#ed not ed sharren

[user32thinyyskinnyy]

i hope this helps me more with my weight loss

Im so happy as of right now i did not eat nothing today i was so close to binge eating today my mom made rice beef with sauce and bean sauce it look so good but i did not eat it my sister ate it for me :) but that does not change the fact that i might fuck up and im still fat

[kelwelmelspell]

I want to rewrite the entirety of fnafhs and also remake ann's entire character and not make her so basic, give her an actual character arc, etc. Make fhs as terrifying As I can, make that shit even make myself piss my pants after seeinf what I've done. Make better villains and make them an actual threat. Make more character arcs happen and make more ships that I think COULD have been nice if it wasn't for eddo and her BULLSHIT wpuld be nice like foxica, golddy, whetever ship name is joy x meg i forgort what it was called tbh, BxB, etc. Whatever, make it be SAID AND CANNON LIKE PUPPET SAYING THAT HE IS A TRANS MALE. also like traumatizing the entire characters, that too. Make some of the characters like abby that we only saw durong one arc stay. Also with ann not making her wasted potential (I can fix her entire character dont worry/J) , issue is I am a basic white boy who cant really speak spanish so it be hard to get an auidence with a mainly spanish fandom and also CANNOT animate at all.

[juiceboxesheadcanons]

tw: ed

PLSSS I WAS JUST CHILLING AND ED SHARREN STARTS PLAYING RANDOMLY LIKE WTF 😭

[aajjks]

27?-🌻

27- what is one song that makes you feel like love is real?

Umm, say you won’t let go by James aurther and sometimes perfect by Ed sharren!

[crimesofisrael-blog]

Israeli MK called 'child murderer' by Kuwaiti parliamentarian

During Inter-Parliamentary Union's 137th meeting, Kuwaiti parliament speaker verbally attacks Israeli delegation, calling them representatives of 'occupying and oppressing parliament.' Kuwaiti parliament speaker Marzouq al-Ghanim on Wednesday publicly rebuked the Israeli parliamentary delegation at the 137th meeting of the Inter-Parliamentary Union (IPU) in St. Petersburg, Russia on Wednesday. "The representative of this occupying and oppressing parliament is the most dangerous type of terrorist. This is state terrorism. This is what this oppressor represents," said the Kuwaiti representative. Later, al-Ghanim hurled insults at MK Nachman Shai (Zionist Union), the head of the Knesset, and demanded him to leave to the sound of applause.

Kuwaiti parliament speaker Marzouq al-Ghanim, at the 137th IPU meeting "You have to take your suitcases and leave the hall after seeing the reactions of all the respected parliaments from around the world!" he shouted. "Get out of the hall now, if you have a shred of respect, you conqueror, you child murderer!" The chairman of the organization did not allow MK Sharren Heschel (Likud) to respond, and turned off her microphone. As a result, the delegation, which also included Prof. Yossi Yona (Zionist Union) and Haim Jelin (Yesh Atid), decided to leave the hall. "To fight for the truth and against the liars, we have to remain in the plenum, not to leave, and to fight for our right to speak. But as soon as delegation member Heschel could not voice the Israeli side of the discussion due to the plenum chairman's decision, I decided, out of friendship, to leave and support her," MK Jelin later said. Jelin added that "the decisions in the plenum were tainted by blatant anti-Israeli bias. It's a shame that international hypocrisy is reaching a place that is supposed to mark a fruitful dialogue between (all countries from around—ed) the world." The IPU is an international umbrella organization for parliaments. Its members include 166 parliaments and 10 inter-parliamentary associations. It serves as a forum for meetings and dialogue between members of parliaments in order to promote the goals of peace and cooperation between the nations and the promotion of representative democracy. Israel holds a member status, and the Knesset makes sure to participate regularly in the Association's conferences. The verbal altercation took place ten days after Labor MK and former party head Amir Peretz, who was visiting Morocco as part of a conference held by the Parliamentary Assembly for the Mediterranean and the World Trade Organization, was faced aggressive protesting from parliamentarian Achsan Abed el-Halak, who yelled at him, "You're a war criminal! You were the Israeli defense minister and you're not welcome here." Source: www.ynetnews.com Read the full article

[livinglyrically]

Held Hostage: Healing from Physical and Emotional Isolation

Angela May Professor Sharren Patterson English 211 19 March 2017

           The main characters in the short stories The Yellow Wallpaper by Charlotte Perkins Gilman and The Boat by Alistair MacLeod were not only unlucky in love, they were victims of a psychological term known as coercive control[1].

           In The Yellow Wallpaper, a newly married woman is experiencing profound isolation under the guise of being treated for depression. Throughout the story she tries to convince herself that her husband, John, is motivated by love and concern for her well-being. Her internal conflict is illuminated when she states ���It’s so hard to talk to John about my case, because he is so wise and he loves me so […] for he sat up with such a stern, reproachful look that I could not say another word” (Gilman 119). Additionally, in reference to John’s micromanaging of her life, she added, “The fact is I’m getting a little afraid of John” (Gilman 120).  

           To process her contrasting feelings of whether she is loved or being held hostage, she regularly writes in her diary despite her husband’s disapproval of the activity. One of the telltale signs that she is wound up in John’s web of control is outlined when she refers to how tiring it is to hide her writing. She expressed that she “did write for awhile, but it exhausted her a great deal having to be so sly about it, or else be met with heavy opposition” (Gilman 113) From this, we can see that a part of her feels uneasy, wondering “What will happen if he catches me acting in defiance to his advice?” Her behavior makes it clear that John has previously communicated that it’s better to go along with his directions in order to avoid conflict. Her fear of being caught writing is further supported when she wraps up a diary entry with “There comes John, and I must put this away – he hates to have me write a word” (Gilman 115).  As the story unfolds, the reader is left to wonder why a prominent, successful physician is at odds with his wife indulging in an innocent pastime like writing.  According to Lisa Aronson Fontes, author of Invisible Chains: Overcoming Coercive Control in Your Intimate Relationship, a controlling man knows that if his partner grows and develops she may refuse to put up with his restrictions so he begins to stand in her way. Since he must be perceived as an expert on her life (as if he understands it better than she does) he views any independently chosen activities as a threat to his status (7).

           Despite his efforts to impede her progress, her diary functions as a tool to live life on her own terms in consideration of her domestic confinement. Referring to writing, she confesses that she “must say what she thinks and feels in some way,” and that “it is a relief even though John would think it’s absurd” (Gilman 118) Ultimately, her diary is her only sense of freedom in a restrictive relationship. By writing about how she “cries most of the time, but only when John isn’t there” (Gilman 117), the diary allows her to feel heard if only by words on a page that are as trapped as she is.  

           It’s not only men who engage in coercive control and it’s not only spousal.  In The Boat, we see the wife as the source of distortion and strain in relation to her ‘ as well as to her daughters. The narrator describes his mother as “always abrupt, bordering on angry” (MacLeod 227). He explains that when his sister was caught reading, he “saw his mother slap his youngest sister so hard that the print of her hand was scarletly emblazoned upon her cheek while the broken-spined paperback fluttered uselessly to the floor” (228).  In this case, the abuser is exhibiting a common pattern of behavior; making a punishment correspond to the way she feels someone has wronged her. For instance, if she feels her family has engaged too heavily in a non-work-related activity such as reading, she will deliberately destroy the book in question (Fontes 38).

           Similar to the relational dynamic in The Yellow Wallpaper, the wife had a tendency to impede on her husband’s desire to engage in an innocent activity.  She regularly attempted to thwart his right to make decisions about his leisure time. Additionally, she often “brought in God to bolster her arguments, saying ‘In the next world God will see to those who waste their lives reading useless books when they should be about their work’” (MacLeod 228).  It’s clear that the wife sees the books (and outside activities of any kind) as a distraction from practical pursuits that she expects her partner to tend to.  In reference to reading, her statement of “take your nose out of that trash and come and do your work” further supports this (227).

           Interestingly, the husband remains resolute about his decision to go against the grain of his wife’s disapproval. He maintains his room of books as a “solid rock of opposition”(MacLeod 227) despite her opinion that reading is a “colossal waste of time” (227). Therefore, the function of the books in The Boat is also similar to the function of the diary in The Yellow Wallpaper. They serve as a symbol of personal freedom from the routine of being constantly grilled, criticized, and shamed. The seeking of such freedom is supported by his reaction of “turning up the volume of the radio” (228) while reading in order to drown out the unwanted advice. Although the books seem to make waves in an already stormy relationship, they ultimately serve as a vessel to transport the husband to another time and place where he can experience freedom from his antagonistic spouse.

           In conclusion, the books and the diary are a means for the characters to resist fully adopting their partners’ worldview. Although their attempts to resist are repeatedly frustrated and belittled, reading and writing is ultimately a tool to maintain a sense of self in an unsupportive environment.          

 Works Cited

Fontes, Lisa Aronson. Invisible Chains: Overcoming Coercive Control in Your Intimate Relationship. New York: Guilford, 2015.

Gilman, Charlotte Perkins. “The Yellow Wallpaper.” The Harbrace Anthology of Short Fiction. Eds. Jon C. Stott and Raymond E. Jones. 5th ed. Toronto: Nelson Education, 2012. 113–24. Print.

MacLeod, Alistair. “The Boat.” The Harbrace Anthology of Short Fiction. Eds. Jon C. Stott and Raymond E. Jones. 5th ed. Toronto: Nelson Education, 2012. 223–35. Print.

"What is Coercive Control?” Cedar Network. https://www.cedarnetwork.org.uk/about/supporting-recovery/what-is-domestic-abuse/what-is-coercive-control/

[1] Coercive control is a pattern of behaviour which seeks to take away the victim’s liberty or freedom in order to slowly strip away their sense of self (What is Coercive Control?).

[kelwelmelspell]

everything else is being changed in my fhs au except for the camp src and them singing ed sharren that HAS to stay. It wouldn't be goofy without it. The ed sharren song eill be beautiful, memorizing even, To the point where it gets the fnaf 1 band (still thinking of a name for them) to see fred, It will be the power of ed sharren that will do so much.

[kelwelmelspell]

Things I will be changing and keeping in me rewriting fnafhs top tennnn.

Changing!!

Number five. Springtraps entire character. He is based otf someone who is a child murderer aka william afton, Why was he like the most chilliest guy I don't get it at all, he was like super friendly half the time though even though hes like based off a child murderer, wtf eddo (69th time I've said that). Making him to be obsessed with shadows and the shadow realm.

Number four. Anns personality and character arc. She was superrrrrr basic for someone who got the entire band together foremost (she started the idea), and I'm pretty sure it was said she was like bipolar???? Idk but i remember hearing someone say that. So i would show more symptoms of that but also giving her personality that isnt including that. Showing her struggle through sp said disorder. Her character src is something I'm still working on right now and thinking of what to do.

Number three. The ENTIRE plot of season two and season three also the ending of season one. Season two was ass and I dont have to explain why it was terrible. Season 3 was confusing but the art style was drop dead gorgeous. Season 1 ending will be done a bit different some things will stay the same like them singing ed sharren will be the same but have different impacts. something like that.

Number two. BxB. It was so awkward half the time Im sorry plus I dont really like it. Like there's no real chemistry between them from what I remember just Bon having the biggest crush ever on Bonnie. Probably make another ship eith Bon cannon and Bonnie aroace. Never making it BxB cannon bevause it was also seemingly basic for me.

Number one. The names. Who in their utter right mind would name their baby "fox" or like "bonnie" IT JUST DOESNT MAKE SENSE💀💀💀. Instead those will be nicknames that they were given and they they barley use their actual names except for freddy, ann, and aiden. Those names are fine but not golden for fucks sake. I get that your parents are rich and famous dawg but they wouldnt go out their way and name you that.

Extra!! What the shadow realm does to people aka no shadows if you enter it and stay there for a long time. Shit goes bad quickly. You start seeing things, You become paralyzed, Parts of your body changes into something more non human, You start going crazy oer say. Going mad even. You start having a low temper, Limps become longer or shorter, Bones change, It feels like your entire head is splitting apart. Not going into full detail due to it being mostly body horror. This doesn't happen if shadows go to like the human realm or whatever.

theres a lot more other stuff Im changing but these are the things I am 100 percent changing.

Things that are staying the same.

number five. The camp arc. LISTEN TO ME, THIS WAS THE BEST ARC IN THE SHOW. IT WAS SO GOOFY. SO SP SO FUVKING GOOOFY. A KID IS HIGH, OTHER KIDS ARE LOST, THEY'RE SINGING SHAPE OF YOU, SOME OLD COUPLE IS IN THE FOREST THAT SOMEHOW NOBODY FUCKING KNOWS THAT THEY WERE THERE. BITCHES ARE GOING INSANE, BARELY ANY ADULT SUPERVISION, BON IS BEING BON, THERE ARE ANIMAL SPIRIT THINGS LIKE EVERY FUCKING WHERE, SOME KID IS BEING CONTROLLED BY SOMEONE WITH GREEN HAIR AND PRONOUNS, AND IN THE MIDDLE OF FUCKING NO WHERE WITH INTERNET OR ANY WAY TO CALL HOME. It must stay. It wouldnt be the same without it.

Number four. The band singing shape of you at the end. Best part of the camp arc fr. It was such a beautiful sence how can I not add it.

Number 3. The way the animatronics meet. I love the idea of meeting all these people in detention and becoming friends with them. Golden will also get into detention too with them. He cries like a little bitch.

Number 2. All the cannon back stories we see will stay the same. Sorry meg and aiden, you gotta suffer, esp meg she deserves suffering when you are having that big ass forehead. (megamind kinnie)

Number 1. I really do not know.

[kelwelmelspell]

Golden is technically a ed sharren fan because it literally saved his dumb ass

[livinglyrically]

“I wasn’t her slave. This wasn’t China:” Cultivating Individuality in Amy Tan’s “Two Kinds”

Angela May

Tutor Sharren Patterson

English 211

9 February 2017

    “Two Kinds” by Amy Tan is a short story that illuminates how the early pressure of family loyalty can paradoxically push a child towards individualism. The narrative follows the inner experiences of the main character, Jing-mei Woo, as she is pressured to live up to her mother’s expectations of her to become a “genius” (Tan, 291).

    The passage where Jing-mei refuses to submit to her mother’s request to “Turn off TV” (Tan, 297) in order to practice playing the piano depicts an important turning point in the character’s life.

    At the beginning of the passage, Jing-Mei tests the waters of her newfound personal power. First, she didn’t budge, and then she “decided that she didn’t have to do what her mother said anymore” (Tan, 297) Upon experiencing how good it felt to honour her own desire, she indulged in a new idea. She decided, “I had listened to her before and look what happened.  She was the stupid one” (297). This suggests that up until this point, Jing-mei saw herself as “the stupid one” as a result of consistently failing to meet her mother’s lofty expectations. In this moment, she sees her mother as a buffoon, the “stupid one” for dictating the naive pursuit of impossible goals. In addition to the previous feeling of incompetence now assigned to her mother, she recalls how the heaviness she experienced while being obedient also made her feel weak and inauthentic. This is supported by the following statement as Jing-mei commits herself to releasing the pent up emotional weight; “No! I said, and I now felt stronger, as if my true self had finally emerged” (297)

    When Jing-mei considers her true self in this way, including the awareness of “So this is what has been inside me all along,” (Tan, 297) she is referring to a sense of lightness that she is delighting in for the first time. Her mother is frustrated at her daughter’s attempt to break free from cumbersome schedule she forced upon her as portrayed in this passage “She walked over and stood in front of the TV. I saw her chest was heaving up and down in an angry way.“ Shortly thereafter, her mother expressed “Only one kind of daughter can live in this house. Obedient daughter!” (Tan, 297) This illustrates that Mrs. Woo considers a child with the nerve to disregard established rules as disobedient, therefore worthy of banishment.

    While Jing-mei’s cultivation of her own power is a defining moment of personal redemption, it references the broader concerns of the story surrounding many American- born daughters and their Chinese mothers. This is most clearly illustrated when a possibility occurs to her, as referenced in this passage;  “I didn’t have to do what my mother said anymore. I wasn’t her slave. This wasn’t China” (Tan, 297). It specifically brings to light a pivotal moment that many children with Chinese immigrant parents face - the decision to reject collectivist expectations in order to pursue individualistic goals.1 When Jing-mei expressed  “This wasn’t China” it was her personal proclamation that she was in America, free of the ancestral burden of doing things solely for the needs of the group. She now had a chance to be an individual.

     Therefore, “Two Kinds” portrays a common crossroads for American-born children of Chinese immigrant parents. These children ultimately reach a crux where they need to decide between two kinds of cultural identities, either making individual choices or following the dictates set by authorities without questioning them. The story uses this cultural dilemma to highlight the developmental unfolding that is common with this type of upbringing; increasing the pressure on the child until they are climactically pushed towards an individualistic resolve.

Note 

1. According to Hofstede, China is a highly collectivist culture where people are raised to act in the interests of the others and not necessarily in the interest of themselves. Conversely, America is the opposite, where people are encouraged to support themselves without over-reliance on authorities or group contributions.

Works Cited

Hofstede, Geert. “What about China?.” www.geert-hofstede.com/china.html --- “What about the USA?” www.geert-hofstede.com/united-states.html.

Tan, Amy. “Two Kinds.” The Harbrace Anthology of Short Fiction. Eds. Jon C. Stott and Raymond E. Jones. 5th ed. Toronto: Nelson Education, 2012. 291–99. Print.