#I'm in awe of him

[feluka]

Please support Yassin (@/yassindraws on twitter) if you have an account there. He's an Egyptian artist who is a victim of the regime's crackdown on protestors. He posts a lot of beautiful paintings.

Here's a some of them documenting his trauma from his time in prison.

[ID: Responding to a tweet by @/MustafaHosny that reads: "ايه الدعاء اللي نفسك يتحقق في ليلة القدر؟", a quote retweet by @/yassindraws that reads: "خروج كل المحبوسين ظلم و يعيشوا حياتهم و ينسوا كل الأيام الحزينة و يكون عندهم ذكريات سعيدة زي ما بقى عندي دلوقتي".

Attached is a traditional painting, depicting a man peering through a tiny window in his jail cell door. He is wearing a white T-shirt that says "تحقيق" and is turned away from the viewer. While his torso is distinct, his bottom half melds into the background, which is a vague pattern of teal and brown hues, meant to represent the wall, but also overcomes parts of the prisoners himself and the cell door, and bleeds into their outlines.]

[Translation: Responding a tweet that reads "What prayer do you wish will come true on the night of destiny?", he tweets "The emancipation of all the unjustly imprisoned, and that they will be able to live fulfilling lives and forget these miserable days, and be able to make beautiful memories like I have now."

The word on his shirt in the painting is an Arabic word that could be translated to either "interrogation" or "realisation".

The night of destiny is the night where the full moon appears during the month of Ramadan.]

[ID: A tweet by @/yassindraws captioned "Memory". Attached is a traditional painting, depicting a dozen prisoners dressed all in blue, facing against the wall with their heads bowed. All of their hands are cuffed together behind their backs, save for the prisoner nearest to the viewer, whose hands are in front of him, exposing his back to a warden who is drawing back a whip. Another warden is pointing to the prisoner. All figures are abstracted and vaguely outlined, but especially the prisoners', whose faces are not outlined at all, and instead blend with the sepia-toned walls they are facing.]

[ID: A tweet by @/yassindraws that reads: في سجن وادي النطرون صياد عجوز من سيناء مسجون من اربع سنوات كل يوم وقت التهوية "التريض" قاعد في الطرقة قدام الزنازين بيصنع شبكة علشان عنده أمل انه يخرج و يصطاد سمك بيها. لوحة رسمتها في سجن وادي النطرون ١ سنة ٢٠١٨ في شهر رمضان".

Attached is a traditional painting depicting a man in his jail cell wearing a white tank top weaving a net in red, green, and blue stripes. Where his neck and head would be, instead spouts a collection of lilac, lavender, and pink colored flowers from his tank top. At his side is a water bottle, and above it, pinned to the wall is a paper that says "هذا الوقت سيمر."]

[Translation: The tweet says "In Wadi-Al-Natroun prison, an elderly fisherman from Sinai, every day during "excercise" time he would weave a net because he has hope he will get out and catch fish with it. I painted this in Wadi-Al-Natroun prison in 2018 during the month of Ramadan."

The paper on the wall in the painting says "This time will pass.]

[ID: A tweet by @/yassindraws that reads: مسجون كان معايا في سجن استقبال طرة زنزانة 1-4 كان محبوس لمدة 4 سنين في سجن العقرب و كان بيقول دايما انه لما جالنا بقى حاسس انه خرج من السجن من شدة قسوة ظروف السجن الاول".

Attached is a traditional painting of a man slumped over a folding chair, his arms folded around his chest. Where his head would be, a single rose sprouts from the neck of his blue sweater. It appears to be wilting.]

[Translation: The tweet says "He was imprisoned with me in Tora prison cell 4-1. He spent 4 years in Al-Aqrab prison prior, and always used to say that when he transferred to join us, he felt like he was emancipated because of how brutal his previous prison experience was.]

[ID: A tweet by @/yassindraws that reads: "رسمت اللوحة دي في زنزانة رقم ١٤ انفرادي في سجن استقبال طرة 2017 كنت عايش في زنزانة لوحدي طول الوقت مبتكلمش مع حد مفيش غير حيطان مبتشوفش شمس لان الزنزانة جوة عنبر معزول".

Attached is a monochromatic traditional painting depicting a prison cell from the point of view of its sole occupant. There is a pair of slippers on the floor, and a couple of bags hanging from the ceiling. The word "الله" is written on the cell door. The painting is done almost entirely in blue, except for small specks of magenta and yellow arranged close to the center.]

[Translation: The tweet says "I painted this in cell number 14 in solitary in Tora prison. I lived in this cell all by myself with nobody to speak to but walls that never see sunlight because the cell was inside an isolated ward."

Written on the door is the word "God".]

The 2011 Revolution:

[ID: A tweet by @/yassindraws posted on the 25th of January, 2024. It says: "لما كنا بنحب بعض"

Attached is a traditional painting depicting the events in Tahrir square in Cairo, Egypt, during the protests of January 25th, 2011. The median of the square is occupied with white and cyan tents set up by the protestors. The surrounding streets are flooded with masses of people, holding up signs. Some signs are abstracted, but some of them are legible, and they read: "حرية"، "سلمية"، and "الشعب يريد اسقاط النظام".

The masses of people are depicted abstractly by alternating patterns of black and white, but some of the heads in the crowd are splotched with streaks of bright red. Some red appears to be bleeding through some of the tents as well.

In tbe very center, among the tents, is a single yellow flower, painted at a scale larger than that of any item in the painting.]

[Translation: The tweet reads "When we loved each other". The signs read "Freedom", "Nonviolence", and "The people want to dismantle the regime".]

Mosque in Alexandria:

[ID: A tweet by @/yassindraws that says "صلاة التهجد النهاردة من مسجد القائد إبراهيم- الاسكندرية".

Attached is a dichromatic traditional painting depicting a mosque in Alexandria, Egypt. The painting is done with distinct vertical strokes representing the walls of the mosque, and horizontal strokes to represent the stairs. The figures of people praying and a tree by the stairs stand out as the most cohesive elements, represented by dark silhouettes. The painting is done with cyan as a base color, dark teal for the shadows, and bright yellow for the highlights.]

[Translation: The tweet says "Tahajjud prayers today at Al-Qaaed Ibrahim Mosque- Alexandria].

[ID: A traditional painting of a man sitting down on a step in a dimly lit room, sketching on a paper on his lap.]

[ID: A tweet by @/yassindraws that reads "و انا صغير كنت بستنى اخر شهر رمضان محلات البقالة لما تبدء تبيع العاب و بلالين اللي ينحط فيها حبوب ارز و تشخلل و نعمل ازعاج للناس و كورة و مسدسات بلاستيك و كانت طموحاتنا نخرج في العيد بعيد عن اهالينا و الناس اللي تعرفنا و ننبسط".

Attached is a traditional painting of a typical Egyptian street. The road is unpaved and lined with trees. Children are marching along away from the viewer. Closest to the viewer is a figure sitting down on a stool next to a tree.]

[Translation: The tweet says "When I was a child, I would always wait for the end of the month of Ramadan so that the grocers start selling toys and balloons that we would fill up with grains of rice that we would rattle to make noise and annoy people and balls and plastic guns and our ambitions were to go out on Eid and go far away from our families and everybody who knew us and be happy".]

[ID: A tweet by @/yassindraws that reads "I'm an Egyptian artist and I made this 🌻" (It ends with a sunflower emoji.)

Attached is a video of a young man with short cropped black hair and brown skin, dressed in light beige shorts that reveal a flower tattoo on his calf, and a navy blue short-sleeved t-shirt with a pattern of green and rose leaves. He is turned away from the viewer, holding a canvas that is slightly taller than him and approximately twice as wide as him.

He slowly turns around, smiling, revealing the painting on the canvas: a realistic sunflower on a sky-blue background.]

[herewegobebe]

TAEMIN | 'Strings' ✦ Metamorph

[fawnforevergone]

Quick List of References to Dante's Inferno in "Unreal Unearth" (Part Two)

HELLO !!! there is now an updated list since we have now heard the old album so please go check that out instead: [ the ultimate "unreal unearth" reference list" ]

[ PART ONE ]

I'm back!! A bit later than intended but here are the rest of the references we currently know :]

THIS WAS WRITTEN BEFORE THE ALBUM RELEASE !!!! please take it with a pinch of salt.

"ALL THINGS END" This song, similarly to "Eat Your Young", doesn't have many specific references, but, as Hozier himself has said, the song is about the sixth circle of Inferno, 'Heresy'. The act of Heresy is the act of holding a belief contradictory to (especially Christian) religion, and this idea is very prevalent throughout the song. "Just knowing that everything will end should not change our plans when we begin again." 'Ending' is used in two ways throughout the song. One: A breakup. Two: Death. The latter is important for Heresy, where Hozier clearly defies the idea that death will be the end for him. 'Beginning again' is often a term used to relate to the afterlife, and, here, Hozier shows himself going against God's plan to give him a restart, saying that he won't allow death and finality to dictate how he lives his life. No specific references to Inferno, but Dante was a religious man, and that theme especially sticks out in this song.

"TO SOMEONE FROM A WARM CLIMATE (UISCEFHUARITHE)" Now, this placement of this song confuses me heavily, I'll be honest. The word "Uiscefhuarithe" is an Irish word meaning "water cooled", which wouldn't align with where we are in Inferno. We are either in circle six or seven, so 'Heresy' or 'Violence', both of which deal with the idea of heat, fire, or boiling sands/rivers. Since the song is name "To Someone...", I believe the song could be written towards the idea of someone in this circle of Hell, rather than Hozier, or whoever he is writing as, residing there themselves. No references with the lyrics we have so far, but the 'warm climate' is interesting for where we are at this point in Hell.

"BUTCHERED TONGUE" So, at this point, I'm highly unsure of where we are in terms of circles, but I'm trying my best. This song will either be 'Violence' or 'Fraud', yet, as far as I can tell, and please correct me if you spot something I don't, I don't see any specific references to anything in particularly. "And ears were chopped from young men, if the pitch cap didn't kill them. They are buried without scalp in the shattered bedrock of our home." However, this lyric does seem to display unjust and violent imagery, so perhaps the song is leaning towards Hozier's distaste of those deserving of the punishment that the circle of 'Violence' holds.

"ANYTHING BUT" Now, I believe we are at 'Fraud', the eighth circle. The issue with these last three circles, especially the eighth, is that they are split into subcategories, 'Fraud' of which has ten. However, the first few circles of 'Fraud' contain people such as panderers, seducers, and flatterers, and the song appears to be very flattering. "I'd lower the world in a flood, or, better yet, I'd cause a drought. If I was a riptide, I wouldn't take you out." This song could be in a similar context to most of the album where Hozier admits to the sin, yet argues against the idea of the sin being a bad thing when it's not practiced in extremity. For example, the 'Lust' in 'Francesca' is portrayed as harmless yet consuming love. Aspects of 'Eat Your Young' convey hunger, 'Gluttony', in a, again, harmless lustful way and then contrasts it with a political hunger. 'Anything But' seems to fall into that category of turning a sin into a love song, as Hozier often does.

"ABSTRACT (PSYCHOPOMP)" I'm going to make a leap and say that this song could possibly not be about a circle at all, but, instead, the transition from one circle to the next. A 'Psychopomp' is a chauffeur of death, someone like the Grim Reaper or, as aforementioned, Charon, who plays a heavy role in the story of Inferno, and, obviously, Virgil, the second main character of Inferno. "The poor thing in the road, its eye still glistening. The cold wet of your nose, the earth from a distance: See how it shines, see how it shines." The lyrics seem to reflect on the idea of something dead, yet also still recognising the beauty in its now-faded life. Since the album seems to be a metaphor for one or more relationships, and the song after this is 'Unknown/Nth', I'm going to make the assumption that this song is Hozier reflecting on the goodness of a previous relationship from the persona of a Psychopomp, delivering this love from life to death. Inferno is about the idea of death, and Dante spends most of his journey being lead, delivered, and guided through sin by various people, but particularly Virgil, who, after the final circle, he parts with.

"UNKNOWN/NTH" This song is stacked with references to the Nth and final circle of Inferno, 'Treachery'. "I'd have walked across the floor of any sea, ignored the vastness between all that can be seen and all that we believe." 'Treachery' is a frozen over lake, where winds grow stronger the closer you grow towards the middle. It's a vast, frozen expanse and, although not a sea floor, crossing the lake of 'Treachery' evokes a similar image in my mind to what Hozier is saying. "Where you were held frozen like an angel to me." There are many 'angel' lines but, with the mention of 'frozen' and the ice of 'Treachery', I'll pick this one. The reason why the winds grow stronger in 'Treachery' the closer you get to the centre is because, stuck in the middle, too big to escape, is Lucifer, the fallen angel. The winds are caused by the violent movement of his wings as he tries to move, only trapping himself further. "You called me angel for the first time, my heart leapt from me. You smile, now, I can see its pieces still stuck in your teeth. And, what's left of it, I listen to it tick, every tedious beat, going unknown as any angel to me." The imagery of Hozier having his heart stuck in someone's teeth is a metaphor to the fact that, when Dante and Virgil arrive at the sight of Lucifer, they see that he is chewing on Judas, another betrayer of God/Jesus. "Going unknown as any angel to me" is gorgeous. Hozier realises, as God did with Lucifer, that the one he loves is no angel, but a traitor. 'Treachery' is a betrayal of trust, and the song clearly references neglect or mistreatment of Hozier's love and trust, and the metaphor of God and Lucifer is a beautiful way to put that. "That I'd walk so far just to take the injury of finally knowing you?" The walk through Hell is a long and tiresome journey, to which Hozier references here. He relates his experience of this relationship to the walk through Inferno, arriving at 'Treachery' and feeling like, despite the outcome not being a positive one, he finally knows his lover in their painful entirety.

"FIRST LIGHT" Though we have no lyrics, I have a theory... as always, but, at the end of this day, this title means SO much being the closing track. At the end of Inferno, Dante and Virgil leave Lucifer stuck, and make their way out of Hell through the same tunnel that Lucifer's body left behind after he was thrown through the earth, down to Hell. They emerge on the other side of the earth and Dante says they can "see, once more, the stars", ending on a cadence of hope, similar to a 'first light'. I mention in part one of this post the utter darkness of Inferno that Hozier references in the earlier songs on this album, and this title seems like a perfect conclusion to emerging from Inferno, and recovering from the damage he suffered throughout his journey.

---

OKAY !!!! If I missed anything, let me know, I'm so excited to know what everyone else thinks of the album, and WE ARE GETTING DE SELBY PART TWO IN LIKE FOUR DAYS ?!?!?!?!?! SOOOO

I'm thinking of doing a long winded break down for each song on the album, and previous albums too, so perhaps I will share more of my theories later since, surprisingly, some of you are actually interested in listening to me word vomit over a text post. ANYWAYS!!! I hope this was helpful to some people or at least interesting :] I had fun writing it, so <3

[s0up1ta]

"so grunkle ford how do you know bill?"

"... that's not important."

[abracadaze]

i feel so bad for nikola tesla like imagine spending years beefing with a guy who has conned the public into believing he's some sort of supergenius when in reality it's his overworked employees developing all of his world-changing inventions and you end up dying broke and starving and alone and then 100 years later another guy cons the public into believing he's some sort of supergenius when in reality it's his overworked employees developing all of his world-changing inventions and he's doing it all IN YOUR NAME. he must be rolling in his grave like a fucking rotisserie chicken

[anglerflsh]

"people didn't get canceled before these sjw" Dante put all the people he disliked in literal hell

[collieii]

someone probably said this already but in spiderverse i think it's interesting how when pavitr was first introduced everyone thought something bad was gonna happen to him bc of how confident and optimistic he was. and then in the actual movie we see that something bad was supposed to happen to him (police chief dying!) but it doesn't! miles stops it! and miguel berates miles for this, says it's going to cause the universe to collapse or whatever.

there's this idea that tragedy is inherent to spidermans growth, and while it's true that some spiderpeople learn important lessons through loss, no one stops to ask, is it really necessary? yeah, maybe the chief was supposed to die. but why does spiderman have to be formed through tragedy? why do we (as heroes) have to let people die? pavitr didn't lose anyone, and he's still a good spiderman! maybe, if he doesn't suffer, he'll end up better off for it!

so while miguel is arguing for all this big picture stuff about saving the multiverse he's lost sight of what it really means to be a spiderman, he's not looking out for the real individual people. yeah it's just one person who would die, but that one person means something to someone. shrugging and saying "stuff just sucks sometimes, we can't do anything about it" is the opposite of what superheroes do. pretty obviously, miles arc is also a reflection of the struggles people face in real life, working within unequal systems, where it's easy to shrug and say "that's just the way it is" and not ask "but why does it need be this way? can't we do something about it?"

miguel is arguing that you can't have your cake and eat it too. presumably, miles and co. are going to find a way to get around that and change things for the better (and maybe that's why miles has that line about two cakes in the advisors office!)

[canisalbus]

Happy non chocolate cake day.

.

[sheerakk]

[violent138]

My personal headcanon for Clark Kent interviewing Bruce Wayne (when neither of them know each other's secret identity) is that Clark is the one person Bruce doesn't flirt with and leaves with a halfway coherent interview. A reluctantly impressed Perry White sends Clark repeatedly to get quotes, and work on more articles, leading to Bruce and Clark having several calls, some of which jokingly get called "off the record calls". This goes on for several months before they realize that's just called being friends, they hang out, and they have their identity reveal, it's less jarring because they know a lot about each other and Bruce informs Clark that he's sending Clark a suit made of more durable materials when Bruce realizes how rippable it is during making out.

[egophiliac]

happy new year Ego!!! Just wanted to let you know that I absolutely adore your twst fanart and the tags are just an absolute pleasure to read! You are my greatest inspiration for my personal twst art and I just wanted to thank you for your wonderful masterpieces <333 if possible, may I ask what are some of your headcanons for the diasomnia family? If not for diasomnia then any other characters are fine as well!

thank you, and happy new year! 💚💜💚 that is amazing to hear; it's always a little bewildering but super flattering that other people like my silly little doodles so much!

I don't think I really have any really solid headcanons and also canon keeps validating me left and right (FLUFFY DOMESTIC DIAFAM IS REAL). mostly just kind of...impressions and general thoughts, if that makes sense! lately though I've been kind of obsessed with thinking about Lilia's hair, and specifically when/why he ended up cutting it. (l-look, we're bouncing around the timeline and I gotta make decisions about these things when I draw, it's relevant) (I mean I would probably be weirdly fixated on this anyway, but.)

I think I've settled on the idea that he kept it long until he went to NRC, partly because 1) I like drawing The Ponytail, and 2) I think he thought of NRC as a chance to reinvent himself a bit! he gets to go and be a wacky carefree teenager for a few years and have fun! (officially he's there to keep an eye on Son #1, but how much trouble could he get into, really.) so he gave himself a Cool Teen Haircut to go with his fresh new Cool Teen Persona!

also maybe he had some reflection on his hair's troubled past with three kids...

...and had to weigh his vanity versus the fact that he was going off to be around hundreds of kids on a daily basis, and. the choice suddenly seemed obvious.

[feluka]

"How many of you have ever been to Jerusalem? Raise your hand if you have ever been to Jerusalem. We have 60 students here, and we have one... two, probably three... That's that's very few of you! I've never been to Jerusalem. We're Palestinians; we live in Gaza; we can't go to Jerusalem because of the Israeli occupation.

But we love Jerusalem, right? [A chorus of students saying "yes".] We love Jerusalem because of what it means to us. We've never been there, but believe me, when you go there you will feel that you've been there hundreds of times. Because you read about Jerusalem in literature, in stories. Of course it doesn't mean that that's it, that we should take the Jerusalem that's in the stories and that's it, no.

But in literature, Jerusalem comes back to us. It's true that there is suffering; there is pain; there is occupation, and that's why Tamim Al-Barghouti, as a young Palestinian poet, I think is doing a great service to the Palestinian cause and the Palestinian struggle.

When you listen to him reciting his poem from Al-Quds, or other poems, he takes you to Jerusalem. You live in Jerusalem. He takes you back to it. You liberate it for just a little bit of time.

And if there is hope; if you can imagine a free Palestine, a free Jerusalem, probably you will work towards that, and the same thing applies to occupied Palestine. We've never been to other parts of Palestine because of the Israeli occupation, but we've been told so many times by our parents and our grandparents, especially our mothers, they've been telling us stories about Palestine in the past, the good old days, when Palestine was all beautiful, unoccupied, unraped.

Therefore, I say in in this case how our homeland turns into a story. In reality, we can't have it; we don't have it, but it can turn into poems, into literature, into stories, so our homeland turns into a story. We love our homeland because of the story. We love our homeland because of the story, and we love the story because it's about our homeland, and this connection is significant.

Israel wants to sever this relationship, for example between Palestinians and the land; Palestinians and Jerusalem, and other places and cities, and literature attaches us back - connects us strongly to Palestine, so in my thinking, this is a very significant thing that literature contributes to. Creating realities; making the impossible sound possible.

In real life, again because we are here in Palestine and Gaza, I'll be giving you examples from Palestinian and Arab literature so we can compare and make things clearer. We all know Fadwa Tuqan, the Palestinian poet - and please do not introduce her as Ibrahim Tuqan's sister, let's talk about her as Fadwa Tuqan and then somewhere else mention that, "by the way, Ibrahim Tuqan was her brother". Let's not throw her under the shadow of a man, even if it's her brother, who was a great poet, we can't deny that.

So this is Fadwa Tuqan, a Palestinian poet, 40 years ago or 50 years ago, writing poetry... Of course, we always fall into this trap of saying "she was arrested for just writing poetry!" We do this, even us believers in literature, "Why would Israel arrest somebody or put somebody under house arrest if she only wrote a poem?!"

So we contradict ourselves sometimes. We believe in the power of literature, changing life as a means of resistance, a means of fighting back and in the end we say, "She just wrote a poem!" We shouldn't be saying that.

Moshe Daya, an Israeli general, said that the poems of Fadwa Tuqan were like facing 20 enemy fighters. Wow.

She didn't throw stones; she didn't shoot at the invading Israeli military jeeps. She just wrote poetry. And I'm falling for that again, I'm saying "she just wrote poetry".

So this is what how Israel's dealing with Palestinian poets, and the same thing happened to Palestinian poet Dareen Tatour. She wrote poetry celebrating Palestinian struggle; encouraging Palestinians to resist, not to give up, to fight back. She was put under house arrest. She was sent to prison for years.

And therefore I end here with a very significant point. Don't forget that Palestine was first and foremost occupied in Zionist literature and Zionist poetry.

Palestine was presented as these things, I'll be mentioning some of them, but there's a contradiction here, there's a paradox always. "Palestine is a land without a people to our people without a land", "Palestine flows with milk and honey", "there's no one there, so let's go". We'll see how later on, how many even Jewish people were disappointed when they came to Palestine. Number one, there was no milk and honey, because "flowing with milk and honey" sounds like you're just going to be groping around, and milk and honey will be thrown at you - and there were people! There have always been people in Palestine.

The fact that Israel worked hard to ethnically cleanse Palestine, to kick Palestinians out, first and foremost in literature - yes, in politics and everything - shows how significant poetry is.

To sum up, Palestine was occupied metaphorically in the poem long before it was physically and militarily occupied in your life, so let's do the same. Let's fight back; let's restore Palestine in in our writings; in our poetry; in our stories."

-Professor Refaat Alareer explaining to his students the power of poetry as a means of resistance, and why the occupation targets poets, during one of his lectures at IUG.

[platoapproved]

— A flaccid full-length play based on nothing other than the superficial observations of the vampire Sam, his meditation on vampiric existence and enduring. — Strange, I remember you racing back from rehearsals to tell me how ambitious the conceit was.

[sky-kiss]

@molinaesque / @shahs1221 was kind enough to design a timeskip!Raphael. He's utilized and abused here.

Posted with her permission. And honestly, if you're not following her: go follow her. Because LOOK AT HIM. Look at that moody, sexy man. Look at his hair. Look at his everything.

Seriously. Go follow her. She's so insanely talented, and so purely lovely. Do yourself a favor. Good god. She's incredible.

[s0up1ta]

woe human bill be upon ye 🫵

[dlartistanon]

Seeing them in RS reminded me how good their dynamic is. I will not stand for Zofia erasure. Zofia is the one who has mentored and supported Maria all this time. Zofia openly shows her care and concern and was willing to die with Maria just so she wouldn't be alone.