WARNING: This blog operated by 100% Native Floridian. Geodesic dome house-livin' wife, mother, caregiver. Gen-X weirdo! Swamp Witch, Planter & Landowner. Masonic & Huguenot bloodline, Jacobite, DAR, USD 1812, and UDC. Old movies, dry Martinis. Cargo bike & Vanner nut, Natural birth/Attachment parenting proponent, and Authentic 1978 Hippie Love Child. Standard poodle mama. Goth/Neofolk/Medieval. Bluegrass, Reggae, and Folk festival goer. Heroes: St. Bernadette, Jeanne d'Arc, Robin Hood, Jesus Malverde, and H.I.M. Haile Selassie. Current mortal lust: go to the WGT again. PS: I do not tolerate micro-aggressions from Yankees, i.e. "Where are you from?" or "Blah blah is better back home."
liberal northerners will talk until they’re blue in the face about cultural diversity and the racist and classist implications of “standard” american english and then look sideways at you the moment you start speaking in a southern accent
I’m sure this happens with other accents and dialects too idk but I know that when I show up to a meeting with a bunch of northerners and greet everyone with a polite and appropriate, “Hi, how’re y'all doin’?” I get some Faces.
“Why do flowers have to be for anything? Isn’t it enough that they have colour and form, and that they make you feel good?”
— directed by Vincente Minnelli; THE COBWEB (1955) MEET ME IN ST. LOUIS (1944) FATHER’S LITTLE DIVIDEND (1951) LUST FOR LIFE (1956) CABIN IN THE SKY (1943) AN AMERICAN IN PARIS (1951) THE CLOCK (1945) ON A CLEAR DAY YOU CAN SEE FOREVER (1970) ZIEGFELD FOLLIES (1945) TEA AND SYMPATHY (1956)
