blackwidowmarshal123 - Tumblr blog

[blackwidowmarshal123]

Stop!! this is too funny

Some outdated memes but with Napoleonic personalities

[blackwidowmarshal123]

[blackwidowmarshal123]

Thoughts

Hello Everyone,

This is blackwidowmarshal123 reporting to you. I have been in a maze of thoughts lately. I have been working at this job for almost 8 months, and really loved it. It gave me the challenge I needed. It was the only place where I felt supported and needed. I felt like an important team member. I was very grateful for what I’ve had. I only had to make space for having a good time outside of work, I needed time for hobbies. I had goals, like wanting to learn coding, saving up for a Masters Degree and choose a subject. Unfortunately, I lost my job, not bc I was fired (thank god), because of a bank scam. I had no choice but to look for work elsewhere. Tried to interview at retail stores, shops, corporate offices, remote, but everyone is rejecting my application. Even Amazon, Google and Disney. Like I don’t understand why I would be unfortunate in the inability to land a job. All they care about is finding the best of the best for their company, to a point where they don’t think about those want a place, too. There’s only certain people in the spotlight all the time. I don’t get a chance, because I don’t stand out as an applicant. And no one is interested in me. Maybe it’s America and the job industry becoming more unfair each year. I know I have a history of being replaceable in every design job I worked at. Maybe if I worked in a different country, I’d become more stable.

Some jobs, like retail, want to see people with full availability, weekends and weekdays, holidays. If not, you can’t get the job. Even a job like Entry Level, you just entered the industry, they want to see you take on things fast. They want you to already be able to hit all nails in the right place in how long? A MONTH. By the 5th week is where my anxiety comes, where I have to see if I’m able to stay with the company for any longer. My self-esteem plummets at that point. I’m frustrated, pacing back and forth, not being able to sleep for nights. I can’t stand the pressure. If I can’t land a design job, imagine how hard it would have been for people to respect me for what I do. They always are going to compare me to other professionals, no matter what. I could lose my friend’s respect, family will frown on me.

I just wasn’t sure what was coming next, what is supposed to be the next step for me. I know everyone has a set of milestones to reach, I felt like I wasn’t reaching many through my life. I even wanted a relationship. I wanted love, but the opportunities given to me weren’t good enough. I was scared of jumping into a relationship because of fear of disappointment, and this danger of getting trapped into someplace I can’t get out of. I’m aware of some women I’ve known, who always suffered, and things never got better. There were many more reasons to name outside of that.

I needed help, tried to reach out but I felt that barely anyone was actually able to help, the way I would imagine. In order to find a relationship, you will be told to put yourself out there, but the world isn’t pretty, because of it’s people. I can’t trust anyone I barely know, only those I’ve known for years, but I get tired of the same people I don’t care about.

There are people who are single and happy, living their best lives. There are those, like me, who are single, unhappy, and unemployed. The last thing, I wanna be told is that the workforce isn’t suitable for me, I should a housewife instead. Or worse, a spinster.

[blackwidowmarshal123]

“Bada Dukh Dina” song from movie “Ram Lakhan” Bada Dukh Dina means “Don’t Make Me Suffer”

Sketch studies for Levi Ackerman in kathak dance study, facial expression, body pose.

This is a quite interesting for me as an illustrator, because I enjoy watching Bollywood dance numbers and visualizing male anime characters embodying these dances. Not sure if this is something I would describe as LGBT or feminist artwork, but this theme has always been leading me somewhere. It took me time to realize what drove me to create this work are thoughts on patriarchal values in Indian cinema industry. Indian actresses take the role of these classical Indian dances, and very few Indian actors are represented in classical dances like kathak and Bharatnatyam. The only male actors that take such roles always end up doing modern dances, club dancing, and Bhangra. There seems to little emphasis on men for dance numbers at the level of famous actresses like Madhuri Dixit presented in this example.

We all know Levi Ackerman is almost always presented almost like a K - pop star with his striking gaze and unique undercut. But it’s so masculine to a point where any girl will simp over him. I’ve seen fem Levi art, too. The problem is he’s always sexualized in styles I can’t describe in proper vocabulary. My goal was to steer him away from that direction and present him in a different light. As you can see, I am fascinated with cross-dressing. I love Indian dance attire so much to a point where I want to see anyone wear it, even the most masculine and grouchiest of men wear it. I feel that these emotional dances were built for Levi, the melodrama, the emotion, the pain, and expression would things out into Levi that anime could not present.

As I read the sad and longing expressions on Madhuri Dixit’s face, I can imagine Levi Ackerman embodying that as he yearns for Erwin Smith’s arrival to save him from the royal enslaving him to be a court dancer.

[blackwidowmarshal123]

Apsara (Celestial Fairy) Levi Ackerman

[blackwidowmarshal123]

Dafli Wale Dafli Baja from the Indian movie “Sargam”

Artist: Lata Mangeshkar, Mohammed Rafi

Actors: Rishi Kapoor and Jaya Prada

Eruri (Erwin x Levi) fanart

Levi as Jaya Prada and Erwin as Rishi Kapoor

[blackwidowmarshal123]

[blackwidowmarshal123]

[blackwidowmarshal123]

Commander Erwin can join as well. I never see him in women’s wear much. So it’s time I allow him in a lehenga.

“Choli Ke Peeche Kya Hai?”: Bollywood's Scandalous Question, and The Hardest-Working Scene in Movies by Genevieve Valentine

In a nightclub with the mood lighting of a surgical theater, a village belle is crying out for a husband. Her friend Champa encourages and chastises her by turns; her male audience is invited to be the bells on her anklets. (She promises, with a flare of derision, that serving her will make him a king.) Her costume, the color of a three-alarm fire, sparkles as she holds center screen. The song and camerawork builds to a frenzy as if unable to contain her energy; the dance floor’s nearly chaos by the time she ducks out—she alone has been holding the last eight minutes together. And the hardened criminal in the audience follows, determined not to let her get away.

Subhash Ghai’s 1993 blockbuster Khalnayak is a “masala film,” mingling genre elements with Shakespearean glee and a healthy sense of the surreal. By turns it’s a crime story, a separated-in-youth drama, a Gothic romance with a troubled antihero, a family tragedy, a Western with a good sheriff fighting for the rule of law, and a melodrama in which every revelation’s accompanied by thunder and several close-ups in quick succession. (There’s also a bumbling police officer, in case you felt something was lacking.) It was a box-office smash. But the reason it’s a legend is “Choli Ke Peeche Kya Hai?”—“What’s Behind That Blouse?”— an iconic number that’s one of the hardest-working scenes in cinema.

See, Ganga (Madhuri Dixit) isn’t really a dancer for hire. She’s a cop gone undercover to snag criminal mastermind Ballu (Sanjay Dutt), who’s recently escaped from prison and humiliated her boyfriend, policeman Ram (Jackie Shroff). Ballu, undercover to avoid detection, is trying to avoid trouble on the way to Singapore…but of course, everything changes after Ganga.

Though the scene shows its age—the self-conscious black-bar blocking, the less-than-precise background dancers—it’s an impressive achievement. Firstly, it’s a starmaker: the screen presence of Madhuri Dixit seems hard to overstate. By 1993 she was already a marquee name, and she would dominate Bollywood box office for a decade after, both as a vivid actress and as a dancer whose quality of movement was without peer. But if you’d never seen a frame of Bollywood you’d still recognize her mountain-climb in this number—playing the cop who disdains Ballu playing the dancer trying to court him, performing by turns for the room and to the camera, conveying flirty sexuality without tipping into self-parody, and all on the move for kinetic camera shots ten to fifteen seconds at a time. Dixit’s effortless magnetism holds it fast; the camera loves what it loves.

But this is more than just a career-making dance break; “Choli Ke Peeche” is the film’s cinematic and thematic centerpiece. Khalnayak is about performativeness. Ballu performs villainy (sometimes literally) in the hopes it will fulfill him; Ram vocally asserts the role of virtuous cop to define himself against those he prosecutes. As Ballu performs good deeds—saving a village from thugs, ditching his bad-guy cape for sublimely 1993 blazers—his conscience grows back by degrees. As Ganga performs a moral compass for Ballu, her heart begins to soften. And at intervals, crowds deliver praise or censure, reminding us that all the world’s a stage. (It’s in the smallest details: While on the run, Ballu’s ready to kill a constable until it turns out he’s an extra in the movie shooting down the street.)

Keep reading

[blackwidowmarshal123]

I decided to add my take upon tribute to this song with AOT fanart.

“Choli Ke Peeche Kya Hai?”: Bollywood's Scandalous Question, and The Hardest-Working Scene in Movies by Genevieve Valentine

In a nightclub with the mood lighting of a surgical theater, a village belle is crying out for a husband. Her friend Champa encourages and chastises her by turns; her male audience is invited to be the bells on her anklets. (She promises, with a flare of derision, that serving her will make him a king.) Her costume, the color of a three-alarm fire, sparkles as she holds center screen. The song and camerawork builds to a frenzy as if unable to contain her energy; the dance floor’s nearly chaos by the time she ducks out—she alone has been holding the last eight minutes together. And the hardened criminal in the audience follows, determined not to let her get away.

Subhash Ghai’s 1993 blockbuster Khalnayak is a “masala film,” mingling genre elements with Shakespearean glee and a healthy sense of the surreal. By turns it’s a crime story, a separated-in-youth drama, a Gothic romance with a troubled antihero, a family tragedy, a Western with a good sheriff fighting for the rule of law, and a melodrama in which every revelation’s accompanied by thunder and several close-ups in quick succession. (There’s also a bumbling police officer, in case you felt something was lacking.) It was a box-office smash. But the reason it’s a legend is “Choli Ke Peeche Kya Hai?”—“What’s Behind That Blouse?”— an iconic number that’s one of the hardest-working scenes in cinema.

See, Ganga (Madhuri Dixit) isn’t really a dancer for hire. She’s a cop gone undercover to snag criminal mastermind Ballu (Sanjay Dutt), who’s recently escaped from prison and humiliated her boyfriend, policeman Ram (Jackie Shroff). Ballu, undercover to avoid detection, is trying to avoid trouble on the way to Singapore…but of course, everything changes after Ganga.

Though the scene shows its age—the self-conscious black-bar blocking, the less-than-precise background dancers—it’s an impressive achievement. Firstly, it’s a starmaker: the screen presence of Madhuri Dixit seems hard to overstate. By 1993 she was already a marquee name, and she would dominate Bollywood box office for a decade after, both as a vivid actress and as a dancer whose quality of movement was without peer. But if you’d never seen a frame of Bollywood you’d still recognize her mountain-climb in this number—playing the cop who disdains Ballu playing the dancer trying to court him, performing by turns for the room and to the camera, conveying flirty sexuality without tipping into self-parody, and all on the move for kinetic camera shots ten to fifteen seconds at a time. Dixit’s effortless magnetism holds it fast; the camera loves what it loves.

But this is more than just a career-making dance break; “Choli Ke Peeche” is the film’s cinematic and thematic centerpiece. Khalnayak is about performativeness. Ballu performs villainy (sometimes literally) in the hopes it will fulfill him; Ram vocally asserts the role of virtuous cop to define himself against those he prosecutes. As Ballu performs good deeds—saving a village from thugs, ditching his bad-guy cape for sublimely 1993 blazers—his conscience grows back by degrees. As Ganga performs a moral compass for Ballu, her heart begins to soften. And at intervals, crowds deliver praise or censure, reminding us that all the world’s a stage. (It’s in the smallest details: While on the run, Ballu’s ready to kill a constable until it turns out he’s an extra in the movie shooting down the street.)

Keep reading

[blackwidowmarshal123]

Attack on Titan Bollywood Voices

Eren Yaeger: Udit Narayan

Armin Artlet: Roop Kumar Rathod

Mikasa Ackerman: Alga Yagnik

Historia Reiss: Shreya Ghoshal

Ymir Fritz: Richa Sharma

Jean Kirstein: Shankar Mahadevan

Sasha Braus: Vaishali Made

Niccolo: Javed Ali

Connie Springer: Mohammed Aziz

Marco Bodt: Sonu Nigam

Marlo Fraudenburg: Adnan Sami

Hitch Drueyse: Archana Gore

Levi Elijah Ackerman: Mohammed Rafi

Hange Zoe: Asha Bhosle

Erwin Smith: Vinod Rathod or S.P. Balasubhramanyam

Nile Dawk: Hariharan

Petra Ral: Harshdeep Kaur

Annie Leonhart: Shilpa Rao

Reiner Braun: Javed Bashir

Bertholdt Hoover: Suresh Wadkar or Kumar Sanu

Floch Forster: Manohar Shetty

Rod Reiss: Kishore Kumar

Grisha Yaeger: Mukesh

Zeke Jaeger: Amitabh Bacchaan

Pieck Finger: Monali Thakur

Porco Galliard: Mohit Chauhan

Gabi Braun: Chinmayi

Falco Grice: Vijay Prakash

Colt Grice: Anand Bakshi

Yelena: Hadiqa Kiani

Onyakampon: Arijit Singh

Kuchel Ackerman: Kavita Krishnamurthy

Kenny Ackerman: Sukhwinder Singh

Karla Yeager: Lata Mangeshkar

[blackwidowmarshal123]

Erwin Smith’s New Morning Routine

To exercise his charming, commanding voice

[blackwidowmarshal123]

Late night thoughts:

Bertolt and Reiner having an Indian thumri sing-off. Bertolt having the most beautiful voice with high alto to low ranges. His voice having the components of what could also be a rock star singer and a classic maestro. Despite his voice being deep, he can flutter his notes like a butterfly transferring to a mellow tone. It’s so colorful, that women faint. Reiner possessing strong and loud vocals with perfect pitch, with a lionlike roar. He also can nail such butterfly like qualities but in his own way. Although his voice still takes over the stage winning crowds.

The music concert is an Indian classical and rock fusion with instruments presenting each end of the musical styles.

[blackwidowmarshal123]

Random thoughts

Morning moments:

Pieck’s cart Titan crawls up to you and sniffs your face, just like a pet cat.

[blackwidowmarshal123]

I love making breakfast quesadillas with eggs, cheese and any vegetable, because they make my breakfast more enjoyable and quick.

It's Show & Tell Time!

What’s your go-to favorite easy recipe to make?

[blackwidowmarshal123]

Introduction to the Voices of Bollywood

Lata Mangeshkar

Lata Mangeshkar is known as the Nightingale of India. Her music career started all the way back in the 1940s. She was a playback singer for many actresses throughout the decades. Her singing style is very classical and traditional. She has won awards for her talents, including three National Film Awards, four Filmfare Best Female Playback Awards, and India’s highest civilian honour. She was famous worldwide as well, that her songs translated in several languages, English, Russian, Dutch and Swahili. France even recognized her, Officer of the National Order of the Legion of Honour, in 2007 Her voice is described as very high-pitched, timbral. It can be shrill to some who complain, especially younger South Asian generations like mine. Some compare her to a squawking chicken. Yet when she sings, the music oozes with emotion, and she does sound like a 19 year old for a ninety, something year old. Her music in the sixties were gold. One of her songs I’d recommend is Pyar Kiya To Darna Kya, from the film Mughal-e-Azam. Or Kabhi Khushi Kabhie Gham from the film Kabhi Khushi Kabhie Gham (hey, it’s the same name).

I can see Lestizia Bonaparte taking over as the Queen of Indian singers, because Lata is a like a Motherly Queen herself. Lestizia is the Queen mother anyway, so why not. I can see her playback singing in her motherly role for her children. Lestizia as the mother from Kabhi Khushi Kabhie Gham awaiting for her son to return home from war.

Asha Bhosle

Asha Bhosle née Mangeshkar, was also a playback singer like her famous sister Lata. Her voice is very high-pitched as well kind of squawky, but unlike her sister, she is more versatile in her music style. She has done pop, film music, ghazals (spiritual instrumental music), traditional Indian classic, folk songs, and qawwalis. Her performance was notably stylish, sensuous, and fun in her singing, but very intriguing. Certain number of actresses who were invited to act in Bollywood songs with her playback singing were notably modernized and stylish. Some have compared her to a cabaret singer or a pop crooner (I don’t know what crooner means). I don’t listen to her music a lot, but I do love her performance. I would suggest Le Gayi from Dil To Pagal Hai, Radha Kaise Na Jale, from Lagaan.

She does make me laugh so hard, every time I associate her with Napoleon’s mistress Marie Walewska, as if I imagine her singing to the emperor like those flirty actresses.

Alga Yagnik

Here’s another high pitched woman who is widely known in Bollywood playback singing through 90s till late 2010s. Her voice is brighter and high pitched , less sharper than Lata Mangeshkar’s C Sharp tone. Definitely fit for female leads of modern films. She does playback for actresses like Aishwariya Rai, Kajol Devgan, and Preity Zinta.

Josephine de Beauharnais is a great match for Alga Yagnik, because not only of her beauty and elegance, but the fact she is always a female lead in nay Napoleonic film.

Udit Narayan

Popular playback singer of around the same time as Alga Yagnik, Udit Narayan’s voice is described as baritone, charming, and colorful. He does male lead actor playbacks for actors like Shah Rukh Khan and Ajay Devgan. He is very popular in the 90s and 2000s.

I like him for more youthful men, like Duroc or older mature, yet energetic men like Berthier.

I have had these four singers listed down. I have more to go. But gradually, it will add up to fulfill others’ imaginations. If anything, feel free to Google up these singers. They are everywhere, not hard to find. Use YouTube.

Bollywood Film Singers the I wish to see fit for Napoleonic Era figures

{I know nobody is familiar with these artists, but does it matter? It’s only a matter of creativity. It only depends on the execution of the performance. Each one of these singers have been part of my childhood growing up. They are my jibon (life)}

Napoleon Bonaparte: Kumar Sanu

Josephine de Beauharnais: Alga Yagnik (or Kavita Krishnamurti)

Madame de Remusat: Kavita Krishnamurti

Lestizia Ramolino: Lata Mangeshkar

Marie Walewska: Asha Bhoshle

Joachim Murat: Sukhwinder Singh (alt. Mika Singh)

Marie Louise: Shreya Ghoshal

Desiree Clary: Anuradha Paudwal

Hortense de Beauharnais: Shreya Ghoshal

Caroline Murat: Sunidhi Chauhan

Pauline Borghese: Vaishali Made

Elisa Bonaparte: Shalmali Kholgade

Eleanor de La Plaigne: Mamta Sharma

Jean Lannes: Shaan

Louise Lannes: Neha Kakkar

Michel Ney: Mika Singh

Bessieres: Atif Aslam

Eugene de Beauharnais: Sonu Nigam

Louis Alexander Berthier: Udit Narayan

Louis Bonaparte: Arijit Singh

Joseph Bonaparte: Shankar Mahadevan

Lucien Bonaparte: Abhijeet

Jerome Bonaparte: Benny Dayal

Aglae Auguie : Kunal Ganjawala

Nicholas Jean de dieu Soult: Adnan Sami

Louis Nicholas Davout: Abhijeet

Andre Massena: Vinod Rathod

Oudinot: Badshah

[blackwidowmarshal123]

Levi Jaan

It’s time we bring back the classic Indian dances to life in anime.

Umrao Jaan is an Indian classic, based off of an Urdu novel by Mirza Hadi Ruswa, published in 1899. This story is still never forgotten in India. It’s all about the lives of courtesans and toxic men that make up the base of the story. Starting with a young girl, Amiran who was kidnapped by the criminal Dilawar Khan and taken away to be left in a kotha (or dwelling) in Lucknow, India owned by a tawaif, (entertainer who caters to nobility, a woman) Khanum Jaan. Dilawar was attested in court against her father, which explains why he took revenge.

There, Amiran taking on the name of now Umrao Jaan, grew up in an environment where girls study classical music and dance to perform for clients. She makes friends with Ram Dai, fellow dancer. Living in the luxurious dream of mastering arts and reading, she comes to attract the wealthy and charming Nawab Sultan during her dance performance, who both fall in love. But a chain of events tore the couple apart, including an incident where Nawab Sultan shoots Dilawar Khan in the arm after a huge fight. This caused the couple to have to meet secretly, which led to Nawab Sultan ghosting Umrao Jaan.

She made a pact with Gauhar Mirza, an illegitimate son of a local Nawab to be her client and help her with earnings. She also came across a strange, new client named Faiz Ali, who turned out to be a dacoit, after showering her with stolen goods, which got her in jail. Luckily she was rescued by a local tawaif. Faiz Ali tries to capture her again until she decided to return to Khanum Jaan. However, she also decided to relocate to become a tawaif herself. She holds a performance at a Begum’s (or noble woman) house in Kanpur, until Faiz Ali’s brother Fazl Ali gathers a group of men to rob the house, but run away once they saw Umrao Jaan ready to kick their asses. Her favorite client Gauhar finally returns to the city, and she decides to go back to her dwelling.

Umrao’s peak in her journey is her final moment where her road comes to an end, when she performs in the court of Wajid al Shah until the Siege of Lucknow, forcing her to flee out of the city. She comes to her parent’s house, but they no longer welcome her back and she is shunned from her household. She runs into an old girlfriend, Ram Dai, who turns out to be married to Umrao Jaan’s former lover, but also wads the same Begum that Umrao Jaan was holding her performance. Umrao lived the rest of her life as a tawaif, eventually retiring.

Note: This story is a realistic fiction, not based on a real event. The types of dance in the movies that you may see if you ever come Umrao Jaan on any video search, may not always be deeply associated with the book. Bollywood and other individual films usually exaggerate or add dance items to cater to the Indian audience (who apparently love music and dance out of everything) The performances in these kothas are created from poetry.

Headcanon ideas related to Attack on Titan:

I have to say the music style of the time in India, hella fits into the Attack on Titan vibe.

Umrao Jaan : I picked Levi as the lead character as Umrao Jaan, because our Levi Jaan is a very alluring and charming man with a mixture of sternness and the ability to pick up on skills properly, and his gender roles have no limits. He seems like the type to lead on a plot of anything, doesn’t matter masculine or feminine. I particularly like darker roles for him, where he endures a lot and fights through, losing loved ones in the process.

Khanum Jaan: I can see Hange Zoe taking on as an energetic tawaif, who throws you out into the middle of the Raja’s court just to say, “I’ll see you later. Good luck!” And she sits there puffing her hookah, and nods with approval with a glint of her glasses

Ram Dai: Historia Reiss, because she was a Queen, she can be a Begum in this one

Nawab Sultan: Erwin Smith is perfect for this, because of the Eruri ship. So here’s your Nawab Smith, Levi Jaan.

Dilawar Khan: Kenny Ackerman (he’s a bad guy)

Faiz Ali: Zeke Jaeger

Lil bro Fazl Ali: Eren Jaeger (sorry Eren)

Gauhar Mirza: Jean Kirstein

Local Tawaif: Petra Ral

Wajid al Shah: Yelena

Now let’s focus on the musicians and other dancers

Other court dancers: Mikasa Ackerman, Sasha Braus, Connie, Annie Leonhart, and Ymir

Sitar player: Moblit or Ouro

Sarangi player: Our boi Bertolt plays the best solos as much to make people cry

Tabla player: Reiner

Harmonium player: Armin or Bertolt (Damn this dude can play more than one instrument. And Armin holy shit, he can conduct while slamming the harmonium)

Male Singer (individual singer): Marco Bodt or Reiner (Reiner isn’t just the drummer)

Conductor: Armin Artlet

Noble people: Hitch and Marlo as a couple, Yelena, Pieck Finger and Porco,