Points to Icon in regards to Post
Sep. 20th, 2019 09:49 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shadowkat[And in case icon should by any chance up and disappear, which they do on occasion...it's a pic of Kristen Bell from the Good Place thinking What the Fork aka WTF?"]
1. SmartBitches review of The Hollow Kingdom by Kira Jane Buxton
"Hollow Kingdom is NOT a romance novel, I repeat NOT a romance novel. However, I believe some of our readers will, like me, see the crow and dog on the front cover and the octopus on the back and say “GIVE IT TO MEEE.” This review is for you.
Much profanity ahead. TW for gore, profanity, violence between animals, and gratuitous Cheeto® consumption. This is not Bambi. Actually, Bambi was terrifying, so…maybe it is Bambi, if Bambi dropped more f-bombs and was set in Seattle.
Most of the book is narrated by a domesticated crow named Shit Turd (S.T.) who lives with a human man that S.T. calls Big Jim. Here he is at the beginning of the story, a time when “one minute, everything was normal.” And then:
A summer evening glaze of gold varnish coated our yard with the fat frog fountain and that shitty little smug-faced gnome that I’ve been trying to sabotage since I moved in. And then Big Jim’s eyeball fell out. Like, fell the fuck out of his head. It rolled onto the grass, and, to be honest, both Big Jim and I were taken aback. Dennis, on the other hand, didn’t skip a beat, hurling himself toward the rogue eyeball. Dennis is a bloodhound and has the IQ of a dead opossum. I’d suggested to Big Jim that we oust Dennis because of his weapons-grade incompetence, but Big Jim never listened, intent on keeping a housemate that has zero impulse control and spends 94 percent of his time licking his balls. Dennis’s fangs were within a foot of the eyeball as I snatched it, balancing it on the fence for safekeeping. Big Jim and I shared a look, or sort of three-quarters of a look, because now, obviously, he only had a single eyeball. Whilst making a mental note to add this to my petition to get Dennis evicted from our domicile (surely once you’ve tried to eat your roommate’s eyeball, you gots to go) I asked Big Jim if he was alright. He didn’t answer.
“What the fuck?” said Big Jim, as he raised a beefy hand to his head, and that was the last thing I heard him say.
Big Jim retreats into the house, specifically, the basement. At first S.T. and Dennis stay close to home. As Big Jim deteriorates, S.T. tries to feed him and ventures into an abandoned Walgreens in search of medication for Big Jim. S.T. fills a plastic bag with:
…medications I thought sounded helpful to Big Jim. E-Mycin, Keflex, Lasix, Prilosec OTC, Monistat, Sally Hansen Airbrush Legs, and Summer’s Eve all sounded effective and surely a combination of them would cure Big Jim. Walgreens had come through for us before.
But sadly, Big Jim and the world outside the basement both continue to deteriorate no matter how many pills S.T. throws into Big Jim’s open mouth. S.T. and the silent but loyal Dennis make their way through Seattle in search of a cure for what ails Big Jim and in hopes of finding surviving MoFos (what Big Jim always called humans). Along the way they encounter “drooling and swaying” MoFos who either ignore them or try to eat them, other animals both friendly and hostile, and scenes of urban devastation and wild regrowth. They also find a new mission – to rescue domestic animals who are trapped inside houses, unable to open doors or smash through the window glass. Dennis and S.T. can’t open doors either, but S.T. has a plan. This mission leads to S.T. finding a new sense of home and identity, although he never loses his love for MoFos, a species who “invented a magic box that can nuke a Hot Pocket in seconds!”
It is very important that you understand ahead of time that this is a gory book with a significant human and non-human body count. Animals die, including ones we become attached to. I freaked out a lot. Things happened that made me very sad. However, the story was, on the whole, enormously uplifting. The biggest battle the characters face is against the Black Tide, which is a state of despair. Watching them fight against the Black Tide by encouraging and helping themselves and others, and seeing the role that storytelling and memory play in healing from tragedy, is truly inspiring. "
LOL! The review is funny, but I think the writing style in the book would drive me crazy. How did it get published? Maybe she published it herself? No, it doesn't look like it. Publishers are nuts.
Also, as an aside, how does a crow and a dog get medications for a rotting human?
2. Brought to you by Scans Daily...the timely title of the comic is..Who Shot The Decoy Corpse of Superman's Pal Jimmy Olsen?
Okay. Questions arise. First, why would you shoot a corpse, isn't the corpse already dead? Seems sort of redundant and a waste of bullets. Second, why would you have a decoy corpse? And why of Jimmy Olsen of all people? And finally, why do a comic on it? (Okay I can sort of understand why you might write a comic about it...I'll admit that.)
3. FB General Hospital Fanboard.
Poster: Somebody shoot him. (Bad boy Cult Leader Shiloh.)
Poster 2: Let me do it with my new Tiffany Blue 9MM Magnum.
Okay...they have guns in colors now? Really? Why? Is it an accessory? "Oh, I'm going to a cocktail party, what gun goes with my new blue evening dress? Ah -- the Tiffany Blue Magnum. Perfect."
4. How to Throw a Punch Without Harming Your Opponent -- hmmm, always wondered how to do that. Although why would you want to? I guess for theater or fun? It also gives instruction on how to do it without breaking your hand -- which I'd think would be a more immediate concern. Although I am appreciative of the other one.
The punching-bag game at the arcade or county fair always looks so tempting. After all, punching seems like the easiest thing in the world: You ball up your fist and hurl it toward your target, just like in the movies. In reality, however, there’s a lot more to punching than throwing wild haymakers, especially if you want to do it with power and without breaking your hands.
Throwing a punch is a specific skill, one that boxers, martial artists, and self-defense professionals rehearse tens of thousands of times over the course of their studies. To use a common martial arts trope, practicing punching is like sharpening your sword.
While you should never punch a person unless it’s absolutely necessary, having the basics down—before you try to go all John Wayne on a bad guy—will prevent you from hurting yourself more than whatever you’re swinging at.
In this guide, we’ll talk about the most useful and straightforward punch, called a straight punch, or a “cross,” typically performed with your dominant hand. You can throw lots of other types of punches, but unless you have someone to teach you the proper mechanics, and plenty of time to practice, then doing your best Jason Bourne impression is ill-advised.
In reality, people fight horribly. The reason they do it so well in books and movies and television is they have trained stunt choreaographers teaching them how to do it and often doing it for them. For example? In all those fight scenes you see on television, they rarely ever hit each other, just air clip them. No one is really slapped or hit. The person being hit does as much work as the one doing it in the scene, because they have to act like they've been punched or hit severely.
5. The Good Guy/Bad Guy Myth - pop culture is obsessed with the battle between good and evil, but traditional folk tales never were -- what changed?
Weird, I thought they were.
Less discussed is the historic shift that altered the nature of so many of our modern retellings of folklore, to wit: the idea that people on opposite sides of conflicts have different moral qualities, and fight over their values. That shift lies in the good guy/bad guy dichotomy, where people no longer fight over who gets dinner, or who gets Helen of Troy, but over who gets to change or improve society’s values. Good guys stand up for what they believe in, and are willing to die for a cause. This trope is so omnipresent in our modern stories, movies, books, even our political metaphors, that it is sometimes difficult to see how new it is, or how bizarre it looks, considered in light of either ethics or storytelling.
When the Grimm brothers wrote down their local folktales in the 19th century, their aim was to use them to define the German Volk, and unite the German people into a modern nation. The Grimms were students of the philosophy of Johann Gottfried von Herder, who emphasised the role of language and folk traditions in defining values. In his Treatise on the Origin of Language (1772), von Herder argued that language was ‘a natural organ of the understanding’, and that the German patriotic spirit resided in the way that the nation’s language and history developed over time. Von Herder and the Grimms were proponents of the then-new idea that the citizens of a nation should be bound by a common set of values, not by kinship or land use. For the Grimms, stories such as Godfather Death, or the Knapsack, the Hat and the Horn, revealed the pure form of thought that arose from their language.
The corollary of uniting the Volk through a storified set of essential characteristics and values is that those outside the culture were seen as lacking the values Germans considered their own. Von Herder might have understood the potential for mass violence in this idea, because he praised the wonderful variety of human cultures: specifically, he believed that German Jews should have equal rights to German Christians. Still, the nationalist potential of the Grimm brothers’ project was gradually amplified as its influence spread across Europe, and folklorists began writing books of national folklore specifically to define their own national character. Not least, many modern nations went on to realise the explosive possibilities for abuse in a mode of thinking that casts ‘the other’ as a kind of moral monster.
In her book The Hard Facts of the Grimms’ Fairy Tales (1987), the American scholar Maria Tatar remarks on the way that Wilhelm Grimm would slip in, say, adages about the importance of keeping promises. She argued that: ‘Rather than coming to terms with the absence of a moral order … he persisted in adding moral pronouncements even where there was no moral.’ Such additions established the idea that it was values (not just dinner) at stake in the conflicts that these stories dramatised. No doubt the Grimms’ additions influenced Bettelheim, Campbell and other folklorists who argued for the inherent morality of folktales, even if they had not always been told as moral fables.
As part of this new nationalist consciousness, other authors started changing the old stories to make a moral distinction between, for example, Robin Hood and the Sheriff of Nottingham. Before Joseph Ritson’s 1795 retelling of these legends, earlier written stories about the outlaw mostly showed him carousing in the forest with his merry men. He didn’t rob from the rich to give to the poor until Ritson’s version – written to inspire a British populist uprising after the French Revolution. Ritson’s rendering was so popular that modern retellings of Robin Hood, such as Disney’s 1973 cartoon or the film Prince of Thieves (1991) are more centrally about outlaw moral obligations than outlaw hijinks. The Sheriff of Nottingham was transformed from a simple antagonist to someone who symbolised the abuses of power against the powerless. Even within a single nation (Robin Hood), or a single household (Cinderella), every scale of conflict was restaged as a conflict of values.
6. When You Should Quit Your Job -- When to Leave and When to Stick it Out
One of the few useful articles that I've read about this topic, possibly the only one. And the least annoying. Usually it's some nitwit journalist in The Times or some paper, telling me -- oh, quite your job, get better work-balance, do what you truly love, life will be better -- the grass is greener over here. (It's not. All jobs have their problems. There's always a trade-off, no matter what it is.)
Reason Two: Your Job Doesn’t Align With Your Life’s Priorities And Values
No matter how hard you try, it’s seems really difficult to make your job work for you. You might want to work remotely from time to time, but your boss is hell-bent on making you be physically present in the office. Or you might prefer to stay put in one location, but your job demands you travel constantly, and you’re sick of it.
When you should quit: When you’ve exhausted every possible option to align the company’s priorities with yours but it’s just not working out and when you know exactly what you’re looking for–and those jobs and places actually exist.
When you shouldn’t quit: When your priorities and values change from day to day and if you’re not actually sure that there are companies and jobs out there that can provide a working environment that’s in line with what you want. As psychologist Tomas Chamorro-Premuzic previously wrote for Fast Company, “It’s easy to pin down your wants for the next three minutes, three days, or three weeks, but it’s much harder to establish what you want to accomplish and experience within the span of your lifetime, let alone within the next decade.”
Chamorro-Premuzic went on to say, “People change, but when you passionately dislike something, it’s unlikely that a change of circumstances will help you better adapt to it if that feature is still there in your next position.”
Reason Three: Your Job Is the Biggest Source Of Stress And Anxiety
When Sunday comes around, the blues are bad. The thought of going to the office fills you with dread. You feel like you can’t do anything right anymore, despite your best efforts. You’re overcome with mental exhaustion, and at least one day a week, you come home extremely angry or crying.
When you should quit: When the toll that it’s taken on your mental health is simply too much, and you can’t remember the last time you were happy at work. Or when the source of stress goes beyond ” ‘my boss doesn’t like me,’ ‘I work too hard,’ ‘I hate my commute’ cry-me-a river problems,” as Romolini stated in her book. Examples include: inappropriate treatment and harassment.
When you shouldn’t quit: When you have no other source of finances and you need to stick it out to pay the bills (until you find another job, that is). Or, if you think that there is a chance talking to someone at your company (whether it be your manager or HR) will help solve the issue.
One way to gauge this is to look at the behaviors of top leadership–what do and don’t they tolerate in the workplace? As Elizabeth Segran previously reported for Fast Company, culture starts at the top–HR is ultimately “subordinate to the company’s leadership” and will only act in accordance with the tone set by the company’s leaders.
Reason Four: You’re Itching To Do Something Else
You don’t think your line of work is right for you. You get envious of your friends who are in different careers or are just sick of having people to answer to. You feel like your skills or strengths aren’t suited to this job, or that you’re simply too good for it. You just want to do something else completely.
When you should quit: When you’ve thought about what it is exactly you want to do, and you have a clear why for moving into a different career. Having a plan is even better, though job-quitters seem to be divided on whether it’s sensible to quit a job without something else lined up.
When you shouldn’t quit: When you don’t really know why you want to change careers, or why doing something else will make you happy. For example, plenty of people dream of being their own boss, but not all think about the implications and stress that comes with being an entrepreneur.
One way to test out your new planned path is to find a way to treat it as a side hustle. This way, you’ll be able to see whether your expectations match the reality before you commit to it being the activity that pays your bills."
7. I knew if I looked hard enough I'd find another link that fit icon...because 6 doesn't count, I know this. Women Can Buy A Pillow to Fight Clevage Wrinkles Because Apparently This is A Thing? (I don't have cleveage wrinkles? Does anyone else? )
Forget thigh gaps or ab cracks – there’s a new body part women are supposed to be hung up about: cleavages. Or more specifically, cleavage wrinkles.
Anti-ageing company Sleep & Glow is selling a “pillow bra” designed to “fight skin creases and cleavage wrinkles when sleeping on the side”.
The product was spotted by journalist Olivia Messer, who says she saw it being advertised while scrolling through Instagram. “What – and I cannot stress this enough – the fuck is going on,” Messer tweeted.
The company describes the product as “a must have for ladies with gorgeous forms”, ignoring the fact that cleavages are, in their very nature, essentially one giant skin crease.
Personally? I'd think it would be uncomfortable and hot. And why do you care?
8. Oh found on Twitter and FB..
DJT aka the Doofus in the White House: I just instructed the Secretary of the Treasury to Substantially increase sanctions on the country of Iran.
Jeff Tiedreich: And did the Secretary of the Treasury blink in confusion and say "not my department" or did he just nod and say yes to get you off the phone?
Yes, I live in a country where the federal government has decided it should be a reality show version of Saturday Night Live but 24/7. Because actually governing the country? Where's the fun in that?
1. SmartBitches review of The Hollow Kingdom by Kira Jane Buxton
"Hollow Kingdom is NOT a romance novel, I repeat NOT a romance novel. However, I believe some of our readers will, like me, see the crow and dog on the front cover and the octopus on the back and say “GIVE IT TO MEEE.” This review is for you.
Much profanity ahead. TW for gore, profanity, violence between animals, and gratuitous Cheeto® consumption. This is not Bambi. Actually, Bambi was terrifying, so…maybe it is Bambi, if Bambi dropped more f-bombs and was set in Seattle.
Most of the book is narrated by a domesticated crow named Shit Turd (S.T.) who lives with a human man that S.T. calls Big Jim. Here he is at the beginning of the story, a time when “one minute, everything was normal.” And then:
A summer evening glaze of gold varnish coated our yard with the fat frog fountain and that shitty little smug-faced gnome that I’ve been trying to sabotage since I moved in. And then Big Jim’s eyeball fell out. Like, fell the fuck out of his head. It rolled onto the grass, and, to be honest, both Big Jim and I were taken aback. Dennis, on the other hand, didn’t skip a beat, hurling himself toward the rogue eyeball. Dennis is a bloodhound and has the IQ of a dead opossum. I’d suggested to Big Jim that we oust Dennis because of his weapons-grade incompetence, but Big Jim never listened, intent on keeping a housemate that has zero impulse control and spends 94 percent of his time licking his balls. Dennis’s fangs were within a foot of the eyeball as I snatched it, balancing it on the fence for safekeeping. Big Jim and I shared a look, or sort of three-quarters of a look, because now, obviously, he only had a single eyeball. Whilst making a mental note to add this to my petition to get Dennis evicted from our domicile (surely once you’ve tried to eat your roommate’s eyeball, you gots to go) I asked Big Jim if he was alright. He didn’t answer.
“What the fuck?” said Big Jim, as he raised a beefy hand to his head, and that was the last thing I heard him say.
Big Jim retreats into the house, specifically, the basement. At first S.T. and Dennis stay close to home. As Big Jim deteriorates, S.T. tries to feed him and ventures into an abandoned Walgreens in search of medication for Big Jim. S.T. fills a plastic bag with:
…medications I thought sounded helpful to Big Jim. E-Mycin, Keflex, Lasix, Prilosec OTC, Monistat, Sally Hansen Airbrush Legs, and Summer’s Eve all sounded effective and surely a combination of them would cure Big Jim. Walgreens had come through for us before.
But sadly, Big Jim and the world outside the basement both continue to deteriorate no matter how many pills S.T. throws into Big Jim’s open mouth. S.T. and the silent but loyal Dennis make their way through Seattle in search of a cure for what ails Big Jim and in hopes of finding surviving MoFos (what Big Jim always called humans). Along the way they encounter “drooling and swaying” MoFos who either ignore them or try to eat them, other animals both friendly and hostile, and scenes of urban devastation and wild regrowth. They also find a new mission – to rescue domestic animals who are trapped inside houses, unable to open doors or smash through the window glass. Dennis and S.T. can’t open doors either, but S.T. has a plan. This mission leads to S.T. finding a new sense of home and identity, although he never loses his love for MoFos, a species who “invented a magic box that can nuke a Hot Pocket in seconds!”
It is very important that you understand ahead of time that this is a gory book with a significant human and non-human body count. Animals die, including ones we become attached to. I freaked out a lot. Things happened that made me very sad. However, the story was, on the whole, enormously uplifting. The biggest battle the characters face is against the Black Tide, which is a state of despair. Watching them fight against the Black Tide by encouraging and helping themselves and others, and seeing the role that storytelling and memory play in healing from tragedy, is truly inspiring. "
LOL! The review is funny, but I think the writing style in the book would drive me crazy. How did it get published? Maybe she published it herself? No, it doesn't look like it. Publishers are nuts.
Also, as an aside, how does a crow and a dog get medications for a rotting human?
2. Brought to you by Scans Daily...the timely title of the comic is..Who Shot The Decoy Corpse of Superman's Pal Jimmy Olsen?
Okay. Questions arise. First, why would you shoot a corpse, isn't the corpse already dead? Seems sort of redundant and a waste of bullets. Second, why would you have a decoy corpse? And why of Jimmy Olsen of all people? And finally, why do a comic on it? (Okay I can sort of understand why you might write a comic about it...I'll admit that.)
3. FB General Hospital Fanboard.
Poster: Somebody shoot him. (Bad boy Cult Leader Shiloh.)
Poster 2: Let me do it with my new Tiffany Blue 9MM Magnum.
Okay...they have guns in colors now? Really? Why? Is it an accessory? "Oh, I'm going to a cocktail party, what gun goes with my new blue evening dress? Ah -- the Tiffany Blue Magnum. Perfect."
4. How to Throw a Punch Without Harming Your Opponent -- hmmm, always wondered how to do that. Although why would you want to? I guess for theater or fun? It also gives instruction on how to do it without breaking your hand -- which I'd think would be a more immediate concern. Although I am appreciative of the other one.
The punching-bag game at the arcade or county fair always looks so tempting. After all, punching seems like the easiest thing in the world: You ball up your fist and hurl it toward your target, just like in the movies. In reality, however, there’s a lot more to punching than throwing wild haymakers, especially if you want to do it with power and without breaking your hands.
Throwing a punch is a specific skill, one that boxers, martial artists, and self-defense professionals rehearse tens of thousands of times over the course of their studies. To use a common martial arts trope, practicing punching is like sharpening your sword.
While you should never punch a person unless it’s absolutely necessary, having the basics down—before you try to go all John Wayne on a bad guy—will prevent you from hurting yourself more than whatever you’re swinging at.
In this guide, we’ll talk about the most useful and straightforward punch, called a straight punch, or a “cross,” typically performed with your dominant hand. You can throw lots of other types of punches, but unless you have someone to teach you the proper mechanics, and plenty of time to practice, then doing your best Jason Bourne impression is ill-advised.
In reality, people fight horribly. The reason they do it so well in books and movies and television is they have trained stunt choreaographers teaching them how to do it and often doing it for them. For example? In all those fight scenes you see on television, they rarely ever hit each other, just air clip them. No one is really slapped or hit. The person being hit does as much work as the one doing it in the scene, because they have to act like they've been punched or hit severely.
5. The Good Guy/Bad Guy Myth - pop culture is obsessed with the battle between good and evil, but traditional folk tales never were -- what changed?
Weird, I thought they were.
Less discussed is the historic shift that altered the nature of so many of our modern retellings of folklore, to wit: the idea that people on opposite sides of conflicts have different moral qualities, and fight over their values. That shift lies in the good guy/bad guy dichotomy, where people no longer fight over who gets dinner, or who gets Helen of Troy, but over who gets to change or improve society’s values. Good guys stand up for what they believe in, and are willing to die for a cause. This trope is so omnipresent in our modern stories, movies, books, even our political metaphors, that it is sometimes difficult to see how new it is, or how bizarre it looks, considered in light of either ethics or storytelling.
When the Grimm brothers wrote down their local folktales in the 19th century, their aim was to use them to define the German Volk, and unite the German people into a modern nation. The Grimms were students of the philosophy of Johann Gottfried von Herder, who emphasised the role of language and folk traditions in defining values. In his Treatise on the Origin of Language (1772), von Herder argued that language was ‘a natural organ of the understanding’, and that the German patriotic spirit resided in the way that the nation’s language and history developed over time. Von Herder and the Grimms were proponents of the then-new idea that the citizens of a nation should be bound by a common set of values, not by kinship or land use. For the Grimms, stories such as Godfather Death, or the Knapsack, the Hat and the Horn, revealed the pure form of thought that arose from their language.
The corollary of uniting the Volk through a storified set of essential characteristics and values is that those outside the culture were seen as lacking the values Germans considered their own. Von Herder might have understood the potential for mass violence in this idea, because he praised the wonderful variety of human cultures: specifically, he believed that German Jews should have equal rights to German Christians. Still, the nationalist potential of the Grimm brothers’ project was gradually amplified as its influence spread across Europe, and folklorists began writing books of national folklore specifically to define their own national character. Not least, many modern nations went on to realise the explosive possibilities for abuse in a mode of thinking that casts ‘the other’ as a kind of moral monster.
In her book The Hard Facts of the Grimms’ Fairy Tales (1987), the American scholar Maria Tatar remarks on the way that Wilhelm Grimm would slip in, say, adages about the importance of keeping promises. She argued that: ‘Rather than coming to terms with the absence of a moral order … he persisted in adding moral pronouncements even where there was no moral.’ Such additions established the idea that it was values (not just dinner) at stake in the conflicts that these stories dramatised. No doubt the Grimms’ additions influenced Bettelheim, Campbell and other folklorists who argued for the inherent morality of folktales, even if they had not always been told as moral fables.
As part of this new nationalist consciousness, other authors started changing the old stories to make a moral distinction between, for example, Robin Hood and the Sheriff of Nottingham. Before Joseph Ritson’s 1795 retelling of these legends, earlier written stories about the outlaw mostly showed him carousing in the forest with his merry men. He didn’t rob from the rich to give to the poor until Ritson’s version – written to inspire a British populist uprising after the French Revolution. Ritson’s rendering was so popular that modern retellings of Robin Hood, such as Disney’s 1973 cartoon or the film Prince of Thieves (1991) are more centrally about outlaw moral obligations than outlaw hijinks. The Sheriff of Nottingham was transformed from a simple antagonist to someone who symbolised the abuses of power against the powerless. Even within a single nation (Robin Hood), or a single household (Cinderella), every scale of conflict was restaged as a conflict of values.
6. When You Should Quit Your Job -- When to Leave and When to Stick it Out
One of the few useful articles that I've read about this topic, possibly the only one. And the least annoying. Usually it's some nitwit journalist in The Times or some paper, telling me -- oh, quite your job, get better work-balance, do what you truly love, life will be better -- the grass is greener over here. (It's not. All jobs have their problems. There's always a trade-off, no matter what it is.)
Reason Two: Your Job Doesn’t Align With Your Life’s Priorities And Values
No matter how hard you try, it’s seems really difficult to make your job work for you. You might want to work remotely from time to time, but your boss is hell-bent on making you be physically present in the office. Or you might prefer to stay put in one location, but your job demands you travel constantly, and you’re sick of it.
When you should quit: When you’ve exhausted every possible option to align the company’s priorities with yours but it’s just not working out and when you know exactly what you’re looking for–and those jobs and places actually exist.
When you shouldn’t quit: When your priorities and values change from day to day and if you’re not actually sure that there are companies and jobs out there that can provide a working environment that’s in line with what you want. As psychologist Tomas Chamorro-Premuzic previously wrote for Fast Company, “It’s easy to pin down your wants for the next three minutes, three days, or three weeks, but it’s much harder to establish what you want to accomplish and experience within the span of your lifetime, let alone within the next decade.”
Chamorro-Premuzic went on to say, “People change, but when you passionately dislike something, it’s unlikely that a change of circumstances will help you better adapt to it if that feature is still there in your next position.”
Reason Three: Your Job Is the Biggest Source Of Stress And Anxiety
When Sunday comes around, the blues are bad. The thought of going to the office fills you with dread. You feel like you can’t do anything right anymore, despite your best efforts. You’re overcome with mental exhaustion, and at least one day a week, you come home extremely angry or crying.
When you should quit: When the toll that it’s taken on your mental health is simply too much, and you can’t remember the last time you were happy at work. Or when the source of stress goes beyond ” ‘my boss doesn’t like me,’ ‘I work too hard,’ ‘I hate my commute’ cry-me-a river problems,” as Romolini stated in her book. Examples include: inappropriate treatment and harassment.
When you shouldn’t quit: When you have no other source of finances and you need to stick it out to pay the bills (until you find another job, that is). Or, if you think that there is a chance talking to someone at your company (whether it be your manager or HR) will help solve the issue.
One way to gauge this is to look at the behaviors of top leadership–what do and don’t they tolerate in the workplace? As Elizabeth Segran previously reported for Fast Company, culture starts at the top–HR is ultimately “subordinate to the company’s leadership” and will only act in accordance with the tone set by the company’s leaders.
Reason Four: You’re Itching To Do Something Else
You don’t think your line of work is right for you. You get envious of your friends who are in different careers or are just sick of having people to answer to. You feel like your skills or strengths aren’t suited to this job, or that you’re simply too good for it. You just want to do something else completely.
When you should quit: When you’ve thought about what it is exactly you want to do, and you have a clear why for moving into a different career. Having a plan is even better, though job-quitters seem to be divided on whether it’s sensible to quit a job without something else lined up.
When you shouldn’t quit: When you don’t really know why you want to change careers, or why doing something else will make you happy. For example, plenty of people dream of being their own boss, but not all think about the implications and stress that comes with being an entrepreneur.
One way to test out your new planned path is to find a way to treat it as a side hustle. This way, you’ll be able to see whether your expectations match the reality before you commit to it being the activity that pays your bills."
7. I knew if I looked hard enough I'd find another link that fit icon...because 6 doesn't count, I know this. Women Can Buy A Pillow to Fight Clevage Wrinkles Because Apparently This is A Thing? (I don't have cleveage wrinkles? Does anyone else? )
Forget thigh gaps or ab cracks – there’s a new body part women are supposed to be hung up about: cleavages. Or more specifically, cleavage wrinkles.
Anti-ageing company Sleep & Glow is selling a “pillow bra” designed to “fight skin creases and cleavage wrinkles when sleeping on the side”.
The product was spotted by journalist Olivia Messer, who says she saw it being advertised while scrolling through Instagram. “What – and I cannot stress this enough – the fuck is going on,” Messer tweeted.
The company describes the product as “a must have for ladies with gorgeous forms”, ignoring the fact that cleavages are, in their very nature, essentially one giant skin crease.
Personally? I'd think it would be uncomfortable and hot. And why do you care?
8. Oh found on Twitter and FB..
DJT aka the Doofus in the White House: I just instructed the Secretary of the Treasury to Substantially increase sanctions on the country of Iran.
Jeff Tiedreich: And did the Secretary of the Treasury blink in confusion and say "not my department" or did he just nod and say yes to get you off the phone?
Yes, I live in a country where the federal government has decided it should be a reality show version of Saturday Night Live but 24/7. Because actually governing the country? Where's the fun in that?
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Date: 2019-09-22 02:24 am (UTC)He also mentioned a sword fight scene on stage when his sword broke (and luckily spun into the backdrop rather than into the audience). He and the other actor then did an impromptu grappling fight which he said looked silly. However an actor friend who spoke to him after the show was enthused about how dramatic the broken sword and resulting fight was and he had to tell him that it wasn't planned.
You're right, that job article was very good advice.
I'd think it would be uncomfortable and hot. And why do you care?
I do too. But this made me laugh because it immediately brought up a memory. Years ago I was at a real estate closing and the title agent, a middle aged woman, was sitting across from me with a low cut shirt. So I spent a good hour staring into her cleavage and the skin just above it which was very wrinkled. It was a very unflattering look that just highlighted how dry her skin was (I suspect a lot of unwise tanning). I swore to myself then and there that when I got older I was not going to be wearing those kinds of tops.
I've found though that it can sometimes be difficult to avoid -- not just because of keyhole tops but because so many plus-size tops are cut wide and deep. It's rather the same way that tank tops are cut with such huge armholes that half your bra is on display.
no subject
Date: 2019-09-22 02:47 am (UTC)The problem with getting older -- is most of the tops are designed for people who are in their twenties and thirties. (Honestly what other excuse is there for those horrid scrunchy peasant tops?) So we have these low tops that are unflattering if you have wrinkles in the neck or bust and/or moles and age spots.
People age. It's not healthy to get botox everywhere -- nor cost effective.
And we all age differently.