#British india note

[antiquecoins]

British India Banknotes | Old India currency notes

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[novelemporiumonline]

[novelcoins]

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[brokenbackmountain]

in 1947, india voted against the partition of palestine to form israel. in 2024, they sent their first batch of workers to replace palestinian labour in israel.

reminder that india-israel relations were formally established only in 1992, after they were criticised for barring israeli players from getting visas during the davis cup (1987).

in 2003, when israeli prime minister ariel sharon visited, large crowds protested. oppositions even called him "the leader of one of the most racist, colonial regimes in existence today."

note: nehru (the first indian prime minister) was semi-open to relations with israel, which he didn't persue at the behest of arab nations and indonesia; he recognised israel in 1950.

+ please listen to brownhistory's podcast on india and israel's history, which highlights what was said on this post + a lot more info

ok editing this post really quickly because it was pointed out that the phrasing makes it sound like the davis cup was the only reason (wrong). india and israel did have relations, since india used to ask for aid and tell them not to put the israeli flag while sending it so the arab nations wouldn't realise it's israeli

[agelessphotography]

Floating with Flowers, Dal Lake, Kashmir II, India, Vogue, Norman Parkinson, 1956

[brookheimer]

do i post my long explanation of empathy vs sympathy re: roman tonight or is that just excessive

[rewritingcanon]

its fleamont and euphemia, after fleeing from a war-strewn, divided india due to british colonialism to said country and anglo-saxonising their names to better fit in and build a more stable life for their son, only for said son attempting to fight oppressive supremacist powers within the country years later to build a more stable future for his son and dying because of it.

[indian-old-coins]

Unveiling the Rich Heritage of Indian Old Coins: A Collector's Delight

Welcome to BidCurios, your entryway to a fascinating historical trip in which we examine the appeal of antique Indian coins and the pleasure of collecting them. BidCurios provides you with an unrivalled opportunity to explore India's rich numismatic history by offering a wide range of categories, including Ancient India Coins, British India Coins, European Colonies in India Coins, Independent Kingdoms of India Coins, Indian Princely States Coins, Indian Sultanates Coins, Medieval Indian Coins, Mughal Emperors of India Coins, Republic India Coins, World Coins, and Error Coins. Together, let's go out on this numismatic quest to explore the past with these amazing artifacts.

I. Ancient India Coins - Echoes of Civilization

We go back to the early beginnings of Indian money when we look at the category of Ancient India Coins. Each coin, from the earliest punch-marked ones from the Mauryan and Indo-Greek eras to those from the Kushan, Sat vahana, and Gupta empires, represents the aesthetic and cultural riches of its epoch. Ancient Indian coins include writings and symbols that shed light on the social and economic structure of those societies.

You may immerse yourself in the intriguing history of India's ancient past thanks to BidCurios' wide selection of Ancient India Coins.

II. British India Coins - A Glimpse of Colonial Legacy

A period of colonial influence is introduced by British India Coins. These coins, which were first struck for the British East India Company and afterwards for the British Crown, have recognizable designs with effigies of British rulers and other significant images. The group comprises currencies like rupees, ana, and pie, each of which bears witness to the political and economic changes that colonial India underwent.

You may learn more about the numismatic history of the British Empire at BidCurios thanks to our wide range of British India Coins.

III. European Colonies in India Coins - Traces of Foreign Rule

The Indian Colonies of Europe The category of coins provides an overview of the numismatic legacy of the numerous European nations who founded trading posts and colonies in India. The distinctive designs on the Portuguese, Dutch, French, and Danish coins from their separate colonial lands represent the fusion of European and Indian traditions.

In order to highlight the complicated historical connections between India and these colonial powers, BidCurios aims to highlight the numismatic artifacts of European authority in India.

IV. Independent Kingdoms of India Coins - Sovereign Coinage

We examine coins produced by numerous independent princely states and kingdoms that coexisted with the areas under British authority under the category of Independent Kingdoms of India Coins. These coins display distinctive regional artistic characteristics and have inscriptions in regional tongues, which speak to the period's many cultural identities.

We at BidCurios have a collection that honors the independence and varied coinage of the princely nations in India.

V. Indian Princely States Coins - The Majesty of Royalty

Indian Princely States Coins are attractive because they capture the opulence of a bygone era's monarchy. Individual princely nations that were ruled by the British Crown created these coins. Each princely state had its own distinctive currency that reflected the history and culture of the area.

The collection of Indian Princely States Coins that BidCurios offers enables collectors to experience the majesty and aesthetic delicacy of princely coinage.

VI. Indian Sultanates Coins - Remnants of Medieval India

The Indian Sultanates Coins category takes us back to the Middle Ages, when distinct sultanates dominated various parts of India. These sultanates' currency provides evidence of the splendor and wealth of their reigns.

The collection that BidCurios is offering evokes the spirit of medieval India with its interesting and varied coins.

VII. Medieval Indian Coins - Tracing India's Historical Timeline

The category of Medieval Indian Coins includes coins from all of the dynasties and historical periods that helped to shape medieval India. Each coin, from the Cholas and Chalukyas to the Delhi Sultanate, depicts the political climate and cultural variety that were prevalent at the time.

Through a carefully chosen collection of coins, BidCurios provides a window into the historical fabric of medieval India.

VIII. Mughal Emperors of India Coins - Artistic and Cultural Magnificence

Indian Mughal emperors In the development of Indian currency, coins have played a crucial role. Under the Mughal emperors' patronage, coins were minted that displayed the glory of the Mughal Empire via elaborate writing and artistic depictions.

A collection honoring the creative and cultural history of the Mughal Empire is proudly offered by BidCurios.

IX. Republic India Coins - Numismatic Evolution

A new era in Indian numismatics is represented by Republic India Coins. These coins, which have development and aspirational motifs on them, have been produced since the first ones after India gained its freedom.

We provide a wide variety of Republic India Coins at BidCurios that trace the development of the country's money.

X. World Coins - Global Treasures

In addition to Indian coins, BidCurios also offers you a variety of World Coins from many regions and historical periods. These coins from many nations and civilizations provide a fascinating window into the numismatic history of the planet.

XI. Error Coins - Unique and Rare Finds

Despite being accidental, error coins have a high value to collectors. In order to provide a sense of interest to any collection, BidCurios takes great satisfaction in offering a variety of these uncommon and unusual treasures.

Conclusion

In your search for ancient Indian coins and more, BidCurios is your dependable ally. We encourage you to go on a numismatic adventure unlike any other with our broad range of categories, each of which offers a treasure trove of historical relevance and creative excellence. Visit www.bidcurios.com to explore the heritage of Indian antique coins, reconnect with history, and rediscover the past. Your collecting experience will be very enjoyable thanks to our staff of knowledgeable professionals and passionate collectors. Join BidCurios today to begin or grow your collection, and explore the fascinating world of numismatics!

Read our Full article: Indian Old Coins

[novelemporiumindia]

British India notes came into existence after the Paper Currency Act, This Act gave the Government the monopoly to issue notes in India Victoria Portrait Series was the first set of British India notes that were issued

[novel-emporium]

Online Marketplace to Buy & Sell Coins, Notes - Novel Emporium

Novel Emporium is India's only trusted portal for buyers & sellers, powered by Marudhar Arts. We specialize in selling & buying antique coins, notes, stamps, etc. Do you want to buy or sell ancient Indian coins, notes, stamps, and other collectibles online? Then Novel Emporium can be a one-stop online antique coin shop for you, and with us, you can collect complete antique items collections. We propose coins in different metals such as silver, gold, and copper. Additionally, To know more about us - https://www.novelemporium.com/ Follow us on: Facebook - https://www.facebook.com/RippleofNE Twitter - https://twitter.com/RippleofNE Instagram - https://www.instagram.com/novel_emporium_maru/ Pinterest - https://in.pinterest.com/RippleofNE/ Telegram - https://www.t.me/novelEmporium/

[ranilla-bean]

culture tips for writing asian settings: tea varieTEAs

atla's got major Tea Guy representation in iroh but let's be real, even non-tea guys are going to be drinking tea in an asian-inspired setting—you'd be served it instead of water most places. so, what kind of tea are you picking for them?

as an east asian reader, it can take me out of the setting to see the characters drink something like chamomile (from europe/west asia) or... most herbal teas, to be honest. ngl it was weird to see iroh in the show, characterised as a huuuuuuge tea snob, drink stuff like jasmine (it's fine it's just basic, is all! imo!) or like.... a random flower he encounters in the wild.

when we're talking tea, real asian tea, we're talking about the leaf of the camellia sinensis plant. the huge variety we have of tea is actually from the different ways of processing that exact same leaf. popular varieties include:

green: the leaf goes through minimal processing, can have a bright and even leafy/grassy flavour (examples: gunpowder, longjing aka dragon well, matcha, genmaicha)

white: also undergoes minimal processing, with a lighter flavour than even green (examples: silver needle, shou mei)

oolong: the leaf is semi-oxidised, curled, and twisted—can be characterised by a tanniny flavour with a bright aftertaste. my personal favourite! (examples: da hong pao, tieguanyin, dong ding, alishan)

dark (black): note this isn't the same as black tea as we think of it in english. the leaf is fermented to produce an earthy tea with a flavour like petrichor (examples: pu'er)

all the teas listed in the "examples" are fairly credible teas that i think a real tea snob like iroh would drink.

ok, but what about...

"black tea" as we know it in the west—assam and ceylon etc? this variety is actually called "red tea" in chinese. we don't drink it with milk but to be honest, i've just... never really heard of anyone drinking chinese red tea? which is why i've kept it off the list. (there's lapsang souchong, but i associate that with bri'ish people...) anyone who does drink it, let me know! on the other hand something like assam/ceylon, while extremely delicious and also asian, is a product of british colonialism and is consumed with milk. i think if you wanted to massage some of the traditions & have chai-drinking indian-influenced characters, though, that's cool!

do you actually not drink herbal tea? we do... but a lot of it is considered medicinal. we've got stuff like herbal "cooling tea" with ingredients like sour plum, mesona, or crysanthemum; tea that warms you up like ginseng or ginger. the whole concept of hot/cold in chinese medicine though... that deserves another culture post

camellia leaf murdered my family & i have a grudge against it; what else can my blorbos drink? there'a some good, tasty stuff made of wheat, barley, buckwheat, even soybean. wouldn't be egregious for the characters to drink that!

is milk sacriligeous? a real tea snob would think so, but a lot of asians nowadays are chill about milk in tea—usually in western-influenced red tea. hong kong, thailand, india, taiwan, and malaysia (among others) have their own cultures of milk tea, which has even become a democratic rallying point.

what do you think of iroh inventing bubble tea? my main issue with it is it's anachronistic! it was invented in taiwan in the late 20th century, but atla's set in the equivalent of the mid-19th century... you could also make arguments about whether iroh's too snobby about tea to invent it LOL

there's soooo much more i can say about all this so: keep your eyes peeled! i'll talk about medicine & tea ceremony in the near future <3

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[novelemporiumonline]

british india banknotes for sale

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[novelcoins]

[ghelgheli]

hey you might've been asked this before sorry if so, but have you read or do you have any thoughts on A short history of Trans Misogyny?

I have read it! I have a few thoughts.

I think it's a strong and important work that compiles historical archives into sharp analyses of how "trans misogyny" (using Jules Gill-Peterson's spacing) is not a recent phenomenon but a globalized structure with centuries of history. I also think it's flawed, for reasons I'll get into after a quick summary for those who haven't had the chance to read it yet.

JGP divides the book into three main chapters, the first on the notion of "trans panic". There, she traces how variants of this anxiety with the trans-feminized subject have presented—to deadly effect, for the subject—in such different settings as early colonial India, the colonization of the Americas, the racialized interactions between US soldiers stationed in the Philippines and the local trans women living there, and of course the contemporary United States itself. In every case she analyzes this "panic" as the reaction of the capitalist colonial enterprise to the conceptual threat that the trans-feminized subject poses; we are a destabilizing entity, a gender glitch that undermines the rigid guarantees of the patriarchal order maintaining capitalism. Punishment follows.

The second chapter is my favourite, and considers the relationship between transfeminine life and sex work. I posted a concluding excerpt but the thrust of the chapter is this: that the relegation of so many trans women and trans-feminized people to sex work, while accompanied by the derogation and degradation that is associated with sex work, is not itself the mere result of that degradation inflicted upon the subject. In other words, it is not out of pure helplessness and abjection that so many trans-feminized people are involved in sex work. Rather, sex work is a deliberate and calculated choice made by many trans-feminized people in increasingly service-based economies that present limited, often peripheralized, feminized, and/or reproductive, options for paid labour. Paired with a pretty bit of critical confabulation about the histories of Black trans-feminized people travelling the US in the 19th century, I think this made for great reading.

In her third chapter, JGP narrativizes the 20th century relationship between the "gay" and "trans" movements in north america—scare quoted precisely because the two went hand-in-hand for much of their history. She emphasizes this connection, not merely an embedding of one community within another but the tangled mutualism of experiences and subjectivities that co-constituted one another, though not without tension. Then came the liberal capture of the gay rights movement around the 70s, which brought about the famous clashes between the radicalisms of Silvia Rivera and Marsha P Johnson (neither of whom, JGP notes, ever described themselves as trans women) and the institutions of gay liberalism that desired subsumption into the folds of capital. This is a "remember your history" type of chapter, and well-put.

I think JGP is correct to insist, in her introduction, on the globalizing-in-a-destructive-sense effects of the colonial export of trans womanhood. It is, after all, an identity conceived only mid-century to make sense of the medicalized trans subject; and "gender identity" itself (as JGP describes in Histories of the Transgender Child) is a psychomedical concept conceived to rein in the epistemic instability of trans existence. This is critical to keep in mind! But I also think JGP makes a few mistakes, and one of them has to do with this point.

In her first chapter, under the discussion of trans misogyny in colonial India, JGP of course uses the example of the hijra. Unfortunately, she commits two fundamental errors in her use: she mythologizes, however ambiguously, the "ascetic" lives of hijra prior to the arrival of British colonialism; and she says "it's important to say that hijras were not then—and are not today—transgender". In the first place, the reference to the "ascetism" of hijra life prior to the violence of colonialism is evocative of "third-gender" idealizations of primeval gender subjectivities. To put the problem simply: it's well and good to describe the "ritual" roles of gendered subjects people might try to construe contemporarily as "trans women", the priestesses and oracles and divinities of yore. But it is best not to do so too loftily. Being assigned to a particular form of ritualistic reproductive labour because of one's failure to be a man and inability to perform the primary reproductive labour of womanhood-proper is the very marker of the trans-feminized subject. "Ascetism" here obviates the reality that it wasn't all peachy before (I recommend reading Romancing the Transgender Native on this one). Meanwhile, in the after, it is just wrong that hijra are universally not transgender. Many organize specifically under the banners of transfeminism. It's a shame that JGP insists on keeping the trans-feminized life of hijra so firmly demarcated from what she herself acknowledges is globalized transness.

My second big complaint with the book is JGP's slip into a trap I have complained about many times: the equivocation of transfemininity with femininity (do you see why I'm not fond of being described as "transfem"?). She diagnoses the root of transmisogyny as a reaction to the femininity of trans women and other trans-feminized subjects. In this respect she explicitly subscribes to a form of mujerísima, and of the trans-feminized subject as "the most feminine" and (equivalent, as far as she's concerned) "the most woman". Moreover, she locates transfeminist liberation in a singular embrace of mujerísima as descriptive of trans-feminized subjectivity. As I've discussed previously, I think this is a misdiagnosis. Feminization is, of course, something that is done to people; it is certainly the case that the trans-feminized subject is in this way feminized for perceived gender-failure. This subject may simultaneously embrace feminized ways of being for all sorts of reasons. In both cases I think the feminization follows from, rather than precedes, the trans misogyny and trans-feminization, and there is a fair bit of masculinization as de-gendering at play too, to say nothing of the deliberate embrace of masculinity by "trans-feminized" subjects. Masculinity and femininity are already technologies of gender normalization—they are applied against gender deviation and adapted to by the gender deviant. The deviation happens first, in the failure to adhere to the expectations of gender assignment, and I don't think these expectations can be summarized by either masculinity or femininity alone. I think JGP is effectively describing the experience of many trans-feminized people, but I do not think what she presents can be the universalized locus of trans liberation she seems to want it to be.

Now for a pettier complaint that I've made before, but one that I think surfaces JGP's academic context. In her introduction she says:

In truth, everyone is implicated in and shaped by trans misogyny. There is no one who is purely affected by it to the point of living in a state of total victimization, just as there is no one who lives entirely exempt from its machinations. There is no perfect language to be discovered, or invented, to solve the problem of trans misogyny by labeling its proper perpetrator and victim.

Agreed that "there is no perfect language to be discovered"! But JGP is clearly critical of TMA/TME language here. Strange, then, that less than ten pages later she says this:

this book adds the phrase trans-feminized to describe what happens to groups subjected to trans misogyny though they did not, or still do not, wish to be known as transgender women.

So JGP believes it is coherent to talk about "groups subjected to trans misogyny", which she thinks consists of the union of trans women and what she called "trans-feminized" groups. If this is to be coherent, there must be groups not subjected to trans misogny. So we've come around to transmisogyny-subjected and not transmisogyny-subjected. Look: you cannot effectively theorize about transmisogyny without recognizing that its logic paints a particular target, and you will need to come up with a concise way of making this distinction. But JGP dismissing TMA/TME with skepticism about "perfect language" and immediately coining new language (basically TMS/not TMS) to solve the problem she un-solved by rejecting TMA/TME... it smells of a sloppy attempt to make a rhetorical point rather than theoretical rigour. It's frustrating.

I have other minor gripes, like her artificial separation of "trans women" from "nonbinary people" (cf. countless posts on here lamenting the narrow forms of existence granted TMA people if we want recognition as-such!) or her suggestion that "a politics of overcoming the gender binary" is mutually exclusive from rather than necessarily involved with struggles around "prison abolition, police violence, and sex work". Little things that give me the sense of theoretical tunnel-vision. But I don't think all this compromises the book's strengths as a work of broad historical analysis. I would simply not take every one of its claims as authoritative. Definitely give it a read if you have the chance, especially for the second and third chapters.

[phenakistoskope]

There is a difference between Bollywood and Bombay cinema?

listen, subcontinental cinema began in bombay; the very first exhibition of the lumieres' cinematographe was held there in 1896, a few months after its debut in paris, 1895. this event predates the discursive existence of bollywood and hollywood. shree pundalik and raja harishchandra, the films that are generally considered the very first subcontinental features were also exhibited there first.

subcontinental cinema under british colonialism was produced in certain metropolitan centers such as lahore, hyderabad, and calcutta; bombay was just one of them. in 1947, when the indian nation state was formally inaugurated, the idea of a "national cinema" began forming, but given the cultural and linguistic heterogeneity of the indian union, this was quite untenable. regional popular cinemas flourished well into the 1950, 60s, 70s, and 80s and various art cinemas began taking shape alongside.

under the economy that i'm going to completely elide as "nehruvian "socialism"" bombay cinema focused on broadly "socialist" themes, think of awara (1951), do beegha zameen (1953), pyaasa (1957), all of which focus on inequality in indian economy and society from different perspectives. these films were peppered in with historical dramas, and adaptations from literature, but the original stories tended towards socialist realism. reformist films centering the family generally waxed poetic on the need to reform the family, but i haven't seen enough of these to really comment on them.

the biggest hit of the 70s, sholay (1975) was about two criminals, posited as heroes fighting gabbar singh who was attacking village folk. deewar (1975) also had two heroes, and the stakes were the two brothers' father's reputation; the father in question was a trade union leader accused of corruption.

"alternative cinema" included mani kaul's uski roti (1969) and Duvidha (1973) both of which were situated away from the city. then there's sayeed mirza and his city films, most of them set in bombay; arvind desai ki ajeeb dastan (1978), albert pinto ko gussa kyun aata hain (1980), saleem langre pe mat ro (1989) which are all extremely socialist films, albert pinto was set in the times of the bombay textiles strike of 1982 and literally quotes marx at one point. my point is that bombay cinema prior to liberalization was varied in its themes and representations, and it wasn't interested in being a "national cinema" very much, it was either interested in maximizing its domestic profits or being high art. note that these are all hindi language films, produced in bombay, or at least using capital from bombay. pyaasa, interestingly enough is set in calcutta, but it was filmed in bombay!

then we come to the 1990s, and i think the ur example of the bollywood film is dilwale dulhania le jayenge (1995) which, in stark contrast to the cinema that preceded it, centered two NRIs, simran and raj, who meet abroad, but epitomize their love in india, and go back to england (america?) as indians with indian culture. this begins a long saga of films originating largely in bombay that target a global audience of both indians and foreigners, in order to export an idea of india to the world. this is crucial for a rapidly neoliberalizing economy, and it coincides with the rise of the hindu right. gradually, urdu recedes from dialogue, the hindi is sankritized and cut with english, the indian family is at the center in a way that's very different for the social reform films of the 50s and 60s. dil chahta hai (2001) happens, where good little indian boys go to indian college, but their careers take them abroad. swadesh (2004) is about shah rukh khan learning that he's needed in india to solve its problems and leaves a job at NASA.

these are incidental, anecdotal illustrations of the differences in narrative for these separate eras of cinema, but let me ground it economically and say that bollywood cinema seeks investments and profits from abroad as well as acclaim and viewership from domestic audiences, in a way that the bombay cinema before it did not, despite the success of shree 420 (1955) in the soviet union; there were outliers, there always have been.

there's also a lot to say about narrative and style in bombay cinema (incredibly diverse) and bollywood cinema (very specific use of hollywood continuity, intercut with musical sequences, also drawn from hollywood). essentially, the histories, political economies, and aesthetics of these cinemas are too differentiated to consider them the same. bombay cinema is further internally differentiated, and that's a different story altogether. look, i could write a monograph on this, but that would take time, so let me add some reading material that will elucidate this without sounding quite as fragmented.

bollywood and globalization: indian popular cinema, nation, and diaspora, rini bhattacharya mehta and rajeshwari v. pandharipande (eds)

ideology of the hindi film: a historical construction, madhav prasad

the 'bollywoodization' of the indian cinema: cultural nationalism in a global arena, ashish rajadhyaksha

the globalization of bollywood: an ethnography of non-elite audiences in india, shakuntala rao

indian film, erik barnouw and s. krishnaswamy (this one's a straight history of subcontinental cinema up to the 60s, nothing to do with bollywood, it's just important because the word bollywood never comes up in it despite the heavy focus on hindi films from bombay, illustrating my point)

[lesamis]

1810s dashboard but it's niche drama

💛 heartofanna Following

imagine cancelling someone for saying war is bad

🧵 sharethewoe Follow

#didn't expect better from w*rdsworth but some people i rly thought i could count on…… #anyway we will live to see this empire fall. can't stop history lol (via @heartofanna)

speaking as someone who was press ganged at the age of 17 to serve in his majesty's royal navy i couldn't be more grateful for your poem. young men like me are cannon fodder and you spoke for so many of us. fuck napoleon but fuck parliament even more.

86 notes

chatterpwned-deactivated78345629743

stable forgiving virtuous flourishing in my lane definitely not buying poison moisturized unbothered never been better

chatterpwned-deactivated78345629743

me when i lie

179302 notes

🏛 mynoseisfine Follow

Settling this once and for all. What does the public actually think about the Parthenon marbles debate:

🦉 realminerva Follow

lol i know it’s you lord elgin

🦉 realminerva Follow

like we joke and all but fully aside from the fact that removing the sculptures from greek soil was vulturine and opportunistic etc, it’s really just the tip of a frankly gigantic mountain of imperialist bullshit. let’s not pretend we haven’t been brutally killing hundreds who resisted oppression in india, LITERALLY BOMBED A NEUTRAL EUROPEAN CAPITAL, and embarrassed ourselves in the charge against napoleon for years now. pathetic ass empire & evil as hell to boot. @mynoseisfine the greeks who carved your marbles millennia ago would kick your tory ass so hard

3661 notes

🎀 emmawoodhousestan Follow

how do i still keep seeing thomas chatterton's final post being reblogged, wtf is wrong with you freaks??? he was seventeen it was tragic and horrible and happened ages ago. he was a kid just let him rest

294 notes

🍎 masque-off Following

callout post for @castleyeah @lordsidmouth @officialcoe @parliamentofficial: they oppress, murder and famish the british working people & also suck majorly

⛪ castleyeah Follow

sour cuz you’re unfit to have custody of your own kids huh

🍎 masque-off Following

proud to be the dad of a newborn who could already rend your pudding spine asunder with a mere glance

187 notes

🦆 mallardturner Following

finished this today 😊

44 notes

😎 chadeharold Follow

why is it always “you’re risking your life and legacy & will get yourself killed before the age of five and twenty” and never how was swimming the hellespont the hellespont looked fun was it fun

🎭 loved-joanna Mutuals

ohhh my god you swam the hellespont five years ago?? wooow should we tell everyone?? should we throw a party?? should we invite famous hero of greek myth leander who swam the hellespont

😎 chadeharold Follow

@loved-joanna look we never had any beef & don’t have to start this now. it’s cool that you’re sticking up for my ex, you guys were friends first, but just know that i’ve always trusted your opinion on my work & genuinely respect and admire you & would still be up for a collab whenever.

🎭 loved-joanna Mutuals

yea sure why don’t your lips collab with my ass

😎 chadeharold Follow

on it boss

1009 notes

#literally call me. down if you are

🍂 endymion Follow

sorry is it me or is the assassin who stabbed german bootleg wordsworth kinda…… 🥵

💄 biprincesscharlotte Mutuals

JOHN KEATS????????

2427 notes

#i'm p sure this is the author of lamia thirstposting on main??? help

🌾 huntsmanx Follow

romanticism this romanticism that why don’t you romanticise universal suffrage and rights for labouring people

🌾 huntsmanx Follow

anyone else in jail for seditious libel

🏹 axelaidtotheroot Mutuals

lmao i'm one of the “anyone else”s and i know you’re enjoying family visits and apparently some kind of cushy armchair situation, plus tons of books. try being in here as a spencean dude they won’t even let me learn how to write. worst of all some evangelical came by yesterday just to proselytize & put me “on the right path” fml

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🗻 mounttambora Follow

y'all i don't feel so good :/

59 notes