Jewish Actors in Star Wars

I’ve been extremely excited about the new Star Wars movie that came out this December. The Star Wars franchise was a big deal to me as a child, and all the more so because of the ethnically and religiously Jewish actors involved in the series. Although the characters they portray are not Jewish - and really can not be considering none of the cultures in Star Wars are meant to be real Earth ones - it was and still is important Jewish representation.

Frank Oz - Yoda

Frank Oz was born Frank Richard Oznowicz in Hereford, England. “His parents moved to England after fighting the Nazis with the Dutch Brigades. Oz’s Dutch/Polish father was Jewish and his Flemish mother was a lapsed Roman Catholic.” [x] Oz is a filmmaker, actor, and puppeteer known for creating and playing Miss Piggy and Fozzie Bear in The Muppet Show as well as Cookie Monster, Bert, and Grover in Sesame Street. He also directed Little Shop of Horrors and Dirty Rotten Scoundrels. In Star Wars, Oz was both the puppeteer and voice actor for Yoda.

Natalie Portman - Padmé Amidala

Natalie Portman was born Neta-Lee Hershlag (נטע-לי הרשלג) in Jerusalem, Israel. Her father was an Israeli and her mother was American giving Portman dual citizenship between the countries. She and her family are Jewish and her paternal great-grandparents died in Aushwitz during the Holocaust. “Portman’s parents met at a Jewish student center at Ohio State University, where her mother was selling tickets. They corresponded after her father returned to Israel and were married when her mother visited a few years later. In 1984, when Portman was three years old, the family moved to the United States, where her father received his medical training.” [x] She has had an exceedingly successful acting career, including her role as Padmé Amidala in the Star Wars prequels. She portrayed the character in Star Wars Episode I: The Phantom Menace while still in high school.

Harrison Ford - Han Solo

Harrison Ford is an American actor and film producer. His paternal grandparents were of Irish Catholic and German descent and his maternal grandparents were Jewish immigrants from Minsk, Belarus. “When asked in which religion he and his brother were raised, Ford has jokingly responded, ‘Democrat,’ ‘to be liberals of every stripe.’ In a television interview shown in August 2000, when asked about what influence his Irish Catholic and Russian Jewish ancestry may have had on his life as a person and as an artist, Ford humorously stated, ‘As a man I’ve always felt Irish, as an actor I’ve always felt Jewish.’” [x] Harrison Ford has had a long and successful film career, including his role as Han Solo in the Star Wars franchise.

Carrie Fisher - Leia Organa

Carrie Fisher is an American actress and writer, the daughter of singer Eddie Fisher and actress Debbie Reynolds. “Her father was Jewish, the son of immigrants from Russia, and her mother was raised a Nazarene, and is of Scots-Irish and English ancestry… Fisher has described herself as an ‘enthusiastic agnostic who would be happy to be shown that there is a God.’ She was raised Protestant, but often attends Jewish services, the faith of her father, with Orthodox friends… Fisher has publicly discussed her problems with drugs, her struggle with bipolar disorder, and her overcoming an addiction to prescription medication” [x] She has become a role model for many women and others dealing with addiction and mental illness. In film, she is best known for her role as Princess Leia Organa in Star Wars.

Black T-Shirt. Always a must.


The Bumpy Ride
This is one of the 3 pictures I drew for @Cherryviolets‘ GF artbook. I had this as a sketch since before the finale. I just needed a happy ending for them to make this idea work. Otherwise it would’ve been a big picture with stangst and nothing but stangst. But now it’s only like 90% stangst :)

Women in Hip Hop: Empowerment

           I define women empowerment as women taking control of their: minds, voices, bodies and sexuality. While they are empowering themselves they are also empowering others to do the same. Women empowerment started in the 1800’s with Women’s suffrage; women were fighting for their right to vote with leaders such as: Susan B. Anthony and Elizabeth Cady Stanton. This movement had very little to deal with black women. While a nation of women were fighting for their right to vote, they are still leaving out a race of women who could make a change as well. Sojourner Truth at the time was the voice for black women all around the world with her speech: “Ain’t I a Woman?” Truth was stated in her speech like white women, black women have rights and voices as well. Then there is World War II, where majority of the men in the United States were away fighting the war. Women had to “man up” and provide for their families, while their husbands were away. Working women of this time looked up to the poster: Rosie the Riveter. She exhibited a man’s strength but still had a feminine side. Then there were the 1990’s or the phrase: “I’m a woman of the 90’s.” Meaning that women are no longer going to live up to society’s misogynistic opinions. Women in the 90’s, started taking control of their voices, the way they were presented in the media and their sexualities. Female rappers such as: Lil’ Kim, Foxy Brown, Eve, Da Brat, Missy Elliott, Queen Latifah, and MC Lyte, made it okay for women to have voices and sexual creatures in a male dominated industry. Women in hip hop serve as a symbol of empowerment and self-definition rather than misogyny.

           For years’ women of color in the media and/or hip hop have been depicted to be; weak, voiceless, disposal, and sexual objects. Society has made it seem that a black women’s voice does not matter. As Audre Lorde once said, “If I didn’t define myself for myself, I would be crunched into other people’s fantasies for me and eaten alive.” An empowered woman is empowered because she knows the definition of herself. She can explain who she is to society, she is secure and knows her self- worth and empowered woman knows that her voice will be heard. A weak woman does not know the definition of herself, she does not know her worth nor does she know that she has a voice. A weak woman will spend her whole life trying to create a version of herself that is not authentic, so she can be accepted by society. Therefore, she will be eaten alive because she has spent her whole life not knowing her true definition.

           In the late 80’s and earlier 90’s a pattern of female rappers, started a trend of taking control of their voices and letting men know that black women will be respected. Queen Latifah’s: U.N.I.T.Y. made it clear that black women are more than derogatory names and that they have voices that need to be heard. Mc Lyte’s: I Am Woman, stated that just because she is a woman does not mean I cannot make her mark in the male dominated industry of rap. Yo-Yo: You Can’t Play with my Yo-Yo, simply stated that women are more than sexual objects and they need to be treated with respect. These rappers not only changed that hip hop is a male dominated sported, but they also gave women that were once voiceless that could not express their problems a voice. These women helped paved the way for other female rappers that would later help further empower women of color and change the rules of hip hop. An excerpt from the book It’s All in the Name: Hip-Hop, Sexuality, and Black Women’s Identity. Talks about how the evolution of black women in hip-hop and black female artist did empower black women around the world. The author argues that today young black girls do not have that, all they hear today are female artist telling them to use their sex to get a head in life. This argument could not be more wrong. Female artist such as Trina, Nicki Minaj, Dej Loaf are not rapping about using their sex to become more successful. They are simply doing the same thing men have been doing for year and that is put black women in category where they can be only seen as sexual objects.

           Reversing the male fantasy is something that not only female rappers have accomplished but also a few R&B singers have been able to do as well. Beyoncé released a song called, Blow. Blow is often the slang term used when a man has received or wants fellatio, but Beyoncé took the term to refer it to her receiving cunnilingus. Also hinting that she is in the dominant position while her partner is being the submissive one. Lil’ Kim does the same in her song: Not Tonight, she raps about her many sexual escapades. Although throughout the song she raps about how her partners have pleased her sexually, there is only one thing she truly wants from them and that is oral sex. Kim also states that she only using them until she gets what she wants, but in a sense she is coming for their manhood as well. By stating the he’s a punk if he does not do this for her. Lil’ Kim is taking charge of her sexuality by rapping about what she wants, similar to male rappers. Foxy Brown has also reversed the male fantasy, in Jay- Z’s song Ain’t No N***a. Brown raps, “Remember the days you was dead broke. But now you style and I raised you. Basically made you into a don.” Brown is stating that she was there when no one else was there for him. Now that her man has money he wants to front and forget about her, she is also saying that she raised him into the man that he is today. Brown’s method is similar to what men do when a woman is done with them. He will remind her of all the things that he has done for her to make her better or elevate her life style and that’s what Foxy Brown did.

           Fashion for women in hip-hop has always been a thing to look forward too. Many critics argue that female rappers who don’t have on as many clothes are and will be objectified. That these female rappers are whores and setting a bad example for the young girls that watch their music videos. When in actuality these rappers are setting the example that you do not have to always conform to the wants and demands of society. Female rappers are also stating that women, no matter what size they are should feel comfortable in their skin and confident enough to wear she wants.

           Melyssa Ford who is one of the highest paid video vixens, believes that what she is doing is empowering women to take control. Balaji states, “Although video vixens have been typecast as the sexualized other, some have acquired a degree of fame outside of music videos and have taken ownership in self-definition.” Most video vixens are only looked at by society as disposal sexual objects and that they have no respect for themselves. A lot of vixens seek fame outside of being in music videos. Some women take on a career of being a video vixen, and a lot of them go in with the mindset that they are going to make millions, so they depend on that as their only income. Others do not only depend on a vixen career, they also want to build and make it bigger. Women who already know what they want, have a game plan: be a video vixen long enough to get their names floating in the right places, then they begin to rub elbows with the right people, then they begin to get bigger video gigs and get a lead role in the next big rappers video. Most video vixens know their self-worth and know their limits. To them it is like a business deal, to see what video producer can give them the best offer the quickest.

           Black women have struggled with self-definition, which is mainly because of how they are presented in society. When a woman does know her self-definition, she will always let her voice be heard. The term “I” is always in their vocabulary, to not only express how they are feeling, but to remind society that they have high self-esteem and self-perception. Ford states in an interview, “I would turn down videos that were too misogynistic or when I just don’t like the artists.” Here Ford is showing us her self-definition, by sharing that every music video she was offered she did not accept. Ford knows her boundaries and who she is as a person.

           Many critics believe that Keran Steffans and Melyssa Ford express synonymous values and views, when it comes to a music video modeling career. It may appear that way, but when Steffens’s Confessions of a Video Vixen was released, which is a tell all novel about her escapades with celebrity men. Generalized black women into a category that they too often compromise their values to be identified by their sexual prowess. The downfall for Steffans career is that she started getting her career and personality intertwined. At the peak of her career she turned to drugs.

           Although all these points are valid, it fails to mention that Ford grew up in a two parent household and attended York University where she was majoring in Forensic Psychology. This argument also overlooked the fact that Ford stated, “Doing videos was only a part-time interest for me.” Ford had no real desire to presume a music video modeling career unlike Steffans who let the industry consume her. Another valid point the argument above fails to realize is that Steffans was a stripper turned video vixen and at the peak of her career became addicted to drugs. Where Ford was working as a bartender when she was discovered and her vixen career took off. The big difference between Steffans and Ford that was failed to be mentioned is that Ford does not let her job consume how she is in real. She explains that she was never the fun girl on set and that when the camera is on she is in character.

           In conclusion, women in hip hop serve as symbols of empowerment and self-definition rather than misogyny. Women like: Sojourner Truth, Melyssa Ford, Lil’ Kim, Foxy Brown, Beyoncé, Queen Latifah, Mc Lyte, and Yo-Yo and many more are an empowerment to women of color. They not only challenge the views of society, but they have let it be known that black women have voices and take control of their bodies and sexualities. They have also helped women realize that they are more than disposal, voiceless, and sexual objects. Black women can be sexy without being considered whores that women of color are educated and have voices just like any other race of women. Black women in hip hop are an empowerment that society needs to pay closer attention to.

here have a list of some of my favorite twrp blogs because im Really Feeling It right now

@interstellar-slutstrut my partner in crime, probably the reason i started TWHP i think? We’re always on the same wavelength and is the BEST RPER he has a life and he’s 3 hours behind me so he doesn’t always reply buT WHEN HE DOES. GODDAMN. GOOD SHIT. With whom i have basically solidified a lot of my headcanons

@havvehoagie first twrp friend!!! lvoely bean holds a special place in my cold dead heart

@chaoticmindelectric GREAT ART HOLY SHIT. Beautiful glowy lighting!!! Gorgeous lining! AMAZING!!

@captainsaltypear Havve stan. Probably the only TWRP fan from Singapore. Somehow shares my goddamn name. SAME MOOD? SAME MOOD!!

@karaizawa Would Actually Die for Sung (honestly same tho), really cute blocky sharp art!!! I love!! Amazing Sung headcanon I love!!! The only person I’ve met who actually likes Sung’s stache other than Sung himself

@glowbos  Has somehow been to like a thousand TWRP concerts (im fuckin jealous), is always making food when in vc, PRETTY HAIR PRETTY HUMAN, the Adult of one of the twrp servers, I once entered voice chat to hear Addy cooking and complaining about Phobos having no ass and honestly that’s all u really need to know. A slut for space.

@literallythecheshirecat/ @galacticvegetable THE CUTEST MEOUCH ART I HAVE EVER SEEN GODDAMN, actually has facecanons for Sung’s moms and therefore is better than me in every way, ANOTHER CUTE SUNG, yall haven’t seen veggie’s havve facecanon but i have and its beautiful, CUTE BUNNY PHOBOS I LOVE

@jhobos Will absolutely kick Sung’s ass i believe in u em, Eye Makeup Deity, Alpha Sung, a beautiful human who imo rocks Sung’s outfit better than that weird Canadian dude with the stache

@nonbinaryphobos ADORABLE ART, otomotobos, the cutest coloring and highlights I’ve seen, i dont even know how to describe it other than “cute”

@deadymcdead S L E N D E R  H A V V E, you can absolutely count on deady to add cute lil tags to shit, crosshatching, actually gives Havve’s mask three dimensions and is therefore better than me in every way, i like to go thru Deady’s blog to look at art and tags u should try it sometime

@bajilliancomedy  TUPPERWARE SHITPOST PARTY, always good to test angst against, if i need a specific twrp photo you’ve got it, gr8 twrp aesthetic blog, it’s a fuckiNG REMOTE JILL YOU HOOLIGAN

@rhombustron  MY PARTNER IN TWANGST, at least like a third of my main headcanons for twrp come from ford, ALSO A GOOD ARTIST like goddamn homie ur Sung is super cute and I absolutely love him! THAT GOOD HAVVE FACECANON (we do not talk about Hell Hogan), I always get really excited when I open my inbox to see “rhombustron said to tupperwareheadcanonparty”

@owlabouttwrp if i miss a twrp post u can be damn sure that i can find it on this blog

@lespobs WRITES GOOD SHIT GODDAMN, somehow i consider u one of the god tier twrp blogs even tho u post a lot of kpop, this is the only blog i don’t unfollow bc it posts kpop because ur twrp shit is just [clenches fist] so good

@lesbianmeouch WHY ARE THERE SO MANY GOOD ARTISTS IN THIS FANDOM GODDAMN, posts a lot of aesthetic shit which i love

@commandermeouch knows everyone (i kept seeing “foleh” everywhere and now i know who it is i feel like i’ve unlocked a secret), “torp”, along with glowbos foleh is responsible for most of the live show images and gifs and i thank god for that every day, great tagging system

@doc-sung-appreciation-blog Unsurprisingly a Sung stan. Surprisingly posts about more than just Sung.

@meouchy-boy Meouch stan. will absolutely fight everyone and everything. doesnt use tags a lot but when he does theyre golden

@autisticphobos thAT GOOD STIM HEADCANONS, may not tag ur twrp shit but will absolutely reblog it



The Great Stink - Victorian Plague

By the mid-1800s, the River Thames had been used as a dumping ground for human excrement for centuries. 

The crisis came to a peak in the ‘Great Stink’ of London in 1858. Such was the overpowering smell from the Thames, that the curtains of the Commons were soaked in chloride of lime. For centuries, the “royal river” of pomp and pageantry, the city’s main thoroughfare, had doubled as a dumping ground for human, animal and industrial waste. As London’s population grew – and it more than doubled between 1800 and 1850, making it by far the largest in the world – the build-up of waste itself became a spectacle no one wanted to see, or smell.

The apparent progress of flushing toilets (marketed to the masses at the Great Exhibition in 1851) only made things worse, overwhelming old cesspools and forcing ever more effluent into the river, which belched it back into the city at each high water. The result was successive waves of waterborne diseases such as dysentery, typhoid and, most feared of all by mid-century, cholera. For this “Victorian plague” there was no known cure. 

London had lacked a unified authority with the money required to address such an extensive problem of sanitation on an effective scale. Now the recently formed Metropolitan Board of Works was empowered to raise £3m and instructed to start work without further delay. The board’s chief engineer, Joseph Bazalgette, who had already spent several exasperating years drawing up plans for an ambitious new sanitation system, only for each one to be swiftly shelved, at last got the go-ahead to begin construction. 

“What was extraordinary about Bazalgette’s scheme was both its simplicity and level of foresight,” writes Paul Dobraszczyk in London’s Sewers. A classic piece of Victorian over-engineering, the infrastructure was planned to accommodate a population growth of 50%, from 3 million to 4.5 million. Within 30 years of its completion, the city’s population had in fact doubled again, reaching 6 million. It is testament to the quality of design and construction that, with improvements and additions, the 19th-century system remains the backbone of London’s sewers in the 21st century.

painting above: The hard work of thousands of labourers overseen by Bazalgette inspired the artist Ford Madox Brown as he painted Work, a large canvas completed in 1865, the same year that the main drainage works were opened at Crossness by the Prince of Wales 


THIS IS SO CHEESY I AM SO SORRY OH BOY. Slowly getting through my requests! This one was from @kerbabbles who had the epic idea of Ford singing a power ballad and the first thing that came to my mind was Defying Gravity from Wicked. I like to think Mabel sat him down and showed him all the musicals he missed over 30 years and that one stuck with him because of reasons….  AGAIN SO SORRY FOR THE CHEESE I COULDNT HELP IT

June 3 is National Egg Day.

To celebrate, we’re highlighting this painting of a fried egg! The artist, Victor Hugo, presented it to Betty Ford at a party hosted by fashion designer Halston on June 19, 1975. Sheila Weidenfeld, Mrs. Ford’s press secretary, later recalled how Hugo showed her a storage area that contained what she described as “a breakfast addict’s delight” – about 100 of his drawings of eggs, from fried to scrambled to poached.

Image: Painting of a fried egg given to Betty Ford by artist Victor Hugo, 1975.