My garden of musings

Howdy, these are my personal favorite voice performances of Snow White, bc I've been watching a lot of those ranking videos lately over the past few months since they're always in my recommended lmao.

Now remember!! This is my personal opinion, and yours may be different than mine and that's fine! So, if you don't like my picks...idk you can make your own top ten, I think that'd be pretty neat.

I like hearing different people's opinoins and perspectives...just as long as you're nice about it.

These aren't in any particular order btw, just only in the order I find the videos first lmao. Like, I love all of them, they're all wonderful imo.

So, let us begin!

Oh...I should probably tag the Snow White guy™️(bc that's what you are in my mind Rin) @snowrinrin bc I want to hear your opinion :>

Adriana Caselotti, English

She's the original! She has to be on the list, she way she speaks is so calming and sweet, like, I just can't help but feel happy when listening to her, she sounds so full of whimsy and positivity and I love that.

I know the voice and singing isn't for everyone, but I love her and how she sounds :3 And her high notes are really cool, like ok diva pop off <3

"people have to hide their emotions to perform specific types of labour where their apparent emotions influence another person's. Eg. Flight attendants have to be cheerful all the time, so that passengers feel welcome and safe. This suppression and masking of emotion can cause a sense of disconnect within the individual where they dont know what their true feelings are. This is part of the Marxist idea of alienation from labour and from the self."

To

Sociologist Arlie Hochschild coined the term in 1983, specifically describing it as emotional performance required by a worker for a job. This alienates the worker from their own feelings. The expected emotion can be care, joy, etc. but it can also be harshness or simply the expectation to not show your real emotions in the workplace.

Sociologist Arlie Hochschild also coined the term 'the second shift' in 1989. describing how in families where a man and a woman both have a job, the woman is often still expected to do all the child raising and house cleaning, meaning she is carrying a double workload.

Already in 1983 (before coining the term 'second shift' but already developing the concept), Hochschild herself connected the two ideas, writing: "In a typical nuclear family unit, it is thought that women become responsible for much of the emotional labor by default, meaning they are responsible for shaping and managing the family’s feelings." So we have the person who coined the term, immediately after coining the term, also using emotional labor to describe unpaid household work! This is part of the term since its inception!

Around 2015 the term gained a lot of popularity and began to be more broadly applied. Some things that are, according to Hochschild, NOT emotional labor include:

Doing physical chores around the house

Doing mental chores like remembering birthdays

Hochschild: "if we talk about all the unpaid labor women do in the home as “emotional labor,” we’re insinuating that any kind of labor that falls most often to a woman is “emotional.” Like chores are just labor. Writing Christmas cards is just labor."

Also not emotional labour:

Expressing genuine emotions that you feel

Doing things that make other people feel better

Hochschild emphasizes that doing things to positively impact other people's emotions isn't 'emotional labor'. Managing and suppressing your own emotions is. That's where the alienation that is central to emotional labor comes in: it's alienation from your own feelings.

It's also essential that there must be an expectation on the person to do this. Hiding your real feelings by choice isn't emotional labor. As with emotional labor in the workplace, non-caring emotions and suppression of emotions typically expected of men are included. So when a wife expects her husband to suppress his pain and not cry in front of the children, that is an example of emotional labor. So to summarize, emotional labor according to Hochschild doesn't have to always be paid labor, but it does always involve:

The management of your own emotions

Alienation from your real emotions, as a result of being forced to perform other emotions.

Pressure/expectation, there are negative consequences if you don't do the performance.

There is a system, (the workplace, genderroles, etc) shaping these expectations, putting specific expectations on categories of people.

"Emotional Labor"

Old meaning: Being forced to mask your emotions as part of a job.

Later meaning: A woman being forced to take on all the care for everyone's emotional needs in her family.

New meaning: Giving any emotional support to anyone, which no one should ever expect you to do or else they're abusing you.

"Gaslighting"

Old meaning: Manipulating a person so they doubt their own perceptions – a much more abusive tactic than mere lying.

New meaning: Lying. Just lying, because saying anything that isn't true equals psychological abuse.

Negging

Old meaning: A man insults a woman under the guise of “teasing,” or gives her backhanded compliments, as a manipulation tactic to lower her self-esteem and give him power over her.

New meaning: A man says anything mildly rude to a woman he ends up in a relationship with.

"Not Like Other Girls"

Old meaning: "You're not like other girls" – men trying to flatter the women they like by putting down other women.

New meaning: "I'm not like other girls" – gender-nonconforming women, or women who in any way "don't fit in," thinking they're better than feminine women or otherwise "normal" women – which we can accuse them of as a way to put them down yet still sound progressive.

"Pick-Me Girl"

Old meaning: A woman or girl who tries to appeal to men by performing "perfect" femininity and putting down other women who don't conform to gender expectations.

New meaning: A woman or girl who tries to appeal to men by performing masculinity and putting down feminine women – "Not Like Other Girls" but specifically to attract men – which again, we can accuse any gender-nonconforming female of doing as a way to put her down yet still sound progressive.

Girlboss

Old meaning: A positive term for a successful businesswoman.

Later meaning: An insult aimed at ruthless businesswomen who use "feminism" as an excuse to stomp on other people.

New meaning: An insult aimed at any strong, assertive, or powerful female, whose very existence is disparaged for being anti-femininity.

What critters are common in your neighborhood, but really exciting to visitors?

Looking back over some of their scenes together in Wuthering Heights, I’ve become increasingly fascinated by Nelly’s relationship with Heathcliff. They have very different values and have treated each other quite, uh, badly at times, but I wanted to focus here on the more weirdly positive side of their dynamic. Ever since childhood, Heathcliff seems to have had a certain fondness for and trust in Nelly as a confidante. And as much as her traditional values are at odds with his and Cathy’s, I think that Nelly is a lot more like Heathcliff than she’d like to admit. I’m guessing this has something to do with their uncomplaining attitudes; the two of them put up with considerable mistreatment from Hindley, and while Nelly would never seek revenge, she seems to share Heathcliff’s disdain for people who aren’t so stoic—young Edgar, for instance, and Linton especially. It’s fitting that Nelly was initially endeared to Heathcliff through his silent forbearance of the measles, given that both of them later have extremely callous things to say about Linton, who bears his own illness with constant complaints.

Nelly seems to be one of few people whom Heathcliff actually “likes,” in his way; it feels significant, at least, that she and Hareton are the ones he wants at his funeral. What toughness appeals to him in Hareton likely appeals to him in Nelly as well. But Nelly is also someone to whom Heathcliff can divulge his own vulnerabilities, and it seems that much of their relationship can be drawn back to and encapsulated by that occasion of Heathcliff’s childhood sickness. It’s hard to judge the truth of everything Nelly reports as narrator, but if we accept her claim that young Heathcliff “felt I did a good deal for him, and he hadn’t the wit to guess that I was compelled to do it,” this could inform a lot of his attitude towards her at other points. (I’m also feeling some echoes here of Hareton’s view of Heathcliff, but we won’t go off on that tangent.) He does refuse Nelly’s company sometimes, but at others, he seems as desirous of it as the sick boy needing her at his bedside. For all his detachment and valued self-sufficiency, perhaps Heathcliff still feels the vague need for a mother figure; Mrs. Earnshaw refused to fulfill this, and what became of his biological mother is a mystery. Nelly was there when Heathcliff was a vulnerable child, and there is something binding in that shared memory. There were a few moments, in rereading, where I could imagine Heathcliff as the unruly and flippant grown son to Nelly, as the chiding and eye-rolling mother—for instance, the interaction where Heathcliff asks Nelly if he used to look as stupid as Hareton when he was little. (Though, interestingly, both Heathcliff and Nelly have acted as parental figures to Hareton.)

For her own part, Nelly seems to feel an (often self-important) urge to mother, in her way, no matter how fruitless—or opposed to her own values—her efforts may be. Against her master’s orders, she stays up at night to watch for Cathy and Heathcliff’s return to the Heights and let them in. Nor is her aiding of Heathcliff restricted to his childhood; there seems something about him which thrusts Nelly into contradiction with herself throughout her life. On certain occasions she has gone against Edgar’s wishes or social convention in the interest of Heathcliff’s scandalous relationship with Cathy, despite her disapproval of it. Ultimately, she does attend his funeral and goes forward with his demand to be buried next to Cathy, “to the scandal of the whole neighborhood.” And perhaps this event was prefigured by Nelly’s discovering Heathcliff’s hair in the dead Cathy’s locket, and instead of throwing it out, simply intertwining it with Edgar’s.

There’s more could be said, but also more that I haven’t worked out, and I’ve rambled on enough already. For now, have the silly drawings. I’ve had a lot of fun with these, as usual.

Turns out he didn't need to beat Edgar's ass—just throwing applesauce at him was enough to send the house into chaos.

A minor detail in Cathy's dialogue, but one I really enjoy:

Somehow Nelly has said meaner things about this kid than Heathcliff has:

I feel bad for Hareton but I really enjoy this dynamic:

One of many moments I enjoy in the currant confrontation scene:

In my animal design scheme, Nelly is depicted as a cow. (Somehow that felt right for the name.) As a rural domestic, it was natural that she be some sort of farm animal; this also makes her a fitting housemate for Joseph the donkey, Wuthering Heights’ other longtime servant. Neither are designed as purebreds, and their species are larger and stronger than the other domestic herbivores I’ve featured, the sheep and rabbits representing the Lintons, who are much milder and not accustomed to manual labor. Cows, of course, are also associated with milk—lending well to Nelly’s role as nurse—and motherhood; as mentioned, Nelly acts at various points as mother figure to several characters, especially since Heathcliff, Hareton, and the Cathys lose their biological mothers at an early age.