

2010s–Present (Social Media & Gen Z Slang Pipeline)

Lit – AAVE meaning exciting or excellent (originally "intoxicated" or "on fire"), popularized in hip-hop before becoming a Gen Z staple.

Bae – AAVE term of endearment meaning "before anyone else" or just a shortened form of "babe/baby," mainstreamed in the 2010s.

Ratchet – AAVE originally meaning a rowdy, aggressive woman (from "wretched"), later used to describe anything wild or out of control.

Turnt – AAVE meaning excited or intoxicated, from "turned up" in hip-hop lyrics, mainstreamed in early 2010s party slang.

Clap Back – AAVE for a sharp, witty comeback or retaliation, popularized in hip-hop (e.g., Ja Rule's 2003 song "Clap Back") before internet slang.

Bussin' – AAVE meaning delicious or excellent, applied to food or anything great, popularized on TikTok in the 2020s.

Sus – AAVE shortening of "suspicious" or "shady," used for decades before Among Us made it a global meme in 2020.

Snatched – AAVE originally describing flawless hair/makeup or a tight waist, now used to praise anything perfectly executed.

Periodt – AAVE emphatic form of "period" (meaning "end of discussion"), with a hard "t" for emphasis, popularized on Black Twitter before global use.

What if the children go to schools unafraid of tear gas and bullets?

What if the birds come back, and the bees are healed, and every species moves from endangered, to threatened, to thriving?

What if the rainforest ADVANCES?

What if every parking lot had solar panels? What if every structure had solar panels? What if we built climbing gyms and terraced gardens in the skeletons of old coal power plants?

What if you baked your neighbor bread, and they shared their home-grown blackberries?

What if every person who needed a home, had one? What if every person who needed healing was healed?

What if every body was treasured for what it was, not what it should be?

What if every trans child's parents attended their graduation, their wedding, their new-name-day?

What if every warehouse became a closed-circle repair station? Goods flowing out, and back, and out again? What if landfills started to SHRINK?

What if the water and air were clean? What if there was enough public transit that the cars dwindled, leaving the streets safe for kids on bikes, evening deer, midnight cats and foxes?

What if we win?

The condors are back. The whales are saved. The sea turtles are no longer endangered. The cranes are back. The bees are recovering. The air in LA and Tokyo and London is clean again. The aquifers in the LA Basin are refilling.

Children are kinder than previous generations. Parents are stopping the abuse cycle. Being trans and queer is more acceptable than ever on a ground level.

It's hard to see if you're young, if you don't know how to step back from social media and the news. But remember--bad news sells, and the algorithm knows despair keeps you scrolling. It's a skewed lens.

We are fighting and we are winning against this adminstration's bullying. We are coming together against the bullies and they are running away scared because they don't understand that we will do that.

People are working hard every day to find ways to make sure fewer animals get hit by cars and planes and rockets.

Maker spaces are more common than ever. Solar and wind are more common than ever. Coal plants are shutting down every day.

Unprecedented numbers of acres are being bought back or given back to their rightful stewards, and the world heals because of it. People are working hard every day to learn how to help a forest recover faster.

We are not at zero. We are at decades of effort to heal the world. We've come SO far.

In 1982 there were only 22 California Condors left in the world. In 1992, when the U.S. Fish and Wildlife Service (USFWS), with its public and private partners, began reintroducing captive-bred condors to the wild. In 2001 the first wild nesting occurred in Grand Canyon National Park since re-introduction. In 2002 there were only 8 pairs of wild nesting birds population-wide. In 2008, for the first time since the program began, more California condors were flying free in the wild than in captivity. Today there are nearly 500 – more than half of them flying free in Arizona, Utah, California, and Baja Mexico.

When I was born, there were no condors in the wild. I'm 37 now, and there are over 250 condors flying free.

When my mom was born in 1955, there were days when she wasn't allowed to go outside to play, because of the air pollution. When I was born, that never happened anymore.

When I was born, humpback whales were critically endangered, and people thought they were going to go extinct. Today, they've recovered to exceed their recorded numbers. Other whales too!

We fixed it.

It's still far from our reach.

In addition to all that was mentioned above:

The likelihood of dying in infancy or childhood--or losing a child--has plummeted just in my lifetime. The likelihood of dying in a natural disaster is the lowest in recorded human history. Yes, even with the uptick in natural disaster intensity from climate change!

Humans alive right now are more likely to have access to healthcare, electricity, education, birth control, clean water, and nutritious food than at any other point in human history. There are so many diseases we can treat now that were a death sentence for 90% of human history.

This is not by accident. This is because generations of humans put in work to make life better for their communities.

Some of our solutions had the side effect of creating other problems--better access to electricity that ultimately made people's lives easier and safer led to pollution and climate change, for example--but we are tackling those knock on problems too. Our generation's solutions to our current problems will probably create their own less-bad side effects for the humans after us to deal with.

Since nobody has been in or out since the outbreak began, the killer has to be somebody in the local community.

The village constable (who is essentially just Some Guy, because being a medieval constable was a bit like getting jury duty, if jury duty gave you the power to arrest people) struggles to investigate the crime without exposing himself to the disease, and to maintain order as the plague-stricken villagers begin to turn on each other.

The killer strikes repeatedly, seemingly taking advantage of the empty streets and forced isolation to strike without witnesses. As with any other murder mystery, the audience is given exactly the same information to solve the crime as the detective.

Except, that is, whenever another character is killed, at which point we cut to the present day where said character's remains are being carefully examined by a team of modern archaeologists and historians who are also trying to figure out why so many of the people in this plague-pit died from blunt force trauma.

The archaeologists and historians, btw, are real experts who haven't been allowed to read the script. The filmmakers just give them a model of the victim's remains, along with some artefacts, and they have to treat it like a real case and give their real opinion on how they think this person died.

We then cut back to the past, where the constable is trying to do the same thing. Unlike the archaeologists, he doesn't have the advantage of modern tech and medical knowledge to examine the body, but he does have a more complete crime scene (since certain clues obviously wouldn't survive to be dug up in the modern day) and personal knowledge from having probably known the victim.

The audience then gets a more complete picture than either group, and an insight into both the strengths and limits of modern archaeology, explaining what we can and can't learn from studying a person's remains.