YURIKA!!!

Also, anybody commenting "Why is her hair greasy. She needs to wash her hair" needs to step outside the house like atleast once in their life. Girl just won a fencing competition and she was wearing one of these 👇 the whole time

Forbidding the iranian team coaches from entering the country and forcing them to direct the game from MEXICO through a tv

Players from non european countries being stopped and searched like criminals with dogs

Deporting african referees just because of their nationality

Forbidding interviews from being spoken i'm languages other than English and forbidding journalists and players from speaking their native languages

then I looked in the notes and y’know.

some people seems confused.

Why a shopping cart with stained glass? 

or This would be cool to shop with

or something about religion and NO

NO

THIS. Is about HOMES.

That style stained glass? Those diamonds? They speak to me, and they say “Townhouse”. and FANCY townhouse, at that. They say “City home, old home, a home that is RICH, a shelter from the storm and a safe place for a family”.

But on! a! shopping cart!

That evokes - to me - Homelessness.

The person on the street who had no other choice but to steal the best cart they could from a store’s corral just to have a way to transport the meager belongings that are all they fucking have in this world. And it’s NOT a home or a safe place or a shelter but it’s all you fucking have!

And this piece goes and puts them fucking together! AND NAMES IT.

true crime has done irreparable fucking damage to middle class white women

every time i see some middle class white mom of two saying “girlies! you need to get a visible tattoo because then a rando won’t try to snatch you in broad daylight in the middle of the walmart checkout to put you into sex trafficking!” i get pissed off because you are NOT the primary target of trafficking! poor children of colour in underdeveloped countries, indigenous women, sex workers, these are the people in danger!

true crime podcasts always talk about the rare instance a middle class white woman is taken and so these true crime girlies only ever hear about it happening to women like them and start thinking they’re the main target, but if there were a true crime podcast for every poor non-white child who has been trafficked there wouldn’t be enough data centres in the entire world to hold them all! the fact that white women are the focus of these things is because society only gives a shit about white women, and turns a blind eye when women of colour are the ones being victimized!

We can't give any singular, definitive rule or answer as to how to proceed, and can only give suggestions for where to start. Hopefully this will give you a point to start asking more questions and seeking out more answers and insights from there. Our system membership is a mix fictives, original characters, and non-fictives: a significant amount of us are Black. As an additional note/disclaimer, we don't have any factives, so we lack that experience.

When it comes to Black non-fictives (and factives, where applicable) I heavily advocate for learning about the cultures and identities they might belong to. Vocabulary, accents, and languages, dialects, or pidgins are large portions of human cultural identity and are not monolithic. They vary across distance, age and time. Code-switching, assimilation, and masking are other things to examine in that realm. There are plenty of other cultural aspects that deserve attention as well: food, music, clothing, art, literature, etc. Mrs. CBC's blog here has resources for starting to learn, a good amount of her lessons can be applied in contexts other than character creation. Do research. Where possible, ask community members, support community events where you can learn more. Respectfully practice cultural appreciation and cultural humility. Other things to potentially explore are intersectional identities and those cultures. Blackness and: queer-ness, trans-ness, disabilities, migration, religion, etc. Learning may help with recognizing biases and held stereotypes. Blackness is not a monolith anywhere in the world.

When it comes to Black fictives (and original characters, where applicable) there are also many lines of thinking to explore and question. What I tend to think about, including in regards to other system's fictives or OCs are: Is a fictional character Black or do they look Black? Is their Black identity reflected within the source media? If so, how? How are they treated in the media's fandom? Note that character design alone can reveal a lot. And, many times there are Black characters in realistic fictional media who were cast/designed with a «colorblind» lens, meaning that those characters might lack depicted experiences related to Blackness. In a world full of white defaultism, this can go unnoticed. These could be considered with regard to any headmates/alters Many real-world Black experiences may not always translate to characters in fantasy or science fiction media where you can see (though it is worth examining if such experiences are depicted in minor/background/other species in the same stories. Is there cultural colorism or species-ism? Dehumanization? Colonialization, genocide, slavery, etc.?) but there still may be implications. (Another example of this might be hair: how might styles/appearances for different hair textures be represented/reflected in the media's cultures). People in our life often equate a combination/triad of appearance, culture, AND experience as what constitutes their own Blackness. These considerations might be made when answering questions like the ones listed earlier, especially «is a character Black or do they look Black?» m

Hope this all helps as a starting place to examine, learn, and ask more questions.

And nonbinary people, right?

...

...

here’s the link and the story, it’s Amazing

The joke is already funny!

Cutting - in my opinion, the most labor intensive part of the process. The amount of time/effort needed varies depending on the pattern and if seam allowance is included or marked separately, but no matter what this process can not be done by machine. Each and every panel and piece of fabric that goes into a garment must be cut by hand by a person.

Pinning/clipping - pinning (or clipping) is the stage at which you align the pieces you are going to be stitching together and hold them together with — you guessed it! — either pins or clips. This can not be done by machine.

Stitching - the actual sewing. This can be done by a sewing machine, but that machine still needs to be operated by a human being.

Ironing/pressing - two words that mean the same thing. The iron itself is a machine, but once again, it needs to be operated by a human being.

Finishing - depending on the technique you use, there are certain finishing techniques that can only be done by hand. But, let’s assume we’re talking about fast fashion, which is usually just finished with a simple overlock/serger. Once again: these machines need to be operated by people.

These are just the basic steps to making a garment, and don’t include textile arts that I am not as knowledgeable about, such as weaving, knitting, and crochet. Also, it is important to note that there are a lot of things that can only be done by hand, such as certain stitches and decorative techniques.

Also, the machinery being operated in textile factories is not equivalent to a domestic sewing machine. We’re talking about one of these guys:

See that gray cylinder under the table, behind the knee pedal? That’s the motor. These machines can sew through your fingers bones and all and not even stop. The people in these factories and sweatshops are operating heavy machinery, and are subject to all the risk that comes with that in addition to all of the work I mentioned above.