#motherland icons

[quakeinmyboots]

motherland: fort salem [ scylla ramshorn icons ]

like or reblog if you use

[stanfordsweater]

the wincest wednesday banner on that post was right under the wellness wednesday banner on my dash and it scrambled my brain because i thought Tumblr itself was doing wincest wednesday and now i can't stop laughing

tumblr IS doing wincest wednesday!! i paid them off

[hier--soir]

may + june + july reads

the strange case of dr jekyll and mr hyde by r. l. stevenson [★★★★]

"Though so profound a double-dealer, I was in no sense a hypocrite; both sides of me were in dead earnest; I was no more myself when I laid aside restraint and plunged in shame, than when I laboured, in the eye of day, at the furtherance of knowledge or the relief of sorrow and suffering."

: ̗̀➛ a london lawyer, mr utterson, investigates strange occurrences between his old friend dr henry jekyll, and the evil edward hyde.

: ̗̀➛ a horror classic! coming in at a sweet 96-pages, it was easy to smash out in an evening. and despite the brevity of the text and the fact that it's over a century old, i found it insanely compelling and indeed pretty chilling at multiple points.

: ̗̀➛ there are some ridiculously funny lines in this. i believe he named the evil character hyde just so he could drop this banger: "'If he be Mr. Hyde,' he had thought, 'I shall be Mr. Seek.'"

: ̗̀➛ henry jekyll my sweet summer child, you flew way too close to the sun with this shit.

: ̗̀➛ "You must suffer me to go my own dark way." BARS.

babel: an arcane history by r. f. kuang [★★★★★]

"The poet runs untrammelled across the meadow. The translator dances in shackles."

: ̗̀➛ opening in the year 1828, a young boy from canton is orphaned by cholera and brought to london by a mysterious professor. he is trained in latin, ancient greek, and chinese, in preparation for the day he will attend oxford university's royal institute of translation - babel. the tower is the world's center for translation and silver-working, the magical craft that has so far brought unrivalled power to the british and supports the empire's ongoing colonisation of the world. but what happens when it is discovered that britain is pursuing an unjust war against china, and robin realises that serving babel means betraying his motherland.

: ̗̀➛ this book left me absolutely speechless. upon starting it i was immediately ashamed at how long it had taken me to pick this up considering all the hype. serious thanks to @seventeenpins for recommending this to me recently, you are the best for putting me onto this.

: ̗̀➛ beautifully crafted, incredibly intelligent, great central characters. i don't even know how to put into words what i felt about this one. and as someone who consumes a fair amount of translated literature [see: my love of ancient greek and roman classics] it tickled my interest around the biases and intricacy of translation so perfectly. you need to read it. please.

: ̗̀➛ have to include: "It should have been distressing. In truth, Robin found it was actually quite easy to put up with any degree of social unrest, as long as one got used to looking away."

: ̗̀➛ have to include #2: "So then where does that leave us? How can we conclude, except by acknowledging that an act of translation is then necessarily always an act of betrayal?"

: ̗̀➛ and absolutely cannot not include this iconic PBS diss: "He greatly enjoyed Mary Shelley's Frankenstein, though he could not say the same of the poems by her less talented husband, whom he found overly dramatic."

paradise rot by jenny hval [★★★★]

"But my dreams are full of apples, and in the dark my body slowly transforms into fruit: tonsils shrinking to seeds and lungs to cores. I dream of white flowers blossoming under my nails, as if under ice. Then my nails break, opening up like clams and in the finger flesh there are little sticky fruit pearls."

: ̗̀➛ jo is in a strange new country for university, living in a house with no walls, a roommate with no boundaries, and a home that seems increasingly more and more alive.

: ̗̀➛ so much piss in this one folks.

: ̗̀➛ jenny hval is a norwegian musician and this was her debut novel, and it was bizarre and haunting and disgusting and made me cringe and feel squeamish at many points, and yet i read it in one fell swoop. it grips you for 120-odd pages and when you're done it feels like you've been spit out disoriented.

mrs s by k. patrick [★★★]

"When she is not around, I invent her. When she is around, I invent her. It is not her fault."

: ̗̀➛ an australian butch lesbian travels to england to work in an elite boarding school, where she meets mrs s, the headmaster's wife. over a hot, restless summer, the two engage in an affair.

: ̗̀➛ i enjoyed this one decently enough. the writing style grew a bit tiresome, and the storyline seemed quite laissez-faire, but overall yes i enjoyed it. what can also grow tiresome for me is the woman-on-woman affair when one of them is married to a man - but maybe i've just read too much queer lit with no foreseeable happy ending lately, idk.

: ̗̀➛ the way the dialogue was structured [or perhaps, unstructured to a painful extent] was not my cup of tea at all.

: ̗̀➛ i was really tickled by her living in an annexe so close to the school nurse, who is very religious. the dynamic gave way to great passages like this: "I imagine her, at night, sending prayers my way, so sweet as to be malicious. In each of our interactions there is always the feeling that I would do better under her God. I don't mind her God, so tangible. The sexy Jesus in her bedroom. His body I too would die to have. Not just the chest but the legs, a footballer's legs, complex with muscle. Even those sad, raised palms. Brazen in their injuries. Such glamour." like hello??? incredible.

grey dog by elliott gish [★★★★]

"You called me a dirty little beast, and I have become as dirty and beastly a woman as there ever was."

"What is that quote from Othello, what Emilia says about men? They are all but stomachs, and we all but food; They eat us hungerly, and when they are full, they belch us."

: ̗̀➛ a 'literary horror novel' set in 1901 about the unmarried and almost 30 'spinster' ada byrd who accepts a teaching post in a small isolated town. she wants to be rid of her past, one 'riddled with grief and shame', but upon witnessing strange and grisly sights, ada begins to believe that something ancient and beastly is behind all the peculiarities in this little town. her confusion deepens, and ada's grip on what is reality, delusion, or traumatic memory, begins to blur and fail.

: ̗̀➛ body horror, gore, the horrors of being a woman, witchy business, descent into madness, women longing for women.

: ̗̀➛ because the entire text is written in first person diary entries, i found that it sometimes failed to establish a creepy atmosphere. although this issue was more prominent for me in the first half, while in the second half the diary entries acted as a great insight as to how unhinged she was becoming. slay.

: ̗̀➛ imo this is simply what happens to a woman when she is raised by a heinous father and ends up an adult surrounded by too many sexy older women!

the sleepwalkers by scarlett thomas [★★★]

"How many eyes can one storm have?"

: ̗̀➛ still reeling from the chaos of their wedding, evelyn and richard arrive on a tiny greek island for their honeymoon. it's the end of the season and a storm is brewing on the horizon. they check into the villa rosa, which has a peculiar owner named isabella, and everyone wants to talk about the famous sleepwalkers, a couple who stayed at the hotel recently and drowned.

: ̗̀➛ saw a tagline that coined this as 'patricia highsmith meets white lotus' and i'd agree. good mystery thriller with some action.

: ̗̀➛ this one was a touch slow at first [it's told in letters, dictated audio recordings, from different perspectives, etc] but ultimately gripped me and i thoroughly enjoyed the drama and mystery. newlyweds that hate each other's guts? yeah, bestie, i need to know why.

: ̗̀➛ i really got into some of the takes showing how evelyn and richard viewed each other. this really stuck with me: "I read infrequently, partly because every book change me, right down the level of my DNA. I didn't want to be changed so often. But you were able to hoover up contemporary culture without so much as a little belch afterwards. You just carried on being you."

: ̗̀➛ also let me fucking tell you, there was a line in this book that made me drop my kindle and GUFFAW in shock. page 88, HELLO. evelyn girl you kill me.

the drift by c. j. tudor [★★★]

"These days death had been laid bare for what it really was. An ending. Often brutal, seldom fair, rarely kind."

: ̗̀➛ a thriller-esque, horror-esque book about a deadly infectious virus, and the attempted survival of three seperate groups trapped in isolated circumstances in the icy wilderness. [this one is so hard to describe sorry]

: ̗̀➛ the book is told through three different pov's. i normally despise this but i actually didn't hate it in this case, although i did have favourites.

: ̗̀➛ boyfriend asked me to read this when he finished it and then watched me from across the room the almost whole time, pretending not to be staring whenever i looked up. and he was right, it was fast-paced, had some good twists and turns, and was enjoyable, albeit very different from what i normally read.

what have i done? an honest memoir about surviving post-natal mental illness by laura dockrill [★★★★]

"Put me out of my misery. I feel like a killer on the loose. I need to turn myself in."

"Or the one of New Mum having champagne and cake with the girls. Another doing 'date night' two weeks before her six-week check, like, 'Yes, we still have sex!' Mum is fitting back into her clothes; Mum is making papier-mâché piggy banks; drinking enough water; shaving her armpits; reading a bedtime story; going to a gig; playing peekaboo. Mum is keeping up with her favourite TV shows; reading the Booker longlist; being a good friend; making a healthy yet tasty cost-effective-probably-vegan meal; recycling; giving baby massage; sterilising. Mum is getting rid of her pregnancy knickers when they are the only knickers she truly likes; doing her taxes; walking the dog; donating to charity; freezing bananas; learning Japanese because why not? ... Oh look! Mum is abseiling down the Shard and still finding the time to express and write a blog about the whole experience."

: ̗̀➛ a memoir about a first-time mum's experience with post-partum psychosis, and her survival.

: ̗̀➛ this book was a heart-ache of a read. honest and raw and devastating and uplifting. often very very funny -- "People told Hugo, 'Don't go down the goal end, mate; it's like watching your favourite pub burn down.' Oh ha. Ha. Ha." -- i couldn't put it down.

: ̗̀➛ the end did start to feel a touch self-helpy which isn't necessarily my bag of tricks when it comes to non-fiction, but those inclusions felt warranted and fair after such an in-depth depiction of everything laura had gone through.

: ̗̀➛ serious mental health trigger warnings for this one. there is plenty of humour, but it gets very dark.

the death of jane lawrence by caitlin starling [★★]

"She dreamed of tearing out a rotted pit inside of him where his martyrdom resided."

: ̗̀➛ in an alternate version of victorian-era britain, jane shoringfield is seeking a marriage of convenience that will allow her to continue working, with all the benefits of being a married woman, and she finds this in dr augustine lawrence. however, he has one condition - she can never visit lindridge hall, his family manor outside of town, where he himself will sleep each and every night. but on their wedding night, an accident strands jane at the door in a rainstorm, and in place of her husband she finds a terrified, paranoid man who cannot tell reality from nightmare. by morning he is himself again, but jane knows something is terribly wrong at lindridge hall.

: ̗̀➛ i picked this up looking for a fun, spooky little read, but am sad to say that i absolutely did not like it. the characters were fickle, the plot twists were unsurprising and revealed poorly, and the storyline was all over the place. sadge!

: ̗̀➛ sold itself as a gothic ghost horror, but didn't live up to that at all [for me!] heavily inspired by crimson peak, and it doesn't care if you know it.

: ̗̀➛ also - when your 'independent strong female' mc marries a guy who lies constantly and makes up bullshit and every time she confronts him he boo-hoos so she forgives him immediately cause he really is a nice man?? womp womp.

: ̗̀➛ also also - way more cocaine in this than i expected.

my book rating system is as follows:

★ = i felt pure contempt the entire time

★★ = yeah it's a book

★★★ = i liked it!

★★★★ = good fucking book, damn

★★★★★ = blew my dick clean off and i'll throw a tantrum if everyone i know doesn't also read it and love it

if you want to share a book you love with me, please do! i am always looking out for new recs.

[krsnaradhika]

Quick note : Hindus did not demolish the Babri masjid. We deconstructed it. There's a difference in there. The report of KK Mohammad Sir and he himself in multiple interviews say that he stands with the OGness of Rama Lalaa on his birthplace. The mosque very much did have temple remains and the appearance of Rama Lalaa in there wasn't a right-wing move. The supreme court of India has anyway given land for the mosque at some distance from the janmabhoomi so it's a win-win for both the communities now ig. All the butthurt people crying over the deconstruction should also note that Rama Lalaa isn't some non-violence icon of our religion so kindly shut up. Saying that - "He wouldn't have wanted the temple because a mosque stood there once and y'all broke it" is plain stupidity because he himself said - "Janani janmabhoomishcha swargaadapi gariyasi." Both his mother and his motherland are more dear to him than any heaven. Shri Rama did hold up weapons in the favour of what is right when fighting numerous demons and proceeded to threaten the ocean into drying it lest it doesn't heed to him, after a three day penance. The prev governments here were very minority appeasing. One of them even got as far as to saying Shri Rama was fictional when we have plenty evidences of him being a venerated ancestor of ours. All of them fell on their fours when Rama Lalaa won his case in the supreme court. They don't give a shit about the majority sentiments here being oppressed (Hindus have a history of being oppressed even when we're in majority, in our homeland. Are we debating on that now? Oml). Babar should not have done what he did, so yeah like Hindus were just taking back what is rightfully ours. (For the sake of secularism and brotherhood, shouldn't they be understanding our sentiments as well? It has to go both ways, no?) We have been waiting for around 500 years for our god to come back to a palace from a tent and the pseudo-liberal meltdowns are personally very enjoyable to me. You should prolly save those tears for Mathura and Kashi case too. Ram mandir kisi ke baap ke paison se bana nahi hai. Hindus contributed to it. Temple towns were a thing in ancient India, still many of them exist in the south because the north has suffered voraciously due to invasions, never forget. No tax money has been used in the construction of the Rama temple. Hope that helps.

[rabbitprintart]

okay I need to get this outta my system because realistically I won't be able to draw this in a while but at least wanna write down my head cannons and au AND I'M DRIVING MYSELF INSANE EVERY NIGHT!!!

Anyways, I've been meaning to make/explore an au where Trigun takes place in my motherland of Tierra Caliente, yes I know it's incredibly self indulgent, but where I live, questions of climate change and agriculture are constant within the community, it's a weeeee bit lawless, and I can see so many opportunities of weaving those ideas together with those of the original Trigun series. I just think the reason Trigun speaks to so many of us Mexicans is for the same reason we have an insane clown culture, or the "laugh now, cry later" attitude. I have never seen 2 anime/characters that embody the Mexican spirit and struggle like fucking Vash the Stampede and Nicholas Wolfwood (if you ignore the DragobBall IP lol). So far the ideas that I have are:

Vash and Knives, and all the plant aliens, are representations of ancestral Mesoamerican culture of having intricate stories about twins, duality, and nature. Really wanna dig into the idea of Vash being some kind off shoot of Quetzalcoatl and Knives of Tezcatlipoca, probably even paint Knives in a more charismatic light because tbh my man has some points and I don't blame him lol. Knives does remind me a lot of the cynical Mexican who has been wronged so much in his life that he can not understand a world that isn't evil therefore sees the only solution the destruction of all, just pure nihilism. It's unfortunately more common than you think, especially in men :{

Really weave in Mesoamerican thought, art, and philosophy with Mexican Catholicism. It will be more obvious through Wolfwood, and it makes a lot of sense in my mind since a lot of Rancho people unknowingly hold onto our native thoughts and customs without realizing, even if it has been repackaged through Catholicism (ex: Dia de los Muertos)

Commentary on the insane chokehold the idea of Family as the supreme value in Mexican people through Knives

Ranchero Wolfwood, El Dark (Darks means Goth in Mexican Spanish slang lol) Vash

OKAY NOW FOR THE ONE THAT ABSOLUTELY IS KILLING ME!!!!!!!!!!!!!!!! Plants are seen as saints by the average Mexican even if the majority don't know about the plant angels inside, so much so that they are constantly offered milagros and have town celebrations for them, but they all have been slowly exploited and killed by the humans who were meant to protect them due to greed. Vash has a collection of the milagros he has salvaged from all his sister's graves and he ties them into his coat. Knives also does this, but they both do it for different motives, Knives mainly does this is as a reminder for his hatred of humanity, Vash mainly for his love for his people and endearment towards humans for thinking well of them, a reminder that he is not much of a monster as he has been made to believe. I literally made myself so emotional last night because I imagined Wolfwood making a milagro shaped in the Passionate Heart of Christ and offers it to Vash right before he dies LIKE SHUT UP! SHUT THE FUCK UP!!! SHUT UP ME!!!!!! ME VOY A MATAR !!!!! AAHHHHHHHHHH!!!!!!

In conclusion : Nightow, you are more Mexican than you think, I'm giving you the beaner pass

*cultural context for the non-Mexicans: Milagros are these tiny, usually silver, metal charms that are sown into the velvet of Mexican Catholic statues/icons as a sign of gratitude, a commitment of lifetime devotion, and appreciation for the idol for helping the individual make their prayer come true. Basically, people go to a saint, angel, etc., pray for them to help them (Most common prayers are to physically heal wounds, help with addictions, grief, have children, etc), and if the prayer is answered (the person is healed, they get their dream partner, have kids, etc), then the figure will be offered a Milagro that takes shape of the miracle (a healed leg, breasts for breast cancer, eyes, hearts, etc) and the devotee will sow it into the idol's clothes or their altar as an affirmation of their power and existence.

[rivertalesien]

You have to hand it to Den of Geek: titling an article "The Most Iconic LGBTQ+ Movie and TV Moments of the 21st Century" and failing to mention...almost all of them.

Here's what they missed:

The L- Word existing

Glee existing

Willow and Tara (and later, Kennedy), existing

Xena existing (yes, Buffy and Xena played into the early 21st)

Will & Grace existing (Debra Messing can fuck off tho)

CLEXA FFS

Wynnona Earp FFS

Legends of Tomorrow FFS

Orphan Black (Cophine ftw)

Batgirl

Black Lightning (Thundergrace got MARRIED)

That SNL Totinos sketch

The 13th and 15th Doctors

NIMONA

The Warrior Nun team just making their lead bi without Netflix's permission

Motherland: Fort Salem just being massively queer but you didn't see it so

[ptseti]

AS BLACK PEOPLE AFRICA’S OUR HOME!

Pan-African icon Marcus Garvey once said, ‘Africa is for the Africans at home and abroad.’ Well, the message is being heard loud and clear in this interview with Shakina Chinedu, who left the UK for Africa.

She’s a member of the African Diaspora Returnees Association and explains her decision to make Gambia her new life. Despite being born in the UK, she says her family were never fully ‘accepted’ in society. There’s also a few choice words for the reporter who pedals negative cliches about Africa.

Of course, the diaspora returning to the motherland is nothing new. As early as 1887, the Kansas African Emigration Association sought to repatriate Africans from the United States in order to build ‘a United States of Africa for the elevation of the African.’

Shakina does a good job explaining why making the move has been worthwhile for her. Yes, there’s sacrifice. But as she puts it, ‘If you think the West was paved in Gold, it wasn’t.’ Africa likes her and she likes Africa. What’s not to like?

[theblackphoenixwritings]

Marius/Armand - ModernAU

Summary: In the present day, in enveloping and resplendent Venice, a young 20-year-old seminarian and icon painter, Amadeo, with a dark past struggling with the shadows of his soul, meets an established educated and beautiful painter, Marius, a lover of life and humanity. From their meeting will arise a sweet and overwhelming love that will lead Amadeo to learn that love can heal even the most lost of men in God's eyes, and Marius to learn that in a wounded and tormented soul seeking a God in whom he does not believe, the love that is given to you can make you a believer in its boundless purity.

-CHAPTER I-

Love is not torment, Love is delight.

-Amadeo

It was so strange for him to wake up, with the sun caressing his face. Amadeo was used to rarely seeing the sun, let alone feeling its warmth on his skin. Everything was so different and incomprehensible to him still, even though it had already been more than a week since he had been transferred there. They had imposed silence and prayer on him, that what had happened to him would be healed and forgiven by God. The patriarchal seminary in Venice stood, at the far end of Dorsoduro, on the island of the Dogana, its immaculate white walls, with their large windows, were silent and full of young people clasping their hands looking toward God with their souls. Amadeo moved the blankets and covered his face with his hands, that deep suffering dug into him like nails of a beast, the Monsignor who ran the seminary in his motherland had told him they were the nails of the devil. Amadeo had cried. He had scratched his face with his nails in an attempt to drive out the pain in his soul, to erase the Monsignor's words.

He had cried, screamed, and they had taught him that suffering, pain brought him closer to God, that what he suffered was put in his path to make him a martyr, a saint, an example of virtue and dedication. That was before, before that night, a month ago.Amadeo had stared at himself in the mirror, his eyes red, his scratches, his bruises, his white skin torn, his lip split, his hands with broken nails, his knees skinned, the pain inside him. He had stayed that way until the dean came looking for him because he had not shown up for his morning class. From then on, Amadeo was devoid of feeling, devoid of emotion, or expression, he was corroded inside by a pain that only he felt. The pain of the body passed but the pain of the soul remained.

Amadeo was called a lure, a predator, the beauty of the devil, the one who calls toward evil, and a thousand other things that Amadeo did not want to remember. That constant pain, it was there always whispering in his ear, always reminding him how he had gone against God's will. But could this be God's will? He had been called a saint, as he painted his icons, not caring about the blood that flowed between his hands, because of the hours and the eagerness with which he painted what he saw with his soul, the eyes of God. They wanted to make him a martyr, and Amadeo did not care; he had grown up following that call, seeing what others did not see. He barely remembered how before what they had done to him, he saw the golden aura around things, the pure colors full of emotions and feelings that flowed through him like a river, making him an instrument for God's beauty. Now there was none of this in him, only darkness. He knew what they had done to him, he knew he had cried out and had no voice left, he knew he had called out to God but He had not answered him.

No one had been punished, but they had imposed on him a silence that was eating him up from within, and the prayers that made him even more full of uncertainty and fear. No one had believed him, he was left alone to walk a path full of shadows and whispers and as his only companion that scratching of nails against the cage of his soul. Amadeo, no longer painting, had become a symbol of how God can punish those who dare to come too close to Him. Amadeo did not believe those words, doubt and fear, fought in him with hope and certainty, that God is love. But none had shown him love, none of those who called themselves righteous and pure in God's eyes, hearts inflamed by faith and minds guided by the Spirit, none of them, had extended their hand to Amadeo. He had become a reitto. The one to be avoided, the one who brought his misfortune upon himself. But not true, not true, not true, God knows…. It is not true. But those words echoed in his soul, as mournful and lifeless as he was. He was tired, and no less he wanted to find his way back to God. He stood up staring at the gentle light coming in through the window. Amadeo closed his eyes to that warmth. Venice was so different from everything he knew. They treated him well there, but Amadeo did not mistake their false kindness and helpfulness for anything other than duty.

They had forced that transfer on him, taken him away from his family and his land. They had hidden him, as one hides a sin. A thousand questions had invaded him, and never any answers, no one to listen. Amadeo crawled into the bathroom of his small cell, his clothes black but his hair loose, long amber curls against his pale skin. Amadeo, he had never been touched by the doubt that this was a way of showing off, a temptation. God had created him that way, God creates everyone and lets us follow our own path in life. In this Amadeo believed, before, now everything, even a look was for him a sin to flee from. Amadeo walked silently and with bowed head toward the chapel for morning praise. It was his habit to remain at the back in a corner, no one had questioned this attitude, and Amadeo had taken it as a sign of permission. The cloister was flooded with light that morning, Amadeo felt strongly within himself the urge to be able to paint that light, he stood staring at it unable to let go of that desire. He had been deprived of even that gift, which had always been his reason and his way of feeling God. Bitter and disconsolate, as his footsteps echoed on the tiles, Amadeo looked up and the sky appeared to him in a blue he had never seen. He hoped to one day see it outside those walls.

-Marius

The large studio was bathed in warm morning light. Marius was drinking his black coffee, intent on scrolling through the day's news on his phone. He had his long blond hair pulled back into a tousled bun, his black glasses pulled down over his straight nose. Marius loved that time of the day, still Venice was not quite awake, and only in the distance could be heard the garrulous of seagulls, intent on quarreling. Some voices were already rising from the canals, the crisp, salty air came in through the large French window, pushing the white curtains inside. Setting down the phone, Marius wondered what that sunny but wind chilled autumn day had in store for him.

Scattered on the floor were the rough papers, covered with soft, strong bodies, carved on the paper by the black pencil wielded by his hand. He was still very undecided about that assignment. Being an atheist, he was not particularly fond of religious circles, although as a boy, to make his parents happy, he had followed them to Church, every Sunday, and growing up at the most important moments of the religious calendar, until he left that place altogether. He knew religious iconography well-he was an expert in art history, after all-but despite his fascination with what in his eyes were tales comparable to the myths of the Greeks or ancient Romans, he felt more coldness toward that world. He had always thought it was due, to his resentment, toward those who proclaimed universal love, and then, felt able to decide who that God of theirs could love unconditionally and who could not. Marius had had in his adolescence his own inner battles on that subject, and although he had always been aware that he did not believe in any God, strangely enough, at times, love in his eyes appeared so. He had been called romantic more than once, and Marius had found himself considering that adjective.

And he had come to the conclusion, that it was true, but not in the superficial sense of the word, he was a romantic because he felt too much and with great strength, because he felt with melancholy and passion, because he loved joyfully and with a full and free heart. And this sometimes frightened him, and he felt he had to contain it somehow, and he would get away from everything and everyone, shut away between his canvases and his brushes. It was the only thing he could do in those moments, art gave him a focus, and his love found a purpose on canvas, in the lustful, life-filled figures of fauns or forgotten gods, or in gardens full of life and joy, or in portraits, or even in fantastic worlds. He emerged from that communion so passionate and intimate, only when his heart was again still and rational. The wind barely moved one of the large sheets, and one of the angels almost seemed to move its wings; Marius was not satisfied with what he had prepared to show the patrons. Those winged messengers, they were filled with adoring joy before the birth of their God.

That commission for a Nativity had worried Marius from the start, although the rector of the seminary had reassured him in every way, that they knew his art, and that he had been chosen for that assignment from high places, Marius felt uneasy. He was to present the sketches that morning, and he knew that those joyful faces full of life, that Madonna who looked like an ordinary woman, and in fact was, that overly ruddy child, could put him in a difficult position. And in fact it was not a problem, he would gladly blow off any criticism they might give him, but would it affect his future commissions? Sighing Marius stared at Christ's hands clasping a lock of Mary's hair, a common gesture, a gesture of love, and he was quite sure they would criticize him, demolish him. And he would not accept it. He knew how to be diplomatic, but that gesture of love, drawn with care and attention, was born out of his love for a mother he had never known, was a desire of his that would never see fulfillment.

His father's first wife had died giving birth to his first and only son, Marius, and his father had raised him in love and with love, for Marius was all he had left of the woman so strong and beautiful, whom his father had loved unconditionally. Marius knew he had been lucky, his father could have seen him as the one who had taken her away from him, and given that infant to someone else's care, but instead his father had seen in him a piece of the woman he loved, and he had raised that child alone, until he had remarried. And Marius had been happy to see his father have someone by his side again, who loved and supported him. Not long after, Marius had left his father's home, to take classes at the Academy of Fine Arts in Venice, and begin to find his place in the world. He had worked as a model, to have the money to pay for, the small apartment in which he had settled as a young man, a long time ago,it seemed to him.

Having him as a guest in his home was nothing exceptional; the week before, his father had been over for dinner with friends. Marius had had a good evening, and he had laughingly sent away his father and stepmother who wanted to help him get the house in order. So when his father showed up at his door that afternoon, Marius paid no attention. Only later noticing his father's nervousness had Marius investigated. And his father had made that strange request to him, to accept the commission from the Patriarchal Seminary in Venice. Marius had been interjected, but his father's expression had convinced him not to pursue the matter further. With discomfort he had agreed. And there he was, staring at those sketches, the now cold coffee in his cup, and that strange feeling that something was in the air.

[arbitrarygreay]

Watching the early cast interviews was a little heartbreaking. Taylor and Ashley wanted to make Bellcollar an iconic shounen anime duo so badly, and the writers were just. Not interested in doing that. The show was kind of weird about unit unity the whole way through, to be honest. Probably their Prestige inclinations showing though (remember, many of the producers went on to Succession, while Eliot himself preceded Motherland with Claws), so they don't subscribe to the standard genre model of the genre elements reflecting the relationship strengths and weaknesses, nor of the core relationships driving plot competence. (Again, see "iconic shounen anime duos".) So while they make gestures about the unit being better together, that doesn't actually show through in the action. Abigail's strength as a warrior develops through her relationships with Adil and her mother. Raelle's Mycelium powers are developed through her connections to Scylla and her mother. Tally is off getting mired in her harem of war criminal cougars. I really can't get over how making the S1 finale Witchbomb a red herring sours more over time. The entirety of S1's emotional journey culminates in that Bellcollar love confession on the ground, and then it turned out that the whole time Abigail linking with Raelle wasn't even necessary because the Mycelium would have reversed her death anyways. sad trombone noises It's sad! The actresses' chemistry was real, and they relished every little opportunity the writing would give them to play those dynamics, only for those moments to dwindle to just desperate reunion hugs every few episodes. Taylor at the end of After the Storm 1x1: "This is something. She's it. This is it. We're going to go all the way together." The show: Lol. Lmao, even.

[not-so-rosyyy]

In the Philippines, the idea of “home” is restricted by tradition and religion. Marriage, children, blood relations and gender all play a part in what is normally considered a family here. Within this social landscape, queer people are often rejected and cast out of the home.

Enter Manila’s Golden Gays: a community of "older LGBTQI+ Filipinos who have lived together for decades under one roof, caring for each other as they age, and staging shows and pageants to make ends meet".

These Lolas ('grandmothers' in Tagalog, as they are affectionately called), despite and because of their struggles, are queer icons who continue to redefine and expand the concept of “home” here in my motherland. And so, since it’s Pride Month 🏳️‍🌈, I wanted to introduce them to this corner of the internet.

Over a series of posts, I’m gonna share photographs and article excerpts of them taken and written by my favorite Filipino photojournalist, Hannah Reyes Morales, for the New York Times earlier this year. Hannah chronicled their lives in the context of the pandemic, during which the elder population was one of the most vulnerable and economically afflicted.

Perhaps what I love best in these photographs, and why I'm sharing them to you, is that they don't seem to be taken thru the lens of “pity”. Hannah was able to lift the Golden Gays up by capturing the shared love, hardships, and joy that made them a family. In these pictures, their pride and beauty shine.

[piizunn]

fur, money, adventure: mechanisms of colonialism and survivance

riel ✰ | march, 2023

“Of all the things on earth, the motherland is the most important  

and sacred to us because we inherited it from our ancestors,”  

- Louis Riel 

Fig. 1, Wilson. I. Former Jean Caron Sr. House, Batoche Saskatchewan. Image courtesy of I. Wilson and Parks Canada

I am Red River Métis, descending maternally from historic Métis families by the names of Berthelet, Caron, Ste. Germain, Larivière, Dazè, Dubois, and Boudreau; we come from the Red River Settlement in Manitoba and Batoche, Saskatchewan. My Berthelet family members were employees of the North-West Company and community leaders in the town of Pointe à Grouette, now Ste. Agathe (St. Onge). My fifth great uncle Jean Caron Sr. fought in the Battle of Duck Lake of the North-West Resistance of 1885, with his sons and under the command of Gabriel Dumont, Jean Caron Sr’s house still stands in Batoche to this day (fig. 1). I introduce myself in this way, the traditional way of the Métis to situate myself on this land and contextualise my knowledge and experiences. 

My practice serves to counter the settler-colonial understanding of Métis people and our history and establish us as a people who have been practising survivance for generations. With the help of aesthetics of survivance I oppose mechanisms of colonialism; aesthetics including the Hudson’s Bay Company’s bloody legacy, the monuments and public art installed throughout Calgary, the suburban cowboys that come out of hiding in their McMansions on the outskirts of the city, riding their steel steeds, raised trucks, to the summer Stampede. The aesthetics of survivance are “[...]more than survival, more than endurance, or mere response, [...] stories of survivance are the creases of sovereignty,” (Vizenor, 15). In her 2019 book The North-West is Our Mother by Jean Teillet, the author compares the birth of the Métis Nation to human birth; messy, bloody, painful. Our history is vastly complex and controversial in the eyes of the average Canadian settler today. It is a history that makes settlers uncomfortable, confused, sometimes defensive and angry in response to lack of knowledge and this ignorance is often no fault of their own. Canada has a carefully curated canon of history that we are all spoon-fed in school until given the chance to learn the other sides of this history, to think critically and hear stories of survivance. 

Fig. 2, The Bay “Shopping is Good” advertisement, 2000. Courtesy of the HBC History Foundation

Countering aesthetics of survivance, The Hudson’s Company has developed their own aesthetics of colonialism. “Fur! Money! Adventure! That [is] what the Hudson’s Bay Company territory had to offer Englishmen and Canadians three hundred years ago,” (Sealy, 1). From the very beginning of the point blanket, with its iconic stripes on white wool, traded for a single beaver pelt to an advertisement from the year 2000 (fig. 2). An image of a nuclear family wearing matching white outfits in a clean white room. Everything accented with green, red, yellow, and indigo stripes, down to the scarf that the grandmother is knitting, referencing the histories of trade and handmade goods long abandoned by the HBC in favour of their modern department store model and multiple aesthetic rebrands throughout the years after the industrial revolution (Toneguzzi). The advertisement simply states, “Shopping is Good, Toronto”. Pro pelle cuttem, a pelt for a skin, a skin for a skin.

Fig. 3, Starr, Riel. Image of the original HBC logo, downtown Calgary. Image courtesy of the artist.

The HBC shield on a building in downtown Calgary (fig. 3) is a grim reminder of the bloody birth of this country, laughing in my face. As Billy Ray Belcourt puts it: “Canada is still in the business of gunning down NDNs. […] Despite the stories of progress and equality at the core of Canada’s national identity, a long tradition of brutality and negligence is what constitutes kinship for the nation of citizens sat atop the lands of older, more storied ones. […] What I can do is love as though it will rupture the singularity of Canadian cruelty.” (Belcourt, 5)  

Fig. 4, 5, Starr, Riel. Otipemisiwak Fantasy Husband, 2022. Courtesy of the artist.

A Spectacle of Me for You: Otipemisiwak Fantasy (2022-present) is an ongoing body of work that explores the Métis identity through a modern and Indigiqueer lens, and through humour and the NDN belly laugh (Whitehead). The work consists of a series of photographs of myself wearing a costume I created using a combination of found and handmade garments. In the photographs from 2022 titled Otipemisiwak Fantasy Husband, (figs. 4 and 5) which have been printed in the form of stickers and two different postcard designs, the character Otipemisiwak Fantasy Husband (OFH), the masked trickster, poses with wood leftover from building a Red River cart in 2022. The aesthetics of survivance often incorporate embodying the skewed image that settlers have of the savage Indian, over exaggerating it so that that the joke remains in our own hands, and we can laugh at the ignorant moniyaw. In these photographs OFH is wearing a red and black lumberjack flannel over a red shirt with a black graphic of Louis Riel’s Face and white text that reads “Keeping’ it Riel,”. Around his waist is a ceinture fléchée, and a beaded leather strap on harness worn over brown dress pants. On his head is a latex mask of Louis Riel, his skin is placid and his features cartoonish, in the style of the masks of American presidents used in the 1991 film Point Break (directed by Katherine Bigelow) (fig. 6).

Fig. 6, Patrick Swayze, James Le Gros, Bojesse Christopher, and John Philbin in Point Break (1991), dir. Katheryn Bigelow. Image courtesy of Twentieth-Century Fox. 

This work explores the aestheticization of colonialism through these political figures and latex masks which can be attributed to the abstraction of the real person from their caricature in history and in the cultural zeitgeist. One postcard design contains a full body shot of the character in a comically dominant pose with a log positioned suggestively between his legs, standing in for the strap on harness’s missing toy. The second design is a close-up shot of the character’s pelvis, the strap on harness visible with his thumbs hooked casually on the straps.  

Referencing other Indigenous artistic personas such as Adrian Stimson’s “Buffalo Boy” and Lori Blondeau’s “Belle Sauvage” (fig. 7), my artwork including OFH satirises the settler-colonial understandings of Louis Riel as a violent traitor to the government by pointing to the ways his story has grown into a mythology of sorts in the eyes of Canadians in a similar manner to other related figures like the former presidents represented in Point Break.

Fig. 7, Stimson, Adrian; Blondeau, Lori. Belle and Boy’s Savage Buffalo Happy Hour. Image courtesy of Adrian Stimson and Lori Blondeau.

Like Stimson’s Buffalo Boy, my character represents an exaggerated Métis identity in order to “[…] camp up colonialism, sexuality, and authenticity,”  embodying the trickster archetype like Buffalo Boy in the words of Stimson, “he’s campy, ridiculous, and absurd, but he is also a storyteller, who exposes cultural and societal truths,” (Rice, Taunton, Stimson). OFH mimics the over-sexualized settler-colonial perception of Indigenous masculinity, sexuality,  and queerness and is an exploration of the ways in which my identity is tokenized: sexually, spiritually, academically, and culturally. 

A Spectacle of Me for You: Otipemisiwak Fantasy is a way of participating in the phenomenon within contemporary Métis art of Louis Riel related kitsch objects that flood markets across the Métis homeland. Alongside and juxtaposing red and white Canadian kitsch that litters tourists' traps and contemporary art galleries across this land, appears the stoic face Louis Riel, gazing out at the country that has developed since his murder in 1885. As Marilyn Dumont puts it: “Riel is dead, but he just keeps coming back,” (70) Contemporary artists like Jessie Ray Short embody Louis Riel by taking on his likeness as a costume. The short film Wake up! (2015) (fig. 8) is a queering of this popular trend.

Fig. 8, Short, Jessie Ray, still from Wake Up!, 2015, video with sound, 5:58 min. Courtesy of the Artist, via Mount Pleasant Community Art Screen

The artist, transforms herself into Louis Riel by applying facial hair, a wig, and clothing to mimic the most famous portrait of Riel in a drag-esque performance. The work asks, “How do you explain a culture in small talk?” and is an example of the “re-examining the cultural significance of Louis Riel [that] allows us to consider the ways in which we can question representation while still respecting the importance this history holds.” (Junker) 

Fig. 9 (left), Danger, Dayna. Digital print of Adrienne Dagger, wearing one of Dayna Danger's fetish mask. Image courtesy of the artist and CBC news.

Fig. 10 (right), Danger, Dayna. Big’Uns: Adrienne, 2017. Courtesy of the artist’s website. 

The beaded strap-on worn over the pants and the explicit nature of the posing is in reference to Dayna Danger’s Big’Uns (2017) (fig. 10) series, as well as their series of beaded fetish masks for their emphasis on material and process (fig. 9). The result is what Danger refers to as “the most Native BDSM thing ever,” to wrap yourself in beads. Like Danger’s beaded mask project, the Otipemisiwak Fantasy Husband persona came about partly out of a joke, the desire to make something humorous and sexy. Being queered by my Indigeneity, my sexuality, and gender, I consider Sara Ahmed’s words from the introduction of her book Queer Phenomenology: Orientations, Objects, Others,

 “A queer phenomenology, perhaps, might start by redirecting our attention toward different objects, those that are “less proximate” or even those that deviate or are deviant. And yet, I would not say that a queer phenomenology would simply be a matter of generating queer objects,” 

The emphasis on the strap-on harness points to a specific queer object with cultural associations within the concept of queer phenomenology and orientations. It functions not only as a deviant object or a queer object but also an Indigiqueer “orientation device,” (Ahmed, 3). 

Fig. 11, Starr, Riel. Spread from Reading Marilyn Dumont to A Railway Berm, 2023. Image courtesy of the artist.

The most recent work in A Spectacle of Me for You: Otipemisiwak Fantasy is a performance titled Reading Marilyn Dumont to A Railway Berm (2023) in which OFH, sporting a new fringed leather jacket and matching tan suede Manitobah Mukluks reads poetry by Métis poet, author, and academic Marilyn Dumont to the dismantled railway that once entered the former Fort Calgary. The title of the poem is A Letter to John A. MacDonald and the author directly addresses the first prime minister and informs him of his failed railroad project. In addition to the Louis Riel mask, I had also begun the process of making a mask in the image of John A. MacDonald but had not found a use for it until reading the poem by Dumont. The performance is documented in the form of a hand-bound zine using imitation sinew, with photo documentation of the performance of reading to the railroad and John A. as well as the action of “scalping” the John A. mask to remove it from the base. This is contrasted with documentation of the site using both historical and modern images taken during the performance and sourced from the museum of Fort Calgary’s website (fig. 11).   

Fig. 12, Starr, Riel. Prairie Vessel, 2022. Image courtesy of the artist.

Prairie Vessel (2022) (fig. 12) is an exploration of Métis aesthetics of survivance, specifically the Red River Cart and its material and physical qualities, as well as its history and symbolism in our culture. The Red River Cart is represented in the contemporary Métis Nation of Alberta and Manitoba Métis Federation logos, the cart being revered as an important symbol of survivance to our people. Historically the carts were built without the use of standardised measurement or plans, however there were two defining design features common to all Red River carts; their two wheels and lack of any metal joinery, only using wood and rawhide in their construction. The research for this piece included scouring online databases like the Louis Riel Institute and the Gabriel Dumont Institute in order to find any sort of construction plans for the carts. George Fayant is one of the few Métis makers with this skill, and has been building them for over two decades, since 1998 (Patterson). Prairie Vessel (2022) is a study of Métis material culture out of the need to preserve a lesser-known art form, and to practise survivance both personally and for my people so that I may keep knowledge and ways of making beyond alive, to keep them thriving in the spirits of my ancestors and all living Métis. 

I am just one Halfbreed, but I am still Halfbreed. My ancestors' spiritual and genetic material makes up my personhood and part of that personhood is in all Métis. I do not yet know who I am to my people, but I carry an important name and an old spirit. I would like to be a trickster, “lotta raven in that one,” they’ll say (Maracle, 19). I would like to be like old James Bird Jr., trickster, trader, smart as a whip, a deadly sense of humour, and mean to missionaries. Wiisakayachack, Nanabush, Bluejay, Raven, Coyote, Li P’tchi Mond, Chi Jean, James Bird Jr., I long to be a chakapish.

Works Cited  

Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Duke University Press, 2006.

Barkwell, Lawrence. Métis Mythology and Folklore: Mythological figures. Métis Museum, Louis Riel Institute.  

Belcourt, Billy-Ray, et al. A History of My Brief Body. Two Dollar Radio, 2020.   

Bigelow, Katheryn. Point Break. Twentieth Century Fox, 1991.  

Danger, Dayna. “The most Native BDSM thing ever”: Dayna Danger’s Fetish Masks Challenge Indigenous Sexuality Taboos. CBC Radio, 2018. 

Danger, Dayna. Big’Uns: Adrienne. The Resilience Project, 2017.

Dumont, Marilyn. A Really Good Brown Girl. Brick Books, 1996. 

The Hudson’s Bay Company History Foundation. The Bay, “Shopping is Good” advertisement, 2000. 

Junker, Jocelyn. Capture Photo Festival: Jessie Ray Short’s Wake Up! (2015), 2022. 

Maracle, Lee. A Really Good Brown Girl: Introduction. Brick Books, 2019. 

Patterson, Dayne. Red River cart unveiled at U of S celebrates Métis presence on campus. CBC News, 2022. 

Rice, Ryan, and Carla Taunton. “Buffalo Boy: Then and Now.” Fuse Magazine, vol. 32, no. 2, 2009, pp. 18–25. 

Sealey, D. Bruce. Stories of the Métis /. Manitoba Metis Federation Press, pg. 1, 1973.  

Short, Jessie Ray. Wake Up!, 2015. Mount Pleasant Community Art Screen, 2022. 

Stimson, Adrian, “Buffalo Boy: Then and Now.” Fuse Magazine, vol. 32, no. 2, 2009, pp. 18-25. 

St-Onge, Nicole J.M. “The Dissolution of a Métis Community: Pointe à Grouette, 1860–1885.” Studies in Political Economy 18.1 (1985): 149–172. Web. 

Toneguzzi, Mario. Hudson’s Bay Co. Launches Strategic Rebranding Amid Privatization. Retail Insider, 2020. 

Vizenor, Gerald. Fugitive Poems: Native American Indian Scenes of Absence and Presence. Lincoln, Nebraska: First Bison Book 2000, p.15. 

Whitehead, Joshua. Full Metal Indigiqueer: Poems. Talon Books, 2017. 

Wilson, I. Former Jean Caron Sr. House, Parks Canada, 2002. 

[quakeinmyboots]

motherland: fort salem [ raelle collar icons ]

like or reblog if you use

[prussianmemes]

The construction of the 'Motherland Monument' (Батьківщина-Мати) in Kyiv, 1979.

Designed by Soviet Ukrainian sculptors and artists Yevgeny Vuchetich and Vasyl Borodai, the monument stands at 102 meters tall, and was opened to the public in a grandiose ceremony in 1981 by Leonid Brezhnev.

The sculpture was based on the Ukrainian female painter Nina Danyleiko, and wields a sword and a shield emblazoned with the Soviet coat of arms. It stands above a memorial hall with the names of over 12,000 soldiers and 300 workers of the home-front, honored during the war with the titles of Hero of the Soviet Union and Hero of Socialist Labour, for their defense of Soviet Ukraine.

The monument still stands proud today, as perhaps the most iconic landmark of Kyiv, but is soon to be anachronistically and controversially 'retouched.'

[mqfx]

i'll join you in an ffnet revival 🤝

WE HAVE TO GO BACK TO OUR ROOTS, THE MOTHERLAND OF SOME OF THE MOST ICONIC FANNED FICTIONS OF THIS CENTURY

[msfcatlover]

I finished my Death Mask (Red Hood) Steph playlist, if anyone's interested.

Only took multiple months, am I right? So, if you've got... oh gods, like 6.5hrs... check it out?

(I also have the playlist with all the songs I ended up cutting in this one over here. So if you have even more time and just want a strong dose of RH!Steph vibes, open that up and hit shuffle.)

Full list under the cut, in case youtube decides to take some of the videos down or rearrange my list---or if you want to rebuild it in your playlist player of choice---broken up into rough time periods to make it easier to read.

Introduction through Death:

Trouble by CRMNL || Take It Like A Girl by Khamsin, Molly Moore, Win Woo || Giants by Neoni || That's My Girl by Fifth Harmony || Raising Hell by Kesha, Big Freedia || Make It Look Easy by Valley Of Wolves || Enemies by The Score || Oh My Dear Lord by The Unlikely Candidates || A Little More Time by Natasha Blume || Reflection (Hollow Knight OST)

Resurrection through Return:

Goddess by Cepheid [cover] || Secrets Kill by Ely Eira || Come Alive by Ely Eira || Be My Guest by Azari [cover] || Who Am I? by Besomorph, RIELL || World On Fire by RIELL || Gossip by Måneskin [cover] || A Good Song Never Dies by Saint Motel || Who Are You? by SVRCINA || Hanahaki Syndrome by Shiki Miyoshino || Shadow Shadow by Azari [cover] || The Devil Wears Lace by Steven Rodriguez || Pink (Freak) by Elliot Lee || Thumbs by Sabrina Carpenter || Feed The Machine by Poor Man's Poison [cover] || Make A Move by Icon For Hire || Dirty by grandson || Devil Inside by CRMNL || That's How You Make A Villain by emlyn

Return through Identity Reveal:

Ready For War by 2WEI, Joznez, Kataem || BURN by 2WEI, Edda Hayes || Know My Name by Tru Genesis, DJ Form, Corinne, Sean BE || Champion by Neoni, burnboy || Too Loud by Icon For Hire || Way Up by Jaden || Godsent by Smash Into Pieces || Paranoia by Neoni || Royalty by Egzod, Maestro Chives, Neoni || Good People Do Bad Things by David Thomas Connolly || GOOD FOR HER by MOTHICA, emlyn || Shut Down by BLACKPINK || You Were Wrong by Icon For Hire || Little Girl Gone by CHINCHILLA || All Eyes On Me by CRMNL || Pomegranate Lips by Derivakat || Night Of Your Life by WAR*HALL || Everything or Nothing by Willyecho || How You Like That by BLACKPINK || See You In Hell by Amy Harriet

Reveal through Tower fight:

I'm Gonna Show You Crazy by Bebe Rexha || I'M NOT SORRY by Neoni || One Woman Army by Porcelain Black || Calling All the Monsters by China Anne McClain || Monster by Willyecho || Choke by I DONT KNOW HOW BUT THEY FOUND ME || They Don't Care About Us by Michael Jackson [cover] || The Road To Hell by TheUnder X Matthew Grant, Ellis Island || Villains Aren't Born (They're Made) by PEGGY || WONDERLAND by Neoni || Rituals by Jiovanni Daniel || Angry Too by Lola Blanc || Devil's Worst Nightmare by FJØRA

Tower fallout:

Go To War by Nothing More || Laplace’s Angel (Hurt People? Hurt People!) by Will Wood || Motherland by REACH || Play Dead by Ellise || Aimed to Kill by Jade LeMac || Twisted by MISSIO || You Can Run by Adam Jones || Tomboy by Destiny Rogers [remix] || Whisper Whisper Whisper by Azari [cover] || Outlaw by Neoni || Wild Lands by Koethe || What's My Name by China Anne McClain

Spite-Flirting With Tim (Oracle):

Hot One by Leyla Blue, Baby Tate, REI AMI || Inferno by Bella Poarch [cover] || A Little Wicked by Valerie Broussard || DICTATOR by REI AMI || plot line by emlyn || you make a woman wanna... by emlyn || Here Come the Wolves by Lola Blanc

Fighting the family & Running the Alley:

Pretty Distraction by SkyDxddy || Stronger by The Score || Bloodshot by Sam Tinnesz || Let's Do This by Outskrts || Go For Gold by Autumn Kings || Hey Brother by Jakob Samuel|| Don't Stop The Devil by Dead Posey || Legend by The Score || What's Up Danger by Blackway, Black Caviar [remix]|| Welcome to the Party by Diplo || Do It Like A Dude by Jessie J || My Name Is... by Once Monsters || Queen of Kings by Alessandra Mele || Monster by Besomorph || I Like It Loud by Cash Cash || Confident by Demi Lovato || Looking at Me by Sabrina Carpenter || Immortals by Fall Out Boy || Up In Flames by Icon For Hire || Can't Get Enough by Jaxson Gamble || Do Right, Fear No Man by The Last Knife Fighter

Saving Jason, Having Hard Conversations, & Reuniting with the Family:

Deadly by Ellise || Cuttin' the Cord by Lunarcode || Soldiers by Sam Tinnesz, GoldTop || So Close To Me by Marc Boudreau || Dynasty by MIIA || Monster by Beth Crowley || It's Alright by Mother MotherGhost Town by Neoni, Layto || The Kid I Used To Know by Arrested Youth || Broken Boys & Bitter Bitches by Ellise || DDU-DU DDU-DU by BLACKPINK || Poison by LuLuYam || life's a bitch by TAELA || Give and Take by Poor Man's Poison || SHIT SHOW by UPSAHL || Lay Your Weapons Down by Ilse DeLange || Chasing The Sun by The Wanted || Hold Back The River by James Bay || Better Than One by The Score

.

(Holy shit, sorting/fixing these took like 3hrs, and I started by just copy-pasting the playlist's text directly to tumblr...)

I’m actually super proud of a couple of these transitions, or how I chose to build the mood in certain sections

[catgirl-yeji]

this shapeshifting vessel is a lie

hi and welcome to my corner of the internet. this blog is still under construction until I can add my about page ( did you know that you have to personally ask support to be allowed to use a page code with javascript in it? :)) well, you do now ) so beware of the construction tape!

I'm Autumn or Faon, I use they/them pronouns and I was born '95. ticked about all the boxes on the queer registration form and I'm currently in a queerplatonic poly relationship. central european & white. future linguistics & politics student, and plant parent. I really adore vampires and I write original and fan fiction, as well as poetry. I speak german and english, and I'm studying french, korean, japanese and finnish. lover of bats, snakes, horsies, deer and cats, as well as sharks. 🦈 I sometimes draw cat ears or fangs onto idols and actors ( see: my icon ), if you'd like me to make you an icon, drop me a DM.

my hyperfixations and interests change over time — yes, it was a phase, mom! name a constant state of being, mom! — and I change my username every two or so years. currently I'm really into the quantum leap spin-off, the motherland: fort salem show, and I'm watching a couple of k-dramas and such at the side. I play baldur's gate 3, stardew valley and control, but also 2064: read only memories.

I was very active in the shadowhunters and the dragon age fandom as well an 00q shipper. I will reblog every single gif of spirit - stallion of the cimarron, it's my childhood movie;; also, Jin Oshiro from STRAY (2019) deserved better, thank you for your attention.

you may know me as leafmiilk, taehdenveri, fliederfuchs or thetevinterelf — and most recently @catboy-jaebeom ! 🌺

tumblr veteran and survivor of the mishapocalypse. I've been renting this space ( occupying, maybe, rather? skjsdlkgs it's not like I pay rent ) since 2012, and trust me when I say: this website is a hellsite, but it's our hellsite, so, I'll stay until the last person switches off the lights, probably. >< a lot of other social media networks just never grew on me quite like tumblr.

I have two sideblogs worth noting: @splittergheist, my writing blog where I post short stories and poems irregularly, and my secret and private miscecanis / omegaverse blog ( a lot more interested in the world-building, concept and lifestyle than the smut, but no hate! ) that I may give out if you ask nicely and privately. also, if you're interested in some tumblr rp, you can message me as well, I have an OC blog for that. 🐰

that said, I tag my posts extensively, so if you need me to tag something, you can shoot me an ask and I'll try to tag specific things for you! please be nice in my inbox or I'll simply delete your ask and block you. 💛 oftentimes I'll message you privately when you send me an ask that doesn't seem like it should be answered publicly ( unless you've sent it on anon ofc ) and while I do answer tag games, I'm too anxious to tag ppl myself unless we're like super close, sorry ><

I track #faon.tagged. if you make ( especially kpop ) content you think I'd like ( itzy, got7, nct & wayv but especially ten, xiaojun and yuta, red velvet, shinee, svt but especially joshua, mingyu and dk, skz but especially hyujin and felix, but also others! ) you can use this tag, I'm always happy to reblog pretty gifs and support you guys, you're the backbone of our and any community.

relevant kpop stuff can be found under the cut, as well as some 'reviews' my lovely mutuals wrote for me ( if you like to leave a review, hit me up in my DMs! ) thank u, ily 💚🌼

and thank you everyone else for reading this, may your days be bright, I think we could all use that at the moment;; I'd super love new ppl to talk to ( pls have your age or an approximate in your bio! while I'm fine with talking to minors, I'd like to know beforehand if I do ), so message me!!

kpop stuff

ult group: got7

other groups I like: nct 127, itzy, wayv, shinee, red velvet, seventeen, oneus, ...

soloists I adore: xia / kim junsu, taemin, ...

biases: lim jaebeom & choi youngjae; nakamoto yuta & xiaojun; kang seulgi; hwang yeji & lee chaeryeong; joshua hong & lee seokmin; choi minho & lee taemin; kim leedo & lee seoho; park seonghwa & jeong yunho; kanemoto yoshi; ...

wreckers: mark tuan & kim yugyeom; ten lee; kim mingyu & lee woozi; kang yeosang & song mingi; shin ryujin; ...

for as long as xitter still exists, I can be found under jaebueomgi.

blog reviews

@meant-to-be-a-hero wrote on november 22nd:

Shall I compare Autumn's blog to a summer's day? I shall not, because I am not a hack. Equal parts language jokes, kpop boys (and girls, but I don't look at those) and #bitter millennial blogging, there's something for everyone here at Autumn's blog. They are also one of the few people who still write funky things in the tags, a true dying breed on Tumblr. I feel like I'm reviewing a restaurant or something. Either way, click follow, thank me later, because you will. It's a good blog, Bront.

— ★★★★★(★★) [ 7 out of 5 ]

@klutenpetter wrote on november 22nd:

It seems I have misplaced the URL of the blog in question that I was supposed to review.

— ★★★★★ [ 5 out of 5 ]