conservative fashion

youtube

Explore behind the scenes at The Metropolitan Museum of Art’s Costume Institute Conservation Laboratory, where objects in the collection and exhibition loans are expertly conserved. In this video, Laura Mina, associate conservator in The Met’s Costume Institute, offers a close look at an 18th-century court suit.

uranus in the houses and how we rebel

uranus in the first- you long to be as unique and different as possible. no one can dictate who you are or what you will become
uranus in the second- you’re well aware that your material possessions don’t define your self-worth, anti-capitalism, anti-materialism
uranus in the third- you’ve got an inventive way of thinking, a curious spirit and an eccentric quality about the way your mind functions 
uranus in the fourth- you feel like you’re the black sheep in your family, you can’t relate to them or they seem like strangers to you
uranus in the fifth- you’re creative in new, progressive ways, & your hobbies and interests are often ‘strange’ as happiness comes from unusual sources
uranus in the sixth- you constantly question if things are being done in the most efficient way possible. you revolutionize work methods and rules
uranus in the seventh- you don’t attract and neither are attracted to ‘normal’ people, you want to be fascinated by the people whom you’re with
uranus in the eighth- anything underneath the surface fascinates you, esp if it’s related to the human mind, you’re on your way to uncover it all
uranus in the ninth- you’re against traditional or conservative values and old-fashioned worldviews, you’re on the ultimate quest for truth 
uranus in the tenth- you are or wish you were self-employed. following a traditional vocational path makes no sense to you
uranus in the eleventh- you have tons of “friends”, but only a few know the real you, you don’t trust easily. meeting people online feels more comfortable
uranus in the twelfth- you feel like you’re different through and through so you constantly try to ‘fix’ your lonely mind, but the true revolution consists in accepting yourself

by crystal melbourne | within the zodiac

Hogwarts School Uniform

The other day I read a series of posts on the Hogwarts uniform and how book!uniform differs from movie!uniform, which is more canonical and whether there’s been/there should be some retconning to unify the books, films and illustrations from different sources. Since wizarding fashion is one of my favourite subjects (particularly since the word “corsets” was mentioned in HBP), I thought I had to write a post about it. So here it goes.

On tradition and unmuggleness

As much as I like the movie uniforms, the way I see it, they’re irreconcilable with those described in the books, which, both because they’re from the book and because that’s how I see them in my head, I consider canonical. Most people point out as proof of this that in a couple of occasions we are told more or less directly that the basic (I’ll talk more about this later) uniform does not bear any house indicator (see the Penelope Clearwater and Crabbe-and-Goyle’d Ron-and-Harry Cases, both in CoS). This is true. However, what I see as a bigger issue is the fact that the movie!uniform is basically a muggle school uniform with robes instead of a blazer, which, considering how often we see wizards struggling with muggle clothing, doesn’t really add up. And given that school uniforms tend to be on the conservative side of fashion, it would make much more sense to have the Hogwarts uniform resemble traditional wizarding attire.

On openings and trouserslessness

The movie robes are completely open at the front save for one (PoA-onwards) or two (PS-CoS) little clasps, which would take next to no time to do up and undo, so the movie robes would be put on and off like a bathrobe or a coat. However, most (if not all) of the times we see Harry changing into his school robes he’s described as pulling them over his head. To me that implies that the front is not open all the way down, that maybe there’s just a small opening with a few buttons, like a polo shirt. Either that or the robes are open all the way down but fastening and unfastening them is so tedious that students simply never do them up or undo them all the way. In a pre-zipper world, a front opening like that would most probably mean a metric tonne of little buttons, at least (look up some old-timey portraits, particularly of women’s fashion. They took their buttons seriously). No one has time to fiddle with that many buttons, so it would be easier to undo a few of the top ones and pull the robes over your head.

Personally, I think the left-hand version fits the description of “plain black work robes” better. And yes, there’s no indication anywhere in the books that the sleeves are flared or gathered at the top, but they look more wizardy this way, so. 

For an even more undeniable piece of evidence that supports the idea of having a closed front, look no further than Snape’s worst memory in OotP. When he gets levicorpused by James, we see his underwear. He’s not wearing trousers. Wh. Why is he not wearing trousers??? Because there’s no risk of accidental exposure of one’s undergarments when there isn’t a massive opening on the front of one’s robes, that’s why. Also, if for some sinister reason he had not been wearing trousers under open-fronted robes, everybody would’ve been able to see his pants already and it wouldn’t have been “funny” when James revealed them.

Moreover, it seems that trousers, even though they are worn in the wizarding world, are neither required nor part of traditional wizarding attire. See the old man at the Quidditch World Cup. Trousers have been adopted to some extent, but they are not considered wizarding clothing per se, but rather a garment borrowed from muggles. So if we go back to the idea that uniforms tend to be conservative, the Hogwarts uniform would have probably been designed to be worn with no clothes underneath other than underwear.

On hats gone with the wind and cloaks

Hats. “One plain pointed hat (black) for day wear.” Day wear. In the films (PS, basically), hats seem to only be worn on special occasions. And I can understand that; On set they’re probably a huge inconvenience as they like to fall off and have to be touched up constantly and may cover something/someone important. Still, canonically, a pointed black hat for day wear is part of the Hogwarts uniform.

Now, do not quote me on this, but I am positive that in one of the books there is a description of a windy day where students grab the brims of their hats so that they don’t get blown off. That’s the one and only time in the whole series (that I can remember) where the uniform hats are said to be brimmed. It makes sense, though, as traditional witch hats do have a brim. Modest brims seem adequate for uniforms. (I do think it is strange to make students wear hats indoors, but oh well.)

(Edit:  ‘ “Maybe I’ll skive off Divination,” he said glumly as they stood again in the courtyard after lunch, the wind whipping at the hems of robes and brims of hats.’ - OotP, chapter 17)

Then there’s the winter cloaks. Again, plain and black, this time with silver clasps. No crest, no house colours. And there’s also the protective dragonskin gloves, which seem to be used both as protective gloves for Potions/Care of Magical Creatures/Herbology and as regular winter gloves.

On house pride (or the lack thereof)

So far we have established that the uniform consists basically of plain black garments: a set of black robes (closed front), a black cloak, a black hat. Hence, by default, there is no way to tell what house a student belongs to just by their attire. Or is there? Here’s where the “basic uniform” I mentioned  before comes into play.

It is true that the robes, hats and cloaks are plain black when bought. And yet, there are many points in the story when Harry seems to simply know what house some students belong to, even when he clearly doesn’t know them. We get constant references to “a gorup of first year Ravenclaws” or “a Hufflepuff girl”, and since the story is told from Harry’s point of view rather than an omniscient narrator’s, there must be a way for Harry to tell apart people from different houses without knowing them personally. So how can we reconcile the ideas that some people’s house is recognisable at first sight while other people’s isn’t? It’s quite simple: CUSTOMISATION.

Bagdes, scarves, appliques, ribbons, hat ornaments, buttons, socks, belts, and a long etc, to show your house pride. Just as we can get jumpers and hoodies and caps and whatnot with the name and colours of our uni or specific college, kids in the wizarding world are probably able to buy (and make) house merchandise. These items would be available at Diagon Alley and Hogsmeade, and parents would send them to their children once they’ve been sorted or the kids themselves would be able to get them via owl order.

Some students may only wear a small badge on their chest. Others a scarf+turtleneck undershirt+bandana+animal-shaped hat bauble combo. I love to imagine some kids wearing ridiculously tacky things, like red-and-gold neck ruffles or bee-striped boots. And those kids who are not as inclined to show off their house? They can just wear their basic black uniform.  

Signs as Idioms
  • Aries: ❝Eager Beaver❞ — a person who is keen, hardworking and enthusiastic with an overwhelming amount of energy, sometimes considered overzealous.
  • Taurus: ❝Old Fogey❞ — a person who is excessively conservative or old-fashioned person, unadventurous and who resists change.
  • Gemini: ❝Alter Ego❞ — a person's very close friend who is very like himself; person's 'other self'; secondary or alternative personality.
  • Cancer: ❝Wallflower❞ — a person who is a type of an introvert that can be very shy, chooses or feels the need to blend in and remain silent.
  • Leo: ❝Dark Horse❞ — a person (in an competition or ranking) that looks nothing out of ordinary or weak but who unexpectedly wins or succeeds.
  • Virgo: ❝Tough Cookie❞ — a person who is a tough cookie is one who is strong willed and will do what is necessary to achieve what they want.
  • Libra: ❝Social Butterfly❞ — person who is friendly with everyone, flitting from person to person; an extroverted person who loves to socialize.
  • Scorpio: ❝Rough Diamond❞ —a person who is generally kinder and more pleasant than they seem to be from their appearance and manner.
  • Sagittarius: ❝Rolling Stone❞ — a person who is always moving, with no roots in one place or another, avoid responsibilities and cares.
  • Capricorn: ❝Devil's Advocate❞ — a person who expresses a contentious opinion in order to provoke debate or test the strength of the opposing arguments.
  • Aquarius: ❝Wild Card❞ — a person or thing whose unpredictable or whose qualities and effects to certain matters are uncertain.
  • Pisces: ❝Daydreamer❞ — a person who is stuck or decides to stay in their own mental fantasies and spends their day ignoring everything around them.

so I bought this truly spectacular dress (circa 1905, probably) at a thrift store sale last night. it was only $20 because of the extensive damage to the silk, which I naively hoped was just ordinary tearing that could be mended. I’m not an antique clothing collector- I buy things to wear, if infrequently

but nope. it’s shattered. it’s shattered all to hell, especially the organdy inserts in the skirt. I should have known this beauty would break my heart

however here’s a fun opportunity to talk about why silk shatters! back in The Day (19th-early 20th centuries), silk was sold by the weight. the more it weighed, the more it would fetch. many silk weavers treated their fabric with metallic salts to make it heavier and give it a pearly sheen. what they didn’t count on was the sharp, microscopic grains of the salt shredding the fibers of the silk on a level invisible to the naked eye, worsening over time and with the strain of wear. nobody noticed this when the clothes were new because it took a while to really kick in; besides, nobody expected their dresses or ties to last 100 years. they couldn’t know that their descendants might want those doomed silk garments

anyway I’m hoping to use it as a template for a reproduction in modern silk sans damaging metallic salt treatment, if I can find a way to do that without dismantling it. I’d love to stabilize the shattered areas with crepeline and keep it intact as a study/display piece. it’s still lovely after all these years have taken their toll

(terrible angle because every time I handle this thing my heart almost stops until it’s safely laid out in a position that puts minimal strain on the fabric)

youtube

Queen Victoria’s petticoat being washed by conservators at Kensington Palace. This is a pretty interesting little insight into what goes on behind the scenes.

5

This Revolutionary War Lieutenant’s coat is being prepared for an exhibition scheduled to open in the fall. As a preliminary step, textile conservator Midori Sato and N-YHS Conservation Assistant Janet Lee examine the garment and decide what kind of treatment and stabilization it will need. 

Officer’s coat.  1785-1795.  Wool, linen, metal. New-York Historical Society.

Queen Mary’s Fashion 

For many, the sixteenth-century French hood is deeply associated with Anne Boleyn, second wife of Henry VIII. Political allegiances are seen to have been displayed in the way in which individuals of status dressed. Thus the pro-French Anne, whom also spent considerable time in that country, adopted French fashion. Her predecessor and rival, Jane Seymour, is associated with English dress. To reinforce this perception further, in 1537 Lady Lisle attempted to gain a place for one of her daughters in Jane’s household. She succeeded in gaining a place for daughter Anne, but was told that the queen had commanded she lose ‘her French apparel’. Jane, it can be argued, was removing all traces of her predecessor and propagating herself as a modest woman who dressed in the more conservative English fashion than the supposedly bawdy French style.


Yet how distinctively separate were French and English styles viewed by contemporaries? Was English style really conservative? Did those women who espoused it purposely do so to portray themselves as modest women – even as conservatives in religion? And were figures like Anne Boleyn and Jane Seymour really that rigid in their dress sense? Could not women adopt English, French, and indeed other continental fashions, because they simply liked the style; because such styles were becoming fashionable elsewhere?

What about Mary Tudor? By looking at her dress sense we can develop some idea of contemporary taste and whether individuals did endorse clothing for political effect or just because the items in question were fashionable at the time.

Mary adored clothes and jewels. During her years of disgrace (1533-1536), a number of her fine gowns and jewels were taken away in punishment over her refusal to recognise her new demoted status. She complained bitterly and was reduced, the imperial ambassador claims, to ‘send[ing] a gentleman to the King, her father, begging him to provide her with the necessary articles.’ Her subsequent vast expenditure on clothes, namely as queen, was in some respects a way of compensating for that experience. Yet there was also a sense of sheer joy in fashion. In 1554 the Venetian ambassador remarked that Mary ‘seems to delight above all in arraying herself elegantly and magnificently.’ She ‘changes every day’. In the later years of her father’s reign, when she was back in favour, she would pay great attention to her inventory of jewels. We find her hand in the inventory of 1542-46, carefully documenting all the items bestowed upon her. The pleasure was not only in receiving. Mary indulged in the customary practise of awarding articles of jewellery and clothing as gifts. One ‘grene Tablet garneshed wt golde hauyng the Picture of the trinite in it’ was given to ‘my laday Elizabeth grace’, her half-sister, whilst she granted one Mistress Ryder a ‘rounde tablet blacke enamelled wt the Kings Picture and quene Janes [Seymour]’ on the occasion of this woman’s marriage. Philip also received gifts of clothing from his wife. For their wedding, Philip wore a mantle of gold cloth that Mary had given him. The mantle was set with numerous precious stones.
Evidently Mary inherited her predecessor’s gowns and jewels. This is remarked upon by the Venetian ambassador:

‘She also makes great use of jewels, wearing them both on her chapron and round her neck, and as trimming for her gowns; in which jewels she delights greatly, and although she has a great plenty of them left by her predecessors, yet were she better supplied with money than she is, she would doubtlessly buy many more”.
Given that Mary was already spending a pretty sum on her wardrobe, her desire to spend more indicates the great desire she had to look good.

What type of styles, materials and colours did Mary prefer? Fortunately there exists an excellent study that provides insight into this. Alison Carter, who wrote her MA thesis on Mary’s wardrobe, observes that her accounts as queen reveal huge quantities of velvet and satin. Velvet was the most expensive and Mary frequently called for ‘Jean Duplic’ and ‘Lukes’. ‘Jean Duplic’ was possibly doubled-pilled velvet from Genoa, and ‘Lukes’ was rich velvet from Lucca, Italy. We know that Anne Boleyn had ordered shoes made of this black Genoa velvet. There also appears to be large quantities of crimson and purple velvets ordered for Mary. She also favoured black, again like Anne Boleyn. Alexander Samson remarks that we see ‘a discernable shift from the crimson and murrey dyes popular in 1554 to russet shades by 1557’ throughout her reign. Clearly Mary took notice of contemporary trends.

In the portrait of Mary by ‘Master John’ dated to c.1544 - a portrait which she commissioned – she is depicted in a gown of the French style. As Carter notes,
‘Its characteristics were square neckline, tight-fitting bodice, trained skirt, which from the 1530s had an inverted V opening at centre front, and wide oversleeves worn with ‘false’ foresleeves’.

Though Mary is depicted in the c.1544 portrait wearing this, they first actual reference to a ‘ffrenche gowne’ in her accounts dates to 1546. However five gowns mentioned in accounts of 1538 may have also been in the same style. By 1540 Mary also stops wearing the gable hood; she purchases her last one in January of that year.

For Carter, the ‘grandeur of the French gown lent itself to the rather conservative taste of the English court and more or less fossilized there long after it had passed out of fashionable French dress’. Of course what was considered conservative in England was not necessarily shared elsewhere. Clearly certain Spanish visitors during Mary’s reign did not perceive English women to dress or behave modestly. Furthermore one contemporary remarked that Mary was a saint who dressed very badly, the implication that she overdid it with the grandeur. 

As queen Mary took to wearing two sorts of garments – gowns in the French fashion, like before, and looser fitting gowns (she did wear a gown of this type during the period of mourning for her father but starts wearing these more frequently as queen). In 1554 the Venetian ambassador observed that she often wore, ‘a gown such as men wear, but fitting very close, with an under-petticoat which has a very long train; and this is her ordinary costume, being also that of the gentlewomen in England’. The gowns could be fastened at the front. As Alexander Samson summarises, the use of such gowns may have coincided with the period in which she believed herself to be pregnant:

‘This new style was increasingly favoured by Mary, possibly as a result of her phantom pregnancy, the absence of a stomacher making it a more comfortable garment for a woman with a distended abdomen. She was described on the 27th November 1554, appearing at Whitehall: “in the chamber of presence… the Quene sat highest, rychly aparelid, and her belly laid out, that all men might see that she was with child. At this parliament they did laboure was made to haue the kyng crowned and some thought that the Quene for that cause, dyd lay out her belly the more. On the right hand of the Quene sat the king"’.

What was Mary attempting to do with her style of dress? Was she intended to propagate her religious and political sympathies, or just adopting the fashion of the time?

Carter argues that Mary pioneered the ‘Gloriana image’ associated with her predecessor and half-sister, Elizabeth I. ‘Mary was, I believe, a supreme and yet generally unacknowledged exponent of that image, able to dress with the utmost sumptuosity and yet propriety, with a “taste for dress” as Beatrice White perceptively comments “that never degenerated into the baroque or ridiculous”. Mary dressed to impress, and found enjoyment in this. Recently Susan James has argued that Mary lacked any particularly interest in art itself, but was interested in using it for political means. If that was the case, and I think this needs to be questioned, fashion was regarded in a much different light. It was far more ‘personal’ and meaningful to her.

This enjoyment in fashion extended to Mary’s numerous stepmothers, Anne Boleyn and Jane Seymour included. Jane may have worn the English gable hood, indicated in portraits of her, but there is the possibility that she adopted other headdresses. As her wardrobe accounts as queen are limited, and in fact don’t mention gable hoods at all though we know she must have worn them, we cannot determine with precision that she only wore certain styles of dress. Clearly Jane, like her stepdaughter and her predecessor Anne Boleyn, adored sumptuous materials; she owned numerous gowns and tended to favour tawny, crimson and yellow. As queen Jane readily accepted the jewels and garments of her predecessors. She may have attempted to control what her maids like Anne Basset were wearing, but she could not deter the popularity of French dress in England. She inherited Anne Boleyn’s gowns and jewels and did so gladly, just as Mary, throughout the rest of Henry’s reign and upon her own accession to the throne, inherited the goods of her predecessors. Ultimately Mary went with the fashion. And if the fashion was for French, then she would acquire that style.

What happened though when Mary went to war with France as queen? Would not the wearing of French influenced attire be inappropriate? Alison Carter identifies Philip’s arrival in England with the subsequent popularity of facets of Spanish dress. Spanish styles had, she argues, been incorporated into the few festive displays held at Mary and Philip’s court and this had an impact on its popularity amongst the nobility. Contemporaries remarked that before Philip’s arrival, male dress in England was influenced by the Italian style; after it became more Spanish. Mary too, and her women, were influenced by Spanish dress; her gowns become, Carter states, ‘remarkably similar in style and decoration under a unifying European, but predominately Spanish influence’. Carter portrays Mary as a woman frequently incorporating the most fashionable styles in her own dress, thus she did not move away entirely from French styles. The move to Spanish dress is evident yet predates England’s declaration of war on France in 1557. What dispels the notion that Mary was motivated particularly by political events in her style of dress is that fact that in 1558 she orders seven French kirtles for loose gowns.

A few months after her death, several of Jane Seymour’s ladies returned to wearing the French hood. It was after all the fashion; gable hoods were becoming terribly outdated. Like these women, Mary was aware of current trends and wished to display herself as befitting her status. Mary may have been the monarch’s illegitimate daughter, specifically verified as so in the 1536 Act of Succession, and was for eight following years not included in the succession, but she was nonetheless a leading lady at court and the daughter of the monarch. She dressed well and understood the importance of dressing to impressive. Mary was first lady at court during the rare occasions that her father was without a queen. Did she perhaps take this time to further her knowledge on public presentation? Possibly and this would have been no hardship. For Mary, looking good was a pleasure and a duty.

( article from the blog mary-tudor.blogspot.com)

youtube

19th-Century American Dress: Behind the Scenes at The Costume Institute Conservation Laboratory

leeroypolitik  asked:

Regarding your post on buzzwords, why do you think so poorly of right-leaning people. Obviously I can see why you hate Nazis and their sympathizers but conservatives or libertarians?

Because both are ideologies based on the fundamental idea of personal success above all else.

The freer the market the freer the people, up until the market is run by the few richest people in the world, and the rest get nothing. I am living in a world effectively run by the selfish, self centred Conservatives and Libertarians. I can’t find sustainable work, because the belief that 100% employment rate is more important than paying a liveable wage means it’s a good thing that everyone makes less than what is liveable on because damn that 100% sure is juicy. Because, even then, due to a lack of rising wages, but an every growing cost of living, people literally can’t live. People are homeless because some rich conservative somewhere bought 5 investment properties in the Gold Coast because the Free Market let him. All so he can sell them for a profit, only pushing the price of housing higher. 

I will never be able to afford a house and be happy with the work I do, but thank fuck some rich asscrack of a human being has an extra $100,000 he can invest in his next property. While i”m sitting here eating on 5 dollars a day. My sister applied for over 80 jobs in the last 3 months that she qualified for, but didn’t get a single one because businesses can’t afford to pay her, because people don’t have any money to spend on them, because wages are so low, because despite the price of living going up due to the industries run by people who’ve never had to work a day in their life squeeze out every last cent of profit, people cant find work. Crazy.

Because conservatives and the free market would rather continue their big oil businesses to keep making bank, politicians are bought out against giving Native Australian’s back their land. And it’s actively destroying the world because you need their hands in your pocket if you want to come anywhere close to being the kind of person who could make a difference. 

You think America pulled out of that Paris Climate agreement because it was the tactical move? Or was it because he knew he’s lose any and all funding from his conservative buddies who need oil and fossil fuels to keep their banks fat.

Because conservatives believe in old fashion values, half of which don’t really exist. They were just made up for the sake of pushing a point. White Nationalism, the pinnacle of conservative America, when there is no white nation to speak of. Just a bunch of immigrant’s children’s who are so out of touch with their heritage, they think have tricked themselves into thinking a land that a bunch of conservatives committed mass genocide to take over was theirs because their skin was a colour and a lot of people were also that colour cause the rest were genocided.

I don’t think poorly of the right. I hate the right. Everything wrong with the world today can be chocked up to money grubbing, free market exploiting, ‘tradition’ loving fuck knuckles who think that cause their daddy’s were successful, they’re entitled to the world. I am trapped inside of what little I can do to move forward. I am up to my nose in student debt, and thank god I don’t have to pay it off right away. And for those who can, working less than liveable wage, renting in a house they can only just afford, with the only way to move forward in life is to pay for hundreds of thousands of dollars of education that doesn’t guarantee anyone a job. That’s a tight situation.

But no, you’re right. The freer the market, the freer the people.

VIRGO - Dating

WOMAN:

A Virgo woman is earthly and she may seem cold and detached, but underneath the timid, reserved surface lies the real woman, a strong, passionate woman with a great capacity for strong devoted love. She will play hard to get, she is hard to get for she is worried about exposing her emotional vulnerabilities and getting hurt. She requires patience and you will have to court her and work hard to impress her. Once she is in love, it is for the long term. She will be devoted, loyal and make you very happy and even put a little order in your life. Virgo woman is conservative and old-fashioned, a typical woman who is perfect for the man who loves a challenge and likes to take a relationship slowly.


MAN:

The Virgo man has a cool exterior with a sensitive interior. He has tremendous respect for a woman and will treat her like and equal. He likes women who stir his emotions because he is reluctant to express his own emotions, which he tries and this often causes conflict not just inside himself, but it spills out into the relationship. This man takes patience and understanding. He will not get extremely close so do not try to enter his psyche and become closely entangled, this will make him feel threatened. He needs a classy woman who is not impulsive or unconventional. He leads a predictable life and a predictable woman will make him feel safe. He is perfect for the down to earth, conventional woman. He won’t be romantic and sweep you off your feet, but he will be by your side and be very loyal. This man’s sensuality comes out with time. For the woman who wants a stable, solid relationship with a visible, smooth sailing future is perfect for the Virgo man.

Symbols for the Degrees: Leo

The Sabian Symbols were symbols or “images” designated to each degree of each sign in the zodiac by clairvoyant Elsie Wheeler in 1925. They can be used to paint a specific picture of each of your placements based on its degree.

Originally posted by shoopeanut

0th-1st degree: Blood rushes to a man’s head as his vital energies are mobilized under the spur of ambition

1st-2nd degree: An epidemic of mumps

2nd-3rd degree: A middle-aged woman, her long hair flowing over her shoulders and in a braless youthful garment

3rd-4th degree: A formally dressed elderly man stands near trophies he brought back from a hunting expedition

4th-5th degree: Rock formations tower over a deep canyon

5th-6th degree: A conservative, old-fashioned lady is confronted by a “hippie” girl

6th-7th degree: The constellations of stars shine brilliantly in the night sky

7th-8th degree: A communist activist spreading his revolutionary ideals

8th-9th degree: Glass blowers shape beautiful vases with their controlled breathing

9th-10th degree: Early morning dew sparkles as sunlight floods the field

10th-11th degree: Children play on a swing hanging from the branches of a huge oak tree

11th-12th degree: An evening party of adults on a lawn illumined by fancy lanterns

12th-13th degree: An old sea captain rocking himself on the porch of his cottage

13th-14th degree: A human soul seeking opportunities for outward manifestation

14th-15th degree: A pageant, with its spectacular floats, moves along a street crowded with cheering people

15th-16th degree: The storm ended, all nature rejoices in brilliant sunshine

16th-17th degree: A volunteer church choir singing religious hymns

17th-18th degree: A chemist conducts an experiement for his students

18th-19th degree: A houseboat party

19th-20th degree: Zuni Indians perform a ritual to the sun

20th-21st degree: Intoxicated chickens dizzily flap their wings trying to fly

21st-22nd degree: A carrier pigeon fulfilling its mission

22nd-23rd degree: In a circus, the bareback rider displays her dangerous skill

23rd-24th degree: Totally concentrated upon inner spiritual attainment, a man is sitting in a state of complete neglect of bodily appearance and cleanliness

24th-25th degree: A large camel is seen crossing a vast and forbidding desert

25th-26th degree: After the heavy storm, a rainbow

26th-27th degree: The luminescence of dawn in the eastern sky

27th-28th degree: Many little birds on a limb of a big tree

28th-29th degree: A mermaid emerges from the ocean waves ready for rebirth in human form

29th-30th degree: An unsealed letter

Can’t Take The Sky (1/3)

She knows how to find people. He’s got a fast ship. They need each other - and neither of them is happy about it.

… in which Emma Swan and Killian Jones team up to apprehend an armed and dangerous military deserter, who just so happens to be Killian’s brother. Shenanigans ensure - in space. Sci-fi AU inspired by all the things I love, for day 4 of @seastarved‘s Fantasy Pretzel Week.

Huge thank you to the ladies at the CS Writers’ Hub for the cheerleading and the feedback and everything! You’re all wonderful.


Blaster fire lit up the alleyway around Emma, flashing as it hit the grimy walls, the high-pitched whirr of the guns drowning out noise of the speeders from the street beyond. She flung herself into the meagre cover of a waste disposal unit, breathing hard. Her back was still hitting the wall when her companion joined her, whirling around to fire at their attackers as he backed into her.

And kept backing up.

“Hook,” she pressed out as his shoulders obscured her view, the scent of leather and soap almost overpowering the smell of the alley. “You’re crushing me.”

“My apologies, but I’ve no desire to get shot,” he gritted out. “Where did all these fellows come from?”

“You’re the one who poked the gundark den,” she reminded him sharply. “Why’d you break cover? You were supposed to wait for my signal.”

She’d known going in that this mission was a huge risk. It had gone well at first; they’d landed on Dathmun without any of the trouble that Killian had predicted, and he’d even managed to talk the dock officials out of the usual trumped-up customs charges. Up until give minutes ago, Emma would have said that the place was perfect—easy in, just busy enough to provide cover and distractions, and no weapons bans.

She might still be saying it now, if her words weren’t going to be drowned out by the blaster fire.

“Did you see how he was looking at you?” Killian demanded, edging carefully forward to snap off two quick shots at their attackers.

“How—“ Emma felt her eyes widen, something fast and hot and angry rising inside her. “You got jealous?”

“No,” he shot back, a little too quickly. “You were about to be made.”

Keep reading

anonymous asked:

lesbian in kpop for you?

Disclaimer: All thoughts and opinions expressed in this post are my own and are not 100% fact. You’re entitled to disagree or have a different opinion to mine.


Originally posted by byulmoon

If you mean who do I think is most likely a lesbian then I’d have to pick Mamamoo’s Moonbyul! I could go on and on about why but I’ll try to keep this short! :)

So to start, she said Krystal is her ideal type and even liked a ship picture of them together. Her interactions with her bandmates could be fan service but there’s a fondness to me that seems natural, not simply forced for fans. But the gayest of all are her interactions with Solar. She admitted not liking Eric Nam and Solar together on We Got Married, has called herself Solar’s boyfriend and there’s just so much that I can’t list it all. Scroll the #moonsun tag if you haven’t already ;D But even apart from Mamamoo, her interactions with all girls is a lot more different to her interactions with men. Hell, even MBC acknowledge her gayness. 

I also watched an interview (I can’t find it now :() where Moonbyul was asked about her nickname “Conservative Moon.” Hwasa (I think it was her anyway) stated that the nickname was because of Moonbyul’s conservative, not revealing fashion taste, not because of her political alignment (they really stressed this point). Which, to me, is admitting she’s open to the lgbt+ community.

Also, I feel like a lot of lgbt+ people have “Gaydar” in the sense that they can recognize mannerisms in gay individuals that perhaps they have/had. And they’re more drawn to them (a lot of my childhood celeb and real life crushes have since come out as part of the lgbt+ community but that’s just me, I’m not trying to generalize everyone else’s experiences) and, well, all of Mamamoo (but Moonbyul is highest) are liked by lesbians and I can’t find this either but there was a pride convention or something along those lines and MMM were on the track list!* And as I’ve said, I feel like lgbt+ people are drawn to those similar to them so … Moonbyul (MMM too) is really out here doing it for the gays :”)


* I seen this in passing so if anyone knows the post or has better info (since I remember it very vaguely lol) pls let me know! :)

Sources: The things I’ve linked are primarily what I’ve rb on my main (from others so they’re not my content/creations!), since it was easier for me to find them there. But they just scratch the surface of how gay Moonbyul is, like, I can’t possibly list it all haha.

theoreticalmetaphysics  asked:

In your opinion, is it logical to say that current extremist SJW narratives act as though America is the only place worth situating racism in? I mean, many of us Asians are scratching our heads right now over the entire "only blacks were slaves and only whites were slaveholders" thing, but maybe I've been informed by ignorance due to distance. (After all, race has different overtones here in Asia).

We have a term for that, actually; Americentrism. The vast majority of current social justice activists like to carry airs about how they’re so enlightened, while in reality are extremely ignorant of actual issues outside of what comes across their social media, and even more ignorant of pretty much everything outside of USA.

As a result, they assume the rest of the world is cast of the same mold as USA and as such will judge all foreign issues based on American social and political standards. This is most obvious when it comes to racism because USA is one of the only places where racism is almost exclusively based on the color of one’s skin; everywhere else, it more has to do with one’s ethnicity and birthplace.

Keep reading