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The Unsung Muse of Speculative Fiction Is a Wikipedia Community –

Posted: August 22, 2020 at 2:52 am

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The universe of speculative fiction is an ever-expanding monstrosity, often merging with horror, science fiction, fantasy, and similar realms of weirdness. These genres can cover everything from full metal gore and peculiar truths to hidden monsters and secret conspiracies.

But whether theyre dry and deadpan or gloriously maximalist, many of these stories are often born from small inspirations. Some of the most unnerving narratives are anchored in the familiarideas and objects that were comfortable with in day-to-day life. Some of the most unsettling books, films, and games share roots with one of the most fascinating fictional worlds on the internetone that uses the mundane form of a wikipedia community to draw readers into the fold.

The supernatural work of Marshall, Carter and Darka cabal of black market auctioneersis a fitting mirror for our current reality of capitalism and resource exploitation, where the rich and powerful reign supreme. MC&D controls ungodly amounts of money because of its iron grip on the political elite, who remain captivated by the groups specialty: buying and selling strange phenomena. They deal in vinyl records that place listeners into a telepathic coma, a collection of walking sticks with thaumatological properties, SpongeBob Squarepants wristwatches that alter limbs and bones, and a group of people who all claim to be the former Prime Minister of Australia, Harold Holt, who vanished in 1967.

Of course, Marshall, Carter and Dark isnt real. Its just one canonic element of the SCP Foundationa collaborative online fiction project whose name stands for Secure, Contain, Protect. Taking a page from the Victorian appetite to collect and classify, the Foundations mission is to secure, contain, and protect special (and sometimes dangerous) objects, as well as to document events and persons of interest.

The result is a vast repository of seemingly banal items, each exhibiting what the Foundation calls anomalous behavior. Each SCP object or skip bears a number and classification. SCP-145, for instance, is a cordless phone, described in the sort of clinically precise, detached language one would normally find in a research report. Each object also has a special containment procedure developed through rigorous testing by SCP staff.

SCPs earliest known beginnings were on 4chans paranormal /x/ message board in the form of SCP-173, a statue that came to life when it wasnt being observed. It was posted on June 22, 2007, around the same time that Doctor Who aired an episode about an almost identical concept, and spurred some chicken-and-egg discussion about plagiarism. And while SCPs origins lie in creepypastashortform online horror writing that has its own storied place in internet culturethe rise of the Foundation marked the beginning of a new, complicated relationship between the SCP and mainstream pop culture, touching on issues of authorship and inspiration.

There is no simple way in for new readers who stumble across SCP by accidentthe only way to get into SCP is to read and keep reading. The wikis cold, scientific style lends itself well to speculative fiction and horror readers who are already willing to suspend disbelief. Coupled with the replicative memetic nature of creepypasta, the wikipedia format has become a defining method of how we treat knowledge as a shared resource. Should writers cherry-pick ideas from SCP? Its a controversial, polarizing issue, but one that cant be definitively resolved.

Take, for instance, the novel Horrorstr by Grady Hendrix, which shares a similar basic premise to SCP-3008both involve a tainted, supernatural version of IKEA. Many urban dwellers have probably been to an IKEA, and probably made jokes about getting lost or encountering corporate Morlocks in the notoriously labyrinthine megastore. But the idea that IKEA might be a living nightmare rather than a place for cheap sheets and meatballs isnt unique to SCP, even though SCP-3008s fame has seeped out into the normal worldits been recreated in Roblox, a mobile game, and a standalone PC game. The kernel of a weird, bad IKEA has been floating in our collective consciousness for years.

Consider Bird Box, Josh Malermans 2014 novel about mysterious creatures that induced madness on sight. The book conjured elements of SCP-370 (a contagious memetic infection), SCP-053, (a child who could induce paranoia and homicidal behavior), and SCP-096 (an entity which cant be viewed or recorded). David Wongs John Dies at the End series has long been a topic of SCP discussion because of its bleak, deadpan absurdism and supernatural incidents. Beyond film and books, SCP was also a big influence on the 2019 video game Control, which revolves around a mysterious federal agency that functions much like the Foundation, and text-based games like Neurocracy and Unit 322 (Ambiguation); Pastes Holly Green even made a suggested reading list of popular SCPs for Control fans.

Even some of the most beloved SCPs are a nod to the sites wry sense of self-awareness, like SCP-055, a self-keeping secret that cannot be remembered, or SCP-1756, a DVD player that only plays corresponding episodes of Siskel and Ebert at the Movies instead of your chosen movie. TV shows like The X-Files and Warehouse-13 (perhaps a nod to SCP-1730, once home of Foundation Site-13) have also spread their own mythologies across pop culture.

Given the heavy intertextual nature of SCPs content, this is a community that knows and understands the power of reproduction and remixes. SCP uses the Creative Commons Sharealike 3.0 license, which lets anyone take its material as long as its attributed. This means that you can pluck stories and art from SCP and use them for profit. Last year, the sites rich hoard of material spurred a Russian named Andrey Duskin to file a Russian and Eurasian Customs Union trademark for the SCP name and logo to safeguard his own merchandise projects. This is the most drastic known attempt to seize control of the SCP brand, which would arguably change the way that the SCP would function.

Its impossible to overstate how important the concept of remixing is to the modern creative landscape, especially in writing, where turns of phrase and boilerplate story tropes are constantly being used, re-used, and re-invented across borders, genres, and languages. Anyone can take SCP story elements and riff off SCP ideas, which means that SCP transcends simple, straightforward fiction to become a new kind of lorefolk tales for a new generation in new medium. Its too simplistic to call this approach plagiarism or piracy, because it ignores the beauty of reinvention (and, arguably, our entire history of popular culture).

What makes SCP such a formidable entity is how well both its form and function satisfy our love of conspiracy. Even if you view the Foundation as a one-stop shop of memetic ideas or new boogiemen, its story elements come from an existing pool of urban folklore, dystopian thought experiments, and communal imagination, making SCP a priceless repository for the internets weirdest and most terrifying ideas; of course, these could easily end up as Hollywoods weirdest and most profitable ideas, told through different eyes. Still, the community remains a powerful testament to collaborative writing: a holistic, living piece of writing that needs to stay free.

Alexis Ong is a freelance culture journalist with weak ankles who mainly writes about games, tech, and pop culture. Her work has appeared in The Verge, Polygon, Kotaku, Rock Paper Shotgun, VICE, Dazed Digital, and more; soft spots include science fiction, internet archaeology, comics, boxing, and old games. You can find her at her website or on Twitter.

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The Unsung Muse of Speculative Fiction Is a Wikipedia Community -

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August 22nd, 2020 at 2:52 am

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Breaking Travel News investigates: If you do not self-regulate, others will make the rules for you – Breaking Travel News

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A few words of orientation first: I am fully aware of the context and the self-awareness from which I have arrived at the following realisation. For years I too have been part of the growth system mentioned in this text. Consequently, I must also accept criticism for having benefited from this system. I completely stand by that. When growth tempts you, it is difficult to look beyond what lies directly in front of you. But I would like to at least have the chance to exercise constructive self-criticism from my current, most certainly privileged, position. After all, I am also starting to observe a change of heart among many current and former colleagues. And this change of heart, I believe, comes at the right time.

An unprecedented rescue parachute at high speed, and just like that?

Around the world, airlines have received more than US$85 billion in rescue funds. Otherwise, Covid-19 would have wiped them out. This way, jobs at the directly impacted airlines as well as within the entire ecosystem around airports will be saved. Connections to places and markets will remain secured. In our closely interlinked world, flight connections that provide these access points for people and goods are essential, especially in times of crisis.

On the other hand, $85 billion is by no means a petty little matter. Such significant sums are certainly linked to far-reaching conditions arent they? Not really. The conditions attached to the rescue packages have been minimal at both national and international level. Depending on how you look at it, this is either a fortunate or a rather strange development. Remember how banks and financial institutions in many countries were given tough requirements in connection to the money they had received during the financial crisis?

Is this correct? Shouldnt states and regulators take a different approach and a harder line with aviation? More precisely, shouldnt they demand a greater resistance to future crises, in other words, a more sustainable handling of the national wealth they have accumulated?

One thing is certain: the next assertion of systemic relevance in an exceptional situation will, as much as we would prefer it not to, come back to haunt us much sooner than expected. The time to act and to use the crisis as an opportunity for change is now. This way, the lead time until the next event might be long enough so that the begging bowl held out for state aid will not be quite as big. A big pro-active liberating blow, one might say. But how to go about it?

Higher equity ratios, improved risk coverage, new principles for liquidity management: in Switzerland, the Basel III framework, the BIS regulations on banking regulation, has become much more restrictive in the wake of the financial crisis. At the time, there was a relatively broad consensus that people and people in these cases always means all of us did not want to bail out the banks again with billions of dollars in government money. In most international financial centres similar systematic measures could be observed. I would also like to point out that a number of systemically important banks subjected themselves to even more far-reaching security requirements. And these have taken effect, not least in the current crisis.

The various payments that Greece, as a nation state, received from the EU from 2010 onwards to save the country from bankruptcy were also linked to the implementation of numerous reforms and budget consolidation measures. In many other places, the EU Commission, the IMF and the ECB also imposed tough conditions for financial aid.

However, in the case of airlines which in the past have already been dependent on government support on more than one occasion the terms imposed are minimal. Although, depending on who you talk to, opinions do differ: for the Swiss confederation, for example, it is chiefly important that the funds that are spoken do not go to Germany. Strict is different. Airline-related businesses are also supposed to make sure that any of the funds received will not flow abroad. In other countries, the conditions for bailout money are even less stringent. I fully sympathise with taxpayers who are surprised about this.

A little bit of the misery is self-inflicted

In recent years, many airlines have invested massively in their growth, buying (not leasing) aircraft, expanding connections and launching price wars not just in the short-haul segment. In doing so, we have become highly dependent on a very volatile mass segment, and, as a matter of fact, in the past ten years even used this segment as our growth-engine. The result: the golden decade of aviation. This, however, had one side effect: we all exposed ourselves, fully unprotected, to the risk of straining the supply-and-demand principle to such an extent that the enormous growth in demand was driven by an oversupply of capacity. This has further reduced the already low margins. Provisions were made only very cautiously, if at all. In recent years, US airlines have spent more than 90 per cent of their profits to buy back shares and thus made short-term investors happy. All of us could work out that this fixation on growth and low margins make the industry dependent on precisely this highly volatile demand. Unlike any other sector, the airline business is thus highly sensitive to economic and social developments. And it is so on a global level.

Of course, it cannot be denied that in times of crisis even large cash reserves will not last for a long period of time. The airline business is capital-intensive. And it is of course a little unfair to make these observations during a global pandemic. After all, Lufthansa chief executive, Carsten Spohr, is right when he recently stated in Neue Zrcher Zeitung: It is almost impossible to prepare for a crisis of this dimension, in which 99% of the business disappears over months. The necessary buffer would be so immense that no globally operating airline could cope with it.

A little restraint and common goals would be win-win

Nevertheless, now is the time to stop turning a blind eye: airlines must better secure their business. They need to ensure stability as best they can and draw up future-oriented, sustainable financial plans. Solid risk management and business continuity strategies are the tools of the trade now more than ever. Lufthansa and United Airlines are already more consistently leasing aircraft rather than buying them and have started adapting their route networks.

The same applies to business planning and cash, health and safety and climate and security standards. Here too, I have long been convinced that the industry would be better off regulating itself. Individual airlines are making a major effort to contribute to climate protection. Swiss, for example, is investing in a particularly fuel-efficient fleet. Singapore Airlines has modified the Trent 900 engines of its A380 aircraft to reduce CO2 emissions. KLM saves weight. Etihad is experimenting with flights without the use of single-use plastic. But demands are high, and the road is long.

The challenge, whether it is about environmental, safety or accounting issues, is as follows: if the industry does not develop uniform standards or at least sets uniform goals , then others will do it for them. And they certainly will not do it in a coordinated way. This should be clear to the chief executive as well as to the chief financial officer and the head of corporate social responsibility.

If different rules of the game apply in every country, they become incredibly demanding and complex to comply with. And it potentially distorts competition even more. States that support airlines are the only ones that could introduce particularly loose regulations. I fail to understand why there is no greater momentum behind industry-wide efforts to regulate this once and for all, and on a large scale. That would certainly be beneficial for everyone.

Together into the future

Corona shows us again that it is not just the eleventh hour time is literally running out. The industry, preferably our entire ecosystem, must react now. That self-regulation can work in close cooperation with the authorities is shown by a recent example of the European Aircraft Associations and the European Aviation Safety Agency. Together with the European Centre for Disease Prevention and Control, they have compiled guidelines for airports, airlines, and operators to ensure that passengers can travel safely even in times of corona. Which will make life easier for all of us.

We can no longer close our eyes to the fact that the world with and after Corona is a different one. Let us face this challenge together and reposition the industry in a new and better way. We are better equipped than others to do this.

More Information

Aviation analyst Peter Baumgartner is the chairman of the board of directors and Metrocore Aviation Group.

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Breaking Travel News investigates: If you do not self-regulate, others will make the rules for you - Breaking Travel News

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August 22nd, 2020 at 2:52 am

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5 Kindergarten Strategies That Will Help Kids Of Any Age This School Year – Scary Mommy

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Schools are reopening this fall with the hope of providing some normalcy to children stressed by changes due to the pandemic. But their return will be anything but normal. The world they are about to re-enter will look drastically different than the one they are used to as schools adapt to create a learning environment that meets the COVID recommendations put in place. These changes and adaptations will cause confusion and disconnect in some children who are returning to school with the hope of reestablishing a foundation of normalcy and predictability that sadly no longer exists.

So how do we as teachers and parents support their emotional needs during this transitive time? As a preschool teacher who has guided parents for over 20 years through the transition into kindergarten, I can see that the same rules apply as your child now returns to the uncharted territory of a post-quarantine classroom.

We spend weeks, even months, preparing our children emotionally for kindergarten by reading books, talking about the bus ride, boasting about kind teachers and new friends, and selecting the perfect lunchbox because we know that it is natural to have anxiety when something is unknown or unfamiliar. This school year will look different than anything your child has experienced before. Feelings of confusion from this change in dynamic are to be expected.

Each school district has created an individual plan that suits the needs of their community best. Be sure to check your schools website, social media page or call your administration directly to understand exactly how your school is redesigning their day to meet their local COVID response.

Speak candidly to your child about what the changes will be so they are prepared for what to expect on their first day as best as possible. Helping them visualize what is ahead of them helps to lessen confusion and build confidence. Break out those Barbies and Batman action figures to play out the sequence of their school day, create a map of their day, or draw a picture of what the classroom may look like to help your child engage and internalize what is about to happen.

It is natural for your child to have some fear or uncertainty as they adjust to their new school dynamic. One of the best things that mitigates this fear is creating a routine of predictability at home.

We have all become disconnected from our scheduled lives since the beginning of quarantine, and it will take some time to adapt back to a structured lifestyle. Start a few days before school returns and begin to establish a daily routine of waking up around the same time as your school starts, getting dressed (yes, its time to pack up those pajamas weve been wearing for months), eating breakfast, and adding activity time when they would be attending class. Use this time to read books together, go over some math flash cards, learn a new word from the dictionary; build, craft, or engage in any other brain building activity your child enjoys. Flex those brain muscles again! Establish an afternoon routine that includes some time outdoors and self-directed play. Eat dinner around the same time each night and have a routine for bed.

Keep this routine once school starts. There will be days where you are tempted or even too overwhelmed to keep this structure, and thats okay. We all need some days to let things slide but try to get back to the schedule when you can because, in the long run, consistency will manage your childs anxiety much more effectively.

There is a good chance that some of your childs learning will be virtual. Do your best to maintain a similar schedule of in-school days during virtual days, but maybe allow those pajama pants to resurface on these days. Design a learning space together by following your childs lead about where they think they will work best. Some children prefer to work in the center of chaos with activity around them, i.e. the kitchen counter. Some children prefer to have a quiet, isolated corner with headphones on. My child loved to work curled up in a ball on top of her play bench. Who is to say what environment is right or wrong if the work is getting done effectively? As long as expectations are being met, allow your child the opportunity to experiment with self-regulation knowing that they will need your support at times to stick with it as they develop these skills. Demonstrating this trust and respect in your child to self-promote and regulate will go a long way in developing their self-awareness and inner confidence.

Children are very intuitive to emotions and easily pick up on feelings from the adults around them. As a parent, you have every right to feel overwhelmed or fearful about your child returning to school, but it is important to do your best to minimize expressing these fears and frustrations in front of your child. Children will easily internalize these emotions for themselves and carry our worry for us instead of us helping them to relieve their own. Be honest with yourself and your child that this new dynamic will present challenges and obstacles and its ok to be frustrated or upset about them. But also be mindful to speak in reassuring and positive ways, the same way you did when they were nervous about kindergarten, to build confidence in your child.

You can model this positive language by saying things like, Your school worked very hard to put a good plan in place to learn safely. It will be wonderful to see your teacher and friends during the week. Remind your child that these new restrictions arent meant to make them unhappy, but are put in place because their school wants to care for them as best as possible. Children reflect what we model for them. When we model positive language, they will internalize that and do their best to think positively as well.

Be sure to listen to your child and help their feelings be heard. As a parent, it is important to try not to respond with dont statements like dont feel that way dont cry or dont be upset. These statements can invalidate a childs feelings and add to their confusion. Instead, use reflective speech to show that they have been heard. I hear that you are sad that you werent able to play with your friend at recess. Do you want to talk about it?

Oftentimes, they are too little to have the words to express what they are feeling, so reading books that focus on emotions are very helpful to extend their emotional vocabulary. When a child doesnt have the words or confidence to express themselves verbally, allow them the ability to express themselves creatively instead. Help them set up a supportive outlet like a LEGO corner, create a music playlist together, leave markers and paper available for free expression, set up an easel, offer a journal for writing or drawing, or go for a hike where your child takes the lead. Providing this level of emotional support and respect will be monumental in their emotional management.

Even with all these supportive measures in place, your child still may have days where their emotions will overwhelm them proving they are not yet able to manage their inexperienced minds effectively. Meltdowns are to be expected. The biggest challenge as a parent is to not internalize them as a failure on our part, but as the result of an overwhelmed, underdeveloped and often exhausted child who just needs to release their emotions.

Let them cry. Let them scream. Provide them space and safety while establishing that throwing, hitting, and other potentially hazardous behaviors are not allowed. These moments may happen right as they return from school or other unexpected times during the day.

If your child is having a reaction bigger than the situation presented (who hasnt had a child lose it over the color of their macaroni and cheese?) it may be a resulting build up from earlier in the day. If the meltdowns are occurring regularly, remember that you have a team of helpful resources at your aid. Speak with your childs teacher, pediatrician, school social worker or psychologist for further support in meeting your childs emotional needs. You are not in this alone.

Transitions into unknown territories are challenging and emotional. Give yourself and your child the time and patience to learn how to regulate, develop and build lifelong emotional skills that will carry you through this new school dynamic. You have successfully made it through the Kindergarten experience before, and you will be able to do it again!

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August 22nd, 2020 at 2:51 am

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No Events, No Problem: How The Creatives Behind The Annual CultureCon Conference Are Leveling Up With New Digital Offerings – Forbes

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Imani Ellis, Founder of The Creative Collective NYC and CultureCon

In the midst of a season where stay-at-home orders are in full effect, what does it look like to grow a community dedicated to curating events specifically for creatives of color? For Imani Ellis, Founder of The Creative Collective NYC and CultureCon, answering this question meant that the team behind what has become the go-to conference for creatives of color had to completely reimagine their core offerings.

Like so many, weve had to pivot and go back to the drawing board, said Ellis in our recent interview. Were constantly asking ourselves, What does our community need more of? and What are we going to do about it? With the help of these routine questions, The Creative Collective NYC (CCNYC) team has been able to reach an unprecedented breakthrough for their community. Ellis was kind enough to share here what their followers can expect next and how she and her team have been able to remain innovative, reaching higher heights during a time thats presented them with quite possibly their most unique challenge yet.

Remember Why You Started

Having in-person events has been a part of our DNA from day one, Ellis expressed referring to events like the annual CultureCon conference. What began as a Bible-study-sized brave space in Ellis Harlem, NY apartment had ballooned to nearly 2,500 attendees by 2019. Striving to keep the same vibe of intimate connection established from its inception, the NYC-based brand had still grown rapidly enough to have planned a much-anticipated expansion to Atlanta in the upcoming year.

Prior to the rolling shutdowns triggered by the rapid-fire spread of the COVID-19 pandemic, CCNYC had been hosting up to four in-person events per month. By CultureCons third year theyd welcomed some of the industrys most successful creatives of color to join the cause for their community like Will Smith, Tracee Ellis Ross, Regina King, Spike Lee, Lena Waith and Elaine Welteroth. They also had plans of creating a job fair and a market featuring Black-owned businesses. But just as things were beginning to pick up, the nation shut down, leaving Ellis and her team in the same boat as many other event-focused brands who needed to quickly figure out ways to reach and serve their communities.

CCNYCs solution had to be as creative as the thousands of loyal attendees who flocked to their community-hosted events each year. So when postponements quickly turned into cancellations, CCNYC stayed true to their mission of collective effort in service of their communities and wasted no time in reaching out to their community to see what they wanted most during this time.

Lean On What You Know

Recognizing that a large part of their community had begun to use the time during the pandemic as an opportunity to reimagine what their true interests looked like and improve their skill sets, the CCNYC team reached out across their increasingly busy social media channels for feedback on which direction they should move next. We polled about 5,000 of our community members and asked them what they wanted more of - virtual happy hours or skill-based workshops, Ellis recalls. 95% said they preferred a skill-based workshop, so we set out to build a digital platform that would deliver that and then some.

Once it was decided that they were creating a brand new platform, the colleagues that Ellis mentions as some of the most incredibly talented and hard-working people she knows, jumped right to work. We talked through course ideas and prioritized topics wed actually want to learn more about, then started identifying talent and building out curriculums. With an enduring mission to help those creatives who identify as POC to live and learn unapologetically as their full selves, CCNYC leaned on their 360-degree approach of catering to their audience by building the Creative Curriculum, a dynamic learning website curated specifically for creatives of color launching today.

Team photo, CultureCon & The Creative Collective NYC

Creative Curriculum originally began as short takeovers on the brands Instagram page that showcased helpful skills on a variety of topics. Today this space has transformed into a full-service digital suite meant for community empowerment and invaluable resource sharing. This new digital platform will be presented by the all-in-one website building platform, Squarespace. Catering to the specific needs and lifestyles of CCNYCs most curious and ambitious Black and Brown community members, the Creative Curriculum will feature four tailored tracks focusing on entrepreneurship, creative innovation, professional and personal development as well as financial health and literacy.

We're proud to partner and collaborate with The Creative Collective NYC to help develop their new Creative Curriculum program, which we see as an incredible digital resource for creatives of color looking for support in getting their projects off the ground, said Kinjil Mathur, Chief Marketing Officer, Squarespace. The Creative Collective NYC's mission of providing a hub to inspire and educate the multicultural creative community aligns perfectly with Squarespace's mission to equip anyone with an idea or dream the tools they need to succeed."

Employing keynote conversations and masterclasses given by larger-than-life creative minds like Gabrielle Union-Wade, Yahya Abdul-Mateen II and Grammy-Award winning artist Kandi Burruss, guests will have the option to follow suggested tracks of learning or combine their favorite courses to create a custom curriculum of their own. And with on-demand videos (workshops can be watched nonstop for up to 30 days) making it easier for creatives to learn on their schedules, its obvious how enthusiastic the CCNYC team remains when it comes to creating spaces that address the whole individual.

We believe that establishing these creative ecosystems can lead to real change and that over time, this can lend itself to an overall economic shift with an emphasis on the importance of ownership, shares Ellis.

Never Forget What Youve Been Working For

Through their focus on having the right people in the right roles, putting effective processes in place, and striving for excellent performance no matter the project, the CCNYC team has demonstrated the importance of both leadership in service as well as effective teamwork. No one is self-made - not even those who refer to themselves as such, Ellis asserts. Its the team behind the mission that moves the needle. Its the collective effort of many that makes it all possible. Theres a common misconception that as an entrepreneur youll finally get to work for yourself...WRONG, she emphasizes. Youre working for your team, for your community, and for the vision youve created.

For any entrepreneur whos just begun their journey or whos maybe even become an expert in their own right, during uncertain times its not at all out of the ordinary to question whether or not you were built for such an unpredictable season. But according to Ellis, whos shown remarkable resilience during this time, self-awareness is key to coming out on top. You shouldnt believe every thought that you have - especially when youre going through a difficult time, urges Ellis. I would advise every entrepreneur to constantly take inventory of how theyre doing personally and professionally, she explains. There is a difference between a difficult moment and a difficult life and you have to be honest with yourself [about what] youre experiencing.

Find Joy In The Journey

Entrepreneurship isnt for everyone and thats totally okay, continued Ellis. There is no shame in trying something new or closing one chapter to begin a new one. Mentioning how weve all begun to reframe what success looks like, Ellis hopes that Millennial creatives continue to pursue the things that they love; no longer glorifying burn out culture, but doing those things that make them happy. Taking to estate sales on the weekends, Ellis has kept her curiosity high and her stress low by digging through piles of historical artifacts in her free time. Viewing the joy shes gained from the activities shes grown to love as absolutely necessary for achieving and maintaining success, the thriving entrepreneur is committed to living a full life not entirely defined by business decisions and career highlights.

You truly have to live in your truth and do your best to step out of the shadow of the worlds expectationseverything else will follow.

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No Events, No Problem: How The Creatives Behind The Annual CultureCon Conference Are Leveling Up With New Digital Offerings - Forbes

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August 22nd, 2020 at 2:51 am

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HBOs Lovecraft Country: A spoiler-free review of the clever new series –

Posted: August 15, 2020 at 4:50 pm

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In the second episode of Lovecraft Country, HBOs engrossing new pulp horror series, one character, George (Courtney B. Vance), keeps thinking about a book.

The book in question is the 1903 horror fantasy The House on the Borderland, and its plot is eerily similar to Georges present situation: Hes a Black man trapped in a strange mansion along with his friends, presented with various temptations and hallucinogenic visions including dancing with a woman he knows to be a figment of his imagination. Do the lovers stay together at the end? his ghostly date asks of the story. Yes, he responds but only because the giant house they're in collapses.

Theres an obvious metaphor in the scene about the work Lovecraft Country is trying to do. The shows story closely follows Matt Ruffs 2016 novel of the same name, about a Black community in Chicago that becomes entangled with an ominous occult society, all while fighting Jim Crow racism on a scale both everyday and cosmic. Ruffs novel was an attempt to grapple with the legacy of H.P. Lovecrafts writing, which is both towering in its influence and teeming with racism. As crafted by showrunner Misha Green, the story, therefore, is both a homage and a repudiation.

Its a homage in that it gleefully plays with many of the horror tropes its namesake popularized: terrifying otherworldly monsters, esoteric cults, scary American mansions housing obscure spellbooks and dark secrets.

And its a repudiation in that it also attempts to wrestle with those tropes and perhaps free them from Lovecrafts territorial grasp as a loud, vehement, unabashed white supremacist.

Its helpful to think of Lovecraft Country, then, as akin to a game of Jenga: Its aim isnt to collapse the house that genre built, but rather to slide a new layer of storytelling on top of century-old bones to find out if the entire structure can still hold. For the most part, it holds very well.

Our story opens as a troubled Korean war veteran named Atticus, a.k.a. Tic (Jonathan Majors), searches for his father Montrose (Michael K. Williams). Though theres no love lost between Tic and his dad, after Montrose goes missing in the New England wilds that his family calls Lovecraft country, Atticus, his uncle George (Vance) and his pal Letitia (Jurnee Smollett) set out on a road trip to search for him. But their plans quickly spiral, and soon theyre confronting monsters in Americas backwoods and small towns. Only some of those monsters are inhuman.

On another TV show, this basic plot might last for a full season, culminating in the group locating Montrose and a dramatic confrontation in a giant creepy mansion. But Lovecraft Country gives you the feeling its got no time to waste on such dramatics, so instead the story unfolds very rapidly, largely dealing with the aftermath of that road trip.

The groups brush with a white supremacist cult has left them entangled in the vague plots of a young witch, Christina (Abbey Lee, whose vibe is very Rory Gilmore meets The Craft), and her creepy pal William (Jordan Patrick Smith, whose vibe is very Draco Malfoy meets Skarsgrd). Soon, Georges wife Hippolyta (Aunjanue Ellis), her daughter Diana (Jada Harris), and Letties sister Ruby (Wunmi Mosaku) are all also becoming ensnared in the labyrinthine plots of the cult and its enemies all while having to deal with much bigger immediate threats like racist neighbors, job discrimination, and violent cops.

Lovecraft Country upfronts the realities of Jim Crow racism for its families. George actually edits a fictional version of a Green Book guide for Black travelers which Hippolyta hopes to join him in writing for one day, and they argue about how to tour the country safely while avoiding sundown towns and racist police. The series reminds us again and again that Black Americans have always had to rely on each other for information, help, and protection in a world that was built to ostracize them.

These are depictions usually reserved for the segregated South in 50s- and 60s-era storytelling; though Lovecraft Country is set within that period, most of it takes place in Chicago and Massachusetts, where racist division was very much alive and well but much harder to navigate because it was so often unseen. Its rare to see the Norths racism get such a harsh excavation, but its an effective use of literal racism as horror. Without the Souths more overt legalized racism, the storys Black characters have to constantly feel their way through every situation: Any town could be a sundown town, any cop could be a white supremacist, and situations that feel stable could become unstable at any moment. It all adds to Lovecraft Countrys permeating layer of dread.

Because Lovecraft Country is airing at a moment when its themes of police brutality and systemic injustice are unfortunately more relevant than theyve been in years, the hype that has built up around it is the type usually reserved for prestige TV. But while its aims are similar to those of Watchmen, Lovecraft Country is deliberately pulpy. Through the five episodes that HBO has made available for review, the show gambols between various pulp genres like supernatural fantasy la Lovecraft and Weird Tales, comic books with superpowered heroes and villains, and high tomb-raiding antics out of Edwardian adventure series (think Allan Quatermain or Prisoner of Zenda). Lovecraft Country isnt just coming for Lovecraft; rather, its reclaiming a century of pop literature for Black geeks who never got to be the heroes of those narratives.

The show is also repudiating the pompous dramatics of its silly cult full of white people trying to something something pure bloodlines, something something existential cosmic terror.

Lovecraft, however, remains the central topic of deconstruction. If Lovecraft is obsessed with the omnipresent specters of other races, foreign tongues, and madness, then Lovecraft Country shifts those fears into the point of view of mid-century Black America. Lovecrafts constant dread of The Other becomes the pervasive threat of whiteness. His terrifying, impenetrable languages become the changing rules and constant hurdles of systemic racism. The strain of avoiding madness becomes the stress of trusting ones own judgment and experience when reality bends to fit the preferred narrative of white society.

Perhaps most crucially, the characters themselves shift, too. Lovecrafts heroes were always men, usually erudite and educated, who nevertheless stood in terror of confronting the vast cosmic indifference of the universe and realizing they werent at the center of it. The plots of his stories always revolved around their unfolding of the mysteries they found themselves in, and often being driven mad because of it.

None of these concerns apply to our heroes. As Black men and women, theyre under no illusion that the universe was built for them. Theyre much more concerned with basic survival. But their self-awareness also gives them an edge that few of Lovecrafts characters traditionally possess: They know what kind of story theyre in.

Lovecraft Countrys protagonists instantly adapt to the bizarre nature of the supernatural elements around them. Atticus and George are huge fans of weird fiction and horror; they know exactly who and what Lovecraft is and what his stories are about. Georges daughter Diana likewise is a budding superhero artist and writer of comic book sci-fi. They and their families, however reluctantly, know that to survive tropes, you have to subvert them. That allows them to one-up and outwit the dangers that lie in wait for them, whether those dangers come in the form of racist cults, Indiana Jones-style booby traps, or lying cops. Theyre tricksters in the truest mythological sense: Their ability to turn the villains traps against those villains reveals the traps shaky construction.

The show finds its strongest moments when it layers realism atop metaphorical racism to induce a mounting, increasingly surreal two-fold horror. Its weaker in terms of connecting those moments back to its overarching plot. But that weakness also feels intentional and refreshing as if the show is also repudiating the pompous dramatics of its silly cult full of white people trying to something something pure bloodlines, something something sorcery, something something existential cosmic terror.

Instead, Lovecraft Country allows itself to be more interested in small stuff, like filming an entire scene mostly underwater because its really cool, or devoting an entire episode to routing the racists next door because thats vital to the main characters everyday realities. Its not quite a pastiche or an anthology show, but it has a similar irreverence for the sanctity of an epic drama. And that irreverence is especially valuable in the way it helps the show present in-your-face, omnipresent racism as part of the real landscape of America.

Lovecraft Country boasts clever, engaging storytelling, but it has less to do with the genres its playing with than one might hope. There are literal references galore to the weird fiction writers Lovecraft drew inspiration from and influenced in turn but although I recognize theres still plenty of room for supernatural expansion in future episodes, I found myself wishing the vision of the story was a bit broader. One of the biggest absurdities of Lovecraft is that for all he stood in dread of cosmic terror, the most frightening thing he could imagine emanating from that cosmos was basically a really big squid. By the same token, its more than a little disappointing that Lovecraft Country at least so far hasnt done more to expand its imagination about what lurks in the beyond.

In its early going, the story remains very faithful to Ruffs novel, and the encroaching horrors scale up nicely from episode to episode. But the show seems wary of getting too lost in its fantasies, at the risk of downplaying the fact that everyday life for its characters is rarely a daydream.

Particularly odd is Lovecraft Countrys squick about sex and sexuality, which is almost always shown as brutal and unpleasant, if not outright rape, a form of rough power play and violence. On a show where families and community are generally shown as the only safe and intimate harbor, however troubled, its a discordant note.

For the most part, however, Lovecraft Country stays honest and engrossing, the kind of show you trust to iron out its own kinks. And its more important, ultimately, that the show never lets its indulgence in fantasy overbalance its keen look at racism in America. The show shrewdly leans into a blunt emphasis on the latter that might have felt over-the-top and hamfisted a decade ago.

No matter what, Lovecraft Countrys opening episodes provide an overdue, much-needed perspective shift a constant reminder that America was always Lovecrafts country, and many of its citizens are just trying to survive it.

Lovecraft Country debuts Sunday, August 16, at 9 pm on HBO.

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August 15th, 2020 at 4:50 pm

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Ryan Reynolds Begs Young People To Stop Partying During COVID-19 – We Got This Covered

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Dont kill my mom is a pretty blunt statement, but its exactly the plea that Ryan Reynolds has made to young people who are considering partying in the midst of the ongoing COVID-19 coronavirus pandemic. During an outbreak that poses such a high risk to the elderly, his statement holds plenty of weight, and like many others, hes crossing his fingers that hell be heard.

The statement came as a response to British Columbia Premier John Horgans call for the Deadpool actor to speak up and entice young people to avoid partying. Reynolds whos also originally from Canada had the following to say in his lengthy and humorous response:

Premier Horgan,Ryan Reynolds here, I got your message about the thing. Im not sure its a great idea, frankly, I dont think people want medical advice from guys like me. No sir, unless its plastic surgery. Which, a lot of people dont know this, but I used to be Hugh Jackman. You know, you young folks in B.C., yeah, youre partying, which is of course dangerous. They probably dont know that thousands of young people arent just getting sick from coronavirus, theyre also dying from it too.

Of course, its terrible that it affects our most vulnerable. I mean, B.C. is home to some of the coolest people on Earth. I mean, David Suzuki, he lives there! My mom, she doesnt want to be cooped up in her apartment all day. She wants to be out there cruising Kitsilano Beach, looking for some young 30-something Abercrombie burnout to go full Mrs. Robinson on. She is insatiable.

Heres the thing, I hope young people in BC dont kill my mom. Frankly, or David Suzuki, or each other. Lets not kill anyone, I think thats reasonable. I just dont think Im the guy to deliver this message. I love parties, my favorite thing to do is sit alone in my room with a glass of gin and the first 32 seasons of Gossip Girl. Thats a party. I threw my shoulder out the last time I did that.

Reynolds isnt the first celebrity to issue such a request from the nations younger generation, of course. Earlier in the outbreak, Arnold Schwarzenegger took to Instagram to implore folks to avoid spring break partying to help mitigate the spread of the virus. It didnt work out very well, though, as spring break definitely led to an uptick in new cases in various states, but its still always nice to see celebrities like Reynolds and Schwarzenegger using their platform to spread awareness.

COVID-19 continues to be an overwhelming threat to the world with 21 million confirmed cases and 762,000 deaths as of this writing. The United States remains the epicenter of the outbreak with nearly 5.5 million cases alone, so heres to hoping that the consistent pleas from health officials, doctors, politicians and celebrities will convince at least some people to be more careful so that we can beat this thing.

Ryan Reynolds can next be seen in his upcoming film Free Guy, which tells the story of an NPC in a video game that becomes self-aware and sets out to save the games world before its developers shut it down. Its set to release in theaters on December 11th, providing that COVID-19 doesnt keep cinemas closed and force the film to be delayed again.

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Ryan Reynolds Begs Young People To Stop Partying During COVID-19 - We Got This Covered

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Clueless Reboot TV Series Coming to Peacock – Den of Geek

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Someone is going to try to replace Amy Heckerlings dialogue and Alicia Silverstone as Cher? As if! Yet that appears to be the case with the announcement that the Clueless reboot is headed to NBCUniversals new Peacock streaming network.

The project has actually been in development since last year, but the announcement of it moving forward and finding a home at Peacock is a swift development. But the series, which is being written by Jordan Reddout and Gus Hickey (Will & Grace, The Muppets.), takes a different direction than you might expect. With its focus on the character of Dionne, who was played by Stacey Dash in the original 1995 movie and the previous television adaptation attempt from 1996, the new Clueless clearly intends to offer a unique vantage on the privileges of Chers Beverly Hills high school experience.

The synopsis for the new series calls it a baby pink and bisexual blue-tinted, tiny sunglasses-wearing, oat milk latt and Adderall-fueled look at what happens when the high school queen bee Cher disappears and her lifelong No. 2 Dionne steps into Chers vacant Air Jordans. How does Dionne deal with the pressures of being the new popular girl in school, while also unraveling the mystery of what happened to her best friend?

With the focus on Dionne and a modern setting, the new Clueless definitely seems aware it must examine this materialistic world with a different set of values, all while apparently adding a mystery at the heart of it, which is in keeping with recent teen dramas like Riverdale, The Chilling Adventures of Sabrina, and Pretty Little Liars.

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Kathleen Edwards: I became terribly depressed and needed something to change – The Irish Times

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the singer-songwriter took a break from music for the sake of her mental health to run a cafe called Quitters. But now shes back with a fresh perspective

On the phone from her base in Stittsville, a suburb of Ottawa, Ontario, Kathleen Edwards isnt saying be careful what you wish for. She really doesnt need to. It was there, in autumn 2014, that she opened up a coffee shop, hopeful that some of the 40,000-plus residents would pop in to say hello, buy a brew and a homemade cake from the new business owner.

The new business owner, however, had a past: following the release of her fourth album, 2012s Voyageur, Edwards had ditched her previous life as a moderately successful, critically acclaimed roots/rock performer and songwriter. In the months preceding the release of the album (on which she had worked with Justin Vernon, then her partner), she navigated clinical depression. Along the way to full health, she experienced a life-changing spike of self-awareness. Playing music, she recalls, was not going to be helpful in my recovery.

Cue a full withdrawal from music, a return to Canada to work in a small town close to her family home, and to open up the drolly named Quitters. The change in lifestyle was as far removed from her frame of reference as she could get. From a very young age, Edwards remarks, there was nothing else on her radar but to play songs, play guitar, be on stage. It was, she underlines, all-consuming, omnipresent.

I knew, however, that if I was going to try to be a songwriter, then I would have to be unrelenting in my pursuit of it. I guess ambitious is the word you could use, although I didnt have an end game, as such. All I wanted to do was to write a song, make a demo, make an album. All of those things happened sequentially but I think what was particularly hard about the life I had built around myself and I fully admit that it was myself who had built it was that no one else was to blame for the state I was in. I had created this environment and had pursued it without anything else on the horizon.

Success arrived quickly, with her debut album, Failer (2002), and follow-up, Back to Me (2005), swiftly marking her out as the songwriting lovechild of Lucinda Williams and Tom Petty crunchy Americana/pop with confessional, conversational lyrics that packed a potty-mouthed punch. Juno and Polaris award nominations followed, and by 2010 it was taken as a given that the new batch of songs she was working on for her next album, the more experimental, more emotionally charged Voyageur, could have been career-defining. As it turned out, the album was her most commercially successful, yet as I got older, I realised I had made a huge commitment detrimental to all the things many people have in their lives that I did not make space and time for. There was no stability, no routine; I couldnt even schedule a doctors appointment because there was no point Id be off at a moments notice to do this, play here, record there.

Along with the residual emotional fallout of a five-year marriage (to musician Colin Cripps) and the short-lived relationship with Vernon, Edwardss relentless pursuit of a life in music got the better of her. Her tone throughout the telling of it is even, thoughtful, extremely clear-headed. There is no therapy-speak cover-up, just the bare facts of a fractured life. She admits she was totally defeated.

Returning home, she visited nearby Stittsville a few times, and chanced upon a boarded-up building on the towns main street. Within days she had signed a lease on the property. Then she bought a sledgehammer and set to work. It took about a year, she relates, to fully process the decision she had made. At the end of every day, the boss took out the rubbish, mopped up the floor and pulled the shutters down, but Edwards had no desire to write songs.

Every stab at it felt incredibly miserable and forced, she says. Her guitars were put into a room she never entered. My life became more about living in a community, having a routine, getting up every day to walk the dog, open the shop and make coffee and bake cakes and not have to get to an airport twice a week and to live out of a suitcase. I was able to invest in my home space, my own time, in a way that was not constantly being threatened by a tour or a gig. It was the opportunity to let life in far more than I ever had before.

A few years passed. Being the owner of a now-thriving business in a suburban town seemed like a reasonable way to continue, but in 2017 Edwards received a phone call from the manager of hugely successful American country singer Maren Morris, a fan. Morris was throwing out a hook to see if she could catch a couple of fish. With little hesitation, Edwards bit hard.

I was glad because for a few days it provided an opportunity to remove me from the cafe into a room where I got to stand alongside other creative types, and to realise that writing a song could be fun again. It was also a reminder of how easy a thing it was for me to do; that was validating because I knew then that whatever songwriting touches I had were still there, that I could pick up from where I left off.

Before too long Edwards signed to a respectable indie label. A typically pointed new album, Total Freedom (her fifth, and her first in eight years), is on the way. She no longer has concerns about lack of stability or perspective in her life or lifestyle choices.

The balance is there now, she says. I get overwhelmed and stressed, and we all have moments where we lose perspective of some of the bigger issues that people go through and which make our days seem like nothing. But Quitters has given me that incredible gift of having a life outside the music bubble. I have changed and grown immensely since I started it because it gave me so many learning opportunities that I could never have fathomed.

It has also added to her understanding of herself. Her identity had been purely and simply a singer, songwriter, musician. Such a view, suggests Edwards, was little more than a one-dimensional snapshot. In the past six years, she says, she has learned to do things that have given her a whole new sense of self-confidence.

I realised for a long time that I played music and then I became terribly depressed and needed something to change. While I was recovering, I started a business that has not only turned into a wonderful community hub, but which has also allowed me to be someone with a definite plan B. It has empowered me in many ways and now, in a very healthy way, my life has perspective.

It is a rewarding and a wonderful thing, this most resilient coffeeshop owner and whip-smart songwriter concludes, to create and to be surrounded by other artists, but I was basically in a constant state of vulnerability. Having something to remove me from that has grounded me in a way that I did not see coming.

I have very fond and still vivid memories of playing Whelans in Dublin about 16 years ago, but one of my most favourite memories of touring was doing Other Voices in Dingle in the mid-2000s. I will never forget that. It was one of the most interesting weekends of my life. I dont know whether it was the people or the place, but it was one of those few days I look back on and cant really believe I got to do it. When it was happening it was special, but when I look back, I realise how wonderful and unique it was, and what the magnitude of it was for me.

Actually, I was reminded of Other Voices recently because of their Courage series online, during which I saw Mick Flannery play at the Crawford Art Gallery in Cork. His latest record, the self-titled one, is the best Ive heard this year its so impressive. And watching the Courage shows reminded me of how rich Irelands propensity is to honour not just the music but also the spaces in which musicians get to do their work. That gets undervalued at times. It made me realise that some people actually know how to get that kind of stuff done!

Total Freedom, by Kathleen Edwards, is released via Dualtone Records, August 21

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A look at the history of racism in mascots at Stanford and schools across the country – The Stanford Daily

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2018 Washington Redskins NFL football Richmond Training Camp Virginia. (Credit: C Watts/Flickr).

On Monday, July 13, the National Football League (NFL) announced that the Washington Redskins will be changing its name due to its racist implications.

The professional football team has been rocked by backlash for its controversial name since 1971, yet team officials only decided to alter the name and mascot a few weeks ago, in the wake of racial injustice protests across the country, after facing pushback from its investors. For now, the team will go by the Washington Football Team, and their jerseys will reflect this name change.

Though a significant moment in football history, the NFL is not the only organization that has been found guilty of perpetrating a stereotypical and racist representation of a Native American. In fact, many schools across the United States have faced backlash including Stanford.

Stanfords mascot history

Before Stanfords mascot was the Cardinal, it was an Indian. This lasted from 1930 until 1970, when the Stanford American Indian Organization (SAIO) petitioned for its removal.

According to the Native American Cultural Center, 55 Native American students and staff at Stanford presented a petition to the University Ombudsperson who, in turn, presented it to President Lyman.

The students felt disrespected and urged the school to change the mascot as it was stereotypical, offensive and a mockery of Indian cultures.

University Ombudsperson Lois Amster wrote a letter to Stanford published in The Daily, stating that the mascot brings up to visibility a painful lack of sensitivity and awareness on the part of the University.

Previous Daily coverage also cites other Native American members of the Stanford community who supported the mascot change, saying that the mascot presents a gross misrepresentation of the Indian.

After the discontinuance of the stereotypical Native American mascot, there were unsuccessful campaigns to reinstate it, or to replace the big-nosed caricature with a more noble image of a Native American. In 1975, the Associated Students of Stanford University (ASSU) voted not to reinstate the first mascot, nor to replace it with another image.

Peer institutions and racially stereotypical mascots

Dating back to the 1960s, other schools and universities outside of Stanford have also changed their mascots to avoid reflecting Native American names or stereotypes.

Dartmouth, St. Johns, Seattle University and, most recently in 2008, Arkansas State all followed Stanfords mascot change.

We Native Americans at Dartmouth unequivocally declare that the Indian symbol is a mythical creation of non-Indian culture and in no manner reflects the basic philosophies of Native American peoples, Dartmouth students wrote in a letter to the University in an effort to change their former mascot. It is said that these Indian symbols represent pride and respect, yet pride and respect do not lie in caricatures of people, but in self-awareness of fallibility.

The Arkansas State Red Wolves used to be known as the Indians until 2008. Similarly, Indiana University of Pennsylvania Crimson Hawks was known as the Indians until 2007.

While many schools have chosen to switch,some still bear mascots depicting Native Americans or related terminology.

On MascotDB, a database for team names, clicking the Native American mascots tab on the website results in a list that includes at least 75 Native American or Indigenous nicknames. For the name Indians alone, numerous schools in a range of states are listed as using the mascot, or as having used the mascot in the past.

Despite these large numbers, some states including California, Maine, Connecticut and Oregon have banned the usage of certain names or terms in their schools.

The impact of these mascots and names

In Baxter Holmes 2014 Esquire article, titled A R*dskin Is the Scalped Head of a Native American, Sold, Like a Pelt, for Cash, she writes that the term r*dskins represents a trophy of war the bloody scalp of a murdered Native American, slaughtered for money, the amount dependent on whether it was a man, woman or child.

Following the announcement of the name change, Vincent Schilling, a Native American journalist, tweeted the lyrics to the Washington Football Teams 1972 team chant. It depicts violent actions against Native Americans, which brings to light the racist history behind the teams former name, and another explanation as to why it is offensive.

Academic studies have also been conducted analyzing the impact of names such as the R-word. Stephanie Fryberg, Hazel Markus, Daphna Oyserman and Joseph Stone conducted four studies on the psychological effects of Native American mascots.

They found that American Indian mascot representations are not always regarded as negative. However, the guiding question is whether these positive associations also have positive psychological consequences for American Indian students.

In their follow-up studies, they determined that salient social representations of American Indians undermine positive feelings of worth, whether the focus is the individual self or the communal self.

Their research suggests that American Indian images, such as American Indian mascots and other fictionalized, idealized, and non-contemporary representations may be associated with low self and in-group ratings because they do not provide guidelines or images for how to realize positive and contemporary selves.

The National Congress of American Indians (NCAI) corroborated the results of these studies,noting that American Indians are more likely than people of other races to experience violence at the hands of someone of a different race.

But, there is still a debate

Despite these changes, not everyone agrees.

Currently, close to 6,000 people have signed an online petition arguing for the preservation of the former name of Washingtons football team. It argues that the iconic Washington Redskins image of Blackfoot Chief Two Guns White Calf symbolizes everything that Native Americans cherish about the warrior spirit that lives on in names of celebrated American sports teams.

A poll by the Morning Consult shows that 49% of adults surveyed think that the name should be kept, with millennials trailing at 47%. On the other hand, a graphic indicates that younger generations and people of color are more likely to agree with changing the name.

The debate over the mascot change has also inspired some people to reexamine the teams red and yellow colors.

An article by NBC Sports weighed the risks and potential outcome of changing the team colors: If Dan Snyder and the other decision-makers go away from colors, the diehard section of supporters that is already having a hard enough time dealing with the prospect of losing the Redskins may just give up entirely.

On the contrary, others say that the colors should be changed because the Capitals, Nationals, Mystics and Wizards all rock red, white and blue. Thats a scheme that makes sense for Washington squads, and its a scheme that could be worth donning for the Redskins under their next moniker.

The Washington Football Team will use the temporary name for the 2020 football season, delaying the selection of a new name and mascot. The team hopes to finish retiring the Redskins branding by the teams home opener against the Philadelphia Eagles on Sept. 13.

According to an article by USA Today, Dan Snyder and Coach (Ron) Rivera are working closely to develop a new name and design approach that will enhance the standing of our proud, tradition rich franchise and inspire our sponsors, fans and community for the next 100 years.

Contact Elizabeth Wilson at elwilson at

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An exploration of the role of advanced clinical practitioners in the East of England – DocWire News

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Br J Nurs. 2020 Aug 13;29(15):864-869. doi: 10.12968/bjon.2020.29.15.864.


Medical staff shortages in the UK have provided impetus for the introduction of advanced clinical practitioners (ACPs). This case study explored the views of 22 ACPs, managers and doctors in primary and acute settings in a region of England, to understand how the role is used, and barriers and facilitators to its success. ACP roles improved the quality of service provision, provided clinical career development and enhanced job satisfaction for staff and required autonomous clinical decision-making, with a high degree of self-awareness and individual accountability. Barriers included disparate pay-scales and funding, difficulty accessing continuing education and research, and lack of agreed role definition and title, due to a lack of standardised regulation and governance, and organisational barriers, including limited access to referral systems. Facilitators were supportive colleagues and opportunities for peer networking. Regulation of ACP roles is urgently needed, along with evaluation of the cost-effectiveness and patient experience of such roles.

PMID:32790541 | DOI:10.12968/bjon.2020.29.15.864

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An exploration of the role of advanced clinical practitioners in the East of England - DocWire News

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