So I was taught a lesson in how to get rid of a migraine in 30 seconds and omfg listen my migraines don’t go away ever but I was shown what part of my body to touch and like???????????????
It’s witchcraft????????? Like I would be burned at the stake if I lived in ye olde days knowing that information?????
What the fuck??????
Spill it! Lol….Hooooowwwww?? Had migraines since age 9….😓😓😓
Its called the T4 push, but I literally can’t find the info online????? I guess I’m not searching good enough? These medical fuckers are holdin out on us lol.
It’s best to have someone do this for you while you stand up and relax your muscles as best you can, but if you’re alone, a tennis ball and a flat surface will probably work. Alternatively you can lie on the edge of a bed at the pressure point. (But no really do try to find someone to do it for you)
Find the area in your spine between either the first, second, third, or fourth vertebrae. It should be sore and uncomfortable to press down on, so look for the one that’s most painful, and press down with as much pressure as you can on that area for 30 seconds.
Realize that 80% of your pain has magically disappeared and keep the info secret if you live in a small puritan town, lest you be tried for witchcraft.
If you don’t have to worry about being burned or hanged, then share the info with your migraine suffering friends.
As someone who wrote a 10k word paper on pressure points for a high belt ranking test in her martial arts class, I can tell you that you just found a pressure point used in acupressure and acupuncture to relieve pain, particularly that in the head. 🙂
Hand to god we discovered this by accident when my husband was rubbing my neck and I nearly collapsed it felt so good
This post was sent by literal angels??? I’ve had a persistent low-level headache for nearly 24hrs and now it’s gone??? In 30 seconds? What gods did you sacrifice to for this information!?!?
As a medical massage therapist, I thought I would give my two cents.
This is good for tension migranes and normal migraines, but actually pretty useless for sinus migraines. It’ll help for a hot second, but quickly come back. (These are usually the migraines behind your eyes, in your ears, and behind your forehead. Sometimes it can feel like jaw pain or TMJ) for sinus migraines, behind the ear in a divot. Press down firmly and pull towards your collarbone. That’ll drain your sinuses. Also, pressing around the eye socket on the cheekbones help. There is also a little triangle up away from the eye in the eyebrow bone. Press and hold pretty hard and that’ll relieve that behind the forehead pain. Also, ear pulling is great to help move sinuses around.
Don’t forget the temples too! Press firmly and hold. Open and close your jaw while holding your temples. It’ll feel weird, but it’ll help with jaw pain. It’ll work a similar way if you hold the jaw joint under your cheekbone.
And never underestimate the power of a foot massage!! Give minutes can be all the difference!! Our feet are our base. If they hurt even a little, somewhere else in your body will hurt. Treat your feet and sinuses kindly!
As a lifelong sufferer from frequent migraines I will reblog this everytime I see it, for myself and my fellow sufferers!!
If someone walked up to you and said, “I am planning on killing you, your entire family and a significant number of the people who you know and care about,” how many of you would argue that this falls under “free speech”?
Of course you wouldn’t. You would understand that it is a threat and you would do anything you could to shut that threat down. Maybe you would file a police report, buy a gun, or fight that sonofabitch right there, or maybe you would be too afraid to do anything, but regardless of how you responded you would understand that this person needs to be stopped before he hurts you and your loved ones.
Every word from a neo-Nazi’s mouth is a threat of violence against Jewish people, Roma people and people of color and many others.
Not only is it a threat of violence, it is an active attempt to bring that violence into existence by recruiting others who will aid them in taking this violence to its greatest possible extreme.
Show the same respect for marginalized people’s rights to be protected and to defend themselves from political violence that you would expect to be shown if under threat of interpersonal violence.
Pointless LOTR headcanon of the day: Frodo & Merry both take after their mothers, meaning Frodo looks more like a Brandybuck than a Baggins and Merry looks more like a Took. This is a constant source of petty contention.
(Pippin meanwhile absolutely takes after his father & is the most Tookish looking)
Merry: call me a Took one more time
Gandalf: if it looks like a Took and acts like a Took it’s a Took
Merry: I will END you
Gandalf is the only nonhobbit in the fellowship who understands the minutiae of Took Vs Brandybuck Vs Baggins rivalry & he delights in it, everyone else baffled
Frodo: look it’s perfectly simple. The Brandybucks don’t like the Tooks because they play golf and think they’re better than everyone because they occasionally go on adventures. The Tooks don’t like the Brandybucks because they live on the wrong side of the river and like boats. And nobody likes the Bagginses because they’re annoying.
Aragorn: are you… Including yourself in that
Frodo: I said what I said.
Frodo: now the Bagginses don’t like the Brandybucks OR the Tooks because they’re highly disrepectable but also richer than they are. And as far as a lot of the Bagginses are concerned I’m a Brandybuck because I grew up in Buckland and I have the Brandybuck Profile
Merry: which just means he’s not pug-ugly
Frodo: quite.
Aragorn: this is all ridiculous. Keep going.
Gandalf: Hm now I wouldn’t say UGLY but… every Baggins I’ve ever met has been perfectly Round or perfectly Square… There is no middle ground.
Gimli, baffled: Frodo isn’t round OR square
Merry: that’s because he has the Brandybuck profile
Gimli: so… Is he a Brandybuck…
Merry: ABSOLUTE not
Frodo: slander!! I’m a Baggins how dare you
Pippin: was your father a Round Baggins or a Square Baggins
Frodo: my father… Was the ROUNDEST Baggins who ever lived… A perfect Sphere of hobbit…
Gimli: What about your uncle. Is he round or square.
Frodo: Please tell me you’re kidding my uncle is the most Tookish Baggins to ever live and that includes physically
Bilbo ‘looked… exactly like a second edition of his solid and comfortable father’. He’s a round Baggins imo
I’ve mentioned “romantic fantasy” in a few recent posts, and some of the responses have made it apparent that a lot of folks have no idea what that actually means – they’re reading it as “romance novels in fantasy settings”, and while some romantic fantasy stories are that, there’s a bit more to it.
In a nutshell, romantic fantasy is a particular genre of Western fantasy literature that got started in the 1970s, reaching its peak in the late 1980s and early 1990s. Its popularity sharply declined shortly thereafter, for reasons that are far too complicated to go into here; suffice it to say that you won’t find many pure examples of the type published after 1998 or so.
It’s tough to pin down exactly what romantic fantasy is in a few words, but you’ll definitely know it when you see it – there’s a very particular complex of tropes that defines it. I’ll try to hit the highlights below; not every romantic fantasy story will exhibit all of these traits, but most will exhibit most of them.
Romantic fantasy settings are typically “grown up” versions of settings that traditionally appeal to young girls: telepathic horses, wise queens, enchanted forests, all that stuff. Note that by “grown up”, I don’t mean “dark” or deconstructionist; romantic fantasy is usually on board with the optimistic tone of its source material, and any grime and uncertainty is the result of being a place that adult human beings actually live in. Protagonists are natives of the setting, rather than visitors from Earth (as is customary in similar stories targeted at younger audiences), though exceptions do exist.
In terms of stories and themes, romance is certainly a big presence, but an even stronger one is politics. Where traditional fantasy is deeply concerned with the geography of its settings, romantic fantasy focuses on the political landscape. Overwrought battle scenes are replaced by long and complicated discussions of political alliances and manoeuverings, brought down to the personal level through the use of heavily stylised supporting characters who function as avatars of the factions and philosophies they represent. Many romantic fantasy stories employ frequent “head-hopping” to give the reader insight into these philosophies, often to the point of narrating brief scenes from the villain’s perspective.
The “good” societies of romantic fantasy settings tend to be egalitarian or matriarchal. Patriarchal attitudes are exhibited only by evil men – or very occasionally by sympathetic male characters who are too young and sheltered to know better (and are about to learn!) – and often serve as cultural markers of the obligatory Evil Empire Over Yonder. Romantic fantasy’s heydey very slightly predates third-wave feminism, so expect to see a lot of the second wave’s unexamined gender essentialism in play; in particular, expect any evil or antagonistic woman to be framed as a traitor to her gender.
Usually these societies are explicitly gay-friendly. There’s often a special made-up word – always printed in italics – for same-gender relationships. If homophobia exists, it’s a trait that only evil people possess, and – like patriarchy – may function as a cultural marker of the Evil Empire. (Note, however, that most romantic fantasy authors were straight women, so the handling of this element tends to be… uneven at best.)
Magical abilities are very common. This may involve a unique talent for each individual, or a set of defined “spheres” of magic that practically everyone is aligned with. An adolescent lacking magical abilities is usually a metaphor for being a late bloomer; an adult lacking magical abilities is usually a metaphor for being physically disabled. (And yes, that last one can get very cringey at times, in all the ways you’d expect – it was the 1980s, after all.)
In keeping with their narrative focus, romantic fantasy stories almost always have an explicitly political character with a strongly progressive bent. However, most romantic fantasy settings share mainstream fantasy’s inexplicable boner for monarchies, so there’s often a fair bit of cognitive dissonance in play – many romantic fantasy settings go through elaborate gymnastics to explain why our hereditary nobility is okay even though everybody else’s is icky and bad. This explanation may literally boil down to “a wizard did it” (i.e., some magical force exists to prevent the good guys’ nobles from abusing their power).
I think that about covers it, though I’m sure I’ve overlooked something – anybody who knows the subject better than I do should feel free to yell at me about it.
(As an aside, if some of this is sounding awful familiar, yes – My Little Pony: Friendship is Magic draws a lot of inspiration from romantic fantasy, particularly the early 90s strand. It’s not a straight example of the type – there are very few of those around today – but it’s not at all subtle about its roots.)
Oh, I read so much of this as a teen and young adult. It might have started a touch earlier than the 70′s with Anne MacCaffrey and Dragonriders of Pern? The most obvious example I can think of is Mercedes Lackey’s Valdemar books and over in the comic book medium, I think Wendy Pini’s Elfquest just squeezes in.
One thing about this genre, when I reread something from it that I loved 20 or 25 years ago, I go from extreme and affectionate nostalgia to quite literally blushing in embarrassment over some of those cringe-worthy bits you mentioned.
Yeah, Lackey’s Valdemar books are basically the platonic ideal of romantic fantasy for a lot of folks – though in spite of being arguably the most influential romantic fantasy author of her generation, Lackey herself was a relative latecomer to the genre.
As for McCaffrey, I’d hesitate to classify her Dragonriders of Pern series as romantic fantasy. I’ll grant that later entries in the series certainly develop in that direction, but especially early on it hews a lot closer to traditional heroic fantasy. Her Talent universe, however, is a dead-perfect example of the type, in spite of having an extremely variant setting.
(For those who haven’t read them, McCaffrey’s Talent books take place in a gonzo far-future space opera setting, revolving around the personal dramas of a pseudo-noble caste of godlike telepaths who enjoy their privileges as a consequence of being the setting’s only economical source of faster-than-light communication and transport. Weird stuff.)
I read so much Mercedes Lacky and Anne McCaffrey as a kid. I’d love to hear about the decline of the genre – I’m guessing that modern feminism and the lgbt movement had a lot to do with it? That is – the growth out of a lot of the more cringey tropes morphing the genre into something distinctly different?
Yeah, there were a number of different factors involved. Losing the LGBT audience was certainly part of it – not because of the inept handling of the subject matter per se, but because a lot of LGBT readers were reading romantic fantasy simply because they couldn’t get that kind of representation anywhere else, and when more LGBT authors started getting published in the mid 1990s, they had better options.
The Internet itself was another big culprit. Commercial Internet service went mainstream circa 1995, and suddenly, a lot of content that had formerly been the province of a hard core of dedicated hobbyists was accessible to everyone – most critically, online fanfic. Many folks, particularly among younger readers, found that online fanfic scratched the same itch as romantic fantasy; I recall a great deal of mid-to-late-1990s fanfic that basically applied the tropes and forms of romantic fantasy to video game settings, for example. (Chrono Trigger was an oddly popular choice – anyone old enough to remember that?)
This was compounded by mishandling by both authors and publishers. Though the new communication channels afforded by the Internet could have been a great boon to them, most romantic fantasy authors (correctly) perceived online fanfic as competing for their audience, and responded with extreme hostility. We’ve talked a bit about Mercedes Lackey; her stance on online fanfic was legendarily draconian, and often backed with litigation, to the extent that her nascent Internet fandom was basically smothered in its crib. By the time she mellowed out on the medium, it was too late. A lot of other romantic fantasy authors and publishers followed the same trajectory.
Lastly, the final nail in romantic fantasy’s coffin was basically J K Rowling’s fault, believe it or not. During the period in which romantic fantasy literature enjoyed its peak popularity, YA fantasy literature was in a low ebb; there wasn’t much of it coming out, and most of it wasn’t very good, so a lot of kids were reading romantic fantasy (in spite of its subject matter often being wildly inappropriate; I’ve mentioned in the past how many books about teenage girls having sex with dragons I ended up reading!). That youth demographic ended up being the last bastion of romantic fantasy’s mainstream readership – then the YA fantasy renaissance of the late 1990s stole that audience wholesale.
There were probably half-a-dozen other significant factors that contributed to romantic fantasy’s commercial decline, but those are the highlights.
I knew it was Rowling’s fault I couldn’t find “my” type of fantasy anymore! All of a sudden, everyone seemed to be trying to write the next Harry Potter. It was quite upsetting, as I had rather liked the fantasy genre the way it was before, back when it was generally agreed upon that magic ought to have actual rules 😛 I had no idea there was an actual name for this type of fantasy. I miss it dreadfully, though 😦 though, yes, certain scenes in the Mage Winds trilogy were pretty horrifying when I was ten…
Another element in the decline was related to the development of the internet, but only tangentially.
In the late 80s and early 90s, anime and manga began to be licensed more and more in the Americas and Europe. At first, most offerings were male-focused and had a narrow audience, but with the shift from bbs and rec.alt. to free personal webpages (thank you Netscape!), information about series from Japan spread much faster. At this point, the fansub community boomed (no really, boomed to the point where there were distributors in countries all over the world, not just in college clubs), due to the ability to publish their catalogs and contact information more easily. This brought a variety of shoujo and josei series to the attention of a wider audience, specifically of women, and suddenly female geeks who formerly had been following Romantic Fantasy found out that entire swaths of television and comics were already dedicated to them in Japan. (You can thank Sailor Moon for the explosion of shoujo that decade. No, really. I’m serious.)
1995 was a big turning point. In a single year, while Sailor Moon was finishing up season S and moving on to Super S, the following powerhouse anime were released: Fushigi Yuugi, Magic Knight Rayearth, Wedding Peach, Gundam Wing, Evangelion, and Slayers. Of these, the first 3 were shoujo; Fushighi Yuugi was an ancient China-themed portal anime that pretty much nailed the Romantic Fantasy genre right down the middle, Magic Knight Rayearth was a mecha portal magical girl series, and Wedding Peach was a real world magical girl series. As for the others, Gundam Wing was intended as a shounen SF war story to reboot the Gundam franchise, but it ended up with basically a yaoi fanbase dominated by women (fandom-wise, it was the Supernatural of its day, but with more lead characters and less incest). Evangelion was a groundbreaking grimdark apocalyptic disaster as notorious as it still is famous, and its audience was pretty well split in every way imaginable, including on whether they hated it or not. The only unmitigated success of the year not to draw most of its fanbase from among women was Slayers.
The impact of that year and the following (1996 was the year of Escaflowne and Hana Yori Dango) was immediately obvious if you went to SF&F cons in the US. The cosplay shifted, the panels shifted, there was a lot of sudden interest from women in what had been presented as a mostly male genre often erroneously equated with porn. Many women I had formerly discussed Bradley, Lackey, McCaffrey, and Rawn with were now discussing CLAMP and Takeuchi-sensei and the best places to get reasonably-priced import manga.
So yeah: internet fanfiction, Rowling/Duane/the YA crowd in general, books by queer authors who didn’t encourage us to think of ways to die heroically, anime & manga, and of course Supernatural Romance. Romantic Fantasy was a genre so tenacious that it took that many blows for it to mostly fall (and I would argue that it still informs fantasy television today). Or, conversely, you can think of the need that women have to see fantastical stories that reflect us as so powerful that for over 2 decades it drove an incredibly diverse group of women to all converge on a genre that didn’t entirely satisfy most of them but on which they were totally willing to spend money, because it was a genre women were actually producing for ourselves, and nobody else was listening.
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