libra is the universal scales of justice, they are internally mediated by righteousness, this is why they can appear indecisive - because they are considering every circumstance and seeking impartiality and fairness and egalitarianism, they are driven by what is morally right, so when they see subjects in society not abiding by these laws its somewhat discerning. the pluto in libra generation embarked the second generation of feminism, and this was somewhat combative and fierce. lots of ‘shock jocks’ and extreme media presenters have libra suns, it may seem antithetical to their harmonic nature, but libra is many sided, and often these people are driven by holding the government and representatives to account. libra does not want to rock the boat with people, but they are empowered by upholding cosmic justice
Libras are social and adept at bringing people together so you’re a great mediator in and out of the office. The sign of “balance”, reading people and understanding people’s motivations comes naturally to you, and you can often use this to your advantage in any job or career field—think diplomat, assistant, translator, broker, sales person, etc.
Ideal careers: Represented by the scales of justice, law enforcement and justice are natural fits for you. You’re a people person at heart, so working with others is crucial to your happiness—think hospitality, customer service, diplomats, travel agents, and even a wedding planner.
Influenced by @abloodneed ‘s gay thirst for Magnus Bane. Don’t ever change, Izsak.
When the lights go red and the alarm rings out in the Institute, Magnus is with Alec. They’re in his room, now barely ever used and dusted over, but still necessary for those rare occasions they stay overnight, too tired or maybe just too lazy to portal to Magnus’ loft – their home, away from the world. Aside from just wanting to spend more time with Magnus, this is one of the reasons Alec moved out as soon as the decision was just formality hanging in the air, a question to be asked and answered with a sweet smile – not having to be woken up with something akin to horror movie shelter sirens in the middle of the night.
It’s a hollow kind of sound, urgent and calling for attention – Alec breaks their kiss to roll his eyes and sigh out a resigned curse, because getting interrupted seems to be their thing, but Magnus just laughs before briefly pressing his kiss-wet mouth over Alec’s deflect rune, the soft prickle of the goatee making Alec give a breathy chuckle.
They’re tangled in each other up against the door, long legs wrapped around a muscular waist, Magnus’ weight pressed against Alec, chest to chest, Magnus’ hands travelling over Alec’s thighs and ass, Alec’s hands tugging at hair, bodies alive with slow dripping pleasure that’s now been ripped from them in the most unfair of ways. The air between them is humid with possibility, with the unspoken ideas, some of them including Alec dropping to his knees and some with them sans clothes, just coal-hot skin, moans reverberating through the room like a choir echo and Alexander whispered like a praise.
We associate a lot of Libran qualities with geniality, sweetness, and the feminine expression of the Venus lover. But the sign of Libra is incredibly complex, dual bodied, and fierce. While the Libra can be painted as meek, easily intimidated, and fearful of conflict, there are expressions of Libra that exhibit powerful mental qualities, a furious fight for justice, and great ambition. There are many world leaders, male and female who have their natal Sun in Libra. They are aggressive on the debate floor, intelligent in negotiation, and level headed in their ascension up the career ladder. Libra is ruled by Venus and exalts in Saturn. We have the humanistic judgment of Venus fusing with the disciplined and determined will of Saturn. Libras are a tour de force, and they can be absolutely unmovable and resolute.
The double lined Libra symbol indicates a sign that experiences dual states of consciousness. While we have an archetype that is focused on developing relationships and connecting others, we also have the scales of justice. This is the need to throw oneself into battle so that what is fair and right prevails. Libra is an air sign, and the intellectual capacity of the individual is one of his greatest assets. There is a tremendous verbal acuity and the mind to dominate any debate. He can view the world through multiple perspectives and rapidly absorb information and fact. So we have four critical areas of intelligence expressed through Libra, and this is a secret of the sign’s success. There is socially receptive Venus, mentally astute Air, the fire of Cardinal, and wise, formidable Saturn. Life arenas like politics and law resonate here because the individual emanates tremendous leadership skills, formidable wit on the parliament floor, and a very focused approach to success.
Many female world leaders have their natal Sun in Libra, especially
pioneering ones like Margaret Thatcher and Julia Gillard. Many male
shock jocks are Sun Libras. There is ferocious dialogue and the reigning in of the Mars duality’s aggression, inferno, and combativeness. Libras stand by what they believe in, and their battle scars tend to be hidden by flowers and jewellery. The individual can be too easily underestimated, and his ability to adapt to the personality required means he can fly under the radar while achieving great feats. Libras are not unequipped for the world, they hold swords of power as they tackle the cosmic balance beam.
So, there’s been a rather vocal contingent of Kemetic Tumblr strongly supporting the idea that social justice is ma’at. This post is prompted by that voice, but not necessarily a rebuttal. Rather, I’d like to talk about a different aspect of ma’at that we haven’t seen going around much. Indeed, a newcomer to the community might think that in order to keep ma’at, they must also support the social justice movement. That’s not only rather off putting to more moderate minds, but also flat out untrue. Ma’at is a complicated idea, and there are many ways of putting it into action. There is no one way to do ma’at.
Musings about character arcs coming full circle in S7
I was recently rewatching 5X2
“Strangers” and subsequent episodes and I realized something about the
character arcs that are finally resolving in S7. Basically the road map for
several characters (5 characters) arcs is outlined when they walk into Father Gabriel’s
church at the beginning of S5. Each character pauses at a specific area and focuses on something
critically important to them and their development from S5 onward. I am putting these thoughts under a read more because it’s quite a bit of musing.
Also, I couldn’t get her to repeat it, but when you look at the branch in your inventory, she’s like “I feel guilty. I really do!” but in this way that sounds like she’s astonished at her own guilt, and it’s kind of fantastic.
Each spring semester the University Library System,
in collaboration with Pitt’s Office of Undergraduate Research (OUR), award ten
students with the Archival Scholars Research Award (ASRA). This semester, seven
of those students are working in Special Collections. Each month, we ask the
scholars to submit blog posts demonstrating the discoveries they are making.
The Annual Congressional Art Competition, sponsored by the
Congressional Institute, broadcasts a call to high school artists nationwide to
share the best their congressional districts have to offer. The rules are
simple: the works must be two dimensional, be no larger than 28 x 28 inches,
weigh less than fifteen pounds, and be original in concept, design, and
execution while not violating any copyright laws. When eighteen year old David
Pulphus’ painting won first place in Missouri’s First District, it was flown to
a gallery at the U.S. Capitol Complex, where an ongoing spat has seen it hung,
removed, then rehung a number of times.
The painting is packed with motifs – a black man in
sweatpants, a graduation cap, and bold red sneakers hovers, crucified, his arms
bearing the scales of justice, occupied with the black and white whorls of yin and yang. The city skyline recedes into prison bars, through which two
brown eyes gaze plaintively at the viewer. Placards emblazoned with the phrases
“RACISM KILLS” and “HISTORY” call out to the viewer, while a black and white
bird fly headlong at each other. The scene ultimately unfolds and opens up
towards the viewer, where a black panther stands, face-to-face with the barrel
of a gun wielded by a pig in a police uniform.
The depiction of cops as pigs has been traded verbally as
well as visually – Cypress Hill’s track, Pigs
evokes a cop “…standin’ eatin’ donuts while some motherfucker’s out robbin’
your home.” But perhaps one of the earliest and most widespread depictions of
cops as pigs must be attributed to one man: former Minister of Culture for the
Black Panther Party, Emory Douglas.
July 26, 1969
November 15, 1969
March 7, 1970
Known today for his iconic representation of the struggles
of black Americans throughout the 1960s and 1970s, and the subject of several
exhibitions within the last decade, Emory Douglas’ style is nothing short of staggeringly
incisive. Responsible for much of the artistic production and layout of the
Black Panther Paper, a biweekly newspaper circulated worldwide from its
headquarters in Oakland, Emory Douglas was the designated artist for many of
the back covers of the paper—creating bold illustrations to fill up the entire
page, usually accompanied with blocks of bright, fluorescent colors. The
illustrations brutally confront the plight black Americans felt living in the
60s and 70s, depicting such subjects as disenfranchised children, decrepit
living conditions, and shocking acts of police brutality. Pigs with sharp
teeth, adorned with clouds of flies and clad in human clothing frequent these
illustrations, usually identified as cops, politicians, fascists and
capitalists. In several cases, then-president Richard Nixon is among them,
gorging himself on dollar bills, engaging in sexual acts with other members of
his inner circle (similarly depicted as pigs), and carrying out orders against
the black community, the Panthers, and the Vietnamese—the war was in full
swing, and the Black Panther Party threw their ideological support behind Ho
Chi Minh and the Viet Cong.
February 12, 1972
November 15, 1969
With the media’s constant inundation with acts of protest
against police brutality, and calls for police surveillance and accountability,
it comes as no surprise that Emory Douglas’ art bears a remarkable significance
to David Pulphus’ equally controversial painting. While Douglas’ art and
ideology are regarded by many today as emblematic of a time of great distress,
one from which we have long since departed, the fact remains that the knee-jerk
reaction to Pulphus’ pig-police unabashedly proclaims otherwise. The issues and
criticisms he raises—at age eighteen, in a high school in Missouri—resonate
word for word with those Douglas raised almost four decades ago. Furthermore,
judging by the fact that his painting has gone back and forth from on the
Congressional wall to out of sight almost four times as of this date, there can
be no mistake about declaring how divisive issues of race, police violence, and
freedom of expression (artistic or otherwise) are to us even now.
Archival Scholars Research Awardee ‘17