eightytwodragons:

jordannwitt:

benito-cereno:

jordannwitt:

splendude:

spoken-not-written:

the next time you think you’re lonely, just remember you have about 25 billion white blood cells in your body protecting your sorry little ass with their life. you have 25 billion friends who would die for you. no need for tears.

thank you osmosis jones

My immune system tried to kill me though.

Jordan just remember you had twenty five billion enemies trying to kill you and you’ve survived them all

Take THAT you tiny goddamn sons of bitches. 

@thebibliosphere

thebibliosphere:

fidoruh:

hopefulkillianheart:

rhube:

lediableaquatre:

fearnotthepen:

I don’t understand why books have shifted from having summaries on the back of the covers to having one-line reviews.

Seriously though. I want to know what the book is about. Not that someone from the Evening Standard thinks it’s a masterpiece. 

I have been waiting for this post my whole life.

Editors I have talked to seem *genuinely* surprised when I bring this up, but, honestly, I don’t care if Stephen King, Robin Hobb, and GRRM ALL liked it, I WANT TO KNOW WHAT IT’S ABOUT.

I never buy a book with a blurb on the back like how the fuck do I know if I am even remotely interested in the story

@thebibliosphere

The blurb got moved–on hardbacks–to the inner sleeve cause marketing showed (a phrase that makes my soul shrivel) that if a book had positive reviews on it, people would trust those reviews and be more likely to buy it.

Most paperbacks will still have a blurb on the back, but it’ll be vague and buzzwordy because it was written by someone in aforementioned marketing team, sort of like how they will tag certain words to make it jump out in a Google search for ebooks. It doesn’t necessarily have to be accurate–just so long as you get the general overall feel for it in order to make a reader think “hey I might like this.”

In reality, authors have very little to do with the cover of their own books, from the composition to the words that appear on the front and back. Some publishing houses will even change the title, and once you’ve sold that book, they are perfectly within their rights to do so and better pick something which marketing will think their target audience will engage with. Hell, I’ve seen authors names changes cause marketing suggests readers won’t read XYZ genre written by Author Name who is known for writing ZYX, so it will be suggested to the author that another name be used, and most authors will go along with it because the implied threat of “we won’t publish you otherwise” hangs in the air over their contract like an axe.

This is not so much true of big name authors in big publishing houses, but for small time fish, it’s fairly common to have nothing to do with the cover design of your book. Indie small houses tend to be a little better about it, but that’s usually because their marketing team is smaller and it’s more cost effective to throw the blurb at the authorxs head and say “here, you do it”.

superheroesincolor:

Horror Noire: Blacks in American Horror Films from the 1890s to Present (2011)

“From King Kong to Candyman, the boundary-pushing genre of the horror film has always been a site for provocative explorations of race in American popular culture. In Horror Noire: Blacks in American Horror Films from 1890’s to Present, Robin R. Means Coleman traces the history of notable characterizations of blackness in horror cinema, and examines key levels of black participation on screen and behind the camera. She argues that horror offers a representational space for black people to challenge the more negative, or racist, images seen in other media outlets, and to portray greater diversity within the concept of blackness itself.

Horror Noire presents a unique social history of blacks in America through changing images in horror films. Throughout the text, the reader is encouraged to unpack the genre’s racialized imagery, as well as the narratives that make up popular culture’s commentary on race.

Offering a comprehensive chronological survey of the genre, this book addresses a full range of black horror films, including mainstream Hollywood fare, as well as art-house films, Blaxploitation films, direct-to-DVD films, and the emerging U.S./hip-hop culture-inspired Nigerian “Nollywood” Black horror films. Horror Noire is, thus, essential reading for anyone seeking to understand how fears and anxieties about race and race relations are made manifest, and often challenged, on the silver screen.”

by

Robin R. Means Coleman

Get it  now here  

Robin R. Means Coleman is Associate Professor in the Department of Communication Studies and in the Center for AfroAmerican and African Studies at the University of Michigan. Her previous books include African Americans and the Black Situation Comedy: Situating Racial Humor and the edited collection Say It Loud! African Americans, Media and Identity, both published by Routledge, and most recently the co-edited volumeFight the Power! The Spike Lee Reader.


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galacticpasta:

sleepyflannel:

twink-phobia:

all public school anti-bullying activism is extremely transparent and meaningless

faculty: BULLYING IS BAD!! ZERO TOLERANCE POLICY!! THIS IS A HATE FREE ZONE!!

me: hey this person called me a stupid dyke today

faculty: hmm that’s unfortunate. have you tried perhaps, not being gay?

I feel like everyone is against bullying until they actually look at the kids who are being bullied.

The cheesy anti-bullying tapes that they show in schools feature these skinny straight white neurotypical kids who get picked on for no reason. Usually the insults are something along the lines of “You’re a loser!” or “Get lost, freak.” All the kids watching immediately feel bad for the victim, and think “Aw! She didn’t deserve that!” 

Then, ten minutes later, they go pick on some marginalized kid without thinking twice. As an autistic person, I was often this kid. The insults I heard growing up were not “You’re a loser!” or “Get lost, freak.” They were “Don’t let the retard work with us” or “Shouldn’t she be going to the special school?”

The problem is we teach kids that bullying occurs for no other reason other than just to be mean. This could not be further from the truth. Bullying occurs because as a society, we condition kids into hating fat, black, neurodivergent, queer, and disabled people. Kids don’t bully each other just to be mean. They do it because if something’s “wrong” with the person, it’s completely justified.

But of course, we can’t tell kids this kind of stuff. We can’t say, “Hey! Making fun of your gay classmate is bad!”

Because when we do, suddenly the phone calls come pouring in, each with a parent on the other end screaming “You can’t be feeding my son that liberal propaganda!”