Homo Homini Lupus.

me: yep

(me internally): Its such bullshit that people consider artists like Ariana Grande or Lana Del Rey feminist in anyway just cause they mentioned pussy in like one song and no one ever talks about Lily Allen anymore who even back on her first couple of albums was making songs with some actual real feminist sentiments (as far as pop music goes) such as: 

Ruining your boyfriends life after he cheated on you and gaslighted you (on the Smile video)

Talking about wanting to punch out dudes that bother her and her friends in bars and wont take no for an answer (Knock Em Out)

Mocking some dude who things he’s big shit for being awful in bed and having a tiny penis (Not Big)

Making fun of her brother for being a loser who just smokes weed in his room all day and doesn’t have a job (Alfie)

Refusing to accept an annoying ex-boyfriend back in her life (Absolutely Nothing)

About consumerism and what being trained to be vapid does to you (The Fear)

Another one about a dude who’s just terrible in bed (Not Fair)

The fact that women, especially models are considered old and their careers’ pretty much over if they didn’t make it big by the time they’re 30 and that after that point they should just get married to some rich guy (22)

About feeling like she’s grown as a person and feels finally free after letting go of an awful relationship she was in (I Could Say)

Apologizing to her sister for treating her badly during their childhood out of jealousy (Back To The Start)

me:

then further investigation shows that levels of PFOA are very high in the river, where they’ve been dumping it for decades.

then further investigation shows that the town water supply is contaminated.

then further investigation shows that the people in the town have high levels of PFOA in their blood, and higher rates of kidney and testicular cancer as a result.

then further investigation shows that every person in America has measurable quantities of PFOA in their blood.

then further investigation shows that practically every living creature on the planet has measurable quantities of PFOA in its blood.

them: [says something homophobic]

me:

Late in August, as a shadow 70 miles wide was traveling across the United States, turning day briefly to night and millions of Americans into watchers of the skies, the British classicist Emily Wilson, a woman of 45 prone to energetic explanations and un-self-conscious laughter, was leading me through a line of Ancient Greek. “Polytropos,” Wilson said, in her deep, buoyant voice, pointing to the fifth word — πολuτροπον — of the 12,110-line epic poem that I had come to her office at the University of Pennsylvania to discuss. On the wall hung pictures of Wilson’s three young daughters; the windows behind her framed a gray sky that, as I arrived, was just beginning to dim. The poem lying open before us was Homer’s “Odyssey,” the second-oldest text, after his earlier poem, the “Iliad,” in a Western tradition impossible to imagine without them.

Since the “Odyssey” first appeared in English, around 1615, in George Chapman’s translation, the story of the Greek warrior-king Odysseus’s ill-fated 10-year attempt to return home from the war in Troy to Ithaca and his wife, Penelope, has prompted some 60 English translations, at an accelerating pace, half of them in the last 100 years and a dozen in the last two decades. Wilson, whose own translation appears this week, has produced the first English rendering of the poem by a woman.

“One of the things I struggled with,” Wilson continued, sounding more exhilarated than frustrated as she began to unpack “polytropos,” the first description we get of Odysseus, “is of course this whole question of whether he is passive — the ‘much turning’ or ‘much turned’ — right? This was —”

Late in August, as a shadow 70 miles wide was traveling across the United States, turning day briefly to night and millions of Americans into watchers of the skies, the British classicist Emily Wilson, a woman of 45 prone to energetic explanations and un-self-conscious laughter, was leading me through a line of Ancient Greek. “Polytropos,” Wilson said, in her deep, buoyant voice, pointing to the fifth word — πολuτροπον — of the 12,110-line epic poem that I had come to her office at the University of Pennsylvania to discuss. On the wall hung pictures of Wilson’s three young daughters; the windows behind her framed a gray sky that, as I arrived, was just beginning to dim. The poem lying open before us was Homer’s “Odyssey,” the second-oldest text, after his earlier poem, the “Iliad,” in a Western tradition impossible to imagine without them.

Since the “Odyssey” first appeared in English, around 1615, in George Chapman’s translation, the story of the Greek warrior-king Odysseus’s ill-fated 10-year attempt to return home from the war in Troy to Ithaca and his wife, Penelope, has prompted some 60 English translations, at an accelerating pace, half of them in the last 100 years and a dozen in the last two decades. Wilson, whose own translation appears this week, has produced the first English rendering of the poem by a woman.

“One of the things I struggled with,” Wilson continued, sounding more exhilarated than frustrated as she began to unpack “polytropos,” the first description we get of Odysseus, “is of course this whole question of whether he is passive — the ‘much turning’ or ‘much turned’ — right? This was —”

To all those who say cats are not affectionate: meet Grandma.