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Apple, Iphone, and Phone: Justin Kaufman @JUSTINMKAUFMAN I remember when I first started coding, looking at stack traces like this thinking, "I'll never understand what this means." Ten years later, I still have no idea what it means. But look at me now! Justin Kaufman's iPhone 11 Pro Max Running NumberTwo on Justin Kaul man's iPhone 11 Pro Max Unity-Phone NumberTwo UnityGfuDeviceworker (35)) 3:CreateRenderPipeline NumberTwo:CreateRende rPipeline): 8x101c552e4 <+: Background JobWorker O (17 Bsckground JobWorker 1 (18) Background Job.Worker 2 (19 Background Job.Worker 3 (20 Background Job.Worker 4 (21) Background Job.Worker 5 (22) Background Job.Worker 6 (2 3 Background JobWorker 7 (24) Background Job.Worker 8 (25) Background Job.Worker 9 (26 Background JobWorker 10 (27) Beckground JebWerker 11 (28) Background Job.Worker 12 t29) x28, x27, Esp, 8-x601 x26, x25, sp, #ex10) x24, x23, [sp, ex28] 22, x21, sp, x303 x28, x19, tsp, aex48] x29, x3e, tsp, a0x50] x29, sp, #@x5e sp. sp, #0x368 x25, xe stp ex101c552e8 <4 8x101c552e0 48 stp ex101c552fe +12>: stp 8x181c55214 <+16 êx1eic552f8 +2>: 8x101c552fc +24? 8x181c55380 <+28>: i8x5e ;8x360 add sub ex101c55384<+32>: ex101c55388 <+36: x8, 6023 x8, [x8, sex2e0] 11 adrp ldr ex101c55310 <+44 13 ldr x8, [x8) x8. [x29, -8x581 x101c55318<+52 ex101e5531e <+563 x8, [x251 x8, ex181e553e4 x8, [x25, aex8) x8, x101c553e w8, tx25, 0x2a x8, [sp, #ex8] ax101e3fcfe 15 +2563 at puProgramsMetal.m ebz Background Job.Worker 13 (30) Background Job.Worker 14 C31) ex101c55320 +68>: ldr +256 at puProgramsMetal.mm 8x101c55324 <+6: cbz Background JobWorker 15 (32) ldrh 10 8x181c55328 +68>: 8x101c5532c +72 ex101c55330 +76 BatchDeleteObjects (33) Loading AsyneRead (34) UnityOfxDeviceWorker (35) 20 str : ::GetMe tal0fxDeviceCoret) at GfxDeviceMetal.mm:4101: 13 b1 21 w8, [x25, ex28 x9, [xe, #ex4818] x8, tx9, x8, 1sl #3] ldrt 22 ex101c55338 <+84): êxieic5533c +88> ex101c55340 t92> ex101c55344 96 0 lidb unnamed symbol267755 1dr 24 1db unnamed symbol2729ss. ldur x9, [x8, #exe x18, sp. #8x9 x9, [x1e, exff qe, [x8] 2 ldb unnamed symbol205133 -0x9f 26 13:CreateRenderPipeline) stur ex101c5534c <+184: ldr 4GetidkMTLRenderPipelineStat.. x101c55350 <+188>: qe. tsp, x198 NumberTwo) 29 str 15eCachedPipeline CommonDrawsetup) 7DrawBufferRangesPilatform UnityGfDevice Worker (35)) 3:CreateRenderPipeline 0 Metali Error areating papeline state (Sprites/Detauit) Compiler encounterea an anterna1 error (null)2019-11-16 20:19:56.831429-0808 NunberTwo[ 29135:2134922] [Coon] BSMachError: part see3; (os/kern) invalid 2019-11-16 20: 19:56.834555-0880 NumberTwo[29135: 2134922] Unbalanced calls too begin/end appearance transitions for <SplashScreenControler: ex11faa5c20 UnloadTime: 1. 472042 ms 8 non-virtual thunk to GhDeviceM capability Cexi4) "Unable to insert COPY SEND 9:DrawBuffersStereo 10 DrawBuffers) 11RunCommand ) 2819-11-16 28:20:07.208653-8800 NumberTwol29135: 2135846] Compiler failed to build request ing pipeline state (Brush/DiffuseDo ubleSided: RasterizationEnabled is false but the vertex 12 GDericeWorkerAutoreleaseP. Metal: Error shader"s return type is not void (null) Metal: Error ereating pipeline state (Brush/DiffuseDeublesided): RasterizationEnabled is false but the vertex shader's return type is not void (null) Met al: Failed to get shader entry point 2819-11-16 20:20:07.211619-e809 NumberTwo[29135: 2135946] Compiler failed to build request Metal: Error areating pipeline state (Brush/Special/igglyoraphiteDoublesided): output of type half4 is not compatible with a HTLPixelFormatInvalid color attachement (nul1) Metal: Failed to get shader entry point ze19-11-16 28: 20:17.247672-ee09 NumberTwo[29135: 2135046] Compiler failed to build request Metal: Error 13 RunExt0 14RunD 15Run@fxDeviceWorker ) 16 RunThreadWrapper) e 17 pthresd stsrt com.apple.CoreMotion.MotionThread... Loading PreloadManager (37) CleudJob.Worker O (40) Thread 42 comapple.NSURLConnectionloader.. Thread 44 pismatchino n p er e (Brush/Special/HypereolorDoublesided): Fragment input(s) user(TEXCOORD) output typets) or not written by vertex shader (null) 2019-11-16 28:20:17-252482-08ee NumberTwo[ 29135 :213se46] Compiler failed to build request Metali Errer creating pipeline state (Brush/Standardsinglesided): Frageent inputis) user(TEXCOORDO) mismatching vertex shader output typels) or not Written by vertex shader (null) (11db) Auto O Filter Fiter All Output 9:56 AM 17 Nov 19 Twitter for Mac Understanding stack traces is an art

Understanding stack traces is an art

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God, Monster, and Movies: INTERNATIONAL INTERNATIONAL SAN DIEGO AN DIE ECON CONCON CON INTERNA INTER INTERNATIONAL 1N DIEG0 OIEGO SAN DIEGO CON OUG NO CON DIEGO CON INTERNATIONAL ONAL INTERNATIONAL IN E WATIONAL TERNATIONA SAN DIEGO CON SAN OIEG0 0 93 eONCON CO SAN OIEG N OIEG CO INTERNATIO COMICE CO OM feministscoundrel: This photo means a lot to me. And I’ll tell you why.  Natalie Portman, as we know, was shut out of Marvel. She chose not to sign any new contract not just because of the way her character was treated (though there is that) but because Thor: The Dark World was slated to be the first Marvel movie directed by a woman, her friend (and eventual Wonder Woman director) Patty Jenkins. Portman hadn’t planned on being in The Dark World, but lept at the chance to be a part of feminist history and to be directed in what would have beenJenkin’s first film since her 2003 Oscar-winning Monster. Portman signed a new contract with Marvel. They fired Jenkins soon after. Portman was crushed because she essentially had been duped into a contract for a film that would keep her away from her young son and force her back into a one-dimensional role under yet another male director. And we all remember how awful that movie was.  When it came time for the third Thor movie, they tried to get Portman under contract again. And she said no. Marvel decided to spin the story to make it seem like it was all their idea. At first, they went for the lame and nonsensical:  When Marvel Studios President Kevin Feige was asked about why she wouldn’t be in the third film, and said there were “many reasons, many of which are in the film, so you will see that” continuing with “There are only a couple of scenes on Earth in this movie. The majority, 95 percent of the movie, takes place in the cosmos.” (x) Seeing as The Dark World also took place in space, this answer didn’t have a lot of credibility. When Portman said she was “done” with the Marvel Universe, Feige got vicious in interviews, telling reporters that Valkyrie was in Ragnorak to be better than Jane Foster and a better match for Thor.  “We wanted Thor to encounter somebody that was near his equal and that his relationship with Jane may have evolved in unexpected ways in between The Dark World and Ragnarok, and we wanted to pit him against a character who was much more his equal and in many ways his superior.” (x) Feige implies that A) Valkyrie was in Ragnorak just to be a romantic interest for Thor, B) Valkyrie is better and more powerful than Jane Foster, and C) Jane Foster was always Thor’s inferior.  What’s ridiculous is that Ragnorak had a “sorry Jane dumped you” throwaway line to explain Portman’s absence. And instead of saying that Jane and Thor broke up in interviews, a line that does not spoil literally anything about the film, Feige chose to attack Jane’s strength and capability, which would have been a very special dig at Portman.  Do you want to know what none of this sounds like? Taika Waititi’s opinion. Waititi is a master storyteller who does not sacrifice his feminist views for laughs. You can bet that Feige’s ridiculous slams on Portman and her character Jane– disguised as “promotion” for WAITITI’S FILM– would have troubled him immensely. This is a man with a Māori father, who had to use his mother’s maiden name– Cohen– for earlier work because an indigenous last name kept him away from opportunity. This man does NOT fuck around with entertainment that gets its power off of sexism and inequality. He knows from experience just how infuriating it is when it comes to directors missing out on opportunities because they aren’t a white man.  So how does he fix this? How does he fix the idea that Jane Foster can’t go to space, or that she’s not powerful enough for Thor, the god of thunder?  He makes her Thor.  Waititi saw Portman / Jane Foster’s name dragged through the mud by Kevin Feige in order to promote his movie, and when he got hired to direct again, he decided to right those wrongs. This picture means everything. He is on his knee, handing her Thor’s hammer, essentially saying, you will never have to go through that shit with me. With me, you’re a god. And the expression on her face, after Marvel attempted to break her, doesn’t need words.  What a photo. What a film. What a man. 
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Gif, God, and Monster: INTERNATIONAL INTERNATIONAL SAN DIEGO AN DIE ECON CONCON CON INTERNA INTER INTERNATIONAL 1N DIEG0 OIEGO SAN DIEGO CON OUG NO CON DIEGO CON INTERNATIONAL ONAL INTERNATIONAL IN E WATIONAL TERNATIONA SAN DIEGO CON SAN OIEG0 0 93 eONCON CO SAN OIEG N OIEG CO INTERNATIO COMICE CO OM ebonyheartnet: jewishdragon: feministscoundrel: This photo means a lot to me. And I’ll tell you why.  Natalie Portman, as we know, was shut out of Marvel. She chose not to sign any new contract not just because of the way her character was treated (though there is that) but because Thor: The Dark World was slated to be the first Marvel movie directed by a woman, her friend (and eventual Wonder Woman director) Patty Jenkins. Portman hadn’t planned on being in The Dark World, but lept at the chance to be a part of feminist history and to be directed in what would have beenJenkin’s first film since her 2003 Oscar-winning Monster. Portman signed a new contract with Marvel. They fired Jenkins soon after. Portman was crushed because she essentially had been duped into a contract for a film that would keep her away from her young son and force her back into a one-dimensional role under yet another male director. And we all remember how awful that movie was.  When it came time for the third Thor movie, they tried to get Portman under contract again. And she said no. Marvel decided to spin the story to make it seem like it was all their idea. At first, they went for the lame and nonsensical:  When Marvel Studios President Kevin Feige was asked about why she wouldn’t be in the third film, and said there were “many reasons, many of which are in the film, so you will see that” continuing with “There are only a couple of scenes on Earth in this movie. The majority, 95 percent of the movie, takes place in the cosmos.” (x) Seeing as The Dark World also took place in space, this answer didn’t have a lot of credibility. When Portman said she was “done” with the Marvel Universe, Feige got vicious in interviews, telling reporters that Valkyrie was in Ragnorak to be better than Jane Foster and a better match for Thor.  “We wanted Thor to encounter somebody that was near his equal and that his relationship with Jane may have evolved in unexpected ways in between The Dark World and Ragnarok, and we wanted to pit him against a character who was much more his equal and in many ways his superior.” (x) Feige implies that A) Valkyrie was in Ragnorak to be a romantic interest for Thor, B) Valkyrie is better and more powerful than Jane Foster, and C) Jane Foster was always Thor’s inferior.  What’s ridiculous is that Ragnorak had a “sorry Jane dumped you” throwaway line to explain Portman’s absence. And instead of saying that Jane and Thor broke up in interviews, a line that does not spoil literally anything about the film, Feige chose to attack Jane’s strength and capability, which would have been a very special dig at Portman.  Do you want to know what none of this sounds like? Taika Waititi’s opinion. Waititi is a master storyteller who does not sacrifice his feminist views for laughs. You can bet that Feige’s ridiculous slams on Portman and her character Jane– disguised as “promotion” for WAITITI’S FILM– would have troubled him immensely. This is a man with a Māori father, who had to use his mother’s maiden name– Cohen– for earlier work because an indigenous last name kept him away from opportunity. This man does NOT fuck around with entertainment that gets its power off of sexism and inequality. He knows from experience just how infuriating it is when it comes to directors missing out on opportunities because they aren’t a white man.  So how does he fix this? How does he fix the idea that Jane Foster can’t go to space, or that she’s not powerful enough for Thor, the god of thunder?  He makes her Thor.  Waititi saw Portman / Jane Foster’s name dragged through the mud by Kevin Feige in order to promote his movie, and when he got hired to direct again, he decided to right those wrongs. This picture means everything. He is on his knee, handing her Thor’s hammer, essentially saying, you will never have to go through that shit with me. With me, you’re a god. And the expression on her face, after Marvel attempted to break her, doesn’t need words.  What a photo. What a film. What a man.  Wiatiti And Portman are also BOTH jewish! Jews lifting up Jews!
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God, Monster, and Movies: INTERNATIONAL INTERNATIONAL SAN DIEGO AN DIE ECON CONCON CON INTERNA INTER INTERNATIONAL 1N DIEG0 OIEGO SAN DIEGO CON OUG NO CON DIEGO CON INTERNATIONAL ONAL INTERNATIONAL IN E WATIONAL TERNATIONA SAN DIEGO CON SAN OIEG0 0 93 eONCON CO SAN OIEG N OIEG CO INTERNATIO COMICE CO OM feministscoundrel: This photo means a lot to me. And I’ll tell you why.  Natalie Portman, as we know, was shut out of Marvel. She chose not to sign any new contract not just because of the way her character was treated (though there is that) but because Thor: The Dark World was slated to be the first Marvel movie directed by a woman, her friend (and eventual Wonder Woman director) Patty Jenkins. Portman hadn’t planned on being in The Dark World, but lept at the chance to be a part of feminist history and to be directed in what would have beenJenkin’s first film since her 2003 Oscar-winning Monster. Portman signed a new contract with Marvel. They fired Jenkins soon after. Portman was crushed because she essentially had been duped into a contract for a film that would keep her away from her young son and force her back into a one-dimensional role under yet another male director. And we all remember how awful that movie was.  When it came time for the third Thor movie, they tried to get Portman under contract again. And she said no. Marvel decided to spin the story to make it seem like it was all their idea. At first, they went for the lame and nonsensical:  When Marvel Studios President Kevin Feige was asked about why she wouldn’t be in the third film, and said there were “many reasons, many of which are in the film, so you will see that” continuing with “There are only a couple of scenes on Earth in this movie. The majority, 95 percent of the movie, takes place in the cosmos.” (x) Seeing as The Dark World also took place in space, this answer didn’t have a lot of credibility. When Portman said she was “done” with the Marvel Universe, Feige got vicious in interviews, telling reporters that Valkyrie was in Ragnorak to be better than Jane Foster and a better match for Thor.  “We wanted Thor to encounter somebody that was near his equal and that his relationship with Jane may have evolved in unexpected ways in between The Dark World and Ragnarok, and we wanted to pit him against a character who was much more his equal and in many ways his superior.” (x) Feige implies that A) Valkyrie was in Ragnorak to be a romantic interest for Thor, B) Valkyrie is better and more powerful than Jane Foster, and C) Jane Foster was always Thor’s inferior.  What’s ridiculous is that Ragnorak had a “sorry Jane dumped you” throwaway line to explain Portman’s absence. And instead of saying that Jane and Thor broke up in interviews, a line that does not spoil literally anything about the film, Feige chose to attack Jane’s strength and capability, which would have been a very special dig at Portman.  Do you want to know what none of this sounds like? Taika Waititi’s opinion. Waititi is a master storyteller who does not sacrifice his feminist views for laughs. You can bet that Feige’s ridiculous slams on Portman and her character Jane– disguised as “promotion” for WAITITI’S FILM– would have troubled him immensely. This is a man with a Māori father, who had to use his mother’s maiden name– Cohen– for earlier work because an indigenous last name kept him away from opportunity. This man does NOT fuck around with entertainment that gets its power off of sexism and inequality. He knows from experience just how infuriating it is when it comes to directors missing out on opportunities because they aren’t a white man.  So how does he fix this? How does he fix the idea that Jane Foster can’t go to space, or that she’s not powerful enough for Thor, the god of thunder?  He makes her Thor.  Waititi saw Portman / Jane Foster’s name dragged through the mud by Kevin Feige in order to promote his movie, and when he got hired to direct again, he decided to right those wrongs. This picture means everything. He is on his knee, handing her Thor’s hammer, essentially saying, you will never have to go through that shit with me. With me, you’re a god. And the expression on her face, after Marvel attempted to break her, doesn’t need words.  What a photo. What a film. What a man. 
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Anna, Brains, and Church: SKILL HARD WORK TO ACHIEVE A LEVEL OF SKILL IN ANYTHING YOU HAVE TO STAND ON A PILLAR OF HARD WORK. OH, I JUST STARTED HERE TALENT & I HARD WORK TALENTHARD WORK owLTURD.com violent-darts: charlesoberonn: jelloapocalypse: These bother me sometimes. We all start as literal useless babies. No one gets a magic ticket that makes them better at anything. If someone says they “never practice” it’s probably because they like doing the skill and see it as a fun use of their time instead of “practice”. I will qualify this a small but I think important amount, because what it is is actually complicated:  Some people’s brains and nervous systems are wired for better hand-eye coordination. Some people’s brains and nervous systems are wired for better pattern recognition. Or translations of audio input. Or whatever.  What this does is combine with @jelloapocalypse‘s EXTREMELY WELL-OBSERVED COMMENT (If someone says they “never practice” it’s probably because they like doing the skill and see it as a fun use of their time instead of “practice”.) in a way that can be both invisible and give this kind of person a massive leg up while being really discouraging to someone who doesn’t have that wiring.  It doesn’t get to the actual original comic’s level of “oh I just started here”. But let’s take two people called Riley and Kennedy, and we’ll do singing, since that’s what I teach.  Riley and Kennedy have exactly the same kind of background: parents who listen to the radio sometimes, the usual social stuff around popular music of whatever genre, etc, but no formal training. Neither of them sings in a church choir, neither of them falls into a formal disability category, whatever.  The first time Riley shows up in my studio and we sing a really simple song I use as a diagnostic, she gets it mostly right. She can follow the tune; she can hear pitch, and it takes very little work for her to chivvy her voice into matching that pitch as long as there’s not something pulling her off. (In other words: as long as I’m singing the same notes as her and playing them on the piano, and as long a she can hear both herself and those notes).  For Riley the lesson is really fun and validating and she goes home and sings along to her own music for a while and comes back next week with six songs she wants to try learning. And most of her lessons are like that: pretty easy positive feedback. That means Riley “practices” a lot in exactly the way @jelloapocalypse describes, even if she doesn’t think she’s actually practicing (that is, sitting down to sing the songs we’re working on together in a systematic way) at all.  In contrast, the first time Kennedy comes to my studio, she struggles. It’s harder for her to hear the difference between notes, and it’s much harder for her to make her voice actually match the pitch she wants to sing at. When we pull out the diagnostic tune, she mostly manages to drone a few clusters of semi-tones, and while she can hear that she’s Off, it’s actually very hard for her to tell HOW she’s off, or what she should do to correct it.  In most cases, for Kennedy, lessons - and in fact the overall experience of singing - is not fun. It’s not validating. It’s a whole process of Not Being Good, of Doing Things Wrong, and given the way humans are often in casual situations being laughed at. When Kennedy goes home she doesn’t sing along with any music she plays: she keeps her lips pressed together and at best enjoys other people singing (and maybe feels envious and demeaned because she can’t do it).  Now the thing is, the practical “skill” difference for Riley and Kennedy here at the beginning is minimal. But the Rileys will tend (if they like what they’re doing) to ROCKET UP THE SKILL LEVEL, because of the “practice is fun so it’s just the thing I do” - because there is always a bunch of validation and positive reinforcement in the act of doing whatever it is, be it doodling or singing or math.  The Kennedys won’t. In fact if they’re not lucky enough to have a good teacher, and one who can put a lot of this into perspective for them, they will tend to be inhibited. The worst time is when a Riley and a Kennedy are friends and sign up to learn together, and Riley takes off and Kennedy’s left sitting there feeling like she’s somehow Deeply Flawed.   And in fact the whole Doctrine of “It’s Just About How Hard You Work” will in and of itself become part of what inhibits them, because they will watch the Rileys - and even the Annas, Anna in this metaphor being the Totally Normal Student who never really exists - grasp things faster than they do, even if they ARE working hard. And this will HAPPEN. They will watch this reality happen in front of them … and then people say to them “oh, it’s all about how hard you work, dear.” And it’s like being gaslit. (Well, to be fair: it IS being gaslit, just without malice intended on the part of the people doing it.)  And that message is horribly horribly toxic: here Kennedy is, and she IS working hard, but she’s still not progressing as fast as Riley or Anna no matter what she does! But it’s All About Hard Work, right? So that must mean that no matter how hard she THINKS she’s working, she’s actually just lazy, or doesn’t want it enough. It’s clearly a moral flaw in her.  I actually have, personally, really good luck with teaching the Kennedys because I literally have this conversation with them when they come to my studio. I actually outright tell them: firstly, anyone who has working vocal chords can sing. Anyone who has working vocal chords and the ability to distinguish audio pitch can even sing on key in tune! But some people have an easy time learning this and some people have a hard time, and sometimes which it is has some relationship to, say, “early exposure to music” or whatever but sometimes it seems to be utterly fucking random - pure luck of the draw.  You CAN SING. The capability is there. And if you want to we will find out how to make it happen. It might not happen as fast as for some other person, it might take more work, it might take more care, but that’s okay: that’s not your fault, that doesn’t mean you’re NOT working hard, but it does mean that here at the beginning we do things like recalibrate victories, we make your progress about YOU, not about Riley or Anna.  But I’m also not going to gaslight you or make you feel like you’re either delusional or somehow especially So Terrible You Don’t Fit In The Rest Of The World: sure, I’ve got some Riley-types who walk in here, noodle around, and we go on to Art Songs. They exist.  So what? Tall people exist. People with broad shoulders exist. People with dark hair exist. Physical embodiment and neurology hand out luck of the genetic roulette with no interest in outcomes. If you’re born blonde, it’s always going to take more work for you to have brown hair than someone born with brown hair, but much like dyeing your hair to match what you want, we can train the muscles of your voice and the neural pathways for hearing to do what you want.  The differences between Rileys and Kennedys are very small. If Riley didn’t discover she liked singing and Kennedy worked at it for years then no, Riley would not “start out” as good as Kennedy is after those years. And you can be Riley and if you DON’T do the fucking work, the Annas of the world especially will blast past you and leave you in the dust.  But on the other hand the Rileys get this wonderful cycle of positive reinforcement that does often start from a place of their coincidental physical embodiment giving them a slight leg up. And pretending that’s not the case does a big disservice to the Kennedys.  We just absolutely do need to reframe that for what it is (a tiny fundamental difference and then a HELL OF A LOT OF “this is fun so I practice more so I get more validation so I -” and more or less no moral meaning at all), what it doesn’t mean, and how to compensate for it. 
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Being Alone, Arguing, and Bitch: I do not understand this male privilege builshit What Fucking. Privleges. Do Men. Have.?27777 Name them.I swear, I challenge you to name these male privileges" and be able to prove them. Come on, I tucking dare you them! Oh boy well, as a man. I'll te you my male privilege 1. My odds of being hired for a job, when competing against female applicants, are probably skewed in my favor The more prestigious the job, the larger the odds are skewed I can be confident in the fact that my co-workers won't think that I was hired/promoted because of my sex- despite the fact that it's 2 true. 3, If I ever am promoted when a woman of my peers is better suited 4. If i ever fail at my job or career, it won't be seen as a blacklist 5I am tar less likely to face sexual harassment than my female peers. for the job, it is because of my sex. against 6. If i do the same task as a woman, and if the measurement is at all 7. If I am a teen or an adult, and I stay out of prison, my odds of 8 subjective, chances are people will think I did a better job low On average, I'm taught that walking alone after dark by myself is less than dangerous than it is for my female peers, 9 IfI choose not to have children, my masculinity will not be 10. It i do have children but i do not provide primary care for them, my 11. If I have children and I do care for them, I'll be praised even if my 12. IfI have children and a career, no one will think I'm selfish for not 13. If I seek political office, my relationship with my children or who masculinity will not be questioned. deem to take care of them will more often not be scrutinized by the press. 14. My elected representatives are mostly people of my own sex. The more prestigious the position, the more this is true 15. When I seek out "the person in charge", it is likely that they will be someone of my own sex. The higher the position, the more oftern 16. As a child, chances are I am encouraged to be more active and 17. As a child, I could choose from an almost infinite variety of children's media featuring positive, active, non-stereotyped heroes of my own sex. I never had to look for it; male protagonists were 18. As a child, chances are I got more teacher attention than giris who raised their hands just as often. 19. If my day, week or year is going badly, I need not ask of each negative episode or situation whether or not it has sexist overtones. (Nobody's going to ask if I'm upset because I'm 20 I ean turn on the television or glance at the front page of the newspaper and see peopie of my own sex widely represented. 21. It I'm careless with my financial atfairs it won't be attributed to my 22. If I'm careless with my driving it won't be attributed to my sex. 23. I can speak in public to a large group without putting my sex on trial 24. Even if I sleep with a lot of women, there is little to no chance that I will be seriously labeled a "slut." nor is there any male counterpart 25 I do not have to worry about the message my wardrobe sends 26 My clothing is typically less expensive and better-constructed than women's clothing for the same social status. While I have fewer options, my clothes will probably fit better than a woman's 27. The grooming regimen expected of me is relatively cheap and 28 It buy a new car, chances are I'll be offered a better price than a woman buying the same car. The same goes for other expensive 29 If 'm not conventionaly attractive, the disadvantages are relatively 30 I can be loud with no fear of being called a shrew. I can be 31. I can ask for legal protection from violence that happens mostly to small and easy to ignore aggressive with no fear of being called a bitch. men without being seen as a selfish special interest, since that kind of violence is called crime and is a general social concen. (Molence that happens mosty to women is usually called "domestic violence" or “acquaintance rape," and is seen as a 32 I can be contident that the ordinary language of day-to-day existence wil always include my sex. “All men are created equal," mailman, chairman, freshman, he 33. My ability to make important decisions and my capability in general will never be questioned depending on what time of the 34. I will never be expected to change my name upon marriage or 35. The decision to hire me will not be based on assumptions about 36 Every major religion in the world is led primarily by people of my 37. Most major religions argue that I should be the head of my questioned if I don't change my name. whether or not I might choose to have a family sometime soon. own sex. Even God, in most major religions, is pictured as male household, while my wite and children should be subservient to 38 It I have a wite or live-in girifriend, chances are we'll divide up household chores so that she does most of the labor, and in asks 39. If I have children with my girlfriend or wife, I can expect her to do most of the basic childcare such as changing diapers and feeding. 40. If I have children with my wife or girlfriend, and it turns out that one of us needs to make career sacrifices to raise the kids, chances are we'll both assume the career sacrificed should be hers. 41, Assuming Iam heterosexual, magazines, billboards, television, movies, pomography, and virtualily all of media is filled with images of scantily-clad women intended to appeal to me sexually. Such n exist, but are rarer. 42 In general, I am under much less pressure to be thin than my female counterparts are. If I am over-weight, I probably suffer fewer social and economic consequences for being fat than over-weight 43. If I am heterosexual, it's incredibly unlikely that I'll ever be beaten 44. Complete strangers generally do not walk up to me on the street 45 Sexual harassment on the street virtually never happens to me. I up by a spouse or lover and tell me to "smile." do not need to plot my movements through public space in order to avoid being sexually harassed, or to mitigate sexual 46. On average, I am not interrupted by women as often as women are interru 47. On average, I will have the privilege of not knowing about my male And lastly, I am taken as a more credible feminist than my female peers, despite the fact that the feminist movement is not liberating to my sex THIS. THIS IS HOW YOU BE A MALE FEMINIST 297,700 notes Male Privilege
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