Reblogged holiday-armadildo
trashcanbees-deactivated2021021
so apparently the “bad vibes” I’ve been feeling are actually “severe psychological distress”
Reblogged aslaveobeyss
it’s been 10 years since 3oh!3 said “tell ur boyfriend if he says he has beef that im a vegetarian and i ain’t fuckin scared of him” and it’s still the hardest lyric of all time
Reblogged doctor-roman
the-memedaddy
meirl
Reblogged screw-happilyeverafter
reminder that 30 isn’t old, it’s very normal to not accomplish everything in your 20s, and that it is never too late to learn that thing you’ve always wanted to learn. you’re always growing. that’s a good thing.
Reblogged screw-happilyeverafter
solutione
“— How are you? — Living.”
— Harry Potter. (via apprenticehero)
Source: apprenticehero
Reblogged life-is-short-for-us
“what are we doing?”
no
They both know they got too much money to be blowing bubbles
Reblogged sotrixie
angelm0on-deactivated20180205
Source: mutsuzlugum
Reblogged heart
skzhhssh-deactivated20190330
*gets in an uber* hi yeah i know i said i wanted to go somewhere but im actually just going through a hard time rn can you put on some fleetwood mac and take me through a carwash
Reblogged
neoloserism-deactivated20190112
“Mike Judge’s unjustly undercelebrated film Office Space (1999) is as acute an account of the 90s/00s workplace as Schrader’s Blue Collar (1978) was of 70s labor relations. Instead of the confrontation between trade union officials and management in a factory. Judge’s film shows a corporation sclerotized by administrative ‘anti-production’: workers receive multiple memos from different managers saying the exact same thing. Naturally, the memo concerns a bureaucratic practice: it aims to induce compliance with a new procedure of putting 'cover sheets’ on reports. In keeping with the 'being smart’ ethos, the management style in Office Space is a mixture of shirtsleeves-informality and quiet authoritarianism. Judge shows this same managerialism presides in the corporate coffee chains where the office workers go to relax. Here, staff are required to decorate their uniforms with 'seven pieces of flair’, (i.e. badges or other personal tokens) to express their 'individuality and creativity’: a handy illustration of the way in which 'creativity’ and 'self-expression’ have become intrinsic to labor in Control societies; which, as Paolo Virno, Yann Moulier Boutang and others have pointed out, now makes affective, as well as productive demands, on workers. Furthermore, the attempt to crudely quantify these affective contributions also tells us a great deal about the new arrangements. The flair example also points to another phenomenon: hidden expectations behind official standards. Joanna, a waitress at the coffee chain, wears exactly seven pieces of flair, but it is made clear to her that, even though seven is officially enough, it is actually inadequate - the manager asks if she wants to look the sort of person 'who only does the bare minimum.’ 'You know what, Stan, if you want me to wear 37 pieces of flair,’ Joanna complains, 'why don’t you just make the minimum 37 pieces of flair?’ 'Well,’ the manager replies, 'I thought I remembered you saying that you wanted to express yourself.’ Enough is no longer enough. This syndrome will be familiar to many workers who may find that a 'satisfactory’ grading in a performance evaluation is no longer satisfactory. In many educational institutions, for instance, if after a classroom observation a teacher is graded as 'satisfactory’, they will be required to undertake training prior to a reassessment.”
- “Capitalist Realism: Is There No Alternative?” by Mark Fisher
Reblogged
asdfemily-deactivated20131010
Has this happened to you?
You meet someone unexpectedly, and having no clue how much they’d mean to you in the future. How the path of two strangers crossed, and how it has changed and affected your life so much. And how an accidental clash of worlds, was the most beautiful thing that could possibly ever happened to you? Well, it has happened to me.