I’m sure those versatile pockets could hold more then just ice ;3. Caz may be a nudist, but any clothing that keeps her cool is the exception ^^. I could really use one of these and I’m sure there are many big boobed ladies who could relate. I don’t think Caz is wearing the right size though, more then likely on purpose. Tiffany and Brittany seem impressed I wonder if they’ll buy?;3 Even if you don’t use it for its intended purpose would you get this product? Or know someone who needs it? If so feel free to run with this idea if you wish or commission me if you want me to draw your character wearing the freeze bra. Feel free to customize to your liking colors, straps, ect. I’m curious to see what you guys come up with ^^.
This line in Caz’s fic has been messing with me for weeks. I was so sure I’d written a similar line about this subplot before, but no. It only existed in my head until that chapter. And now it’s a random 1am and it finally fell out of my pencil too.
Hux hates Jedi, and it takes Ren a long time to understand why.
Oh, he knows what platitudes the General no doubt held to: the weakness in the face of power, the false dogma of unfulfilled hope, the theft of children. These are valid concerns, and of merit, from a certain point of view - a view to which, on the whole, Ren subscribes.
He also knows, however, from his own experience, that it took something more to think with true and unmitigated condescension on the acts of those who, for all their faults, had attempted to remake the galaxy in their image. Their project had been too close, in principle, to that of the First Order for Ren to understand what, if anything, made Hux’s lips press pale and thin at any mention of the Jedi’s crimes; which made him rail, even-voiced and cold as a vacuum, against their common enemy.
They are on the run, finally, and Ren’s face is still sending tendrils of maddening pain down into his skill from the blow the escaped Girl had dealt him, when Hux told him why.
“My grandfather had a brother,” he says, half-awake and his eyes red-rimmed from exhaustion; they are on a battlefield, on a planet whose name Ren has forgotten, and Hux hasn’t shaved in days, his self-disgust apparent in his tight, toothy grin.
My great-grandfather was a farmer on Stewjon, he says, (a minor planet, at backward little place), he adds, with no love for it in his voice - and he had two sons. And one day, the Jedi came and took the youngest, and he never came back.
It’s shocking, when Ren allows the layers of himself to contemplate exactly what this means, to realize just who he suspects is the object of this hatred - who he can see reflected in the pure rage in Hux’s eyes, his perfect opposite and his certain ancestor.
“He never came back,” Hux says, with a slow, sniggering laugh. “He could have done. He didn’t come back when the war overtook his parents’ home. He never even asked.”
That’s what the Jedi did, Hux says.
That is what I will not do, he doesn’t say, with his hand fisted in Ren’s collar, dragging them through the smoke and blaster bolts, screaming at the top of his lungs, wordless, horrible things about vengeance and loyalty and get up and fight, you scum -
Ren tells himself, much later, that it would be a disservice to Hux’s brilliant mind to pretend that the issue were that simple - to not inform the General of the fact that Kenobi had never known his father or his brother, that there had been no need for him to care, that - in truth - his forgotten family had probably been better off without him.
But that, Ren decides, would not serve his purposes.
He will keep Hux hating the Jedi for as long as it takes, by whatever means.
This random-ass crazy headcanon bought to you by the bastard Kylux shippers (<3) who have filled my dash with bearded Domhnall Gleeson and confused my poor brain into an endless cycle of “Oh hey Obi-WHAT NO”
Favorite Scene From Each Episode of Veronica Mars: Day 17: Kanes and Abel’s, or, Forgiveness Check
Part of me wants to write something fun about Caz Truman in “Kanes and Abel’s” for susanmichelin’s Favorite Scene thing because somehow I love the guy even though he’s played by a Home Improvement has-been and looks so old that even the Fitzpatricks think he should just graduate already. Caz is just such a moron and a jock tool (he was awesome in “Ruskie Business,” too) that he makes me laugh. In retrospect, Caz would not have been such a bad choice, huh Meg?
My “fun” posts seem to turn out better (I didn’t say “good”) than my attempts to be serious and whatnot. Despite that, I am going to try to write something interesting about Veronica and Logan’s “check scene.”
The scene in which Veronica tears up the check (or “cheque,” for those of us living in those parts of the Anglosphere hanging on to the remnants of British Imperial glory) is clearly a significant landmark in the re-establishment of Veronica and Logan’s friendship, particularly given its proximity to “Weapons of Class Destruction.” (What happens in that episode? I can’t remember. Nothing big, I assume.)
Veronica tearing up the check is an obvious callback to the scene in Mars vs. Mars in which Logan told Veronica, contrary to what she believed (and clearly hoped) that it was just a job, that they were not friends. Tearing up the check clearly signals that they are now friends again, no matter what Logan thinks. On a superficial level, I simply like Veronica’s bossiness here: “Too bad, we’re friends, deal with it.” However, I can never leave well enough alone.
The theme of forgiveness runs throughout Veronica Mars, most obviously in Veronica and Logan’s relationship. (Note: I do not pretend to be an expert on the psychological or intellectual notion of forgiveness, so please do not take this to be a technical treatise, as if anyone could mistake these disjointed rambles for such.) Veronica sees herself as hard and unforgiving, and she often is. On the other hand, in the Mars vs. Mars “friendship bracelet” scene, it is clear that she wants the friendship with Logan back without dealing with the difficulties of forgiveness. Pretty early on in the series, we see that on some level they both want the friendship back. In “Wrath of Con,” Veronica lingers in his presence while he is trying to make the video, even after he is rude to her. Logan shifts between hostility and helpfulness during their one-on-one scene in An Echolls Family Christmas.
I have written before about the Veronica and Logan’s two-track path (back) to each other. One track is Logan’s developing crush in relation to Veronica 2.0’s attitude, smarts, and deviousness, and Veronica’s (much-repressed) attraction to his charm and dangerousness. The other track, one that connects more closely to their former friendship and the need for forgiveness, is “deeper” and more emotional. Veronica is often the lone witness to Logan’s vulnerability, especially as she begins to see, much more clearly than she did in earlier days, who he really is, culminating in his collapse in “Ruskie Business.”
Perhaps most fascinating in relation to this second track is Logan’s side. Yes, he is attracted to Veronica’s smarts, no-longer-Disney-Princess looks, and general badassery. On the surface, he goes to her at the end of Lord of the Bling (or the beginning of “Mars vs. Mars”) because she is an investigator and he knows she can help him out. But on a deeper level, one that he may not even be aware of, Logan is also looking for an emotional connection. Whatever one makes of his relationship with Lynn, she is gone, Aaron is clearly out, and as “Ruskie Business” makes clear, Trina was not going to be much help. Moreover, one need not be a Duncan hater to see that Donut is not really there for Logan, either: his general zombie-esque behavior (and Duncan’s narcissism), his immediate suspicion of Logan in “An Echolls Family Christmas,” Duncan’s not-much-more-than-obligatory response to Logan’s behavior at Lynn’s funeral, and his merely puzzled response to finding out Logan was camped out in a hotel lobby in Los Angeles.
Logan’s world is so devoid of real people that the only person he can imagine helping him or even caring about him is the girl whose life he had spent the last year making a living hell, yet he goes to her anyway. Having seen his vulnerability (mostly without him knowing), Veronica agrees to help. Logan is seeking emotional warmth in the arms of a self-styled ice queen. That dynamic, I think, is one of key elements that make Veronica and Logan so compelling throughout the series.
Veronica’s eagerness to be doing a friendly favor for Logan and her disappointment in finding out that Logan saw it as just a job stands in stark contrast to her statement to Meg in Betty and Veronica:
I’m not programmed to forgive and forget. I can’t just start chumming around with people who’ve ignored and mocked me for a year.
But is Veronica really that eager to forgive? Veronica clearly wants the friendship with Logan back. What Veronica so often seems to miss, as in the scene from “Mars vs. Mars,” is that forgiving and forgetting are two different things. Veronica seems to simply want to forget the past year and go back to “normal” without dealing with actual forgiveness. The word “normal” is used deliberately. With Duncan in the second season, she simply tries to forget the reasons she should be angry with him, and she goes back to him pretending everything is fine, yet they never connect, too much water is under the bridge. Veronica may have thought she had forgotten, but she could not. She needed to forgive, but she pretended there was nothing for her for which to forgive Duncan. True to form, Duncan certainly did not act as if he believed he even needed forgiveness from her.
Contrast this with Logan in “Mars vs. Mars” and “Kanes and Abel’s.” In the earlier episode, he rejects the notion that he and Veronica are suddenly friends. Part of it is that, yes, he is probably still holding on to his anger at her, however weakly. I believe Logan is also, on some level, thinking that they cannot be going back to friends because of the things he has done to Veronica. Whatever image he may project outwardly, Logan does not hold an exalted opinion of himself. Logan believes Veronica should not want to just forget and be friends. Whatever the roots of it, Logan instinctively seems to possess a better sense of the dynamics of forgiveness than Veronica. The past year cannot just be brushed under the rug, no matter what Veronica tries to do, and Logan knows that.
By the time we get to “Kanes and Abel’s,” Veronica has held Logan during his collapse in Los Angeles and helped him out during his drunk antics at “Total Eclipse of the Heart.” She might think that after all that, they were friends. It was not easy but there they were. Logan still tries to pay her. It is, of course, the proper thing for him to offer. Nevertheless, Veronica looks surprised. Once again, Logan somehow has a better sense for how forgiveness works – it is up to Veronica, the victim (which he surely recognizes by now), to decide whether or not to forgive. He cannot demand it. Logan, literally and symbolically, puts it in her hands. It is up to her. And she tears the check up.
As the rest of the series makes clear, Veronica and Logan had a long way to go for forgiveness and trust to truly take hold (and they do not fully do so until the movie). That is to be expected with such deep wounds. Veronica is still someone who would rather just forget than forgive those things she would rather simply see as “not real,” and this repeatedly causes problems between them. Still, they have to begin somewhere .
Despite Logan’s apparent grasp of forgiveness (and Veronica’s lack thereof), when Veronica tears up the check, she exhibits an understanding of a significant aspect of forgiveness that Logan does not. Logan believes she can never forgive him because he can never make things up to her. For Logan, the check is just a check. Logan has to pay her because they are not friends, and thus not worthy of doing things for each other just because they are friends. Logan thinks he has to earn forgiveness, but since there is no way he can do so, he can never be forgiven, and they can never again be friends.
Veronica’s actions show that she gets at least one aspect of forgiveness: forgiveness cannot, in the end, be completely deserved or earned. While the transgressor is not simply a passive recipient of forgiveness, true forgiveness always involves an element of excess grace on the part of the one bestowing it. When Veronica tears up the check, she defies Logan’s attempt to reject her forgiveness, and she does so via an act of grace. It is an act of grace that Logan, whose sees himself as worthless and unworthy, cannot comprehend (thus his wordless exit), yet one that ultimately changes both of his and Veronica’s lives.
Complex question. I have an answer, if you are willing to bear with me.
Hip Hop existed before rap radio. That is something that people don’t understand. It existed in the jams in the parks and the community centers of the South Bronx, long before MC’s or rappers even existed. Hip Hop was pure then. And it was a way to make money. Neighborhood DJ’s filled clubs and made bank spinning breaks for B-Boys to get down to. So, I don’t think it was the money that killed Hip Hop.
I think it was the loss of artistry associated with the advent of serious money making potential that killed Hip Hop. And I can pinpoint it to a date. September 16, 1979 “Rapper’s Delight” by The Sugar Hill Gang was released. Though it’s not the first rap song ever recorded, it is the first to reach top 40 audiences and gain mainstream appeal. This is the sure shot that killed Hip Hop in my opinion.
After “Rapper’s Delight” the world become aware of not only the brilliance of Hip Hop, but it became aware of the money-making potential of our fragile artform causing it to lose street credibility, the very thing that is the life blood of Hip Hop. In fact, none of the MC’s featured on “Rapper’s Delight” were really big on the Hip Hop scene - they were just lucky opportunists who happened to know Sylvia Robinson (head of Sugar Hill Records) and wanted to get on. Real MC’s like The Cold Crush Brothers had an aversion to doing rap records, because it questioned the legitimacy of Hip Hop.
Lastly, at least one of the MC’s associated with “Rapper’s Delight” did not write his own rhymes. You don’t have to check facts on this, it’s right there in the lyrics. When Big Bank Hank says, “I’m C-A-S-A, N-O-V-A, and the rest is F-L-Y.” Why would a rapper named Big Bank Hank call himself Casanova Fly? Because he didn’t write the rhyme. Casanova Fly is an alias for a rapper and DJ otherwise known as Grandmaster Caz, a founding member of The Cold Crush Brothers. Big Bank Hank was a bouncer at the door at a South Bronx club called The Sparkle. That’s how he met Caz. Hank asked Caz to use some of his rhymes. Caz just said, “here..” It wasn’t like, how much you gonna pay or none of that. Caz just threw the book on the table and said “use whichever one you want.”
That was the beginning and the end of Hip Hop. Hip Hop wasn’t in the parks anymore. It was on the radio and, eventually with Run DMC, the concert hall and arena. And it was all big business. People stopped rapping to breaks and started with pre-recorded instrumentals. They didn’t write their own raps and got paid for it. And, most detrimentally, you didn’t have to come-up on the streets anymore. You could front like you were hood, have a one-off hit and chill with your millions.