#i know there are avenues for change and i know that we make incredible advancements every year towards the liberation of these basic human-

[starbound-tactician]

It's not ok for it to nearly be 2023 and we are still fighting for women's rights and black rights and lgbtq rights and NOW WE ALSO HAVE TO FIGHT OVER THE RIGHT TO HAVE AN ADVERTISEMENT FREE SKY? ON TOP OF ALL THAT *AND* THE FACT THAT MOTHERFUCKERS ARE STILL POLLUTING THE PLANET?

Maybe this is why people can't see themselves living to be old anymore. Maybe it's because the longer we live the more outrageous things get fucked up until we just can't see a future where we can live in anymore. What the fuck. This is so fucked.

[poshditt]

Mastering the Art of Event Management: A Guide to Success

Intro:

In the vibrant realm of event management, orchestrating memorable experiences is not merely a task; it's an art form. Whether you're a seasoned professional or someone looking to step into this dynamic industry, understanding the ins and outs of event management is crucial. In this comprehensive guide, we will delve deep into the world of event management, explore its advantages, discuss its future trends, and assess its scope. By the end of this journey, you'll have a profound understanding of how this industry works and why it's a promising career choice.

Advantages of Event Management:

Event management offers a plethora of advantages for both professionals and clients alike. Let's explore these benefits in detail:

1. Creativity Unleashed: Event management is a canvas where your creativity knows no bounds. From crafting unique themes to designing breathtaking decor, you can let your imagination run wild. This creative freedom is a major draw for individuals passionate about making events unforgettable.

2. Diverse Opportunities:The field of event management is incredibly diverse. You can specialize in corporate events, weddings, concerts, or even sporting events. This diversity allows you to choose a niche that aligns with your interests and expertise.

3. Thriving Job Market: Event management is a thriving industry with a constant demand for skilled professionals. As businesses and individuals continue to host events, the need for experienced event planners and managers remains high.

4. Excellent Networking Opportunities: Event managers are constantly in contact with a wide range of people, from vendors to clients. This provides an excellent opportunity to build a strong professional network, which can open doors to new opportunities and collaborations.

5. Personal Satisfaction: Few careers offer the level of personal satisfaction that event management does. Witnessing the joy and gratitude of clients and guests as they enjoy a flawlessly executed event is incredibly rewarding.

Future of Event Management:

As we step into the future, the landscape of event management is poised for exciting changes. Here are some trends and innovations that are shaping the industry:

1. Virtual and Hybrid Events: The COVID-19 pandemic accelerated the adoption of virtual and hybrid events. This trend is likely to continue as technology evolves, allowing event managers to create engaging online experiences that reach a global audience.

2. Sustainability: Eco-friendly events are gaining momentum. Event managers are increasingly focused on reducing waste, conserving energy, and using sustainable materials. This aligns with the growing environmental awareness of clients and attendees.

3. Data-Driven Decision Making: Event managers are harnessing the power of data analytics to make informed decisions. This includes attendee behavior analysis, feedback collection, and real-time event monitoring to enhance the overall experience.

4. Immersive Experiences: Augmented reality (AR) and virtual reality (VR) technologies are being integrated into events to provide immersive experiences. This adds an exciting dimension to event planning and execution.

5. Enhanced Security Measures: In an era of heightened security concerns, event managers are prioritizing safety. This includes implementing advanced security protocols, emergency response plans, and crowd management strategies.

Scope of Event Management:

The scope of event management is vast and promising. It encompasses a wide range of events and continues to evolve with changing trends and demands. Let's explore the various avenues within this industry:

1. Corporate Events: Corporations often host conferences, product launches, team-building events, and seminars. Event managers play a crucial role in ensuring these events run smoothly and achieve their objectives.

2. Weddings and Social Gatherings: Wedding planners and event managers specialize in creating dream weddings and memorable social gatherings. This sector thrives on creativity and personalization.

3. Concerts and Entertainment: Event managers in the entertainment industry are responsible for organizing concerts, music festivals, and other live performances. This field offers a thrilling and fast-paced environment.

4. Sporting Events: Sporting events, from small tournaments to international championships, require meticulous planning. Event managers coordinate logistics, security, and fan experiences.

5. Non-Profit and Charity Events: Event management is also significant in the non-profit sector. Fundraising galas, charity auctions, and awareness campaigns rely on skilled event planners to maximize their impact.

Conclusion:

In the world of event management, every detail matters, every moment counts, and every experience is an opportunity to create lasting memories. This dynamic industry offers boundless creativity, diverse career paths, and the chance to shape the future of celebrations and gatherings.

As we've explored in this guide, event management is not just about logistics; it's about weaving stories, creating magic, and leaving an indelible mark on people's lives. With the ongoing evolution of technology, sustainability, and personalization, the future of event management promises to be even more exciting and rewarding.

So, whether you're an aspiring event manager or a seasoned pro, remember that every event you orchestrate is a canvas, and you are the artist. Your skill, dedication, and creativity will continue to be in high demand, ensuring a bright and fulfilling future in this ever-evolving industry.

Author:

Aditi

Achievers Destination Academy

Follow Achievers Destination Academy for updates, visit our site for more detail: www.adaminischool.com

[fnibbet]

MY THOUGHTS ON THE NEW WANDAVISION EPISODE

Don’t click the cut if you don’t want spoilers, I won’t be shy with them, neither are they in chronological order. I’m not that good at theorizing but I’m just putting what I noticed out there.

PIETRO

Pietro is definitely not the Pietro we know. He is way too self aware, constantly refers to life outside of Westview, and as expected, has selective amnesia. Wanda directly asks about childhood memories of their own Halloweens, and he doesn’t answer correctly. Also, the line “you probably suppressed a lot of the trauma”. ohohoh. There is definitely something off, but he’s the couch surfer, good-with-kids, troublemaker uncle we expected, which I can excuse.

HOWEVER

“I’m just trying to do my part, okay? Come to town unexpectedly, create tension with the brother-in-law, stir up trouble with the rugrats, and ultimately give you grief. I mean, that’s what you wanted, isn’t it?” Also, “Next thing I know I heard you calling me” this is pretty disturbing. Who called him to Westview? Wanda says she did, but doesn’t know how she did it. Her reaction to him coming back just proves more she’s just a puppet to a higher power. Who? 

“Why do you look different?” Wanda is not the one who recast Pietro.

“If I see any funny business I’m going to magic you into a pickled herring” Is Wanda referring to the “red herring” writing tool? Is Pietro just a distraction? It would make sense given her color scheme is all about red... Let’s see if I’m right. Other than that it’s a funny gag.

LITERALLY EVERYTHING PIETRO SAYS IS DISTURBING AND/OR SHOWS HIS AWARENESS OF THE SITUATION.

OTHER WESTVIEW RESIDENTS

Several other Westview residents seemingly become aware of the situation; Wanda’s control is slipping. Herb asks, “Is there something I can do for you? Do you want something changed?” possibly referring to the whole simulation, not the neighborhood watch rounds on Halloween.

Agnes is scared. She is DEFINITELY NOT Mephisto or the one controlling the simulation. Vision snapped her from Wanda’s control, nothing fell apart, she was terrified. 

Speaking of Agnes: there is a parallel to 1x03 “Now In Colour” wherein Agnes hesitates before telling Vision he’s dead. “Because we’re all...” “Because we’re all what?” becomes a parallel to Vision saying “Because I’m what?”. All in all pretty disturbing, this could point to a theory in which all the Westview residents are either dead or blipped but didn’t come back. However I’m pointing for dead or just missing, because there was nothing mentioned about missing people after the blipped were brought back in other movies. Marvel is notoriously bad about handling the consequences of the blip though, so I’m not holding my breath.

“Huh... These people, near the edge of town...They're barely moving. Are they alive?” Jimmy inadvertently says the most horrifying things...

THE TWINS

One of the twins has super speed, the other, reality-bending powers and telepathy. “A chip off the old Maximoff block” indeed.

WANDA: And please just remember to-- BOTH: Don't go past Ellis Avenue. We know, Mom. We know. Ellis Avenue is the edge of town, and the theory that kids can’t be mind controlled is proven correct: Agnes’ comment about that is mirrored. Wanda has apparently told the twins repeatedly to not go past Ellis Avenue. She can’t mind control them so she does the next best thing, set believable, parental restrictions and boundaries, like any “normal” parent would do, but with a far different intent behind it. Yikes.

I read on another post that Westview is basically Wanda living out her parents’ perfect life: this seems really logical now that her twins display the exact same powers as her and Pietro.

S.W.O.R.D.

Hayward is a ✨d i c k✨

The stinky bastard is just as sus as we expected, he’s looking for the vibranium decay signature inside the anomaly to monitor Vision, assumingly to see how fast he’s dying. HE CAN SEE INSIDE WESTVIEW FOR GODSAKES.

Vision started decaying and being sucked back into Westview the instant he got out. He cannot exist outside the Maximoff anomaly.

Monica’s cells have been rewritten several times by the energy inside the anomaly: could this be a new super’s birth? A new Scarlet Witch?

That said, what kind of powers does she gain? The same kind used to keep the people in Westview “alive” (between quotes cause I’m not sure of my theory yet), so either the same powers as Wanda, or something involving immortality. Either way, holy shit I can’t wait.

Not only could Hayward see inside Westview, it was noted by SWORD people that a lot of people suddenly stopped moving. Wanda needs to focus on them moving to be able to control them: it gets a bit buggy and stops entirely later. Maybe it’s because she was focused on Pietro and the twins? The timeline between Wanda and Vision’s respective actions wouldn’t line up though.

S.W.O.R.D literally got ABSORBED by Wanda’s bubble expanding. What happens to Darcy?? She’s the only one of the trio who didn’t escape!!

THE AD

A recurring theme so far, this one is weirder than ever. No HYDRA or Stark symbolism this time, that’s probably been dropped with the advancing of the decades. The snack advertised is called “Yo-Magic: The snack for survivors.” Make of that what you will...

A TEMPORAL ANACHRONISM

This might be nothing, but I still find it interesting. The sign of the movie theater in one of the scenes lists two movies playing: The Incredibles and The Parent Trap. The first movie won’t come out until 2004, but The Parent Trap came out in 1998, which makes the timeline of the episode very fuzzy. Additionally, the twins didn’t age themselves up, they had no reason to, but it’s still suspicious. Does this happen in the 90s or the early 2000s?? The episode is in the style of a 90s sitcom (turned psych horror) and the show isn’t supposed to hit the early 2000s until episode 7, unless Wanda’s decided to speed things up. But why?

THE SITCOM THEME

Yes, I am making an entirely new bullet just for this. It is so disturbing.

🎶Wanda, Wanda Vision 🎶

Don't try to fight the chaos

Don't question what you've done

The game can try to play us

Don't let it stop the fun

Some days it's all confusion

Easy come and easy go

But if it's all illusion

Sit back, enjoy the show

Let's keep it going

Let's keep it going

Through each distorted day

Let's keep it going

Though there may be no way of knowing

Who's coming by to play

Holy fuck, okay. Shit’s been dialed up to 11. Buckle up.

[violetsystems]

The family of a 13-year-old boy killed by Chicago police Monday are calling for justice for their son — and want to know why they weren’t told he was killed until two days after the shooting.

At around 2:30 a.m. Monday, a police officer shot and killed seventh grader Adam Toledo in the 2300 block of South Sawyer Avenue. Chicago police have released few details about the incident, saying officers were responding to a ShotSpotter alert of shots fired when they encountered two people in an alley.

After one person ran away, an “armed confrontation” took place and an officer shot a person in his chest, police said in a statement. Police did not explain what they meant by “armed confrontation,” but Toledo was pronounced dead on the scene.

“Adam had many dreams that he will never get to live out,” the boy’s mother Elizabeth Toledo wrote on a GoFundMe page to raise money for his funeral. “Ironically one of his dreams was to become a police officer.”

Elizabeth Toledo reported her son missing days before the shooting, she told Block Club. On Wednesday, two days after the shooting, police reached out to the family asking for a photo, she said. She thought they were asking for the missing persons report. But about a half hour later, they knocked on her door asking her to go to the Cook County Medical Examiner’s office to identify his body, Elizabeth Toledo said.

“They told me I had to identify my son’s body and I couldn’t even see him, they showed me a picture of my son Adam for just a couple of seconds,” his mother said.

Adam Toledo attended Gary Elementary School, his mother said. He was a “happy boy” who played with Hot Wheels cars and liked to ride bikes with the youngest of his four siblings.

“He would cheer everyone up just with his smile, with his thoughts,” his mother said. “ …He was only a kid. [Police] could have done something else, not kill him…If they are trained to shoot, why shoot to kill him?”

On Friday afternoon, Don Terry, director of the Police Department’s Office of News Affairs, told Block Club that Adam Toledo was reported missing on March 26. The following day, police checked with the boy’s mother, who told them he had returned home.

She did not report him missing again, Terry said, so that case was considered closed. As for the delay in telling Adam Toledo’s mother about the killing, Terry said police spent two days trying to identify the boy’s body. He said they called Adam’s mother after seeing his description matched the recently closed missing person case.

The Civilian Office of Police Accountability is investigating the killing.

According to their preliminary investigation, COPA officials determined responding officers came across two people and chased after them on foot, at which point one of the officers shot and killed Toledo, spokesman Ephraim Eaddy said in a statement. That officer fired his weapon once, Eaddy said.

After the shooting, police spokesman Thomas Ahern tweeted a photo of a gun, which he said was found at the scene. Police declined to answer additional questions about the shooting or who the gun belonged to.

COPA has not said whether Toledo or Ruben Roman Jr., a 21-year-old man arrested nearby following the shooting, had a weapon.

In a statement, Brown released no further details, but said “the split-second decision to use deadly force is extremely difficult for any officer, and is always a heavy burden to bear for officers involved in fatal shooting incident.”

“My greatest fear … has been a deadly encounter between one of our own and a juvenile especially given the recent rise in violent crimes involving juveniles throughout our city,” Brown said. “Unfortunately, this fear became a reality earlier this week. Any loss of life is tragic, especially when it involves youth.”

The officers involved have been placed on administrative duty for 30 days.

The fatal shooting was captured on the officer’s body worn camera, Eaddy said. As outrage over the shooting intensified, city agencies pressured each other to release the police footage.

Eaddy initially said state law bars the agency from publicly releasing videos that involve children.

Mayor Lori Lightfoot then pushed COPA to expedite the release of police video in a series of tweets.

“As a mother of a 13-year-old myself, I can only imagine the incredible pain this boy’s parents are experiencing at this moment. My heart goes out to them,” she wrote. “While the investigation is ongoing it is critically important that COPA release relevant videos first to the family, and then to the public, as quickly as possible, with appropriate protections, given his age.

Police Supt. David Brown also called on COPA to release video of the shooting.

United Working Families, a group dedicated to advancing social justice causes and supporting Black and Brown people, said Lightfoot was the one with the power to release the video. They urged Chicagoans to sign a petition calling on the city to do so.

Attorney Matt Topic, who specializes in government transparency, said the courts have repeatedly rejected COPA’s interpretation of the Juvenile Court Act they said prevented them from releasing the footage.

Friday afternoon, COPA officials reversed their decision, and said they would release the footage within 60 days in accordance with city law.

The family’s attorney, Adeena Weiss Ortiz, told reporters the family will be able to view available body cam footage next week.

“Adam…was a good kid without a criminal record. She is a good mom. She didn’t work, she spent time taking care of her children. On Sunday night, she put Adam to sleep in his room that he shared with his brother,” Weiss Ortiz said.

“At this time, the family doesn’t have all the information. All we know is that a child died,” Weiss Ortiz said. “We are waiting for the full cooperation from the police and COPA and transparency in obtaining the video as soon as possible.”

‘You shot a 13 year old’

While the mayor and others call for the release of body camera video, aldermen and community members say there is no justification for the killing of a child by police.

Ald. Rossana Rodriguez (33rd) said the days when everyone would believe an officer’s version of events following the use of deadly force are over.

She pointed to an incident in December, when an off-duty officer shot at two men in a parked car who pulled up behind him to look at directions, wounding one in the hand. The officer claimed he’d heard gunshots, but an attorney for the men said the officer shot at them without provocation. Brown stripped the officer of his police powers and he has been charged with a felony.

“Turns out everything the officer said about the incident was a lie. And then it turns out he’s an instructor on the use of force with the police academy,” Rodriguez said. “For a very long time the police have been taken at their word. We’re not accepting that anymore. You shot a 13 year old.”

India Jackson, the Communications Director for activist organization GoodKids MadCity, agreed. The lack of details nearly five days after the shooting is unacceptable, she said.

“I think everybody has reached a point where we’ve figured out the police are never going to tell the truth at all or they’re only going to share what makes them look good,” Jackson said. “They can’t even give people transparency into why they’re shooting people or explain what led up to the shooting.”

Toledo’s family hasn’t heard what happened from police, either, his mother said. She wants justice for her son.

“No mother should have to go through this. I am devastated,” she said. “I have so many questions and no answers.”

Elizabeth Toledo called on witnesses to the shooting to come forward.

“I want the police report … and if anyone has seen anything, please come forward. I want justice for my son Adam,” she said.

Jackson pointed out how the police version of events has already changed, as well.

“When the story first got released police originally said he was a grown man. He’s not a grown man. He’s 13 years old,” she said. “What can a little boy do to deserve that? Not a damn thing.”

While both Brown and Lightfoot said they supported releasing police footage of the shooting to Toledo’s family and to the public, COPA officials say that can’t happen without a court order.

COPA was exploring “all legal avenues that will allow for the public release of all video materials which capture the tragic fatal shooting of 13-year-old Adam Toledo,” Eaddy said in another statement.

[metaphortunes]

Howdy friends, I’ve written a few short stories that I wanted to throw out into the ether. And I went back and tagged all my previous writing posts with the tag “metaphortune writes” for easy finding!

Here’s a short story about small towns, the priorities of young people, the sweetness of summer, and siblings. I didn’t edit it at all so my apologies in advance for any grammar failures!

The Big Slush machine went out on Sunday, April 14th, 2005. If we’re being honest here, it was the only reason my sister and I went to Johnson’s Fuel Mart. Their soda fountain tasted like it dumped about as much plastic into every cup as it did soda syrup. Their candy was tremendously overpriced, they had 1 brand of chips, Big Harold’s, and they cleaned the floors about once every 2 years. But the Big Slushes were heaven.

Suffice to say, April 14th was the end of an era for us. Each passing week we drifted farther and farther from knowing those floors like the back of our hands. Our ability to use the Big Slush machine with surgical precision faded and we reverted to slushie peasants. Mona, the main evening clerk slowly forgot our names, and our allowances stayed in our pockets more than ever.

One Tuesday, July 14th, I walked to Frantz Park down on Alpine Road. The benches were covered in droplets of a syrupy, sappy resin from a tree I’d never learned the name of. After sitting on the 40-year-old swings for a while, rusty chains and all, I walked through the outfield of the baseball diamond.

There was a windstorm that blew through town on July 12th, so it was no surprise when, deep into center-field, I saw a few pieces of trash had blown into the grass. A 3ft long Walgreens receipt, a fast food wrapper, and the item that caught my attention. A full two months after the Big Slush machine went out, there it was. In pristine condition, a clear plastic Big Slush cup. 34 fluid ounces with a flared rim. No lid, no straw, just the cup.

Obviously, I was elated. I picked up the cup and started fast-walking home. Throughout the walk my mind was fixated on what I believed to be the one possible explanation for how the pristine Big Slush cup came to be there: somewhere in our 15 stoplight town, there was a new Big Slush machine.

Nora shared my enthusiasm for the cup, but was more skeptical of my hypothesis. Realistically speaking, there weren’t many other places that would’ve had the machine. Not to mention, would they have the good flavors? Blue Raspberry, White Cherry, and Cola? Would it even be worth it if the machine had the disappointment of Grape or the medicine taste of Strawberry? It was purely speculation, but our teenage minds raced.

The next day, geared up with a list of all the businesses we thought could have a Big Slush machine, we set out to find it. First, we walked up State Route 117 to the small grocery, Three Bear Market. No luck there, but they were having a sale on gum. Blowing giant, sticky bubbles, we walked to the next business. Cutting across the alley between State Route 117 and Terrence Street, we made it to McAllen’s Bakery. No luck there, but the owner was very nice and complimented our backpacks.

We took Terrence Street to Alpine Road and stopped for a short break at Frantz Park. The benches were still sappy, the swings were still rusty. Funny how things don’t change overnight. We walked the outfield of the baseball diamond looking for any other pieces of evidence, but alas, there was no trash to be found. That’s probably good in the grand scheme of things, but we were disappointed.

Walking through the streets with Nora was a slightly blissful experience. Not quite a full on sort of bliss where everything in the world is great and nothing ever hurts; but a soft, warm filter on everything. That’s the benefit of having a good relationship with your older sibling, having them around is like a blanket of security. Nothing can ever go THAT wrong when they’re with you.

We’d taken Alpine to First, then First to Reagan. On Reagan was the first gas station built in town, the Marathon, formerly known as the Brachston Pump Station. Marathon bought it up in 1996, installed all new pumps, remodeled the inside, and removed any character the building had had. Oh, and they didn’t have a Big Slush machine. Probably worth mentioning that.

From the Marathon on Reagan, we walked a block or so down the Walgreens. Walgreens having a slushie was a long shot, but didn’t pharmacies used to have soda fountains back in the day? It wasn’t THAT absurd. We wandered around the building to find exactly zero Big Slush machines. The clerks, disenchanted college dropouts, paid exactly zero attention to us.

The last place we tried was the only other gas station in town, Stop-N-Go. We had to walk the entire rest of the way down Reagan to where it dead-ended into Marshall Street and walk Marshall Street until it dead-ended into Montgomery Avenue. That all ends up being about a mile’s walk, but we were determined. We entered through the oddly heavy steel and glass door and asked the clerk. They didn’t have one.

However, the clerk, Henry, was also a fan. Or at least pretended to like them. As a favor to the owner, Henry worked one night at the other Stop-N-Go, about 4 miles away in Hallston back in 2003. He remembered them having a slushie machine, but couldn’t remember what type. We figured that even if it was there in 2003, it probably wasn’t there today, and slunk out of the store. But Henry came out after us and said “let me call the other store and ask them for you, alright?”

The clerk on the other end seemed very confused, but eventually was able to confirm the news we were so adamant on receiving: they had a Big Slush machine in working order! We expressed our joy and gratitude to Henry after he hung of the phone, he said he was “stoked it worked out for you.” We were stoked too, Henry.

We took Montgomery down to Fourth and ended up back home. Our parents wouldn’t be home from work for a few hours, which gave us time to plot exactly how we’d ask them to drive us 4 miles to go to a gas station. The plotting was all for naught, as they were tremendously unimpressed. “Next time we’re out that way, we’ll go” they said. But the reality of the situation was that we’d only been to Hallston a few times. It was in the opposite direction of Wrexham, the small city we’d go to from time to time.

Luckily, Nora remembered a fact that I had failed to remember. The rails-to-trails bike path that went through our town also went through Hallston. Neither of us were really that interested in biking, but if it meant getting a Big Slush? We’d have biked 20 miles one way. We got our bikes out for the first time in weeks that day, inflated the tires, tested our helmets, and set off.

Four miles is a hell of a bike ride when you haven’t biked in weeks. It was all flat land surrounded by farmer’s fields, but it was still 4 miles in the heat of July. Luckily, we had a frosty goal to keep our minds set on. Whenever we faltered or slowed down, the other would just say “Big Slush!!!” in a sort of TV commercial announcer voice. After a half an hour or so, we made it to the Hallston. Neither of us really knew where the Stop-N-Go was, but we fortune favored us. A Stop-N-Go fuel truck was stopping-n-going at the the traffic light near the bike path. We sped to follow it.

The truck took a left onto the state route and turned into the Stop-N-Go. Success! We found ourselves in the parking lot, shouting “Big Slush!!!” at each other in the aforementioned voice. We opened the surprisingly light (or just well maintained) steel and glass door and saw a large sign hanging from the ceiling that said “DRINKS” in Comic Sans. We walked towards the sign and found our holy grail. The Big Slush machine.

There it sat on a red counter, humming away and constantly rotating the slush inside. Condensation sat on the plastic windows to view each of the three flavors churning, and we parsed the flavor selection. Strawberry (aka medicine), Grape (aka disappointment), and White Cherry. As Meatloaf didn’t say: 1 out of 3 ain’t bad. But as we approached the machine, our hearts sunk. The White Cherry flavor was out of order.

We literally ran to the counter to ask the incredibly confused clerk what was happening and when it would be fixed. There was an error with the ratios of the newest White Cherry syrup batches which made the slushies too hard to fit through a straw. We begged the clerk to just turn it on and let us have some, we didn’t care that they’d be hard, we didn’t care how long it’d take, and we’d wait around; but the clerk refused.

Ultimately, we’d come too far for this to happen. We were going to drink a Big Slush and that was going to be the end of it. We swallowed our unhappiness and decided to get the flavors of medicine and disappointment. I got the Grape, Nora got the Strawberry. Honestly, they were not great. The Grape still tasted like the inside of a shoe, and the Strawberry still tasted like it was a slushie version of children’s liquid ibuprofen. But they still quenched a primal desire in us. Can you call a desire for a slushie a primal desire? Sure, why not.

The rest of the summer break, we’d bike to Hallston two or three times a week. Biking got easier each time we went, the rides got quicker, we had to shout “Big Slush!!!” at each other less. The White Cherry flavor never came back, but we learned to appreciate the Grape and Strawberry flavors. If we mixed the two, it almost tasted good for some reason. Grape and Strawberry isn’t exactly a combination you’d expect to taste cohesive and fulfilling, and yet, here we were.

Eventually the school year and extra-curriculars caught up with us and we were lucky to make it to the Hallston Stop-N-Go once a week. Our enthusiasm never waned, though. Each time, we hoped that they’d have finally gotten another flavor to replace the White Cherry, and yet, even a year after, they hadn’t. Strawberry and Grape. Medicine and Disappointment. Nora and Jamie.

[emmeriichs]

How To Make Hot Sauce [SPICY RECIPE]

This guide will show you how to make hot sauces of various sorts, including numerous plans and tips, aging data, protecting hot sauce, and how to begin a hot sauce business.

The fame of hot sauce in the United States has detonated over the most recent twenty years, and it gives no indications of easing back down. What used to be a market commanded by just a couple of hot sauce alternatives with fascinating periphery hot sauces is currently a market loaded up with a brilliant determination of hot sauces for purchasers.

Custom made Buffalo Sauce

Gone are the times of a solitary brand or two filling the hot sauce racks.

As I run a nourishment blog committed to hot food sources just as bean stew peppers, I get messages and remarks constantly identified with making hot sauces. Individuals need to realize how to make them at home. A few people need to figure out how to take their hot sauce making leisure activity and transform it into a business.

I have a great deal of hot sauce plans on the site here, however needed to add to my developing formula assortment some data on the most proficient method to make hot sauces all in all.

I will consistently refresh this page with data as I obtain it, however for the time being, we should discuss making your own hot sauces at home. Everything begins with a basic fixing – bean stew peppers.

Bean stew PEPPERS AND HOT SAUCE

Bean stew peppers are basic to such a significant number of cooking styles the world over. Frequently that stew pepper flavor, zest and in some cases heat gets synonymous with a specific culture. Bean stew peppers ooze appeal and a persona that is at the same time fascinating and down-home, and without them we wouldn't have a portion of our preferred dishes and toppings, one specifically that is near my heart – HOT SAUCE.

I delighted in hot sauce as a child, yet didn't find the wide universe of craftsman hot sauces until a ways into my twenties. As of late wedded, I got keen on cooking and my hunger for zesty nourishment was in full sprout.

I discovered some remarkable hot sauces with the craziest marks, some of them genuine, some of them clever, driving through them by the case, and immediately got keen on making my own.

There is a touch of a craftsmanship to making hot sauces, yet is anything but a troublesome activity. It is for the most part about joining stew peppers with different fixings to accomplish a specific flavor.

HISTORY OF HOT SAUCE

History of Hot Sauce

Bean stew peppers have been gathered for a huge number of years, and it is realized that when Columbus arrived in Haiti and the Dominican Republic in 1492, he found the Arawak individuals utilizing peppers widely. They protected meats with peppers and cooked them into pretty much every feast.

The principal notice for a business hot sauce in the United States is by all accounts in Massachusetts in 1807 by a rancher for a cayenne sauce.

It was Edmund McIlhenny, an investor from New Orleans who promoted hot sauce in the American culture. He matured Tabasco peppers and matured them, stressed and blended them in with vinegar, and started to offer it to nearby markets.

McIlhenny's sauce on the grounds that the well known "Tabasco" hot sauce that we know today.

Motivations TO MAKE HOT SAUCE AT HOME

I began making hot sauces at home since I had become hopelessly enamored with a large number of the craftsman hot sauces out there, yet at times couldn't discover them, and I needed to explore different avenues regarding various flavors.

At the point when you make your own hot sauce at home, you are allowed to consolidate whatever fixings that please you. Likewise, you're allowed to accentuate specific flavors that different sauces don't offer, for example, more superhot stew peppers or a bunch that centers intensely around natural product. Along these lines, making your own hot sauce promises it will be special.

IT'S ALSO INCREDIBLY FUN AND SATISFYING.

I appreciate investing energy in the kitchen, concocting clumps of hot sauce, and it fulfills me when I finish another bunch, newly packaged. I set them into my fridge with a feeling of bliss realizing that I will have another hot sauce for quite a long time to come.

Making hot sauce is additionally an incredible method to protect your bean stew pepper reap. I grow a decent estimated pepper garden every year and keeping in mind that I cook with and protect them from numerous points of view, I still can't seem to discover a bean stew pepper that can't be made into a brilliant hot sauce.

Indeed, even gentle peppers can make delightful sauces.

Perceive How to Preserve Chili Peppers for additional data.

Sorts OF HOT SAUCES

Sorts of Hot Sauce

I've never observed a conclusive rundown of hot sauce types, as I don't might suspect a rundown of such exists, however hot sauces do change from area to locale. There are various procedures to making hot sauces, as well, yet it generally is by all accounts a local variety dependent on territorial fixings, which you'll see reflected in this rundown.

Hot sauce has innumerable varieties, for example, the consistency of the peppers, the planning of the peppers (matured, new, dried, broiled, dish cooked) the real sorts of peppers utilized in the hot sauce, the utilization of different fixings and then some.

The most essential division with hot sauces is whether the peppers are mixed with different fixings. Now and again they are, some of the time they are definitely not.

HERE IS A LIST OF POPULAR HOT SAUCE TYPES:

Louisiana Style – This hot sauce, advanced by hot sauces like "Tabasco" and "Precious stone", is made with new or aged peppers that are crushed with salt and vinegar. I make a great deal of hot sauces thusly, with both new and matured peppers.

Caribbean Style – Usually made with red hot habaneros or Scotch Bonnet peppers, these sauces fluctuate fiercely on account of the various culinary impacts in the region. You'll discover hot sauces with African impact, and others with French impact close by, just as Indian impact and then some. The fixings mirror this.

Hawaiian Style – Hawaiian hot sauce, or "Hawaiian Chili Pepper Water", is normally a blend of nearby stew peppers, garlic, ginger, a touch of vinegar however for the most part water, among other potential fixings. It is sprinkled over everything. It is suggestive of the renowned "Puerto Rican Hot Sauce – Pique".

American Southwest – You'll discover numerous gritty fixings with thick walled New Mexican peppers, either new or dried, with next to no utilization of vinegar. In New Mexico specifically, they present "red" or "green" stew sauce throughout the entire year.

Mexican Style – You'll see a great deal of hybrid from Mexican cooking and the American Southwest and Tex-Mex food. These hot sauces are made with heaps of smoked or potentially dried cases just as nearby fixings. They as a rule center more around enhance and less on heat.

South American – Here you'll locate some fascinating and tasty hot sauces, from Peruvian Aji Amarillo sauce to Chilean Pebre (herb and oil based with peppers) to Molho de Pimento (peppers and vinegar), and many, some more.

Asian Style – Asia is a colossal region with a various societies, so it is hard to portray their hot sauce all things considered, however numerous Asian hot sauces and sauces are thick and utilized as bean stew glues or stew oils.

In Thailand, Sriracha Hot Sauce is the most popular, made essentially with ground chilies, garlic, vinegar, sugar, and salt. In Korea, Gochujang is very well known, produced using bean stew powder and matured glutinous rice.

Sambal – enormously famous in Indonesia, Malaysia and Singapore – is the conventional term for nearby bean stew pepper sauces and hot sauces. They shift in heat level and in fixings utilized.

Center Eastern Style – Chili peppers are well known for sauces in the Middle East with sauces, for example, Harissa (a tasty bean stew glue), Muhamarra (a hot pepper plunge), Shatta (a thick pepper sauce), and Zhug (a herb and oil based sauce with peppers), with kinds of Middle Eastern flavors.

African – the most well known African hot sauce is Peri Sauce, which is produced using African Bird's Eye bean stew peppers. It is thick and tasty with a decent degree of warmth.

Indian Style – India is notable for parcel of flavors, and use them in chutney and general ordinary sauces and plunges.

European Style – I've experienced Hungarian Hot Paprika just as Ajvar (articulated "eye-var" – smoky cooked red peppers with now and then eggplant), which is a Balkan sauce. It is increasingly similar to a spread. There is an exceptionally hot form, call Lutenica (otherwise known as "Ljutenica" – "Luto" signifies "hot"), made with peppers, carrots, garlic, oil, sugar, salt, tomatoes, and now and then eggplant, however understandings exist from district to area.

There is additionally Hungarian "Eros Pista" (Hungry Steven), made basically of minced paprika peppers and salt. Spain cooks with a ton of peppers and a portion of their hot sauces incorporate Samfaina (like a French ratatouille), Sofrito (peppers with tomato, garlic, onions and oil) and Mojos (herb and oil based with peppers, some of the time). Italy has hot sauces, for example, the acclaimed Diavalo sauce, made with fiery bean stew chips or peppers.

Superhot Style – There is a great deal of hybrid between different styles of hot sauces, yet these hot sauces are constantly made with superhot bean stew peppers, those that are 1 Million Scoville Heat Units or more, similar to the phantom pepper, scorpion peppers, 7 pots and the Carolina Reaper, which is the most sizzling bean stew pepper on the planet as of now.

Once more, this isn't a comprehensive rundown, as I could incorporate various kinds of sauces, stew oils and the sky is the limit from there, so for the inquisitive disapproved, I propose following the peppers into different pieces of the world and find what local people are cooking.

You'll in actuality find some intriguing hot sauces made with neighborhood fixings.

Common HOT SAUCE INGREDIENTS

Hot Sauce Ingredients

At its most fundamental structure, hot sauce is regularly a blend of bean stew peppers and a fluid, for example, vinegar, citrus, or even water. You can combine those two and you have yourself a hot sauce. Will it be extraordinary? Perhaps. Would it be able to be better? Obviously.

[ephrampettaline]

[ chatzy log with @freddiewatts ] 

One of the pocket worlds opens. A bakery plays home to a medieval repulsion. The question of the ghosts recurs.

Ephram had to admit, he hadn't strictly been paying attention to the change in weather as he and Freddie made their way to the very specific corner store that sold the very specific spumoni cannoli that Freddie swore he wouldn't be able to make it through the night without; his fairy was wearing a new cologne and Ephram was mightily distracted by the way the scent wafted up to the tips of his pointed ears. 

But when they rounded the mural of frolicking fluffy werewolves on Nussbinder Avenue, Ephram could have sworn that one of them bared its teeth. And by the time they reached the door of the bakery, the thickness of the mist around them was impossible to not notice. 

"Honey," he said, grip on Freddie's arm cinching instinctively tighter, "is it just me or is this nighttime dew a lil more aggressive than usual?"

Freddie lifted his free hand to cover Ephram's where it rested on his bicep, and stepped a little closer to his husband as he looked round at the ever-worsening fog-like mist, frowning when he met his eyes again. "Aggressive feels like a very good word for it, sweetheart, yeah," he said - and then he paused, listening, his brow furrowing, certain he'd heard something growl. "Ephram..." he said softly, "-darling, did you hear that, or am I going mad?"

"Maybe we best get inside." Ephram pushed open the door to the corner bakery and likewise pushed Freddie through, shutting it behind them as an alarming amount of faintly musty mist swirled in around their knees. "Jeez. I dunno what all's happenin' out there but--" Ephram stopped, turning as he felt Freddie's hand grasp him more intently. 

'Out there' was perhaps an optimistic view of what was happening, if the piles of rotting confection studding the counters were any indication. "It's like," Ephram said, snapping his fingers as he tried to place it and failed, "--like that book with the wedding cake. The moldy one. You know the one. Freddie, what the /fuck/." Ephram hopped back slightly as one of the big croquembouche displays started to move, jerking and dropping slimy dark globs that made a stinking miasma rise into the air.

"Oh, fucking hell," Freddie swore, his words belied by the worry in his eyes as he took in the rather dramatic shift in their surroundings. "I don't know if I can stand any more of this," he muttered, wishing he'd been satisfied with the myriad of desserts and snacks they had at home, rather than pouting and insisting their way into this current mess. 

He pulled a face as the scent of the spoilt cream thickened around them, then turned to look out the bakery's front window, the street nearly obscured now by the mist. "Should we try to get home, do you think?" he asked, the oppressiveness of the odd almost-phosphorescent fog making him feel slightly anxious. "I trust your judgment here, love. What should we do?" 

It was then that he realised that the spoilt cream stench wasn't spoilt cream at all, and they weren't alone in the shop. Something had disturbed the display. "Ephram," Freddie said, tugging his husband back away from the toppled pastry, "Sweetheart, we need to get back out onto the street. At least on the street there's somewhere to run to."

Ephram made a rumbling noise as what used to be choux pastry flumped entirely down into ooze, a bigger and more alarming shape rising out of the leftover muck. "I reckon we're a mite past that point, honey. We best better find something to use as weapons," he said, wishing he was still in his uniform with his rarely-used but trusty sidearm. 

Looking around, Ephram grabbed two stanchion poles from when the bakery (somewhat grandly, considering its location) put up velvet ropes out front to corral the lineup, handing one to Freddie as he hefted his own. A harsh scuttling, chittering sound came from the creature on the counter as it leapt to the ground, looking as though it moved in separate pieces -- and when it hit the ground and moved towards them, the reason for that became clear. 

It wasn't one animal but a group -- an uneven, malformed circle of rats, huge ones, all bound together by their tangled tails -- but mostly what Freddie and Ephram could see was unnaturally huge maws lined with double, triple rows of razor-sharp teeth. 

"Christ!" Ephram barked, for a few seconds scared out of his wits. But then instinct kicked in and he swung his metal pole, shearing off the head of one of the rats and braining another. Not that it made much difference; the dead rats disappeared under the churning mass of still-living ones as their tinny shrieks increased in volume and they scuttled, obscenely fast, towards the couple's feet.

Freddie, incredibly grateful that Ollie had opted to stay in that evening (whatever was going on, the fairy felt confident that his familiar would be alright so long as he had the home-court advantage), and he lifted the pole that Ephram had handed him, ready to follow suit and swing it - before remembering that he was a sodding fairy, and he could do better than that. As quick as he could, he tossed a handful of dust at a platter that had toppled to the floor, glamouring it into a thigh high tangle of razor-wire, stretching four foot across, and then turned the pole in his hand into a cricket bat, before glancing back at Ephram. 

"Fancy something a bit bigger or sharper, love?" he asked, his eyes still on the rat monstrosity, "Or are you happy as you are?"

Ephram, after the initial repulsion and shock at this horror-movie-grade rat king, had felt a familiar bristling heat fill his chest and throat with a weapon in his hands and something god-awful to direct it at. He grinned broad and feral at Freddie's display of fairy magic as a clump of the rats tore off from the whole and struggled, shredding themselves open, in the razor wire. 

"I'm good, baby," Ephram said, watching Freddie heft the cricket bat in a way that made his prodigious muscles strain against his very expensive shirt. "I dunno bout /happy/, exactly, but I got a feeling we're set when it comes to dealing with whatever this fresh fuckin' mess is." The rats -- which seemed to be increasing in size and volume -- began scrambling over each other to try and vault over the building heap of writhing corpses and get across the razor wire barrier, and Ephram growled as he swung his pole again, sending a few of the rats flying across the shop to smash against the wall.

Freddie watched as the rats that hit the wall sprayed reddish black blood upon impact, leaving thick sticky smears behind as they slid down to the floor. "I'm going to need a 6 hour bath after this," the fairy said, grimacing as he brought his bat down hard on the advancing hoard, crushing a few skulls and knocking a few more into the wire, creating a thrashing tangle of gore. "Where the bloody hell are they all coming from?" He swung the bat again and sent a large one skittering sideways, doing nothing to slow down the rest of them. 

"God, I wish I could glamour a gun," he said, sparing a glance to watch his husband on the attack, "-unfortunately I haven't the first bloody idea how the mechanism works."

Ephram grunted as he lifted the heavy pole over his head and brought the broad circular base down onto a couple of the monstrous creatures, covering his sneakers and jeans in disgusting spatters. "When we git home," he said, taking a sidelong step to bring his body against Freddie's as the separate rodents that comprised the rat king slowly, grotesquely pulled free from the tangled knot of tails and started to make a circle around the two of them, "I'm gonna kit us out both with guns and bullets and you ain't goin' nowhere without bein' armed to the teeth, okay?" 

"I'd normally argue a bit with that," Freddie said, "You know I'm not much for violence..." He wound up and swung his cricket bat viciously, connecting with three of the now-independent rats, the noise that followed a hideous blend of wet crunching and squealing, "...but if this is the way things are going to be for the moment, I think I may need to suspend my usual reticence. Armed to the teeth sounds perfectly lovely to me, sweetheart; thank-you."

Despite the seemingly endless seethe of rats, Ephram wasn't feeling too bad about their chances; it would be a charnel house by the time they were able to get out, and they still might get bit, but at least there were plenty of rat casualties as a show of their own killing prowess. He was about to say as much to Freddie when another sound cut through the scratching and deformed squeaking. It was a weak voice, an older man, calling from the back of the bakery. 

"Are you real?" he was asking, plaintive and reedy. "Are you real? Can you help me leave this place? Don't make me stay here, please!" He appeared in the doorway behind the counter, a faint blue ectoplasmic glow around him, and Ephram slammed himself harder against Freddie in a rush of concern. "Shit," he said, "shit, /shit/, Freddie -- he's a ghost, he's somebody's goddamn /ghost/!"

The fairy sagged a bit as his husband pressed closer, wishing they could just stop for a moment and get their breath, maybe attempt to work out just what in the world was going on - but there was no time for that now. And even less time for it when the ghost appeared. Freddie was taken aback by the sight of him for a second - just long enough for a rat to scramble over the toe of his shoe, and to be unceremoniously kicked off - and then he called, "We're real, love. Who are you? And what the sodding hell is going on?!"

The ghost’s mournful blue face swung to look at Freddie. “It’s Great Expectations,” he said.

And then the two of them were back out on the sidewalk, so fast and sudden that they stumbled and had to catch themselves against the wall with the mural -- no strange threatening wolf faces now, just fluffy smiles and fur in paint. But the disgusting evidence of the fight they’d had was still smeared and speckled over their shoes and clothes, and Ephram stared down at it with a fox grimace, lips pulled back over his teeth, before he reached out for Freddie’s arm.

“The ghosts,” he said, and didn’t need to elaborate ... on that, at least.

The old man had been somebody’s ghost, somebody’s visitation in Soapberry. Which meant that somewhere in the slipstream they’d landed in, Edith was trapped. And they would be going after her.

Well-armed, this time.

[techhooter]

Hairstyle trends from Hollywood celebrities to inspire

In case you're hoping to try something a bit different with your tresses, look to Victoria's Secret model Adriana Lima or Game of Thrones star Sophie Turner. They are two altogether different looks, yet simple to oversee in the event that you need to explore different avenues regarding something more than simply your normal blowdry or centre-part. What's more, obviously, Umbrella hit maker Rihanna shows us how the full periphery should be finished. Hollywood celebrities have taken over Instagram with hairstyle trends and cosmetics looks to inspire us for our next event. Taking general direction to the late 90s and mid 2000s, we can't get over their advanced interpretation of these key styles. Think old-Hollywood side-parts, muddled high buns and, obviously, the full bangs. Let's have a look on Hairstyle trends from Hollywood celebrities to inspire your look!

Kate Middleton

Kate Middleton, Duchess of Cambridge, can't avoid the goney blond that is trending this summer: She ventured out mid-June with new features (and, clearly, a super-glossy blowout), switching up her signature dark brown for a lighter, warmer, increasingly multidimensional look. : Hairstyle trends

Hilary Duff

Hilary left behind her long layers toward the end of May for certain '70s-style face-farming, focus separated bangs and an arrival to her standard lighter blond. The change comes courtesy of celeb hairstylist Nikki Lee and it looks incredible. she captioned her Instagram showing off the new look.

The side-part

It is back and we are here for it. The center splitting fever is at long last diminishing down and we can see celebrities evaluating distinctive glamorous styles for formal events. Look at Lima directing old world charm and looking drop dead stunning with sharp winged liner. Utilize a flat iron to twist your locks and set with a texturing hairspray for additional volume. : Hairstyle trends

Ariana Grande

It goes without saying it was an enormous year for Grande, from her own life to her record-breaking album. It was additionally a major year for her hairstyle.

Messy high bun

We are sure Jonas Brother's Joe would be intrigued by his entertainer wife Sophie when she stunned for an event. It appears the greatest haircuts right now are intensely affected by the 90s and mid 2000s because messy buns with face-farming ringlets are back in fashion trends. Pair the look with a plum lipstick and gold loops like the star to accomplish a fun yet elegant look. : Hairstyle trends

Emilia Clarke

After seven seasons of recording Game of Thrones—and ya know, the entire fact that Clarke wears a wig to play Daenerys—we figured she'd be the keep going on-screen character on the show to make a major Cersei-style change. Obviously we weren't right, as she initially went platinum in 2017, and afterward in September 2018, settled on a full "Gwyneth and Brad" pixie.

Full bangs

We remember bangs and they are coming back with a bang as well! Genius vocalist Rihanna has been sporting the trend again recently and we love the wonderful way the French-esque style makes our eyes pop out in quite a few different ways.

Sandra Bullock

Hairstyle trends: Bullock book-finished her 2018 with two genuinely enormous films—Ocean's 8 and Bird Box—and two altogether different hairstyles. My life is changing so fast," Bullock told Hoda Kotb on Today when the host remarked how changes in life can be reflected in your hair. "It's funny. I feel like my hair was there to help me hide. I hide behind my hair. When I did cut it, I went, 'Oh, okay, that's me. I can be this person now.' It's all about the hair." Read the full article

[sundara--karma]

Conversation with Sundara Karma

(Boys By Girls, 22 July 2019)

"You could say time is one of the worst measurements we could give to the passing of moments. Imagine if there was no idea of time, or if we measured it differently? Life would be very different. Your general outlook, your world view would change. All of it is governed by a sense of time". - Oscar

The last of the sand just slipped through to the bottom of the hourglass, hence my hour with Sundara Karma was up and in the past tense. 'Everything comes to an end', we say - time requires a beginning and an end to make sense so we rely on the past, present, and future to guide our perception of reality. In the past, I look forward to meeting the band, in the present, I connect with them, but here I am, in retrospect, reflecting on my time spent with Oscar, Dom, Haydn, and Ally.

Time is relative because we measure time in relation to a time that was or is to be. Sundara Karma's debut album Youth is Only Ever Fun in Retrospect and this year's follow-up Ulfilas' Alphabet both tackle the notion of time. With their debut, they surveyed youth from the present, but with Ulfilas' Alphabet, they sailed the borders of life, contemplating the span of a lifetime through the specs of time's finality: what would you have done differently?

As Wanda Martin captures the British band in frames to be remembered, the day we spent with Sundara Karma lives on in our vivid minds and in these words and images - it's the evidence of who we were back then. We asked many questions but as is, the universe has yet to return with any coherent answers. So, is time an illusion, and the safeguard of control? The band and I attempt to clear up some things in regards to the abstract nature of time whilst exploring the West's inherent fear of all things final. With additional knowledge tucked into our back pockets, we realise how little we actually know about the complexity of all this; everything.

Tick tock announces the clock with every second passing. Time creeps up on us as we close in on Sundara Karma's next performance 23rd August at Richfield Avenue in Reading, UK.

I would say this is sort of like the first day of school type question - but just a bit more advanced. Who are you?

Ally: My name is Ally and I'm no one. And there we go. Neeeext. Nobody and everybody.

Everyone: Hahaha.

Ally: I'm still trying to figure out who I am, so I can't tell you. Come back in a couple of years maybe, and I might be able to tell you. Dom: My name is Dom and I'm an alcoholic. No - my name is Dom and I like to see myself as a happy, positive person. I love painting and anything creative - any output that might have a positive effect on myself or other individuals. I love giving and helping others; I think I get a massive kick out of that. Being a good person is the aim, as good as I can.

Haydn: I'm Haydn and I'm a person. Most of the time I'm pretty miserable - except for when I'm around these people and my friends. I don't like most people in the world. Pretty grumpy.

You're making me nervous.

Oscar: He is a sweetheart.

Haydn: Yes, I am a sweetheart. I like long walks on the beach. I don't like the underground.

Ally: Tell me something about yourself: "I like long walks on the beach. And I don't like the underground". Haha.

Haydn: Hmm, I don't know what more to say about me. There is not a lot.

Ally: You're good at making doughnut mixes.

Haydn: I like cooking.

Dom: He is a great chef.

Haydn: I'm a great cook. I like food - that's one of my big things.

Oscar: This is such a first day of school question!

Ally: Imagine asking primary school students this - so mean haha!

Everyone: *fake crying*

Oscar: I'm Oscar and I suppose I'm a bit of a quiet person. I'm quite sensitive at times. Fuck it - that's probably it. I really like peanut butter.

Everyone: Hahaha.

Maybe this is an easier question. What do you like about each other?

Oscar: I'm not sure, thinking about it now.

Everyone: Hahaha.

Ally: Be careful mate. This is how friendships die haha.

Dom: This is like dangerous!

Oscar: I don't know what the word for this is but something like happy-go-lucky, easy-going for Ally; well-tempered and a real anchor. He is my rock. Dom I would say is sensitive, caring, and incredibly generous. Haydn is an absolute sweetheart, as I said before, and one of the funniest people I know. Probably the biggest heart here.

Haydn: Aww.

You're going to make me cry!

Oscar: Alright, now you do me.

Everyone: *dying of laughter*

Ally: I like that Haydn is always the life and soul of the party.

Oscar: Yeah, so true!

Ally: If you're lucky, you’ll be able to witness that. I like how Dom goes out of his way to do shit for myself and others - stuff that I wouldn't do because I'm lazy. Oscar, I like that if have something like a dream or anything - could be something quite practical - but you'll get it. Do you know what I mean? You'll try your very best. You decide that you've got something before you've even got it. I think that makes sense. Does that make sense?

Oscar: I think so.

Dom: Ally has always been a very good listener. He is always there if you find yourself in a bit of a pickle; he'll always be there to give his advice and opinion. Sometimes that's all you need. It's never as in "You should do it"; it's just sharing his side of it. It's always caring. Haydn has cooked me some of the best noodles of my life. Hands down. Great back rubs when we're sharing hotel rooms. When you feel like something is impossible and you don't know how to go about it, Oscar is always able to break it down and remind you that nothing is impossible - the only restrictions that you have are your own.

Ally: We should do this more often.

Dom: These guys are literally like family. I see Oscar as my mum, Haydn as my dad, and Ally as my sister.

Haydn: We've known each other longer than we've known our real families now. I'll start with you, Oscar. I like how wise you are; I've learnt a lot from you and will continue to learn a lot from you. You are a wiser, older brother in a sense for my juvenile mentality. I'm not that juvenile... I like Ally's juvenileness. I don't know, juvenility? Creating words here...

Love it! Boys by Girls is all about inventing new words.

Haydn: We become immature when we’re together. We bring out that side of each other, I think - we go back to our 13-year old selves.

Everyone: Yeah.

Haydn: And then we can turn it on and be serious sometimes. Rarely but sometimes.

I find that when I'm really good friends with people, it's kind of hard to concentrate. How do you get over that and get to work?

Haydn: We haven't yet...

Well, listening to your new album, it seems like you've got your shit together.

Oscar: We were able to record some shit, but yeah, that's not something I've thought about, to be honest. I just think it happens naturally when you're required to do something, so we haven't found that to be a problem.

Haydn: I like your strength as a person. You are a strong person who gets things done when you need them done. And physically strong as well. Strong like wood. And I'm also liking your new haircut.

Oscar: Aww, thank you.

I love listening to you complimenting each other.

Dom: We've never done that!

Haydn: Now you have to do the one where you ask what we want to change about each other...

Everyone: *dying of laughter*

Ally: That would be such a good interview prank!

Haydn: Like marriage counselling.

Oh dear.

Ally: You could literally break up bands just by interviewing them. Nooo, this is all lovely and everyone loves each other. Positive vibes. Like your album - there were some really positive vibes going on. Probably because of the pop-y sound to it, which I really enjoyed. Why did you choose to take that direction with it?

Oscar: I think it's the headspace thing. Where we were at in the lead up to recording the songs. Compared to the first one, I think there was a little bit more clarity, and with clarity, can come joy, sometimes. Not always. We wanted to explore the joy. We're quite playful as people, so I think we wanted to be a bit more truthful to that.

Definitely, I think that came across. I could feel that my whole body sort of wanted to engage while listening. How did you end up naming an album after a Greek bishop? I'm going to try to pronounce it haha: Ulfilas’ Alphabet.

Oscar: I think there is no particularly correct way to say it, we're kind of just winging it. I'm sure there are scholars out there that will know the exact pronunciation. We're not intellectuals... Haha. I think in terms of why we chose that name for the album was because of the two words aesthetically. They are very pleasing.

I think you're sort of like word geniuses. I love how you name things - just considering the name of your band, Sundara Karma. Original. What comes first when you approach a song, do you name it first or do you come up with the lyrics first?

Oscar: It really depends. Sometimes a song comes about from a name that I've written down because I really love it, and for others, I have to really dig deep to find a title. Sometimes it's easier, sometimes it's not.

Looking back at your debut album Youth is Only Fun in Retrospect, to compare the new one and this one. The new one felt more mature in terms of sound, you took it to a new level, there was a retro feel to it but also new and refreshing. What did you want to say with the album?

Oscar: I think it was just to appreciate life if there was any kind of message. It's not as if we had a slogan or something to measure this. It's a collection of lots of different sentiments concerning life and death. I was talking to a friend about it and he made an interesting observation about our first album. He said the old one had scenes of retrospect in the title or nostalgia or looking back at things but more so looking back on youth, but it feels like the new one is looking back but from being at the end of your life. With a lot of these songs, I was in the headspace of thinking about the supposed finality of life and how transient it can be. Not in a depressive way but more in terms of how much more you can do with your life, in an everyday sense - how precious it is. That lives through all of the songs in some sort of way.

I think it's quite interesting to tackle the theme of death; it's quite a scary topic to approach. 

Oscar: Especially for the West it is. We haven't done very well in educating ourselves on death.

I think most people find it very uncomfortable to talk about.

Oscar: Yeah, but it is guaranteed. It's one of the only things that is guaranteed.

What do you feel about death?

Oscar: It's very scary - but I don't think it has to be. It's scary because people don't talk about it enough. It's such a taboo thing.

Dom: It's the fear of the unknown, I guess.

Oscar: It ultimately doesn't matter as well. What matters the most is what you contribute whilst you're alive, not what happens after death.

It's a brave topic to approach, and I think you did it in a way which opens the conversation.

Oscar: I'm glad you picked up on that. I wish more people actually asked about it, to be honest with you. We've done a few interviews and no one has really brought it up.

It reminds me of Swedish filmmaker Ingmar Bergman and how he tackled the topic of death.

Oscar: That's amazing - very flattering.

I was looking at the pictures of you from BBG print issue 10 (which was back in 2016) and comparing that to now, and it’s clear that you’ve changed a lot. I feel like you’ve really come into yourselves. With your song The Changeover in mind, which discusses change and development. Looking at yourself in retrospect, how do you think you've changed over the last couple of years?

Oscar: My view, of let's say reality, is that it's an illusion to think about anything as permanent. Everything is changing from second to second. The person I was when I walked through the door - this is a little bit metaphysical - but I don't necessarily believe that is who I am right now. Also, in terms of mood - I go through about 12 different personality changes throughout the day, you know. It's a very hard thing for me to gauge - like how much has changed. But that's on a surface level. Maybe it's also kind of searching: I think we're all still figuring out who we are, and I don't know if that ever stops?

Ally: You're constantly learning. Every day you learn something new. It changes how you think about a certain thing. If someone thinks everything is right and perfect, they're not looking deep enough or opening their eyes wide enough to see what's around them.

Oscar: Or, they're 'woke' as fuck.

Ally: They're just so far ahead of us...

Haha. That's true. What are your thoughts on, say, time?

Ally: We were talking about this literally last night, didn't we? You're already dead if you think about it. Am I correct in thinking that no scientist knows why time moves forward? There is nothing in science that means it should move forward.

Dom: Time is just a measurement.

Oscar: Yeah, it's a man-made concept.

Dom: It's the measurement of everything of which we know. I had an interesting conversation with my friends the other day: what if in our wallets, rather than having money, you have time?

Ally: It's a film!

Dom: Yeah, I know it's a film.

Ally: It's Tim Burton right? I love that film.

Dom: Or, what if you wore a watch on your wrist that would tell you the amount of time you were given at birth. You look down and you see how much time you've got left. Would these people do certain things? Would you go to that meeting? Would you go to the beach? I think it's an interesting mindset to have. The time I'm using here, at the end of the day, I can't get it back.

Ally: Would you say yes if someone asked you: "Do you want to know the day you die?". It won't change if you know or you don't know. I would. Then you could start planning out your time.

Dom: I wouldn't. Hang on. What if you got told the day, but not the year?

Ally: Fuck, no! Every time it comes around... But I would honestly want to know - I think. I think...

Haydn: And if you could be made to forget it after? You could take it back.

Ally: There is no point then.

Oscar: I would have to disagree with you there. Let's agree to disagree.

Dom: Sorry, what was the question again?

Everyone: Hahaha.

Time haha!

Oscar: What do you think about time?

I think we use time because we need a sense of control. It's not something physical so it feels very abstract, sort of like: a minute has now gone by. When you've had a really good time with someone, but then time just flies by - it feels a bit sad somehow.

Oscar: I suppose so. You could say time is one of the worst measurements we could give to the passing of moments. Imagine if there was no idea of time, or if we measured it differently? Life would be very different. Your general outlook, your world view would change. All of it is governed by a sense of time.

Time can be a bit stressful.

Oscar: Time can be so stressful. It’s because there’s an end. The reason time is stressful is because we're told that at some point, it will end.

Haydn: It would be the worst time every being immortal. Never be allowed to die.

Dom: If you had the choice of when you leave, I guess.

Haydn: I would rather be able to die than live forever and ever and ever.

Dom: But then again... I guess it's because our lives are literally just a spec within what we know. What we see as the greatest thing - knowledge - we try to gather all this information to learn as much as possible: about the planet, about where we come from, about why we're here. I'm going way down a road here...

Such great answers. I think my favourite song from the album is Symbols of Joy & Eternity - because the rhythm, melody, and the lyrics are quite quirky and different. What is your personal favourite and why?

Dom: It changes. Sometimes I'll be playing a song live, and at that moment, that will be my favourite.

Oscar: A Song For My Future Self - I think that's my favourite. I don't know why. As I said earlier, there are some songs that you really need to fight through while others are just given to you, and that one was... I remember the exact place that I was when I wrote that song - and with the others, I can't remember. I was in Idyllwild, California. There are a lot of sentimental memories. I think that's the one I'm proudest about lyrically.

Cool. What's the writing process like?

Oscar: There are some songs that can take so long. Explore is a song I started writing long ago - this is going to sound like bullshit - but the early stage riffs I wrote when I was 15. I just had it saved for years, and I didn't take it anywhere - but then I looked at it again when I was 20, I think. There are some backs of tracks that I chip away at, that's how I prefer to do it rather than finish one then go on to the next one. I like to build on 20 songs at a time. Some leap forward and others are slow. It tends to be the music that leads the way first and then maybe if I'm writing some silly poems or an entry to a journal, they can fit in - but sometimes they overlap as well.

In the album reviews I’ve read, people are drawing comparisons to Bowie due to your voice Oscar. How does that feel?

Oscar: It's very flattering. I haven't got much to say on this, honestly. I think people are unaware of how conscious the decision to sound like Bowie was on this record. I think people may get confused... I think a lot of people think they are really clever making that observation.

Yeah, I feel people love to compare.

Oscar: Yes - but art is derivative of art at the end of the day.

When I went to see you play at Brixton Academy in April, I was amazed by the stage design and outfits. What was the idea behind this?

Oscar: Well, after making the record, we put ourselves in the position where we obviously had to perform it live - and we thought hard about how we could best present these songs in that kind of environment. We did a little warm-up show but we didn't really think it through too much. I think we played some of the new songs there, but we felt they weren't packaged in a cohesive enough way. I was introduced to Rob Sinclair who collaborated with David Byrne for his latest show, and he does the Kylie Minogue show. Rob introduced us to Jeffrey Bryant, a costume designer who has worked with Lady Gaga and Duran Duran. We didn't have that much money for the live show - a lot less than we were hoping for. We thought the best way we could make this visually stimulating and different from all the other shows was to use a little more fabric than light. A lot of references came from Tibetan theatre and kind of Tibetan architecture as well. And monochromatic lighting. There had to be a theatrical element to it - that's the short answer.

It was very cool! At BBG, we think it’s important to have active discussions around masculinity and gender identity - what are your thoughts on society's labels?

Oscar: Again, it's a control thing. You can understand things easier if you categorise them; label them. You feel a bit safer; calmer. It's pretty unnecessary. We've all been conditioned to do it, so it's a tough thing to get away from. I think we would probably be happier if we didn't feel the need to label things - and if there were fewer borders and boundaries, in terms of self-expression. That would be a good thing.

Do you think society is changing?

Oscar: I do and I don't. I think there are some pockets of society that are determined to not change, and the more different parts of society change, the more freaked out some people can get; the more aggressive they might get or dogmatic. It's easy for me to say. I live in a sort of bubble where it seems like it's changing. I think there has definitely been a lot of positive change, in terms of the mainstream picking up on acceptance of people's wants and needs; individuality; what's deemed okay and what's not deemed okay. The majority of that has come so far. It seems to be heading in a positive direction so I don't think it's going back on itself.

I feel like we always end up on the theme of control somehow. What kind of feelings or thoughts do you want people to leave with when listening to your music or going to a show?

Oscar: Lightheartedness. Not to take things so seriously. And to love yourself a little bit more. Love your friends and family. To appreciate all the good stuff - which is hard to do. It's hard to really have gratitude to all the amazing things that you have.

Where would you like to take your music next? Or, would say you're sort of comfortable with where you're at now?

Oscar: In all honesty, I've moved on from these songs already. It's weird. Once you record them, you just leave them. You have to live with them for a long time. But that's me personally...

Ally: They haven't gotten old for me yet!

Dom: I brush my teeth to it, to be honest.

Ally: I think I could finish 2019 still liking playing these songs live.

Dom: We as artists have had the songs for a longer amount of time than everybody else. We held the tracks for a bit longer. I'm still at the beginning of it. I never got bored of them while recording them, and now that we've come to touring and actually playing them to people, it gives a whole new life to them and I'm absolutely loving it. For me, I don't think it's going to get boring yet. And also this album is just a lot more honest in terms of us. That's why I think we enjoy it.

Haydn: Agreed. I could easily play new ones now, but it's not that I'm not enjoying this right now. We are very comfortable in where we are right now but the vision is always to move forward.

Ally and Dom: ... in time.

Ally: Forward to death.

Dom: We've done death, we're on the next one now.

Ally: We're all going to die. That's it. (x)

[calzona-ga]

Fifteen seasons in and Grey’s Anatomy is still breaking new ground.

On Thursday’s episode of the ABC hit, Dr. Nico Kim (Alex Landi) and “Glasses”/Dr. Levi Schmitt (Jake Borelli) shared a kiss — the first kiss between two male doctors on the show. Now Landi, Borelli, and showrunner Krista Vernoff are opening up to EW about how the storyline came to be.

Krista Vernoff: Jake [who joined the Grey’s cast last season] is an incredible actor, and the more we wrote for him, the more we wanted to write for him. So the story didn’t begin with, “Hey, we’ve never done a gay male love story.” It began with, “What are we going to do with Jake this year that’s different?”

I remembered a friend of mine in college who was sort of a clumsy, fumfering type who would trip over his own feet [like Borelli’s character] and would stutter, and then he came out toward the end of our freshman year and emerged as a completely different human being because he was living in his truth. Living in his truth seemed to set something free in him where he was no longer tripping over his own feet. He emerged with strength and power and sex appeal that had not existed in him publicly prior, and when I remembered my friend, I wanted to tell that story with Jake because it felt like a really beautiful way to evolve his character. Then we realized we’d never done it! It was a hugely exciting thing.

We’re always just looking for fresh stories, and to realize that somehow we had never told this story was shocking and exciting. It felt like an avenue unexplored after 15 seasons, and when we began to talk about it in the writers’ room we all got really excited, and then we woke up the next morning to an email from our production assistant Xaiver, who is a gay man and took the brave steps of writing to the whole writing staff saying he couldn’t stop crying reading the writers’ room notes realizing that we were finally going to tell a story that would speak to him in this way. He was just so moved and so excited, and he thought it was going to be moving and exciting to a whole community of people who had not yet felt represented on the show but that were huge fans. I was already excited to do it, but that email made me cry.

I called Jake and talked to him about it, and he was really excited and game and wanted to know how we were going to tell the story. When I talked to him about my friend, that felt perfect to him. That’s when we went searching for a love interest and found Alex Landi.

Alex Landi: I knew from the beginning that the character was openly gay and felt it was a great opportunity and I couldn’t pass on it. They wanted him to be a masculine, strong, bro type, but at the same time he was openly gay, which definitely defies LGBTQ stereotypes, and I think that’s great. And the fact that he’s Asian as well, that just adds to the mix.

Vernoff: I looked at a dozen [audition] tapes, and [Alex] was the only one and I said, “I need to work with him. I want to meet him because this storyline is ultimately going to be a big deal.” He flew in from New York, and in the casting room I said, “So how long are you in town?” And he said, “I only bought a one-way ticket.” And I was like, “That’s my guy.” Just the confidence, it was just great.

Landi made his debut on Grey’s when season 15 premiered Sept. 27. Immediately his character took a liking to Borelli’s Levi, making the intern blush with every smoldering glance.

Vernoff: You know you’ve got two great actors, but you don’t know if they’ve got chemistry, and that’s where we worked out. These guys are just magic together, I think, and it’s been so exciting to watch it evolve.

Landi: I love the flirting between Nico and Levi. I think it’s a push-and-pull type of relationship. Levi being the little, insecure, shy type while Nico is definitely the more dominant, confident character. I think it’s really fun to play with that — its like a tug of war every episode. I know fans have been in pain waiting to see what happens with them.

Borelli: I totally ship Levi and Nico. I think their relationship so far has been super-endearing and super-cute and super-honest.

On the Nov. 1 episode, after Levi works on an ortho case for the first time, Nico kisses him. Levi is excited to embrace his interest in men for the first time, but Nico is quick to dispel any hope of a relationship after he learns that Levi has never kissed a man before.

Borelli: I think Levi’s speech about being a general surgeon and being focused on general surgery and then finally getting a chance to do ortho — and that he’s really excited about being in ortho — is such a great metaphor for his coming out. I think it’s in his own way, it’s how he feels comfortable saying, “I’m gay.” It’s a really important thing to see, as well, that he is so earnest about sharing these feelings and about coming out to Nico, but he just doesn’t have the ability to articulate it yet. So it comes out in this really beautiful metaphor about general surgery versus a more specialized surgery, which is ortho.

I think after this kiss, we see something click in him that all of a sudden this feels right. That he feels empowered by this, that this is something maybe he knew was deep inside of him somewhere, but he didn’t fully understand it. I think he’s changing right before my eyes, and I think he’s changing right before his own eyes. Yes, he slept with Dr. Jo Wilson at the beginning of season 14, and I think he didn’t necessarily know what that meant and didn’t understand. I think at this point in his life, he is coming to terms with his own sexuality. He’s learning about sexuality for the first time. He’s a little bit of a late bloomer. I think it wasn’t until Nico had started to be smitten by him or to start advances by him that he was even consciously aware that this might be something he would be into.

Landi: It’s crazy because the scene goes from “Oh my God, it’s happening!” and all of a sudden it’s, “Oh my God, what the hell is happening?!” It goes from 100 to 0 really quick, as opposed to 0 to 100. I’m sure Levi is ecstatic and confused when it first happens, and then all of a sudden Nico has a realization that Levi has never kissed a guy before and it kind of goes from a moment of euphoria for Levi to him being crushed. It’s definitely an unexpected twist that hopefully the audience will appreciate — but at the same time it builds the storyline, which is great.

Borelli: I hope that [after this kiss, Levi] is able to come into his own more. I hope that he feels empowered by this. I hope that he’s accepted by everybody at the hospital. I just want the best for him. I have so much love for Levi, I really want it to work out for him. I know he doesn’t have the best track record in terms of having things work perfectly for him, and I really hope that this changes with this.

[thebethbits]

what is art?

Art is something I have always found an easy appreciation for. Aesthetically, visually, physically, all avenues of art have something specific and special to offer to its viewer, and that interaction has always fascinated me. I think that I have always leaned towards appreciation, especially when it comes to art, mostly because I’m terrible at it. Art is a constant battle, while writing, something I have practiced far more often for a far longer period of time, comes easier. So maybe it is in this inexperience that boosts my appreciation for art because at the moment, the skill and talents and styles of all artists feels so out of replication’s reach for me. Or maybe it’s all emotion, how art can change you. Maybe it’s both, or in everything we’ve learned about in this course about the world of art, all communicating with one another.

Through this class, my perspectives have shifted. Art is something within us that we can’t name, but only feel. Blind light. Like the lexicon of art, we are all trying to speak to the same thing. When considering the most important thing I learned in this course, I believe it’s that it has helped me come to the conclusion that art could go on forever. Even when we feel like there is nowhere else to go, or that everything has already been made, everything has already been said, the glass breaks, and a new color bursts forwards, and makes the whole room bright. Art is a place for the things that are not sayable in just one way. It’s the perfect place to express the things that are hungry, or empty, within us that we don’t like to talk about, because it makes us vulnerable. People come to art with a different mindset, approach, and appreciation. Viewing a piece is never the same twice.

In Advance of the Broken Arm, Marcel Duchamp. 1964. The Museum of Modern Art.

Perspective is the biggest component of art that I learned more of through this class. We spent a lot of time going over what makes art different from everything else, domesticity versus the prestige that comes with pieces hung on gallery walls. In the Art Assignment’s Art or Prank video speaking about the inclusion of everyday objects, to take legitimacy into what is perceived as to be art, and what it can become: “We take simple, everyday materials and subject them to transformations large and small, as large as making a blank piece of fabric into a painting, or as small as positioning an object in an art gallery. These transformations ennoble these materials, making them into something more than the sum of their parts.” (Art or Prank) This can be directly seen through Marcel Duchamp’s Readymades – pieces of mass-quantity produced objects that became art because of the artist’s intent. This highlights my favorite component in art: that it exists everywhere. That as overstated and oversaturated as it is, the saying “beauty is in the eye of the beholder” actually has somewhat of a legitimate basis, a standing in art. That the fact of a viewer’s opinion in this question being “what makes art, art” – is actually an incredibly influential and important part of the answer when questioning society as a whole.

Learning this validation of subjectivity and participation within art, changed me. Like new ways of seeing a piece brought new ways of being. I was seeing meaning, everywhere. In color, in form, in origin. Like art was, is, something crafted out of the quiet, the loud. Each stroke, each layer accumulates into a symphony, with unique voices, each with their own message, their own ways of existing. Like a speech after a long silence. Even when visiting the Art Institute halfway through this course, art had already started to shift in my head. I wanted to ask questions about what is the piece trying to say, and how do I feel about it, aesthetically, meaningfully, structurally? It still feels like I walked in with questions and came out with hundreds more.

We’ve spent eight weeks speaking and learning about all of these aspects about art, and I still have questions. That’s something I learned for certain in this course: there will always be more to ask, more to know, there is always the presence of curiosity. To abate that curiosity, we spent a majority of our time researching, always alongside every piece we did. In reading all about the art of non-western cultures, beauty, craft, history, modern day artists, among many other topics, it all accumulated into this eight week crash course into what felt like every nook and cranny of the art world. The best part: whatever I didn’t research and look into, someone else did, and I got to see it through their eyes, what they found, what they felt about it. It felt multi-perspective, which is my favorite way to view art: from all angles.  

Parthenon, Athens Greece. 1978. Wikipedia.

One of the most intriguing things I learned was after we’d done both the comparison of Arts and Crafts, as well as the Prehistoric and Ancient Art Forms discussion, where I studied Ancient Greece’s Hellenistic Art. The study of these in close affinity of one another brought up realizations I hadn’t seen coming: I love the look of old historic objects and art pieces, but especially ruins. This wasn’t the surprising part, though, the suprise was in the fact that the impact of time is utterly unavoidable, and we see it upon so many objects from places all around the world. I love the fact that we still celebrate them despite them being worn away, that even in whatever shape they’re in now, broken, missing pieces, weathered away, they’re still considered art. From domestic objects to commissioned pieces and everything in between, they’re put behind glass cases and shown to the world under the name of art.

But ruins are something else entirely, aren’t they? Ruins are hard to put behind glass cases. They’re hard to move, to bring home in our pockets and showcase. They’re not portable, and they’re not what they once were made to be shown as,. They’re ghost stories in the shape of puzzle pieces, where we take stories to fill in the blanks. Ruins may be different from their original forms, but they’re still art. They’re accidental aesthetics, echoes of what they used to be. This distinction comes in the aftermath, of what they look like now, the fact that they are not seen as the original intention. But are they still art, in the same way? Is it the memory that makes them art, the comparison? The before and the after? Or is it the inspiration, the way that so many styles of architecture can still be seen in modern structures today? Or that people still go and visit these places, half-gone? What is art then: the pieces that are missing, or the way we fill them in, or the pieces that are still there?

Replica of the Parthenon, in Nashville, Tennessee.

In asking these questions, the Parthenon is one of the most interesting ruins to think about in this way, because we have the original, what it looks like today, time-weathered, but we also have a replica that’s been recreated. The version of the Parthenon in Nashville, Tennessee, is what the structure may have originally looked like at its prime. We have the direct before and after, present and open, and are free to compare the two. To have this direct comparison, we are able to ask questions, some along the lines of how time affects the meaning of the piece, and if the face-value of the image of a piece impacts how we see art at different points in our lives, or even different points in our history? And what do we do when we have two pieces of weathered ruins, neither looking like what may have been the original? What then?

If you’d asked me anything about Institutional Critique before we researched it for last week’s discussion, I wouldn’t have assumed it to be so prominent and active in the art world. Academia, maybe, politics, absolutely, but not so much art. Not to the intense details that art’s Institutional Critique does. But as with all money-headed empires, it’s easy to assume that there is institutional disconnect between groups within, but work that contributes to the theme of Institutional Critique in art goes farther, tying in meaning, place, and time. It includes all members of interaction with a piece: the artist, the audience, and the owners of the place showing the art itself. It is all-inclusive in its assessment of the current state of art.

I’m always asking questions, now, when I try to look at art in this new distinctive way given by the designated sections of Institutional Critique. What is it trying to say, what isn’t it saying, what are the ways I could see it differently, or similarly, or completely off the rails in a way that wasn’t the intention at all? But also broader questions, as well, for example, should artwork be read in any kind of sequence? If there is a way that galleries are organized to have a pre-set path for visitors to follow, and even if this is something that artists do as well, in their pieces? Should we categorize art in a way that confines its meaning, its impact? Is there any way to speak about art that doesn’t do this in some way?

Art changes depending on – everything. Who you are, as the audience, the artist, your experiences, your values, your world-views. The way you approach art and the way you let it affect you. Art, in this way, is immensely subjective. It comes in the door one day, built by the artist, and left to be morphed and changed with each pair of eyes set upon it. In this way, art can change people. It can change places. It can change everything, even if by just a little. I never realized how much the simple action of looking at art in a space could impact a piece so heavily. Sometimes the subjects are nearly unrecognizable in the way we look at them, compared to the artist’s vision, or even another person’s view of the same object.

Pieces that have political or societal implications can comment and voice opinions in a way that may have otherwise been routinely silenced. It is within these new ways of making art, and new ways for art to provide a commentary on our lives, that art continues to expand. By this, art can be so much more than pieces in a gallery. Art can be influential, political, changing. In this way, in the words of Suzanne Lacy on her 1977 performance piece that highlights public gender-based sexual violence in Los Angeles, Three Weeks in May, “We are making an art that’s not just for art’s sake, or an art that’s about personal expression, but an art that’s about changing the world, and we believe – I do believe that art can change the world.” (Three Weeks in May)

But changing the world is a difficult thing to do, especially if powerful ideas within the world are working against you. To combat this, art becomes political. Art becomes action. Erich Fromm’s 1963 essay “Disobedience as a Psychological and Moral Problem” attests to this. Fromm speaks about the conviction or principles that revolutionaries follow when being disobedient to the order of things, that it is the presence of those principals or values that are absolutely necessary for their actions, to distinguish them from rebels. (Fromm)

Fromm cements this way of thinking with commenting on the stagnation of emotional progression lacking behind progression of the material, saying: “If mankind commits suicide it will be because people will obey those who command them to push the deadly buttons; because they will obey the archaic passions of fear, hate, and greed; because they will obey obsolete clichés of State sovereignty and national honor.” (Fromm 1)  This directly coincides with a later piece, Andrea Fraser’s “From the Critique of Institutions to an Institution of Critique,” where she speaks about the inability to separate the art from the art world: “But just as art cannot exist outside the field of art, we cannot exist outside the field of art, at least not as artists, critics, curators, etc. And what we do outside the field, to the extent that it remains outside, can have no effect within it. So if there is no outside for us, it is not because the institution is perfectly closed, or exists as an apparatus in a "totally administered society," or has grown all-encompassing in size and scope. It is because the institution is inside of us, and we can't get outside of ourselves.” (Fraser)

How Fraser phrases that last piece, “the institution is inside of us, and we can't get outside of ourselves” (Fraser), is the perfect phrasing of the problem. If art is an expansion, expression of ourselves, how to we display that without including the pieces of ourselves that others take issue with? The original meaning behind it, whatever that may be? A piece can be rewritten by location or surrounding pieces, but the original creation’s purpose will always be the same. What do we do, when suddenly that becomes a problem? How are we supposed to respond?

Sunflower Seeds, Ai Weiwei. 2010. The Tate Modern.

Revolutionary art can be made in many ways. Physically, within art that is illegally installed, art that exists to question the way that things are, art that raises questions about art itself. Banksy’s work of shredding his painting after it’d been sold, Ai Weiwei’s pieces of combining both political and cultural sentimentalities in works like Sunflower Seeds, Jenny Holzer’s Truisms pasted up like anonymous street posters questioning the state of society, among many others, have merit in being revolutionary pieces. Some of the other works we’ve discussed this semester, especially pieces like Marcel Duchamp’s Fountain, exist and were made specifically in the action to challenge preconceived notions of art. 

After everything we’ve learned this semester, art is more than what I thought it was at the beginning. Then, I believed that art was an awareness, a way to reshape our consciousnesses into concepts, to give it tangibility and perspective, specifically saying: “[art] gives way to different forms of thinking, of approaching media, of going about our everyday lives. Art, in this way, changes us. It snaps us awake.” (Berg) Art is that – but it’s also so much more. It’s the key to connection, to history, in every narrative, worldwide. Art can influence, widen perspectives, bring finality, or even, usually, mountains of more questions to answer. 

Being an artist is an increasingly paradoxical profession as time continues. It is both as powerful as it is vulnerable. Artists are standardized by society in the near-same way it has standardized craftspeople, in the way that their work is open to being over-simplified, alongside the popularized gate-keeping notion that if you don’t understand the way you’re supposed to look at,  or appreciate, art the very first time you lay eyes on a piece, you won’t ever understand; which is the farthest thing from the actual truth. Art is a learning process. Art changes with you, whenever you come again and see with fresh eyes. Art lives alongside humanity. We create when we have something to say, or something to hide, or even if we just want to capture a color, a feeling, in a new way. Art, in society, is something that changes with us, and can tell us about what we used to value or what we used to prioritize, even within our own domesticated everyday objects, even within ourselves. 

We live our whole lives looking for something. Everywhere, we are always searching. Sometimes we call that something love, or fulfillment, or contentedness, and other times we have a laundry list of other epithets for it. In this search, we try to find parts of ourselves in everything: names, connections, but especially within art, because there is no greater expression than that of what shakes and deforms and ripples with every perspective. In creation, we put pieces of ourselves on display, our dreams, our despair. There is intention, in this, to art. There is meaning, purpose, story, narrative. It is the human effort, in a way, that we come to art to give pieces of ourselves to a name. That we try to share, in this way. Art is telling. Art is there, and maybe it holds within it what we’re looking for, and maybe it doesn’t – but art knows us well enough to still be this extension, because it is us, it came from us, it continues to become us – but art is always there. It has always been there, from the very, very early days to right now, right this second, in this word, this syllable being written and being read. Art exists everywhere, because we know, that even when we look away, we are still looking, and in having art and beauty everywhere, in everything, it becomes a constant. Whether it is in the world of prestigious galleries, or even in our domestic everyday lives, art is always there, looking back.

Works Cited

“Art or Prank? | The Art Assignment | PBS Digital Studios.” YouTube, uploaded by The Art Assignment, 27 Jul., 2017. URL.

“Three Weeks in May by: Suzanne Lacy (1977).” YouTube, uploaded by LACE, 5 Feb. 2016. URL. 

Berg, Beth. “Expanding Our Ideas of Art.” BlackBoard, 28 Aug. 2019. 

Fraser, Andrea. “From the Critique of Institutions to an Institution of Critique,” New York: Sep 2005. Vol. 44, Iss. 1; pg. 278. URL.

Fromm, Erich. “Disobedience as a Phycological and Moral Problem.” On Disobedience and Other Essays, Harper & Row, 1981.

Art Cited

Parthenon, Athens Greece. 1978. Wikipedia. URL.

Duchamp, Marcel. In Advance of the Broken Arm. 1964. The Museum of Modern Art, New York. URL.

Weiwei, Ai. Sunflower Seeds. 2010. The Tate Modern, London. URL.

[nevergiveupneverrun]

Bodyguard - Chapter Twelve “The memory of the body” Part One

Hello, I hope you’re all doing great. Here is chapter twelve of my Story Bodyguard. I’m sorry in advance for the mistakes… English isn’t my first language and I do my best. Here is the link to the previous chapter: Click Here.

I hope you will enjoy this chapter :) 💛

A week had passed since the reception for Amelia’s foundation and this chase. A week that Amelia’s stress was climbing with each passing day… not so much because of the threats, she had regained the upper hand in record time… but because of the upcoming concert, which was only a few days away. She kept repeating and I didn’t count the number of trips back to the Conservatoire or the studio. Richard was even worried about Amelia’s diligence, so much that he had imposed today on a day off, which had the effect of annoying Amelia noticeably. She was not particularly happy and had spent much of her day in her composition room playing and humming her songs.

I was looking for her in the house, no longer hearing any melody escape from the end of the corridor. Approaching the room, I soon perceive two distant voices: those of Amelia and April who were be installed on the terrace. - It will change your ideas! - I don’t know April, a quiet evening at home would do me good too, I think… - Not at all… an evening between us, where we drink more than reason and where we dance all night, it is the best remedy for your state of mind… you are a too anxious sweetheart! Even if the best remedy is not the best expression: it is a good remedy but not the best… - Oh yes, and what is the best remedy, doctor? I hear Amelia’s smile through her voice as she challenges her friend. - You know Amelia… but you can not do it alone… April’s mischievous tone echoes in my ears. - April Kepner, you will never change! - Stop, you know that it’s effective, and besides, you don’t have to look far! - Clearly, men are jostling at my door right now… I’m about to move away from their discussion when April’s sentence suddenly stops me in my movement. - Maybe not, but there is a man 24 hours a day at home… - And who works here…Amelia adds. - You should take things more lightly sometimes… frankly, I saw some of the bodyguards on the filmings where I was able to work and they look more like Schwarzy than Ryan Gosling… I’ll pay a lot for a ride with Mr. Hunt… - You know it’s a very bad idea April… - Stop thinking from time to time… - You will not make me believe that you don’t like him? - I didn’t say that… - What do you say then? - He is… I listen carefully despite me but she doesn’t finish her sentence. - Anyway, it’s my bodyguard and I’m not… Amelia stops again without revealing her thoughts clearly. April remains silent a few moments, then I hear her voice again soon, but more weakly than before. - Everyone will not let you… just one person… just fall on the right… then you should take over Owen’s contract and add a clause so that he takes care of you in every sense of the word, ends April in a laugh. I slip away on this remark; I should not have heard this conversation let alone the colorful comments that knew so well April. I had always noticed certain looks from women: I knew that I could count on real ease in contact with them, but this kind of opinion about me always made me feel uncomfortable. I didn’t see at all what seemed to fascinate them. I go down the stairs to join the kitchen and serve myself a glass of fresh fruit juice while trying to chase the conversation out of my mind. I finish my drink quietly when I hear steps down the stairs and a question that reaches me from the stairs. - We will ask him, we will see what he answers, right? April and Amelia step into the kitchen: April first, with a decided step and Amelia behind her, a little less assured. - Owen, we were looking for you, April launches. Amelia told me that my idea of soirée was not compatible with your rules, so I just check with the expert? - I listen to you… - Here: Richard asked Amelia to relax today and decompress a maximum… and for me, it is necessary that Amelia takes a little air and has fun: hence the soirée that I propose, a soirée in a night club for her to let go a little! A soirée in a night club?! I remain silent after April’s announcement. Nightclubs were some of the places I feared the most in my profession: noise, crowds, lack of space. I had always managed to avoid this environment that combined all the risks. - You see April, it’s not a good idea, whispers Amelia taking her friend by the hand. The distant and weak voice of Amelia calls me, she carefully avoids my eyes. Her face strikes me, however: more dull and closed than usual, so that I consider in spite of me the suggestion of April. - Is it really important to you? Amelia stops in her movement and finds my gaze while April moves forward again. - Of course, it’s important… - I ask the question to Amelia, April… Amelia hesitates a few seconds then answers me in a voice almost shy while fixing me. - April knows how to be convincing… and that could change me a little the ideas actually… I look at her for a long time, she really didn’t look better today. I would have like to detect a glow in these two pupils that I could recognize between a thousand henceforth… enjoy a frank smile on her face… April’s idea was perhaps complicated to manage but if it could give a little energy and confidence to Amelia… and revive the joy of life that I missed at this moment by seeing her in front of me. I think quickly reviewing the details of such a soirée. - Are you aware that you can not go out alone? - Yes, of course, that’s why we talk about it, says April. - Well… I’m not going to say that you make my job easier… but if it’s important to you… - Thank you, Owen, you make two happy, exclaims April. - Some small remarks, however… have you already a place in mind? I prefer that it’s not a night club accessible to anyone. A place that already makes a minimum of sorting… and that we can enter through discreet access… - No problem, we expected to go to a friend’s night club: a pretty select place… and since we know the owner well, she can arrange all the necessary details… she can keep us a table in a corner a little less discovered, privatize a VIP zone… - Good, and agree with her that she keeps a table near the exits while giving a view of most of the room… and that we can enter by the entrance of the staff and not the official entrance. - Ok, I will call her, it should not be a problem… - Are you sure, April? Saturday night, she often has a stage with bands playing live… and well-known DJs who mix… tables are often booked well in advance. - She will make us a little place, don’t worry, Amy… something else Owen? - At with time do you plan to leave? - Around 10:30 pm… are you ok? April asks turning to Amelia. Amelia just nods her head. - Okay, I’ll tell Jackson, I said going back to my room.

4 hours later.

One last look at my outfit and I decided to leave my room. I had finally left my tie on my bed, judging that it would have been the accessory of too much for the soirée: shirt and jacket of the suit were amply enough. I go back to the entrance and I’m surprised discovering Jackson at the foot of the stairs. - Hi Jackson, how did you come home? - I have a key you know now, it was Richard who gave me it a few days ago. - Did you see the girls? - Uh… I saw April… she was coming out of the kitchen… and see a woman welcome me in bra and panties, dress in hand, I didn’t have this pleasure fifteen times in my life… you must not be bored, tell me! He said laughing. - If you knew… He smiles a little more in front of my answer before resuming his seriousness. - In any case, you surprised me when you told me where we were going. Are you sure? - Yes, I’m well aware, but we will take all the necessary precautions and everything will be fine. - What made you accept? - Amelia needed to get some fresh air and I’m not here to stop her from living. - Not so long ago, though, you would have categorically refused these kinds of outings… Jackson observes me for a few seconds, when heels slam a few meters away from us, at regular intervals, to the rhythm of the stairs. I turn around and discover April and Amelia come down and walk towards us. I can not help but quickly note their outfits and the difference between them that expresses through their look. April is dressed in a sleeveless white dress, extremely short, arriving at mid-thigh, with black heels. Amelia has opted for slim black jeans with a red silk top, revealing her shoulders and knotted visibly behind her neck. - Good evening, gentlemen, launches April in a singing voice while advancing towards the coat rack to detach a light jacket. Amelia follows her and just smiles, turning around. And the top she wears is actually much less wise at first sight, revealing her whole back… and I realize that the tie behind her neck is the only link hold this piece of fabric against her. A black suit jacket that she puts on, stops me quickly in my observation. - We can go? Can you give me the address? Asks Jackson by my side. - Yes, we are going to Belltown, on the edge of Western Avenue, I will tell you where to go when we were nearby. - All right, let’s go there. Jackson walks out of the house first, followed by April, as I bring up the rear with Amelia. I notice that she almost reaches my height. A look at her shoes quickly gives me the answer to these many centimeters that she had won for the soirée: a pair of stiletto heels at least 12 centimeters to her feet in which she seemed incredibly comfortable. I see her eyes, looking up and she smiles at me having noticed my observation. - I cheat a little… I’m not lucky enough to have a mannequin size. - You should not pay to much attention to these pseudo-standards… but I remain admiring in your mastery of balance, I will be unable! - Ha, something that I know better than you, I’ll remember, she replies in a burst of laughter. I join her, laughing in my turn, happy to have won this sweet melody. The girls both sit in the back and then we head straight for Western Avenue, under the bright, twinkling lights of a Seattle night, worthy of the most beautiful postcards. April and Amelia chat loudly behind us: however, we remain focused with Jackson on the road and especially on the vehicles surrounding us… Jackson taking care not to take the shortest drive to have time to see if a suspicious car was lurking around us. He finally nods to me saying that there is no warning and continues on the road until arriving on Western Avenue. - April, we are there, says Jackson with a look backward. - Okay, then go up the avenue again and you will take the next right at the light you see in front of you. The night club is at the corner and the « discreet » entrance is from the back, we can leave the car, says April. Jackson follows April’s directions and we head down the small street, cutting off Western Avenue, and skirting a glittering signboard showing “Rainbow World”. Jackson parks in a nook in the back of an imposing building where I guess a door marked “staff only”. - It’s here? - Yes, mission accomplished, announces April with a wink. We can enter through this access, we will arrive by the offices and the owner will let us pass. - Okay, …wait until I go out, ok? - A quick question… what will Jackson do? Jackson looks at me for a few seconds, surprised by the question, before answering to April. - I will wait here as usual. - Are you going to wait for hours alone in this car? Frankly, it will not help much, you should accompany us. - April… - You run fast, you will be quickly in the car less than a minute if we had to leave quickly… - I don’t… - And it might be more prudent to have to former agents with us than one, right? April’s last remark makes me seriously consider her suggestion. Jackson looks at me for a moment again not knowing what to say. - As long as you’re driving when I need you… the rest is up to you… - Ok, so if I can keep company to O’, why not? I think it’s not going to be easy… Jackson and I get out of the car at the same time and open the door respectively to April and Amelia. We go all four towards the « Staff Only » door facing us, a door that I open to let April then Amelia enter first. The heat of the place is stifling from our first steps inside. The light is weak and almost less pronounced than the street lighting we had just left. We walk in the corridors, leaving several doors on both sides of our passage, while I quickly see a silhouette in the background. As I go, I gradually distinguish a young woman, small and thin in front of us, dressed in a long black dress slightly slit on the side and put on… caster shoes. - Hi girls, she said while we are still a few steps away. Her voice is soft and cheerful which is a stark contrast to her assured look. - Hello Ari, April answers by making her a kiss on the cheek. - Good evening Arizona, continues Amelia imitating April. - Access is right for you? - Yes, it’s perfect, thanks… by the way, I present to you Owen and Jackson who are with us tonight. - Good evening sirs. Arizona Robbins, the club owner.

Thank you so much for reading. 💛

[imagineclaireandjamie]

Imagine Jamie being a young and important visual arts professor at university, and Claire following his lessons and then find out she's attracted to him..

Mod Gotham says: No universities in this story, but I think you’ll like the setting of this one even better!

When the telephone rang, she adjusted the volume on theradio and set down her teacup.

 “Randall residence.”

 “It’s ready.”

 She sat up a bit straighter. “Really?”

 “Yes.” Not even the static crackling on the line couldmask the burr in his voice. “I canna wait for you to see it.”

 With her free hand she flicked off the radio and slipped onher shoes. “I’ll be there in half an hour.”

 --

 It was just a few steps from the townhouse on 68thStreet to the Third Avenue Elevated. Claire thrilled in riding the subway highabove the traffic, peering through the windows of buildings as the car chuggedby. Watching families eat dinner, housewives hang laundry, husbands pore overthe sports pages. Secret glimpses into lives she would never know.

 Claire Beauchamp Randall was quite good at keepingsecrets.

 In less than twenty minutes she disembarked at 14thStreet, carefully made her way down the iron steps that swayed as the trainspassed back and forth, and walked in the shadow of the elevated tracks on ThirdAvenue until she turned left at 12th Street.

 Halfway down the block was the iron gate behind which shehad found so much. The gate guarded entry to what appeared to be a smallcourtyard, but was actually a cluster of four carriage houses – two facinganother set of two, with a small patch of grass in between – which thirty yearsago had been where the wealthy families in the area had boarded their horses.Many had been destroyed in the name of progress, now that the automobile ruledthe city’s streets – but time had barely touched this leafy block, packed with dozensof graceful diagonal stoops leading into brownstones.

 Four boys played stickball in the street, taking nonotice of the well-dressed woman pass by.

 Finally she arrived – and he was there, waiting for her.Jamie opened the gate, and she nodded a quick hello, removing her hat as shestepped into the courtyard. Jamie locked the gate and turned to enter hisstudio; she didn’t need him to ask her to follow. Thirty five steps later theywere safely inside the main studio on the first floor – the ceiling twenty feethigh, the late afternoon sunlight pouring through the five round windows, the sharpsmells of tempera and turpentine jolting her senses.

 Before she could put her hat and coat on the table, shewas in Jamie’s arms.

 --

 Shyly she reached out to touch the edge of the canvas. “Ican’t believe that’s me.”

 Jamie’s lips lifted in that half smile she always lovedto kiss. He looked at his work – then back at Claire, naked and flushed andrumpled on his bed – and then back at the painting.

 “It’s you,” he insisted. “It’s how I see you.”

 Frank Randall had commissioned a portrait of his wife incelebration of her thirtieth birthday. Something grand to hang in the entrywayof their townhouse – to show her off to the revolving door of socialites and businessassociates and politicians who attended the parties that Claire held everyweek. Frank limited her volunteer work at Bellevue to just ten hours a week –and to punish him for that, she spent more than half his income on extravagantsoirees and balls and cocktail parties and salons.

 Beautiful, witty, charming, with a tongue saltier than aseasoned sailor – an invitation to Claire’s parties meant that you had arrivedon the New York City social scene.

 Jamie Fraser – photographer, painter, poet, and sometimestaxi driver – secured an invitation through Edward Gowan, a successful lawyerturned amateur painter to whom he gave art lessons twice a week. He had literallymet Ned on the street – collided with him on the corner of Second Avenue andSt. Mark’s Place, his arms full of fresh canvases – and this chance meeting hadblossomed into a fruitful partnership.

 For Ned was still the Randall family attorney, despitehis advanced age, and as such had an open invitation to any and all events atthe Randall townhouse. Six months prior, in the dead of winter, he had paid fora new suit of clothes for Jamie and shared a cab with him uptown.

 It was the easiest commission Jamie had ever received –he had been half distracted with the incredible Art Nouveau furniture andmirrors and light fixtures – and he had let Ned do all the negotiating.

 That was the first night he had met Claire – Claire,vibrant in a floor-length dress of electric blue, her untamed curls wild aroundher face, sipping from glass after glass of illegal champagne. Her eyes so sad.

 Three days later was her first visit to his studio. Theyhad spent that first day just talking – her about Klimt and O’Keeffe andPicasso and Man Ray; him about how he had learned to paint from his mother, howhe frequented the German beer halls down on the Bowery to fill notebooks withdrawings of faces and hands and shoes, how much he loved photographing theentryways of old buildings.

 The connection was instant. Undeniable. But she wasmarried.

 It truly began once they agreed on a pose for theportrait – standing in her parlor, one arm leaning against an exquisite antiqueChinese side table, the other arm on her hip, gazing head-on at the viewer.Challenging them. Showing just who exactly was in charge of this domain.

 Jamie had asked her to wear the dress he couldn’t get outof his dreams – bluer than the sky, bluer than her eyes. Happily she hadagreed.

 Several sessions, then, at his atelier in the East Village.She stood still as he sketched, telling her about his family back in Scotland, thelove for art that his late mother had instilled in him, colorful anecdotes ofhis artist friends and the odd jobs they took to make ends meet.

 He had served her tea and cigarettes. She had brought himpaper and pigments, knowing from experience what her artist friends preferred.He had made her smile and laugh, and had brought light to her troubled eyes.

 One session at the townhouse, so that he could carefullysketch the drawing room, the antique furniture and Persian carpets and framedJapanese prints neatly hanging on the walls. Heedless of Frank Randall frowningat him from the doorway, warning him to not break anything.

 And then the next session with Claire was back at hisstudio, focusing on the details of her eyebrows and hands.

 She was the perfect model – she held perfectly still. Evenwhen he tentatively reached out a confident hand to adjust the tilt of her jaw,the angle of her head. Leaving behind smudges from the charcoal he so dearlyloved to scribble and rub and shade on the paper she had brought for him.

 Seeing his fingerprints on her porcelain features stirredsomething within him.

 And then, nine sessions in, as he mixed his pigments to createthe perfect shade of blue, she quietly opened up to him.

 The parents who had died when she was five. The husbandwho sought comfort in the arms of other women. The abandoned dreams ofministering to the sick. The emptiness of parties and caviar and champagne andthousands of air kisses with women who envied her and whom she hated. Thechildren her husband would not give her.

 All the while he let her speak; mixed the colors; thoughtand thought and thought.

 At the end of each session, it was customary for him tohelp her into her coat and walk her to Third Avenue, where he would catch a caband make sure she was safely on her way home.

 But at the end of that session – when she had changedfrom the blue gown back into her gray dress, stood waiting for him to help herinto her coat – he had quietly walked up to her, looked into her eyes.

 “Stay,” he had breathed.

 The one word that had shifted everything.

 She could choose to leave – and he would help her go. Butshe chose to stay; chose to let him help her out of her dress, lead her to thebed, and show him just how much he had come to mean to her.

 That night he had filled fifteen sheets of paper withsketches of her – sleeping, reclining, sitting. Smiling. Nude, clothed.Drinking coffee, eating an apple. Always smiling.

 His mind burst with thousands of ideas for photographsand paintings and drawings and lithographs. He whispered these ideas to her,and she kissed him with all her might.

 Slowly the portrait took shape; slowly he accumulatedmore and more material of her.

 He photographed her in the nude, standing in the middleof a sunbeam on the floor of his studio, arms raised ecstatically toward theheavens.

 He painted her wrapped in a Japanese kimono, hair sweptinto a sober chignon, sipping tea in the courtyard.

 He drew her sleeping beside him, the contours of quiet joyvibrant on her face.

 And now – now the portrait was complete.

 The setting and background were as agreed; so was herdress, and her pose, and the style of her hair.

 But her face –

 “You have brought joy to my eyes,” she whispered. “I lookawake. Alive.”

 “That’s how I see you,” he repeated softly, settlingbeside her on the bed, carefully balancing the painting across their laps.

 “Frank won’t recognize me,” she mused.

 “He won’t need to.” Jamie swallowed. “Right?”

 Claire nodded. “Right. Your offer still stands?”

 He didn’t even have to think. “You know it does.”

 Then she smiled, so wide. “Let’s get dressed.”

 “I’ll roll up the canvas. How long will it take you to gatheryour things, once we’re there?”

 “Just a few minutes – I packed my bags a long time ago,you know.”

 He dipped her in an exaggerated kiss, mindful of thepainting.

 “I can’t wait to begin forever with you,” she breathedagainst his lips.

 “But not until we show him what he so foolishly threwaway,” Jamie murmured.

 Another quick peck of the lips – then a whirlwind ofactivity as they dressed.

 “I was thinking that we would hang your portrait abovethe bed,” Jamie mused, helping Claire button her dress.

 “That’s a lovely idea.” She turned, smiling, and restedher hands on his shoulders. “Only if we hang the nude beside it.”

 Now it was his turn to smile widely. “How I love you,Claire.”

 She kissed the tip of his nose. “Love you more. Shall we?”

[candiedfangs-blog]

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[bunbunmaru-shimbun]

News Is Nothing Without Action

“Look.”

“News informs people, but news is nothing without doing something about it.”

“When I heard more humans were some how passing through the Great Hakurei Barrier and seen in Muenzuka, I went to look. I was going to just simply report what was happening and shove that on my newspaper for everyone to know. But when I saw why ...”

“... these humans were different than just spirited away people to probably get eaten, ones that just fall in normally for some reason”.

“No. This is different.”

“These ones that were wandering to Gensokyo ... They had their children with them. Entire families. Their friends and own family. They had whatever all that they can carry. You can tell something seriously went wrong for them to this. They appeared to got so desperate to do some sort of weird ritual to get in and find sanctuary behind the Hakurei Barrier.”

“I could not just stand here and just report what I was seeing in Muenzuka.”

“I could not just press this on a newspaper and just walk away, calling it a day.”

“No.”

“Something is truly wrong in the Outside World for a horde of humans to end up in Gensokyo on purpose and in desperation. The level of desperation was seriously high just by observing the population alone. They took everyone they knew to this place--relatives, extended relatives, friends, and their extended families. This group of humans was hundreds, perhaps even thousands, a crowd that I have not seen in the recorded history of Gensokyo. At the level of this kind of crowd, it is very evident that they are looking for help from us. They do not care about the dangers of coming in. They were ready to defend them selves but they come here wanting help. They are crying out for assistance.”

“I couldn’t take from what I saw. I knew it. I knew it in their eyes. In their actions. In their hearts.”

“It became from not just reporting what I saw, but doing something about it.”

“And so I did"

"I came down and introduced myself. They were afraid at first but assured them that I come down in peace; I told them that I am a journalist. And the head of the group is also a journalist in the outside world. We talked together for a bit, trading stories, talking about each others’ experiences quite extensively. Sat for a few hours, telling how Gensokyo is, what I did, and my career. -- proving that I was a safe youkai and that I would guide them to the Hakurei Shrine for real assistance.”

“From talking to them, my heart attached more and more to these humans, looking at me for help, like a black winged angel to them. But once I did this, I got to ... need to help them. These people became my family. My flock. I was their Shepard.”

“So, I guided them through Muenzuka, fighting and exterminated minor youkai trying to eat this crowd. I brought them through forests and was and escorted them to the Hakurei Shrine. The shrine where people end up. But they couldn’t fit on the grounds. It was too many. But I got myself in front of Reimu Hakurei and Yukari Yakumo. My heart grew and grew for them. I wanted them to stay. I begged on my knees to let this crowd stay. Cried for them. Pleaded for them.”

“I promised and swore to everyone, right in front of everyone ... Reimu, Yukari, My flock. I wanted to ... no ... I needed to take care of everyone who needs help of this nature that comes in.”

“I promised to fight every day without question to make sure that they have sanctuary.”

“I promised so much so that I took my newspaper to become a truthful, informative tool for everyone, letting them know how this place works,"

These people came to Gensokyo with great desperation. They came in trying to enter with tears, blood, sweat. Came in Gensokyo at all costs. They brought all that they knew, as much of their extended family they could, and everything they had. At this point, it is absolutely heartless in any form to do nothing or turn them away. They’re asking us for help. They chose us. They are begging to stay with tears and sadness. They were willing to do almost everything to be behind the Hakurei Barrier where the Outside World cannot get them. Escaping war, escaping persecution, escaping hatred. escaping abandonment, The list goes on and on. All came to the protection of our land.”

“I will protect them at all costs. They are to stay. They are to settle and live in peace. They lived everywhere. Human Village, Myouren-ji, Hakurei Shrine. Utterly destroying the ban of humans on Youkai Mountain. Out of all places, Former Hell was a place that actually wished to help. We are sanctuary ... I fight to have this.”

“And then something extraordinary happened ...”

“We are the site of true First Contact with extraterrestrials from other world! They came to us ...”

"Alternians. Trolls."

“Behold, trollkind, the Cold Irons. Your hue will no longer bear shame, and now the Red and White of the Cold Irons is hoisted high. The white of trollkind and the red of the Spirit of The Sufferer.”

“So verily, today, you will enter Paradise. where here, nation shall not lift up sword against nation, and blood hue shall not lift up sword against blood.”

“The Land shall be the seed of a new reborn troll kind, for we welcome you.” calls out the Red and White Maiden, guiding forth the Children of the Cold Irons. where his hue will no longer bear shame, but great honor.”

“Their scriptures referenced us. Referenced Gensokyo. How this was invisioned. ... I don’t know how they did this. But I saw in their scriptures that they would find Paradise.”

From the heavens, the first seal is broken, the bird of the wind, with a red phylactery soars with wide black wings. The bird of the wind carries with them a flying roll, with words of invitation and encouragement of the new land far and wide, words in accordance with the Violet Maiden of Borders and the Red and White Maiden, taking the Children of the Cold Irons from all four quadrants of the Galaxy.

“This was when I came to tears. They needed to come in. I am the bird. Their angel. ”

“They were seeking religious asylum. Following the Signless, their prophet that looks to follow our traditions. They already lived and work as we do. It made absolutely made no sense to reject them. They came from far away from the stars to come to us. They were willing to give all their all to stay... begging as the Humans had.”

“And so they had, becoming one of our most industrious and indispensable people. Protecting other asylum seekers, doing minor shrine work, developing/giving technology, developing incredibly in the Arts and Letters (creating works of art, composing music, writing plays and novels), and of course, infusing the shrines and temples (including Hakurei shrine!) with cash and offerings. Your lives and everyone’s lives have benefited from Alternian work.“

“So, that was it. We needed to codify protection. When even aliens from other worlds come to us, it showed us how much Gensokyo is valued. This was when youkai attacks needed to be stopped for Sanctuary Seekers."

“I composed and demanded an amendment to the Spell Card Rules and the ‘Vampire Contract’ called the Muenzuka Contract Amendment. This finally acknowledged the need for rules for humanitarian entry and sanctuary for asylum seekers.”

“ Yukari says that ‘Gensokyo accepts everything’. It is including those crying for help and need sanctuary. When she says that, I press her hard. We need to mean it.”

“And I am happy, with tears streaming down my eyes, that this was accepted. And I fight, day and night, rain and shine, days on in end, to ensure the asylees and refugees that I take under the black crow’s wings to be safe.”

“And to the Prophet Signless and Sufferer. Your disciples have finally found sanctuary where the Condesce can't touch them, being free to act upon the Sufferer’s sermons completely. Your sermons of caste hemospectrum elimination, fulfilled. Your sermons of channeling their anger and transform it to peaceful and fulfilling avenues of expression, done. To become greater than what is in the Outside World? They're working on it. But. Your people have not just found peace in Gensokyo, but becoming a true reborn race, a true renaissance-- and have become stronger not just as individuals but all at once."

“We will find ourselves as the catalyst of a winning side of a revolution of an extraterrestrial race.”

"Which brings us back to the beginning ..."

“News is nothing without doing something about it.”

"... and so I did."

P.S.: To the tengu that ranks above me. To the Dai-tengu. You all tell me I can't advance higher than a crow tengu. That no matter what I do I won't be promoted?"

"You missed the damn boat, You missed your chance to change history. You missed your chance to have everyone else's paper circulated to thousands and have newspaper staff."

"To the Tenma of tengu."

I PROMOTED MY DAMN SELF WHETHER YOU LIKE IT OR NOT.

YOU CAN'T CONTROL ME

AND FINALLY

FUCK YOU

[argaretack-blog]

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