I feel like a sexy cute little bechloe prompt would be a little one shot based on the song T-Shirt by Thomas Rhett haha idk why
ugh okay i’m wide awake and didn’t plan on writing anything but here i am. and also i love Trhett he’s my homie. Also, not sure if this is what you wanted but i’m sleep deprived and yeah woo.
Chloe borrowing Beca’s clothes wasn’t anything new. Friends borrowed hoodies and shirts all the time, right? But did they keep them for years afterward? Apparently so.
They’d graduated three years ago and Chloe still had Beca’s favorite oversized (just the perfect amount of baggy) Barden t-shirt she won out of a t-shirt gun from a game the Bellas had dragged her to. She, however, has yet to ask the redhead for it back.
It was the annual Bella reunion vacation. Most people think annual means only once a year, but this was a five times a year thing. Chloe insisted. And when I say Chloe insisted, I mean she did that puppy dog eye thing that Beca couldn’t resist. Like, ever.
This trip was the last of the year, the whole team was meeting at Chloe’s parents beach house in Florida. Everyone other than Beca and Aubrey had never been, so the group chat was buzzing.
Beca: Guys. What do I pack.
Stacie: Nothing. Come naked.
Fat Amy: While some may say that is a wise decision, I strongly vote against.
CR: someone bring booze.
Stacie: kidding. I’m bringing beach clothes mostly and like a nice outfit or something for if/when we go out to dinner.
Aubrey: please bring clothes so I don’t have to scrape my eyes out with spoons upon arrival.
Chloe: Idk Becs. I’m with Stacie on this one. From my previous experience, naked suits you well ;)
Aubrey: I think I’m going to be sick.
Beca: keep it in your pants, Beale.
Beca blew out a puff of air and turned around to look at the eternal black hole that was her suitcase. She threw her phone on the bed and headed for her closet. Think beach. Bathing suit? Where was my new one? She called Chloe.
“Hey you. What’s up? Are you packing?”
“Well I’m trying but I can’t find half of my shit. Did I leave my new black bikini at your place after we went shopping last week? I can’t find it.”
“ohhh! maybe you WILL have to come naked. Muahaha.”
“Chloe…” Beca groaned.
“Haha sorry, nope it’s not here. Did you check in your hall closet?” Beca walked over to the closet next to her bathroom and opened the door only to find a bag from Target on the floor, indeed equipped with her brand new bikini.
“You’re creepy. I found it. Gonna go finish packing, I’ll see you and everyone else in the nuthouse tomorrow.”
“Oh hush. You’re excited.”
“Goodbyeeee Chloe.” With that she hung up the phone and walked back into her room to finish packing.
I kind of hate how they’ve made it seem like people with mental illness can’t get better.
First we have Charlotte, who never got the help she truly needed. She was under the care of her secret lover, who turned out to be a lying, abusive, manipulate piece of shit. No wonder they were a couple. Charlotte needed actual help, and she didn’t get it, so when she got out of Welby she was ready to start the game again and make it ten times worse. She told Mona that it would make everything she did before look like a picnic or a walk in the park. Even bragged about stealing everything from Mona the way everything was stolen from her. (Which by the way kind of makes it seem like AD stole the game from her. But also how her childhood and family was stolen.) She didn’t get better and I don’t think she ever wanted to.
And I’m not saying she’s a horrible person, and I understand that she’s sick and a lot of it is out of her control, but I can’t justify her not getting real help and setting Alison up with her boyfriend for malicious reasons while also befriending Jenna, a known enemy of the girls???
And Mona. She got sucked back into it. She was better. Obviously her mental illness is something she will struggle with forever but she was truly trying and became a better person and wanted to help. But in wanting to do so it brought back old feelings and habits and now she’s “loser Mona” again who wanted revenge. I hate that they can’t just let her be happy and finally feel accepted. I believe that everything Charlotte said to her in the bell tower brought out her anger and resentment. Telling her the girls will never love and accept her. That she’s still the loser she used to be. She deserves better.
So we’ve seen not only one, but two characters who fell back into their old habits or never got rid of them in the first place. That makes me really sad. We see that Mona gets placed back into an institution next week and I hope she is able to get back into a good mindset and ends the series in a happy place.
“I would like to blur the firm borders that we human beings, cocksure as we are, are inclined to erect around everybody that is accessible to us… I want to show that small can be large and large small.” Hannah Höch
Hannah Höch. Whitechapel Gallery, London. March 2014.
I’m not sure Höch knows much about ‘firm borders’, more versed in flimsy, paper, semi permanent erections and indeed in blurring the perceptions of scale and foregrounding. As a whole, this exhibition flawlessly showcases a grand body of work, no single piece is given precedence, designed to convey the overall impression of an obsessive practice. Curated vaguely chronologically, with works dating from 1920, their importance lies within the authenticity of the ‘actual’ materials used. These fragments ‘of their own time’, tell their own story, not solely the one they physically depict, collating together contexts associated with each individual element.
Ornamental pattern formed a basis for the investigation of abstraction, Höch considered art to be rebellious and her early drawings in gauche and watercolor are concept based, depicting an idea or scenario. My favorite came just three works in, an intimate scene, depicting two females kneeling together. As a precursory notion I should mention that throughout the exhibition Höch sardonically critiques the mass culture beauty industry, and in line with this reading can be contemplated as a feminist artist.
Hannah Höch, Two Nudes, couple, 1912
Höch created intentionally ambiguous scenes to obligingly enrich our fantasies. In Liebe Im busch, Höch intertwines the limbs of a black male and a white female, to create an androdgynous, unified being. A controversial and highly political work, positioning the viewer as composite to the act of cutting, mixing and mating her material, Höch herself found definition neither necessary or desirable.
Hannah Höch, Liebe Im Busch, 1928
There are three constant conventions in Höch’s work; composition, shape and balance. I expected to see more obvious layers in the works, more depth and thickness to the paper and the edges, but the images appear relatively flat, and that is what I realize was Höch’s purpose; to create an ‘integral image surface’, a surface reminiscent of magazine pages, a surface disrupted only when Höch chooses to cut around the images, working with the remaining negative space. The layering of thin tissue papers now appears almost like screen print. The edges are noticeably the defining points at which meaning is achieved and lost. The exhibition itself has ergonomic edges, where natural and unnatural elements congregate. Having seen these works in reproduction I’m struck by how different they look in the flesh, unaltered, unadulterated, but considering Höch’s influences and the origins of her imagery I’m certain she would not agree, in reproduction each piece completes it’s own cycle.
While Höch was open to the beauties of fortuity, all the works feature the same muted tones, nothing grates. Welcome adjustments are made to the gallery, darker than usual, the walls painted understated grey, the lights dimmed. Edges and walls provide the sites of illusion and collusion. Although the exhibition texts claim spontaneity within working methods, each piece confined to it’s frame, never extends beyond the plane. I can’t help thinking that whilst each image revolves around the elements Höch has included, they also reference everything which has been omitted.
Hannah Höch, Fröhliche Dame, 1923
The exhibition includes a section dedicated to Höch’s series; From an Ethnographic Museum. A cohesive group of beautiful, intriguing and complex images created between 1924 and 1930. During which time Höch was in a relationship with female poet Til brugman. Some of the works focus on disfigurement, connoting ideas of the brutality involved in the physical cutting up of images of women and children. With elements of juxtaposed female bodyparts, equally beautiful and monstrous, these pieces evoke notions of identity swapping, concealment and espionage, challenging notions of Racism and colonialist ideals, representing the ‘millions of justifiable points of view’.
Hannah Höch creates an uncanny suspense, the deliberate two dimensionality reinforces the flatness and shallowness of the original images, giving focus to the paper surface. Unconscious desires and explicit associations suggest the construction of a powerful new female creature, but Höch mocks them, literally cutting up these images of ‘new women’, exposing them as contradictions, collage as a medium is used to bridge the distance between the viewer and the everyday object. Eroticising women and images of women, Höch challenges how females might conform to men’s sexual expectations. Life is full of contradictions, bisexuality, marriage, lovers and abortions. Höch was critical of matrimony, some of her pieces depict brides as mannequins and children, in reference to the socially pervasive idea that women are incomplete with minimal control over their lives.
Hannah Höch, Marlene, 1930
In 1930, Marlene Dietrich started in German tragicomedy Blue Angel, the very same year Höch created her photomontage Marlene. Featuring an array of sexual signs and making deliberate allusion to the film star known for her ambiguous sexual identity. In the bottom left, two men gaze upwards at the gigantic stockinged legs, mounted erect on a pedestal. In the top right a mouth, seductively faces the viewer, not situated in the line of the male gaze but offered as an object of desire. With its exhibition the gaze of this piece is multiplied, we are watching these men watching these legs, a scene unfolding on the silver screen.
Hannah Höch Da Dandy, 1919
Dadaist’s paid lip service to women’s emancipation but reluctantly included women in their ranks. Politically charged and progressive, Höch referenced the hypocrisy of the Dada group in her piece Da Dandy, where she skewered men, feminizing them. Many believe this work didn’t only reflect Höch’s polyamorous relationship with Raoul Hausmann but was also about how men treat women and how women treat each other. The title is incorporated as a graphic element, it features motifs of young women smiling seductively at the beholder and this the silhouette of a man’s head is formed of images clipped from women’s illustrated weeklies, the subject ‘has his head full of women’!!
Hannah Höch, The Album, 1933
Whilst creating her famous photomontages, Höch embarked on a more private project, never intended for exhibition; The Album. A scrapbook of hundreds photographs cut from magazines and newspapers, images of movie stars and young girls, children and mothers, flora and fauna. A working document, a diary, an unusually different compositional approach was taken, the images are intact, allowed to freely interject across the double page spreads. Although The Album reflects Höch’s longing to have children, it allows for multiple readings and poetic ambiguity, Höch resisted overt visual messages.
The middle chapters of the exhibition loose momentum and post-war the works appear dated and almost backwards. Höch developed a mental image bank according to a specific aesthetic. What was fresh, incriminating and disturbing in the 20s and 30s was then overshadowed by pop and performance art.
Hannah Höch “Around a red mouth”, 1967
All of Höch’s imagery was found in mainstream popular culture, they are not niche fetishism, although they are often erotic, especially the latter pieces of the 1960s. Around a red mouth is particularly suggestive in the right light, the lips, yonic and phallic formations, layers and frills suggestive of vaginas while the upright stalagmites, tapering columns rising from the floor of the ‘cave’. The ice cream colours and flashes of red prove highly feminine, formulating a surreal sexual landscape. Within all the works there is a point of disappearance, signifying an interrelation between all things, a point of transferal at which clear division dissolves.
Hannah Höch, The Beautiful Bottom, 1959
Höch’s 1959 ‘beautiful bottom’ is reminiscent of Hockney’s LA shower paintings, the figure, apparently bathing, seems Playboy-pornographic, complete with goosebumps. Of course in print skin texture was important, no airbrushing for an all round ‘smoother’ aesthetic. Larger than most of the other works on show, I left the exhibition puzzled by where Höch might find such a large bottom!
As interesting, captivating and even vital as this exhibition might have been, I did not leave feeling that the curation had rewritten Dadaist or Höch history. It was aesthetically and historically very enticing, fairly well presented, even if it did seem to skip around somewhat. Largely though, Höch ’s own sentiments resounded (I had expected something more abstract and surreal): as a servant of art, Höch’s assertion is that shape is an inherent concept, while abstraction, she claims, originates in life’s deepest secrets.
“For the umpteenth time, You-chan …” Riko articulated, her voice harsh and bitter, “… I’m fine.”
You cautiously eyed her girlfriend, noticing how quickly Riko’s fingers and knuckles turned white after she seized the banister in a deadly grip, how trembling her legs were, how unsteady her stance was.
“I’m … Fine.” Despite the fact that she had to catch her breath right in the middle of her very short sentence, Riko’s tone was severe, and You knew she couldn’t insist anymore.
So, she watched her lover climb the stairs, ever so slowly and painfully, knees ready to give in at any moment.
You holds back the nauseous wave building up inside her, as the sickening, antiseptic smell of the hospital deliberately attacks her nose. She gulps and forces herself not to bounce her knees, preferring to pull on the sleeves of her light green sweatshirt several times, while she waits. Again. And again, and again.
This Anon asked: The GoM+Hayama getting jealous because another guy is talking with their partner, when suddenly the other guy suddenly kisses their partner out of no where even though their partner obviously freaks out and didn’t expect it?
Oh, yes~ More jelly basketball boys. But on a more serious note, I think every single one of them would be livid and it would be quite frightening (can you imagine getting confronted by an angry Murasakibara, Akashi, or Aomine??) So I’ll just expand from that thought.
The other idiot male had been much too close to you all day. It was like the scum bag had absolutely no decency at all. Said idiot not only decided to make his advances at school, but in front of your boyfriend as well. Was he that stupid? As the flirtatious male continues his overly friendly behavior, your lover contemplates whether or not this idiot has a death wish but the instant the other male’s lips meet your own, all hell breaks loose.
Kuroko Tetsuya: For once he’s extremely grateful for his lack of presence, using this ability to his advantage by landing an extremely painful hit to the other male’s gut (the ill intent behind his actions seems to fuel his strength). The idiot, in reaction to his painful surprise, releases you immediately. You, who is most dreadfully now in tears, run to your boyfriend who doesn’t miss a beat, immediately trying his best to console you although he’s experiencing rather stormy emotions now. When your offender finally notices the Phantom Sixth Player, he’s at a loss for words; feeling a mixture of fear, confusion, and pain at the moment he doesn’t know what to do. Luckily for the perverted teen, the rational side of Kuroko lets the him off with a threat. He should be counting his lucky stars that you were Tetsuya’s main concern right now. “It was extremely unkind of you to traumatize my girlfriend with your unwanted touches. We’d both appreciate if you leave now, and never come back.”
Kise Ryōta: His whiny attention seeking behavior is immediately replaced with pure disbelief followed by pure rage. The honey eyed model finds it amazing that he still has the rationality to keep a cool demeanor, swiftly making his way towards you and your offender before shoving the loser off of you, giving you sweet reassurances in your shocked state. Eventually he’ll turn to the scum that couldn’t keep his paws off of you, Ryōta’s ‘hidden’ persona making a rare appearance as he lets a cold and arrogant aura envelope him, the rare sensation sending shivers down your spine. “Hey, I don’t know what the hell you think you’re doing, but you really shouldn’t touch other peoples’ things. What makes you think you’re good enough for my girl?”
Aomine Daiki: There’s nothing but pure white rage overwhelming Daiki’s senses. Wasting no time at all, he’ll violently yank the bastard away from you, not even stoping to think before he slugs the other boy in the face. Tōō’s ace’s next objective will be to comfort (a now) overly stimulated you, who’s sobbing due to the shock of everything going on. Your comfort will come in form of physical affection as well as verbal as Aomine makes sure that you’re alright before dealing with the idiot before him. If the other boy is lucky, he’s been knocked out cold, if he isn’t hell receive not only physical but verbal confrontation from your enraged lover. “You fucking piece of shit. Stay the fuck away from her!”
Midorima Shintarō: His mind freezes in that instant when he sees you being assaulted, and for once, he lets his pure instinct take over instead of thinking it through. Instantly, Shintarō is at your side, wordlessly shoving away your offender before taking you to the side to console you properly before dealing with the mere insect who thought he could lay his hands on you. The emerald haired shooter corners the other male up against the wall, using his infamously overwhelming aura that he’s heard so many people talk about to intimidate the other teen. The glasses clad boy leans in close to the others face before uttering a low threat, enough to make the other boy’s blood run cold. “I don’t know who you think you are, or what you were trying to do to her, but you’d better pray to your god that I don’t ever catch you touching her again.”
Murasakibara Atsuhi: If there’s anything Atsuhi hates more than sharing his snacks, it’s sharing you. Yōsen’s center will be over there in a flash, violently shoving the other male away and knocking him to the ground without a care. The idiot is probably blubbering out of fear but Murasakibara simply ignores him, checking on you before turning his livid attention back to the mouse he wanted to crush. The intensity of Murasakibara’s anger is much like his intensity on the court, if not more so. The giant male uses his height and aura to his advantage, gripping the other boy’s head forcefully and sending him off with a few ill-promising words. “I don’t know who you are, but I don’t like you. You made [F/N]chin cry so I’m going to have to crush you.”
Akashi Seijūrō: The amount of rage that builds up in the scarlet haired male’s tiny stature is almost enough to set the monstrosity that is the ‘emperor’ loose but Seijūrō somehow manages to keep it together. Slowly but angrily, Akashi makes his way over to the two of you, using his ankle breaker to make your vile offender fall to his knees, Rakuzan’s captain’s first priority being you. Once he makes sure that you’re safe and well as you can be in this horrible moment, he turns to face the parasite who caused his flower so much pain. Although Akashi’s not one to involve himself in petty fights, nor is he a believer of abusing his status and power as a young heir, this mere boy hurt the one thing that is most important to the point guard, and for that, he cannot be forgiven. “I hope you enjoyed that rather intimate moment with my [F/N], because it’s the last shred of peace you’ll have in your pathetic life.”
Hayama Kotarō: The Uncrowned General is so enraged that he’s thankful that part of his basketball training has been to keep his cool. Using that very anger to fuel his movements and thinking, Kotarō briskly makes his way over, wordlessly prying that two of you apart and shoving you protectively behind him so he can confront the other guy. Rakuzan’s strawberry-blond holds your hand tightly as he takes an aggressive stance, the anger rolling off his body in waves as he maintains a safe distance between you and the pervert before cursing him out, his emotions complicating his accusations and questions. “What the hell man?! What do you think you’re doing?! Can’t you see how upset she is?!”
Shino Teabowl with Bridge and House, known as “Bridge of the Gods” (Shinkyō) by Rekishi no Tabi (back, briefly) Via Flickr: It’s #TeabowlTuesday!
I took this one at New York’s wonderful Metropolitan Museum of Art. It is fine sample of Shino-type Mino ware, dating back to the late 16th century.
According to the MET’s explanation, and I am quoting directly:
“Shino ware, produced at the Mino kilns during the Momoyama period, is characterized by a heavy body and coarse, crackled feldspathic glaze, qualities appreciated by the tea master Sen no Rikyū (1522–1591). This Shino teabowl was produced before the introduction of the improved multi-chambered climbing kiln (noborigama).
It is decorated with a simple, linear design of a bridge and a house, painted in iron oxide under the white glaze. This composition had been depicted on several Mino teabowls and is thought to be either a simplified and somewhat abstract representation of the Sumiyoshi Shrine in Osaka or a reference to the Lady of the Bridge (Hashi-hime), a character from courtly fiction who waited by a bridge at night for her lover to arrive.”
This piece belongs to the Mary Griggs Burke Collection, Gift of the Mary and Jackson Burke Foundation, 2015.
The spirit of a deceased king, said to have been the fairest of all people during his lifetime, asked his ghostly court every day since he had died whether there was anyone as great as him. He was very clever, but vain, and thought himself to be the cleverest and most beautiful of humankind. Whenever he asked whether there was one fairer or cleverer than him, his courtiers answered no, sire, you are still the fairest.
There came a day, however, where he was given a new answer: Rosella. She was tall, well-curved and beautiful, a lover of the Maiden, and the king was enraged, as he felt the Maiden had slighted him. He demanded that she be brought before him, and so his servants stole her away in the night. The Maiden stormed across the earth in fury, looking for her companion, but found nothing, and she was not permitted into the Underworld, not even in dreams.
The king, upon seeing her, had judged that she was indeed as fair as him (if not moreso, muttered his court). Surely, he thought, she could not be as clever as him. He thus agreed to tell her a riddle of his own invention. A correct answer would grant her freedom, but if she were to answer wrongly, she would become his bride and rule the underworld.
Rosella agreed, knowing her sharp wits would save her, and the king asked: Enter me blind and emerge from me seeing. Who am I?
She ruminated for an hour, and then gave her response: a school.
The king appeared to be pleased with her answer and applauded her, and as a reward, he gave to her some fruit to share with the Maiden. Rosella happily departed the Underworld and went to find her lover, but being very hungry, she ate a piece of the fruit before their meeting.
But it was poisoned fruit, the fruit of the dead, and Rosella fell to the earth and bled, the life slipping from her eyes when the Maiden finally found her. Knowing what the king had done, she wept and vowed revenge, because even the gods could not rescue one who had eaten the fruit of the dead.
Rather than condemning her friend to an afterlife with the greedy king, however, the Maiden turned Rosella’s blood to flowers, red blooms which are to this day known as roses. Her body she made a tall and graceful tree, whose roots spread so deep that they strangled the king in the Underworld, as a warning to any who should try to take what is not their own.
i love team mustang headcanons so much so ya’ll are invited to join in here
imagine the team doing weekly outings like going out to dinner or doing dumb stuff together and Ed is like “no way are we joining in on that” at first but Al wanted to so they ended up going once and now they’re regulars but Ed totally pretends he doesn’t enjoy it
and sometimes they all meet at Madame Christmas’ bar when they have important things to discuss and one time Ed accidentally got drunk and now they all have to keep an eye on him and he’s only allowed to order that orange juice he really likes
iMAGINE THEM CELEBRATING BIRTHDAYS TOGETHER AND HAVING CHRISTMAS PARTIES TOGETHER!! And Ed and Al don’t expect anything on their birthdays because they don’t really feel like part of the team at first buT THEY GO ALL OUT FOR BOTH BOYS AND IT’S REALLY SWEET
Roy was in charge of planning all the parties but he pretends he finds the parties a waste of time but he’s actually really happy when everyone else is happy^^
Havoc and Breda teasing Ed about the birds and the bees and Ed covering his ears because he doesn’t want to hear it he is a scientist and he understands that already thank you very much
Hawkeye acting like a mama for everyone and keeping all her boys in line and they all respect her a lot and lover her
Team Mustang referring to each other by their chess piece titles
Ed sometimes falling asleep on the couches with his tummy out omg
Ed coming back frequently even after leaving the military just to visit!!!
Spend the day with Bianca Yvonne and her two cats Maxwell and Sgt. Pepper. Bianca is designer (Macklemore is a client), artist, and thai food lover. Her cozy and creative Seattle apartment is scattered with houseplants, amazing thrifted pieces, records, and her own artwork.
“I can’t believe you still have this.” Sofia laughed holding up a crumpled picture she drew when she was little.
Callie’s hands shook as she took the yellowing picture from her daughter’s hands. “I still can’t figure out which is which.” she shook her head with a smile. She looked at the juvenile scrawls and many different shades of color before tucking a gray hair behind her ear.
Sofia took the picture back and turned it trying to figure out for herself. “I think this one is the jellyfish, and this one is the mermaid.”
“Mmm.” Callie sighed and took a sip of her now cool tea. “Your mother gave that to me.”
Folding the picture and carefully putting it back in it’s resting place, Sofia curiously tilted her head to the side. “Really?”
“I was having…problems at work. I had to go to court and something led to another and she found me crying in a bathroom.”
“Wait, isn’t that how you met?”
“No, no, we met because I was crying in a bar bathroom.”
Sofia shook her head and waved her hand. “Never mind, keep going.” the younger Torres wouldn’t admit it out loud, but hearing stories about her mothers together always made her giddy.
“She saw me upset so…she gave me a picture you drew in the car. This picture,” she said holding up the folded piece of paper. “She gave it to me so I would feel better, so when I was angry or upset, I could look at what you made and feel better.”
A long, reminiscent look filled Callie’s eyes, the brown orbs shimmering as they looked off somewhere Sofia could only imagine. “You miss her, don’t you?”
Callie stood up and walked over to the back of the living room, a picture of her and the blonde when they were much younger on one of their first dates. She smiled at the memory. “Yeah.”
“Do you still love her?” Sofia whispered.
Callie was about to open her mouth to answer when the subject at hand entered the room. “Dinner’s ready! I think we better eat soon before little Timmy has another fit. You excited to have some turkey?” she cooed to the chubby, dark haired baby in her arms. “Sofia, come get this cutie, grandma’s getting a little tired holding this tiny one.” she tickled her grandson’s tummy and her fading blue eyes shone at her grandson’s laughter.
Sofia got up to take her son in her arms and kissed his cheeks. “Come on, big boy, lets eat!” she squealed.
Arizona watched the two most important people in her life leave the room, a piece of hair, the lightest of blondes, falling into her wrinkling face catching Callie’s attention. “You ready to eat?” she asked.
Through the years, through the pain and loss and tragedies, Arizona still managed to contain some joy, some happiness that Callie loved to see every chance she got.
Shakily getting to her feet and walking up to her old lover, Callie couldn’t help but tuck the stray piece of hair behind Arizona’s ear. “Yeah.”
“Calliope,” Arizona blushed avoiding Callie’s eyes. “Let’s go eat.” she took Callie’s hand and led her to the dining room.