Graffiti Train Bridge And Skyline, Austin, Texas by Randy von Liski
Via Flickr:
This view of downtown Austin shows the Graffiti Train Bridge across Lady Bird Lake. The plate girder-style bridge was constructed in 1936, but it sits on the stone piers of a previous bridge. Over the years, multiple layers of artwork and graffiti have been painted on its sides. The graffiti offers a unique and ever-changing perspective, adding a vibrant touch to a view showcasing Austin's ever-evolving skyline.
The original \/u| \//\ goddess I created in 2013 is Maria Rosa. Her design was inspired in major part between the miracle of La Virgen de Guadalupe and the concept of Mary Queen of Heaven.
I was recently commissioned to create a new (\/) Goddess inspired similarly between Guadalupe and Tonantzin by my chingona hermana Janet Bella Rosa who also knew Mi padrino Antonio 🙏 I felt his spirit guiding me to connect our visions! 💞
Tonantzin is an enduring Nahuatl title for the maternal aspect of any Aztec goddess, much like “Our Lady”, rather than the name of a particular goddess. I chose a blue background to parallel Her starry mantle of heaven and also represent Lake Texcoco since the eagle, snake, and cactus from its story of the founding of ancient Mexico there are present. 💙🌵
Tonantzin in various forms is frequently depicted with eagle feet so I thought it appropriate to have the legendary golden eagle clutch the silvery moon below Her in place of Guadalupe’s cherub 🦅 🌙 Tonantzin is often known, by many names, to wear a skirt of snakes- the celestial Aztec earth mother Coatlicue’s particular name translates to “She of Snake Skirts”. So I couldn’t help but see the snake emerge from the opening in Her folds here. Frequently in Aztec art snakes emerging from or replacing body parts represents blood so I feel a menstrual element from how the snake manifested in this vision 🐍 🩸
Many believe that the apparition of La Virgen de Guadalupe on Tepeyac Hill unto St. Juan Diego, an Indigenous peasant originally named Cuauhtlatoatzin meaning “Talking Eagle”, was a vision of a new form of Tonantzin. Her local temple had formerly been on that very site, destroyed by conquistadors. When Cuauhtlatoatzin received these holy visions, the Goddess spoke to him not in Spanish but in his native Nahuatl language even though She identified Herself as The Virgin Mother of God. Even the Church documents testify that The Holy Mother assured him in his moment of doubt, in his Indigenous tongue, “Am I not here who am your Mother?” Indeed Tonantzin Coatlicue herself is said to have had her own divine conception via a feather 🪶
The miraculous vision of Guadalupe that appeared upon Juan Diego/Talking Eagle’s tilma is often seen as a self portrait by Her and there are many analyses of the visual element’s encoding of Aztec symbolism. I took these theories and insights into consideration while creating this vision.
Even within the suppression of Spanish colonization ancient indigenous Mexican Curanderismo healing practices were able to persevere and often in the name of La Virgen de Guadalupe, under the protection of Her image.
🌟🌟🌟🌟🌟🌟🌟
“At home, on the evening of December 12th we may light a candle and place offerings of flowers, copal and chocolate in front of her statue or painting. In the public square, those who follow the Mexica spiritual tradition will join brothers and sisters for an all-night vigil of prayer, Danza, offerings, and songs to her, who is Tonantzin Tlalli Coatlicue, who was always honored at the hill of Tepeyac. As we salute the Four Winds and dance in the ceremonial circle, we honor those who have gone before us, the courageous people who kept traditions alive through the centuries despite the threat to their life if discovered. The feathers in the copilli, the ceremonial headdress worn by the dancers, will draw down the energy of the cosmos into Mother Earth, our beautiful Tonantzin Tlalli Coatlicue to help her heal from the many ways she is dishonored.
Nearby, children will play and laugh, faces smeared with the traces of candy and the cinnamon of churros, the delicious deep fried pastry covered with sugar and cinnamon while the sound of mariachi music adds to the feeling of a fusion of cultures and beliefs. If you wander the crowded street you will see a handful of Catholic pilgrims on their knees on the hard pavement slowly make their way to the entrance of the church in gratitude for answered prayers.
And, in spite of quiet official church disapproval, the local parish priest will invite Indigenous ceremonial dancers to participate during the special December 11-12 mass for Our Lady of Guadalupe. Inside the church, for a few moments, Mayan copal will blend with European frankincense, quetzal feathers will dance on the air, and elders with bundles of aromatic rosemary plants will cleanse the People’s spirit. The two cultures, reconciled at this moment, acknowledge their bond of love for the Woman Who is Cloaked with the Sun; a bridge of Light between peoples.”
"Forty-seven percent of the voters are poor or low-wage," said one activist. "Getting that vote in is very important."
The Poor People's Campaign on Monday launched a 42-week nationwide mobilization of poor and low-income Americans to "wake the sleeping giant" of a voting bloc with the potential to determine the outcome of the 2024 elections.
"It is time for a resurrection and not an insurrection," Poor People's Campaign co-chair Rev. Dr. William Barber II said during a press conference in Washington, D.C. "We must engage poor and low-wealth people to change the political landscape."
"For far too long extremists have blamed poor people and low-wage people for their plight, while moderates too often have ignored poor people, appealing instead to the so-called middle class," he continued. "Meanwhile, poor and low-income people have become nearly half of this country and we are here today to make one thing clear: Poor and low-wage brothers and sisters have the power to determine and decide the 2024 elections and elections beyond."
"Economic justice and saving this democracy are deeply connected."
Poor People's Campaign co-chair Rev. Dr. Liz Theoharis stressed that "economic justice and saving this democracy are deeply connected."
"In this rich nation that has the wherewithal to end poverty tomorrow where there's the political will, we must not overlook the voices and votes of poor and low-income people," she added. "We are mobilizing and organizing, registering and educating people for a movement that votes... for healthcare and debt cancellation. Votes for living wages and strong anti-poverty programs. Votes for fair taxes and demilitarization of our communities and our world. Votes for immigrant rights and more."
Democratic pollster Celinda Lake said at the press conference: "In 2024, the election is going to be about mobilization... Democrats have an enthusiasm gap today and the progressive alliance and Democrats have fissures within their constituencies that make getting out the vote even more important."
"The biggest bloc of potential voters by far is low-income, low-wage voters," Lake noted. "Where the margin of victory is projected to be less than 3% in 2024, 30-45% of the voters are low-wage voters or low-income families... The turnout among low-wage voters and low-income voters today is... 20-22% below the average turnout. This is a huge bloc of voters, and it is a bloc of voters that votes 58-60%—at minimum—progressive, no matter how conservative the state."
"You're talking about a huge number—a game-changing number—of voters," she added.
The campaign's main scheduled events are a Mass Poor People's & Low-Wage Workers' Moral March to State House Assemblies on March 2 and a rally and march in Washington, D.C. on June 15.
"I have been struggling to pay my bills since I've been working at 16 years old. I work full time, 64 hours a week, seven days a week," said Beth Schafer of Raise Up for $15 during a video promoting the new campaign. "I am exhausted."
Crow Roberts, an organizer with the Indiana Poor People's Campaign, said in the video that "our government finds it necessary to ban abortion to say that they are saving our children, but more children die as a result of poverty in this country."
Guadalupe de la Cruz of the Florida Poor People's Campaign asserted that "we should not be cornered and forced to choose between one necessity or another."
Speaking at the press conference, Alabama activist Linda Burns said that "for three years I worked the assembly line at Amazon in Bessemer, Alabama. The work was grueling. We were expected to work like robots, moving like 1,000 pieces per hour."
"I got badly injured. My left arm," she continued. "I had two surgeries. I had to get a third surgery, but I didn't have no more insurance. Amazon, they cut my insurance off a year after. They let me go last October."
"Amazon let me go because I was helping organize the union," said Burns. "We didn't get the union in Alabama but I'm gonna do everything in my power to stand in solidarity. Organizing the union showed me just how many people were in the same situation I was. Not just in Alabama, but all over the world."
"Forty-seven percent of the voters are poor or low-wage. Getting that vote in is very important," she added. "We cannot settle for less, we've got to stand up for our rights. We are forward together—not one step back."
Remember how I said I finally read RW&RB a while back? Well, I finally watched the movie. And..... I really super duper wish they would have just left the book alone (more so because the content/characters they cut out were SO central to the story-line that they might as well have just made a different movie entirely). Ugh, bleh. I need to read the book again-
My guy I literally was *just* reading through a thorough analysis of why the movie felt so off! June and Rafael were so integral to the plot/themes of the story, Bea and Nora were made into completely different characters, the aspect of Ellen and Oscar's divorce being missing hit me on a personal level (even if I understood why they did it), and like...the entire last half hour of the movie, basically everything after the lake scene, felt so OFF that I couldn't stand it. Basically every questionable pacing/writing/ordering of scenes decision was made from the fact that they took out all of the queer history in the museum scene, the fact that Alex makes his speech coming out about the relationship BEFORE he talks to Henry, the fact that a queer Latino man outs them due to jealousy rather than, you know, THE RICH WHITE CONSERVATIVE HELLBENT ON DESTROYING EVERYTHING QUEER and then him literally being EXPOSED by a queer Latino man (the optics on that last one are a bit...yikes, ngl). I appreciated what they did with the movie, a family-washed queer romcom is still better than nothing, but some decisions are BAFFLING.
(Though I have absolutely no notes about how they executed the lake scene. The acting during the moment that Henry is listening to Alex's feelings confession and you can just SEE the moment he shuts down because he knows he can't give Alex what he wants? And then the shot of him in the lake? 10/10. No notes. The ONLY scene that is better in the movie than in the book.)
But yeah, I'm almost glad that my favorite book is a self-published indie sapphic alternate history novel because that means no chance of movie adaptation. As much as I would KILL to see President Janine Moore, Cynthia Freeman, First Gentleman Preston Lithwick-Moore, Guadalupe di Angelo/Luis Diaz, and First Daughter Annette Moore on my screen, I would be TERRIFIED to see how they'd make it palatable to straight audiences.
this is the northern elephant seal. incredible snout
this is the southern elephant seal. incredible snout, lump edition
this is the ross seal, they only live in antarctica and they look completely fake
this is the bearded seal, who hosts a mustache to rival my father’s
this is the spotted seal, whose roundness is unparalleled
here is our friend the baikal seal, my personal favorite, endemic to the baikal lake in siberia. their eyes are baseballs because the baikal lake is significantly deeper than any other lake on earth and they gotta see in those spooky dark depths
here is the guadalupe fur seal, who always looks shocked beyond comprehension
and last but not least, the northern fur seal, whose buzzcut is military-ready. you might even call him a navy seal.
i just love how much variety there is in the stupidity of a seal’s appearance
I meant to make a post about this trip sooner but never got around to it lol
Anyway, my family and I went to Canyon Lake, TX, in December 2023. It's about 40 miles from San Antonio for those who aren't familiar. There are not a lot of activities to do here; it is mostly just a pretty place to go and relax.
Camera info: Nikon D750, Pentax K1000, Instax mini Evo
Day 1 12/17/2024
After about a 4-hour drive, we arrived at our Airbnb and got unpacked. Even though we weren't near the lake, we still had an amazing view from the house: huge hills covered in trees whose leaves ranged from green, red, and yellow.
The last time I was in the Texas Hill Country, I didn't see any deer or other wildlife, but this time I saw some! A group of deer came out of the bushes while I was checking out the rest of the rental house. I grabbed my camera and took some pictures.
I have never been able to successfully take a photo of a deer before. They always run away before I can get the shot, and I'm not really a wildlife photographer, so I don't have the right lens to get close up. But these guys walked up so close to the house deck, all I had to do was stand perfectly still. ^_^
Day 2 12/18/2024
So to start the day, we went to a trail that was behind our Airbnb. We walked around and it had a nice view but it was pretty much just a big circle lol
Since there wasn't much here, we went to the main attraction: The Canyon Lake!
Canyon Lake is a reservoir on the Guadalupe River. The construction of the dam was finished in 1964 and serves as flood control and as a water supply for communities near the dam.
The wind was blowing hard against my face as I walked across the dam. When I looked forward, I could hear the wind, the people, and the cars down below, but when I looked to the side and faced the shimmering blue lake, everything went quiet. The way the harsh wind hit my ears literally blocked out everything else.
This gave me one of those feelings that you can't really explain or understand. My mind was completely clear—no weight, no tension, just nothing. Complete non-existence
After walking around the lake, I sat on the rocks and took some more photos. The water was so blue and contrasted perfectly with the white rocks.
Day 3-12/19/2024
This was our last day, so we decided to go on a cave system tour. Unfortunately, I didn't get any good pictures here since we were part of a larger group and it was quite dark lol. It was very interesting and a nice way to rap up the trip.
This was a very pleasant little vacation, especially since I have not gone anywhere since the start of covid. It was nice to get out and go to a different place lol
Event poster for a painting class event hosted in popular Valle de Guadalupe restaurant Mawi, famous for it’s delicious food, in restaurant lake and giraffe shaped disco ball.
Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print
(Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound)
Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.
From the museum-
“The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star
Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.
Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.
Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.
Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.
This exhibition closes 12/1/23.
Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints
Photos by Rebecca Belmore and Installation by Marianne Nicolson
Marianne Nicolson’s installation detail
Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints
Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood
Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints
Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print
One of Kimowan Metchewais’ polaroids from the slide show
December 12th is La Fiesta de la Virgen de Guadalupe celebrating an apparition of The Goddess in the guise of Maria Mother of Jesus to an Indigenous man in Mexico named Cuauhtlatoatzin- and dubbed Juan Diego by Catholics. The Holy Mother’s words spoken in native Nahuatl to a humble Aztec man on the slopes of Tepeyac, the very site of the destroyed Aztec temple of Earth Goddess Tonantzin, bolstered the spirit of a brutalized population that yet persists through continued colonization today, allowing original peoples of Mexico to continue ancient traditions and pass knowledge through generations under the mantle of Her protection as a disguise. 🌹
The miraculous vision of Guadalupe that appeared upon Juan Diego/Talking Eagle’s tilma is often seen as a self portrait by Her and there are many analyses of the visual element’s encoding of Aztec symbolism. I took these theories and insights into consideration while creating this goddess vision as commissioned by chingona @sharpsweetbella
I chose a blue background to parallel Her starry mantle of heaven and also represent Lake Texcoco since the eagle, snake, and cactus from its story of the founding of ancient Mexico there are present. ���🌵
Tonantzin (a Nahuatl term similar to “Our Lady”) in various forms is frequently depicted with eagle feet so I thought it appropriate to have the legendary golden eagle clutch the silvery moon below Her in place of Guadalupe’s cherub 🦅 🌙 Tonantzin is often known, by many names, to wear a skirt of snakes- the celestial Aztec earth mother Coatlicue’s particular name translates to “She of Snake Skirts”. So I couldn’t help but see the snake emerge from the opening in Her folds here. Frequently in Aztec art snakes emerging from or replacing body parts represents blood so I feel a menstrual element from how the snake manifested in this vision 🐍 🩸
Tonantzin Guadalupe art by @pjsuperior
Shirt modeled by indigenous artist activist @tigerlily.tankgirl 🌟
Gravesend's youngest siren, from the far south waters. Her parents left for warmer tides when she was 20, two years before the series starts.
"A Human, Navy, you've gone mad, I blame the mix of blood in you."
Name
Full Legal Name: Cree Lux Kamalani Riley
First Name: Cree
Meaning: From the name of a Native American tribe of central Canada.
Pronunciation: KREE
Origin: English
Middle Name(s): Lux, Kamalani
Meaning(s): Lux: Derived from Latin 'Lux' meaning 'Light'
Kamalani: Means 'Heavenly child' or 'Royal child' from Hawaiian 'Kama' 'Child' and 'Lani' 'Heaven, Sky, Royal, Majesty'
Pronunciation: LUKS, ka-ma-LA-nee
Origin: Various. Hawaiian
Surname: Riley
Meaning: From the name of the town of Ryley in Lancashire, derived from Old English 'Ryge' 'Rye' and 'Leah' 'Woodland, Clearing'
Pronunciation: RIE-lee
Origin: English
Aliases: C.L Riley
Nicknames: Lu, Kama, Lani
Titles: Miss
Characteristics
Age: 22
Gender: Female. She/Her Pronouns
Race: Siren
Nationality: American
Ethnicity: Black ('Born of Warmer Waters')
Birth Date: 20th March 1979
Sexuality: Straight
Religion: Follows the 'Water Spirit'
Native Language: English
Spoken Languages: English, Spanish, French
Relationship Status: Single
Astrological Sign: Pisces
Face Claim: Freema Agyeman
Geographical Characteristics
Birthplace: Gravesend
Current Residence: Gravesend
Have They Been Beyond The Veil: Never
Appearance
Height: 5'2" / 157 cm
Weight: [Data Redacted]
Eye Colour: Brown (Yellow when below water)
Hair Colour: Black
Hair Dye: None
Body Hair: N/A (Sirens have no body hair)
Facial Hair: N/A
Tattoos: None (It's hard to tattoo Siren skin)
Piercings: Ear Lobe (Both)
Scars: Her gills hide as scars above water
Clothing Style: Free flowing, Waterproof clothing
Health and Fitness
Allergies: None
Alcoholic, Smoker, Drug User: Social drinker
Illnesses/Disorders: None
Medications: None
Any Specific Diet: Mostly seafood and vegetables
Relationships
Affiliated Groups: Gravesend Sirens
Friends: Jacey Lake, Montana Lennox, Ellis Remington, Guadalupe Temple
Enemies: None, but does distance herself from Dana and Navy
Mentor: Tyson Riley
Significant Other: None
Previous Partners: None of Note
Parents: Tyson Riley (55, Father), Ursula Riley (53, Mother, Née Acacia)
Parents-In-Law: None
Siblings: None
Siblings-In-Law: None
Nieces & Nephews: None
Children: None
Children-In-Law: None
Grandkids: None
Other Notable Relatives: None
Notes
Occupation: Waitress
Tropes: (Purely speculative)
Apparently Human Merfolk: When above water
Ear Fins: When below water
Fish People: When below water
Sirens are Mermaids
Super Not-Drowning Skills: Can breathe underwater for an indefinite period of time