Hi. Do you know any blogs or something that tells the whole story about lairport?because I've always seen a few pics of lairport only but never read the story behind it. What actually happened. And I really want to know what happened there, could u maybe help me ?
JACK IS ALWAYS ON TOP OF THE GOSH DARN TRENDS,,, like,, boba ? HES ON IT?? rolled ice cream?? ALREADY SEARCHE D tHE BEST PLACES!!! hes always so excited for new food trends and honestly is always there for them to support them !!! he loves it,,
Title: Reckless Abandon (part 3) Characters: Dean x Reader, Sam Summary: After Y/n leaves the bunker, someone comes knocking at her door, begging her to come back. Word Count: 3,996 Warnings: uhhhh none? POV: Readers, 2nd person A/N: yeah so I lied about there being Dean’s POV, sorry! I tried it but it just was’t working the way I wanted. But I’m pretty happy with how this turned out. Let me know what you guys think! :)
It wasn’t easy to pack your things away, throwing your clothes and minimal possessions into the only duffle bag you owned. It wasn’t easy to watch the room slowly fade of any suggestion you had lived there at all. It wasn’t easy to empty the space you had called home for years, or to leave behind the only two people you had left in this world.
Even still, your room was nearly baron to begin with. No posters on the wall of famous musicians, or frames of old friends who had disappeared from your life a long time ago. The only objects that signified than anyone ever occupied this room at all were the clothes along floor and the single photograph lying on the nightstand next to your bed. It was an old, crinkled, and somewhat torn image of you, Sam, and Dean from a few years back. It wasn’t from any particular event, you could hardly even remember what year it was taken in, or why it was taken at all.
But there was something about the way that Sam hung his left arm over your shoulder, a monstrous smile gleaming on his face, the way that you managed to be crammed between the two bothers, towering over you with a laugh escaping your lips, and Dean’s… Dean’s breathtaking grin, staring solely at you, a light in his eyes you hadn’t noticed before it was gone.
Bobby had taken it, that much you could remember. It was a rare glimpse into the happiness you once had with them all.
Unlike many, Summer isn’t an easy season for me. It’s icky, sweaty and overall just uncomfortable. So every year, I find myself looking for relaxed and breezy fashion options that not only make the heat a little more bearable but also keep things fashion forward. That is why I’m so excited for Pakistani summer trends this season because they manage to do just that and more!
Trends come and go but every Summer there is one color and piece that remains constant; the little white kurta.
We’ve been talking about the revival of the gharara for the past couple of years now and the contemporary take on this classic piece is every bit casual. Brands like Generation and Rano’s Heirlooms are realizing that limiting ghararas to the formal category is unfair to a piece that could be perfect for the summer given it’s relaxed and comfy nature. Pairing it with a white kurta is a dream summer outfit and if I could wear this ensemble everyday, I would!
Tulip Shalwar, Bootcut Trousers, Culottes
To say that tulip shalwars are in right now is an understatement. Everryyyone is wearing them. However, in the sea of tulips, bootcut trousers and culottes are also managing to hold their ground. Brands are giving them their own ethnic touch to keep them culturally relevant.
Wraps and Boxy Tunics
An easy flow of air is what anyone wants in the scorching heat so it’s not surprising that oversized boxy tunics would make their way into the popular trends this season!
There is no denying that khusas will always be in. But this season, we see Peshawari sandals that are traditionally worn by men make their way into contemporary women’s fashion and why not.. they’re comfortable, chic and definitely on my must have Summer list!
May I ask you why you don't like Gemma Gary? I never read her books, just some abstracts here and there on tumblr and this is the very first time that I actually read of someone who dislike her, generally she's praised as a great author and her books are used very often in fancy pics... I'm just curious, I don't want to criticize.
The reasons I don’t like Gemma Gary are less about the woman
herself and more about her books and public presence.
First, she lies about Cornish “traditional” witchcraft. Many of the terms, charms
and traditions she claims to be part of her Cornish practice are pan-British,
or taken specifically from other areas of Britain and aren’t local at all to
Cornwall. She also makes big blanket statements about the magical practices and
concepts of Europe, Great Britain, and Cornwall that are baseless (of course
she sites almost no sources ever) and are highly contradictory to theories and
histories that come from peer-reviewed properly academic texts.
All of that is working solely within the parts of her
writing and media that can actually be attested as “traditional” or part of
folk tradition – ignoring that the word “traditional” is already so misused and misunderstood in our communities. The major basis for
all of her craft is the same modern wave of practice and tradition that lies at
the heart of Wicca, which so many of her followers claim to detest; that is the
ritual structures and philosophies of the 19-20th century occultists
(such as the Golden Dawn) that have no place in vernacular folk magic. She regurgitates
the same structures, philosophies and false histories of her very recent, and
rejected, magical predecessors with newly invented names, symbols, and
explanations behind them. In short, she has made up a new system based on the
same modern systems she rejects with no authenticity to her creativity, and
then has the audacity to call it folk magic and Cornish tradition. She is
renaming parts of Wicca, with words and ideas that excite an audience bored
with 90s hokey witchcraft, and claiming them to be traditional (another
exciting trend-word) and naturally/rightfully keeping all the profit for her creations.
Secondly, Gemma is one of many authors under the same series
of occult publishers who abuse overly flowery/poetic writing that can fill up
30 pages with two paragraphs of actual information. While she is not as bad as
Schulke by any means, this is still an annoying waste of paper, but more importantly
distracts from the substance and legitimate education possible with her media presence. It also is more and more risking exclusion and classism as the flowery
writing gets worse, leaving the texts available only to those of a class or
background able to understand the points of information amid the nonsense.
Thirdly, she plays on people’s desire for authenticity in
witchcraft, for culture, and bluntness, using exciting topics, misplaced folk
terminology, overemphasized rituals and the devil to excite her thirsty
audience while really just feeding into capitalist witchcraft trends, further
continuing the glass ceiling above young witches’ heads, preventing them from
pursuing authentic vernacular traditions of magic and superstition through real
sources or researching through properly academic channels. She is part of a
large system that completely convolutes vernacular practices around the key words
and exciting fads of a suburban internet-based magical audience. If you think
the average cunning-folk of Cornwall two hundred years ago were running about
calling crows in the north and bunnies in the south and asking the great
serpent to envelope them while they pray to the wise devil, if you think they
were proud to call themselves witches and embrace the darkness in the world…you
have a serious gap in your education, further exacerbated by Gemma’s and other
authors’ misinformation and profit-seeking books.
She can do whatever she wants, but the fact that she markets
these lies the way she does, and the fact that she is claiming to be an expert
while she is clearly still struggling through these complex subjects herself are
what rub me so much the wrong way. There are many flaws with her practice and
theory, but that is normal. This is not why I am fed up with her and her
publishing peers; it is that she claims authenticity, tradition, and
reliability in the midst of these blatant flaws. She is such an indication of
the myriad concerns that should be raised within the witchcraft communities
about capitalist profit, trend setting, laziness, and disrespectful
appropriation of real traditions.