a small blue thing

"rocky horror is problematic because it uses outdated language" dont care + didnt ask + im just a sweet transvestite from transsexual transylvania 💃💃💃

friend, you do not leave that in the tags @boypussyparty

So I was made to feel old today...

Two decades today

blocking creates a much more defined shape and more open, visible lace in the finished project

blocking reduces damage taken from the next hit

blocking ensures that the actors know where to go at any given moment in the play

blocking allows one to learn information more quickly and efficiently

blocking evens out the fabric of the sweater in addition to preserving the correct sizing

blocking makes your code a lot easier to read.

blocking means that the opposing jammer can't get past to score.

l’shana tova

• Day Dress.

Date: 1890-1900

Designer/Maker: David Jones Pty Ltd. (Sydney, New South Wales, Australia); Owner: Mrs. Amy Grimley (Sydney, New South Wales, Australia)

Medium: Silk brocade, faille, glass beads, sequins, metal.

my AC has been out for a couple days and i've accordingly fallen into the niche yet ecologically vital role of guy who sits around in underwear and a-

okay well i paused to go find an alternate term and this isn't helping

awesome. so as i was saying i'm in my wop top

Reblog if you’re bisexual and sleepy

A lot of the time when I reblog jewellery on here, it’s art nouveau jewellery, because I really like art nouveau. In general, and in jewellery in particular. And most of that is the aesthetic. I like the natural forms, I like the twisty curly bits, I like the use of materials, I like how a lot of art nouveau jewellery is using metals and stones and other materials to create a specific form, an insect or a plant or a goddess or even sometimes nature scenes. I like …

I feel like a lot of the time with jewellery, it feels like ‘I’m going to use this object to show off the size and value of my pretty rock’. And there’s nothing wrong with that. Some of those rocks are indeed gorgeous. But art nouveau feels more ‘I’m going to use these pretty rocks, and several other things, to create the impact of this object’? I just love the use of materials, glass and enamel and colour, as well as precious stones and metals, to create a form or a scene.

Like, you get a diamond ring, it’s a diamond ring. But you get something like a dragonfly brooch (Louis Acoc):

Or a lilypad hair comb (Rene Lalique):

Or a wisteria branch (Georges Fouquet):

And it’s a whole creation. A little wearable piece of art.

And I don’t want to sound too dismissive. I know the craftmanship and skill and artistry that goes into any kind of jewellery making. That diamond ring took skill I will never have. I just.

I like the emphasis on form more than material that you get with art nouveau. Like normally you hear ‘glass jewellery’, ‘enamel jewellery’, and it’s cheap, it’s frowned upon, but in art nouveau it’s what that glass or enamel was used to make that’s the important part:

(Rene Lalique)

(Eugene Feuillatre)

Anyway. In summary, I really, really, really like art nouveau jewellery?

A Cocktail Dress Made Out of 2,652 Pennies

Why blood? Because hemoglobin in our blood has a lot of iron and thus has a metallic scent, similar to the coppery smell of a bunch of pennies collected together.

People who do things like floor an entire room in pennies counsel that you really need to seal/varnish the finished surface otherwise the smell can be pervasive.

what if i want to smell like blood?

You want vampires? Because that’s how you get vampires.

Ralf, that’s the kind of reply you can post everywhere but Tumblr.

Of course they want vampires.

@thebibliosphere

Running through the haunted woods in my copper penny dress like a jangly human-shaped windchime to drive all the vamps wild.

I drew a little something for the Hiveworks micro comic summer~

Hi-heeled boots made after a design by Meret Oppenheim (German-Swiss, 1913–1985) - 2007

Illustrations by Rien Poortvliet for Dutch “biology book” series, GNOMES (1977).

Very—insanely—popular when I was a kid. You might remember the cartoon series, which always seemed to be on, though I never watched.

I never knew there was a show, but I encountered this book on one of my very first sleepovers at a friend's house, when I could not fall asleep and snuck into the livingroom and this was the only book I could find to read. Made an impression.

⚡️4” lightning hoop⚡️ Made with felt and embroidery! by etuaembroidery

[Image: an embroidery hoop showing lightning striking the ocean. The piece is embroidered in shades of deep blue, the lightning and its reflection a lighter blue. Storm clouds gather around the lightning bolt as it strikes the ocean. The clouds are done with felt, the bolt and sea embroidered. End description.]

Abandoned boat in a river near Frankfurt, Germany,

ISABELLA STEWART GARDEN MUSEUM

[Text ID: make friends with butches. if you should be so lucky. /End ID]

[ID: the above image edited to say “makeout with butches”. End ID]

“Doorways”

Without a doubt, whiteness is a bigger enemy of “white culture” than anything else.

As for me, if I had to name my ethnicity, I guess I’m German-American; and once upon a time, that used to really *mean* something, used to be something deeper and more meaningful than Lutheran church and polka music and pretending to give a shit about soccer. There used to be extended families, schools, Sprachenbund, festivals, distinct communities, all that good stuff, but that’s all gone now. “Now it is just another someplace where automobiles live,” as Herr Vonnegut once said. And it’s the same story with Irish, Hungarian, Swedish, Italian, Norwegian, Russian, et cetera and so forth immigrants to this brokedick country; there used to be rich, vibrant communities of European immigrants and the children of European immigrants that kept alive art, music, folklore, language, all that good stuff, that said loudly and proudly, “We are here, and this is who we are.”

That’s all gone now. Nowadays, ethnicity within whiteness is just an excuse to drink expensive beer at a folk festival once a year. And people of color didn’t do that, naw, the dominant WASP society did that, and we were complicit in going along with it, because we benefited materially from it, nevermind what we had to give up along the way. They’ll try to sell you a bill of goods about how integration did this; it’s actually the opposite.

White pride is not cultural pride because whiteness is not a culture; whiteness is the Borg. The truth is that white-identitarianism is how come I never got the opportunity to learn Diets on my Oma’s knee.

It’s stuffy and takes a long time to set up and is more reading than anyone feels like doing but Rudolf Rocker’s Nationalism and Culture is a huge-ass take on basically this by other means.

As a Jewish person who married into an Irish-German-Geek family, this is scarily accurate.  They were astonished that my family had this entire side-culture that had nothing to do with America OR really to do with religion, but was entirely about being Jewish (culture) - music and food and jokes and language.  They had no traditions that were specifically German or Irish or Greek (or even any celebration of that particular blending).  My husband didn’t even have the (to me) expected smattering of German or Greek words in his vocabulary, and had no knowledge of the cuisines.

Even their Christmas traditions were kind of… homogenized Americana.

I have felt this strongly for a very very long time. I have nothing of my Greek or Hungarian backgrounds, and almost nothing of my Jewish background because to earn whiteness, my family shed its cultures, its languages, its stories, and its everything. What I have of those things, I have had to excavate myself and there is so much that I don’t have the tools to access. Whiteness is like a gaping wound in my identity, its a sucking void that prevents me from finding the ground of my history to put my feet on. whiteness requires that we do violence to ourselves in order to access it, there should be no surprise that it is expressed through diverting and amplifying that violence outward. I experience whiteness as violence, and I genuinely do not understand how other white people find a place within it, and doubt that any of us do. and maybe this is the source of white insecurity, the instinctual knowledge that we are trying to exist in a non-space, a space of lack, an emptiness. We defend whiteness because we live in a world that tells us that it will keep us safe, when we know on a gut level that the shield is made of cardboard, that the protection it affords is barely more than a placebo. Whiteness is a poison. we can choose to counter it with an antidote, or we can poison ourselves and those around us for the appearance of safety. 

Whiteness = Cultural Bleach

I’m more Scottish than I am Lebanese, and I only have a cultural connection to one of those.

Yup. Whiteness can never build community because it is not a category of culture. It is a category of power.